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by: Andy Roman (revolver@bright.net)
One After 909 (takes 1-5)
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The session tape reveals George Harrison running
through a few lead guitar phrasings as John confers with him :
"You know, just at the beginning. ."
George is
heard saying: ". .For the intro . ." as the discussion continues.
John demonstrates his point: "No, we'll go. .
."(playing the intro, pointing out to George when he
should come in with his guitar)
John: "Just come in
somewhere, you know. ."
John (to the booth):
"Okay, should we go?"
Take one then begins. During the singing of the lines "Move Over Once. . Move over twice. ." in the second stanza, the song breaks down.
John (to Ringo): "What're you
doing? Are you out of your mind? Do the boom-boom-boom-boom" (referring to
the kick drum). He apparently wished for Ringo to play that
section of the song using his kick drum only, and not by keep a straight beat
as he did.
Ringo: "You said keep going."
This is a complete version of the song - the only complete take The Beatles would pull off.
George's solo is slightly tense and uneven. It's interesting to note that George, after the solo, goes back into the song playing the chord that would be correct if John had resumed singing the lines as they would eventually appear in 1969's rooftop version of the song "Picked up my bags. . ." Instead, John takes it from the lines "Well, my baby said she's travelling. . ." Perhaps George's instinct to play it that way in 1963 led to the song's restructuring in 1969.
At the end of the take John asks, "What kind of solo was that?"
This is the version from ANTHOLOGY I that
breaks down with John once again asking the age old question,
"What're you doing?"
Paul: "It's murder. I
can't do it. .I can't keep it up. . ." (referring to playing without a
pick).
This is also the first take that does not have George Harrison playing lead guitar over the intro.
This version is, too, from ANTHOLOGY I.
It ends with Paul's accusation, "It's you! It's you!" in reference to John apparently coming in too early from the solo break.
For the most part, this is true, and the "fault" CAN be placed on John for the breakdown. Here's why: The complete Take 2 featured what one might call the standard 12 bar blues progression of the I, IV, V chords. Hence, in basic terms, by bar we have: C, C, C, C, F, F, C, C, G, F, C, G. The Take 4 solo, for whatever reason, was played differently. The chords are basically the same, that is the I, IV, V root chords, but this time it is played in a pattern that has the natural resolution to the top occuring after 16 bars, instead of 12 (like, for instance, I Saw Her Standing There). The mistake lies with John.
Though arguments can be made that he was only doing as he did on Take 2, he was clearly PLAYING the 16 bar sequence - NOT what he was doing on Take 2. Apparently, his head and hands were in two different places.
This piece is taken from just before the solo, with the probable intention of being edited onto the first half of Take 4.
If indeed, One After 909 was issued in 1963, would not an edit of Takes 4 and 5, as was done for ANTHOLOGY I, been called Take 6?
Earlier on March 5, 1963
September 12, 1963 
Behind The Scenes.
