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7.14pm
13 November 2011
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Can anyone else hear the quick cut? I'm sure everyone already new this, but it's interesting when you first hear this. If you don't know what I'm talking about, listen to the second chorus after "Living is easy with eyes closed" at "Let me take you down." In between the words "Cause I'm" and "going to," it goes from take 7 to take 26. What are your thoughts on this?
Off topic question: Where are takes 9 through 24?
9.30pm
1 May 2011
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Takes 9 – 24 are in the archives, under heavily locked and secured doors probably quadruple electronic bolts with multipule cameras monitoring them and incredibly sensitive alarms reaching to around 300 police stations and security services around the universe.
I'd be interested to know how takes 1 – 7, 25 & 26 got out (the non-anthology ones)? And could the nice people who did access them and get them out to the bootlegers please do so again with other sessions, i dont care what songs. Thank you.
Its strange with the edits. You can miss them for years but as soon as they're discovered you cant not hear them, they are so noticable. For example the nasty word in Hey Jude, its so darn blatant but other folks strain to hear it.
5.33am
13 November 2011
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What about that different piano chord in the last verse of Let It Be? Is that a mistake?
5.34am
13 November 2011
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And why are "they" so protective of all these takes? Why are they so important keep so hidden?
12.43pm
1 May 2011
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There are edits in Let It Be certainly the Spector mix has a chorus at the end repeated so it may be that.
Most bands are protective of their music, compared to many other acts we have a wealth of Beatle material, especially considering they started in 1957. To have a recording (be it very poor quality) of John playing on stage the day he met Paul is incredible.
Apple are very protective of how The Beatles are seen and presented to the public, maintaining their image, so everything put out is done so not to dampen it. Which is one reason why there is no Let It Be dvd.
9.41pm
7 November 2010
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meanmistermustard said
Its strange with the edits. You can miss them for years but as soon as they're discovered you cant not hear them, they are so noticable. For example the nasty word in Hey Jude, its so darn blatant but other folks strain to hear it.
I was the same with Working Class Hero, how the third verse is different to the rest of the song. (Not sure of which takes or whatever, just something that I noticed one day and now I can't not hear it.)
"When I cannot sing my heart, I can only speak my mind."
10.36pm
1 May 2011
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I never noticed that Kelicopter. The next time i hear the song will notice the difference and never be able to ignorant towards it again lol.
7.52am
10 April 2011
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The Strawberry said
And why are "they" so protective of all these takes? Why are they so important keep so hidden?
Well, it's for Anthologies 4,5,6,7,8,9,10,11,12,13,14,15,16,17,18,19,20 to be released over the next 3,000 years of course. 
10.24pm
1 December 2009
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kelicopter said
meanmistermustard saidIts strange with the edits. You can miss them for years but as soon as they're discovered you cant not hear them, they are so noticable. For example the nasty word in Hey Jude, its so darn blatant but other folks strain to hear it.
I was the same with Working Class Hero, how the third verse is different to the rest of the song. (Not sure of which takes or whatever, just something that I noticed one day and now I can't not hear it.)
Yeah, THAT'S a really sloppy edit of two takes that's annoyed me for years! It's not a straight edit, more of a crossfade, and somehow the ambient sound of the guitar and room itself seems to change. I guess it's hard to get the exact sound from different takes when the recording is just a fairly straight guitar-and-voice direct into a mic.
1.37am
10 April 2012
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A good insight into the edits is Geoff Emerick's book "Here, There and Everywhere"… he would know. He was the engineer on most of the tracks.
While on the subject of this book, anyone else read it? I would be curious as to your reaction if you have and would like to have a discussion of it.
10.26am
10 April 2012
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The Strawberry said
What about that different piano chord in the last verse of Let It Be? Is that a mistake?
Very curious about this too. Has anyone ever asked Paul about it?
Meanmistermustard: Could you direct to me the video of John on the day he met Paul? I've never seen it.
11.10am
26 March 2012
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The Strawberry said
What about that different piano chord in the last verse of Let It Be? Is that a mistake?
I never noticed that, when does that occur?
11.47am
1 May 2011
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Trevor Kraus said
Meanmistermustard: Could you direct to me the video of John on the day he met Paul? I've never seen it.
There is no video footage of the day John met Paul only audio, and not in great quality unsuprisingly. Tons of pics tho.
3.17pm
7 November 2010
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vonbontee said
kelicopter said
meanmistermustard saidIts strange with the edits. You can miss them for years but as soon as they're discovered you cant not hear them, they are so noticable. For example the nasty word in Hey Jude, its so darn blatant but other folks strain to hear it.
I was the same with Working Class Hero, how the third verse is different to the rest of the song. (Not sure of which takes or whatever, just something that I noticed one day and now I can't not hear it.)
Yeah, THAT'S a really sloppy edit of two takes that's annoyed me for years! It's not a straight edit, more of a crossfade, and somehow the ambient sound of the guitar and room itself seems to change. I guess it's hard to get the exact sound from different takes when the recording is just a fairly straight guitar-and-voice direct into a mic.
Yesss that describes it perfectly, so much so that it sounds slightly out of key I think.
"When I cannot sing my heart, I can only speak my mind."
3.22pm
18 January 2011
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Ben Ramon said
The Strawberry said
What about that different piano chord in the last verse of Let It Be? Is that a mistake?I never noticed that, when does that occur?
It's in the last verse, exactly where Paul sings "Mother Mary". Paul plays something different on the piano. This happened in take 27a (recorded on the last day of the sessions), the one which was used for both the album and single version (you can hear it better in the single version, by the way, because the piano is louder). Nevertheless, it is not certain if it was a mistake or played intentionally. I assume it didn't appear on any other take. The people who made Let It Be Naked clearly thought of it as a mistake, or didn't like how it sounds, because they edited that line in from another take.
On the Wikipedia page of Let It Be Naked, it says
For the title track, the original take 27a was used for the bulk of the song, but two edit pieces were flown in from take 27b (the version seen and heard in the Let It Be film): namely, the guitar solo and a brief section near the end (the final "Mother Mary comes to me" bar) to fix an errant piano chord that was present on the album/single versions.
whereas on the page of the Let It Be song, it says
Still another version of the song appeared on the Let It Be… Naked album in 2003. This version has a standard A minor chord in the piano at the first beat of measure two in the last verse (on the lyric "mother"); other versions have a more complex harmonisation.
I doubt that it was unintended. The take was an instrumental one, which means that they played it without Paul singing, probably for the first time in that sessions. This way, Paul could give all his attention to the piano playing, so it's unlikely he would make a mistake, even more after having played the song a million times during the sessions. Besides I think it sounds allright.
3.54pm
26 March 2012
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Thanks, I hear it now. Sounds like Paul flubbed the chord to me, but at least it works harmonically, doesn't sound totally out of key or anything.
10.46pm
13 November 2011
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What about in the first verse of She's A Woman? The last "My love don't give me presents." It sounds like Paul was a little sharp.
1.47pm
It's in the last verse, exactly where Paul sings "Mother Mary". Paul plays something different on the piano. This happened in take 27a (recorded on the last day of the sessions), the one jade which was used for both the album and single version (you can hear it better in the single version, by the way, because the piano is louder). Nevertheless, it is not certain if it was a mistake or played intentionally. I assume it didn't appear on any other take. The people who made Let It Be Naked clearly thought of it as a mistake, or didn't like how it sounds, because they edited that line in from another take.
On the Wikipedia page of Let It Be Naked, it says
5.03pm
12 March 2010
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pnance26 said
A good insight into the edits is Geoff Emerick's book "Here, There and Everywhere"… he would know. He was the engineer on most of the tracks.While on the subject of this book, anyone else read it? I would be curious as to your reaction if you have and would like to have a discussion of it.
Yeah, that book has been subject of discussions quite often.
Having not read it myself I can't give personal comments.
From what I hear it contains a lot of bs.
He obviously was at least as stoned as the Beatles during most of the sessions so he couldn't remember enough stuff to write his book, so he called some friends and collected stories…
Other stuff is obviously just made up…
Take this one to the "Beatles books" section to get more and better in depth information.
5.06pm
12 March 2010
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Nepomuceno said
I doubt that it was unintended. The take was an instrumental one, which means that they played it without Paul singing, probably for the first time in that sessions. This way, Paul could give all his attention to the piano playing, so it's unlikely he would make a mistake, even more after having played the song a million times during the sessions. Besides I think it sounds allright.
I doubt it was intended excactly like that. I guess he just messed it up or tried something – and liked the result and told them to keep it.
For me it's one of the highlights of the song, because it's unexpected and interesting.
Typical Beatles attitude, be always open for a cool mistake on the track.
There are endless examples of messy bass lines from Paul where not every note is perfect – but obviously they liked the feeling so the mistakes where kept.
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