Although best known as a Let It Be album track, ‘One After 909′ was one of The Beatles’ earliest songs, and was originally recorded in March 1963.
The Beatles first recorded ‘One After 909’ on the same day as ‘From Me To You’ in 1963. However, two bootleg versions by The Quarrymen exist, dating from 1960, one of which was featured in the Anthology TV series. Two other fascinating live recordings of the song exist, both from a 1962 rehearsal at the Cavern Club.
Paul McCartney later explained how ‘One After 909’ was an attempt to write an American railroad song in the style of their musical heroes.
It has great memories for me of John and I trying to write a bluesy freight-train song. There were a lot of those songs at the time, like ‘Midnight Special’, ‘Freight Train’, ‘Rock Island Line’, so this was the ‘One After 909’; she didn’t get the 909, she got the one after it! It was a tribute to British Rail, actually. No, at the time we weren’t thinking British, it was much more the Super Chief from Omaha.
Many Years From Now, Barry Miles
Although McCartney claimed that the song was a collaboration based on an idea by John Lennon, his former songwriting partner remembered it as a solo effort.
The ‘One After 909’, on the whatsit LP, I wrote when I was 17 or 18. We always wrote separately, but we wrote together because we enjoyed it a lot sometimes, and also because they would say, well, you’re going to make an album together and knock off a few songs, just like a job.
Rolling Stone, 1970
Lennon mentioned in a number of interviews the significance of the number nine. His songs included ‘Revolution 9’ and ‘#9 Dream’, and a number of key dates in his life took place on the ninth of the month.
That was something I wrote when I was about seventeen. I lived at 9 Newcastle Road. I was born on the ninth of October, the ninth month [sic]. It’s just a number that follows me around, but, numerologically, apparently I’m a number six or a three or something, but it’s all part of nine.
All We Are Saying, David Sheff
In the studio
On 5 March 1963 The Beatles were at Abbey Road to record their third EMI single, ‘From Me To You’. After completing the song and its b-side, ‘Thank You Girl’, they wanted to record two more Lennon-McCartney originals. They were ‘One After 909’ and ‘What Goes On’, but there was only enough time for one.
They recorded four takes of ‘One After 909’, along with an edit piece which began at the guitar solo and lasted until the song’s end. Throughout the session they were unsure of the song’s arrangement, with all but one of their attempts breaking down.
The 1963 attempts sound rather more pedestrian than the 1969 version, and clearly The Beatles and George Martin felt the recording was unsatisfactory. It remained unreleased until Anthology 1 in 1995.
It was a number we didn’t used to do much but it was one that we always liked doing, and we rediscovered it. There were a couple of tunes that we wondered why we never put out; either George Martin didn’t like them enough to or he favoured others. It’s not a great song but it’s a great favourite of mine.
The unreleased take two broke down because Paul McCartney thought there would be another middle sixteen after the solo. The guitar break itself was fluffed by George Harrison, prompting John Lennon to ask, “What kind of solo was that?”
A sequence of two unfinished takes was included on Anthology 1. The first of these, take three, broke down when McCartney found the song hard to play without a plectrum. The second was take four, which was halted when Lennon began singing during the guitar solo.
A new edit for Anthology 1, combining takes four and five, created a complete 1963 version of ‘One After 909’. The recording is most notable for the group’s use of “shaid” instead of “said”, a fairly common feature of their early EMI recordings.
Six years later the group revisited the song, with Billy Preston on keyboards. The Beatles recorded a number of versions in January 1969.
The Let It Be album and film featured a performance from the roof of Apple, on 30 January. The Beatles clearly enjoyed playing the song – and this time Harrison’s solo was first-rate. As the performance drew to a close, Lennon sang an impromptu line from ‘Danny Boy’.
Two versions of the Get Back album were prepared by producer/engineer Glyn Johns in 1969 and 1970. Although neither were deemed suitable for release, both opened with the rooftop performance of ‘One After 909’.
The song was mixed by Phil Spector, with no major changes, on 23 March 1970, and was released in May on the Let It Be album. ‘One After 909’ was remastered in 2003 from the original session tapes for Let It Be… Naked.
So Sorry, you guys are in error about the instrumental listings for One After 909. George is on lead guitar and John is on rhythm guitar. Look at the footage of the Roof Top 30 Jan 69 recording…George is playing all those tastey licks and solo on his black and brown Fender telecaster, which was given to him by Eric Clapton and which was soon later disappeared/stolen.
Yep, you’re absolutely right. Thanks for the correction Bill – I’ve changed the line-up now.
I think you’re thinking of “Lucy” the red les paul… which was indeed stolen by later recovered by George via some trades from a dude who bought it from a store where the thief pawned it.
The Rosewood Telecaster George played here never had anything to do with Eric Clapton. It was a prototype made by Fender just for harrison. Fender was trying to get the Beatles to use their stuff publicly since the vox deal was broken when Brian Epstein died.
Fender also supplied then with all the amps you see as well.
They also made a Rosewood Strat for Jimi Hendrix at the same time which apparently was never delivered to him.
He ended up giving the Telecaster to Delaney of Delaney & Bonnie’s. It was recently sold for auction. It’s whereabouts have never been in question.
The Beatles were actually using Fender products as early as 1965 when John and George obtained their first Fender Stratocaster electric guitars and Paul obtained a Fender Bassman amplifier at some point, so Brian was still alive then.
There were also Fender Showman amplifiers shown in photos of the “Revolver” sessions and it was Brian who agreed to pay for John and George’s Fender Stratocasters as long as they were identical.
Paul obtained a Fender Esquire at some point prior to or during the “Sgt. Pepper” sessions.
actully, the tele wasnt painted. it was rosewood with a black pickgaurd and maple middle given to him by fender. eric clapton gave him lucy, his red les paul
Clapton didn’t give him that telecaster, fender did. They made a few special all rosewood strats and teles, notably giving one to George and one one to Jimi Hendrix. I believe the guitar you are thinking of is the wine red les Paul Clapton gave George along with a Leslie cabinet fitted for guitars.
That tele was a solid rosewood guitar given to him by fender. Nothing to do with Eric.
Always wanted to know what the title “One After 909” meant. That John had so many 9s in his life doesn’t clear it up. Is it the number of a train line the narrator is traveling on? A time the train leaves? Insights are welcome.
909 is the time of the train. She missed the 9:09 train, now she’s on the one after the 9:09.
I never understood this: I was born on the ninth of October – the ninth month.
October is the tenth month, isn’t it?
I think he is jokingly referring to the ninth month of pregnancy.
Its notable to see during the let it be sessions when i think Neil says.. what obout one after 909? and Paul says this song was made years ago and its not for now. At the end he get inyected again, and at last they did it
I think I actually like the earlier version of this (the one on the Anthology) more than the later version… the later version sounds more like a “piss take” while early on they were more serious about a song like this.
I like the really stripped-down Rock and Roll feel of the ’63 version. After listening to that one exclusively for a year or so, I came back to the Let It Be version and it just seems manic.
I like Billy Preston’s piano on a number of Let it Be songs, but this one is early 60’s stuff, though recorded in 1969… Preston’s electric piano gives it that 70’s flavour that in my opinion is totally out of place.
Weeeeelllll… late fifties stuff.
How cool is it that the much-hyped remasters were released on 09/09/09?
This is so weird… because I’ve had a sort of cosmic connection to the number “909” for years now (seeing it everywhere I go), and only just discovered a few years ago that the Beatles referenced it as well! Crazy.
Has always reminded me of Cynthia Lennon missing the train for India.
Cynthia Lennon missed the train for Bangor, Wales
NOT a train for India.
I dig both versions of the song. I heard the 1963 version long before I heard the 1969 version.
Regarding the 1963 version, two things bother me:
1. That Ringo’s occasional kicks are so noticeable.
2. That the song slows down a little bit.
Do these bother anyone else? (Or am I just expecting perfection where I shouldn’t?)
Sweet guitar solo from George. One of the Beatles best solos, IMO.
It sounds like Paul saying “What kind of solo was that?” at the end of take 2.
Actually, I don’t think John was commenting about the guitar solo. He was commenting about Paul accenting the bass line. Paul at first playing straight line 8 in 4. He begins like a 4 on 4 and bending the string for accent.
John: “What is that?”
And Paul sort of chuckes out..”I can’t help it…” “I just keep going bmm bmm bmm bmm bmm bmm bmm..”(paraphrased from memory)
Wasn’t that from take 3?
It is so obviously John.
No, it’s John commenting on the solo. Even though it was left unfinished, I still prefer the ’63 version over the ’69 version. Hell, I even prefer the ’62 rehearsals over the ’69 version…
About 20 years ago I passed a lorry in the UK with the number plate 909 ONE. It wwas a really old lorry and I thought at the time that it might be worth a bit!
About the “shaid”s; this wasn’t just an affectation or a gimmick, it’s mic technique. In order to reduce plosives (the boom that hits the mic when ones sings “s”, “t”, “f”, “m”, “wh”, and “ph” sounds, among others), schooled performers would use substitutes (“sh” for “s”, “vh” for “wh”, “n” for “m”, “d” for “t”) to reduce the plosive effect. With compression and de-essers this type of thing has become less necessary, but many vocalists and announcers still use this technique.
It was a pleasant surprise when I first heard it on the Anthologys. Good move Apple for releasing all these gems, although some of these were bootlegged!
I much prefer the 1963 over the 1969 one.
The slower pace works better and the vocals sound more convincing on the original.
Can anyone else hear this as a song by The Band? George’s licks remind me of Robbie Robertson’s. Levon Helm and Rick Danko singing lead.
The’s a brilliant thought! (Not to mention, imagine Garth Hudson’s part on the keyboard, a la Rag Mama Rag.) Would love to have heard the Band take a whack at this.
actually, upon further listening, I believe that “Get Back” is the real train song by the Beatles…
One of my favorites on Let It Be. John and Paul do a great duet. I prefer the 1969 version.
What are the actual words Lennon sings at the end please, (presumably) as a variant of “Danny Boy”?
Sounds like “Danny boy, the older men are calling.”
It’s hard to tell but I’ve seen it written as him singing “The old Savannah calling”
I love the 1963 version , never get tired of it :-))) The guitars, the beat and the vocals gives me chills!
Question about the 1963 verison: Did they do the “shaid” instead of “said” thing because they were trying not to hiss too hard into the vocal mic? Or was it just a thing they were doing for fun?
Thank u Paul for play it at Mintevideo concert!
I know and have a version of “one after 909” that dates back to autumn 1962, I believe, rawer than the 1963 one, more chuck berryish, if you like! I don’t quite dig the version from the “From me to you” sessions, I find it too clean. There’s an even earlier version from spring 1960, with Stuart Stutcliffe on bass and no drums, worth listening despite the poor sound quality.
Has anyone ever seen film of The Beatles on the roof playing One After 909 all the way through? In Let It Be, the film cuts to the sreet interviews in the middle of the song; I want to just see the band playing.
What a great Rock and Roller by the Fab Four, harking back to the days before the band’s troubles had set in. With the help of Billy Preston this song jumps out at you as a great Rock and Roll should. The playing is together and tight. It always amazed me what fantastic sounds the Beatles were able to generate from the instruments they played. This song is one of my favorites on the Let It Be Album. Any Beatles song which brings a smile to my face is to be lauded. I can even imagine Ringo singing this song in the shower. It would be different, but the style of the song could have been adapted. Ringo’s drumming is tight, right and bright on One After 909, and the whole ensemble is playing in unison. Loved this from the moment I heard it way back when. Then, I loved every Beatles song I could hear on my tiny tranny in the 1960’s. I kinda laugh when I hear people disparaging MP3 versions, as though we all own Reference Equipment on which to play our High Resolution tracks, when as a kid the best my family could do was a portable suitcase record player in Mono, and next to no fidelity. Move Over Honey, I’m traveling on that line. Fantastic!!
I spoke to Cynthia Lennon in the late eighties. In a question and answer session she said she had contributed to this song. Didn’t have time to get into specifics …
Was there a early version of this song where John played the harmonica? In the intro, maybe??
I love both versions but the 63 track is raw and clean. After the first 5 seconds Paul’s bass kicks in and bang. George’s tasty lead is better than the 69 version. Johns rockin the whole way. It’s Johnny rhythm at his best
Just yesterday I found a superb bluesy version of “909” recorded during the “Let It Be” sessions. Harrison’s lead guitar in the background throughout the performance and upfront during the solo is superb!!
The LIB (and LIBN) contains some of the absolute best, IMHO, George guitar licks. In particular, the solo is just outstanding. The perfect Telecaster sound.
I swear the start of the Naked version is ever so slightly different than the start on the regular version, the pitch is more in-key. Is it a completely different start, or was the off-key effect unintentional on the original version? Some kind of tape wind issue or something?
There was a very early (late ‘50s) recording of this on acetate, done at Percy Phillips’ studio in Kensington, same place where “That’ll Be The Day”/“In Spite Of All The Danger” was cut. Unfortunately, it seems as though this recording has been lost to the sands of time.
When I first heard the version of the song on the Anthology 1 album (cd), I thought it was a way better take on the song than the Let It Be version. While Paul’s bass was a little heavy handed and George’s solo was a bit weak, the relentless beat sounds like a train barreling down the track. It really struck me and I wondered why they abandoned it at that time. It’s too bad they didn’t revisit it at the time. I kind of agree with Jonny Music’ comment from August 22, 2009 that the Let It Be version sounded like a “one off”. I do so much prefer the Anthology 1 version.
A unique and brilliant variation on the traditional blues progression.
On the 1963 version, John and George used their Gibson J-160E acoustic guitars, hence the unique hybrid electric/acoustic sound.
“One after 909” why not just “910”? Except that probably doesn’t sound as good in a song lyric.
Dare I admit, that “One after 909” (the 1969 version) is one of my favorite Beatles releases? How it rocks!