Weezer (The Blue Album): Difference between revisions
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Fifteen songs were rehearsed for the album during early practice sessions in New York in preparation for the Electric Lady Studios album recording. Ten of the songs appear on the album, but four of the songs were cut: "[[Lullaby for Wayne]]", "[[I Swear It's True]]", "[[Getting Up and Leaving]]", and a reprise version of "[[In The Garage]]." The other song, "[[Mykel and Carli (Weezer song)|Mykel and Carli]]", was attempted during the Electric Lady sessions, but was also abandoned. It would be recorded a year later and became a popular B-side, and eventually get a proper release on the "Undone - The Sweater Song" single. | Fifteen songs were rehearsed for the album during early practice sessions in New York in preparation for the Electric Lady Studios album recording. Ten of the songs appear on the album, but four of the songs were cut: "[[Lullaby for Wayne]]", "[[I Swear It's True]]", "[[Getting Up and Leaving]]", and a reprise version of "[[In The Garage]]." The other song, "[[Mykel and Carli (Weezer song)|Mykel and Carli]]", was attempted during the Electric Lady sessions, but was also abandoned. It would be recorded a year later and became a popular B-side, and eventually get a proper release on the "Undone - The Sweater Song" single. | ||
Throughout early and mid-1962, Epstein sought to free the Beatles from their contractual obligations to Bert Kaempfert Productions. He eventually negotiated a one-month early release in exchange for one last recording session in Hamburg.[35] On their return to Germany in April, a distraught Kirchherr met them at the airport with news of Sutcliffe's death the previous day from a brain haemorrhage.[36] Epstein began negotiations with record labels for a recording contract. To secure a UK record contract, Epstein negotiated an early end to the band's contract with Polydor, in exchange for more recordings backing Tony Sheridan.[37] After a New Year's Day audition, Decca Records rejected the band, saying, "Guitar groups are on the way out, Mr. Epstein."[38] However, three months later, producer George Martin signed the Beatles to EMI's Parlophone label.[36] | |||
A flight of stone steps leads from an asphalt car park up to the main entrance of a white two-story building. The ground floor has two sash windows, the first floor has three shorter sash windows. Two more windows are visible at basement level. The decorative stonework around the doors and windows is painted grey. | |||
Main entrance at EMI Studios (now Abbey Road Studios, pictured 2007) | |||
Martin's first recording session with the Beatles took place at EMI Recording Studios (later Abbey Road Studios) in London on 6 June 1962.[39] He immediately complained to Epstein about Best's drumming and suggested they use a session drummer in his place.[40] Already contemplating Best's dismissal,[41] the Beatles replaced him in mid-August with Ringo Starr, who left Rory Storm and the Hurricanes to join them.[39] A 4 September session at EMI yielded a recording of "Love Me Do" featuring Starr on drums, but a dissatisfied Martin hired drummer Andy White for the band's third session a week later, which produced recordings of "Love Me Do", "Please Please Me" and "P.S. I Love You".[39] | |||
Martin initially selected the Starr version of "Love Me Do" for the band's first single, though subsequent re-pressings featured the White version, with Starr on tambourine.[39] Released in early October, "Love Me Do" peaked at number seventeen on the Record Retailer chart.[42] Their television debut came later that month with a live performance on the regional news programme People and Places.[43] After Martin suggested rerecording "Please Please Me" at a faster tempo,[44] a studio session in late November yielded that recording,[45] of which Martin accurately predicted, "You've just made your first No. 1."[46] | |||
In December 1962, the Beatles concluded their fifth and final Hamburg residency.[47] By 1963, they had agreed that all four band members would contribute vocals to their albums – including Starr, despite his restricted vocal range, to validate his standing in the group.[48] Lennon and McCartney had established a songwriting partnership, and as the band's success grew, their dominant collaboration limited Harrison's opportunities as a lead vocalist.[49] Epstein, to maximise the Beatles' commercial potential, encouraged them to adopt a professional approach to performing.[50] Lennon recalled him saying, "Look, if you really want to get in these bigger places, you're going to have to change – stop eating on stage, stop swearing, stop smoking ...."[38][nb 1] | |||
==Recording process== | ==Recording process== | ||