2019 Abbey Road remix problems.

I'd been listening to this mix a few times already, but for the first time on headphones I noticed the final 'uhh' by John in Come Together is omitted. To me that's a big deal, I don't know why they removed that.

 

Much as I like a good deal if it, there are a couple of things on this remix that make no sense to me…why is there distortion on the first couple of notes on the solo of Something…why were John’s lead guitar flubs at the end of You Never Give Me Your Money left in…

 

Hadn't noticed that but now I can't 'unhear' it.
The ' Abbey Road ' remix is the weakest of the bunch.

 

The song loses a bit of that grunginess without that moment.

 

You guys…

• Abbey Road 2019 is a REMIX.
• A remix is a NEW TAKE on things.
  
• A remix is SUPPOSED to rebalance and make things sound DIFFERENT.

This ‘uuh’ or ‘aaah’ or whatever it is, is an element. Now they have included an alternate element for us.
Again: It’s a REMIX.
It’s supposed to be different.

I remember 20 (!) pages 2 years ago, with people arguing for and against that little Lennon-moan. A guy wrote he spat out his coffee on the screen when he heard the ‘change’ in Lennon’s vocal.
And I nearly fell at the floor becuase I found myself laughing so hard over how crazy this forum can be.

First world problems indeed.

Seriously guys, get over yerselves.
If you are not satisfied, there is a solution available: Listen to the original, it’s not going away.

 

why are people chastised when the find fault with a gilesfried remix? that is what happens above when the re-mixer is an amateur and does not know the bands MUSIC...as stated by the amateur re-mixer.
Indeed...

 

I think you may be taking it a bit in the wrong way. I’m a supporter of old albums remixed as companions to the originals. But on occasion I see nothing wrong with questioning some of the remix decisions. Isn’t that part of the fun of being here ?And for what it’s worth, the two points I brought up arguably work to the disadvantage of the respective track-remixes. But even at that it just boils to down opinion based discussion….on the sound of an album….agreed, nothing world altering. But fun, nonetheless.

 

What can a poor boy do?
As long as it’s Dexterised…
Giles Martin is a professional producer.
You and I are not.
Can’t argue with someone who uses every excuse to dwarf Giles, while he praises buthered US remixes.

 

Fair to say his 3 last remixes have done little for me. Yes they sound fresh and maybe a little clearer, and I'll even say pretty good, but as I have pointed out before, I'll go back to the originals, and they too sound pretty good. But it is nice hearing the outtakes.

To me the 2009's were the best sound possible, and I give the biggest kudos to them. (Also the 2014 monos). I pray that someday they'll do the same as the 2014 mono to a stereo AAA box set.

 

George's

 

Was just about to crack this open tonight and thankfully I don’t know it well enough to miss the final uhh.

 

In All honesty, I enjoy the originals and the remixes each for different reasons. Neither are perfect but I love having alternate ways of hearing albums I’ve known one way my whole life…whether it’s Beatles, Tull, Yes, whoever. If someone said you can only have one or the other, no further choice, I’d go with the best remaster of the original mixes….but only because they “matter” more, historically. But be that as it may, we’re fortunate enough to have choices and in no way can that be a bad thing.

 

That’s John on those fading lead runs.

 

I really like the remix. It’s hard to listen to the original now, with the annoying channel separation.

I do miss the uhhh, though...

 

Agreed. I was hoping for more contemporary mix kinda like most of the Sgt Peppers mix.

I don't quite understand why they went down the route of re-creating the original mix with the hard panning of bass of drums. We will always have originals for those who like it that way.
It reminds me of the Rubber Soul & Help remixes done in '87 - pointless!

 

No, it's George.

 

Life's a question mark to begin with, so why not embrace that very 'I don't know why' feeling and live there, instead of amongst the known, the documented, the listed, the curated, the critiqued, the dissected, the desiccated, the forum-favourited - in short, as the ancient poet entreated: sell wisdom, buy bewilderment.

 

Y'all listen to the stereo remix? Silly people.

I listen to the DTS 5.1. For stereo, I go back to the original mix.

 

I listen to the stereo remix, so I think you're silly.

 

It's clearly Bernard Purdie.

 

Is this the one at 3:58? I can hear it but it’s very buried, as well as another one at 4:10. The 4:10 one I can’t hear on the original mix.

 

If I'm remembering correctly Lewisohn has said that its John while its George that does the arpeggio run through the Leslie. But on a personal observation, the guitar itself sounds like John's Epiphone Casino well as the relatively "less tighter" way of playing lead. I'm open to the possibility that it's George but maybe you can elaborate.

 

George had a Casino too, and there's a few pics of him with it around the time 'You Never Give Me Your Money' was recorded (May 1969).

The book on the 50th 'Abbey Road' anniversary release, corrected many mistakes on Mark's book.
(Although I think they messed it up on 'Old Brown Shoe' but that's another story).

The leslied guitar is played by John and the distorted one, or as the Olympic tape box says 'bassy guitar' is George.

They were recorded live (take 30), as you can hear on the isolated drum track.

And as you can listen to take 36, the players are the same as on the released version, only take 30 (the master) was better, so they choosed it for further overdubbing.

As mentioned on the 50th book: Discussing the guitar phrases, George played during the opening verses, he told Paul after take 17, 'I'm playing a harmony of what you're doing'.

That book and all the others, just fail to mention a guitar overdub that enters at 2.09 (or maybe double tracking), that doubles George's guitar playing with some minor nuances then doubles John's guitar on the arpeggios, while George is soloing.
If you listen closely to the isolated drum track, that guitar isn't there.