"At that time they'd all gotten their own Grundig tape recorders, and I think it was Paul who found out that by removing the erase head and putting a loop of tape on it, you could actually play a short phrase that would saturate itself. It went round and round and overdubbed itself until the point of saturation, and that made a funny sound. When you played it back, it was cute to listen to. It was what we call musique concrète. So they all vied with each other. They each went home and made these funny little loops and they would bring various tape loops in for me to hear. They recorded them at different speeds, you know, one and seven-eighth [inches per second], three and three-quarters, seven and a half, and fifteen.
"With 'Tomorrow Never Knows' I selected eight of them and put them all on different machines. We had people all around the building connected to our control panel with these silly loops held up with bits of pencil to keep the tension going eternally. I then decided the best way to do it was to put them all through a mixer. So all the eight tracks of these loops came into our mixer and it was like an organ. By bringing up any one track you could have any loop at any time. With a 24-track machine that's a fairly common technique, but we didn't have that so it meant that when we were mixing it that was the actual performance. We had everybody on the mixer. Apart from the engineer, who was Geoff Emerick, we had Paul on a couple of faders and John on another, I was on the pan pots. We would all make a concerted mix and just do our own thing. When we felt like the seagull sound should appear, we'd put that fader up and so on. We did many mixes and then decided which was the best one."
Friday, March 05, 2010
Thursday, March 04, 2010
Wednesday, March 03, 2010
Monday, March 01, 2010
"I was on a television show called Opportunity Knocks when I was eighteen. It was sort of a national talent contest. After the first appearance, I was contacted by Peter Brown of Apple Records. At the time I had never heard of Apple. The only thing I'd heard of was the Apple shop in London. After the call, I didn't think much of it, but Peter rang back again and I found out that it was Paul McCartney who wanted me to come to London. I was totally shocked. Anyway, I went up to London and Paul asked if I was interested in signing with Apple. He showed me 'Those Were the Days,' which was a song he'd had around for a few years. He had played it to various people, but hadn't found anyone to record it. So he thought I was suitable. About two months later we recorded and released it, and it all happened from there."
Sunday, February 28, 2010
"I just saw Mel Torme on TV the other day saying that 'Lucy' was written to promote drugs and so was 'A Little Help From My Friends' and none of them were at all. 'A Little Help From My Friends' only says get high in it, it's really about a little help from my friends; it's a sincere message. Paul had the line about 'little help from my friends,' I'm not sure, he had some kind of structure for it and we wrote it pretty well 50-50 but it was based on his original idea."