Did John Lennon INTENTIONALLY Sabotage The Beatles With His Bass Playing?
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- Опубліковано 1 чер 2024
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Of all the bass lines on all the Beatles records, there’s one that’s VERY contentious.
Some die-hard Beatles fans really don’t like it.
In fact, some people absolutely HATE it!
At the time, some critics thought it was SO bad, they called it *musical sabotage*.
And the funny thing is - it wasn’t even Paul McCartney playing bass on this particular song.
It was John Lennon.
So today, I want to kick of an entire Beatles SEASON by looking at the most contentious Beatles bass line and figuring out:
►► Why this bass line gets so much hate
►► Whether it deserves the hate it gets
►► What we can do to ‘fix’ the bass line
And of course, we’ll try to figure out if John was actually trying to sabotage the Beatles with his bass playing.
After you’ve checked it out, tell me what you think in the comments.
Was John out of line to play the way he did on that song?
Do you think he deliberately undermined the Beatles with his bass playing?
Or do you think people just blew it way out of proportion?
I’ll be in the comments of the video, reading and responding, so I look forward to hearing your thoughts.
Good luck with the lesson and happy playing!
Cheers,
Luke
P.S. If you want the Lennon tabs, the ‘improved’ tabs (hopefully) that I made, plus the bass-less backing track, just head to this page:
becomeabassist.com/did-john-l...
Fill out the form there and I’ll send you everything for free.
[Chapters]
0:00 Did John Lennon Sabotage The Beatles INTENTIONALLY?
0:32 Why is this bass line so bad?
2:11 Issue #1: Wrong Notes
3:13 Issue #2: Notes Out Of Time
3:39 Issue #3: Inconsistent Note LENGTHS
4:28 Issue #4: Strange Choices
5:22 Disclaimer
5:33 Let’s Fix This Thing!
8:40 The Verdict: Did Lennon INTENTIONALLY Sabotage?
#beatles #johnlennon #basslesson
What do you think? Does this bass line actually deserve the hate it gets? Or do you think it’s not that bad?
Its a good bass line
John´s Bass is in Tune, your´s is not, sorry...
The bassline doesn't bother me but the vocal is so dominant in the mix that unusually for me I don't pay any attention to the bass at all.
It is very sloppy but it never affected my enjoyment of the song. My preferred version is the one on Anthology 3 - same take as the released version, minus all the overdubs. Beautiful, despite John's sloppiness.
@Helmuth Schulz - John's bass was definitely out of tune in the original recording. Have a look at the 2:44 mark for proof. I tried to emulate the 'amount' of intonation issues, but perhaps I went too far.
If you're listening to this song
You may think the chords are going wrong
But they're not, we just wrote it like that
I wrote the bass line, perfection! -Yoko Ono
Well, it’s only a northern song after all..
It doesn’t really matter what chords I play, what words I say or time of day it is
Best answer.
Thanks, George
I wouldn't argue against the possibility that John was bored or even passive-aggressively not putting his best effort forward. But I always liked the bass on this track - it's minimal but I think the "strange" rhythm choices and sliding actually compliment the song really well to give it a bit of a lost feeling. The slides always caught my ear in a good way, and make me imagine footsteps disappearing into the darkness (just as it disappears into the piano dancing on some higher notes).
One other thought: I believe Paul was not shy at all during this time, and would have easily been coaching John while they learned the song, and giving feedback if he didn't like what he was hearing. And no matter how petty John was feeling, I think he would respect the long-standing working mode between him and Paul where the writer of the song got the final say in how it was performed. That's my understanding anyway.
I don't mind the slides but probably because I've heard it a thousand times in my life but I do hate the terrible out of time notes, early and late. This is horrible bass playing, I think he was high.
Obviously Paul approved of the bass line or he would have done it himself.
Bored, or even passive-aggressively not putting his best effort forward, is precisely how I would put it.
Anyone who thinks the Beatles were operating as a well-oiled machine at this point is being somewhat naïve.
@@carlitobrigante330 He was a junkie at that point and I would be willing to bet that he was high as a kite. The proof is in the pudding though, that's one of my favorite albums, I'm 69 so grew up with them.
@@G8GT364CI Quite possible, yes.
The definitive LAWR for me will never be the Phil Spector version, with the over the top orchestra, but rather the version on "Let it be... Naked". A different take that is simply stunning. That version also features no mistakes from John, and is overall just a better arrangement IMO.
@Jack Patrick - I agree. It seems like John just knew the song a little better by that point.
@@BecomeABassist I think on Naked they digitally fixed the bass line
@quark10051005 - I don't believe that's the case based on what I've found:
web.archive.org/web/20100131010312/mixonline.com/recording/interviews/audio_naked_truth_beatles/
web.archive.org/web/20031205205124/www.jp.dk/kultur/advsog/artikel:aid=2118846:fid=9828/
It was just a later take, and likely the last/final time the band ran through the song.
The bass never ruined the song for me. Maybe it contributes to it’s character. Taking it as is it adds a sorrowful nostalgia and almost angsty edge to a song I can image would strike Lennon as being potentially saccharine. Also, I’m pretty sure we wouldn’t prefer a Phil Spector version of the Beatles.
I see the Beatles as being clever in as many ways as they can and trying not to repeat the same cleverness. This may have been purposeful dischord, which there are fans of (like me).
As good of a producer (and musical contributer!) as George Martin was, just listen to the Tony Sheridan stuff. It's night and day sonic difference. I might not prefer it, but I'd be interested to peak into what an alternate "Spector-ized" Beatles would've been like! (We kinda get that anyway on George's solo ATMP, and I love that album!)
I always thought the bass line was inventive and made a great contribution to a wonderful song.
also, the argument about the notes that ‘rub’ is really theoretical. It’s not like the potentially dissonant pitches are sustained in the same octave for long enough to bug most listeners.
My thoughts are similar. I've spent way too much time on this question. This song has that "the dream is over" quality. What was probably just a studio demo that Paul had John play on, because he couldn't play piano and bass at the same time, ended up good enough to make it on the album. He may have been less than thrilled with the song, but I don't think John is phoning it in- it sounds like he was really trying to play well, but the missed notes now sound perfect, if unintentional.
I actually think the notes are so burned into our consciousness now, they "work" in that the genius of the song survives even with musical "mistakes". If he was trying to sabotage the song, he didn't succeed!
This is a *phenomenal* point @phila3884.
this is my thought as well. I am used to the take as it exists, and it sounds correct to me.
Yes, it sucks bigtime but would stick out like a sore thumb if it was changed.
Yep. And only musicians (at best) even care.
@@carlitobrigante330 What's your point? Of course only musicians care, no one else could even pick that out. It still sucks though. 🤣
There’s a scene in the “Get Back” docco where Paul is instructing John how to play the bass on LAWR. John didn’t seem dismissive or upset. Paul was just trying to help him on how to play bass notes on a song Paul had written.
Yeah, it's a great scene. And let's not assume that for one minute, Paul the perfectionist, or George Martin would have let it pass if they weren't happy with it. I imagine it was quirkiness, if it's scene as 'off' bass playing by anyone else.
"Play Like me" what a great input
@@tikvision with a shit-hot bass player like Paul, indeed. He'd have played it himself if he could.
I suspect John Lennon was suffering from a malcontent personality - typical of many creative types and frustrated want-a-be. His own lyric "I'm just a jealous guy." John's malcontent behaviors grew more intense towards the break-up. Thus Paul became happier on his own - and was glad not to be working with John anymore - though he toyed with the idea of one more gig reunion. But as the years went by - Pual discovered he no longer needed the Beatles. And in December 1980 any chance was over. John started the Beatles and John's malcontent attitude ended the Beatles - Chapman simply was the nail in the coffin. But for "Real Love" & "Free as a Bird."
@@2DanTube Nicely put - it was a great dynamic which worked well until they all outgrew each other. John is barely recognisable in the Get Back clips, so gaunt and lacking the physical and creative robustness and confidence of the earlier years. Still made some cracking tunes though, even though George and Paul were on a roll. What's fascinating was how he seemed to spring to life when they were on the roof - it was quite a transformation.
Ive been a Beatles fan since i was a little kid and this song was one of my early favorites. Always loved the pure emotion that it carries, and i also alwayys loved the wierd slides that John does on the bass on that exact moment, idk it brings a magic feel to the song.
I never noticed but I think you are right.
The slides are like little Beatle-y snippets that remind you of their Beatle DNA
Reminds me of the bass riffing on dig a pony
I'm a guitar player beginning to pick up bass, and I think this stands as a great example of how guitar & bass are different instruments. Sure, they look the same, and mechanically they're pretty similar, but the musicianship that goes into each calls upon different sensibilities. Lennon was a good guitarist (and obviously brilliant musician in general), but he wasn't a bassist, and this showed it. Not the sloppiness, which as you illustrate was just a product of a not-great take, but the choices. I like the subtle changes you make, because it's taking the same general musical ideas and not just playing them like a bassist but INTERPRETTING them like a bassist. You show the little contrasts that make up how to THINK like a bassist.
Great video. I'll definitely be checking out more of your channel.
The 'take' used on the album is basically an early run through...it just happened to have a great McCartney vocal. Lennon wasn't too sure of the chord changes at this point so the bass is a bit uneven. Don't forget that those tapes were lying around for many months. During that time the Beatles split. The reason McCartney rerecorded the bass on Let It Be was because it was going to be their final single. McCartney was unhappy with the choice of take on TLAWR and the overdubs used on the album. He preferred the 31st January version as heard on Let It Be...Naked. The bass is fine on that version! Also there was a big argument about the release date of LIB and the McCartney Lp hence why he had little or no involvement in the albums creation.
What so I need to listen to the original release version?
I don’t know man, they rehearsed songs a long time before trying to do a take, I doubt they even made a take before they at least learned it.
@@tillingspoon1592 That’s only half correct. Yes, they did do lots and lots of takes of these songs in rehearsals, but the version heard on Let It Be is a “rehearsal” version. It wasn’t being played in the moment with the intention of “this is a potential take for a record”.
@@a.m.son222 Exactly.
Well, this is clearly the truth... so often an earlier take thats a better take is let down by one of the band who isnt quite there with the changes yet lol!
I imagine John never thought he had put down a satisfactory bass track. As I understand it, the project was abandoned, and was only released after Phil Spector got a hold of the tapes.
The Naked version of the song is just perfect. Phil Spector just choose the wrong take as usual. Nothing was ok in his version of this masterpiece. I hated most part of Let It Be but with the Naked version it became one of my favorite Beatles album. It's just perfect!
this seems like the most likely explanation
Not being a musician, I don’t have the musical theory to figure out what it was, but now that you demonstrate it, i understand the musical discomfort I always had when listening to it.
The only “mistakes” that I like are the slides, which gave a distinctive style to this song, as it is never played like this anywhere, because McCartney would have never done it like that.
Same
Not sure why Mr. Genius McCartney accepted this version!
John was very into 'slide' at the time having just done the excellent slide guitar solo and fills on George's "For You Blue".
It makes sense that he might just have been curious about what he could get away with, sliding into bass notes (given that rare opportunity play the instrument)
McCartney does slides a lot, especially on the White Album and Dear Prudence in particular.
Good video. Don't fret. The song went to #1 and all of us non-musicians don't notice it.
The Beatles never did anything the "right" way, did they? That might be why they were so good and considered musical geniuses.
The mistakes and bizarre glissandos are part of the song to me. I love it as it is.
Agree. But also, kids, don't think bass is easy enough that taking heroin won't matter ...
I agree. It lends itself to the sadness of the he song.
@@Larrymh07 great way to put it
@@vyaj Thank you, Tim!
@@davidmason7765 As a bass player I represent that statement! 😃
Funny, since John accused Paul of subconsciously sabotaging his songs.
I had never heard this song before I started watching this video, but after listening to the original version I have to say the bass line sounds alright.
Paul could easily have overdubbed his own bass line…..but he didn’t. End of. I suspect John thought that Paul would be doing it so he didn’t worry about it. It was just jamming on his part.
I thought that too. Then maybe they wanted to record every song basically live on this album. Just throwing that out there. Kind of like 1st album.
@@abcxyz53 I meant he WOULD have overdubbed his own bass if he KNEW it was going to be released......
This. You cant tell me they didn't make the song EXACTLY how they wanted it, like all their other songs.
@@keefer88 I think they just moved on from the Get Back project and made Abbey Road.....they were never ones to look backwards. That's why Phil Spector got the tapes and made a mess
Spectre had complete control over the release - how could he have included John's bass and then complain about its quality. Its pretty clear it was complete-nut-case Spectre deliberately fouling things up, famously releasing Paul's early LIB version behind his back if I remember correctly. Either way, John sabotaging the Beatles is utterly ridiculous, he knew the band would collapse if (and eventually when) he decided to walk away. Good click-bait title, very weak case though, and for the record the song still sounds brilliant.
I found it interesting that both McCartney and Spector didn’t overdub the bass prior to the release. McCartney did go back into the studio with Harrison and Linda and re-recorded the backing vocals, some piano and organ, limited orchestra and of course bass onto Let it Be so I’m nor sure why he didn’t do the same for Long and Winding Road. As for me I felt the bass was dubbed quite low in the mix and didn’t notice the timing or off notes but rather thought it was a nice subtle bass line which actually fit the song. All I picked out was the slides to the notes and the long slides which I liked and felt added to the song.
We Quantize the mistakes after a few listens. Cross over knowledge from learning about Mixing.
Their example was Drum Fills, "it's a bit off but I'll fix it later", to eventually thinking, and I paraphrase you "didn’t notice the timing or off beats but rather thought it was a nice subtle fill which actually fit the song. All I picked out was the "moment later" hits and the real lazy ones which I liked and felt added to the song".
Cheers! 🍁
These are good points. The overdubbing...no clue why that wasn't done. On the not noticing, years ago, yeah. Listen to it now with headphones...hard to miss.
@@TheRagingPlatypus If you're sitting in a studio with the artists, the producer, and the inevitable Cadre of professional hangers-on, there's nothing getting by that crowd, except sometimes when Clapton shows up to see if he can steal your females. That could have taken their minds off of the subject at hand.
It was a very bad song. A very f-in bad song in 1970. Seriously a Tom Jones cover would have been better. I think if they cared they would have left it unreleased. Phone-it-in.
Who would dare overdub what the Beatles did?....Spector was taking enough liberties by adding a wall of sound to block out Lennon's mess.
I love all the “mistakes” in Beatles songs. That’s just how the songs go. I like it so much better than music that’s overly produced until it’s “perfect”.
In particular, I love the bass slides in Long and Winding Road, I would miss them if they were gone.
Luke, yours is much smoother, and supports the song, instead of waffling through it. I especially like your change (and Paul's example you borrowed) where instead of half ass slides, you did ascending melodic bass notes in steps, with a descending bass slide for the end of the phrase.
Don't think John knew or thought this would be the master take. He was struggling simply because he hadn't learned the chord progressions by heart yet. That's how I see it anyway. Or do we know this wasn't the case?
You are correct
I love those slides up the neck to nowhere in the song. Without it it sounds like something is missing
If you listen to contemporary bands like Finland's Nightwish, Let it Be sounds an amateurish album.
@@RicardoMartinez-oh9sq shut up nerd.
John brings his soul to this bass line. "There are no wrong notes" - Miles Davis
John knew exactly what he was doing…..I preferred his version.
Right? I think the dissonance and rough edges add to the music.
@@chickenmuffin that’s just lazy.
Fans obviously loved it! "The Long and Winding Road" was the Beatles 20th and last number-one single on the US Billboard Hot 100.
@@kevinmichael9482 that’s because they could barely hear the bass because it was so low on the mix.
@@humanchannel7825 Yeah, some of the great producers say they'd get excited when 'mistakes' occurred. Oftentimes, it'd add something special, unique to the mix and they'd end up keeping it.
Oh, I liked this!! What a great video and lesson Luke. I'm wasn't that familiar with the song to notice this before so thanks for putting this together. Great lesson for any bassist and your tweaks certainly do make it a better bass line. I would cool with it if you did more of these.
As for my take on what happened, you'd have to look how it was recorded. It sounds like John was still trying to figure out what to play. And it would be the producer's job to catch that. I'm thinking it was either recorded live and McCartney did such a great take they decided to leave the bass line, or maybe John was high on some kind of drugs
It could also be ALL of those things @Thomas Fioriglio. On the one hand, it still baffles me that this was OK-ed by so many people for release, but when you look at everything that was going on at the time with the band, I guess it's not so shocking.
Exactly - that's what I thought. He was high on drugs and he didn't care if the notes wasn't right. The Beatles must have agreed on this since they didn't changed it and made a new recording.
I don't think there's many more of these type of videos to do with the Beatles lol they were perfectionists! Especially Paul.. which baffles me about why if he didn't like this bassline why he would just overdub a proper one in? 🤔🤔🤔
I think its a nice change for their more polished sound.
I actually think John had a few good ideas for the bass line. These were live takes for which he probably didn't prepare himself enough for. You have to figure each take was a full band playing so any member could have messed up. Paul hit that sour note on the piano on Let it Be and they left it in the mix, although fixed on Let it Be...Naked. The same thing happened at the end of Two of Us when Paul hit a sour note on the acoustic guitar, for the release they used an alternate take ending.
Actually, it was John who made that guitar error on Two of Us. There's no denying Paul was easily the better musician. You're comparing one unnoticed note on a #1 hit (while singing a flawless vocal) to a much-ridiculed performance of the easiest instrument to play.
@@Byzantinian Paul played the main lead guitar riff on Two of Us, that was the part that was messed up. I'm not pointing it out to show his flaws or make comparisons. I'm just saying it in general. I've been a Beatles fan since the '60s, as well as a fan of their solo years, I'm certainly not putting them down.
@@magneto7930 @MAGNETO You're wrong. It wasn't the lead riff... it was John's strumming. I implore you to look it up as there are many sources supporting this. You're the first person I've seen attribute this to Paul.
@@Byzantinian if it was John then I apologize. I always thought it was Paul because he was playing the riff.
@@magneto7930 it was Paul.
Love your videos. Entertaining but also a lesson that I remember and use for my own songs (I play guitar but my bass is not quite there. I tend to follow the drums more but now I feel confident to branch out a bit.... make things interesting). Thanks.
I just discovered your channel, it's amazing!
I just have to ask, what strings are you using?
This was seriously enlightening! I LOVE your revised baseline!
If it was recorded on a bass VI and is harder to get a nice bass tone out of then any standard basses.
The design of the bass makes it hard to get good intonation and the strings are much lighter also.
Especially on the E string
I just got some la Bella strings for my Bass VI and it has a .95 for the low E string and its 100% better then the previous set with a .84 😁
Hi, I like it when somebody shares his point of view on matters regarding The Beatles. I Think the D might better have been a Db, but the rest of it is a very nice, supporting bassline. (that's me thinking as a bassplayer). The slides sound to me like a very nice embellishment, especially if you keep in mind the close bandwith John had to deal with, in other words how Paul told him to play. But in the end it's all a matter of taste. I would however keep in mind to listen to it as a total. I like the original bass line, perhaps even because its capriciousness.
@2:45 - Luke isolates a very short segment of a track and uses software to analyze exactly what notes were being played at that time. What software is required in order to analyze a sound segment in this way, and what is the name of the function or command you need to use in order to analyze and determine which notes are being played?
A fascinating analysis. Who can say what was going on during that session? It was towards the end the Beatles road. Just mailing it in? The question that kept forming in my mind was, "How did the song get out of studio in that state?"
It's pretty much all speculation, but my best guess is that when Phil Spector was sent the tapes, he picked the performance with the 'best' vocal take (since that's what 99% of people will focus on) even if it meant releasing a bass line that wasn't great. Like I mention in the video, the takes from a few days later had WAY better performances from John.
You’d have to ask “What kind of state was Lennon in at the time”?
Great video Luke.... this might only be the 3rd time I've listened to the song since about 30 plus years... back then it didnt make sense to me and thought Lennon just wanted to be different. Whenever I get to jam this song, I just follow the guitarist's chords just to be safe. Thanks to you, I've now got a better reference how to play the bass notes better ♥
the 3rd time!
I remember as a child really liking this bass line, maybe Paul hit a few imperfect note vocals too, I really liked them, they stood out to me, may it's dissonance, counter point from the sub conscious or deliberate, I'll never know
The bass parts in 'The Long And Winding Road' that are usually described as errors are *not* errors. John plays the same pattern *exactly* at the same three locations in the song (bar eight of each verse). Which proves that the pattern was pre-meditated and executed according to John's intent.
Thank you very much Paul McCartney for releasing the clean version of this song on Let It Be Naked.
I’m sorry but this man is one of the only UA-camrs who can actually teach bass. Luke your absolutely amazing
Many can play bass very well. Few can teach it this well.
As always great content, Luke! I doubt John had any ill intent. But I love the bass work on the 1984 version from the "Give My Regards to Broadstreet" soundtrack.
In all fairness, the take that was chosen for the album was not supposed to be the final album take. That was recorded on January 31 but not used until the “Naked” album
I think Lennon's bass line gives this song an edge and a nice Beatles quality. You can dissect anything enough and find issues. But with this song, I wouldn't change a thing.
And I BET John WAS a bit BORED, and not exactly THRILLED to be paying bass on one of Paul's 'Grandma Songs'!
Like in Radiohead's 'CREEP', where I've heard Johnny threw in that CRAZY ICONIC DISTORTED GUITAR 'noise' at the end of the first verse, because he thought the song was a bit 'boring' and he actually WAS getting frustrated during recording...
@@StreetPreacherr totally agree. Ever since the white album, John was hating more and more of Paul's songs. So he didn't care but at the same time knew he had to have some level professionalism about him.
Yea I've heard that about Radiohead's "Creep" as well.
Good video!
Just a quick question. What's the tool you show at 2:44 which extracts the notes out of a wave file ? Thanks ;)
It's called Transcribe! @Bricabrac - I highly recommend it, and they offer a 30 day trial here: bit.ly/2GQb8dT
Just subscribed. I'm not a bass player. I'm writing my own songs and for the bass lines I use the vast variety of sampled basses out there. This really helps to get a better understanding what bass lines should be like! This is my third video in a row.
I listened to the let it be-Naked version and the bass line is hands down fantastic, compliments the song greatly.
I listened to the normal remastered version and couldn't hear any bass at all so I think that's also great.
Am I missing something?
Possibly @Jay Dawg. Did you know that they're different takes of the same song? The Naked version was recorded 5 days _after_ the original album version (when it seems like John knew the song a bit better).
And part of the reason you're struggling to hear any bass on the original version is because Phil Spector produced that song with the specific intent to 'cover up the mistakes', hence the huge orchestration and the low mixing of the bass.
John said in an interview he hated Long and Winding Road .. thought it was too indulgent.. but I doubt he sabotaged it .. but probably very nonchalant about his playing .. who knows. I do wonder why Paul didn’t fix it before it’s release, maybe he didn’t want to insult John? But George’s bass on Two Of Us is brilliant..
Hello! Can someone tell me the name of the software shown at 2:44 ? Thank you.
Does anyone know what app/plugin Luke is using at 2:45 to show the notes from the audio on a keyboard? That's really cool!
It's an app called Transcribe! @Robert McKean, by a company called Seventh String.
I think he did it on purpose and I think that mr. McCartney approved. When he’d played the notes as it should, it would’ve been a slick love(sick) song. But with all the “mistakes” it gives the song more intensity. So in my opinion it’s more about the feeling the song transfers and note about what should or shouldn’t.
I'm not sure Sir Paul _did_ approve - at least of the song as a whole @Wim Meininger. Between citing this song as one of the reasons the Beatles broke up, and him releasing the Naked project (which used a different take of LAWR), it seems like Paul has done an awful lot to distance himself from the original recording.
I agree - these "wrong" notes build a certain tension and makes the song even better. So Luke, this is your lesson here, never question a genius :-) !
@@BecomeABassist Hi Luke, I apologise, you're right. I checked the biography and Sir Paul was pissed about the remix Phil Spector had made from an originally mostly acoustic song. There already was a sale argument between Paul en John about John's bass playing and him playing the wrong notes. So wouldn't be surprised when the wrong bass notes ended up in the released version. Nevertheless, I still feel the wrong notes belong to the song and give it a kind of edge. But that's probably a personal thing.
kind of like the people who say Dylan can't sing. Misses the point.
Lennon said playing bass was like being kept behind after school to do homework. He obviously didn't enjoy it!
But I like it because it has a little bit funky FRETLESS UPRIGHT BASS quality which I think Lennon has in mind when he recorded TLAWR.
Finally, if you deconstruct their recordings there is sourness and offkey musicianship in almost everything the Beatles recorded ie Rubber Soul album. I don't care about any of that because the songs and arrangements are so amazing!
I find it often seems like their timing was off somehow.
Glissandos sound much better on fretlesses than fretted basses. Maybe Lennon wasn't able to lay his hands on one when they were recording TLAWR. (It might be interesting to re-record the original bassline using a fretless, and using Luke's improvement.)
@@christopherheckman7957 In general I think glissandos are infinitely better on fretted basses, and so do other bass players who prefer playing fretless but not when they know they'll be doing a gliss.
From a songwriting perspective, I'd say the best way to "fix" the Long and Winding Road bass is to see how Paul McCartney played it as a solo act (or with Wings). I'd say that's the way it "should" be played. I'd be curious if Paul's changed it at all over the decades; the longer he's been around, the more he's embraced the Beatles nostalgia, so my naive guess is these days it'd be pretty close to the original, while perhaps in the 70s/80s he spiced it up a bit.
Here's a live version Paul playing this song: ua-cam.com/video/JFNaOm6U5n8/v-deo.html
The issues I mention in the video are completely absent from this performance, which seems telling to me.
If you look at the song metaphorically “A Long and Winding Road” is a journey of ups and downs and is sometime discordant hence the choice of baseline which is sort of in most listeners’ subconscious. I have never thought it sounded bad and I sing an symphony choir and hear violins out of tune!
Interesting, but as a bassist myself, I must say that I never felt annoyed at John's bass on The Long and Winding Road, but I thought he could have done a better job on Fixing a Hole. Great vid!
John once complained that on John's songs, McCartney was always in experimentation mode, but with McCartney's he was very specific as to what he wanted. Maybe this is just John trying to get even a little bit.
I'm surprised that Paul didn't have John play guitar and George play bass.
John's guitar style would've sounded even stranger on this song than the bass, I think ultimately they were just pressed for time
Ive always loved every component of this song. It is strange; it is unique, but that’s the Beatles
The bass is so understated in TLAWR that it's practically irrelevant. Paul's vocals and the orchestration clearly take center stage, the bass line is an afterthought.
Moving on.
No matter who sings it, in the future. It will always be a great song, please put your heart into it.
In his last interview about the Beatles (Playboy, 1980), John accused Paul of "subconscious sabotage," naming a number of songs. It's bizarre because this is the only incident in the Beatles where sabotage seems to have been the order of the day. Paul wrote four major songs for the LP and John wrote a ditty (Dig A Pony), having to resurrect Across The Universe from 11 months earlier.
John also said (1970, Rolling Stone) that he was "stoned on H all the time and didn't give a s***" which is indicated on the 14 Jan "two junkies" interview that immediately preceded the session - he must have taken something potent to perform as we see him in Get Back. The terrible bass guitar playing may just have been H lowering his capabilities.
The reference version of Long And Winding Road was recorded on 26 Jan - Phil Spector chose the version with the best overall feel and best lyric, and then smothered it with orchestra and choir presumably to hide John. Let It Be Naked features a take from four days later, with no Spector elements, worse lyric but at least John is in order.
Poor Paul. Imagine how successful he’d have been without this “sabotage.”
I disagree, Paul wrote 5 major songs for the LP. Two of us, Let it be, Get back, I've got a feeling, LAWR. John had 'dig a pony' and that was it. Oh, and Don't let me down. One after 909 was from 1960. He wrote only the middle eight to IGAF and Across the universe a year earlier.
i first heard the song 52 years ago in 1970 and it still sounds great to me now in 2022
Don't know of this is one of those instances but sometimes bands leave mistakes in due to the entire tracks vibe being spot on despite those mistakes. If you listen closely to some zeppelin tracks, even JPJ makes tiny errors here and there. But they stayed . And cover bands even add them in when they perform the tracks.
Loving your vids mate. Ive studied McCartney for many years and learnt so many songs and every one surprises, inspires, and amazes me even after 100 plays
Yes, Squire's isolated bass on Roundabout is a bit scrappy, but great energy
This is why i love the internet/youtube/Beatle obsessives/nerds etc etc For over 60 years i've known this song, never have i thought anything was wrong with the bass! No one i know has ever mentioned the bass, i've never heard anyone else ever mention the bass, yet (apparently) the world is full of people who hate the bass and think it was deliberately "bad" (spoiler - it wasn't!). Some people need to listen to music and calm down! Sheesh!
It's wild that different people can listen to the same song and have different opinions about it, right @robertfrazer8161?
As much as I respect your expertise (definitely bigger than mine) and I love your corrected bass version (beautiful, but..) I can't agree with you on a few aspects. To me the "Strange Choices" are what elevates this song to another level, I can hear the artistic soul there instead of just math and "this should be here", I can hear feelings there. John is not just playing bass for the sake of accenting notes, the bass is an organism on itself, those slides express soo much and paint the picture of the song so wonderfully.
NOW, about those inconsistent notes - being a bassist myself I can see I'm doing the same on our rehearsals when I'm not prepared and I'm not sure what approach would work. That's when I experiment and the outcome is a little rubbish but it helps me find the best bassline. That rush and impro part would explain those inconsistencies, as they wrote this whole album in a month (I guess?) in front of the cameras.
BTW check out "Naked" version of this CD
Was it payback for Hey Jude? Did he leave it bad to take a sad song and make it better? 🤔😁
Bahaha!!!
Maybe Paul was referring to him taking a song to John that was sad?
As a bassist myself, I never questioned it but you're right about everything you pointed out. Why did John play it that way and why did they leave it? I think Mars 79 has the explanation. Those tapes were lying around for months and most likely, the one that was chosen had the McCartney vocal Spector wanted on the same track as the bass so, he made an arbitrary decision and that was that.
Very nice take on the bass line. Being a bass player myself - jazz and swing mostly, I personally have big problem with John´s bass - not only in this song (well ... to be honest, I have my reservations to most of his production. But I keep in mind, what a great musician he was ).
Although I consider myself Beatles lover (most of them I have on vynyl), there are few songs, which seem out of "Beatles tune" for me ... Long and winding road is one of them.
I tried some variations to your - well done - line and most apetizing for my ears was when I used smooth nickel plated strings and threw away the pick - to get nice warm and round sound. I tried to make your part more "Abbey Road-ish", added few ornaments and also played around with adding some flageolets ... I slipped almost into fusion of Something and Dear Prudence. Which definitely suits my "jazzy" attitude and my feeling from the song.
As for "correcting John" - I would not be afraid too much. Music is a creative field and one can definitely try to improve/correct or change great musicians work. As long as he does it with respect. Idolizing great ones and and making them untouchable can lead to catarsis and bias.
Nice job! Good analysis also. People underestimate the craftsmanship required to play really good bass lines.
The song seems to have garnered quite a few plays over the years in spite of this which might also demonstrate something. Illuminated with a bright spotlight those do seem like defects although I'd never fixated on them before. To me the bassline sounds fine as a experiment with varying some attributes and having a bit too much fun with careless glisses like we all might during a rehearsal. Maybe they just focused limited resources on other issues that would have invited even greater scorn a few generations hence but I appreciate your exploration of this topic and promise to be more careful with glissandos in the future.
I always assumed Paul went back and recorded it himself for the album
same
John was also using a Fender Bass VI on the original recording
Absolutely @PhantomDetectivesLLC - I point that out at the 0:52 mark.
You definitely cleaned it up well. I kind of liked how it was a bit messy though. If there’s anything John wasn’t, it’s being straight forward. And that’s what made him great
Fifty years later and _still_ we fight over their crumbs... The Long And Winding Road (another great work by the greatest band ever) is melodically so strong that it shines in spite of a weak bass performance.
Next!
Never thought of this as sabotage, but have thought about John's harmony in the last few notes of Yellow Submarine chorus as a hilarious bit of sabotage.
Oh my god FINALLY someone mentions this I first noticed that awhile back and cannot I hear it
Which harmony?
@@AngeloFonta I’m not sure of the note but John’s harmony goes downwards to some weird low note on the “ine” part of submarine
@@Bubdiddly are you talking about the Revolver version?
@@AngeloFonta probably. I’d have to check
In the remastered version, there are distinct ghost lyrics at 3:15.
I like the bass line the way it is, it's how I remember it, don't forget that the Beatles were breaking up at that time, Phil Spector was called in to Co-Produce the "Let It Be" album, and experimenting with musical signatures/and down beat timing such as the song "Drive My Car" was part of their creative genius, you may criticize, but when it was released as a single in May 1970, a month after the Beatles broke up, it became the group's 20th and final number one hit on the Billboard Hot 100 chart.
I think it reached #1 *despite* the questionable bass performance @stevenhaisch8677. I don't hear this bass line as 'experimenting' with musical elements like in Drive My Car. The ideas in that song are a very deliberate kind of thing, and the bass performance on TLAWR is definitely not. The take that ended up on the album was quite an early one and by the sounds of it, John just hadn't quite got his mind or his hands around the song yet.
The take from Let It Be...Naked (which Paul selected rather than Spector) was recorded 5 days after the Spector version has a much cleaner bass performance. Plus you can actually hear it, rather than being buried behind Spector's wall of sound. Also, notably, a lot of the things I mention in this video (like the questionable tuning/note choices/timing) are absent from that take, which I think supports the idea that the inconsistencies in the Spector version are just mistakes/slips of the hands rather than conscious experimentation.
First off, I don't think ANY musician or artist should be held to such a standard as what would be considered beyond reproach. Secondly, as a bass player, it's REALLY obvious that Lennon was pretty clueless here - whether stylistically or musically speaking. Remember, he was a "lyric man," and the vast majority of Beatles tunes (like LAWR) with any sort of sophisticated harmony was Paul's doing (some George's too). And even with Paul's instruction, you can just hear that Lennon is just "playing notes," not really interpreting or feeling notes.
There's no shame in correcting a lacking bass line. And I think you did a bang up job of it too by holding true to the approach that was taken in the song. And I agree on all points, it just really needed a couple bad note corrections as well as some subtle stylistic (we're talking TASTE, not pandering) changes. Great job!
macfan says
@@titochristian1968 Just objective views on bass playing having been a player and educator myself for 30+ years. I rarely even listen to McCartney.
It sounds fine to me. It did go to #1 on the U.S. Billboard. 👍🎸🎹
@Luke - Regarding your "Issue #3" and the length of notes. Twice, you refer to Lennon playing "whole notes" and then eighth notes. I don't know why you used the term "whole note" when you're clearly referring to quarter notes. It happens at around 4:10 into the video.
Ah - you're totally right @John Vice. That was definitely a slip of the tongue. The space that the notes occupy is *half* note, (starting his notes on beats 1 and 3) although sometimes he cuts them short to 8ths, quarters or dotted quarters. My apologies!
Very interesting video. I think it's really cool. I've never heard any of the Beatles comment about the bass in this song. But my guess is John was probably just feeling it out and intended to change it later or didn't think that was going to be the take and didn't give 100%
Variation in note length is called "texture". You don't often see it in bass lines but John is a guitar player who played bass for a song. I've been playing guitar for about 30 years. Two years ago I picked up bass and can't put it down. I also use texture in my bass playing. Also, those "wrong" notes may have been 100% intentional and the rest of the band may have noticed them and called them "genius". Sometimes playing out of key is the right thing to do. "What the song wants" is what the creators want out of the song. But here's an alternate theory:
John had the blues, remembering his friend Stu Sutcliffe, who wasn't that great of a bass player but was a true friend and a talented artist who would have gotten 'good enough' by the time the Beatles got a break. So maybe it was sabotage.
Personally, I like how it sounds. What matters to me more is how it sounds not what it looks like on paper or whether it follows the rules that were made to be broken in the first place.
Sutcliffe had no musical knowledge and couldn't play a note. Had he lived he would have been let go like Pete Best. No rip on him, he just wasn't a musician.
I think he was stoned out of his mind - a great musician suffering from diminished capacity. I once submitted a term paper to a professional typist who was also quite stoned, with similar results. Thank God he wasn't a stoned truck driver on a "long and winding road."
I've always liked slides, and I wonder if this is where I got that from lol
Very interesting 👍
Thanks
John was great with words/lyrics. His songwriting was absolutely brilliant, his rhythm guitar was brilliant, his lead was adequate but Paul McCartney was a far better guitarist than John and I can only think that John couldn’t play bass and so Paul had to play bass.
Surely if that was not the intended bass line Paul (the perfectionist) would have insisted on adding the correct bass line...?
He may have if he knew the Get Back tapes were being prepared for release, but John had sent them (without Paul's or regular producer, George Martin's knowledge) to Phil Spector for production.
@@BecomeABassist Actually Paul was shocked with the end product.
2:44 what’s this software?
I went to listen to the original track. John's bass-clams don't occur until later in the song. I DID hear a couple of clams from the brass section! Just after "has left a pool of tears" ( at around 1:04) and just after 'let me know the way" (at around 1:23).
I have played electric guitars and basses for 30 years but I still love what Lennon does in this song. The slides are perfect and the dynamic change of long and short notes are also very good.
Lol
He hated many of McCartneys songs, and I totally understand him. They were not rocksongs, they were rooted in The British Music Hall tradition. Lennon was The Rebel.........McCartney was the nice guy, and thank god they made it work anyway.
John was a jealous guy and he was jealous of Paul’s superior melodies and talent. With the distance of time, we can all see that. John was bitter and jealous and so he stabbed his “best friend” in the back many times. That Paul never retaliated shows what a class act he is. Now 80, Paul wins every poll about favorite Beatle and has Bob Dylan, Paul Simon and many others singing his praises. The Get Back documentary showed the world who the true genius and leader of the Beatles was: Paul McCartney. His recent hit albums and tours show him going strong at 80! And he never hit women and was a great Dad as well. Even John admitted that Julian probably wished that Paul was his dad.
When you think about it, John had a lot to be jealous about.
@@dan2050 come down Macca fan.....you are getting carried away with your St Paul worship....
@@07087joenj Okay Jose. I guess you disagree but can’t express your opinion. That is sad but we are here if you want to try. We won’t laugh at your viewpoint. Go ahead now- what is your point about this topic or what issue do you have with the points I made. You can do it Jose!
@@07087joenj I guess my comment hit a nerve and you disagree but can’t express your opinion. That is sad but we are here if you want to try. Start with one of the points I made that upset you and try to refute it. You can do it Jose!
@@dan2050 i think your comment is a bit of a reach.
In the beginning it was lennon, those early tracks which made them world superstars , a lot were lennon.
Also Pauls no mug, so to have EVERY SONG lennon & macca is paul giving a nod to the trailblazer.
I also heard lennon say , all the anthem songs are maccas, but if he was bitter & jealous u wouldnt say that, jealous ppl dont shine a light on others.
And finally if i had a pound for the amount of arguments off pink floyd, zepplin, bowie fans who have been able to slate the beatles by attacking them merry go round tunes macca put on them albums.
I Read most of ringos songs were maccas.
Songs i would break bones for tripping over to rip them from the airways :
Oh bla bloody dee blah bloody dah
Octopus garden
Lovely rita
When im 64
Lennon was the thought provoker, deep, much better lyricist.
I remeber jon saying he wrote 75% of elanor rigby. Which strangely is one of my fav macca songs. Again paul had all cheesy lyrics. "Father Mcdoodle"...
Saying that im not a massive 'Lennon solo' fan. So just proves what they both brought to table. Rivalry, jealousy, ego, showmanship, it all stares the creative pot.
But my god, could those guys get the job done. Unrivalled to this day.
The grand masters of them all.
How did I never notice this? I sincerely doubt it was intentional sabotage. I think John was on drugs, not used to playing bass, and screwed it up.
Nice Greco bass by the way!
You probably didn't notice because most of it is intentional. Yes, there are a couple of notes that clearly don't sound quite right, but that's about it. Most of the other "mistakes" line up with the other parts of the song that are going on at the same time.
What’s that app you used to identify the notes?
It’s called Transcribe! @L French. It’s from a company called Seventh String. I’m highly recommend it and from memory, there's a free trial of it here: bit.ly/2GQb8dT
I’ve always thought lots of their songs had a few isolated moments of off pitch or what not, either instrumentally or vocally. I always chalked it up to it being old music/poor recording quality.
4:32 with all the strings and everything going on, not only do I think it sounds appropriate , but until I saw this video, It never even occurred to me that the bass playing was "bad". And I'm not only a musician but I've heard this song probably 70 to 100 times. Never noticed the bass playing. John certainly wasn't taking the piss... he just doesn't know how to play bass, and if Mac didn't have an issue with it, control freak that he is... then he thought it was fine for one of his masterpieces.
I’m a bass player so it’s surprising I never noticed this before. I can’t unhear it now. And the changes on your recording make all the difference in the world.
Don't encourage him. If he wants to do a better bass line, write a better song. This video is like when losers singe "Little Help..." and won't sing "Get High..." You don't like it, let it go.
Found another thing! The Eb7 arpeggio has two problems:
1. Landing on a 6th in the bass, in a minor 7th chord already isn't great, but playing the sequence G-Bb-C when the orchestra is playing G-Ab-Bb at the exact same time is another thing that could have been changed. I'd say this is the most important one btw
WHen I saw your title I scoffed but I admit your version sounds the best. I was corrected and amazed!
I praised this bass line to my friends in a message a couple of months back. I listened to the track again after watching this video. I will not recant what I said to my friends. The line is beautiful in its simplicity and taste. Spector chose the right track for his mix despite his misgivings for it.
I do think you improved it without overdoing it.
Great! Love your changes.
I think I remember in the Get Back doc John and George talking about how much they hate playing bass