Let It Be (Naked) question
Joseph Nutella
didn't want to tarnish my love for the original. I loved "LOVE", and
was wondering if "Naked" is worth purchasing. Please advise. Thanks.
"An invitation to make a reservation"
-Nutella
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rfor...@msn.com
wrote:
A big Beatles fan will want to have it and should hear it, but
personally I never played it much, and I don't think I prefer any of
the versions to the originals, and I (like many others) miss the
chatter and throwaway tracks that gave the original album its unique
character. I liked hearing Billy Preston's electric piano a little
more prominently on "I've Got A Feeling," that was one of the few that
I'd say MIGHT have been as good or better than the original.. Nice to
see "Don't Let Me Down" make an appearance but again the harmonies on
the canonical version are way better. I think the orchestrated/choir-
drenched version of "The Long and Winding Road" is definitive and has
always sounded great, the rinky-dinky keyboard solo that replaces the
string interlude here is laughable. The most interesting part of the
package for me was the bonus "Fly on the Wall" disc, fun for sure, but
you won't listen to that more than once either.
richforman
Eric Ramon
wrote:
> I've read reviews of this product, and have been intrigued by it, but
> didn't want to tarnish my love for the original. I loved "LOVE", and
> was wondering if "Naked" is worth purchasing. Please advise. Thanks.
>
> "An invitation to make a reservation"
> -Nutella
I prefer it to the original release. It makes more sense to me. I hate
the Spector touches and this removes them. I only listen to this
version, never the old one.
Joseph Nutella
> On Apr 16, 6:12 pm, Joseph Nutella <amongthebeliev...@yahoo.com>
> wrote:
>
> > I've read reviews of this product, and have been intrigued by it, but
> > didn't want to tarnish my love for the original. I loved "LOVE", and
> > was wondering if "Naked" is worth purchasing. Please advise. Thanks.
>
> > "An invitation to make a reservation"
> > -Nutella
>
> personally I never played it much, and I don't think I prefer any of
> the versions to the originals, and I (like many others) miss the
> chatter and throwaway tracks that gave the original album its unique
> character. I liked hearing Billy Preston's electric piano a little
> more prominently on "I've Got A Feeling," that was one of the few that
> I'd say MIGHT have been as good or better than the original.. Nice to
> see "Don't Let Me Down" make an appearance but again the harmonies on
> the canonical version are way better. I think the orchestrated/choir-
> drenched version of "The Long and Winding Road" is definitive and has
> always sounded great, the rinky-dinky keyboard solo that replaces the
> string interlude here is laughable. The most interesting part of the
> package for me was the bonus "Fly on the Wall" disc, fun for sure, but
> you won't listen to that more than once either.
>
> richforman
Thank you for that. I think I'll venture out and pick it up, I've
always been wary of releases "for shelf-space sake". But, in this
case, it would be interesting to hear an alternate universe to the
original.
who?
wrote:
> I've read reviews of this product, and have been intrigued by it, but
> didn't want to tarnish my love for the original. I loved "LOVE", and
> was wondering if "Naked" is worth purchasing. Please advise. Thanks.
Well, I've handed out money to people on the street, so yes, it's
worth
checking out. What's a few bucks?
Nil
> A big Beatles fan will want to have it and should hear it, but
> personally I never played it much, and I don't think I prefer any
> of the versions to the originals, and I (like many others) miss
> the chatter and throwaway tracks that gave the original album its
> unique character. I liked hearing Billy Preston's electric piano
> a little more prominently on "I've Got A Feeling," that was one of
> the few that I'd say MIGHT have been as good or better than the
> original.. Nice to see "Don't Let Me Down" make an appearance but
> again the harmonies on the canonical version are way better. I
> think the orchestrated/choir- drenched version of "The Long and
> Winding Road" is definitive and has always sounded great, the
> rinky-dinky keyboard solo that replaces the string interlude here
> is laughable. The most interesting part of the package for me was
> the bonus "Fly on the Wall" disc, fun for sure, but you won't
> listen to that more than once either.
I feel mostly the same way. The sound quality on Naked is better, but
the vibe has been lost. If I were to make a compilation, I might choose
a few of the songs from Naked rather than the original, but as a
complete listening experience, the original hangs together as a whole
where Naked just feels like a collection of songs.
I'm glad I have it, though.
nowhere man
news:Xns9BF0B1A...@130.133.1.4:
> On 16 Apr 2009, rfor...@msn.com wrote in rec.music.beatles:
>
>> A big Beatles fan will want to have it and should hear it, but
>> personally I never played it much, and I don't think I prefer any
>> of the versions to the originals, and I (like many others) miss
>> the chatter and throwaway tracks that gave the original album its
>> unique character. I liked hearing Billy Preston's electric piano
>> a little more prominently on "I've Got A Feeling," that was one of
>> the few that I'd say MIGHT have been as good or better than the
>> original.. Nice to see "Don't Let Me Down" make an appearance but
>> again the harmonies on the canonical version are way better. I
>> think the orchestrated/choir- drenched version of "The Long and
>> Winding Road" is definitive and has always sounded great, the
>> rinky-dinky keyboard solo that replaces the string interlude here
>> is laughable. The most interesting part of the package for me was
>> the bonus "Fly on the Wall" disc, fun for sure, but you won't
>> listen to that more than once either.
>
> I feel mostly the same way. The sound quality on Naked is better, but
> the vibe has been lost. If I were to make a compilation, I might
> choose a few of the songs from Naked rather than the original, but as
> a complete listening experience, the original hangs together as a
> whole where Naked just feels like a collection of songs.
>
> I'm glad I have it, though.
I agree with what the two of you are saying.
I listened to it a couple of times when it came out. I had no interest in
it after that.
Sadly, to me, it appeared to be merely a Paul vanity project.
And contrary to what Paul says or thinks, the Spector produced version of
Long and Winding Road kicks ass and is the definitive version.
Terrible artwork for the album (typical of Paul's choices these years) and
ill-thought out idea for a new Beatles project.
But hey, it's always interesting to get new Beatles product!
Dave The Rave
>
> - Show quoted text -
"The Long And Winding Road" is a different take than on the original
(You'll ALWAYS Know) and "I've Got A Feeling" is a combination edit of
the two rooftop versions. "Universe" is a subtle remix of the original
take. There's an excellent article by the two guys that did the remix.
I googled "Beatles Let It Be Naked. To get it>
Dave The Rave
John (NJ)
>
> I feel mostly the same way. The sound quality on Naked is better, but
> the vibe has been lost. If I were to make a compilation, I might choose
> a few of the songs from Naked rather than the original, but as a
> complete listening experience, the original hangs together as a whole
> where Naked just feels like a collection of songs.
Interesting observation, but I find the exact opposite to be true.
The original sounds like a disjointed collection of songs - a mix of
outtake-quality performances with false starts and chatter (much of it
edited in after the fact) alongside polished, heavily overdubbed
songs, two of which ("Across the Universe" and "I Me Mine") aren't
even from the same sessions and were added solely to enhance the
album's role as a movie soundtrack.
Naked is closer to how the band imagined the album, but still not
quite. One of the various Glynn Johns mixes sound have been released
instead, entitled Get Back.
JohnB
> On Apr 17, 1:17 am, Nil <redno...@REMOVETHIScomcast.net> wrote:
>
>
>
> > I feel mostly the same way. The sound quality on Naked is better, but
> > the vibe has been lost. If I were to make a compilation, I might choose
> > a few of the songs from Naked rather than the original, but as a
> > complete listening experience, the original hangs together as a whole
> > where Naked just feels like a collection of songs.
>
> Interesting observation, but I find the exact opposite to be true.
> The original sounds like a disjointed collection of songs - a mix of
> outtake-quality performances with false starts and chatter (much of it
> edited in after the fact) alongside polished, heavily overdubbed
> songs, two of which ("Across the Universe" and "I Me Mine") aren't
> even from the same sessions and were added solely to enhance the
> album's role as a movie soundtrack.
>
> Naked is closer to how the band imagined the album, but still not
> quite. One of the various Glynn Johns mixes sound have been released
> instead, entitled Get Back.
>
to hear it to compare.
Nil
rec.music.beatles:
> Interesting observation, but I find the exact opposite to be true.
> The original sounds like a disjointed collection of songs - a mix
> of outtake-quality performances with false starts and chatter
> (much of it edited in after the fact) alongside polished, heavily
> overdubbed songs, two of which ("Across the Universe" and "I Me
> Mine") aren't even from the same sessions and were added solely to
> enhance the album's role as a movie soundtrack.
I know the album is a bit of an artificial collection, but there wasn't
enough quality material for a complete album that followed the concept.
I think those two songs fit in just fine, and that version of "Across
the Universe" is the definitive one.
> Naked is closer to how the band imagined the album, but still not
> quite. One of the various Glynn Johns mixes sound have been
> released instead, entitled Get Back.
I don't agree with that. I have the Johns versions, and I like them FAR
less than either the released version or Naked. Poor sound and
performances. I think the official version, for all it flaws, is about
as good an album as could have been made from the material.
If it were up to me, I would have worked more on "Long and Winding
Road", included "Don't Let Me Down" and the coda of "Get Back", and
made that the title song. Otherwise, I don't have much quarrel with
Spector's final choices.
Joseph Nutella
going to spend the rest of his life in prison.
The Arranger
> On 17 Apr 2009, "John (NJ)" <skoki...@aol.com> wrote in
> rec.music.beatles:
>
> > Interesting observation, but I find the exact opposite to be true.
> > The original sounds like a disjointed collection of songs - a mix
> > of outtake-quality performances with false starts and chatter
> > (much of it edited in after the fact) alongside polished, heavily
> > overdubbed songs, two of which ("Across the Universe" and "I Me
> > Mine") aren't even from the same sessions and were added solely to
> > enhance the album's role as a movie soundtrack.
>
> I know the album is a bit of an artificial collection, but there wasn't
> enough quality material for a complete album that followed the concept.
> I think those two songs fit in just fine, and that version of "Across
> the Universe" is the definitive one.
>
> > Naked is closer to how the band imagined the album, but still not
> > quite. One of the various Glynn Johns mixes sound have been
> > released instead, entitled Get Back.
>
> I don't agree with that. I have the Johns versions, and I like them FAR
> less than either the released version or Naked. Poor sound and
> performances. I think the official version, for all it flaws, is about
> as good an album as could have been made from the material.
>
> If it were up to me, I would have worked more on "Long and Winding
> Road", included "Don't Let Me Down" and the coda of "Get Back", and
> made that the title song. Otherwise, I don't have much quarrel with
> Spector's final choices.
I don't know if "Long and Winding Road" is salvageable. I liked it
when I was young, but it isn really static and predicatble
harmonically. It's something Barry Manilow could have written and
sung.
Otherwise, I'm not as down on the album as others. Despite its
intentions, you can't help but hear "Two of Us," with its Everly
Brothers harmonies, as a sweet subconscious nod to the Lennon-
McCartney partnership, and I take "909" in the same vein. I think "Let
It Be" is a much better finished product than most people here -- it's
a pretty good gospel number, really, one of the few pop genres of the
time the group hadn't really explored before -- and Paul sings it very
well. "Across the Universe" starts out strong (intro and verse), and
Lennon's knack for oddd meter that doesn't draw attention to itself
sustains interest. "I've Got a Feeling" is another excursion into a
new form -- Paul and John as Steve and Edie, with the dovetailing
melodies. "Get Back" works over a pretty good boogie riff. "I Me Mine"
is an OK waltz -- I wish he found something else for the B section.
The worst stuff, other than "Long and Winding Road," is the silly
snippets, and they're brief. I prefer a lot of it to a lot of stuff on
the White Album. There's nothing on it as bad as "Don't Pass Me By,"
and the corn of "Long and Winding Road" is better executed than the
corn of "Good Night."
The Arranger
Mr. Rick
It was salvaged into a classic recording, #1 hit and million plus seller.
Joseph Nutella
>
> - Show quoted text -
I purchased "Naked" at 1000 this morning. Listening to it right now,
in fact. It's blowing me away because it's like it's 1975 (when I
purchased Let It Be) all over again for me. A thousand listens of
that, and now I am wondering why I shyed-away from this stripped-down
release originally. Probably the Purist in me. But, I'm loving it.
One observation upon first listen.....I Me Mine.....sounds too similar
to the "sound" of original version. I know it's different....but the
sound is very familiar to Let It Be. Makes me wonder what did they
actually take away from this song???
Long and Winding Road - I'm wondering if Paul simply was ticked-off
because he wasn't consulted on Spector tooling around with his
material. Could you imagine what Daltrey would have done if Townsend
did that to him? He would have dropped him. So, Paul wasn't going to
like it no matter what, Spector was set-up for failure. I'm not saying
I don't like it, just might take some time to get used to. I never
heard the Anthology version.
I'm actually liking this product. Interesting listening to it for the
first time.
The Arranger
> >I don't know if "Long and Winding Road" is salvageable.
>
> It was salvaged into a classic recording, #1 hit and million plus seller.
There are a lot of #1 hits and million-plus sellers that people
consider classic recordings I don't think much of, though I'd take the
money any day of the week. I still think it sounds like something
Barry Manilow would have written.
The Arranger
RichL
> On Apr 18, 10:50 am, "Mr. Rick" <insomniati...@gmail.com> wrote:
>>> I don't know if "Long and Winding Road" is salvageable.
>>
>> It was salvaged into a classic recording, #1 hit and million plus
>> seller.
>
> There are a lot of #1 hits and million-plus sellers that people
> consider classic recordings I don't think much of, though I'd take the
> money any day of the week. I still think it sounds like something
> Barry Manilow would have written.
+1.
Britney Spears was pretty darned popular for a while there as well.
Never confuse popularity with quality.
Nil
rec.music.beatles:
> I don't know if "Long and Winding Road" is salvageable. I liked it
> when I was young, but it isn really static and predicatble
> harmonically. It's something Barry Manilow could have written and
> sung.
Yes, that's all true, and the central metaphor of life being like a
road is too obvious. It would be OK if there were just some energy
and conviction to it, but the vocal and instrumental performances
are just so gutless and tired. I could deal with corn if only it was
committed corn. That's why I like the "Wings Over America" version a
lot better.
> The worst stuff, other than "Long and Winding Road," is the silly
> snippets, and they're brief.
I like the snippets! I think they add a lot to the album. I almost
mentioned "Dig It" as something to cut, but it's only half a minute
long or something, and at least they picked the "best" part. I'd
keep it, along with the snippets of speech. "Maggie Mae" is too much
like "Her Majesty", and I wouldn't miss it if it were gone.
> There's nothing on it as bad as "Don't Pass Me By," and the corn
> of "Long and Winding Road" is better executed than the corn of
> "Good Night."
"Good Night" is another one that would have made it's point better
if there were a little more oomph behind the vocal. I think I know
what they were shooting for, but I don't think they quite reached
it.
Nutella
> On 17 Apr 2009, The Arranger <recur...@gmail.com> wrote in
That's why I like the "Wings Over America" version a
> lot better.
Yep! It is the better version. Does Paul have 'real' horns on that
live version, or is that his keyboard? Nevertheless, the bass and
piano sound great, and the tempo is easier to deal with.
> > There's nothing on it as bad as "Don'tPassMeBy," and the corn
> > of "Long and Winding Road" is better executed than the corn of
> > "Good Night."
>
> "Good Night" is another one that would have made it's point better
> if there were a little more oomph behind the vocal. I think I know
> what they were shooting for, but Idon'tthink they quite reached
> it.
Do most die-hards have a problem with Don't Pass Me By? I always
thought it provided the necessary balance to Side 2. Without that and
Martha My Dear, Side 2 would have been a bit of a drag.
Good Night is something I probably would have liked to hear a stripped
down version of instead of the built-up version. I wonder if Ringo was
like "That's just great, who the heck is going to sit through John's
eight minutes of sound effects to hear my song?"
Adam
> Do most die-hards have a problem with Don't Pass Me By? I always
> thought it provided the necessary balance to Side 2. Without that and
> Martha My Dear, Side 2 would have been a bit of a drag.
When I was making a 1-CD version of the White Album for my car,
"Revolution 9" was the first to go. "Don't Pass Me By" was the second.
I think I still had to drop a few more, but the choices weren't so
easy after those two.
Just think -- when the album first came out in '68, you either had to
listen to the entire side, or get up and move the tone arm yourself.
Now we don't even have to get up to skip between songs.
Adam
RichL
> Nutella wrote:
>> Do most die-hards have a problem with Don't Pass Me By? I always
>> thought it provided the necessary balance to Side 2. Without that and
>> Martha My Dear, Side 2 would have been a bit of a drag.
>
> When I was making a 1-CD version of the White Album for my car,
> "Revolution 9" was the first to go. "Don't Pass Me By" was the
> second. I think I still had to drop a few more, but the choices
> weren't so
> easy after those two.
>
> Just think -- when the album first came out in '68, you either had to
> listen to the entire side, or get up and move the tone arm yourself.
> Now we don't even have to get up to skip between songs.
I did a lot of that back in '68 with the White Album.
Remember that on vinyl we had sides 1, 2, 3, and 4.
Back then I listened to side 1 straight through and skipped not only
"Don't Pass Me By" but also "Why Don't We Do It In The Road" on side 2.
I usually also skipped "Long Long Long" on side 3 and just pulled the
plug altogether after "Savoy Truffle" on side 4.
These days I'm just a bit more tolerant with "Long Long Long" and "Cry
Baby Cry", and yes, the invention of the skip button does help!
Mr. Rick
Still is. So are The Beatles, though they haven't toured since '66.
>Never confuse popularity with quality.
A huge success like this song is improperly characterized as
"unsalvageable." It's also top quality, in my opinion. An opinion shared
by Aretha Franklin, Ray Charles, and it seems about 95% of professional
songwriters and 20 million Beatles fans.
Nil
rec.music.beatles:
> A huge success like this song is improperly characterized as
> "unsalvageable." It's also top quality, in my opinion. An
> opinion shared by Aretha Franklin, Ray Charles, and it seems about
> 95% of professional songwriters and 20 million Beatles fans.
There's really no need to defend someone else's 40-year-old song. It
just seems to make you pull figures outta your ass - they're made up
and meaningless. TLAWR is perfectly harmless, rather bland song that's
suitable for anyone who's looking to make an MOR Beatles ballad cover.
I don't think Aretha and Charles chose it because it's their favorite
song, I think they chose it because it was liable to be easily
swallowed by multiple crossover demographic segments.
I think the song is just OK. I like Revolution 9 more.
Chris Brown
"Joseph Nutella" <amongthe...@yahoo.com> wrote in message
news:259b13ff-3995-4f52...@v19g2000yqn.googlegroups.com...
<<
I purchased "Naked" at 1000 this morning. Listening to it right now,
in fact. It's blowing me away because it's like it's 1975 (when I
purchased Let It Be) all over again for me. A thousand listens of
that, and now I am wondering why I shyed-away from this stripped-down
release originally. Probably the Purist in me. But, I'm loving it.
>>
Suspicion of the hype possibly? I think I was a bit too much taken in by
that in 2003, given my knowledge that the original Let It Be (which I've
never owned, incidentally) was a failed attempt to make a garage-rock album.
<<
One observation upon first listen.....I Me Mine.....sounds too similar
to the "sound" of original version. I know it's different....but the
sound is very familiar to Let It Be. Makes me wonder what did they
actually take away from this song???>>
They took off the orchestral overdubs - but those were so low in the mix
originally that it was probably done as much for the sake of it as to make
any difference to the finished product. That track was never really going to
sound stripped-down anyway, because of the way it was recorded.
<<
Long and Winding Road - I'm wondering if Paul simply was ticked-off
because he wasn't consulted on Spector tooling around with his
material.>>
I'm sure to some extent he was, not that I blame him.
<< So, Paul wasn't going to
like it no matter what, Spector was set-up for failure. >>
I think that probably was the case yes. I don't think it was the idea of
putting strings onto the song that he really objected to (he did, after all,
try it himself later) but I don't think he wanted it done without his
involvement, nor to that recording of the track which he evidently didn't
consider finished. The fact that this was then put onto an album with all
that stuff about it sounding like a live performance on the back cover just
adds weight to his argument.
Whether he was right or wrong, it's certainly understandable.
Chris
The Arranger
> >Britney Spears was pretty darned popular for a while there as well.
>
> Still is. So are The Beatles, though they haven't toured since '66.
>
> >Never confuse popularity with quality.
>
> A huge success like this song is improperly characterized as
> "unsalvageable." It's also top quality, in my opinion. An opinion shared
> by Aretha Franklin, Ray Charles, and it seems about 95% of professional
> songwriters and 20 million Beatles fans.
As it seems to you that about 95 percent of professional songwriters
agree with you, I concede. It's tough to top that.
The Arranger
nowhere man
130.133.1.4:
>
> "Good Night" is another one that would have made it's point better
> if there were a little more oomph behind the vocal. I think I know
> what they were shooting for, but I don't think they quite reached
> it.
>
I agree, Nil.
'Goodnight' was one of those songs that could have been a gem, but got
away.
John should have recorded it.
If I recall correctly, there was talk that John did indeed do a take (maybe
a guide take for Ringo). I wish that recording would show up some day.
nowhere man
I do love the original Let it Be album. I think John had it right when he
concluded that Phil Spector took hundreds of hours of the most shittily
recorded material and made something out of it.
The Glyn Johns mixes - ah, let's not even go there.
But as much as I like the original Let it Be album, it will still never
have the rich sounds that were possible in studio 2 abbey road.
To be honest, the Beatles were far too big a band, to be making an album in
that tiny basement studio in saville row (apple building).
I'd have much preferred if they had recorded this album, at least the
classic tracks, back in abbey road.
nowhere man
dn...@supernews.com:
>
> I did a lot of that back in '68 with the White Album.
> Remember that on vinyl we had sides 1, 2, 3, and 4.
>
> Back then I listened to side 1 straight through and skipped not only
> "Don't Pass Me By" but also "Why Don't We Do It In The Road" on side 2.
> I usually also skipped "Long Long Long" on side 3 and just pulled the
> plug altogether after "Savoy Truffle" on side 4.
>
> These days I'm just a bit more tolerant with "Long Long Long" and "Cry
> Baby Cry", and yes, the invention of the skip button does help!
>
Rich, I agree with you on skipping the other tracks - but Long Long Long
has always been a little gem, for me.
(I also never had much interest in rocky racoon,
mother nature's son, wild honey pie, Everybody's Got Something To Hide
Except Me And My Monkey...as well as the ones you mention above).
RichL
> "RichL" <rple...@yahoo.com> wrote in
> news:D-ednVGYIsFuFnfUnZ2dnUVZ_g- dn...@supernews.com:
>
>>
>> I did a lot of that back in '68 with the White Album.
>> Remember that on vinyl we had sides 1, 2, 3, and 4.
>>
>> Back then I listened to side 1 straight through and skipped not only
>> "Don't Pass Me By" but also "Why Don't We Do It In The Road" on side
>> 2. I usually also skipped "Long Long Long" on side 3 and just pulled
>> the plug altogether after "Savoy Truffle" on side 4.
>>
>> These days I'm just a bit more tolerant with "Long Long Long" and
>> "Cry Baby Cry", and yes, the invention of the skip button does help!
>>
>
> Rich, I agree with you on skipping the other tracks - but Long Long
> Long has always been a little gem, for me.
Maybe for me it's the positioning of the song more than anything else.
It's too abrupt a shift. I've got adrenaline running through my brains
after Helter Skelter. In isolation, though, I do like it now. It's a
good song.
> (I also never had much interest in rocky racoon,
> mother nature's son, wild honey pie, Everybody's Got Something To
> Hide Except Me And My Monkey...as well as the ones you mention above).
I'll skip Wild Honey Pie and Rocky Raccoon on occasion. The other two I
have no objection to whatsoever.
Nil
rec.music.beatles:
> Rich, I agree with you on skipping the other tracks - but Long
> Long Long has always been a little gem, for me.
It is for me, too. It's a highlight of the album for me, and one of my
favorite George songs. I find it subtly, heartachingly, beautifully
sad. There are very few songs in the world that make me want to cry,
but when this one builds up in intensity during the middle section, I
really get that urge. It's also perfectly placed on the album, a soft
contrast to the chaos of "Helter Skelter", and a perfect way to end the
album side.
Mr. Rick
I've been retained by MPL.
>It just seems to make you pull figures outta your ass - they're made up and
meaningless.
Made up, but not meaningless, since the song is highly regarded by
songwriters and much loved by Beatles fans and other
folks too.
>TLAWR is perfectly harmless, rather bland song that's suitable for anyone
who's looking to make an MOR Beatles ballad cover.
I move to strike, your honor, as the 5th repetition of the same point.
>I don't think Aretha and Charles chose it because it's their favorite song,
I think they chose it because it was liable to be easily
swallowed by multiple crossover demographic segments.
It's stylistically right up their alley. Aretha recorded a famous version
of Bridge Over Troubled Water and also You've Got A Friend, similar sounding
piano-based ballads. I don't recall a version by Ray but he said that he
cried when he first heard it. A lot of people get emotional when Paul sings
it in concert. By nearly all criteria this would be considered an essential
Beatles song.
But the minority opinion has been noted, and sent to Phil Spector c/o San
Quentin Productions for further "juicing up."
Adam
>> Rich, I agree with you on skipping the other tracks - but Long
>> Long Long has always been a little gem, for me.
> It's also perfectly placed on the album, a soft
> contrast to the chaos of "Helter Skelter", and a perfect way to end the
> album side.
That's something lost nowadays, the way "Happiness is a Warm Gun" and
"Long Long Long" were chosen to end a side, and "Martha My Dear" and
"Revolution 1" were chosen to begin the following side. I usually think
"flip the record over" at those points to separate them.
BTW was the White Album released in "manual sequence" everywhere?
That's sides 1 and 2 on one disk, 3 and 4 on the other. Anyone with a
changer could then listen to side 1 automatically followed by side 3 or
side 4 but not side 2, and so on. (Automatic sequence would be 1 & 4,
then 2 & 3. Stack 'em on your changer, play sides 1 & 2, flip whole
pile over, play sides 3 & 4.)
Exercise for anyone with too much time on their hands: Take your CDs of
the White Album (about 94 minutes), drop enough songs to fit onto one CD
(optional: replace any tracks with demos, unused songs from those
sessions, or alternate versions, takes or mixes), arrange remaining
tracks into a "better" order, burn to CD. Repeat until you get one
you're satisfied with. This should explain why the Beatles' only
24-hour session was the one to assemble this album. :-)
Adam
John (NJ)
> On Apr 18, 6:12�pm, Nil <redno...@REMOVETHIScomcast.net> wrote:
>
> > On 17 Apr 2009, The Arranger <recur...@gmail.com> wrote in
>
> �That's why I like the "Wings Over America" version a
>
> > lot better.
>
> Yep! It is the better version. Does Paul have 'real' horns on that
> live version, or is that his keyboard? Nevertheless, the bass and
> piano sound great, and the tempo is easier to deal with.
It's real horns on Wings Over America. Wings' keyboardist was Linda,
who could not play anything near Wix. Still, Wix is no replacement
for real horns, one sore spot I have for Paul's tours of the last 20
years.
Nil
rec.music.beatles:
> It's real horns on Wings Over America. Wings' keyboardist was
> Linda, who could not play anything near Wix. Still, Wix is no
> replacement for real horns, one sore spot I have for Paul's tours
> of the last 20 years.
Commercial sampling instruments weren't available until the middle
'80s, so there wasn't any real choice at that time - if you wanted the
sound of horns on-stage in 1976, you had to hire real ones! There's
really no satisfying substitute - Wix's samples suggest a horn section
reasonably well, but they don't carry the same bite and power as a
real horn section. I can understand why some bands use keyboards for
budget reasons, but I would think that wouldn't be a major
consideration for Paul.
nowhere man
130.133.1.4:
>
> On 19 Apr 2009, nowhere man <publice...@mehjep.com> wrote in
> rec.music.beatles:
>
>> Rich, I agree with you on skipping the other tracks - but Long
>> Long Long has always been a little gem, for me.
>
> It is for me, too. It's a highlight of the album for me, and one of my
> favorite George songs. I find it subtly, heartachingly, beautifully
> sad. There are very few songs in the world that make me want to cry,
> but when this one builds up in intensity during the middle section, I
> really get that urge. It's also perfectly placed on the album, a soft
> contrast to the chaos of "Helter Skelter", and a perfect way to end the
> album side.
>
totally agree, Nil.
It is such a slow sad song.....heartbreaking.
One of George's often overlooked gems.
John (NJ)
> On 20 Apr 2009, "John (NJ)" <skoki...@aol.com> wrote in
> rec.music.beatles:
>
> > It's real horns on Wings Over America. �Wings' keyboardist was
> > Linda, who could not play anything near Wix. �Still, Wix is no
> > replacement for real horns, one sore spot I have for Paul's tours
> > of the last 20 years.
>
> Commercial sampling instruments weren't available until the middle
> '80s, so there wasn't any real choice at that time - if you wanted the
> sound of horns on-stage in 1976, you had to hire real ones! There's
> really no satisfying substitute - Wix's samples suggest a horn section
> reasonably �well, but they don't carry the same bite and power as a
> real horn section. I can understand why some bands use keyboards for
> budget reasons, but I would think that wouldn't be a major
> consideration for Paul.
True, which makes it all the more baffling why he doesn't bring a horn
section on tour. Money is not an issue. Whenever he does "Mull of
Kintyre" live (which he never does in the US - Toronto is as close as
it gets) he uses a local pipe band - never samples. The song wouldn't
have the same impact with samples.
On New Years Eve he played on English TV with Jools Holland's big
band. They did "Got To Get You Into My Life" with killer real horns -
the best that song has ever sounded live.
Crisstti
I can hardly stand Don't Pass me by. I think it's pretty awful!,
lol... I actually usually try to listen to it and not skip it because
it's The Beatles and I am fond of them (I feel kind of guilty about
skipping songs or changing the radio when there's a song I don't like
by a musician I do like... I'm sure they would feel quite bad if they
saw someone skipping their song!), but I can only stand it for like 3
minutes or something.
Crisstti
>
> - Mostrar texto de la cita -
I've never liked The Long and Winding Road much... It's really one of
the very few Beatles songs that I find kind of cheesy or corny (or
whatever is the word...). One of the few Paul songs that are like
that, actually. I can think of that one and Beautiful Night. I do
like the middle-eight, though.
Crisstti
I really don't see why Paul doesn't use real horns in tours. I mean,
he can afford it.
Crisstti
The horn players appear in a photograph in the booklet (¿?) of
Wingspan.
Adam
> Good Night is something I probably would have liked to hear a stripped
> down version of instead of the built-up version. I wonder if Ringo was
> like "That's just great, who the heck is going to sit through John's
> eight minutes of sound effects to hear my song?"
By the time he found out, it was probably too late! The marathon
session that made thirty-some songs and other odds and ends into four LP
sides was done when George and Ringo were away.
I don't see how "Good Night," if it was included, could have been
anything /except/ the very last song. And if "Revolution 9" /had/ to be
included, the last side would be the least damaging place for it. If it
had been one of the first few songs, many listeners would have just
given up right there. That's my opinion, anyway.
Adam
Nutella
My first listen to the White Album was in 1978 when I was 13 1.
Borrowed it from a neighbor who said, "Don't Pass Me By" and
"Cry Baby Cry" both skip." I listened to it twice that night, then
went out the next morning and bought the LP from Sam Goody
(my neighbors was serialized though). I honestly liked all the songs,
all of them. It was just one of those albums that I became
crazed over. It's still fresh after all these years and it's my
favorite album along with Darkness On The Edge of Town, which I also
bought that summer.
I never actually made a single CD out of it for the car. I don't think
I could weed ANYTHING out with the exception of #9.
It took me years to figure out what the Can You Take Me Back part was
all about, and then that dialogue right before #9.
Oh, and can someone explain something to me.....at the end of "I'm So
Tired".....is John saying, "Pussy-Pussy-Pussy-How 'bout some...."???
Or is he saying something else?
Lord Hasenpfeffer
> Tired".....is John saying, "Pussy-Pussy-Pussy-How 'bout some...."???
> Or is he saying something else?
There are those who believe...
...when you play that part backwards, it says "Paul is dead, man, miss
him, miss him, miss him".
YMMV,
Myke
movi...@yahoo.com
> > There's nothing on it as bad as "Don't Pass Me By," and the corn
> > of "Long and Winding Road" is better executed than the corn of
> > "Good Night."
>
> "Good Night" is another one that would have made it's point better
> if there were a little more oomph behind the vocal. I think I know
> what they were shooting for, but I don't think they quite reached
> it.
>
I don't know why people don't like "Good Night". I think it's
lovely. Along with "Matchbox" it's the best thing Ringo has ever
done, even better IMO than his self-penned "Octopus's Garden" (which
was way way over produced). It's a beautiful, simple Lennon lullaby,
wonderfully realized. I think even John knew he couldn't have done it
better. Ringo nailed it. It's the perfect closer for the White Album.
Jeff
> On Apr 18, 6:12 pm, Nil <redno...@REMOVETHIScomcast.net> wrote:
>
> > > There's nothing on it as bad as "Don't Pass Me By," and the corn
> > > of "Long and Winding Road" is better executed than the corn of
> > > "Good Night."
>
> > "Good Night" is another one that would have made it's point better
> > if there were a little more oomph behind the vocal. I think I know
> > what they were shooting for, but I don't think they quite reached
> > it.
>
> I don't know why people don't like "Good Night". I think it's
> lovely. Along with "Matchbox" it's the best thing Ringo has ever
> done, even better IMO than his self-penned "Octopus's Garden" (which
> was way way over produced)
How is "Octopus's Garden" way way over produced? Please explain.
Thank you.
Lizz Holmans
>>
>
>I don't know why people don't like "Good Night". I think it's
>lovely. Along with "Matchbox" it's the best thing Ringo has ever
>done, even better IMO than his self-penned "Octopus's Garden" (which
>was way way over produced). It's a beautiful, simple Lennon lullaby,
>wonderfully realized. I think even John knew he couldn't have done it
>better. Ringo nailed it. It's the perfect closer for the White Album.
I agree with htis poast.
I've never understood the hostility, unless it was from boys who
thought it was too GURLY or something. It's simplicity after all that
roar and hubbub is soothing.
As the young folks say, I can has Good Night okbai.
Lizz 'I can hasnot has teh flue anymore.!'
--
I stayed up late to hear your voice.
moviefan0
> On Jun 17, 11:28 am, movief...@yahoo.com wrote:
> > I don't know why people don't like "Good Night". I think it's
> > lovely. Along with "Matchbox" it's the best thing Ringo has ever
> > done, even better IMO than his self-penned "Octopus's Garden" (which
> > was way way over produced)
>
> How is "Octopus's Garden" way way over produced? Please explain.
> Thank you.
>
I guess it's the watery backing vocals. I just think the whole of
Abbey Road has a saccharine feel about it and there's too much
layering of the vocals. Take "Sun King" for example. I've read that
it's supposed to have Lennon, Harrison, and McCartney triple tracked
thereby producing a nine way harmony. But it's too much, the vocals
aren't clearly distinguished. Really, the only voices I can make out
are Lennon's. In fact I really think that McCartney and Harrison
aren't singing on it at all. It's all Lennon.
I feel the same way about the sounds of the instruments track to
track. For example, you have to be really familiar with the
individual style of guitar playing by Harrison, Lennon, and McCartney
on "The End" or you'd never pick out which soloist was which. The
individual sounds of the guitars are too similar. For me, the overall
uniformly blended production robs the songs of their personalities,
evidence "The Long Suite".
LookingGlass
>
> Take "Sun King" for example. I've read that
> it's supposed to have Lennon, Harrison, and McCartney triple tracked
> thereby producing a nine way harmony. But it's too much, the vocals
> aren't clearly distinguished. Really, the only voices I can make out
> are Lennon's. In fact I really think that McCartney and Harrison
> aren't singing on it at all. It's all Lennon.
I have seen video of the three recording this *bit*. I looked on
YouTube but can't find it. Anyone?
Jeff
> On Jun 17, 6:37 pm, Jeff <yourimageunre...@sbcglobal.net> wrote:
>
> > On Jun 17, 11:28 am, movief...@yahoo.com wrote:
> > > I don't know why people don't like "Good Night". I think it's
> > > lovely. Along with "Matchbox" it's the best thing Ringo has ever
> > > done, even better IMO than his self-penned "Octopus's Garden" (which
> > > was way way over produced)
>
> > How is "Octopus's Garden" way way over produced? Please explain.
> > Thank you.
>
> I guess it's the watery backing vocals. I just think the whole of
> Abbey Road has a saccharine feel about it and there's too much
> layering of the vocals.
On "Garden" I only hear 3 tracks. Lennon/McCartney/Harrison.
Take "Sun King" for example. I've read that
> it's supposed to have Lennon, Harrison, and McCartney triple tracked
> thereby producing a nine way harmony. But it's too much, the vocals
> aren't clearly distinguished. Really, the only voices I can make out
> are Lennon's. In fact I really think that McCartney and Harrison
> aren't singing on it at all. It's all Lennon.
I'll have to give this one a listen.
>
> I feel the same way about the sounds of the instruments track to
> track. For example, you have to be really familiar with the
> individual style of guitar playing by Harrison, Lennon, and McCartney
> on "The End" or you'd never pick out which soloist was which.
But isn't that part of the Beatles magic, and why it's exciting to
listen
to? I understand it. Why is it important to know which soloist is
which?
The
> individual sounds of the guitars are too similar. For me, the overall
> uniformly blended production robs the songs of their personalities,
> evidence "The Long Suite".
I love Abbey Road. It's perfect to my ears.