I Want to Tell You
Working titles: Laxton's Superb, I Don't Know Written by: George Harrison (100%)Recorded: June 2 and 3, 1966 (Studio 2, Abbey Road Studios, London, England)
Mixed: June 21, 1966
Length: 2:29
Takes: 3
Musicians:
John Lennon: harmony vocals, tambourine, handclaps
Paul McCartney: harmony vocals, bass guitar (1964 Rickenbacker 4001S), piano (1905 Steinway Vertegrand "Mrs. Mills"), handclaps
George Harrison: lead vocals (double-tracked), harmony vocals, lead and rhythm guitar (1961 Sonic Blue Fender Stratocaster), handclaps
Ringo Starr: drums (Ludwig), maracas, handclaps
Available on: (CDs in bold)
Revolver (UK: UK: Parlophone PMC 7009; PCS 7009; US: Capitol (S)T 2576; Parlophone CDP 7 46441 2)
History:
- The 25th studio session for Revolver was planned to be one where John Lennon worked on one of his new creations, since Paul McCartney had just finished up his latest, "Yellow Submarine," the day before. Yet Lennon was in a creative funk, having not come up with any new songs since "I'm Only Sleeping," a full six weeks before. So George Harrison contributed a new song instead -- making his Revolver total three songs, unheard of for George and never to be replicated on a single Beatles album again.
- At first, "I Want to Tell You" seems to be just another midtempo song in the same lyrical vein as "If I Needed Someone"; that is, a statement of sexual freedom in a society where such things were just starting to become commonplace. (Note the similarities between the line "Carve your number on my wall And maybe you will get a call from me," and this song's "It's all right, I'll make you maybe next time around.") However, a closer look reveals George coming to grips with his philosophical confusion, just as he'd done on "Love You To," as evidenced in the lyrics "I feel hung up but I don't know why" and "It's only me, it's not my mind, that is confusing things." (Indeed, "next time around" could almost be taken as a metaphor for reincarnation!) Whatever the case, Harrison's original handwritten lyrics were a bit more upbeat and specific, featuring unused phrases like "Maybe love will be the one thing to get me by" and "If you should see me, and need my love to pass the time..."
- As with most early George songs, the recording of "I Want to Tell You" was quick and simple. (Harrison and other witnesses have claimed that John and Paul didn't put quite as much care into the recording of George's songs.) On June 2nd, George, Paul, and Ringo laid down the basic track (with Paul providing the distinctive, nervous, edgy minor-key piano accompaniment). Vocals were added, as well as percussion and a second piano; Paul added an Indian melisma to the harmonies in the outro ("I've got time...") and the lead guitar into was faded in, as with "Eight Days a Week." The next day, Paul recorded his bass line -- the first time he'd do that separately, though far from the last -- and the track was done. The band could then move on to the final Revolver session, a new Paul song called "Good Day Sunshine."
Trivia:
- Once again, George had no title for this song, which was at first called "I Don't Know" -- his response to producer George Martin when asked the name of the track. Engineer Geoff Emerick, recalling that "Love You To" was originally named after the apple variety Granny Smith, suggested naming this one "Laxton's Superb," after yet another kind of apple. At the last minute, Harrison finally gave up and named the song after the opening line.
- In later years, Harrison reversed the words "It's only me, it's not my mind," feeling it was more appropriate to sing "It's not me, it's just my mind" in concert, given his spiritual findings. The version found on his 1991 album Live in Japan featuring Eric Clapton on lead guitar, does this.
- Neil Innes, of the novelty act The Bonzo Dog Doo-Dah Band (and later the Rutles!) has joked about recording a silly old music hall song called "My Brother Makes the Noises for the Talkies" in Studio 1 at Abbey Road, then hearing "I Want to Tell You" come roaring out of Studio 2 on playback and realizing just how far out of their league he was, creatively.
- This was not George's first choice for his third spot on Revolver. John and Paul had already turned down a new composition of his entitled "Isn't It a Pity."
Covered by: Jeff Lynne, Ted Nugent, Mike Melvoin, The Smithereens, Bozo Allegro, The Lambrettas
