More of the Music of The Beatles
More Reviews and Commentaries for Let It Be
This is the first time we’ve discussed individual tracks on the album. Our recent shootout [now many years ago], in which we discovered a mind-boggling, rule-breaking side one, motivated us to sit down and explain what the best copies should do on each side of the album for the tracks we test with. Better late than never I suppose.
These also happen to be ones that we can stand to hear over and over, dozens of times in fact, which becomes an important consideration when doing shootouts as we do for hours on end.
On the better pressings the natural rock n’ roll energy of a song such as Dig A Pony will blow your mind. There’s no studio wizardry, no heavy-handed mastering, no phony EQ — just the sound of the greatest pop/rock band of all time playing and singing their hearts out.
It’s the kind of thrill you really don’t get from the more psychedelic albums like Sgt. Pepper’s or Magical Mystery Tour. You have to go all the way back to Long Tall Sally and Roll Over Beethoven to find the Beatles consistently letting loose the way they do on Let It Be (or at least on the tracks that are more or less live, which make up about half the album).
Two of Us
Dig a Pony
On the heavy guitar intro for Dig a Pony, the sound should be full-bodied and Tubey Magical, with plenty of bass. If your copy is too lean, just forget it, it will never rock.
What blew our minds about the Shootout Winning side one we played recently was how outrageously big, open and transparent it was. As the song started up the studio space seemed to expand in every direction, creating more height, width and depth than we had ever experienced with this song before.
But there is no studio space; the song was recorded on Apple’s rooftop. The “space” has to be some combination of “air” from the live event and artificial reverb added live or later during mixing. Whatever it is, the copies with more resolution and transparency show you a lot more of “it” than run-of-the-mill pressings do (including the new Heavy Vinyl, which is so airless and compressed we gave it a grade of F and banished it to our Hall of Shame).
In addition, Ringo’s kit was dramatically more clear and present in the center of the soundfield just behind the vocal, raising the energy of the track to a level higher than we had any right to believe was possible. The way he attacks the hi-hat on this song is crazy good, and the engineering team of Glyn Johns and Alan Parsons really give it the snap it needs.
These are precisely the qualities that speed and transparency can contribute to the sound. If you have Old School vintage tube equipment, these are two of the qualities you are most likely living without. You only need play this one track on faster, better-resolving equipment to hear what you’ve been missing.
On the line after “All I want is you”, the energy of “Everything has got to be just like you want it to” should make it sound like The Beatles are shouting at the top of their lungs. If you have the right pressing they really get LOUD on that line. (more…)