Mr Muckle wrote: ↑Fri Oct 21, 2022 2:20 pm
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.
the vocal harmonies for "And You Bird Can Sing" are great too. Too bad they did not keep these vocal harmonies.
And the fuzz guitar instead of horns + the Paperback Writer riff constantly repeat makes "Got To Get You Into My Life" closer to the rest of the song rather than an attempt of making a Motown song arrangement.
Mike, thank you so much for your review. I learned a lot, sincerely.
I also think they should have included more George songs, too bad.
Anyway, it's a great release, I can't wait.
Engonoceras wrote: ↑Fri Oct 21, 2022 10:57 pm
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.
Indeed, and is especially suited because the parts are all so very different from one another. The less alike they are, the better the separation.
The fuzz box is the same one on Think For Yourself I think... and Satisfaction for that matter. A pretty weedy, very tinny distortion that makes me think of go-go dancers. I can see why they dropped that part and did horns instead, but they should have kept the aggressive rhythm guitar which really gives the song momentum (and sounds a bit like Getter Better as someone else pointed out).
Rupert Pupkin wrote: ↑Fri Oct 21, 2022 11:43 pm
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.
Same thing crossed my mind. It sounds too fast.
I wonder if anyone could analyse it and determine what key it was actually played in. Might be tricky to do - guitars can have capos and drum and bass not easy to judge.
Alternatvely, we just trust it was copied from original studio tapes recorded at that tempo.
Rupert Pupkin wrote: ↑Fri Oct 21, 2022 11:43 pm
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.
Same thing crossed my mind. It sounds too fast.
I wonder if anyone could analyse it and determine what key it was actually played in. Might be tricky to do - guitars can have capos and drum and bass not easy to judge.
Alternatvely, we just trust it was copied from original studio tapes recorded at that tempo.
I would never have expected them to play in the key of Bflat, because of the way the guitar is played John and George must be using capos (that's a band that goes on the neck to make the notes higher, like George uses on If I Needed Someone in Tokyo). When I was mixing that fast version I just assumed it would be in the key of A because they are playing open chords and at that pitch it is already breakneck speed. But who knows.
Rupert Pupkin wrote: ↑Fri Oct 21, 2022 11:43 pm
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.
Same thing crossed my mind. It sounds too fast.
I wonder if anyone could analyse it and determine what key it was actually played in. Might be tricky to do - guitars can have capos and drum and bass not easy to judge.
Alternatvely, we just trust it was copied from original studio tapes recorded at that tempo.
I would never have expected them to play in the key of Bflat, because of the way the guitar is played John and George must be using capos (that's a band that goes on the neck to make the notes higher, like George uses on If I Needed Someone in Tokyo). When I was mixing that fast version I just assumed it would be in the key of A because they are playing open chords and at that pitch it is already breakneck speed. But who knows.
It sounds like…in my opinion…that Rain(and other tracks) were recorded with tape machine running at a slower speed…and when you play it back at the proper speed it sounds like they were using a white substance while recording…it sounds ridiculously fast and did they really play it that way?? I’m not of the belief that they did. I think the book documents the use of different speeds while recording
[link removed by admin]
besides, everyone on this site that wants the box set aleady placed pre orders cos we're all die hard fans and everyone is entitled to having digital back up copies until 2025. It's not a direct links so I'm not breaking any group rules, which since it's not an official release yet, how would that count?
Lord Reith wrote: ↑Sat Oct 22, 2022 6:21 am
The fuzz box is the same one on Think For Yourself I think... and Satisfaction for that matter. A pretty weedy, very tinny distortion that makes me think of go-go dancers. I can see why they dropped that part and did horns instead, but they should have kept the aggressive rhythm guitar which really gives the song momentum (and sounds a bit like Getter Better as someone else pointed out).
It all depends on the presence of fuzz in the mix. Obviously, it's in full throttle on Think For Yourself and Satisfaction. But, Brian Wilson had employed fuzz bass for "Good Vibrations", and I don't mean the rejected almost-final version where in-yer-face fuzz bass is all over the bridge. He tried to use fuzz bass in the choruses, very, very subtly. The people who've compiled the sessionography for the song, all 9 sessions for which we have the outtakes, would like us to believe that fuzz bass was played on the most of the sessions in this subtle manner, reinforcing the choruses, but this is not the case, at least most of the times it were the horns. Like, they mention it had been employed in the very first session, but it's never heard in any outtake. Could it be that they've relied on the session documentation too much? And for some other sessions, it's hard to make out whether it's fuzz or certain kinds of horns, so subtle is the presence of the instrument in the mix. The only session where the fuzz had certainly been employed in the chorus, its presence in the mix is felt immediately; as for the rest, the mix quality is too different between the various sessions.
