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"There's this fun bit where you hear bubbles, as if you're underwater. Ringo tried blowing bubbles into a glass of water which we miked very close. In the end, I recorded his vocals, fed them into in a compressor and triggered them with this pulse-like tone that created a wobbly, 'bubbly' sort of sound."

I Want You (She's So Heavy)

"A fascinating song, very indicative of John's mood at the time - he was consumed with all things Yoko.

"It goes from hard rock to almost jazzy, bossa nova. Of course, there's the famous ride-out, the riff being repeated many times. George put some very intense Moog sounds down and Ringo played with a wind machine - the whole thing grew louder and louder till it got close to a breaking point.

"I thought the song was going to have a fade out, but suddenly John told me, 'Cut the tape.' I was apprehensive at first - we'd never done anything like that. 'Cut the tape?' But he was insistent, and he wound up being right. The track, and side one, ends in a very jarring way."

John said this was based on Beethoven's Moonlight Sonata, on hearing Yoko play it backwards. Personally, I can't hear the connection at all" Geoff Emerick on the track Because

Here Comes The Sun

"Another George winner, and again, he knew it - his confidence was growing each day.

"Ringo's tom fills really make the song, but funnily enough, he hated doing them because he could never remember what he was did one take to the next. I think that's why his fills are so spectacular - he felt that he would never reproduce them, so he'd better get 'em right.

"We added some orchestration to it, but nothing that overwhelmed. I think George was starting to like the idea of 'bigness' at that point, something he obviously carried over when he made All Things Must Pass with Phil Spector."

Because

"John said that this was based on Beethoven's Moonlight Sonata, on hearing Yoko play it and asking her to play it backwards. Personally, I can't hear the connection at all.

"It was an amazing recording, and probably the first bit of real camaraderie between the boys. I think they liked putting down their instruments and just singing together for a change. John, Paul and George sat in a semi-circle to do the harmonies and Ringo sat off to the side to lend moral support."

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