Oh yeah, kind of a click. Never bothered me much.
Basically correct, but I don’t think Merry Clayton was 8 months pregnant because sadly she suffered a miscarriage soon after. It seems like if she had been that far along there would have been a fair chance to save the baby. Some thought it may have been brought on by the strain of her belting out her part for the song.
In the song Walt Whitman’s Niece (words by Woody Guthrie, music by Billy Bragg and Wilco), the song has Billy Bragg sing a line, and Wilco sings a response.
Billy Bragg: Last night or the night before that
Wilco: I won’t say which night
As the song gets to the refrain, however, the band sings the response, but they’re not all singing the same…cadence, I guess is the word. Some of the singers sing the line (“leaving out the names of those two girls”) by holding the “those” a beat longer, while others emphasize the “two” a little more.
It’s hard to describe, especially since I’m not musically inclined. But you can hear the background confusion in the song, along with the band members laughing.
You can hear it at about the 35 second mark in the version I linked.
Check out 20 Feet From Stardom if you want to hear them (both Merry and Mick, IIRC) talk about it.
In fact, everyone should check out 20 Feet From Stardom just because it’s really good and it’s done from a POV within the music industry that’s both under rated and rarely seen even though it’s arguably just as important as any other instrument in the band.
How would one go about checking this doc out? Is it on a streaming service?
For several of you Dopers, clicking on this will start a journey during which you will eat and sleep little for about 48 hours:
“This website is a must-have reference for a true Beatle fan. It brings together years of detailed listening to every moment of just about every released Beatle track. It catalogues all those curious little sounds, vocal asides, mistakes, edits, hidden messages and more … songs you’ve listened to for years will never be listened to in the same way again.”
1995 called and said it didn’t want its website design back
I hear you! It works perfectly well for this purpose. In fact, I first encountered these observations in book form (a sort of self-published print out of all the entries in he website).
I might have come across a bit too snarky; I actually find those remaining old-school websites kind of charming and nostalgic when I come across them. Like this Basil Rathbone site I linked to in the ‘Iconic Images’ thread:
ETA: I clicked around some, and that Beatles site is a serious rabbit hole. Take JKellyMap’s warning very seriously!
Just crawled back out, myself… what year is it?
It doesn’t appear to be streaming anywhere for free, but Youtube and Amazon have it for $3.99. I imagine it’ll show back up on Netflix at some point or another (and it looks like you can tell Netflix to add it to your list if/when it shows up).
In the mean time, here’s a clip from the Merry Clayton part. This song hasn’t been the same since I watched this doc.
Fun fact, also from the same doc…here’s David Bowie doing Young Americans. On the right side is a line of back up singers, the one on the left (tall guy with the blue suit) is Luther Vandross.
I know this is getting off topic and I’m only putting it here because I think it’s so good and goes hand in hand with 20 Feet From Stardom, but if you ever want to have all your favorite 60’s and 70’s songs ruined by finding out none of the band actually played on the record, check out The Wrecking Crew, which appears to by available in Youtube. Seriously, it’s worth a watch.
ETA, and if you want to take bass lessons from the woman who played bass on a ton of songs you know/love, Carol Kaye does them via Skype (some restrictions apply).
Yeah, that was the consensus. To me, it was clearly unintentional (especially as he doesn’t play that chord, from what I remember, in live versions, and if you follow the piano part, it’s him simply missing a chord change in the right hand.) It sounded fine, though.
I have the DVD; you’re right, it’s seriously worth a watch. There’s also a documentary about the Swampers.
I now pretty much think it was played that way on a certain take (accidentally or improvised) and a creative decision was made to keep it in (except on some versions, for example Naked).
There’s simply no way that sublime chord was not noticed by George Martin or the Lads. If it’s on certain versions it’s because they wanted it that way.
I don’t necessarily disagree, but I 100% think it was an unintended chord. I mean, Paul doesn’t play it in concert and when he did the Let It Be Naked project, he used a take with the correct chord in it. I can’t imagine why he would change it in both cases if that was what he intended. Plus, to me, it clearly sounds like he realizes his fuck up and quickly tries to cover it.
But, anyway, we covered all that ground in the other thread.