PM - Single version. 27 January 1969*, plus a coda edit (starting at 2:34) from a later take (recorded 28th Jan). Produced by Glyn Johns with little or no involvement from George Martin. Mixed by Johns (though possibly remixed by McCartney and Johns), there was also a rejected mix by Jeff Jarratt. The vocals and lead guitar are distant and reverb laden and the rest of the band sound small and squashed.
LIB - 27 January 1969 plus extra studio chatter (from 27th) and the final dialogue from the rooftop concert (30th) but without the single's coda. Produced by Spector. Cleverly using dialogue to create the illusion that this is the live on the roof version, Spector opts for a dryer mix than some of his other LIB tracks.
LIBN - 27 January 1969 without the single coda and album's framing dialogue. Produced by Paul Hicks. Harrison's rhythm track and Ringo's toms are very slightly clearer.
A3 – 30 January 1969 Rooftop Concert on the Apple Building. The genuine final take (there were 3 versions recorded) which was interrupted by the police. The structure resembles the single with the coda ending. The band play faster and more aggressively (for obvious reasons) Lennon doing some terrible guitar fills in the first verse before the guitars and vocals cut out all together as the amps are switched off, then back on. Ringo, for one of the few times in his career, goes completely out of time on the final two choruses before righting himself just before the end. Paul ad-libs over the final chorus
“you been out too long Loretta, you've been playing on the roofs again, and that's no good, 'cos you know your mammy doesn't like, oh she gets angry, she's gonna have you arrested! Get back!”.
The song ends with Paul's “thanks Mo!” but cuts John's announcement.
The live take is fun, and could have been a contender but for the total breakdowns. If Spector had had protools I'm sure this would have made the final cut. The single mix is awful, Spector at his most muddy and reverb drenched – except it isn't Spector, it's Andy Johns. Spector's actual album mix is Martin-like, clear, dry and punchy, with everything cleanly separated. No wonder the Naked team (ew!) struggled to improve on it. Having the bookend edits gives Spector's mix the advantage.
*The main take could have been recorded on 28th Jan. If you have any interest at all in that read this.