9 March 2017
16 May 2017
Dark Overlord said
I wonder why they included Help ! here despite it being completely unaltered besides the fact that it’s now a 5.1 mix instead of a stereo mix. Also, what are these sounds from Carnival Of Light , I’d really like to hear them.
Right around at 3:14 there’s like some weird noises that I can’t identify and I have read somewhere that they used parts of Carnival Of Light for the album. I assume this was it really. I should have specify it.
11 November 2010
I'm Necko. I'm like Ringo except I wear necklaces.
I'm also ewe2 on weekends.
Most likely to post things that make you go hmm... 2015, 2016, 2017.
18 May 2015
9 March 2017
11 April 2019
2. Get Back
…to the mighty opening chord of A Hard Day’s Night : G11sus4.
The End drum solo.
Audience noise possibly from Hollywood Bowl concert, mixed with the A Day In The Life crescendo, which appears throughout.
The End guitar solo fragments.
Percussion from Sgt. Pepper ‘s Lonely Hearts Club Band (Reprise).
Vague Baby You’re A Rich Man beats (1:02-1:17)?
3. Glass Onion
“Oh” and “Hello, hello” from Hello, Goodbye .
Magical Mystery Tour trumpets (0:17-0:24).
Rhythm guitar from Things We Said Today .
Penny Lane trumpet (0:36-0:40).
“Ah” from Eleanor Rigby at the end (with heavy delay).
5. I Am The Walrus
No immediate reason, but this is the complete King Lear passage of which scattered fragments are heard:
Oswald: Slave, thou hast slain me. Villain, take my purse.
If ever thou wilt thrive, bury my body
And give the letters which you find’st about me
To Edmund, Earl of Gloucester. Seek him out
Upon the English party. O, untimely death!
Death! [He dies]
Edgar: I know thee well: a serviceable villain,
As duteous to the vices of thy mistress
As badness would desire.
Gloucester: What, is he dead?
Edgar: Sit you down, father. Rest you
6. I Want To Hold Your Hand
Hollywood Bowl audience noise — and introduction: “Here they are: The Beatles!” The drums in particular sound rough; some instrumentation could be taken from the actual Hollywood Bowl live performance.
7. Drive My Car /What You’re Doing /The Word
Drive My Car nicks Savoy Truffle ‘s horn section. Its own piano riff, “beep beep yeah”, and drums reoccur at certain points throughout the whole track. Taxman ‘s rhythm chords added to Drive My Car . Plus Taxman ‘s solo. The “Ooooh” (0:42), lastly, is from Lucy In The Sky With Diamonds.
8. Gnik Nus
“Gnik nus eht semoc ereh”. Segues into:
10. Being For The Benefit of Mr. Kite!/I Want You (She’s So Heavy)/Helter Skelter
Laughter from unidentified Beatles session — or Piggies ?
Horse sounds from Good Morning, Good Morning.
Harmonium from Cry Baby Cry . (I have a bootleg recording of John doodling a song which is a mixture of Cry Baby Cry and Kite, on harmonium.)
Delayed, reverbed Helter Skelter vocals.
Ends, appropriately, with a mélange of circus/Kite noises and the nightmarish I Want You (She’s So Heavy). (Play this loud for great effect.)
11. Help !
12. Blackbird /Yesterday
13. Strawberry Fields Forever
Starts off with the original 1966 demo, then morphs into the first take, then gets its classic form. During the end section the following songs and fragments can be heard:
Sgt. Pepper ‘s Lonely Hearts Club Band (2:40)
In My Life baroque piano intermezzo (2:47)
Penny Lane piccolo trumpet (2:56)
Piggies harpsichord (3:06)
Hello, Goodbye bits and pieces throughout
The very last notes of the In My Life glissando here and there at the end.
15. Lucy in the Sky With Diamonds
Baby, You’re A Rich Man’s clavioline each time after the title is sung.
Sgt. Pepper ‘s Lonely Hearts Club Band: guitar, bass, drums, horns.
Bits of Tomorrow Never Knows ‘s famous “seagull” sound (actually McCartney’s distorted guitar) near the end. The “Aaah”: Dear Prudence? Sun King ?
Good Night orchestration.
16. Octopus’s Garden
Continued Good Night orchestration.
Yellow Submarine fragments and sound effects.
Lovely Rita drums, Polythene Pam drums.
Lennon saying (1:34): “Great. Call that fab. Help . Great. Great, that. Beautiful. Sensational. Great. Fab. Isn’t that great?”
Lady Madonna guitar bits at the end (2:35, 2:40, 2:45).
Segues into the relaxing mood of Sun King.
17. Lady Madonna
Starts off with Why Don’t We Do It In The Road? percussion.
Ob-La-Di, Ob-La-Da percussion too.
Hey Bulldog guitar (1:58).
I Want You organ (starting 1:58).
Guitar solo fragment from While My Guitar Gently Weeps.
Saxophone from early take.
19. Come Together /Dear Prudence /Cry Baby Cry
Spookily, an even clearer “Shoot me!” Having started out as a campaign song for Timothy Leary (“Come together, join the party!”), the song obviously reveals Lennon’s thoughts on idealistic political leaders (King, Kennedy, Gandhi): they might just as well say “shoot me” right away.
Eleanor Rigby orchestration over Can You Take Me Back? (That wasn’t a question, the song is actually called Can You Take Me Back? No, not a question either–it’s called Can You Take Me Back? Yes. Yes, it is.)
23. A Day In The Life
Intro from an earlier take.
24. Hey Jude
25. Sgt. Pepper ’s Lonely Hearts Club Band (Reprise)
Paul yelling “Jude, Jude, Jude” near the end (ca. 1:09). By the way, the original Hey Jude has a really funny, fast, weird “Goodeveningladiesandgentlemen” at 6:21.
Revolution ‘s opening bars (0:08), very low in the mix.
26. All You Need Is Love
Ticket To Ride guitar (2:48)
Baby, You’re A Rich Man (2:50)
I Want To Tell You (“I got time”) (3:00)
Sgt. Pepper ‘s Lonely Hearts Club (3:01)
Good Night orchestra leads to this poignant, strangely moving, when-we-were-lads bit:
“Alright, fade it there, champ! Take 7! Okay, put the red light on! This is Johnny Rhythm saying goodnight to you’s all and God bless you’s. (Jolly good, jolly good!)” Taken from their third Christmas disc.
Within You, Without You’s sitar.
Guitar from And I Love Her (0:54, 1:25, 1:55, etc).
Drums from Being For The Benefit Of Mr. Kite (1:00).
11 April 2019
1. BECAUSE (vocal track only)
a. Across The Universe (bird sounds from WWF version)
b. NEW (wood pigeon)
c. A Day In The Life (final chord – reversed: link)
d. I Am The Walrus (backing vocalists: link)
e. A Hard Day’s Night (opening chord: link)
f. The End (drum & guitar solos: link)
2. GET BACK
a. Shea Stadium (1965) crowd noise
b. Sgt Pepper (percussion)
c. A Day In The Life (orchestral swell)
d. Glass Onion (strings: link)
e. Hello Goodbye (vocals: link)
f. Come Together (“Shoot me”)
3. Glass Onion
a. Things We Said Today (guitar)
b. Hello Goodbye (“Hello Hello”)
c. Penny Lane (trumpet)
d. A Day In The Life (orchestra chaos)
e. I Am The Walrus (backing vocalists)
f. Strawberry Fields Forever (vocal bits)
g. Magical Mystery Tour (horns)
h. Only A Northern Song (sound effects)
4. Eleanor Rigby /Julia
a. Newly structured string intro with guitars from “Julia ”
b. Strawberry Fields Forever (bits)
c. A Day In The Life (strings and “Aaah”)
d. Fades into police siren and children crowd noise (Beatles stuff???)
5. I Am The Walrus
a. Count-in intro from John
b. Some supposedly unreleased material? (GH chuckle/GM count-in)
c. First half of song: mono; second half: stereo
6. I Want To Hold Your Hand
a. Live Hollywood Bowl version (intro & crowd sounds)
b. Live & studio versions mixed
7. DRIVE MY CARE/THE WORD/WHAT YOU’RE DOING
a. Drive My Car /The Word (drums heard together)
b. Savoy Truffle (sax over “Drive My Car ”)
c. Taxman (guitar solo)
d. Helter Skelter (backing vocals)
e. Lucy In The Sky With Diamonds (organ)
e. And Your Bird Can Sing (handclaps)
8. GNIK NUS
a. “Sun King ” played backwards
b. Within You Without You (Indian drone)
9. SOMETHING/Blue Jay Way
a. Guitars removed from front of “Something ”
b. Nowhere Man (vocal elements)
c. Sea shanty (??) heard over BJW instrumentation
10. MR KITE/I WANT YOU/HELTER SKELTER
a. Laughter/screaming from various Mr. Kite sessions
b. Cry Baby Cry (accordion)
c. Good Morning, Good Morning (horse sound effect)
d. Piggies (laughter)
e. HS vocal with heavy delay over IWY
f. Wind noises (link)
a. Longer “oooh” voice at outro
a. Girl (intro)
13. STRAWBERRY FIELDS FOREVER
a. Four versions combined: demo, Take 1, Take 7, master
b. Hey Bulldog (sample)
c. Sgt Pepper (orchestra horns)
d. Penny Lane (horns)
e. In My Life (piano solo)
f. I’m Only Sleeping (backwards guitar)
g. Piggies (harpsichord)
h. Baby You’re A Rich Man (bits)
i. Hello Goodbye (finale)
14. Within You Without You /Tomorrow Never Knows
a. Sea Of Time score (tamboura)
b. TNK drums play under WYWY
c. Old Brown Shoe (bass organ)
d. Strawberry Fields Forever (backwards cymbal)
e. Rain (backward lyric: “When the sun shines”)
f. Sea Of Monsters score (backward effects from ending)
15. LUCY IN THE SKY WITH DIAMONDS
a. Being For The Benefit Of Mr Kite (drum roll)
b. She’s Leaving Home (bits)
c. Baby You’re A Rich Man (bits)
d. Sgt Pepper (horns)
e. Tomorrow Never Knows (ending sound effect)
f. Your Mother Should Know (harmony vocal)
g. Magical Mystery Tour (harmony vocal from bridge)
16. Octopus’s Garden
a. Good Night (strings)
b. Yellow Submarine (sound effects/samples)
c. Lovely Rita (drums)
d. Polythene Pam (drum break in middle)
e. John vocal: “Oh, great, great that, beautiful, sensational” (from ???)
f. Helter Skelter (guitar riffs)
g. Fixing A Hole (brief bits)
h. Penny Lane (brief bits)
i. Sun King (fade: link)
j. Why Don’t We Do It In The Road (drums: link)
17. Lady Madonna
a. Why Don’t We Do It In The Road (drums)
b. Ob-La-Di Ob-La-Da (percussion)
c. I Want You (BP organ solo)
d. Hey Bulldog (percussion & guitar riff)
e. While My Guitar Gently Weeps (EC guitar solo)
f Don’t Let Me Down (“Hee hee”)
g. Ronnie Scott sax made more prominent
18. Here Comes The Sun /The Inner Light
a. Oh Darling (backing vocals)
b. Within You Without You (tabla)
c. I Want You (bass line)
19. COME TOGETHER/Dear Prudence /Cry Baby Cry
a. CT – more raw vocal track
b. Eleanor Rigby (strings)
c. A Day In The Life (orchestral climax)
d. Can You Take Me Back (Paul song snippet)
e. Let It Be (drum bits)
f. Revolution (drums: link)
a. Single version remix
b. Spoken sample at end (???)
21. Back In The USSR
a. Mix includes additional vocals not found on original
22. WHILE MY GUITAR GENTLY WEEPS
a. Take 1 demo (George & Paul)
b. NEW (string arrangement)
23. A Day In The Life
a. Includes Take 1 count-in (“Sugar plum fairy”), studio chatter, & alarm clock
b. Remix includes additional sound effects
24. Hey Jude
a. Magical Mystery Tour (vocals & percussion)
b. A capella section in middle
c. Reggae-flavored bass line at end (from unreleased HJ outtake)
d. Brass section from Hey Jude : link
25. SPLHCB (REPRISE)
a. Good Night (string finale)
b. Hey Jude (crowd sound/orchestra)
26. All You Need Is Love
a. Ticket To Ride (fade)
b. Baby You’re A Rich Man (fade)
c. Rain (fade)
d. Sgt Pepper (fade)
e. Good Night (strings)
f. Beatles Third  Christmas Record (“Johnny Rhythm sign-off”)
The following people thank kkkxxx for this post:Bongo, Rita Eleanor
26 August 2019
I have listened to the love album a lot of times and I did some research of the songs that was mixed in as well as listened to some songs deeply, So, I made a list of what’s in the love album:
Get Back :
A Hard Day’s Night (Opening Chord, Then Reversed)
The End (Drum Solo, Guitar Solos)
Crowd Sound effects from the Hollywood bowl album
A Day In The Life (Orchestra Swells)
Get Back (Shorten Version, Stereo/Mono, Extended Intro)
Sgt. Pepper ‘s Lonely Hearts Club Band (Reprise) (Percussion)
Glass Onion (Shorten Version)
Things We Said Today (Guitar)
Hello, Goodbye (Vocals)
All You Need Is Love (Violin)
Magical Mystery Tour (Brass)
Penny Lane (Brass)
Only A Northern Song (Sfx)
Stereo/Mono remix with Eleanor Rigby and Julia (With Rigby having a Extended Instrumental intro and outro and Julia with a Instrumental track)
Unknown “Aaaahhh” Vocals (Possibly the “Aaaahhh” Vocals from Lovely Rita just cut of at the middle then reversed and inversed)
Strawberry Fields Forever (Sfx)
Revolution 9 (Sfx)
A Day In The Life (Looped Orchestra)
Having the Stereo and Mono mixes combined and it transitions to a crowd screaming from the Hollywood Bowl album with a Person announcing: “HERE THEY ARE! THE BEATLES!!”
Shorten version with the Studio version combined with crowd screaming from The Hollywood Bowl Album.
Drive My Car (Stereo/Mono, First verse and second chorus mixed.)
Taxman (Guitar Solo)
Savoy Truffle (Saxophone)
Helter Skelter (Backing Vocals)
Lucy In The Sky With Diamonds (Keys)
What You’re Doing (Vocals and Drum Intro)
The Word (Vocals)
Something (Stereo/Mono, The Orchestra started early in Gnik Nus.)
Blue Jay Way (Stereo/Mono, Instrumental)
Nowhere Man (Vocals)
Carnival Of Light (Sfx)
Hey Bulldog (Sfx)
Being the Benefit of Mr. Kite! (Sfx)
Being for the Benefit of Mr. Kite!/I Want You (She’s So Heavy)/Helter Skelter :
Being the Benefit of Mr. Kite (Stereo/Mono, extended drum roll)
I Want You (She’s So Heavy) (Stereo/Mono Guitars, Drums, Organ(Possibly from the upcoming take from the Abbey Road sessions) and the white sound)
Helter Skelter (Vocals)
Cry Baby Cry (Harmonium and Sfx)
Good Morning, Good Morning (Sfx)
A Stereo/Mono mix without the fade out.
Strawberry Fields Forever (Its a Build up from a Demo then to take one, then to take 26 and Then to the Final version.)
Sgt. Pepper ‘s Lonely Hearts Club Band (Horns and Crowd)
Hello, Goodbye (Vocals)
Penny Lane (Brass)
Piggies (Harpsichord and Cello)
In My Life (Piano)
I’m Only Sleeping (Elements)
Hey Bulldog (Elements)
Within You Without You (Stereo/Mono mixes of the tambura drone and the dilruba and tabla)
Tomorrow Never Knows (Stereo/Mono of the Bass and Drums and Sfx and Percussion)
Rain (Backwards Vocals)
Lucy In The Sky With Diamonds (Slown down fade in, Transitioning to the next track)
Lucy In The Sky With Diamonds (Stereo/Mono with a Extended intro, Looped key outro)
Sgt. Pepper ‘s Lonely Hearts Club Band (Horns, Guitar, Drums and Bass)
Tomorrow Never Knows (Sfx)
Being for the Benefit of Mr. Kite! (Dums)
Baby, You’re a Rich Man (Clavioline)
Good Night (Instrumental Orchestra)
Good Night (Instrumental Orchestra)
Yellow Submarine (Sfx and backing vocals)
Stereo/Mono Remix of Octopus’s Garden (With a Slown down vocal intro)
Lovely Rita (Drums)
Helter Skelter (Guitar)
Sun King (Guitars, Percussion and Vocals)
Polythene Pam (Drums, Percussion)
Why Don’t We Do it in the Road? (Claps)
Why Don’t We Do It In the Road (Percussion and clap Intro)
Backing Vocals from a Lady Madonna take
Ob-La-Di Ob-La-Da (Piano)
I Want You (She’s So Heavy) (Organ)
Hey Bulldog (Guitar)
While My Guitar Gently Weeps (Guitar)
Ending bit from the Anthology version of Lady Madonna (Without the “LADY MADON-Naaaa” Part)
Lady Madonna (Stereo/Mono with a Verse cut out)
Within You Without You (Tambura Drone, Sitar and Tabla)
I Want You (She’s So Heavy) (Bass)
Stereo/Mono Mix of Here Comes The Sun (With the Middle Vocals at the beginning)
Oh! Darling (Vocals)
Parts from The Inner Light , Lower Pitched
Come Together (Stereo/Mono mix with the last hook being shorten)
Dear Prudence (Vocals, Guitars, Claps and Drums)
Can You Take Me Back (Extended intro)
A Day In The Life (Orchestra, Piano, Percussion)
Eleanor Rigby (Orchestra)
Revolution (Head Drum)
A Stereo/Mono mix with Outtakes with the Beatles cheering and without Plane SFX in the song except in the end as it fades out.
A Stereo/Mono mix of The Anthology version with a newly written Orchestra track.
The Stereo/Mono single mix with chatter from the Anthology version
Hey Jude :
Stereo/Mono of a Shorten Version. During the Ending Part, There’s a Part with the Instruments dropping, Leaving the Vocals, Drums, Tambourine there and when it continues, The Bass starts up again, and then the other tracks start playing again, then All tracks fade out, leaving the Orchestra to transition to the next track.
Sgt. Pepper ‘s Lonely Hearts Club Band (Reprise):
Having the orchestra from Hey Jude played in the intro, and then when the song ends, It has a a blast of a orchestra hit
All You Need Is Love (Stereo/Mono Mix)
Ticket To Ride (Guitar)
Sgt. Pepper ‘s Lonely Hearts Club Band (Vocals)
Baby, You’re a Rich Man (Vocals)
Let It Be (Elements)
Good Night (Instrumental orchestra)
Sfx from both The Beatles Third Christmas Record and Pantomime: Everywhere It’s Christmas
If you hear anymore songs in the mixes, Let me know! 🙂
The following people thank MichaelDiaz for this post:Rita Eleanor
17 December 2012
There is already a 7-page thread on this, @MichaelDiaz, Love – deconstructing the songs.
Not sure how much you are agreement with the examination of the various tracks there as I haven’t had the chance to compare and contrast.
Good work though. There is a good chance you may find a mod merging this with the existing thread as we don’t like to have too many threads on the same subject as it means the conversation is scattered.
If ever you want to check if there is an appropriate existing thread, you can ask here, and somebody’s bound to know.
"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
To @ Ron Nasty it's @ mja6758
The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
6 July 2014
Rigbys quartet said
At 2:50 on Kite/I Want You does anybody know where that 10-second organ insert comes from? It’s not on the original song and I can’t find it anywhere else. What a thrilling moment to come on top of everything else that has occurred in the song up until then!
In the show all hell (literally) breaks loose at the beginning of I Want You as Ku Klux Klan members advance and everyone plummets into a huge hole that opens up on center stage. Incredibly dramatic…and horrific, actually.
Well I found it, to answer my own question. Naturally it’s on the Trident session of IWY(SSH) on the Abbey Rd 50th. 4:32 to be exact.
Later in the year I’m going to put together a feature on Love, and I’d like to detail as many of the sources in each song as possible. I presume George ‘n’ Giles have never put together a definitive list – does anyone know of anything else out there?
I wrote the above back in March 2010. It’s over a decade later and I’ve finally written my Love album feature! “Later in the year” LOL
It’s over 8,000 words long and took me two days to write. I’ve tried my best to detail the elements in each song but it’s probably impossible to catch them all. Feel free to leave comments on the article if there are any I’ve missed though (ideally with timestamps so I can check).
This thread was hugely helpful. Thanks everyone.
This was also useful – the press release from 2006. I’ll copy it here so it’s archived.
Love Album Track By Track notes
by George and Giles Martin
“An inspired offering from John when we recorded it for the Abbey Road album. He had heard the opening of Beethoven’s “Moonlight Sonata” and then evolved a pattern of arpeggios on his guitar that laid the foundation for this song. Listening anew to this track, with the harmonies that only John, Paul and George could provide, one realises what great vocalists they were.”
“Dominic Champagne, the LOVE show director, had been listening to the Anthology albums and loved the a cappella version of “Because ” and asked whether it could be in the show. The vocals are recorded three times with John, Paul and George singing their respective parts at the same time. The sound of their voices around one microphone is magical.”
“This track kicks off with a driving rock sound. Great drums, great guitars,…. a great band!”
“I can’t listen to “Get Back ” without mentally picturing the band performing the song on the roof of the Apple offices in London’s Savile Row. It made sense to open the show with this song and the drum solo from “The End ” works really well as an intro.”
“One of John’s off-the-wall efforts, he even recorded a mixture of sounds like a window being smashed, a telephone bell and a BBC broadcast effect, all of which were left unused (at the time). Instead I wrote a string arrangement to give the song more colour. A song not often heard, but one of my favourite strange tracks.”
“ “Glass Onion ” has such a great groove. In the show we needed something to get across the chaos of wartime Liverpool so the idea was to combine snippets of instruments from other songs flying through the mix. On the left hand side listen out for the “ Things We Said Today ” guitar that sounds like it’s always been part of the song!”
“By the time we started to record this track, Paul had realised the potential for using orchestral sounds and for the first time he wrote a song that demanded nothing but strings. I booked a double string quartet – four violins, two violas and two cellos, a sparse combination which when recorded with close microphones gave us the stringent sound we needed. The similarity to Bernard Hermann’s score for “Psycho” is apparent and quite intentional.”
“Allan Rouse, who’s looked after the Beatles archive for years, had developed a technique in which we could combine the first recording of each four track with the ‘bounce-down’. This means that we could have more than the original tracks to mix from.
“When John played “I Am The Walrus ” to me for the first time I thought it sounded weird, but we laid down a track with the band the way he wanted it, then he told me he wanted me to do a score for him without being too specific. I thought long and hard about this and took a leap of faith by booking an orchestra and sixteen voices to make swooping sounds, chants and noises of laughter. When John heard what this choir were doing he fell about laughing, it was so unexpected. It really is a quirky track, but absolutely brilliant.”
“The guitar from “Julia ” in the transition into “I Am The Walrus ” is so beautiful and peaceful it seemed to act as a good counterpoint to the madness within the main track. The song is timeless, and it still sounds like nothing else out there today. There was certainly nothing we could add to make it any more psychedelic so we decided to bring the band out a bit more.”
“At the turn of 1963/4 I was in Paris with the Beatles when Brian Epstein rang me in my hotel at one in the morning, bursting with pride and jubilation as he told me that at last we had our first No. 1 single in the USA after “I Want To Hold Your Hand ” had quickly reached the top of the charts. It was a wonderful and significant moment. The Beatles had arrived!”
“We were always under pressure to present the songs in a different way and with the early material this was always more difficult as there’s no separation between tracks. My dad came with an idea of using the three track tapes from “Live at the Hollywood Bowl” and combining the performances with the original masters. Surprisingly, both versions were perfectly in tune with each other, so what you’re listening to here is both the live and studio versions of the song edited together.”
Drive My Car /THE WORD/WHAT YOU’RE DOING
““Drive My Car ” was the opening track of a great album – Rubber Soul – and was recorded remarkably quickly – between 7 pm and midnight on an evening in October 1965. Great rhythm that was just right for a dance sequence in the show. “The Word ”, recorded a couple of weeks later, had an almost identical beat and was also completed in a few hours. “What You’re Doing” was recorded a year earlier, with a similar driving rhythm. They certainly worked hard and did not waste any time in those halcyon days.”
“The Beatles came up with some of pop music’s most iconic riffs, none more so than “‘Drive My Car ”. This era of Beatles music symbolises London at the peak of the swinging sixties. “The Word ” and “Taxman ” have such great grooves, we tried to blend as much of the band at their vibrant best in this, the only medley on the album.”
“In the show we needed a sound to set the scene, a prelude to establish a mood, and a never-heard-before chorale by the Beatles does just that. It is pretty obvious where “Gnik Nus” came from, but I make no apologies, because for me it is absolutely lovely and it works well in the performance.”
“I had turned the cymbal backwards on “Sun King ” for an effect for “Within You Without You /Tomorrow Never Knows ” and I realised I’d turned the vocals around as well. My dad heard what I’d done and loved it and said that it’s exactly the sort of thing that John would have gone for.”
Blue Jay Way (TRANSITION)
“A most beautiful song by George which made everyone realise that he could write just as great a song as John or Paul, and it gave him enormous confidence. The master track was completed in May with a keyboard line from Billy Preston, and finally I added a string orchestra in mid August. I was so pleased with the final result.”
““Something ” is such a sensitive song that works really well as it is. We moved the strings around for effect, leaving George’s great vocal performance more upfront. “
BEING FOR THE BENEFIT OF MR. KITE!/I WANT YOU (SHE’S SO HEAVY)/HELTER SKELTER
“This has to be one of John’s most pictorial songs and we all had fun making our recording sound like a real circus in the studio. My problem was playing the ancient harmonium while John and Paul acted as producers. They delighted in seeing me pedal away at that damned instrument for what seemed like hours. The show demanded something a little different, with a much darker mood. So although all the original sounds are still there, it does become rather menacing towards the end.”
“The LOVE show director, had visions of a macabre Victorian circus for the show. This made us approach “Kite” in a completely different way. “Blue Jay Way ” set the scene really well, and the sound effects from “Good Morning” add to the general circus vibe. To create the sound of a circus going wrong we edited in “I Want You (She’s So Heavy)” at the end flying in the mad organs and Paul’s vocal on “Helter Skelter ” over the top.”
““Help !” was originally written for the second Beatles film, and many armchair psychiatrists have read into it a cry from John to get him out of his prison of fame and success. It was to me a straightforward and good composition, one that came together in the studio without too much fuss, and it became the successful title song of their film.”
“This was recorded really quickly onto a four track, with the band playing live onto one track. This recording has such a great natural Beatles sound that it’s wonderful to just hear the power of their playing.”
“We agonised over the inclusion of “Yesterday ” in the show. It is such a famous song, the icon of an era, had it been heard too much? The story of the addition of the original string quartet is well known, however few people know how limited the recording was technically, and so the case for not including it was strong, but how could anyone ignore such a marvellous work? We introduce it with some of Paul’s guitar work from “Blackbird ” and hearing it now, I know that it was right to include it. Its simplicity is so direct; it tugs at the heartstrings.”
“I wasn’t sure how the more sensitive songs would sound in the theatre, I was scared that some intimacy would be lost. While I was in Montreal, Cirque let me go with sound designer Jonathan Deans to a new show they were about to tour so I could play around with their PA. As soon as I played “Yesterday ” through the system all the workmen stopped and just listened to the song. I guessed then that we would probably be OK!”
“I will never forget the first time I heard “Strawberry Fields Forever ”. John began by giving me my usual private performance, standing in front of me, strumming his acoustic guitar and singing those incredible opening lines. I was absolutely captivated, such different material, almost too tender to be recorded. The song went through a few changes, and we recorded it more than once, eventually combining two completely different versions, in different keys and different tempos. I love the song to this day, but John told me many years later that he was never really satisfied with it and I felt that in its recording I had let him down. I hope he has forgiven me.”
“The LOVE show director, had wanted us to demonstrate the Beatles experimentation and creativity in the studio. Yoko had brought in some early demos of John singing “Strawberry Fields Forever ” so in the spirit of the original we decided to combine the very early takes with the final version. I went on holiday and my poor father spent hours with a vari-speed tape machine putting all the takes in the key of B. I came back and spent about six weeks combing the various tracks to make one long new version of the song. And at the end, with those fantastic drums, we just decided to have a bit of fun…”
“Paul was always on the lookout for new sounds and experimenting at home with a Brenell recorder, he discovered that he could record on a constant loop of tape until it was literally saturated with sound. I selected a number of these tapes and used them, sometimes at a different speed and pitch, in a new song John had written. We started with a terrific rhythm track recorded in only three takes, with a constant tamboura drone and that marvellous and hypnotic drum beat from Ringo, “Tomorrow Never Knows ”, was born.
Later, while Sgt. Pepper was under way, George came up with an interesting and distinctive song, “Within You Without You ”, heavily influenced by his love of all things Indian. Working with George on this recording was fascinating. His sense of complicated rhythms and tonalities earned my respect, and the song was issued as the first track on the second side of Sgt. Pepper . Giles suggested that we combine these two tracks together in such a brilliant way.”
“This was one of the first things I tried when we were making the initial demos for the show. I was really quite scared about offending all who were involved and at one stage we weren’t even going to play it anyone. The fact that it was accepted showed how open-minded everyone was in the approach to the music we were creating.”
“This song has the most extraordinary lyrics, with John doing his utmost to build a psychedelic vision rivalling creations by Lewis Carroll and Salvador Dali. It all began with his son Julian coming home from school with a picture of his classmate, Lucy. She was kind of floating in mid-air with little stars that he had drawn around her. Such innocence! The song came together quickly, and the opening bars are simple, but magic.”
“As soon as the LOVE show director, showed me his ideas on creating a starry sky by using LED effects I set out on trying to introduce the song by having shimmering stars appear individually with sound. By slicing the original keyboard and using vari-speed we managed to get the effect I was looking for.”
“I am glad we were able to use Ringo’s “Octopus’s Garden” in the show. In many ways it’s timeless, a children’s song, easy on the ear and perfect for the LOVE show director’s imaginative undersea scene, with an unexpected beginning.”
“I thought it would be great to start the song with Ringo on his own. I first tried to combine his vocal with the end strings from “Glass Onion ” and it sounded creepy. Then I tried the strings from “Goodnight” – they had always interested me because they’re in stereo. My dad came in and pointed out if I had doubled up the strings and played the verse twice the vocal would work better, and as usual he was right, and Ringo sounds great.”
“Considering that Paul only played guitar when I first knew him, his piano work with that rolling boogie piano driving this along like a powerhouse had become startlingly good. In the backing we tried using Kazoos, but the old comb and paper did just as good a job.”
“I wanted to get the riff from “Hey Bulldog ” in the show somewhere and it works great as a middle section to “Lady Madonna ”. It took a while to get the track to sit right, Billy Preston’s organ solo from “I Want You (She’s So Heavy)” provides the glue between the two and Eric Clapton’s guitar solo from “While My Guitar Gently Weeps ” replaces the sax solo.”
“A brilliant composition with an unusual metre relying heavily on George’s great guitar work, very different to “The Inner Light ”, which was basically recorded in Bombay during the time that George was recording music for his “Wonderwall” film and album. George had used a host of Indian virtuoso players with weird and wonderful instruments I did not even know existed. Once back in England he added his voice and we overdubbed vocals with John and Paul.”
“It’s strange that although George brought a huge Indian influence to the sound of The Beatles, some of his most famous songs have no Indian instruments on them. The tabla and delrouba from “Within You Without You ” made a perfect introduction to George’s guitar and we used the chorus vocals from the song to set the scene. “Here Comes The Sun ” is a great song about enlightenment; it made complete sense then to finish with “The Inner Light ”.”
““Come Together ” is such a simple song but it stands out because of the sheer brilliance of the performers. Paul’s bass riff makes a fantastic foundation for Ringo’s imaginative drumming, and John’s vocal with heavy tape echo has a marvellous effect when he claps his hands and hisses into the microphone. George’s guitar is equally distinctive, and altogether I believe this is one of the Beatles’ greatest tracks. Combined with “Dear Prudence ” is Paul’s vocal piece from the end of “Cry Baby Cry ” that creates a very reflective mood.”
“This for me is the Beatles playing live at their economical and inspirational best. There’s nothing that can be added to the song as all the parts are so well constructed and yet the song is so sparse. ‘Dear Prudence ’ was used to end the song without fading it and I loved the way the vocals and Ringo’s mad drumming add a climax to the end of “Come Together ”. Dominic Champagne, the shows director, had wanted something disturbing to bring in “Revolution ” and I thought this ending sounded from another world. The strings from “Eleanor Rigby ” and the climax from “A Day In The Life ” provided an edge that isn’t on the original.”
“Hard rock recordings do not come much stronger than this one. The distortion of the guitars led to many complaints from the more conservative of listeners at the time and it did in fact give quite a few technical problems when it came to cutting the masters for the vinyl single of the day. Like many of John’s songs its message is very clear and, for its time, pretty revolutionary!”
“The guitar sound on “Revolution ” rips your head off, even today it defines the word ‘distortion’, it’s amazing to think that it was recorded nearly forty years ago.”
BACK IN THE U.S.S.R.
“Miraculously recorded and mixed in two days at a time of tension among the Beatles when a frustrated Ringo had temporarily walked out. Paul, George and John tried to work without him and started to record “Back In The U.S.S.R.”, with Paul playing drums. Ringo returned to find they had in fact managed a track without him, but they were so delighted he was back that they showered him with flowers. Nevertheless it is one of the very few tracks without Ringo’s terrific drumming.”
“Like “Revolution ” this bursts out from the multi-track tapes with such energy that there’s nothing much that we could do with it either.”
“Most people remember the heavy version of “While My Guitar Gently Weeps ” but an earlier version, almost a demo, was recorded at Abbey Road and discarded until we issued the Anthology albums. I was asked to write a string score to make that early take sound more like an issued master. I was aware of such a responsibility, but thankfully Olivia and everyone approved of the result. “Yesterday ” was the first score I had written for a Beatle song way back in 1965 and this score forty one years later is the last. It wraps up an incredible period of my life with those four amazing men who changed the world.”
“The LOVE show director and Olivia had decided that take one, an acoustic version, of “While My Guitar Gently Weeps ” should be used for the show and asked what we could do with it. The vocal performance on the take is so tender, so the only thing I could think of was for my dad to do a string arrangement. I was surprised to find that he was apprehensive about doing it, there’s no one in the world better at this kind of thing, and even after all this time he still arranges with the same vitality and empathy that has made his work legendary.”
“John as usual, took his inspiration from odd sources, in this case newspaper cuttings, but he needed a middle section and asked Paul if he had anything. Paul had something, but it wasn’t a fit. Realising that such different tempos and styles needed to be separated, Paul suggested a 24 bar section between them which could be filled in later. I had no clue what it would be filled with, until they told me they wanted a symphony orchestra.
I think Paul came up with the idea of a great ascending crescendo, but I needed to do some orchestral organisation if it was to be effective. We all know the result. It was terrific, awe-inspiring and mind boggling to all who heard it for the first time, although some thought it to be subversive and even the dear old BBC banned the track on the grounds that it promoted drug use.”
“Even before we approached this I knew there was nothing we could add to it. It really is a masterpiece. Then Allan Rouse, our project co-ordinator at Abbey Road Studios, brought the early orchestral takes up from the vault. This meant that we could make the crescendo and the last piano chord at the end even bigger.”
“The Beatles in their time wrote and recorded quite a few anthems and “Hey Jude ” is a supreme example. I remember having a little rebellion in the orchestra I had booked for the overdub. After the musicians had finished playing their parts I asked them to sing along with the chant and to clap as we did. Cheeky, I know, but not everyone was amused. One violinist remonstrated quite forcibly, saying he was not employed as a session singer and left. I asked if anyone else wanted to join him and bless them, they all stayed and received overtime pay as a result.”
“The biggest challenge we faced with “Hey Jude ” was finding a way of ending it. I’d found a great bass line that Paul played at the end of the song and put it in the middle, but the ending is so well known that it took quite some time to find the perfect match….”
Sgt Pepper ’S LONELY HEARTS CLUB BAND (REPRISE)
““Sgt. Pepper ’s Lonely Hearts Club Band (Reprise)” is a rousing and upbeat shorter version of the original song specifically designed to wrap up the imaginary performance of the Sgt. Pepper album. It is ideal for a link into the final song. Our original recording was a quick affair, taped from seven in the evening of April Fool’s Day 1967 right through to six the following morning.”
“…..and it was sheer luck that “Sgt. Pepper Reprise” was in the right key so we could link the two together.”
“The Sgt. Pepper album was released in June 1967 to world acclaim, and in no time we were all given an incredible task. The Beatles were selected to represent Great Britain in a world wide television hook-up that was to be broadcast live. It happened very quickly, and the week of the event was for me one I will never forget. John’s “All You Need Is Love ” was an inspiration and I had the normal job of arranging and producing it. One week before the show my father was taken to hospital. I visited him every day, and he seemed to be recovering well, so much so that I rang my sister who was in Italy and told her not to break up her holiday. But early on Tuesday morning I walked in to the hospital as usual with a bunch of flowers and I was stopped by the Ward Sister who drew me aside and told me my father had died just before dawn.
I was shattered, devastated. Perhaps the work on “All You Need Is Love ” was my lifeline. I pitch forked myself into all the things I had to do, which was a mercy for me. When it came to the actual television transmission we had TV cameras focussing on us in the control room as well as the studio. With seconds to go before being on air I had a panic call from the TV director in his BBC van outside saying he had lost contact with his crew in the studio and could I relay his instructions?
I laughed aloud at the real unimportance of it all. If you are going to fall flat on your face you might as well do it in front of 200 million people! It was the end of an era and it has now become the end of our show. We have come full circle.”
“I spent a long time looking for The Beatles signing off and saying goodbye for the very end of the show. But it just so happened that at the end of most of their gigs and radio shows they would either say a polite ‘thanks’ or bow and go straight off. So what you hear over the final chords of “Goodnight” is taken from a Christmas record recorded in 1965.”
© 2006 Apple Corps Ltd
The following people thank Joe for this post:kelicopter, vonbontee, Ahhh Girl, The Hole Got Fixed, WeepingAtlasCedars, meanmistermustard, Rita Eleanor
1 December 2009
Thanks for giving me something to read while dining, Joe!
The following people thank vonbontee for this post:kelicopter, The Hole Got Fixed, Joe, WeepingAtlasCedars
GEORGE: In fact, The Detroit Sound. JOHN: In fact, yes. GEORGE: In fact, yeah. Tamla-Motown artists are our favorites. The Miracles. JOHN: We like Marvin Gaye. GEORGE: The Impressions PAUL & GEORGE: Mary Wells. GEORGE: The Exciters. RINGO: Chuck Jackson. JOHN: To name but eighty.
There’s also a funky bassline in the final minute of Hey Jude , which I swear isn’t on the original record. I think it’s something that McCartney plays live nowadays, but surely not in 1968. Perhaps Giles M pieced it together in Pro Tools.
Nearly a decade later and I finally have an answer to this. In the 2015 remix of Hey Jude (also on the Blue Album reissue) it can be heard right at the very end, at the seven minute mark. I guess it was there all along but would have been faded out before.
Edit: And of course it’s mentioned in the Giles Martin interview directly above this, which I once posted then clearly forgot all about
1 May 2011
That’s ‘A Day In The Life ‘ you’ve posted.
"I told you everything I could about me, Told you everything I could" ('Before Believing' - Emmylou Harris)
Oops – thank you. ADITL autoplayed after Hey Jude , which is why I grabbed the wrong URL. Serves me right for not checking my posts.
Annoyingly the 2015 remix on YouTube (now correctly posted above) fades out a little early, but the full version on 1967-1970 has the funky bass at the very end. Oh well, I tried!