Follow by Email

Friday, July 28, 2017

The End

This one song managed to not only tie up the long medley on side two of the album Abbey Road, it also neatly tied up the group's career in little more than two minutes.  Whether composer McCartney and the other Beatles actually had that in mind at the time is doubtful, but there is no question that the song serves perfectly in that capacity.

Golden Slumbers/Carry That Weight had already been recorded and had deliberately been left open-ended.  Now, on July 23rd, 1969, John counted the band in to provide the link to those previous tunes and bring the medley to a satisfying conclusion.  Seven takes were required before they got the basic track just right, especially Ringo's brief drum solo.  The drummer hated such solo displays, which were becoming all the rage at the time, so the others eased his mind by continuing to play bits on guitar and tambourine which would later be eliminated from the master.  These were not erased, however, and Anthology 3 allows us to hear how it all sounded in the studio on that day.

They did not return to the track until August 5th, with vocals being added for the first time.  Two days later, on August 7th, Paul, George and John strapped on their guitars and recorded the famous guitar duel in one incredible take according to engineer Geoff Emerick in his book Here, There and Everywhere.  Emerick even claims that during this final moment of brotherhood, Yoko was not even by John's side, as was usually the case.
Once everybody got used to Yoko's bed in the studio, it was apparently not off-limits to Linda, Mal and others.
Overdubs of bass and more drums were recorded on August 8th.  A 30-piece orchestra was then assembled on August 15th for overdubs onto the last three songs of the medley.  Producer George Martin, always up to the task, scored a majestic swelling crescendo for The End.  One last touch was added on the 18th when Paul played a short burst on piano to connect the guitar duel section to the rhyming couplet.

Ah, that couplet...  While Martin had encouraged McCartney to "think symphonically" when constructing the medley, at the time that he was composing this particular number, Paul was also in a Shakespearean frame of mind.  And, though his couplet is not strictly Shakespearean (each line has only eight syllables instead of the ten of iambic pentameter), Paul manages to sum up all that has come before just as the Bard did at the end of his plays.

Though several tracks for the album had to be completed over the next few days, The End was the last united effort by all four Beatles.  It contains all of the elements they had displayed over the years - they start out by playing together with their unique feel for one another, they each get to shine instrumentally for a moment, they then seamlessly incorporate their producer's complementary orchestration, and John, Paul and George give us one last taste of their innate ability to blend their voices in that distinctively beautiful three-part harmony.  Few artists in any medium have ever given the world a more fitting farewell.

Thursday, June 8, 2017

Eleanor Rigby

The headstone pictured above is in the graveyard at St. Peter's, Woolton, very close to the spot where Paul first saw John and his band the Quarry Men at the Woolton Fete in 1957.  Yet McCartney claims that he got the name from two other sources - Eleanor Bron, the band's co-star in the film Help! and a shop he saw in Bristol called Rigby & Evens Ltd.

The greater debate, however, concerns who contributed to the song and how large those contributions were.  Lennon claims that Paul only had the first verse and that he (John) wrote the rest.  Most others agree that in the course of a brainstorming session at John's house one evening Ringo came up with the "darning his socks" line and that John's old Liverpool school chum Pete Shotten suggested having Eleanor and Father MacKenzie's stories intertwine in the final verse, an idea which John immediately dismissed but which Paul eventually embraced.

Once again, all arguments aside, the results are what matter, and Eleanor Rigby stands out as one of the finest accomplishments in the entire Beatles catalog.  The storytelling device would be used often by McCartney as the years went by, but he rarely wove a tale so bleak as this striking commentary on loneliness and alienation.

Paul met with producer George Martin early on during the sessions for the album Revolver to play the composition for him and to discuss how he wanted it to be arranged.  Martin's score was prepared by April 28th, 1966 as they met at Abbey Road Studios with the eight musicians who would perform the arrangement.  These musicians were horrified as engineer Geoff Emerick placed the microphones much closer to the strings of their instruments than was normal in order to capture their sound as never before.

On the following day, Paul taped his lead vocal and John and George their brief backing vocals.  The track was then considered to be complete until Paul decided to add a second vocal line of himself singing "Ah, look at all the lonely people" during the final chorus.  This addition was recorded on June 6th.

The song was not intended to be a single, but manager Brian Epstein wanted a single to accompany the release of the album Revolver, so the number was chosen along with Yellow Submarine to appear simultaneously in both formats.  The double-A sided single went to number one in the UK, but this song only reached number eleven in the US while the flip side climbed to the number two spot.

The two songs were forever linked together when the animated film Yellow Submarine used Eleanor Rigby to great effect in a sequence depicting life in an English seaport city.  While the song did not appear on the original Yellow Submarine album in 1969, it was remixed and remastered for the 1999 Yellow Submarine Songtrack.  Between those two releases, Anthology 2 in 1996 treated us to a strings-only version, allowing us to truly appreciate the brilliance of George Martin's score as well as Geoff Emerick's engineering genius.

Thursday, June 1, 2017

Eight Days A Week

Where did McCartney first hear the phrase?  From a chauffeur driving him over to John's house for a writing session?  Was it another Ringo-ism?  According to at least one source, the phrase appears in the American film For Those Who Think Young released in June of 1964.  Regardless of where he got them, the words "eight days a week" inspired Paul to come up with the best pure pop number on the album Beatles For Sale.

Paul wasn't aiming for an album track, though; he was thinking of the song as the group's next single.  The sessions for the album-in-progress had yielded two strong contenders from Lennon so far - No Reply and I'm A Loser - but these weren't really the stuff of singles from the Beatles in the latter half of '64, especially on the heels of the buoyant songs from A Hard Day's Night earlier in the year.  Eight Days A Week would fit the bill perfectly.

But first, there was the little matter of writing and recording the song.  The session on October 6th, 1964 was entirely devoted to the number, in part because Paul and John did not have the arrangement completely worked out in advance, particularly the introduction.  Anthology 1 gives us a few variations of the intro including cascading "ooh"s by Paul and John, and a long, single "ooh" before we hear the full take five.  This, too, has variations such as the way they sing the title line and some aggressive drum fills by Ringo.

Take six began with the instrumental introduction we all know (though played at full volume, of course) and had the boys settling on the way they wanted to sing the title line.  After a brief break, multiple takes of overdubs began, the most notable being the handclaps and John's double-tracked vocal line, which is curious since the composition is primarily by McCartney.

They were still uncertain about the introduction as well as the ending of the song, which at this point was quite abrupt.  At the start of a session on October 18th, Paul, John and George tried another take of "ooh"s as a new intro, but it was deemed insufficient.  In his book Here, There and Everywhere, Geoff Emerick credits his predecessor as engineer Norman Smith coming up with the idea of simply fading up the intro as it presently stood.  The band then approximated that introduction for a more rousing conclusion to the song.  Later in this same session, a new Lennon song called I Feel Fine was recorded and chosen to be the next single, so Eight Days A Week suddenly wound up as an album track.

Capitol Records knew a single when it heard one, however, so the American label kept the song off of the album Beatles '65 (the US equivalent to Beatles For Sale) and held onto it for a few months, releasing it in February of '65 where it promptly became a number one hit.

Lennon was always dismissive of the song, despite his part in helping McCartney write it and the fact that his voice is the dominant one in the final mix.  His opinion probably kept the number from making it into the group's live act.  The one and only time that they promoted the song was on an appearance on the TV show Thank Your Lucky Stars taped on March 28th, 1965.  They merely mimed their performance to the record and, as you can see in the photo at the top of this post, didn't even bother to plug in their guitars.

Friday, May 26, 2017

Drive My Car

In his 1988 book Tell Me Why, Tim Riley writes: "Drive My Car has the smooth bravado of a Jack Nicholson performance, grinning on the surface with wheels spinning like mad underneath."  I have used the first half of this quote before in my 2011 look at side one of Rubber Soul.  I repeat it here because it remains for me one of the most accurate and concise descriptions of any song in the entire Beatles catalog.

The smoothness of this track is due in great part to the slick line played in tandem by George on guitar and Paul on bass.  George had been listening to Donald "Duck" Dunn's bass line on the Otis Redding version of Respect and suggested a slight variation on it for Paul's consideration.  The two of them worked it out and, with Ringo on drums, attempted four takes - only the final one was complete.

Overdubs then began with John and Paul sharing the lead vocal and Ringo on tambourine and cowbell.  Paul also added a subtly dragging piano part on each chorus and played slide guitar for the solo.  The final touch had John, Paul and George providing the "beep beep"s.  All of this was accomplished on October 13th, 1965, which was only the second day of sessions for the new album.

McCartney had begun writing the tune when he arrived at Lennon's house some days before the band was scheduled to begin recordings.  He had some basic lyrics along the lines of "I can give you diamond rings," which Lennon rejected.  Once they replaced that with the line "baby, you can drive my car," they had the breakthrough they needed to tell a witty tale of unrequited love and the longing for fame and fortune.

The song was chosen to open the UK version of Rubber Soul, but Capitol Records kept it off of the American version.  Six months later, it finally did open an album in the US - the compilation "Yesterday"...and Today. 

Friday, May 19, 2017

Don't Pass Me By

The first solo composition credited to Richard Starkey has a surprisingly long history.  Ringo had at least the basis for Don't Pass Me By when he joined the Beatles, and he reportedly played it for his new bandmates soon thereafter.  When asked if he was interested in songwriting during a radio interview in New Zealand on the group's first world tour in 1964, Ringo had John and Paul sing the chorus.  Yet they never seriously considered recording it until sessions began for the double album The Beatles in 1968.

In his book Here, There and Everywhere, engineer Geoff Emerick recalls that he and producer George Martin were taken aback on June 5th when work began on the number.  Ringo's songs were typically last-minute efforts as an album neared completion, but this was just a few days into the new sessions with only Lennon's Revolution 1 in progress at the time.  The only other member of the band to appear on the recording is Paul, who played a piano miked through an amplifier and a Leslie speaker thus making it sound like an organ.

Ringo and Paul made a mere three attempts at the basic track before the composer was satisfied, even though each of them lost count of the measures and made mistakes every time.  Ringo overdubbed a sleigh bell and Paul a second piano part before Ringo sang his lead vocal.  Unhappy with the attempt, it was erased and Paul added two bass lines instead.  The following day, these bass parts were wiped and Ringo sang and double-tracked a new lead vocal.  Paul then overdubbed a new bass line to complete the day's work.

They did not return to the track until July 12th, at which time a session musician was brought in to provide the distinctive country and western touch that the song required.  The arrival of fiddler Jack Fallon was quite a surprise; the Beatles recognized him as an agent who had booked them for one of their earliest appearances in the south of England on March 31st, 1962.  The irony, of course, is that Pete Best was still the group's drummer on that occasion, yet Fallon was now present to work on Ringo's song.  After his contribution was recorded, Paul overdubbed more bass and Ringo even played a little piano.

The final addition to the track occurred ten days later, on July 22nd, when Paul played an introductory piece for the number.  Once again, the piano was miked as on June 5th so that it would match up with the sound on the rest of the track.  Only eight seconds of his playing were chosen to be tacked onto the front of the song.*

Don't Pass Me By can be heard in several various ways.  The "White Album" was the last to be given a full mono mix, and it is significantly different from the stereo.  The mono is slightly faster, thus making Ringo's voice sound rather high, and Jack Fallon's fiddling at the end of the track is entirely different from what is heard on the stereo mix.  As the mono album was not released in the US in 1968, this version was included on the American album Rarities in 1980.  And the basic track from June 5th is available on Anthology 3 with Ringo's vocal from June 6th (featuring a spoken section edited out of the master), though the song fades out early just before the break in the full recording.

* Also on July 22nd, an orchestra recorded George Martin's arrangement for Ringo's other vocal spotlight on the album, the Lennon composition Good Night.  Furthermore, they supposedly recorded an alternate introduction for Don't Pass Me By scored by Martin, though this is clearly heard in the film Yellow Submarine just before the Eleanor Rigby sequence.  Given the title A Beginning, this piece is used to open the compilation Anthology 3.  

Tuesday, May 16, 2017

Don't Let Me Down

Lennon's first great song of love for Yoko Ono was also easily his best new composition for the Get Back/Let It Be project.  It was rehearsed by the band in the beginning of January 1969 at the Twickenham Film Studios sessions.  The Fly on the Wall disc from the 2003 release Let It Be - Naked reveals that the chords of Lennon's Abbey Road song Sun King and the chorus of Don't Let Me Down are one and the same.  Another snippet on the disc lets us hear John and Paul structuring the song during these early sessions.

After a hiatus due to George's temporary walkout, the group reconvened on January 22nd at their new studio in the basement of Apple headquarters on Savile Row, where George recruited old friend Billy Preston to join in the proceedings.  No further proof of Preston's consummate skill is needed than to listen to the take of Don't Let Me Down that Glyn Johns selected for the unreleased Get Back LP.  This take is from Billy's first day sitting in with the Beatles and his part is already mostly in place.  The only exception is his brief solo after John's call of, "Hit it, Bill," that allows the keyboard player to ad lib his way through to the end of the number.

The take that became the B-side of the single Get Back was recorded on January 28th.  On every other version of the song that I have ever heard, George joins in the chorus, but he either did not sing on this occasion or his voice was somehow lost in the mix.

Phil Spector's decision to omit the song from the 1970 album Let It Be was remedied in 2003 on Let It Be - Naked, which presents an edit of the two rooftop performances of the number from January 30th, 1969.  The tempo here is a little quicker than on the familiar B-side and, though John continues his usual practice of changing lyrics as he goes, the playing by those around him is rock solid.  The film Let It Be includes the first of these two performances, with a group of men on the adjoining rooftop (and one fellow in a blue sweater in particular) making constant comments on the proceedings.

Tuesday, May 9, 2017

Don't Bother Me

The Beatles had already recorded two songs featuring George Harrison as lead vocalist for their second album With the Beatles when the young guitarist offered his first solo composition to the group.  Harrison had previously received co-credit with McCartney for the 1958 recording In Spite of All the Danger by the Quarry Men and shared billing with Lennon for the instrumental Cry for a Shadow, recorded in Hamburg.  Lennon and McCartney were now at their early peak as a songwriting team so it must have been quite daunting for the junior member of the band to step forward at this moment.

He reportedly wrote the song while sick in bed during the group's week-long engagement at Bournemouth in August of 1963.  Bill Harry of Liverpool's Mersey Beat paper had been urging George to try his hand at songwriting and so, worn down by Harry's insistence and with time on his hands, he came up with Don't Bother Me.  Now, he simply had to convince producer George Martin, manager Brian Epstein and music publisher Dick James to allow him to record his maiden composition with the greatest act in British show business history.

September 11th was the next recording date scheduled for the album-in-the-works.  The band recorded four Lennon-McCartney songs before turning its collective attention to Harrison's number late in the evening session.  According to Dave Rybaczewski's in-depth look at the song, John took up some time trying to play his rhythm guitar through a new toy called a fuzz box before Martin nixed the idea.  This immediately established the lack of focus that John would display toward George's compositions throughout the coming years.  Four takes of the backing track and three of overdubs yielded unsatisfactory results for the time being.

They returned to the number at the start of the evening session on the following day, September 12th.  Beginning with the round number of take ten, they tried a few different arrangements before hitting the right one on take thirteen (you can even hear George say "Too fast" during the intro on the record, but he obviously changed his mind upon hearing it).  Several takes of overdubs brought the total to take nineteen, but the best overdubs were from take fifteen.  These included George double-tracking his lead vocal, Paul on claves, John on tambourine and Ringo on a loose-skinned Arabian bongo (as detailed in Tony Barrow's liner notes for the album).

Young Mister Harrison had learned his new craft well enough to land his number on side one of With the Beatles among those of the hottest songwriting team working at the time.  A few months later, Capitol Records placed it prominently at the top of side two on the breakthrough American album Meet the Beatles.  Though the group never played it live, Don't Bother Me was chosen to be one of three songs used in the discotheque sequence in the film A Hard Day's Night.