Listened to Ticket to Ride this morning. Really good tune. I'd never realized or thought of it in that way, but it may be one of the earliest examples of utilizing that drone thing
It's that droning guitar that would be one of the chief elements in it as a heavy rock number.
On the Lennon thing wanting to re-record every Beatle song. Waters is doing that exact thing right now with DSOTM.
I kind of equate it with a married couple who had some kids together and wishing you could go back and have them with someone else.
That's an interesting way of looking at it.
But I think that when a conglomerate of people collaborate on a venture of any kind, some of those people will always see things that could have been done differently, even if the project was wildly successful. There may well be things that they've had to defer on that they thought they had better ideas for.
George Lucas will always have my undying criticism for the changes he's made to the films in the Star Wars franchise with successive DVDs. But it's paradoxical because I completely understand him wanting to make changes. Often with songs, albums, movies and even books, the pressure to stick to a deadline introduces compromises that the creative elements regret at the time and as time goes by, these just eat away at them and they want to correct them if they can. What is unfortunate for them is that the rest of the world may have fallen in love with the product
as is and don't care for the changes. I'm a leading culprit of that !
#Then again, I've re-recorded many songs that didn't come out as I felt they should have so while I criticise those that do this, I also won't criticize them for it !
I suspect that it's quite fortunate that Lennon wasn't allowed to re-mix Beatles tracks in an attempt to satisfy his own ego.
To be fair to him, in 1970, he said there were things on "John Lennon/Plastic Ono Band" that he'd like to improve. And that was why I swung the point around to mirror what DM60 had said about his finished works never being what he envisaged in his head.
For me, I long ago acknowledged that a song was going to change in some way, shape or form the moment another player/vocalist's skills were brought into the project.
Ticket To Ride is a great tune. I can't possibly imagine that a Lennon remix could be better other than raising Lennon's vocal by 1 or 2 Db.
I generally hate remixes. As I've noted a few times before, once a song has insinuated itself into my consciousness over many moons, that's it. Don't change it. Don't even tell me about the remixes'
existence. I'll chase you down the road with an upraised broom or mop !
I wouldn't bother to listen to a remix of "Ticket to ride" because I'm haplessly and hopelessly in love with the 1965 "Help !" version. I fell in love with it the first time I heard it, in July 1976.
But......
I can honestly see what John means about it as a heavy rock track. On my ipod, you can just repeat play and so as I was cycling around for an hour+, I listened to it over and over. Bump up the guitars and bass up the drums a bit and make the overall level loud {Dang ! I'm talking like someone in the MP3 clinic !!} and it's heavy rock.
grimtraveller: I generally hate remixes.
But a funny thing happened to me in 2019. I found that I was really getting irritated by the stereo mixes of the Beatles and the Pretty Things from the 1960s. Some of the Beatles' ones were OK, like "Help !" and "Ticket to ride" and a few others but many of them were kind of lame. And I'd loved these songs for 40 years+ and never really worried about the mixes before. In fact, I'd previously quite liked the stereo separation, or perhaps more accurately, found them interesting. I don't know what it was that got to me, whether it was the bass and drums in one channel, the vocals in another and maybe some lead guitar and tambourine and shakers in the centre, but it just started feeling "off." So I highlighted which tracks annoyed me {it was most of them !} and put them through Audacity and converted them to mono. I had always been, if not exactly an opponent of mono, then certainly one that tended to see mono as a poor relation to the glories of stereo. My "Hard Day's Night" had long been in mono and I had no problem with it.
Anyway, I converted most of them to mono and I think my "Audacity stereo that are now mono" Beatle albums sound great. The White album stands out because I remember putting it through my cassette recorder as I went from my CD player to my CD recorder. The cassette player had independent left and right mic channels so if I felt one of the songs or a part of a song wasn't well balanced on both channels, I could easily equalize them. And when I came to "Audacitize" it to mono, I got a wicked mono mix.
The same thing happened with the Pretty Things' "SF Sorrow." As much as I highly rate Norman Smith for his work with the Beatles, the Pink Floyd and the Pretty Things, I think some of his production work with the Floyd and the Pretties is pretty shoddy. The stereo version of "SF Sorrow" has some terrible bits but these are corrected when converted to mono. Whereas his stereo mix of "Parachute" is bloody marvellous.