Studio Two, EMI Studios, London
More overdubs onto take six of "A Day In The Life". Paul re-recorded his vocal track, and also bass, and Ringo's wiped his original drum track in favor of a new and distinctive tom-tom sound. The session took place from 7:00 pm to 1:15 am.
Source: The Complete Beatles Chronicle - Mark Lewisohn
Studio Two, EMI Studios, London
Overdubbing of Paul's lead and the group's backing vocal onto "Sgt. Pepper's Lonely Hearts Club Band", followed by a reduction mixdown of take nine into take ten, ready for future overdubs. A rough mono mix, for acetate-cutting purposes, was made at the end of the 7:00 pm-1:45 am session.
Studio Two, EMI Studios
It wasn't going to be Sgt. Pepper's Lonely Hearts Club Band until "Sgt. Pepper's Lonely Hearts Club Band" came along. That is, the album was not "The Sgt. Pepper Project" until the recording of this Paul McCartney song and Paul's realisation soon afterwards that the Beatles could pretend they were actually "Sgt. Pepper's Band", the remaining songs on the LP forming part of a show given by the fictitious combo. Takes one to nine of the title song's rhythm track were recorded during the 7:00 pm-2:30 am session.
Knole Park, Sevenoaks
The Beatles returned to Sevenoaks during this afternoon, staying through to the evening and completing in that time the "Strawberry Fields Forever" clip. Among the scenes shot this day was the one where Paul dropped own from a high branch in the dead oak tree and ran backwards to a piano - a sequence which, when played in reverse, showed Paul running towards the tree and jumping uo onto the branch. All clever stuff, inspired, no doubt, by the Beatle's present fascination with backwards recordings.
Source: The Complete Beatles Chronicle - Mark Lewisohn
Having decided that their next single would be the double a-side Strawberry Fields Forever and Penny Lane, The Beatles took part in promotional films. Work began on this day in Knole Park in Sevenoaks, Kent.
The films were both produced by Tony Bramwell for Subafilms, and were shot on colour 35mm film by a crew from London-based Don Long Productions. The Swedish director was Peter Goldmann, who had been recommended by Klaus Voormann.
Goldmann had arrived in England in early January and looked for suitable locations in London and elsewhere. The first location he decided upon was Knole Park, owned by the National Trust.
On this evening filming began on Strawberry Fields Forever. A number of sequences were shot around a dead oak tree near the park's birdhouse. The tree is no longer there.
Work on the Strawberry Fields Forever clip continued on the following day.
A rough mono mix of A Day In The Life was made in the control room of Studio Three on this day. It was for demo purposes and wasn't intended for release, as recording wasn't yet complete on the song.
The Beatles in-between producing songs...........
1. Georgy Girl - The Seekers
2. Tell It Like It Is - Aaron Neville
3. Snoopy Vs. the Red Baron - The Royal Guardsmen
4. Kind Of A Drag - The Buckinghams
5. I'm A Believer - The Monkees
6. We Ain't Got Nothin' Yet - Blue Magoos
7. Standing In The Shadows Of Love - The Four Tops
8. 98.6 - Keith
9. Words Of Love - The Mamas & the Papas
10. Nashville Cats - Lovin' Spoonful
The Beatles signed a deal with Hunter Davies, who was planning to write a biography on the band.
The Beatles' agreement with Parlophone expired according to its terms on June 3, 1966. It was not until January 26, 1967 that a new agreement was concluded, this one for a period of nine years. [Masters recorded between June 3, 1966 and January 26, 1967 were accommodated by a series of letter agreements.] Capitol continued to derive its rights to manufacture and distribute in the U.S. under the MEA (though the internal royalties override that EMI received for licensing the Beatles masters to Capitol was reduced from 5% of the retail price to 2.2% of the retail price, payable on 90% of sales, less a fixed packaging fee; there also were several other technical nuances).
Royalties payable to the Beatles for new material were substantially increased. The 1967 agreement later became the source of considerable confusion because instead of being payable on “retail†price the royalty became payable on a “wholesale†price, which was incompletely defined. This probably was due to a misapprehension by Alan Livingston, then Capitol's President. Livingston had negotiated separate terms for the U.S., Canada and Mexico and most likely got them confused because the sales base for each territory was expressed differently.
Studio One. EMI Studios, London
A copy of master mono mx RM11 of Penny Lane had been sent to Capitol Records on January 23rd for American pressing. But Paul felt it could be bettered, so three more mono mixes were made between 6:30 and 8:30 this evening, the new master being RM14. The main difference between this and RM11 was the omission of some David Mason trumpet figures from the very end of the song. A copy of RM14 was made for America between 9:00 and 10:00 pm. While it was not too late to substitute new for old in Britain, however, a few singles using RM11 had already been pressed and distributed to US radio stations as advance promotion/broadcast copies - although for the commercial release Capitol used the correct mix.
The single, "Strawberry Fields Forever/Penny Lane" was issued in Britain on Friday, February 17th, the Beatles' third double-A sided 45 in four releases, and both songs thus dropped out of the running for the album currently in the making.
Source: The Complete Beatles Chronicle - Mark Lewisohn