what I can hear on Beatles records

The history and music of the Fab Four

Re: what I can hear on Beatles records

Postby (wolfgang) » Wed Jun 16, 2021 12:01 pm

Hi Kiddwad57

I really have no idea whether Paul used his Bassman amp for bass anyway. Best source for these amp-questions, to me, is the "Vox amplifiers" book by Jim Elea, but, no wonder, the book is focused on Vox amps. Through the "Stratocaster year" (1965), I guess, Paul uses mainly his AC100 bass amp. I have no doubt, John used a Fender amp on Day Tripper, there are studio outtakes when even the amp's reverb was used (but eventually not on the record). But my knowledge about the Beatles use of Fender amps is poor. It is mentioned somewhere, Paul liked the sound of the UL 730 amps for bass, but these came up in 1967, when they switched from UL7120 to UL730. In 1968 the full-transistor amps came. For Revolver, he may have used an UL7120 or an UL4120, the bass version of the UL7120. I'm sure, George Harrison played the bass for "She said, she said". The bass part isn't as fluid and funky as Paul, but very exact played. The sound is quiet different to Paul. Paul left the studio before the recording of this last piece for Revolver. the remainig Beatles delivered a masterpiece.

But, there are some more things, I decided to mention after all: comeimg soon
Last edited by wolfgang on Wed Jun 16, 2021 3:28 pm, edited 3 times in total.
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Re: what I can hear on Beatles records

Postby (wolfgang) » Wed Jun 16, 2021 1:09 pm

But, here are some more things, I decided to mention after all:

Matchbox:
after filming "A hard day's night" they came back to Abbey Road studio 2 after one month to record Matchbox. Carl Perkins, their idol, was present on studio 2. John obviously wanted to repeat his perfect Long tall Sally appearance and started another par force ride on his 325-Miami.
George played the repetitive figure on his 360/12. John started with the best Matchbox intro I ever heared, but when it came to the solo he misplayed it, some lower off-notes appeared. So he had to play it again. In the mono mix, available on the 2009 mono CD set (disk 15 track 13), they used an odd mix of both solos (maybe John insisted on using the misplayed solo somehow), but for the stereo mix, available on the stereo set of 2009 (disk15, track 13) the misplayed solo was, shortly after its propper start, drastically lowered in level. This mix, combined to mono, was used for the German single "Matchbox/Slow down" in 1964.

If you've got trouble:
another song for Ringo (Anthology Disk 3 track 5). Fortunately it was replaced by "Act naturally" for the "Help!"- LP. But if you remove the two middle 8s very exactly (with any sound editor), it's a nicce little song, and to me, maybe because of the droning rhythm guitar, it is the missing link between "Boy's" and "Tomorrow never knows".
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Re: what I can hear on Beatles records

Postby (wolfgang) » Wed Jun 16, 2021 3:14 pm

George Martin and George Harrison:
George M. somewhere told the story that George H. answered to his critical remarks "And I don't like your tie". "Since then, I loved him" Naive as I was, I took that for real. But today I'm convinced: it was ment ironicaly. They disliked each other from the first day on and from the bottom of their hearts. George Harrison could hardly stand such an whistle blowing, bar striking authoritarian supervisor. Later George M. forced George H. to play, together with Martin's piano the "A hard day's night" solo in halfspeed, instead of letting him practise it for half an hour or so. Furthermore George M. could not often enough double Geoge H's twelve string guitar with his piano. And recently I read in the net, how he forced George H. to play the solo of "Michelle" , (composed by George M.) in the same way, but now in real time. With the piano out of the microphone's range in studio 2. Without any bleed through?
(I can not believe it, but if it was so, I am convinced Paul overdubbed it, playing his Casino, bridge p.u switched on, treble pot down to low, heavily compressed, that's the sound, and to me, it's a typical bass player's solo. But this time I may be completely wrong).
At the latest in 1967, the Beatles became aware, that they earned only a tenth of what other EMI artists do, because ot the rip off contract they had signed with George M. and Northern Songs (source for the latter: Norman Smith's book). George Harrison's first revenge was his song "Only a Northern Song", intentionally mixed in fake stereo for Sgt. Pepper. George Martin refused it. Fortunately there is a good sounding, clean mono mix on the 2009' CDs, Disk 12 track 2.
If this odd song would have been taken instead of "When I'm sixty four", Sgt. Pepper would have been even better. I know, you will hate me, pardon: dislike me for this statement
:D :D :D
Wolfgang
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Re: what I can hear on Beatles records

Postby (wolfgang) » Fri Jun 18, 2021 12:20 pm

again: Only a Northern Song:
for them who love this song, there is a stereo mix on the "Yellow Submarine" CD, track 11. And last but not least there is an earlier version with snappier lyrics on Anthology disk 4 track 7.

All you need is love:
the Beatles pre-produced a take of "All you need is love" where George H. gave a deconstructed performance on violin. You can partly hear it on the last track of the "Rock Band'" videoplay mix for about one and a half second from 1:15 and 1:45 and 2:24 ( Paul is playing double bass). And George M. could not mix it as low as inaudible for the eventual record.
But, George Harrison was also dissed occasionally by John and Paul . They came in with songs they had composed and practised together, but poor George was expected to play the solo of his life from scratch. But that wasn't George, he could hardly stand that pressure. Ringo was more hardened.

Wolfgang
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Re: what I can hear on Beatles records

Postby (wolfgang) » Sat Jun 26, 2021 10:31 am

George Harrison:
beside George Harrison's India-influenced and his Gospel -songs, there are excellent rockers ( o.k, here's the list: Taxman (with John Lennon's "secret chord" since "You can't do that": D7#9, even Herbie Hancock used an F7#9 for "Cantaloupe Island") , I want to tell you, Only a Northern Song, Blue Jay Way, It's all too much, While my guitar gently weeps, Piggies , Savoy Truffle, Old brown shoe, Here comes the sun, Something, For you blue (George on Ukulele, John on laptop slide guitar), I me mine (the last song The Beatles recorded, without John (listen to George's statement ahead of the Anthology version - disk 6 track 22). John or Paul could not have written these songs, alone or together. Both had another style of writing. George songs weren't so beatle-ish.

India:
in early 1968 the Beatles made holidays at the Maharishi Mahesh Yogi camp in India.
Also present were Mike Love of the Beach Boys and Donovan Leitch . John learned a sort of finger picking from Donovan (this was perfectly explained here in this forum), and Mike Love told them (I wasn't there, but I'm sure) how the Beach Boys recorded their songs:
beside their vocals (and a bit of Brian Wilson's bass playing), all the instruments were played by a band of excellent L.A. studio musicians (today known as "The Wrecking Crew", with Hal Blaine and others) on the records. For the good sound the Wrecking Crew had some tricks: amongst other things a Fender Jazz Bass was often doubled with a Danelectro 6-string bass guitar.
What a relief to John and Paul. With a huge wave of creativity they came back to Studio 2:
John used his new finger picking style immediately. A Fender Jazz Bass replaced Paul's Rickenbacker, and a new Fender VI Bass enlarged their instrument selection. Soon they recorded "Back in the USSR" (Mike Love had made a joke: why don't you play a "Beach Boys" song?) But, maybe because John and Paul demanded Ringo to play the drums like Hal Blaine, (with six toms!), Ringo gave up annoyed and quit the band. Fortunately he came back after some weeks of holidays. In the meantime Paul was the drummer, but soon it was clear to everyone: Honey, don't! And in the end, they even had not enough courage to mix the "Beach Boys choir" of "Back in the USSR" loud enough for the cause .
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