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In his return to the show, we discuss 1968 and the making of the “White Album” (mostly), as explored in his most recent work, The Beatles’ Recording Reference Manual Volume 4.
Joining us is another returning guest, recording artist/performer/producer Luther Russell (Those Pretty Wrongs, The Freewheelers, solo). Because we covered so much ground, I am presenting the conversation spread over two parts (the conclusion to follow later….)
Check out Jerry’s work here.
This is such a well made/edited episode as well as being the welcome return of Jerry. Fascinating, granular stuff! Thanks a lot, can’t wait for Part II.
On a different point, when we hear Paul’s isolated vocals on “A Day In The Life” here (new to me – I don’t have Rock Band) I was really struck by his beautifully clear diction; not a single slurred word.
This is such a well made/edited episode as well as being the welcome return of Jerry. Fascinating, granular stuff! Thanks a lot, can’t wait for Part II.
On a different point, when we hear Paul’s isolated vocals on “A Day In The Life” here (new to me – I don’t have Rock Band) I was really struck by his beautifully clear diction; not a single slurred word.
Great show guys! It was very insightful as usual.
As a bass player who’s tried a bunch of basses, I find it strange/hilarious that The Beatles were after an “American Stax Volt Tamala Motown” bass sound but didn’t go after the K.I.S.S (keep it simple stupid) method.
Generally speaking the vast majority of those records were played with a Fender Precision Bass with the split pickup and fingers and foam mute usually intact.
The split pickup offers more lower mid range “oomph” and a wider touch response even over the Fender Jazz. You can dig in harder with the plucking hand to get “more”.
Hofner, Rickenbacker, Fender VI were not the basses you took to an American Soul session recording.
What would The Beatles sound like with a P-bass?
I guess it would sound something powerful like “Cold Turkey” played by buddy Klaus (fender p bass).
Great show guys! It was very insightful as usual.
As a bass player who’s tried a bunch of basses, I find it strange/hilarious that The Beatles were after an “American Stax Volt Tamala Motown” bass sound but didn’t go after the K.I.S.S (keep it simple stupid) method.
Generally speaking the vast majority of those records were played with a Fender Precision Bass with the split pickup and fingers and foam mute usually intact.
The split pickup offers more lower mid range “oomph” and a wider touch response even over the Fender Jazz. You can dig in harder with the plucking hand to get “more”.
Hofner, Rickenbacker, Fender VI were not the basses you took to an American Soul session recording.
What would The Beatles sound like with a P-bass?
I guess it would sound something powerful like “Cold Turkey” played by buddy Klaus (fender p bass).
‘What’s the New Mary Jane” is somewhat stylistically similar to Syd Barret’s Pink Floyd track ” Scream the Last Scream” which remained unreleased at the time but possibly could have been heard by Lennon at E.M.I. Regardless they are both examples of the last gasps of the Rococo Psychedelic era where more and more had been forced into the framework of the 45 until, within that framework there wasn’t much further out you could push things leading to the return to the Neoclassic simplicity of Country, Early Rock, Gospel and Blues. A stylistic system usually runs through a Classical era(where the genre is first introduced and defined), and as it is perfected reaches it’s perfect state of balance with a Renaissance era, andfinally as more and more energy is introduced into the style it becomes overloaded filled with ornate detail(the Rococo phase), out of balance, and returns to the Neo Classicism of the original form in an attempt to reestablish itself.
‘What’s the New Mary Jane” is somewhat stylistically similar to Syd Barret’s Pink Floyd track ” Scream the Last Scream” which remained unreleased at the time but possibly could have been heard by Lennon at E.M.I. Regardless they are both examples of the last gasps of the Rococo Psychedelic era where more and more had been forced into the framework of the 45 until, within that framework there wasn’t much further out you could push things leading to the return to the Neoclassic simplicity of Country, Early Rock, Gospel and Blues. A stylistic system usually runs through a Classical era(where the genre is first introduced and defined), and as it is perfected reaches it’s perfect state of balance with a Renaissance era, andfinally as more and more energy is introduced into the style it becomes overloaded filled with ornate detail(the Rococo phase), out of balance, and returns to the Neo Classicism of the original form in an attempt to reestablish itself.
Excellent show as usual! Is Jerry going to weigh in on who was the drummer for the second half of “Dear Prudence”? I believe one of your recent guests thought it was within Paul’s drumming skill, but there is youtube video that proves that it is Ringo.
Excellent show as usual! Is Jerry going to weigh in on who was the drummer for the second half of “Dear Prudence”? I believe one of your recent guests thought it was within Paul’s drumming skill, but there is youtube video that proves that it is Ringo.
The bass discussion was interesting but the who played bass bit was obvious to me always as it came to light years ago. The sound of the Fender Bass VI is so distinctive , there are many photos of mostly John but some George playing it, it is the right handed Bass they primarily used from 68 on. There is also a quote of Lennon saying he played bass on Helter Skelter and I believe on the White album also on Back In The USSR too…although there is an additional McCartney bass dubbed on that I think. I have Lennon playing that on those two songs and on Long And Winding…, Let IT Be ( in the live tracking) in both cases and on Dig It. Harrison is miming with it on the Hey Jude TV film. I think George may have used a right handed Fender Jazz bass to play on Golden Slumbers on Abbey Road there is a picture of him with it definitely from that era, maybe used on Old Brown Shoe too.
The bass discussion was interesting but the who played bass bit was obvious to me always as it came to light years ago. The sound of the Fender Bass VI is so distinctive , there are many photos of mostly John but some George playing it, it is the right handed Bass they primarily used from 68 on. There is also a quote of Lennon saying he played bass on Helter Skelter and I believe on the White album also on Back In The USSR too…although there is an additional McCartney bass dubbed on that I think. I have Lennon playing that on those two songs and on Long And Winding…, Let IT Be ( in the live tracking) in both cases and on Dig It. Harrison is miming with it on the Hey Jude TV film. I think George may have used a right handed Fender Jazz bass to play on Golden Slumbers on Abbey Road there is a picture of him with it definitely from that era, maybe used on Old Brown Shoe too.