Someone posted:
ftp://beatles.ccs.ru/beatles/The_Beatle ... Naked-2003
on Usenet. I can't get in...lord knows if it's real.
-D
So it's going to be called "Let It Be Naked" ?????
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Beatlesfan03
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Xenu wrote:Someone posted:
ftp://beatles.ccs.ru/beatles/The_Beatle ... Naked-2003
on Usenet. I can't get in...lord knows if it's real.
-D
I can't get in either, keeps saying page cannot be found.
Craig
They just finished a simulcast here on the local Oldies station and WXRT, both Infinity owned (interesting to switch back and forth: from what I can gather, an hour "making of" documentary was sent out, and this was accompanied by a script for the DJ's to read. Once this program ended, the station then switched over to a live simulcast of the reconstructed album). The commentary afterwards was pretty worthless, getting a bunch of celebrities to say how much they like the new product without giving any new insight. None of today's better artists, either.
I taped the album portion and gave it two listens. Clearing my mind of any expectations and without focusing on sound quality, I have to say for the most part, it wasn't bad. Opening track Get Back pretty much felt like the original, but they should've left on the false ending. It was jarring to hear at first, but on the second time, expecting it to happen and pretending that "this is the way it should be," it still felt awkward.
Dig A Pony felt pretty much the same. Without the extra bits, like the soft chatter at the beginning, John sniffing, and the extra note the band plays before actually going into the song. Just a clean, hard start, nothing earth-shaking.
I've Got A Feeling sounds like there may have been double-tracking of Paul's vocals. Well, not really double-tracking, but mixing in two of Paul's vocal tracks from different takes. I'll give it another listen later, but it doesn't sound like a John and Paul harmony going on before the bridge. The end doesn't split John and Paul into different speakers, it blends them in more, and Paul's part is definitely different, more raucous. Haven't compared it with the Let It Be version, but the overall feel is similar. I'm not sure if I'd say it was better, though (in retrospect, it feels like a subtle noticeable added emphasis was put on Paul).
Let It Be, the one they've already played on the radio, not bad. I kind of like the even-more stripped down feel of this version compared to the 45, but the guitar solo/parts are, IMO, still inferior to either the Lp or 45 versions. So the 45 is still hands down my favorite.
Long and Winding Road is the film/Anthology video version. Much better than the original Lp, as you'd expect.
Across the Universe. This song just has too many versions. The charity version has the annoying falsetto dubs that John hated. I have a booted mono mix that isn't that great and is really close to the charity mix. I like some aspects of Phil's added production, but not all, like slowing down John so he sounds kind of druggy (not to mention the addition of echo or whatever it was to make his voice sound like sludge overall). This version sounds like a mix of tracks used to make the charity and Lp versions: just the kick drum, a sitar, acoustic guitar and John, and for MOST of it, minimal futzing. John's voice is dry and it plays at the 'natural' speed, no slowing down. The end has some things done to it, fading everything out except John's voice and piling on reverb, and it doesn't work, but it's only for 10 or 15 fading seconds. I can see why John would want this re-done. Too bare, I miss the bass part. And John's vocals now sound a bit too 'nervous,' if that makes any sense, so I can see why Phil would want to slow it down, but I don't think that solved the problem. My favorite version is still the Anthology 2 version. No kick drum, or even the nice bass part, but I think it works perfectly.
Two Of Us pretty much the same as the Let It Be version with the talking bit at the start cut off. No big deal (appropriate choice, IMO, since the talking intro would be too distracting coming in the middle of an album)
I Me Mine is just like the Anthology 3 take, with the added talking intro left off, and edited to repeat. No extra orchestration. No big deal, IMO, a nice if minor track.
For You Blue pretty much felt the same. I think there may have been some changes, but, well, it's not a track that really pops out from the album.
Don't Let Me Down was another rooftop take, perhaps with even less post-production, I haven't checked (the 45 of course had the small fixes). An excellent take, but not better. I heard a few more guitar notes that were off, and not in a 'good' way (not like, say, the I've Got A Feeling outtake on Anthology 3; it has that wrong guitar note at the beginning that is REALLY off, but yet is really cool and feels right). Also John's vocal is a little less polished, does that extra bit of 'singing' at the end that doesn't really add anything and is probably too distracting.
One After 909 felt overall the same.
Everything has been remixed, of course, but on the stuff that feels roughly the same, the Spector mixes were pretty good to begin with. Very dynamic, too.
Anyway, that's my 'review.' I've already made my own little Get Back/Let It Be three disc set (one with a proper album, two packed with the rooftop show and outtakes/alternate takes) of stuff I like to hear, so I don't see myself buying this at all. Just no incentive now. But, if I had nothing, I'd probably get this over the original Let It Be, I think.
I sort of imagined this being a non-event to those who've heard/have so much of this already anyway, and I guess for someone like me it is. Still not a bad thing, since most people (and certainly me 5 years ago) don't have any access to boots and probably would love this.
What did you guys think?
I taped the album portion and gave it two listens. Clearing my mind of any expectations and without focusing on sound quality, I have to say for the most part, it wasn't bad. Opening track Get Back pretty much felt like the original, but they should've left on the false ending. It was jarring to hear at first, but on the second time, expecting it to happen and pretending that "this is the way it should be," it still felt awkward.
Dig A Pony felt pretty much the same. Without the extra bits, like the soft chatter at the beginning, John sniffing, and the extra note the band plays before actually going into the song. Just a clean, hard start, nothing earth-shaking.
I've Got A Feeling sounds like there may have been double-tracking of Paul's vocals. Well, not really double-tracking, but mixing in two of Paul's vocal tracks from different takes. I'll give it another listen later, but it doesn't sound like a John and Paul harmony going on before the bridge. The end doesn't split John and Paul into different speakers, it blends them in more, and Paul's part is definitely different, more raucous. Haven't compared it with the Let It Be version, but the overall feel is similar. I'm not sure if I'd say it was better, though (in retrospect, it feels like a subtle noticeable added emphasis was put on Paul).
Let It Be, the one they've already played on the radio, not bad. I kind of like the even-more stripped down feel of this version compared to the 45, but the guitar solo/parts are, IMO, still inferior to either the Lp or 45 versions. So the 45 is still hands down my favorite.
Long and Winding Road is the film/Anthology video version. Much better than the original Lp, as you'd expect.
Across the Universe. This song just has too many versions. The charity version has the annoying falsetto dubs that John hated. I have a booted mono mix that isn't that great and is really close to the charity mix. I like some aspects of Phil's added production, but not all, like slowing down John so he sounds kind of druggy (not to mention the addition of echo or whatever it was to make his voice sound like sludge overall). This version sounds like a mix of tracks used to make the charity and Lp versions: just the kick drum, a sitar, acoustic guitar and John, and for MOST of it, minimal futzing. John's voice is dry and it plays at the 'natural' speed, no slowing down. The end has some things done to it, fading everything out except John's voice and piling on reverb, and it doesn't work, but it's only for 10 or 15 fading seconds. I can see why John would want this re-done. Too bare, I miss the bass part. And John's vocals now sound a bit too 'nervous,' if that makes any sense, so I can see why Phil would want to slow it down, but I don't think that solved the problem. My favorite version is still the Anthology 2 version. No kick drum, or even the nice bass part, but I think it works perfectly.
Two Of Us pretty much the same as the Let It Be version with the talking bit at the start cut off. No big deal (appropriate choice, IMO, since the talking intro would be too distracting coming in the middle of an album)
I Me Mine is just like the Anthology 3 take, with the added talking intro left off, and edited to repeat. No extra orchestration. No big deal, IMO, a nice if minor track.
For You Blue pretty much felt the same. I think there may have been some changes, but, well, it's not a track that really pops out from the album.
Don't Let Me Down was another rooftop take, perhaps with even less post-production, I haven't checked (the 45 of course had the small fixes). An excellent take, but not better. I heard a few more guitar notes that were off, and not in a 'good' way (not like, say, the I've Got A Feeling outtake on Anthology 3; it has that wrong guitar note at the beginning that is REALLY off, but yet is really cool and feels right). Also John's vocal is a little less polished, does that extra bit of 'singing' at the end that doesn't really add anything and is probably too distracting.
One After 909 felt overall the same.
Everything has been remixed, of course, but on the stuff that feels roughly the same, the Spector mixes were pretty good to begin with. Very dynamic, too.
Anyway, that's my 'review.' I've already made my own little Get Back/Let It Be three disc set (one with a proper album, two packed with the rooftop show and outtakes/alternate takes) of stuff I like to hear, so I don't see myself buying this at all. Just no incentive now. But, if I had nothing, I'd probably get this over the original Let It Be, I think.
I sort of imagined this being a non-event to those who've heard/have so much of this already anyway, and I guess for someone like me it is. Still not a bad thing, since most people (and certainly me 5 years ago) don't have any access to boots and probably would love this.
What did you guys think?
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Mike Hunte
- Senior Troll
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I thought the Doors claimed that title. Or was it Black Sabbath?
Anyway, I've gave portions of the tape a few more listens today, switching back and forth with respective counterparts on the original Lp and the complete rooftop show I have on a disc.
First, my tape really sounds shitty. There's so much flanging, compression, and a boatload of artifacts, so I probably won't be listening to it anymore. Anyway, the mix is definitely more aggressive. I'm sure the crappy sound contributes to that, but on I've Got A Feeling (Naked mix), the guitars are really up, especially the rhythm guitar, while on Phil's mix, it's a lot more open and not so in-your-face. The opening bass drum notes on the Naked mix are totally up, too, just as loud as the vocals (Sheryl Crow talked very briefly, but she did mention the drum sound and joked about stealing it...like she hasn't built her career on lifting things from classic rock artists and watering it down). The second half of I've Got A Feeling is he second of two takes I've got from the rooftop concert, and it's nice to be able to hear the organ as well as a well-defined bass, but the lead guitar figure over John's bridge is almost mixed out, which is a real shame. I like Paul's phrasing of the final "I can't hide," but it's a bit weird hearing nothing in that brief pause before Paul and John sing their different lines (Phil used the other take which had Paul doing his Little Richard bit). Oh, and that is Paul and John, not Paul dubbing over himself, I was totally wrong about that.
It's really nice to hear the organ on the Naked take of Don't Let Me Down. I already have this take, but like the other tracks of the rooftop concert, you can't hear the organ on the 'mix' I have, and the bass is just a big cloud with not definition. The 45 version still chose the better take to work off of.
Anyway, I've gave portions of the tape a few more listens today, switching back and forth with respective counterparts on the original Lp and the complete rooftop show I have on a disc.
First, my tape really sounds shitty. There's so much flanging, compression, and a boatload of artifacts, so I probably won't be listening to it anymore. Anyway, the mix is definitely more aggressive. I'm sure the crappy sound contributes to that, but on I've Got A Feeling (Naked mix), the guitars are really up, especially the rhythm guitar, while on Phil's mix, it's a lot more open and not so in-your-face. The opening bass drum notes on the Naked mix are totally up, too, just as loud as the vocals (Sheryl Crow talked very briefly, but she did mention the drum sound and joked about stealing it...like she hasn't built her career on lifting things from classic rock artists and watering it down). The second half of I've Got A Feeling is he second of two takes I've got from the rooftop concert, and it's nice to be able to hear the organ as well as a well-defined bass, but the lead guitar figure over John's bridge is almost mixed out, which is a real shame. I like Paul's phrasing of the final "I can't hide," but it's a bit weird hearing nothing in that brief pause before Paul and John sing their different lines (Phil used the other take which had Paul doing his Little Richard bit). Oh, and that is Paul and John, not Paul dubbing over himself, I was totally wrong about that.
It's really nice to hear the organ on the Naked take of Don't Let Me Down. I already have this take, but like the other tracks of the rooftop concert, you can't hear the organ on the 'mix' I have, and the bass is just a big cloud with not definition. The 45 version still chose the better take to work off of.
"When people speak to you about a preventive war, you tell them to go and fight it. After my experience, I have come to hate war." – Dwight D. Eisenhower
"Neither slave nor tyrant." - Basque motto
"Neither slave nor tyrant." - Basque motto
The thing really doesn't sound very good. Very overprocessed, but in a kind of unpleasant way. Ringo's drums/cymbals tend to sound fairly anemic.
Oh, and it really isn't all that different. At all. I've never seen a marketing campaign built on *less*, actually (nor have I heard one based on a more "kick a man when he's down" phase. Was Phil Spector's controversy really the best time to start bashing him?). Did you hear that fucking roundtable discussion? "Let It Be Naked is so important! It's my favorite Beatles album....only...NOW! THE WAY THEY INTENDED." Reality check. Three songs are kinda underdubbed; I Me Mean (which has been available in a TRULY underdubbed state before), Long and Winding Road (Paul's pet peeve...well, recently, at least...has been available underdubbed before) and Across the Universe. Two of Us isn't really different at all. Heck, I question the whole "searching through miles of tape" thing, as aren't a few of these the same takes/mostly the same takes used on the Anthology video?
But I digress. What's next? A Beatles for Sale...Naked? THE WAY WE ORIGINALLY INTENDED? LEt's catalogue the changes. The album would be NEWLY-REMIXED...into mono. Except for I'm a Loser, which would be one of the earlier, faster takes (John always intended it). Every Little Thing wouldn't have the piano overdub that's probably vexed Paul for years. Mr. Moonlight would be swapped for Leave My Kitten Alone (we never intended it to be there!), and Honey Don't would just go away (Ringo always hated it). Yay Apple marketing campaign, with Saddam Hussein telling us how Beatles For Sale was always his favorite album and how this really improves it. Gah.
Has everybody here seen the back cover? Fly on the Wall is described as being a UNIQUE INSIGHT. Y'mean, to people who are totally unaware that the entirety of the T-ham session is available if you really want it. Who won't be unaware for too long, because Fly on the Wall is frustrating (and *really* sounds like crap, BTW) and you're gonna get people online asking if there's a COMPLETE version of x and x snippet they liked.
Disappointed, I am. Seriously. Anthology 1 is indicative of far more effort and care than this thing. And when did it suddenly become excusable, BTW, to have such a hideous artwork concept?
Oh, and it really isn't all that different. At all. I've never seen a marketing campaign built on *less*, actually (nor have I heard one based on a more "kick a man when he's down" phase. Was Phil Spector's controversy really the best time to start bashing him?). Did you hear that fucking roundtable discussion? "Let It Be Naked is so important! It's my favorite Beatles album....only...NOW! THE WAY THEY INTENDED." Reality check. Three songs are kinda underdubbed; I Me Mean (which has been available in a TRULY underdubbed state before), Long and Winding Road (Paul's pet peeve...well, recently, at least...has been available underdubbed before) and Across the Universe. Two of Us isn't really different at all. Heck, I question the whole "searching through miles of tape" thing, as aren't a few of these the same takes/mostly the same takes used on the Anthology video?
But I digress. What's next? A Beatles for Sale...Naked? THE WAY WE ORIGINALLY INTENDED? LEt's catalogue the changes. The album would be NEWLY-REMIXED...into mono. Except for I'm a Loser, which would be one of the earlier, faster takes (John always intended it). Every Little Thing wouldn't have the piano overdub that's probably vexed Paul for years. Mr. Moonlight would be swapped for Leave My Kitten Alone (we never intended it to be there!), and Honey Don't would just go away (Ringo always hated it). Yay Apple marketing campaign, with Saddam Hussein telling us how Beatles For Sale was always his favorite album and how this really improves it. Gah.
Has everybody here seen the back cover? Fly on the Wall is described as being a UNIQUE INSIGHT. Y'mean, to people who are totally unaware that the entirety of the T-ham session is available if you really want it. Who won't be unaware for too long, because Fly on the Wall is frustrating (and *really* sounds like crap, BTW) and you're gonna get people online asking if there's a COMPLETE version of x and x snippet they liked.
Disappointed, I am. Seriously. Anthology 1 is indicative of far more effort and care than this thing. And when did it suddenly become excusable, BTW, to have such a hideous artwork concept?
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"Fuckin' Koreans" - Reno 911
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lukpac
- Top Dog and Sellout
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BTW, we can't really give Apple credit for the cover "idea". I think that would have to go to ABKCO for More Hot Rocks.
Oh, and Get Back sounds *really* strange ending like that.
Oh, and Get Back sounds *really* strange ending like that.
"I know because it is impossible for a tape to hold the compression levels of these treble boosted MFSL's like Something/Anything. The metal particulate on the tape would shatter and all you'd hear is distortion if even that." - VD
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lukpac
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Xenu wrote:The thing really doesn't sound very good. Very overprocessed, but in a kind of unpleasant way. Ringo's drums/cymbals tend to sound fairly anemic.
If I had to use one word to describe the sound, it would be "sterile". Hiss is minimal, to say the least.
BTW, am I correct in saying that Two Of Us has a guitar overdub(s)?
"I know because it is impossible for a tape to hold the compression levels of these treble boosted MFSL's like Something/Anything. The metal particulate on the tape would shatter and all you'd hear is distortion if even that." - VD
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Rspaight
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If I had to use one word to describe the sound, it would be "sterile". Hiss is minimal, to say the least.
So, it's "Let It Be... Naked... and Airbrushed"?
Oh, and you should know by now that you can't overdub 30-year-old tapes.
(I'm reduced to smart-ass comments because I haven't actually listened to the thing yet.)
Ryan
RQOTW: "I'll make sure that our future is defined not by the letters ACLU, but by the letters USA." -- Mitt Romney