Mixing "Revolution", recording and mixing "Ob-La-Di, Ob-La-Da", recording "Cry Baby Cry"

The recording of “Revolution,” the B-side of the next Beatles single, was completed on July 12. John Lennon took one of the mono mixes home over the weekend to evaluate it and felt it could be better. Consequently, on that Monday, two new mono mixes, numbered 20 and 21, were produced. Remix 21 was chosen for release on the single.

There was no need for a stereo mix at this point — a stereo version would be created on December 5, 1969, for inclusion on the US album “Hey Jude.”

Paul McCartney also took on some weekend homework. Upon reviewing the mono mixes of “Ob-La-Di, Ob-La-Da” from July 12, he chose to re-record his lead vocal.

After setting up the vocal microphone for Paul down in Studio Two and getting a headphone mix together, Richard (Lush) and I began the long, tedious process of rolling and re-rolling the tape as he experimented endlessly, making minute changes to the lead vocal, in search of some kind of elusive perfection that only he could hear in his head…’Paul, can you try rephrasing the last line of each verse?’ George Martin asked in his gentle, slightly aristocratic voice…He was still trying to do his job, still trying to steer his charges toward increased musical sophistication and help push them to their best performances. ‘If you think you can do it better, why don’t you f*cking come down here and sing it yourself?’ he snarled as he whipped off his headphones and glared up at the control room.

Stunned, I looked over at George. Even he couldn’t understand why Paul was still trying to redo the vocal track; in those days you simply didn’t spend huge amounts of time doing that sort of fine-tuning. But as the ferocity of McCartney’s verbal attack sunk in, he turned pale, clearly choking back his anger and humiliation. What happened next shocked me to the core: in sheer frustration, quiet, low-key George Martin actually began shouting back at Paul. ‘Then bloody sing it again!’ he yelled over the talkback, causing me to wince. ‘I give up. I just don’t know any better how to help you.’ It was the first time I had ever heard George Martin raise his voice in a session. The silence following the outburst was equally deafening.

Geoff Emerick – From “Here, There and Everywhere: My Life Recording the Music of The Beatles“, 2006

After two months of work, Geoff Emerick grew weary of the internal strife and disputes that plagued the “White Album” sessions. This turmoil incident led him to cease his collaboration with The Beatles at the end of the next day’s session. He would eventually return to assist on the 1969 album “Abbey Road.”

Paul ultimately completed his lead vocal track for the song… letting a glitch in! As noted by Pete Shotton, a friend from Liverpool who was present at the session:

After finally turning in what sounded like a flawless performance, (Paul) burst out laughing. ‘Oh, sh*t!’ he said ‘We’ll have to do it again!’ ‘Well, it sounded OK to me,’ John yawned. ‘Yeah,’ George agreed. ‘It was perfect.’ ‘But didn’t you notice?’ Paul demanded. ‘Notice what?’ said John. ‘I just sang “Desmond stays at home and does his pretty face”…I should’ve sung “Molly!”‘ The others refused to believe him – until George Martin played back the tape and proved Paul was right. ‘Oh, it sound great anyway,’ Paul concluded. ‘Let’s just leave it in – create a bit of confusion there. Everyone will wonder whether Desmond’s a bisexual or a transvestite.’

Pete Shotton – From “John Lennon: In My Life“, 1983

Ten mono mixes, labeled RM12 to RM21, were created but ultimately not used. The final mono mix that was released on the White Album was mad on October 12, 1968.

The Beatles worked on “Revolution” and “Ob-La-Di, Ob-La-Da” from 3:30 pm to 8 pm. From 9 pm to 3 am, they started recording “Cry Baby Cry,” a new song by John Lennon. They recorded approximately 30 takes, which were more akin to rehearsals than formal studio recordings.

Since these recordings were not deemed serious attempts, the four 30-minute tapes filled on that day were reused the following day for the proper recording of the song, and for the recording of “Helter Skelter.” During research for the 2018 re-edition of the White Album, 18 minutes of these rehearsals were found, and a version of “Cry Baby Cry” was released as an outtake.

Somehow I saw the session through to its ragged conclusion. Paul seemed to calm down a bit, though little else got accomplished that night other than a few run-throughs of John’s new song ‘Cry Baby Cry.’ Distracted and distressed, I couldn’t give it my full attention, though: the only thought that kept going through my head was, ‘I wonder if I’ll ever get to finish this song’.

Geoff Emerick – From “Here, There and Everywhere: My Life Recording the Music of The Beatles“, 2006

The Beatles continued working on “Cry Baby Cry” the next day.

Session activities

1. Revolution

   Written by Lennon - McCartney

   Mixing • Mono mixing - Remix 20 from take 16

2. Revolution

   Written by Lennon - McCartney

   Mixing • Mono mixing - Remix 21 from take 16

   AlbumOfficially released on Hey Jude / Revolution

3. Ob-La-Di, Ob-La-Da

   Written by Lennon - McCartney

   Recording • SI onto take 23

4. Ob-La-Di, Ob-La-Da

   Written by Lennon - McCartney

   Mixing • Mono mixing - Remix 12 from take 23

5. Ob-La-Di, Ob-La-Da

   Written by Lennon - McCartney

   Mixing • Mono mixing - Remix 13 from take 23

6. Ob-La-Di, Ob-La-Da

   Written by Lennon - McCartney

   Mixing • Mono mixing - Remix 14 from take 23

7. Ob-La-Di, Ob-La-Da

   Written by Lennon - McCartney

   Mixing • Mono mixing - Remix 15 from take 23

8. Ob-La-Di, Ob-La-Da

   Written by Lennon - McCartney

   Mixing • Mono mixing - Remix 16 from take 23

9. Ob-La-Di, Ob-La-Da

   Written by Lennon - McCartney

   Mixing • Mono mixing - Remix 17 from take 23

10. Ob-La-Di, Ob-La-Da

    Written by Lennon - McCartney

    Mixing • Mono mixing - Remix 18 from take 23

11. Ob-La-Di, Ob-La-Da

    Written by Lennon - McCartney

    Mixing • Mono mixing - Remix 19 from take 23

12. Ob-La-Di, Ob-La-Da

    Written by Lennon - McCartney

    Mixing • Mono mixing - Remix 20 from take 23

13. Ob-La-Di, Ob-La-Da

    Written by Lennon - McCartney

    Mixing • Mono mixing - Remix 21 from take 23

14. Cry Baby Cry

    Written by Lennon - McCartney

    Recording • Approximately 30 unnumbered takes

    AlbumOfficially released on The Beatles (50th anniversary boxset)

Staff

Musicians on "Ob-La-Di, Ob-La-Da"

Musicians on "Cry Baby Cry"

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