Recording
The recording of the song began in EMI Studios on 27 April 1966 with eleven takes of the rhythm track. Five further takes of the song were recorded but none were used. Take 11 was chosen as the master and two days later Lennon added his lead vocals. On 5 May, George Harrison wrote and recorded the double guitar part. The next day the recording was completed by Lennon, McCartney and Harrison's backing vocals.
The song features the then-unique sound of a reversed guitar duet played by Harrison in a five hour late-night recording session with producer George Martin. Harrison perfected the part with the tape running backwards so that, when reversed, it would fit the dreamlike mood. One guitar was recorded with fuzz effects, the other without. Engineer Geoff Emerick described the meticulous process as "an interminable day," lasting nine hours. "I can still picture George hunched over his guitar for hours on end," Emerick wrote in 2006, "headphones clamped on, brows furrowed in concentration."
During the break before the second bridge, at about 1:57 into the song, a barely audible voice (probably Lennon's) can be heard saying, "Yawn, Paul", followed by a slightly more audible yawn at 2:00 minutes. The prominent acoustic rhythm guitar track is electronically compressed.
Read more about this topic: I'm Only Sleeping
Famous quotes containing the word recording:
“Self-expression is not enough; experiment is not enough; the recording of special moments or cases is not enough. All of the arts have broken faith or lost connection with their origin and function. They have ceased to be concerned with the legitimate and permanent material of art.”
—Jane Heap (c. 1880–1964)
“He shall not die, by G—, cried my uncle Toby.
MThe ACCUSING SPIRIT which flew up to heaven’s chancery with the oath, blush’d as he gave it in;—and the RECORDING ANGEL as he wrote it down, dropp’d a tear upon the word, and blotted it out for ever.”
—Laurence Sterne (1713–1768)
“Too many photographers try too hard. They try to lift photography into the realm of Art, because they have an inferiority complex about their Craft. You and I would see more interesting photography if they would stop worrying, and instead, apply horse-sense to the problem of recording the look and feel of their own era.”
—Jessie Tarbox Beals (1870–1942)