Songs where you can "hear the join"

I can't actually think of any examples of this, but I feel sure there must be some. I'm looking for songs where two or more takes have been spliced together and you can hear the moment where one take changes to the other in the final version, although the edits were supposed to be seamless. Anyone?

Beatles to thread.

Strawberry Fields is the gold standard for this, innit? Edits are really obvious when you hear them but it wouldn't sound as otherworldly as it does without them.

The startover on the first track on Bitches Brew

Can - "Mother Sky"

Yeah, Can's catalogue is full of edits, some more glaring than others. "Halleluwah" is another which springs to mind.

Edits are really obvious with eyes closed.

lotsa rap songs to thread

The edit in 'This Boy' (when it goes from 'cryyyyyyyyyyyyyy' straight back to the verse) by the beatles is horribly awkward.

Public Image's "Memories"? It jumps back and forth in a jarring way, like moving between two different air pressures.

"Memories" is a great call. It jumps straight to a totally different mix and it's like the song is suddenly pulled into focus. Made a massive impression on me when I was 15 and I've still never heard anything with quite the same sublimely jarring effect.

The start of the chorus in 'Bad Romance' feels ridiculously cut-and-pasted.

elvis costello, man out of time (not like he tried to hide it tho)

"aja"- stelly dan

"European Son", the but just after the crash. When I heard the "Scepter" version, it confirmed what I KNEW!!

Oh, and just after the word "alibis" on "Hotel California"..

This Heat's "Makeshift Swahili." The Deceit version uses two different live recordings and a studio recording.

The start of the chorus in 'Bad Romance' feels ridiculously cut-and-pasted.

― Matt DC, Monday, 15 October 2012 16:34 (6 minutes ago) Bookmark Flag Post Permalink

Yes! This is what's always stopped me liking this song. It sounds like a really clumsy DJ edit or something. That initial hit just ends up dying on its feet and it takes at least a bar for the chorus to recover from it.

feels strange for such a big hit song that the producer could have made such a glaringly hideous cut when surely a minute or two tweaking it would've made it go unnoticed.

Aerosmith "Dream On"

start right before the 4 minute mark and wait for the guitar to come in. where'd that rascally guitar come from!!?? love that part actually. kinda the perfect splice. but it is one of my fave songs ever so i would like it.

https://www.youtube.com/watch?v=Sw2Lptf7K0E

When I was 8 or so, my brother blasted the radio version of Steve Miller's "Jet Airliner" to show the little editing pop where "funky shit" has been replaced with "funky kicks." Bet this is true with other radio versions of songs.

https://www.youtube.com/watch?v=D1X6qXkLjYE

songs where you can "see the join"

there are some sloppy vocal edits in the last several bruce springsteen edits where you can clearly hear that two vocal performances have been stitched together.

last several bruce springsteen LPs i mean.

a few in recent dylan albums too.

lol no one's said Good Vibrations yet?

Is this accidental or deliberate? The Fall's Paintwork where a David Attenborough commentary is recorded over part of the song is sort of accidental on purpose.

Jenny Ondioline lol

Good Vibrations and Heroes and Villains were my first thoughts.

"Good Vibrations" is the most glaring one I could think of.

"With a Little Help From My Friends" - there's a really bad splice in the last line: "Ye-es I get by with a little help..."

Also, "Hardcore UFOs" by Guided by Voices, or is that just a really shitty punch-in?

there's a super-obvious punch-in on a Bob Dylan vocal take on "Blonde on Blonde", can't remember which one but it's very apparent

^^"Memphis Blues Again" (and there's a similar screw up on "I Want You", but I think he just flubbed a line).

Several Pretenders songs: "The Phone Call" and "Middle of the Road." I don't know if it's splicing or Chrissie Hynde's predilection for chord changes.

Genesis "Dusk"- pretty obvious splice right at the end.

Genesis' "Domino."

Also, "Hardcore UFOs" by Guided by Voices, or is that just a really shitty punch-in?

a gbv splice? i'm not sure they would even know how! if memory serves, that's a momentary tape dropout.

Aaliyah, "I Care 4 U" - every time it loops back

GBV had their tape splice epic with "Back to Saturn X Radio Report."

A few edits in "She Loves You," most obviously at 1:24.

Misread the thread title as "hear the john," thought it was about songs featuring flushing toilets. Thought the second post was a Beatles joke ("hear the John").

Early Chrome sometimes sounds like they spliced the tapes using gardening shears and stuck them back together with sellotape

https://www.youtube.com/watch?v=f-cAq3RIIXo

THIS! fully dope tho

I dont know if this the same thing but in jail guitar doors there is some dry percussion and then some reverbed fingersnaps with lot of hiss come in.

Clash, Beatles, Dylan are among those who can be pretty splicey with the songwriting too. Can seem revelatory, fun, and/or "this is all I got." Incl. "this is all I could get through committee", from when the Beatles basically couldn't stand working with each other anymore (or when it was McCartney vs. the others). When the writing and the join are pretty much the same thing: Miles Davis's "Rated X", think that's the title, consisting of back-and-forth sustained organ x hammering drums.

I always thought Memories by PIL was more of a processing thing. They don't have to be two different mixes, you can just throw on a bunch of compression/EQ or whatever.

Another famous one is the Beach Boys version of Do You Wanna Dance where the vocal gets cut between Kiss and Squeeze, 50 seconds in, it sounds like he says "Squiss me baby."

https://www.youtube.com/watch?v=bvKj8lTuVtk

I mean, it was on purpose, but Tortoise's "Djed" was really fun at the time. I remember being told that it sounded like your CD player was malfunctioning, which is kind of true, but wouldn't make much sense to anyone today listening via mp3 or stream...

around that time there was an interview David Grubbs and/or Jim O'Rourke did with Charles Hayward asking about the editing of Horizontal Hold on the first This Heat album and Hayward said something like "there wasn't any editing. We were just that tight."

Around the same time O'Rourke had the Brise-Glace record, much of which was obviously tape edited, but as a compositional thing, and that's a whole other thread.

I'm not hearing it in Petula Clark. It has a tempo/key change at the start of the chorus but it sounds continuously recorded to my ears.

Personally i think both "Strawberry Fields Forever" and "Good Vibrations", even if their joins aren't inaudible, are both outstanding, even classicly great editing jobs. "Strawberry Fields" joins two takes of the song; the first minute of the song was from an earlier version recording in its entirety with just basic rock-band intrumentation. Lennon wasn't satified and had the song rerecorded with elaborate orchestral accompaniment. He still wasn't satisfied, and asked George Martin if the first part of the earlier recording could be combined with the second part of the later one. Couldn't be done he said, since the two recordings were at different speeds and in different keys. But John was persistent and insisted it must somehow be possible. This would be easy using modern digital recording, but with 1967 analog technology changing the key, besides altering the vocal effects, also changed the speed, and the two couldn't be adjusted independently. Fortunately, the higher-key recording was also taken at a faster tempo, so speeding up one tape up and slowing down the other luckily resulted in the two connected segments playing at the same speed in the finished product. The edit is about a minute into the song where the chorus is sung for the second time, between "let me take you down, 'cause I'm" and "going to Strawberry Fields". Even listening carefully on my headphones, it's easy to miss.

"Good Vibrations" also has some great edits, especially given that different parts of the song were recorded in three (maybe four) different studios. The first clip ends about 25 seconds in, the second starts at the beginning of the "i'm picking up good vibrations" chorus, but the triplets on the drums at the end of the first part being picked up by the cellos at the beginning of the second makes them fit together almost seamlessly. Later edits in the song are more obvious, and of course the slow section near the end deliberately starts with a clean break, but given the difficulty involved I think the tape engineer did a great job. Now, "Heroes and Villains" is another story altogether - it sounds very much like about 7 pieces of tape awkwardly stitched together, which of course it is.

I'll nominate Pink Floyd's "Matilda Mother" - wow does that last verse after the instrumental break chime in abruptly.

Also, Fairport Convention's cover of Joni Mitchell's "I Don't Know Where I Stand" from their debut album (with Judy Dyble on lead vocals, not the later version with Sandy Denny) is a mess - almost every transition is jarringly mistimed, with a half beat missing and ringing guitars abruptly cut off partway through. Starts at 3:07 in this youtube.

https://www.youtube.com/watch?v=HTAEh4fnZ4A

Grateful Dead - "That's It For The Other One". It sounded weird and terrible to me when I was a child listening to my dad's records, and it sounds terrible now. I don't know what they were going for but it doesn't sound trippy or avant garde to me, just wrong.

cherchez la femme

manfred mann's version of "blinded by the light"

A Working Class Hero is something to be.

REM "Man On The Moon":

http://www.youtube.com/watch?feature=player_detailpage&v=tOzUZDL5ngs#t=254s

The climax of this song has always sounded a little odd to me, and I suspect it's because they just looped the chorus at the end to make the song longer.

pretty sure "fracture" by king crimson has 3 different parts spliced together

http://youtu.be/yobcwSYmdew

the mid section starting at 2:50 with the fripp solo and the rocking coda from 7:42 onwards

the police - king of pain

http://youtu.be/gOykEKP8u0o

you can clearly hear the edit at 3:53

The Who, "Rael." The previous day's multitrack session tape had been damaged by the studio custodian who mistakenly threw it in a dumpster. The engineer was able to salvage everything but the intro/first lines, for which the mono safety mixdown was used, and edited into the final mix.

"fracture" was recorded live in concert! you can hear the original concert on "the night watch"

Soft Machine - Facelift. I prefer the first section. Mike Ratledge does the best thing ever done on a keyboard in it.

Janis Ian's 'Mistaken Identity' has lots of weird tape splices, most obvious at 2:14 (where the track flipflops between two different instrumental sections in different keys/tempos) and again at 5:42 (where Janis's interjected 'aww—' is cut off to make way for the chorus). it's like they didn't know what to do with the source material so they stitched it together on a whim and hoped the result would come across more as trippy beatlesism than as incompetent engineering. it works, mostly.

https://www.youtube.com/watch?v=nEeAJ44Eow8

also I'm not sure if the rhythmic hiccup at 1:26 in Stevie Wonder's 'Boogie On Reggae Woman' is artistic license or sloppy editing, as it doesn't appear at any other point in the track:

https://www.youtube.com/watch?v=chinqb5FKr4

Yes - Starship Trooper
Right before the guitar solo coda

gentle giant "the moon is down" - you can actually hear the tape squeal at 2:38. the whole "acquiring the taste" record gives off a strong "edited together in the studio" vibe (they never really did any of it live except "plain truth"), but that edit is particularly noticeable.

Faust Tapes

'Porcelina of the Vast Oceans' by the Smashing Pumpkins

boy, that edit right after the second verse of "i'm ready for love" by martha and the vandellas is ROUGH.

The start of the last verse of Floyd's "Mathilda Mother"

That really awkward way the sample of Sylvia in Moby's 'Sunday' just cuts off with no fading or anything

Sinatra's "My Way" @2:23, chorus going into verse

https://www.youtube.com/watch?v=6E2hYDIFDIU

The start of the last verse of Floyd's "Mathilda Mother"

― Mr. Snrub

yeah, surprised that hasn't come up before, it's pretty blatant. knowing floyd they probably didn't bother to keep an uncut version, but the alt lyrics version shows that the cut section was likely another go-round on the "why'd you have to leave me there hanging in my infant air" melody. who the hell knows why or who decided that it was utterly imperative to cut those fifteen seconds!

https://www.youtube.com/watch?v=w7nNF0FJ3-I

gentle giant "the moon is down" - you can actually hear the tape squeal at 2:38. the whole "acquiring the taste" record gives off a strong "edited together in the studio" vibe (they never really did any of it live except "plain truth"), but that edit is particularly noticeable.

yeah definitely, it's so blatant that it almost seems like it was done on purpose. more likely they just liked the way it wound up sounding.

The Police "Be My Girl - Sally" is probably the sloppiest example of this I can think of, it's literally done mid-guitar riff

"Paper Planes" has really obvious edits after almost every stanza, clipping off halfway through M.I.A. taking a breath.

"elvis costello, man out of time (not like he tried to hide it tho)"

this is basically a splice between two different songs though

The edit after the first chorus.... crumbs.
https://www.youtube.com/watch?v=4DA6OwN0NVM
Some has not been included anywhere in the reissue of the album.

*song

Sloan's "The Good in Everyone" has a couple of whiplash tempo shifts at the intro and the outro that make me air-drum like a loon. The single version plays it straight and is awesome. On the album version, they fuck it up by splicing in audience noise over just the intro and outro, making the shift sound like terrible edits.

Single version:

https://www.youtube.com/watch?v=WdRA-OdsJH4

Album version:

https://www.youtube.com/watch?v=sX3uL2k4gxE

Wow, that crowd noise is terrible!

one or two breakdowns in 'halleluwah' but that's part of the point

Stereolab - Italian Shoes Continuum

The one that’s always stayed with me is the chorus of “Ready For The Weekend” by Calvin Harris:
https://www.youtube.com/watch?v=XO4msvIA7cw&t=1m10s
The diva vocals are all from one take except for the punctuating “weekend”, and there’s a pause just long enough to make it noticeable.
Of course it’s a song I enjoy so I’ve sort of gotten over it. And it may even be deliberate for all I know.

as much as it pains me to say it, Kesha's "Praying" (especially the first "I hope you're somewhere / praying," the "praying" comes in a split-second too early)

Do single versions count or is that a little obvious?

Listening to the extras disc on the last Bowie box set and holy crap the single edit of Scary Monsters sounds like it was done by a 3-year-old.