Sgt. Pepper's 50th Anniversary editions to be released May 26, 2017* Anticipation Thread.

Maybe "Revolution"? Geoff in his book writes "John wanted the second, up-tempo version of “Revolution” to be even tougher and more biting than the first one. That was typical of him in those days; that was his vibe: pissed off. Ever since we’d first started work on the White Album, John had wanted to play louder and louder—he kept winding his guitar amp full up, but there were acoustic limitations as to how loud you could play and still capture the sound before it turned into a mess, leaking onto everything else and becoming all muddy. He didn’t understand that, no matter how many times I tried to explain it to him, so he just became more and more frustrated and angry. Making things worse was the fact that, behind the scenes, Magic Alex was telling him that he would be able to play as loud as he wanted, without restriction, in the new studio he was building for them."

 

Did Geoff actually say this about Yer Blues? If so, how the f... would he know? He left the sessions almost a full month earlier (16 July 1968) and didn't return to the crew until 14 April 1969 for a single session (The Ballad Of John And Yoko), leaving again until 21 July 1969 when he re-joined George Martin, as co-engineer along with Phil McDonald. This is a perfect example of an anecdote that can be proven false. Why would he say such a thing if he wasn't even there? Ron

 

PS I see others have questioned this too. Can't be Yer Blues.

 

Slight correction: The Beatles version made #7 on the Billboard chart.

 

I don't care about keeping the running order as it's always been. If it's changed around, I wouldn't raise an eyebrow but this being mostly filled with traditionalists, there'd probably be a riot.

And to make matters worse, they stick the two extra tunes at the end of a side instead of the beginning. Ugh!

 

Yeah I had corrected that typo

 

If you fix a typo before the editing window closes, is it still a typo?

 

Well now it's a typo on YOUR post and not mine.

 

This reminds me of John's tendency to "capture the moment" similar to older jazz recordings that tend to take audio "snapshots" of a live performance in the studio. In that respect, mic bleed-through was often encouraged to mirror the musicians playing off of each other as an ensemble.

No wonder he was impatient with "getting it right."

 

I wouldn't hold out any hope for another Anthology release. The Anthology project seems to be well in the past at this point. If the Super Deluxe Pepper sells well, I am hopeful for other deluxe album box sets from The Beatles.

I don't know if it's been mentioned (or speculated) already, but I could envision a Deluxe Let It Be box set in 2020 with many session outtakes, rehearsal tracks, early mixes, complete rooftop performance (audio and video), reprinted book that came with the original box... all topped off with a Blu Ray disc with the remastered movie.

Deluxe White Album (2018) and Abbey Road (2019) sets also seem very plausible.

 

Yep, familiar idea.

 

They are going to find ways to get our money without giving away everything

 

Did he have "issues with George"? I've never understood why Emerick took any heat for what he wrote about George or why George Harrison is above criticism. It's almost like Geoff Emerick wasn't allowed to express his views -- based on his own observations in the studio and his own interactions with George. I mean if it's OK for George H to complain about how Paul operated in the studio, why isn't it OK for Geoff Emerick (or Paul, for that matter) to complain about how George H operated in the studio. Ultimately the studio is a creative workplace, and sometimes people's work styles clash. Seems to me that's all Emerick ever suggested and he had/has a right to his express his experiences as he saw it. And anyway, lots of folks have said George could be cranky and that he took a long time to work out his solos. I didn't see those remarks as any indication that Emerick had issues with Harrison.

 

Thanks, Ron. What this forum sometimes needs, especially in regard to the Beatles, is an encyclopedia. And you are it!

 

I volunteer to be a footnote...

 

Maybe a rarities set that includes loose ends, such as SFF 1966 mix, COL, and others.

 

The coda of the song (with all those weird vocals/sound effects) were big influence for the Floyd to record 'Pow R Toc H' shortly after.

 

That's the one. For some reason I recalled Yer Blues. But the notion that John didnt get it is the same.

Thanks for saving me the lookup

 

Don't mention Donald so soon again.^^

 

Probably because Geoff alone had that opinion. George Martin later regretted treating George like a second-rate Beatle, especially regarding his own songs and the effort they ALL put in to it, or not. Ken Scott was there as much as Geoff and not only didn't concur with Geoff's recollections, but denounced them. He was there too. And sure, opinions vary and all that, but Geoff criticizes George's ability as a musician without really knowing that part of the business. Yes, Paul could rip out a solo quickly, but this was a rare occasion. It was up to George to make a song memorable with a well thought out solo or riff, or third harmony. Not something he did quickly or without working parts out first. Ron

 

There is no SFF/PL is on the new vinyl double LP. There is a RSD 7" single.

 

I agree -- and people have to remember that while John and Paul would often (though not always) come into the studio with a song fully conceived, having roughed it out at home and at their leisure, George had to come up with his parts on the spot, right there in the studio with everyone else looking on and waiting. I'm sure that in some cases, inspiration struck and he was able to come up with something quickly -- but it stands to reason that in most cases he'd have to come up with something through trial and error.

 

It must've also been an odd hierarchy recording at EMI. Here were The Beatles at the top of the music industry and studio engineers at the top of the recording industry, the traditional roles of employer & employee quite challenging to say the least.

 

I don't agree that Emerick was alone in that opinion. And George Martin didn't really back off from his view that Harrison's early songs weren't that great. Because in an interview just a year or two before Martin died -- asked about Harrison's early songs -- George M said they were "rubbish." (I recall it because I was so surprised by his blunt comment.)

Observing that Harrison took a long time on his solos is not a criticism of Harrison's ability as a musician; it's an observation on how slowly Harrison worked. I think folks are just very oversensitive about even the mildest criticism of George. And it's a bit silly, given how critical Harrison was of other people.

 

It's OK if we agree to disagree. Many people who were at EMI back in the day expressed their sadness and frustration with Geoff's recollections. And yea, it is criticism when he Geoff goes on and on that Paul played the solo in Taxman in one take (something George praised as well) while George labored. He also said George was clumsy and frustrated the others because it took so long to play a solo well. Facts typically don;t support his assertion though. They all made errors. And Paul was prone to record his bass alone, as an overdub in the later years, taking hours to perfect HIS parts. I guess Geoff didn't recall those late night sessions. Ron