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Post by PaulBearer on Nov 13, 2003 2:00:41 GMT
Oh right, I get it! A "Double" LP!
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Post by Perplexed on Nov 14, 2003 7:07:22 GMT
Well, correst me if I am wrong, bass players etc. , but the bass "time" on Getting Better seems to be in the center of the pocket, maybe on top at times, and the bass "time" on "Fixing a Hole" seems at times to be more laid back, more behind the center of the beat...am I nuts?
All, in all, the "ensemble" throut Sgt. Pepper is eccentric, and the time or coordination between drums, bass, and rhythm guitar seem, well, a little uncentered, probably from the stop and go piece it together way the record got made. Usualyy, I thought from revolver back, these four guys jammed solidly, sometimes on top of the beat, but always exciting and TOGETHER with each other. Pepper's time, and I am not refering to Ringo's efforts at all, seems loosey goosey. I still love the record, it's very interesting to hear and, with all that's been shown here, fascinating. Really fascinating. But, things on Revolver and Rubber Souls and further back just sound like more solid life playing, together. am i nuts?
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OPD
Contributor
Posts: 17
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Post by OPD on Nov 14, 2003 14:40:06 GMT
over the years ,regularly I listen to Beatles music, being a collector,recently I found new CDs from virgin vinyl first readings and the sound is amazing, all the EMI CD edition are out of my shelf,then I re-listen to all the albums Naturally I stick to all the first albums till Revolver(i didn't know why my interest was less excited for the others albums) now i am beginning to understand a little bit more Perplexed you are right, they were tight, playing with each other From Pepper it is different, you said it well George and Ringo were not so much implicated and it seems like it was more a matter of overdubbing and big enginering then a band playing together Yesterday I was looking an Anthology and Ringo said he was getting fat and play chest and George had is head in India and they were waiting for a call from John or Paul to come back in the studio Remember George saying to Paul''I won't play anything if it is what you want me too, just make up your mind'' I would say this is not a way of being tight together So today when we listen more carefully to the albums, because of our research, it is interesting to read stuff like you guys write, It makes me re-listen with a distance and find anomalies that may lead to us to what we are looking for Thank you
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OPD
Contributor
Posts: 17
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Post by OPD on Nov 14, 2003 16:35:06 GMT
Takes to final track edition....We can see that after67 it seems to be hard to get their shit together
It won't be long 8 takes all Ive got to do 6 takes I wanna be your man 6 takes Money 7 takes Boys 1 take PS I love you 10 takes Twist and shout 1 take No reply 8 takes Baby's in black 5 takes Rock and Roll Music 1 take And I love her 21 takes anytime at all 11 take Things we said today 3 takes Help album,,,average of 5-6 takes Rubber Soul album,,,average of 2-4 takes Revolver album,,,average 5-6 takes Pepper average 8-9 takes Walrus 29 takes Hello Goodbye 22 Strawberry 26 AYNIL 58 Glass Onion 33 takes While my guitar 25 Happiness 65 Blackbird 32 I will 68 Birtday 22 Sexy Sadie 117 takes Helter skelter 21 takes Long Long Long 67 takes Something 39 Maxwell 27 Darling 26 I want you 36 You never give me 30
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Post by Curious on Nov 20, 2003 14:52:40 GMT
Ouch!! 117 takes on "Sexy Sadie"?? That's extreme!
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Post by MotherNaureSon on Nov 20, 2003 14:56:46 GMT
In the "White Album" they spent 30 hours work in average for each song.
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Post by Curious on Nov 20, 2003 15:06:26 GMT
Still, I have NEVER known a song take 117 takes! I've had 5 years of working in a studio environment, and the most amount of takes I ever saw was anout 75, and that was for a 12 minute epic!
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Post by IanSingleton777 on Nov 29, 2003 6:01:15 GMT
"Nowhere Man" is Paul's masterpiece on bass!!! Just my thought!!!! Yeah, Eggy! Great choice. I also dig 'Lucy in the Sky,' 'A Day in the Life,' 'Lovely Rita,' generally for me, his most inventive bass lines were from the acid/psychedelic period. 'eight days a week' was rocking too. Those kinds of riffing bass parts are called "walking " bass lines, amongst musicians...
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Post by Darkhorse on Nov 29, 2003 17:16:47 GMT
Yeah, Eggy! Great choice. I also dig 'Lucy in the Sky,' 'A Day in the Life,' 'Lovely Rita,' generally for me, his most inventive bass lines were from the acid/psychedelic period. 'eight days a week' was rocking too. Those kinds of riffing bass parts are called "walking " bass lines, amongst musicians... Weren't 'A Day in the Life' and 'Lovely Rita' recorded after Paul died? If so, then it must be a stage musician like Klaus Voorman or someone like that playing bas in those songs. I mean, were walking bass lines a part of Paul's earlier bass playing? Didn't this style come about during the later Beatles songs?
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Post by IanSingleton777 on Nov 29, 2003 17:45:51 GMT
Weren't 'A Day in the Life' and 'Lovely Rita' recorded after Paul died? If so, then it must be a stage musician like Klaus Voorman or someone like that playing bas in those songs. I mean, were walking bass lines a part of Paul's earlier bass playing? Didn't this style come about during the later Beatles songs? Well, the style of walking bass lines was evident way before there were Beatles. But for our purposes, the REAL Paul displayed them via 'eight days a week' and several others, including a couple tunes on 'Help!' So, as for the excellent bass parts after 1966, any of the guitar playing Beatles or any number of their musical friends (such as Klaus) could have stepped up, IMO.
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Post by yahpete on Dec 7, 2009 12:10:25 GMT
Helter Skelter 1968
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Post by mistermustard on Sept 26, 2011 22:40:57 GMT
When George said that'' Revolver and Pepper could have been a double LP'' it tells me that few cuts were already on the making for Pepper and that can explain why some of you who have skill for Voices hear Paul and an imposer(s), but the bass seems to stay on the go it was before.. I know this thread has been dead for about 8 years, but... ...I was watching the Anthology videos the other day and I saw the interview that was referenced. It was a quote from the Anthology series and he's actually talking about Rubber Soul and Revolver basically being volumes one and two of the same album. There wasn't a connection between Revolver and Sgt Pepper. What I've always liked about George's quote was that it summed up what I've always felt about Rubber Soul and Revolver. They always seemed like parts one and two and it was great to hear him say it too.
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Post by mistermustard on Sept 26, 2011 22:42:28 GMT
Favourite bit of bass work:
Paperback Writer
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Post by lennoxxreverb on Oct 25, 2011 6:21:19 GMT
"Also, low range tones become more resonant before 67. In Eleanor Rigby, the verses range from E 3rd space bass clef to D just above the bass clef (above first ledger line). Most of the notes are E-B. Very comfortable rich range for a baritone. Paul is very at home here."
Listen to Country Dreamer. His sings some pretty low notes there. And then he takes it an octave higher. If you listen to the alternative version on the new 2 disc of BOTR it sounds like a totally different person. The voice in the single releas sounds very comfortable down low while the 2nd version the singer sounds strained. Thats just my opinion. And on the original topic, I like anything off of revolver. He is the master of counter melody.
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