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7.43pm
8 August 2012
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Someone else should have sung “Julia “, even though John wrote it.. I think Johns vocals on that one is a little bit weak.
8.26pm
21 November 2012
Offline bikelock28 said
These are all really finickity little things, and I know its wrong to criticise genuis becuase I couldn’t ever do a better job, BUT….
- “Said you had a thing or two to tell me/ How was I to know you would upset me?”- I’ve always thought “How was I to know you would repel me?” would be a better line, becuase it rhymes but still has the same meaning
- “I’ve known this secret for a week or two, nobody knows, just we two,”- Considering how many do/true/you/two rhymes there are in early Beatles songs, why didn’t they write it as “nobody knows just me and you,” ?
I agree with these points, repel does sound slightly better.
That line in Do You Want To Know A Secret has always bothered me. ”we two” just sounds..lame. I can’t imagine no one could come up with ”just me and you” instead of that?
11.35pm
14 October 2012
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That line in Do You Want To Know A Secret has always bothered me. “we two” just sounds..lame. I can’t imagine no one could come up with “just me and you” instead of that?
Exactly! “Just me and you,” is the most obvious rhyme! I can’t see any reason for them not to use it…they must’ve really rushed the writing of DYWTKAS
"I don't think we were actually swimming, as it were, with shirts on, 'cos we always wear overcoats when we're swimming,"-
George Harrison, Australia, June 1964
10.58am
3 May 2012
Offline tkj said
Someone else should have sung “Julia “, even though John wrote it.. I think Johns vocals on that one is a little bit weak.
I love the fact that he sings it. It wouldn´t have been the same if, say, Paul had sang it because it´s a tribute to his mother – and purely for that reason the song is beautiful. And I´ve never thought he sounded bad on it, there´s certainly worse out there (possibly even on the same album…?).
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)
12.35am
9 May 2012
Offline Don’t see anything wrong with his voice on that song, and it was a song about his mother, who else should sing that?
Living is easy with eyes closed, misunderstanding all you see.
10.43pm
Reviewers
17 December 2012
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No-one but John could’ve sung the Oedipal Julia . Just imagine Ringo singing a love song to John’s mother/Yoko? Remember, it was him who got the lullaby to Julian.
"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
10.56pm
1 November 2012
Offline bikelock — “repel me” is great! It also would sound right with George’s Liverpuddlian accent.
Faded flowers, wait in a jar, till the evening is complete... complete... complete... complete...
11.00pm
1 November 2012
Offline tkj said
Someone else should have sung “Julia “, even though John wrote it.. I think Johns vocals on that one is a little bit weak.
John’s voice in that song IS weak — but that’s PRECISELY why it works! John, unlike Paul, had a voice whose subtle imperfections actually work for his style (analogous to Dylan). And on the flip side, Paul seems incapable of being flawed vocally in order to make it work, which also relates to why he can’t really be soulful. John’s style could begin to touch the tragic element; Paul seems constitutionally incapable of touching tragedy — his genius is more like a mischevious Mozart with always a glint of fun in his eye.
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MrCleanMachine, vonbonteeFaded flowers, wait in a jar, till the evening is complete... complete... complete... complete...
11.15pm
26 March 2012
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Funny Paper said
tkj said
Someone else should have sung “Julia “, even though John wrote it.. I think Johns vocals on that one is a little bit weak.John’s voice in that song IS weak — but that’s PRECISELY why it works! John, unlike Paul, had a voice whose subtle imperfections actually work for his style (analogous to Dylan). And on the flip side, Paul seems incapable of being flawed vocally in order to make it work, which also relates to why he can’t really be soulful. John’s style could begin to touch the tragic element; Paul seems constitutionally incapable of touching tragedy — his genius is more like a mischevious Mozart with always a glint of fun in his eye.
This is a fantastic description of the differences between their voices. I’ve often felt like the juxtaposition between John’s voice and Paul’s voice adds just as much character and colour and duality to the music of the Beatles as their different personalities do. As George Martin said when he auditioned them, Paul’s voice was technically more accomplished (which could also be seen as extending to the priorities in his songwriting), but John’s voice had more character. Just like Lennon and McCartney themselves, their voices were amazing on their own but something markedly special when brought together, complimenting each other (Getting Better , A Day In The Life , I’ve Got A Feeling , If I Fell , Baby’s In Black , She’s Leaving Home , the list could go on and on). John’s gritty, wise, snarling baritone and Paul’s strong, bright, cheery tenor. Since making the McCartney vocal range video on YouTube a lot of people have asked me for a Lennon one, but I haven’t got round to it yet.
SHUT UP - Paulie's talkin'
7.00pm
10 August 2011
Offline Bikelock28 said ,“Guitar solo on And I Love Her “
I agree. Simply repeating the melody is a little lame; only the very end is nice as it segues back in to the song.
"Into the Sky with Diamonds" (the Beatles and the Race to the Moon – a history)
7.51pm
14 October 2012
Offline Bikelock28 said ,”Guitar solo on And I Love Her “
I agree. Simply repeating the melody is a little lame; only the very end is nice as it segues back in to the song.
Yeah, I’ve always thought it sounds clunky and jagged, like he’s constantly checking which note he should be playing. Others may disagree, that’s just my opinion.
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MrCleanMachine"I don't think we were actually swimming, as it were, with shirts on, 'cos we always wear overcoats when we're swimming,"-
George Harrison, Australia, June 1964
4.04am
3 September 2012
Offline I wish George’s vocals on Old Brown Shoe were a decent volume; considering he sang from a corner of the room it made it difficult to tell it apart from the rest of the instruments, even with a boost. I cherish take 2 because it’s still a pretty great version. The guitar solo is unpolished as it’s only take 2, likely the first completed take of it.
Please don't wake me, no don't shake me, leave me where I am, I'm only sleeping~.
6.21am
27 December 2012
Offline Holsety said
I wish George’s vocals on Old Brown Shoe were a decent volume; considering he sang from a corner of the room it made it difficult to tell it apart from the rest of the instruments, even with a boost. I cherish take 2 because it’s still a pretty great version. The guitar solo is unpolished as it’s only take 2, likely the first completed take of it.
The same goes for The Ballad Of John And Yoko . The volume isn’t quite the same compared to other tracks.
10.50am
26 March 2012
Offline I also don’t like the way Old Brown Shoe randomly gets louder at the end. You’d think it would be possible to put more oomph into the ending of a song without just whacking up the volume knob.
SHUT UP - Paulie's talkin'
1.36pm
Reviewers
Moderators
1 May 2011
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John wanted the single out fast due to the subject matter and both only had 1 stereo mix (despite some bootleggers saying there are alternate mixes) so maybe thats why – tho there is a 2003 stereo mix of John and Yokos Ballad for the anthology dvds.
"I told you everything I could about me, Told you everything I could" ('Before Believing' - Emmylou Harris)
4.54pm
14 December 2009
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bikelock28 said
Bikelock28 said ,”Guitar solo on And I Love Her “
I agree. Simply repeating the melody is a little lame; only the very end is nice as it segues back in to the song.
Yeah, I’ve always thought it sounds clunky and jagged, like he’s constantly checking which note he should be playing. Others may disagree, that’s just my opinion.
I personally like the way he phrases that solo, with the deliberate hesitations. It’s funny – that solo manages to use not one but TWO tropes I genarally dislike – the vocal-melody-as-guitar-solo and the “trucker’s gear change” – and yet manages to work. And ironically, I probably wouldn’t have liked it as much if he’d only used one of those cliches instead of both.
Paul: Yeah well… first of all, we’re bringing out a ‘Stamp Out Detroit’ campaign.
9.44pm
14 October 2012
Offline Another finickity thing:
In Maxwell’s Silver Hammer – “She tells Max to stay when the class has gone away, so he waits behind/ Writing fifty times “I must not be so-o-o-o,”….why not “so-o unkind,” to rhyme with behind?
"I don't think we were actually swimming, as it were, with shirts on, 'cos we always wear overcoats when we're swimming,"-
George Harrison, Australia, June 1964
11.09pm
21 November 2012
Offline That has always bothered me too. I remember the first time listening to it and going all ”BE SO WHAT?! WHAAAT?!” nearly pulling my hair out. Not literally of course.
If I’d really pull my hair out anytime I was annoyed by something in a song, I would’ve been bald for years already.
I don’t like the strange bit at the end of Strawberry Fields. Why didn’t they just gave it a decent ending? Why did it have to have such a creepy ending? Same goes for A Day In The Life . It was perfect without the talking bit imo.
1.56am
1 November 2012
Offline Thanks Ben Ramon– I only saw your response just now. Sometimes that “New comments” feature at the bottom doesn’t seem to work, if its function is to alert readers of ALL new comments…
Faded flowers, wait in a jar, till the evening is complete... complete... complete... complete...
5.58pm
3 May 2012
Offline I´ve always thougt that the so-o-o in ‘MSH’ is like that cos it´s the teacher wishing she could swear at this naughty schoolboy but she can´t because she is the tecaher, and teachers aren´t/weren´t aloud to do that.
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)
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