I Want You (She's So Heavy) - Recording

Recording

Lennon wrote the song about his love for Yoko Ono. The song was rehearsed several times during the Get Back/Let It Be sessions; the basic track and Lennon's guide vocal (which is used in the master) were recorded at Trident Studios on 22 February 1969, shortly after filming for the film ended. Lennon played the lead guitar, as George Harrison stated:

It's very heavy. John plays lead guitar and sings the same as he plays. It's really basically a bit like a blues. The riff that he sings and plays is really a very basic blues-type thing. But again, it's very original sort of John-type song.

Lennon and Harrison overdubbed multi-tracked heavy guitars on 18 April 1969. Billy Preston's keyboards and Ringo Starr's congas were added on 20 April 1969. "I Want You" received the "She's So Heavy" vocals on 11 August, and thus the title became "I Want You (She's So Heavy)". "'She's So Heavy' was about Yoko," Lennon told Rolling Stone. "When you're drowning, you don't say, 'I would be incredibly pleased if someone would have the foresight to notice me drowning and come and help me.' You just scream."

Three takes from 22 February were edited into a master (second generation), which was overdubbed, mixed down on 18 April (third generation), and overdubbed on 18 April, 20 April and 11 August. Different overdubs were made to the second generation tape on 8 August. The mix is the third generation for 4:37 and then the second generation tape, which has white noise produced by the Moog synthesizer played by Lennon and additional drums added on 8 August. The overdub session for "I Want You (She's So Heavy)" was the last time all four Beatles worked in the studio together.

The final master lasted 8:04, but Lennon decided on a surprise ending. During the final edit with the guitars, drums and white noise climaxing to no end, he told Emerick to "cut it right there" at the 7:44 mark, bringing the song (and side 1) to an abrupt end. On Love, the three-minute stretch of repeated guitar chords that ends the song intercuts with elements of "Being for the Benefit of Mr. Kite!" and "Helter Skelter", while retaining the abrupt cut to silence at the end.

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