I wouldn't be too surprised if some of what you hear was bleed into the open drum mics. Before we had the technology to isolate every instrument to the point that they exist in a vacuum, recordings were frequently made with close mics in more open layouts where the musicians could actually interact with one another (and groove).

I'm unfamiliar with how this session was done, but I have some live stage recordings that have similar cross bleed when one listens to the channels in isolation.

None of this is meant to detract from the talent of the person who mastered the tracks and created the soundstage. Whatever they were paid, it wasn't enough in some cases.

I'd start with the simplest explanation, which is that the right microphone picked up some of the guitar at a greater distance away.

Almost ALL the recording i do is live two-track stereo (though i sometimes use four mics, but the process is still the same in the end). Every mic in the room picks up all the sound. Some sounds will be much closer to some mics so they end up primarily in that channel, but there's no isolation.

I agree that it's probably bleed, but with unintended good results. A lot of this stuff was done deliberately by Pink Floyd and on later Beatles albums, but this sounds like it was in the recording, but probably not from the kick mic (low frequencies are rolled off).

"but probably not from the kick mic (low frequencies are rolled off)."

Most likely the mic on the hi-hat since it was the focus of the introduction. I can just hear the engineer now, "Could I get some more hi-hat?" and "How 'bout some more of that guitar with the wah-wah pedal?"

Some day, over a cold one, I'll have to tell the story of the gig I was on where the guitar player and the bass player showed up with wah-wah pedals. But I digress...

"Could this is be duplicated today? If so, how?"

Seeing as how no one has specifically answered how you might do it today.

If you have installed Sound Forge then in Vegas you should find a FX called "MultiTapped Delay". With that you can configure the number of delay taps, the delay time, the amplitude and how they are panned.

Taking a mono recording, pan it hard left in the track header.
Create a new bus, feed the track to that bus. Add the Multitapped delay FX to the bus.
Now configure the FX to have one tap, pan it hard right. Adjust delay and amplitude to suit. You can add more taps and adjust to taste.

One thing I like about the Multitapped Delay is it has a simple graphic that shows you the taps. Like a lot of the original SoFo plugs it is simple, to the point and gets the job done without all the CPU munching bling of a lot of the more modern FXs.

Bob.

Jay> you will hear the guitar from the left channel "bleeding" over into the right channel, almost like a subtle reverb.

Not so subtle! Great effect though. To me that sounds like the guitar is sent to a short reverb or a chamber, most likely with a pre-delay, & the return panned fairly hard right.
Very common thing to do 'in the era' - there's no rules!

Thank you, Bob, and everyone that replied.