Thanks, appreciate it! Mixing and syncing of the backing track in audactiy, spectral substraction from the live track in Sony SpectraLayers and final sweetening of the raw isolation to match the vocal stem win ISSE. Like I said, if you put enough time into it, match and align the tracks carefully, you could get very listenable results. As it stands this is just a gimmick. You could of course also take this remix to upmix the original mono track with ISSE and get away with minimal artifacts instantly, but the fidelity of the mono tracks is poor to begin with. I need to finally put together my spectral audio alignment tool to improve the workflow...
Having this afternoon seen Yellow Submarine in a theater for the first time in 50 years I have decided that All Together Now is a lost White Album track and deserves sequencing therein. I am trying to determine where to place it and what track shall get dropped. I will let you know my decision shortly.
Actually, I agree with you. I would add All Together Now and drop Wild Honey Pie. It would make disc 1 stronger, and it would flow even better.
It’s Side 4: Revolution (Single) Honey Pie Savoy Truffle All Together Now Cry Baby Cry Hey Jude (Single) Dropped: Revolution 1, Revolution 9, Good Night It’s actually listenable now.
That could also work if you remove Can You Take Me Back from CBC and replace it by All Together Now, that might sound great
So what would be your least favorite Beatles album!? Seriously though, I think this would be a good listen. I wouldn't replace side 4 permanently, but I think it would flow well.
You know, I think putting it in place of Wild Honey Pie makes disc 1 all the more stronger. For one thing, it kinds of works as an acoustic lead-in to Bungalow Bill, which opens with acoustic guitar "playing." I know it's a Mellotron thing, but it is a brief acoustic bit, and Bungalow Bill itself seems to have an acoustic kind of overall sound to it. Both songs (ATN and BB I mean) are sing-alongs with choruses that someone can easily take part in even the first time they hear it. All Together Now is brief, and so is Wild Honey Pie, and it doesn't really change the flow all that much. Except perhaps for making it better. Kicking out WHP in my opinion also seems to support your earlier statement a few days ago that White Album disc 1 would work well as an "introductory" Beatles album. With ATN on it, it becomes a stronger acoustic disc. And also you don't have to explain about WHP when the listener asks what they are doing or if it's supposed to be a real "song."
I wish they would fact check these things before publishing them. It's a good article, but then they make the blunder of saying Lennon is on bass for the long version, when he is on rhythm guitar and George is lead. John was on bass when they re-recorded it . Sorry for the nitpick.
I was just thinking today that it would be great if they could do a LOVE style mashup of Revolution and the "live"version for the 50th anniversary and here it is today! Today I was putting together music for my parents 50th wedding anniversary party in August (all things 1968), They are the reason I love the Beatles. I think I will include this version for the party. Thanks for all your work.
There used to be a video on YouTube many years ago of "I'm So Tired" with what sounded like backwards guitar if I'm remembering correctly...Or possibly it could have just been extra lead guitar bits, but I recall liking it. Anyone remember that? Was it legit or an outtake? If John viewed "I'm So Tired" as a sequel to "I'm Only Sleeping" maybe he had the idea to do backwards guitar on the song as well...Of course an intrepid fan faker could have had the same thought.
Yeah I used to think it was John too. But The Rockband studio chat segment for that track gives strong impression that it's Paul on his Jazz bass, though that studio chat could've been manipulated of course. Listening to Anthology take I can totally believe it's John on bass, he plays only one note (E) in quarter note rhythm, not even changing it when there's refrain going on. Seeing how he sucked with bass parts on other tracks he rarely played it on, I really have doubts that he is hammering that bass line for the album version take(s).
No he didn't. Richard Lush: "I do remember that Lennon played the bass on that track. He used a Burns bass on it. If you play the album you can pick it out because it’s very simple, and a ploppy sort of sound. It didn’t sound as rich as Paul’s Rickenbacker bass." George Martin, in his book "Summer Of Love," insists that Paul relinquished the keyboard role on the song to him while Paul took up his usual instrument of bass guitar. However, the 2017 release of the 50th Anniversary Edition of the album settles the issue once and for all. 'Take one' of "Fixing A Hole," which was used for the finished product, was "bounced back to the four-track from another machine" to become 'take two. ' 'Take three,' which is contained on the reissue as a bonus track, shows that the obvious musician playing the harpsichord on the song is Paul singing lead vocals at the same time. Therefore Richard Lush was correct when he assumed John was on bass, this being reiterated by Kevin Howlett's liner notes for the 50th Anniversary release in 2017. The third verse has a very obvious bass flub in the fifth measure where John begins his syncopated three-note run too early, him catching himself and correcting it in the sixth measure.
For such a simple bass part, he did too many flubs. I do like it, though. That C-F-G# 'three note run' is quite unusual to me, at least. There' many more. When I tried to transcribe it he first time (around 2005 or so, was long ago), I wrecked my head on what is that. I had no knowledge who played it and assumed it was Paul, and since his bass is usually fine (he does some flubs here and there too, but rare) I thought these mistakes were some muffled tom sounds or something. Now I know it was John, basically winging it, and album version has two basses going at the same time, which adds to the confusion brew even more. Maybe he didn't have time to practice that song.
Some sources say that there were two bass lines recorded. Perhaps they both played bass? If not, certainly McCartney showed Lennon what to play.
Had never listened to it from that perspective- adds another interesting dimension to an already great song
