Fixing a Hole
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| "Fixing a Hole" | ||||
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| Song by The Beatles | ||||
| Album | Sgt. Pepper's Lonely Hearts Club Band | |||
| Released | 1 June 1967 | |||
| Recorded | 9 and 21 February 1967, Abbey Road and Regent Sound studios, London |
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| Genre | Pop | |||
| Length | 2:36 | |||
| Label | Parlophone | |||
| Writer | Lennon/McCartney | |||
| Producer | George Martin | |||
| Sgt. Pepper's Lonely Hearts Club Band track listing | ||||
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| “ | That's Paul... again writing a good lyric. | „ |
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—John Lennon, 1980 |
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| “ | Yeah, I wrote that. I liked that one. Strange story, though. The night we went to record that, a guy turned up at my house who announced himself as Jesus. So I took him to the session. You know — couldn't harm, I thought. Introduced Jesus to the guys. Quite reasonable about it. But that was it. Last we ever saw of Jesus. | „ |
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—Paul McCartney, 1984 |
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| “ | The funny thing about that was the night when we were going to record it, at Regent Sound Studios at Tottenham Court Road. I brought a guy who was Jesus. A guy arrived at my front gate and I said 'Yes? Hello' because I always used to answer it to everyone. If they were boring I would say, 'Sorry, no,' and they generally went away. This guy said, 'I'm Jesus Christ.' I said, 'Oop,' slightly shocked. I said, 'Well, you'd better come in then.' I thought, 'Well, it probably isn't. But if he is, I'm not going to be the one to turn him away'. So I gave him a cup of tea and we just chatted and I asked, 'Why do you think you are Jesus?' There were a lot of casualties about then. We used to get a lot of people who were maybe insecure or going through emotional breakdowns or whatever. So I said, 'I've got to go to a session but if you promise to be very quiet and just sit in a corner, you can come.' So he did, he came to the session and he did sit very quietly and I never saw him after that. I introduced him to the guys. They said, 'Who's this?' I said, 'He's Jesus Christ.' We had a bit of a giggle over that. | „ |
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—Paul McCartney, Many Years From Now by Barry Miles, 1997 |
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| “ | It's really about the fans who hang around outside your door day and night. 'See the people standing there/ They worry me, and never win/ And wonder why they don't get in my door.' If they only knew the best way to get in is not to do that, because obviously anyone who is going to be straight and be like a real friend is going to get in... but they simply stand there and give off the impression, 'Don't let us in.' I actually do enjoy having them in. I used to do it more, but I don't as much now because I invited one in once and the next day she was in The Daily Mirror with her mother saying we were going to get married. | „ |
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—Paul McCartney, 1967 |
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| “ | Fixing' later became associated with fixing heroin but at that time I didn't associate it really. I know a lot of heroin people thought that was what it meant because that's exactly what you do, fix in a hole. It's not my meaning at all. 'Fixing A Hole' was about all those pissy people who told you, 'Don't daydream, don't do this, don't do that.' It seemed to me that that was all wrong and that it was not time to fix all of that. Mending was my meaning. Wanting to be free enough to let my mind wander, let myself be artistic, let myself not sneer at avant-garde things. It was the idea of me being on my own now, able to do what I want. If I want I'll paint the room in a colourful way. I'm fixing the hole, I'm fixing the crack in the door, I won't allow that to happen any more, I'll take hold of my life a bit more. It's all okay, I can do what I want and I'm going to set about fixing things. I was living now pretty much on my own in Cavendish Avenue, and enjoying my freedom and my new house and the salon-ness of it all. It's pretty much my song, as I recall. I like the double meaning of 'If I'm wrong I'm right where I belong'. | „ |
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—Paul McCartney, Many Years From Now by Barry Miles, 1997 |
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| “ | Paul knew exactly where he was going with 'Fixing A Hole.' As a result, it was one of the fastest tracks we recorded, in an album of 13 songs that took some five months to complete. [...] It took only two days. It's a very simply constructed song, built around a harpsichord and a bass guitar. Even before we got into the studio Paul had decided to use a harpsichord as the mainstay of his rhythm; even so, the bass line is more important than the harpsichord line. Paul had to play bass guitar on it, because nobody could (or can) play that instrument quite like him. That meant someone else was going to have to play keyboards. This was unusual, because Paul always liked to play his own keyboards on his own compositions. The part of honorary stand-in keyboard player to the greatest group in the world was offered to me. | „ |
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—George Martin, Summer of Love , 1994 & 2006 |
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