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Post by andymorris on Oct 29, 2023 9:18:51 GMT -5
thank god for streaming so i dont have to lose 100 euros over that thing for just one song.
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Post by theyknowwhatimean on Oct 29, 2023 14:31:09 GMT -5
This new interview with Giles makes me think Walrus ending is now saved. www.grammy.com/news/the-beatles-last-song-now-and-then-giles-martin-interviewYour first Beatles remix project, for Sgt. Pepper's, came out five years ago. On the other side of the coin, The Blue Album features songs from that dense, psychedelic era, like "I Am the Walrus," which is such a beast. That must have been a different kind of fun. Yeah, well, "Walrus" is a beast. I've actually gone back and re-changed the stereo [mix] recently, because I got asked questions like, "Why did I change the end section so it didn't sound like the original?" I was thinking, Did I? I didn't do it deliberately. It's just the balance of speech versus vocals and stuff like that. I was very lucky, because "Walrus" was on the Love album and show. I tackled a version of that before, and know how tricky it is. Because by its nature, "Walrus" sounds technically bad, but it's beautiful. It's beautifully ugly as a record, and they're the hardest ones, because you don't want to take away the character. You don't want to remove the grime, because the grime is the record. I spent a lot of time looking at this and doing this — hopefully, we're in a good place with "Walrus." You know, music's about, How does this make you feel? You don't want to feel secure around "Walrus" at any stage; you want to be unnerved by it. People sort of ask about plugins and technology, and it's like, it's not about that — something you can get on a shelf. How it makes you feel is the most important thing. Thanks for the link, Lennon2217. I certainly hope so.
I find it encouraging that Giles has listened to feedback and made adjustments, rather than digging his heels in and saying "This is just how it is now. If you don't like it, tough." Him saying that he hopes they're in a "good place" with regards to how 'I Am the Walrus' sounds in its remixed form suggests that they are open to reevaluating these remixes at later dates.
I would like these remixes to be reinterpretations, not replacing the originals, but also not necessarily the final word on the tracks. After all, they took two goes at remixing 'Penny Lane', first in 2015 for the reissue of 1, and then again two years later for the Sgt. Pepper remix. That 2017 remix was worth doing because it is better than the one they did in 2015, in my opinion. While I am happy with most of their efforts, there are a couple that I would like to see them take another go at in the future.
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Post by yeayeayeah on Oct 31, 2023 4:37:30 GMT -5
This new interview with Giles makes me think Walrus ending is now saved. www.grammy.com/news/the-beatles-last-song-now-and-then-giles-martin-interviewYour first Beatles remix project, for Sgt. Pepper's, came out five years ago. On the other side of the coin, The Blue Album features songs from that dense, psychedelic era, like "I Am the Walrus," which is such a beast. That must have been a different kind of fun. Yeah, well, "Walrus" is a beast. I've actually gone back and re-changed the stereo [mix] recently, because I got asked questions like, "Why did I change the end section so it didn't sound like the original?" I was thinking, Did I? I didn't do it deliberately. It's just the balance of speech versus vocals and stuff like that. I was very lucky, because "Walrus" was on the Love album and show. I tackled a version of that before, and know how tricky it is. Because by its nature, "Walrus" sounds technically bad, but it's beautiful. It's beautifully ugly as a record, and they're the hardest ones, because you don't want to take away the character. You don't want to remove the grime, because the grime is the record. I spent a lot of time looking at this and doing this — hopefully, we're in a good place with "Walrus." You know, music's about, How does this make you feel? You don't want to feel secure around "Walrus" at any stage; you want to be unnerved by it. People sort of ask about plugins and technology, and it's like, it's not about that — something you can get on a shelf. How it makes you feel is the most important thing. Thanks for the link, Lennon2217. I certainly hope so.
I find it encouraging that Giles has listened to feedback and made adjustments, rather than digging his heels in and saying "This is just how it is now. If you don't like it, tough." Him saying that he hopes they're in a "good place" with regards to how 'I Am the Walrus' sounds in its remixed form suggests that they are open to reevaluating these remixes at later dates.
I would like these remixes to be reinterpretations, not replacing the originals, but also not necessarily the final word on the tracks. After all, they took two goes at remixing 'Penny Lane', first in 2015 for the reissue of 1, and then again two years later for the Sgt. Pepper remix. That 2017 remix was worth doing because it is better than the one they did in 2015, in my opinion. While I am happy with most of their efforts, there are a couple that I would like to see them take another go at in the future.
W Helter Skelter needs another go. I like the majority of Giles remixes though, some are a vast improvement. |
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Post by andymorris on Oct 31, 2023 6:49:22 GMT -5
So i guess they will re-release all the records again in a few years with that new-new-new tech. Impressive how fast this changes.
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Post by andymorris on Oct 31, 2023 6:53:31 GMT -5
Thanks for the link, Lennon2217. I certainly hope so.
I find it encouraging that Giles has listened to feedback and made adjustments, rather than digging his heels in and saying "This is just how it is now. If you don't like it, tough." Him saying that he hopes they're in a "good place" with regards to how 'I Am the Walrus' sounds in its remixed form suggests that they are open to reevaluating these remixes at later dates.
I would like these remixes to be reinterpretations, not replacing the originals, but also not necessarily the final word on the tracks. After all, they took two goes at remixing 'Penny Lane', first in 2015 for the reissue of 1, and then again two years later for the Sgt. Pepper remix. That 2017 remix was worth doing because it is better than the one they did in 2015, in my opinion. While I am happy with most of their efforts, there are a couple that I would like to see them take another go at in the future.
W Helter Skelter needs another go. I like the majority of Giles remixes though, some are a vast improvement. I didn't noticed HS was that bad i need to get back to it I guess. I loved all his remixes, he totally respected the original recording and only made them sound bright and stronger, you discover new things which is the main purpose of new mixes really. I dont get the controversy if there is one. The only one that's not very impressive is Abbey Road because the original is already fantastic. I guess Let It Be there wasn't much to do either since they are live recordings. |
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Post by theyknowwhatimean on Oct 31, 2023 8:10:49 GMT -5
Thanks for the link, Lennon2217. I certainly hope so.
I find it encouraging that Giles has listened to feedback and made adjustments, rather than digging his heels in and saying "This is just how it is now. If you don't like it, tough." Him saying that he hopes they're in a "good place" with regards to how 'I Am the Walrus' sounds in its remixed form suggests that they are open to reevaluating these remixes at later dates.
I would like these remixes to be reinterpretations, not replacing the originals, but also not necessarily the final word on the tracks. After all, they took two goes at remixing 'Penny Lane', first in 2015 for the reissue of 1, and then again two years later for the Sgt. Pepper remix. That 2017 remix was worth doing because it is better than the one they did in 2015, in my opinion. While I am happy with most of their efforts, there are a couple that I would like to see them take another go at in the future.
W Helter Skelter needs another go. I like the majority of Giles remixes though, some are a vast improvement. Agreed.
I like aspects of his remix. It's good to have the BVs much clearer, and the chorus is more dynamic now that the lead guitar part has been ADT'd and mixed into both channels, rather than being hard panned down only one channel. But Giles's choice to turn the bass and the rhythm guitar down is quite baffling.
Giles has stated that his way into the remixes is to think of what the chief characteristic of each track is, and then to figure out how to either preserve that or bring it more to the fore. Hence you have 'Dear Prudence', which is known primarily for its distinctive fingerpicking pattern; and yet in the original mix the guitar had been recorded in mono, hard panned, and subsequently buried in the mix for most of the track. Therefore, Giles had his remix bring that fingerpicking pattern out, give it space to roam across the whole stereo image, and allow it to be heard throughout the song. Very nicely done.
With 'Helter Skelter' we actually know what the Beatles were going for. Paul has said many times it was his wish to make the most raucous sounding rock song anywhere. So why Giles decided to turn the bass and rhythm guitar down, when they were so clearly part of Paul's vision, is mystifying, and I'm astonished Paul let him get away with it when he reviewed the mixes before release. I know, "balance the mix" and all that, but the opening sting of that unusually trebly and driving guitar intro is what many people associate with 'Helter Skelter'. I think there was an intended shock value with the way they recorded and mixed the guitar originally, which is utterly lost in the remix.
I would also like him to take another go at 'Yer Blues', which was one of my favourite Beatles songs until I heard the remix. Now I've heard the remix, I realise how bad the original mix was; but I can't groove on the remix because the drums are too low now! When the chorus melody comes back in with a smash cut from the solo it has nothing like the same impact for me that it used to have.
I also think his 'She Said She Said' remix recently was weirdly toothless. I concede that it might sound like it does because of faults with the original recording -- which, as we know, was done without Paul, who had the best quality control of the band. And it does sound more like the mono mix now, which is perhaps what he was going for. But all the same, I don't think mixing rock songs is Giles's strong suit. He's too conservative with the guitars, in my opinion. My favourite of his remixes are the ballads and cosy midtempo Paul songs, like 'Honey Pie' and 'Martha My Dear'. He gets the orchestra recordings sounding absolutely gorgeous. Very much his dad's son.
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Post by theyknowwhatimean on Oct 31, 2023 18:58:32 GMT -5
“When Apple asked me to make the music video, I was very reluctant - I thought my next few months would be a hell of a lot more fun if that tricky task was somebody else’s problem, and I could be like any other Beatles fan, enjoying the night-before-Christmas anticipation as the release of a new Beatles song and music video approached - in 1995, l loved the childlike excitement I felt as the release of Free As A Bird was inching closer.
I could have that experience once again - all I had to do was say no to The Beatles.
To be honest, just thinking about the responsibility of having to make a music video worthy of the last song The Beatles will ever release produced a collection of anxieties almost too overwhelming to deal with. My lifelong love of The Beatles collided into a wall of sheer terror at the thought of letting everyone down. This created intense insecurity in me because I’d never made a music video before, and was not able to imagine how I could even begin to create one for a band that broke up over 50 years ago, had never actually performed the song, and had half of its members no longer with us.
It was going to be far easier to do a runner.
I just needed a little time to figure out a good reason for turning The Beatles down - so I never actually agreed to make the music video for Now And Then (in fact I still haven’t to this day).
I told Apple how the lack of suitable footage worried me. We’d need to use a lot of rare and unseen film, but there’s very little … Nothing at all seemed to exist showing Paul, George and Ringo working on Now And Then in 1995 … There’s not much footage of John in the mid-seventies when he wrote the demo … I grizzled about the lack of unseen Beatles footage from the ’60s … And they didn’t even shoot any footage showing Paul and Ringo working on the song last year.
A Beatles music video must have great Beatles footage at its core. There’s no way actors or CGI Beatles should be used. Every shot of The Beatles needed to be genuine. By now I really had no idea how anyone could make a Now And Then music video if they didn’t have decent footage to work with, and this was far from being a lame excuse. My fear and insecurity now had solid reasons why they should prevail and allow me to say no without looking too much like a chicken.
I knew The Beatles don’t take no for an answer if their minds are set on something - but they didn’t even wait for me to say no. I found myself swept along as they quickly addressed my concerns. Paul and Ringo shot footage of themselves performing and sent that to me. Apple unearthed over 14 hours of long forgotten film shot during the 1995 recording sessions, including several hours of Paul, George and Ringo working on Now And Then, and gave all that to me. Sean and Olivia found some great unseen home movie footage and sent that. To cap things off, a few precious seconds of The Beatles performing in their leather suits, the earliest known film of The Beatles and never seen before, was kindly supplied by Pete Best.
Watching this footage completely changed the situation - I could see how a music video could be made. Actually, I found it far easier if I thought of it as making a short movie, so that’s what I did… My lack of confidence with music videos didn’t matter anymore if I wasn’t making one.
Even so, I still had no solid vision for what this short film should be - so I turned to the song for guidance.
After we had separated John’s voice on the demo tape over a year ago, Giles had produced an early mix of Now And Then. This had been sent to me back in 2022. I loved it. Since then I must have listened to Now And Then over 50 times, purely for pleasure.
Now I started listening to it intently for different reasons. I was hoping that ideas or inspiration for the short film would somehow float up from the music. And that began to happen. As I kept listening, it felt like the song was creating ideas and images that started forming in my head - without any conscious effort from me.
I teamed up with Jabez Olssen, my Get Back editor, to try and figure ways the new film footage could be used to support these wispy ideas. It was a very organic process, and we slowly started build little fragments, sliding pictures and music around in different ways until things began to click in.
We wanted the short film to bring a few tears to the eye, but generating emotion using only archive footage is a tricky thing. Fortunately, the simple power of this beautiful song did a lot of the work for us, and we finished the first 30 or 40 secs of the film fairly quickly.
Having done that, we jumped straight to the ending and tried to craft something that could adequately sum up the enormity of The Beatles’ legacy - in the last few seconds of their final recording. This proved to be impossible. Their contribution to the world is too immense, and their wondrous gift of music has become part of our DNA and now defies description.
I realised we needed the imagination of every viewer to do what we couldn’t, and have each viewer create their own personal moment of farewell to The Beatles - but we had to gently steer everyone to that place. I had some vague ideas, but didn’t really know how to achieve this.
Fortunately, Dhani Harrison happened to be visiting NZ at this time. I discussed the ending with him, and described one vague idea I’d been toying with. His eyes immediately filled with tears - so that is the way we went.
Jabez and I now began thinking about the middle section. We could actually watch the beginning and end now, and quickly realised our initial plan of having similar emotional power continue through this middle section would be completely wrong. That was not who The Beatles were. At their core they were irreverent and funny, and the middle section should capture that spirit. We needed to laugh at The Beatles, and laugh with them. They were always sending themselves up - and the more seriously other people took them, the more they would clown around.
Luckily we found a collection of unseen outtakes in the vault, where The Beatles are relaxed, funny and rather candid. These become the spine of our middle section, and we wove the humour into some footage shot in 2023. The result is pretty nutty and provided the video with much needed balance between the sad and the funny.
It was finally finished after WētāFX completed a few simple, but tricky VFX shots.
To be honest, while we hope we’ve given The Beatles a suitable final farewell, that’s something you’ll need to decide for yourselves when it’s finally released - only a few days from now.
Having got to the end, I’m very happy I’m not waiting for the release of somebody else’s Now And Then music video. I have genuine pride in what we made, and I’ll cherish that for years to come. A huge thanks to Apple Corps and the Fabs for giving me all the support I needed - and not allowing me to wriggle away.”
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Post by Lennon2217 on Nov 1, 2023 7:28:50 GMT -5
Our boy Spike Stent mixed Now and Then.
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Post by globe on Nov 1, 2023 14:35:02 GMT -5
Almost in tears watching that film on the One Show there, fuck sake man!
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Post by theyknowwhatimean on Nov 1, 2023 15:05:05 GMT -5
Almost in tears watching that film on the One Show there, fuck sake man! Me too. The fan stories got me choked up as well, particularly the one from Matt Monro’s daughter. He was one of my granddad's favourite singers, which is why my dad’s always liked him, and why I do too. |
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Post by oasisserbia on Nov 1, 2023 16:25:39 GMT -5
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Post by oasisserbia on Nov 1, 2023 16:45:03 GMT -5
Almost in tears watching that film on the One Show there, fuck sake man! Any idea how to watch it outside of UK? Iplayer doesn't work, even when using VPN. |
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Post by Sadie on Nov 1, 2023 17:12:39 GMT -5
Almost in tears watching that film on the One Show there, fuck sake man! Any idea how to watch it outside of UK? Iplayer doesn't work, even when using VPN. It's the same one that's on YouTube now! It was broadcast about an hour before it was uploaded |
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Post by sundaymorningcolin on Nov 1, 2023 17:25:32 GMT -5
John’s voice 💛
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Post by SallyIsTheMainCharacter on Nov 1, 2023 17:53:35 GMT -5
waiting for the song, then I’ll watch the doc….⏱️
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Post by andymorris on Nov 2, 2023 3:32:41 GMT -5
Come on it's time now wtf, just release it !
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Post by Lennon2217 on Nov 2, 2023 7:28:34 GMT -5
It’s the last “Beatles” song until they reissue the Anthology series in 2-3 years and all he sudden Watching Rainbows, Madman, Suzy Parker, Commonwealth, Blues Jam and The Castle Of The King Of The Birds are “unearthed”. Then of course Carnival of Light way down the line. Pretty sure George on his death bed was like never ever release that shit.
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Post by andymorris on Nov 2, 2023 8:12:34 GMT -5
The last Beatles song they can market as a single for the masses. The rest will be for the "real" fans who buy everything.
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Post by Lennon2217 on Nov 2, 2023 8:25:03 GMT -5
The last Beatles song they can market as a single for the masses. The rest will be for the "real" fans who buy everything. Those should have all been in the Let It Be reissue. We already had countless versions of the standard Let It Be tunes. So much more happened during that time obviously. I’d rather have those cleaned up than say Billy Preston singing a song or Lennon doing Gimme Some Truth. |
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Post by oasisserbia on Nov 2, 2023 8:31:35 GMT -5
I thought that this was out today :-(
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Post by Lennon2217 on Nov 2, 2023 9:00:04 GMT -5
I thought that this was out today :-( It is. In 1 minute. |
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Post by andymorris on Nov 2, 2023 9:06:23 GMT -5
The last Beatles song they can market as a single for the masses. The rest will be for the "real" fans who buy everything. Those should have all been in the Let It Be reissue. We already had countless versions of the standard Let It Be tunes. So much more happened during that time obviously. I’d rather have those cleaned up than say Billy Preston singing a song or Lennon doing Gimme Some Truth. Totally, but that way they can milk the beatles for another 10 years or so |
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Post by andymorris on Nov 2, 2023 9:07:15 GMT -5
Now and Then sounds like a BE outtake (the verse mostly, Back After the Break)  Bit disappointed to be honest. It's Ok. But it was never gonna be a big song like the other two, that's why they abandonned it on 94. |
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Post by Lennon2217 on Nov 2, 2023 9:10:23 GMT -5
Those should have all been in the Let It Be reissue. We already had countless versions of the standard Let It Be tunes. So much more happened during that time obviously. I’d rather have those cleaned up than say Billy Preston singing a song or Lennon doing Gimme Some Truth. Totally, but they can milk the beatles for another 10 years or so Oh 110%. They’ve got almost 10-11 tracks from Let It Be sessions that were never officially released. Plus they oddly never released the complete rooftop concert. That’s an easy single vinyl release. Shocked it wasn’t part of the Let It Be reissues. Carnival of Light is another biggie but apparently that is pure shit. |
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Post by tomlivesforever on Nov 2, 2023 9:13:21 GMT -5
Totally, but they can milk the beatles for another 10 years or so Oh 110%. They’ve got almost 10-11 tracks from Let It Be sessions that were never officially released. Plus they oddly never released the complete rooftop concert. That’s an easy single vinyl release. Shocked it wasn’t part of the Let It Be reissues. Carnival of Light is another biggie but apparently that is pure shit. What 10 songs were they mate? |
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Nov 4, 2024 5:04:30 GMT -5
Nov 4, 2024 5:04:30 GMT -5