Tag Archives: John Lennon

Early gems from the quiet Beatle

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Tucked away in the Blu-Ray/DVD Deluxe Edition of Martin Scorcese’s Living In The Material World, a biopic on Beatle George Harrison, is a 10-track CD made up of acoustic renderings and some early takes of Harrison songs, some of which run through the feature film.

George Harrison Early Takes VolThe collection has also been released as a single CD or on vinyl, and is appropriately titled Early Takes Volume 1. The 1 teases at possible subsequent releases in what is presumed to be a series. That’s not guaranteed but has been indicated by Harrison’s widow, Olivia.

This set is nothing short of wonderful. A nice glimpse into George’s world, where he is in the early stages of getting songs down on tape, either purely with acoustic guitar and vocal or with a small backing band. Some of these tunes are so familiar to the Harrison fan that the many instrumental parts we’re all familiar with on songs such as My Sweet Lord, Awaiting On You All and All Things Must Pass, for instance, run through your mind in the background even while listening to the demo versions.

But it’s nice to hear the songs in their raw state. The listener gets a greater appreciation for the singer and the song. And in some cases those bombastic Phil Spector-produced tracks are improved upon in a more primal form.

There are some delightful covers as well, one of Bob Dylan’s Mama You’ve Been On My Mind and the classic early ’60s Everly Brothers ballad Let It Be Me. On Let It Be Me, Harrison delivers simple acoustic guitar accompaniment to his lead and harmony vocal tracks. One of the few times, if ever, Harrison sang a harmony part to himself on tape. The effect is beautiful on this gorgeous melody.

The only other listed musician on the album in Jonathan Clyde on mouth harp for the bluesy Harrison original Woman Don’t You Cry For Me from his solo album 33 1/3. Continue reading Early gems from the quiet Beatle →

Roberta brings something new to The Beatles

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Recently a tepid review of Roberta Flack’s latest offering put me off a bit on checking it out right away. But I thought to myself that Flack covering The Beatles sounded refreshing and intriguing. She is one of our great song interpreters and the album had to be worth a listen, no? What have I ever heard by Roberta Flack that I didn’t like?

Roberta Flack Sings The BeatlesI came across it in my local library and immediately scooped it up. I’m glad I did. Let It Be Roberta – Roberta Flack Sings The Beatles is a wonderfully inventive, imaginative approach to classic tunes many of us have grown up with. And why wouldn’t it be? This is what Flack does – brings her own special style and creativity to songwriters’ material.

With the help of a number of producers, but mainly the remarkably talented Sharrod Barnes, Flack has produced a poignant and mesmerizing set breathing yet new life into these standards. Her voice is alternately as delicate and as fiery as it ever has been and her way with a melody is, as always, rarely rivaled.

She takes In My Life, a Lennon tune from Rubber Soul, and gives it a Latin samba feel, infused with a middle eastern opening and repeating riff, while playing with the melody in various combinations, making it her own. McCartney’s Hey Jude is a stripped down acoustic folk number in contrast to the choral tour de force it becomes in The Beatles’ hands.

We Can Work It Out has a moderate R&B feel, while Let It Be retains its gospel roots but features a seering guitar solo by Barnes that stands in stark contrast to the original. Not necessarily better, but just as valid. Her bluesy take on Oh Darling places this ’50s style rocker in a new light and features another hot guitar solo, this time from Dean Brown. The Long And Winding Road, which employs a novel electric sitar in the backing, features a soulful duet vocal with Barnes, a form long associated with Flack for her stellar collaborations with Donny Hathaway.

The only misfires and they are slight are the dance house treatment of I Should Have Known Better and a quirky rhythmic feel to And I Love Her, though her vocal treatment on each is still exquisite. As it is on If I Fell, another that becomes Flack’s own as she weaves her way through the melody in myriad variations. On Come Together she almost sounds child-like and her inclusion of the Harrison tune Isn’t It A Pity is inspired, the only song from a Beatles solo album. Although in truth it was demoed for The White Album.

The set ends with a beautiful live version from 1972 of Revolver’s Here, There And Everywhere.

Not enough can be said about Barnes’ production and particularly the arrangements, which are all inspired and effective.

It’s been a while since I’ve picked up a Roberta Flack album. I’m glad I picked this one up. One of my favorites from this year’s releases.

Beatles remastered: Revolver & Sgt. Pepper’s

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In the summer of 1967, when Sgt. Pepper’s Lonely Hearts Club Band was released, fans of The Beatles didn’t get together with friends and listen to the mono version of this landmark album.

beatles-sgt-peppersI don’t recall anyone buying the mono version. Perhaps  if you couldn’t afford the $1 extra for stereo, because that’s all it was. But that’s not the point. The way to listen to Sgt. Pepper’s back then, as it is now, was in stereo.

I can remember at rehearsals and jams at the Aiardo Brothers house during the summer between the demise of the Bram Rigg Set and before I went off to school in Boston, we would take a break and listen to the entire album’s left channel.

Later the same afternoon we would listen to the whole album but just the right channel. Yeah, it was entertaining, listening to what George Martin and The Beatles were up to, but we were also trying to figure out what the hell they were doing as far as the recording process.

It wasn’t until several weeks later that I found out this album was recorded on a four-track machine. A four-track! Most studios in the States had long before installed eight-track recorders, including Syncron, later Trod Nossel, all the way out in Wallingford, CT, where my bands Bram Rigg Set and later Pulse worked out of.

Yet, The Beatles and Martin had produced an album on a four-track, albeit bouncing to a second four-track for many songs, and the album sounded extraordinary.

In a previous post on the recently released remastered versions of Help! and Rubber Soul, The Beatles albums that preceded these two, I wrote that bottom line the mono versions of those albums, even though I had grown up with the stereo, were my preference. OK, maybe not for Drive My Car and a few other tunes, but mono is the way to go for those: balanced, clear, direct and in-your-face punchy. Continue reading Beatles remastered: Revolver & Sgt. Pepper’s →

Beatles remastered: Help! & Rubber Soul

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The Beatles remastered catalogue on CD has arrived. I decided to start listening with two albums that were originally released back-to-back in 1965, Help! and Rubber Soul.

beatles-helpThese two also are the only ones with three versions released over the various formats of the series. Both are available in stereo and can be purchased individually or as part of The Beatles Stereo box set. Those versions are the 1987 re-mixes by producer George Martin, the same mix as the original CD releases from the late ’80s but of course remastered.

The albums are also included in The Beatles in Mono box, each disc of which includes a mono mix, only available if you purchase this mono set, and the original 1965 stereo mixes remastered, the first time those mixes have been available on CD.

I also have the 1987 CDs of these titles. So, I was able to compare all four versions.

Why were these two albums remixed in 1987 by George Martin? Good question. He said back in 1987, after being completely overlooked by EMI on The Beatles first four albums of that remastering campaign, that these two albums along with Revolver sounded “woolly” and he wound up not changing anything but “hardening” the sound up.

He applied digital echo in the mixing process as opposed to the original echo chamber at Abbey Road from the ’60s and cut down a little of the background noise. But that really simplifies it. Check this link  for an interview with Martin in 1987 in which he gives a more detailed reasoning of the process. It can be quite illuminating.

In fact, the differences in the stereo mixes are quite subtle, but the differences in the new remastering applied are significant. But let’s start with the mono versions. Continue reading Beatles remastered: Help! & Rubber Soul →

The Beatles remastered

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As reported earlier this spring, The Beatles catalogue on CD has been remastered for the first time since the 1980s and will be released on 9/9/09. Hmm. No. 9, No. 9, No. 9. In another coincidence of marketing strategy, a new Rock Band video game version featuring The Beatles will be released on the same day.

beatles-please-please-meFor details about the project, including specific mastering techniques, as well as a wealth of other information on The Beatles, check out Beatles-History.net.

As I often react to these type of announcements, I was rather resistant to yet another wave of remastering by a major act, particularly since the results of these re-releases has been mixed at best in the past 10 years. Many audiophiles and purists are now claiming the original CD releases — you know the ones we sold, traded in or in some cases some collectors threw out! — actually sound better than the remastered ones because they came from better sources.

Add to this that I, for one, believe the original Beatles CDs from the 1980s, sound rather good. When first released I was a bit miffed that all the early albums were mastered in mono, since I grew up with the stereo versions no matter how retched they were. Continue reading The Beatles remastered →

Strawberry Fields Forever

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December makes me think of John Lennon. If you haven’t been to Strawberry Fields, a memorial to him on Central Park West opposite the Dakota, it’s worth a trip just for that, especially in spring or early summer. Other parts of the park in that vicinity are interesting as well, and the Museum of Natural History is nearby.

A lot of people come through the area where this tiled circle has been inlaid. But for some strange reason, no music is allowed from early morning to about 4 p.m., when a caretaker leaves. Then people start showing up with instruments.

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