Golden Slumbers
Lennon-McCartney / 1:32
1969
SONGWRITER
Paul
MUSICIANS
Paul: vocal, piano, rhythm guitar, backing vocal, timpani (?)
George: bass, lead guitar, backing vocal
Ringo: drums, timpani (?), percussion, backing vocal
Orchestra: 12 violins, 4 violas, 4 cellos, 1 double bass, 4 French horns, 3 trumpets, 1 trombone, 1 bass trombone
RECORDED
Abbey Road: July 2–4, 1969 (Studio Two) / July 30, 1969 (Studio Three) / July 31, 1969 (Studio Two) / August 15, 1969 (Studios One and Two)
NUMBER OF TAKES: 17
MIXING
Abbey Road: July 3, 1969 (Studio Two) / July 30, 1969 (Studio Three) / August 18–19, 1969 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineers: Phil McDonald, Geoff Emerick
Assistant Engineers: Chris Blair, John Kurlander, Alan Parsons
Genesis
Ruth McCartney, née Williams in 1960, is Paul’s half-sister. Paul’s father, Jim McCartney, adopted her after his marriage to Angela Williams on November 24, 1964. While Paul was at Rembrandt, his father’s house in Liverpool, he found a very old lullaby from 1603 in Ruth’s piano book. It was an extract from The Pleasant Comedy of Pleasant Grissil, adapted by Henry Chettle, William Haughton, and Thomas Dekker, the latter the author of the text. Seduced by the words, but unable to read the music, Paul moved to the piano and composed his own melody. He said to David Wigg, “I was just flicking through my sister Ruth’s piano book, she was learning the piano and I came to Golden Slumbers, you know. So I just started … ’cuz I can’t read music so I didn’t know the tune, and I can’t remember the old tune, you know.… So I started just playing my tune to it. And then I liked the words so I just kept that, you know.”1 Although he was inspired by Dekker’s lullaby, Paul only kept four lines to which he made some changes: Golden Slumbers kiss your eyes / Smiles awake you when you rise / Sleep, pretty wanton, do not cry / and I will sing a lullaby (Dekker).
Production
“Golden Slumbers” was designed from the beginning to be connected to “Carry That Weight.” Paul played both songs joined together during rehearsals for Get Back, even before thinking of the medley. It then became the third of his compositions to be recorded for the medley after “You Never Give Me Your Money” and “Her Majesty.” At the first recording session on July 2, everyone wondered how John, still recovering from his car accident, would react to the medley. Although, according to Geoff Emerick, “there seemed to be an assumption that he would go along with it, and that this time around, in contrast to the White Album, he wouldn’t be calling all the shots.”2 The Beatles, without John, recorded the basic rhythm track of “Golden Slumbers,” the working title of “Golden Slumbers/Carry That Weight.” Fifteen takes were recorded, Paul at the piano and guide vocal, George on his Fender bass six-string, and Ringo on drums. In the bonus Anthology DVD, George Martin pointed out to George Harrison that he probably played bass. Bass and piano were recorded together on the same track. Since Paul was at the piano, George was probably on bass. George Harrison did not remember, “OK? It might be me then, or John.” But John was still recovering, so no doubt George played bass.
The following day, takes 13 and 15 were edited together. Overdubs were made on the edit take. Paul rerecorded two new vocals and added a rhythm guitar, and George played a guitar solo. Later on during the session, Paul, George, and Ringo were chanting in unison the chorus carry that weight. A reduction was made and new overdubs were recorded the following day. On July 30, Paul retaped another lead vocal, but the final is dated July 3. Paul said to Barry Miles, “I remember trying to get a very strong vocal on it, because it was such a gentle theme, so I worked on the strength of the vocal on it, and ended up quite pleased with it.”3 The session was also devoted to joining together all the songs for the medley. “Golden Slumbers/Carry That Weight” passed the test. On August 4, Ringo overdubbed drums and timpani, along with Paul. We do not know exactly who played which part. On August 15, George Martin’s orchestral arrangements were recorded. For economic reasons, all the Abbey Road orchestral overdubs were recorded the last day of the recording sessions in one go for “Golden Slumbers/Carry That Weight,” “Something,” “Here Comes the Sun,” and “The End.” On August 18, the final mix was made. The following day the transition to “The End” was made, finishing the album.
Technical Details
“Golden Slumbers” was one of the few songs on the Abbey Road album treated with ADT to enhance the orchestral sound recorded in mono on the eighth track. The orchestra is slightly off on one side of the stereo mix, while the ADT signal was installed on the opposite side.
Carry That Weight
Lennon-McCartney / 1:36
1969
SONGWRITER
Paul
MUSICIANS
Paul: vocal, piano, rhythm guitar, backing vocals, timpani (?)
George: bass, lead guitar, backing vocal
Ringo: drums, percussion, backing vocal, timpani (?)
John: backing vocal
Orchestra: 12 violins, 4 violas, 4 cellos, 1 double bass, 4 French horns, 3 trumpets, 1 trombone, 1 bass trombone
RECORDED
Abbey Road: July 2–4, 1969 (Studio Two) / July 30, 1969 (Studio Three) / July 31, 1969 (Studio Two) / August 15, 1969 (Studios One and Two)
NUMBER OF TAKES: 17
MIXING
Abbey Road: July 3, 1969 (Studio Two) / July 30, 1969 (Studio Three) / August 18–19, 1969 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineers: Phil McDonald, Geoff Emerick
Assistant Engineers: Chris Blair, John Kurlander, Alan Parsons
Genesis
“Carry That Weight” was another song about the financial difficulties the Beatles had at the time. Paul later said to Barry Miles, “I’m generally quite upbeat but at certain times things get to me so much that I just can’t be upbeat any more and that was one of the times.”1 Drug problems, LSD, Klein, Apple—they all influenced “Carry That Weight.” The atmosphere was tense. Friends, technicians, staff from Apple—all felt the tension. Paul: “It was heavy. ‘Heavy’ was a very operative word at that time. That’s what ‘Carry That Weight’ was about.… In this heaviness there was no place to be. It was serious, paranoid heaviness and it was just very uncomfortable.”2 In 1980, in the interview with David Sheff, John merely commented, “I think he was under strain at that period.”3
Production
“Carry That Weight” was a combination of three pieces: first, the chorus, Boy, you’re gonna carry that weight, which is the only new McCartney composition; then a reprise of “You Never Give Me Your Money” (with new lyrics); and finally the ending repeats of the arpeggiated guitar motif derived from the One two three … all good children go to heaven section of “You Never Give Me Your Money.” John contributed to the recording session on July 30 with some backing vocals.
Technical Details
Ringo added and overdubbed the snare hits and bass drum hits. This is particularly obvious in Boy, you’re gonna carry that weight. The drum is on the left channel and overdubs are on the right channel. Furthermore, the Leslie speaker sound effect is very pronounced on George’s guitar during the final arpeggio (after 1:27).
FOR BEATLES FANATICS
In the last chorus, Boy, you’re gonna carry that weight (at about 1:18), it sounds as if someone sings Paul instead of Boy. A joke or our imagination?
The End
Lennon-McCartney / 2:19 (2:05 without the long pause preceding “Her Majesty”)
1969
SONGWRITER
Paul
MUSICIANS
Paul: vocal, bass, piano, guitar solo
John: backing vocal, guitar solo, rhythm guitar
George: backing vocal, guitar solo, rhythm guitar
Ringo: drums, percussion
Orchestra: 12 violins, 4 violas, 4 cellos, 1 double bass, 4 French horns, 3 trumpets, 1 trombone, 1 bass trombone
RECORDED
Abbey Road: July 23, 1969 (Studio Three) / August 5, 1969 (Studio Two) / August 7, 1969 (Studio Three) / August 8, 1969 (Studio Two) / August 15, 1969 (Studios One and Two) / August 18, 1969 (Studio Two)
NUMBER OF TAKES: 7
MIXING
Abbey Road: July 30, 1969 (Studio Two) / August 18–19 and 21, 1969 (Studio Two and Room 4)
TECHNICAL TEAM
Producer: George Martin
Sound Engineers: Geoff Emerick, Phil McDonald
Assistant Engineers: John Kurlander, Alan Parsons
Genesis
First titled “Ending,” this song has a particular importance because it was the last complete song on Abbey Road. Did the Beatles already know during the summer of 1969 that their extraordinary adventure was coming to an end? This one song, by itself, embodies three important aspects of the band’s career: first, it was the last track on their last album (excluding “Her Majesty,” which was just an afterthought—see “Her Majesty”); it contains the only extended drum solo in Ringo’s entire career; and, finally, it is the only time that Paul, George, and John together play a guitar solo. Ringo never wanted to play a drum solo, and to persuade him to do so was not an easy task. Paul recalled in an interview in 1988 that Ringo hated drum solos as much as the rest of the group: “When he joined the Beatles, we asked him, ‘And what do you think of drum solos?’ He replied, ‘I hate them!’ We shouted, ‘Great! We love you!’ So it was never done before the medley. I said, ‘Uh, what do you think of a little solo?’ He was upset and did not want to do it. But with a little persuasion and kindness he did.” Ringo said, “Solos have never interested me. That drum solo is still the only one I’ve done.… I was opposed to it: ‘I don’t want to do no bloody solo!’ George Martin convinced me.… Anyway, I did it, and it’s out of the way.”1
FOR BEATLES FANATICS
Ringo’s drum solo was inspired by the one Ron Bushy, drummer of the Iron Butterfly group, played on their great seventeen-minute hit, “In-A-Gadda-Da-Vida,” released in June 1968.
After this famous solo, Paul left quite a few measures to fill just as they had with the middle section of “A Day in the Life.” After long discussions, George suggested a guitar solo. According to Geoff Emerick, John half-jokingly told him, “Yes, but this time you should let me play it.”2 Everyone laughed, including John. He did not drop the case, and said mischievously, “Why don’t we all play the solo? We can take turns and trade licks.”3 Paul embraced the idea and immediately suggested that they play the solos live. John loved the idea; George was initially reluctant before finally agreeing. Paul announced that he wanted to begin the solo, since it was his song. John, who did not want to be the last to decide, said he wanted to do the end because he had a great idea for it. George, as usual, got the middle spot by default. Yoko who was in the control room next to John while they were having this discussion, wanted to join John in the studio. He told her, “Wait here, luv; I won’t be a minute.” This unique three-part solo was a private affair, and she was denied access to the studio. It was decided that each, in the order agreed, would play a two-bar solo. First Paul, then George, and finally John. To the astonishment of all, they recorded it in a single take. Paul and John played on their Epiphone Casinos and George on his Gibson Les Paul “Lucy.” Geoff Emerick was blown away by their performance and said: “For me, that session was undoubtedly the high point of the summer 1969, and listening to those guitar solos still never fails to bring a smile to my face.”4 About the lyrics, Paul explained: “I wanted it to end with a little meaningful couplet, so, I followed the Bard and wrote a couplet.”5 And in the end / The love you take / Is equal to the love you make. These inspired words were the last verses sung by the Beatles on the last song of their last album. Whether premonition or not, this song is called “The End.” John willingly recognized the value of Paul’s couplet, saying, “Very cosmic philosophical line,” before adding, “Which again proves that if he wants to, he can think.”6
George’s Cookie
While they were working on “The End,” the famous dispute between George and John took place. Yoko had just gotten out of bed and was slowly padding across the studio floor. She began opening a package of cookies that belonged to George and delicately removed one. Just as it reached her mouth, George could contain himself no longer and yelled, “That Bitch!!!” from the control room window.
Production
The production for “The End” was very difficult. After a period of rehearsal, the Beatles started recording the basic rhythm track on July 23 with John and George on guitar, Paul on bass, and Ringo on drums. Seven takes were necessary and for each one Ringo played a solo in a different style. The last attempt, take 7, was the best and 1:20 in length. Paul added piano and the group recorded the final part. After editing on the same day, the song was 2:05 in length. On July 30, they put all the songs together to mold the album medley. “The End” passed the test, even if the song was unfinished and required vocals. Paul double-tracked the song’s first vocal, backed by John and George on backing vocals on August 5. On August 7, they overdubbed the choruses—the love you’s—over the instrumental part just after Ringo’s drum solo. Apparently, some of these choruses were recorded at slow speed to acquire a higher pitch at normal speed. Then they recorded dual guitars. Originally, the long guitar solo started just after Ringo’s solo. It was shortened for the final version to leave only the drum solo without any accompaniment. The following day, Paul added bass and Ringo added drums. On August 15, George Martin conducted the orchestra in Studio One for his orchestral arrangements (see also “Golden Slumbers,” “Carry That Weight,” “Something,” and “Here Comes the Sun”).
On August 18, the session was devoted to stereo mixes, and Paul overdubbed a very brief piano track preceding his wonderfully philosophical line And in the end / The love you take / Is equal to the love you make. New mixes were done on August 19 and 21. However, Phil McDonald had to re-edit in Room 4 the orchestral part of the previous day because of some numbering confusions between orchestra and playback, including the final chord. The final mix was still not done. In the control room, they decided to extend the instrumental part immediately following Ringo’s solo so that the whole piece would be lighter. To that effect, McDonald and Emerick remixed a number of bars without guitar chorus and inserted the result at the desired location. These lengthy instrumental and vocal parts increased the length form 2:05 to 2:41. Four days later, on August 25, the team re-edited the song and brought it back down again to 2:05. The song was then completed and inserted into the finished master.
Technical Details
“The End” is the only Beatles song where Ringo’s drums were recorded in stereo. Even when Glyn Johns used two tracks on Get Back, one track was reserved for the bass drum and the second track for other elements. Geoff Emerick recorded “The End” using two stereo tracks only. Another technical detail about Ringo’s drum sound, “just a personal thing of mine,” as he himself said: “The drum sound on the record was the result of having new calf-heads. (And we know that Paul refused to use any animal products!) There’s a lot of tom-tom work on that record. I got the new heads on the drum and I naturally used them a lot—they were so great. The magic of real records is that they showed tom-toms were so good.”7
Her Majesty
Lennon-McCartney / 0:23
1969
SONGWRITER
Paul
MUSICIAN
Paul: vocal, guitar
RECORDED
Abbey Road: July 2, 1969 (Studio Two)
NUMBER OF TAKES: 3
MIXING
Abbey Road: July 2 and 30, 1969 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Phil McDonald
Assistant Engineer:
Chris Blair
Genesis
The 0:23 “Her Majesty” has the dual distinction of being the shortest Beatles song and the dubious honor of being the last song on the last record, even though its placement was not intentional. In fact, the song was originally placed between “Mean Mr. Mustard” and “Polythene Pam.” The sequence of songs was as follows: “You Never Give Me Your Money,” “Sun King / Mean Mr. Mustard,” “Her Majesty,” “Polythene Pam / She Came In Through the Bathroom Window,” “Golden Slumbers / Carry That Weight,” and “The End.” But on July 30, when the Beatles were together in the control room of Studio Two, to listen to how the songs fit together and detect any faults in the first version of “The Long One / Huge Melody” (the working title of the medley), Paul, on hearing “Her Majesty,” asked John Kurlander, assistant engineer, to eliminate the song. He cut it awkwardly, one beat too early, on the last crashing note of “Mean Mr. Mustard.” Kurlander tried to fix the mistake, when Paul stopped him: “Never mind, it’s only a rough mix, it doesn’t matter. ‘What shall I do with it?’ Throw it away.”1 But EMI had strict rules about never throwing anything away. After Paul left, Kurlander, following normal studio practice, picked it up off the floor, put about twenty seconds of red leader tape before it, and stuck it onto the end of the edit tape. Red leader tape was used to mark the end of a song. The following day, at the request of the group, his colleague Malcolm Davis made an acetate of the medley, but ignored the warning left by Kurlander on the box that “Her Majesty” was unwanted. Respecting the rule to never throw anything away, he included “Her Majesty” at the end after twenty seconds of silence. When Paul listened to the acetate, he liked hearing “Her Majesty” in its new position. It came as a nice surprise, and he decided to keep the song as a “hidden bonus” with the same twenty-second silence preceding it and the decaying chord with which it opens, which was actually the original final chord of “Mean Mr. Mustard.” The long silence varies in length depending on the CD version.
All the Songs Page 46
