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This is the third part in an excellent series of studio recordings. Following is a table listing of the tracks, with the associated liner notes.
| Track | Title | Liner Notes | Time |
| 1 | Do You Want To Know A Secret | Recorded Feb. 11, 1963, Take 8, Track 2 opens with John and Paul asking George Martin for instructions on where to place the "Do-Dahs" during the chorus. A complete run-through follows with George Harrison's lead vocal still single-tracked at this stage. | 2:39 |
| 2 | A Taste of Honey | Recorded Feb. 11, 1963, this version features an unrelesed mono mix completed 2/25/63. Take 7, Track 2 has Paul's vocal double-tracked, slightly out of synchronization, to provide a fuller sound. | 2:07 |
| 3 | Seventeen | Take 10, as presented here, is a complete run-through performed live at EMI studios Feb. 11, 1963. George Martin took portions of takes 9 and 11 to produce the final incarnation "I Saw Her Standing There." | 2:55 |
| 4 | There's A Place | Recorded live in the studio Feb. 11, 1963, Take 11 has no overdubs and is much faster paced than the more familiar take 13 (Judged best by George Martin). | 2:02 |
| 5 | You're Gonna Lose That Girl | Beginning with a count from George, Take 3, recored Feb. 19, 1965 at the start of the "Help!" sessions, contains no reverb or electronic effects, and, the bongo track runs throughout. | 2:20 |
| 6 | I Need You | Started on Feb. 15, 1965 and completed on the next day, Take 5 presented here is a previously unreleased stereo mix. The absence of all reverb and other studio effects allows George to bring his tone pedal "Wah Wah" guitar far forward to the right channel on this mix. | 2:29 |
| 7 | Yes It Is | Take 14 recorded the evening of Feb. 15, 1965. This recording presented here prior to the final overdubs of "Live" harmony, again features Geroge Harrison's newly acquired "tone pedal" for guitar. | 2:41 |
| 8 | Twelve-Bar Original | Never released, this was The Beatles' first attempt at recording an entire instrumental after reaching world-wide fame. TaTae 2 [sic], recorded live without overdubs Nov. 4, 1965, was mixed down and transferred to reference disc Nov. 30, 1965. (Hence, the surface noise present). This is the only known surviving recording of The Beatles' attempt at the blues, a la Rolling Stones. | 6:42 |
| 9-10 | Strawberry Fields Forever (Home Demos) | By the mid 60's, all The Beatles owned home tape machines which allowed them to put down ideas that would later prove invaluable back at EMI. In early November 1966, John began work on what would later evolve into arguably his most ambitious recording to date. Presented here are John's four original home demos. | 3:00 |
| 11-18 | Strawberry Fields Forever (Studio Takes) | The evolution of a masterpiece of studio work traced through eight separate takes in the order they were recorded. Take 1 was recorded on Nov. 24, 1966. Takes 2, 3 and 4 were recorded on Nov. 28. At this point, John had a very different song. One day later, Take 5 and 7 were recorded. John, still not happy with the sound, asked George Martin to score a brass and string section. Take 25, recorded Dec. 15, 1966, is the orignial trumpet and cello backing track later used on the finished recording. Take 26, recorded the same day, adds vocals and brings us close to the finished song, although George Martin eventually edited two versions together for the final incarnation. | 24:27 |
| 19 | Across The Universe | Take 7, recorded on Feb. 4, 1968, was originally planned for single release. This early mix has backwards guitar sounds and differs from both the "Wildlife" and "Let It Be" versions. | 3:46 |
| 20 | Lady Madonna | An early raw version (Take 3) recorded Feb. 3, 1968, live in the studio with an attempted vocal overdub, aborted seconds into the take. | 2:05 |
| 21 | Not Guilty | Take 99, recorded Aug. 8, 1968, during the "White Album" sessions. This is the complete unedited stereo mix, running several minutes longer than all other known versions. George sings lead. | 3:13 |
| 22 | What's The New Mary Jane? | Take 4, recorded Aug. 14, 1968. This recording is unique in that John's vocals are single-tracked, without the "echo" effect predominant on other known versions. At the end you will hear John exclaim "Let's hear it back before they come to take us away." | 6:33 |
| 23 | A Case Of The Blues | Another Lennon home demo recorded during December of 1968. Written between the "White Album" and "Get Back" sessions, no known studio take exists. | 2:53 |
| 24 | Because | Beethoven's Piano Sonata in C Sharp Minor, Opus 27 Number 2, provided the inspiration for this track (when played back to front!) Take 23 spotlights the beautiful 3-part harmonies of John, Paul and George in this outtake vocal track, recorded Aug. 1, 1969. | 2:14 |
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