The Beatles are fucking good.

[Ferris]

Ben & Jerry

[Rich Uncle Skeleton]

I recorded it on a digital dictaphone. I'll attempt to transfer and clean it up (I had it on the wrong setting) and see what it sounds like later this week and send it about if you'd like.

Ooo

[Retinend]

Here's the new podcast from the guys who interviewed Jackson. I'm really enjoying this breakdown: they talk about everything, but putting an emphasis on how the film confounded their expectations, even after having previously heard the uncut audio tapes ("nagra" tapes) in full.

The audio-only "canteen" scene in episode one (in which John and Paul candidly discuss the Lennon-McCartney relationship vis-a-vis George) was apparently always on the nagra tapes, but never actually audible until Jackson applied his magic to it. That alone commends Jackson even higher into the stratosphere, for me. How on earth did no Beatles nerd go and unearth this beforehand? It's an incredible scene, ethical considerations re its recording notwithstanding.

[poodlefaker]

Ringo's big thing for me is the sound he has on the Beatles albums. It's not just how the drums are mic'd up, it's how he plays. 'Back in the USSR' and 'Dear Prudence' are great, but as soon as you hear those two drum smashes from Ringo at the start of 'Glass Onion', there's a real feeling of "ahh, now that's the Beatles".

It's his first appearance on the album, isn't it, after walking out in a strop? It always sounds to me as if he's knocking on the studio door. "Can I come back in now lads?"

[Custard]

Isn't that when they placed loads of roses all round his drum kit to welcome him back?

This then inspired the artwork to Oasis' Don't Look Back In Anger single, trivia Trevors

[lipsink]

I thought 'Back in The USSR' had Paul on drums when Ringo left?

I remember Ringo saying 'Yer Blues' was the recording he loved in particular cos there was no separation between performers in the studio.

[Retinend]

Isn't that when they placed loads of roses all round his drum kit to welcome him back?

This then inspired the artwork to Oasis' Don't Look Back In Anger single, trivia Trevors

There's a white piano, too - an additional tribute to Lennon, perhaps?

[Custard]

Ah, never put those two together. Could well be!

[lipsink]

Wait....WHAAAAAAT???!!

Yeah, I know. I'm weird. I'm not even that fussed on 'Revolver' compared to Sgt Pepper, Abbey Road or The White Album. I know it's considered their best but something about it just doesn't do it for me.

[daf]

I thought 'Back in The USSR' had Paul on drums when Ringo left?

Mostly Paul, but George is also whacking a snare, and, according to Ken Scott, Lennon may also be in there somewhere :

Unusually, the drums on 'Back In The USSR' were recorded mainly by Paul McCartney, with contributions from John Lennon and George Harrison, after Ringo Starr had temporarily walked out of the group. On the first takes, recorded on Thursday 22 August, McCartney played guitar and Harrison was on snare drum.

Ken Scott : "I remember Ringo being uptight about something, I don't remember what, and the next thing I was told was that he'd quit the band. But work continued. They did Back In The USSR with what I seem to recall was a composite drum track of bits and pieces, possibly with all of the other three playing drums."

On later takes McCartney switched to piano, and Lennon strummed chords on a bass guitar. They taped five tracks, the last of which was the best. The next day they added two more drum, bass and lead guitar tracks, a piano part, lead vocals from Paul McCartney and backing vocals from Lennon and Harrison. All three Beatles contributed handclaps.

[Custard]

Saw this in The Works yesterday, for £15 and was tempted

The Beatles: The Illustrated Lyrics https://www.amazon.co.uk/dp/1787395413/

Problem is it's probably something I'd look at a handful of times at most.

But then it's The Beatles!

[the science eel]

Yeah, I know. I'm weird. I'm not even that fussed on 'Revolver' compared to Sgt Pepper, Abbey Road or The White Album. I know it's considered their best but something about it just doesn't do it for me.

I'm not mad keen on it either. It's just a collection of nice little ditties. I've never understood the fuss - apart from the three tracks I mentioned, which I think are stellar.

It's interesting how, from around the time of punk, the consensus (in the music press at least) moved from Pepper towards Revolver. The NME's top 100 albums of 1985 didn't even feature the 1967 album! To me it's a more powerful, colourful, evocative collection of songs. George Martin plays a bigger part, I suppose. Maybe that gives it a kind of grandeur that Revolver doesn't have.



https://www.muzieklijstjes.nl/NMEWriters100alltime1985.htm

[studpuppet]

I remember Ringo saying 'Yer Blues' was the recording he loved in particular cos there was no separation between performers in the studio.

I think they recorded that huddled together in the Studio Two echo chamber.

[LORD BAD VIBE]

I thought 'Back in The USSR' had Paul on drums when Ringo left?

I remember Ringo saying 'Yer Blues' was the recording he loved in particular cos there was no separation between performers in the studio.

Paul's on drums for 'Dear Prudence' too.

[JesusAndYourBush]

I watched part 2 yesterday and I just watched part 3.  Part 2 started to drag a little towards the end but that's probably my fault for watching it in one sitting rather than splitting it up. It was great to see the rooftop concert in full, how much footage was available before this? About 20 to 25 minutes?  I never knew the camera in the foyer was 'hidden' in a box in the corner, but it's just as well they did that or the police who came in would probably have objected to being filmed.

they talk about everything, but putting an emphasis on how the film confounded their expectations, even after having previously heard the uncut audio tapes ("nagra" tapes) in full.

Yes, I've heard 98 hours of nagras in a thing called "A/B Road" and this video has definitely been a revelation.

I recorded it on a digital dictaphone. I'll attempt to transfer and clean it up (I had it on the wrong setting) and see what it sounds like later this week and send it about if you'd like.

Ooo indeed.  I think there was (maybe it's still on there?) an excerpt of it on youtube (which I saved but can't find because I don't know how it was titled and I obviously didn't rename it to something meaningful that'd help me find it later) but not the complete thing.

[LordMorgan]

Loved reading everyone's feeling and the warmth toward this documentary
I totally agree.
I actually just started rewatching it for the second time.

Even the way on the first day of rehearsals, John and George saying hello
Ringo and then wishing each other happy new year. I loved it
 And it mostly goes on like that
It's an utter joy

After this I'm getting stuck right into the Beatles anthology dvds

[phantom_power]

I like how they keep on calling Ringo "Ritchie"

[Replies From View]

Here's the new podcast from the guys who interviewed Jackson. I'm really enjoying this breakdown: they talk about everything, but putting an emphasis on how the film confounded their expectations, even after having previously heard the uncut audio tapes ("nagra" tapes) in full.

The audio-only "canteen" scene in episode one (in which John and Paul candidly discuss the Lennon-McCartney relationship vis-a-vis George) was apparently always on the nagra tapes, but never actually audible until Jackson applied his magic to it. That alone commends Jackson even higher into the stratosphere, for me. How on earth did no Beatles nerd go and unearth this beforehand? It's an incredible scene, ethical considerations re its recording notwithstanding.

It was around.  Discussed here, for example, 7 minutes in:  https://youtu.be/I4lOmdA92LI

[Replies From View]

Isn't that when they placed loads of roses all round his drum kit to welcome him back?

This then inspired the artwork to Oasis' Don't Look Back In Anger single, trivia Trevors

Inspired it, or Oasis just went through the list of Beatles things they hadn't copied yet and it could have been anything.

[lipsink]

Does anyone know why 'Don't Let Me Down' wasn't included on the original Let It Be album? It's very odd as it's a belter plus they didn't seem to have many finished Lennon songs for the record anyway.

[daf]

Blame Allen Klein - It had been included on the US album 'Hey Jude' a couple of months earlier before 'Let it Be' was released, so was considered off the table.

Of course they should have used it, but, as a year-old B-side at that point, maybe they also had that feeling - (which also kept a lot of singles off albums) - of not wanting to rip off the fans by making them double dip (or Triple-dip if they'd bought the 'Hey Jude' LP as well as the single).

Where would it go on the album - start of side 2 maybe? *

- - - - - - - - - - - - -
* (. . . Just tried it - think it fits best between 'Long and Winding Road' and 'For You Blue')

[Satchmo Distel]

They could have released the rooftop version as a new track given that the B-side (and 'Hey Jude' track) was the studio version. The decision was apparently made by Spector, not the record company or any of The Beatles.

OTOH anyone who bought the album in 1970 ought to have owned the single. 'Old Brown Shoe' was also omitted from 'Let It Be' (and 'Abbey Road', which had already been started when 'Old Brown Shoe' was officially recorded).

With hindsight, one side of 'Let It Be' should have been the rooftop recordings, with the Spectorized studio tracks on the other.

[lipsink]

One thing that Spector did get right was the sequencing of songs. 'Two Of Us' is the perfect opener and 'Get Back' works brilliantly as a closer. I much prefer the production of the Let It Be Naked album (and it has 'Dont Let Me Down' of course) but running order on that version just feels too slick and loses something.

[Ballad of Ballard Berkley]

I agree, Spector's version has quite a nice ragged flow. His florid overdubs on The Long and Winding Road and Across the Universe aside, he did succeed in capturing the intended spirit of the project: a band recording an album from scratch. The snippets of dialogue and things like Maggie May add to that.

It will never be my favourite Beatles album, but I think Spector did a decent job for the most part.

[daf]

He may have been a troubled nutcase, but, unlike Glyn Johns, he managed to pick all the right takes!

(I also like his overdubs - heavenly choirs and all - the un-Spectored versions just sound too raw and unfinished to me)

[Custard]

I settled on this as my own personal preferred version of Let It Be/Get Back

Side 1:

1. Get Back (Let It Be Naked)
2. Dig A Pony
3. For You Blue
4. The Long and Winding Road (Let It Be Naked)
5. Dig It
6. I Me Mine (Let It Be Naked)
7. Across The Universe (Let It Be Naked)

Side 2:

8. Two Of Us
9. I've Got A Feeling
10. Old Brown Shoe
11. Don't Let Me Down (Let It Be Naked)
12. Maggie Mae
13. One After 909
14. Let It Be (Let It Be Naked)

It flows really well, and keeps the ramshackle feel of the project as well as the best versions of the tunes

I agree Two Of Us was a great album opener, but apparently Macca always wanted Get Back, and that works really well too. So Two Of Us can at least open side two

[Retinend]

I settled on this as my own personal preferred version of Let It Be/Get Back

Side 1:

1. Get Back (Let It Be Naked)
2. Dig A Pony
3. For You Blue
4. The Long and Winding Road (Let It Be Naked)
5. Dig It
6. I Me Mine (Let It Be Naked)
7. Across The Universe (Let It Be Naked)

Side 2:

8. Two Of Us
9. I've Got A Feeling
10. Old Brown Shoe
11. Don't Let Me Down (Let It Be Naked)
12. Maggie Mae
13. One After 909
14. Let It Be (Let It Be Naked)

It flows really well, and keeps the ramshackle feel of the project as well as the best versions of the tunes

I agree Two Of Us was a great album opener, but apparently Macca always wanted Get Back, and that works really well too. So Two Of Us can at least open side two

I took you up on this:



So the first four tracks follow the model of Naked, which I like. I can't imagine it any other way.

You also follow the model of Naked's "Two Of Us" paired-up with "I've Got a Feeling". They both have a similar beat and general optimism. Moreover, you pair those two stripped-down tracks with a great non-album track with a stripped-down feeling: Old Brown Shoe, which rightfully belongs to this album. Another song that rightfully belongs to this album is "Don't Let Me Down" (missing from 1970's Let It Be), which slots in afterwards in your tracklist.

Then there's a little bit of nuttiness, with "One After 909" and "Maggie May" - as a setup for the epic finale of the title track, "Let It Be".

Imagine ending with "Get Back"! It makes no sense.

original track listings to anyone trying to decode all that:


 

[Replies From View]

The Glyn Johns mixes left a strong impression on me back when bootlegs were something you need to seek out from alternative record stores.

When Let it Be Naked was released, I was somewhat dumbfounded that they'd stripped out all the chat between songs as I felt they were so fundamental to the feel of it all.  So I put together my own reconstruction of Glyn Johns mixes, using scraps from bootlegs, the Anthology, Naked and the original Let it Be album to approximate its feel whilst ensuring the best sound quality for the songs themselves.  So for example I used the Naked version of I've Got A Feeling, crossfading into the Anthology version where he says he cocked it up trying to get loud, not bad though.

Johns' version of Get Back sits really well for all the rockers, the tracks that could have been played on the rooftop (even when studio takes were used), and it places Don't Let Me Down in the right context.  But he clearly didn't know how to sequence songs like Let it Be, The Long and Winding Road and so on - the ones that Spector decided to smother in orchestra and choir and intersperse throughout the album, I felt Johns got it right putting them all on side B but they didn't build very well, in my view; it felt fragmented and I didn't want Teddy Boy on mine.

So in my version I ended up using Johns' ethos for side A of my assembly, and kicking off side B with Spector's mix of Two of Us and building towards the unapologetically "studio" feel that Spector went with for those tracks (although I used the Anthology version of Across The Universe).  For me it made for a more satisfying and organically-building album than certainly the sterile Naked managed.

I also bunged the Get Back sessions version of Her Majesty at the end after a long pause of silence, so there.




I bet we all had a go at this kind of project in some way.

[Custard]

I took you up on this:



So the first four tracks follow the model of Naked, which I like. I can't imagine it any other way.

You also follow the model of Naked's "Two Of Us" paired-up with "I've Got a Feeling". They both have a similar beat and general optimism. Moreover, you pair those two stripped-down tracks with a great non-album track with a stripped-down feeling: Old Brown Shoe, which rightfully belongs to this album. Another song that rightfully belongs to this album is "Don't Let Me Down" (missing from 1970's Let It Be), which slots in afterwards in your tracklist.

Then there's a little bit of nuttiness, with "One After 909" and "Maggie May" - as a setup for the epic finale of the title track, "Let It Be".

Imagine ending with "Get Back"! It makes no sense.

original track listings to anyone trying to decode all that:


 

Cheers Retinend. Yeah, I wasn't sure about Maggie Mae going into One After 909, but I think it works

I've never been sold on Get Back being the album closer either. It feels like a rocking opening track, rather than a finale!

[pigamus]

I would say you should clearly start with Get Back and end with TLAW Road

Maybe that's too obvious