Under The Influence: Elliott Smith

At what age did you realise you wanted to become a musician?
Probably five, as soon as I heard The White Album. It was pretty much my inspiration, that and AC/DC.

Elliott Smith: NME (2000)

My friends and I were just starting to teach ourselves guitar in 1980. I was 11 and really into Beatles songs like Julia and Sexy Sadie— cool, kaleidoscopic chord changes. I was totally immersed in trying to figure it all out, and it was slowly happening when some madman gunned down the guide. At first, kids at school acted like it was a hoax. It didn’t seem real at the time, and to be honest, I rarely think of John Lennon as dead. There’s too much life in his music to think of him as gone. For some reason when I think of him now, I usually picture him the way he looked and sounded during the 'hairy and scary' phase, around the time of Abbey Road. Definitely on his own trip. It’s neat when you’re a kid to see people who aren’t scared to change.

My folks were Beatles fans and supposedly played Sgt. Pepper’s for me before I was born. In junior high I thought that A Day in the Life was probably my favourite song ever. Of course, now I have many, many favourite songs, but a lot of them are still Lennon songs. For example:

I’m Only Sleeping

Most songs that bring up wanting to be left alone in some way or another don’t do it as gracefully as this one. It’s cool to express and defend your own interior space without getting all hostile about it; this song makes it seem easy. I also like the way it feels as if it’s pulling itself along with its own momentum instead of being pushed forward heavily with the kick drum.

Tomorrow Never Knows

The first line kinda says it all, really. Again, it’s like he’s describing a solid internal state you can maintain without doing battle with the outside world. Sometimes the most amazing thing to me about Lennon is that he kept a positive identity despite such a cracked upbringing and crazy fame.

Cold Turkey and Jealous Guy

Being this honest can be risky, which, of course, is an excellent idea. It’ll either be sappy or brave. Or both. He chanced it and won. Other people have to write this way all the time. Lennon had access to all floors. Didn’t he also write:

I Am the Walrus

It’s dark, complicated, funny, and popular; it rocks; and it contains the phrase “goo goo g’joob.” Lyrics all over the place. I like songs like this because they activate my imagination. Coherence is fine and all, but it’s not the measure of interesting lyrics. Sonically, this song seems to be coming from a person who just busted out of incarceration somewhere.

Across the Universe

This song is fluid and musical in a way that, to me, overarches all the cultural and political commentary that surrounds his life. A really cool song can sometimes make a dream and reality trade places, maybe for the better.

Elliott Smith: SPIN (Jan 2001)

Five Beatles Cover Version by Elliott Smith

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The Best Of Let It Be (pt.4) - Let It Be

Just like I Me Mine, Let It Be contains extensive overdubbing done by George Martin rather than Phil Spector.

Past Masters

This is the single version recorded and mixed by George Martin. The master take (take 27-A) was recorded on 31 January 1969 at Apple Studios. McCartney played grand piano, Billy Preston played organ (switching between organ and electric piano sound – compare 1:45 with 1:52), Lennon on six-string electric bass, and Harrison on electric guitar. On 30 April, Harrison overdubbed a new guitar solo using a leslie effect. On 4 January 1970 He overdubbed another more distorted solo and Martin added brass and nearly inaudible cellos (last verse, panned right). Ringo and Paul added extra drums and maracas to verse 3 and Harrison, Paul AND Linda McCartney added BVs. This version uses the first solo (panned right) though the second faintly audible (centre). There is almost no trace of the original guitar track. Just after Paul sings Though they may be parted (1:06) you can hear someone (George Martin?) saying “stop it!” in the right speaker.

This was the version used on the 1967–1970 'Blue' album, 20 Greatest Hits and the 1 album.

Let It Be

Phil Spector's remix. He used the second more distorted and aggressive solo (with the first overdubbed solo still faintly audible – both are panned centre), cut the BVs except for the first verse, added delay to the hi-hat in the second verse and brought the bass and brass up in the mix. Just as in I Me Mine Spector 'copied and pasted' to increase length, this time extending the final chorus from twice to three times.

Let It Be Naked

Spector's reverb and extra chorus, and Martin's overdubs are all removed (except the backing vocals?). This is the same basic track as LIB/PM but with numerous edits flown in from other takes, most obviously notably the guitar solo, and there is even evidence of auto tune (listen to the first WORDS of wisdom – 0:21). The solo (from take 27-B) appears to have been lifted with the entire section not just the lead guitar track (compare the piano and drums). The guitar tone is similar to the PM version but the track is much cleaner as there is no 'shadowing' from other takes. Because much of the 'original' guitar tracks are removed there is no real 'build' in the last verse or penultimate chorus.

The whole track is much clearer sonically and seems tighter rhythmically (listen to the cool way Ringo swings the rhythm in the second chorus).

Anthology 3

A completely different version. Take 1 of the song (recorded 25 Jan) is bookended by studio chatter from Jan 31st (take 23) -

John: Are we supposed to giggle in the solo?
Paul: Yeah.
John: OK.
Paul: This'll...this is gonna knock you out, boy.

followed by more chatter from take 25 -

John: I think that was rather grand. I'd take one home with me. OK let's track it. (Gasps) You bounder, you cheat! (a reference to abandoning the no-overdubs/double tracking position that Lennon himself had advocated for Let It Be).

This is simpler and rougher version. No organ at all, and a repeat of verse one replaces the (as yet unwritten) final verse. Harrison is strumming chords on the last verse with a fairly clean leslie'd guitar tone and the drums drop out completely in the last verse. Lennon/Harrison contribute BVs.

The opening is hesitant, the tempo wobbles and there are mic pops throughout. Lennon phones it in on an out of tune bass, playing his trademark bored staccato bass parts. John may have joked about Ringo not being the best drummer in the Beatles, but Lennon's performances on Let It Be and Long & Winding Road definitely earn him 'worst bass player in the Beatles' award.

Film Version

Take 27-B, like 27-A, was recorded at Apple Studios the day after the roof top concert, along with Two Of Us and The Long and Winding Road. Though the audio to this version has never been officially released (apart from the guitar solo), this is the version used in the Let It Be film. The chorus lyrics end “there will be no sorrow, let it be” instead of “there will be an answer, let it be”.

Though there's nothing wrong with the overdubs they're not up to Martin's usual standard and LIBN really benefits from their removal and all the other cleaning up. LIB's solo gives the latter half of the track energy that the LIBN lacks, the brass sounds like a collection of individual instruments rather than single entity and the organ and BVs blend angelically (all of which I like). Anthology is yet another horrible rehearsal tape of historic, rather than artistic, value. And every version has that horrible bass slide at the end!

Verdict

There's really not much to chose between PM, LIB and LIBN but because of the sonic fixing I'd go for LIBN.


abbreviations

LIB - Let It Be
LIBN - Let It Be Naked
A3 - Anthology 3
PM - Past Masters

You have no idea how long this post took to research. I think I would have gone mad without What Goes On - The Beatles Anomalies List and Mix Online. I also would have gone mad without Wikipedia, but Wikipedia was also part of the reason I was going mad in the first place!

Still not got your head around the many solos? There's a special treat for you tomorrow - for a limited time only!!!!!

  

The Best Of Let It Be (pt.1) - I Me Mine and Across The Universe

Though there are officially released alternative versions of every Beatles album floating about (mono vs stereo, UK vs US, remastered vs erm … mastered) Let It Be is in a class of it's own. Versions of these songs crop up on Let It Be, Let It Be Naked, Anthology 1, 2 & 3, Past Masters and '1'. As well as the obvious 'Spectorizing' (massive overdubbing by session musicians) some versions of the same songs are built on completely different takes. Though I'm going to be analysing the songs in true Beatles Songwriting Academy fashion, I thought it might be helpful to give you a rough guide to the various versions.

As I've already analysed I Me Mine and won't get to Across The Universe till 'Magical Mystery Submarine' (which is where it belongs chronologically) let's get those two over with now.

I Me Mine

LIB – Spector's version is a little dull sonically, especially the bass. The wall of sound is pretty low in the mix so it doesn't add much, good or bad. Spector lengthened the track by 50 seconds by literally copying a section and repeating it.

LIBN – Sharper sonically. All the Spector overdubs are removed. However, the Beatles had already added their own multiple overdubs (McCartney's organ & electric piano, Harrison's twin acoustic/electric lead fills) and these are retained as are the extra 50 seconds.

A3 – As LIBN but without the extra 50 seconds (so the structure is literally intro-verse-chorus-verse). It also adds George's humorous spoken intro, referring to Lennon as 'Dave Dee'.

If 'Naked' is a euphemism for 'deSpectorized', then Anthology is the true version. But it's so short!

Best Version: Let It Be Naked

Working with the Beatles took it's toll on George Martin...

Across The Universe

PM – The first released version appeared on a WWF fundraising album (to benefit animals, not wrestlers - hence the added animal sound FX) and is often referred to as the 'wildlife version'. It features a couple of female fans (who had been dragged in from their studio gate vigil) doubling Lennon's vocals on the chorus, BVs by the Beatles (answering ahhs on the chorus) some quite loud maracas and wah wah chords. The fastest version (sped up almost a semitone to D#) but also the longest, due to 20 seconds of FX on intro. Effects on vocals, guitar and tambura.

LIB – Spector slowed the track down, lowering the pitch a semitone to C#, added strings (18 violins, 4 violas, 4 cellos), 14 voice choir, (“Disney strings & lullaby voices” McDonald p.227) harp, brass & drum overdubs. There were also 2 guitarists booked for this session! Glyn Johns had already removed all the original sound FX and BVs (both the fans and The Beatles). Heavy phasing on Lennon's vocals and a noticeable edit just before the outro.

LIBN – Much clearer sonically and in the original key of D. No Spector overdubs, BVs, or maracas and the tambura comes in later. There is no noticeable phasing on the track itself till much later. Fades out without the little piano riff.

A2 – Much faster but still in original key (no varispeed). A completely different take. With the possible exception of bass, this sound like an entirely unplugged version. Phasing on the rhythm guitar from halfway through the first verse. Weird chiming instrument, Indian sounding slide guitar. No BV's.

The guest vocals on PM aren't great and it's just sounds too fast. The tempo particularly gives a manic edge to the wah wah and tambura. And on LIBN the track becomes a tambura solo with a Beatles accompaniment. The unplugged version on A2 is a really cool bonus track, but the Richard Hewson arrangement on LIB actually lifts quite a plodding dronefest and Johns/Spector rein in the worst parts of the PM version – frantic tempo, bad BVs, and that darn tambura!

Best Version: Let It Be

...but he got off lightly compared to Phil Spector !

abbreviations

LIB - Let It Be
LIBN - Let It Be Naked
A1 - Anthology 1
A2 - Anthology 2
A3 - Anthology 3
PM - Past Masters
B1 '1' aka Beatles Number Ones

  

I Me My Candle In The Wind

What if my last post had fallen through a wormhole in space and been discovered by Bernie Taupin in 1971 prompting him to co-write with George Harrison instead of Elton John? What indeed. Well Candle in the Wind might have turned out like this instead…

Goodbye my dear
Norma Jean, Norma Jean, Norma Jean
(From the) boy sitting here
Norma Jean, Norma Jean, Norma Jean
You rose above it all
While those around you crawled
Changing your identity
Goodbye my dear
Norma Jean

Seriously it’s nothing special but it shows how if you’re going to repeat something that much it needs a really strong phrase (like a name).

Let me know if you come up with anything good to the I Me Mine meter.

11:3 I Me Mine (pt.3)

So we’ve looked at the overall structure, time changes, chord progressions, melodic and lyrical fragments and why the chorus sucks without ruining the song. Now let’s finish off with a gander at the lyrical structure of the verse. It’s utterly unique.

(Rhyme scheme on the left, syllables on the right)

Revolution Number 494966743

A1 All through the day - 4
B1 I me mine, I me mine, I me mine - 9
A2 All through the night - 4
B1 I me mine, I me mine, I me mine - 9
C1 (Never) frightened of leaving it - 6
C2 Everyone’s weaving it - 6
B2 Coming on strong all the time - 7
A1 All through the day - 4
B3 I me mine. – 3

Harrison doesn’t quite manage to colour inside the line structurally speaking*. But that doesn’t matter. Many old hymns were written with an 8 6 8 6 8 6 8 6 structure. Pop songs can be a lot freer. But this is 4 9 4 9 6 6 7 4 3! Try it on for size!

To help you get your head round it here’s a few exercises.

Pick a three syllable phrase for your title. Like Cheese on toast! (or Scrambled Eggs !).
Use the title 3x on lines B1 and once on line B3. Like so...

Cheese on Toast

A1 All that I crave - 4
B1 Cheese on toast, cheese on toast, cheese on toast - 9
A2 There on my plate - 4
B1 Cheese on toast, cheese on toast, cheese on toast - 9
C1 Don’t give me margarine - 6
C2 (Or) ruin it with baked beans- 6
B2 They’re the foods I hate the most - 7
A1 All that I crave - 4
B3 Cheese on toast. – 3

Easy. Now you do it.

After you’ve used a random 3 syllable phrase, try using a three syllable name.
Once you’ve written something to Harrison’s tune it might even be good enough to keep and set to your own tune.

*A1 & 2 rhyme on verse two whereas he uses parallelism on verse one (I’d probably go for a rhyme if I were you!). C1 has two extra syllables on verse 1 and on verse 2 (and 3) the penultimate line isn’t a repeat of A1.

[Bet you're glad you read this far!]

11:2 I Me Mine (pt.2)

The answer to the question I posed last time was – the song was originally only 1:47 long. Phil Spector simply copied and pasted almost the entire song to increase the length.


I Me Mine was the last song for Let It Be that The Beatles worked on, by which time they had abandoned their no overdub policy (even before Spector got his grubby mitts on the tapes). Indeed this was one of the few tracks recorded under the personally direction of the understandably jaded George Martin.

The downside

This is a song with such a strong verse that it manages to carry a chorus that is almost totally devoid of interest.

Chords – the progression is a standard 12 bar blues (or at least it would be if it didn’t drop the last two). T19 Altered 12 bar blues. 

Melody – one note throughout (and McCartney’s vocal harmony has only one note too).

Lyrics – Just the title with an extra ‘me’. This is usually no bad thing but remember we’ve already heard “I, Me, Mine” seven times in the verse!

So on every level Harrison picks the most obvious option. On it’s own, or even in any other song, this would have to be in the running for most boring chorus of all time.

How do they get away with it?

1) The verse is so strong.

2) The song is so short. The 'pre-Spector' structure is Intro/Verse/Chorus/Verse.

3) The way they navigate the time changes into and out of the chorus is clever and well executed. Contrast this with Ringo’s 3 clomping drums between the verse & chorus of both Lucy In The Sky With Diamonds and The Continuing Story Of Bungalow Bill.

3 pronged hook

Harrison uses the same little rhythm (a quaver and two semi quavers) all through the verse, on through the day, through the night, frightened of, everyone’s and all the I me mine’s.

The notes are as follows

dcd, cbd, cbd, cbc. (x2) through the day/night, I me mine, I me mine, I me mine.
fff, (x2) frightened of, everyone’s
dce (x2). through the day, I me mine

 The rhythm makes it incredibly hooky but varying the notes prevents it becoming monotonous.

We also have T24 lyric pairing (through the day/night, no one’s frightened/never frightened) and T18 a single chord end (on a b6!).

We’ll finish off next time with a look at the lyrical structure.

11:1 I Me Mine (pt.1)

The last song the Beatles ever recorded or rather, McCartney, Harrison & Starr recorded, hence Harrison’s humorous intro (which you can hear on Anthology 3) -

"You all will have read that Dave Dee is no longer with us. But Micky and Tich and I would like to carry on the good work that`s always gone down in number two"

The 11th hour session was needed because footage of the song being rehearsed had been included in the film’s final cut, even though they'd never actually recorded it.

Is it any good?

It’s very imaginative, well written and has decent lyrics.

The time changes from 6/8 to double time 12/8 (or 12/16 if you want to be pedantic) and back again are brilliantly executed.

The chorus is really a 12 bar blues but after 10 bars where it would go back to the I chord (A) it goes straight into the beginning of the verse (Am). This is a very extreme form of the Lennon Edit (Ticket 36) (i.e. just chopping out any extra beats or bars that you don’t really need).

There’s some great chord progressions with internal melodies going on.

That change again!

At the end of the verse is the descending root chord change (Ticket 17) that Harrison used on Something and which he probably learned from A Taste Of Honey.


I, Me, Mine (All through the day, I, Me, Mine)

Am Am (maj7) Am7 Am6 Fmaj7 (the internal melody goes A, G#, G, F#, F)

Something (I don’t want to lose her now…)

Am Am (maj7) Am7 D9 (the internal melody goes A, G#, G, F#)


During this same bit McCartney’s bass line is going up from an A to a high F creating a really nice contrary motion effect (Ticket 12).

Spicy Chords

The combination of odd bass notes and/or melody notes gives us some really spicy chords.

Am/C (or C6) – second chord in the song
Dm/F (or F6) – everyone’s weaving it
E7b9 (or Fdim7/E) – comin’ on strong all the time

And we also have a few chords that don’t belong in Am – D, D7, E7 and of course the A7 progression hinted at in the 12 bar section.

That’s enough for now.

More on melody and lyrics next time, what I don’t like about this song and a bit of interesting trivia.

I’ll leave you with a question.

Phil Spector’s mixes on Let It Be generally involved plastering millions of orchestral overdubs on the songs, but he did something more radical to this song.

What was it?