Hey everybody, I just watched the new animated Here There & Everywhere music video, I think it's terrific ! I also think the new I'm Only Sleeping video is great too ! I'm only miffed or discontented that George's Taxman video, is so cheap & cra●py by comparison, just my opinion of course. I was rooting for George to get a good one as well... When the Taxman video was first released I ( wrongly ) thought, well so much for good new videos. I thought well sales are a fraction of what they once were, in the entire industry, & I supposed even The Beatles didin't warrant a decent video budget anymore. Glad I was so wrong ! Obviously they aren't spending the kind of money they did on Free As A Bird. BUT After all that was 30 years ago, & Anthology 1-3 sold 20-30 million units, a different time & landscape. I just love these last 2 videos ! Here There & Only Sleeping good job ! Sorry for the long post but the video has me jazzed ! At the risk of overstaying my time on the soapbox, I'll digress just briefly, I don't know what Peter Jackson was alluding to a month or two ago, regarding a new video or film project with the Beatles. BUT Let me throw this out there, for years now, I've thought they should make, create, a new Beatles film, utilizing animation or other modern techniques. I Thought----use one of the albums that never had a film, Revolver or The White album, or even Abbey Road, or even Beatles For Sale, & do 8 or 10 new music videos, sort of like these 2 new videos ( sleeping & here there ) & edit it together, interspersed with 30-45 minutes of new Dialogue, plot, story.......make a fictional film starring animated Beatles, use computers or Paul & Ringo & Lennon & Harrison's sons, or a combination, for the film dialogue, in total make a 90-120 minute film. Yes we know all the songs, enjoy these box sets, but why not take one of the studio albums, & with modern technology create a 90 minute or 120 minute film. Kind of like a new Help or Yellow Submarine....if Peter Jackson is available ask him, or if he's too expensive get someone good They can do so much now technically visually, if they get a good script, & can get actual Beatles voices for dialogue, or computerized simulations, they could give us a new film, Early Beatles like Beatles For Sale or With The Beatles, Or or or, Rubber Soul could be really Good, I'm just saying, it's so obvious what can be done.....I really had hoped they would do Revolver or White album...but still wouldn't a trippy mid 60s Rubber Soul be so cool...my only caveat, just a gut feeling, as all other 'fictionalized' Beatles films, feature one album, whichever one for the music. OK sorry, but it would be so cool, it's doable now, technology has finally arrived, I thought since I saw the Free As A Bird video, & the Rockband promo where they ride that giant elephant. That's how impressed I am with those 2 new videos. Here There & Everywhere is very good, I'm Only Sleeping also, or for that matter the Glass Onion video from the White album box among others. You wanna get new fans, grow the Beatles into current & future generations, we'll of course it's the music & their charm, but a cool movie ( on a reasonable budget ? ) What is it Peter Jackson has in mind ? Anyone know ?
The lp remix has excellent dynamics. Not compressed at all. But the clarity does reveal compression or overload from the original recording, such as the brass on Got to get you into my life.
Although the crowd has turned away by now, I wanted to write about how the Yellow Submarine work tape has rocked my world. Lennon's original version is so different in feel from how the song ended up, it's like hearing a new Lennon/McCartney song. Even with the same lyric, rather than a jolly fantasy, Lennon's version is folky and wistful, and has a bit of that Strawberry Fields mystery, and some of the sadness from his original discarded lyric. I was also reminded of how John said during the Get Back sessions that his & Paul's songs were like messages to each other. Here, I imagine Paul visiting John for a new song: "What have you got?" And John has a sad song about his childhood: "no one cared, no one cared." And Paul responds by making a sad song better for the young John: let's sail away to the land of submarines! ("Look out!") This demo version also reminded me of this old silent short about a boy from a loveless home who escapes by sailing away to sea, to "the land beyond the sunset":
Great post! Thanks for those thoughts. It does have that Strawberry Fields feeling thanks for pointing that out.
I find the evolution fascinating. John said in an interview once, "I was always trying to write THE song about Liverpool. In My Life started that way...then I did "in the town where I was born" and went on about sailing away to sea, like people do in Liverpool, but it never went anywhere, we ended up using it somewhere else, but then I stopped trying to be literal and out came Strawberry Fields!" Judging by his songs, John was in a kind of depressed, vegetative state in '66, barely willing to get out of bed. (But being John Lennon, he still managed to write several of the Beatles' greatest songs in this condition.) Paul, as usual, would have been prodding him for more songs. "Gotta make an album!" Paul's response to this sad little lullaby is interesting: whether John told him directly, or maybe from the opening "in the town where I was born," Paul got that this was a song about childhood. His twist was to make it a fun song FOR children. I'm pretty sure the submarine would have been Paul's idea, but John was happy to go with it, and eventually John would have a lot of fun doing the sound effects for the song. But that initial feeling stuck in John's head, and a few months later, out came Strawberry Fields. Amazing to hear the direct connection between two such different songs.
OK. I've just finished reading the whole of this thread. Here's my Christmas alphabet tribute to this long and winding road: A ... is for Atmos and artifact B ... is for brickwalling C ... is for Carpet Man D ... is for Doctor Bob E ... is for Emerick F ... is for flubs, fwips and flipbacks G ... is for Granny Smith H .... is for hype sticker I ... is for IGD J ... is for John O'Green K ... is for Klaus L ... is for LP M ... is for MAL N ... is for netizens O ... is for Okell P ... is for Parlogram Q ... is for Qobuz R ... is for rice krispies S ... is for SSSS T ... is for technical limitation U ... is for unboxing V ... is for vinyl set W ... is for watermark X ... is for XEX.605/6 Y ... is for yellow sub demo Z ... is for zero pressing issues (!) Thanks to everyone for a great ride.
I think this is a good illustration of the synergy between Lennon and McCartney. Each was an enormous individual talent and they did great -- if less consistent -- work on their own, but when things clicked between them there was genuine magic.
I have a question that's probably been litigated already, but: How many semitones should I adjust the pitch and speed on the Rain (Actual Speed) track to get what Paul would have played to? Three?
I just found an early 70's Mexcan copy of Revolver and it seems they tinkered with it slightly by leaving the count off completely off of Taxman, and some odd panning on the beginning of Love You To. The Question is what masters were they working with? Did they make these decisions on their own? And I also just recently found a US lime green label Capitol stereo LP that I swear has extra reverb on it. Can anyone tell me about the US album if they found versions that have been reverberated / dexterized? The Mexican copy sounds a lot cleaner than the US copy and they were pressed around the same time. Both have lime green labels
I'm strongly agreeing with those that feel the connection between the initial version of Yellow Submarine and Strawberry Fields Forever. It really does feel like John was having a second go at the same theme when he came up with SFF. Whilst obviously both songs ended up quite different, the artistic spark or initial genesis has come from the same place. This is the most surprising thing that Revolver has revealed and not one single Beatles academic ever predicted it or wrote about it to the best of my knowledge. This makes it one of the most astonishing finds and re-evaluations of rock history.
I have read many comments about Yellow Suarine being a song aimed for children. But was it ever considered so in 1966? Or is this a retrospective view coloured by the obvious children's film that came later? Is there any evidence any of The Beatles considered it child's track in 1966? I don't think there is. Happy to be corrected, though.
All I can tell you is that the thought "Hey, that's a childrens' song!" never crossed my mind once when I listened to YS in 1966. It was just a song - a whimsical, playful Beatles song. Just in the same way that "Eleanor Rigby" was a sad, dramatic Beatles song. The Beatles were still young - like me - so it would have seemed "right" that they were entertaining and amusing themselves as much as anyone else with a playful little fantasy. Hell, we were all young and were never going to grow up!
Listen again to the early version of "She Said, She Said." The same melancholy, wistful moodiness can be heard there as well. Most likely something John was going through in his life at the time, the end of his marriage to Cynthia and possibly his disillusionment with the fame and success the Beatles had achieved.
That’s how I always heard the song. The “children’s song” idea didn’t occur to me till it was continually (bordering on obnoxiously) pointed out as such many years later.
The missing countoff was probably a mistake, similar to one of the French pressings of Abbey Road missing the opening bass note of Come Together. I can’t speak to the panning you hear on LYT but I have a number of Capitol pressings of Revolver and none have added reverb. I don’t know if he’s around but poster @fmfxray373 has a few lime Capitols..maybe he has a Revolver he can chime in on.
I prefer my mono CD to this remixed LP. Not a bad, or poor result to the new remix. I prefer the mono box to the new one. I find this discussion very interesting. Never gonna be consensus on sound. Especially when it comes to very beloved fan fueled discussions. Been quite a few disappointments lately for me with music. Particularly LPs. This is probably my biggest disappointment. Love this album.
