![]() First off was something quite different for engineer Ken Scott. That same day, Paul added vocal and guitar overdubs, before finishing things off with a couple of unusual percussion tracks. (Conversely, when Nilsson came to record a version of “Mother Nature’s Son,” he opted for strings rather than horns.) And, sure enough, George Martin scored an arrangement for a pair of trumpets and a pair of trombones, making their appearance in time for the second verse. John had come up with the idea of a small brass section, having been inspired by the arrangement on Harry Nilsson’s recent cover of Paul’s “She’s Leaving Home.” And while it was decided to keep “Blackbird” to Paul and his guitar (plus a few common blackbirds backing him up), the horns got Paul’s thumbs up for “Mother Nature’s Son” instead. ![]() While working on “Blackbird,” Paul, John, and George Martin were discussing arrangement possibilities for the song. ![]()
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