“Here, There, and Everywhere” Take 6
There’s only one take of what Lennon called his favorite McCartney composition. “Here, There, and Everywhere” was inspired by Brian Wilson’s production of the Beach Boys’ Pet Sounds, and would ultimately be blanketed by ornate harmonies, deceptively fingered guitar runs, and double-tracked pop vocal perfection. The band only recorded completed takes of the song. Take 6 has no overdubs or harmonies. It is recorded intimately, and Paul’s guide vocal has an endearingly ragged delivery.
“Yellow Submarine” Songwriting Work Tape Part 2
“Yellow Submarine” is the box set’s most fun dive. Lennon’s original tape snippet, “In the place where I was born, no one cared, no one cared,” is positively haunting, and pre-figures some of his later, darker biographical works. The standout, however, is the second working take, where Lennon and McCartney break it down into structure. The song has always been associated with Paul, because he is the one who mentions a dream about a yellow submarine in his interview in the Anthology video series. But here, he asks John to take the lead vocals as he is more familiar with it. Paul’s call-and-response singing – “We all live in a yellow submarine/Look out, yellow submarine/get down” – sets the tone for what will morph into the friends who live onboard the song’s aquatic anti-flotation device, and come in from next door to play on the final released version.
“She Said, She Said” Take 15 Backing Track Rehearsal
Besides Easy Rider, the most historically notable thing Peter Fonda ever did was inspire Lennon to write “She Said, She Said.” The last track recorded for the album, it was laid down in just one session on June 21, 1966. The song captures a good trip gone bad, and the studio chatter turns that around into larger context. “Come on, come on. Last track, last track, last track,” we hear, because the band was set to embark on their final tour as a live performing act. It would be the first time in front of audiences since John made the “more popular than Jesus” remark. Although it is only an instrumental track, it showcases the rehearsals which went into the intricate time changes the song contains, and proves what a force the four players were as a live unit.
Rushed as it may have been, the instrumental track captures each member doing what they do best, and Ringo doing casual calisthenics which make it all sound better. John’s original demo is worth it for the subtle venom he puts into the original lyrics, culminating with him laughing at his own line “and it’s making me feel like my trousers are torn.”
“Good Day Sunshine,” Mono
There is no evolutionary progress noted for “Good Day Sunshine,” only the fully realized mono and refurbished stereo mixes. The song was inspired by The Lovin’ Spoonful’s “Daydream,” and was reportedly perfected quickly in the studio after six takes with Paul on piano and vocals, George playing a Burns Nu-Sonic bass, Ringo on drums, and John on tambourine. Martin’s piano lead and other overdubs came later. It would have been nice to hear any of the preliminary takes, or at least a guide vocal.
“And Your Bird Can Sing”- First Version/Take 2
“And Your Bird Can Sing”- First Version/Take 2” is probably the better rendition from the Special Edition for a playlist, but only by small degrees, and only because of its fuller mix. The giggle version of “And Your Bird Can Sing,” while always a favorite, is already available on Anthology 2, with the backing instrumentals more prominent in the mix. “Take 2” has all the elements presented in a fully realized take. Without the distractions, “Take 2” showcases the Byrds’ influence so clearly that the title, “And Your Bird Can Sing,” can be taken as a note of appreciation to the “American Beatles.” The musicians at Abbey Road Studios actually heard the similarities so clearly, they completely reconfigured the approach.
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