Wednesday, October 9, 1968
For The Beatles
Last updated on November 16, 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
Recording studio: EMI Studios, Studio One, Abbey Road
Session Oct 07, 1968 • Mixing "While My Guitar Gently Weeps", recording "Long Long Long"
Session Oct 08, 1968 • Recording "Long Long Long", "I'm So Tired", "The Continuing Story Of Bungalow Bill"
Session Oct 09, 1968 • Mixing "The Continuing Story Of Bungalow Bill", recording "Long, Long, Long", "Why Don't We Do It In The Road"
Session Early October 1968 to early December 1968 • "Post Card" sessions
AlbumSome of the songs worked on during this session were first released on the "The Beatles (Mono)" LP
The session on this day lasted from 7 pm to 5:30 am, beginning with the completion of George Harrison’s “Long, Long, Long.” George, along with Paul McCartney, contributed minor backing vocals, while Chris Thomas performed a piano overdub.
The track was mixed in stereo on October 10 and in mono on October 14.
[Chris Thomas] recalled that “They said ‘Make it like The Moody Blues'”. Sure enough, his playing is reminiscent of Mike Pinder’s piano solo on ‘Go Now!’ by The Moody Blues, released in 1964.
From “The Beatles” Super Deluxe edition book (2018)
Paul McCartney isolated himself with Ken Townsend in Studio One to record a new track, “Why Don’t We Do It In The Road?“. It marked the only occasion when technical engineer Ken Townsend, despite his significant contributions to The Beatles’ sound (such as the invention of Artificial Double Tracking – ADT), served as a balance engineer for one of their songs.
My one-minute-40-seconds claim to fame! […] Paul said, ‘I’ve got this idea for a song. Can we give it a try?’ (Studio One) was laid out for an orchestra for the following day. I placed Paul on the left-hand side so I could see him through the window. That studio is a huge great barn – 22,000 cubic feet.
Ken Townsend – From “The Beatles” Super Deluxe edition book (2018)
Paul recorded five takes of “Why Don’t We Do It In The Road?“, each time playing the acoustic guitar and providing vocals. The song, which ultimately took on a heavy blues style, started as a simple acoustic piece, with Paul exploring various vocal styles with each take.
Take 4 was released on “Anthology 3” in 1996:
The White Album version does not suggest so, but Why Don’t We Do It In The Road started out as an acoustic number, and, moreover, had Paul alternating between gentle (if pleading) and strident vocal styles. The master (Take 5) was adorned with a number of overdubs that turned the song into much heavier piece, with every instrument bar Ringo’s drums played by Paul himself. This is Take 4, performed solo.
From the liner notes of “Anthology 3“
At this end of take 4, Paul said to Ken Townsend:
Well, well, well, what do you think of all that? Do you think that I could do it better? I think I could do it a bit better actually. See, I wanna just try and do one quiet verse, one loud verse; and then that’s it, really.
Paul McCartney – At the end of take 4 – From “The Beatles” Super Deluxe edition book (2018)
Paul then recorded Take 5. This version of Take 5, devoid of overdubs, was included in the White Album’s 50th anniversary reissue in 2018.
Finally, Paul added a piano overdub to Take 5 before ending the session. Work on “Why Don’t We Do It In The Road?” continued and was completed on the following day.
Is that OK? ‘Cause I won’t come listen to that one. However, I will move this microphone nearer the piano, should I?
Paul McCartney – At the end of take 5
While Paul McCartney worked on “Why Don’t We Do It In The Road?“, George Harrison, John Lennon and the engineering team worked on mixes for “The Continuing Story Of Bungalow Bill“. The mono and stereo mixes released on the White Album were made on this day.
The Continuing Story of Bungalow Bill
Mixing • Stereo mixing - Remix 1 from take 3
The Continuing Story of Bungalow Bill
Mixing • Stereo mixing - Remix 2 from take 3
AlbumOfficially released on The Beatles (Stereo)
The Continuing Story of Bungalow Bill
Mixing • Mono mixing - Remix 1 from take 3
AlbumOfficially released on The Beatles (Mono)
Written by George Harrison
Recording • SI onto take 67
Tape copying • Tape copying of take 3
Why Don't We Do It In The Road?
Recording • Take 1
Why Don't We Do It In The Road?
Recording • Take 2
Why Don't We Do It In The Road?
Recording • Take 3
Why Don't We Do It In The Road?
Recording • Take 4
AlbumOfficially released on Anthology 3
Why Don't We Do It In The Road?
Recording • Take 5
AlbumOfficially released on The Beatles (50th anniversary boxset)
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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