“Blackbird,” a timeless acoustic ballad by The Beatles, is deceptively simple in its melody and poignant lyrics. But the journey of bringing “Words To Blackbird Song” to life in the recording studio is a rich and detailed story, spanning demos, numerous takes, and innovative studio techniques. This article delves into the complete recording history of this classic track, uncovering the evolution from its earliest inception to its various released versions.
The Kinfauns Demo: The Genesis of “Blackbird” (May 1968)
The very first recorded instance of “Blackbird” took place in May 1968 at George Harrison’s Kinfauns bungalow in Esher, Surrey. Using a four-track Ampex machine, Paul McCartney laid down a demo version of the song. This initial recording featured Paul’s acoustic guitar and vocals, both double-tracked to add depth. Interestingly, John Lennon contributed to this early version with subtle bird sound effects in the background, perhaps a playful hint at the song’s avian theme. While the song’s structure was still in development and the ending differed from the final version we know today, the core “words to blackbird song” were already firmly in place.
EMI Studios, Abbey Road: Perfecting “Blackbird” (June 11, 1968)
Paul McCartney, confident in “Blackbird,” chose it as his first composition to bring to EMI Studios for what would become the “White Album.” On June 11th, 1968, in EMI Studio Two, “Blackbird” became the fourth song started for the album but remarkably, the first to be fully completed. The entire recording process was accomplished in a single day, starting at 6:30 pm.
Geoff Emerick, the recording engineer, offered insights into the studio atmosphere during the “White Album” sessions in his book “Here, There And Everywhere.” He described a band increasingly working in isolation: “The Beatles – who clearly didn’t like being in one another’s company anymore – were able to split up into small groups, working simultaneously in two or even all three of the studios in the Abbey Road complex… It was as if the four band members were so much in separate spaces personally, they wanted to make their record in separate spaces physically.” Emerick usually worked with Paul, with whom he had a strong rapport. On the evening of the “Blackbird” session, neither George nor Ringo were present, and John, accompanied by Yoko Ono and producer Chris Thomas, moved to another studio to work on sound effects for “Revolution 9,” leaving Paul, George Martin, and Emerick to focus on “Blackbird.”
Arrangement Ideas and John’s Input
Despite his later departure, John Lennon was present during the initial rehearsals for “Blackbird,” contributing ideas for the song’s arrangement for about half an hour. Tape recordings from this period capture Paul explaining his initial vision, “You see, the only thing is that immediately I start to arrange it, I imagine a string quartet after the second verse.” George Martin suggested a dramatic pause in the song, “Stop completely; rhythm as well, and then you start again,” followed by “an arranged sound coming from a distance.” While the “arranged sound” concept was eventually dropped, Martin’s idea of stopping and restarting the song was considered.
John also offered suggestions, first attempting to accompany Paul on acoustic guitar and piano. From the control room, he proposed, “A little bit of brass band, you know. A very nice little bit of brass band.” Paul, receptive, replied, “Yes, that would be lovely.” John then referenced Harry Nilsson’s brass band arrangements, a sound both he and Paul admired. However, McCartney felt this brass band idea would be more fitting for his other acoustic song, “Mother Nature’s Son,” which he then demonstrated, keeping John’s suggestion in mind for that track.
Perfecting the Performance and the Apple Promo
With John and George Martin eventually leaving, Paul focused on perfecting his performance of “Blackbird.” Geoff Emerick recalled, “Playing his left-handed acoustic guitar, Paul began running the song down, and I loved it immediately. Perfectionist that he was, he performed it over and over again, trying to get the complicated guitar part right all the way through.” During this intensive rehearsal, a cameraman arrived to film a short Apple promo video, intended for EMI and Capitol Records executives who would be handling Apple Records releases. This filming briefly interrupted the flow, but Paul continued, seemingly unfazed, with his then-girlfriend, Francie Schwartz, present in the studio.
Paul’s recent breakup with Jane Asher might have contributed to a more subdued atmosphere during the “White Album” sessions. Emerick speculated that Francie’s presence could have been Paul’s response to John bringing Yoko to the studio. However, unlike Yoko, Francie’s visit was brief, and George Martin also left the session early. The Apple promo film captures Paul rehearsing “Blackbird” repeatedly, showing his dedication to achieving perfection, while Francie Schwartz is visible in the background.
Recording Location: Echo Chamber or Studio?
After George Martin and Francie Schwartz departed, Paul expressed his desire for the recording to sound as if it was performed outdoors. Emerick recounted suggesting they record outside the echo chamber, a small space just outside the studio, which they supposedly did. He claimed that bird noises were added later from a sound effects record, but also that some live bird sounds from outside Abbey Road Studios were captured on the recording.
However, engineer Ken Scott offered a contrasting account, stating that “the only bird sounds present were from an EMI sound effects tape… and interestingly there were no traffic noises, no plane sounds nor any other sound one would expect recording outside.” This suggests that Emerick might have confused this session with a later Wings recording in 1974, where Paul did record “Blackbird” outdoors. It’s more likely that the “words to blackbird song” were captured within the controlled environment of EMI Studio Two.
Takes, Tapping Feet, and Mixing
Official recording of “Blackbird” began in EMI Studio Two on June 11th, 1968, resulting in an impressive 32 takes of the song, featuring Paul on acoustic guitar and vocals. A unique element of the recording was Paul’s foot tapping, which Geoff Emerick specifically miked at Paul’s request. Emerick clarified in “Recording The Beatles” that this foot tapping, often mistaken for a metronome, is indeed Paul’s rhythmic accompaniment, a fact visually confirmed in the Apple promo film.
Two four-track tapes were utilized during the session, with rehearsals taking up a significant portion of the first tape. False endings in each complete performance added to confusion in identifying takes. “Take 23,” featured on “Anthology 3,” was actually labeled “take four” on the tape box. This take revealed Paul still experimenting with the song’s structure and performance nuances, but background noises rendered it unsuitable for release at the time. A bootleg recording reveals another incomplete take where Paul stops after singing “Blackbird singing in the dead of night…” to ask Geoff Emerick, “What do you think, what do you think?”
Despite the extensive effort, Paul aimed for a relaxed vocal delivery. After “take 16,” he remarked, “I’ve been trying to throw it away for the last hour.” “Take 28,” mislabeled “take nine,” appeared on the “White Album” 50th Anniversary Super Deluxe edition, showcasing yet another arrangement variation with Paul staggering his final lyric. After this take, Paul discussed take selection with the engineers and then consulted Francie Schwartz about vocal delivery, indicating a collaborative atmosphere despite the intensity of the session.
Ultimately, “take 32” was deemed the master take. Paul then overdubbed double-tracked vocals during the refrains and added a second acoustic guitar during the instrumental bridge. The EMI tape box details the track allocation: original vocal, foot tapping, initial guitar, and double-tracked vocal/guitar on tracks one to four respectively. Six mono mixes were attempted by Geoff Emerick that night, though none were ultimately used for the released record. The session concluded at 12:15 am.
Mono and Stereo Mixes: The Final Touches
A tape copy of “remix mono 6” was made on August 27th, 1968, considered the finished mono mix at that point and taken away for review by roadie Mal Evans. However, the stereo and mono mixes released to the public were created later on October 13th, 1968, by George Martin and engineers Ken Scott and John Smith. Remarkably, only one attempt was needed for each mix. The mono mix was designated “remix 10,” despite only six previous attempts.
The primary difference between the stereo and mono mixes lies in the placement of the bird sound effects, which were added during this mixing stage. The mono mix keeps the instrumental break completely silent, while the stereo mix incorporates blackbird chirps from a sound effects tape, adding a subtle layer to the “words to blackbird song.”
Mark Lewisohn, in “The Beatles Recording Sessions,” identified the source of these bird sounds as “‘Volume Seven: Birds Of Feather,’ from the Abbey Road taped sound-effects collection.” Stuart Eltham, who recorded these sounds in his back garden around 1965, confirmed it was indeed a blackbird. Paul McCartney explained the inclusion of the sound effect, stating, “So, instead of putting any backing on it, we put a blackbird on it, so, there’s a blackbird singing at the very end.”
Simplicity Over Orchestration
Despite George Martin’s initial suggestions for orchestral arrangements, “Blackbird” remained a remarkably simple recording. Paul explained, “It’s simple in concept because we couldn’t even think of anything else to put on it. Maybe on ‘Pepper,’ we would have worked on it until we could find some way to put violins on it, or trumpets. But, I don’t think it needs it. There’s nothing to the song. This is just one of those pick-it-and-sing-it songs. It doesn’t need anything else in the backing because, as a song, there’s nothing to it.” This decision to maintain the song’s stripped-down nature highlights the inherent strength of the melody and “words to blackbird song.”
Later Recordings and Mixes: “Blackbird”‘s Continued Life
“Blackbird”‘s recording history extends beyond the “White Album” sessions. In January 1969, during Mary Hopkin’s “Postcard” album sessions, Paul and Donovan were recorded casually performing “Blackbird,” with Paul even including a blackbird imitation.
In 1974, during a Wings film shoot, another recording of “Blackbird” took place outdoors, possibly contributing to Geoff Emerick’s earlier recollection confusion. In 1996, George Martin and Geoff Emerick revisited the master tapes to create a stereo mix of “take 23” for “Anthology 3.” George and Giles Martin further manipulated the master tapes between 2004 and 2006 for the “Love” album, seamlessly blending instrumental segments of “Blackbird” with “Yesterday.” Giles Martin and Sam Okell later created a fresh stereo mix for the “White Album” 50th Anniversary editions, along with new mixes of the Esher demo and “take 28.”
Live Performances: “Blackbird” Takes Flight on Stage
“Blackbird” has been a consistent feature in Paul McCartney’s live performances throughout his solo career. Numerous live recordings exist, including versions from “Wings Over America,” MTV “Unplugged,” “Back In The US/World,” “Live In Los Angeles,” and “Good Evening New York City,” showcasing the enduring appeal of the “words to blackbird song” in a live setting.
Conclusion
The recording history of “Blackbird” is a testament to Paul McCartney’s artistry, his meticulous approach to recording, and the collaborative environment within The Beatles, even during their later, more fragmented period. From its humble beginnings as a home demo to its polished studio recording and numerous subsequent versions, the journey of “words to blackbird song” is a fascinating exploration of how a classic was crafted and how it continues to resonate with audiences worldwide.
