I have had it up to here waiting for the Beatles catalogue to be remastered

Ray was never particularly interested in "electronic stuff"

Though he did get inspiration for new melodies by playing tapes of some of his old songs backwards.

yeah I didn't know how, in 45 odd years, I never noticed that guitar riff in GTGYIML is straight from Paperback Writer; I guess because it's only played once in the final released version, it's more overt when you hear it over and over.

I thought the finished track was a great example of George's impeccable taste - i.e. how to serve the songs - but now that we know the riff was played/recorded through the whole thing, I wonder how the decision was made to limit that part to only the end?

Though he did get inspiration for new melodies by playing tapes of some of his old songs backwards.

Eventually even that became too much work, and he just played the tapes forwards.

was paperback writer written and recorded prior to this song? or were they roughly the same time? possibly they just had that riff and it went into whichever song got 'finished' first

GTGYIML was started on April 7, but it was that meh version with the organ on Anthology 2, devoid of riffage. "Paperback Writer" was recorded a week later, April 13 and 14. Presumably between April 7 and April 13 the riff was tried for "Got," then because they needed a single right away, repurposed for "Paperback."

I totally forgot that three Revolver tracks were actually released early in the U.S. - I think the only time that happened with any album tracks from the Beatles' UK albums? - because Capitol needed more material to fill out one of their butchered releases. I guess they rush mixed those songs due to Capitol's deadline, then mixed them better and properly for the UK version of Revolver.

I completely love the organ version on Anth 2 so so so much

I love that that GTGYIML is about THE SKANK

Listened to the new remix of Taxman vs the original mix, and the new one absolutely slays. I guess I’m going to have to get this one, after successfully resisting the Sgt Pepper to Abbey Road run.

Of all the interviews he's been doing for this set, I kind of like Giles's answers here the best:

Q: Do you know if there was any concern from the record label, from management, whatever, that the Beatles might be committing career suicide putting out a record like Revolver in 1966?

Giles Martin: Well, I think the Beatles had a couple of advantages. First of all, they were the Beatles! (laughs) And second, their singles weren't on their albums. So, their albums were kind of treated like different things. People have this idea that the Beatles sort of turned their backs on wanting to be successful. Of course, that's not the case. They continued to be successful, but they pushed their albums harder, and then they would go, “OK, ‘Paperback Writer’ is the single.” That was the way they did things. They had the buffer of having these really successful songs that weren't on the albums, and then thought, “We can do whatever the hell we want on our albums. And this is what we're going to do.”

I mean, the Beatles didn't happen by accident. If you get to know Paul McCartney, he is a really intelligent man. These guys were all super-bright and knew what they were doing. They know what their market is, if you can be so crass say that. And I think that they went, “OK, we've been the best pop band, we've been the toppermost of the poppermost, and we've been the most successful live band” — which they were, the first stadium band — “and now we're going to be the biggest recording band in the world.” And Revolver is what they did in order to achieve that and push boundaries. As my dad used to say, they never made Jaws 2. If they’d done it once, they didn’t have to do it again. And Revolver is the ultimate example of that, in that it sounds like seven or eight different bands.

That’s a great interview, and all the interviews I’ve read with Giles show that he’s the perfect person for the job: an insider from the beginning who is nonetheless a massive fan, but not obsessive in a way that might cloud his judgment.

Except

When my dad signed the Beatles,

George not up to speed with the film world either, it seems.

I think the quote means, "the Beatles never made the album equivalent of Jaws 2".

I think Giles is great - the LOVE album is absolutely incredible - and he's a great face for the Beatles, but there have been times when I wish he, or someone on his team, had been a bit more "obsessive". This *will* sound silly, but the removal of the "pleh" at the end of I'm So Tired for example. I know it's nothing new for Apple to remove little noises (John chewing gum), repair drop-outs (Day Tripper) or smooth out edits (She Loves You), but to actually shave off an ending of a song and remove something nice and weird - something Paul or Ringo won't notice when approving the mix, but fans will - is a shame. I don't think cutting an element out of Beatles track is decision anyone has the authority to make, even if it is about half a second long.

*I also don't think he's right about A Day in the Life's "AAAH" being John. I feel strongly that it is most likely Paul. It makes me sound pompous - why wouldn't he know - but then, how would he know for sure?*

The removal of pleh was stupid. Best ambiguous sound on any album ever (I like the theory it was Julian)

No. 2 wtf sound on a Beatles track - the shrill trombone (?) note at about 1:51 into Do You Want To Know a Secret?, during the fade out. Where'd that come from? Someone's arse?

Welp, I’ve been listening to the white album for about 47 years and never heard, nor knew about, the “pleh” until just now. And now that I’ve heard it, yeah, what a weird decision to cut that out.

I also didn’t like how they cut the little pickup-switching click on “I Want You (She’s So Heavy)” for the 2009 remaster.

My fave wtf is the little voice on "Good Day Sunshine" just after "She feels good...". Sounds like someone responding "She do". ?!?

I've always noticed the "trombone" parp in Do You Want to Know a Secret?.
I think it's guitar; George's amp was playing up at that session (most noticable on Chains, where it sounds beautifully crunchy at times).

I've always thought the voice on "Good Day Sunshine" was "she f***in' does".

she fookin' does

Ha! So this has been discussed! Would like to read up on that.

1:26
Someone (John? Ringo?) quietly repeats "She feels good" This appears to trigger something closely approximating a chuckle from Paul in the next line.

Listening closely on the CD, it sounds like Ringo or John saying "She f**ing does" or "She feels nice". The last word is definitely not "good", it ends in an "esss" sound. Also heard by David Gulczynski.

John Sinclair refers to the version on "Give My Regards To Broad Street" and says "that it is 'she feels good' repeated."

On Paul McCartney's Get Back video (1990 tour), a live version is performed, where he sings the second "she feels good" very clearly, showing the intention to repeat the line.

So maybe he laughed because the line was meant to be repeated, but in fact on this recording, it became twisted into something new?

http://wgo.signal11.org.uk/html/content/g.htm#gds

In "Do You Want To Know a Secret" Paul's bass wanders off at the end of the last chorus and George, possibly unsure if they're going to end the take, plays a clam on the guitar.

they've been a bit cagey about pre-release songs from this set this time around; I feel like the earlier ones we got more tracks in advance.

George Martin only wishes he could've scored pieces like "Attack on the Water Skier" and "Attack on the Helicopter".

And our friends are all aboard
Many more of them bit by Jaws
And the band begins to scream

Lol

You're gonna need a bigger submarine

I'm noticing loads of new little guitar parts in She Said She Said on this new mix.

actual speed Rain is so weird

new mix is already the definitive version to me, as heretical as that is. there are times when parts in the background feel a little bit hollow, no doubt as a result of being reconstructed from the existing mixdown, but it's not a big deal

I'm ambivalent so far. For example, whilst its great to hear the new details in She Said She Said, the song also loses quite a lot in overall cohesiveness. And there's a danger that the songs become slightly plodding on insubstantial as a result.

Overall, I'm finding that maybe I don't like some of the songs on Revolver as much as I thought i did.

actual speed Rain is so weird

it's impossible for me to listen to that and not think it's sped up. I can't believe they played it that fast originally.

I've always wondered about that myself since the released one was already pretty fast.

overall remix thoughts: it's less drastic than any previous deluxe beatles remix to my ears, and it fixes that awful vocal panning issue at the beginning of Elenor Rigby that has annoyed me my entire life, so by that measure alone it's a win.

The drone at the start of TNK on the right channel is fluttering in a weird and distracting way, I hope it's just the way it was recorded and not stem-splitting software fuckery.

I don't love how bright the new mix sounds, I miss the more bass heavy mix with all the old timey compression and reverb effects

Yellow Submarine seems to have started out as a much better song

the way its worded on the wikipedia entry for "Rain" (which is about as deep as i go into beatles session trivia) always made it seem to me like they played it at normal speed with the tape running fast, then slowed the tape back down. if the "actual speed" take is the actual sound of how fast they were playing it in the room, thats mindblowing

it is, but it also doesn't sound good at that speed. one listen was enough for me.

kinda stresses me out to hear it that fast tbh

New Paperback Writer is a proper “Holy fuck” moment. These things are always better when there’s a specific ‘problem’ to fix; the hard panning on PW had always sounded terrible on headphones.

Agreed ! It’s pretty heavy with that mix and was indeed hard to really enjoy previously (I never had the mono mix). It’s a detail but the drums rolls over the toms at one point are exquisite !

And yeah « Rain actual speed » is mind blowing. Especially the drums and bass ! You can totally imagine a 60s groovy dance club scene with that in the background

So this?
https://www.youtube.com/watch?v=gBcdOFehNCg

Yup. And about « she said » I always read Paul wasn’t involved but from the backing track recording it seems he was !

Listening to the whole thing now. Really enjoying it but probably haven't listened to this album in full for a decade or two so not clear that this means anything.

Not the thread for it and I've no doubt posted it several times before on other threads but this title track cover of "Tomorrow Never Knows" released under Steve Marcus's name with Larry Coryell, Mike Nock and Bob Moses is one of the greatest things ever.
https://www.youtube.com/watch?v=sGT5kHpmH78

need to a/b it with the mono but i agree that it’s a little bright and the vocals are more forward in the mix than i remembered which causes elements i remember hitting harder (eg. ringo's drums on “she said”) to cloud over like a figure in mist. but when i’m not thinking about the mono mix it sounds pretty cool. i don’t think i’ve ever thought as much about the instrumentation in “for no one” as i did just now listening to the new mix

idk i was pretty excited about this because for whatever reason i really loved that sort of pointless remix of abbey road but i think i have a specific idea of revolver in my head that perhaps no reality matches

“and your bird can sing” sounds so good, that’s really what i cared about