comments that the same contrast between refined instrumentation and uncompromising subject matter was later adopted by Stevie Wonder for his track "Village Ghetto Land", issued on Songs in the Key of Life (1976). During the middle eight, Harrison refers to the privileged pigs in their sties who "don't care what goes on around"; they appear devoid of empathy, and therefore deserve "a damn good whacking". In the third verse, Harrison declares that piggies are "everywhere", leading "piggy lives". He presents a final image of couples dining, holding their cutlery before devouring bacon. Production Recording The Beatles recorded the basic track for "Piggies" at EMI Studios (now Abbey Road Studios) in London on 19 September 1968. After Harrison had performed the song alone on the Esher demo – playing acoustic guitar and whistling over the solo – the use of harpsichord on the official recording came about through happenstance. Acting as a producer in George Martin's absence on some of the White Album sessions, Chris Thomas noticed the instrument set up in preparation for a later session, for a classical recording, in EMI's Studio 1. Harrison agreed that a harpsichord part would suit the song, and so the Beatles' session was moved from Studio 2. The group taped eleven takes of "Piggies" before achieving the requisite performance. The line-up was Harrison on acoustic guitar, Thomas on harpsichord, McCartney on bass and Ringo Starr on tambourine. Lennon was present at the session but, with only 4-track recording facilities available in Studio 1 (and the available tracks taken up by the other four musicians), he did not play on the basic track. Having attended London's Royal Academy of Music as a child, Thomas performed the harpsichord solo in an authentic classical style, according to Pollack, who highlights how "the melody played by the last three fingers [of the right hand] alternates with a repeated note played by the thumb". Overdubbing On 20 September, the recording was copied over to 8-track tape in Studio 2, to allow for overdubbing. Harrison then added his lead vocal, together with harmony vocals on the last verse, creating a mock operatic chorus over the latter section. Through the combination of studio effects and overdubs, his vocal performance on the song consists of three contrasting segments; in Inglis' description, these comprise a "naturalistic" approach at the start of the track, "a distorted middle", and chorus singing at the end.