By John C. Winn
From Revolver to allow or not it's, That Magic Feeling: The Beatles Recorded Legacy, quantity Two, 1966—1970, keeps the chronicle of the group’s unbelievable profession from its inventive zenith to its irrevocable split
As the Beatles moved into the mid and overdue Nineteen Sixties, their collective and person musical expertise and options developed at an unprecedented speed. Like its better half quantity, Way past evaluate: The Beatles’ Recorded Legacy, quantity One, 1957—1965, this targeted paintings completely chronicles all identified and on hand Beatles recordings in this interval of extraordinary artistic growth.
Have you ever watched a Beatles movie clip and wondered:
• the place used to be that filmed?
• Is any longer of that photos available?
Have you ever heard a Beatles interview and asked:
• while was once that taped?
• Where’s the easiest position to discover the total recording?
That Magic Feeling solutions those and hundreds of thousands of comparable questions. With greater than 500 entries, it comprises recording periods, live shows, newsreel pictures, press clips, television and movie performances, domestic videos, radio interviews, documentaries, studio outtakes, domestic demos, and replacement mixes–all of that are given whole assurance for the 1st time.
Author John C. Winn has spent twenty years poring over, scrutinizing, organizing, and interpreting 1000's of hours of audio and video recordings and compiling them right into a digestible chronological framework, growing the last word reference advisor to the Beatles’ mythical musical and cultural evolution.
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Additional info for That Magic Feeling: The Beatles' Recorded Legacy, Volume 2: 1966-1970
His composition, given the impromptu operating name “Granny Smith,” integrated the Indian instrumentation he was once transforming into fonder of, and the lyrics persisted within the philosophical vein of “Think for your self. ” Recording started at the 11th with 3 takes within the afternoon and 3 extra within the night consultation to accomplish a simple rhythm tune. in line with the written and aural facts, the 4 tracks crammed that day consisted of the subsequent: A1—George’s acoustic guitar and lead vocal, with concord from Paul at the final notice of every verse A2—fuzz bass from Paul, utilizing the amount pedal to swell the notes through the refrains A3—sitar, tamboura, and tabla overdub, the latter played through Anil Bhagwat A4—second sitar and fuzz guitar overdub additionally, at some point soon in this first date, a 34-second edit piece used to be taped for the song’s intro, along with swarmandal and sitar. on the finish of the day, a coarse mono mixture of take 6 was once made for George to take domestic. days later, this afternoon consultation accomplished the tune; take 6 was once decreased to take 7 via combining A1 and A2 above to a unmarried tune (let’s name it B1), and A3 and A4 to a moment (B2). song B3 of this new tape had a excessive concord vocal from Paul (this tune used to be no longer used on any published mix), and song B4 had a moment vocal from George and tambourine performed via Ringo. John doesn’t appear to have participated within the tune at any element, until he performed the fuzz guitar. The consultation sheet from at the present time exhibits that take 7, with a size of in simple terms 2:44, didn’t have the intro edit piece further but, nor did the 3 mono remixes performed this present day. The intro used to be most likely joined in the course of an April 25 consultation, as John Barrett’s tape log has a separate reel from that date (E60604) notated “INTRO. SITAR EDIT PIECE complete identify. ” With this performed, copies of the “best” mono grasp have been made on could sixteen, one for the USA and one for the united kingdom, which could point out that George Martin was once contemplating sending this tune to Capitol for inclusion on their “Yesterday”… And this present day LP because the ultimate stereo blending and enhancing was once performed on June 20 and twenty-first, the music used to be nonetheless being known as “Granny Smith;” someday among then and the move order ready on July four, George settled at the awkward identify “Love You To” (often erroneously indexed as “Love You Too”). This mono combine (A) lasts a number of seconds longer throughout the fade than the opposite . the unique stereo combine (B) makes one of many edit issues particularly visible, as a bounce within the vocal music might be heard at 2:21. this mixture has music B4 jumbled in the guts, B1 combined correct, and B2 combined left. via 1999, engineers have been capable of sync up all 4 tracks from take 6 (A1–A4) with B4 from take 7 while doing the remix (C) for Yellow Submarine Songtrack. the result's that A3 is blended left and A4 to the precise, permitting the formerly buried moment sitar and fuzz guitar to be heard even more truly than on previous releases. free up background 1966: A and B have been incorporated on mono and stereo pressings, respectively, of the Revolver LP.