"Come Together" Track Dissection
Here's a great track dissection from a BBC documentary on The Beatles that features Come Together from their Abbey Road album. It does a pretty good job of describing how the song was put together track-wise, although I wish we could've heard more of each track.A few things I noticed:
1) Listen how out of tune George's guitar is.2) I always thought that the electric piano was a Wurlitzer and played by Billy Preston (it's a Rhodes played by Paul). Just goes to show what I know.
3) The missing guitar lick is very cool but I can see why they didn't include it in the final mix. Sometimes the space is more powerful than anything that fills it. I think it might've stepped on the vocal as well.
4) Listen to the harmony vocal in the verse. After hearing a number of Beatle's vocal tracks and dissecting how they put their harmonies together, I'm always amazed that Paul usually takes the lowest part, considering his great vocal range. George is frequently the one on the top vocal (although not on this track).
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10. ágú. 2010
"Come Together" Track Dissection
Paul McCartney Bass Lines
Paul McCartney Bass Lines
Paul McCartney has never gotten nearly enough credit for his innovations as a bass player. I personally believe that he's the most influential bass player of the rock age besides Motown's James Jamerson.Like Jamerson, McCartney playing evolved into mini-melodies, being part hook and part counterpoint to the rest of the instruments in the band. As a result, the band always sounds full even with a minimum of overdubs.
I believe this was because the bass became an overdub that happened in the late stages of Beatle tracks, instead of being recorded the traditional way during tracking of the basics. This allowed Paul the freedom to come up with a line that fit better with the final track.
Here's an interesting video that showcases McCartney at his best (except for the last track). Have a listen to A Little Help From My Friends, Come Together, and Band On The Run.
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11. júl. 2010
The Beatles - Helter Skelter At Studio
The Beatles recorded the song multiple times during the The White Album sessions. During the 18 July, 1968 sessions, a version of the song lasting 27 minutes and 11 seconds was recorded, although this version is rather slow and hypnotic, differing greatly from the volume and rawness of the album version. Another recording from the same day was edited down to 4:37 for Anthology 3, which was originally twelve minutes long. On 9 September, eighteen takes of approximately five minutes each were recorded, and the last one is featured on the original LP. After the eighteenth take, Ringo Starr flung his sticks across the studio and screamed, "I've got blisters on my fingers!" The Beatles included Starr's shout on the stereo mix of the song (available on CD); the song completely fades out around 3:40, then gradually fades back in, fades back out partially, and quickly fades back in with three cymbal crashes and Ringo's scream (some sources erroneously credit the "blisters" line to Lennon; in fact, Lennon can be heard asking "How's that?" before the outburst). The mono version (on LP only) ends on the first fadeout without Ringo's outburst. The mono version was not initially available in the US as mono albums had already been phased out there. The mono version was later released in the American version of the Rarities album.According to Chris Thomas, who was present, the 18 July session was especially spirited. "While Paul was doing his vocal, George Harrison had set fire to an ashtray and was running around the studio with it above his head, doing an Arthur Brown." Starr's recollection is less detailed, but agrees in spirit: "'Helter Skelter' was a track we did in total madness and hysterics in the studio. Sometimes you just had to shake out the jams."
On the version that appears on the Anthology 3 album, McCartney occasionally sings "hell for leather" instead of "helter skelter."
"Umm, that came about just 'cuz I'd read a review of a record which said, "And this group really got us wild, there's echo on everything, they're screaming their heads off." And I just remember thinking, "Oh, it'd be great to do one. Pity they've done it. Must be great--really screaming record." And then I heard their record and it was quite straight and it was very sort of sophisticated. It wasn't rough and screaming and tape echo at all. So I thought, "Oh, well, we'll do one like that, then." And I had this song called "Helter Skelter", which is just a ridiculous song. So we did it like that 'cuz I like noise." —Paul McCartney, 1968
We used to have a laugh about this, that or the other, in a light-hearted way, and some intellectual would read us, some symbolic youth generation wants to see something in it. We also took seriously some parts of the role, but I don't know what Helter Skelter has to do with knifing someone. I've never listened to it properly, it was just a noise." —John Lennon, Rolling Stone, 1970
"That's Paul completely. All that [Charles] Manson stuff was built 'round George's song about pigs and this one... Paul's song about an English fairground. It has nothing to do with anything and, least of all, to do with me." —John Lennon, 1980
The Who had made some track that was the loudest, the most raucous rock 'n' roll, the dirtiest thing they'd ever done. It made me think, "Right. Got to do it." I like that kind of geeking up. And we decided to do the loudest, nastiest, sweatiest rock number we could. —Paul McCartney, 1985
11. jún. 2010
3. jún. 2010
Beatles - The Long And Winding Road
That the rain washed away
Has left a pool of tears
Crying for the day.
Why leave me standing here?
Let me know the way.
Um mig / about me
- Siggidóri
- Bass player, father, husband, band member, musician, son, brother, hobby photographer, friend, coffee drinker,
