Early October 1968 to early December 1968
"Post Card" sessions
For Mary Hopkin
Last updated on November 23, 2024
Early October 1968 to early December 1968
For Mary Hopkin
Last updated on November 23, 2024
Recording studio: Morgan Studios, London, UK
Recording studio: EMI Studios, Abbey Road
Recording studio: Trident Studios, London, UK
Session Early October 1968 to early December 1968 • "Post Card" sessions
Session Oct 11, 1968 • Recording and mixing "Savoy Truffle", "Piggies", "Don't Pass Me By", "Good Night"
AlbumSome of the songs worked on during this session were first released on the "Post Card (UK version - Stereo)" LP
Following the success of the single “Those Were The Days” (released on August 30, 1968, which became a number-one hit on the UK Singles Chart), Mary Hopkin began working on her debut album, continuing her collaboration with producer Paul McCartney.
According to contemporary articles from the UK music press, the recording sessions started in early October and concluded in early December of 1968. EMI Studios at Abbey Road, along with Morgan Studios and Trident Studios, were used for these sessions, according to the liner notes of the 2010 re-release of “Post Card“.
[Mary] was a very nice girl and good fun to work with. It was all done at EMI [sic]. Just go in, do a couple of songs. Then Linda [Eastman] took her down to Kew Gardens and took the cover photograph. I got in touch with Valentines, the postcard makers, and said, ‘Will you please make a postcard of this?’, which they did for that one summer: a limited edition of postcards. It was rather home-made, a pleasant album to make.
Paul McCartney – From “Paul McCartney: Many Years from Now” by Barry Miles, 1997
The folk singer Donovan wrote two songs for Mary’s album, “Lord Of The Reedy River” and “Voyage Of The Moon,” and was involved in the recording process. Mary also covered a previously-released song from Donovan, “Happiness Runs (Pebble And The Man)“. Among the album’s tracks, these three songs by Donovan were her favorites.
The three songs by Donovan are among the favourites on the LP… I like Donovan’s songs very much. One is ‘Happiness Runs.’ It’s just about happiness — a lighthearted song with orchestral accompaniment. But I also play guitar all the way through. ‘Voyage Of The Moon’ is a typical lovely Donovan song. This features two guitars behind the vocal. They’re played by Paul McCartney and Donovan. I don’t play here. I just sing. Donovan does a bit of singing from time to time. If you listen hard you can hear him. And Paul also plays a little bit on other tracks. The third Donovan song is called ‘Lord Of The Reedy River’, again accompanied by Donovan and Paul. This is a very soft and dreamy thing.
Mary Hopkin – From Melody Maker – December 28, 1968
I thought Donovan was like a little elf, this magical person. They sat either side of me, him and Paul, playing their acoustic guitars. I was on a stool in between, sitting there like a tiny mouse, singing this beautiful music.
Mary Hopkin, from the liner notes of 2010 reissue of Postcard
Paul McCartney also had Harry Nilsson writing “The Puppy Song” for Mary, and George Martin composed “The Game” for her as well.
I’d written a tune, and when I played it to Paul he said he liked it and wanted to use it for Mary. I then went away and concocted a lyric — which was rather rare for me — and she recorded it as ‘The Game’. I played piano on the track too.
George Martin – From the liner notes of the 2010 reissue of “Post Card“
The other songs were oldies, mostly Tin Pan Alley songs, among the favourites of Paul’s father, Jim McCartney.
I basically did a lot of tunes that were my favourites that I thought she’s be good at.
Paul McCartney – From “Paul McCartney: Many Years from Now” by Barry Miles, 1997
In the interviews to promote “Post Card” but also throughout the years, Mary Hopkin was kind-of critical about this song selection, and repeated that the folk songs from Donovan were her preferred ones on the album.
I would describe it as if I was in kindergarten. With the whole world watching while you take your baby steps. This was Post Card: me in the studio, trying out new things. Paul was quite right to encourage me, but I don’t think my vocals were suited to some of the songs, which I felt were a bit too sophisticated for me… ‘Someone To Watch Over Me’… ‘Lullaby Of The Leaves’… I didn’t feel up to the challenge.
Mary Hopkin – From the liner notes of the 2010 “Post Card” re-release
Among the musicians were Richard Hewson for orchestra arrangements, the London Welsh Choir (on “Young Love“), the Mike Cotton band (on “Someone To Watch Over Me” and “Young Love“), and the Dolmetsch family (on unknown tracks)
When Paul was producing the Postcard album for Mary Hopkin, he used a group of six young session musicians who each played different sized recorders on one of the tracks. There were twin girls called Jeanne and Marguerite Dolmetsch, whose family are well known for making musical instruments, and Paul, Brian, Peter and Christine Blood. The two families were unrelated then but Brian Blood later married Marguerite Dolmetsch and now heads up the Dolmetsch company.
Linda McCartney – from “Linda McCartney’s Sixties“, 1992
Did Paul score all those big orchestral arrangements on Post Card?
Paul was always involved. He would go sit with George Martin and they would work it out. Sometimes it would come from George, and sometimes Paul would sing a little riff and say “this feel” or “that feel.” I can’t remember who did exactly what now. But Paul was very much involved.
Mary Hopkin – Interview with Goldmine Magazine, 1992
Ringo Starr might have contributed some drums, as evocated by Mary Hopkin in 2015 interview:
It’s hard to remember all the exact details from so long ago but here are a few answers for you. I did not play guitar on ‘Those Were the Days.’ Paul played acoustic guitar. Paul’s thigh slap was on my second single, ‘Goodbye,’ where he and I played the two rhythm guitars. I don’t recall who played the drums on ‘Those Were the Days,’ but since it was a full, orchestral arrangement [by Richard Hewson], I believe it was a session player, though Paul sometimes played additional drums [often enhancing Ringo’s basic pattern] on the Postcard album tracks.
Mary Hopkin – From Classic Track: “Those Were the Days,” Mary Hopkin (mixonline.com)
I got a lot closer to Paul McCartney when we worked together on the Mary Hopkin Postcard album. I remember having the prettiest mic setup I’ve ever seen on one of the sessions for that album. It was just Mary, Paul, and Donovan in Number 1 studio. The setup was just three C 12s placed in a triangle, one each for the two acoustic guitars and one for Mary’s vocal. It sounded wonderful and just looked so aesthetically pleasing in an engineer-geek sort of way. Strange the things one remembers.
That was a particularly great session as Mary was very comfortable with the songs that day and we even had a special guest drop by to see Paul; Diana Ross, then of The Supremes. Postcard wasn’t always the easiest of projects though. Although she loved singing the two Donovan songs, Mary had problems with some of the other material that Paul wanted her to do. Let’s face it, “There’s No Business Like Show Business” wasn’t her kind of song at all. She was a lot more folky, but he had an idea of how he wanted the album to be and that’s how it went. You didn’t argue with Paul.
Ken Scott – From “Abbey Road to Ziggy Stardust“, 2012
Working with Paul on the Mary Hopkin album was very much like working with him when he was with The Beatles. There was a certain amount of controlling. He could do it easier on the Mary Hopkin album than he could within the Beatles. It was kind of strange because he was pushing Mary in a direction that she didn’t necessarily want to go. The most comfortable sessions for her were the ones we did with Donovan. She recorded two of his songs, both of which were very folky. And it was just Paul and Donovan playing guitar and her singing live. She was really comfortable in that setting. But, then when you came to the big show tunes and that kind of thing, she was very uncomfortable. But that’s what Paul wanted, so that’s what Paul got.
Ken Scott – Interview for DAYTRIPPIN’ BEATLES MAGAZINE, July 2012
MARY TO RECORD BEATLE SONGS
Mary Hopkin – still number one this week with “Those Were The Days” – has started work on her first album with Beatle Paul McCartney.
Mary will be recording a number of songs including several Lennon and McCartney compositions, although it is unlikely that every track will be an original by Paul and John.
A spokesman told the MM: “Mary is having a couple of weeks off from TV and appearances to think about the rest of the album although a couple of things have already been recorded.“
From Melody Maker – October 12, 1968
Mary’s follow-up due this year
Mary Hopkin will not have a follow-up to “Those Were The Days” released before the end of the year, said an Apple spokesman this week.
Her first album, however, will be rush-released in time for Christmas. She is at present rehearsing songs found by Paul McCartney which include specially written material by Jim Webb, Nilsson and Randy Newman. There are 18 songs available, from which about 12 will be chosen.
The album will be completed by December. […]
From Melody Maker, November 9, 1968
MARY FINISHES ALBUM
MARY HOPKIN has finished work on her first album, produced by Paul McCartney.
The album was completed last week and will probably contain 14 tracks. No decision has been taken on the title for the album, said Apple press officer Derek Taylor. The LP will probably be released early in the New Year.
It includes two new Donovan tracks, a previously recorded Donovan song, a song specially written for Mary by Nilsson, a Welsh song, a George Martin composition and what is described as a “Gertrude Lawrence song.”
Mary told MM this week: “I’m quite pleased with the way the LP has turned out, but I’m sorry that the recording is over because I enjoyed it. It’s nice finding out what you can do, but I’ll be a lot more confident about things when I have a lot more songs I can do with just the guitar.“
Mary has not yet recorded a follow-up single to “Those Were The Days“
From Melody Maker – December 14, 1968
"Post Card" session - Improvisation with Donovan
November 1968 • Songs recorded during this session appear on Post Card (US version)
Written by Donovan
Recording
Happiness Runs (Pebble And The Man)
Written by Donovan
Recording
Written by Ray Noble
Recording
Written by Richard H. Jones, Edward J. Hughes
Recording
Written by Mikis Theodorakis, William Sansom
Recording
Written by Harry Nilsson
Recording
Written by Frank Loesser
Recording
Written by Donovan
Recording
Written by Joe Young, Bernice Petkere
Recording
Written by Ric Cartey, Carole Joyner
Recording
Written by George Gershwin, Ira Gershwin
Recording
Written by Jean-Pierre Bourtayre
Recording
Written by George Martin
Recording
There's No Business Like Show Business
Written by Irving Berlin
Recording
November 1968 • "Post Card" session - Improvisation with Donovan
November 1968 • "Post Card" session - Improvisation with Donovan
November 1968 • "Post Card" session - Improvisation with Donovan
November 1968 • "Post Card" session - Improvisation with Donovan
November 1968 • "Post Card" session - Improvisation with Donovan
November 1968 • "Post Card" session - Improvisation with Donovan
November 1968 • "Post Card" session - Improvisation with Donovan
November 1968 • "Post Card" session - Improvisation with Donovan
Notice any inaccuracies on this page? Have additional insights or ideas for new content? Or just want to share your thoughts? We value your feedback! Please use the form below to get in touch with us.
