Here, There and Everywhere

[Rudolf Wagner]

Hi Tomás,

Yes, you are spot on like always.

Mona played drums and Papa Rudi played the bass.

When we cover a song we mainly listen to the original. When there is something we cannot hear properly we also look for instrument covers online like you do to find out what has been played. Sometimes they are helpful but often they are just a rough approximation of the real thing.

Luckily, on most Beatles tracks you have this extreme stereo image where instruments are either hard panned to the right or to the left. That makes it pretty easy to isolate an instrument by just listening to one side of the stereo signal.

I asked Dad about the little improvisation towards the end of the song, and he said he was playing along and accidentally stumbled across that little phrase that sounded very good but was different from the original. He liked it so much that he sneaked it into the last refrain and thought nobody would notice it anyway. Well he didn’t reckon with you … 😉

I very much agree that the value of a good rhythm section cannot be overestimated, and I’m equally thankful that this is nothing I have to worry about. Mona and Dad always do a great job so I can sprinkle some fancy toppings on a solid base.

Thank you for listening so carefully and for discovering all our easter eggs 😉

Lisa

[Tomás F. Calvo]

Thank you Lisa for your lovely caring answer, and thank you all for such uplifting, awe inspiring music. ❤?

[Jung Roe]

Great question Tomas, and always enjoy Lisa, yours and Mona’s, in depth insight into the technical nuances of your music creation that only the creating artists and other sharp minded musicians like Tomas would notice and appreciate.  What is that phrase, “God is in the details”, and in the case of music, a lot of the subtleties you painstakingly craft into your music, is noticed both consciously and subconsciously to the listener, and comes across as great music.  That richness and depth of the music that reaches down into the soul.

Your explanation of “extreme stereo image” on those early stereo mixes from the 60’s remind me of early TV and movie color too from those times.  It was trademark named “Technicolor”, and those early color films sure were colorfully brilliant and contrasting, even more than real life, but looked wonderful.

[Howard]

Ah Jung, that again is the yin and yang of it!
Some say “The devil is in the details,” meaning solutions break down when you examine them closely enough. Some say “God is in the details,” meaning opportunities for discovery and creativity come from digging into the details. Both are true, but the latter is more interesting.

God is in the details” also means that if you search deep enough, then you will be able to discover an aspect of perfection. Everyone strives for perfection, but no one can ever achieve it. So, the only way you can get a sense of what it is, is to search deep enough through all the details of life.

The MLT always strive for perfection, and although no one can ever be perfect, they never disappoint!

[Jung Roe]

I always preferred the positive aspect of that phrase “God is in the details” over “devil is in the details”, but I like your description Howard contrasting the two very exactly like that: Opportunities of discovery and creativity from digging into the details versus solutions breaking down when examined closely.

MLT do strive for perfection indeed and never disappoint, and always enjoy hearing about how they do it which is inspiring in itself.

[Howard]

Yes, the devil is in the detail mainly relates to situations like politicians painting a rosy picture of their agendas and us having to dig deeper for the reality. This is also true of marketing people who’s job it is sometimes to sell the unsellable!

[Frank De Giacomo]

George Martin, the Beatles’ producer, made an album of Beatles songs covered by famous people.  He insisted on working with Celine Dionsincd he wanted “to work with the world’s best instrument” (I’m paraphrasing); and he had Celine sing Here, There, and Everywhere.  Her version was naturally awesome but I think George Martin would have chosen Mona and Lisa’s version were he  here today…

[John Behle]

Yes, I agree.  I looked for other versions after Mona and Lisa did theirs.  I ran across Celine’s which I had never heard before.  I love Celine and her voice is majestic, but I’ll take Mona and Lisa’s harmonies over anyone’s.  Celine has power and amazing technical prowess.  Mona and Lisa have a beauty to their voices that is nearly incomparable.  They’ve given me such a greater appreciation of some of the groups and duos out there.  I’ve known some wonderful opera and other singers with amazing voices, but I can’t think of any I think are as beautiful as the twins.  Kind of brings Carol King to mind as I think of it.  Not a “knock you off your seat” spectacular voice, but beauty and feeling behind it that is rare.

At first the beauty of their harmony struck me very hard.  Yet, as I’ve listened more and more to solo sections where one of the twins is singing I’m more impressed every time.  Their music to me is like a chocolate éclair.  Wonderful outside and then bite into it and an incredible filling (depending who makes them).  Their technical skills and creativity as musicians filled with the beauty of their voices.  Better than any treat or dessert.

[Jung Roe]

Frank, John, yes I think you are both right on.

I’d just like to add Mona and Lisa have a supremely remarkable vocal depth that I think very few if any female singers can match.  As great a singer as Celine Dion is and justice she did to Here There and Everywhere, Mona and Lisa can do their own majestic justice to Here There and Everywhere (I like MLT version much better), but can go further and do supreme justice from Revolution to If I Fell, and any other Beatles song they choose to do from Paul McCartney’s elegant Yesterday to a raspy John Lennon Revolution.  I can’t see many female artist who could do a proper  You’re Gonna Lose that Girl vocal that Lisa can.  Just as the Beatles were, Mona and Lisa are very versatile singers.  Lisa can go from a Janis Joplin Mercedes Benz to a heart string pulling Beatles She’s Leaving Home for example.  Or Mona doing a gutsy rock and roll You Really Got Me or Club 27, sorry Joan Jett there is a new rocker in town.   And when it comes to breathtaking vocals of a Celine Dion, just listen to Mona and Lisa on The Best Years of Our Lives, equally breathtaking in their own style.

[Jacki Hopper]

Though Celine Dion is a powerful singer, I just don’t like her stuff or her at all (Nope, not a fan of) … Lol… Sorry to say…but I will agree that MLT ‘s versions of any covers have the rare knack of both equalling and/or surpassing the originals, at least in my view they do?

[Jung Roe]

Hi Jacki.  I never really got into Celine Dion nor Whitney Houston either.  People rave about their singing, but they just sound like modern pop opera singers to me.  They can do those really high vocals well, but seem to be limited in the type of music they can do.

For me MLT surpass the originals most of the time, but it seems to be taboo to state that on social media like on youtube.

[David Herrick]

I’m with you there, Jung.  I remember when Houston died and the TV news programs were constantly showing clips of her hitting that high note (“yoooooooooo…”) at the end of “I Will Always Love You”.  And I was thinking, wait a minute, Eddie Holman did exactly the same thing at the end of “Hey There Lonely Girl”.  Where are HIS plaudits?

 

[Tomás F. Calvo]

No doubt that the Twins version is much better than Celine’s even when Celine has a naturally gifted voice. Unfortunately, those “stars'” high notes are played incessantly until they grate. Whitney was marred by drugs (unscrupulous handlers tend to do this to their charge). Celine’s vibe gives me the creeps, so unfortunately I can’t give her a fair shake.

That album you mention by GM, has some really great ones, like Because, I Am The Walrus, Come Together…