Fact #141843
When:
Short story:
Cliff Bennett And The Rebel Rousers record their version of Got To Get You Into My Life (written by John Lennon and Paul McCartney of The Beatles] at Studio 3, Abbey Road, London, England, UK. Paul McCartney acts as producer.
Full article:
Roy Young (Rebel Rouser) : We signed up to NEMS and Paul had written Got To Get You Into My Life and he thought it would be good for Cliff Bennett And The Rebel Rousers, and he talked to our booker from NEMS and he said, "By the way, you know, I've got this song from Paul, they'd like you to record it - Got To Get You Into My Life." So we went in and recorded it. Paul kind of produced it and put the gliss(ando) on it, you know, on the thing, and Paul said to us, "Look - what we'll do is when it gets into the Top 10, I'm going to jump in and do the big oobla about it and do all the press." We kind of looked at each other and went. 'Whew! that's being a little bit short you're so young.'
David Paramor (producer) : Cliff and I had spent about four hours recording what we felt was a pretty good backing track when Paul McCartney came into Studio 3 with Jane Asher for a little listen. I think he had just finished his own session with The Beatles in Studio 2. To be honest, we were struggling a little with some of the sounds and Paul said something like, "Why don't you do so-and-so?" and we agreed that was the best route.
From that moment he virtually took over the session as the producer and I moved to a seat behind the producer's chair alongside Jane. I was not unhappy with Paul taking over. That night taught me a lot about recording, building up tracks, and how to add the intricacies that make a good track into a great track.
Roy Young (Rebel Rouser) : We did Got To Get You Into My Life and he (McCartney) for some reason, when we were recording at EMI in St. John's Wood, he had an apartment right near there, I mean it was walking distance from the studio in St. John's Wood. And one night he decided to get up - he woke up in the middle of the night - walked out of his place in his dressing gown, down the road, went into EMI, got the track up and put a gliss(ando) - "glurrrrrrrrrrrrrrrrump" - down the piano, that's what he wanted to do. It was just unreal! It was: "Got To Get You Into My Life - glurrrrrrrrrrrrrrrrrump ta-da, da-da-da, da!" You know, it was like he'd come all way down ... in his dressing gown.
Cliff Bennett : Paul played a little piano, the glissando, on the backing track and we finished at about midnight.
David Paramor : The track finished, Cliff started to overdub his vocal, but due to the lateness of the hour, his voice was giving up. We were up against a release schedule that meant the track had to be finished so that the master could go away for manufacture. The only available time was prior to the session the next day, before 10.00am. Paul suggested an early start, 7am, and that's when Cliff voiced the track and we re-mixed.
Cliff Bennett : We put the vocals on the following day. Paul came back with his jacket over his pyjamas and wearing slippers to finish the song off, which I thought was hilarious.
(Source : not known)
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Cliff Bennett : It was while were in Essen (June 25, 1966) that Paul and John came in the dressing room and let us hear Got To Get You Into My Life. They said they thought it would be great for us because of all the brass. John played his guitar and Paul dah-dah-dahed the brass parts. Right away, even in that state, I knew it was brilliant for us. Then Brian walked in and said that as soon as we got back to London, we’d do it. They gave us four weeks to get our version recorded before they released the album.
We recorded with Paul right up until two in the morning (July 12, 1966), at Studio 1, Abbey Road. We were all mesmerised with the things he was doing, the new techniques like stuffing the grand piano cover inside the bass drum, putting limiters on the piano, things like that. He took the front cover off the bass drum and stuck the piano cover inside to get that flat slap sound. Actually, I prefer the old ba-boom sound from a bass drum, but we went along with it.
He also brought in two more trumpet players to work with the three brass - baritone, tenor and trumpet - that I had. The arrangement was so complex, because it was done by Tony Coe, who had played with all the big American jazz bands, like Count Basie and that. My brass guys were going, 'Jesus Christ, what’s he done here?' because there were all these brass parts crossing over.
At two am Paul said, "Let’s call it a night." I said, 'Hang on, I haven’t put my vocals on.' He said, 'It’s all right. Back here tomorrow at half-past-ten and we’ll finish it off.'
Well, Paul lived round the corner, so the next morning he turned up in his pyjamas and carpet slippers, and a jacket over his pyjama top. Must have walked round the corner like that, which I thought was hilarious.
(Source : interview with Johnny Black, May 2016)
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David Paramor (producer) : Cliff and I had spent about four hours recording what we felt was a pretty good backing track when Paul McCartney came into Studio 3 with Jane Asher for a little listen. I think he had just finished his own session with The Beatles in Studio 2. To be honest, we were struggling a little with some of the sounds and Paul said something like, "Why don't you do so-and-so?" and we agreed that was the best route.
From that moment he virtually took over the session as the producer and I moved to a seat behind the producer's chair alongside Jane. I was not unhappy with Paul taking over. That night taught me a lot about recording, building up tracks, and how to add the intricacies that make a good track into a great track.
Roy Young (Rebel Rouser) : We did Got To Get You Into My Life and he (McCartney) for some reason, when we were recording at EMI in St. John's Wood, he had an apartment right near there, I mean it was walking distance from the studio in St. John's Wood. And one night he decided to get up - he woke up in the middle of the night - walked out of his place in his dressing gown, down the road, went into EMI, got the track up and put a gliss(ando) - "glurrrrrrrrrrrrrrrrump" - down the piano, that's what he wanted to do. It was just unreal! It was: "Got To Get You Into My Life - glurrrrrrrrrrrrrrrrrump ta-da, da-da-da, da!" You know, it was like he'd come all way down ... in his dressing gown.
Cliff Bennett : Paul played a little piano, the glissando, on the backing track and we finished at about midnight.
David Paramor : The track finished, Cliff started to overdub his vocal, but due to the lateness of the hour, his voice was giving up. We were up against a release schedule that meant the track had to be finished so that the master could go away for manufacture. The only available time was prior to the session the next day, before 10.00am. Paul suggested an early start, 7am, and that's when Cliff voiced the track and we re-mixed.
Cliff Bennett : We put the vocals on the following day. Paul came back with his jacket over his pyjamas and wearing slippers to finish the song off, which I thought was hilarious.
(Source : not known)
------------------------------------------------------------
Cliff Bennett : It was while were in Essen (June 25, 1966) that Paul and John came in the dressing room and let us hear Got To Get You Into My Life. They said they thought it would be great for us because of all the brass. John played his guitar and Paul dah-dah-dahed the brass parts. Right away, even in that state, I knew it was brilliant for us. Then Brian walked in and said that as soon as we got back to London, we’d do it. They gave us four weeks to get our version recorded before they released the album.
We recorded with Paul right up until two in the morning (July 12, 1966), at Studio 1, Abbey Road. We were all mesmerised with the things he was doing, the new techniques like stuffing the grand piano cover inside the bass drum, putting limiters on the piano, things like that. He took the front cover off the bass drum and stuck the piano cover inside to get that flat slap sound. Actually, I prefer the old ba-boom sound from a bass drum, but we went along with it.
He also brought in two more trumpet players to work with the three brass - baritone, tenor and trumpet - that I had. The arrangement was so complex, because it was done by Tony Coe, who had played with all the big American jazz bands, like Count Basie and that. My brass guys were going, 'Jesus Christ, what’s he done here?' because there were all these brass parts crossing over.
At two am Paul said, "Let’s call it a night." I said, 'Hang on, I haven’t put my vocals on.' He said, 'It’s all right. Back here tomorrow at half-past-ten and we’ll finish it off.'
Well, Paul lived round the corner, so the next morning he turned up in his pyjamas and carpet slippers, and a jacket over his pyjama top. Must have walked round the corner like that, which I thought was hilarious.
(Source : interview with Johnny Black, May 2016)