FEATURE: The Beatles at Fifty-Five: Ranking the Thirty Tracks

FEATURE:

 

 

The Beatles at Fifty-Five

IN THIS PHOTO: The Beatles on 28th July, 1968 during their ’Mad Day Out’ photo session in locations all across London: Gray’s Inn Road, Notting Hill, Highgate, Old Street, St. Pancras, Wapping, and finally St. John’s Wood (where Paul lived)/PHOTO CREDIT: Don McCullin
 

Ranking the Thirty Tracks

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RELEASED on 22nd November, 1968…

I am doing a run of feature about The Beatles’ eponymous album. A sprawling and brilliant thirty-track release, it is seen as one of the band’s best albums. I am going to rank the tracks from The Beatles. Before getting there, from The Beatles Bible give us some background and personnel details. There is no doubting the quality, variety and legacy of The Beatles. There is something in there for everyone:

“Peronnel

John Lennon: vocals, electric guitar, acoustic guitar, bass guitar, piano, organ, Hammond organ, harmonium, harmonica, tenor saxophone, drums, timpani, percussion, tape loops, effects, samples, handclaps
Paul McCartney: vocals, bass guitar, six-string bass guitar, piano, electric guitar, acoustic guitar, organ, Hammond organ, electric piano, flügelhorn, recorder, drums, tambourine, bongos, percussion, handclaps
George Harrison: vocals, electric guitar, acoustic guitar, bass guitar, Hammond organ, drums, percussion, samples, handclaps
Ringo Starr: vocals, drums, tambourine, bongos, castanets, sleigh bell, maracas, percussion, effects, handclaps
George Martin: piano, celesta, harmonium
Eric Clapton: lead guitar
Chris Thomas: piano, Mellotron, harpsichord, organ, electric piano
Yoko Ono: vocals, effects, samples, handclaps
Mal Evans: backing vocals, trumpet, handclaps
Pattie Harrison, Jackie Lomax, John McCartney: backing vocals, handclaps
Maureen Starkey, Francie Schwartz, Ingrid Thomas, Pat Whitmore, Val Stockwell, Irene King, Ross Gilmour, Mike Redway, Ken Barrie, Fred Lucas, various others: backing vocals
Jack Fallon, Henry Datyner, Eric Bowie, Norman Lederman, Ronald Thomas, Bernard Miller, Dennis McConnell, Lou Sofier, Les Maddox: violin
John Underwood, Keith Cummings, Leo Birnbaum, Henry Myerscough: viola
Eldon Fox, Reginald Kilbey, Frederick Alexander: cello
Leon Calvert, Stanley Reynolds, Ronnie Hughes, Derek Watkins, Freddy Clayton: trumpet
Leon Calvert: flügelhorn
Tony Tunstall: French horn
Ted Barker, Don Lang, Rex Morris, J Power, Bill Povey: trombone
Alf Reece: tuba
Dennis Walton, Ronald Chamberlain, Jim Chester, Rex Morris, Harry Klein: saxophone
Art Ellefson, Danny Moss, Derek Collins: tenor saxophone
Ronnie Ross, Harry Klein, Bernard George: baritone saxophone
Raymond Newman, David Smith: clarinet
Uncredited: 12 violins, three violas, three cellos, three flutes, clarinet, three saxophones, two trumpets, two trombones, horn, vibraphone, double bass, harp

The background

Although financially secure, critically and commercially acclaimed, and assured as figureheads of popular music, by the summer of 1968 The Beatles were in a degree of turmoil. The previous year they’d achieved possibly their crowning glory in Sgt Pepper’s Lonely Hearts Club Band, and suffered their first major artistic failure in the Magical Mystery Tour television film.

By 1968 The Beatles’ world had changed immeasurably from their early days. Having stopped touring in 1966, they were set free to explore the possibilities from inside the studio, and began enjoying the time that their fortunes allowed. Their musical output may have slowed from the mid-1960s, but their creativity was as strong as ever.

After Sgt Pepper changed the world, the world keenly awaited The Beatles’ next step. They had released just the six-track Magical Mystery Tour EP and the ‘Lady Madonna’ single since then, and there was widespread speculation in the press that they were a spent force.

While recording the album, the group was in the process of launching the multimedia business Apple Corps, while coping with various upheavals including drug busts, changing relationships and substance abuse.

The Beatles were old hands at dealing with such pressure. They turned away from the elaborate excesses of Sgt Pepper, recording instead a simple collection of 30 songs under an even simpler name: The Beatles.

George Martin later claimed he had wanted the group to omit the album’s weaker songs and focused instead on producing a solid single-disc release.

I thought we should probably have made a very, very good single album rather than a double. But they insisted. I think it could have been made fantastically good if it had been compressed a bit and condensed. A lot of people I know think it’s still the best album they made. I later learnt that by recording all those songs they were getting rid of their contract with EMI more quickly.

George Martin

Anthology

Ringo Starr agreed with the sentiment.

There was a lot of information on the double album, but I agree that we should have put it out as two separate albums: the ‘White’ and the ‘Whiter’ albums.

Ringo Starr

Anthology”.

I am going to come to my view regarding the very best songs on The Beatles. This is not a new thing. The Independent ranked the songs in 2022. Far Out Magazine had their say a couple of years ago. Billboard gave their ranking in 2018 on the fiftieth anniversary of The Beatles. This feature gives an interesting top ten decision (they ranked all thirty tracks); Ultimate Classic Rock marked the fiftieth anniversary with their rankling. The Beatles Bible put a John Lennon classic in the top spot. Some argue that The Beatles would make a great single album. I think that it would be impossible to do. One reason why The Beatles is great is because of its range and lesser tracks. Prior to The Beatles’ fifty-fifth anniversary on 22nd November, I wanted to rank the thirty tracks (huge thanks to The Beatles Bible for track information). Many have got there before me, but here is my ranking of an iconic album’s…

INCREDIBLE thirty songs.

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THIRTY: Wild Honey Pie

 

“Written by: Lennon-McCartney
Recorded: 20 August 1968
Producer: George Martin
Engineer: Ken Scott

Paul McCartney: vocals, acoustic guitar, drums

A solo recording by Paul McCartney, ‘Wild Honey Pie’ was a singalong written in Rishikesh, India, and recorded at the end of the session for ‘Mother Nature’s Son’.

[‘Wild Honey Pie’] was just a fragment of an instrumental which we were not sure about, but Pattie Harrison liked it very much, so we decided to leave it on the album.

Paul McCartney

In the studio

‘Wild Honey Pie’ was recorded on 20 August 1968, during the second and final session for ‘Mother Nature’s Son’. McCartney also recorded another demo, ‘Etcetera’, during the same session, but the song remains unreleased.

We were in an experimental mode, and so I said, ‘Can I just make something up?’ I started off with the guitar and did a multitracking experiment in the control room or maybe in the little room next door. It was very home-made; it wasn’t a big production at all. I just made up this short piece and I multitracked a harmony to that, and a harmony to that, and a harmony to that, and built it up sculpturally with a lot of vibrato on the strings, really pulling the strings madly. Hence, ‘Wild Honey Pie’, which was a reference to the other song I had written called ‘Honey Pie’. It was a little experimental piece.

Paul McCartney

Many Years From Now, Barry Miles”.

TWENTY-NINE: Piggies

 

“Written by: Harrison
Recorded: 19, 20 September, 10 October 1968
Producers: Chris Thomas, George Martin
Engineer: Ken Scott

George Harrison: vocals, guitar
John Lennon: tape loops
Paul McCartney: bass
Ringo Starr: drums, tambourine
Chris Thomas: harpsichord
Henry Datyner, Eric Bowie, Norman Lederman, Ronald Thomas: violins
John Underwood, Keith Cummings: violas
Eldon Fox, Reginald Kilbey: cellos

George Harrison began writing ‘Piggies’ in 1966, the same year he composed the similarly ascerbic ‘Taxman’. Although musically quite different, both songs contain social commentary about financial greed and class differences.

‘Piggies’ wasn’t recorded by The Beatles until late 1968. The song underwent some revisions beforehand, with lyrical contributions from John Lennon and Harrison’s mother Louise.

‘Piggies’ is a social comment. I was stuck for one line in the middle until my mother came up with the lyric, ‘What they need is a damn good whacking’ which is a nice simple way of saying they need a good hiding. It needed to rhyme with ‘backing,’ ‘lacking,’ and had absolutely nothing to do with American policemen or Californian shagnasties!

George Harrison”.

TWENTY-EIGHT: Birthday

 

“Written by: Lennon-McCartney

Recorded: 18 September 1968

Producer: Chris Thomas

Engineer: Ken Scott

Paul McCartney: vocals, bass guitar, piano, handclaps

John Lennon: vocals, tambourine, lead guitar, handclaps

George Harrison: vocals, lead guitar, handclaps

Ringo Starr: drums, handclaps

Pattie Harrison, Yoko Ono: backing vocals, handclaps

Mal Evans: handclaps

The opening song in the second half of The Beatles’ White Album, ‘Birthday’ emerged from a jam in Abbey Road’s studio two.

The Beatles had scheduled an earlier start for their 18 September 1968 session, in order to watch the classic rock ‘n’ roll film The Girl Can’t Help It. It was showing that night for the first time on British TV, on BBC Two between 9.05 and 10.40pm.

I had mentioned to Paul a couple of days earlier about The Girl Can’t Help It being on television during this evening. The idea was to start the session earlier than usual, about five o’clock in the afternoon, and then all nip around the corner to Paul’s house in Cavendish Avenue, watch the film and go back to work.

So on the day Paul was the first one in, and he was playing the ‘Birthday’ riff. Eventually the others arrived, by which time Paul had literally written the song, right there in the studio. We had the backing track down by about 8.30, popped around to watch the film as arranged and then came back and actually finished the whole song. It was all done in a day!

Chris Thomas

The Complete Beatles Recording Sessions, Mark Lewisohn”.

TWENTY-SEVEN: Savoy Truffle

 

“Written by: Harrison

Recorded: 3, 5, 11, 14 October 1968

Producer: George Martin

Engineers: Barry Sheffield, Ken Scott

George Harrison: vocals, lead guitar

Paul McCartney: harmony vocals, bass guitar, tambourine, bongos

Ringo Starr: drums

Chris Thomas: organ, electric piano

Art Ellefson, Danny Moss, Derek Collins: tenor saxophones

Ronnie Ross, Harry Klein, Bernard George: baritone saxophones

A lighthearted song written by George Harrison, ‘Savoy Truffle’ was inspired by his friend Eric Clapton’s gluttonous love of chocolate.

‘Savoy Truffle’ on the White Album was written for Eric. He’s got this real sweet tooth and he’d just had his mouth worked on. His dentist said he was through with candy. So as a tribute I wrote, ‘You’ll have to have them all pulled out after the Savoy Truffle’. The truffle was some kind of sweet, just like all the rest – cream tangerine, ginger sling – just candy, to tease Eric.

George Harrison, 1977

In his autobiography I Me Mine, Harrison explained that the song was inspired by a box of Mackintosh’s Good News chocolates. Many of the lines came directly from the varieties of chocolate in the boxes, although Cherry Cream and Coconut Fudge were Harrison’s own inventions”.

TWENTY-SIX: Yer Blues

 

“Written by: Lennon-McCartney

Recorded: 13, 14, 20 August 1968

Producer: George Martin

Engineer: Ken Scott

John Lennon: vocals, backing vocals, lead guitar

Paul McCartney: bass

George Harrison: lead guitar

Ringo Starr: drums

John Lennon’s most emotionally-revealing moment on the White Album, ‘Yer Blues’ was written in Rishikesh, India. Balanced deftly between parody and earnestness, the song anticipated the raw, revelatory and confessional spirit of Lennon’s solo work – most notable in ‘Cold Turkey’ and the John Lennon/Plastic Ono Band album.

‘Yer Blues’ was written in India, too. The same thing up there trying to reach God and feeling suicidal.

John Lennon

All We Are Saying, David Sheff

A cause of his anguish may have been Yoko Ono. Although their relationship had yet to begin, Ono wrote regularly to Lennon from England, and it is likely that she is the ‘girl’ the song is addressed to.

The funny thing about the [Maharishi’s] camp was that although it was very beautiful and I was meditating about eight hours a day, I was writing the most miserable songs on earth. In ‘Yer Blues’, when I wrote, ‘I’m so lonely I want to die,’ I’m not kidding. That’s how I felt.

John Lennon

Anthology”.

TWENTY-FIVE: Don't Pass Me By

 

“Written by: Starkey
Recorded: 5, 6 June, 12, 22 July 1968
Producer: George Martin
Engineers: Geoff Emerick, Ken Scott

Ringo Starr: vocals, piano, sleigh bells, percussion
Paul McCartney: piano, bass guitar, drums
Jack Fallon: violin

Ringo Starr’s first recorded composition, ‘Don’t Pass Me By’, was written several years before its 1968 release on the White Album.

‘Don’t Pass Me By’ was mentioned by the group way back on 14 July 1964, during an introduction to ‘And I Love Her’ for the first edition of the BBC radio music series Top Gear. Starr was asked if he had plans to write songs, and replied that he had written one. Paul McCartney then interjected by singing “Don’t pass me by, don’t make me cry, don’t make me blue”.

In June 1964, during a radio interview in New Zealand, Starr playfully urged the rest of the group to “sing the song I’ve written, just for a plug”. Other press reports from as early as 1963 mention the song”.

TWENTY-FOUR: Why Don't We Do It in the Road?

 

“Written by: Lennon-McCartney
Recorded: 9, 10 October 1968
Producer: Paul McCartney
Engineer: Ken Townsend

Paul McCartney: vocals, acoustic guitar, lead guitar, piano, bass, handclaps
Ringo Starr: drums, handclaps

Recorded during the late stages of work on the White Album, ‘Why Don’t We Do It In The Road?’ was a spontaneous recording by Paul McCartney with assistance from Ringo Starr.

The song was recorded while John Lennon and George Harrison were working on other songs. Lennon later described McCartney’s decision as hurtful, explaining that it represented the fragmented way in which the group’s members had taken to recording songs in 1968.

That’s Paul. He even recorded it by himself in another room. That’s how it was getting in those days. We came in and he’d made the whole record. Him drumming. Him playing the piano. Him singing. But he couldn’t – he couldn’t – maybe he couldn’t make the break from The Beatles. I don’t know what it was, you know. I enjoyed the track. Still, I can’t speak for George, but I was always hurt when Paul would knock something off without involving us. But that’s just the way it was then.

John Lennon, 1980

All We Are Saying, David Sheff”.

TWENTY-THREE: Rocky Raccoon

 

“Written by: Lennon-McCartney
Recorded: 15 August 1968
Producer: George Martin
Engineer: Ken Scott

Paul McCartney: vocals, acoustic guitar, bass guitar
John Lennon: backing vocals, harmonica, harmonium, six-string bass
George Harrison: backing vocals
Ringo Starr: drums
George Martin: piano

A jokey song about a cuckolded young American man seeking revenge against a love rival, ‘Rocky Raccoon’ was written in India by Paul McCartney in early 1968.

Paul [wrote it]. Couldn’t you guess? Would I go to all that trouble about Gideon’s Bible and all that stuff?

John Lennon
All We Are Saying, David Sheff

McCartney wrote the song on the roof of the ashram in Rishikesh, with John Lennon and Donovan Leitch also helping out.

‘Rocky Raccoon’ is quirky, very me. I like talking blues so I started off like that, then I did my tongue-in-cheek parody of a western and threw in some amusing lines. I just tried to keep it amusing, really; it’s me writing a play, a little one-act play giving them most of the dialogue. Rocky Raccoon is the main character, then there’s the girl whose real name was Magill, who called herself Lil, but she was known as Nancy.

Paul McCartney

Many Years From Now, Barry Miles”.

TWENTY-TWO: Mother Nature's Son

 

“Written by: Lennon-McCartney
Recorded: 9, 20 August 1968
Producer: George Martin
Engineer: Ken Scott

Paul McCartney: vocals, acoustic guitar, drums, timpani, bass
Uncredited: two trumpets, two trombones

Written by Paul McCartney, ‘Mother Nature’s Son’ was inspired by a lecture on nature given by Maharishi Mahesh Yogi in India, although the song was mostly completed in Liverpool.

I seem to remember writing ‘Mother Nature’s Son’ at my dad’s house in Liverpool. I often used to do that if I’d gone up to see him. Visiting my family I’d feel in a good mood, so it was often a good occasion to write songs. So this was me doing my mother nature’s son bit. I’ve always loved the [Nat King Cole] song called ‘Nature Boy’: ‘There was a boy, a very strange and gentle boy…’ He loves nature, and ‘Mother Nature’s Son’ was inspired by that song. I’d always loved nature, and when Linda and I got together we discovered we had this deep love of nature in common. There might have been a little help from John with some of the verses.

Paul McCartney

Many Years From Now, Barry Miles”.

TWENTY-ONE: While My Guitar Gently Weep

 

“Written by: Harrison
Recorded: 25 July; 16 August; 3, 5, 6 September 1968
Producer: George Martin
Engineer: Ken Scott

George Harrison: vocals, backing vocals, acoustic guitar, Hammond organ
John Lennon: organ
Paul McCartney: backing vocals, bass guitar, piano, organ
Ringo Starr: drums, tambourine, castanets
Eric Clapton: lead guitar

George Harrison’s most celebrated song on The Beatles’ White Album, ‘While My Guitar Gently Weeps’ was inspired by the I Ching, and featured his friend Eric Clapton on lead guitar.

Harrison began writing the music for the song in India, although the lyrics were mostly completed upon his return to England.

I wrote ‘While My Guitar Gently Weeps’ at my mother’s house in Warrington. I was thinking about the Chinese I Ching, the Book of Changes… The Eastern concept is that whatever happens is all meant to be, and that there’s no such thing as coincidence – every little item that’s going down has a purpose.

‘While My Guitar Gently Weeps’ was a simple study based on that theory. I decided to write a song based on the first thing I saw upon opening any book – as it would be a relative to that moment, at that time. I picked up a book at random, opened it, saw ‘gently weeps’, then laid the book down again and started the song.

George Harrison

Anthology”.

TWENTY: Good Night

 

“Written by: Lennon-McCartney

Recorded: 28 June; 2, 22 July 1968

Producer: George Martin

Engineers: Geoff Emerick, Peter Bown, Ken Scott

Ringo Starr: vocals

George Martin: celesta

Ingrid Thomas, Pat Whitmore, Val Stockwell, Irene King, Ross Gilmour, Mike Redway, Ken Barrie, Fred Lucas: backing vocals

Uncredited: 12 violins, three violas, three cellos, three flutes, clarinet, horn, vibraphone, double bass, harp

‘Good Night’, the tender closing song on the White Album, was written by John Lennon as a lullaby for his son Julian, and sung by Ringo Starr.

After ending their previous two albums with the monumental ‘Tomorrow Never Knows’ and ‘A Day In The Life’, the White Album too was brought to a close by another Lennon song. ‘Good Night’, however, couldn’t have been more different. With its almost-schmaltzy arrangement, it served as a necessary antidote to ‘Revolution 9’.

Everybody thinks Paul wrote ‘Good Night’ for me to sing, but it was John who wrote it for me. He’s got a lot of soul, John has.

Ringo Starr, 1968

No members of The Beatles other than Starr appear on the recording. Instead, a lavish orchestral arrangement was scored by George Martin, transporting listeners back to the golden age of Hollywood.

‘Good Night’ was written for Julian the way Beautiful Boy was written for Sean, but given to Ringo and possibly overlush.

John Lennon

All We Are Saying, David Sheff”.

NINETEEN: Everybody's Got Something to Hide Except Me and My Monkey

 

“Written by: Lennon-McCartney

Recorded: 26, 27 June; 1, 23 July 1968

Producer: George Martin

Engineers: Geoff Emerick, Ken Scott

John Lennon: vocals, guitar, percussion, handclaps

Paul McCartney: backing vocals, bass, percussion, handclaps

George Harrison: backing vocals, lead guitar, percussion, handclaps

Ringo Starr: drums, percussion, handclaps

A bridge between the willful nonsense of ‘I Am The Walrus’ and the confessional songs of his early solo career, ‘Everybody’s Got Something To Hide Except Me And My Monkey’ was written by John Lennon about his relationship with Yoko Ono.

That was just a sort of nice line that I made into a song. It was about me and Yoko. Everybody seemed to be paranoid except for us two, who were in the glow of love. Everything is clear and open when you’re in love. Everybody was sort of tense around us: you know, ‘What is she doing here at the session? Why is she with him?’ All this sort of madness is going on around us because we just happened to want to be together all the time.

John Lennon

All We Are Saying, David Sheff”.

EIGHTEEN: Julia

 

“Written by: Lennon-McCartney
Recorded: 13 October 1968
Producer: George Martin
Engineer: Ken Scott

John Lennon: vocals, acoustic guitar

‘Julia’ was written by John Lennon for his mother, who died in a road accident in 1958. It is the only solo Lennon recording in The Beatles’ canon.

The song was written in India. Like ‘Dear Prudence’ and ‘Happiness Is A Warm Gun’, it contained the fingerpicking guitar style taught to Lennon by Donovan

Some afternoons we would gather at one of our pads and play the acoustic guitars we had all brought with us. Paul Horn, the American flute wizard, was there. John was keen to learn the finger-style guitar I played and he was a good student. Paul already had a smattering of finger style. George preferred his Chet Atkins style. John wrote ‘Julia’ and ‘Dear Prudence’ based on the picking I taught him.

Donovan

Many Years From Now, Barry Miles”.

SEVENTEEN: The Continuing Story of Bungalow Bill

 

“Written by: Lennon-McCartney
Recorded: 8 October 1968
Producer: George Martin
Engineer: Ken Scott

John Lennon: vocals, acoustic guitar, organ
Paul McCartney: backing vocals, bass
George Harrison: backing vocals, acoustic guitar
Ringo Starr: backing vocals, drums, tambourine
Yoko Ono: vocals, backing vocals
Chris Thomas: Mellotron
Various others, including Maureen Starkey: backing vocals

‘The Continuing Story Of Bungalow Bill’ was written by John Lennon in 1968 in Rishikesh, India. It was inspired by an American visitor who departed for a tiger-killing spree before returning to the ashram to seek spiritual enlightenment.

That was written about a guy in Maharishi‘s meditation camp who took a short break to go shoot a few poor tigers, and then came back to commune with God. There used to be a character called Jungle Jim and I combined him with Buffalo Bill. It’s a sort of teenage social-comment song and a bit of a joke. Yoko’s on that one, I believe, singing along.

John Lennon

All We Are Saying, David Sheff

In light of Lennon’s antipathy towards Paul McCartney’s ‘Ob-La-Di, Ob-La-Da’, it may seem odd that he was responsible for this overly frivolous singalong that appeared on the White Album”.

SIXTEEN: Sexy Sadie

 

“Written by: Lennon-McCartney
Recorded: 19, 24 July; 13, 21 August 1968
Producer: George Martin
Engineer: Ken Scott

John Lennon: vocals, backing vocals, acoustic guitar, rhythm guitar, Hammond organ
Paul McCartney: backing vocals, bass, piano
George Harrison: backing vocals, lead guitar
Ringo Starr: drums, tambourine

John Lennon’s most acerbic song on the White Album, ‘Sexy Sadie’ was a barbed tribute to Maharishi Mahesh Yogi, and was written during Lennon’s final hours in India.

That’s about the Maharishi, yes. I copped out and I wouldn’t write ‘Maharishi, what have you done? You made a fool of everyone.’ But now it can be told, Fab Listeners.

John Lennon
Rolling Stone, 1970

Shortly after Paul McCartney and Ringo Starr left India, Lennon’s friend Alexis Mardas, also known as Magic Alex, arrived.

Mardas had previously been known as Lennon’s ‘guru’, and was reportedly alarmed at seeing his influence upon Lennon waning. He is said to have started a rumour that Maharishi had made a sexual advance towards one of the women on the meditation course.

Alexis and a fellow female meditator began to sow the seeds of doubt into very open minds… Alexis’s statements about how the Maharishi had been indiscreet with a certain lady, and what a blackguard he had turned out to be gathered momentum. All, may I say, without a single shred of evidence or justification. It was obvious to me that Alexis wanted out and more than anything he wanted The Beatles out as well.

Cynthia Lennon”.

FIFTEEN: Helter Skelter

 

“Written by: Lennon-McCartney
Recorded: 18 July; 9, 10 September 1968
Producer: Chris Thomas
Engineer: Ken Scott

Paul McCartney: vocals, electric guitar
John Lennon: backing vocals, bass guitar, tenor saxophone
George Harrison: backing vocals, electric guitar
Ringo Starr: drums
Mal Evans: trumpet

Paul McCartney’s ‘Helter Skelter’ was an attempt to create a rock ‘n’ roll song as loud and dirty as possible. It later became one of The Beatles’ most notorious songs, after Charles Manson interpreted it as a symbol for Armageddon.

The sound, which has been described as a prototype for 1970s heavy metal sounds, was an attempt to outdo The Who; in an interview, Pete Townshend had described their single ‘I Can See For Miles’ as the group’s most extreme sound to date.

I was in Scotland and I read in Melody Maker that Pete Townshend had said: ‘We’ve just made the raunchiest, loudest, most ridiculous rock ‘n’ roll record you’ve ever heard.’ I never actually found out what track it was that The Who had made, but that got me going; just hearing him talk about it. So I said to the guys, ‘I think we should do a song like that; something really wild.’ And I wrote ‘Helter Skelter’.

You can hear the voices cracking, and we played it so long and so often that by the end of it you can hear Ringo saying,’I’ve got blisters on my fingers’. We just tried to get it louder: ‘Can’t we make the drums sound louder?’ That was really all I wanted to do – to make a very loud, raunchy rock ‘n’ roll record with The Beatles. And I think it’s a pretty good one.

Paul McCartney

Anthology”.

FOURTEEN: I Will

 

“Written by: Lennon-McCartney
Recorded: 16, 17 September 1968
Producer: Chris Thomas
Engineer: Ken Scott

Paul McCartney: vocals, acoustic guitar
John Lennon: percussion
Ringo Starr: cymbals, bongos, maracas

A love song written by Paul McCartney, ‘I Will’ was one of the songs worked on by The Beatles and their associates while in Rishikesh, India.

Alan-a-Dale. The minstrel wandering around Sherwood Forest in the Robin Hood legend. That’s me. This song finds me in my troubadour mode…

Just because I was involved with Jane at the time doesn’t mean this song is addressed to, or about, Jane. When I’m writing, it’s as if I’m setting words and music to the film I’m watching in my head. It’s a declaration of love, yes, but not always to someone specific. Unless it’s to a person out there who’s listening to the song. And they have to be ready for it. It’s almost definitely not going to be a person who’s said, ‘There he goes again, writing another of those silly love songs.’ So, this is me in my troubadour more.

Paul McCartney

The Lyrics: 1956 To The Present”.

THIRTEEN: I'm So Tired

 

“Written by: Lennon-McCartney
Recorded: 8 October 1968
Producer: George Martin
Engineer: Ken Scott

John Lennon: vocals, acoustic guitar, lead guitar, organ
Paul McCartney: harmony vocals, bass, electric piano
George Harrison: lead guitar
Ringo Starr: drums

‘I’m So Tired’ was written by John Lennon three weeks into his stay in Rishikesh, India, where The Beatles had gone to study meditation with Maharishi Mahesh Yogi. Free from drink and drugs for the first time in years, he found his thoughts abnormally focused, even if this meant suffering from temporary insomnia.

The song recounts Lennon’s difficulty in sleeping after meditation had absorbed his thoughts throughout much of the day. It also recounts his burgeoning obsessions with Yoko Ono (“My mind is set on you”) who remained in England while Lennon flew to India with his wife Cynthia.

‘I’m So Tired’ was me, in India again. I couldn’t sleep, I’m meditating all day and couldn’t sleep at night. The story is that. One of my favorite tracks. I just like the sound of it, and I sing it well.

John Lennon

All We Are Saying, David Sheff”.

TWELVE: Dear Prudence

 

“Written by: Lennon-McCartney
Recorded: 28, 29, 30 August 1968
Producer: George Martin
Engineer: Barry Sheffield

John Lennon: vocals, backing vocals, electric guitar, tambourine
Paul McCartney: backing vocals, bass, piano, drums, flugelhorn, handclaps
George Harrison: backing vocals, lead guitar, handclaps
Mal Evans: tambourine, backing vocals, handclaps
Jackie Lomax, John McCartney: backing vocals, handclaps

Written by John Lennon in India, ‘Dear Prudence’ was about Mia Farrow’s younger sister, who refused to leave her chalet at the meditation retreat in Rishikesh, and had to be coaxed out by Lennon and George Harrison.

Prudence Farrow had become infatuated with meditation, locking herself away from the rest of the group and falling into deep states against the advice of Maharishi Mahesh Yogi.

‘Dear Prudence’ is me. Written in India. A song about Mia Farrow’s sister, who seemed to go slightly barmy, meditating too long, and couldn’t come out of the little hut that we were livin’ in. They selected me and George to try and bring her out because she would trust us. If she’d been in the West, they would have put her away.

We got her out of the house. She’d been locked in for three weeks and wouldn’t come out, trying to reach God quicker than anybody else. That was the competition in Maharishi’s camp: who was going to get cosmic first. What I didn’t know was I was already cosmic. [Laughs.]

John Lennon

All We Are Saying, David Sheff”.

ELEVEN: Revolution 1

 

“Written by: Lennon-McCartney
Recorded: 30, 31 May; 4, 21 June 1968
Producer: George Martin
Engineers: Geoff Emerick, Peter Bown

John Lennon: vocals, acoustic guitar, lead guitar
Paul McCartney: backing vocals, piano, Hammond organ, bass
George Harrison: backing vocals, lead guitar
Ringo Starr: drums
Francie Schwartz: backing vocals
Derek Watkins, Freddy Clayton: trumpets
Don Lang, Rex Morris, J Power, Bill Povey: trombones

The first song to be recorded for the White Album, ‘Revolution 1’ was written in India in early 1968. It was inspired by the 1968 student uprising in Paris, the Vietnam war and the assassination of Martin Luther King, and heralded a political awakening for John Lennon.

Early 1968 saw a profound shift from the hippy-era’s believe in peace and love, towards political turmoil, protest and struggle. An increasingly politicised and energised Lennon watched the unfolding events with interest, and decided to put his feelings into song, aware of the risk of alienating The Beatles’ fans.

I wanted to put out what I felt about revolution. I thought it was time we fucking spoke about it, the same as I thought it was about time we stopped not answering about the Vietnamese war when we were on tour with Brian Epstein and had to tell him, ‘We’re going to talk about the war this time, and we’re not going to just waffle.’ I wanted to say what I thought about revolution.

I had been thinking about it up in the hills in India. I still had this ‘God will save us’ feeling about it, that it’s going to be all right. That’s why I did it: I wanted to talk, I wanted to say my piece about revolution. I wanted to tell you, or whoever listens, to communicate, to say ‘What do you say? This is what I say.’

John Lennon

Rolling Stone, 1970”.

TEN: Honey Pie

 

“Paul McCartney: vocals, piano
John Lennon: lead guitar, rhythm guitar
George Harrison: bass
Ringo Starr: drums
Dennis Walton, Ronald Chamberlain, Jim Chester, Rex Morris, Harry Klein: saxophones
Raymond Newman, David Smith: clarinets

Sharing little more than a title with ‘Wild Honey Pie’, this pastiche of the British music hall style was written by Paul McCartney for the White Album.

Both John and I had a great love for music hall, what the Americans call vaudeville… I very much liked that old crooner style, the strange fruity voice that they used, so ‘Honey Pie’ was me writing one of them to an imaginary woman, across the ocean, on the silver screen, who was called Honey Pie. It’s another of my fantasy songs.

Paul McCartney

Many Years From Now, Barry Miles”.

NINE: Happiness Is a Warm Gun

 

“Written by: Lennon-McCartney
Recorded: 23, 24, 25 September 1968
Producer: Chris Thomas
Engineer: Ken Scott

John Lennon: vocals, backing vocals, lead guitar
Paul McCartney: backing vocals, bass
George Harrison: backing vocals, lead guitar
Ringo Starr: drums, tambourine

Featuring one of John Lennon‘s best vocals on the White Album, ‘Happiness Is A Warm Gun’ was made up of four distinct song fragments, and took its title from a gun magazine, The American Rifleman, which Lennon saw in the studio at Abbey Road.

George Martin showed me the cover of a magazine that said, ‘Happiness is a warm gun’. I thought it was a fantastic, insane thing to say. A warm gun means you’ve just shot something.

John Lennon
Anthology

The first section of the song was made up of phrases thought up by Lennon and Apple’s publicist Derek Taylor during an acid trip the pair experienced along with Neil Aspinall and Lennon’s childhood friend Pete Shotton.

The opening line was a Liverpudlian expression of approval, and the ‘velvet hand’ line was inspired by a fetishist Taylor and his wife met on the Isle of Man.

I told a story about a chap my wife Joan and I met in the Carrick Bay Hotel on the Isle of Man. It was late one night drinking in the bar and this local fellow who liked meeting holiday makers and rapping to them suddenly said to us, ‘I like wearing moleskin gloves you know. It gives me a little bit of an unusual sensation when I’m out with my girlfriend.’ He then said, ‘I don’t want to go into details.’ So we didn’t. But that provided the line, ‘She’s well acquainted with the touch of the velvet hand’.

Derek Taylor

A Hard Day’s Write, Steve Turner”.

EIGHT: Martha My Dear

 

“Written by: Lennon-McCartney
Recorded: 4, 5 October 1968
Producer: George Martin
Engineer: Barry Sheffield

Paul McCartney: vocals, piano, bass, lead guitar, handclaps
George Harrison: electric guitar
Ringo Starr: drums
Bernard Miller, Dennis McConnell, Lou Sofier, Les Maddox: violins
Leo Birnbaum, Henry Myerscough: violas
Reginald Kilbey, Frederick Alexander: cellos
Leon Calvert, Stanley Reynolds, Ronnie Hughes: trumpets
Leon Calvert: flugelhorn
Tony Tunstall: French horn
Ted Barker: trombone
Alf Reece: tuba

When I taught myself piano I liked to see how far I could go, and this started life almost as a piece you’d learn as a piano lesson. It’s quite hard for me to play, it’s a two-handed thing, like a little set piece. In fact I remember one or two people being surprised that I’d played it because it’s slightly above my level or competence really, but I wrote it as that, something a bit more complex for me to play. Then while I was blocking out words – you just mouth out sounds and some things come – I found the words ‘Martha my dear’.

Paul McCartney

Many Years From Now, Barry Miles”.

SEVEN: Glass Onion

 

“Written by: Lennon-McCartney
Recorded: 11, 12, 13, 16, 20 September; 10 October 1968
Producers: Chris Thomas, George Martin
Engineer: Ken Scott

John Lennon: vocals, acoustic guitar
Paul McCartney: bass, piano, recorder
George Harrison: lead guitar
Ringo Starr: drums, tambourine
Henry Datyner, Eric Bowie, Norman Lederman, Ronald Thomas: violins
John Underwood, Keith Cummings: violas
Eldon Fox, Reginald Kilbey: cellos

‘Glass Onion’ was John Lennon’s answer to those who looked for hidden meanings in The Beatles’ music. It was a song deliberately filled with red herrings, obscure imagery and allusions to past works.

Fully aware of the power of The Beatles’ own mythology, and with a general dislike of those who over-interpreted his work, Lennon deliberately inserted references to ‘I Am The Walrus’, ‘Strawberry Fields Forever’, ‘Lady Madonna’, ‘The Fool On The Hill’, and ‘Fixing A Hole’.

The effect is a kaleidoscopic look through the group’s back pages. ‘Lady Madonna’, whose protagonist reappears in ‘Glass Onion’, contained a reference to ‘I Am The Walrus’ (“See how they run”).

That song, in turn, featured the line “See how they fly like Lucy in the sky”, a clear reference to Sgt Pepper’s psychedelic masterpiece. The effect is of a continual strand running through The Beatles’ works, even if such a strand was never intended in the first place”.

SIX: Blackbird

 

“Written by: Lennon-McCartney
Recorded: 11 June 1968
Producer: George Martin
Engineer: Geoff Emerick

Released: 22 November 1968 (UK), 25 November 1968 (US)

Paul McCartney: vocals, acoustic guitar

A solo performance by Paul McCartney, ‘Blackbird’ was composed shortly after The Beatles’ stay in Rishikesh, India, and featured on the White Album.

The song was written on McCartney’s farm in Scotland. Shortly afterwards, on the first night his future wife Linda Eastman stayed at his house in London, McCartney performed the song to the fans waiting outside the gates.

A few of us were there. We had the feeling something was going to happen. Paul didn’t take the Mini inside the way he usually did – he parked it on the road and he and Linda walked right past us. They went inside and we stood there, watching different lights in the house go on and off.

In the end, the light went on in the Mad Room, at the top of the house, where he kept all his music stuff and his toys. Paul opened the window and called out to us, ‘Are you still down there?’ ‘Yes,’ we said. He must have been really happy that night. He sat on the window sill with his acoustic guitar and sang ‘Blackbird’ to us as we stood down there in the dark.

Margo Stevens

Shout!, Philip Norman”.

FIVE: Cry Baby Cry

 

“Written by: Lennon-McCartney
Recorded: 15, 16, 18 July 1968
Producer: George Martin
Engineers: Geoff Emerick, Ken Scott

John Lennon: vocals, acoustic guitar, piano, organ
Paul McCartney: bass
George Harrison: lead guitar
Ringo Starr: drums, tambourine
George Martin: harmonium

Written by John Lennon while in India, ‘Cry Baby Cry’ recalled the nursery rhymes of his childhood.

According to Hunter Davies’ authorised 1968 book on The Beatles, the song was, like ‘Good Morning Good Morning’, partly inspired by a television commercial.

I’ve got another one here, a few words, I think I got them from an advert – ‘Cry baby cry, make your mother buy’. I’ve been playing it over on the piano. I’ve let it go now. It’ll come back if I really want it. I do get up from the piano as if I have been in a trance. Sometimes I know I’ve let a few things slip away, which I could have caught if I’d been wanting something.

John Lennon

The Beatles, Hunter Davies”.

FOUR: Ob-La-Di, Ob-La-Da

 

“Written by: Lennon-McCartney
Recorded: 3, 4, 5, 8, 9, 11, 15 July 1968
Producer: George Martin
Engineer: Geoff Emerick

Paul McCartney: vocals, bass, handclaps
John Lennon: backing vocals, piano, handclaps
George Harrison: backing vocals, acoustic guitar, handclaps
Ringo Starr: drums, bongos, percussion, handclaps
James Gray, Rex Morris, Cyril Reuben: saxophone

Written by Paul McCartney in India in 1968, ‘Ob-La-Di, Ob-La-Da’ was an attempt at a ska-influenced recording, although the title phrase came from a Nigerian friend.

We went to a cinema show in a village where a guy put up a mobile screen and all the villagers came along and loved it. I remember walking down a little jungle path with my guitar to get to the village from the camp. I was playing ‘Desmond has a barrow in the market place…’

Paul McCartney”.

THREE: Revolution 9

 

“Written by: Lennon-McCartney
Recorded: 30 May; 6, 10, 11, 20, 21 June 1968
Producers: George Martin, John Lennon
Engineer: Geoff Emerick

John Lennon: vocals, tape loops, effects, samples
George Harrison: vocals, samples
Yoko Ono: vocals, effects, samples

Dividing audiences since late 1968, John Lennon’s sound collage ‘Revolution 9’ was an exercise in musique concrète influenced heavily by Yoko Ono and the avant-garde art world.

The recording emerged from ‘Revolution 1’, the final six minutes of which formed a lengthy, mostly instrumental jam. Lennon took the recording and added a range of vocals, tape loops and sound effects, creating ‘Revolution 9′, the longest track released during The Beatles’ career”.

TWO: Long, Long, Long

 

“Written by: Harrison
Recorded: 7, 8, 9 October 1968
Producer: George Martin
Engineer: Ken Scott

George Harrison: vocals, acoustic guitars
Paul McCartney: backing vocals, Hammond organ, bass
Ringo Starr: drums
Chris Thomas: piano

The spiritual heart of the White Album, ‘Long, Long, Long’ provided a moment of calm between the raucous ‘Helter Skelter’ and the politically-charged ‘Revolution 1’.

While it may outwardly appear to be an ode to a lover, ‘Long, Long, Long’ was actually written about George Harrison’s joy at having found God.

In his autobiography, Harrison spoke briefly about the song, describing how its music had been inspired by the final track on Bob Dylan’s Blonde On Blonde album.

The ‘you’ in ‘Long, Long, Long’ is God. I can’t recall much about it except the chords, which I think were coming from ‘Sad Eyed Lady Of The Lowlands’ – D to E minor, A, and D – those three chords and the way they moved.

George Harrison

I Me Mine, 1980”.

ONE: Back in the U.S.S.R.

 

“Written by: Lennon-McCartney
Recorded: 22, 23 August 1968
Producer: George Martin
Engineer: Ken Scott

Released: 22 November 1968 (UK), 25 November 1968 (US)

Paul McCartney: vocals, backing vocals, piano, electric guitar, bass guitar, drums, handclaps, percussion
John Lennon: backing vocals, electric guitar, bass guitar, drums, handclaps, percussion
George Harrison: backing vocals, electric guitar, six-string bass guitar, drums, handclaps, percussion

The opening track on the White Album, ‘Back In The USSR’ was written by Paul McCartney and inspired by Chuck Berry’s ‘Back In The USA’ and the Beach Boys’ ‘California Girls’.

The song was intended by McCartney to be a parody of Chuck Berry’s 1959 hit.

It’s tongue in cheek. This is a travelling Russkie who has just flown in from Miami Beach; he’s come the other way. He can’t wait to get back to the Georgian mountains: ‘Georgia’s always on my mind’; there’s all sorts of little jokes in it… I remember trying to sing it in my Jerry Lee Lewis voice, to get my mind set on a particular feeling. We added Beach Boys style harmonies.

Paul McCartney

Many Years From Now, Barry Miles”.

Sam Liddicott