Location
Recording studio: The Ashers' house, 57 Wimpole Street • London • UK
Timeline
Article December 1965 • The Beatles get in touch with Motown
Session December 1965 • Recording "Woman"
Session December 1965 ? • Recording "Unforgettable", the unreleased Christmas album
Session Dec 01, 1965 • Rehearsals for the 1965 UK Tour
Interview December 1965 • Flip Teen Magazine
Some of the songs from this session also appear on:
For Christmas 1965, Paul McCartney came up with the idea of creating a tape as a personal gift for the other Beatles. Using Brenell tape recorders at home, mainly at the Ashers’ house, he assembled a compilation of experimental recordings, tape loops, spoken passages and music, structured like a mock radio or magazine-style programme. The tape, sometimes referred to as “Unforgettable“, opened with a snippet of Nat King Cole’s song, over which Paul spoke in the style of a radio announcer — possibly influenced by his recent experience acting as compère at a Gene Pitney concert.
The recording was made purely for private listening and was never intended for commercial release. Paul took the tape to Dick James, who had three acetate discs cut from it. These were given to John, George and Ringo, while Paul retained the original tape. The project reflected his increasing use of home recording equipment as a tool for experimentation and for developing musical ideas.
The tape eventually surfaced as a bootleg recording in 2010, although only around 18 minutes were made available. This excerpt included “Unforgettable” by Nat King Cole, “Someone Ain’t Right” by Peter and Gordon, “Heatwave” by Martha and The Vandellas, “I Get Around” by The Beach Boys, “Don’t Be Cruel” by Elvis Presley, and “Down Home Girl” by the Rolling Stones.
I used to prepare tapes in the Ashers’ house. I used to have a couple of Brenell tape recorders I got through Dick James’s son. I used to experiment with them when I had an afternoon off, which was quite often. We’d be playing in the evening, we’d be doing a radio show or something, and there was often quite a bit of time when I was just in the house on my own so I had a lot of time for this. I wasn’t in a routine. I could stay up till three in the morning, sleep through till two in the afternoon, and often did. It was a very free, formless time for me. Formative yet formless. I didn’t have to be up for the baby, at that time there was none of that. So I would sit around all day, creating little tapes.
I did once called ‘Unforgettable’ and used the ‘Unforgettable’ – Nat King Cole – ‘Is what you are …’ as the intro. Then did a sort of ‘Hello, hello …’ like a radio show. I had a demo done by Dick James of that, just for the other guys because it was really kind of stoned thing. That was really the truth of it. You knew you’d be round someone’s house later that evening and if you had an interesting piece of music, it would be quite a blast, whether it be Ravi Shankar or Beethoven or Albert Ayler, as I remember being quite into him too.
Paul McCartney – From “Paul McCartney: Many Years from Now” by Barry Miles, 1997
I had two Brenell tape recorders set up at home, on which I made experimental recordings and tape loops, like the ones in ‘Tomorrow Never Knows.’ And once I put together something crazy, something left-field, just for the other Beatles, a fun thing which they could play late in the evening. It was just something for the mates, basically.
It was called Unforgettable and it started with Nat ‘King’ Cole singing ‘Unforgettable,’ then I came in over the top as the announcer. ‘Yes, unforgettable, that’s what you are! And today in Unforgettable…’ It was like a magazine program: full of weird interviews, experimental music, tape loops, some tracks I knew the others hadn’t heard, it was just a compilation of odd things. I took the tape to Dick James’s studio and they cut me three acetate discs. Unfortunately, the quality of these discs was such that they wore out as you played them for a couple of weeks, but then they must have worn out. There’s probably a tape somewhere, though.
Paul McCartney – Interview with Mark Lewisohn, 1995
BEATLE NON-SENSE
[…] Now about an LP which you can’t get in the shops. In fact, it’s probably a surprise to you that PAUL HAS MADE A SOLO ALBUM ON HIS OWN WITHOUT THE OTHER BEATLES. But, as I say, it can’t be bought and it won’t be released. IN FACT THERE ARE ONLY THREE COPIES OF THE ALBUM IN EXISTENCE. I’ll explain.
Paul’s special hobby for the past year or so has been tape recording. Not just messing about with one tape deck, like you or I might do. Paul has installed at his London flat a fantastic array of hi-fi equipment. It’s as good and as comprehensive as you’d find in any smaller professional recording studio.
He has everything from mixers to headphones—plus electronic gadgets for creating all sorts of weird sound effects and electronic “music.”
Late last year, Paul decided to make a special tape to give to John, George and Ringo for Christmas. He must have spent many whole days in his home studio getting together all the material.
In the end, he’d assembled and recorded his own one-man show—a sort of send-up Grand Ole Opry with Paul as compere, singer, comedian and just about everything else, including producer.
As you know, he’s an expert mimic and every one of the twenty or so voices belonged to Paul. He even double-tracked, using two tape recorders, and superimposed applause and all kinds of other odd noises.
When the whole thing was complete, Paul took his tape round to The Beatles’ music publisher, Dick James, in New Oxford Street.
“Ah,” said Dick when he saw the big reel of tape, “you’ve been doing some more composing.”
“I haven’t, you know!” answered Paul. “There aren’t any songs on here. At least there are—but not what you’re thinking of. Can you transfer the stuff on this tape onto disc for me? I want three copies, please.”
A few days later, Dick sent round three discs—which Paul passed on to John, George and Ringo in time for Christmas. He kept the original tape for himself.
In fact, Paul’s luxurious recording equipment isn’t used solely for making up zany tapes. He uses it to “jot down” on tape ideas for new songs. Often he’ll start off by recording his own voice with guitar accompaniment. Then he’ll add a second track, playing rhythm guitar and a third playing bass.
To tape the effect of drumming is easy enough—he just taps out the rhythm with his fingers on a table or a chair.
Then he’s able to take the finished tape down to John’s house in Weybridge and the two of them can listen to it together and discuss changes or additions to Paul’s basic ideas.
John and George have bought up loads of recording equipment, but Paul’s the real professional of the group so far. Once he gets the time to work on it, George will become just as much of a recording expert because he’s always had a flair for electrical gadgets.
I can’t see John doing all the double-tracking and superimposing bits, but I don’t suppose it will be long before he starts taping his ideas for new songs, even if he keeps the operation technically simple.
From Fabulous208 – August 27, 1966
Staff
Production staff
- Paul McCartney : Producer
