Sgt. Pepper... Naked

you're definitely right, i think all taken from the opening song. I haven't read a single review that brings that up, couldn't tell if no one else heard that (though it is obvious), or if everyone was too shy to bring it up and attract any attention to it...

Albini: "What kinda music do ya like?"
McCartney: "Um...Skiffle"
Albini: "SKIFFLE!? FUCK THAT SHIT! Porn Groove Grindcore!!"

and later on...

Albini: "I can hear your fucking brass section, you stupid shit! You got about three measures to live!"

hmmm, didnt notice before but now you mention it....yeh! the only one i spotted was a silver apples sample (misty mountain)

**what the Beatles sounded like as a rock band at that time**
Let It Be (Original)

Let It Be...Naked is actually a great way of listening to them playing as a four piece unit (or five with Billy Preston) a year and a half later.

It seems that after "Rubber Soul" the Beatles knew they couldn't out-rock their competition, so they tried a different approach. In my bizarro world, they DO try to out-rock their competition.

Regarding "I Wanna Hold Your Hand": To me, the main innovation on that song is the vocal harmonies. Otherwise it is essentially a Chuck Berry song with a second guitar instead of piano.

How many other songs fit this defintion? Maybe 95% of the Rolling Stones catalogue, for starters. I mean, you're right, my point is those harmonies LEAP out of the speaker(s)with an unprecedented impact unlike anything on Chess Records.

My revised statement is: Suppose the Beatles retained their initial Berry-esque intrumentation, and with their innovations in song structure, harmony, and sound quality, tore through the sixties sans horns, strings, and miscellaneous extras.

I mean, they kept pushing it further and further from mid/late fifties rock-n-roll (on the whole -- they still had plenty of rockers), the end result being "Revolution No. 9", at which point they said "Whoa, let's get back to where we once belonged."

If they had kept touring, I think they probably would have less time to tinker with things and kept a more traditional rock sound. And I think that'd be interesting to hear, whatever it might sound like.

naked = bad demo versions of brilliant songs- i 've listened to it and i returned it .

in 1990 Candy flip gave it a manchester dance drum beat

Agreed. I didn't mean that Martin led them astray. It was more of a "What if Stonewall Jackson hadn't died right before Gettysburg" or "What if the Archduke's car didn't take a wrong turn right to Gavrilo Princip" sort of thing.

I do see what you are talking about here, so don't think I'm blowing smoke up your ass or barking up some tree that doesn't exist,

BUT

Almost of the stuff recorded at Abbey Road was done on tape machines with a severely limited number of tracks by today's standards (like, say, four), so overdubs and other "studio tricks" were most definitely used all over the place and in large numbers to compensate for this limitation.

On the other hand, "studio tricks" like sticking your thumb on the flange of a doubled recording (yes, that's where the term "flanging" comes from) or running tape backwards or whatever, aren't used as often as some people seem to think.

The drums on the alternates of "Good Morning Good Morning" and "Strawberry Fields" are indeed heaven.

One of the coolest things about Anthology 2 is the stripped down fairground waltz of "Being for the Benefit of Mr Kite". If you listen to the in-between chatter where they are all getting ready for the next take, you can hear someone enter the room and say "Here's the water", and then one of the Beatles asks quietly "Did you put the acid in...?"

What might even be cooler than hearing Pepper sans all the overdubs would be hearing Pepper sans the Beatles. It would be like one long strange sound collage.

b-b-but he was just the producer. he wasn't the engineer! norman smith (early) and geoff emerick (late) did most of the beatles engineering, i believe.

as for studio trickery, let it be known that ALL RECORDINGS IN ALL STUDIOS are pure trickery. don't matter if it's two tracks, four tracks or 64 tracks, tape or computer, "live" or overdub, 1965 or 2005, drums or drum machines, carter family, beatles, radiohead or annie. the studio itself is one gigantic trick.

Heheh... Well there's the logical extreme of what I was saying. I agree with you though, most certainly.

More likely Ringo would remain, but his drum sound would be more like Lovering's on Surfer Rosa.