My God!! How could they be so good!! Almost 50 from their breakup they still surprise me!! It seems they are still getting better all the time!!! Amazing
@@astromaniac360 The people who consider Justin and Katy good music would not have liked the Beatles in any era. They would have liked Brady Bunch records. Conversely, there are bands like the Brian Jonestown Massacre that make great psychedelic music today.
British Scorpion there’s endless if you think about it. They spent 55 hours on one song once. They documented all recording sessions and the book was still there when someone enquired, they meaning someone connected to the studio and the band. Probably for the purposes of paying for the time they used in the studio. It wasn’t theirs after all.
In context, they recorded an album of 10 songs in one session once, 8-12 hours. So anywhere from 1 to 55 hours per song. They spoke/speak of jamming in the studio all the time. All that will be on record somewhere. All 4 Beatles or their spouses have to agree on anything coming out. That’s why only drips come out occasionally. When the spouses pass on, I bet they’ll be a flood of material as the decisions will be passed onto the children who don’t have the same hang ups and egos and wouldn’t mind the income. They’ll see it as keeping them relative for income for their children. They’re quite a lot of Beatle grandkids to feed, lol.
...a sign of the times... ...things were going forward, we were going to the moon, it was an exciting time, things were always evolving... ...very hard to describe the 'zeitgeist' if you didn't live back then...
Red Buck yeah, he was certainly insecure with people he got close to, but quite tough with those he even knew but was just, say, a working relationship. And some people had an opportunity, by getting close maybe by using lsd then heroin, to take advantage of that. He wasn’t just blinded to things in the physical sphere. Typical artist really, which he understood the nature of to a great degree, but was taken in by many. Clue one:- of the worried was the manager Kline whom Paul sued which produced artistic flourishing in ‘How Do You Sleep?’. He later saw that and apologised and thanked Paul. But one, no-one could do anything about it turned out. Maybe his Aunt Mimi and the way he was with her was a clue to why he was the way he was with his ’mother’?
I’ll debate anybody about John versus Paul. Paul was brilliant, no doubt, but John had a voice that was so expressive and emotional and distinct. Well Paul had a greater range, he didn’t have that kind of emotion and soul. Billie holiday, the great jazz singer, did not have a very good voice technically. But she was the greatest jazz singer. I will draw a parallel with Billie Holiday and John Lennon. Paul is like Ella Gitzgerald. No slouch. But Billie/John reign supreme.
George had just bought a sitar and was trying to pluck it's secrets. John asked him to try to put something together for this song. This was a year or so before George met Ravi Shankar. What George did here was revolutionary for the time and is amazingly transcendent.
I agree for the fact that people had been playing rock n roll long before the Beatles, but no one had combined it with a sitar of all things. Not to mention they actually sound great which is a feat unto itself as the two technically aren’t supposed to go together
Just finished reading the Murakami novel “Norwegian Wood” and had to come listen to this song again. So glad I found this version, I love the album version, but at least for me, this one really nails the psychedelic, nostalgic, and the melancholy tone that I believe they wanted the piece to portray more than the studio version. Almost feels like listening to a dream that was dreamt a long, long time ago. They were truly ahead of their time.
Album version is boring to the point I cut it off from my Rubber Soul mp3 player tracklist, I might reconsider restoring it putting this version or the Anthology Take 1 in its place instead
@@emzee1148, there's nothing psychedelic about it, it's folk rock with some Sitar playing. Pretty sure none of the band had even dropped acid at that point.
@@ryanblob3105 No, this is pure psych music. Listen to the bass and the drums, the choice of diatonic modes, the harmonies. It checks every box for being psych rock. Saying that there is nothing psychedelic about this song is hilariously ill informed.
There was a time in the 60s when we waited breathlessly for the next Beatles song to drop on the radio. The competition to unseat them as the kings of rock was fierce. The Stones, the Byrds, new bands like the Doors and the Airplane, but then they would blow everyone away with their next release. I remember thinking, how long can they keep this up? Things are changing too fast, they’ll fall behind! But they led, they did not follow. From ‘64 to ‘69 they held absolute sway, and we didn’t realize until years later what we had lived through.
Don't forget George! He was a critical part of those glorious 3 part harmonies on songs like This Boy. Might not be singing on this song, but he was a huge part of what made this band epic.
roomandaroom well of course! And my favorite harmonizing tune is “Yes It Is.” You can hear all 3. I would never leave out George, but in this particular song it’s Paul and John.
And it was a brilliant move because the song became a classic and the sitar made the song sound so different from ordinary pop songs from then or now. It still stands out. Just like when REM started using Mandolins and their songs sounded incredible because of that one instrument.
@@dynjarren8355 George came across the sitar during the filming of the movie "Help!"...in the restaurant scene, a band comes out and begins an instrumental version of A Hard Day's Night. George, ever the guitarist, is said to have gone over the guy playing the sitar and asking "What are you playing?"....and the rest is history.
@@quantumleap4023 I love the way you think we're all Yanks. This is about an English band, singing about Scandinavian timber on a forum full of foreigners. Given that the USA has forced puppet governments and "regime change" on so many other countries, I suppose it is no small irony.
Juan Carlos Rufasto Aguilar If you really want to do the guru thing then listen to Dhani Harrison sing “The Inner Light”. It’s wicked good ✌️ ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-229aVjM4uf8.html
George was the greatest. Very underrated being over-shadowed by the genius of John and Paul. There will never be another like him. Not afraid to think outside the box. This is a great example of that. Wish I could have met him. He was just a lad from Liverpool. RIP George. Blessings and peace to Olivia and Dhani...
He was an incredibly gifted songwriter who had the rotten luck to be in the one band where he was overshadowed by two other incredibly gifted songwriters! But George's solo career was a lot more consistent and satisfying than Paul or John's. Lennon and McCartney needed each other to write their best work; George was capable of writing sublime music all by himself.
"Rare Psychedelic Acid Bootleg" is a stupid title. This is simply a raw version of the song that we know. It's an out-take that wasn't yet a finished product. I'm still happy it's on RU-vid, and that I was able to hear it.
I get goose bumps listening to this song... like a total recall of childhood memories and a better time than now - no AIDS, no BLM, no ANTIFA, no Trump, no PC...no COVID. Those were the days ...
The way I read this story, John picked up a girl and went to her place. When she didn't give out and finding himself alone he set fire to her IKEA furniture in revenge.
The lyrics on this, take 2, are the same as take 1, take 4 the final take, was recorded a whole different day. Read the Beatles Sessions book. Also the full sessions, including this take two, for this song are on bootleg
@@BioFactory1 Alright, I'll concede that it was an "alternative" take. I was assuming a take to mean an attempt to record a particular version of a song.
Rubber Soul and Revolver sessions, several songs were done in one or two takes with several overdubs. paperback writer was just two takes, take 1 being a false start and take 2 getting random echo/delay added at spots for the mono and stereo mixes. Norwegian Wood was recorded on three separate days, at first take 1 was marked best, then they attempted take 2 another day and still felt it wasn't going much better, then another day, takes 3 and 4, 3 being a false start.
If you go to Bootleg Zone discussion forum you can find Beatles complete recording sessions. Youtbe isn't the best place to share details, but that should be enough for fans to google and enjoy.
Spot on! Us guitarists (frustratingly sometimes) study other guitarist's unique "strum patterns". John had more than a few up his sleeve and both songs definitely use this cool 3/4 strum.
Sounds like an earlier take. The final version is obviously sped up, probably by tape machine. All of The Beatles outtakes are significant for shedding light on how they developed their songs in the studio.
So fresh after so many decades! The raw and yet honeyed voice of John, George's early attempts with the sitar, all sent shivers down my spine. Isn't it good? Norwegian Wood!!!!
In fact John couldn't finish this song, Paul gave him the idea for the ending, which is not about what people usually think it is about. There is a take that ends with the music fading and John saying, "I showed 'er!"
Absolutely, it stands up & knocks the 'known' version back on the not there chair & sat on a rug biding my time till she said "It's time to fly" "oh yes" i said & then "Let's get high!" "Where's the Lucy?"
Much trippier man. Interesting this, I just saw that the last name of one of the guys' on the England team in the World Cup is TRIPPIER!!! It5 is just so cool that I can use that in a sentence!! :)
Wow! I love all these takes. They had such a fantastic way of getting to their final product. The great thing is that all these versions are truly amazing. This particular recording makes me feel like I am floating down the river smoothly in a raft to a destination unknown. Wonderful in every sense. The gold standard!
If only The Beatles would go back and create Super Deluxe versions of Rubber Soul and Revolver. That'd be something to look forward to. For now, I'll settle for the excitement of the forthcoming Let It Be releases.
i've loved the key of this one ever since Antho2 came out. I don't know why he lifted the key up. I like the studio version, but this version kills, especially after they add the double track vocal.
They were usually lower, and there's lots of evidence to show that they sped their songs up. Put the RU-vid speed on 1.25 and it starts to sound a lot more like the released version (though this digital increase in speed doesn't raise the pitch like analog tape did).
True they used to speed some songs up but not as much that.This was re-record in E. A capo on the second fret.E is a lot better for johns voice.Interesteng harmony and the end there and not on the Rubber soul one.
Not psychedelic not drugs. George just wanted to play the riff on sitar which he was learning. Because it is in service of the song. Drone by Ringo on Tambora. Classical Indian music has been around for 500 years show it some respect
Yeah, I wish the version they used was a little more rocked up like this one, especially with the bass line. It would have made Rubber Soul feel more like Revolver. What an amazing time, transitioning from Help to Sgt Pepper in two years.
That bass and sitar work so well together it is beautiful. They should have done a bonus reprise at the end of Rubber Soul. I also imagine Paul was kinda shitting himself.
Not that you need anymore proof but this is further proof that Lennon was a Musical Genius! The song is about a one night stand which he cleverly hid because he was married at the time. And yet the song is still charming and amusing! That’s a Genius! Dear Prudence is another masterpiece. Absolutely brilliant!
Roy Tranter I know about Mozart. He was a child prodigy and a musical Genius as well. One does not negate the other. And they are from different eras and times.
For me, like so many others, they are the gold standard. Albeit a nearly impossible standard. Their lifecycle as artists is remarkable... the constant evolution, reinvention. Few musicians/artists have been able to even come close... and not just in pop or rock, but also in jazz as well.
Someone asked John in an interview how long he thought they'd last. His answer was that" he could be big headed and say five years". 55 years later they're still amazing.
