Discussion in 'Music Corner' started by Bruce Burgess, Jul 16, 2020.
I thought the Beatles doc will be on HULU, owned by Disney, no?
I had to go to the basement to get some clean work clothes. No, there's no difference in the cardstock. Mind you, I only checked against Abbey Road
With the release of the All Things Must Past deluxe and now the Let It Be deluxe, it is so clear why George was frustrated with the Fabs. George had so good songs ready to go but instead two lesser Lennon numbers, Dig It and the cover Maggie Mae are used on Let It Be.
Disney+ Sir. Eight Days a Week was (still is) on Hulu.
This is a tough one, because there's two things that I'm hearing when listening to the isolated track.
One: it's too consistently sloppy to be Paul.
Two: I have a Ric and a Jazz and this sounds way more like a Ric with both pickups turned up and the mutes turned all the way up. A Jazz has a way different tone with both pickups turned up, but I've never heard a Jazz with something muting the strings from underneath. This sounds too open for it to be palm-muted. This could be the bridge pickup only with mutes, but it sounds too rich.
I'm gonna have to do some digging.
Here's the thing about Paul's bass playing that still puts him above the rest for me....he has a very natural and organic approach to the bass. He plays it with great feel so that his simple bass lines like Get Back or When I'm 64 are still interesting and fun to listen to. But when he wants to, he can pull out some crazy, virtuoso stuff like the middle of Taxman or parts of Rain, considering that that was recorded two semitones faster and there's crazy stuff in that even when playing it in G. Then he'll go and do some note-y stuff like Goodnight Tonight and never sound offensive or pretentious. He'll do some fast energy, melodic stuff like Silly Love Songs and effortlessly dance across the fretboard like Fred Astaire. But then you really gotta stand back in awe when he pulls off lines like he did on Something. Most of the amazing bass players that people often consider the greatest are either pretentiously complex or just a little too stale/safe. They might be making tasteful and/or clever decisions but there's a little bit of a disconnect for me. There's a reason why people like Geddy Lee and Flea consider him an essential bass player.
Are you sure the final bass is played by John? I think he might've played it initially but I'm pretty sure Paul overdubbed the final one. I wouldn't consider the playing primitive. It starts of very simple but picks up as the song moves along. And the choice of notes are fairly complex or at least uncommon at points. Also, it's played with too much finesse to be John.
EDIT: After listening to the 2009 remaster (the new mix is beyond weird) it almost definitely sounds like 2 basses. But it also sounds like 2 basses on Getting Better so it could still both be Paul on Fixing a Hole
The Beatles spent extensive time on at least 3 days working on All Things Must Pass before George pulled it from consideration. The failure to produce an arrangement that was up to George's standards was in large part due to George having no clear idea what parts he wanted the others to play on it, and not being satisfied with any of the multiple approaches they came up with.
George may have resented being told what to play on Paul's tracks, but had he been capable of telling the others what he wanted them to play on ATMP, there is no question he could have gotten a version of that song on the album and in the film.
He decided in Jan 69 he only wanted to contribute For You Blue to any album or film and do none of his songs on the roof. Then they came back a year later to add I Me Mine.
There seems to be s new scandal explored here. Im not sure I understand everything but aparently it has something to do with glossyness.
Let s call it Glossy-Gate.
You could probably say that George, Paul, and John, were pretty much equal guitar players. If one could play a lick or passage, the rest could as well.
The same cannot be said about the bass. George and John could have never pulled off Paul's lines on "Something"
Paul wasn't just a great rhythmic bass player, but incredibly melodic and harmonic as well.
He created "hooks" on the bass in a way George or John never could, and when he is replaced by them, something is missing.
And even though George's bass work on "She Said, She Said" is serviceable, its missing the magic of say the incredible bits in '"Taxman"
LP vs CD book cover??
Just finished reading the whole interview with Giles and Glyn John’s in mojo mag and it sort of confirmed there is definitely going to be a home release of the Get Back doc that Giles is mixing on the sound side, it also said a CD and LP of the rooftop gig is a possibility later on so doesn’t sound like it will be part of the Get Back release.
Also funny reading Glyn John’s interview about the studio Magic Alex set up when he went to check it out with George before they started recording in Saville Row, he’s very funny I think Glyn John’s, he said Alex did what he did best, fooling everyone he knew what he was doing when he had no idea, ha.
I got the picture disc today and I have to say its not noisy at all. I was surprised.
Looks good too.
You're looking at two different time frames here. The recording time frame is different than the release time frame. Does it really sound like the Beatles spent a lot of time on either Dig It or Maggie Mae? To be honest the two George's on the album are not as great as his other post 1967 additions and if I'm not mistaken George was upset about Paul's bossiness as anything else. If I'm not mistaken he took All Things Must Pass out of consideration himself. In any case he was vindicated on Abbey Road. By the time of Let It Be's release I'm sure he was more worried about his solo project which was he wsa just getting started with.
George is a solid bass player but he became the best guitar player of the three towards the end and ultimately became an amazing guitar player overall. Even Clapton holds him high regards as being able to pull of emotion in a way he couldn't.
I'd say Paul is as good of a lead guitarist as George is good on bass and John is at the bottom. John's good at the raucous stuff and can handle things like Get Back very well. One amazing thing about John is how well he played on All My Loving. It's fairly simple but it's kinda difficult to play that part so consistently as he did.
I've said this before, George is a great player, but most of the greatest guitar moments (either written or played) in The Beatles usually came from Paul or John.
George was not the writer of riffs, in the way the other two were, and probably the greatest guitar moment in the Beatles work is Paul's solo on "Taxman"
True. I think of Let It Be, when I’ve been listening to the Glyn Johns mix of the master take, but with John’s bass, and I’m waiting for the simple-yet-melodic bass entry in the song, and it is not there. Very flat in comparison.
Maybe that's why Peter Jackson's movie is lacking in grain.
I agree on the bass playing aspects but really disagree on the guitar playing. Like bass, technique is everything. Could either of them locate lead licks and play them? I’m sure they could. But it will sound completely different played from one player to the next. In lack of a better way to put it, John was by far the “sloppiest” and least proficient of the three when it came to lead playing. This didn’t make him a bad player by any means; but we’re talking in comparative terms.
50th Anniversary all things Beatles White Album
Paul's work always added an extra dimension to any song he provided bass on. He could easily elevate a song, just by his playing.
I'm not saying George, or John (although he seemed the less gifted of the three) were horrible bass players, but just serviceable, in comparison.
And we will post the same reply Chip deleted from his facebook account but he could not from other sites, of course he's not happy with us.
This is the clear difference when you want to make constructive criticism or when you just want to demerit and attack. Where in the review does it say that Apple directly used Dr Ebbetts' Bootleg disk as its source?
Only TWO tracks associated with that Bootleg are mentioned (not "others"): For You Blue and Dig a Pony with the wrong mixes from 1970 instead of 1969 which coincidentally are also on the Dr Ebbetts Bootleg and it is clearly mentioned that Apple may have been based or relied (those are the exact words but never what Madinger writes) on that Bootleg to make their own mixes of the Glyn Johns album (thinking they were the correct ones), but it is NEVER mentioned in the review that those two tracks were taken directly of that album, so the accusations are very serious: Mike Carrera's assertion that the universal SDE used a copy of Dr. Ebbetts’ fan-released disc Get Back - Glyn John's Mix #1 as its source, for this and other tracks, is unfounded.
Storing the stuff in jewel cases had nothing to do with the glossiness. It was more about storing the discs scratchfree.
Yeah, I thought about that lenticular cover as well. So it was that what fell off in your case? That's really a drag...
And yep, the Elton Jewel Box is really heavy... and half of it is really dedicated to the storage of the CDs... not perfect in my opinion.
Not the cardstock. But my Abbey Road ones are glossy. Whatever. I will survive it ;-)
If Paul was singing and playing the bass at the same time (which he's more than capable of doing, just listen to the live single of Coming Up...and no one better come in here and tell me the bass was overdubbed later) that would explain why it was so sloppy, cause he's going nuts on that vocal.
The real travesty of this set...
To make me even more mad about it, I'm listen to Giles the other day talk about how he was "limited" by how much music can fit on a disc.
ok, so 5 discs equals 400 minutes and they give us 130 LOL
I get that maybe they were trying to keep LP sets reasonable, but the CDs should have been a lot longer. Granted, there is some real low-value tracks out there, but they could have been added as fun bonuses to this set. For example, the very complete "Dig it" would have been a fun little addition somewhere...
A nice rooftop session would have been great to have on the EP disc - Giles said the full performance is better to watch and will be in the movie I guess, but it should be here, especially because there was room for it.
Nice personal take on John, and might I add, refreshing to see a positive interpretation of their partnership. It gets a bit much seeing so many on the forum assuming that John and Paul were in perpetual conflict. As Paul has often said, if they had constantly been at each other's throats, they never would have stood for one another all those years. I also like to think the song contains nods to one another, even if they never admitted it. And glad you've rediscovered your love for this song! I've Got a Feeling is my second favourite Beatles song of all! It's my Beatles baptism song. After hearing this, there was no turning back. I became a Beatles fan there and then. Don't Let Me Down lured me in and this song pulled me under. Been happily drowning in Beatles music ever since.
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