The Beatles' 19th single in Britain — "Get Back," backed with "Don't Let Me Down" — was released April 11, 1969, so the song was already well known when the Let It Be album was released more than a year later. However, the single version (available on Past Masters) was recorded January 28, 1969 (as was "Don't Let Me Down"), while the album version was recorded the previous day — and it shows.
Filming A Hard Day's Night was often a brutal, seven-days-a-week affair that took a lot out of the band and crew. So one can imagine how Walter Shenson, the film's producer, felt when he pulled John Lennon aside during filming and said, "I'm afraid we're going to need a song called 'A Hard Day's Night,' something up-tempo that can be played over the main titles."
Revolver is the album that made the Beatles recording artists in the absolute sense of the term. Their previous six albums had demonstrated John Lennon and Paul McCartney's increasingly ambitious songwriting skills and the group's competence with a range of musical styles. But the productions, while strong, were undistinguished.
In the current March 2013 issue of Guitar World, guitar legend Peter Frampton gives GW readers the full Dear Guitar Hero treatment, answering 12 questions about everything from Pensa Suhr guitars to the status of his long-lost (and recovered) 1954 Gibson Les Paul.
As a musician, Paul McCartney is probably best known for his creative, melodic Beatles and Wings bass lines, but he's always been a guitarist at heart. The guitar was, after all, his first instrument (if you ignore the trumpet his father gave him for his 14th birthday), and it's always been his main songwriting tool. Here are McCartney's top five electric guitar solos as a Beatle.
“Hmmm, let’s see now...the ’57 Gretsch or the ’58 Goldtop?” Joe Walsh contemplates a bevy of highly collectible vintage guitars strewn in open cases across the floor of a Hollywood photo studio. Broad shouldered and looking fit, he towers over the instruments, meditatively stroking his chin. A Guitar World cover shoot is serious business, and Walsh brings to it consummate professionalism that has guided him through over four and a half decades as a classic-rock guitar legend.
Ken Scott—one of a handful of recording engineers to have worked with the Beatles—has stories to tell. And lucky for us, he loves telling them. To emphasize the point, Scott will be publishing a 500-page memoir, Abbey Road To Ziggy Stardust, on June 6 through Alfred Music Publishing. The book recounts the events of what Scott calls his "blessed life" working with innumerable rock legends.
If you’re new to the game and just discovering Jack Blades, you’re likely to think of him as a founding member/lead vocalist/bassist for the rock band Night Ranger. In fact, Blades is a multi-faceted artist who can easily transition from the volume of arena rock — with Night Ranger or Damn Yankees — to the stripped-down acoustic sounds of Shaw/Blades, his project with Styx vocalist/songwriter/guitarist Tommy Shaw.
While The Beatles spent the first months of 1969 getting back to their roots with the Let It Be sessions, EMI's Abbey Road Studios was moving headlong into the future. On November 23, 1968, Studio Two's control room had been outfitted with EMI's new TG12345 mixer, the first transistorized recording console in Abbey Road.