Because

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Overview

Background

Pattern analysis

Recording

Mix variants & recording techniques

Mix variants

• 1969 UK mono — NOT ISSUED. Per K/R p. 526 verbatim: “Both Abbey Road and Let It Be were the first Beatles albums to be mixed and released solely in stereo; mono mixes were now officially a thing of the past.” No mono mix of Because appears in the Lewisohn session log; the 12 August 1969 mixing session (Lewisohn p. 187) lists only stereo remixes 1 and 2 from take 16. Because joins the rest of Abbey Road as the first full Beatles LP year with no parallel mono destination — continuing the pattern established by the White Album per K/R p. 491 verbatim (“THE WHITE ALBUM was the last Beatles album mixed for both stereo and mono”).
• 1969 UK stereo LP Abbey Road (26 September 1969, Apple PCS 7088, side B track 2) — Released stereo master from take 16 with all overdubs in place: George Martin’s Baldwin spinet electric harpsichord (basic-track instrument), Lennon’s repeated electric guitar riff, McCartney’s bass, the three triple-tracked three-part vocal harmonies (= nine vocal parts), and George Harrison’s Moog Series IIIP overdub (recorded twice onto the last two available tape tracks). Stereo remix 1 or 2 of two prepared at the 12 August 1969 Studio Two control-room session (7.00pm–2.00am, P: George Martin, E: Geoff Emerick/Phil McDonald, 2E: John Kurlander) per Lewisohn p. 187 — the session log does not specify which of remixes 1 and 2 became the released master.
• 1987 EMI CD master — Abbey Road (CDP 7 46446 2) — First digital transfer of the 1969 stereo master. Because the song’s entire dynamic range is built on the layered vocal harmonies and the sustained Moog patches (with Ringo’s hi-hat guide-track NOT recorded onto the eight-track tape per Lewisohn p. 184 verbatim: “Ringo was there too, gently tapping out a beat on the hi-hat, but this was for the musicians’ headphones only — it was not recorded on the tape”), the 1987 CD transfer preserves the nine-part harmony texture intact without the dynamic-range compression concerns that affected louder tracks on the same disc (compare I Want You (She’s So Heavy)’s 1987 CD-master concern per Lewisohn p. 191).
• 2009 Stereo Remasters — The Beatles (Stereo Box) (9 September 2009, Apple/EMI 5099969 9447 2) — Allan Rouse / Guy Massey / Steve Rooke 24-bit flat transfer of the 1969 stereo master. The Baldwin electric harpsichord’s distinctive pickup-amplified attack (per K/R p. 320 verbatim, the instrument used “two guitar-like pickups that sensed the vibrations of the strings and allowed them to be amplified”) is preserved unchanged, as is the Moog Series IIIP’s tonal character.
• 2019 Abbey Road 50th Anniversary Super Deluxe (Giles Martin / Sam Okell stereo remix) (27 September 2019, Apple/Capitol 0602508007392, disc 1 track 8) — New stereo remix prepared from the original eight-track multitrack of take 16 + the 1, 4 and 5 August overdub tracks rather than from the 1969 stereo master. The Giles Martin / Sam Okell remix surfaces each of the nine vocal parts more discretely than the 1969 mix (which clustered them into compositional pairs in the stereo field) and brings the Moog overdub forward without the inherited bus-summing of the 1969 console. The Super Deluxe set also includes an isolated three-part harmony stem and the original take-16 backing instrumental track as separate session-tape items, making explicit on disc what Martin’s 1 August 1969 verbatim description (“three voices recorded three times”) describes on the page.

Recording techniques

• 1 August 1969 (Fri) — basic track takes 1–23 + first three-part harmony pass (Lewisohn p. 184) — EMI Studio Two, 2.30–10.30pm. Recording: Because (takes 1–23, SI onto take 16). P: George Martin. E: Geoff Emerick/Phil McDonald. 2E: John Kurlander. Per Lewisohn p. 184 verbatim, take 16 (the ‘best’) carried: “George Martin playing a Baldwin spinet electric harpsichord, John playing a repeated electric guitar riff and Paul adding bass. Ringo was there too, gently tapping out a beat on the hi-hat, but this was for the musicians’ headphones only — it was not recorded on the tape.” The first of three vocal-harmony overdub passes was made between 7.30pm and the 10.30pm end of session. The session is unusual in placing the lead keyboard part (the harpsichord) on the basic track rather than as an overdub, and in deliberately omitting Ringo’s drum kit from the multitrack.
• 4 August 1969 (Mon) — remaining two three-part harmony overdub passes (Lewisohn p. 184) — EMI Studio Two, 2.30–9.00pm. Recording: Because (SI onto take 16). Same P/E/2E. Per Lewisohn p. 184 verbatim: “The taping of the magnificent Because three-part harmony vocals was concluded on this day with the filling of two more tracks on the eight-track tape. The sum total of nine parts coalesced joyfully on the finished recording…” The session committed two further three-part-harmony tracks to the eight-track tape; the three passes (1 August + two on 4 August) total nine vocal parts — Lennon/McCartney/Harrison singing the harmony three times each. This is the K/R p. 236 verbatim exception case for the eight-track machine’s impact on the group’s methods.
• 5 August 1969 (Tue) — first Moog synthesiser overdub on a Beatles recording (Lewisohn p. 185 verbatim) — Abbey Road, Room 43 (Moog) and Studio Two, 6.30–10.45pm. Recording: Because (SI onto take 16). Same P/E/2E. Per Lewisohn p. 185 verbatim: “Because was the recipient of the first Moog overdubs, played by George and recorded twice, for the last two available tape tracks, in a studio two session commencing at 6.30pm. With this, the song was complete.” The Moog Series IIIP was set up on the upper floor in Room 43 with mono cable feeding the studio control room. The Maxwell’s Silver Hammer Moog overdub followed the next day (6 August), and Here Comes The Sun’s Moog overdubs followed on 11 and 19 August. Because is therefore the first Beatles song to receive a synth overdub at any session.
• 12 August 1969 (Tue) — stereo remixes 1 and 2 from take 16 (Lewisohn p. 187) — EMI Studio Two control room, 7.00pm–2.00am. Stereo mixing: Because (remixes 1 and 2, from take 16) alongside Oh! Darling and Maxwell’s Silver Hammer remixes. Same P/E/2E. Two stereo remixes were prepared; Lewisohn does not specify which became the released LP master. Per §1 less-specific-when-uncertain, the page records the bracket (remix 1 or 2) rather than picking a side. There is no documented later remix of Because in the Lewisohn session log between 12 August 1969 and the 26 September 1969 LP release; the 12 August Studio Two control-room session is the song’s only stereo-mixing event of the campaign.
• Triple-tracking the three-part harmony — central editorial spine (Lewisohn p. 184 + K/R p. 236) — The nine-vocal-part texture is the documented production technique that justifies the eight-track tape format for the Abbey Road sessions per K/R’s explicit p. 236 attribution. Each three-part vocal pass (Lennon top, McCartney middle, Harrison lower) was sung onto a separate pair of tape tracks at a separate session; the three passes were not mixed down to a single track during recording (no 8T-8T reduction was used per the Lewisohn session log), so the released master is the simultaneous playback of nine vocal tracks plus the basic-track instruments (harpsichord, electric guitar, bass) plus the two Moog overdub tracks. The arithmetic of the eight-track tape works because the basic-track instruments share tracks: harpsichord + electric guitar + bass occupy the first three tracks; the three vocal passes occupy tracks 4–6 (or similar grouping); the two Moog overdubs occupy tracks 7–8.
• Baldwin Electric Solid-Body Harpsichord on the basic track (K/R p. 320 verbatim) — The unique Baldwin instrument used by George Martin on the basic track was a late-1960s electric update of the traditional harpsichord. Per K/R p. 320 verbatim: “The Baldwin electric harpsichord appeared on only one Beatles song, ‘Because’, but it was prominently featured. It remained at Abbey Road throughout the 1970s and was eventually purchased by Paul McCartney (who later played it on ‘Free As a Bird’).” K/R p. 320 verbatim describes the instrument: “inside the body were two guitar-like pickups that sensed the vibrations of the strings and allowed them to be amplified. Constructed of a strong aluminum frame and red Formica soundboard, it had a clear Plexiglas top, which gave the instrument a sleek and modern look and provided a view of the inner workings.” The companion Baldwin C1 “Professional” amplifier (per K/R p. 320 verbatim “the only in-house guitar amplifier available at Abbey Road”) carried the harpsichord’s amplified output. The instrument’s distinctive metallic-sustained attack is one of the song’s most recognisable timbres.
• Mike Vickers as Moog consultant/programmer (Lewisohn p. 185) — The Moog Series IIIP modular synthesiser required substantial expert setup per patch (the instrument had no preset library; each timbre was constructed live by routing oscillators, filters and envelope generators via the modular patch bay). Mike Vickers — the Manfred Mann instrumentalist who had conducted the orchestra on All You Need Is Love two years earlier — was recruited as the Beatles’ Moog expert. Per Lewisohn p. 185 verbatim, Alan Parsons recalls the group’s reaction: “Everybody was fascinated by it. We were all crowding around to have a look. Paul used the Moog for the solo in Maxwell’s Silver Hammer but the notes were not from the keyboard. He did that with a thing, just moving his finger up and down on an endless ribbon. It’s very difficult to find the right notes, rather like a violin, but Paul picked it up straight away. He can pick up anything musical in a couple of days.” Per Lewisohn p. 185 verbatim, Nick Webb recalls the band’s production restraint: “I think the Beatles used the Moog with great subtlety. Others in a similar situation would probably have gone completely over the top with it. It’s there, on the record, but not obtrusively. Perhaps they weren’t sure it was going to catch on!”
• Room 43 ↔ control-room mono-cable Moog routing (Lewisohn p. 185 verbatim + K/R p. 34) — Room 43 was the upper-floor Abbey Road space at the West end of Studio Three (originally Studio Three’s mono-only Control Room until 1963, when Studio Three’s Control Room was relocated to Room 3A). Per K/R p. 34 verbatim, after the 1963 conversion Room 43 “became the storage space for the Beatles’ growing pile of guitars, amps and drums while they were recording”, and the room “became even more significant in August of 1969, when it served to house the Moog synthesiser used during the Abbey Road album sessions”. Per John Kurlander’s Lewisohn p. 185 verbatim recollection (“The Moog was set up in Room 43, and the sound was fed from there by a mono cable to whichever control room we were in”), the synth signal travelled via a single mono cable to whichever studio’s control room was active. This routing arrangement meant the Moog took up exactly one channel on the receiving console’s desk strip per overdub pass, simplifying the headphone-mix workflow at the cost of any in-room performance interaction.
• Hi-hat guide track NOT on the released multitrack (Lewisohn p. 184 verbatim) — Ringo’s hi-hat was used during the 1 August basic-track session purely as a click-track substitute for the other musicians’ headphones; the hi-hat signal was not committed to the eight-track tape. Per Lewisohn p. 184 verbatim: “Ringo was there too, gently tapping out a beat on the hi-hat, but this was for the musicians’ headphones only — it was not recorded on the tape.” The released master therefore has no drum kit and no percussion at all — an unusual configuration even by 1969 Beatles standards, and the immediate compositional reason George Martin’s verbatim recollection opens with “Ringo was our drum machine”: Ringo’s contribution was rhythmic discipline during tracking, not a recorded performance on the master.
• Beethoven Moonlight Sonata inspiration (Lewisohn p. 184) — Per Lewisohn p. 184 verbatim, the song’s harmonic shape derives from Beethoven’s Piano Sonata No. 14 in C№ minor, Op. 27 No. 2 (the “Moonlight Sonata”): “It was Beethoven’s piano sonata in C Sharp minor, opus 27 number two (‘The Moonlight Sonata’) which inspired Because. Yoko was playing it on the piano one day and John, in clearly inspirational mood, reversed the chords, added some simple but eloquent lyrics and the song was written. As simple as that.” The reversed-chord-sequence derivation places the song in a small category of Beatles compositions whose harmonic spine is an explicit retrograde of an existing classical work (compare Golden Slumbers’s reuse of the 1614 Thomas Dekker text and Being For The Benefit Of Mr Kite!’s verbatim transcription of an 1843 Pablo Fanque circus poster).

Legacy & release history

Mono & stereo

• Stereo only on UK release — the band's last three LPs were mixed for stereo; no UK mono LPs were issued.

Documented alternate versions

• Anthology 3 (1996) — alternate take or demo
• 2009 Stereo Remasters — Allan Rouse / Guy Massey remaster
• Abbey Road 50th Anniversary (2019) — Giles Martin stereo remix

Released on

• Abbey Road — LP, 26 September 1969

Cross-references

Other songs sharing themes (moonlight-sonata-backwards, nine-part-harmony, harpsichord)

Other songs led by the same vocalist

Other songs from this era

moonlight-sonata-backwardsnine-part-harmonyharpsichord

On screen with the same title

Related songs