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 Post subject: Re: "Love" Revisited
PostPosted: Wed Sep 22, 2010 5:14 pm 
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A couple of bootlegzone quotes:

wizz wrote:
1. Because
George

“An inspired offering from John when we recorded it for the Abbey Road album. He had heard the opening of Beethoven’s “Moonlight Sonata” and then evolved a pattern of arpeggios on his guitar that laid the foundation for this song. Listening anew to this track, with the harmonies that only John, Paul and George could provide, one realises what great vocalists they were.”

Giles

“Dominic Champagne, the LOVE show director, had been listening to the Anthology albums and loved the a cappella version of “Because” and asked whether it could be in the show. The vocals are recorded three times with John, Paul and George singing their respective parts at the same time. The sound of their voices around one microphone is magical.”


2. Get Back
"gets backup by Sgt. Pepper (Reprise) drums, an orchestral swell from A Day in the Life and guitars from Hard Day's Night and The End."

George

“This track kicks off with a driving rock sound. Great drums, great guitars,…. a great band!”

Giles

“I can’t listen to “Get Back” without mentally picturing the band performing the song on the roof of the Apple offices in London’s Savile Row. It made sense to open the show with this song and the drum solo from “The End” works really well as an intro.”


3. Glass Onion
George

“One of John’s off-the-wall efforts, he even recorded a mixture of sounds like a window being smashed, a telephone bell and a BBC broadcast effect, all of which were left unused (at the time). Instead I wrote a string arrangement to give the song more colour. A song not often heard, but one of my favourite strange tracks.”

Giles

“ “Glass Onion” has such a great groove. In the show we needed something to get across the chaos of wartime Liverpool so the idea was to combine snippets of instruments from other songs flying through the mix. On the left hand side listen out for the “ Things We Said Today” guitar that sounds like it’s always been part of the song!”


4. Eleanor Rigby/Julia
George

“By the time we started to record this track, Paul had realised the potential for using orchestral sounds and for the first time he wrote a song that demanded nothing but strings. I booked a double string quartet - four violins, two violas and two cellos, a sparse combination which when recorded with close microphones gave us the stringent sound we needed. The similarity to Bernard Hermann’s score for “Psycho” is apparent and quite intentional.”

Giles

“Allan Rouse, who’s looked after the Beatles archive for years, had developed a technique in which we could combine the first recording of each four track with the ‘bounce-down’. This means that we could have more than the original tracks to mix from.


5. I Am The Walrus
"essentially untouched."

George

“When John played “I Am The Walrus” to me for the first time I thought it sounded weird, but we laid down a track with the band the way he wanted it, then he told me he wanted me to do a score for him without being too specific. I thought long and hard about this and took a leap of faith by booking an orchestra and sixteen voices to make swooping sounds, chants and noises of laughter. When John heard what this choir were doing he fell about laughing, it was so unexpected. It really is a quirky track, but absolutely brilliant.”

Giles

“The guitar from “Julia” in the transition into “I am the Walrus” is so beautiful and peaceful it seemed to act as a good counterpoint to the madness within the main track. The song is timeless, and it still sounds like nothing else out there today. There was certainly nothing we could add to make it any more psychedelic so we decided to bring the band out a bit more.”


6. I Want To Hold Your Hand
George

“At the turn of 1963/4 I was in Paris with the Beatles when Brian Epstein rang me in my hotel at one in the morning, bursting with pride and jubilation as he told me that at last we had our first No. 1 single in the USA after “I Want To Hold Your Hand” had quickly reached the top of the charts. It was a wonderful and significant moment. The Beatles had arrived!”

Giles

“We were always under pressure to present the songs in a different way and with the early material this was always more difficult as there’s no separation between tracks. My dad came with an idea of using the three track tapes from “Live at the Hollywood Bowl” and combining the performances with the original masters. Surprisingly, both versions were perfectly in tune with each other, so what you’re listening to here is both the live and studio versions of the song edited together.”


7. Drive My Car/The Word/What You're Doing
George

““Drive My Car” was the opening track of a great album - Rubber Soul – and was recorded remarkably quickly - between 7 pm and midnight on an evening in October 1965. Great rhythm that was just right for a dance sequence in the show. “The Word”, recorded a couple of weeks later, had an almost identical beat and was also completed in a few hours. “What You’re Doing” was recorded a year earlier, with a similar driving rhythm. They certainly worked hard and did not waste any time in those halcyon days.”

Giles

“The Beatles came up with some of pop music’s most iconic riffs, none more so than “‘Drive My Car”. This era of Beatles music symbolises London at the peak of the swinging sixties. “The Word” and “Taxman” have such great grooves, we tried to blend as much of the band at their vibrant best in this, the only medley on the album.”


8. Gnik Nus
George

“In the show we needed a sound to set the scene, a prelude to establish a mood, and a never-heard-before chorale by the Beatles does just that. It is pretty obvious where “Gnik Nus” came from, but I make no apologies, because for me it is absolutely lovely and it works well in the performance.”

Giles

“I had turned the cymbal backwards on “Sun King” for an effect for “Within You Without You/Tomorrow Never Knows” and I realised I’d turned the vocals around as well. My dad heard what I’d done and loved it and said that it’s exactly the sort of thing that John would have gone for.”


9. Something/Blue Jay Way
Lennon sings "he's a real nowhere man" in the background of the instrumental track to "Blue Jay Way."

George

“A most beautiful song by George which made everyone realise that he could write just as great a song as John or Paul, and it gave him enormous confidence. The master track was completed in May with a keyboard line from Billy Preston, and finally I added a string orchestra in mid August. I was so pleased with the final result.”

Giles

““Something” is such a sensitive song that works really well as it is. We moved the strings around for effect, leaving George’s great vocal performance more upfront. “


10. Being For The Benefit Of Mr Kite!/I Want You (She's So Heavy)/Helter Skelter
"at the beginning an unreleased accordion part from "Cry Baby Cry" was used."

"The keyboard of "Being for the Benefit of Mr. Kite" dissolves into the plodding guitar of "I Want You (She's So Heavy)."

George

“This has to be one of John’s most pictorial songs and we all had fun making our recording sound like a real circus in the studio. My problem was playing the ancient harmonium while John and Paul acted as producers. They delighted in seeing me pedal away at that damned instrument for what seemed like hours. The show demanded something a little different, with a much darker mood. So although all the original sounds are still there, it does become rather menacing towards the end.”

Giles

“The LOVE show director, had visions of a macabre Victorian circus for the show. This made us approach “Kite” in a completely different way. “Blue Jay Way” set the scene really well, and the sound effects from “Good Morning” add to the general circus vibe. To create the sound of a circus going wrong we edited in “I Want You (She’s So Heavy)” at the end flying in the mad organs and Paul’s vocal on “Helter Skelter” over the top.”


11. Help!
George

““Help!” was originally written for the second Beatles film, and many armchair psychiatrists have read into it a cry from John to get him out of his prison of fame and success. It was to me a straightforward and good composition, one that came together in the studio without too much fuss, and it became the successful title song of their film.”

Giles

“This was recorded really quickly onto a four track, with the band playing live onto one track. This recording has such a great natural Beatles sound that it’s wonderful to just hear the power of their playing.”


12. Blackbird/Yesterday
George

“We agonised over the inclusion of “Yesterday” in the show. It is such a famous song, the icon of an era, had it been heard too much? The story of the addition of the original string quartet is well known, however few people know how limited the recording was technically, and so the case for not including it was strong, but how could anyone ignore such a marvellous work? We introduce it with some of Paul’s guitar work from “Blackbird” and hearing it now, I know that it was right to include it. Its simplicity is so direct; it tugs at the heartstrings.”

Giles

“I wasn’t sure how the more sensitive songs would sound in the theatre, I was scared that some intimacy would be lost. While I was in Montreal, Cirque let me go with sound designer Jonathan Deans to a new show they were about to tour so I could play around with their PA. As soon as I played “Yesterday” through the system all the workmen stopped and just listened to the song. I guessed then that we would probably be OK!”


13. Strawberry Fields Forever
"Lennon recorded a new song on a cheap tape recorder."No one had heard it," says Martin. "John came into the studios; I sat on the high stool I always sat on and he stood in front of me with his acoustic guitar, and sang." Sitting this week in the same Abbey Road studio, Sir George Martin, now 80, sings "Living is easy with eyes closed …"It was a very gentle, wistful song," he says. "I was spellbound by it.
"I said, 'John, that's a fantastic song. How do you want to treat it?' And he looked at me and said, 'That's your job, isn't it?' "
That early Strawberry Fields Forever was never released, replaced by a more complex version. But after four decades in the Abbey Road vaults, it reappears on Love."


"builds from Lennon's acoustic demo into a psychedelic swirl of sounds that incorporates bits of "Hello Goodbye," "Baby You're a Rich Man," "Penny Lane" and "Piggies."

"opens with Lennon's spare demo, segues into an early version and builds to a roaring crescendo that incorporates In My Life's piano solo and Piggies' harpsichord."

"The song gets bigger and bigger until it just goes mad," says Giles, who struggled to smoothly link Lennon's home tape to six other vocal takes. "Cirque wanted to demonstrate the creativity and growth of a song in the studio by chopping something into a jam session, which by its nature is off the cuff. You can't do it." "Instead, they used the Strawberry demo Yoko discovered to illustrate a song's origins."

"It's one of the earliest things John did," George says. "It was the second verse as we know it. He hadn't yet written 'Living is easy with eyes closed."

George

“I will never forget the first time I heard “Strawberry Fields Forever”. John began by giving me my usual private performance, standing in front of me, strumming his acoustic guitar and singing those incredible opening lines. I was absolutely captivated, such different material, almost too tender to be recorded. The song went through a few changes, and we recorded it more than once, eventually combining two completely different versions, in different keys and different tempos. I love the song to this day, but John told me many years later that he was never really satisfied with it and I felt that in its recording I had let him down. I hope he has forgiven me.”

Giles

“The LOVE show director, had wanted us to demonstrate the Beatles experimentation and creativity in the studio. Yoko had brought in some early demos of John singing “Strawberry Fields Forever” so in the spirit of the original we decided to combine the very early takes with the final version. I went on holiday and my poor father spent hours with a vari-speed tape machine putting all the takes in the key of B. I came back and spent about six weeks combing the various tracks to make one long new version of the song. And at the end, with those fantastic drums, we just decided to have a bit of fun…”



14. Within You Without You/Tomorrow Never Knows
"Within You, Without You takes drums and bass from Tomorrow Never Knows to give it a pacier feel."

George

“Paul was always on the lookout for new sounds and experimenting at home with a Brenell recorder, he discovered that he could record on a constant loop of tape until it was literally saturated with sound. I selected a number of these tapes and used them, sometimes at a different speed and pitch, in a new song John had written. We started with a terrific rhythm track recorded in only three takes, with a constant tamboura drone and that marvellous and hypnotic drum beat from Ringo, “Tomorrow Never Knows”, was born.

Later, while Sgt. Pepper was under way, George came up with an interesting and distinctive song, “Within You Without You”, heavily influenced by his love of all things Indian. Working with George on this recording was fascinating. His sense of complicated rhythms and tonalities earned my respect, and the song was issued as the first track on the second side of Sgt. Pepper. Giles suggested that we combine these two tracks together in such a brilliant way.”

Giles

“This was one of the first things I tried when we were making the initial demos for the show. I was really quite scared about offending all who were involved and at one stage we weren’t even going to play it anyone. The fact that it was accepted showed how open-minded everyone was in the approach to the music we were creating.”


15. Lucy In The Sky With Diamonds
George

“This song has the most extraordinary lyrics, with John doing his utmost to build a psychedelic vision rivalling creations by Lewis Carroll and Salvador Dali. It all began with his son Julian coming home from school with a picture of his classmate, Lucy. She was kind of floating in mid-air with little stars that he had drawn around her. Such innocence! The song came together quickly, and the opening bars are simple, but magic.”

Giles

“As soon as the LOVE show director, showed me his ideas on creating a starry sky by using LED effects I set out on trying to introduce the song by having shimmering stars appear individually with sound. By slicing the original keyboard and using vari-speed we managed to get the effect I was looking for.”


16. Octopus's Garden
"Good Night's strings sneak into Octopus's Garden with bits of Lovely Rita, Helter Skelter and Yellow Submarine. Good luck spotting shreds of Fixing a Hole and Penny Lane."

George

“I am glad we were able to use Ringo’s “Octopus’s Garden” in the show. In many ways it’s timeless, a children’s song, easy on the ear and perfect for the LOVE show director’s imaginative undersea scene, with an unexpected beginning.”

Giles

“I thought it would be great to start the song with Ringo on his own. I first tried to combine his vocal with the end strings from “Glass Onion” and it sounded creepy. Then I tried the strings from “Goodnight” – they had always interested me because they’re in stereo. My dad came in and pointed out if I had doubled up the strings and played the verse twice the vocal would work better, and as usual he was right, and Ringo sounds great.”


17. Lady Madonna
"Hey Bulldog punctuates Lady Madonna."

George

“Considering that Paul only played guitar when I first knew him, his piano work with that rolling boogie piano driving this along like a powerhouse had become startlingly good. In the backing we tried using Kazoos, but the old comb and paper did just as good a job.”

Giles

“I wanted to get the riff from “Hey Bulldog” in the show somewhere and it works great as a middle section to “Lady Madonna”. It took a while to get the track to sit right, Billy Preston’s organ solo from “I Want You(She’s So Heavy)” provides the glue between the two and Eric Clapton’s guitar solo from “While My Guitar Gently Weeps” replaces the sax solo.”


18. Here Comes The Sun/The Inner Light
George

“A brilliant composition with an unusual metre relying heavily on George’s great guitar work, very different to “The Inner Light”, which was basically recorded in Bombay during the time that George was recording music for his “Wonderwall” film and album. George had used a host of Indian virtuoso players with weird and wonderful instruments I did not even know existed. Once back in England he added his voice and we overdubbed vocals with John and Paul.”


Giles

“It’s strange that although George brought a huge Indian influence to the sound of The Beatles, some of his most famous songs have no Indian instruments on them. The tabla and delrouba from “Within You Without You” made a perfect introduction to George’s guitar and we used the chorus vocals from the song to set the scene. “Here Comes the Sun” is a great song about enlightenment; it made complete sense then to finish with “The Inner Light”.”


19. Come Together/Dear Prudence/Cry Baby Cry
George

““Come Together” is such a simple song but it stands out because of the sheer brilliance of the performers. Paul’s bass riff makes a fantastic foundation for Ringo’s imaginative drumming, and John’s vocal with heavy tape echo has a marvellous effect when he claps his hands and hisses into the microphone. George’s guitar is equally distinctive, and altogether I believe this is one of the Beatles’ greatest tracks. Combined with “Dear Prudence” is Paul’s vocal piece from the end of “Cry Baby Cry” that creates a very reflective mood.”

Giles

“This for me is the Beatles playing live at their economical and inspirational best. There’s nothing that can be added to the song as all the parts are so well constructed and yet the song is so sparse. ‘Dear Prudence’ was used to end the song without fading it and I loved the way the vocals and Ringo’s mad drumming add a climax to the end of “Come Together”. Dominic Champagne, the shows director, had wanted something disturbing to bring in “Revolution” and I thought this ending sounded from another world. The strings from “Eleanor Rigby” and the climax from “A Day In The Life” provided an edge that isn’t on the original.”


20. Revolution
was slightly shortened for the CD (complete on dvd).

George

“Hard rock recordings do not come much stronger than this one. The distortion of the guitars led to many complaints from the more conservative of listeners at the time and it did in fact give quite a few technical problems when it came to cutting the masters for the vinyl single of the day. Like many of John’s songs its message is very clear and, for its time, pretty revolutionary!”

Giles

“The guitar sound on “Revolution” rips your head off, even today it defines the word ‘distortion’, it’s amazing to think that it was recorded nearly forty years ago.”


21. Back In The USSR
was slightly shortened for the CD (complete on dvd).

George

“Miraculously recorded and mixed in two days at a time of tension among the Beatles when a frustrated Ringo had temporarily walked out. Paul, George and John tried to work without him and started to record “Back In The U.S.S.R.”, with Paul playing drums. Ringo returned to find they had in fact managed a track without him, but they were so delighted he was back that they showered him with flowers. Nevertheless it is one of the very few tracks without Ringo’s terrific drumming.”

Giles

“Like “Revolution” this bursts out from the multi-track tapes with such energy that there’s nothing much that we could do with it either.”


22. While My Guitar Gently Weeps
string arrangement, written by George Martin, to accompany the acoustic version.

George

“Most people remember the heavy version of “While My Guitar Gently Weeps” but an earlier version, almost a demo, was recorded at Abbey Road and discarded until we issued the Anthology albums. I was asked to write a string score to make that early take sound more like an issued master. I was aware of such a responsibility, but thankfully Olivia and everyone approved of the result. “Yesterday” was the first score I had written for a Beatle song way back in 1965 and this score forty one years later is the last. It wraps up an incredible period of my life with those four amazing men who changed the world.”

Giles

“The LOVE show director and Olivia had decided that take one, an acoustic version, of “While My Guitar Gently Weeps” should be used for the show and asked what we could do with it. The vocal performance on the take is so tender, so the only thing I could think of was for my dad to do a string arrangement. I was surprised to find that he was apprehensive about doing it, there’s no one in the world better at this kind of thing, and even after all this time he still arranges with the same vitality and empathy that has made his work legendary.”


23. A Day In The Life
George

“John as usual, took his inspiration from odd sources, in this case newspaper cuttings, but he needed a middle section and asked Paul if he had anything. Paul had something, but it wasn’t a fit. Realising that such different tempos and styles needed to be separated, Paul suggested a 24 bar section between them which could be filled in later. I had no clue what it would be filled with, until they told me they wanted a symphony orchestra.

I think Paul came up with the idea of a great ascending crescendo, but I needed to do some orchestral organisation if it was to be effective. We all know the result. It was terrific, awe-inspiring and mind boggling to all who heard it for the first time, although some thought it to be subversive and even the dear old BBC banned the track on the grounds that it promoted drug use.”

Giles

“Even before we approached this I knew there was nothing we could add to it. It really is a masterpiece. Then Allan Rouse, our project co-ordinator at Abbey Road Studios, brought the early orchestral takes up from the vault. This meant that we could make the crescendo and the last piano chord at the end even bigger.”


24. Hey Jude
George

“The Beatles in their time wrote and recorded quite a few anthems and “Hey Jude” is a supreme example. I remember having a little rebellion in the orchestra I had booked for the overdub. After the musicians had finished playing their parts I asked them to sing along with the chant and to clap as we did. Cheeky, I know, but not everyone was amused. One violinist remonstrated quite forcibly, saying he was not employed as a session singer and left. I asked if anyone else wanted to join him and bless them, they all stayed and received overtime pay as a result.”

Giles

“The biggest challenge we faced with “Hey Jude” was finding a way of ending it. I’d found a great bass line that Paul played at the end of the song and put it in the middle, but the ending is so well known that it took quite some time to find the perfect match….”


25. Sgt Pepper's Lonely Hearts Club Band (Reprise)
George

““Sgt. Pepper’s Lonely Hearts Club Band (Reprise)” is a rousing and upbeat shorter version of the original song specifically designed to wrap up the imaginary performance of the Sgt. Pepper album. It is ideal for a link into the final song. Our original recording was a quick affair, taped from seven in the evening of April Fool’s Day 1967 right through to six the following morning.”

Giles

“…..and it was sheer luck that “Sgt. Pepper Reprise” was in the right key so we could link the two together.”


26. All You Need Is Love
George

“The Sgt. Pepper album was released in June 1967 to world acclaim, and in no time we were all given an incredible task. The Beatles were selected to represent Great Britain in a world wide television hook-up that was to be broadcast live. It happened very quickly, and the week of the event was for me one I will never forget. John’s “All You Need Is Love” was an inspiration and I had the normal job of arranging and producing it. One week before the show my father was taken to hospital. I visited him every day, and he seemed to be recovering well, so much so that I rang my sister who was in Italy and told her not to break up her holiday. But early on Tuesday morning I walked in to the hospital as usual with a bunch of flowers and I was stopped by the
Ward Sister who drew me aside and told me my father had died just before dawn.

I was shattered, devastated. Perhaps the work on “All You Need Is Love” was my lifeline. I pitch forked myself into all the things I had to do, which was a mercy for me. When it came to the actual television transmission we had TV cameras focussing on us in the control room as well as the studio. With seconds to go before being on air I had a panic call from the TV director in
his BBC van outside saying he had lost contact with his crew in the studio and could I relay his instructions?

I laughed aloud at the real unimportance of it all. If you are going to fall flat on your face you might as well do it in front of 200 million people! It was the end of an era and it has now become the end of our show. We have come full circle.”

Giles

“I spent a long time looking for The Beatles signing off and saying goodbye for the very end of the show. But it just so happened that at the end of most of their gigs and radio shows they would either say a polite ‘thanks’ or bow and go straight off. So what you hear over the final chords of “Goodnight” is taken from a Christmas record recorded in 1965.”



other details

"For those of you who saw the Cirque show, you'll no doubt notice that a fair amount of between-take talk and joking by The Beatles was featured. Except for the very end of the last track on the CD/DVD ("All You Need Is Love"), none of the chat was used on the CD/DVD. It was felt that the chat was only meant to hear once during the actual performance."

"Girl", "She's Leaving Home" and "The Fool On The Hill" were also done, but left off the CD and subesquently the performance because it was decided to keep it a bit more up tempo."


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 Post subject: Re: "Love" Revisited
PostPosted: Wed Sep 22, 2010 5:16 pm 
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beatlebren66 wrote:
Here is an early breakdown from last summer. What happened to "A Hard Days Night" which used the studio version and the Hollywood Bowl tracks?


Written by ALAN LIGHT (June 02, 2006)

The Beatles in Vegas An insider's peek, track-by-track, in advance
of the historic Cirque du Soleil show: ''I thought perhaps we should
have a contest to see who could spot everything we used,'' says
George Martin. ''No one would ever get them all.'' Martin is talking
about the soundtrack -- made up entirely of music by the Beatles --
for the new Cirque du Soleil show, Love , opening at the Mirage
Hotel in Las Vegas on June 30th. The show marks the first time that
the Beatles have authorized their recordings for a theatrical
production. When given the assignment, Martin, with help from his son
Giles, set out to assemble the ultimate Beates mixtape, using ''a
tremendous number of snippets, from hundreds of songs'' to create 27
new pieces of music, all mixed for a supercharged surround sound.
''It's going to be great,'' said Ringo Starr in an interview last
year. ''He's George, and he knows us, he knows where the music is, he
knows where the bodies are on the tapes.'' In early May, eight
weeks before the show's opening, Giles Martin gave Rolling Stone an
exclusive listen to the complete score of Love . Here are his
comments on each of the tracks: Overture: ''BECAUSE'' -- just the
vocal track, with bird effects. ''This plays with the lights still
up, to get the audience into the mood.'' Then the lights come down
to the sound of the ''endless piano chord'' from ''A Day in Life''
played backwards, the opening chord from ''A Hard Day's Night,'' the
Abbey Road drum solo, all over audience screams recorded at Shea
Stadium, leading into Track 1: ''GET BACK'' -- ending with strings
from ''Glass Onion,'' with ''Hello Goodbye'' mixed in ''We wanted
to start with the Abbey Road drum solo because it's bombastic and the
Beatles are so often not thought of as a rock band. So we went and
did a big rock opening -- it was great to create a sort of live
Beatles experience.'' Track 2: ''ELEANOR RIGBY'' -- with a newly
structured string intro ''All the songs are the same, not changed.
You don't think about anything but what will be right for the Beatles
-- my dad has the ability to say, 'if we were doing this then, this
is how we would do it.' Fades into the guitar from ''Julia,'' a
piece of ''Strawberry Fields Forever,'' the strings from ''A Day in
the Life'' Track 3: ''I AM THE WALRUS'' ''People ask about
unreleased material -- the fact is, pretty much all of it has been
released, and what hasn't, you go, 'ooh, do we really want to put
that out?' '' Track 4: ''I WANT TO HOLD YOUR HAND'' Track 5:
''CAN'T BUY ME LOVE'' Track 6: ''A HARD DAY'S NIGHT'' ''The
challenge of the early stuff is that it was all 2 track or 4 -- and
on the 4-track recordings, they wouldn't always even use all 4. So we
took the Hollywood Bowl recordings and decided to experiment with
those. We matched the studio versions to the live recordings and they
were actually all in the same key. ''The production on stage is
like 'West Side Story' on speed. We used shorter versions here, but
it'll be the full songs on the album.'' The introduction from ''Sun
King,'' played backwards, leads into Track 7: ''SOMETHING''
''Some of them really needed to be left alone. The idea was to get
that experience that I got when I heard the tapes, to just hear them
playing.'' Track 8: ''BEING FOR THE BENEFIT OF MR. KITE'' with
laughter and screaming from various sessions, accordion from ''Cry
Baby Cry,'' lots of "pissing around'' that was on the masters Also
''Good Morning Good Morning'' sound effects, laughter from
''Piggies,'' noises from ''I Want You (She's So Heavy)'' and ''Helter
Skelter'' ''We wanted a dark circus, something that would evoke the
troubles they had in the Deep South, and in the Philippines, on tour.
The stopping of the Beatles as the Fab Four, touring band. We did it
not for indulgence's sake, but because it suits the show -- 'Kite'
should be darker. It's quite heavy for Vegas, and we had to fight for
that. The Beatles weren't soft, and the last thing we wanted was 'The
Beatles-play-Vegas,' something that was just not cool at all.''
Track 9: ''HELP'' ''We found out they rushed the mix, did it
somewhere that wasn't Abbey Road. We needed to get out of mono, since
we're all out of a mono world.'' Track 10: ''YESTERDAY'' ends with
''Blackbird'' intro into Track 11: ''GIRL'' with a drone from
''Lucy in the Sky with Diamonds,'' a drum roll from ''Being For the
Benefit of Mr. Kite'' under the chorus, and a guitar figure from
''And I Love Her'' Track 12: ''SHE'S LEAVING HOME'' ''These all
kind of go together. Paul was kind of ambivalent about using
'Yesterday,' but Dad wanted it in the show, he thought people would
be disappointed if it wasn't there.'' ''The starting point was to
not do the '1' record. We're not doing badly getting obscure songs
in. We wanted more a portrayal of their innovation than of their
success.'' Track 13: ''STRAWBERRY FIELDS FOREVER'' crescendo at
end includes ''Penny Lane,'' ''In My Life,'' ''Piggies,'' ''Hello
Goodbye'' all weaving in and out over track ''We spent more time on
this than anything else in the show. Dominic (Champagne, the show's
director) wanted something to show the creative process on stage. We
found as many versions as possible, starting from his first recording
at home -- Yoko had the tapes. We spent all this time finding
versions and matching the keys -- with one take coming under another,
all overlapping, always more than one going at all time. ''We were
under pressure from people to change things, to make things
different. Ringo loved this -- he loves anything where I have his
drums up. Paul said, 'I'm pleased, you've been so sensitive to what
the Beatles are about.' It's the best job in the world to have
license to play around with all these masters.'' Track 14:
''WITHIN YOU WITHOUT YOU'' over the drums from ''Tomorrow Never
Knows'' ''This was the first thing we did. We played it for them,
and they said 'we want more like that!' We had to remind them,
'Fellas, you know that on most songs you did actually change
chords!' George Martin: '' 'Within You' is not the most memorable
song, but it's much more interesting with that rhythm.'' Track 15:
''LUCY IN THE SKY WITH DIAMONDS'' For the introduction, the organ
is ''chopped up to one note at a time, moved up an octave'' Later,
horns from ''Sgt. Pepper's Lonely Hearts Club Band'' ''The intros
are important, setting the mood is important -- the one thing that
people don't want is to just feel like we're playing a CD.'' Track
16: ''OCTOPUS'S GARDEN'' starts with the strings from ''Good
Night,'' sung over the drums from ''Lovely Rita,'' break from
''Polythene Pam'' in middle ''Ringo would ask every time, what have
you done for 'Octopus?' Because these are the Beatles, they want to
be crazy. Ringo said, 'Don't mess about -- if you're going to do it,
really do it.' So we wanted to take the weird stuff he did and use it
as it was meant to be used. The truth is, eighty percent of the
people won't even notice. And hopefully the fans won't be too cross
with me for the heresy.'' Track 17: ''LADY MADONNA'' Percussion
break in the middle from ''Hey Bulldog,'' Eric Clapton's guitar solo
from ''While Guitar Gently Weeps'' Track 18: ''HERE COMES THE
SUN'' Vocals from ''Oh Darling,'' tabla from ''Within You Without
You,'' bass from ''I Want You (She's So Heavy)'' Track 19: ''COME
TOGETHER'' ''There really was nothing you could do here. Paul and
Ringo listened to this, and they both said, 'We were really good. We
remember that day, that session, and how good we were.' '' Track
20: ''REVOLUTION'' Track 21: ''BACK IN THE U.S.S.R.'' Track
22: ''WHILE MY GUITAR GENTLY WEEPS'' George Martin: ''Dominic
liked the simplicity of the solo, acoustic version -- that was almost
a demo, it was in a different key. But Olivia (Harrison) was
uncomfortable using it like that, she thought it was too small and
unfinished. ''So they asked me to write a special score. It was a
bit petrifying, actually -- Olivia came to the session and it went
very well, she loved it. It's pretty significant -- it's the very
last score ever to be written for a Beatles song.'' Giles: ''That's
the only added music in the show, that new string arrangement by my
dad. During the session, there was no emotion at all; it's only after
that you think, what a day!'' ''You can't work with your hands tied
by duty and responsibility, because you'll be too safe, or you'll
just do the wrong thing.'' Track 23: ''A DAY IN THE LIFE''
''Again, what can you do with something like this? We found four
different versions of the strings. But with something like this, the
more we separated the tracks, the worse it became, the less impact it
had.'' Track 24: ''HEY JUDE'' ''We isolated a bass part that
comes late in the song, moved that up and brought it out.'' Track
25: ''SGT. PEPPER'S LONELY HEARTS CLUB BAND'' CLOSING: ''ALL YOU
NEED IS LOVE'"

Written by ALAN LIGHT (June 02, 2006)


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