Condemned upon its release for perceived references to heroin injection, ‘Fixing A Hole’ was in fact a tribute to marijuana written by Paul McCartney.
People have told me that ‘Fixing A Hole’ is all about junk, you know, this guy, sitting there fixing a hole in his arm. If you’re a junkie sitting in a room fixing a hole then that’s what it will mean to you, but when I wrote it I meant if there’s a crack or the room is uncolourful, then I’ll paint it.
The Observer magazine, 26 November 1967
It has also been claimed that the song is about repairs undertaken by Paul McCartney on High Park, his farmhouse on the west coast of Scotland, although this is untrue.
It was much later that I ever got round to fixing the roof on the Scottish farm; I never did any of that until I met Linda. People just make it up! They know I’ve got a farm, they know it has a roof, they know I might be given to handyman tendencies so it’s a very small leap for mankind… to make up the rest of the story.
Many Years From Now, Barry Miles
In truth the song, like ‘Got To Get You Into My Life’, was “another ode to pot”; it explored the joys of allowing one’s mind to wander, and the freedom from being told what to do.
It was the idea of me being on my own now, able to do what I want. If I want I’ll paint the room in a colourful way… I was living now pretty much on my own in Cavendish Avenue, and enjoying my freedom and my new house and the salon-ness of it all. It’s pretty much my song, as I recall. I like the double meaning of ‘If I’m wrong I’m right where I belong’.
Many Years From Now, Barry Miles
LSD also played a part in the song’s genesis. McCartney was the last Beatle to try the drug, in 1966.
Around that time, when I closed my eyes, instead of there being blackness there was a little blue hole. It was as if something needed patching. I always had the feeling that if I could go up to it and look through, there would be an answer…The fact is that the most important influence here was not even the metaphysical idea of a hole, which I mentioned earlier, but this absolutely physical phenomenon – something that first appeared after I took acid. I still see it occasionally, and I know exactly what it is. I know exactly what size it is.
The Lyrics: 1956 To The Present
In the studio
The recording of ‘Fixing A Hole’ began on 9 February 1967. The Beatles used Regent Sound Studio in London as Abbey Road was unavailable. It was the first time the group used another studio to record for EMI.
According to McCartney, an unusual guest was brought to the session.
A guy arrived at my front gate and I said, ‘Yes? Hello,’ because I always used to answer it to everyone. If they were boring I would say, ‘Sorry, no,’ and they generally went away. This guy said, ‘I’m Jesus Christ.’ I said, ‘Oop,’ slightly shocked. I said, ‘Well, you’d better come in then.’ I thought, Well, it probably isn’t. But if he is, I’m not going to be the one to turn him away. So I gave him a cup of tea and we just chatted and I asked, ‘Why do you think you are Jesus?’ There were a lot of casualties about then. We used to get a lot of people who were maybe insecure or going through emotional breakdowns or whatever. So I said, ‘I’ve got to go to a session but if you promise to be very quiet and just sit in a corner, you can come.’ So he did, he came to the session and he did sit very quietly and I never saw him after that. I introduced him to the guys. They said, ‘Who’s this?’ I said, ‘He’s Jesus Christ.’ We had a bit of a giggle over that.
Many Years From Now, Barry Miles
The Beatles rehearsed ‘Fixing A Hole’ a number of times before the tapes rolled. They then recorded three takes, the last of which was incomplete. The second take became the basis for the final version. The unused take three, meanwhile, can be heard on the 50th anniversary super deluxe box set.
The basic track featured Paul McCartney on harpsichord, recorded to track one, along with Ringo Starr’s drums and maracas.
Bass guitar was recorded to track two, most likely played by John Lennon. McCartney recorded a first lead vocal on track four, and double tracked it on track three.
That’s Paul, again writing a good lyric.
All We Are Saying, David Sheff
The elements were then given a reduction mix, with the vocals combined on track four, and harpsichord, bass guitar, drums and maracas on track one.
George Harrison then double tracked an eight-bar guitar solo using his Fender Stratocaster. He did this onto tracks two and three, with backing vocals also recorded on the latter.
On 21 February, back at Abbey Road, The Beatles intended to record a remake of the song. But after one attempt – numbered take 1, despite the previous three – they decided the results of the earlier session were adequate.
Take two from the Regent Sound tape was subjected to a reduction mix to free up space. This became known as take three, even though a take with that number already existed. The mix combined the lead guitars and backing vocals on track three, and two lead vocal parts combined on track four.
This left track two vacant. Onto it The Beatles recorded another rhythm track, which featured Paul McCartney on bass guitar, George Martin playing a second harpsichord part, and Starr on drums. The song’s final master therefore contained two bass guitar parts, two harpsichords, and two different drum tracks.
‘Fixing A Hole’ was then mixed in mono. Five were made, numbered RM2-6, even though there had been no previous mix numbered one.
The final version of the song was an edit of mixes three and six. This was made at the end of the session; the join can be heard at the 2:06 mark.
this song is superb
that chord progression
that jazzy drumming, such an original and outstanding song from sgt peppers LP
those choirs!!!!!
I like the chord progression too. Did you ever notice how similar it is to the intro of Michelle:
F | E+5 | fm7 | fm6 | (Fixing a Hole)
vs.
fm | E+5 | fm7 | fm6 | (Michelle)
with the bass note descending chromatically in both?
Michelle: Fm – Fm(Maj7) – Fm7 – Fm6
Right, but E+5 (E G# C) and Fm/maj7 (E Ab C F) are almost the same chord, no?
I am confounded with this chord progression. All I know is that the guitar is tuned down 1/2 step and it starts in F#. Any help appreciated.
And, Joe, you have one awesome site here!
The guitar is not tuned down a half step, the low e string is tuned down a full step to E however the rest of the guitar is in standard tuning
It’s possible that George actually tuned the guitar down A whole tone to DAFCGD.
That way, although the song is in F, he’d be playing it in G.
I’ve tried it that way myself and it works well.
My favorite psychedelic Paul song.
This song has always seemed like a throwaway to me. Extremely well written and superbly performed but it just does nothing for me. Gives me a weird feeling.
I think you’re over thinking.
The real throwaway is “Getting Better”….it seemed dated almost from the time the album was released.
I never cared much for either. Both are the weakest songs on that album, IMO.
Often bypass them when the album is playing.
Fixing A Hole has always been a Pepper highlight for me ever since I first heard it as an 8 year old. Even after playing it hundreds of times it’s still a fascinatingly beautiful and slightly creepy audio sculpture that I never get tired of listening to. The music and lyrics combine and flow so effortlessly creating mysterious images of a wandering mind working through mental obstacles while the melancholy rain drizzles on an isolated and lonely room. McCartney at his psychedelic best. You may refer to this song as a filler but I’ll take Fixing A Hole over Penny Lane any day of the week. And to top it off, a note perfect guitar solo by George Harrison!
What you say here, Slave, is precisely what I feel about this song – I couldn’t have put it better. It’s one of my top favourites. I didn’t really appreciate it for a long time and then a while ago I listened again and Boom!! Now it is in my head a lot of the time and I think it’s beautiful. The lyrics are quite profound and yes, I’ve read what Paul said they meant to him, but I think we can find our own meanings quite legitimately.
It’s not a throw away to me!
Andi Babiuk quotes Richard Lush, second engineer, who recalls Lennon played bass and McCartney harpsichord.
However, Richard Lush could not be present at the Regent Sound Studio for the recording of the basic tracks, because he was an EMI employee.
You`re right, altough Lewishon book list the second engineer as unknown (p. 95). Then, on p. 99, another session, reductions, overdubs and mixes: a little bit confusing.
Lush doesn’t say he SAW John play bass on the song, he just says that he knows John played the bass. His knowledge could have come from the boys themselves.
No way it’s Lennon playing bass, the part is way too accomplished for his somewhat “sloppy” playing (even though there actually is a slight mistake like a minute into the son ). No, this is certainly Paul, and a grand example of that melodic playing style he began dabbling with late ’65 and which by this time had reached it’s zenith
Jonathan I totally agree that it really sounds like Paul’s bass. Sophisticated melodic lines with syncopated rhythms! But several sources claim John contributed part of the bass line- but that’s confusing because it doesn’t at all sound like two basses and it also doesn’t sound like there are parts that John is playing and Paul isn’t. It’s very mysterious to me. To my ears it seems like at best maybe John played on a earlier track that didn’t get used in the final mix. Aside from that possibility, I can’t see how John played bass on this. Also I don’t think it’s George’s lead guitar either. It far more sounds like Paul on lead guitar. What do you think?
Well, since this was the start of Paul’s so called “bossy period,” maybe he told John what to play. (Just kidding! I know this isn’t a helpful comment…)
Sorry, but it IS George playing lead guitar, just as the article states, and even Jonathan Gould confirms this in his 2007 book. These other webpages confirm that George used his Fender Stratocaster (https://www.guitarworld.com/news/song-facts-beatles-fixing-hole) and (https://ultimateclassicrock.com/beatles-fixing-a-hole/).
I think this song is supremely underrated, and although the lyrics don’t mean too much, the actual sound of it is just so completely unique and interesting that I can’t help but perk my ears up when I hear it.
I agree. It’s a brilliant melody and a brilliant vocal. There’s a few places in the song where Paul sings up a measure or so (notably, the first syllable of “fixing” in the opening line). It’s unexpected but it works beautifully.
Drug references? I suppose you take veiled ones for granted in anything they did at the time, but this song certainly doesn’t bring heroin to mind. I think the lyrics could be interpreted as taking stock of one’s self and taking care of one’s own well-being.
George Harrison plays one of his better solos on this one. There is a five note/ chord sequence intermittenly throughout the song especially towards the end where paul sings the opening lyrics in a more melodic way that to me sounds like dim sunlight breaking through and warming the song a bit.
Is that Paul or George playing that guitar phrase?
George.
I think it is a great solo by George, as it usually is!
Isn’t George play a Fender Stratocaster for his lead guitar. Also kinda sounds like a fuzz guitar solo. Anyone agree ???
The electric guitar is certainly ‘over driven’ in the sense it isn’t totally clean, Fuzz would be over stating it, it sounds like a Fender Pro Reverb turned up, quite a bright setting. Just my opinion.
At this point they were using Vox UL730 amps which had some interesting preset tone switches etc. very much sounds like one of those amps to me
The lyrics don’t mean much? The lyrics are clever poetry which is one incredible side of Paul McCartney. After he delivers his story or his take on something… his artist leaves it up to you. I always thought that this was about the powerful drug of LSD and tripping out about anything…like a hole.
It was far more creative than that along with a soothing melody and production.
“I’m taking the time for a number of things that weren’t important yesterday”, what a fabulous lyric!
The sound is just so unbelievably captivating. The icy harpsichord bars underneath that outrageous and growling guitar bolstered all up by that melodious bass. And those interchanges between Paul’s wonderful singing and those guitar responses. Such a good song.
Paul McCartney has stated that he played the guitar solo in this song.
Could you please provide a source for that?
According to studio notes, (meticulously recorded by Lewisohn and Leng), band members present, and recording team, George Harrison played the guitar solos. Indeed, the style is classic Harrison, mid-period Beatles: the chordal comping reflects Harrison’s Tal Farlow/Chet Atkins jazzier influences (All My Loving, You Like Me Too Much, Every Little Thing You Do, etc.); and the descending, gutaral guitar line reiterates his Carl Perkinisms (Everybody Wants to Be My Baby, Help!, etc.), albeit through a now psychedelicized, sitar- like glissando descent as opposed to the once amphetaminized Perkin’s stutter of Harrison’s earlier contributions.
The studio notes, eye-witness accounts, and absolutely unmistakable Harrison style, even under a now psychedelicized evolution, make a Macca’s claim risible.
As for Macca’s after-the-fact claim, it is part and parcel of his, shall we say, inflated claims as to his impact on the Beatles, which if taken even half seriously, would have the world believe that he sang and played all of the parts during the Beatles live performances on Ed Sullivan, writing Imagine for John, playing Harrison’s slide solo on How Do You Sleep (while cleverly disguising himself as George before the filmed sessions), and playing the drums on It Don’t Come Easy and Back Off Boogaloo.
In other words, Macca is full of crappa.
Who is Macca?
Paul McCartney
Seems a bit of an exaggeration since a) to my knowledge Paul has never claimed to have played the guitar on Fixing a Hole. Because someone (likely) mistakenly thought he did say that you have taken it as fact just so you have an excuse to call him a liar. And b) McCartney has never claimed to have been involved in any of the songs you attributed to him.
Your post is one of the biggest Strawman posts I have ever seen. Seek help.
Yes, thank you, thank you! This exactly! This response works for a good chuck of comments on this site.
No way! George’s lead guitar work is second to none. Paul could have played a great solo but George’s sound is unmistakable. Although it sounds like he played the solo with a fuzz guitar set up. Can anyone corroborate that?
I was carefully listening to the recording and I think that the maracas are on the basic track and were not overdubbed later, probably played by John. It’s the first time that I write so I’d like to thank Joe for his beautiful job. This is the best Beatles site
Has anyone ever heard that Mal contributed to the writing of this song and was compensated with a one time payment?
I’ve read that Mal went on radio interviews and said he wrote this song, and that the concept of Sgt. Pepper was his. He wrote about it in his diary.
But Mac , I read, has stated he was on an airplane, because he gets about, and got the title from someone saying “please pass the Salt and Pepper. Immediately he played on the words to come u with Sgt. Pepper.
This bit is from Paul taken right from this site on the Album Section:
Me and Mal often bantered words about which led to the rumour that he thought of the name Sergeant Pepper, but I think it would be much more likely that it was me saying, ‘Think of names.’ We were having our meal and they had those little packets marked ‘S’ and ‘P’. Mal said, ‘What’s that mean? Oh, salt and pepper.’ We had a joke about that. So I said, ‘Sergeant Pepper,’ just to vary it, ‘Sergeant Pepper, salt and pepper,’ an aural pun, not mishearing him but just playing with the words.
The version I’ve heard involves McCartney getting a copy of Zappa’s MOI “Freak Out” (along with “Pet Sounds” from the Beach Boys) in late 66 or early 67, which showcased both the double ‘concept’ album thematic idea (new at the time) and also a number of then-innovative studio techniques/experimentation that also influenced the Sgt Pepper sound. Remember also that at the time the Beatles were well into LWUTI “listening while under the influence” on pot/lsd. And so, everybody’s minds were being blown at the new possibilities being afforded by the introduction of new studio gear around that same time.
Yes! I read this somewhere years ago, and makes sense to me: as Macca-like as this song is, there’s something oddly un-Macca-like about it. Paul was not adverse to other uncredited “collaborations” (see “Michelle”) and was hanging a lot with Mal at this time; Mal even gushes in his diary about helping Paul write “Col. [sic] Pepper.”
Funny thing,for me it was always clear that this lyric it’s about freedom of thinking and speech
“I’m fixing a hole where the rain gets in.And stops my mind from wandering
Where it will go.”
Maybe a reference to the act of thinking about the problems of the world that surrounds us
(not only emotional individual problems that music lyrics usually talk about)
“And it really doesn’t matter if I’m wrong I’m right
Where I belong I’m right
Where I belong.
See the people standing there who Disagree and never win.And wonder why
they don’t get in my door.”
Here it is said that don’t matter what my point of view is and don’t matter how many people disagree me, at least I made a reflection and showed a new point.
“I wonder why they don’t get in my door”
Probably a defiance to the people who contradict but don’t face a rational process and think about solutions.
Fixing a Hole maybe represents youth engaged with political and social matters of the 60’s society.
I know it sounds a bit vague . But that’s my interpretation…
my interpretation has always been a zen interpretation,,,im fixing a hole where the rain gets in & (via fixing this hole)..it> stops my mind from wandering,,,so i can concentrate on the task im engaging in & not thinking bout distracting things,,,quite a zen statement
I think this is a response (and slowed down minor version) to Elvis ‘s Were Gonna Move …”There’s a hole in the roof where the rain pours in”;…haha love it!
Whoever played the guitar solo, it is very tasteful and one of the handful of electric guitar solos on the Beatles most ‘non-guitar’ albums.
I’ve always thought the guitar solo in Fixing a Hole is one of the most musical guitar solos ever, right down to that final low note.
P.S. I love this site and visit every day!
Well, for all those who claim that George played the excellent guitar solo on this song, you folks better correct Mr. McCartney, who has claimed several times in interviews that he himself played the solo.
As I asked when you made this claim this back in February 2011, could you please provide a source for this? Or, even better, several. Thanks.
According to “The Beatles Gear” by Babiuk, Richard Lush says that Lennon’s bass part was added during a later overdub session at Abbey Road. That would seem to lend creedance to his claim that John played the bass.
Be sure to also consider the sources described above that differ from Lush’s recollection.
@Jonathan re: Paul’s bass playing (post # 9 😉 ,Tuesday 26 February 2013) — I agree. As a matter of fact, I rather doubt John had much of anything to do with “Fixing A Hole” at all, what with it’s being entirely Paul’s composition, etc..
As for the guitar playing, it is clearly George’s work: listen to the two precisely “pre-bent” downward slurs from E to D, quite characteristic of sitar playing, that follow “… past my door.” The second one is spot-on chromatic, with E falling to E-flat to D. Just listen to George’s sitar lines in “Love You To”, and you’ll hear what I ‘m referring to, regarding his style vs. Paul’s superbly played, but slightly more “rough-‘n’-ready” aggressiveness, sans any of the limpid sitar inflections George’s post-’65 work showed to an ever-increasing degree.
It is a fantastic solo and the “every-note-is carefully chosen” quality of it lends itself to be George. The only problem with your theory is that Paul was also a excellent imitator of the other Beatles style when he wanted. If it wasn’t well known that Paul played the Taxman solo, most would assume it was George, as it had a Indian flavor. Or think of McCartney’s “Let Me Roll It”. It’s a dead on imitation of Lennon’s style. I hope is was George though, cuz it’s awesome and it seems he didn’t do much on Pepper.
George actually was very involved with Sgt. Pepper and even session photographs and session audio make this evidently clear, as do alternate takes with all four playing together.
I neglected to say that the guitar is tuned down a whole step to the key of B-flat, making the aforementioned notes D, D-flat, and C… 😛
Joe, you should change the bit that says Paul recorded the lead vocals at the same time as the backing track. If you listen to the backing track, you can clearly hear a guide vocal bleeding through on the harpsichord track that is sung differently than the main vocal track. So, the vocals had to have been an overdub. The vocals are also double tracked, which must have been overdubbed.
Also, George Martin didn’t play the harpsichord. That was also Paul. The only way there would be vocal bleed through on the harpsichord track would be if Paul was singing while he was playing.
Thanks. I’ve amended the article drawing on better session info. It seems that the bass, drums and harpsichord were all recorded at the same time (McCartney on bass), with a guide vocal recorded on a different track. But the vocal bled through so can be heard along with the harpsichord etc.
Edit, May 2018: I’ve amended this page and the two recording session pages with updated information, mainly based on the 50th anniversary Sgt Pepper box set book.
Hey Joe,
I have to bring another issue to your attention. While the “In the Studio” section of this article claims Lennon played rhythm guitar, the personnel at the top of the page omits this only indicating that he sang backing vocals.
You missed this bit: “McCartney then recorded over his guide vocals and John Lennon’s rhythm guitar, adding in their place a new lead vocal performance”
Actually I did read that sentence. Obviously however, I misunderstood the usage of the words “recorded over.” I’m no expert on recording or engineering and I didn’t realize that it meant the guide vocals and rhythm guitar were buried or wiped from the mix. Apologies.
Still sounds like there’s an acoustic supporting the harpsichord; especially in the intro. (D-Aaug-Dm7-G7…)
They did 3 takes of this at that studio “Regent”. They used take 2 as the backing track. And Paul sang a guide vocal. Later at emi he dubbed in the final vocal.
It says in this post and the thread that the guide vocal blead through. It’s been stated here a FEW times.
I’ve always thought that the final vocals were recorded live during the take as a guide and then Paul double tracked in some point. Not an overdub.
When I was a kid I always interpreted this song as “Fixin a Hole” instead of “Fixing a Hole.” “Fixin” is a Southern U.S. slang for something your about to do or something in the process of being done. So I actually thought McCartney meant he was putting a hole in the roof on purpose to let the rain come inside his house. So in my youthful imagination I imagined that he had to put a hole in his roof to let the water fall on his head to “stop his mind from wandering.” So I guess I used to think that he was just sitting around daydreaming and he needed the water to come down and wake him up sort of like a shower.
I also used to think that Sgt. Peppers was kind of like Rock & Roll music with carnival/circus music mixed in so everything kind of feels like your at a carnival listening to this imaginary band.
I was talking about this with a friend the other day, and after much consideration this seems to us to be McCartney’s ONLY psychedelic song!
Paul is a master of style and he certainly stretched in many directions around this time. But when I look at Paul’s contributions 1966-68 I don’t see anything else that fits the label “psychedelic”. Penny Lane is the closest and to me that is just an incredible pop song. Almost everything I think of as psychedelic – Lucy, Walrus, Kite, Tomorrow, She said, Because, Rain, Universe- is from John, which I never realized before.
I love the imagery, the languidness. Really, I’m not a fan of most of the songs Paul sang on Pepper. This one and When I’m 64 are the only ones I really like!
Outstanding song. Once again, the punchy attack of the Ric bass can be heard on a superb bassline (even though there’s a mistake in the third verse, where the he misses one of the riffs and then sort of fixes it). The guitar licks and solo fit the song perfectly. The spirit of the song is 100% Pepperish. Any interpretation of it that you can make is entirely subjective, and I think that was the intention with a lot of their songs.
Joe, curious what your source is for the recording process, which seems quite detailed but unfortunately at odds with what appears on the final master. Not noted: both the lead guitar and the bass (yes, the bass!) are double-tracked.
Great site; I send students here regularly.
The main sources are normally Mark Lewisohn’s Complete Recording Sessions and John Winn’s That Magic Feeling, plus any other reputable source that I can uncover. This article might need a bit of attention though. Normally the entries in the history section are more detailed.
I’ve always loved this song and always considered it my favorite on the album (yes, even more than “A Day in A Life”). And if the story about the stranger being brought into the studio- can you imagine. The guy was probably too out of it to even appreciate what he was invited to witness.
I am remiss in not saying…..
“”I’M FIXING A HOLE”” is a great Paul song,
masterly bass playing by Paul & superb guitar solo & other backing motifs by the one & only George Harrison.
Paul plays the most wonderful creative melodic bass playing, raw edgy & gutsy electric guitar, very tasteful acoustic guitar & far more than adequate piano. These guys were very good musicians, with thousands of hours of grind behind all their natural talent.
Was 16 in ’67. Love this song and its gorgeous guitar break. This song inspired many a teen and older to cover their white or beige bedroom walls with Indian print bedspreads & Psycho posters. It really IS a wonderful stand alone song, rarely covered.
So, John sang harmony, but his guitar part got scrapped. And Harrison did play lead, as Emerick says? Correct?
Personally I think Paul used Many Years from Now to ‘reinterpret ‘ the lyrics to many of his songs to make himself appear cooler. blackbird being a prime example. He never mentioned it was about the Black Civil rights movement till about 30 years after he had written it.hmmmm
Couldn’t agree more!
Sam, Paul McCartney does mention where “Blackbird” came from, in 1968.
Paul McCartney & Donovan were playing their Guitars & talking. Paul started playing “Blackbird” (at 2:30 in the Clip) and then he said He play “Blackbird” to Diana Ross. Paul, then says He was reading in the papers about riots on this Clip. So, There is a Clip, Paul McCartney & Donovan Postcard Sessions 1968 on You Tube. I Seen it….
Great comments on this song — I’ve seen it referenced that John played the bass on this (perhaps in Emerick’s book?) but the following song summary from George Martin certainly sounds like it was McCartney, as the bass line is pivotal and he doesn’t imply anyone else played it: “Paul knew exactly where he was going with ‘Fixing A Hole,'” wrote George Martin in the book “Summer Of Love.” He continues: “As a result, it was one of the fastest tracks we recorded, in an album of 13 songs that took some five months to complete…It’s a very simply constructed song, built around a harpsichord and a bass guitar. Even before we got into the studio Paul had decided to use a harpsichord as the mainstay of his rhythm; even so, the bass line is more important than the harpsichord line.”
The fast descending bass line on the last verse (during ‘..that weren’t important yesterday’) is pretty amazing — I think Lennon would possibly have had trouble conceiving that on a bass part, I think. On the guitar solo, that seems unequivocally Harrison, though McCartney would (in my opinion) been capable of such a part.
one of the best songs paul wrote
Recently I found myself questioning the motives and sincerity of a “friend” and felt it best to – as so many of us now do in this age of multimedia – “unfriend” him. It was the first time I had ever done that – thinking I diminish myself somehow when I exclude others. But in fact, I was merely fixing a hole where his negativity and darkness poured in, stopping my mind from going to the happier places it should. And this song just came to came to me – played over and over in my head. And even now, looking back with the natural second-guess remorse of making a major decision, the lyrics help me. I may have been wrong, but I followed my heart – and therefore, if I’m wrong – I’m right. Because I acted upon my best instincts, and in the final analysis, that is never wrong. Thank you, Paul, for putting such great music to my thoughts.
Thanks for this… I can very much relate.
Beautiful , important, relevant ( this style of playing is getting scarce, as a shred seems to be preferred) harmonious, distinctive, tasteful, concise, musical, all these things fit George Harrison’s style of lead guitar that’s who plays this solo when did he ever not compliment Lennon or McCartney’s compositions? NOWHERE MAN or GOT TO GET YOU INTO MY LIFE for a kick off .
“Paul knew exactly where he was going with ‘Fixing A Hole,’” wrote George Martin in the book “Summer Of Love.” He continues: “As a result, it was one of the fastest tracks we recorded, in an album of 13 songs that took some five months to complete…
I’ve read, on this site, that when Paul composed a song, he would learn all of the parts, and he would bring this musical wealth with him to the recording session. With this in mind, it’s not inconceivable that Paul showed the guitar lead to George who then played it on the recording. This is purely conjecture on my part, but I don’t think it’s out of the question.
Finally, I love this song (as I do 99.9% of all Beatles’ songs)! It reminds me of a Salvador Dali painting – fluid, colourful, distorted reality, etc.
Thanks Joe. This is a fantastic site. I thoroughly enjoy the insightful comments.
The drumming on this song is totally under rated. The use of hi-hat is magical by Ringo.
As was noted above, just about the time of this song, “Pinkie” & “Blue Boy” came off the beige walls of suburban bedrooms, to be replaced with Indian bedspreads and Pop Posters (these were 2′ x 3′ blow ups of your favorite stars). Many of us heard Paul say: “It’s OK to do this.” And we did!
*Also, one of GH’s BEST solo’s of that era!
Listening to the remastered Pepper outtakes version of ‘Fixing A Hole’, the drumming doesn’t sound like Ringo’s playing. The unsteady tempo, the bounce off the snare drum, switching beats midsection. Ringo couldn’t play this way if he tried. This drummer is following the harpsichord and not the other way around. It’s my hunch that Lennon took the drums for a bit. Please give a listen. I’m interested in feedback.
I heard a version of this song on SiriusXM and it sounded like a more contemporary McCartney recording. He played it during something he was hosting on the Beatles channel. It was mixed very clean, very crisp and extremely tight… it was not live. Anyone know where I can find this recording?
i will never forget seeing him in 2005 in Sacramento play that song, stripped with piano, maybe some drums…. same night i heard I’ll Get You and Too Many People live.. Blew my mind. Good luck finding that track you heard on SIRIUS. Was it clearly a Post-Beatle recording?
I found it on YouTube aearching for an alternate take
Regarding whether John played bass (would he have used a Fender VI that early?) on this, with the new Reissue and outtakes it becomes more intriguing. Got to go back up there and see what you all said that i read last year. That said, i just found this Giles Martin quote. As a bassist, this means much to me; GAWD i love this song and album.
““Fixing a Hole” features two bass parts, including McCartney’s, later overdubbed at Abbey Road. “On the tape from Regent Sound—it’s a 4-track tape—I think it’s Paul playing harpsichord, John’s playing bass, Ringo’s playing drums. George is probably talking to Jesus—or arguing with him!” Martin laughed.”
https://www.mixonline.com/blog/2435
So that conflicts with the above that George Martin was on Harpsichord (sounds like Paul) and it does sound like a lackluster Lennon bass part on the early basic track.. So confusing all the various theories. Remain confused.. Will have to listen harder now.
Thanks Martin. I went back to the book from the Sgt Pepper 50th anniversary box set, which contains some new findings about the sessions, and rewrote this page and the two recording session pages. It seems that they added an entire new rhythm track during the second session, with McCartney on bass and Martin on harpsichord, and Starr on drums. This was in addition to the first rhythm track from 9 February, which had McCartney on harpsichord, most likely Lennon on bass, and Starr on drums/maracas.
I think it’s correct now, although the book does also claim that McCartney is on guitar, yet contains no more information about that.
Richard Lush who was present during the Abbey Road overdub claims that John played a Fender bass that day. So the additional backing track was most probably played in the same line up as in Regent (Paul harpsichord, John on bass), which actually makes more sense. The new bass part features same problems with timing of the riff during the “where it will go” phrase, Paul would be better, imo.
How would Richard Lush know that John played a Fender bass? He wasn’t even present for the taping of the basic track at Regent Sound, being an EMI employee, and besides, the more prominent bass part is clearly reminiscent of Paul’s distinctive melodic style and the tone is clearly his Rickenbacker.
Please re-read my post carefully, I didn’t say anything about the backing track from Regent. I’m talking about the EMI drums/harpsichord/bass overdub session. That’s when Lush claims John was playing a Fender bass.
Sorry Harry, my bad.
Richard Lush’s claims of John playing a Fender bass are patently incorrect, because there was no Fender bass owned by the band then, either right-handed or left-handed, and if George Martin was playing the harpsichord during the EMI overdub of bass, harpsichord and drums that you mentioned, Paul naturally would’ve been on his Rickenbacker bass and Ringo would’ve been on the drums.
i will never forget seeing him in 2005 in Sacramento play that song, stripped with piano, maybe some drums…. same night i heard I’ll Get You and Too Many People live.. Blew my mind. Good luck finding that track you heard on SIRIUS. Was it clearly a Post-Beatle recording?
This and “A Day in the Life” are my favorite tracks on Pepper. Great guitar work by George and the tone is incredible. The harpsichord really pushes the rhythm forward in way that a guitar especially and acoustic guitar couldn’t. There’s no way that’s John playing bass.
Well, the studio conversation reveals it IS John on bass, Paul played the harpsichord.
The bass part is full of mistakes, even cuts off in one place. It screams Lennon.
Also, it’s very simple and repetitive. Paul was more adventurous hardly ever repeating the same part for another verse or chorus.
“I’m taking the time for a number of things that weren’t important yesterday”. What a great lyric on a great album!
Paul must have overdubbed the final bass part. He wouldn’t have allowed the bass to be that high in the mix if he wasn’t playing it himself. The final recording has got to be a combination of John and Paul playing bass with much more emphasis on Paul. As for the mistakes, Geoff Emerick said in his book that the mistakes in their playing were often kept and then emphasized in the mixes such as on Polythene Pam. Paul was very precious about his bass lines up to and during the Sgt. Pepper sessions, and he did not comfortably allow any of the others play the bass until the White Album. In fact, with the exception of She Said She Said, I believe Paul played all the bass parts on every song from every album up to and including Magical Mystery Tour. If John or George played bass on any of those albums, Paul would definitely have recorded a new bass part as an overdub.
It was only natural for Paul to replace John or George’s bass parts with his own, because he was The Beatles’ usual bassist, and although John played bass on the early takes of “Let it Be”, Paul replaced it with his own for the final release. If John or George had learned that Paul had replaced their bass playing with his own, I doubt that they would’ve cared, since they were both guitarists.
Mark Lewisohn discovered that the basic track for “She Said She Said” actually had two guitars, bass and drums, so Paul must’ve been playing bass on that before walking out of the session.
George plays bass on Good Day Sunshine from ’66 and it has been confirmed when the Revolver box set came out that Paul did actually play bass on She Said, She Said.
Someone above mentioned Paul reinterpreted his songs to appear “cooler” as noted by blackbird song in book Many Years From Now. There’s actually a Donovan audio tape found on Steve Hoffman music forum where Donovan, who went to India when Blackbird song was composed…..in the audio Donovan confirmed that Blackbird song was about civil rights.
Thus, this is one of the very few Beatles songs with a famous third party witness there at the time who confirms McCartney’s inspiration and McCartney even ran the song by Diana Ross so as not to offend blacks or black artists. I really hope this comment gets posted because I’ve read folks doubting Paul on several forums, but there’s actually an audio from a third party musician from the time there when the song was composed. He didn’t mention the story during performance of the song to wings over America as the song was part of an acoustic set performed to younger Wings audiences.
I have absolutely NO provable qualifications with which to back up my conclusions here, but I know I have very sharp ears and very good judgment of musical nuances (been jazz organist for many years), and since no-one posting here has any real factual information with which to legitimize their opinions, I’ll dive in with my own. (I have long loved this beautiful song for 50 years, too!)
My conclusion is that George Martin played the very clever intro in order to sort-of kickstart the tune, then went back upstairs, leaving the rest of the harpsichord to Paul’s very capable hands. It is the TIMING of the rest of the harpsichord part that is so characteristic of Paul’s playing; the attack and release of his chords.