Thursday, October 10, 1968
For The Beatles
Last updated on November 17, 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 Three, Abbey Road
Session Oct 08, 1968 • Recording "Long Long Long", "I'm So Tired", "The Continuing Story Of Bungalow Bill"
Session Oct 10, 1968 • Recording and mixing: "Piggies", "Glass Onion", "Why Don't We Do It In The Road?", "Rocky Raccoon", "Long, Long, Long"
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 "The Beatles (Mono)" LP
This was another long day, from 7 pm to 7:15 am, spent at Abbey Road. Overdubs were added to “Piggies“, “Glass Onion” and “Why Don’t We Do It In The Road“. Time was also spent mixing “Glass Onion“, “Rocky Raccoon” and “Long, Long, Long“.
The Beatles worked on “Piggies” on September 19 and 20, and on “Glass Onion” on September 11, 12, 13, 16, and 26. George Martin was on holiday for most of September, with Chris Thomas producing in his absence. Upon his return, Martin listened to what had been recorded during his absence and suggested adding string arrangements to both songs.
Consequently, on this day, eight musicians with violins, violas, and cellos gathered in the studio to record these arrangements. They were incorporated into “Piggies” take 12 and “Glass Onion” take 33.
Following this, “Glass Onion” was mixed in both stereo and mono. Remix Mono 11 and Remix Stereo 2 were included on the White Album.
The mixes for “Piggies” were done the next day, on October 11.
[The] mono mix of Glass Onion, made on 26 September 1968, encompasses sound effects compiled by John Lennon for his song: a telephone, an organ note, the smashing of glass and the then BBC-tv soccer commentator Kenneth Wolstenholme acclaiming “It’s a goal!” over the sound of a roaring crowd. George Martin, on holiday at the time, heard the mix on his return and suggested a different approach: he scored the song for a string arrangement, recorded on 10 October, that rendered this mix and the FX ideas redundant and the tape to the vault shelf labelled “do not use”.
From “Anthology 3” liner notes
“Rocky Raccoon” had been recorded and mixed in mono on August 15, 1968. On this day, Remix Stereo 1 was created from Take 10, and was released on the White Album.
“Long, Long, Long” was recorded from October 7 to October 9; and on this day, Remix Stereo 1 to 4 were created from Take 67. RS4 was included on the White Album.
Four attempts at this stereo mix was done, undoubtedly the fourth try being the one used on the finished album. George’s acoustic guitar on the rhythm track was mixed quite low and the harmony on his lead vocals begins the first time he sings the word “long.” Much oscillator waggling was done on Paul’s organ part during this mix, which presumably was done manually by Chris Thomas as he had done for previous “White Album” mixes.
From beatlesebooks.com
The mono mix was created on October 14, following an initial attempt on October 12.
Paul McCartney was not involved in the overdubs and mixing activities. Instead, he was in Studio Three with engineer Ken Townsend, finalizing the recording of “Why Don’t We Do It In The Road?” which had begun the previous day.
By the previous day’s end, Take 5 featured Paul on acoustic guitar and vocals, with a piano overdub also recorded. On this day, Paul added his bass part, while Ringo Starr joined to contribute drums.
Paul re-recorded his lead vocals, removing the original acoustic guitar part but retaining the percussion slaps. Ultimately, little of the original Take 5 remained.
Subsequently, handclaps and a second vocal part were added. This led to a reduction mix, labeled Take 6, after which Paul added electric slide guitar overdubs.
The mono and stereo mixes of “Why Don’t We Do It In The Road?” were made on October 16.
Written by George Harrison
Recording • SI onto take 12
Recording • SI onto take 33
Mixing • Stereo mixing - Remix 1 from take 33
Mixing • Stereo mixing - Remix 2 from take 33
AlbumOfficially released on The Beatles (Stereo)
Mixing • Stereo mixing - Remix 1 from take 10
AlbumOfficially released on The Beatles (Stereo)
Written by George Harrison
Mixing • Stereo mixing - Remix 1 from take 67
Written by George Harrison
Mixing • Stereo mixing - Remix 2 from take 67
Written by George Harrison
Mixing • Stereo mixing - Remix 3 from take 67
Written by George Harrison
Mixing • Stereo mixing - Remix 4 from take 67
AlbumOfficially released on The Beatles (Stereo)
Mixing • Mono mixing - Remix 10 from take 33
Mixing • Mono mixing - Remix 11 from take 33
AlbumOfficially released on The Beatles (Mono)
Why Don't We Do It In The Road?
Recording • SI onto take 5
Why Don't We Do It In The Road?
Tape copying • Tape reduction take 5 into take 6
Why Don't We Do It In The Road?
Recording • SI onto take 6
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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