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by: Andy Roman (revolver@bright.net)
Thank You Girl (takes 1-13)
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Some warm up sounds fill Number 2 before Take One proper begins.
John paractices the "Oh! Oh!" introduction of the
song.
Paul makes a last minute comment, "Same as we
do. . ."
The take begins. Paul counts in. On this take, John and Paul sing "And all I WANNA do is thank you, girl. . ." as opposed to "Gotta." Also different is that both of them sing "That's the kind of love that SEEMS to good to be true. ."
Slight differences also exist in the brief two-bar break between stanzas where the harmonica is normally heard, preceding the singing of "Oh! Oh! (which actually sounds like Ow! Ow!)" Here, John and Paul are singing "Oh! Oh!" as well. The same practice is implemented after the final stanza. Also absent are the familiar drum fillers present at the end of the commercial release.
The session tape begins with Ringo practicing a filler
while John explains what needs to be done, "You know, just
on the end. . . ."
"Thanks. ."
Norman
Smith's voice blares "Take Two."
John and Paul quickly run through the
songs intro on guitar and bass, singing the "Oh! Oh!" bit, as a point
of clarifying the structure.
John: "Oh, it's the same
as before, that's right. . ."
The take begins with Ringo coming in during Paul's count-in on the off-beat between 3 and 4. It quickly breaks down.
This take is a quick start, this time void of Ringo's little drum intro.
It quickly breaks down due to John mistakenly going to
the wrong chord after the first two bars.
John:
"Fff-" (almost spitting out the expletive)
Paul
immediately takes them into the next take: "And again. 1. .2. .3. .4.
."
This take is complete.
Again, John and Paul sing, "All I Wanna do . . ." in the first stanza. There is a mix-up on the words "is" and "seems". . . . "That's the kind of love that SEEMS/IS to good to be true. . ." By the second stanza, John is definitively singing "All I GOTTA do. . ."
The "Oh! Oh!" sequence over the two-bars where the harmonica will eventually wind up are eliminated. Paul forgets this exclusion the second time around, accidentally letting an "Oh!" sneak through.
Ringo's attempts at the ending fillers are not quite there yet, slightly ill-timed and choppy.
This, too, is a complete take.
It is interesting to note that this time around John is singing "Seems too good to be true."
This take is basically a good one (save for a slightly shaky vocal beginning) until Paul attempts a scaling effect with his harmony on the lines "Thank you, girl" towards the song's end. There is technically nothing wrong with it - it is perfectly in key - but it throws off John, causing him to come in late on the repeat of "Thank you, girl."
This time, Ringo's fillers start on cue, but the timing towards resolution is still off.
This is, for the most part (save for the ending and harmonica overdubs), the commercially released version of the song.
It is extremrly interesting to note that during the second stanza in the
lines "Only a fool would doubt our love. ."
Paul
is clearly singing "COULD" while John sings
"WOULD."
Also interesting about the released version is that the words
"is" and "seems" are again mixed-up.
John sings "IS too good to be true" while
Paul sings "SEEMS too good to be true. ."
It is decided that a new ending must be recorded as an edit piece, to be tacked on to Take 6.
Norman Smith announces "For ending.
John: "Three times, remember."
The take kicks off from just before the final set of "Ohs."
However, the take never reaches Ringo's first filler, breaking
down almost immediately.
John: "What have you
done?"
Same edit piece, complete.
The drumming is still not right.
Another attempt at the ending.
John: "See, I've thought of a way we could do it. . If we play what he's doing. .to keep him on the beat. (demonstrating) Brrr-rump - ba-ba-ba - Oh!"
Again, Ringo is off, the take breaking down.
John: "He's gone off. ."
John takes his suggestion to the booth this time:
"Can you hear Me?" (voice laden with echo) "If we went . . .Oh!. .
.Oh!. . .Oh! (strumming his point) to keep him on the beat?"
Paul: "Just on D" (referring to the chord)
Ringo: "Just the bass bit. . ."
John: "Just on D. . .No, we just go. . ."
(demonstrating)
Norman Smith bellows in: "Take
Eleven."
John finishes: "You know, we (sic)
all together but you be so loud. . .Okay, start."
Ringo is getting closer, but it still breaks down.
John: "You shouldn't have gone . . ." (strumming his
point)
John continues his thought: "Just go . ."
(strumming)
George Martin interjects from the booth :
"I think Ringo will just have to keep back himself. I
don't think it'll help, Paul."
Paul:
"Just do what we were doing before. ."
After another announcement
of "Twelve," John gives in, "Okay, come
on."
A little more discussion ensues before the edit piece is attempted. It is complete this time, almost perfect.
John: "No, they're alright, the breaks. . ."
This edit piece is the one edited onto Take 6.
Takes 14 through 28 were recorded on this day. These "takes" consisted of John's harmonica overdubs. Used were takes 17, 20, 21, and 23.
Earlier on March 5, 1963
Later on March 5, 1963 
Behind The
Scenes.
