Recording "Revolution 1"

The third day of recording the new album was also the third day spent on “Revolution 1“. John Lennon had brought his new partner, Yoko Ono, to the previous session, and Paul McCartney responded by inviting Francie Schwartz to this session, who would soon become his girlfriend.

John Lennon opted to re-record his lead vocals while lying on the floor of Studio Three, aiming to modify his voice. Accompanied by Francie Schwartz, George Harrison and Paul McCartney recorded “shoo-be-doo-wop” backing vocals. Those overdubs were added onto Take 19.

At this stage, the song was still 10 minutes long. The Beatles experimented by adding extra tape loops at the track’s end. John, Paul and George already recorded some backing vocals singing “Mama… Dada… Mama… Dada… Mama…” Those additions were ultimately not used.

Take 19 went through a tape reduction, resulting in Take 20. Additional overdubs were then added onto it: a new drum track from Ringo Starr, a guitar part by George, and an organ part played by Paul.

The session concluded with an unnumbered mono mix of the song, lasting 10:17 minutes.

The final overdubs were added on June 21.

The session, which began at 2:30 pm, wrapped up at 1 am.

John decided he would feel more comfortable on the floor so I had to rig up a microphone which would be suspended on a boom above his mouth. It struck me as somewhat odd, a little eccentric, but they were always looking for a different sound; something new.

Brian Gibson, technical engineer – From “The Complete Beatles Recording Sessions” by Mark Lewisohn, 1988

The phone rang, finally. He said hello and I said hello and I thought it was someone else. He said, “No it’s me.” The Great Me. […] “When are you recording?” He excused himself, and as if the other three were sitting there digging the whole conversation, yelled, “Hey fellas, when are we recording?” He came back to the phone, That evening. Eight, Abbey Road, EMI studios. Could I make it? Could I ever. Opening the big double doors to the cavernous studio, I caught a frieze of four Beatles, gathered around a grand piano, four owls, gazing with half-amused looks at me approaching. Paul was wearing his tightest and sexiest dark green pants; no more the baggy businessman, now the rave-up rocker. He seemed taller, ready for the music, and I had to reach up when he asked me to massage his shoulders.

At the beginning, I huddled in a corner, digging Yoko’s sweetness, but by the time the hash and goodies were out, I was dancing to a pulsing “Revolution.” The music filled the flesh, and was alive all by itself, carrying us along into the night. I sang backing with George, smiling and doing a Ray Charles falsetto. There was much laughter and electricity, and a covering cloud of incense.

The chauffeur drove John and Yoko and Paul and me to his house, and they disappeared behind the black gates, Paul still strumming “Wait and see, wait and see.” The chauffeur drove me home.

Francie Schwartz – From “Body Count“, 1972

Session activities

1. Revolution 1

   Written by Lennon - McCartney

   Recording • SI onto take 19

2. Creation of tape loops

   Recording

3. Revolution 1

   Written by Lennon - McCartney

   Tape copying • Tape reduction take 19 into take 20

4. Revolution 1

   Written by Lennon - McCartney

   Recording • SI onto take 20

5. Revolution 1

   Written by Lennon - McCartney

   Mixing • Mono mixing - Rough remix from take 20

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