“We were doing a vocal on one of George’s songs; a track called Not Guilty, that finished up not making it onto the album [it later featured on his eponymous 1979 solo album – Ed]. For whatever reason, he didn’t get the feeling out of his vocals that he wanted, on that version.
"We were trying all kinds of different things to help him feel it differently, and he wanted to try doing it in the control room, with the monitors blasting; he was after more of a live effect. “We were trying that, and on a playback John was standing by the side of me.
"I turned to him and joked, ‘The way you guys are going, you’re going to want to record in there next’, and pointed to this really small room. All it used to do was house a four-track machine, and it was next door to number two control room.
"He looked at it, and didn’t say anything until the next day, when he said, ‘Okay, we’re going to record a new number. It’s called Yer Blues, and we’re going to record it in there’, and pointed to that small room.
“We had to pack them all in, and luckily, they didn’t swing their guitars around too much; otherwise, someone might have lost their head [laughs]. It was packed so tightly, and everything was live. Even the vocal was live. It was nothing but bleed, and you had to try to blend everything together as best as possible. There wasn’t the clarity we were used to. It was a whole different ball game, but I happened to love the sound of it.”
When The Beatles described the way they wanted things to sound, were their descriptions rather abstract?
“Yes, sometimes. The one that could put it together the least was John. His descriptions could be the most esoteric. Paul would refer to other records, or say, ‘I need it brighter; I need it thinner; I need it fuller’, things like that. They all did it in their own fashion.”