There is
oh, to be you and know what you know !!!
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There is
oh, to be you and know what you know !!!
To my recollection, Comin' Thru The Rye was an issue of clearance vs. performance with regard to the John Denver estate. I know there have been several issues over the years after John died pertaining to licensing this and that.
That was the whole deal with this album in general - most everything fell into one of three categories. Either it was good enough (Richard felt) to release, but Universal couldn't clear it, the recordings were owned by Richard but there were technical issues when he went back to the originals to do the doctoring so he wasn't able to successfully complete, or there simply was no issue with regard to clearance and the performance was on par, so it made the cut.
So, Chris, in the studio version, is "Comin' Thru The Rye" also part of a medley with "Good Vibrations"? The background vocals on Vibrations are some of my favorite on any unreleased song by K&R.
More proof that Richard sure knew how to pick 'em and arrange 'em, even in '76. This is another one from the vault that I long to hear in pristine condition.It's the same version recorded for the '76 television special. And I'm with you on that - I remember years ago the first time I heard Karen come in with her doubled lead followed by the BGVs, I about fell on the floor!
"Comin' Thru The Rye/Good Vibrations" is great....
so, I am left to ask, again and again,
What is stopping us from substitute another great male lead vocal into this song, for a release ?
Why has that not been attempted, if clearance can't be gotten for John Denver's part ?
Makes me wonder if there was a plan to release the duet around the time of the special. Its not what I'd consider a strong hit single, but the power duet of how hot each of them were at the time would have guaranteed a top of the charts seller.
I hope one day Richard will consider it for a future project- and my other unreleased wish list song, "Dance in the Old Fashioned Way" (with or without John Davidson).
She makes it all seem so effortless.
I often have thought to myself "How on earth did this woman wake up every day with THAT voice and question for one second her ability to measure up or be 'good enough'?" I mean, I get it but good grief...
It’s been reported a number of places in interviews that if Karen sang in your presence off mic, her voice was so soft it was almost inaudible. But put her on a microphone and the full magic was revealed. That phenomenon has always fascinated me.
It’s been reported a number of places in interviews that if Karen sang in your presence off mic, her voice was so soft it was almost inaudible. But put her on a microphone and the full magic was revealed. That phenomenon has always fascinated me. For me, the full beauty of her voice was revealed in the later remixes. In some cases, like Yesterday Once More, it seems like a completely different vocal because it sounds so much stronger, richer and fuller than the 1973 album version. Play the first 10 seconds of the original mix then the 1991 remix side by side if you don’t know what I mean.
In that, when you put that acoustical "space" (reverb, cross-delay) in there, there's another hair-raising layer to her vocal timbre that comes out.
And precisely my point with regard to the space that was added to the playback, not to mention better EQ overall on the lead. It created that phenomenon with the richness of her voice paired with the reverberation added to the track in the mix.