Chords for 『ザ・ビートルズ（ホワイト・アルバム）』50周年記念エディション解説動画（日本語字幕付き）

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_ _ _ _ _ We had the privilege of [A] remixing myself and Sam, Sgt.
Pepper, [D] last year [C] and it was incredibly nerve-wracking for [D] both of us
But [E] we were delighted with the results and they came out and [D] the fans were happy [C] and that brings us into the White Album
[D] It was recorded and approached in a [A] very different way for the Beatles.
[C] Sgt.
Pepper, they were trying to paint [D] pictures with sound and
_ The White Album is a much [A] more visceral, much more blank [E] canvas for the band
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_ [D] _ _ It's [Am] a bizarrely eclectic album of [A] so many different textures and tastes [D] in it, which is typical Beatles
But [E] the one thread that the White [G] Album has which we're trying to continue what we're [D] doing here is
Bringing the listener [E] closer to the music, bringing them into the studios
[Am] I look at [C] you all, see the [F#]
love, where [F] that's sleeping
With [A] Pepper, we had the mono standpoint of the [G] band
And we knew what they wanted to do.
[D] With this one of the biggest challenges is [E] you can't make the White Album [A] sound
Too good and too high-fived because it ruins the spirit of [Em] the White Album
_ And [F#] I see
_ [F] Comparing remixing this album and comparing [Am] Sgt.
Pepper
This has definitely been harder [G] because there are fewer layers.
The production [C] is more stripped back and more [D] simple
[E] That's obviously what they were going [A] for, not layering up lots of sounds
[C#m] The fascinating great thing for us on something like the [F#m] White Album is there's 30 different tracks
They've been [C#m] recorded different places
Each one of them very [B] different and each one [G] was sounding different and that in a way is what we have to embrace [F#] when we're
Doing a project like this.
There's no template, is [Em] there?
That's the thing.
There's [E] no two tracks that are the same
[B] She's well [Dm] acquainted with the touch of the velvet hand like a lizard on [Am] a windowpane
In remixing this [G] music
It's kind of about having a detail in every part of what we're doing and always referencing
The original mixes and original tapes.
So that kind of journey starts right back [D#] with what are the original [Em] session tapes?
[G] so this is Blackbird that gives you the [C] information about the number of [Cm] takes and
Lovely [G] detail of the four tracks showing you got the mic on Paul's foot tapping
So the first [Am] part of our [G] process is to get the best possible transfer of these tapes
[Am] Blackbird singing [G] in the dead of night
_ [C] Take these broken [G] wings and learn [Em] to fly _ _ _ [G] all your [C] life
_ _ [Cm] _ [G] We're obviously trying to [A] retain the character of whatever [E] makes these songs [G] special so we go back to the original
Bits of kit so these [Am] Fairchild compressors down here
One of the arsenal of tools that Jeff Emerick and Ken Scott the engineers used to create
Kind of extreme sounds that push them to their limits and also these Altec compressors were especially modified by the EMI
Engineers and had and still have a [G#] fantastic sound
[F#] So if you use those in our remixes to get the same the same character and also mixing desks
This is the same [D] type of mixing desk that was in studio [G] 2 and in studio 3 during the 1960s with all
Valve pre amplifiers on the input and output stages, so they have a very certain
Characteristic when you overdrive them, so we've used all these original period effects, which we still have here at Abbey [C] Road
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[F] The white album came an interesting time for the Beatles because they had almost gone off
[A#] Creatively in different directions after pepper [Em] a lot of people talk [E] about the white album being a sort of dysfunctional album
[F] However, what we found from going through the tapes actually the sessions were in really good spirit
I mean [G] throughout there was a bond with the band that was going on.
There was a relationship and [Gm] there's laughter on the tapes _
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And it was a [C] different process [F#] with the white album, I think they felt [D#] free
It was almost like the [N] lunatics taken of the asylum and they could felt I could do whatever they wanted the studios and they did
[E] George Harrison tells a story about my dad George Martin walking when they're doing support roughly because it sounds a bit bright
George because yeah, I know and I like it
So basically get out of my bedroom and that's [G#] the spirit of the white and that's what makes it so great _ _ _ _ _
_ _ _ _ [D] _ Well, the biggest discoveries we found looking at the white out was the Isha demos and basically what happened is the Beatles went to George
Harrison's house and they had their own tape machines and they [G] demoed pretty much everything for the white album acoustically with each other recording
On top of [C] that the way the Beatles [D] recorded the white albums
[G] They did numerous takes one after the other so Sam and I have been through
[F] You know hundreds.
I mean, I think there's over a hundred takes of sexy Sadie for instance
[F#] And so [Bm] what we have for this box set is we almost have a complete progression [G] of a number of songs in their different
Iterations the Beatles had a thread they were always good
But [F#] they just did different takes [C] and then they found the right one
_ [Am] The track glass onion [D#] was demoed early [G#] on and developed as [N] a song
The demo version that John did the style of it is similar to the [A] others very acoustic
I mean you can tell [D] the natural [D#m] performances they have
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_ And again [G#m] double-tracking himself
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_ _ _ [G#] _ So this [F#] is done before they go to [F#m] the studio
This is [B] before coming to Abbey Road, but then come to Abbey [N] Road and record as a band [Gm] and this take here
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The reason why the voice [F] is quiet is because he's singing [D] along for the band the intention is he's gonna [Am] replace his vocal later
[F] _ _ [G] _
And so [C#m] once they're happy with the take and [Am] once they've arranged the song in [F] the right way
They end [Am] up with the final version which is similar.
You can see it has more drive and the band are [Am] playing tighter
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_ _ _ [C] _ And so by [F] listening through the iterations of the song and they're [D] all good
[Cm] Beatles could [E] play and they could sing but it also just gives anyone listening an insight into their creativity
[B] Even though they did now write [E] individually when they came together the band they all chipped in and they all came up with the final sound
[G] _ _ _ _ They [C] wanted to go back to being a band again
[G] Pepper was very [E] consciously creating something new [A] and the white arm was going back to this is us before
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