Mixing, Editing: Strawberry Fields Forever (2011)

That November John came into the studio, and we went into our regular routine. I sat on my high stool with

Paul

standing beside me, and John stood in front of us with his acoustic guitar and sang the song. It was absolutely lovely. Then we tried it with

Ringo

on drums, and Paul and

George

on their bass and electric guitars. It started to get heavy – it wasn’t the gently song that I had first heard. We ended up with a record which was very good heavy rock. Still, that was apparently what John wanted, so I metaphorically shrugged my shoulders and said: ‘Well, that really wasn’t what I’d thought of, but it’s OK.’ And off John went.

A week later he came back and said: ‘I’ve been thinking about it, too, George. Maybe what we did was wrong. I think we ought to have another go at doing it. Up to that time we had never remade anything. We reckoned that if it didn’t work out first time, we shouldn’t do it again. But this time we did. ‘Maybe we should do it differently,’ said John. ‘I’d like you to score something for it. Maybe we should have a bit of strings, or brass or something.’ Between us we worked out that I should write for cellos and trumpets, together with the group. When I had finished we recorded it again, and I felt that this time it was much better. Off went John again.

A few days later he rang me up and said: ‘I like that one, I really do. But, you know, the other one’s got something too,’

‘Yes, I know,’ I said, ‘they’re both good. But aren’t we starting to split hairs?’

Perhaps I shouldn’t have used the word ‘split’, because John’s reply was: ‘I like the beginning of the first one, and I like the end of the second one. Why don’t we just join them together?’

‘Well, there are only two things against it,’ I said. ‘One is that they’re in different keys. The other is that they’re in different tempos.’

‘Yeah, but you can do something about it, I know. You can fix it, George.’

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