“I SAW HER STANDING THERE”
Versions. There is only one version.
Foundational Variations. A “Foundational Variation” is any preceding base for a released recording which (with some exceptions) has no extra material. For this song, the true Foundational Variation was Take 1 (the “best” twin-track), which is available in an “untrimmed” state, that is, with the original (incorrect) count-in and with extra sounds (click, buzz, click) after the fade. This Take 1 is Variation 1.0. The next Foundational Variation, Take 12, in the same untrimmed state, includes “best” handclap overdubs, and is Variation 2.0. The final edit, incorporating the new (correct) count-in from Take 9, is not technically available. This adds up to a very good history of the Foundational Variations.
Variations. Since Take 12 is Variation 2.0, we begin in this section with 3.0.
There are two Mono mixes, three total Variations (and at least one "deviation").
The first Mono mix concerns every release except The Beatles Rock Band video game, and has two Variations. The first Variation, 3.0, is designated to every release of the first Mono mix except one. The second Variation, 3.0.1, is a derivative of 3.0, and is found on Vee-Jay Mono albums, such as Introducing the Beatles.
The second Mono mix, on The Beatles Rock Band video game, is a remix, designated 5.0 since it arrived after (well after) the Stereo mix.
There is only one Stereo mix, but there are several Variations.
The first Variation, 4.0, is designated to all Stereo releases of “I Saw Her Standing There” except two following.
The second Variation, 4.0.1, is a derivative of 4.0, and is found on Vee-Jay Stereo albums, such as Introducing the Beatles.
The third Variation, 4.1, is on the 1976 US edition of, and the 1980 US and UK reissues for, the 2-LP Rock & Roll Music. It has reversed channels and also a different Stereo image (the consequence of increased bleed), earning a Variation.
Not Variations.
(1) This track on Capitol’s Meet the Beatles Mono LP has no discernible difference in reverberation when compared to any other Mono source, whether US or UK. It could be a “Mono Fold-Down” (Mono-from-Stereo) from the Stereo LP, or it could be Variation 3.0. If it is a fold-down, it can be replicated by simply summing to Mono while playing the Stereo track, and therefore earns no new Variation.
The same commentary applies to the B-side for Capitol single 5112, although I felt the vinyl was, of all things, a tad drier (no new Variation).
(2) This track on Capitol’s Meet the Beatles Stereo LP has no discernible difference in reverberation when compared to any other source, whether US or UK. All such reports of extra reverb appear to stem from differences in channel loudness and/or equalization.
(3) In testing* “I Saw Her Standing There” on the German Stereo Die Beatles LP, considered to have less processing than all other Stereo Please Please Me pressings (details: here), I heard no difference in the reverberation quality.
* I tested using both vinyl (German Please Please Me) and needle-drop FLAC (Die Beatles), performing A-B tests against several other sources, including UK Please Please Me (vinyl and FLAC), Blue Box Please Please Me (vinyl and FLAC), MFSL Please Please Me (vinyl and FLAC), and the 2009 Please Please Me remaster.
(4) Any small differences in Stereo image positioning will not be designated as new Variations, but as deviations. Naturally, judgment has been used to differ between Variation and deviation.
(5) Other mastering differences between Stereo sources, such as discrepancies in loudness, will be discussed below, but they earn no new Variation.
Singing Anomalies. There are various muffs: (1) At 1:25, Paul sings, “Now, I'll never dance” as John sings, “I wouldn't dance.” (2) At 1:29, John sings, “When I saw her standing there” as Paul sings, “Since I saw her standing there.” John and Paul both distinctly laugh at this mistake, while still singing (1:30-1:31). (3) At 2:26, Paul sings, “Now, I'll never dance with another” while John sings, “H-I wouldn't dance with another” (mixing “How could” + “I wouldn't,” both of which were wrong!).
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AUDIO SOURCES
Sonic Ratings. All recommended sources will receive a subjective sonic rating, either Excellent, Very Good, or Good. This subjective rating is based on various factors, including (1) clarity vs. murkiness, (2) smoothness vs. distortion (including harshness) or peaking, (3) balance vs. over-loud elements (for example, too much emphasis on bass), and (4) comparison to other sources under a particular category (for example, Mono). Any source not given a rating of at least Good will at least be provided explanatory notes (including whether or not I’ve heard that source).
Price Tags. Vinyl sources will include an estimated 2010 price tag in US dollars, taken mainly from completed eBay auctions.
Terminology. "Analog" refers only to vinyl. No tapes were tested.
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MONO
Imbalance. “I Saw Her Standing There” in Mono has mastering imbalances of several varieties, differing from source to source. In cases where I was able to test for such imbalance, I provide details.
Terminology. "FLAC signature" and "Channel Duplication Solution" are terms under the subject of imbalance, discussed: here.
End of Song. “I Saw Her Standing There” in Mono ends with a quick fade, then a click (per untrimmed state), heard on many sources.
VARIATION 3.0: ANALOG
UK LP Please Please Me (1963) - Mono
$20-1000.
General. Details for various incarnations of this album are: here.
My Sources:
Dr. Ebbetts needle-drop FLAC.
Imbalance. Ebbetts FLAC hiss: link.
Sonic Rating. GOOD. Good: Airy bright master. Bad: Loud claps.
Pbthal needle-drop FLAC.
Imbalance. FLAC signature.
Sonic Rating. VERY GOOD. Good: Compared to Ebbetts, smoother; though still bright, the bass is improved; spectrum analysis shows all frequencies except 1-3 KHz lowered a bit. Bad: Envelope pushed too hard at guitar solo.
Millennium Remasters Red Wax Japan LP needle-drop 320 kbps mp3.
Imbalance. Millennium Remasters mp3 signature: link.
Sonic Rating. VERY GOOD. Good: Bass is well-done here, something this song desperately requires. Vocal mix has some substance. Bad: Drums a bit low, but nothing drastic.
Pbthal Red Wax Japan LP (Toshiba EAS-70130) needle-drop FLAC.
Imbalance. FLAC signature.
Sonic Rating. EXCELLENT. Good: Slightly-modified from Millennium Remasters is just what the doctor ordered, about where it needs to be. Bad: Not much.
UK EP The Beatles' No. 1 (1963)
$5-50, the lower price for the reissue from the vinyl box set
General. This (Parlophone GEP 8883) is also part of The Beatles EP Collection 1981 vinyl box set.
My Sources: (1) Vinyl box set, “-1N” lacquer. (2) pbthal FLAC.
Imbalance. Vinyl, untested. Pbthal, FLAC signature.
The CDEP is reportedly remastered differently (see below).
Sonic Rating. Vinyl, VERY GOOD. Good: Lively bass/vocal setup, similar to the red wax. Bad: Guitar somewhat buried.
Pbthal, for the third time, looks and sounds like a slightly-louder version of pbthal’s red wax LP (see also pbthal EP FLAC remarks for “Anna” and “Chains”). However, a little brighter, so I’ll call it “Very Good.”
US 7-inch 45 (1964)
$10-20
General. This B-side hit #3 on the US Billboard chart, March 14, 1964.
Despite reports to the contrary, “I Saw Her Standing There” on this source has no additional reverberation. I personally believe this is a true Mono mix, not a Mono-from-Stereo fold-down.
My Sources: (1) Vinyl, Capitol, “F5” dead wax. (2) Vinyl, Apple, “P1” dead wax. (3) Dr. Ebbetts’ US Singles Collection needle-drop FLAC.
Imbalance. Vinyl, untested. Dr. Ebbetts, none.
Vinyl (Capitol), VERY GOOD. Good: Fat vocal/guitar/drum focus. Very good vocal mix. Bad: Gained loud, causing some shrillness and peakiness, so it’s somewhat of an overreach.
Vinyl (Apple), muddy and deteriorated.
Ebbetts, was not authentic.
US LP Meet the Beatles (1964) - Mono
$10-20
General. This album (Capitol T-2047) was released January 20, 1964, and hit #1 on February 15 the same year.
Despite reports to the contrary, “I Saw Her Standing There” on this source has no additional reverberation. I personally believe this is a true Mono mix, not a Mono-from-Stereo fold-down.
My Sources: (1) Vinyl, Capitol, -1 lacquer, 3rd pressing. (2) Dr. Ebbetts’ needle-drop 320 kbps mp3.
Imbalance. Vinyl, untested. Dr. Ebbetts, none.
Vinyl, EXCELLENT. Good: It must be the nostalgia of the cover. Good all-around vocal/bass focus. Bad: You could say the drums and claps feel a bit lost, but that can be a positive.
Ebbetts, VERY GOOD. Good: Similar to vinyl, but a bit more focus on drums. Call it peppy. Bad: Gained loud. Guitar a tad obscured.
VARIATION 3.0: DIGITAL
CD Please Please Me (1987)
My Source. CD.
Imbalance. link.
Sonic Rating. VERY GOOD. Good: Strong vocal/bass entry, with decent vocal mix. Not far removed from CD EP, with slightly less lows, slightly more highs. Bad: The guitar solo is humpy in the volume department. Claps a bit loud.
CD EP The Beatles' No. 1 (1992)
General. This is from the CD EP box set, although it can also be found at auction as a separate CD.
My Source. CD box set. Note. Dr. Ebbetts' UK EP Collection (2000 edition) used the CD EP, not vinyl, for this track (checked with Audacity).
Imbalance. None: link.
Sonic Rating. VERY GOOD. Good: Swollen bass adds nice patina. A demanding master. Bad: Claps vary between perfect and too loud. Drum sound is a bit flat.
CD Please Please Me - Remaster (2009) - Mono
My Source. FLAC.
Imbalance. FLAC signature. Spectrum analysis of WAV file from CD showed same characteristics as FLAC signature.
Sonic Rating. EXCELLENT. Good: Spectrum is a lot like the red wax, which is just fine. This master is very smooth. Maybe it tries too hard, providing too much clarity (I’m tempted to call it bright), but it does drive the train home bass-wise, although there’s no denying the more modern feel. The 50Hz hum heard on previous releases has been fixed. Bad: Claps a bit loud. Drums may vary a bit. Might be missing some pop in the lower mid-range, as evidenced by the vocal and drums, the latter of which seem to float a bit in volume.
VARIATION 3.0.1
General. Rather than the full “1,2,3, faw!” count-in, this Variation begins with “...faw!” clipped start. Now, whether this was done accidentally or deliberately, I do not know. It has been reported that the Vee-Jay engineer(s) thought it proper protocol to remove the exciting count-off (possibly a custom of the day); this may be, yet they did such an awful editing job that one must wonder what they thought of their own handiwork.
US LP Introducing the Beatles, et. al. (1963) - Mono
$100+ (Introducing the Beatles, if genuine)
General. I did not test “I Saw Her Standing There” on any other Vee-Jay album, but I assume they use the same master as Introducing the Beatles.
My Sources: (1) Vinyl. (2) Dr. Ebbetts’ needle-drop FLAC.
Imbalance. Vinyl, no. Dr. Ebbetts, none.
Sonic Rating. Vinyl, VERY GOOD. Good: Very nice vocal/bass focus, with upfront guitar and nice vocal mix. Bad: Deficiency in the drums.
Ebbetts, VERY GOOD. Good: Guitar before vocal. Spectrum analysis shows a likeness to CD EP, with quieted highs and mellow lows. Bad: Some loudness, some variability, some thinness.
VARIATION 5.0
Section updated February 10, 2011
General. Some of the vocal is definitely drier in this remix.
VIDEO GAME The Beatles Rock Band (2009)
General. More details on the video game mix, .MOGG file multi-tracks, and outfakes: here.
My Sources. Internet (all).Imbalance. The video game mix has an inherent imbalance which gives this Variation a different and very nice ambience. After using Channel Duplication Solution, the ambience is deflated, but it still sounds great.
Sonic Rating. Video Game Mix, VERY GOOD. Good: Great separation of the elements. Bad: Some metallic sound on the claps, guitar, and vocal, with a bit of sibilance. The click is missing at the end.
MOGG File Multi-Tracks. This section regards the extracted .MOGG file, consisting of 10, that is five pairs of Stereo, tracks. Full Playback is more digital-sounding than the extracted game mix. Isolated Tracks 1 & 2: Miscellaneous Frequencies. Digital noise. Isolated Tracks 3 & 4: Bass. Muddy, but listenable. Very good when mixed with Tracks 5 & 6, or Tracks 7 & 8. Isolated Tracks 5 & 6: Lead Guitar. Listenable. Terrific if mixed with Tracks 3 & 4. Drums come alive if mixed with Takes 1/2/3/4. Isolated Tracks 7 & 8: Vocals/Rhythm Guitar/Drums. Pretty good. Isolated Tracks 9 & 10. Count-in and handclaps. VERDICT: Give it some action.
Outfakes. As we know, an "outfake" is a fan-created mix or recording. The video game mix and the .MOGG file multi-tracks have both been subjected to various fan-created treatments, including extraction and remix. The bootleg Beatles Rock Bandology Vol. 1 is devoted entirely to 28 treatments of "I Saw Her Standing There." Other outfakes exist (I discovered 6), some with, and some without, crowd noise and/or count-in.
I have decided to avoid review of these outfakes, since they have purely subjective value.
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STEREO
Mix Information. The takes were recorded as twin-tracks, two tracks recorded simultaneously. For Stereo mixing, bass and lead guitar, along with handclaps overdubs, were sent hard (wide) to the Left channel, while vocals and rhythm guitar were sent hard to the Right channel. Drums are variable, mainly in the Left channel, but moving to the Right channel whenever the lead guitar has a decisive presence, a consequence of microphone placement. There is nothing (except bleed and occasional echo) Center, approximately thus (“I” = instrumental/handclaps track, “V” = vocals/rhythm guitar track):
Left _I_________________V_ Right
Deviations from this standard, if any, will be noted below.
Stereo Image Deviations. There is at least one deviation known which I think does not approach the status of Variation.
(1) The Beatles Box (“crate”) is approximately thus:
Left ___I____________V____ Right
Relative Channel Loudness. This is the relation of the Left channel to the Right channel. Each source has its own recipe, affecting the listening experience, especially under headphones. For “I Saw Her Standing There,” most sources have fairly even channels, the Left (instrumental) side slightly louder than the Right. Deviations to this norm will be noted below.
Relative channel loudness differs from overall loudness. Whereas the former may cause a desire to rebalance the channels (by whatever method), the latter (which I will call “gain”) motivates to adjust the volume knob.
Sonic Rating by Mono Summing. The deviations to Wide Stereo are limited, those deviations being (1) channel placement (see “Mix Information” above), (2) relative channel loudness (already covered), and (3) equalization. Due to this minimalism, I decided to listen in Mono to determine the sonic rating (this also satisfied any curiosity concerning “how it would sound”). When I double-checked my findings in Stereo, I was pleased that they matched.
Volume Drop. Brennan reported, “The original Stereo has a drop in volume in verse 3 near ‘we danced through the night’ which is corrected in the remix (Rock & Roll Music), which also has the two tracks brought slightly to Center.” This volume drop occurs from about 2:14 to 2:16 into the song, after the line “we danced through the night” (which is actually verse 4). It is not “corrected” on Rock & Roll Music as much as it is obfuscated by the bleed which causes the more narrow Stereo image.
Fake-Outs. There are several digital productions for “I Saw Her Standing There” in Stereo which are not the same as their vinyl counterparts, and I consider them to be intentional fakes: (1) a particular circulating mp3 for Meet the Beatles, (2) Dr. Ebbetts’ MFSL, (3) a particular circulating mp3 for The Beatles Box (“crate”), and (4) Dr. Ebbetts’ Rock & Roll Music. I deal with each appropriately in their respective sections.
End of Song. On all Stereo sources, about the same for each, the song fades before the click. During this fade, audible in the Right (vocal) channel, is a distant voice saying several words which I cannot make out (the same phenomenon is evident at the end of Take 1).
VARIATION 4.0
UK LP Please Please Me (1963) - Stereo
$50-24,000
General. Details for various incarnations of this album are: here.
My Sources:
UK LP, Two-box label, "-1" lacquer.
My Sources: (1) Vinyl, “2” mother, deep stamper (9th label, ca. 1970). (2) Pbthal “Tube Cut” needle-drop FLAC.
Relative Channel Loudness. Vinyl, as described above, moderate gain. FLAC, about the same as vinyl.
Sonic Rating by Mono Summing. Vinyl, EXCELLENT. Good: Cheers for the guitar and claps, adequate on everything else. Bad: Perhaps skinny.
Pbthal, VERY GOOD. Good: Close to the vinyl. Bad: The feeling is a bit thin.
UK LP from The Beatles Collection ("Blue Box"), "-2" lacquer.
My Sources: (1) Vinyl. (2) Dr. Ebbetts’ needle-drop FLAC.
Relative Channel Loudness. Vinyl, a bit louder than the first lacquer. FLAC, much louder, with a slightly bigger Left channel.
Sonic Rating by Mono Summing. Vinyl, EXCELLENT. Good: Bass/vocal focus, with controlled clap loudness. Bad: Lead guitar a bit too loud.
Ebbetts, VERY GOOD. Good: Vocal/drum focus, with moderate lead guitar. Bad: Some issues with channel discrepancies due to loudness.
US LP Meet the Beatles (1964) - Stereo
$10-20
General. Despite reports to the contrary, “I Saw Her Standing There” on this source (Capitol St-2309) has no additional reverberation.
My Sources: (1) Dr. Ebbetts’ needle-drop FLAC. (2) The Capitol Versions Vol. 1 mp3 (this is actually digital, so I’m cheating here).
Relative Channel Loudness. Ebbetts, pretty loud. The Capitol Versions, much too loud.
Ebbetts, GOOD. Good: Decent bass/vocal focus, with controlled claps. Bad: Gained loud, with vocal raggedness and peaking in the lead guitar.
The Capitol Versions, distorted.
Fake-out. There is a certain circulating mp3 which reverses the channels.
Mexico EP She Loves You +3 (1965)
$10 up
General. This EP (EPEM-10033) presents this song in Stereo.
My Source: Vinyl (1971 reissue).
Relative Channel Loudness. Compared to Blue Box vinyl, quieter.
Reverb. It sounds to me like this source has a touch more reverberation, but it’s not enough to earn a new Variation.
Sonic Rating by Mono Summing. GOOD. Good: Pretty close to the EQ of Blue Box vinyl. Bad: Sounds ragged.
German LP Die Beatles, or Please Please Me (1966-1977) - Stereo
$ 20-100
General. There is no perceivable difference in reverberation for “I Saw Her Standing There” 4.0 here compared to other sources. Details on the German sources for "I Saw Her Standing There” 4.0 are: here.
My Sources: (1) Vinyl, German Please Please Me (Apple Electrola 1C 062-04219), lacquer “SHZE-117-A2/-B2.” (2) Pbthal Die Beatles needle-drop FLAC. (3) Dr. Ebbetts was used to verify testing.
Relative Channel Loudness. Vinyl, compared to Blue Box vinyl, the same. Pbthal FLAC, compared to Tube-Cut FLAC, about the same.
Sonic Rating by Mono Summing. Vinyl, EXCELLENT. Good. A great bass sound, like the Blue Box; but a better vocal mix, like the first lacquer UK LP. I can’t stop listening to it! Bad. Lead guitar a bit loud.
Pbthal, VERY GOOD. Good. Excellent vocal mix. Powerful drum sound. Bad. Bright-ish, so it’s not the same as the vinyl.
Japan (MFSL) LP Please Please Me (1986)
$50 up
General. This release (MFSL 1-101) was also part of a box set (the “Black Box”).
My Sources: Vinyl, from The Black Box.
Note that Dr. Ebbetts’ 2008 Upgrade was a remaster, not a needle-drop. I deal with this appropriately.
Relative Channel Loudness. Vinyl, quieter than Blue Box vinyl.
Sonic Rating by Mono Summing. Vinyl, GOOD. Good: Huge bass. Nice mix of all elements. Bad: Some sibilance. A “metallic” feel.
Dr. Ebbetts, fake-out. On vinyl, the count-in has reverb, but on the Ebbetts version (two different sources tested), the count-in has no reverb. Waveform analysis proves that the Ebbetts Left channel has been altered to produce this result. Specifically, as Paul counts in “1,2,3..” there is nothing in the Left channel, where normally would reside echo. I can guess that the intention was to produce a “drier” Variation, but it is a fake, and I refuse to rate it (it actually sounds pretty bad).
Dr. Ebbetts 2008 Upgrade. Much different than MFSL vinyl. Tinny and sibilant entry. Avoid.
UK 8-LP The Beatles Box (1980)
$50 or so (a bargain!)
General. This is “The Crate” (its nickname), issued by World Records (SM 701/8), EMI’s mail order division.
My Source. UK Vinyl, first lacquer, cut by Harry T. Moss.
Relative Channel Loudness. Compared to the Blue Box vinyl, quieter.
Sonic Rating by Mono Summing. VERY GOOD. Good: Seems like Blue Box vinyl to me. Bad: Seems like Blue Box vinyl to me.
Fake-out. A certain circulating mp3 has the channels reversed.
Variation 4.0 Analog, Notes
(1) The Millennium Remasters red wax runs slow, which is enough to reject it.
VARIATION 4.0: DIGITAL
CD Please Please Me - Remaster (2009) – Stereo
My Source. FLAC.
Relative Channel Loudness. Comparable to Ebbetts’ Blue Box, which means a loud Left (instrumental) channel.
Sonic Rating by Mono Summing. VERY GOOD. Good. Great bass and moderate lead guitar volume saves the day. Bad. Vocal distant at times.
VARIATION 4.0: BOOTLEG
Fabulous Sound Labs HDCD Please Please Me
My Source: 320 kbps mp3.
Relative Channel Loudness. Unnecessary.
Sonic Rating by Mono Summing. Bright and raggedy. Pass.
VARIATION 4.0.1
General. As Mono, this Variation has a clipped count-in.
US LP Introducing the Beatles (1963) – Stereo
$ expensive !
General: Vee-Jay album, catalog SR-1062.
My Source: Dr. Ebbetts needle-drop FLAC.
Relative Channel Loudness. Louder than normal.
Sonic Rating by Mono Summing. VERY GOOD. Good: Full sound. Decent vocal mix. Bad: Somewhat bright. Lead guitar very loud.
Fake-out. On the bootleg Every Little Thing Vol. 1, Disc 2, Track 21, is purported to be this Variation. It is, however, a fake, as one can hear a vestige of “three” before “faw!”.
VARIATION 4.1
General. This Variation was mixed and mastered by George Martin in 1975 and/or 1976, and has two changes: (1) channels reversed, Left becoming Right and vice versa, and (2) the Left channel moved very close to Center, while the Right channel is moved about halfway to Center, approximately thus:
Left _______V________I_____ Right
US 2-LP Rock & Roll Music (1976, 1980)
$5-20
General: This Variation was released in the US in 1976 on a double LP (Capitol SKBO-11537), and in 1980 on the first of two separate reissue single albums, in the US (Capitol SN-16020 & SN-16021) and in the UK (EMI/Music for Pleasure MFP-50506 & MFP-50507).
My Sources: (1) Vinyl (both US issues). (2) All Together Now bootleg FLAC. (3) Every Little Thing 4, Disc 1 bootleg mp3. (4) Rarities 3: The Final Mixes bootleg mp3.
Relative Channel Loudness. 1976 vinyl about as loud as Blue Box LP. 1980 vinyl is a little louder.
Bootlegs, All Together Now appears to be similar to the vinyl (which I cannot say). Every Little Thing 4 and Rarities 3 have the Right (instrumental) channel much louder.
Sonic Rating by Mono Summing. The ratings for these sources apply only when headphone ears are reversed to restore the original Stereo configuration, that is, when vocals and rhythm guitar are in the Right channel.
Vinyl (both), EXCELLENT. Good. A terrific mix of the elements. Those who say George Martin never did justice in Stereo to any of the early songs has not given this a chance. Bad. Not much.
All Together Now, EXCELLENT. True to the vinyl.
Every Little Thing 4 and Rarities 3, VERY GOOD. True EQ to the vinyl, but the Left channel loudness is a bit distracting.
Dr. Ebbetts, fake-out. Incorrect Stereo image (wider, but not the same as Variation 4.0), causing the volume drop to reappear. Thin, with incorrect equalization. I refuse to rate this.
OUTFAKE
General. An "outfake" is a fan-created mix or recording.
Bootleg, Dr. Ebbetts' Please Please Me "Stereo Remix"
Dr. Ebbetts worked a “Stereo Remix” (details: here), with lead guitar and drums Left (“I” in diagram below), vocals and bass Center (“V” in diagram below), rhythm guitar and drums (phenomenon described above) Right (“R” in diagram below), approximately thus:
Left _I________V_______R_ Right
This took a certain amount of wizardry.
Nevertheless, being unauthorized, this is not a Variation.
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VIDEO SOURCES
Section updated February 16, 2011
CARTOON
"I Saw Her Standing There" is utilized for an animated sing-a-long in The Beatles cartoon series, Episode 19, as a bull terrorizes Ringo. However, the song is missing a large chunk in the middle, making it not a suitable "music video" experience.This song is also used for an animated segment in The Beatles cartoon series, Episode 20, during which John is chased by a jealous Spanish lover. However, the guitar solo is missing, making it not a suitable "music video" experience.
ROCK BAND
The Beatles Rock Band video game offers this song as a performance at the Cavern Club. Various angles are presented in several combinations, so there are many enjoyments. Obscuring game elements, both visual (meters and counters) and aural (crowd noise), are virtually impossible to eliminate.
Some enterprising individuals have collected the video game performances to bootleg DVD.
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Although I use quotes from sources, or cited fact, much of the material on this and other pages of my blog is original, from my own pen. This is not cut-and-paste, it is a work of art. Copyright © 2010-11 Tom Wise.
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