K wrote:GB knocks it out of the park and like bhoy said earlier, the sheer sound of it is incredible. The sound is glorious. The bass! How did they get that sound? It is perfect, incredible, exhilarating.
If you want the full version of 'how did they get that sound?', read Geoff Emerick's book. It's a great read, really, and one of the few fabs books to a) be written by someone involved and b) to talk about the music, rather than the whole phenomenon/circus. But the long and the short is that they recorded the bass after everything else was finished. They stuck the bass amp in the middle of the room at studio 2 (I think), and put the mic about 6-8ft away. Then they ran a long lead up to the control room where Paul and Geoff sat together. They turned the amp up unbearably loud (hence not being in the same room, and the distance of the mic) and away they went.
I once interviewed John Fry at Ardent in Memphis, and he couldn't stop talking about how important the position of the mic is when trying to get a great sound (somethign I'm aware of from recordings I've done). Paul and Geoff obsessed about this bass osund, spending entire nights trying to get it just right. What's interesting is that none of the others hung around for these sessions. Paul would always be there to support the others on their parts and their songs (interfering, they dcame to think of it as in later years), but when it came ot the bass, they just left him to it. Thanks lads!
I could go on... the bass on that album is one of the most glorious things in the history of recorded sound. When I was learning to play bass, I obsessed over learnign every part (which I did – and even got myself a vintage rickenbaker 4001!). I recommend sticking the album on the headphones sometime and just following the bass. From start to finish it's extraordinary, it's just sooooo
good, man! On When I'm 64 and With a Little Help, it dances around, makes comical little flourishes, just the right side of pastiche. On Lucy it waltzes through the verses, dancing the listener around Lennon's images, before ripping into the chorus rock'n'roll style. On Lovely Rita (the hardest part to figure out, I found), it's all over the place, leaping through the octaves, jigging about all over the shop, impossible to pin down. On Mr Kite, the bass creeps and dances like something out of the sorcerers apprentice. The whole album I swear, that bass is about the best thing I ever heard.
I could go on...