I'm not sure if any of the Fabs had any particular input while Spector was compiling his album. Ringo did drum along with the orchestral overdubs, but I don't know if John or George even visited Spector in the studio.
I know, but Spector was brought in by John, they had a very good relationship back then, and it's possible that he gave him some ideas. Or maybe Spector picked up John's disdain for the song to create that sequence. Whatever the case, it's clearly intentional.
Happy White Album 50 and Happy Thanksgiving! Listening to the Super Deluxe since I put the turkey in the oven 2 hours ago. The SDE is my timer, so 3 1/2 hours to go!
I always took the 'hark the angels come' intro to be innocent and humorous with no ill intent, it can't be a put down of the song heck man it's Let It Be.
I checked the last two pages, didn't see this posted yet: How John Lennon’s Trolling of Eric Clapton Birthed a Rock-and-Roll Classic
What disdain? John joked sarcastically about everything, not just things he disliked. I don’t think the “are we supposed to giggle in the solo” remark is anything more than John being John.
Note that Glyn Johns already had the 'Hark the angels come' comment between Dig It and Let It Be on his (first) rejected album.
But John says "giddle" not "giggle", and in a straight voice; I think it may have been a genuine question about the arrangement. Beatles Get Back sessions - best released/unreleased tracks?
Sorry to be picky but it’s important. The new WA master used to make cd’s has some limiting added as part of the mastering process. The amount of limiting is pretty modest. No limiting was used for the masters of the high res stereo and surround versions. I suspect that all the core mixes (not a master yet) have what is called 2 Buss compression. Mixers have long used compression at the mix stage to make the mix sound cohesive and tight. There is nothing inherently bad about limiting and compression. ( except when either is used to excess for mixing and mastering)
Also worth noting is that Glyn's longer version of Dig It ends with what's known as an 'Amen' ending (IV to I chords), and George Martin saying 'try Let It Be'. It then cuts to a snippet of an earlier version of (Can You) Dig It and John's 'Hark the angels come' comments that follow that version. After that it goes into Let It Be, though Glyn kept the pre-song chatter whereas Spector did not.
I find it interesting that Maxwell's Silver Hammer was even being considered for inclusion on the album. I had no idea Maxwell was around at that time! We certainly don't have any evidence of it being attempted during the White Album sessions. Or do we?
Not that we know of. 1968 was a very productive year of songwriting for all involved. The India trip freed them up to write more than usual, since they were removed from all the business and distractions of London.
Pre-turkey focused dinner thoughts .......... I always thought that Abbey Road was when George really became a more confident guitarist, but the remix of WA let’s me hear all the cool stuff he was doing. He ALWAYS was very much playing for the song.....
Agree. George was a good guitar player all the way back to the Hamburg days, what he improved immensely in subsequent years was the ability to create great guitar parts for the songs.
I agree. He had rediscovered electric after focusing more his sitar playing. I wish that he had played slide on the album as well.
Yes we do - there is page with some Maxwell lyrics in Paul`s notebook BEFORE another WA lyric. I must have picked that up in this forum so it probably stems from the WA50 book.
Happy birthday, The BEATLES! Also, to all forum members in the U.S.: Happy Thanksgiving! Also, to all forum members everywhere else in the world: Happy 3rd Thursday of November!
Finally got round to listening to the deluxe set..started with the Asher demos So..child of nature..isn’t it a bit disappointing? After all these years Think John called it right saving that gorgeous tune for the right lyric with jealous guy.
