Rickresource Rickenbacker Forum

Ever since I first heard "Fixing a Hole", I just loved the lead guitar part in that song. That crunchy sound. Can't believe it was Paul, always thought it was George, but like learning that Paul played slide on "Drive My Car", we all learn something new everyday.

dpowell wrote:Yeah, I'm sorry I but I can't remember where I heard about John on the Precision...however, I know it was a direct quote by Geoff Emerick or someone like that. I'll do some searchin'.

No mention of a Precision in either book (I could find), but as with Lewisohn, Emerick credits George with the lead on FAH.

Sounds like a Paul solo to me...but you never really know with them, do you? Actually, it is kind of similar to the lead George plays on "Let It Be".

I think the few guitar solos that Paul did play have an exceptional flair and style. He favored a lot of flourishes and a very sharp sound. I think his style had a huge effect on other bands at the time...the Moody Blues' "Ride My Seesaw" has that quintessential British psychedelic lead solo...you know, the one that sounds like Paul on "Good Morning Good Morning". Lots of others like that at the time, too.

Paulie's the bomb.

I've come to believe that Paul had the best work ethic among The Beatles. John could work quickly when he was inspired, but he lost interest if they couldn't get the sound he wanted. I doubt he was ever happy with the finished product. Ringo was an excellent drummer, but I think he was willing to show up and work out his parts as needed. George was more like a session playing guitarist in the early years (since John and Paul worked on the songs and arrangements). By 1966, George was more interested in Indian music and mysticism than recording or touring. Paul was the one who got the band into the studio to keep the records coming. Since he was capable of playing anybody's parts (except Ringo's), he often did. I was a Beatles fan for nearly 30 years before I found out how much he contributed to albums like 'Sgt Pepper'. Although I have no interest in his recent output, I have an immense respect for Paul's work with The Beatles.

randyz wrote:I've come to believe that Paul had the best work ethic among The Beatles. John could work quickly when he was inspired, but he lost interest if they couldn't get the sound he wanted. I doubt he was ever happy with the finished product. Ringo was an excellent drummer, but I think he was willing to show up and work out his parts as needed. George was more like a session playing guitarist in the early years (since John and Paul worked on the songs and arrangements). By 1966, George was more interested in Indian music and mysticism than recording or touring. Paul was the one who got the band into the studio to keep the records coming. Since he was capable of playing anybody's parts (except Ringo's), he often did. I was a Beatles fan for nearly 30 years before I found out how much he contributed to albums like 'Sgt Pepper'. Although I have no interest in his recent output, I have an immense respect for Paul's work with The Beatles.

Well said, Randy. I've got pretty much the same perspective.

I agree...and he could do pretty well on drums, too.

He had the most "musicality" of them all, and just as fertile an imagination--musically--as anyone. He takes a lot of flak for being the "sentimental one" or having too much melody and not enough edge...but that's sort of like your arm criticizing your leg. Put them all together and it's magic.

Oooops! Double post!

I decided this past weekend to rediscover Paul's early solo work. I bought a copy of 'McCartney' on CD locally and then ordered 'Ram', 'Wild Life', 'Red Rose Speedway', 'Band On The Run', and 'Venus and Mars'. I bought the import CD's that include the singles as bonus tracks. As a hardcore Lennon fan, I never bothered to buy a couple of these LP's when they came out. 'Ram' is a old favorite of mine, but some of the others will probably be enlightening. I like to approach music with an open mind and decide for myself whether it warrants merit. Each CD will get a fair audition in my living room...

You guys are joking about John playing bass on 'Fixing a Hole', right? As for the sound quality or sonic presence of the bass in that track, ask the engineer or producer about that. The bassline itself fits Paul's style of the period perfectly, and most of the bass lines on that album were overdubs, so why wouldn't Paul record the bass line? And during the 66/67 period, Paul was very conscious of the bass sound on Beatles records. Most of John's known bass lines, especially on 'The Long and Winding Road' are meager, relatively sloppy, and seem to suit his (bad) attitude toward being made to play the bass instead of the guitar.

(Off topic:) Randy, Wing's 'Wild Life" isn't as bad as it's reputation, in my opinion. It's as though the Paul of 'McCartney' and 'Ram' wanted to send up the rawness of John's 'Plastic Ono Band' album, which was John's album in current release at the time of 'Wild Life''s recording. The first song doesn't even have lyrics, just Paul yelling and improvising, which is very much in the spirit of John and Yoko's POB albums. It's not amazing, but it's an interesting experiment that didn't quiiiiite turn out. It does have a few good songs on it, though. 'Red Rose Speedway' is pretty good too, however it's hard to accept 'My Love' when it comes on, for me anyway. It stands out too much.

Re: "She's Leaving Home”: has anybody ever noticed the difference in speed between the mono LP & stereo LP versions? The mono is played at the correct recorded speed clocking in at 3:19. The stereo is slowed way down, coming in at 3:34. The mono sounds like Paul and John’s normal voices - the stereo sounds really slow, almost like the vocals on "Strawberry Fields Forever".
I'm sure that Paul was there for the mono mixing - but probably not for the stereo mixing. Was this George Martins' revenge (conscious or not) for Paul’s arranging indiscretion?

rick36 wrote:The mono is played at the correct recorded speed clocking in at 3:19. The stereo is slowed way down, coming in at 3:34.

Actually, the stereo version is how it was originally recorded, the mono version was sped up. You know, to get that 'youthful' sound.

beefandbones wrote:You guys are joking about John playing bass on 'Fixing a Hole', right? As for the sound quality or sonic presence of the bass in that track, ask the engineer or producer about that. The bassline itself fits Paul's style of the period perfectly, and most of the bass lines on that album were overdubs, so why wouldn't Paul record the bass line? And during the 66/67 period, Paul was very conscious of the bass sound on Beatles records. Most of John's known bass lines, especially on 'The Long and Winding Road' are meager, relatively sloppy, and seem to suit his (bad) attitude toward being made to play the bass instead of the guitar.

I just checked Beatles Gear and Abbey Road engineer Richard Lush claims that John played bass on the track. Page 200. But I agree that it sounds like Paul, just different tone.

I always just accepted the fact that John played bass on this song, but listening to it now (and remembering his LIB playing), it sounds too "good" to be him.

Would this mean that Paul played two guitars, bass, and harpsichord on this one?

sloop_john_b wrote:I always just accepted the fact that John played bass on this song, but listening to it now (and remembering his LIB playing), it sounds too "good" to be him.

Would this mean that Paul played two guitars, bass, and harpsichord on this one?

Martin played the harpsichord.

It's an AWESOME bass line, so inventive.

Didn't John play bass on Helter Skelter? If so, those are two nailed pieces...I'd reassess his bass-playing score.