Wakatoshi looks up from his magazine in time to see Tendou bouncing through the door and throw himself onto Wakatoshi’s bed. He lowers the magazine some more, swivelling slightly in his chair to face his friend.
“Hello, Tendou,” he says. “Are you alright?”
Tendou rolls over until his face isn’t squished against Wakatoshi’s mattress anymore. Eyes half-lidded, he peeks up at Wakatoshi. “Are you reading the advertisements or actually reading the manga this time, Wakatoshi?”
He glances back down. “The manga,” he replies. “I finished the advertisements first, though.”
Tendou laughs. “You never disappoint, my friend.”
“I’m glad you think so.” Wakatoshi places the magazine on his desk, then considers his friend, who is still sprawled over his bed like a rag doll. He’s not even humming one of those pop songs the radio refuses to stop playing these days. Wakatoshi isn’t very used to seeing Tendou like this.
“Did something happen? Did Semi give up on tutoring you again?”
“Eh, who needs his help anyway,” drawls Tendou. He falls quiet. Silence isn’t unfamiliar between them, when it’s just the two of them. Wakatoshi waits for Tendou to collect his thoughts. “Hey, Wakatoshi-kun. Come here.”
Tendou waves at him until Wakatoshi leaves the chair and perches gingerly on the edge of the bed, next to Tendou’s knees. He’s only just sat down when Tendou suddenly grabs his arm, and then Wakatoshi is blinking up at his ceiling, a warm weight pressed against him.
Blinking open his eyes, Kaito instinctively glances up from where his head is resting in Len’s lap. He feels a hand smooth his hair across his forehead, reminiscent in the way his words were, and his eyes slide shut once more.
Album: The White Album – released November 22nd, 1968
“While John was busy experimenting with sounds, Paul started and finished the recording of ‘Blackbird’, a lovely new composition which featured his own lead vocal, double-tracked in places via an overdub, accompanied by his acoustic guitar and a metronome gently ticking away in the background. It was a straightforward recording – no reductions necessary – and was perfected by the 32nd run through, just 11 of which were complete.
There was one other addition to the four-track tape: chirruping blackbirds, courtesy of “Volume Seven: Birds of Feather”, from the Abbey Road taped sound effects collection, the doors of the trusty green cabinet already being open during this evening for raidings by John Lennon. “I taped that on one of the first portable EMI tape-recorders, in my back garden in Ickenham, about 1965,” recalls Stuart Eltham.
“There are two recordings, one of the bird singing, the other making an alarm sound when I startled it.” Six mono remixes of the song were made before the session in studio two ended, the sixth being ‘best’.”
- The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962-1970. Mark Lewisohn