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2 December 2014
5.22pm
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Joe
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The Beatles (White Album) artwork

Written by: Lennon-McCartney
Recorded: 19, 24 July; 13, 21 August 1968
Producer: George Martin
Engineer: Ken Scott

Released: 22 November 1968 (UK), 25 November 1968 (US)

John Lennon: vocals, backing vocals, acoustic guitar, rhythm guitar, Hammond organ
Paul McCartney: backing vocals, bass, piano
George Harrison: backing vocals, lead guitar
Ringo Starr: drums, tambourine

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7 March 2016
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ewe2
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Many of the songs on the White Album have an almost cyclical structure: not the standard pop format, and this one is typical. It gets a guitar solo at the end! John's vocals are so cool and sarcastic, going for the falsetto instead of voicing the upper register which gives it a floaty feeling, helped out by double tracking. Just delicious.

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I'm like Necko only I'm a bassist ukulele guitar synthesizer kazoo penguin and also everyone. Or is everyone me? Now I'm a confused bassist ukulele guitar synthesizer kazoo penguin everyone who is definitely not @Joe.  This has been true for 2016 & 2017 Sig-Badge.png but I may have to get more specific in the future.

21 April 2016
10.33am
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sir walter raleigh
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I don't see a Sexy Sadie thread. Can somebody point me in the right direction here? This is a favorite song and I wanted to discuss it here.

I love the anger disguised John's genius. The whole song runs in circles in my head, from the chord progression that runs all over the keyboard, to the "Wah Wah " harmonies at make me spin, to the eargasmic conclusion that mixes John's falsetto with Geroge's melodic guitar playing, this song is perfect.

"The pump don't work cause the vandals took the handles!"

-Bob Dylan, Subterranean Homesick Blues

"We could ride and surf together while our love would grow"

-Brian Wilson, Surfer Girl

18 May 2017
4.52pm
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Ron Nasty
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@Dark Overlord said (in another thread):

Ron Nasty said
He's nearer than you, Necko, even though you're not wrong.

They recorded takes 1-21 on 19 July. Remaking it on the 24th, they recorded takes 25-47. A second remake on the 13 August (the day after the Not Guilty [take 102]) saw them starting with take 100 through to take 107, reduction mixes taking it to take 111. After further overdubs and reduction mixes on 21 August, it reached take 117.

There are no takes 22-24 or 48-99 though, meaning there are 63 takes (some of which are reduction mixes).  

Why would a reduction mix count as a take, that makes no sense. Also, where did 22, 23, 24, and 48-99 go, they couldn't've possibly done that many reduction mixes.

Responding in a more appropriate thread.

I shall take your latter question as it has the easiest answer.

Takes 22-24 and 48-99 didn't go anywhere. There never were.

When The Beatles re-made songs, they often rounded up the last take number to a 5 or 0 on the first take of the re-make.

Take 21 was the last take of the first version. When they decided it needed a re-make, the first take of the re-make was labelled take 25. The day before they went for a second re-make, George's Not Guilty  had reached take 102, so it's likely that they were having a bit of a laugh about that by starting the second re-make at take 100.

Now, why where tape reduction mixes given take numbers?

The first thing to remember about take numbers is that their main purpose is as an index of the work done on a song, they are so things can be identified and found easily. A stack of tapes with nothing more than Sexy Sadie written on every box would have them spend hours trying to find the one they were after.

When they were bouncing down to free up tracks for overdubs, they were creating the mix onto which the overdubs would be made, creating a new backing track to be recorded on. It is no longer the same as the take it was made from because, say, four tracks all used on the original, while only two used, with two free for overdubs, on the new version.

You can't call the version with two free tracks the same as the version with no free tracks.

Important decisions were also made at the time of reductions, as balances between certain instruments you wouldn't be able to change much again. So, often more than one was done to get the soundscape they would continue with exactly right, as it would be what they were stuck with.

So, take 107 was given four different reduction mixes at the end of the session for them to choose which would be overdubbed from, each given a take number (takes 108-111) to identify them. Though, of course, Beatles being Beatles, when the day arrived for the overdubs, the first thing they did was create a fifth reduction!

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5 November 2018
5.42pm
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Billy Rhythm
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In anticipation of the 50th 'White Album ' celebrations...  I find myself diggin' through my own personal archives of White Beatlegs…  one that really caught my attention yesterday was the 'RM5 unedited' version of 'Sexy Sadie '...  it's essentially the same version that we've all become accustomed to but with a few extra bars, that I don't recall hearing before, during the legendary outro where all four seemingly lose their minds...  chalk this up with the ever growing list of unnecessary edits that we've discovered over the years...  ok...  I cut them a bit of slack with the 'White Album ' for it just HAD to be cut to size, but nice that some of these have found their way outta the vaults...  hoping that this will be included with the new release...:-)

6 November 2018
2.38pm
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meanmistermustard
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Billy Rhythm said
In anticipation of the 50th 'White Album ' celebrations...  I find myself diggin' through my own personal archives of White Beatlegs…  one that really caught my attention yesterday was the 'RM5 unedited' version of 'Sexy Sadie '...  it's essentially the same version that we've all become accustomed to but with a few extra bars, that I don't recall hearing before, during the legendary outro where all four seemingly lose their minds...  chalk this up with the ever growing list of unnecessary edits that we've discovered over the years...  ok...  I cut them a bit of slack with the 'White Album ' for it just HAD to be cut to size, but nice that some of these have found their way outta the vaults...  hoping that this will be included with the new release...:-)  

RM5 is about 40 seconds longer due to the section that was lopped out, the band changing thought and going at a more hesitant pace. They were right to take it out.

The other mix of note is the unedited 'Don't Pass Me By ' (RM4) which repeats the first verse, and rather amusingly adds a knocking on a door where lyrically apt, after the first fiddling solo. 

"I told you everything I could about me, Told you everything I could" ('Before Believing' - Emmylou Harris) 

"Don't make your love suffer insecurities; Trade the baggage of 'self' to set another one free" ('Paper Skin' - Kendall Payne)

7 November 2018
1.45pm
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QuarryMan
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I love the way the guitar merges with the piano at the end of this one.

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14 November 2018
7.32pm
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Billy Rhythm
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meanmistermustard said

RM5 is about 40 seconds longer due to the section that was lopped out, the band changing thought and going at a more hesitant pace. They were right to take it out.

For me, the jury's still out on whether "They were right to take it out", or not...  the "changing thought" bit you're referencing is where the band reprises the middle eight which builds quite nicely for the rest of the outro, in my opinion...  having said this, I've grown much accustomed to the conventional mix and can see how it could be perceived as an interruption there...  the organ seems more audible during RM5, which is nice...  miss the flange/phase on the backing vocals though...:-) 

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14 November 2018
10.12pm
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sir walter raleigh
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Once John does his falsetto swoop the song tears through to the end. No stopping the boys from there. 

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"The pump don't work cause the vandals took the handles!"

-Bob Dylan, Subterranean Homesick Blues

"We could ride and surf together while our love would grow"

-Brian Wilson, Surfer Girl

27 December 2018
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TheWalrusWasBrian
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I never noticed the backing vocals until today, wow, they're amazing. 

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27 December 2018
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50yearslate
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Wah Wah wah... aren't they though? beatlemaniacs_02_gif

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15 March 2019
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Ahhh Girl
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John flips between talking "to" Sadie and "about" Sadie. Do you think that is intentional?

16 March 2019
4.08am
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sir walter raleigh
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The switch occurs during the “we gave her everything we owned just to sit at her table” section, then switches back. I never noticed it until now. I have no idea if it means anything 

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"The pump don't work cause the vandals took the handles!"

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-Brian Wilson, Surfer Girl

16 March 2019
4.34am
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Timothy
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Thinking aloud but I think the end is the singer recollecting the incident to his mates (being turned on by Sadie, with Sadie not reciprocating that interest). 

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16 March 2019
7.14am
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QuarryMan
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I'd never noticed that either. I wonder whether it was intentional.

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1 April 2019
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Timothy
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Gotta say, I’m loving the Super Deluxe version of Sexy Sadie . It really gives it a different feel while still staying true to the spirit of what it is. More defined instruments and such. This was one of the first songs I revisited upon purchasing the Super Deluxe. I like all the White Album songs for different reasons, but this is my undisputed sentimental favourite.

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1 April 2019
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TheWalrusWasBrian
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Timothy said
Gotta say, I’m loving the Super Deluxe version of Sexy Sadie . It really gives it a different feel while still staying true to the spirit of what it is. More defined instruments and such. This was one of the first songs I revisited upon purchasing the Super Deluxe. I like all the White Album songs for different reasons, but this is my undisputed sentimental favourite.

  

It might be my favourite, too. it's just so... WOW. 

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The Concert for Bageldesh

~~~

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1 April 2019
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QuarryMan
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That reminds me, I haven't played the Super Deluxe version since it came out paul-mccartneyTime to rectify that immediately, I'll start with Sexy Sadie

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1 April 2019
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TheWalrusWasBrian
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Now I have a craving for it.... wish I had my earbuds on me. paul-mccartney

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