Right, so here's my review of Tuned To A Natural E no 6. In short: It's Great ! I particlularly like that is is such a pleasant listen: you can just play it anytime-anywhere, and there will be something to enjoy. All credit to the editor/producer Veech, for releasing such a well-finished product; and - of course - to the musicians-mixers, who put up so patiently with his comments.....
In a bit more detail; first the Remixes disc:
1: Intro; nice idea, sort of gets the proceedings going, like the orchestra tuning up on Sgt Pepper. I don't think it is mentioned in the (stunningly beautiful) cover art, but this sounds to me like an interview with Berend Boudewijn, a Dutch TV presenter, in the Dutch Treslong TV studios. The interview was done in a room just off stage (where the TV concert was done a bit later). The Beatles answered questions from the teenage audience, some were too hilarious to repeat here. Ringo was having his tonsils out, and Jimmy Nicol filled in very well, also during the interview, see his reply on:
2: Yeah, this performance really comes to life here. Eternal shame that the concert at Blokker was not recorded better; the Beatles play-backed in the TV concert at Treslong. In fact, Dutch Radio and TV had set-up microphones in Blokker to record the 'real' concert. When they heard that they would have to pay 5000 guilders for permission to record and broadcast, they took the microphones down again..... Hard to say what the equivalent of 5000 guilders would be in current money, my rough estimate would be 50000 USD. The worst 50k ever saved.........
3: This Boy should be on any Beatles compilation. Was their 3-part harmony showcase number, performed e.g. on the Ed Sullivan shows. Always a bit cheesy to me, can hardly imagine that Lennon took the lyrics seriously. In my view, he wrote it mostly for the nice screamy bit ("Oh and this Boy, would be happy...."). This mix nicely brings the cheesiness forward, with the muzakky Martin backing.
4: The Hollywood Bowl concerts are among the best sounding surviving concerts (with the Houston concerts). So good to hear this track salvaged with a little remix artistry. For a similarly upgraded track from the Hollywood Bowl, listen to She's a Woman (
http://bdj.podomatic.com/entry/2009-03- ... 0_31-07_00).
5: A slight tinge of Norwegian Woodish sitar backing here, while the electric guitar follows the vocals. Close-listening to the Beatles, I get the impression that none of the fab four actually cared much for this song. In fact, I still find it a bit degrading that hey made George sing this track, which is obviously not his cup of tea. While he was in fact a dominant singer in the pre-recording days of the Beatles, and did great R&R tunes. With Santo & Johnny's backing, my opinion is re-inforced; George's voice is even more prominent (and lacking in passion....).
6: A brave attempt to get the most out of That Means A Lot. I agree that the fast version is 'best', so the concept is well found to combine the 2 partial takes into a complete song. Appears that the takes are not perfectly compatible, the transition still stands out; but hey, who complains about the transistions in Strawberry Fields ?
7: A well produced instrumental track of You Won't See Me. Would the title "You Won't Hear Me" have suited better ? Perhaps somnewhat better extraction than the ones on the 'Rubber Soul Recording Sessions Reconstructed", but I still would have liked to hear vocals from some other Beatle track mixed-in.
8: Interesting to hear a slightly different rendering of We Can Work It Out. Sounds a bit stripped down, (and slower?). I seem to remember when I did a remix of WCWIO, that the song accelerates all the way through, which makes it a nightmare to re-mix. So well done, sounds good. What does it sound like without the harmonium overdub ?
9: I really like this one, the I Need You "Naked" version. George now sings right into your (right) ear, hardly any double tracking anymore. The enthusiam for INY from the other fab three sounds minimal. I don't think Lennon was on the track at all, and the backing vocals were lacklustre. So well done to kick that all out and give full focus to George !
10: Stunning remix, of a song that is hard to mix at all. IML is a song that Lennon spoke positively about in later days, one of the few Beatles tracks he ever mentioned. Sort of a pre-quel to Strawberry Fields. I wasn't aware of Moon's version, so great alert as well. Did Mal Evans really produce it, or did he just carry the guitar cases ?
11: A pleasant remix. As far as I can make out, main differences with the Sgt Pepper version are in the intro and outtro. Although we have seen Days in Lives on several TTANE's, I still feel the real killer ADITL is still out there.......
12: Brill idea to sync up the vocals froma different version (Take 4) with the backing track. The percusion is on the same track, so difficult to get the balance right. Would the demo vocal version (also on Anthology, with no percussion) have been an option ?
13: A very transparent remix of this track; brings out details that were drowned out in the released version. I may like this remix better than the released version, but I'm still no fan of this song. I don't think Lennon's 'hate' songs appeal to me; I also wonder who it is about. Lennon wrote about 'people and things' that were relevant to him, or about himself. BYARM appears written in the same vein as 'Mean Mr Mustard' (also note the reference to money, the 'ten bob note up his nose/arse"), so who was this Rich Mr Mustard Man who irritated Lennon so terribly ?
14: A dressed down version of Revolution that I like a lot. Seems that getting rid of Lennon's overdrive guitar actually helps the track; vocals are more direct, and Harrison's guitar (and X's keyboard) contribute more. Agree that Harrison is in great shape here, his guitar work reminds me of his contribution to Hey Bulldog (one of his best solos, IMHO). I suppose he was inspired by a track that conveyed a message, for once.....
15: This FYB clearly rocks more than the Get Back version. Suppose this is the max that can be done with this '12 bar original". Center channel sounds slightly distorted to me, suppose that's due to the Barret tapes.
16: This 'down-mix' of FAAB begins to sound more and more like A Day In the Life, vocals, drums, guitar, piano. Come to think of it, the rising chords in the middle eight are reminiscent of the orchestral outtro of ADITL, the 'whatever happened to...' substitutes for the 'rolled out of bed....'. A suitable re-mix indeed !
17: A powerful sounding version, rightfully emphasizing the guitar parts. I Dig Love too, but for me the musical content of this Harrisong is about right for 2m30, and GH overdid it bit to make it run for 4m55. Same goes for 'Isn't it A pity', in my ears.
18: Sounds a lot like a 'recording Reconstructed' of Hi Hi Hi, well done. Macca in his Rocking chair, you can now hear the sawdust in his voice. For the first time, I now hear a mistake in the bass line, at 2m16 ! Suppose he was pre-occupied doing it like a rabbit. And then he really goes into 'Rockette mode' in the final 30 seconds. Did he think of Tina Turner when he wrote this song ?
19: A nice dressed down version, miraculously bringing out Lennon's vocals. He's got sawdust in his voice here ! (see above). Wonder who played the plinky piano ?
20: Clever, smooth remix. Got rid of the Moog, but HW is still a bit monotonous for my liking.
21: A differently sounding AOD, I like that the guitar part is clearer here. Seems that the horn section is out of key at some places, never heard that before. Still sounds a bit Spectorish, but it is a step up from the ATMP version.
22. Does Lennon really sing "Barack Barack arrives" at 3m17 ?
23 An excellent sounding 1985. Keyboards, bass, drums, and a voice like Macca's, that's all it takes ! (Not quite understand why it goes into a hard days night...).
