Love: Special Edition - Track Elements

Love: Special Edition - Track Elements
 contains elements from 130 individual commercially released and demo recordings of, and is a complex remix and poly-mix of multiple songs known as a. While a complete list has not been disclosed, highlights of how the elements were mixed have been noted.

An interview in ' revealed that the opening track includes the bird sounds used in the ' mix of ''. In addition, a new recording of a was implemented 'to make it more British', according to.

This track is much shorter than the original mix, containing less vocals. As reported, the track uses the opening guitar from , the drum and guitar solos from , percussion from ' [Reprise]', and the orchestral swell from ''.

This track is much shorter than the original mix, containing less vocals. The track contains the final 'whoo' from , Paul's 'Oh, No' and 'Hello, Hello' both from , guitar from , violin from , brass from  and , and sound effects from ''.

/ (Transition)
This track is first heard during the ending of the previous track 'Glass Onion', when a short, heavily echoed piece of the vocal track was included. This then transitions into the mix of 'Eleanor Rigby' / 'Julia', which, as the title suggests, features the acoustic guitar part from 'Julia' towards the end of the track. In addition, the swarmandal overdubs from  with heavy reverse echo and string sections from  were included in the ending.

This track is first heard in the ending of the previous track 'Eleanor Rigby' / 'Julia', when string parts appeared. The overdub transitions into this mix of 'I Am the Walrus', which is largely unchanged from the original, except that the entire recording is in stereo whereas the last half of the original was in mono. Also, the count-in from take 25 of 'Strawberry Fields Forever' was included in the intro. Towards the end, crowd sounds from The Beatles' performance at The Hollywood Bowl fade in, leading into ''.

In an interview, George and stated that elements from both the studio recording and the  live performance were used in the  mix. This mix is significantly shorter than the original mix.

/ /
As reported, the medley features the guitar solo from  and the horn section from . According to an interview with George and Giles Martin, they also remixed keyboards from  and backing vocals from  into the track.

As suggested in its title, the track contains the vocal arrangement of '' played in reverse and accompanied by drone.

/ (Transition)
The track contains vocal elements from ''.

According to a page on another site, the track also includes elements from  and possibly even .

/ /
As the title suggests, the track contains the whole of 'Being for the Benefit of Mr. Kite!', the guitars from 'I Want You (She's So Heavy)' and heavily delayed vocals from 'Helter Skelter'. This track also contains horse sounds from , and other elements from 'Cry, Baby Cry' and laughter from .

Like all tracks on this album, the elements of this recording have been remastered, and supposedly have a more modernised sound and feel. Besides the longer fade out at the end, this mix is largely unchanged from the original.

Other than that, I have been unable to identify any actual differences between this mix and the original.

/
As the tile suggests, the track contains the whole of 'Yesterday' with some acoustic guitar and foot tapping from 'Blackbird' for the first twenty-five seconds of the track.

Although it is not considered a track where one song transitions into another, I have not been able to identify any sections where elements from the two songs 'Blackbird' and 'Yesterday' are playing at the same time.

This mix builds from an acoustic to incorporate sections of take 1 of the song (including harmony vocals that were cut from the edit of take 1 issued on the 1996  compilation) and take 26. At the end of the track, it includes the orchestral section from 'Sergeant Pepper's Lonely Hearts Club Band', the piano solo from '', the brass included in 'Penny Lane', the cello and harpsichord arrangement from 'Piggies', and the coda of 'Hello, Goodbye'.

/
This track combines the vocals and the from 'Within You, Without You' with the bass and drums from 'Tomorrow Never Knows'.

This track contains the drum roll from 'Being for the Benefit of Mr. Kite!', the from '', horns, guitars, bass, and drums from 'Sergeant Pepper's Lonely Hearts Club Band', and sound effects from 'Tomorrow Never Knows'.

This track contains the string arrangement from , sound effects and vocal elements from  and elements from '', 'Helter Skelter', and 'Sun King'.

According to a page on another site, the track contains elements from  but I haven't been able to confirm whether or not the information is correct''.

The song includes the percussion intro from , the piano from , the guitar riff from '', 's organ solo from 'I Want You (She's So Heavy)' and 's guitar solo from 'While My Guitar Gently Weeps'.

/ (Transition)
As mentioned by Giles Martin, the track includes tabla from 'Within You Without You', backing vocals from '' and a bass line from 'I Want You (She's So Heavy)'.

/ /  (Transition)
As the title suggests, the track contains the whole of 'Come Together'. The song is largely unchanged until the outro, when the outro of 'Dear Prudence' is layered on top of the fade out of 'Come Together'. This then fades into the 'Can You Take Me Back?' section of 'Cry, Baby Cry'.

Included in the 'Can You Take Me Back' section are wind sounds, which may be from 'I Want You (She's So Heavy)', piano from 'A Day in the Life', drums and maracas from 'Come Together', and strings from 'Eleanor Rigby'. At the very end of the song, there is a drum sound from 'Revolution' repeated before the album transitions to 'Revolution', the next track.

The drum sound from 'Revolution' is repeated at the very end of the mix of 'Come Together' / 'Dear Prudence' / 'Cry, Baby Cry'. This is used right before transitioning into the full mix of 'Revolution'. This track is largely unchanged from the original; besides being shortened, the only major difference is that there are drums from 'Back in the USSR', towards the end to set up the transition into the mix of 'Back in the USSR'.

The start of 'Revolution' is slightly different as well, with a drum beat accompanying all the fuzz guitar riffs heard in the first seven seconds of the song, instead of just the third one. At the end, a backing vocal of John's can be heard repeating the lyric 'alright' every time John's lead vocal says it. The backing vocal at the end of this mix is really an altered version of the lead vocal, toned down to make it into a backing vocal.

The drum part of this track is included in 'Revolution' to set up the transition into the mix of this track. This mix of 'Back in the USSR' is largely unchanged; besides being shortened and that the plane sounds are mostly cut from the mix.

The track fades out before the cross fade into 'Dear Prudence' from the album. This also happens with the copy of 'Back in the USSR' from The Beatles'  album.

A article reported that George Martin chose to use an early version of the recording for the album and wrote a new orchestral backing for the track, which according to Martin's section in the Love liner notes is his final Beatles string arrangement; the demo version used is found on . This was also stated in the fifth chapter of The Beatles 'LOVE' Podcast.

The track does not contain parts of other songs. Instead, it has studio dialogue from Take 1 of the song, including some cut from the  album, and features the unused 'Sugar Plum Fairy' intro. The mix has the clean intro without the audience sounds and does not feature the chatter at the end of the song as used on UK pressings of Sergeant Pepper's Lonely Hearts Club Band.

The track is largely unchanged except that it is shortened significantly. The main musical difference is that the piano and bass are cut out in some sections of the outro. After the mix ends, the brass and string overdubs then continue as the drums from 'Sergeant Pepper's Lonely Hearts Club Band [Reprise]' transition into the next song.

[Reprise]
The track begins with brass and strings from the previous track 'Hey Jude' used to transition from the previous track. Other than that, the mix does not differ too much musically. The track fades out before the cross fade into 'A Day in the Life' from the  album.

This track is mostly unchanged until the which contains vocals from 'Baby, You're A Rich Man', , 'Sergeant Pepper's Lonely Hearts Club Band' and the  from . The track ends with orchestration from 'Good Night' and the sign off from ''.