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6.38pm
Reviewers
17 December 2012
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Ringo recorded a double-tracked lead vocal on 3 October 1963, with John and Paul adding backing vocals on the same day. The backing vocals were recorded together with Ringo’s first vocal on track 2 of take 14, an overdub of the backing track, take 7 — recorded 12 September, while his second vocal went onto track 2 as an overdub onto take 15. Leaving just a tambourine overdub onto track 1 of take 16 to finish the song.
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
7.08pm
14 December 2009
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So, does that indicate that Ringo double-tracked his lead vocal, but didn’t harmonize along with Paul and John during any of the choruses, or the coda?
Paul: Yeah well… first of all, we’re bringing out a ‘Stamp Out Detroit’ campaign.
9.15pm
Reviewers
17 December 2012
Offline I would say that the backing vocals, which are more prevalent during the choruses and coda, are them sitting there behind Ringo rather than full-on harmonising. Their voices just behind his gave him something to sit on, which could be a reason they were done with his first vocal.
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
10.31pm
14 December 2009
Offline Ah, ok.
(I just viewed the ’64 Washington Coliseum performance of the song to watch Ringo throughout the song; and yeah he does appear to be singing that chorus along with his two bandmates; but I still can’t hear his voice in the blend, aside from a bit during the coda)
Paul: Yeah well… first of all, we’re bringing out a ‘Stamp Out Detroit’ campaign.
8.14pm
Reviewers
17 December 2012
Offline Ringo often wasn’t brilliantly miked for his vocals live, not being able to do the easy lean-in to the mike the others could do, and with the mike picking up the drums as well as his vocal. Washington Coliseum, while a great spectacle, was probably one of their worst technically because of it being done in the round, and the constant repositioning of a set-up that wasn’t up to the audience size. Try out a later live version, like Hollywood Bowl (bootleg) and you only really hear J&P toward the second half of the chorus lines, especially on the “man”.
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Von Bontee, Richard, Rube, Beatlebug, Ahhh Girl"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
9.17pm
14 December 2009
Offline Ooh right, I hadn’t even considered the 360-degree circumstances of that particular gig! That would be quite a factor indeed.
But it’s not surprising that Ritchie’s voice would be off-mike a lot, they way he keeps up the hair-shaking while rocking out those choruses
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Richard, Rube, Beatlebug, Ahhh GirlPaul: Yeah well… first of all, we’re bringing out a ‘Stamp Out Detroit’ campaign.
3.50am
Moderators
15 February 2015
Offline The band The Warning, whose drummer often sings, uses one of those little mics taped to the side of her face. Obviously this wasn’t a luxury the Beatles had in the 60s, but I think it’s probably the ideal way to mic a drummer for singing. I suppose she does have to be careful not to bump into it while playing, headbanging, etc. and make weird noises, but I think it’s a fair compromise.
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4.04pm
1 December 2009
Offline Beatlebug said
The band The Warning, whose drummer often sings
Is that the power trio consisting of the three Mexican sisters?
GEORGE: In fact, The Detroit Sound. JOHN: In fact, yes. GEORGE: In fact, yeah. Tamla-Motown artists are our favorites. The Miracles. JOHN: We like Marvin Gaye. GEORGE: The Impressions PAUL & GEORGE: Mary Wells. GEORGE: The Exciters. RINGO: Chuck Jackson. JOHN: To name but eighty.
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