Carol Kaye, who was a top session player in the '60s and '70s, played bass on this track. In a Songfacts interview with Kaye
, she said it was one of her most memorable sessions, requiring a total of 33 takes. "It was cut live," she said. "They told me for the longest time, they said, 'Don't add any notes to the part.' And it was a very boom-de-boom part. Very simple part. Because I think that they wanted to let the strings shine and for it to sound more like the movie version, which is very sweet and subtle and all that kind of stuff. Well, the band was playing some important lines, and in the middle of the bridge there, I couldn't play sweet. It's the role of the bass to pump up the band. And in that sense, yes, I had to pump up the band. I mean, she was holding her notes, and had you played nothing, it wouldn't have sounded good. So I added some more notes, that 'dum-de-da-dum, de-da-dum, de-da-dum,' to kind of pump it up. But, of course, I'm still attacking it with the sensitivity. But you still have to add a certain kind of a movement pattern to keep the band going in good time and good sense."