14 May 2015
mustard quoted Paul as having said:
"If you listen to it now – the high harmony on The Beatles’ ‘Let It Be’ – that’s Linda doing it. "
Where in the song is that? Does anyone have the time-stamped specific or something close?
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27 March 2015
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28 March 2014
27 April 2015
Mademoiselle Kitty >^..^< said
I sincerely doubt it's true. George is singing the high harmony, John the low one. You can see and hear George singing that bit in the Let It Be film. There aren't any other harmonies, are there?
Maybe he meant another song. Linda sings on Hey Jude , right? Perhaps he's got his songs mixed up.
That was Francie Schwartz
Paulverts getting Linda and Francie mixed up!?
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27 March 2015
27 April 2015
28 March 2014
27 April 2015
1 May 2011
During the January 4, 1970, session, Paul replaced track 4 with a bass performance of his own. Brass (scored by George Martin) was overdubbed on track 5, along with Paul’s descending electric piano riffs.The song was given a tape reduction into takes 28–30, with a simultaneous new overdub doubling the brass on track 5 and adding cellos at the end of track 2. Paul, George, and Linda (making her sole appearance on a Beatles recording) also triple-tracked some high harmonies (bouncing from track 7 to 4 and back to 7).
Finally, track 4 received an overdub of George’s lead guitar (non-Leslied, including a new solo), plus maracas (Paul) and extra drums (Ringo) for the last half of the song. The eight-track tape now contained:
track 1 —lead vocal and electric piano
track 2—old backing vocals and cellos
track 4—new lead guitar, maracas, drums
track 5—double-tracked brass
track 6—bass and drums
track 7—new triple-tracked backing vocals and old lead guitar
(April 30, 1969)
A pair of stereo mixes concluded the session, and Glyn took away the tape but didn’t slot the new mix into his LP lineup prepared the next day, apparently intending to keep the LP and single versions separate. Instead, a fresh stereo mix was done at Olympic on January 8 for the single. This mix (A) pans the backing vocals from
left to right at the start and features George’s April 1969 guitar performance from track 7, although a bit of the new guitar is used during the final verse, alongside the maracas and drums...
The remix (C) for Let It Be … Naked neither lets it be nor stands naked, using quite a bit of digital trickery. The majority of the song is take 27A from January 31, 1969, incorporating two January 4, 1970, overdubs: the new backing vocals and Paul’s bass overdub. In addition, portions of take 27B (used in the film) are spliced in,
specifically the third chorus and subsequent guitar solo (1:31–2:26) and the third verse and subsequent chorus (2:41–3:22). However, as Paul had sung “there will be no sorrow” on the third verse during take 27B, that line is replaced with take 27A’s “speaking words of wisdom.” Whew!
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21 March 2018
George Martin said that neither Yoko Ono or Linda McCartney were substitutes for the partnership of Lennon/McCartney. John got stuck into poor old George but as far as I'm concerned George was right then and he was right now. The fact that both of them went on to write some great songs was in spite of their wives not because of them. For all the excuses, Linda just couldn't sing or play - to me her voice was either too shrill or girly, or she just plain yelled. Her on stage presence was wooden and awkward.
I agree with the someone who said that Linda would not have been part of Paul's music were it not for Yoko. The competitiveness even on that level. The Beatles' massive success was due to their enormous creativity, their personalities, their intelligence and their wit and humour. At the time, to like their wives/girlfriends was a bonus but it wasn't part of the job description. After the break up, both John and Paul had this huge sense of entitlement in practically demanding that the whole world love their new women, and reacting with resentment and self pity if not every one did. Somebody should have told them that it doesn't work that way, even for the non famous.
George has found retrospective respect as an artist because he established himself from the beginning as exactly who he was - George Harrison . Ringo Starr did the same. Unlike the other two, they didn't turn their personal lives into soap operas. Paul diminished himself with Wings (not necessarily with the songs) and the Paul and Linda McCartney joined at the hip thing diluted his name. It is easy to look back on the Wings/Linda era with rose tinted specs and this whole Linda was Paul's rock business. Paul was tough, he would have picked himself up. It's taken Paul a good couple of decades to re-establish his identity as Paul McCartney , and this is who we see now, along with a rise in his popularity, but he should have done this right from the start.
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17 October 2013
Linda does OK here.
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26 January 2017
@Saltie, Linda was a heavy contributor on Ram for several reasons. The Lennon rivalry was a small factor, as Paul was clearly trying to compete with his former parter. However the primary reasons for Linda’s strong singing presence on McCartney and Ram were her support for Paul after the Beatles’ breakup, and the benefit of having her name associated with the album.
Paul was somewhat of a depressed alcoholic after the breakup, and Linda’s involvement in resparking him left a strong mark on his music. They collaborated on writing and performing new songs without having three other Beatles there to be bothered by an outsider.
The second reason was the fact that Paul and Linda had set up a new songwriting partnership Paul and Linda McCartney to obtain immediate access to the rights, and get financial benefit from having a separate partnership getting credit. This motivated Paul to frequently include Linda throughout the album making process.
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21 March 2018
@sir walter raleigh, I realise Paul was depressed after the breakup but it had taken its toll on the others too. Paul always had people singing along to his songs if they happened to be around, nothing unusual there. Linda supported Paul just by being there for him; however, I do find it somewhat ironic that it was Linda's family that helped Paul get into his mess in the first place. Their misguided foray into the business affairs of the Beatles acted as a red flag to a bull to the others, kick starting decades of legal battles. If Paul and Linda's songwriting partnership was done for monetary gain then I'm even less impressed. Paul's acquisitiveness regarding money started around this time, not something many people felt comfortable with. Despite the debacle over Allen Klein, John, George and Ringo were hardly left poverty stricken.
Linda's talents lay in photography. I find it strange that so many people give far more credence to her very slight musical efforts than to her considerable abilities in her specialised field. I see no reason why her particular talents should be considered less important than those of her husband, however brilliant he may be.
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