From: alex@tpocc.gsfc.nasa.gov (Alex Measday)
Subject: Spectorization
Organization: Integral Systems, Inc.
Date: Mon, 14 Sep 1992 19:38:17 GMT

I'm posting these for a friend, Don Sauter, who doesn't have access to
USENET.

                                      Alex Measday
                                      alex@tpocc.gsfc.nasa.gov

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In March there were some opinions registered on the LET IT BE lp.  Whenever 
this happens, the word "spectorization" always rears its frightening head.  
Now, there can't be much argument against the position that *any* 
overdubbing is not in keeping with the original intent of the Beatles' 
GET BACK sessions, which was, of course, to get back to their rock and roll 
roots.  However, I often get the impression that people think Spector did 
so much more to the music than he really did.  Even George Martin has some 
wacky notion about Spector overdubbing orchestra and choir on the song Let 
It Be (Recording Sessions, Lewisohn, 23Mar70).  It might be worth itemizing 
Spector's overdubs.

Of the 12 songs on LET IT BE, including 10 "real" songs, Spector added 
overdubs to just 3, as follows (ibid. 1Apr70):

Across The Universe

    Spector's crime:  orchestra and choir overdub.
    Mitigating factors:  Song *NOT* from the GET Back sessions.  Beatles 
        had already treated it to a lot of overdubbing, anyway.

I Me Mine

    Spector's crime:  string overdub.
    Mitigating factors:  Song *NOT* from the GET BACK sessions.  Strings 
        fairly unobtrusive, anyway.

The Long And Winding Road

    Spector's crime:  orchestra and choir overdub.
    Mitigating factors:  Hmmm... That kind of song?  Maybe?  (Maybe not.)
        Anyway, Spector was only doing what Martin had already done to 
        the song Let It Be.

And that is all.  Period.  End.

As far as Spector's mixing is concerned (which I don't think anybody 
criticizes, anyway), keep in mind that George Harrison was present 
for most of that (ibid. 23Mar70).

Ringo was present and playing drums during the above 3 overdubs.  I
was wondering if anybody can hear any of Ringo's drumming from that 
session?  I can't.

Regarding the song Let It Be, Mark Lewisohn doesn't document any overdub 
of female vocals.  These are perhaps even more prominent on the Martin-
produced single than on the lp version.  The mystery was solved in the 
Paul McCartney World Tour program, where Linda McCartney takes credit for
singing harmonies on Let It Be (p10 and p11).  This raises the question of 
how she got on there without being detected by Lewisohn.  And does it 
really sound like Linda?  

My only gripes with LET IT BE are the omission of Don't Let Me Down, and
Spector's slowing down of Across The Universe.  But, even here, Spector 
is only following in Martin's footsteps, Martin having sped up Across The
Universe for the World Wildlife Fund album.

Lastly, an observation:  I've always found that LET IT BE criticism 
presents a major enigma.  Writers are near-unanimous in calling 
the LET IT BE album the Beatles' low-point.  On the other hand, almost 
all of the individual songs are heaped with praise.  (For a start, check 
out Schaffner, Schaumberg, Russell, Mellers and O'Grady.)  I don't git it.


Don Sauter
Newsgroups: rec.music.beatles