"Hey Jude" is a song by the English rock band the Beatles, written by Paul McCartney and credited to Lennon-McCartney. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's son, Julian, during his parents' divorce. "Hey Jude" begins with a verse-bridge structure incorporating McCartney's vocal performance and piano accompaniment; further instrumentation is added as the song progresses. After the fourth verse, the song shifts to a fade-out coda that lasts for more than four minutes. "

Having earmarked the song for release as a single, the Beatles recorded "Hey Jude" during the sessions for their self-titled double album, commonly known as "the White Album". The sessions were marked by an element of discord within the group for the first time, partly as a result of Ono's constant presence at Lennon's side, and also reflective of the four band members' divergence following their communal trip to Rishikesh in the spring of 1968 to study Transcendental Meditation. Author Peter Doggett describes the completed version of "Hey Jude" as a song that "glowed with optimism after a summer that had burned with anxiety and rage within the group".  The Beatles first taped 25 takes of the song at EMI's Abbey Road Studios in London over two nights, 29 and 30 July 1968, with George Martin as their producer. These dates served as rehearsals, however, since they planned to record the master track at Trident Studios to utilise their eight-track recording machine (Abbey Road was still limited to four-tracks). A take from 29 July, which author and critic Kenneth Womack describes as a "jovial" session, was issued on the Anthology 3 compilation in 1996.  The 30 July rehearsals were filmed for a short documentary titled Music! However, the film shows only three of the Beatles performing "Hey Jude", as George Harrison remained in the studio control room, with Martin and EMI recording engineer Ken Scott. Author Simon Leng views this as indicative of how Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period.  During the rehearsals that day, Harrison and McCartney had a heated disagreement over the lead guitar part for the song. Harrison's idea was to play a guitar phrase as a response to each line of the vocal, which did not fit with McCartney's conception of the song's arrangement, and he vetoed it. In a 1994 interview, McCartney said, "looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure." Ron Richards, a record producer who worked for Martin at both Parlophone and AIR Studios, said McCartney was "oblivious to anyone else's feelings in the studio", and that he was driven to making the best possible record, at almost any cost.

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Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period.