The story begins on January 26th 1976, when The Beatles' nine-year contract  with EMI Records finally expired, six years after the group itself expired.  EMI immediately began to take stock of The Beatles' back catalogue, seriously  considering for the first time the hundreds of hours of unreleased recordings  stored haphazardly in the Abbey Road Studios' tape vault.
One team focused on repackaging the official releases, with initially  unimaginative results: the entire run of Beatles singles was re-issued in  March 76 in the UK, with the addition of Yesterday, never issued on a British  single before. George Martin was involved with re-equalization and remastering  (though not remixing from the original session tapes) for a 2-LP compilation,  Rock And Roll Music, released in June 76. Martin's work was done to improve  the primitive twin-track master mixes from 1963 in particular, though he  may have tweaked some of the later songs as well. Over the next two years,  further uninspired Beatles projects were issued from EMI: the US album Magical  Mystery Tour was finally issued in the UK in November 76; in the fall of  77, a box set of all Beatles singles (including Yesterday and Back In The  USSR) was released in the UK; in November 77, another double-album compilation,  Love Songs, came out. But what about some NEW, never-released Beatles material,  the fans cried? Top priority in this arena was the preparation of tapes recorded  by Capitol at the Hollywood Bowl concerts of 1964-1965. Again, Martin was  called in to mix and edit the tapes; a rough mix of the 1964 concert (prepared  in Capitol's Los Angeles studios back in 1964) had apparently been sent to  Apple HQ in London in 1971 in acetate form. This inspired both rumors of  an imminent release and dozens of bootlegs when a copy fell into the 'wrong'  hands. But nothing was done until January 18th 1977, when highlights from  all three shows were mixed from 3-track tapes into stereo. The Beatles At  The Hollywood Bowl album was released in May 1977.
Live recordings of familiar Beatles songs were one thing, but rumors of dozens  of unheard Beatles titles had kept the collecting community drooling since  the break-up. The Beatles themselves were vague about what was left behind  in the studio vaults. Titles such as Junk, The Void, Not Guilty, and What's  The New Mary Jane first surfaced in The Beatles Book Monthly magazine via  articles and reports from insiders like Mal Evans.
An article in the New Musical Express of March 23rd 74 was the first attempt  to compile a list of Beatles' EMI outtakes. Titles mentioned included How  Do You Do It, Suzy Parker, If You've Got Trouble, Jazz Piano Song, You'll  Know What To Do, Pink Litmus Paper Shirt, Penina, Not Unknown, India, Annie,  When I Come To Town, Four Nights In Moscow, Colliding Circles, and Always  And Only. Some of these are correct, some are misinterpretations apparently  based on EMI session sheets (working titles and the like) and some are clearly  made up. The 1975 book All Together Now mentioned all of these, plus the  following: Keep Your Hands Off My Baby, Tell Me If You Can, Peace Of Mind,  and Should Like To Live Up A Tree.
As no official word from either EMI or The Beatles supported or denied any  of this, most of these (non-existent) outtakes were assumed by fans to be  awaiting future release. Further rumored titles were Baby Jane, I'm Sorry,  Bad Penny Blues, Echoes Of The Merseyside, Home, Just Dancing Around, Maisy  Jones, Moonglow, My Kind Of Girl, Portrait Of My Love, Proud As You Are,  Rubber Soul, Swinging Days, and my personal favorite, Zero Is dust Another  Even Number. Looking at the above lists (totalling some 35 titles), it was  no wonder fans daydreamed of three or four more albums of completely new  material to add to The Beatles canon.
While all this was going on, EMI executives first dipped their toes into  the uncharted waters of unreleased Beatles studio material. According to  one employee, EMI "listened to all the material that had not been released".  Considering what they came up with, this statement is laughable, unless we  take it very literally. Apparently they only considered song titles which  hadn't been released, ignoring four hundred hours or so of rehearsals, demos,  alternate takes, arrangements, and mixes of familiar songs. So their initial  skimpy research only came up with about ten titles considered worthy of  attention. According to Mark Lewisohn, EMI "began doing in-house compilation  cassettes" of this material - one of which found its way into private collectors'  hands by late 1978. The tape was played in 1980 at a Beatles convention,  and eventually released on a bootleg entitled File Under: Beatles.
The materi al was all apparently dubbed directly from  the session tapes, with no attempts at remixing or editing, and was more  of a rough assembly of potential songs for a Beatles ouftake LP. The titles  were as follows:

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