Tuesday, September 17, 1968
Mixing "Helter Skelter", recording "I Will", "Cry Baby Cry"
For The Beatles
Last updated on November 1, 2024
Tuesday, September 17, 1968
For The Beatles
Last updated on November 1, 2024
"The Beatles" (aka the White Album) sessions
May 30 - Oct 18, 1968 • Songs recorded during this session appear on The Beatles (Mono)
Recording studio: EMI Studios, Studio Two, Abbey Road
Interview Sep 14, 1968 • Paul McCartney interview for Melody Maker
Session Sep 16, 1968 • Recording "I Will", "Glass Onion"
Session Sep 17, 1968 • Mixing "Helter Skelter", recording "I Will", "Cry Baby Cry"
Session Sep 18, 1968 • Recording and mixing "Birthday"
Article Sep 19, 1968 • "Revolution" promo film is broadcast on Top Of The Pops
AlbumSome of the songs worked on during this session were first released on the "The Beatles (Mono)" LP
On this day, The Beatles continued working on the tracks “Helter Skelter,” “I Will,” and “Cry Baby Cry,” in a recording session that lasted from 7 pm to 5 am. With George Martin away on holiday for the majority of September 1968, Chris Thomas produced this session.
The mono mix of “Helter Skelter” was completed today. Remix Mono 1 was made from Take 21. It fades out at 3:36, in contrast to the stereo mix created on October 12, which lasts until 4:29. Notably, this mono version omits Ringo Starr’s exclamation, “I’ve got blisters on my fingers!“
“I Will“, which recording started the day before, was completed on this day. Paul McCartney added backing vocals, a second acoustic guitar part, some maracas, and a vocal bass line described as “a clever baritone ‘dum-dum-dum’ impersonation of a bass guitar” by Mark Lewisohn in “The Complete Beatles Recording Sessions.“
The mono mix was completed on September 26, while the stereo mix was done on October 14, 1968.
The four-track tape of “Cry Baby Cry,” Take 12, last used on July 18, was transferred to an eight-track tape, thus becoming Take 13, to receive new overdubs. John Lennon contributed a descending piano part, Ringo Starr supplemented with drums, and Paul McCartney added a tambourine. Following these additions, the recording of the track was deemed complete.
The mono and stereo mixes were made on October 15.
The song was finished two months later when the audio was transferred to tracks five to eight of an eight-track tape. Descending piano bass notes in cavernous echo were recorded on track one, and new drums and a tambourine are heard on track two of the new tape.
From “The Beatles” Super Deluxe edition book (2018)
Beatles have been extending their nightly sessions into 10- or 12-hour affairs starting at dusk and finishing after dawn. So Mal [Evans] was asked to buy a set of four toothbrushes for the fellows – each a different colour – and these are kept on hand at the studios for pre-breakfast use at the end of each session!
From the Beatles Monthly Book, N°63, October 1968
Mixing • Mono mixing - Remix 1 from take 21
Recording • SI onto take 68
Tape copying • Tape copying of take 12 into take 13
Recording • SI onto take 13
The Complete Beatles Recording Sessions • Mark Lewisohn
The definitive guide for every Beatles recording sessions from 1962 to 1970.
We owe a lot to Mark Lewisohn for the creation of those session pages, but you really have to buy this book to get all the details - the number of takes for each song, who contributed what, a description of the context and how each session went, various photographies... And an introductory interview with Paul McCartney!
The Beatles Recording Reference Manual: Volume 4: The Beatles through Yellow Submarine (1968 - early 1969)
The fourth book of this critically acclaimed series, "The Beatles Recording Reference Manual: Volume 4: The Beatles through Yellow Submarine (1968 - early 1969)" captures The Beatles as they take the lessons of Sgt. Pepper forward with an ambitious double-album that is equally innovative and progressive. From the first take to the final remix, discover the making of the greatest recordings of all time. Through extensive, fully-documented research, these books fill an important gap left by all other Beatles books published to date and provide a unique view into the recordings of the world's most successful pop music act.
If we modestly consider the Paul McCartney Project to be the premier online resource for all things Paul McCartney, it is undeniable that The Beatles Bible stands as the definitive online site dedicated to the Beatles. While there is some overlap in content between the two sites, they differ significantly in their approach.
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