No small amount shuffling action underlies the otherwise moribund harmony.
Everybody's Got Something to Hide Except Me and My Monkey
Paradoxically, though the harmonic rhythm steadily picks up pace in this section, the spoken word becomes increasingly more sparse. If you imagine the song without this shortcut, you can sense the danger of boredom quickly setting it by too much unrelieved exposure to the E-Major chord.
By no coincidence, the metrical shift directly coincides with, and its dramatic effect is intensified by, the most memorable guitar solo lick in entire track. The remainder of the outro suggests a kind of never-ending repeat of the verse section.
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By the same token, the broad strokes are already quite in evidence: the verses with their pattering lyrics rapped out over repetitive harmonies, and the refrains with their sparser lyrics declaimed over more chord changes more clearly directed. In my humble opinion, the extent to which the demo successfully captures the fundamental essence of the finished product in spite of all sketchiness only goes to underscore the notion that this song is, at heart, big gesture-oriented. Some of these were released on "Anthology", Volume 3.
All Rights Reserved. This article may be reproduced, retransmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Alan W. This is yet another one of John's broad-gesture songs. John had used essentially the same gambit in " Strawberry Fields Forever "; but you won't read about that in the newspapers Everybody was, sort of, tense around us. You know, 'What is SHE doing here at the session? Why is she with him?
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Since John explains the song as being written about everyone's reaction to his new love relationship with Yoko, it has been established that their artistic and intimate relationship didn't take root until he returned from India in April of that year.
George Harrison has stated that elements of the lyrics can easily be attributed to the Maharishi , saying that " Come on is such a joy " was one of his favorite sayings as was the song's title itself, "apart from that bit about the monkey. Therefore, the song is estimated to have been written sometime in the month of May, the lyrics and basic structure of the song evident when John recorded the song's demo on May 28th, While both John and Paul show Lennon as its sole composer, Paul adds his input into some of the song's lyrics.
Until that point we had made rather mild, rather oblique references to pot or LSD. Now John started to be talking about fixes and monkeys and it was a harder terminology which the rest of us weren't into. We were disappointed that he was getting into heroin because we didn't really see how we could help him.
We just hoped it wouldn't go too far.
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In actual fact, he did end up clean but this was the period when he was on it. It was a tough period for John, but often that adversity and that craziness can lead to good art, as I think it did in this case. John infers it as meaning Yoko, only the two of them not having any hang-ups like everyone else around them did, which included the press and what they were reporting about them at the time. It is convincing either way and may very well have been intended as a double-entendre. Recording History. As mentioned above, John introduced the song to the rest of The Beatles on May 28th, , while recording demos of newly written compositions at George's "Kinfauns" home in Esher, Surrey.
Onto George's Ampex 4-track machine, John recorded himself singing and playing acoustic guitar, both of which were double-tracked, while the rest of the group added various percussion sounds, such as maracas, tambourine and bongo beats on the back of an acoustic guitar. Another acoustic guitar is also heard in the background playing experimental lead phrases, which could very well have been George. Both the general tempo and all around 'vibe' were already present, as were the complete lyrics, although the vocal style lends itself more to Bob Dylan than to the high intensity vocalizations of the finished product.
Some arrangement issues needed to be worked out yet, such as the introduction and the details of the guitar parts, but the somewhat ad lib nature of the song was already in place. Then, in the familiar fashion, go back to the best basic version and start the process of overdubbing. The tape was rolling the whole time, the intention being to eventually commit to tape a usuable rhythm track onto which they could add overdubs.
This four-track tape consisted of John and George's electric guitars on tracks one and two, Paul's bass on track three and Ringo's drums on track four. No vocals were sung at this point with the exception of possible off-microphone guide vocals from John to stir the song in the right direction. With no vocals being sung, EMI staff simply documented the song as "Untitled" at this point. By am the next morning, they thought they may have nailed down a suitable rhythm track but, due to the lateness of the hour, decided to end the session and sort through the "takes" on another day.
A decision was made, however, to treat the previous day's attempts as rehearsals and start the song again fresh. Common practice at EMI was, to conserve expensive recording tape, to re-record over performances that were deemed unsuitable for release.
Everybody’s Got Something to Hide Except Me & My Monkey
In this case, the tape that contained the previous day's rehearsals was used again on this day to record the rhythm track for song, totally wiping out the performances from the previous day. Or so everyone thought! Sometime in , while the 50th Anniversary " White Album " releases were being prepared, it was discovered that the last three minutes of that reel of tape still contained the previous day's rehearsal of "Everybody's Got Something To Hide.
This discovery was contained on the Super Deluxe " White Album " box set released in November of Once again, The Beatles were playing incredibly loud down in the studio, but this time Lennon and Harrison had their volume turned up so high that Paul actually gave up competing with them. Rather than play bass on the backing track, he stood next to Ringo, ringing a huge fireman's bell , egging his drummer on.
There was no microphone on him, because the thing was so loud that it bled on all the mics anyway. Physically, it was very difficult to pull off — Paul had to take a break after each take because his shoulders were aching so much. George Harrison's lead work was crisp and efficient, much more aggressive than his usual style. Paul would also whoop and hollar to encourage his bandmates during the takes, one of which ending with him joking, "Don't stop me now!
However, as the above book stipulates, a decision was made to perform two reduction mixes for this song, the second attempt, 'take eight,' being deemed best. This reduction mix was created while the tape machine was running at 43 cycles per second instead of the usual 50, which meant it sped the song up considerably when played back. This shortened the song from to and gave the impression of a tighter instrumental performance.
That evening, Paul had walked into the control room on his way in and unceremoniously plunked a bottle of Johnnie Walker down on the table, saying, 'This is for you, boys. Engineer Richard Lush and I restrained ourselves until after everyone had gone home, at which point we drained the entire bottle Giggling like the drunken fools we were, we got every last cup and saucer out of the canteen and took them into Studio Two, whereupon we smashed them up against the wall. Of course, we then had to hide the evidence. But it was worth it. The next morning the canteen staff came in and wanted to know where all the cups and saucers had gone.
Fighting our hangovers and trying to appear as angelic as humanly possible, we pleaded innocence. John then overdubbed lead vocals along with some additional drums from Ringo on track three, followed by John double-tracking his vocals on track four.
With the four tracks of the tape full yet again, another reduction mix was deemed necessary. This reduction mix, 'take ten,' was in length and was documented as "best," which ended the session on this day at 3 am, everyone considering the song to be complete. A decision needed to be made, however, concerning how the song would be concluded. The book "The Beatles Recording Sessions" describes the replacement lead vocal that John now recorded onto 'take ten' as "a rousing new Lennon version which, after the point where he knew the song would be faded out on disc, developed into frantic, jocular screaming.
He would say, 'I want to sound like somebody from the moon' or anything different. This, then, completed the song, five mono mixes being made at the end of the session, although none of them were ever used. Both the stereo and mono mixes of the song that were released on the finished album were made on October 12th, in the control room of EMI Studio Two by the engineering team of George Martin , Ken Scott and John Smith. Only one attempt at each mix was needed to get them ready for release, although in both cases, it is thought that the song was sped up yet a little more to reduce its length a few seconds more to Sometime in , George Martin's son Giles Martin , along with engineer Sam Okell, returned to the master tapes to create an excellent new stereo mix of the song for inclusion on the various new editions of the " White Album " for its 50th Anniversary.
They also created a stereo mix of the "Esher" demo they made on May 28th, and the newly discovered rehearsal segment the band recorded in EMI Studios on June 26th of that year. Song Structure and Style. But, as we've come to expect, there are some interesting developments that come up along the way. Getting your grounding in the introduction may be a little difficult for the listener, as it was for me for many years, because of Lennon's three guitar chops per measure and deceivingly placed snare beats from Ringo.