September 11th, 1963, dawned the first attempt at recording the song. The afternoon session on this day, which ran from 2:30 to 6:00 pm, saw The Beatles premier three newly written songs. After attempting one take of the newly written “I Wanna Be Your Man,” they ran through two takes of “Little Child” before shelving both songs for another time. They instead began and completed the excellent new Lennon composition “All I’ve Got To Do.”
They reconvened in studio two the following day, September 12th, primarily to work on songs they had previously put aside. The evening session, from 7:00 to 11:30 pm, began with recording their re-worked version of the George Harrison composition “Don’t Bother Me” and then, at approximately between 8:00 and 10:00 pm, they resumed work on “Little Child.” Staring with take three, they ran through at least five full band run-throughs of the song, yet take 7 deemed the best. Overdubs followed with Lennon performing his harmonica throughout the entire song, take 13 hailed the best.
McCartney, always the dependable musician, nailed his piano overdub for the song in two takes, take 15 scored the best. It then appears that the group did more full-band performances of “Little Child” because the harmonica solo section of the song was eventually edited from a section of take 18 which was also performed on this day. Take 18 must have been an overdub of McCartney once again on piano, since this later band performance features McCartney playing both bass guitar and piano. This take of the song was the final attempt of the song for the day, although it would be returned to later.
September 30th saw George Martin and engineers Norman Smith and Geoff Emerick make the edit on the song, splicing the harmonica solo section of take 18 into the piano overdubbed take 15 of the song, which was now deemed complete. This day also saw the first attempt at a mono mix of the song, although this mix was considered unsuitable and was attempted again at a later date.
The group convened again for an evening session on October 3rd, between 7:00 and 10:00 pm., to add more lead vocals to both “I Wanna Be Your Man” and “Little Child.” Three attempts at overdubbing John and Paul’s vocals for the latter were performed approximately between 9:00 and 10:00 pm, take 21 considered the best.
It could easily be assumed that the next mono mix of the song would include the new vocals that were recorded on October 3rd. This assumption appears to be wrong. On October 23rd, George Martin and Norman Smith reconvened to create more mono mixes for the upcoming album. They decided, no doubt mistakenly, to create the new mono mix of the song using the same source tape they had used previously, which was an edit of takes 15 and 18. This is the mono mix of the song that appears on the album to this day.
Curiously, on October 29th, the same EMI staff members, with Geoff Emerick and the mysterious BT, created the stereo mix of the song using take 21, which included the new vocal overdubs from October 3rd. This means that the vocals on the stereo version of the album have always been different from the mono version, if only slightly. What is definitely noticeable on this stereo mix, however, is the awkwardly obvious edits that combine the harmonica solo section with the rest of the song. This is another glaring example of how uninterested the EMI staff was with preparing stereo mixes back in the early sixties. In fact, the whole album, all fourteen tracks, received its stereo mix within a three-hour session on this day.
Song Structure and Style
The structure of this song is standard fare for the early Lennon / McCartney catalog thus far. Although there are slight differences, one can easily compare “Little Child” to the structure of “Love Me Do” or “Do You Want To Know A Secret” in that its verses are all lyrically identical within the same general framework; something that occurs very infrequently in The Beatles catalog. Nonetheless, we have a standard 'verse/ verse/ bridge/ verse' structure here (or aaba). One difference would be the solo section which uses a different chord pattern not heard elsewhere in the song, followed by another bridge and final verse.
First, though, we start out with a four-bar introduction, the first two bars played only by Lennon’s harmonica. McCartney’s piano glissando at the end of the second bar introduces us to the full band for two more measures. The first eight bar verse then begins in which we hear short staccato phrases sung by a double-tracked Lennon. We then hear the only actual harmony in the song, during the “I’m so sad and lonely” line, which pushes for attention as the true focal point of the whole song.
The first verse has a slightly different ending chord pattern which is utilized in order to provide a segue into another lyrically identical verse. Unlike “Love Me Do” or “Do You Want To Know A Secret,” which both have longer and more intricately structured verses, “Little Child” needed to vary its verses in order to create a nice flow and avoid redundancy.
After the second verse, which this time ends in the home key, the six-bar bridge occurs. The three longer lyrical phrases that are contained in the bridge provide adequate contrast to the short phrases in the verses. We then repeat what would be considered the second verse because of its ending home chord.
As stated earlier, the solo section of the song next occurs, which is not played above the chord structure of either the verse or the bridge, which is standard for The Beatles, but is played above a somewhat typical twelve-bar blues pattern. This time around, the solo spot features John’s harmonica.
The abrupt edit catches Lennon mid-breath in his harmonica solo to start singing a second bridge. In order to add some variation to the song, another set of lyrics is heard for this bridge which is otherwise identical to the first. We then take the natural progression to a final identical verse, which is this time extended by repeating a four-chord pattern accompanied by the final line “baby take a chance with me” until the song fades.
It’s apparent that the lyrics were written very quickly used with the only intention as a backdrop for an enthusiastic musical delivery, but nonetheless, they are worthy of interpretation. Although on the surface it appears that the singer is just asking a girl to dance, his intentions obviously go further. He wants her to “take a chance” on him with the end result of her becoming “mine, all mine.” Sexual overtones are also evident, suggesting that he’ll make her “feel so fine” when they “have some fun.” The inclusion of the “c’mon, c’mon, c’mon” lyrics, as heard in “Please Please Me,” also suggest an impatient carnal proposal. The girl can be assured that she’s the “only one,” at least when she’s ‘by his side.’ While the lyrics risk viewed today as sexist, it is in actuality just an example of teenage bravado; “little child” refers as a term of endearment, not as pseudo-pedophilia as some writers suggest.
“Enthusiastic” would be the key word to use in describing the performance on, which in this case is what mostly carries the song. Lennon is truly to the fore with his double-tracked lead vocals throughout. He even performs his own harmony through double-tracking which is unique for Lennon, unlike McCartney who did this same trick on “All My Loving” as well as elsewhere in future recordings. It’s unfortunate that the double-tracking is so unsynchronized in the bridges, probably due to the newly written lyrics, possibly even finished in the studio. This is probably why the song ‘passed approval’ as is, since a great amount of studio time had been spent on it the way it was, and especially knowing that it was considered as just album ‘filler.’
John’s harmonica work, while sloppy in spots, is played with confidence and enthusiasm throughout. “Throughout” is an appropriate word because this is the only Beatles song that has Lennon play harmonica throughout the whole song nonstop. “I’ll Get You” comes close, but its bridge is devoid of harmonica in order to provide an appropriate contrast. Not the case with “Little Child.” As far as the harmonica solo, it can be assumed that this wild and spontaneous-sounding solo was a product of the full band playing to urge him on. While it made for an uncomfortable edit piece to the song, it showed Lennon in good soloist form, reportedly inspired by Cyril Davies from Alexis Korner’s Blues Incorporated.
McCartney shows himself in good form as pianist on this track. From his opening glissando to his vamping during the fade, Paul shows himself as more than capable on the keyboards, even at this early stage of The Beatles recording career. George Martin, while still appearing tickling the ivories on later Beatles songs, was shown here that piano work could easily be trusted to the hands of an actual Beatle. Paul’s bass work is also proficient throughout but, as with most of this album, is barely discernable because his playing gets buried in the mix. Paul also sings background vocals, although hardly heard apart from the final seconds of the song.
Ringo also puts in a commendable enthusiastic performance, maintaining his usual “beat-style” drum rhythm throughout. The only drum fill performed, or called for in this quick and self-contained song, was as a transition between the third verse and solo section. However, crank up your hearing aids to see if you can discern any trace of Harrison’s guitar. He’s there, but so low in the mix that he may as well not have been. The harmonica and piano are the primary components of this song, therefore neither George’s nor John’s guitar can scarcely be heard at all.
Next Song--Till There Was You:
January 1st, 1962, was the first day The Beatles entered into the studio to record “Till There Was You,” and the first time The Beatles entered any proper recording studio at all. This unfolded their audition for Decca Records at Decca Studios in London, which took place than two miles from EMI studios where they acquired their official contract later in the year. Manager Brian Epstein undoubtedly hand-picked "Till There Was You" for this audition to depict the group’s versatility.
Since the hour-long session began at 11:00 am, and they recorded a total of fifteen songs in an hour, this third recorded song occurred at approximately 11:10 am. It seems quite likely they performed only one take of each song on this day, therefore, well acquainted with the song came in handy. The subdued drumming of current drummer Pete Best sounds unsteady and rudimentary which didn’t suit the arrangement, although McCartney’s vocals ring respectful and convincing, right down to the raised final note. Harrison’s guitar solo, which was repeated twice at this stage, was polished and highly impressive.
Having failed the Decca audition, the second studio appearance gathered on July 18th, 1963 at EMI studio two in their first recording session for their second British album “With The Beatles.” At approximately 10:00 pm, the Beatles ran through three takes of the song, two of them complete, before deciding to return to the song on another day. The instrumentation was the same as the Decca session a year and a half earlier, this time with Ringo playing his part on his full drum kit.
July 30th, 1963, was the keeper date. Studio Two at EMI was the location for this full day of recording for their second album. The evening session ran from 5:00 to 11:00 pm which, after George Martin overdubbed piano edit pieces for “Money (That’s What I Want),” The Beatles started their remake of “Till There Was You.” It was decided, probably by George Martin, that drums were too obtrusive for this ballad, so Ringo was moved to a pair of bongos courtesy of the EMI collection.
The remake of the song ran from approximately 5:30 to 6:00 pm taking five takes to perfect, which numbered takes four through eight to take into consideration the three takes of the previous session. The arrangement was modified from their Decca audition to have only one guitar solo which also eliminated the need for a further repeat of the bridge and final verse. Take eight deemed as the best, which was a full band performance with no overdubs or fading needed.
August 21st saw the mono mix of the song, which was attended only by George Martin and engineers Norman Smith and Geoff Emerick in studio two of EMI. This is the mono mix that is heard on the mono version of “Meet The Beatles!” in the US. October 29th saw the stereo mix of the song performed in studio three with the same EMI staff present, with the addition of the mysterious B.T. as second engineer. This is the stereo mix heard on the stereo version of “Meet The Beatles!”
The Beatles did touch on the song one more time on January 10th, 1969, during the recording/filming sessions for the "Get Back/Let It Be" project. This took place at Twickenham Film Studios but did not appear in the movie or soundtrack album.
Song Structure and Style
The song structure of “Till There Was You” could very well have been the model used by Lennon and McCartney for their early songwriting years, regarding this perfect song structure example for that time period. We see here that classic case of 'verse/ verse/ bridge/ verse' (or aaba) with the title of the song at the end of each verse used as a hook-line identifying without any doubt what the title of the song is, as well as the obvious intent of the lyric story. This exact model often used to good effect in Lennon / McCartney originals up to this time, such as in “I Saw Her Standing There,” “Misery” and “From Me To You,” and continued throughout their career, as well as depict creatively expanded upon. In this case, though, a solo section is included, which is played over the verse chords as is standard, repeated by another bridge and then a repetition of the final verse.
The song begins with a four-bar instrumental introduction with raising guitar chords and a simple but effective precursor to the guitar solo we will hear from George Harrison later in the song. The first verse commences with McCartney’s convincing vocal work. This first verse differs from the rest in structure only by its raised ending phrase, which creates anticipation for the second verse. The eight-bar bridge creates a perfect contrast with its octave jump in the melody line, which tests Paul’s vocal abilities. The transition back to the third verse creates a satisfying feeling to the song, as the structures’ ending makes you feel that everything has been said. Harrison’s beautiful guitar solo flows pleasingly against the chord structure of a verse, which is then followed by a repeat of the bridge and third verse. A six-bar conclusion to the song follows the final verse, emphasizing once again the song's title with the final note dramatically held through two chord changes before the final acoustic guitar strum ends the song with a delicate touch of finality. This, therefore, is a masterful example of songwriting created by a classic songwriter with much experience under his belt.
For aspiring songwriters, such as The Beatles, much could be absorbed from this model, as has been the case. “The Lennon/McCartney songwriting collaboration was forming during that period,” explains McCartney. Showing the influence this song had on their songwriting, he adds “We went on from ‘Love Me Do’ to writing deeper, much more intense things. So it was just as well someone didn’t come up and tell us how uncool ‘Till There Was You’ was.”
The lyrics, although perfectly suited for “The Music Man” as well as for the time period, come across as particularly schmaltzy amongst The Beatles catalog. The sentimentality conveyed, with lines such as “wonderful roses” and “fragrant meadows of dawn and dew,” sound extremely dated compared to the youth-oriented “yeah, yeah, yeah”s most Beatle fans loved hearing at this time. Keeping in mind the purpose of the inclusion of this song in their repertoire, The Beatles overlooked the old-fashioned lyrics to show their versatility as well as impress an older generation.
Not to say that The Beatles couldn’t poke a little fun at the extreme schmaltz of the lyrics, evident in the over-pronunciation of the “c” of the word ‘music’ on their Decca version of the song, as well as the American-ized pronunciation of the word “saw” as “sar” in the released version. Paul continued this ruse during 1963, as evidenced on the “Royal Variety Performance” in November, but relented to the seriousness of their American premiere on “The Ed Sullivan Show” in 1964 to sing it straight.
The lyrics express the simple sentiment of not able to enjoy the beauty of life, such as bells ringing and birds “winging,” until the singer met his/her true love. As the bridge testifies, “music” was then realized for the first time, as well as finally noticing “love all around” the singer who never noticed “till there was you.” Hardly the example of storytelling that appeared in popular songwriting of the mid-sixties, but a prime model of what a perfectly suited set of lyrics can convey with the suitable melody to accompany it. It definitely tugs at the heart-strings in its context of “The Music Man.”
As stated earlier, McCartney’s vocals are "spot on" as to pitch, as well as sung in a respectable and convinced manner. His bass work, which shows up higher in the mix because of the subdued acoustic arrangement, is well performed throughout while not too much straying from the keynotes occur, except where the guitar solo takes place. This allowed him to concentrate on adding a little more intricacy since the song was recorded straight without any overdubs and he wasn’t singing during the solo.
Harrison is next to be admired because of his tastefully conceived and executed acoustic guitar solo. Second only on his ability to imitate his guitar hero Carl Perkins, he shines the greatest on this track out of all of the early Beatles catalog. He also adds little nuances throughout the song which add a great degree of credibility to his musicianship and to The Beatles as a whole.
After ditching the idea of using the full drum kit arrangement as used by Pete Best in the Decca audition, Ringo pulls off a capable and suitable percussion part on the bongos. It is interesting to note that Ringo played a full drum kit in a subdued fashion when they performed the song live, which was done proficiently without the awkwardness apparent in the Pete Best version on the Decca audition. Lennon, playing strident rhythm guitar chords, shows himself adept at applying himself to what may otherwise be not his ‘cup of tea.’ “The fact that we weren’t ashamed of those leanings meant that the band could be a bit more varied,” McCartney explained.
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