The last element to be added to the song was brass, four trumpeters and one bass clarinetist being booked for a session that was booked for them from 8 to 11 pm.
It's All Too Much
Paul Harvey not the legendary radio personality was recruited to play both bass clarinet and contra bass clarinet on this day. However, not before The Beatles took to filling two more tapes of rambling, untitled instrumental jamming as they had played the previous night.
I guess they had a lot of fun blowing off some steam. Two attempts at this mono mix was made, the second being the keeper. These producers included 2: A decision was made that an eight minute song of this nature was simple too long, so a chorus and verse needed to be edited out.
With 2nd engineer Dave Harries , he first made a tape copy of the master tape of the completed song from June 2nd, , for some reason calling this copy 'take ' the highest Beatles take count ever , undoubtedly editing out the unwanted chorus and verse in the process.
It's All Too Much - Wikipedia
Using this tape copy, he created both the mono and stereo mixes of the song, only one attempt needed for each of these mixes. It was this stereo mix that was released worldwide in January of , the mono mix on mono copies simply being a fold-down version of the stereo mix. This excellent new mix also edits out the extra chorus and verse as the original stereo mix did.
Song Structure and Style. For a song that lasts nearly six-and-a-half minutes, the structure is relatively simple. A somewhat lengthy intro is heard first and then a very lengthy rambling conclusion fills the song out to its full length. In between the third verse and third chorus, another chorus and verse were recorded but were edited out, which would have extended the song past the eight minute mark. He lets the chord ring out and pick up feedback for about twenty seconds while pumping the whammy bar until the sound finally dissolves, undoubtedly inspired by Jimi Hendrix who had recently been recording at this same studio.
Other indecipherable voices are still heard after John's opening phrase, the open microphone undoubtedly being panned down during the mixing stage after the first four seconds of the song. During the final five seconds of the guitar feedback, the low droning organ note from George rises in volume until the guitar finally disappears, this signaling him to begin the twenty-two measure introduction to the song. The first four measures contain only George on organ playing the iconic riff of the song. The fourth and fifth measures have George holding out the full chord on organ with a slight accentuating volume swell from John's guitar, this in anticipation for Ringo to come in on drums to perform a full measure drum fill, but Ringo actually doesn't come in until the third beat but still performs this fill for four full beats, two of which push into the sixth measure by accident but to good effect.
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From the sixth measure on, the full rhythm track instruments kick in, comprising George on organ, Ringo on drums, Paul on bass and John mimicking George's riff on guitar. The full-band handclapping appears here as well, clapping on the two- and four-beat of each measure. Ringo recaptures his footing and performs many drum fills in the introduction, in measures 8, 9, 12, 13, 16, 17, 19, 20 and In measure 21, the drums stop momentarily which allows feedback from John's guitar to take prominence, Ringo kicking back in with a drum fill in measure 22 to segue into the first verse that follows.
One full minute into the song before the first verse arrives! All the while the handclaps plod away while the tambourine fades in on the sixth measure along with the woodblock and cowbell, these continuing for the rest of the verse, which ends with a drum fill from Ringo. This is followed by the first chorus of the song, this one lasting nine measures which mimics the final nine measures of the introduction except for George singing the full chorus lyrics. A final high guitar note from John on the downbeat of the ninth measure acts like a beacon to shine onto the second verse that follows.
Differences in the second verse, apart from different lyrics, include John playing slight guitar passages in measures two and four and Ringo adding an additional drum fill in measure four. He had Paul play it because he himself was playing the organ. The feedback seems to lead into the actual guitar playing thus if Paul is playing the feedback, Paul is playing the guitar part.
In an interview in Rolling Stone in June I think. Why would George credit Paul with anything unless Paul actually did it? Plus it seems like people are going by their stereotypes again and forgetting just how into Jimi Hendrix Paul was during this period and he was playing a lot of guitar too. I really put most of it down to Paul and George being friendly before they were in a group together and being close in age they were only 9 months apart and George never quite losing that adolescent hero worship of John.
Funny, I never noticed. Sussing out who the culprit is, is easy enough: The backing vocals are quite chaotic but listening close to them brings out some lovely moments. Although the song falls apart at points I think any new mix should go longer than 6 27 and maybe go all the way to the 8 minute ending with a little editing! I think John Lennon is shouting these words! God, Harrison was so underrated. He was writing at the level of his mates by Revolver.
If anybody knows of a more biting and cleaned up version of this song please let me know. The original mix is a bit muddy and would like to see the rhythm backing more up front and the feedback at the begining more prominent and stinging. This song is, without a doubt, my favorite Beatles song. And, in my humble opinion, the most underrated Beatles song by far. I this song though.
Does anyone know what that whooping sound is that sounds like clapping but really distorted is? It really adds to the song. Imagine if this song made it on Sgt. That Would have made an awesome side on Pepper. I agree with you. The version on the yellow submarine remaster is a big improvement.
Maybe because Abbey Road was already booked for other sessions and the guys wanted to do it right away? All the tracks on the songtrack were spectacular. I remember getting it and being blown away by the number of instruments you could now hear. The piano on Hey Bulldog never sounded better.
I think all the tracks should be remixed because there are so many layers to Beatles tracks and it would be nice to hear them in the clarity of remixes. A beautiful job done and the mixes might be better than what Giles is doing. I have a theory that the guitar is played in open G. Not sure if Paul ever dealt with different timings, but George was familiar and John was from his youth learning banjo.
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On my fantasy re-worked Pepper album, 64 and Pepper Reprise are dropped. Just as it fades out, Day fades in quietly. Would have been a flawless segue. I may have to disagree with George. I think the trumpet was a good break from the guitar overload… It was very well incorporated in the song, it made it more alive. Though it was released some time later.
Jorma had been around John days earlier, as I recall reading. Any thoughts on the odd double tracked hand clap. I have been recently listening to this song many times over due to my kids love of Yellow Sub! I can hear a voice track inside the claps for sure. I dont see any mention of anything unusual in the Lewishon book or Wiki page on the song. There is so much layering on this track that I wish Lewison had really broken this track down with more detail. Everything builds and builds and just leaves you completely satisfied.
To me it sounds like McCartney or Harrison. I am not totally convinced John is playing lead here either. It was the awakening and the realisation that the important thing in life is to ask: George sang a couplet from "Sorrow" John and Paul's backing, meanwhile, started to waver a little, the chanted "too much" eventually becoming "tuba" and then "Cuba".
It was that sort of a song. From here, the accepted version of Beatles history has them flailing in Pepper ' s long shadow and succumbing to tripped-out wooliness.
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In Revolution in the Head , Ian MacDonald claims that their appetite for illicit substances had started to "loosen their judgement" And yet their new-found looseness made for some tremendous music, notably the frazzled fantasia of Harrison's It's All Too Much. The George Harrison Interview". Retrieved 27 January Retrieved 24 March Retrieved 6 October Archived from the original on 22 September Retrieved 3 April Retrieved 2 April Available at Rock's Backpages subscription required.
Retrieved 5 February Retrieved 13 August Retrieved 10 February Shall We Take a Trip ". Retrieved 29 January The songs George Harrison wrote for The Beatles". Retrieved 25 October Retrieved 24 July Retrieved 30 July The Greatest Classics". Retrieved 28 February Retrieved 31 March Retrieved 11 December The Axeman of Love".
It’s All Too Much
Retrieved 26 March Steve Hillage Live in ". Retrieved 10 June Retrieved 29 March Retrieved 21 January The House of Love Babe Rainbow ". A Tribute to the Beatles ". The Daily Telegraph Sydney. It's All Too Much". The Music Box vol. A Tribute to George Harrison ". Retrieved 27 March Archived from the original on 15 June Retrieved 1 August Retrieved 17 July