Tag Archives: Golden Slumbers

Jan. 9: Road work

He launched the January 9 Get Back sessions with “Another Day,” an ode to the working woman. Paul McCartney followed it by making the most of his own makeshift satellite office in Twickenham.

Paul’s morning piano sessions weren’t simply exhibitions, nor was it just for conditioning as he alluded to director Michael Lindsay-Hogg at the outset of the day’s Beatles business. The Get Back sessions’ most prolific writer, Paul treated the recording studio as a design studio, too, frequently shaping his songs and writing his lyrics while on the clock. This day offered a terrifically vivid window into that process.

After “Another Day,” a revisiting of “The Palace of the King of Birds” and a quick spin of “Let It Be,” Paul dug into “The Long and Winding Road” for a third consecutive day. The first verse is locked in and would be unchanged through its eventual release. “The second verse, leave a space, for the same thing,” Paul sang as filler. As he continued, Paul play-tested the rhyme of “the many times I’ve cried” and “the many ways I’ve tried” — tested to ultimate success, obviously.

Less successful was Paul’s plan to work in the word “pleasure” into the lyric.

I’ve had lots of pleasure, but said better. …
I’ve had many pleasure. …
I’ve had much pleasure. …
I’ve had lots of pleasure from the many ways I’ve tried.

After less than four minutes on “The Long and Winding Road,” Paul moved on. “There’s no more to that yet,” he dictated to Mal Evans, the do-it-all roadie (the group no longer touring, his roads were now long and winding ones). “But if you leave it around, I’ll still know where I’m going to fill in.”

Following a momentary return to “Mother Mary,” i.e. “Let It Be,” Paul unwrapped another new number, this one a song that would eventually find a home at Abbey Road’s terminus.

Paul didn’t know it at the time, but “Her Majesty” was complete. His presentation of music and lyrics was the same as would appear as Abbey Road’s coda, although here Paul would scat a second verse that would never be written. This version’s introduction, especially, evoked the current, bouncy state of “Maxwell’s Silver Hammer,” and would be the lone instance “Her Majesty” could be heard on piano. Paul played the song one more time these sessions, weeks later, on guitar.

“Paul continued his trip across what would become Abbey Road. Evoking Frank Sinatra’s 1956 LP that reinvented pop standards in a more contemporary style, Paul pointed out to laughter that “Golden Slumbers” — unveiled two days earlier — “should be ready for a Songs for Swinging Singles album.”

Paul offered a gentle delivery of “Golden Slumbers,” and pointed out the direction he’d like to take the song. “It really should be like a fairy tale. ‘Once upon a time, there lived a king. Sleep pretty darling, do not cry.’”

Leading into the next line, Paul introduces the original melody that he intended to change: “The bit you might remember: And I will sing a lullaby.”

Paul repeated his experiment merging “Golden Slumbers” and “Carry That Weight.” And like he did three days earlier, likewise in Ringo Starr’s presence, Paul signaled his intention to expand the song beyond its single line we all know. Paul doesn’t have the verses yet, but he knows what he wants them to say.

“Like a story,” he said. “A bit like ‘Act Naturally,’ where the tagline keeps coming up.”

In referencing one of Ringo’s showcase songs, it’s another piece of evidence pointing to the reason Paul opted to give the drummer a prominent voice on “Carry That Weight,” thinking of him for this song months before it was recorded for Abbey Road.

At this point, Paul wanted “Carry That Weight” to evolve into a comedy song featuring verses describing “just the sort of normal kind of troubles that everyone has” before leading into the “carry that weight” chorus. “There might be a verse about, like, ‘I got in trouble with the wife, I got drunk, something, something, something, something. … Woke up the next morning with a weight upon my head, and I found out it was my head. … Boy! You’re gonna carry that weight …’

“It could be one of those things, you know, in those songs where you’ve got everything, and everything is so great. And this morning, one of my eggs broke, (giggling). Just something trivial. The right shoe’s a bit tight. … ‘Boy, you’re gonna to carry that weight!’” Ringo sang along with every chorus.

Paul indeed delivered a wait, and we can close the circle on our story of “Carry that Weight.” The Nagra tapes don’t capture the song again. If he ever pursued the novelty song idea, there’s no record of it. By the time we get to the song’s actual recording for Abbey Road in July, it was exactly as the song was to this point: simply the line: “Boy, you’re gonna carry that weight, carry that weight a long time!”

Still at the piano, and unaccompanied by any other Beatles, Paul took a detour off (the future) Abbey Road and returned to the long and winding one for the second time in less than 15 minutes on the tapes. And again, Paul was very clinical, deliberate and open with his songwriting.

“I was thinking of having a weather obstacle,” he said before taking a stab at a new verse: “The storm clouds and the rain/The clouds disappear.”

The song’s imagery evoked a famed film thoroughfare.

There’s a Beatles-related photo for everything! Here’s Paul with the cast of Return to Oz, for some reason, in 1985.

“It’s sort of like the Wizard of Oz,” Mal said. “Did you ever see the Wizard of Oz?”

“Yeah,” Paul quickly answered, clearly not paying attention at first, before continuing,“No, no, no, I didn’t.”

“The yellow brick road,” Mal said before Michael broke in, “A heartbreaker. Yeah, it’s great.”

Paul returned to the road he was constructing, singing a placeholder verse.

“The thing that’s up ahead/at the end of the road.”

For a lyric, Mal suggested recounting the obstacles on the road, but Paul dismissed that idea, reflecting the pervasive and prevailing uncertainty surrounding the live show. “We have enough obstacles without putting them in the song.”

Much like George asked Paul a week earlier, regarding Maxwell’s, Michael questioned the song’s endgame: “Is it going to end happily or not sure yet?”

Interestingly Paul didn’t address the emotion behind the song’s ending, just that he had an ending. And it was very close to the one that would appear on the record more than a year later:

“And still they lead me back to the long an winding road
You left me waiting here a long, long time ago
Don’t leave me standing here, lead me to your door”

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TMBP Extra: Jan. 7 Power Hour

Sirvana, July 20, 2013

Before I move on with the Twickenham happenings on Jan. 7, 1969, I wanted to offer up this bit of context as Paul McCartney circles the globe on his latest world tour.

It’s more than 44 years since Jan. 7, 1969, and Paul McCartney is still playing the four songs he began that day with live: “The Long and Winding Road,” “Golden Slumbers/Carry That Weight” and “Get Back.”

As in, 60-something hours before I posted this, the same James Paul McCartney that sat before a piano at Twickenham introducing these songs to a room of just a few people, played the very same numbers to 47,000 at Safeco Field in Seattle (playing “Golden Slumbers/Carry That Weight/The End” and “Get Back” with the surviving members of Nirvana). That’s after performing them hundreds and hundreds of times over the decades.

Four songs he introduced over the course of about an hour one morning in 1969 at age 26. He turned 71 in June.

According to setlist.fm, Paul played 39 songs in Seattle — seven that were introduced in January 1969 and a whopping 14 (!) originating from 1968-1969. That’s 36 percent of his show in 2013 spanning less than 24 months, the remainder covering another 50 or so years of his career.

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Jan. 7: Sing a lullaby

With Paul McCartney seated at the piano at Twickenham on the morning of Jan. 7, 1969, the seeds of the Abbey Road medley are planted. Or, at least, unveiled on tape.

Famously pinched, in part, from a poem that was more than 350 years old, “Golden Slumbers” debuted minutes into the Jan. 7 tapes, another of Paul’s performances solo at the piano.

Lyrically and musically, the song is just about what would end up on Abbey Road.

Once there was a way to travel homeward
Once there was a way to get back home
Sleep pretty darling, don’t you cry
And I will sing a lullaby

Golden slumbers fill your eyes
Smiles awake you when you rise
Sleep pretty darling, don’t you cry
And I will sing a lullaby

While the song has its origin in a Thomas Dekker poem from 1603, the recollection of a “way back home” is Paul. Here’s the inspiration, the original verse by Dekker:

Golden slumbers kiss your eyes,
Smiles awake you when you rise.
Sleep, pretty wantons, do not cry,
And I will sing a lullaby,
Rock them, rock them, lullaby.

Care is heavy therefore sleep you.

You are care and care must keep you.
Sleep, pretty wantons, do not cry,
And I will sing a lullaby,
Rock them, rock them, lullaby.

After repeats of the song, Paul transitions right into “Carry that Weight.” Of course, it sounds like the songs are made for each other, but that could be more than 40 years of built-in bias.

It’s unclear if the link was simply improvised that morning, conjured over breakfast or what. But “Carry That Weight” sure did seem to be a standalone piece when brought to the band the day before.

As the piano part winds down, implying “You Never Give Me Your Money” (which is yet to be written), instead he goes right back into “The Long and Winding Road,” the same song Paul began to play prior to “Golden Slumbers.”

Any other day, it wouldn’t strike a chord, no pun intended (really!). But on this morning, “Golden Slumbers” and “The Long and Winding Road,” separated by five months in the studio and eight on vinyl, are pieces of a puzzle that  I didn’t realize existed.

Of course, book-ending “Golden Slumbers/Carry that Weight”with “The Long and Winding Road” could just as well be coincidence, too. But this context, deliberate or not, sheds light on what sounds like shared DNA.

Paul’s incomplete lyric to “The Long and Winding Road” — truly debuted as the tapes began to roll on Jan. 7, 1969, just moments earlier — spoke of  this sad, Sisyphean journey.

The Long and Winding road that leads to your door, will never disappear, I’ve seen that road before. It always leads me here, lead me to your door.

Having completed that performance, Paul unveils the song’s echo in “Golden Slumbers.”

HL_DDS_9079800pW60Dl5XJ“Golden Slumbers” shares the yearning as “The Long and Winding Road” but, side-by-side, it sounds further removed with a stronger sense of contemplative acceptance to the singer’s situation.

The time has passed: There “once” was a way to get back homeward. So while  “The Long and Winding Road” (as written to this point, at least)  has  a sense of distant, desperate hope, “Golden Slumbers” delivers acceptance but a promise of a better tomorrow via Dekker’s original lyric (“Smiles awake you when you rise”).

It’s Paul’s “All Things Must Pass.”

Bundle “The Long and Winding Road” and “Golden Slumbers” with “Carry That Weight” — not to mention “Let it Be,” which is absent from this sequence but was first played four days prior —  and in Paul you have a man who seems to readily acknowledge and be at peace with the fate of his band more than a year before they would actually split.

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