Pound for pound, this is the best recording I’ve done to date. This is the coolest Beatles song ever (I call it the James Dean of songs), and I’ve always wanted to do a version that goes supernova fuzz on the last part. I’m admittedly not content overall with my digital guitar sounds, and really wanting to get a good tube amp again (Mesa Boogie is my jam). But on this one, I’m really happy with all the guitar tones I crafted on my little Line 6. The groovy ones as well as the crushing ones.
As I recall, this took me about a month to put together, and that was when I didn’t have a job (I let my “vacation” after trucking go on a little too long). The drums are what took the longest. I am but a studio drummer. I don’t mean that in the traditional sense of a versatile, experienced drummer who can lay down a drum track in any style at the drop of a hat. No, it means that I am only a drummer in the safety of the studio, where I have as many takes as I need to get it right. That being said, I am getting more consistent. Dirty Games took one drum take, and I think the last drum track I recorded took two takes. But nothing I’ve done before or since took as much effort as I Want You (She’s So Heavy).
I always thought this song either needed more going on at the end, or it needed to be shorter. In covering it, I opted for more (not only did I layer new things onto it, it ended up being longer). It has been said that this song was the beginning of heavy metal. That’s debatable, but I took that idea and ran with it. This is heavy. I built my own organized chaos on top of the ending, with harmonized molten fuzz guitars on top of crunchy fuzz guitars, creepy Mellotron patches, and even a freaking hurricane! John Lennon used a Moog synth to create a wind noise that gradually got louder until the abrupt ending of the song. Well, I live in Florida. We have hurricanes here. The real thing. So that’s what I used for my version.
Buckle up, my friends. In the words of the great Frank Black, it is time for stormy weather.