TAXMAN (+ new alt mix)

[Lord Reith]

It's great. But it needs, well......more cowbell

I did separate the cowbell though you'll notice.

[Kwai Chang]

It's great. But it needs, well......more cowbell

I did separate the cowbell though you'll notice.

Thank you, Lord Reith! I thought your Taxman(Stop saying...) sounded noticeably changed. In general terms, your work conjured a new mindset which I've never experienced in casual listening to this song. Roughly, I first thought that Taxman sounded a bit more even as if on a scale/balance with only slight lean off-center. But it was enough to compliment other virtues. The cowbell was noticed. The backing vocals seemed to be sonically liberated. The instruments enjoyed a bit of crispness that I don't remember. I have never wondered about the beginning of the song EVER, but, yours made me wonder if the count in intro was intact from the basic rhythm track OR, did they add it after the track sequencing was decided. It is a fairly elaborate count in with more than one participant. It is a tone setting effect that seems to proclaim "Studio as sanctuary/band member". I had never thought anything special about the count in. However, I can sense a certain logic to it. They had a new vision about themselves and the beginning of REVOLVER seems to confirm a new comradery about their workspace. AND that thought led me to believe that they are embarking on an unspoken sense of deduction that explains all of their intentions without using explicit commentary. All of this was racing through my mind on the first play. Then the strangest thing was that I consciously felt that I wanted to hear more cowbell and also the alternate vocal counterpoint("anybody got a little bit of money, anybody got a bit of money") felt like it needed to be applied lied cake icing. The lead guitar was sounding quite peerless, and as the song ended, I thought they hadn't even finished the original idea. If Taxman was the first song recorded, I think they were only halfway finished with the instruments and then McCartney's solo was so raucous that it surpassed their original intent while being overtly aggressive. So, in short order, the song was determined to be full before it was supposed to be. The feel of the dynamic was better than they had been trying for and this was made even more so via a slightly uneven mix which also gave a complete illusion. If that was their first effort, they blew their own minds with an economy of motion and that also served to inflate their confidence.
I realize the TNK was the first work but your remix made me think Taxman never got finished which served an even better purpose...it finished itself!
Technology might be upon an unlimited-threshold infancy. Giles doesn't need Creedence projects. He should be ahead of everyone, but he is practically dormant. Giles should envision a point of theoretical glory that seems inevitable to me. Since REVOLVER SDE won't be about things that exist, he could lead the charge in the same vein as LOVE. Except, just compile a comprehensive REVOLVER SESSIONS box that gives us all known parts in their most separate forms. Fan-made efforts are already better than they should be. Giles has an advantage that is eluding him. Why not sell us a newer commodity: OPPORTUNITY! Fan-made can hold its own on any playing field. If Giles thinks atmos is worth pursuing, then he should believe the talent on this forum can teach him to count to infinity! Say goodbye to brick walls/RIAA curves/synthetic sympathy. Taking St. John's Wood By Strategy with a parsley garnish!
Tax that!
KC

Vape-pens GO HOME!

[D-listener]

Thank you Lord- another great mix!

[Nairb1956]

Thank you Your Lordship!

[Lord Reith]

Thanks for the comments evrybody.

I had never thought anything special about the count in. However, I can sense a certain logic to it. They had a new vision about themselves and the beginning of REVOLVER seems to confirm a new comradery about their workspace. AND that thought led me to believe that they are embarking on an unspoken sense of deduction that explains all of their intentions without using explicit commentary.

It took me a long time to get the count in. As a kid listening to the RARM album I thought that beginning was creepy. It was quite a few years later I understood it was meant to be the taxman counting his pennies. It would be nice to know who thought of that. Maybe Paul since it is him doing the counting (although John's 'spastic' "one two three fuwah!" in the background almost trumps it).

John said he contributed two lines to the song. That's gotta be the bit about declaring the pennies on your eyes!

[BTL1210]

Thank you M'Lord for your remix....

[Kwai Chang]

It took me a long time to get the count in. As a kid listening to the RARM album I thought that beginning was creepy. It was quite a few years later I understood it was meant to be the taxman counting his pennies. It would be nice to know who thought of that. Maybe Paul since it is him doing the counting (although John's 'spastic' "one two three fuwah!" in the background almost trumps it).

John said he contributed two lines to the song. That's gotta be the bit about declaring the pennies on your eyes!

How fresh can a 56 year old song be? I always thought Taxman count in was swampy like studio voodoo. But you are obviously tuned in to the most subtle perfection. That is the sound of your refund being counted back to you. Too bad they didn't clink a few coins together. I thought it was George counting in and John shouting behind him. The lead guitar is grab and stuff and stuff and tie the bag shut(bent note at the end). How cool!
What's funny about pennies is that in England, they're huge. So poorer you are the heavier your pockets become.
Lennon Lines???
Probable candidates: 'Mr. Wilson/Mr. Heath' and 'Anybody got a bit of money' 'Pennies on your eyes'
I also think the technology will be disassembling Swiss watches soon! I heard no artifacts.
Atmos and Andy by Giles Martin!
Mammy! Thanks for the convo!
KC

[Rupert Pupkin]

Could it be the first Beatles pre-Money Pink Floyd track ? I doesn't have the "Money" signature (King Crimson Ladies OfThe Road premiered it (with the sax solo, one year before Pink Floyd), but now I can imagine hearing coin or cash register on "Taxman".
There is this bombastic bass (a kind of bass, heavier and nastier than Paperback Writer), George's sarcastic voice, and these harmonies (John )
such great song. And what a mean guitar solo.

"Tomorrow Never Knows" marks the pre-rock progressive resumed into a 3 minutes song (and the piano ending is priceless) : Pink Floyd recycled it for the Syncopated Pandemonium in A Saucerful Of Secrets, and those reversed guitars/tape which sounds like seagulls... while it turned out to be the middle part of "Echoes".

[snrub]

It took me a long time to get the count in. As a kid listening to the RARM album I thought that beginning was creepy. It was quite a few years later I understood it was meant to be the taxman counting his pennies. It would be nice to know who thought of that. Maybe Paul since it is him doing the counting (although John's 'spastic' "one two three fuwah!" in the background almost trumps it).

Thank you LR, I was today years old when I learned that (i.e. from you)!

[theboxinargentina]

I'm really getting to the point where I want to tear what remains of my rapidly dwindling hair out when I keep seeing people on other forums (not here of course, because we are well-informed! ) keep saying things like...

"Can Taxman really be remixed?"

"The drums and guitars and bass are locked on one track!"

"It'll just be tambourine on one side"

"It can't be done without MAL"

"The technology isn't good enough yet!"

They say a picture says a thousand words, so here is a picture in sound...

https://tinyurl.com/she-will-just-be-till-17

Nice! Are you going with a more modern mastering these days?