New image posts from the Beatles, family and fans.
An interesting exchange here about potential remixing of earlier Beatles albums:
The software is getting a lot better. I’m constantly looking at how we would approach it if I ever get to [remix] Revolver or Rubber Soul, early albums, which a lot of people want me to do. That’s a good example of, “How do we do that?” How do I make sure that John or Paul’s vocal isn’t just in the right-hand speaker, but also make sure that his guitar doesn’t follow him if I put it in the center? On “Taxman,” the guitar, the bass, and drums are all on one track! That’s why the record is basically on the left-hand side, and then there’s a shaker on the right-hand side of the center.
So you want to wait for the source-separation software to continue to improve.
That’s right. Despite the constant requests I get on Twitter or whatever to do these albums, I want to make sure that we can do a good job, and do a beneficial job. You’ve got to make sure that you’re doing things at the right time for the technology.
"Watch the Sound," hosted by music producer Mark Ronson debuts this Friday on Apple TV+.
The show features Ronson interviewing Paul McCartney and Sean Ono Lennon, along with QuestLove, Dave Grohl, Charli XCX and others.
A few interesting nuggets about the show from NME:
Sean Ono Lennon reimagines his dad’s ‘Hold On’
Offsetting the fact-heavy vibe of the rest of the series, this tender moment from episode one sees Sean Ono Lennon team up with Ronson at his studio to rework John Lennon’s 1970 track, ‘Hold On’. When the British-American musician and multi-instrumentalist puts the original vocal take through the Harmony Engine, he is keen to emphasise how his father would’ve loved the opportunity to play around with this technology. “The Beatles and my dad, they were always on the cutting edge of what was happening,” he reasons.
Macca unpacks the structure of ‘Maxwell’s Silver Hammer’
Shortly after the Moog Synthesiser debuted in 1964, McCartney got his paws on the model. When it came to recording ‘Maxwell’s Silver Hammer’ for The Beatles’ seminal 1969 album ‘Abbey Road’, he tested the patience of his band members as he spent weeks crafting the jaunty track’s synth solo. It turned out to be one of the first-ever uses of the Moog on record, and he alchemised the perfect part via adopting a ribbon-slide technique, moving his finger up and down continuously.
It’s been called “a funky transformation” (UPROXX) and a "groovy mashup” (AV CLUB) that "sounds more like a Sugarhill Gang track than the original song” (ROLLING STONE)… And now “Find My Way (feat. Beck)” has been #ThreeImagined as a psychedelic visual trip that blurs the boundaries of time, space — and even identity.
The “Find My Way (feat. Beck)” video was co-produced by Hyperreal Digital, which specializes in the creation of hyper-realistic digital avatars. "The technology to de-age talent and have them perform in creative environments like this is now fully-realized, even with one of the most recognized faces in the world," said Hyperreal's CEO Remington Scott.
Directed by Andrew Donoho (Janelle Monae, The Strokes, Khalid) and choreographed by Phil Tayag (Bruno Mars, Jabbawockeez), “Find My Way (feat. Beck)” was unveiled to the world today via a global broadcast premiere on MTV Live, MTVU and across MTV’s worldwide network of channels, as well as on the ViacomCBS Times Square billboard in New York.
"Find My Way (feat. Beck)” is the opening track of III Imagined, which is released on vinyl, CD, and cassette July 23 via Capitol Records. Order from Amazon now.
Out in paperback in September. Order now from Amazon.
The Beatles are widely regarded as the foremost and most influential music band in history and their career has been the subject of many biographies. Yet the band's historical significance has not received sustained academic treatment to date. In The Beatles' Reception in the 1960s, Kenneth L. Campbell uses the Beatles as a lens through which to explore the sweeping, panoramic history of the social, cultural and political transformations that occurred in the 1960s. It draws on audience reception theory and untapped primary source material, including student newspapers, to understand how listeners would have interpreted the Beatles' songs and albums not only in Britain and the United States, but also globally.
Taking a year-by-year approach, each chapter analyses the external influences the Beatles absorbed, consciously or unconsciously, from the culture surrounding them. Some key topics include race relations, gender dynamics, political and cultural upheavals, the Vietnam War and the evolution of rock music and popular culture. The book will also address the resurgence of the Beatles' popularity in the 1980s, as well as the relevance of The Beatles' ideals of revolutionary change to our present day.
This is essential reading for anyone looking for an accessible yet rigorous study of the historical relevance of the Beatles in a crucial decade of social change.
Out in September.
This book provides fresh insight into the creative practice developed by Paul McCartney over his extended career as a songwriter, record producer and performing musician. It frames its examination of McCartney’s work through the lens of the systems model of creativity developed by Mihaly Csikszentmihalyi and combines this with the research work of Pierre Bourdieu. This systems approach is built around the basic structures of idiosyncratic agents, like McCartney himself, and the choices he has made as a creative individual. It also locates his work within social fields and cultural domains, all crucial aspects of the creative system that McCartney continues to be immersed in. Using this tripartite system, the book includes analysis of McCartney’s creative collaborations with musicians, producers, artists and filmmakers and provides a critical analysis of the Romantic myth which forms a central tenet of popular music. This engaging work will have interdisciplinary appeal to students and scholars of the psychology of creativity, popular music, sociology and cultural studies.
The Beatles' producer set up a state of the art studio in paradise, where many artists recorded until the facility was wiped out by natural disaster.