From: cstadbg@csv.warwick.ac.uk (Mr M J Brown)
Newsgroups: rec.music.beatles
Subject: BEATLES ANOMALIES
Date: 17 Nov 1992 10:01:31 -0000
Organization: Computing Services, University of Warwick, UK
Distribution: world
NNTP-Posting-Host: lily.csv.warwick.ac.uk

Recentley, brennan@cunixf.cc.columbia.edu wrote :-

>This article is mainly a followup to -some- of the items in the
>lengthy list of anomalies posted by Michael Brown back on November 7,
>which is based on work by Michael Weiss.

>Anyway, to the items... which I'll take chronologically rather than
>the inexplicable order of Mr Brown.  I was listening to the UK LP
>releases unless specified-- Mr Brown, you need to specify what your
>source is since some of these things may vary.

They are in the order that they are place on the albums I have, which makes
for easy listening to the album while reading the list. Some of us cannot
shuttle back and forth on a CD y'know :-) ... They are in a sort of chronologi-
cal order!...THe albums are not presented in any order though. Sorry about
that. As to the versions I have.... yes, I didnt realise there was so much
difference between pressings/mixes!...

>FROM ME TO YOU

>I don't hear the drum pedal squeaking in the clear stereo version on
>the German "The Beatles Beat" LP (1964).  There may be other mixes.

Try listening to the mix I was....I have later been told it is the CAPITOL mix
found on "Beatles 1962-1966 Compilation"

>I FEEL FINE

>Mr Brown reports what is known as the "whispering version", a variant
>stereo mix that starts with, of course, whispering.  This is not heard
>on Past Masters or most other versions.

Again ... see 1962-1966 Album

>YOU LIKE ME TOO MUCH

>I hear the click at 0:08, but the Leslie noise is effectively masked
>by surface noise on the LP.  This is an interesting case for the
>argument about recording for LP, since knowing the sound wouldn't
>reproduce meant they didn't have to bother about it.

You should listen as carefully as I do then! :-) my copy is a tape of the
record (to save wear on the original!) It is clear to me.....

>EVERY LITTLE THING and
>I'M LOOKING THROUGH YOU

>Mr Brown reports hearing Paul warm up before the vocal starts.  This
>is on the CD is it?  I don't hear it on the LP.  These are the two
>that GM remixed for CD, so I wonder whether that was hidden on the LP
>mix.  I also wonder whether the master tapes have changed over time,
>and you are just hearing the real vocal bleeding through to the
>previous wind of the tape, which would be bad news if true.

I didnt mention Every Little Thing.... However I'm looking through you is not
suffering from print through....The words and notes sung are a warm up, but
not the same as sung in the song. I think he sings "Where did you go, Where
did you go" twice quickly, in a lower register.

>WHAT GOES ON

>I hear John saying only "Tell me why" and only once.  Ringo's da-da-da
>during the instrumental adds a lot of charm and makes you wonder how
>much he always hummed along on every song, as he usually had no vocal
>mike to pick it up.  (Maybe that's the part he wrote :-)

I agree....not "I already TOLD you why" (Michael Weiss is outvoted :-) )

>GOOD DAY SUNSHINE

>At 1:21 after "She feels good" I hear only one syllable of John's
>voice, not any words I can make out.  LP.

It is there, honestly....

>STRAWBERRY FIELDS FOREVER

>Mr Brown describes is the 1971 stereo mix used on the German MMT LP
>and now on the CD worldwide; the 1967 stereo mix (Capitol MMT LP) was
>better.  I have a whole article on this.

Can you email it to me please....I would be interested in this article.
(cstadbg@csv.warwick.ac.uk or send it to the newsgroup if that won't work)

A DAY IN THE LIFE

>I can't buy the alarm clock story, if it means they set it to time the
>gap.  Who can set an alarm clock that precisely, to measure out
>musical bars?  I'll follow along if it means someone turned the knob
>to make it go off, when the count got full.

>Perhaps someone can beat me to checking whether the countdown was
>really done twice, or is the same repeated?  I think the orchestral
>overdub itself is a repeat.  The thing is, why count it off twice when
>there's nothing else to do after the second one?

You were right the  second time....it was someone releasing it deliberatley
on the 24th bar. Silly really, they could have used a vocal/instrumental sound
as a cue....

The overdub is repeated, I am unsure about the vocals....

>HEY BULLDOG

>It's not real clear, but rather than "Don't look at me man I already
>have grandchildren" always heard "Hey man you hit me in the eye and
>I'll punch you".

Never.....I can't accept this one.....I have listened over and over to it
with your version in mind, and I can't hear that...sorry....

>YER BLUES

>We have some mystery vocal material here, that seems like leakage in
>the basic instrumental track, left channel, which incidentally has
>feedback in more than the two places Mr Brown lists.  Lennon must have

Yes...i know ... I listed the worst two of them though.

>Starting at the second full verse, "the eagle picks my eye", the vocal
>leakage in the left channel doesn't correspond to the main vocal.
>It's not audible enough

Try the CD .... its clear with a good vocal eliminator direct to the CD

> to my ears to say it's "blacks out!  blacks
>down!" although the first line under "the eagle picks my eye" does
>seem to end with "sout" or "shout".  I can't hear any more clearly.
>I also can't tell whether the leakage is this stuff -and- the main
>vocal, or just this stuff.

Just stuff. :-)

> As far as I know the main vocal is all
> live, so this strange stuff would be someone else shouting while John
> was singing.  But what is it?

Or it could have been in one element of the backing track? Maybe....
I wish someone could provide a good answer to this.

Hey...Does Mark Lewisohn Read This NewsGroup !!

:-)

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     _/      _/   _/   _/  _/   _/_/_/_/   |
    _/_/  _/_/   _/   _/_/     _/          |         Michael Brown
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  _/      _/   _/   _/_/     _/            |   cstadbg@csv.warwick.ac.uk
 _/      _/   _/   _/  _/   _/_/_/_/  _/   |
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