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Threetles guitar solos
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26 January 2014
1.09am
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trcanberra
Canberra, ACT
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I have just been listening to Free As A Bird and Real Love again and it really struck me how much George's guitar solos add to the songs.  Whatever your opinion of them as Beatles singles I really think they would have sounded a lot poorer without his contribution, which again reinforces my view of how much he brought to the band.

==> trcanberra and hongkonglady - Together even when not (engaged for those not in the know!) <==
26 January 2014
1.55am
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meanmistermustard
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I've said it before that i'm not a fan of these as the quality of Johns vocals are poor (and always were going to be considering the quality of the demo's) and i find Lynne's production to be too heavy, sounding more ELO than 60's Beatlesa-hard-days-night-paul-3.  Two songs i cannot get into - the clash between poor quality 70's home taped vocal with 90's studio quality instrumentation is just a little too jarring (i feel the same about George Martin's orchestral additions to Grow Old With Me). Admittedly George's guitar work is good and you get the classic Beatles harmonies but i rarely play them and am very thankful neither got to number 1 so didn't appear on 1.

 

And whilst John left FAAB behind he kept working on Real Love, and there are indications that it would have appeared on either Double Fantasy's successor or the one after, if he had not been killed (not Yoko's after-the-fact Milk And Honey concoction that featured studio run-throughs of the remaining tracks).

The following people thank meanmistermustard for this post:

Silly Girl
Don’t make your love suffer insecurities, trade the baggage of self to set another one free. ('Paper Skin' - Kendall Payne)
26 January 2014
2.33am
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Billy Rhythm
Candlestick Park
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meanmistermustard said
I've said it before that i'm not a fan of these as the quality of Johns vocals are poor (and always were going to be considering the quality of the demo's) and i find Lynne's production to be too heavy, sounding more ELO than 60's Beatlesa-hard-days-night-paul-3.  Two songs i cannot get into - the clash between poor quality 70's home taped vocal with 90's studio quality instrumentation is just a little too jarring (i feel the same about George Martin's orchestral additions to
Grow Old With Me). Admittedly George's guitar work is good and you get the classic Beatles harmonies but i rarely play them and am very thankful neither got to number 1 so didn't appear on 1.

 

And whilst John left FAAB behind he kept working on Real Love, and there are indications that it would have appeared on either Double Fantasy's successor or the one after, if he had not been killed (not Yoko's after-the-fact Milk And Honey concoction that featured studio run-throughs of the remaining tracks).

 

While the dynamic range certainly isn't there (John's vocals), it has an ethereal quality to it that I really like, not much different than the feel of his voice being put through a Leslie Speaker, like on 'Tomorrow Never Knows', or whatever the hell he asked George Martin to do to his vocals on 'I'm Only Sleeping' to make it sound like he was singing in his sleep.  On 'Free As A Bird' & 'Real Love', John's voice sounds exactly like it should've sounded, if however "morbid", that he was singing from the grave.  Being the far out kinda guy that he was, I would think that John would've been rather intrigued by the prospect of being able to "sing from the grave", I love these two tracks and they're my two favourites of all 3 'Anthology' album's tracks.  'Free As A Bird' is now often played at High School Graduation Ceremonies and brings people who aren't even Beatles' fans to tears for it's a most suitable "send-off" to young ones who are about to "spread their wings and fly" for the very first time in their lives, it's a true Beatles' Classic in my eyes, excellent...:-)    

26 January 2014
6.13pm
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Billy Rhythm
Candlestick Park
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George Martin on "his ears":

 

feature=player_embedded

 

Here's an excerpt from a George Martin Interview with 'Rock Cellar Magazine' on the prospect of him working on 'The Threatles' Sessions:

 

RCM: When Paul, George and Ringo recorded the two new Beatles songs, Free As A Bird and Real Love, did they ask you to be involved?

GM: I kind of told them I wasn’t too happy with putting them together with the dead John. I’ve got nothing wrong with dead John but the idea of having dead John with live Paul and Ringo and George to form a group, it didn’t appeal to me too much. In the same way that I think it’s okay to find an old record of Nat King Cole’s and bring it back to life and issue it, but to have him singing with his daughter is another thing. So I don’t know, I’m not fussy about it but it didn’t appeal to me very much. I think I might have done it if they asked me, but they didn’t.

RCM: Did you enjoy Jeff Lynne’s production of Free As A Bird and Real Love?

GM: I thought what they did was terrific; it was very very good indeed. I don’t think I would have done it like that if I had produced it.

RCM: What would you have done differently?

GM: Well, you see the way they did it you must remember the material they had to deal with was very difficult. It was a cassette that John had placed on top of his piano, played and sang. The piano was louder than the voice, and the voice wasn’t very clear and the rhythm was all over the place. So they tried to separate the voice and the piano, not very successfully.

Then they tried to put it into a rigid time beat so they could overdub easily other instruments. So they stretched it and compressed it until it got to a regular waltz and then they were done. The result was, in order to conceal the bad bits, they had to plaster it fairly heavily, so what you ended up with was quite a thick homogeneous sound that hardly stops. There’s not much dynamic in it.

The way I would have tackled it if I had the opportunity would have been the reverse of that. I would have looked at the song as a song and got The Beatles together and say ‘what can we do with this song?’ bearing in mind we have got John around as well somewhere. I would have actually have started to record a song and I would have dropped John into it.

I wouldn’t have made John the basis of it. So where possible I would have used instruments probably and we would then try and get his voice more separate and use him for the occasional voice so it would become a true partnership of voices. Whether that would be practical or not I don’t know, this is just theoretically the way I would tackle it.

 

Here's the 'Grow Old With Me' recording that meanmistermustard referenced in case anyone hasn't heard it yet:

 

 

The disparity between the original demo and 1994 overdubs is much more noticeable with 'Grow Old With Me'...:-)

 

 

 

3 February 2014
9.53pm
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Billy Rhythm
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Atlas said 

 
'FAAB' and 'RL' are 'good'…….. For me though, the best post Beatles 'Beatle' song is, '
Woman'. If John had not already released it just think how it may have been with Paul, George and Ringo on it.
 

I always thought that The Beatles' version of 'Free As A Bird' strongly resembled the recording of 'Woman' from 'Double Fantasy'.  The tempo and feel are very similar, in addition to the multiple acoustic guitar tracks that have the "felt but not heard" Phil Spector treatment, the rich harmonies of the chorus and refrain during the outro of 'Woman' also resemble Paul & George's for 'Free As A Bird'.  George Martin's comments posted above on how "There's not much dynamic in it ('Free As A Bird&#39a-hard-days-night-george-10" could be said about the 'Woman' production as well...:-)

7 March 2015
6.50am
Rising sun
The Top Ten Club
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the beauty of George solos on Free As A Bird and Real Love can only increase our regrets that Now and then has never been completed and released (the John's song was much better and beautiful than the other two, for me). does someone knows who made the fake that can be heard on bootlegs and web? i love it! in the beginning i thought it was a true Threetles

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