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What Goes on - The Beatles Anomalies List a to z

What Goes on - The Beatles Anomalies List a to z

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Published by: david.barnes382748 on Jan 30, 2010
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What Goes On - The Beatles Anomalies List Anomalies AAcross The Universe0:00 [Let It Be version]The attack of the first note of the guitar is clipped off.2:28 [Past Masters Volume 2 version] Listen!After the line "inciting and inviting me", a bassy, soft male voice in theright channel says something like "Hit me with a pizza". OOPS brings this outbetter than listening to just the right channel.Act Naturally1:59Right channel, the backing vocal comes in late, on the words "you come..."2:18The right hand harmony sings "All I gotta do is, act natch" and is then cutoff by the guitar riff.2:25-2:26Numerous rattles and hisses in outro, both left and right channels. Johnalmost entirely misses the last strummed acoustic chord!A Day In The Life0:36The middle note (the 'D') of the three descending notes after John's "aaah"is played a little early and quiet, with a backbeat feel that doesn't match therest of the playing.1:43Switch click as the orchestra comes in, orchestra's volume suddenly doublesat this point (right channel). Maybe this is the introduction of one of theadditional tracks of orchestra used to thicken the sound.1:44-2:16, 3:50-4:19Mal Evans is heard counting the bars from 1 to 24; only about the firstdozen are audible, starting at about three to 12 (left channel). 1:53 "9" and1:55 "10" stick out quite well, as do 3:51 "4" 3:52 "5" 3:53 "6".2:17Right channel - sudden intake of breath.2:18 Listen!An alarm clock sounds to mark the end of the first 24 bar orchestralsection. At this point in the recording, there was a gap 24 bars long, with noorchestra. It was undecided what would go there, the orchestra was added inlater.2:18-2:20A strange ticking noise, like a rotary-dial phone returning to its restposition. It could be a 'tick' sound through a heavy delay setting. Then someonesays "One" to mark the downbeat (it's easy to lose the correct rhythm withoutthis). Quieter, but just audible on the CD is the trailing "two three four"(right channel).2:40Strange effect on the "t" of "flat", it's really over-pronounced, like"fla-tuh".2:42-2:48Just before and after the words "had a smoke", Lennon starts talking andcarrying on, most audibly a loud "hoooo" under the word "smoke" (right channel).2:58
 
(Left channel) Sounds like a cough.3:02-3:12Paul can be heard doing a faint falsetto "ooo" harmony above John's moreprominent "aah's".4:49-4:52 Listen!A chair squeaking (four creaks total, the last three being most audible).This is probably one of the piano stools.Also wrongly reported as a nose sniffle, paper rustling, someone saying "Shh!",the sustain pedal being released on the piano ...4:52-endI've failed to verify reports I occasionally get of the sound of an airconditioning fan in this area of the track. I've also seen reference to it inLewisohn's "Recording Sessions", but I can't find it to verify for myself.Rumour has it that the alarm clock at 2:18 was timed to go off after 24 bars tomark where the downbeat is. Common sense should tell you that this is nonsense.You cannot set an old, mechanical style alarm clock to go off with anything likethat level of accuracy.The more likely explanation is that the alarm was "let off", that isdeliberately triggered by hand at that moment. Lewisohn states this was amechanism to mark the end of the passage. Many people disbelieve this, as themusicians should be capable of following along for 24 bars. However oddLewisohn's comment seems, it may well be true. I've had justifications of whythe count of bars (on its own) is insufficient to cue the orchestra.JustToJess@aol.com writesI've spent my entire life since I was three in musical theatre, and I can assureyou that many people do need to "wake up" after 24 bars of music. Not that theyhave poor concentration, or that they would have missed the cue, but afterrehearsing this song over and over and over again, and after countless takes, itis VERY reasonable to assume that the alarm clock (most likely hit from thepiano ...) got them back into the music, and started that "umph" that theyneeded to maintain the same quality of ... atmosphere? Charisma? I don't knowthe right word, but just that little bit of enthusiasm and excitement by theperformers that gives the song that special something. I know that many adirector I have worked with has done something like this during long, tediousrehearsals.Yes, certainly the alarm fits in with the "Woke up, fell out of bed..." line. Idon't think that was intentional - it is widely written that fitting with thelyrics was only coincidental, and the alarm clock's purpose was originally as amarker. Nothing more. A happy accident that was capitalised on, as the Beatlesoften did.Even given this, I still received reports on this alarm clock entry,perpetuating the idea that the alarm was set and timed to go off after 24 bars.Please feel free to try it with any wind up alarm clock of your choice, if youcan do it, I'd like to hear about it.I think the reason for this long running misconception is this :-There is a very subtle distinction between "setting an alarm clock to go off"and "setting an alarm clock off". In telling of this story, one phrase hasturned into the other. The former implies an interval passing between doingsomething with the clock, and having it sound 24 bars later. The latter impliesdirect interference with the clock to make it sound now. The latter is the onlyreasonable explanation.A Hard Day's Night1:33Towards the end of the solo, everything slows down slightly.2:17, 2:19
 
Mono CD has a distinct "stereo" wobble in the track here during word"All-ll", and then "feel". This is more audible on headphones, and probablycaused by physical damage to the master tape.A Taste Of Honey1:43Where John and George respond to Paul's "I'll come back", George (higherharmony) only seems to manage "ll come back". Maybe he wasn't sure as to whetherit was "I'll", "He'll" or "You'll". John's voice is the low harmony.All I've Got To DoWhole SongSqueaky pedal mechanism on the bass drum throughout the song, especiallyaudible in the intro (0:03,0:05,0:07). "When ever <squeak> I ... " and from 1:51onward in the fadeout.0:01Strange buzz or squeak noise in the opening strum, which doesn't sound likefret buzz from the guitar.1:18-1:21Stereo version only, Paul hums the melody low in the background (rightchannel).1:21-1:22Definite edit in the track here between "running home" and "yeah, that's".All My LovingRight before startParlophone Stereo LP PCS3045 "With The Beatles" has an audible ghost of theopening "Close your eyes" phrase. This may be print-through in the master tapeused to make the master disc, but it is possibly a mechanical effect of thestylus picking up the next groove along on the record, in the background.Certainly, this is not audible on a CD. It may happen with other tracks too, buton vinyl only.1:02-1:11Cymbals get louder for a few bars, but only for part of the solo.1:19Really bad (very unusual) mistake from Paul, he plays a completely wrongnote in the bass line on the word "miss". It sounds like he may have played thenext highest string up by accident, the note is very very sharp!1:51-1:54Paul's "All My Loving" may be edited (mono and stereo versions), it ispreceded by a vocal noise (this noise is audible in the right channel of thestereo version).2:03Possibly paper rattling.All Together Now0:14, 0:24Click, right channel.1:00Paul definitely seems to sing "Yellow Olange and Blue". Some suggest this is

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