'IT'S ALL TOO MUCH' The Beatles Track That Buried John's Killer Guitar Is Now Revealed In 2025 Remix скачать в хорошем качестве

'IT'S ALL TOO MUCH' The Beatles Track That Buried John's Killer Guitar Is Now Revealed In 2025 Remix

   • Which Beatle is Really Playing Guitar in I...   In agreement with many leading Beatles experts, I'm convinced it's John on lead guitar but opinions still differ—some say Paul, others say John. After spending considerable time remixing this track and listening closely, I'm now firmly convinced it is John. Regardless, this remix brings that fiery lead guitar—rivaling Hendrix in intensity—into full focus. This is a George Harrison composition, and he also sings lead vocal. The song was recorded for Yellow Submarine on May 25 and 26, 1967, at De Lane Lea Music Recording Studios in London. The instrumental backing was laid down the first night, and the vocals were added the second. On June 2, the band returned with George Martin to the same studio to overdub four trumpets and a bass clarinet performed by session musicians. The original stereo mix was unconventional: George’s already double-tracked vocals were double-tracked again, split into the extreme left and right channels. The same was done with the overpowering handclaps. The trumpets were panned hard left and right as well, while the brilliant, feedback-driven lead guitar ended up somewhat buried in the center. In this remix, I’ve made several key changes: George’s lead vocal is now centered with one less double track, giving it a more natural, balanced feel. The backing vocals have been isolated and placed in the left and right channels. The lead guitar has been pulled further away from the organ and moved to the right channel. This gives it much more space and presence. Meanwhile, the organ—played by George—is now featured in the left channel. The trumpets are now mainly centered. A fun fact: one of the trumpet players was David Mason, who also played on Penny Lane. The drums and bass (a mostly one-note line) remain centered, grounding the mix. The handclaps, once overly dominant and double-tracked in stereo, are now reduced and centered with the drums. I couldn’t remove them entirely, but this helps tame their impact. With these changes, you’re likely to hear details you’ve never noticed before—I certainly did while remixing it. It’s a fun, layered track that shows just how much joy The Beatles had recording it. If you’ve never given this one a focused listen, now’s the time. You may come away wanting more. As always, thank you so much for listening!