Written while under the influence of LSD, ‘It’s All Too Much’ was the second song by George Harrison to feature on the Yellow Submarine soundtrack.
‘It’s All Too Much’ was written in a childlike manner from realizations that appeared during and after some LSD experiences and which were later confirmed in meditation.
Based on a droning G chord, ‘It’s All Too Much’ transposed the continuing influence of Indian music onto a psychedelic setting. The lyrics combined the cosmic philosophy favoured by Harrison with some nursery rhyme-style whimsy.
It’s all too much for me to take
The love that’s shining all around here
All the world’s a birthday cake,
So take a piece but not too muchSail me on a silver sun, for I know that I’m free
Show me that I’m everywhere, and get me home for tea
‘It’s All Too Much’ contained a couplet from The Merseys’ 1966 hit single ‘Sorrow’: “With your long blonde hair and your eyes of blue”. The trumpeters, meanwhile, performed a motif from Jeremiah Clarke’s ‘Prince of Denmark’s March’, also known as ‘Trumpet Voluntary’.
I just wanted to write a rock ‘n’ roll song about the whole psychedelic thing of the time. Because you’d trip out, you see, on all this stuff, and then whoops! you’d just be back having your evening cup of tea! ‘Your long blond hair and your eyes of blue’ – that was all just this big ending we had, going out. And as it was in those days, we had the horn players just play a bit of trumpet voluntarily, and so that’s how that ‘Prince of Denmark’ bit was played. And Paul and John just came up with and sang that lyric of ‘your eyes of blue’.
The version used on the film soundtrack was 6’28” long. An eight-minute mix, meanwhile, has appeared on Beatles bootlegs, and contains a verse which also featured in the Yellow Submarine film.
Nice to have the time
To take this opportunity
Time for me to look at you
And you to look at me.
In the studio
Recording began with the working title ‘Too Much’, at De Lane Lea Studios in London. On 25 May 1967 The Beatles recorded a number of rehearsal run-throughs before taping four takes of the rhythm track – Hammond organ, lead guitar, bass and drums.
On 31 May they returned to De Lane Lea, adding percussion, lead and backing vocals, and handclaps.
John and Paul’s backing, meanwhile, started to waver a little, the chanted ‘too much’ eventually becoming ‘tuba’ and then ‘Cuba’. It was that sort of a song.
‘It’s All Too Much’ was completed on 2 June, with the addition of four trumpets and a bass clarinet. The session took place between 8.30pm and 2am. One of the trumpet players was David Mason, who also performed on ‘Penny Lane’, ‘A Day In The Life’, ‘Magical Mystery Tour’, and ‘All You Need Is Love’.
Given that all the guitar-playing Beatles were wonderful in their own ways, if you consider their styles, it becomes obvious that Paul plays the lead guitar on It’s All Too Much. In the 60s, Paul tended to solo in confidently improvisatory bursts and favored a wiry, stinging treble tone. Compare the tone and style here with his bits on Taxman, Sgt Pepper’s LHCB (the song), Good Morning Good Morning and The End. He’s pretty consistent. If you consider John’s style, he tends to play aggressive but fairly static chordal solos, as in You Can’t Do That, Yer Blues or The End – or else fairly simple licks as on Get Back or The Ballad of John and Yoko. John certainly never recorded anything in the 60s or 70s that sounds like the soloing on It’s All Too Much, even if he used feedback on I Feel Fine. George also frequently favored a trebly sound but his solos tended to be more organized and thought-out, with almost a loping gait or a swing to them, as on their rockabilly covers or, say, Fixing a Hole. George also never took a solo like this in any of his other recordings.
They were all great musicians and fully capable soloists, but It’s All Too Much is Paul all the way.
(Odd that the lead line drops out after a few minutes, don’t you think?)
@Ethan, your insightful explanation is the best I’ve seen regarding the lead guitar mystery of this song. This is the most compelling mystery of instrumentation to me due to the expressive character of the lead guitar throughout the recording. I agree with all of what you suggest above, especially when comparing with Paul’s relative guitar work during this recording period (spring 1967). In addtion, the events before and after May 25, 1967 are very interesting: all four members went to see Procul Harum perform the night before recording the basic tracks. Then, the night after this first recording session there was a party which Paul only did not attend, where John was still buzzing on Procul Harum. And finally after all sessions complete on this song, there was another concert attendance, only this time it was Paul and George to see Hendrix. All this considered, I’m leaning toward Paul laying down this expressive, exploratory lead guitar – feedback to lead fills (all one guitar) – and John on the rudimentary, droning bassline. Still surprising there is so little said about this extraordinary guitar recording!
Hi Speffley Bass, For a while I thought it might be Paul on lead guitar but I’ve realized with all the many years of listening to the Beatles you know just who there Lead Guitarist was. That opening cord feedback and guitar was indeed George Harrison. I believe it was all played on one Fender Stratocaster throughout the entire song. The way George utilized the droning effects of the feedback into his lead guitar is absolutely astounding. Never underestimate the sounds that George could produce with a Fender. Remember most of George’s previous lead guitar work was done with Rickenbacker’s and Gibson’s. He was no stranger to feedback himself and when played on a Strat he was spot on. That was not John or Paul. The Bass Guitar and cowbell is Paul all the way. Not even sure that John played any guitar on this one. If I’m correct that is some of George’s finest guitar playing.
As much as I love the guitar on this song, can I bring up the drums? For some reason, Ringo’s drumming during the Revolver/Sgt. Pepper’s era is absolutely astounding as we see here. It’s whirling and innovative, but it goes unnoticed by many it seems. Unfortunately, the original mix of this song featured on the Yellow Submarine is incredibly subpar and undermines the instrumental majesty on this song. Give me the Yellow Submarine Songtrack remix any day. It has so much more depth and really lets the guitar and drums shine.
Clearly it’s Lennon’s voice shouting “TO YOUR MOTHE” instruments kick in. That is definitely not George’s style and Lennon’s voice is easily recognizable.
He is saying “to Jorma!” As in Jorma Kaukonen the former Jefferson Airplane lead guitarist and early experimentor in feedback….
I doubt it. Paul knew Jorma, John didn’t yet. And it really doesn’t sound like Jorma.
Jorma Kaukonen played the guitar feedback on the beginning of ‘The Ballad of You and Me and Pooneil’ which if you listen to it, it has to be the inspiration for the beginning of All you need is love.
the “to Jorma” could not have been from Beatles listening to Ballad of You, Me and Pooneil because that wasn’t even recorded until after Its All Too Much. If it is John, saying “to Jorma” then it has to be from Paul who had visited the Airplane a few months previously and probably told the others about Jorma.
Your right it is not George on lead but rather John…See my comment on John’s guitar influence and experimentation with feedback on this tune. Too bad George Martin didn’t encourage more free flowing instrumentals. He was absent for this session and the band came together as they used to play live with intensity and vigor! Going to see Paul in Milwaukee at Summerfest on Friday!
Any vocals for this song would have been overdubs. Whoever is shouting at the beginning doesn’t really impact who is playing lead guitar on this song. This part is rather precise and complex and if this was John I’d think he would have mentioned this song at some point. I think McCartney is the most likely choice here.. it shares a lot in common with his guitar work in 1966-67 not to mention his guitar on McCartney and Ram(Maybe I’m Amazed, Too Many People) and the soloing on Wild Life . Let’s not forget Harrison on Hey Bulldog and Revolution and Everybody’s Got Something… so I’m open to it possibly being Harrison or McCartney and Harrison in combination.
I’m surprised that no Beatle has spent much time talking about this song. Either it is not much liked by Harrison a la Don’t Bother Me or McCartney’s guitar participation here was more of a sore point as the organ and guitar work generally fade to the background against George Martin’s horn arrangement and the overdubbed percussion. I’m thinking that the recording of this song and it’s eventual release 18 months later possibly points to some conflict and hard feelings over it’s recordings. Might have been something they didn’t want to revisit and it would be two years until the disdain for Harrison as a Beatle songwriter began to lift.
One more possibility is that a third party is involved. The guitar work does sound like the Beatles and it does have that Taxman, Good Morning, Hey Bulldog quality to it but maybe someone else help out using one of the guitars on hand. Also.. whoever did the Songtrack remix might have some insights.
Actually, this is the one song that was not remixed for the soundtrack album (though the short version was for the movie itself). It’s still the same crappy mix – who would do it that way twice?
You can read articles in 1998 talking about the remix. You should be able to find the Yellow Submarine Songtrack album and you will hear that all songs were remixed for this album. They were mixed from 1st generation recordings where possible as Giles has done for Pepper and the White Album. You can hear in the remix that the horns come in 1 bar late for the final chorus vs the original mix they come in immediately. Also listening to the remix will reveal deep bass and Ringo’s bass drum sounding like it’s in the room. For me it is worth the price of the Songtrack( not the soundtrack! reissued in 2009… the SONGTRACK of 1998 briefly reissued in 2012 and available on some streaming services).
Jester, it evidently seems to me that maybe the Beatles want to keep this song a mystery or let there closest followers or in fact the whole music world a big secret. Hey that’s alright with me. Who do you really think is playing the feedback and guitar ? It sounds like it was played one just one Fender Stratocaster guitar. Now I just strongly believe it was not Paul McCartney because he was surely playing bass guitar and a cowbell. Honestly that’s just not Paul’s finger picking sound or style protruding from a guitar. Yes John had a knowledge for feedback but it’s just not his way of attempting to play lead guitar but I could be wrong. Unless the Beatles hired a session guitarist to take on that explosive distortion of feedback and precision guitar playing role then we all know just who there Lead Guitarist was. There’s no doubt that George Harrison himself was quite capable of creating that type of droning feedback but really what convinces me is that pure George Harrison guitar playing. Now remember that all of his previous lead guitar playing was done with Rickenbacker’s and Gibson’s. Now when done with a Fender Strat George had a slightly different sound jetting from his guitar. Like I’ve said it seems the Beatles want to keep this song well guarded but with all the years listening to there music I would have to go with George. I believe he opened the song with “to your mother ?”, evidently wrote the song and played the organ right. But what really convinces me is that pure George Harrison style and sound of his guitar playing. It’s truly his song.
No dought it’s George Harrison playing lead guitar. That’s not John’s style or sound. The lead guitar on Sgt.Pepper Reprise played by George is unmistakable to the lead guitar on It’s all too much. Compare the two leads and it’s George for sure. Anyone agree??
Since they’re chanting ‘too much, too much, too much’ at the end of the song, it’s likely John blurting out ‘Tooo-oo Much’ at the start while adding vocal overdubs.
Sounds like George for sure !!
I believe John is saying “to your muff”
Correct- muff was a naughty slang for girlfriend back then- muff diving and the such- they’d allso used fish and finger pie!
It sounds so much like Paul, especially considering George actually says it in an interview, in answer to a question about that song I think, that Paul played the feedback. He had Paul play it because he himself was playing the organ. The feedback seems to lead into the actual guitar playing thus if Paul is playing the feedback, Paul is playing the guitar part. In an interview in Rolling Stone in June 1999 I think. Why would George credit Paul with anything unless Paul actually did it? If he could have thought of any reason to “think” John played it, he’d have credited John before Paul.
Plus it seems like people are going by their stereotypes again and forgetting just how into Jimi Hendrix Paul was during this period and he was playing a lot of guitar too. Paul definitely would have been into this sort of thing AND it was George’s idea to play the feedback anyway, it just happened to be Paul playing the guitar to do it. So it was George’s idea, he wanted it that way.
That’s Paul playing on It’s All Too Much, if I had something worthwhile to bet, I’d bet on it. LOL
In any case there is more evidence Paul played it than John played it and it sounds far more like his style(plus if I remember correctly John was at this period kind of sometimes not really wanting to work much on George’s songs, for whatever reason(I could have the time period wrong but I swear it was this Sgt Pepper/Magical Mystery Tour period where John seemed to become reluctant to put much work onto George’s songs). So I don’t know why John is listed so definitively as the lead guitarist. The bass part isn’t all that complicated, it’s the sort of thing John could play.
That’s why in a way it’s funny that George was so outright resentful of Paul, Paul would at least put time and effort into his songs – even if only after making them do 250 takes of his songs whereas John half the time couldn’t be bothered. I really put most of it down to Paul and George being friendly before they were in a group together and being close in age(they were only 9 months apart) and George never quite losing that adolescent hero worship of John. Not saying Paul didn’t earn his enmity but I think George gave John passes for things he’d never give Paul passes for.
George Martin said that John mucked around with feedback in Anthology, so this lends credence to most biographers’ assertions that he played the guitar feedback on IATM.
Hi Nina, you should never underestimate George Harrison. By the way I really like the ticking clock at the very end of the song.
It’s all too much is a masterpiece of a recording. True LSD based lyrics and musical structure. Makes you really wonder exactly what George Harrison what was thinking of in his mind when he wrote it. Of course John, Paul and Ringo were probably thinking the same in their own heads.
I agree wholeheartedly, the closing lead on Taxman could have easily come off the Band on the Run album, its so Paul its not funny
The mystery of the lead guitar part is still not solved, but I agree that it sounds a lot like Paul – and not like John at all. Another point: John´s Epiphone (which he played very extensively) had no vibrato unit (necessary for the beginning), while Paul´s had one. So my guess is that John played bass ( 5-string Fender) – and Paul played the lead guitar part on his Epiphone. Moreover when you listen to the bass lines they are too simple for Paul who would have made more of it.
BTW: Ringo´s drumming IS GEAT!
Agreed. The bass is just too simple for Paul, and the lead sounds like Paul, not John.
I know it has always been a controversial issue with many discrepancies regarding who played what, hence the guesswork based on their usual line-up and subsequent recollections that were not always 100% correct, but as I have stated unequivocally, it’s highly unlikely that John would’ve happily agreed to swapping guitar and bass roles with Paul, because the bass guitar was not an instrument that he liked playing, something that Ringo confirmed in an interview for the “Eight Days a Week”.
I have listened to the bass on “It’s All Too Much” and it is evidently a Rickenbacker bass played by the multitalented Paul, an experienced bassist who was never short of coming up with really good bass parts for whatever song, complex or simple; besides, a lot of authors indicate that it’s likely John playing the guitar himself and Paul was on the bass, since George was occupied with the organ.
Just because one is a good guitarist, it does not always automatically make them a good bassist, and it’s perhaps rather telling that John never once played bass as a solo artist, preferring to hire professional bassists for that job.
George used the top bass strings on “ two of us”. – which just proves by this time in there beings could all add differant sounds and techniques. Wonderfull!
John’s Fender Stratocaster did have a tremolo arm. How do I know this? I have seen a photograph of him at Abbey Road wearing a red shirt and playing his blue Fender Stratocaster (George had an identical model that he nicknamed Rocky) with a clearly visible tremolo arm.
Hi Gerry P., Do you actually believe that is Paul McCartney is playing that style of feedback and guitar? I can’t blame you for your feelings and output to Paul but it just never ceases to amaze me why so many people actually believe that Paul or John performed the feedback and electric guitar on this song. I certainly believe that Paul is playing bass guitar and a cowbell and there’s no doubt about that. Sir Paul can definitely play a Rickenbacker. As for John I don’t think the man played any guitar and that’s my gut feeling. Ringo’s drumming is spot on, right ? Now who is more than capable enough of really letting the world know that “It’s All Too Much” ? Please Gerry P. ask yourself that question. I am more than sure enough that I know. Please Gerry let me know after you think about it. Please
Hi Ethan, I don’t mean to be rude or sarcastic but what makes you so sure that Paul is playing lead guitar ? How long have you tuned in to the Beatles my friend ? Listen closely to All You Need Is Love or Sgt. Pepper Reprise. Both of those songs lead guitar parts I’m sure we’re played with a Fender Stratocaster by George right? Now tune in closely to It’s All Too Much and you might consider John playing a Strat. Possibly but please reconsider because I honestly don’t believe John could play a Strat that way or even played guitar on this song. Now think of who the Fab Four lead guitarist was. Now Ethan if your thinking George Harrison then you’ve made the big time. Never but never underestimate the one and only George Harrison. By the way I really like the ticking clock at the very end of the song.
George admitted he was on the organ so I think the theory that Paul played lead guitar makes sense, especially since it doesn’t sound like John. I can also see Paul working on that long, opening riff until he got it just right. Let’s update Wikipedia ?
Re the chants of “tooooo much!” You can hear one singer go one chorus beyond what he should have, and then speak “too much!”, in acknowledgement of his own mistake.
Funny, I never noticed. But when you listen for it, it’s quite obvious. Sussing out who the culprit is, is easy enough: it very much sounds like Paul.
The backing vocals are quite chaotic but listening close to them brings out some lovely moments. I like McCartney harmonizing this Indian type vocal melody just before the TOO MUCH stuff begins with Harrison.. then McCartney and Harrison do it again right at the end… also some nice ad libbed singng by McCartney. Although the song falls apart at points I think any new mix should go longer than 6 27 and maybe go all the way to the 8 minute ending with a little editing!
According to Mark Lewisohn, John and Paul sang backing vocals.
what are the first words heard at the top of the song? It certainly isn’t “it’s all too much” which some folks claim.
“To your mother”
“To Jorma” as in Jorma Kaukonen.
I agree that it’s “To your mother”, and it sure sounds like John.
(It)’s to you mother (f#ckers) I am talking.
Yes, it is certainly (It)’s to you mother (f#ckers). I think John Lennon is shouting these words!
God, Harrison was so underrated. He was writing at the level of his mates by Revolver. The albums should have been 1/3 split, released one every few weeks(!)….
Certainly should have gotten 2 albums out of 1966 and maybe another disc in that post Pepper Magical Mystery Tour era. Chaos had beset them by that time with Epstein’s passing and Krishnaism … but if they’d had their own studio and focused they could have created another early 64 or 1965 era there. Sadly it was not to be.
@turnedoutfine…The first words heard at the begining after feadback is George saying, ” To your mother!…” as something of aggressive statement because this is a rocking, in your face kind of song.
If anybody knows of a more biting and cleaned up version of this song please let me know. The original mix is a bit muddy and would like to see the rhythm backing more up front and the feedback at the begining more prominent and stinging.
I love the remix on the Yellow Submarine songtrack. Awesome song.
Hope you got the reissued vinyl Songtrack! I hope they rerelease it in 5..1
@dogbert0360… It is quite obviously John’s voice at the beginning of the song, not George’s. Some here claim he is saying “To Jorma” and others claim he is saying “To your mothe-“. I don’t claim to know exactly what’s being said, but it’s very clearly John’s voice.
This song is, without a doubt, my favorite Beatles song. And, in my humble opinion, the most underrated Beatles song by far.
Kyle
Great comment! While I wouldn’t say it is my absolute favorite song by the Beatles…it’s def up there among my favorites. Also while I have found the comments up to yours to be interesting, they are all very technical. I was waiting for someone to simply say…”this is a great song, I love it, and it’s so overlooked.” Which is exactly what you said. Thanks!
I think You Know My Name (Look Up The Number) takes the cake for most underrated Beatles song. I this song though. Does anyone know what that whooping sound is that sounds like clapping but really distorted is? It really adds to the song. Imagine if this song made it on Sgt. Pepper, that would’ve been amazing along with Only A Northern Song.
Makes one wonder… In 1967 the Beatles recorded three great album closers… Day in the Life, All You Need is Love and All Too Much. That Would have made an awesome side on Pepper. I too am a big fan of OANS and though it’s kind of a lark it’s a good song though truly incomplete. Lennon and McCartney both take pains to say that You Know My Name wasn’t much of a melody… which makes me think BOTH of them wish they’d taken a crack at really doing that one because I think it would have been an interesting idea for a song if an album had been made during the MMT to Lady Madonna era!
George Martin has stated in an interview that they rejected this song for Pepper as it was not ‘good enough’. Hard to see where it would fit into the Pepper running sequence and the ‘long blond hair’ lines are not Pepper worthy, although as a stand alone track they work. George Martin did wish they had included Penny Lane and Strawberry Fields.
The song rejected by George Martin for Pepper was ‘Only A Northern Song’ and not ‘It’s All Too Much’.
are we 100% that It John Lennon on lead guitar as you have listed ?? Doesnt sound like his style
I agree with you. It’s melodic and sweeping, like George’s style. I say it’s George, unless it’s physically impossible due to recording tracks/limitations.
I think it’s George too
George said the didn’t play the guitar because he was doing the organ. In an interview he said he believed Paul had done that.
The Beatles began recording “It’s All Too Much” on 25 May 1967 at De Lane Lea Studios,[41][42] located on Kingsway in central London.[43] With producer George Martin not in attendance that day, nor for the subsequent session, on the 26th,[44] the band produced the recording themselves.[35] The song had the working title of “Too Much”,[45] a phrase that journalist Robert Fontenot terms “beatnik vernacular for an experience that was exceptionally mind-blowing”.[46] The group taped four takes of the basic track, the final version of which extended to over eight minutes,[41] with Harrison playing Hammond organ, Lennon on lead guitar, Paul McCartney on bass, and Ringo Starr on drums.[4] The following day, they added overdubs, comprising vocals, percussion and handclaps.[41][44] In addition, according to authors Ian MacDonald and Kenneth Womack, Harrison also played lead guitar on the track.[35][47] – Wikipedia
Does anyone know why this wasn’t recorded at abbey road ? It seems a pretty “loose” track and i’m not certain that george martin was particularly involved (also stated in “revolution in the head”)
I’ve always loved this tune though, the bottom end is out of this world good and trippy. The version on the yellow submarine remaster is a big improvement.
Maybe because Abbey Road was already booked for other sessions and the guys wanted to do it right away?
True. Abbey Road Studios was not personally owned by The Beatles, but EMI, and the studios were used for other EMI acts too, including Cilla Black, Cliff Richard, The Shadows, Manfred Mann, Gerry and The Pacemakers, Pink Floyd, Shirley Bassey and others.
All the tracks on the songtrack were spectacular. I remember getting it and being blown away by the number of instruments you could now hear. The piano on Hey Bulldog never sounded better. I think all the tracks should be remixed because there are so many layers to Beatles tracks and it would be nice to hear them in the clarity of remixes.
Songtrack best thing that’s been done. A beautiful job done and the mixes might be better than what Giles is doing. I wish they’d released the album in surround.
I have a theory that the guitar is played in open G. Not sure if Paul ever dealt with different timings, but George was familiar and John was from his youth learning banjo. It’s prob between those two if that’s the case.
This song reminds me a lot of the earlier B-side Rain.
If you can listen to the 9 minute version .its stunning!
Are you sure that Lennon played all the guitar parts?
Steve Hillage’s version is pretty good too.
Flaming Lips Tribute To George!
On my fantasy re-worked Pepper album, 64 and Pepper Reprise are dropped. It’s All Too much precedes Day in the Life. Just as it fades out, Day fades in quietly. Would have been a flawless segue. But that’s just me…
I may have to disagree with George. I think the trumpet was a good break from the guitar overload… It was very well incorporated in the song, it made it more alive.
Agreed! It’s stode the test of time and is a really great track- and full of mystery!
Asset to “Yellow Submarine” album and film. George Harrison’s song written and recorded in 1967 epitomizes the Summer of Love. Though it was released some time later. I love the line “and get me home for tea”.
I read somewhere a theory that the intro is John yelling “To Jorma!,” as in Jorma Kaukonen, lead guitarist with the Jefferson Airplane. Jorma had been around John days earlier, as I recall reading.
i can’t get passed the fact of hearing the ‘S’. so i’ve always figured he was saying ‘Sue Your Mother’
Any thoughts on the odd double tracked hand clap. I have been recently listening to this song many times over (due to my kids love of Yellow Sub!) and the hand clap seems to have all kinds of stuff mixed into it. I can hear a voice track inside the claps for sure. I dont see any mention of anything unusual in the Lewishon book or Wiki page on the song
Totally agree. There is so much layering on this track that I wish Lewison had really broken this track down with more detail. It’s an awesome sounding song. Everything builds and builds and just leaves you completely satisfied.
Has anyone noticed many of the guitar licks and the tone sound so much like what U2’s The Edge uses on his tracks. I also don’t think it’s John on guitar. It just doesn’t like his style. To me it sounds like McCartney or Harrison.
I am not totally convinced John is playing lead here either. In fact I seem to remember an interview with George back after the new version of the Yellow Submarine Songtrack album came out where George said it was Paul.
I found the interview with George on Billboard.com for the original article titled “A New ‘Yellow Submarine Songtrack’ Due in Sept.” by Timothy White, and originally dated June 19, 1999.
On page 77 of this article, George states (in reference to “It’s All Too Much”):
“But, now, I don’t think I was playing the guitar feedback; as I say, I was playing the organ, so I think that was probably Paul that did that.”
Now, I’ll admit that this is not firmly conclusive, it’s clearly hard for the Beatles to remember every detail within a song so many years later. But using my musician’s ears together with my familiarity of each Beatle’s style, this is enough for me to believe that it was indeed Paul who played the playfully expressive lead guitar lines, with feedback, in this unique song by George Harrison.
And by process of elimination, the bass must have been played by John; all of the Beatles working as a collective to fully flesh-out George’s vision of a bombastic, psychedelic song which he led from the organ.
This fits with the comments that you and Ethan had earlier in this thread. Truth is, George wasn’t very interested in being a lead guitarist in 1967, and Paul was quite happy to take up the slack on numerous songs and have a ball doing it in his own inimitable way. (Somewhat true of ’66 as well — as with “Paperback Writer” and George’s own “Taxman”.)
This clearly is one of those songs where we need to be able to hear a session outtake to hear the voices of them talking to figure out whose playin that guitar. In the outtakes released with the anniversary pepper it was nice to hear voices and conversation that gave clues as to what they were playing. For example in with a little help George asks John what he’s playing and he hits the cowbell a few times. In songs where you don’t hear the bass you then know Paul is on keyboards or guitar. Come on Apple just release it all. Let the fans enjoy this stuff
“To your Mother” Definitely George.. After all he wrote the song!!
Definitely John. not George. Yes, George wrote the song, but that has nothing to do with the intro voice. Afterall, George wrote Taxman, but it’s Paul doing the intro count-in. The voice here is unmistakably John… it is also very characteristic of him.
Your kidding!!! George’s voice is unmistakable. How long have you been listening to the Beatles dude ??
Mike you are embarrassing yourself here..
The Intro count in on Taxman is most definitely George speaking. The timbre of the voice is George. The lead solo was played by Paul.
LOL. It’s John speaking at the beginning and also on guitar. Clean out your ears.
Sheldon is absolutely correct. George opens with 123412 and it’s him in the background counting up to 4. Paul plays a brilliant guitar solo.
It’s a great debate about the lead guitar here. Credited as John, the opening does sound like his The End/Plastic Ono Band multi-string roars and squeals. Ahh but then! We get into the Pauly Ticket To Ride/Taxman rocking out wild flamboyant runs, Then we have the George-like Indian influenced/Echo the melody lines going on. My vote is for Pauly though – it’s more his style. Discuss.
People have grown so accustomed to hyping up Paul’s guitar playing that I think it gets lost on folks sometimes just how wickedly good of a guitar player John Lennon was. He was easily capable of jamming like this on a good day. He said it himself, he could really make a guitar scream. He could wail. I hear stylistic remnants of the solo he played on You Can’t Do That, I even hear stylistic choices rooted all the way back to his guitar playing on Lonesome Tears In My Eyes. When John was manic he could come up with practically anything on a guitar.
You said it, Drake H.
I don’t know why Ian MacDonald had some misguided mission to incorrectly credit certain guitar parts to Paul when in reality, John and George played them.
That’s true – John himself stated that he was very skilled at making a guitar scream and George Martin says that he (John) mucked around with feedback, so it’s not unreasonable to assume that he played the guitar on this.
Hi John, you know who the Beatles lead guitarist was don’t you? Never underestimate George Harrison with a Strat…….
George forgot about singing the long blonde hair part, but I doubt he would have credited the out of this world guitar work on this to Paul if he was really himself. I think it was a live take, sounds like it. That puts john on bass!
The bass sounds too well-played to be John and besides, the tone resembles Paul’s Rickenbacker bass. AFAIK, they never had a 5-string Fender bass in their position.
As can clearly be heard on the vocals-only isolated track, George is saying ‘To Jorma!” But can someone tell me what the three of them are singing at 4:35 mark? Is sounds like ‘Me Your Day Kanishup’ – some kinda East India phrase maybe..?
Vocals only
Have no idea what they’re saying there….great isolation, though! where did you get that, and do you have more isolated tracks for that song?
Nope, I disagree, I still can’t tell for sure if it’s John or George, but it definitely sounds cut-off, so it could very well be something with “mother”…
‘We are dead, now listen’.
The vocal towards the end, infact it may be the very last lead vocal on it, sounds like ‘WE are Dead…..’ but I just read above that it’s actually an Indian phrase; for the longest time I thought he was singing we are dead though. A very high quality and yes CRIMINALLY UNDERRATED Beatles song (not just Harrison but Beatles song), that would have been such a wonderous addition on Pepper. I can’t help but think of songs that could have adorned the track listing on Pepper instead of When I’m Sixty Four which is about as corny as it gets with McCartney. Imagine this track straight after She’s Leaving Home, then Good Morning Good Morning, & to finish the album off with Within You Without you, the reprise & Day in the Life! To my mind Pepper is *interrupted* with When I’m 64 & if Strawberry Fields & this one were on it it WOULD be my favourite album of theirs, but as it stands I like Revolver & the White Album better.
There is no way it’s John on guitar. It sounds just like Paul, in fact his greatest performance on guitar. George said he thought it was Paul. John? Lol
It’s more than likely to be John.
I don’t know why so many people exaggerate Paul’s guitar contributions at the expense of John and George and John himself admitted that he could make a guitar scream.
Most people say that, because George said that he thought it was Paul.
A true masterpiece of a recording. George opening with “to your mother” and a great distorted feedback guitar leading into George’s organ playing. Also George’s lyrics are superb and really makes one wonder what was going on in his mind while on LSD. I’ve read that John played the amazing feedback and lead guitar was Paul’s contribution. Of course Ringo’s drumming is spot on. Just a well recorded song indeed.
While it forms a great sequence in the Yellow Submarine movie, it’s a shame that this song wasn’t released in 1967 (e.g. by being used in Magical Mystery Tour) as it’s so of its period, whereas by the time it was released commercially in 1969 it was far less “relevant”
Indeed maybe this should have been the B side to All you need is love, with Baby you’re a rich man being used as one of the 4 new YS songs
This song belonged on Magical Mystery Tour Lp as a replacement for Flying
Mate- how can you say that – flying was brilliant- the amount of tv programmes back in the seventies this could be heard on was truly amazing- we can all look at a Mona Lisa and think “ what if” but surely this was why 50+ years latter wer all still talking about them!
Since they tracked together as a band I believe Paul McCartney is playing a right handed strong Stratocaster on this track. And that’s why it sounds so elementary.
Paul wasn’t really into Fender Stratocasters – John and George had one each – and the assertion that he and John swapped bass and guitar roles for this song is so unconvincing.
Why on Earth would any Beatle announce “To your mother”, or “To Jorma,” an american slang and an American musician, respectively, in a song that has the very English lyric: “Show me that I’m everywhere, and get me home for tea?” I don’t buy it at all. Isn’t it common sense that a Beatle is simply announcing the then-title of the song “Too much?” Come on.
Not at all. There are American musicians that the Brits idealized. When 60s era Brit pop and rock stars were asked about their influences, many times, it’s old American blues musicians.
The guitar really doesn’t seem to be John. That sounds very much like the style of George Harrison.
There has been an insane amount of discussion about this, but George (per himself) wasn’t on guitar, he was on organ. I am well over 90% sure that Paul was playing lead guitar and John was on bass, for reasons illustrated by “Ethan” on 5 August 2014 towards the top of this thread. The lead guitar is much more in Paul’s style than John’s or George’s.
The bass, upon listening closely to the Yellow Submarine remix, is actually quite rhythmically sloppy, but it’s hard to hear because it mostly sounds like one long deep drone on G. So it’s pretty obviously not Paul; I am almost certain that it is John on a 6-string.
OK, after writing this much, I have found an isolated bass track.
This really seals the deal for me; it’s gotta be John on bass and Paul on guitar. Paul would have never played the bassline like this.
Thumbs up Steve. I see you have a good ear for George.
just a theory here- “Your mother should know” was recorded roughly in the same time period.
The mental image I always got was George screaming “..to your mother..”, just before launching
into the violent, screetching feedback. Hah, that will show her! She should have known better….
of course, this means he would have to multitrack this over his organ part, and anyway nobody can definitively say who is playing the part to further confuse things THE ONLY CLUE WE HAVE IS THAT THE GUITAR HAS A SWAY BAR- so look over the Beatles’ inventory and narrow things down.
To your mum…Lennon is saluting his mother by saying “to your mum” as Brit’s refer to their mothers as mum. It’s very clear in every recording I’ve listen too many times ! Lennon had no reason to tribute another player from another band! As far as a tribute to the use of feedback seems to me Harrison used it much earlier, on, I Feel Fine.
This will never be settled unless Paul (or Ringo?) chimes in (and probably not even then), but I’m in the “it’s Paul playing lead” camp. For all the reasons mentioned here, but also per Occam’s razor. I think we all agree that George was playing the Hammond organ, so that leaves Paul and John. If you listen to the isolated bass track (https://www.youtube.com/watch?v=maAys_vilrg), it’s interesting and it works great with the song, but it’s way too sloppy to be Paul – it’s got to be John. That leaves Paul on lead guitar.
The more I listen to this song the more I believe what a magnificent guitarist George Harrison really was. That is also his voice opening the song, not John. The feedback and guitar work is all done by one Fender Stratocaster guitar. George Harrison had an expert knowledge of feedback himself. Don’t ever underestimate him. The way he utilized the feedback into his lead guitar is absolutely brilliant. If I’m correct that is some of the finest guitar work George has ever done. Anyone agree??
Hi Fred, hey I really don’t want to be sarcastic but be serious man. If you can’t distinguish George Harrison’s lead guitar playing by now you never will. I actually said to myself once that yeah that’s gotta be Paul but what convinced me is that droning style feedback and pure George Harrison guitar playing that gave it away. That’s just not Paul’s style. As for John I doubt he even played guitar on this song. Fred, don’t ever underestimate the one and only George Harrison.
David, I will bet you just 1 dollar so if we ever cross paths I’ll collect. Yes John could make a guitar scream but George could do wonders with a Strat. Remember David you owe me a dollar.
I wish Paul or Ringo would speak up and settle the ‘lead guitar’ debate. Maybe it’s been so vague because they really hired a session guy to play it lol.
So think about the original backing track. Four guys playing, Ringo Drums, George on Organ. So that leaves John and Paul. Up to that point, there wasn’t any instance of John or George playing bass. And still being less than a year after their touring years, I would guess if they were going to play as a foursome, Paul would naturally take up his bass. The bass is buried in the mix, because those four parts of the backing track were mixed down onto one track from a four track tape, leaving 3 tracks open for overdubs. There was no bass overdub, and not other guitar overdubs.
The other thing that make it more like John on there is there are a lot of rhythm guitar strumming on there, and not enough bad notes (none-at-all) on the bass to indicate John played. If people think that Paul only played fancy bass, they can just listen to Tomorrow Never Knows.
Sorry, but your conclusions are based on incorrect assumptions. Well, both George and John played bass on the group’s songs recorded before It’s All Too Much.
There is no doubt that George played bass on Good Day Sunshine (sources: 1. “Track by Track” by Kevin Howlett, Revolver/Special Deluxe Edition/2021; 2. beatlesebooks.com).
In turn, John (most likely) played bass on Fixing A Hole, which master includes two bass parts (sources: 1. “Songs And Recording Details” by Kevin Howlett, Sgt. Pepper’s …/Special Deluxe Edition/2017; 2. “Beatles Gear” by Andy Babiuk, p. 391; 3. beatlesebooks.com). There may be some doubts as to what model of bass guitar it was, since the Fender VI came into the group’s possession no earlier than 1968. However, as Dave Rybaczewski aptly noted on his website beatlesebooks.com: “… the bass John could have used on this session was the right-handed Burns Nu-Sonic which was used by the band in 1966”.