016 "Now And Then"- Producing The Beatles podcast

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İçerik Jason Kruppa tarafından sağlanmıştır. Bölümler, grafikler ve podcast açıklamaları dahil tüm podcast içeriği doğrudan Jason Kruppa veya podcast platform ortağı tarafından yüklenir ve sağlanır. Birinin telif hakkıyla korunan çalışmanızı izniniz olmadan kullandığını düşünüyorsanız burada https://tr.player.fm/legal özetlenen süreci takip edebilirsiniz.

Biscuits & Jam

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The War and Treaty Are Getting Carried Away 46:55

7 gün önce46:55

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46:55

The War and Treaty’s Michael and Tanya Trotter grew up in Cleveland, Ohio, and Washington, DC, respectively, but both have family roots in the South. They also grew up in the musical traditions of their churches – Tanya in the Black Baptist Church and Michael in the Seventh Day Adventist Church – where they learned the power of song to move people. After becoming a father at a very young age, Michael eventually joined the armed forces and served in Iraq and Germany, where he took up songwriting as a way of dealing with his experiences there. Meanwhile Tanya embarked on a singing and acting career after a breakthrough appearance in Sister Act 2 alongside Whoopi Goldberg and Lauryn Hill. Now, after a long and sometimes traumatic journey, Michael and Tanya are married, touring, winning all sorts of awards, and set to release their fifth album together, and their fourth as The War and Treaty. Sid talks to Michael and Tanya about the new record, Plus One , as well as their collaboration with Miranda Lambert, what it was like to record at FAME studios in Muscle Shoals, and how they’re blending country, soul, gospel, and R&B. Learn more about your ad choices. Visit podcastchoices.com/adchoices…

Producing The Beatles »
016 "Now and Then"-

1 yıl önce 31:40

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OCTET-STREAM•Bölüm sayfası

Beatle author Ken Womack and Ranking the Beatles host Jonathan Pretus join me to discuss the tech that made the Beatles’ new single “Now and Then” possible. And from John's haunting vocal to Giles Martin's stirring string arrangement, we peel back the layers of the production and consider Paul's nearly 30 year mission to complete John's demo.

21 bölüm

#Theater #Arts #Music #Jason Kruppa

016 "Now and Then"-

Producing The Beatles

35 subscribers

published 1 yıl önce

Paylaş

OCTET-STREAM•Bölüm sayfası

21 bölüm

#Theater #Arts #Music #Jason Kruppa

Tüm bölümler

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016 "Now and Then"- 31:40

1 year önce31:40

31:40

1
015a A closer look at the "Live and Let Die" orchestration- 5:14

1 year önce5:14

5:14

A little extra mini-episode examining George Martin’s orchestration for “Live and Let Die,” with a recreation of part of the arrangement.

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015 Paul McCartney and Wings, "Live and Let Die"" 28:42

1 year önce28:42

28:42

In our penultimate Season 1 bonus episode, we examine another solo recording, this time Paul McCartney’s thrilling theme song for the 1973 James Bond film, Live and Let Die. I’m joined by Allan Kozinn, co-author of The McCartney Legacy Volume 1, who takes us through all the details of the writing and recording process. We also learn how Paul debuted the song before the film’s release, we walk through George Martin’s Grammy-winning arrangement, and we consider Martin’s droll story about the film’s producer, as well as what Martin left out of that story.…

1
014 George Harrison, "Isn't It A Pity" 23:50

2 years önce23:50

23:50

In the second episode looking at the making of All Things Must Pass, we explore the recording of the largest production on the album. We hear from participants at the sessions, listen to outtakes and isolations, peek into Mal Evans’ diaries, and sample a reconstruction of the song’s epic orchestral score.…

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013 George Harrison, "My Sweet Lord" 38:00

3 years önce38:00

38:00

Today, the first of two episodes exploring the production of George Harrison’s first solo album, All Things Must Pass , with new research and interviews drawn from the book Ken Womack and I wrote on the making of the album. In this episode, we cover the intricate and painstaking production of “My Sweet Lord.” We explode the myth of Phil Spector’s contributions, speak to a number of people who were there, and get an exclusive sneak preview of the contents of Mal Evans’ diary entries about these sessions, courtesy Ken Womack.…

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012 John Lennon, "Love" (S1 bonus episode) 22:02

4 years önce22:02

22:02

In the first bonus episode for Season 1, we step outside of our regular format and take a peek into solo Beatles territory, with a look at the recording of John Lennon’s song “Love” from his first post-Beatles solo album, John Lennon/Plastic Ono Band . We trace the song’s development all the way from home demo to finished recording, sampling the session tapes and discovering the role both Yoko and Phil Spector played in reaching the final take.…

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011 Nothing is Real: Strawberry Fields Forever, take 26 27:20

5 years önce27:20

27:20

Recording Strawberry Fields Forever was a complicated, layered process, famously requiring the cutting together of two different takes in two different keys and tempos. Today we put our magnifying glass on the second of those takes, take 26, with special attention given to George Martin’s dramatic score for three cellos and four trumpets. We go into the recording studio with seven musicians to re-record Martin’s complete score, and cellist Karen Ray returns to help us deconstruct the arrangement and understand what Martin was doing with this composition.…

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010 It's Gonna Be Alright: Revolution — Part II (single version) 23:32

6 years önce23:32

23:32

In examining the making of the third version of Revolution (after Revolution 1 and Revolution 9), we talk to musician and composer Casey McAllister to consider the origins of the recording’s intro; author and producer Jerry Hammack fills us in on how The Beatles got that memorable guitar sound; and former New York Times music critic Allan Kozinn shows us how all three versions of Revolution taken together tell a particular kind of story.…

1
009 It's Gonna Be Alright: Revolution - Part I (Revolution 1 & 9) 36:17

6 years önce36:17

36:17

Sparked by the air of social upheaval in 1968, John's song "Revolution" spawned three very different recordings: Revolution 1, Revolution 9, and Revolution (the single version). Today, in the first of a two part episode, we look at how Revolution 1 gave birth to Revolution 9, and discover the mesmerizing missing link between the two. Former New York Times music critic Allan Kozinn helps us deconstruct Revolution 9, and to make sense of why John created such a challenging recording in the first place.…

1
008 Producing an "Unproduced" Album - Get Back/Let It Be 34:02

6 years önce34:02

34:02

With Apple’s announcement that Peter Jackson will be reworking the Let It Be footage, we go back to the actual sessions to examine this period from George Martin’s perspective. Martin and The Beatles advanced the use of the recording studio in a variety of creative ways, but what would happen if they took away their method of building a recording with layers of intricate overdubs and played everything live? On the Get Back/Let It Be project, the Beatles did just that, setting aside the recording process they had developed with their producer over the previous six years. But without “production,” what was Martin’s role in this project, and how much was he actually there? And who actually produced these sessions?…

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007 Changing Speeds - The 'Varispeed' Technique 20:01

6 years önce20:01

20:01

Building off George Martin’s half-speed, wind up piano technique, The Beatles and their producer used varispeed — variable speed recording — to alter the sound of instruments, vocals, and even entire rhythm tracks of songs. These alterations changed the textures of these parts in sometimes subtle, and sometimes dramatic ways. Today, we examine how Martin and The Beatles used this technique on six recordings from 1966 to 68, and we invite pianist Jesse Reeks back to discuss the reason Martin used this technique on two of his piano solos.…

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006 Not So Simple - "From Me To You" and other early singles 21:00

6 years önce21:00

21:00

The Beatles’ first four singles seem to be fairly straightforward live studio recordings, but George Martin expended a good bit of effort to polish these songs up for release. Today, we listen through the session tapes for The Beatles’ third single, “From Me To You,” to trace Martin’s process for crafting the record, and we’ll discuss how Martin applied the same process in the recording of The Beatles’ other early singles. We also talk with writer and music producer Jerry Hammack, who helps us understand how all of this was accomplished using 1963 technology.…

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005 The clarinet score for "When I'm Sixty-Four" 22:13

6 years önce22:13

22:13

“When I’m Sixty-Four” is Paul McCartney’s nostalgic throwback to British music hall, and a tribute to his father, Jim McCartney. Today, we examine George Martin’s iconic clarinet score for the song, and consider how much Paul had a hand in writing that score. We’ll also go into the recording studio to recreate the clarinet score with three musicians, led by John Reeks, Professor of Music at Loyola University, and we’ll break the score down to see what we can learn about its construction and composition.…

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004 The Beatles on Multitrack, Part 2 17:50

6 years önce17:50

17:50

In the second half of our brief overview of how George Martin and The Beatles used multitrack recording, we’ll hear how they pushed four-track recording to its breaking point, and we’ll learn how they managed the complex arrangements on Sgt Pepper with such limited means. We’ll also hear how the band’s jump to eight-track recording during the White Album sessions reflected a shift in their relationship with their producer, and how they were still pushing the limits of recording technology even on their last album.…

1
003 The Beatles on Multitrack, Part 1 22:32

6 years önce22:32

22:32

One of the most fascinating aspects of The Beatles’ career is how, with George Martin’s guidance, they advanced the art of recording, as they went from twin track to four track to eight track tape. Today, we examine how The Beatles progressed from learning the basics of the studio on twin track, to realizing the creative possibilities of four track. To understand how their ideas developed, we’ll listen to individual tracks from six multitrack recordings from 1963-66, and consider George Martin’s role during this period.…

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