Yes, apparently he destroyed the original demo tape and gave the only acetate to Alistair Taylor's wife: "The Long And Winding Road" song by The Beatles. The in-depth story behind the songs of The Beatles. Recording History. Songwriting History. Song Structure and Style. There's also a studio demo tape for a song called "Etcetera" that Paul recorded during the White Album sessions, but I don't know what has happened to it.
Apparently it was intentionally destroyed/lost as it was terrible. I believe it may have been what eventually surfaced as "Thingumabob" with lame lyrics... Etcetera (song) - Wikipedia
The age I was when, um, Press to Play was released. And I probably love that album as much as any Beatles album. There, I said it.
True in a way. I do love me some alternative takes like any other guy, but in terms of worthy of being included on the record - Leave My Kitten Alone sure does qualify and would have bolstered Beatles For Sale (which I already love) immensely. I would also include into 'top thing' label Not Guilty, Revolution Take 20.
Bit late to this thread. Just looked up the price for Revolver 5 CD preorder. 117 English pounds a bit pricey? Anyone agree or is that what is to be expected
That comes to $28US per CD, yeah that's about right says Apple & Crew. I preordered both LP & CD SDE from Amazon, I gotta belive the prices will come down at release date like on the other box sets. I just remembered The Beatles' Revolver, 2022 Remix, Price and Shipping Thread
I have to disagree with you this time. I want outtakes and discarded mixes as a fan, but I understand why they as artists would prefer us to concentrate on what they consider the finished product, because that's what they were happy with at the time. And that goes for the remixes too, as they use the same takes, performances, and arrangements. It would be weird to me if someone, after seeing my drawings, wanted to see my preliminary sketches and failed attempts. Stuff I consider unfinished, not good enough and/or unworthy. I'm sure they are flattered and happy to make more money out of the discarded stuff, but I perfectly get why they don't understand people's interest in it.
Sorry, which song are we talking about (the earlier posts are MIA)? And when you say "dropping the top E string down to D," are you perhaps referring to the bass/bottom E string, which would be much more common?
The problem is they have to think from a FAN perspective instead of an artist's one. Which I suppose would be hard, given the fact they were being held up on this golden pedestal of perfection.... anything left behind would be seen as "imperfect". Thankfully Paul and Ringo have come around. I'm sure John would've thought it cute to package these old beatle Outtakes in pretty boxes on tiny LPs
Rain. It sounds like the lead part is played around an A chord (with an open E top string). Obviously it's slowed down to G on the record, which means you don't have a 'top D' string if you were playing along to it (or want to play it in its recorded key). Hence, tuning the top string down to D.
Ahh fair enough. I'm thinking of just going for the 2 CDs. As that will have all I really need anyway
Sorry if I'm being dense, but I'm still not following you. When you said, in your previous post, "tuning the top string down to D," are you referring to the treble E, which is the "top" E? That would be unusual, is my point.
Yes, top E string. Recorded in A position (meaning ringing open E top string), but slowed down to G. It's a bit like playing Yesterday, you would need to tune 2 frets down to play it like the record. With Rain you can get away with just tuning the top E down (or at least that was the 'Complete Tabs' solution).
OK, and when you say "A position," do you mean that you'd have a capo at the second fret, and be playing a G chord with a ringing top E? Sorry for all these questions, but I've never played Rain (will do later, though).
No! Originally played in A. So the chord shapes on the record are the regular A, D and E shapes. But the recording was then slowed down to G. But playing the regular G, C and D shapes is not quite the same. In particular the top note of an A chord is the open top E string. But a G chord (the slowed down key) doesn't have an 'open top D' string. In fact, the initial recording was in Bb, so they must have played it in A but with a capo on the first fret.
But in a way, not all fans want to hear every outtake of a song that ended up being released. For me, I could maybe listen to a ton of takes of a song one time through, but beyond that it doesn't have much value to me. Unreleased songs have the most interest to me, and then maybe drastic changes to an already released song after that. I'm glad they make a 2-CD set available, as that's the best option for me and one that I find I play more than if I had discs and discs of multiple takes of a song that all sound the same (false starts, messed up chords, etc.)
Yes but you are right "Love in the Open Air" is worth hearing too. That is the "single" so to speak. I just went right for the title track. It was nice when that soundtrack finally came out on CD.
Man what a great age to be for Revolver! The closest I could get to relating to that would be to say that OK Computer came out when I was 17. I remember that summer listening to it a ton and with friends too. It sounded like it came from another planet, and it felt like it shifted something in the public consciousness, music-wise. I can only imagine it was the same sort of thing (magnified) with Revolver.
Just gave it a very quick go, and while I expect you're right about the use of an A chord position + capo at 1st, it's not immediately obvious to me why it couldn't have been done using a G chord position + capo at 3rd. IOW, use of the top E string doesn't seem necessary to me, and it could be muted or avoided when necessary.
At least some people who worked at Abbey Road understood the importance of taking detailed notes. Because of that 'bookkeeping' we can read about the evolution of the songs in Lewisohn even if we can't hear the stuff. But I'm always thrilled to hear what we get.
