REVOLVER 2022- WHAT'S NEW?

[Mr Muckle]

Thanks again, Mike, for the info and for your views.

I just noticed that "Got to Get You Into My Life" (second version/unnumbered mix) is available on iTunes, and it absolutely blew me away, gave me chills and drew tears to my eyes. Almost made me reinstate my cancelled CD box order, but as I read more of your take on it all, and the legitimate gripes that we fans have with what is (and isn't included), I sadly (this is my favorite album of all-time) decided that NOT buying this is the right thing to do. I'll stream it...I'd rather buy it, but "not in that color", as the saying goes.

[Help67]

Hi all, I have just listened to the two outtakes albums and I would like to comment on what I think very briefly to see how you see it. To start with the treatment of several songs like Got to get you in to my life (even if it includes the Anthology version), Love you to, And your bird can sing and Yellow sumbarine is fantastic. Impressive Granny Smith and what about John with Yellow.... Impressive the versions of And your bird can sing. I can't understand how this song is not more recognized, I don't get it. The windless version of Got to into... is wonderful. It sounds like another one. This is the best for me, next to the real version of Rain, amazing really. Then come good versions of Eleanor Rigby with small changes, where differences can be appreciated. She said is ok but very similar to the edited version. I'm only sleeping is also good but not very good. I start the modest reviews with Dr Robert, it's almost the same. I don't understand anything about Tomorrow never knows. Such a complex song was made from nothing to everything? No different takes? The same for anthology with 18 unusable seconds (his father didn't include them). Isn't there more of this song so ahead of its time? And poor George... they've been mean to him. Taxman, the same of the same and I want to tell you... less than a minute. As beautiful as that song is. I don't understand how his exposa hasn't vetoed the release. He doesn't deserve it. For no one and Here, there and everywhere don't contribute much either. Paperback writer is fine because there is nothing else. The ep is pathetic. 10 minutes for a cd and poor George... and Good day sunshine is ridiculous, whichever way you look at it. I finish this toast that nobody will read saying that although with its defects, it is sublime to listen to it. That's the advantage they have, whatever they release will be very good because it's the Beatles' music, four guys playing together like no one else will ever play again. Finally, I would like to thank the conscientious comments of the creator of this review. They are really impressive and accurate.

[skynet]

Thanks Mike, always a pleasure to read you, you always bring perspective to these releases, which i appreciate a lot

[onemojofilter]

Incidentally, the opening part of For No One up until "and in her eyes" is the same chord progression as the "hello hello, I don't know why you say goodbye I say hello" chorus in Hello Goodbye. Macca re-used that idea. You could do a good mashup of the two.

I noticed this also and tried it a couple of times a few years ago. Don't know enough about mashups to get the two songs lined up perfectly.

I also wondered how it would sound to fly in the solo from "A Hard Day's Night" onto "Get Back".

[Lord Reith]

Thanks again, Mike, for the info and for your views.

I just noticed that "Got to Get You Into My Life" (second version/unnumbered mix) is available on iTunes, and it absolutely blew me away, gave me chills and drew tears to my eyes. Almost made me reinstate my cancelled CD box order, but as I read more of your take on it all, and the legitimate gripes that we fans have with what is (and isn't included), I sadly (this is my favorite album of all-time) decided that NOT buying this is the right thing to do. I'll stream it...I'd rather buy it, but "not in that color", as the saying goes.

Yeah, that is a fantastic version with the guitar riff that would become Paperback Writer strung throughout. Looking at Lewisohn's book I see that only a couple of days after making this mono mix, they recorded Paperback Writer and after that the guitars were mixed out of GTGYIML (except for the very end where part of the riff is heard). They obviously took that guitar riff and decided to write an entire new song around it! I have to say though that the former is 100x better song than PW, which to me is a very flimsy piece of songwriting. The only notable thing on it is the extraordinarily heavy guitar sound (Paul impersonating Jeff Beck, said George).

Also, the tom-tom fills leading into the choruses don't suddenly dip in volume like they do on the lp. Obviously dipping the volume of the fills at this point was a deliberate decision and not some kind of technical problem arising from bad miking.

And the harmonies too, just wonderful. I like this outake version so much more than the real one. Can anyone understand why this was left off Anthology!

[Tex]

Someone on Hoffman posted a short sample of a super wide and discrete stereo spectral upmix of the new take of "Got to Get You Into My Life" so this can definitely be done.

I sure would like to hear a composite of that take with the final take's vocals and horns. They have the same basic drum track so it would not be a fantasy mashup it would be something that COULD have existed and COULD have been mixed if they were recording to 8-track instead of 4-track.

This may be the best example of the Beatles deleting part of a superior arrangement (the guitars).

[rtbcIII]

Your Rev. Mr. Sir LR,
You should, like, teach a class in analyptical theremin, bro.
No lie. Peace out.

[Rupert Pupkin]

I've never been a fan of Got To Get You Into My Life - I think that the horns (?) section which was supposed to make it sound like a Motown-like tune just down work with the rest of the album - too eclectic but not like the White Album.
They took one guitar riff (the one I would call the "Paperback Writer" guitar riff) and they used it for the main riff of the song, which changes a lot (that reminds me how G.Harrison did the same for one oh his song which appears on the deluxe ATMP)
And instead of the horn arrangement we have a guitar fuzz (?) which almost sounds robotic.

Same for And Your Bird Can Sing which has almost the pre-Pink Floyd rock-prog A Saucerful Of Secrets - Syncopated Pandemonium - drumming section from Tomorrow Never Knows.

In comparison to Lord Reith "real live tempo" of "Rain" (I think it's on his suite Evolver) - he posted this recently - is not that fast. I don't think that Ringo could not play that fast. But it's a freaking faster tempo. I was just wondering how "accurate" this "real live" tempo is, because the official stuff is not something you can 100% trust. Perhaps later someone like csnyfan can give us his expertise, and some mix.
Generally it was rather the opposite : a recording played at a faster tempo : for instance Eric Clapton guitar solo in Deserted...Cities from Cream.

I think that "Rain" influenced a lot some other band : Maybe Tomorrow by J.Hendrix (for the atmosphere and texture sound), Child Of The Moon by the Stones for the arrangement (and even the melody of the verses)

I also love the almost instrumental (perhaps someone with audio skills will boost the too distant vocals) version of "I'm Only Sleeping" which almost sounds like the sequel of "Help!" (in term of rhythm guitar bass, drums); except that after asking for Help! John was now in nonchalance.
But what irony that in primary French school we learn to kids to speak their few words in English while singing Yellow Submarine whereas apparently the lyrics are referring to a sense of loss and lack of identity - like the orphanage place - Strawberry Fields Forever - as if the "resilience" (Boris Cyrulnic theory about override a childhood trauma) here was dreaming - dream is one of this way for "resilience".
And this delicate song is about dreaming being in the sea in a yellow submarine.
It has the same kind and delicate guitar than the demo of Strawberry Fields Forever. Perhaps later Ringo got the idea of "Octopus Garden" has a clin d'œil/tribute to John Lennon's song.
And judging that later, with Donovan's technique, Lennon also sung actually "Goodnight" but was perhaps to shy and guilty to sing it to his own son which he neglected; he probably give it to Ringo. And this sounds like a Walt Disney cartoon music with the orchestration and Ringo's voice fits better.

But it's somehow kind of sad that Yellow Submarine turned out into a "catchy" chorus - imagine if Strawberry Fields Forever was sung by Ringo ?
Now I understand that perhaps Lennon in the 1972 interview or Playboy kind of reconstructed the story and did not speak really about the origin of this song.

[miggynav]

Thanks again, Mike, for the info and for your views.

I just noticed that "Got to Get You Into My Life" (second version/unnumbered mix) is available on iTunes, and it absolutely blew me away, gave me chills and drew tears to my eyes. Almost made me reinstate my cancelled CD box order, but as I read more of your take on it all, and the legitimate gripes that we fans have with what is (and isn't included), I sadly (this is my favorite album of all-time) decided that NOT buying this is the right thing to do. I'll stream it...I'd rather buy it, but "not in that color", as the saying goes.

And the harmonies too, just wonderful. I like this outake version so much more than the real one. Can anyone understand why this was left off Anthology!

Maybe because take 5 is quite different from the released take while this unnumbered mix is closer to the cv version, similar to the outtakes of Taxman, Obladi Oblada and I’m looking Through You in Anthology where you can hear the difference between the outtakes and the master take.

[CultTVman]

Everything I read about this new box set excites me. I always appreciate the info and insights that Mike shares. Having spent a lifetime listening and wanting more and better, I have enjoyed all the box sets from Giles and the Beatles. I am patiently awaiting delivery next week.

Steve