Fact #141952
When:
Short story:
Cliff Bennett And The Rebel Rousers release their version of Got To Get You Into My Life (written by John Lennon and Paul McCartney of The Beatles] on Parlophone Records in the UK.
Full article:
Cliff Bennett : It was while were in Essen (June 25, 1966) on tour with The Beatles, 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)
Tweet this Fact
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)