Recording studio: EMI Studios, Studio Three, Abbey Road • London • UK
Article August 1969 • Designing the packaging of "Abbey Road"
Session Aug 01, 1969 • Recording "Because"
Session Aug 02, 1969 • Recording "Come And Get It"
Article August 3 or 7, 1969 • Test shot for the "Abbey Road" album
Session Aug 04, 1969 • Recording "Because", mixing "Something", "Here Comes The Sun"
AlbumSome of the songs worked on during this session were first released on the "Magic Christian Music" LP
The Iveys were a Welsh-English rock band who, in July 1968, became the first non-Beatle recording artists signed to Apple. They released a couple of singles with limited chart success, and soon began work on their debut LP, “Maybe Tomorrow.” However, Apple delayed the release, and the album eventually saw the light of day only in Italy, Germany, and Japan in August 1969. This limited release strategy was believed to be the decision of Allen Klein, who had recently taken control of Apple. As Tony Bramwell recalled:
I think [Allen Klein] put the stops on it, because he was saying, ‘We’re not going to issue any more records until I sort out this mess.’ Apple really wasn’t a mess as far as we were concerned. But a lot of things stopped. I think a Billy Preston single got held up, along with a Mary Hopkin record.
Tony Bramwell – From “Without You: The Tragic Story of Badfinger” by Dan Matovina, 1997
The Iveys voiced their frustration in the July 5, 1969 issue of Disc and Music Echo:
“We do feel a bit neglected,” said Ron Griffiths. “We keep writing songs for a new single and submitting them to Apple, but the Beatles keep sending them back saying they’re not good enough.”
“Mind you,” adds Tom Evans, “we’ve had a lot of things most groups could not expect. The Beatles bought all our gear for us, all the equipment and a group van, and we’ve had all kinds of concessions… all we need now is a hit single, or even just a new single, hit or not, and we’ll be happy!
“We’re going to keep on writing, and we’re determined to come up with something the Beatles like. At first we were adamant about not recording anything but one of our own songs, but now we’d record anything, so long as it was good…“
From interview with Disc and Music Echo, July 5, 1969
In the meantime, Paul McCartney was asked to contribute three songs to the soundtrack of “The Magic Christian,” a new film starring Peter Sellers and Ringo Starr. Seeing an opportunity for The Iveys, Paul offered them one of his own compositions, “Come and Get It,” and invited them to contribute the other two tracks. He also took on the role of producer for the three songs: “Come and Get It”, “Carry On Till Tomorrow”, and “Rock of All Ages”, which were recorded at Abbey Road Studios in August 1969.
Paul had recorded a solo demo of “Come and Get It” on July 24, 1969. On this day, August 2, he produced The Iveys’ studio version. He auditioned each member — Tom Evans, Pete Ham, Ron Griffiths, and Mike Gibbins — for the lead vocal, ultimately choosing Tom Evans. Paul also instructed the band to follow his demo note-for-note, convinced that this formula would ensure a hit.
Before the release of “Come and Get It” in January 1970, The Iveys changed their name to Badfinger — a name suggested by Neil Aspinall. The name was inspired by “Bad Finger Boogie”, an early working title for “With a Little Help from My Friends,” referring to a time when John Lennon injured his forefinger and played piano using only one finger.
I did a demo of ‘” Come And Get It” for Badfinger which took about 20 minutes, it was before a Beatles session. Phil McDonald was there and I got in – I always used to get in early because I lived just around the corner – and all the equipment was set up from the day before so I ran in and said, “Just do this, Phil, go on, it’ll only take twenty minutes” and I threw it away. I mean it’s really nice.
I said to Badfinger, “Look, lads, don’t vary, this is good, just copy this down to the letter. It’s perhaps a little bit undignified for you, a little bit lacking in integrity to have to copy someone’s work that rigidly, but this is the hit sound. Do it like this and we’re all right, we’ve got a hit. No one will know anyway. And if they do say anything say, ‘Yes, Paul did the arrangement, big deal, it’s not unheard of.’”
Paul McCartney – From “The Complete Beatles Recording Sessions” by Mark Lewisohn, 1988
I’d written the song Come And Get It and I’d made a fairly decent demo. Because I lived locally, I could get in half an hour before a Beatles session at Abbey Road – knowing it would be empty and all the stuff would be set up – and I’d use Ringo’s equipment to put a drum track down, put some piano down, quickly put some bass down, do the vocal, and double-track it. I said to Badfinger, ‘OK, it’s got to be exactly like this demo,’ because it had a great feeling on it. They actually wanted to put their own variations on, but I said, ‘No, this really is the right way.’ They listened to me – I was producing, after all – and they were good. The song was a hit in 1970.
Paul McCartney – From “The Beatles Anthology” book, 2000
I said, “You should copy this faithfully”. They said, “But we’d like to change it a little bit.” I said, “No, it’s absolutely the right arrangement. Please don’t change this. I can guarantee it’s a hit.
Paul McCartney – About the recording of “Come And Get It” with The Iveys – Quoted from the “Abbey Road (50th anniversary boxset)” liner notes.
Paul said, “I’ve got a lot on my plate at the minute. It’s yours if you do what I say. If you accept this as your next single, you can write the other two tracks they need for Ringo’s film”. It was too good an offer to refuse. […] That session went on forever. Around 30 takes, I think. Peter Ham, Tommy Evans and myself all had a shot at singing it. Tommy got the gig.
Ron Griffiths – From The Iveys – Quoted from the “Abbey Road (50th anniversary boxset)” liner notes.
Paul was always the most interested in us. When he wrote ‘Come And Get It’, he offered it to us because he knew that we had nothing to do. He even produced it, and told us, ‘I’m not going to do this song … but don’t expect any more.’ When we originally did the single, it was too simple, because only piano, bass and drums are used. But now we’realise what a genius Paul is, he knew what he was doing. To begin with, we used to get very involved with our recording as much as possible. When we submitted our tape to Paul, he returned it, offering to take us into the studio to show us how it ought to be done. Now, he’s helped to bring us out more, and has built up a lot of enthusiasm by taking an interest. Perhaps, if he liked the song we choose for the next single, he’ll produce it for us.
Tom Evans – From The Iveys – From “The Beatles: Off the Record” by Keith Badman, 2008
The first order of business was laying down the basic track. Paul gathered the group around a piano and began to discuss the arrangement. Suddenly John and Yoko appeared. Tom recalled, “They were kind of walking through and Lennon stopped and looked over at Paul, bowed his head, and said, ‘Oh wise one, oh sage, show us the light.’ The next thing I knew he walked out the door. I thought, “Wait a minute, that was John Lennon!”
The group carried on, “Paul tuned my drums and got them sounding all Beatley,” said Mike. “He said, ‘Simplicity is the way to go.’” Pete added, “He showed us a lot. Because if we’d done ‘Come And Get It’ like that we wouldn’t have been happy with it. The rough edges, we would’ve said, ‘Oh, lets put something over that to cover it up.’ He said, ‘No, that’s all it needs.’ Like bass, drums, and piano… he was right, that’s all it needed.” The group rehearsed the song and McCartney reminded Ron not to snazzy up the bass lines.
Eventually, the track was laid down, at a slightly faster tempo than the original demo. Paul congratulated them on a take well-done, noting Mike’s drum fills which do a lot to lift the track, then gently ribbing Ron for his little bass run-off at the tail.
Now they were ready for the vocals. “Paul asked each of us to sing a verse,” said Ron, “Pete was too ‘muggy.’ I tried and he said it was a bit nasal, sounded like Reg Presley of the Troggs. Then Tom gave it a shot.“
Evans stepped up and the “magic” hit. It was a perfect song for Tom’s rich, Liverpudlian pipes. Much of the Iveys material had put Tom in a less natural vocal range, and he tended to overcompensate with histrionic emotion. But “Come And Get It” fit him like a warm glove. He was controlled, confident, and believable.
Paul finished the session by adding an important tambourine overdub. Ron sang a low vocal harmony, and within three hours, “Come And Get It” was complete. Everyone was quite pleased. As Tom said, “Paul had told us that if he didn’t think our version was as good as his original demo, he’d put it out himself. Of course that challenge really made us work hard in the studio.“
From “Without You: The Tragic Story of Badfinger” by Dan Matovina, 1997
The take-by-take descriptions of this recording session are taken from Tom Brennan’s Badfinger Library
Booked: Studio 3 from 10:00 AM – 5:30 PM (4-track).
From Tom Brennan’s Badfinger Library
Actual: Studio 3 from 10:00 AM – 9:00 PM (4-track).
Recordings: 26 takes on EMI reels E94256 and E94257 (take 21 was best and had Ron Griffiths lead vocal SI added).
Tape copying: 4-track take 21 to 8-track reel E94258 take 27. It’s unknown whether or not Ron’s vocal was copied over to take 27.
Overdubbing: 8-track take 27 of Tom Evans lead vocals, backing vocals, a tambourine part, and effects.
Mixing (started at 6:45 PM): 6 stereo mixes on EMI reel E94257 (RS1 BD, RS2 complete, RS3 complete, RS4 complete, RS5 BD, RS6 best).
RS6 was taken away by Mal Evans to 3 Savile Row to have an acetate cut.
Written by Paul McCartney
Recording • Take 1 (2:28) - Paul McCartney counts in the first take as he guides The Iveys through the first attempt. McCartney sings a lead scratch vocal while Tom Evans can also be heard on the first "Sonny" part. Even on this early take, Mike plays some impressive drum fills.
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
Written by Paul McCartney
Recording • Take 2 (0:10) - McCartney counts in again. After a false start, McCartney clears his throat, while Pete Ham chuckles and responds, "play it again."
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
Written by Paul McCartney
Recording • Take 3 (1:00) - McCartney incorrectly announces, "If You Want It, Here It Is, Come And Get It, take 5", and counts in. The take breaks down at the start of the second verse.
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
Written by Paul McCartney
Recording • Take 4 (1:05) - Before the take, McCartney coaches The Iveys on the proper rhythm and tempo of the "fool and his money" break in the song, then he counts in again. This time, Paul sings only in a few spots, but off mic. The song breaks down at the start of the second verse.
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
Written by Paul McCartney
Recording • Take 5 (2:12) - Before the take, McCartney says something inaudible like, "Don't pick it up... the mirrors." This take sounds like it's counted in by Pete Ham. Someone, possibly Tom Evans, is singing the guide vocal this time instead of Paul McCartney. The take breaks down at the point of the second "Sonny".
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
Written by Paul McCartney
Recording • Take 6 (2:45) - Before this take McCartney gives the following instructions, "Just everyone a bit easier. It slows down a bit in those (sings) did I hear you say that there... Don't let it slow down...(inaudible)." Pete Ham counts it in. It sounds like Tommy Evans singing in a lower register. Before the tape cuts off, McCartney responds at the end to what sounds like Pete Ham, "It was pretty good, though. Yeah. It was a little bit on the (sings) Son-."
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
Written by Paul McCartney
Recording • Take 7 (0:44) - This take breaks down when Pete Ham hits a wrong piano note at the end of the first verse.
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
Written by Paul McCartney
Recording • Take 8 (0:54) - This take breaks down at the beginning of verse 2. McCartney then comments, "Look over here if you're not sure. I'll be sort of going..."
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
Written by Paul McCartney
Recording • Take 9 (0:51) - Before the take, after what sounds like Pete Ham talking about the piano, McCartney says to Pete Ham, "Huh? No. Well, I'll be in with them, 'cause he's watching Bill, so I'm sort of thinking, one two, three. Okay? Nice and steady, then." The actual take breaks down during the first verse, as Paul, Ron and Tom start fooling around with their musical parts.
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Written by Paul McCartney
Recording • Take 10 (2:59) - Before the take, Griffiths plays around on his bass guitar as McCartney says, "Yeah. Try it with cans off if it's easier, or one on and one off. Just shove it behind your ear." This is a complete take, and the first time where all the playing is fairly tight, as Mike's drum fills start to take shape. During the first "Sonny" break, Tom's voice can be clearly heard singing off mic.
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Written by Paul McCartney
Recording • Take 11 (0:27) - This take, which sounds a bit too fast, breaks down during the first verse. McCartney stops the take and says, "Hold on. It was a little bit. No, that wasn't together."
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Written by Paul McCartney
Recording • Take 12 (0:48) - Another breakdown, at the start of the second verse. McCartney advises, "Hold it. No. Try and look at Bill for that one, you know, if you can."
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Written by Paul McCartney
Recording • Take 13 (2:42) - This is a very good, complete take. Before the take, McCartney advises, "Play a bit lighter. Just, you know, try not to sort of think, you know, the studio and stuff, you know. Probably come out a bit better if you just sort of... fuck it."
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Written by Paul McCartney
Recording • Take 14 (2:25) - Another very good, complete take where you can hear Tommy singing during the "Sonny" breaks. Mike's drum fills are a little bit different. McCartney comments after: "Yeah. Good. That's much better, though. That was really, much better now. If you're gonna do..."
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Written by Paul McCartney
Recording • Take 15 (2:31) - Before the take, Tommy is shaking his maracas. This is another complete take. At this point, everyone knows their parts and is trying to come up with the perfect performance. Again, you can hear Tommy singing during the "Sonny" breaks. McCartney doesn't like this take as much as the previous one: "Not quite as good as the one before." Then he asks Pete Ham: "That was a bit slower, was it?"
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Written by Paul McCartney
Recording • Take 16 (0:22) - Before the take, McCartney asks the engineer if he's ready: "Tony?" Tony Clark says, "Yup" and McCartney acknowledges his reply. The producer in the booth announces the take and they're off again. This take breaks down quickly in the first verse when someone in the booth whistles for them to stop.
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Written by Paul McCartney
Recording • Take 17 (0:55) - This take breaks down as the second verse starts. McCartney says he's sorry and blames himself for blowing the take (Paul is playing the tambourine).
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Written by Paul McCartney
Recording • Take 18 (2:27) - A forceful complete take with Tommy Evans singing the guide vocal. The take is nearly perfect aside from Pete Ham hitting a bum chord towards the end. As Ron's bass guitar fades, McCartney comments: "Not bad. Could do better. See me."
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Written by Paul McCartney
Recording • Take 19 (0:30) - This take never really gets going, as Pete Ham doesn't sound quite ready, and he's not playing the piano with full effort.
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Written by Paul McCartney
Recording • Take 20 (2:19) - An excellent, complete take. Very close to being the final master backing. Even so, McCartney calls for "another one."
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Written by Paul McCartney
Recording • Take 21 (2:24) - This take has Ron Griffiths overdubbing a rough lead vocal onto take 20. McCartney comments: "We'll let you know Ron who's better." Some insight from Ron Griffiths himself: "...there was NO prior rehearsal, I did not benefit from double-tracking or reverb... also, I was not from Liverpool!!!"
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Written by Paul McCartney
Recording • Take 22 (0:49) - Before this take, McCartney says: "Ron, there is just feel now." The take breaks down as the second verse begins with McCartney apologizing: "Sorry, I lost it a bit, then."
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Written by Paul McCartney
Recording • Take 23 (0:37) - This take breaks down when Pete Ham hits messes up on the piano.
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
Written by Paul McCartney
Recording • Take 24 (0:52) - This take breaks down when Mike Gibbins messes up the snare drum break leading into the second verse.
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
Written by Paul McCartney
Recording • Take 25 (0:20) - This take quickly breaks down.
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
Written by Paul McCartney
Recording • Take 26 (2:25) - This is a complete take, the master backing. McCartney sounds satisfied: "OK. We'll listen to those back."
AlbumReleased on bootleg Revolution Take... Your Knickers Off!
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