Etcetera
Lyrics
Key Points
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Research suggests “Etcetera” was written for Marianne Faithfull, but she declined, and it was never officially released by The Beatles.
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It seems likely the song was recorded as a demo on August 20, 1968, during “White Album” sessions, with one take by Paul McCartney.
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The evidence leans toward the music being adapted into “Thingumybob,” an instrumental for the Black Dyke Mills Band, released on Apple Records.
Why “Etcetera” Was Written
Paul McCartney wrote “Etcetera” with Marianne Faithfull in mind, as he was asked to provide a song for her. However, he later described it as “a bad song” in his biography Many Years From Now (Many Years From Now), feeling it was better left unreleased. He noted a tendency to give less favorable songs to newcomers like Faithfull, hoping a baroque arrangement might improve it, especially after her success with “As Tears Go By.”
How It Was Recorded
“Etcetera” was recorded as a demo on August 20, 1968, at EMI Studios in London during sessions for The Beatles’ “White Album.” McCartney recorded a single take with vocals and acoustic guitar while waiting for session musicians, produced by George Martin with Ken Scott as the engineer. After recording, he listened to a playback, and the tape was taken away by George Martin’s assistant, Chris Thomas.
What Became of It
Though never released, the music was adapted into “Thingumybob,” an instrumental recorded by the Black Dyke Mills Band on June 30, 1968, in Saltaire near Bradford, with McCartney producing. “Thingumybob” was the theme for a TV sitcom and released as an Apple Records single in September 1968, with “Yellow Submarine” on the B-side. An acetate copy of “Etcetera” surfaced in McCartney’s archive in the early 21st century, confirming it was an early version, and it’s considered the second most sought-after “White Album” outtake.
Survey Note: Detailed Exploration of Paul McCartney’s “Etcetera”
Paul McCartney’s “Etcetera” is a fascinating, unreleased demo from The Beatles’ “White Album” era, offering insight into the creative and collaborative dynamics of one of music’s most iconic figures. This note delves into the song’s origins, recording process, and eventual transformation, providing a comprehensive overview for enthusiasts and researchers alike.
Origins: Why Was “Etcetera” Written?
Research indicates that “Etcetera” was composed with Marianne Faithfull in mind, a singer McCartney knew personally and was asked to write for. According to his authorized biography, Many Years From Now (Many Years From Now), McCartney intended it as a ballad for Faithfull, who was seeking material similar to “Eleanor Rigby” or her hit “As Tears Go By.” However, McCartney later reflected on it as “a bad song,” expressing relief it remained unreleased. He noted a practice of offering less favorable compositions to newcomers, hoping a baroque arrangement might elevate “Etcetera,” especially given Faithfull’s recent success. Faithfull ultimately declined, opting for “Yesterday,” a decision McCartney understood, as detailed in interviews like the 1994 Club Sandwich (Etcetera (song)).
This context highlights the complexities of songwriting, where personal relationships and artistic expectations intersect. McCartney’s admission in Many Years From Now suggests a self-critical lens, contrasting with engineer Alan Brown’s later recollection of it as “very beautiful,” as noted in The Complete Beatles Recording Sessions (Etcetera – song facts, recording info and more! | The Beatles Bible).
Recording Process: How Was “Etcetera” Captured?
The demo was recorded on August 20, 1968, at EMI Studios in London, during sessions for The Beatles’ “White Album.” This date aligns with work on “Mother Nature’s Son” and “Wild Honey Pie,” as documented in The Beatles Bible (Recording, mixing, editing: Yer Blues, Mother Nature’s Son, Etcetera, Wild Honey Pie). McCartney recorded a single take with vocals and acoustic guitar while waiting for session musicians, produced by George Martin with Ken Scott as the engineer, as confirmed by multiple sources including Wikipedia (Etcetera (song)).
The session was informal, reflecting the spontaneous nature of the “White Album” recordings. After the take, McCartney listened to a playback, and the tape was taken away by George Martin’s assistant, Chris Thomas, according to The Beatles Bible (Etcetera – song facts, recording info and more! | The Beatles Bible). This brevity underscores the demo’s status as a quick, exploratory effort, never intended for official release. The recording featured lyrics, an extra bridge, and a softer introduction reminiscent of “Here, There And Everywhere,” adding to its allure as a lost gem, as noted in Etcetera (lost Beatles recording; 1968) – The Lost Media Wiki (Etcetera (lost Beatles recording; 1968)).
Legacy and Transformation: What Became of “Etcetera”?
Despite its unreleased status, “Etcetera”’s music found new life as “Thingumybob,” an instrumental recorded by the Black Dyke Mills Band. This adaptation occurred earlier, on June 30, 1968, in Saltaire near Bradford, with McCartney producing, as detailed in The Beatles Bible (Paul McCartney records Thingumybob by Black Dyke Mills Band). “Thingumybob” served as the theme for a London Weekend Television sitcom starring Stanley Holloway, released as an Apple Records single in September 1968, with “Yellow Submarine” on the B-side, marking one of the label’s first releases (Black Dyke Band – Wikipedia).
The connection between “Etcetera” and “Thingumybob” was confirmed in the early 21st century when an acetate copy surfaced in McCartney’s personal archive, as reported in Etcetera (lost Beatles recording; 1968) – The Lost Media Wiki (Etcetera (lost Beatles recording; 1968)). This discovery revealed “Etcetera” as an early, lyrical version, contrasting with the instrumental “Thingumybob.” McCartney’s ambivalence is evident; while he wished it “died a death in some tape bin,” Brown’s praise as “very beautiful” suggests a divide in perception, as noted in The Beatles Bible (Etcetera – song facts, recording info and more! | The Beatles Bible).
The song’s rarity is underscored by its status as the second most sought-after “White Album” outtake, according to Richie Unterberger, as mentioned in Wikipedia (Etcetera (song)). Its absence from EMI vaults and limited circulation, with only two known playbacks by Brown, cement its place in Beatles lore as a lost treasure, detailed in Etcetera | Unreleased Beatles Songs | The Beatles Fan Club (Etcetera | Unreleased Beatles Songs | The Beatles Fan Club).
Comparative Analysis: “Etcetera” vs. “Thingumybob”
To illustrate the transformation, consider the following table comparing key aspects:
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Aspect
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“Etcetera”
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“Thingumybob”
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Purpose
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Demo for Marianne Faithfull, intended as a ballad
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Theme tune for TV sitcom, instrumental for Black Dyke Mills Band
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Recording Date
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August 20, 1968, at EMI Studios, London
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June 30, 1968, in Saltaire near Bradford
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Format
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Vocal and acoustic guitar, single take, with lyrics and bridge
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Brass band instrumental, produced by McCartney
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Release Status
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Unreleased, rare demo, acetate copy found in archive
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Released on Apple Records in September 1968, A-side of single with “Yellow Submarine”
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Significance
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Second most sought-after “White Album” outtake, lost media
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One of Apple Records’ first releases, tied to sitcom theme
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This table highlights the evolution from a personal demo to a public instrumental, reflecting McCartney’s adaptability.
Cultural and Historical Context
“Etcetera”’s story reflects the experimental nature of The Beatles’ “White Album” period, where spontaneity and collaboration were key. Its connection to Apple Records’ early releases, like “Thingumybob,” underscores the label’s diverse roster, from brass bands to pop acts, as seen in Black Dyke Mills Band (artist) • The Paul McCartney Project (Black Dyke Mills Band (artist) • The Paul McCartney Project). The song’s rarity also taps into fan fascination with lost media, as explored in Etcetera (lost Beatles recording; 1968) – The Lost Media Wiki (Etcetera (lost Beatles recording; 1968)).
Conclusion
“Etcetera” remains a mysterious, unreleased piece in Paul McCartney’s catalog, written for Marianne Faithfull but never recorded by her or The Beatles. Its recording on August 20, 1968, during “White Album” sessions, and transformation into “Thingumybob” for the Black Dyke Mills Band, illustrate McCartney’s versatility. Though it may never see official release, its legacy endures through archival discoveries and its role in Apple Records’ history, offering a window into the creative process of a musical legend.
Key Citations
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