Monday, October 7, 1968
Mixing "While My Guitar Gently Weeps", recording "Long Long Long"
For The Beatles
Last updated on November 20, 2024
Monday, October 7, 1968
For The Beatles
Last updated on November 20, 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
Article Oct 06, 1968 • "Hey Jude" promo film broadcast on US TV
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"
AlbumSome of the songs worked on during this session were first released on the "The Beatles (Mono)" LP
After a week spent at Trident Studios, The Beatles returned to Abbey Road, still without John Lennon. They engaged in a long, long, long session, lasting over 16 hours from 2:30 pm to 7 am, dedicated primarily to recording the backing track for George Harrison’s new song, “Long, Long, Long.”
The session started by creating copies of the mono and stereo mixes of “Honey Pie” and “Martha My Dear,” originally mixed on October 5, 1968, at Trident. The purpose was to convert the Trident recordings from the American NAB equalization to the British CCIR standard.
Then, some mono and stereo mixes of “While My Guitar Gently Weeps” were made, but would remain unused as the definitive mixes were completed on October 14.
Work then started on George Harrison’s “Long, Long, Long,” which at that point was titled “It’s Been a Long, Long, Long Time.” The session was laid-back, with the burning of Indian incense contributing to the desired studio ambiance.
They used to burn several [joss-sticks] at once, sticking them into the slots of the acoustic screens. I’d go home at night my clothes reeking of them! I’ve never smelt joss-sticks of quite the same quality that they used. They had them specially brought in from India
Alan Brown – From “The Complete Beatles Recording Sessions” by Mark Lewisohn, 1988
The Beatles recorded 67 takes of the rhythm track, featuring George on guide vocals and acoustic guitar, Paul McCartney on the Hammond organ, and Ringo Starr on drums. Ringo’s drumming included a series of loud fills that provided a counterpoint to the vocal line, reminiscent of his performance on “A Day in the Life” from 1967.
Take 44 was released on “The Beatles” 50th anniversary boxset in 2018.
I don’t mind how long it takes at the moment. That intro was great.
Paul McCartney, after take 29 – From “The Beatles” Super Deluxe edition book (2018)
George Harrison: The one before that, I really felt that one was it.
Paul McCartney: Now, now, don’t be defeatist.
From “The Beatles” Super Deluxe edition book (2018)
If we don’t get this one then fuck it. Use the one before.
George Harrison, before take 53 – From “The Beatles” Super Deluxe edition book (2018)
Come on, lads. Any of those will do me. Any of them.
George Harrison, after take 63 – From “The Beatles” Super Deluxe edition book (2018)
At the end of take 65, whenever Paul hit a specific note on the organ, a wine bottle perched atop a Leslie speaker started to vibrate. This created a ghostly rattling noise, which the Beatles chose to include in later renditions of the song. Adding to this effect, Starr executed a rapid snare drum roll while Harrison emitted an extended, high-pitched scream.
There was a bottle of “Blue Nun” wine on top of the Leslie speaker during the recording and when our Paul hit some organ note the Leslie started vibrating and the bottle rattling. You can hear it on the record – at the very end.
George Harrison, from “I Me Mine” book, 1979
The recording went along rather normally until the very end of the song, where you hear a knocking sound that came as the result of a bottle of Liebfraumilch (a German white wine) that was on top of the Leslie speaker cabinet that the organ used. As Paul played the organ louder, the bottle started to rattle against the top of the cabinet and you can hear it on the record.
Ken Scott – From “Abbey Road to Ziggy Stardust“, 2012
There’s a sound near the end of the song which is a bottle of Blue Nun wine rattling away on the top of a Leslie speaker cabinet. It just happened. Paul hit a certain organ note and the bottle started vibrating. We thought it was so good that we set the mikes up and did it again. The Beatles always took advantage of accidents.
Chris Thomas – From “The Complete Beatles Recording Sessions” by Mark Lewisohn, 1988
Just before starting take 67, George declared “Let this be the one!“. Paul replied “I suppose it’s been a long, long, long time” (quotes from “The Beatles” super deluxe book, 2018). Nine hours after this all-night session, the band returned to the studio to add overdubs to Take 67.
Tape copying • Tape copying of remix mono 1 and of remix stereo 1
Tape copying • Tape copying of remix mono 1 and of remix stereo 1
Written by George Harrison
Mixing • Stereo mixing - Remix 1 from take 25
Written by George Harrison
Mixing • Mono mixing - Remix 1 from take 25
Written by George Harrison
Mixing • Mono mixing - Remix 2 from take 25
Written by George Harrison
Recording • Take 1
Written by George Harrison
Recording • Take 2
Written by George Harrison
Recording • Take 3
Written by George Harrison
Recording • Take 4
Written by George Harrison
Recording • Take 5
Written by George Harrison
Recording • Take 6
Written by George Harrison
Recording • Take 7
Written by George Harrison
Recording • Take 8
Written by George Harrison
Recording • Take 9
Written by George Harrison
Recording • Take 10
Written by George Harrison
Recording • Take 11
Written by George Harrison
Recording • Take 12
Written by George Harrison
Recording • Take 13
Written by George Harrison
Recording • Take 14
Written by George Harrison
Recording • Take 15
Written by George Harrison
Recording • Take 16
Written by George Harrison
Recording • Take 17
Written by George Harrison
Recording • Take 18
Written by George Harrison
Recording • Take 19
Written by George Harrison
Recording • Take 20
Written by George Harrison
Recording • Take 21
Written by George Harrison
Recording • Take 22
Written by George Harrison
Recording • Take 23
Written by George Harrison
Recording • Take 24
Written by George Harrison
Recording • Take 25
Written by George Harrison
Recording • Take 26
Written by George Harrison
Recording • Take 27
Written by George Harrison
Recording • Take 28
Written by George Harrison
Recording • Take 29
Written by George Harrison
Recording • Take 30
Written by George Harrison
Recording • Take 31
Written by George Harrison
Recording • Take 32
Written by George Harrison
Recording • Take 33
Written by George Harrison
Recording • Take 34
Written by George Harrison
Recording • Take 35
Written by George Harrison
Recording • Take 36
Written by George Harrison
Recording • Take 37
Written by George Harrison
Recording • Take 38
Written by George Harrison
Recording • Take 39
Written by George Harrison
Recording • Take 40
Written by George Harrison
Recording • Take 41
Written by George Harrison
Recording • Take 42
Written by George Harrison
Recording • Take 43
Written by George Harrison
Recording • Take 44
AlbumOfficially released on The Beatles (50th anniversary boxset)
Written by George Harrison
Recording • Take 45
Written by George Harrison
Recording • Take 46
Written by George Harrison
Recording • Take 47
Written by George Harrison
Recording • Take 48
Written by George Harrison
Recording • Take 49
Written by George Harrison
Recording • Take 50
Written by George Harrison
Recording • Take 51
Written by George Harrison
Recording • Take 52
Written by George Harrison
Recording • Take 53
Written by George Harrison
Recording • Take 54
Written by George Harrison
Recording • Take 55
Written by George Harrison
Recording • Take 56
Written by George Harrison
Recording • Take 57
Written by George Harrison
Recording • Take 58
Written by George Harrison
Recording • Take 59
Written by George Harrison
Recording • Take 60
Written by George Harrison
Recording • Take 61
Written by George Harrison
Recording • Take 62
Written by George Harrison
Recording • Take 63
Written by George Harrison
Recording • Take 64
Written by George Harrison
Recording • Take 65
Written by George Harrison
Recording • Take 66
Written by George Harrison
Recording • Take 67
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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