Baby You're a Rich Man Put a Little Love in Your Heart

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^{"BABY, YOU'RE A RICH Human"}

^{(John Lennon – Paul McCartney)}

With their masterpiece "Sgt. Pepper's Lonely Hearts Club Band" in the can, The Beatles found themselves somewhat inspirationally spent. They had poured their hearts into the making of that album, the projection beingness the result of their new-found freedom from touring and movie making. They wanted desperately to extricate themselves from other mundane popular star activities in lodge to concentrate on their fine art. And on Apr 21st, 1967, the album, their greatest artistic expression, was consummate and existence readied for release.

Although they had no plans to make a total-length characteristic motion-picture show as they had in previous years, they nonetheless had a movie contract with United Artists to fulfill. A decision was made to have an blithe picture show created in The Beatles' name that featured their music, the resulting film entitled "Yellowish Submarine." The movie's story line was to be based loosely on popular Beatles songs with very little input from the group needed. This thrilled them, the program being to fulfill their motion-picture show contract without having to learn lines or be on any movie set. The movie would be done by professional animators and story-writers.

However, The Beatles agreed to be involved in the making of this picture by doing what they did all-time; providing a few new original songs to be used in the movie. Apart from a brief cameo appearance at the end of the motion-picture show, and maybe a story-line idea thrown in hither or there, this is all The Beatles had to practice. With this in mind, John and Paul put their private ideas together to create a song intended for this movie, the result being "Infant, You're A Rich Human being."

Songwriting History

Ian MacDonald, in his book "Revolution In The Head," makes an astute observation regarding what most probable was the initial inspiration for "Baby, You're A Rich Man." He states: "The 'cute people' was what the Due west Coast hippies called themselves. The '14-Hr Technicolor Dream,' an all-night festival at Alexandra Palace on April 29th, 1967 which Lennon attended, was the first tribal gathering of the British "beautiful people." This, and the fact that the session for 'Baby, You're A Rich Human being' was arranged at short notice, advise that the song was inspired by the event."

This was one of the likely inspirations for John to first writing a song entitled "One Of The Beautiful People." Paul, in his volume "Many Years From At present," relates another of John's inspirations: "There was a lot of talk in the newspapers and then about the beautiful people. That was what they called them...the question then was, 'how does it experience to exist one of the beautiful people?'" In fact, the word "beautiful" was becoming a habitual discussion in Beatles language at this time. "At the back of my mind somewhere," Paul stated in interview to International Times in January of 1967, "there is something which tells me that everything is beautiful...that everything'south great and there'due south no bad always if I can think of it all as corking."

John himself clarified the writing procedure for what became "Baby, Y'all're A Rich Man" in his 1980 Playboy interview. "That is a combination of two sperate pieces, Paul's and mine, put together and forced into a song. 1 one-half was all mine (singing ): ' How does information technology feel to be one of the beautiful people, now that you know who you are, da da da da.. .' And then Paul comes in with ( singing ): ' Baby, you're a rich homo.. .' because he merely had this ' Baby, you're a rich man' effectually."

The verses may initially take been written by John and the chorus past Paul, but there was some battering around of ideas at a writing session betwixt the ii. "'Baby, You're A Rich Human being' was co-written by John and me at Cavendish Avenue," Paul explains. "'Tuned to a natural E ' is a line I remember united states of america writing, a slight pun on the word 'naturally' – ' natural Due east.'"

Although never verified, the "rich man" referred to in Paul's section of the song is rumored to refer to their manager Brian Epstein. "The point was," stated John, "finish moaning. You're a rich man and we're all rich men, hey, hey, baby!."

The question/answer lyric writing that John had only put to good use in the recently written "With A Lilliputian Assist From My Friends" saw a reprisal in this song. Lennon's "vague witticisms," as described past Tim Riley in his book "Tell Me Why," are once again on display: "How oft have you been at that place? / Oftentimes enough to know " and " What did you see when you were there? / Zippo that doesn't prove " beingness prime examples of continuing the " What do you see when you lot turn out the calorie-free? / I tin't tell you but I know it's mine" from the previous song.

Olympic Studios, London

Recording History

"The Beatles couldn't become into the studio for the next couple of nights," explains Geoff Emerick in his book "Here, There And Everywhere," "which forced them to record 'Baby You're A Rich Man'...at Olympic Studios...Information technology was around this time that The Beatles began frequenting exterior studios more than and more, for a variety of reasons."

Geoff Emerick goes on to explain what these reasons may have been: "Mayhap they merely had motel fever and were ill of staring at the same iv walls. There weren't really any amenities at Abbey Route: there were no couches or armchairs in our cramped command rooms, but a couple of uncomfortable, difficult chairs. In contrast, when they went into Olympic...at that place would exist big command rooms with costly leather sofas and comfortable chairs to sit in, all absolute by low lighting and a modern décor...In improver, by mid-1967, every other major studio in London had an eight-runway machine, and we still had merely four-runway, which actually made us seem similar we were lagging far behind...There was besides a much more relaxed attitude toward drugs in other studios, and it wouldn't surprise me if the staff at those facilities would partake with clients, so perhaps The Beatles related to the other engineers meliorate...I imagine they idea it was really absurd to share a articulation with the control room staff. In contrast, we must take seemed really straight and foursquare."

In any event, on May 11th, 1967, just days after the contracts were signed for the new "Yellowish Submarine" film project, The Beatles entered Olympic Audio Studios for work on the first new song to exist used for this moving picture. "Olympic was i of the peak contained studios in Britain," Mark Lewisohn explains in his volume "The Beatles Recording Sessions," "turning out many hit records. The Rolling Stones had taken to recording there, even though studio managing director Keith Grant was every bit great to promote the venue'due south valuable film soundtrack work."

George Martin was still used as producer of the session, although the aforementioned Keith Grant oversaw engineering duties. "The Beatles said that this was the fastest record they'd ever made," Grant relates. "They were used to a much more leisurely pace. We started the session at about ix pm."

Twelve takes of a rhythm runway were recorded first with the instrumentation being John on piano, Paul on bass, George on electrical guitar and Ringo on drums. Keith Grant remembers, "They kept on playing, version after version, and then we spooled back to the 1 they liked and overdubbed the vocals." Have 12 was accounted the all-time rhythm track, onto which John sang lead vocals with Paul and George singing backing vocals. (Legend has it that John sings "Babe, you're a rich fag jew" as a reference to Brian Epstein toward the terminate of the song...listen carefully to see if y'all can detect it!) Other overdubs included Paul playing an additional piano, Ringo on tambourine and then maracas, George and Ringo adding handclaps, John double-tracking his lead vocals in spots, and Eddie Kramer (future producer for Jimi Hendrix and Kiss who happened to be second engineer on the session) adding a petty vibraphone. A droning sound resembling a tamboura is likewise present on the finished recording, undoubtedly played past George.

Attention this session was friend and beau musician Mick Jagger, who may have contributed something to the proceedings as well. Author Marking Lewisohn, while listening to the tape in preparation for his book "The Beatles Recording Sessions," spotted the post-obit notation on the tape box: "The Beatles + Mick Jagger?". It has been speculated that he could have joined in on the singalong choruses of the song, although this has non been verified.

One other overdub at this session was a very interesting instrument called a Clavioline which was played by John. Eddie Kramer explains: "We wanted to make sure that they walked out of (Olympic Studios) beingness completely blown away. Which they were...There was a Clavioline that happened to be in the studio, and John played it. This was a French electronic instrument with a small keyboard. Information technology had a little strip which you put your thumb on and moved information technology up and down the length of the keyboard as yous played, to get vibrato."

Andy Babiuk, in his book "Beatles Gear," gives more item about this instrument. "The Clavioline was a monophonic keyboard – pregnant only one notation sounded at a time, precluding chords. It was in outcome a predecessor of modern synthesizers...The instrument consisted of ii units: the keyboard, with built-in valve (tube) sound generator; and the dissever amplifier-and-speaker box...A congenital-in octave transposer switch gave the keyboard's single oscillator a five-octave range. The overall volume was controlled by a knee-operated lever. The Clavioline's unusual sound, heard whirling intermittently through 'Baby You lot're A Rich Human being,' had also been evident on 'Telstar,' a big hit for the British group The Tornados on both sides of the Atlantic in 1962."

Equally for John Lennon's use of the musical instrument on this day, one apocryphal story suggests that he accomplished his rapid-burn down wail by rolling an orange up and down across the keyboard. This, or course, has not been verified, simply makes for an interesting chestnut when relating the details of this recording session.

As far as the vocals were concerned both Keith Grant and Eddie Kramer discussed this evening's session with engineer George Chkiantz, who related: "They were both amazed at John Lennon's vocalism. They'd long been wondering what it would be similar to record and they were saying how groovy it was. They couldn't believe anyone could sing that well."

Later all overdubs were complete, anybody stayed a petty longer to put it all together. A tape reduction was deemed necessary and then two attempts at this were done, the 2d one considered the improve i. Then the one and just mono mix of the song was made, making "Baby, You're A Rich Homo" the first Beatles song to be recorded and mixed for tape entirely outside of Abbey Road.  Keith Grant explains: "It was finished and mixed past nearly iii am." Paul himself remembers this day in his book "Many Years From At present" every bit "a rather exciting recording session at Olympic, in Barnes, where Keith Grant mixed information technology, instantly, right at that place. He stood upwards at the console every bit he mixed it, so it was a very heady mix, we were really quite buzzed. I always liked that runway."

"Whenever they did a track at an outside studio," relates Geoff Emerick, "I usually had to do a lot of repair piece of work to the tapes considering they just couldn't achieve the sound they were used to anywhere else. This time around, though, they actually got the entire song done – including the terminal mix – in a single session...Information technology had been a long time since they'd been so efficient. I had to admit that the results were pretty skillful...Keith Grant did the session himself and he knew what he was doing. In addition, Olympic'due south mixing console was a totally different design than ours and was capable of passing lower frequencies, and then there was quite a smooth bass sound, which I thought was great."

The next fourth dimension attention was given to the song was on Baronial 22nd, 1968, when George Martin fabricated a copy of this mono master in the control room of EMI Studio Ii. It was reportedly taken away by George Martin, peradventure to frontwards to the makers of the "Xanthous Submarine" movie, a bit of which being included in the American version of the moving-picture show.

Since the vocal was only released in mono as a unmarried, a stereo mix wasn't made until October 22nd, 1971, by George Martin and Geoff Emerick at his AIR Studios in London. Certain differences are evident, most noteworthy is the presence of George Harrison's guitar part which is non every bit prominent in the mono mix. The stop of a vocalized "xi " which is nowadays at the very showtime of the mono mix (maybe someone attempting to place what accept information technology was) was faded out of this stereo mix. Also, there is an effect referred to past some as a "spin" that appears at strategic places in the verses of the song (such equally after the lines " eye can meet " and " enough to know"). These "spin" effects are missing in the stereo mix. This stereo mix is besides nine seconds shorter than the mono mix. In the U.s., this stereo mix was start heard on the CD release of the album "Magical Mystery Tour."

A farther stereo mix of the song was fabricated in 1999 in preparation for the release of the album "Yellow Submarine Songtrack." The engineering science squad working on this projection comprised Peter Cobbin, Paul Hicks, Mirek Stiles and Allan Rouse . The technology of the 1990's made for a cleaner and more than vibrant version of the song, the excitement of the recording session coming through very well for the listener.

^{Song Structure and Fashion}

The structure of "Baby You're A Rich Human" is quite standard for Beatles compositions, namely a 'verse/ poetry/ chorus/ verse/ chorus' format (or aabab) with an introduction and repeating decision added on.

The introduction is eight measures long and consists of the bones rhythm track of piano, guitar and drums with the overdubbed tambourine throughout all eight measures. Interestingly, George'southward guitar thumps propel the beat out of the song nicely in this introduction, even slightly overshadowing Ringo's usual time-keeping part in the early moments of the song. The overdubbed maracas appear at the kickoff of the 2nd measure, Paul's bass emerges in the eye of the third measure, John'southward "snake-charming" Clavioline appears first at the very cease of the third measure out, and then the handclaps come in in the fifth mensurate. All these elements are brought in i at a time as if to build up the arrangement layer past layer.

The beginning eleven-measure poesy so appears as the Clavioline fades from view and John and Paul's unison vocals announced, sung partially in falsetto. The instrumentation of the introduction continues throughout the verse with the Clavioline filling in the open up spaces of the lyrics in measures five and ix. John and Paul sing in unison during the unabridged poetry except for two lines, namely " what do you want to exist " (measure out six) and " far as the eye can see " (measure ten) which are sung past John solo. Another feature is the ii breaks that appear in the poesy; the beginning is in measure seven with only a slight piano existence heard along with all percussion, the second in measure eleven which cuts out all percussion and only features piano chords playing an eighth-note rhythm that swells in volume every bit the measure ends.

The 2d verse begins immediately afterwards. Noteworthy differences include Ringo'southward pulsate fills in the first two measures and Paul'due south kickoff harmony in the third mensurate on the word " people ." John's solo lines " oftentimes plenty to know " and " nothing that doesn't show " are both mimicked by George on guitar this time around. The final piano swell in the eleventh measure is this time accented by a vibrant drum fill up from Ringo in apprehension of the offset chorus that follows.

The loftier bespeak of the song is then reached in this first twelve-measure chorus with John and Paul repeating the vocal's title for the first three measures in an excitedly high pitch in unison. Paul swings into harmony in the 4th measure out for the word " also ." John'south vocals are sung solo but double-tracked in the fifth through eighth measure while his Clavioline appears in the open spaces in measures four, seven and eight. Full instrumentation, as previously heard in the verses, continues throughout this chorus until the 12th mensurate where another suspension occurs, the only elements present are the pianoforte dandy, a tambourine and a stray paw clap at the beginning of the measure out.

Then comes the third poetry, which this time features a very mellow first line sung single-tracked by John until Paul joins in on the third measure with a harmonized " people ." Ringo plays some meandering "pb drums" in the first two measures while the Clavioline appears in measures 5, seven and ix this time. A dawdling audio which very much resembles a tamboura is heard quite prominently throughout this verse also, undoubtedly played by George every bit he did in the song "Lucy In The Heaven With Diamonds" which was recorded 2 months prior. Ringo ends this poetry with a snare drum fill to usher in the following chorus.

This second chorus is identical to the first in near respects, the most notable differences being more appearances of the Clavioline (measures 4, seven, 8, 9, ten and twelve) and an extemporaneous extra " baby " from Paul in the eighth measure. There is no intermission at the end of this chorus, the instrumentation standing in full force with Paul yelping out a " Oh-oh-oh-oh " in the final measure.

This moves directly into the conclusion of the song which is a continual repeat of the showtime iv measures of the chorus sung with energetic spontaneity until it fades out. Total instrumentation appears throughout this conclusion, including uninterrupted Clavioline noodling from John. The conclusion in the stereo mix extends only 8 measures until information technology is faded away while the mono mix is extended for xi measures.

All four Beatles were fully involved in the making of this song, playing on the rhythm track also as multiple overdubs. With team spirit abounding, they all played in elevation class; John on piano and his wild Clavioline, Paul on bass and piano, George on guitar and peradventure tamboura, and a very spirited Ringo on drums and percussion. This postal service "Pepper" rail may not have been as masterfully written or recorded, simply one thing that is obvious is the fun atmosphere of the recording session that easily comes through to the listener. Everyone involved was undoubtedly having a blast recording this song. And the undeniable hook of the chorus can't help but get you to sing along, fifty-fifty if you lot accept no idea why anyone would go along all their money " in a big chocolate-brown handbag inside a zoo! "

^{American Releases}

Shortly before "All Y'all Need Is Honey" was broadcast on live television on June 25th, 1967, information technology was decided to release the song as the next Beatles single immediately later on. Although "Baby You're A Rich Man" was designated for a future release with the "Yellowish Submarine" motion-picture show, a B-side to "All You Demand Is Love" was required in gild not to filibuster the unmarried'south worldwide release. Therefore, the recently recorded "Rich Man" was an easy solution.

"Baby Yous're A Rich Human" was kickoff released as a single in the US on July 17th, 1967, paired with the landmark recording "All Yous Demand Is Beloved." With the buzz of the long-awaited "Sgt. Pepper" album in the air, it just being released on June 2nd, 1967, swell attention was given to this new single that was Non on that anthology. After a seemingly long absence, The Beatles had a tremendous corporeality of material to unleash on their fans.

While "All You lot Need Is Love" made it all the mode to the top of the charts, "Baby Yous're A Rich Man" managed to top within the peak forty of the Billboard charts as well, at number 34 (although the magazine mistakenly listed the song as "Baby Yous're A Rich Man Now"). Interestingly, Capitol Records inadvertently gave "Rich Man" a suffix number one digit lower (45-X46047) than "All Y'all Need Is Love" (45-X46048), something that would ordinarily indicate which was the A-side of the unmarried. This confusion resulted in "Rich Man" being printed on the "full-Apple tree" side of the single when it was eventually released on Apple tree Records in the lxx'southward, "All You Demand Is Love" being relegated to the "sliced-Apple" side.

Just over four months later, on November 27th, 1967, the song was included on the Us album "Magical Mystery Bout," an album Capitol concocted to flesh out the six songs The Beatles recorded for their British television special of the same name. Since a stereo mix of the song didn't exist at the time, a fake-stereo version of the song appeared on the stereo copies of this album. The vinyl version of this anthology continued to be reissued in the Us throughout the years, while the compact disc edition, containing a truthful stereo mix of "Infant You lot're A Rich Man," was released on meaty disc on September 21st, 1987, this CD being remastered and re-released on September 9th, 2009.

An interesting U.s. vinyl edition of the "Magical Mystery Tour" anthology was released on February 1st, 1981. This was manufactured past Mobile Allegiance Sound Lab in Chatsworth, California and was part of their " Original Master Recording " series, which prepared its albums utilizing half-speed mastering technology from the original primary tapes. In this case, however, they leased the master tape from EMI in the Britain, not realizing that this was a 2d generation master record originally supplied past Capitol Records in America. While this release sounded superior to conventional vinyl versions, it however contained the duophonic (fake stereo) mixes of "Penny Lane," "Baby, You're A Rich Man" and "All You Demand Is Love." Also, equally was the example with all of the vinyl editions of the album past this fourth dimension, the original multi-page booklet was omitted from this new vinyl release. Still, this edition of the album was just available for a short time and is quite collectible today.

On June 30th, 1992, the CD box fix entitled "Compact Disc EP Collection" was released which featured a bonus disc that likewise independent the true stereo version of "Baby You lot're A Rich Man."

In Feb of 1994, the "Babe You lot're A Rich Human" unmarried was re-released past Capitol Cema equally a jukebox single on pink vinyl, which is quite a collectible today.

The Nov 20th, 2006 released compilation album "Dear" featured snippets of "Baby You lot're A Rich Human being" on two of its selections. John Lennon's distinctive Clavioline playing was included on the track "Lucy In The Heaven With Diamonds" and vocals from the vocal are featured on the track "All You Need Is Honey."

On September 9th, 2009, the box set " The Beatles In Mono " was released, which contained the entire mono Beatles catalog in a newly remastered condition, "Baby You're A Rich Homo" being among the collection.

George Harrison in a park at Haight-Ashbury, San Francisco, August 7th, 1967

Live Performances

The Beatles were well past their touring life at this stage, but there is one known time that "Baby You're A Rich Man" was performed past a Beatle. On August 7th, 1967, merely three weeks afterwards the unmarried was released in the US, George Harrison and entourage decided to make a brief visit to the Haight-Ashbury district of San Francisco, California, to visit the highly publicized "cute people" of the area.

According to David Swanson of the San Francisco Chronicle, "A immature human was entertaining a crowd of about twenty hippies. Harrison and his wife listened for a minute and then Harrison asked, 'Can I borrow your guitar?' The young man said, 'Sure.'  Harrison took the guitar and started to play...hippies clambered down hills, dropped from copse and sprang from behind bushes. A sizeable crowd formed. Harrison played for nigh x more than minutes and and so shouted, 'Let'southward go for a walk'...And off they went. Harrison strumming the guitar with the hippies following along." George relates, "We walked into a park and it just became a joke. All these people were simply following us forth." At this signal, as outlined in Steve Turner'south book "A Difficult Twenty-four hours'south Write," "George sat on the grass, listened to other people'south songs and then started to sing 'Baby You're A Rich Human being.'"

Other than a few seconds of the vocal actualization in the movie "Xanthous Submarine," which was released in the US on Nov 13th, 1968, "Infant You're A Rich Man" has never again been performed by any Beatle.

^Conclusion

It has been postulated that the Lennon/McCartney collaboration efforts had disintegrated as the years progressed, resulting in John and Paul writing individually and, at all-time, allowing the other to put in his 2-cents afterwards the song was otherwise completed. While this has proven to be true, even disintegrating into not bothering to include the others' input toward the end of the partnership, in 1967 they were offset to experiment in their collaborative efforts. One would have a partial song written, the other would have another partial song written, and they would piece them together. Earlier this year, the masterful " A Day In The Life " was written this way, equally was 1969'southward "I've Got A Feeling." In this same way, "Baby Y'all're A Rich Human" came to fruition, resulting in a lighthearted romp of psychedelia that was just as fun for them to create as it is for us to listen to.

Song Summary

" Infant You're A Rich Man "

Written by: John Lennon / Paul McCartney

• Song Written: May, 1967
• Song Recorded: May 11, 1967
• Get-go United states Release Date: July 17, 1967
• US Single Release: Capitol #5964
• Highest Chart Position: #34 (b-side to "All You Need Is Love")
• First U.s. Album Release: Capitol #SMAL-2835 "Magical Mystery Tour"
• British Album Release: Parlophone #PCTC 255 "Magical Mystery Tour"
• Length: 3:07 (mono) ii:58 (stereo)
• Key: G major
• Producer: George Martin
• Engineers: Keith Grant, Geoff Emerick, Eddie Kramer

Instrumentation:

• John Lennon - Lead Vocals, Piano (Steinway Grand), Clavioline (Selmer Concert)
• Paul McCartney - Bass (1964 Rickenbacker 4001 S), Piano (Steinway 1000), backing vocals
• George Harrison - Guitar ( 1965 Epiphone Casino ES-230TD ), handclaps, backing vocals, tamboura?
• Ringo Starr - Drums ( 1964 Ludwig Super Archetype Black Oyster Pearl), tambourine, maracas, handclaps
• Eddie Kramer - Vibraphone
• Mick Jagger - Backing vocals ?

Written and compiled by Dave Rybaczewski

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