Violoning
George used a volume foot pedal, allowing him to quickly increase or lower the sound level of the instrument according to the desired effect. This gives a characteristic effect called “violoning,” not to be confused with the wah-wah pedal, immortalized by Jimi Hendrix, which in no way modulates the sound level of the instrument, but only varies its frequency.
Production
Recorded on February 15, “I Need You” has a unique sound: George on vocal and lead guitar, Paul on bass, John on the snare drum (!), and Ringo contributing percussion by hitting the back of a Gibson Jumbo acoustic guitar! The Beatles were constantly searching for new sounds, and this surprising rhythm section is a good example. John simply marked the second and fourth beats of the measure while Ringo used the back of the guitar like a bongo. Take 5 was selected as the best. The next day, George performed the lead vocal, John and Paul contributed backing vocals, Ringo added a cowbell, and George, for the first time, played using a foot-controlled tone pedal that he plugged into his Rickenbacker twelve-string. In the movie, we see George playing on a Gibson Jumbo, John on the Rickenbacker 325, and Ringo on drums. In fact, they were only props—no one played these instruments on the recording. On February 18, the mono mix was made and on February 23, the stereo mix.
FOR BEATLES FANATICS
At 1:10 in the left channel in stereo, we hear John hit the edge of the snare drum!
Another Girl
Lennon-McCartney / 2:04
1965
SONGWRITER
Paul
MUSICIANS
Paul: vocal, bass, lead guitar
John: rhythm guitar, backing vocal
George: acoustic guitar, backing vocal
Ringo: drums
RECORDED
Abbey Road: February 15–16, 1965 (Studio Two)
NUMBER OF TAKES: 1
MIXING
Abbey Road: February 18 and 23, 1965 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineers: Ken Scott, Jerry Boys, Malcolm Davies
Genesis
Paul wrote “Another Girl” by himself after February 4 while on vacation in a villa in Hammamet, Tunisia, as a guest of the Tunisian Embassy. The words contain a double meaning, especially for his fiancée at the time, Jane Asher. Although the song is not one of Paul’s strongest, it had passed the famous “Beatles test”—it took only one member of the group to dislike a song to veto it. According to Paul, “It’s a bit much to call them fillers because I think they were a bit more than that.… We all had to like it. It could be vetoed by one person.”1 Richard Lester selected “Another Girl” as the second title for the Help! soundtrack.
Production
After Paul’s return from Hammamet, he went to the studios on Monday, February 15. The Beatles adopted a new, more efficient approach to recording: they recorded a song by repeating it until they had a satisfactory rhythm track, which they would label TAKE 1. Therefore, “Another Girl” had more than a dozen attempts before selecting the first take. According to George Martin’s notes, published in his book Playback,2 George played on a Gibson Jumbo and John on the Fender Stratocaster Sonic Blue. Paul sang and played the bass, accompanied by John and George on backing vocal. Paul then doubled his voice, backed in some sections by John. George had some trouble with the guitar solo. The next day, Paul, unhappy with George’s solo, replaced it with his own solo, played on his Epiphone Casino. This would not be the last time Paul provided a guitar solo for a Beatles song (see “Ticket to Ride”). The mono and stereo mixes were made on February 18 and 23.
You’re Going To Lose That Girl
Lennon-McCartney / 2:18
1965
SONGWRITER
John
MUSICIANS
John: vocal, acoustic guitar
Paul: bass, backing vocal, piano
George: lead guitar, backing vocal
Ringo: drums, bongos
RECORDED
Abbey Road: February 19, 1965 (Studio Two) / March 30, 1965 (Studio Two)
NUMBER OF TAKES: 2
MIXING
Abbey Road: February 20–23, 1965 (Studio Two) / April 2, 1965 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineers: Ken Scott, Malcolm Davies, Ron Pender, Vic Gann
Genesis
“You’re Going to Lose That Girl” is one of the Beatles’ most underrated songs (including by the Beatles themselves). Interviewed by David Sheff, John made no comment about it. Ditto for Paul, who only quantified John’s contribution (60/40 in favor of John). In the movie, “You’re Going to Lose That Girl” was the next to the last song that the Beatles filmed at Twickenham Film Studios for Help! The group lip-synched to their recording. It was also the last song they recorded for the soundtrack of the movie Help! before leaving England on February 22 for the Bahamas.
Production
On February 19, the group spent the afternoon on “You’re Going to Lose That Girl,” the only song recorded that day. Two takes were needed to record the rhythm track: John sang and accompanied himself on acoustic guitar, backed by superb vocals from Paul and George (both doubled). George played a priori on his Gretsch Country Gentleman, Paul was on bass and Ringo on drums. George performed an excellent guitar solo, accompanied by Paul’s piano and Ringo’s bongos. Other overdubs were recorded on March 30 but were not used. The mono mix was made on February 20. The stereo mix was more complicated: two mixes were attempted on both February 23 and April 2. The final mix was the second mix made on February 23.
Ticket To Ride
Lennon-McCartney / 3:09
1965
SONGWRITER
John
MUSICIANS
John: vocal, rhythm guitar
Paul: bass, backing vocal, lead guitar
George: guitar
Ringo: drums, tambourine
RECORDED
Abbey Road: February 15, 1965 (Studio Two)
NUMBER OF TAKES: 2
MIXING
Abbey Road: February 18 and 23, 1965 (Studio Two) / March 15, 1965 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineers: Ken Scott, Jerry Boys, Malcolm Davies
RELEASED AS A SINGLE
Ticket to Ride / Yes It Is
Great Britain: April 9, 1965 / No. 1 for 3 weeks beginning on April 24, 1965
United States: April 19, 1965/ No. 1 for 1 week beginning on May 22, 1965
Genesis
“Ticket to Ride” is a song that John liked and he described it as one of the earliest heavy metal records made. In 1970, he declared: “It’s a heavy record and the drums are heavy, too. That’s why I like it.”1 John considered the song as mainly his work and went on to say: “Paul’s contribution was the way Ringo played the drums.”2 Paul’s response: “John just didn’t take the time to explain that we sat down together and worked on that song for a full three-hour songwriting session, and at the end of it all, we had all the words, we had the harmonies, and we had all the little bits.”3 Paul gave credit in favor of John at 60/40.
The origin of the title is unclear. Paul remembers the town Ryde being mentioned, but attributes the idea to John. Perhaps they remembered their visit to Bow Bars in the early 1960s, a pub run by Paul’s cousin and her husband in the small town of Ryde. The double meaning between Ryde and Ride may have piqued their interest. According to another version, John explained that ticket to ride was a term used to describe the work permit issued to prostitutes by Hamburg’s health services. One thing is certain: “Ticket to Ride” marked a turning point for the Beatles. The sound is different, more aggressive, away from pure rock ’n’ roll, and the structure of the song itself is innovative for the time. Paul: “Instead of ending like the previous v
erse, we changed the tempo … We almost invented the idea of a new bit of a song on the fade-out with this song; … It was quite radical at the time.”4 Throughout the year 1965, music became more electrified. The Rolling Stones released (I Can’t Get No) Satisfaction on May 13. The Beatles had anticipated the change.
Production
The first song to be recorded for the album Help!, “Ticket to Ride” was immortalized on February 15 during a three-hour session. The Beatles continued the practice of recording just the rhythm track on the multitrack tape. The first was a false start, but the second take was satisfactory. In his notes, George Martin5 shows the breakdown of the tracks as follows: track 1: bass and drums / track 2: John on Fender and George on Rickenbacker twelve-string / track 3: John on vocal and Paul on some vocal parts / track 4: overdubs with John on vocal, Ringo on tambourine, George on Fender, Paul on Epiphone. Note the new and predominant use of both Fender Stratocaster Sonic Blues. This song also marked Paul’s first guitar solo in a Beatles recording. He played the lines at the end of the bridges and in the fade-out on his Epiphone Casino. George played the riff on his Rickenbacker and doubled it with his Fender. Paul arranged the bass, the backing vocals, the guitar solo, and even the drums, since he was the one who suggested what to play to Ringo. The mono mix was made on February 18. The stereo mix dates from February 23. On March 15, Norman Smith did a new mono mix for Capitol Records that was used for the American single and the movie.
FOR BEATLES FANATICS
The first versions of the U.S. single released on April 19 included the words “From the United Artists Release Eight Arms to Hold You.” Logical, because this was the first title of the movie before Richard Lester picked Help! The single from “Help!” was released three months later in the United States on July 19, 1965.
Act Naturally
Voni Morrison–Johnny Russell / 2:29
1965
MUSICIANS
Ringo: vocal, drums, sticks
John: rhythm guitar (?)
Paul: bass, backing vocal
George: rhythm guitar (?), lead guitar
RECORDED
Abbey Road: June 17, 1965 (Studio Two)
NUMBER OF TAKES: 13
MIXING
Abbey Road: June 18, 1965 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineer: Phil McDonald
Genesis
“Act Naturally” is country and western singer Johnny Russell’s most famous song. It was composed in 1961, on the evening before he left for a recording session in Los Angeles. They are going to put me in the movies and make a big star out of me. This line, sent to his girlfriend as a joke before leaving, became the first verse of his song. Two years later, “Act Naturally” had still not been recorded. In 1963, Voni Morrison, a composer who had worked with Russell for some time, suggested presenting the song to Buck Owens, a famous country music performer. Owens refused at first, and then, at the insistence of one of his musicians, eventually recorded the song on February 12, 1963. “Act Naturally” was released as a single the following March. It was Owens’s first number 1 hit!
On June 17, 1965, the recording sessions of Help! came to an end and there was still no song for Ringo to sing. He was ultimately the one who provided the solution. “I sang ‘Act Naturally’ in Help! I found it on a Buck Owens record, and I said, ‘This is the one I am going to be doing,’ and they said ‘OK.’”1 Not only did Ringo perform the song on Help!, but the song was also released as the B-side of the American single, “Yesterday.” The luckiest person of all was unquestionably Voni Morrison, who shares songwriting credits solely to comply with an agreement he made with Russell!
FOR BEATLES FANATICS
Buck Owens and Ringo teamed up for a new version of “Act Naturally” in 1989. The single peaked at number 27 on the U.S. Billboard Hot Country chart.
Production
“Act Naturally” was recorded on June 17, 1965, in thirteen takes at the last recording session devoted to Help! Ringo’s vocal was recorded after performing the basic rhythm track for the song: himself on drums, George on guitar, and Paul on bass. A guitar solo, played by George and doubled on his Gretsch Tennessean, was added, along with sticks by Ringo and a backing vocal by Paul. It appears that John did not participate in the recording. Mark Lewisohn2 specifies in his notes that George also played an acoustic guitar. Mono and stereo mixes are made on June 18. “Act Naturally” was the last cover song recorded by the Beatles, except for a fragment of “Maggie Mae” on Let It Be.
Discarded Song
On February 18, the Beatles met in the studio to record a composition written by John and Paul for Ringo: “If You’ve Got Trouble.” But the song, considered too weak, was abandoned. The song reappeared in 1996 on Anthology 2.
It’s Only Love
Lennon-McCartney / 1:55
1965
SONGWRITER
John
MUSICIANS
John: vocal, acoustic rhythm guitar, electric guitar
Paul: bass
George: lead and rhythm guitars
Ringo: drums, tambourine
RECORDED
Abbey Road: June 15, 1965 (Studio Two)
NUMBER OF TAKES: 6
MIXING
Abbey Road: June 18, 1965 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineer: Phil McDonald
Genesis
In 1972 in an interview with Hit Parader magazine, John said about “It’s Only Love”: “That’s the one song I really hate of mine. Terrible lyric.” Later, with David Sheff, he added: “The lyrics were abysmal. I always hated that song.”1 It’s certainly not as strong as “Yesterday” or “Strawberry Fields Forever,” but the song has an undeniable charm, the “magic of the Beatles.” Paul remembers helping John finish the song at John’s home in Weybridge. Credit is assigned 60/40 in favor of John. “It’s Only Love” is one of the last lyrics written by John out of necessity, with no real inspiration or personal reference.
FOR BEATLES FANATICS
On the stereo version, we can hear John in the right channel announcing the countdown preceding the vocals at 0:08: “one, two.”
Production
The Beatles recorded “It’s Only Love” during an afternoon session on June 15 in only six takes. The rhythm track was provided by John on his Framus Hootenanny twelve-string, accompanied by George on his Gibson Jumbo, followed by Paul on bass and Ringo on drums. George then recorded a guitar part (probably on his Rickenbacker twelve-string) through a tremolo effect (possibly a Fender amp effect). Ringo added a tambourine, and John recorded an excellent lead vocal, rolling the R in bright for fun. Two other guitar parts enhance the piece: George played some phrases in the chorus, presumably with his Gretsch Tennessean, and John inserted a syncopated rhythm on his Rickenbacker 325 or his Stratocaster Sonic Blue. “It’s Only Love” had no less than five different guitar parts and one bass. A lot of work for a song hated by the author! The mono and stereo mixes were made on June 18.
You Like Me Too Much
George Harrison / 2:35
1965
MUSICIANS
George: vocal, lead guitar, rhythm guitar (?)
John: rhythm guitar (?), Hohner Pianet electric piano
Paul: bass, piano, backing vocal
Ringo: drums, tambourine
George Martin: piano
RECORDED
Abbey Road: February 17, 1965 (Studio Two)
NUMBER OF TAKES: 8
MIXING
Abbey Road: February 18–23, 1965 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineers: Ken Scott, Malcolm Davies
Genesis
George did not say much more about “You Like Me Too Much”
than he did about “I Need You.” The song, obviously inspired by Pattie Boyd, revealed the commitment of the young man toward his beautiful fiancée, whom he married on January 21, 1966. This song was originally recorded for inclusion in the soundtrack of Help! before being abandoned by Richard Lester who preferred “I Need You.” Starting with this album, George wrote one or more songs for each of the band’s albums (including four on the White Album).
FOR BEATLES FANATICS
There is a “click” at 0:09, interrupting the tremolo effect on the Hohner Pianet.
Production
February 17 was dedicated to “The Night Before” and “You Like Me Too Much.” Four hours and eight takes were needed to finish this last title. To create the rhythm track, Ringo was on drums, Paul on bass, John on acoustic rhythm guitar, and George on lead guitar. George followed with a guitar solo with Ringo playing the tambourine. Then, as in “The Night Before,” John played a part on a Hohner Pianet, which he executed perfectly. In the introduction, the Pianet was played through a tremolo effect. Then George performed the lead vocal, which he doubled, backed by Paul on backing vocal. Finally, to complete the song, George Martin and Paul played simultaneously on different ends of a Steinway piano, four hands playing the introduction and verses in response to George’s guitar solo, all in a boogie-woogie style. The mono mix was made the next day and the stereo mix on February 23.
All the Songs Page 17
