Honey Don’t
Carl Perkins / 2:55
1964
MUSICIANS
Ringo: vocals, drums, tambourine
John: rhythm guitar
Paul: bass guitar
George: lead guitar
RECORDED
Abbey Road: October 26, 1964 (Studio Two)
NUMBER OF TAKES: 5
MIXING
Abbey Road: October 27, 1964 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineers: A. B. Lincoln, Ken Scott
Genesis
Pioneer of rock ’n’ roll and the true founder of rockabilly, Carl Perkins is the source of several hit songs during the 1950s. We can say that “Honey Don’t” launched the trend, since this song was on the B side of Perkins’s single “Blue Suede Shoes.” That single was recorded at Sun Records in December 1955; then it catapulted to the second position on the Billboard charts on March 10, 1956. The four from Liverpool added this song to their repertoire as early as 1962, well before taping it. John sang the song before Ringo took ownership of it. In May 1964, Carl Perkins met the Beatles during their UK tour with Chuck Berry. Ringo took the opportunity to ask for permission to sing some of his titles. Perkins did not hesitate for a second. In an interview, he confessed to Gary James: “Sincerely, I knew they were talented boys. But I never thought that they would become so big. No one thought that four guys from Liverpool would become so huge!” As for the Beatles, they could have told him they wanted to re-create the distinctive sound of Sun Records.
FOR BEATLES FANATICS
You can hear Ringo making a vocal skid at 0:33, followed in the next second by Paul, who pulls too hard on his bass string, which is a bit out of tune. Ditto for the second chorus (between 1:00 and 1:04), an extremely rare error on his part (left channel in the stereo).
Production
On October 26, the Fab Four were at the studio for their final recording session of Beatles for Sale. Ringo was happy: he was going to perform a new song, “Honey Don’t.” The song was recorded in five takes. Each of the Beatles played his usual instrument, with a tambourine added to support the rhythm. In the end, the piece was pretty close to the original, including George’s solo, which was virtually identical to Carl Perkins’s. Were they intimidated in the face of a master? If this was the case, it in no way compromised the cheerful and relaxed atmosphere of the interpretation. Ringo started the first George solo by saying “Ah, rock on George, one time for me!” and the second solo by a friendly “Ah, rock on George, for Ringo, one time!”
Every Little Thing
Lennon-McCartney / 2:01
1964
SONGWRITER
Paul
MUSICIANS
John: vocals, rhythm guitar (?), guitar lead (?)
Paul: bass, backing vocals, piano
George: rhythm guitar (?), guitar lead (?)
Ringo: drums, timpani
RECORDED
Abbey Road: September 29–30, 1964 (Studio Two)
NUMBER OF TAKES: 4
MIXING
Abbey Road: October 27, 1964 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineers: Ken Scott, Mike Stone
Genesis
According to Barry Miles, Paul composed the song on guitar at the Ashers’ house on Wimpole Street: “‘Every Little Thing,’ like most of the stuff I did, was my attempt at the next single …,”1 Paul said. Later, he submitted the song to Brian Epstein, who assembled a small committee to consider the new songs for the upcoming album. “I thought it was really catchy … it became an album filler rather than the great almighty single. It didn’t have quite what was required,”2 said Paul. However, Paul’s recollection is disputed. Some sources, based on a 1964 interview, put its composition at around August 30, while the Beatles were in Atlantic City during their American tour.
This charming love song appears to have been inspired by Paul’s fiancée, Jane Asher, although Paul did not confirm this. But he is certainly the primary author. John: “‘Every Little Thing’ is his song. I might have thrown something in.”3 The fact remains that it is a beautiful title, clearly underestimated. Indeed, George and Paul cited the song during rehearsals for the project Get Back as one of their favorite pieces at the time.
FOR BEATLES FANATICS
When the members of Yes recorded “Every Little Thing” in the spring of 1969, they obviously could not know that their future drummer, Alan White (he joined them in 1972), was on the verge of being hired by John Lennon to participate in the Toronto Rock and Roll Revival Festival on September 13. Similarly, they could not have imagined that White would participate in the recording of All Things Must Pass by George and Imagine by John.
Production
After twenty-five stops on their North American tour, including a memorable concert on August 23 at the Hollywood Bowl in Los Angeles, the Beatles returned to the studio on September 29. “Every Little Thing” was the first title they worked on that day. George was not at this first session. It took only four takes to tape it. After three, they nailed down the rhythmic part with John on acoustic guitar, Paul on bass, and Ringo on the drums. Although Paul is the author of the song, he only sang in unison and harmonized the choruses; John had the lead vocal. The next day, they resumed recording with George. According to Mark Lewisohn, the atmosphere was light and carefree. After five more takes, they added the intro using the Rickenbacker twelve-string, a low tone at the piano performed by Paul, and, for the first time, Ringo playing the timpani. In the intro, we can hear Paul, in the left channel of the stereo, hit a chord on his bass, which he “muffles” to guide the guitar overdub.
There are questions about the writing and recording of “Every Little Thing.” John performed the guitar solo using his famous Rickenbacker 325/12. Paul reportedly confirmed in 1964 that John played an electric guitar riff while George played the acoustic guitar. It is possible, but George was absent during the first session (on September 29) when they recorded the basic track. So who played the acoustic guitar? It is a mystery. October 27 was dedicated to the mono and stereo mixes.
I Don’t Want To Spoil The Party
Lennon-McCartney / 2:32
1964
SONGWRITER
John
MUSICIANS
John: vocals, rhythm guitar
Paul: bass, backing vocal
George: guitar, lead, backing vocals (?)
Ringo: drums, tambourine
RECORDED
Abbey Road: September 29, 1964 (Studio Two)
NUMBER OF TAKES: 19
MIXING
Abbey Road: October 26, 1964 (Studio ?) / November 4, 1964 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineers: Ken Scott, Mike Stone, Tony Clark
Genesis
Probably dating from their U.S. tour and definitely in a country and western style, “I Don’t Want to Spoil the Party” was originally written with Ringo in mind. According to John, it is a very personal song, reflecting either a love disappointment (with his wife?) or discomfort with success. The tone is like that of “I’m a Loser” or “No Reply”—nothing to smile about. Paul said he cowrote up to 20 percent of the song, pointing out: “Certain songs were inspirational, and certain songs were work—it didn’t mean they were any less fun to write.”1 “I Don’t Want to Spoil the Party” has known many covers, including by Rosanne Cash, who made a superb country version that went to number 1 on Billboard’s Hot Country Singles chart and on the Canadian RPM Country Tracks in June 1989.
Production
“I Don’t Want to Spoil the Party” required nineteen takes before being taped on September 29. The session began with seven takes, and then, after a pause, continued with twelve o
thers. Only five of them were complete, which suggests that the Beatles were struggling with it. George’s guitar is no doubt part of the problem. His playing, always inspired by Chet Atkins, is not clear, while John and Paul’s vocals were in perfect harmony and Ringo provided a metronomic rhythm supported by a tambourine on the bridges. The refrain, sung by John, Paul, and maybe George, emphasizes the end of the verses. The performance has a casual side, at variance with the lyrics. The mono mix was done on October 26, the stereo on November 4, the last session for Beatles for Sale.
Technical Details
Norman Smith decided to change the microphone on Ringo’s bass drum during two sessions on September 29–30. The 4033-A TCC was replaced by an AKG D20, which remained in use until the last album.
What You’re Doing
Lennon-McCartney / 2:31
1964
SONGWRITER
Paul
MUSICIANS
Paul: vocals, bass, piano (?)
John: rhythm guitar, backing vocals
George: lead guitar, backing vocals
Ringo: drums
George Martin: piano (?)
RECORDED
Abbey Road: September 29–30, 1964 (Studio Two) / October 26, 1964 (Studio Two)
NUMBER OF TAKES: 19
MIXING
Abbey Road: October 27, 1964 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineers: Ken Scott, Mike Stone, A. B. Lincoln
Genesis
According to Paul, “What You’re Doing,” which he wrote together with John, dates from their summer U.S. tour: “I think it was a little more mine than John’s—I don’t have a very clear recollection, so to be on the safe side I’d put it as 50/50.”1 John was more firm: “His song; I might’ve done something.”2 Clearly, the song did not make much of an impression on either one of them. As Paul also noted, “You sometimes start a song and hope the best bit will arrive by the time you get to the chorus.”3 Even though it was an engaging song, “What You’re Doing” struggled to take off. It was only “filler,”4 says Paul.
Production
The production of “What You’re Doing” had few problems. The first session was held on September 29, after the recording of “I Don’t Want to Spoil the Party.” The Beatles taped a basic track, with bass, drums, and guitars. After the seventh take, they decided to continue the next day. Ringo did not play during the introduction. John harmonized Paul’s vocal throughout the verses; the piano solo embraced George’s guitar riff, transposed by a semitone; and there was a brief piano/ bass break before the coda. Dissatisfied, they decided to try again another and final time on October 26. That day, Paul guided Ringo in the intro on the drum, directly inspired by “Be My Baby” by the Ronettes. The snare drum was covered with cloth. John replaced the harmonization of Paul’s vocal by the chorus that he shared with George, who gave a blistering guitar solo based on the piano part, which was quite inventive and probably played by George Martin. Some sources claimed that Paul was at the keyboard. This is difficult to confirm. The piece then took its final form, and take 19 was the best. “What You’re Doing” was mixed the following day in mono and stereo versions.
This song marked one of the first examples of the research and experimentation that the Beatles undertook in the studio. They aimed at perfection. Paul acted more and more as the leader, not hesitating to show his colleagues how to play their own instrumental parts.
FOR BEATLES FANATICS
In the third refrain, John and George sing other lyrics than Paul (after Please at 1:01 and You at 1:05).
Everybody’s Trying To Be My Baby
Carl Perkins / 2:23
1964
MUSICIANS
George: vocals, lead guitar
John: rhythm guitar
Paul: bass
Ringo: drums, tambourine
RECORDED
Abbey Road: October 18, 1964 (Studio Two)
NUMBER OF TAKES: 1
MIXING
Abbey Road: October 21, 1964 (Room 65) / November 4, 1964 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineers: Geoff Emerick, Ron Pender, Mike Stone
Genesis
To the success of “Honey Don’t,” we need to add “Everybody’s Trying to Be My Baby,” first recorded by Carl Perkins at the Memphis Sun Studios. This piece borrows its title and part of its lyrics from a hit by a country music singer of the 1930s, Rex Griffin, and was featured on the Dance Album of Carl Perkins, released in the United States in 1956. It’s a blues-rock ballad in the style of the legendary “Blue Suede Shoes.”
The Beatles had performed “Everybody’s Trying to Be My Baby” since 1961. It is a title they played from Hamburg to Liverpool, and they played it up to the end. George admired Perkins, particularly his guitar playing. Perkins was also his main influence during the group’s early years, as “Everybody’s Trying to Be My Baby” shows. With no original compositions of his own since “Don’t Bother Me” on With the Beatles, George delivered this performance on Beatles for Sale. Today, the original title is managed by MPL Communications Ltd., Paul McCartney’s company.
Production
“Songs like ‘Honey Don’t’ and ‘Everybody’s Trying to Be My Baby’ we’d played live so often that we only had to get a sound on them and do them,”1 said George. The recording date was set for October 18. “Everybody’s Trying to Be My Baby” was played live, under the same conditions as the first album. George, full of confidence and inspired by Carl Perkins, played with brio and made the recording in a single take. Geoff Emerick recalls, “He not only sang it enthusiastically, but he played the guitar with confidence. Even his solo, played live, was perfect.”2 The other three Beatles provided the accompaniment, John on his Gibson J-160 E, Paul on his Hofner, and Ringo on his Ludwig. There were overdubs afterwards, although Lewisohn did not mention it, for we hear a tambourine, probably played by Ringo, and George’s vocal, doubled on the choruses. The mono mix is from the October 21 session in Room 65, the so-called “experimental room,” and the stereo mix from the November 4 session in the control room of Studio Two.
Technical Details
The slapback echo, created with the STEED (Single Tape Echo/Echo Delay), was added to George’s vocals to create an effect characteristic of the pioneers of rock ’n’ roll. The echo was recorded together with the vocals, so the guitars leaking into the vocal mike ended up getting the same treatment.
FOR BEATLES FANATICS
In 1985, George played “Everybody’s Trying to Be My Baby” with Carl Perkins during a tribute titled Blue Suede Shoes: A Rockabilly Session. Among the guests: Ringo Starr, Eric Clapton, Dave Edmunds, and Rosanne Cash.
I Feel Fine / She’s a Woman
1964
SINGLE
RELEASED AS A SINGLE
Great Britain: November 27, 1964 / No. 1 on December 10, 1964
United States: November 23, 1964 / No. 1 on December 26, 1964
I Feel Fine
Lennon-McCartney / 2:19
1964
SONGWRITER
John
MUSICIANS
John: vocals, rhythm guitar
Paul: bass, backing vocals
George: lead guitar, backing vocals
Ringo: drums
RECORDED
Abbey Road: October 18, 1964 (Studio Two)
NUMBER OF TAKES: 9
MIXING
Abbey Road: October 21, 1964 (Room 65) / October 22, 1964 (Studio One) / November 4, 1964 (Studio Two)
TECHNICAL TEAM
Producer: George Martin
Sound Engineer: Norman Smith
Assistant Engineers: Geoff Emerick, Ron Pender, Mike Stone
Genesis
Upon its release in November 1964, “I Feel Fine” breezed to the top of British and American
charts. Before the end of the year, over a million singles had been sold. The Beatles then held a record: more than twenty songs on the Billboard charts—six of them number 1!
On October 6, while the Beatles were working on “Eight Days a Week,” John tried a new guitar riff between takes. It became “I Feel Fine,” a song “written during a recording session,” strongly inspired by “Watch Your Step” by Bobby Parker, whose riff had captivated John. He took credit for “I Feel Fine”: “That’s me completely.”1 Paul is not quite of the same opinion: “We sat down and cowrote it with John’s original idea.” In any case, we owe the Larsen effect of the opening to John. Paul said that during the same session on October 6, “We were just about to walk away to listen to a take when John leaned his guitar against the amp. I can still see him doing it. He really should have turned the electric off. It was only on a tiny bit, and John just leaned it against the amp when it went, ‘Nnnnnnwahhhhh!’ And we went, ‘What’s that? Voodoo!’ ‘No, it’s feedback.’ ‘Wow, it’s a great sound!’ George Martin was there, so we said, ‘Can we have that on the record?’”2 Happy with the effect and his riff, he told his friends that he had used them to write a song. A few days later, he told Ringo when he arrived at the studio: “I wrote the song, but it’s nothing.”3 “I Feel Fine” was to be their next number 1 single.
All the Songs Page 14