Monday, October 7, 1968
Mixing "While My Guitar Gently Weeps", recording "Long Long Long"
For The Beatles
Last updated on September 30, 2021
Monday, October 7, 1968
For The Beatles
Last updated on September 30, 2021
"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
Session Oct 04, 1968 • Recording "Martha My Dear", "Honey Pie"
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"
Some 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 were back at Abbey Road (minus John Lennon who was still absent). This was a long, long, long session (lasting more than 16 hours, from 2:30 pm to 7 am!), mostly spent on recording the backing track of a new George Harrison song, “Long, Long, Long“.
The day began with copies made of the mono and stereo mixes of “Honey Pie” and “Martha My Dear” which had been created on October 5, 1968 at Trident. Those were made to convert the Trident recording created with the American NAB equalisation to the UK standard CCIR.
Then, some mono and stereo mixes of “While My Guitar Gently Weeps” were made, but would remain unused as the final mixes were done on October 14.
Then work started on George Harrison ‘s “Long, Long, Long“. At this stage, the song was known as “It’s Been a Long, Long, Long Time”. It was a relaxed session; the burning of Indian incense helped to create the requisite atmosphere in the studio.
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
The Beatles recorded 67 takes of the rhythm track, with George on vocals and acoustic guitar, Paul McCartney playing Hammond organ, and Ringo Starr on drums. The drum part includes a series of loud fills that serve as a commentary beside the vocal line, in the manner of Starr’s playing on “A Day in the Life” in 1967.
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 McCartney played a certain note on the organ, a wine bottle sitting on a Leslie speaker began to vibrate, producing an eerie clattering sound that the Beatles decided to incorporate in their subsequent performances of the track. To compound the effect on the selected take, Starr played a fast snare drum roll and Harrison vocalised a prolonged, high-pitched wail.
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
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
Just before starting take 67, George Harrison declared “Let this be the one!“. Paul McCartney 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.
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.
