McCartney Times

John Lennon and Paul McCartney didn’t know exactly what they wanted, but they knew they wanted something big. In 1967, the evolution that had come out of the pair’s writing had taken a major leap over the past year – after having been turned on to weed by Bob Dylan, and then LSD by a duplicitous doctor, the drug experience and the changing sensibilities of the ’60s began to take a hold of The Beatles. Light pop songs were no longer acceptable, and when they combined two different sections of songs to create the basis for a new track, they knew that they were on to something massive.

As always, when the duo had big ideas that they couldn’t quite convey or articulate, they went to their producer, George Martin. Martin became an expert in translating the group’s wild ideas and near-impossible requests. When Lennon wanted the sound of “a thousand chanting monks” in ‘Tomorrow Never Knows’, Martin made it happen. When McCartney requested an impossibly high trumpet part for ‘Penny Lane’, Martin transcribed it and sought out the appropriate player. When Lennon wanted to combine two different takes of ‘Strawberry Fields Forever’ that were in different keys and set at different tempos, Martin lined up the tapes by hand to make it work.

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Source: An ode to the “orgasm” in The Beatles’ ‘A Day in the Life’