With ["Lovely Rita"], Paul began the practice of recording his bass last, after all the other parts were already committed to tape. Being able to work off all the other elements of the track -- including lead and backing vocals -- enabled him to hear the song as a whole and therefore create melodic basslines that perfectly complemented the final arrangement. He would do those overdubs in the wee hours, long after everyone else had gone home. It would be just Richard [] and me up in the control room, with Paul sitting in a chair in the middle of the studio, away from his usual corner, working assiduously to perfect his lines, giving all he had to the task at hand. Richard would painstakingly drop the multitrack in and out of record, one section at a time, until every note was articulated perfectly and Paul was satisfied with the result. He, of course, was the ultimate arbiter, but he was also constantly peering up into the control room to see if we were giving him a thumbgs-up or thumbs-down.

That really was the secret to the incredibly rich, creamy bass sounds that characterize Sgt. Pepper: Paul's willingness to put in the long hours , free of distraction, to create harmonically intricate bass lines and then play them as well as they could possibly be played. There were nights when he would labor until dawn, keeping at it until his fingers were literally bleeding.

-- Quoted From Geoff Emerick's Here, There and Everywhere

When I first heard that the bass was being recorded last at this point, it made all the sense in the world. One can sense that Paul's lines were written in response to everything going on in the song, rather than merely keeping up with the drummer and lead instrument.

I'm a bit surprised that any of these parts literally made Paul's fingers bleed, but Emerick emphases that McCartney was putting in very long hours.

On Sunday, November 7, 2021 at 10:46:09 AM UTC-5, Norbert K wrote:
> With ["Lovely Rita"], Paul began the practice of recording his bass last, after all the other parts were already committed to tape. Being able to work off all the other elements of the track -- including lead and backing vocals -- enabled him to hear the song as a whole and therefore create melodic basslines that perfectly complemented the final arrangement. He would do those overdubs in the wee hours, long after everyone else had gone home. It would be just Richard [] and me up in the control room, with Paul sitting in a chair in the middle of the studio, away from his usual corner, working assiduously to perfect his lines, giving all he had to the task at hand. Richard would painstakingly drop the multitrack in and out of record, one section at a time, until every note was articulated perfectly and Paul was satisfied with the result. He, of course, was the ultimate arbiter, but he was also constantly peering up into the control room to see if we were giving him a thumbgs-up or thumbs-down.
>
> That really was the secret to the incredibly rich, creamy bass sounds that characterize Sgt. Pepper: Paul's willingness to put in the long hours , free of distraction, to create harmonically intricate bass lines and then play them as well as they could possibly be played. There were nights when he would labor until dawn, keeping at it until his fingers were literally bleeding.
>
> -- Quoted From Geoff Emerick's Here, There and Everywhere
>
> When I first heard that the bass was being recorded last at this point, it made all the sense in the world. One can sense that Paul's lines were written in response to everything going on in the song, rather than merely keeping up with the drummer and lead instrument.
>
> I'm a bit surprised that any of these parts literally made Paul's fingers bleed, but Emerick emphases that McCartney was putting in very long hours.

Paul has always said that he doesn't know how to read music. That makes no sense to me - as his music theory knowledge is masterful. How did he learn this skill?

The way his bass compliments the rest of the band on Pepper - and on all his stuff - is pure genius through and through. The song Rain comes to mind right away. That bass line makes that song. Just wow. I've heard it hundreds of times, but when I hear it - the bass grabs me at once. Most people hum along with the vocal. I hum the bass lines.

On Tuesday, November 9, 2021 at 10:04:37 AM UTC-5, P-Dub wrote:
> On Sunday, November 7, 2021 at 10:46:09 AM UTC-5, Norbert K wrote:
> > With ["Lovely Rita"], Paul began the practice of recording his bass last, after all the other parts were already committed to tape. Being able to work off all the other elements of the track -- including lead and backing vocals -- enabled him to hear the song as a whole and therefore create melodic basslines that perfectly complemented the final arrangement. He would do those overdubs in the wee hours, long after everyone else had gone home. It would be just Richard [] and me up in the control room, with Paul sitting in a chair in the middle of the studio, away from his usual corner, working assiduously to perfect his lines, giving all he had to the task at hand. Richard would painstakingly drop the multitrack in and out of record, one section at a time, until every note was articulated perfectly and Paul was satisfied with the result. He, of course, was the ultimate arbiter, but he was also constantly peering up into the control room to see if we were giving him a thumbgs-up or thumbs-down.
> >
> > That really was the secret to the incredibly rich, creamy bass sounds that characterize Sgt. Pepper: Paul's willingness to put in the long hours , free of distraction, to create harmonically intricate bass lines and then play them as well as they could possibly be played. There were nights when he would labor until dawn, keeping at it until his fingers were literally bleeding.
> >
> > -- Quoted From Geoff Emerick's Here, There and Everywhere
> >
> > When I first heard that the bass was being recorded last at this point, it made all the sense in the world. One can sense that Paul's lines were written in response to everything going on in the song, rather than merely keeping up with the drummer and lead instrument.
> >
> > I'm a bit surprised that any of these parts literally made Paul's fingers bleed, but Emerick emphases that McCartney was putting in very long hours.
> Paul has always said that he doesn't know how to read music. That makes no sense to me - as his music theory knowledge is masterful. How did he learn this skill?
>
> The way his bass compliments the rest of the band on Pepper - and on all his stuff - is pure genius through and through. The song Rain comes to mind right away. That bass line makes that song. Just wow. I've heard it hundreds of times, but when I hear it - the bass grabs me at once. Most people hum along with the vocal. I hum the bass lines.

Yeah, I love "Rain" and Paul's playing on it in particular.

I think Paul knew *some* theory -- there's video of him calling out the changes in some of his songs --, but I think the greatness of his basslines was usually due to his having great musical instincts. And putting the bass parts on last, as Emerick describes, was an ingenious decision.