All the Songs
Page 36
Rocky Raccoon
Lennon-McCartney / 3:33
1968
SONGWRITER
Paul
MUSICIANS
Paul: vocal, bass (?), acoustic guitar
John: bass, harmonica, harmonium (?), backing vocal
George: backing vocal
Ringo: drums
George Martin: piano, harmonium (?)
RECORDED
Abbey Road: August 15, 1968 (Studio Two)
NUMBER OF TAKES: 10
MIXING
Abbey Road: August 15, 1968 (Studio Two) / October 10, 1968 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Ken Scott
Assistant Engineer: John Smith
Genesis
Sitting on the roof of the ashram in Rishikesh, while Paul was playing guitar, Paul, John, and Donovan tried to find lyrics for a melody. The three musicians developed the story around a cowboy called Rocky Sassoon, but Paul changed it to Rocky Raccoon. Paul reworked the song, but he was uncertain of the lyrics, changing verses as he went along until the recording session. This parody of a Western saloon, with cowboys, an alcoholic doctor, and the Gideon’s Bible, had no other purpose than to be entertaining. Many artists have recorded cover versions of the song, even though John did not really like them, saying, “I saw Bob Hope doing it once on the telly years ago, I just thanked God, it wasn’t one of mine.”1 This was the kind of song that stayed with you once you heard it.
Production
Rocky Raccoon was recorded on August 15 in one recording session. The basic rhythm track was completed after nine takes: Paul on vocals and on his Martin D-28 acoustic guitar, John on harmonica and on his Fender six-string bass guitar (with vibrato), and Ringo on drums. George was in the control room. Paul said, “It was a difficult song to record because it had to be all in one take, it would have been very hard to edit because of the quirkiness of the vocals, so I had to do a couple of takes until I got the right sort of feel. But it was fun to do.”2 John’s bass and harmonica were deleted and replaced by a new overdubbed bass (Paul?). Ringo rerecorded his drums. This take was reduced in take ten. John played harmonica again in C and George Martin added a perfect honky-tonk piano solo by slowing down the tape to half-speed as he had done for “In My Life.” Later John or George Martin played harmonium, and finally, Paul, John, and George added backing vocals. The mono mix was done in the same session, and the stereo on October 10.
FOR BEATLES FANATICS
To simulate Daniel’s gunshot fired at Rocky, Ringo hit his snare drum at 1:49.
Don’t Pass Me By
Richard Starkey / 3:50
1968
MUSICIANS
Ringo: vocal, piano, drums, sleigh bells
Paul: bass, piano
Jack Fallon: violin
RECORDED
Abbey Road: June 5, 1968 (Studio Three) / June 6, 1968 (Studio Two) / July 12, 1968 (Studio Two) / July 22, 1968 (Studio One)
NUMBER OF TAKES: 7
MIXING
Abbey Road: June 6, 1968 (Studio Three) / July 12, 1968 (Studio Two) / October 11, 1968 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineers: Geoff Emerick, Ken Scott
Assistant Engineers: Phil McDonald, Richard Lush, John Smith
Genesis
“Don’t Pass Me By” was the first solo composition by Ringo. He wrote it when he was fiddling with the piano at home: “I wrote ‘Don’t Pass Me By’ when I was sitting around at home. I only played three chords on the guitar and three on the piano.… It was great to get my first song down, one that I had written.”1 In fact, it had been several years since Ringo had tried to record it. He mentioned the song during an interview in 1964 with the BBC. It was likely that he finished “Don’t Pass Me By” for the purposes of the White Album. Strangely enough, it was the second song recorded for the album after John’s song “Revolution 1.” Usually, the second song was one of Paul’s. Geoff Emerick, in his book Here, There and Everywhere, said, “Ringo was getting a bit fed up, and they were trying to keep him happy.” “Don’t Pass Me By” has a country and western flavor and Ringo was happy with the song.
FOR BEATLES FANATICS
At 1:48, we could hear an alarm clock and Ringo counting out eight beats before the break, which could be heard at 2:39.
Production
Despite the reference to the song in the 1964 interview as “Don’t Pass Me By,” on June 5 the Beatles began recording it under the working title “Ringo’s Tune (untitled),” and the following day as “This Is Some Friendly.” The original title was restored on July 12. Only Ringo and Paul played; the two other Beatles were probably unmotivated. The basic track was recorded in three takes with Paul on piano and Ringo on drums. Another piano piece and sleigh bells were overdubbed on the third take. After two reduction mixes, Ringo overdubbed his lead vocal, which was recorded with a tape recorder running slowly, immediately erased, and replaced by a bass guitar (probably overdubbed) played by Paul. The following day, both of Paul’s bass guitar tracks were erased and replaced by two lead vocals by Ringo. Paul later overdubbed his final bass part. On July 12, after more than a month of preparation, Ringo’s song was completed. He was surprised when he saw Jack Fallon in the studio playing violin. Fallon was a former booking agent as well as a musician who had booked the Beatles during their first engagements in 1962 before the group signed with Parlophone. Ringo commented, “It was a very exciting time for me and everyone was really helpful, and recording that crazy violinist was a thrilling moment.”2 Paul added bass and Ringo added more piano. On July 22, Ringo recorded a piano introduction lasting forty-five seconds, which was edited down to eight seconds on October 11 during the mono and stereo mixes.
First Professional Engagement
Jack Fallon booked the Beatles on their first professional engagement under the direction of Brian Epstein on March 31, 1962, in Stroud, located near Gloucester in the South of England.
Why Don’t We Do It In The Road ?
Lennon-McCartney / 1:40
1968
SONGWRITER
Paul
MUSICIANS
Paul: vocal, bass, piano, acoustic and lead guitar, hand claps
Ringo: drums, hand claps
RECORDED
Abbey Road: October 9, 1968 (Studio One) / October 10, 1968 (Studio Three)
NUMBER OF TAKES: 6
MIXING
Abbey Road: October 16–17, 1968 (Rooms 41 and 42, Studios One, Two, and Three)
TECHNICAL TEAM
Producer: none
Sound Engineer: Ken Townsend
Genesis
How do songs come to singers? Sometimes, the simplest way. One day Paul was meditating alone on the roof of the Maharishi’s ashram in Rishikesh when he saw two monkeys copulating. Surprised by the rapidity and simplicity of this natural scenario, he realized that animals do not bother with formalities, as we humans do, and later he said, “‘Why Don’t We Do It In The Road?’ was a primitive statement to do with sex or to do with freedom really.”1
On October 9, 1968, the deadline to finalize the White Album was approaching, and the Beatles were under pressure. John and George were working on another song in a different studio while Paul and Ringo were free. Paul said, “It wasn’t a deliberate thing. John and George were tied up finishing something and me and Ringo were free, just hanging around, so I said to Ringo, ‘Let’s go and do this’”2 Paul took Ringo to an available studio to work on “Why Don’t We Do It in the Road?” John was unhappy that Paul recorded the song without him and never forgave him for that. “Still, I can’t speak for George, but I was always hurt when Paul would knock something off without involving us.”3 Paul in his defense argued that it was not deliberate, noting that John did the same thing with “Revolution 9.” John loved this song, probably because it looked like his creation. “It was more an idea into John’s style rather
than one of my ideas,” said Paul.
Production
Paul recorded the basic rhythm track on October 9, John’s twenty-eighth birthday. Paul and Ringo were in Studio One, joined by Ken Townsend in the control room using a four-track tape recorder. John and George were using the eight-track recorder. Although Ringo was at his side, Paul recorded the rhythm track in five takes. He played acoustic guitar and simultaneously taped his lead vocal. As an introduction, he hit the back of his guitar. His initial idea was alternating between gentle and strident vocals with each verse, which can be heard on Anthology 3. Finally, on the fifth take, he decided to add a more strident vocal. At the end of the session, he overdubbed a piano part. The following day, Ringo added drums. Paul recorded his second lead vocal, bass, and hand claps with Ringo. After a reduction mix, he overdubbed a guitar part, probably using his Epiphone Casino. “Why Don’t We Do It In The Road?” was finalized during the last mix sessions of the White Album on October 16 and 17.
I Will
Lennon-McCartney / 1:45
1968
SONGWRITER
Paul
MUSICIANS
Paul: vocal, acoustic guitar
John: percussion
Ringo: percussion
RECORDED
Abbey Road: September 16–17, 1968 (Studio Two)
NUMBER OF TAKES: 68
MIXING
Abbey Road: September 26, 1968 (Studio Two) / October 14, 1968 (Studio Two)
TECHNICAL TEAM
Producers: Chris Thomas, George Martin
Sound Engineer: Ken Scott
Assistant Engineers: Mike Sheady, John Smith
Genesis
Paul had “I Will” as a melody for years, but he did not have lyrics to go with it. At the release of the White Album, he said in an interview that during the Hamburg years the Beatles were not confined to rock ‘n’ roll. The audience often solicited rumbas or mambos, and they had to adapt to the audience, which explained the diversity of their live repertoire. Paul could easily alternate between hard rock such as “Helter Skelter” and gentle ballads such as “I Will.” One evening in Rishikesh, Paul and Donovan were together after a day of meditation, and Paul played “I Will” for Donovan. They tried to write some words. Paul recalled, “We kicked around a few lyrics, something about the moon, but they weren’t very satisfactory and I thought the melody was better than the words so I didn’t use them. I kept searching for better words and I wrote my own set in the end; very simple words, straight love-song words really. I think they’re quite effective. It’s still one of my favorite melodies that I’ve written.”1
Production
On September 16, the Beatles were all in the studio, except for George. The three of them recorded the basic rhythm track: Paul was on vocals and played his Martin D-28, Ringo played maracas and cymbals, and John was beating some metal with a piece of wood. Specific percussion instruments are difficult to make out, but probably there are woodbocks and bongos. It took sixty-seven takes to get the right rhythm track because Paul was uncertain about the final lyrics. The song was recorded with a number of ad-libs as the session progressed. During the session, he improvised a song called “Can You Take Me Back,” an excerpt of which was placed after “Cry Baby Cry” on the final album, and an impromptu version of Cilla Black’s 1968 hit single “Step Inside Love.” Finally, take 65 was considered the best version and was transferred to the new eight-track tape recorder. The next day, “I Will” was complete with overdubs, all performed by Paul, with vocals, and with an amazing bass line, which he sang by imitating the sound of the bass (on the right channel in stereo). Finally, he added a second acoustic guitar. The mono mix was done on September 26, and the stereo on October 14.
Julia
Lennon-McCartney / 2:53
1968
SONGWRITER
John
MUSICIAN
John: vocal, acoustic guitar
RECORDED
Abbey Road: October 13, 1968 (Studio Two)
NUMBER OF TAKES: 3
MIXING
Abbey Road: October 13, 1968 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Ken Scott
Assistant Engineers: John Smith
Genesis
This beautiful ballad by John was written in India and was without a doubt a response to Paul’s “Blackbird.” John used a style of finger-picking that Donovan had taught him in Rishikesh, and composed “Julia” and “Dear Prudence” immediately afterwards. Julia was written for his mother, whose death, when he was a teenager, significantly affected him. In the 1980 interview, he said, “I lost her twice. When I was 5 and I moved to my auntie, and when she physically died” when I was seventeen. “She was killed by an off-duty cop who was drunk,” Julia remained very present in his life as in his art, inspiring many songs: “Julia,” “Mother,” and “My Mummy’s Dead” (the last two released on his first solo album John Lennon / Plastic Ono Band), and he named his first son, Julian, in memory of his mother Julia. John explained that “Julia” was also a tribute to Yoko, whose name in English means “Ocean child.” “It was sort of a combination of Yoko and my mother blended into one.”1 With “Julia,” John demonstrated that he knew how to navigate between gentle ballads and rock songs as well as Paul did.
The Thirty-Second Song
“Julia” was the thirty-second song and final song recorded for the Beatles’ White Album. Two songs completed during the sessions were not included in the album, “Not Guilty” by George and “What’s the New Mary Jane” by John.
Production
On Sunday, October 13, John was by himself in the studio to record “Julia,” while Paul was observing and supporting him from the control room (see Anthology 3). In just three takes, the rhythm track was recorded. John had perfectly mastered the finger-picking technique and recorded a brilliant guitar part. He then recorded his soulful vocal twice, “the two vocal recordings allowing for an effective word overlap on the word Julia itself.”2 He also double-tracked an acoustic guitar part, and the song was immediately mixed for both mono and stereo. The song foreshadowed his remarkable solo album, released on December 11, 1970, after the dissolution of the group.
FOR BEATLES FANATICS
There is no other solo song by John in the Beatles’ discography.
Birthday
Lennon-McCartney / 2:42
1968
SONGWRITERS
Paul and John
MUSICIANS
Paul: vocal, bass (?), piano, lead guitar (?)
John: vocal, lead guitar
George: lead guitar, bass (?), backing vocal, tambourine
Ringo: drums, hand claps
Mal Evans: hand claps
Pattie Boyd, Yoko Ono: backing vocal
RECORDED
Abbey Road: September 18, 1968 (Studio Two)
NUMBER OF TAKES: 22
MIXING
Abbey Road: September 18, 1968 (Studio Two) / October 14, 1968 (Studio Two)
TECHNICAL TEAM
Producers: Chris Thomas, George Martin
Sound Engineer: Ken Scott
Assistant Engineers: Mike Sheady, John Smith
Genesis
Chris Thomas, who replaced George Martin during his absence, mentioned to the Beatles that the film The Girl Can’t Help It, whose cast features Little Richard, Gene Vincent, Eddie Cochran, Fats Domino, and others, was being shown for the first time on the BBC on September 18 at 9 P.M. The musicians had scheduled a recording session at 5 P.M. in order to watch the rock ‘n’ roll film at Paul’s house on Cavendish Avenue close to Abbey Road.
On that day, Paul arrived earlier at the studio and played a piano riff. All together, they decided to write a song around that riff. They chose a twelve-bar blues pattern and built it sequence by sequence with no idea what the song was going to be. In 1968, Paul explained in an interview, “We just said, ‘Okay. Twelve bars in A, and we’ll change to D,
and I’m gonna do a few beats in C.’ And we really just did it like that … random thing.” After watching the film at Paul’s house, they returned to the studio and wrote some words to go with the music. “‘Birthday’ was just made up on the same evening.” Paul said, “So that is 50-50 John and me.… I don’t recall it being anybody’s birthday in particular but it might have been, but the other reason for doing it is that, if you have a song that refers to Christmas or a birthday, it adds to the life of the song, if it’s a good song, because people will pull it out on birthday shows, so I think there was a little bit of that at the back of our minds.”1 According to John, “‘Birthday’ was written in the studio. Just made up on the spot. I think Paul wanted to write a song like ‘Happy Birthday Baby,’ the old fifties hit. But it was sort of made up in the studio. It was a piece of garbage.”2
FOR BEATLES FANATICS
When Paul sings dance at 2:08, we can hear the end of a previous take in the background. The result is dance … aaannnce!
Production
The Beatles were in the studio on September 18 at 5 o’clock. They recorded the rhythm track of “Birthday” in twenty takes on a four-track recorder. Although there is no record of the precise instrumental distribution, it is likely that Paul was on bass, John and George were on guitar, and Ringo was on drums. For a long time, it was suggested that George played bass; however, there is no tangible evidence of that. Back from their film break, they transferred their work to the new eight-track recorder. George added tambourine and wore a pair of gloves to protect against blisters! Ringo joined him and double-tracked his snare drum simultaneously. Paul and John recorded their lead vocals, predominantly Paul’s—one of his finest vocal performances, backed by George in certain passages—while Mal Evans and Ringo hand clapped. Vocals and hand claps were overdubbed and were highly treated with ADT during the mix. Finally, for the first time, Pattie Boyd and Yoko Ono contributed to the backing vocals, singing Birthday! with little high-pitched voices. Paul finished the recordings by adding a piano part with sound picked up by a Vox amp. According to Kevin Ryan and Brian Kehew,3 Ken Scott turned the knob of midrange frequencies to simulate a wah-wah pedal, which was especially audible at the end of the piece. The mono mix was done the same day, and the stereo mix on October 14.