Fixing A Hole

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Fixing A Hole
What have the artists said about the song?
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A dreamy baroque pop song by McCartney from Sgt Pepper . It’s about how McCartney’s fans would stand outside of his house all of the time, and how he saw the issue from his perspective.
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.

Published: 15 March 2008 | Last updated: 12 January 2021
People have told me that ‘Fixing A Hole’ is all about junk, you know, this guy, sitting there fixing a hole in his arm. If you’re a junkie sitting in a room fixing a hole then that’s what it will mean to you, but when I wrote it I meant if there’s a crack or the room is uncolourful, then I’ll paint it.
Paul McCartney The Observer magazine, 26 November 1967
It was much later that I ever got round to fixing the roof on the Scottish farm; I never did any of that until I met Linda. People just make it up! They know I’ve got a farm, they know it has a roof, they know I might be given to handyman tendencies so it’s a very small leap for mankind… to make up the rest of the story.
Paul McCartney Many Years From Now , Barry Miles
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 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’.
Paul McCartney Many Years From Now , Barry Miles
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.
Paul McCartney Many Years From Now , Barry Miles
That’s Paul, again writing a good lyric.
John Lennon All We Are Saying , David Sheff
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Written by: Lennon-McCartney Recorded: 9 , 21 February 1967 Producer: George Martin Engineers: Geoff Emerick , Adrian Ibbetson
Released: 1 June 1967 (UK), 2 June 1967 (US)
Condemned upon its release for perceived references to heroin injection, ‘Fixing A Hole’ was in fact a tribute to marijuana written by Paul McCartney .
It has also been claimed that the song is about repairs undertaken by Paul McCartney on High Park, his farmhouse on the west coast of Scotland, although this is untrue.
In truth the song, like ‘Got To Get You Into My Life’ , was “another ode to pot”; it explored the joys of allowing one’s mind to wander, and the freedom from being told what to do.
The recording of ‘Fixing A Hole’ began on 9 February 1967 . The Beatles used Regent Sound Studio in London as Abbey Road was unavailable. It was the first time the group used another studio to record for EMI.
According to McCartney, an unusual guest was brought to the session.
The Beatles rehearsed ‘Fixing A Hole’ a number of times before the tapes rolled. They then recorded three takes, the last of which was incomplete. The second take became the basis for the final version. The unused take three, meanwhile, can be heard on the 50th anniversary super deluxe box set.
The basic track featured Paul McCartney on harpsichord, recorded to track one, along with Ringo Starr ’s drums and maracas.
Bass guitar was recorded to track two, most likely played by John Lennon . McCartney recorded a first lead vocal on track four, and double tracked it on track three.
The elements were then given a reduction mix, with the vocals combined on track four, and harpsichord, bass guitar, drums and maracas on track one.
George Harrison then double tracked an eight-bar guitar solo using his Fender Stratocaster. He did this onto tracks two and three, with backing vocals also recorded on the latter.
On 21 February , back at Abbey Road, The Beatles intended to record a remake of the song. But after one attempt – numbered take 1, despite the previous three – they decided the results of the earlier session were adequate.
Take two from the Regent Sound tape was subjected to a reduction mix to free up space. This became known as take three, even though a take with that number already existed. The mix combined the lead guitars and backing vocals on track three, and two lead vocal parts combined on track four.
This left track two vacant. Onto it The Beatles recorded another rhythm track, which featured Paul McCartney on bass guitar, George Martin playing a second harpsichord part, and Starr on drums. The song’s final master therefore contained two bass guitar parts, two harpsichords, and two different drum tracks.
‘Fixing A Hole’ was then mixed in mono. Five were made, numbered RM2-6, even though there had been no previous mix numbered one.
The final version of the song was an edit of mixes three and six. This was made at the end of the session; the join can be heard at the 2:06 mark.
this song is superb that chord progression that jazzy drumming, such an original and outstanding song from sgt peppers LP those choirs!!!!!
I like the chord progression too. Did you ever notice how similar it is to the intro of Michelle:
F | E+5 | fm7 | fm6 | (Fixing a Hole)
with the bass note descending chromatically in both?
Michelle: Fm – Fm(Maj7) – Fm7 – Fm6
Right, but E+5 (E G# C) and Fm/maj7 (E Ab C F) are almost the same chord, no?
I am confounded with this chord progression. All I know is that the guitar is tuned down 1/2 step and it starts in F#. Any help appreciated. And, Joe, you have one awesome site here!
The guitar is not tuned down a half step, the low e string is tuned down a full step to E however the rest of the guitar is in standard tuning
It’s possible that George actually tuned the guitar down A whole tone to DAFCGD. That way, although the song is in F, he’d be playing it in G. I’ve tried it that way myself and it works well.
This song has always seemed like a throwaway to me. Extremely well written and superbly performed but it just does nothing for me. Gives me a weird feeling.
The real throwaway is “Getting Better”….it seemed dated almost from the time the album was released.
I never cared much for either. Both are the weakest songs on that album, IMO. Often bypass them when the album is playing.
Andi Babiuk quotes Richard Lush, second engineer, who recalls Lennon played bass and McCartney harpsichord.
However, Richard Lush could not be present at the Regent Sound Studio for the recording of the basic tracks, because he was an EMI employee.
You`re right, altough Lewishon book list the second engineer as unknown (p. 95). Then, on p. 99, another session, reductions, overdubs and mixes: a little bit confusing.
Lush doesn’t say he SAW John play bass on the song, he just says that he knows John played the bass. His knowledge could have come from the boys themselves.
No way it’s Lennon playing bass, the part is way too accomplished for his somewhat “sloppy” playing (even though there actually is a slight mistake like a minute into the son ). No, this is certainly Paul, and a grand example of that melodic playing style he began dabbling with late ’65 and which by this time had reached it’s zenith
Jonathan I totally agree that it really sounds like Paul’s bass. Sophisticated melodic lines with syncopated rhythms! But several sources claim John contributed part of the bass line- but that’s confusing because it doesn’t at all sound like two basses and it also doesn’t sound like there are parts that John is playing and Paul isn’t. It’s very mysterious to me. To my ears it seems like at best maybe John played on a earlier track that didn’t get used in the final mix. Aside from that possibility, I can’t see how John played bass on this. Also I don’t think it’s George’s lead guitar either. It far more sounds like Paul on lead guitar. What do you think?
Well, since this was the start of Paul’s so called “bossy period,” maybe he told John what to play. (Just kidding! I know this isn’t a helpful comment…)
Sorry, but it IS George playing lead guitar, just as the article states, and even Jonathan Gould confirms this in his 2007 book. These other webpages confirm that George used his Fender Stratocaster ( https://www.guitarworld.com/news/song-facts-beatles-fixing-hole ) and ( https://ultimateclassicrock.com/beatles-fixing-a-hole/ ).
I think this song is supremely underrated, and although the lyrics don’t mean too much, the actual sound of it is just so completely unique and interesting that I can’t help but perk my ears up when I hear it.
I agree. It’s a brilliant melody and a brilliant vocal. There’s a few places in the song where Paul sings up a measure or so (notably, the first syllable of “fixing” in the opening line). It’s unexpected but it works beautifully.
Drug references? I suppose you take veiled ones for granted in anything they did at the time, but this song certainly doesn’t bring heroin to mind. I think the lyrics could be interpreted as taking stock of one’s self and taking care of one’s own well-being.
George Harrison plays one of his better solos on this one. There is a five note/ chord sequence intermittenly throughout the song especially towards the end where paul sings the opening lyrics in a more melodic way that to me sounds like dim sunlight breaking through and warming the song a bit. Is that Paul or George playing that guitar phrase?
I think it is a great solo by George, as it usually is!
Isn’t George play a Fender Stratocaster for his lead guitar. Also kinda sounds like a fuzz guitar solo. Anyone agree ???
The electric guitar is certainly ‘over driven’ in the sense it isn’t totally clean, Fuzz would be over stating it, it sounds like a Fender Pro Reverb turned up, quite a bright setting. Just my opinion.
At this point they were using Vox UL730 amps which had some interesting preset tone switches etc. very much sounds like one of those amps to me
The lyrics don’t mean much? The lyrics are clever poetry which is one incredible side of Paul McCartney. After he delivers his story or his take on something… his artist leaves it up to you. I always thought that this was about the powerful drug of LSD and tripping out about anything…like a hole. It was far more creative than that along with a soothing melody and production.
“I’m taking the time for a number of things that weren’t important yesterday”, what a fabulous lyric!
The sound is just so unbelievably captivating. The icy harpsichord bars underneath that outrageous and growling guitar bolstered all up by that melodious bass. And those interchanges between Paul’s wonderful singing and those guitar responses. Such a good song.
Paul McCartney has stated that he played the guitar solo in this song.
Could you please provide a source for that?
According to studio notes, (meticulously recorded by Lewisohn and Leng), band members present, and recording team, George Harrison played the guitar solos. Indeed, the style is classic Harrison, mid-period Beatles: the chordal comping reflects Harrison’s Tal Farlow/Chet Atkins jazzier influences (All My Loving, You Like Me Too Much, Every Little Thing You Do, etc.); and the descending, gutaral guitar line reiterates his Carl Perkinisms (Everybody Wants to Be My Baby, Help!, etc.), albeit through a now psychedelicized, sitar- like glissando descent as opposed to the once amphetaminized Perkin’s stutter of Harrison’s earlier contributions.
The studio notes, eye-witness accounts, and absolutely unmistakable Harrison style, even under a now psychedelicized evolution, make a Macca’s claim risible.
As for Macca’s after-the-fact claim, it is part and parcel of his, shall we say, inflated claims as to his impact on the Beatles, which if taken even half seriously, would have the world believe that he sang and played all of the parts during the Beatles live performances on Ed Sullivan, writing Imagine for John, playing Harrison’s slide solo on How Do You Sleep (while cleverly disguising himself as George before the filmed sessions), and playing the drums on It Don’t Come Easy and Back Off Boogaloo.
In other words, Macca is full of crappa.
Seems a bit of an exaggeration since a) to my knowledge Paul has never claimed to have played the guitar on Fixing a Hole. Because someone (likely) mistakenly thought he did say that you have taken it as fact just so you have an excuse to call him a liar. And b) McCartney has never claimed to have been involved in any of the songs you attributed to him.
Your post is one of the biggest Strawman posts I have ever seen. Seek help.
No way! George’s lead guitar work is second to none. Paul could have played a great solo but George’s sound is unmistakable. Although it sounds like he played the solo with a fuzz guitar set up. Can anyone corroborate that?
I was carefully listening to the recording and I think that the maracas are on the basic track and were not overdubbed later, probably played by John. It’s the first time that I write so I’d like to thank Joe for his beautiful job. This is the best Beatles site
Has anyone ever heard that Mal contributed to the writing of this song and was compensated with a one time payment?
I’ve read that Mal went on radio interviews and said he wrote this song, and that the concept of Sgt. Pepper was his. He wrote about it in his diary.
But Mac , I read, has stated he was on an airplane, because he gets about, and got the title from someone saying “please pass the Salt and Pepper. Immediately he played on the words to come u with Sgt. Pepper.
This bit is from Paul taken right from this site on the Album Section: Me and Mal often bantered words about which led to the rumour that he thought of the name Sergeant Pepper, but I think it would be much more likely that it was me saying, ‘Think of names.’ We were having our meal and they had those little packets marked ‘S’ and ‘P’. Mal said, ‘What’s that mean? Oh, salt and pepper.’ We had a joke about that. So I said, ‘Sergeant Pepper,’ just to vary it, ‘Sergeant Pepper, salt and pepper,’ an aural pun, not mishearing him but just playing with the words.
The version I’ve heard involves McCartney getting a copy of Zappa’s MOI “Freak Out” (along with “Pet Sounds” from the Beach Boys) in late 66 or early 67, which showcased both the double ‘concept’ album thematic idea (new at the time) and also a number of then-innovative studio techniques/experimentation that also influenced the Sgt Pepper sound. Remember also that at
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