Log In
Register
3.36pm
1 December 2009
Offline
Absolutely. How lucky are we that John never got his way and had his songs segregated by side?
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.
6.43pm
14 January 2013
Offline 
exarctly said
You know, I have a hard time calling all the tracks from ‘never give me your money’ to ‘the end’ one medley. Seems to me that the medley already completely resolves and dies after She Came In Through The Bathroom Window . Then a second medley from Golden Slumbers to The End happens.Maybe I am too picky. I get the point. But anyone else ever think this?
I think this too. For me the first medley begins with “Sun King ” and ends with “She Came In Through The Bathroom Window “. The second one begins with “Golden Slumbers ” and finishes with “The End ” even though I know “Carry That Weight ” catches up with “You Never Give Me You’re Money”. It just sounds different melodies, maybe because theres dead space in between.
2.03pm
9 May 2012
Offline Zig said
Long John Silver said
One question, who plays 2:48 guitar part:
sorry for off topic but i found it silly to open a topic just for this part.
I always assumed it was George. It has the same sound as that found in ‘It Don’t Come Easy’.
BOT: To me, the medley begins with ‘Because ‘ and ends with ‘The End ‘. I do find the theory of two separate medleys interesting, however.
Yeah it was probably George. I was wondering though, which part John plays?
Living is easy with eyes closed, misunderstanding all you see.
3.18am
19 February 2013
Offline
Great thoughts… and the fact that the Golden Slumbers brings back older melodies is a very relevant point, as is the fact that silence can be considered a musical effect. Add to that the fact that The Beatles themselves obviously consider all the songs to be part of the medley. So I accept it as a medley. Though, I still think that technically the definition of a medley may be violated by having the silence, as I think of medley as something consisting of a string of continuous pieces put together. So, maybe I would have preferred a cross fade or something…
but then again, all I can do is be thankful I have the music (especially after how poorly things had gone recording the Get Back sessions)
So my complaint is more just for the sake of analyzing then changing my ability to enjoy it.
7.19am
30 April 2013
Offline For me the only medley is “Golden Slumbers “, “Carry Taht Weight” and “The End ” such a shame “Golden Slumbers ” is so áinfully short,cause it really is a beautiful piece of music.
8.31am
14 December 2009
Offline meanmistermustard said
Right after that line in The End there are harmonies by all 3 so Paul gets the two words but you end with John, Paul and George and their glorious harmonies, a part of their music that still capture onhearers.
There is also the case that Her Majesty wasnt listed on the cover so The End was at the end of the tracklisting, Her Majesty being a hidden track to listeners who would get the shock of their lives hearing that crashing guitar chord after fourteen seconds of silence.
Hey you’re right, I totally forgot about those wordless harmonies after “…you make”! Thanks for pointing that out.
“Her Majesty ” makes for a cool surprise, yes…but only the first time you play the album. Or the first few times, anyways. After that, you anticipate it. (And although I can’t blame the Beatles for it, the CD era gave us 9347 recording artists who just HAD to do the hidden-track thing, and MAN that s**t got annoying, then irritating, then infuriating. QUIT DOING THAT, IT’S NOT FUNNY ANYMORE!! Grrr.)
And in fact, it’s Side One of Abbey Road that gives us the REAL surprise: The musicus-interruptus finish of “She’s So Heavy”! That one has the ability to take me by surprise every time, unless I concentrate on counting all 15 repetitions of the instrumental chorus (or refrain or heavy bit or whatever)
Paul: Yeah well… first of all, we’re bringing out a ‘Stamp Out Detroit’ campaign.
8.50am
17 January 2013
Offline Von Bontee said
“Her Majesty ” makes for a cool surprise, yes…but only the first time you play the album. Or the first few times, anyways. After that, you anticipate it. (And although I can’t blame the Beatles for it, the CD era gave us 9347 recording artists who just HAD to do the hidden-track thing, and MAN that s**t got annoying, then irritating, then infuriating. QUIT DOING THAT, IT’S NOT FUNNY ANYMORE!! Grrr.)
I forget about it sometimes when I play that album at work, and when it comes in it has made me jump!
"Please don't bring your banjo back, I know where it's been.. I wasn't hardly gone a day, when it became the scene.. Banjos! Banjos! All the time, I can't forget that tune.. and if I ever see another banjo, I'm going out and buy a big balloon!"
8.44am
Reviewers
Moderators
1 May 2011
Online The worst hidden tracks are the ones that have the minutes of silence before they start, nobody should have to scroll thru endless nothing or lose the will to live before arriving at the music. Really stupid idea.
The following people thank meanmistermustard for this post:
Wil1972, vonbontee"I told you everything I could about me, Told you everything I could" ('Before Believing' - Emmylou Harris)
9.12am
Reviewers
17 December 2012
Offline The worst hidden tracks I can think of was one on a Madder Rose album, can’t remember which, which was a 12 track album lasting around half-an-hour, and the hidden track was track 99, with all the tracks between being a few seconds of silence that took the CD up to its full eighty minutes – so around thirty-five minutes of silence! Another, and I can’t remember for definite what the CD was, though it might have been an X-Files soundtrack, the hidden track was hidden before track 1 – the only way to find it was to know it was there, start track 1 playing, and then hit rewind. Fu-king clever, a truly hidden track, but a barsteward all the same!
"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
To @ Ron Nasty it's @ mja6758
The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
9.44am
27 December 2012
Offline Hidden tracks are harder to find if placed between a gap of silence, an old LP is limited by its grooves, the CD is limited by its grooves and time duration. Even if you fast-forward the tracks you will never know if it has a hidden track especially if the track is purposely fixed so that the “skip” function will not find it.
But who would want to hide tracks? You could miss out royalties from it.
And for I Want You She’s So Heavy, the hissing sound already gives a heads-up it’s going in a crescendo so you could somewhat anticipate the abrupt end.
10.10am
3 May 2012
Offline You can anticipate the end but not when it does, I don’t think. You expect it to end after dun-dun-dun-de-dun but it ends after dun-dun, instead.
Moving along in our God given ways, safety is sat by the fire/Sanctuary from these feverish smiles, left with a mark on the door.
(Passover - I. Curtis)
5.39am
14 December 2009
Offline mja6758 said
The worst hidden tracks I can think of was one on a Madder Rose album, can’t remember which, which was a 12 track album lasting around half-an-hour, and the hidden track was track 99, with all the tracks between being a few seconds of silence that took the CD up to its full eighty minutes – so around thirty-five minutes of silence! !
Yeah, Nine Inch Nails did that 90-some tracks of silence thing too.
Paul: Yeah well… first of all, we’re bringing out a ‘Stamp Out Detroit’ campaign.
2.53pm
16 August 2012
Offline It looks like someone took the Rockband files and posted a beautiful 16-minute gift.
E is for 'Ergent'.
3.33pm
31 March 2008
Offline
Yeah, s/he admits on the YouTube page that it’s from Rock Band.
I loved it. It’s like hearing the album anew.
Can buy me love! Please consider supporting the Beatles Bible on Amazon
Or buy my paperback/ebook! Riding So High – The Beatles and Drugs
Don't miss The Bowie Bible – now live!
3.49pm
Reviewers
14 April 2010
Offline To the fountain of perpetual mirth, let it roll for all its worth. And all the children boogie.
4.16pm
14 February 2013
Offline It’s awesome! 
"....take a sad song & make it Meilleur"....
5.59pm
1 November 2012
Offline Amazing. To the very end, they were creating wonderful 50s-style vocal harmonies. That seems to be an underappreciated aspect of Abbey Road .
P.S.: The harmonies often have a kind of 50s doo-wop/60s Motown stylistics to them, with a dash of Crosby, Stills, Nash and/or Young and a tablespoon of Beach Boys .
Faded flowers, wait in a jar, till the evening is complete... complete... complete... complete...
6.20pm
8 November 2012
Offline Deep Beatles has an entry on the making of “Sun King ” with some interesting revelations – most notably (for me anyway) the Fleetwod Mac influence.
However, another musical influence entered the studio — Fleetwood Mac. In 1968, the Peter Green-iteration of the band released “Albatross,” a dreamy instrumental driven by Green’s reverb-filled guitar solo and chords emulating the tide rolling in. In a 1987 interview, George Harrison revealed that the single inspired the Beatles to rework “Sun King .” “At the time, ‘Albatross’ was out, with all the reverb on guitar. So we said, ‘Let’s be Fleetwood Mac doing “Albatross,” just to get going,’ Harrison said. “It never really sounded like Fleetwood Mac … but that was the point of origin.”
While “Sun King ” may not exactly duplicate the track, the mellow quality of the song, created with melodic guitars and sound effects like chimes and use of cymbals, faintly echo “Albatross.”
More at the link.
parlance
1.11pm
31 March 2008
Offline I was thinking about that this morning. This is going a bit off-topic but whatever.
Sun King is very Fleetwood Mac. The guitar work in Don’t Let Me Down sounds very Hendrix-y (Wind Cries Mary), and Lennon’s voice in that song sounds like nothing else he recorded (listen to “Ooh she done me/She done me gooood” – can anyone tell me who he’s trying to sound like? Dylan?). We all know he lost his mojo towards the end, but it’s interesting how some of his late-Beatles music was quite derivative of his contemporaries. It’s like his early and late music was heavily inspired by other people, and only in the middle stage was his songwriting truly original.
Can buy me love! Please consider supporting the Beatles Bible on Amazon
Or buy my paperback/ebook! Riding So High – The Beatles and Drugs
Don't miss The Bowie Bible – now live!
1.32pm
Reviewers
17 December 2012
Offline I can’t think of any Dylan song that featured that kind of vocal at that time. Bob was very much using his country voice at that time, and I can’t think of a vocal like Lennon’s from earlier in the decade. I tend to think that the last time Bob as a performer influenced a Beatles performance was Paul’s on Rocky Raccoon – which, along with the song itself, seems heavily influenced by John Wesley Harding and, in particular, The Ballad of Frankie Lee and Judas Priest.
Anyway, we should know better!
"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
To @ Ron Nasty it's @ mja6758
The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
2 Guest(s)