What was it — 120,000 takes? — hiring session players, then discarding their contributions: and for what?!! Oh bloody hell, oh blah-di-blah, what a bloody waste of time, money and effort...
Everyone knows that Macca always wanted to appeal to everyone at the same time, but who he was hoping to appeal to with this
is anybody's guess: if Des and Mol had actually existed, I'm quite sure they'd've topped themselves over their romance being celebrated so tritely in this pseudo-ska mock-up.
The excessive, obsessive amount of studio time spent on the track certainly had the other Beatles seriously contemplating jumping off the roof, or at least throwing Paul off — after
breaking a hand (arm, leg...) It's kinda fun to imagine him savagely laying into someone for doing something not quite right, then blithely switching back into his inanely cheery vocal for yet another run-through.
The bad feeling it provoked was actually one of the reasons Geoff Emerick gave for abandoning The White Album
. And, if that up 'n' at it piano intro truly was John's doing, then one can only imagine that it was done in order to get it done asap: 'There y'go, thar'll do — can we call it a day now?!!'
Paul recalls that he thought the tune up meandering down a mountain track in Rishikesh, based on an expression used by a black percussion player he knew back home. Shame he didn't find a rock to leave it under! Said player, Jimmy Scott, actually tried to sue for royalties (McCartney settled out of court). Hell, man — you'd've thought any self-respecting musician would've tried to distance themselves as far as possible from it...
I did quite like the Marmalade version on the radio when I was five or six — but what else could you expect of an innocent young bairn?An' if you want some fun...
...then go look somewhere else.(Thank you!)