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10.17pm
26 January 2017
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John’s voice on A Day In A Life breaks in a really interesting way, like an extremely rapid vibration that adds a lot of inflection to certain words like “film” during “I saw a film today oh boy”
Ringo’s drumming on Penny Lane is masterful. Come Together is always cited as the best example of how hard he can groove a song without doing much at all, I present the snare on Penny Lane . Minimalist but extremely in the pocket. The overall production on that song is as good as any song ever.
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2.28am
7 November 2022
Offline sir walter raleigh said
John’s voice on A Day In A Life breaks in a really interesting way, like an extremely rapid vibration that adds a lot of inflection to certain words like “film” during “I saw a film today oh boy”Ringo’s drumming on Penny Lane is masterful. Come Together is always cited as the best example of how hard he can groove a song without doing much at all, I present the snare on Penny Lane . Minimalist but extremely in the pocket. The overall production on that song is as good as any song ever.
Certainly the sound of Ringo’s snare is perfect, and he deploys a satisfying emphasis on it throughout, 98% of the time just accenting the upbeat (or is it the downbeat — I always get those mixed up). However, and this might be as blasphemous as a Catholic saying the Pope is wrong, but I’m sometimes disappointed in Ringo failing to use the hi-hat, ride cymbal, and crash cymbal. As I listen to Penny Lane , and it occurs to me, I’m missing the inclusion of hi-hat, ride cymbal, and crash cymbal. The only hi-hat I can detect is occasionally used with one hit in synch with the snare. Otherwise, it seems utterly absent — either due to Ringo avoiding them, or the engineers basically minimizing them so much you can’t hear them.
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4.02pm
1 December 2009
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There are a few Ringo tracks where he does seem to be doing very little; “Revolution ” is another. I don’t know whether this would’ve been Ringo’s choice, or a suggestion by songwriters Paul or John, or some combination of those…
Song fragments that really grab me:
Ringo in “I’m Only Sleeping “, the way he ends each verse with 5 glorious crash-cymbal hits – a very splashy sound, and especially effective & appropriate while it’s emphasizing the phrase “…float upstream.” (I imagine the unusual activity of floating up-stream would necessarily involve some splashing…)
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2.49am
30 August 2021
Offline The intro of I Should Have Known Better where, for want of a better description, it seems to slip a gear.
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4.12pm
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20 August 2013
Offline Ahhh Girl said (in 2021 on page 42 of this thread)
acmac said in December 2013 (page 14 of this thread)
General note for all the Beatles: I love how clear and wet they can make their Ks and (hard) Cs. Perhaps something to do with their Scouse-ness?
I really noticed this clear and wet k/c sound while listening to Happy With You.
Then I few moments later, I started to wonder what that sound would be like if Paul had used it on Fuh You.
Mccartney gets me again with that wet K in Making up moons in a minor key.
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3.10am
7 November 2022
Offline I never thought about these percussive K sounds from Paul. I imagine that the song Back In The USSR would be a veritable feast for people who like them.
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