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Yes Karen played drums on Yesterday Once MoreNice find!
And Hi Chris!
Can someone verify for me that Karen played the drums on YOM? If so, she did an outstanding job on this - especially on the interval just before "When they get to the part...", and she was a better drummer than I already thought...
Thanks much Simon!Yes Karen played drums on Yesterday Once More
Note: on the RPO version Gregg Bissonette's drums were added to Karen's.
I always wanted to confirm this as well! I love the drums in YOM and I know Karen played for the Now And Then album except Jambalaya. But I always wanted to know for certain about YOM.Nice find!
And Hi Chris!
Can someone verify for me that Karen played the drums on YOM? If so, she did an outstanding job on this - especially on the interval just before "When they get to the part...", and she was a better drummer than I already thought...
Good to know!!Yes Karen played drums on Yesterday Once More
Note: on the RPO version Gregg Bissonette's drums were added to Karen's.
Back in 1973, Karen’s drum parts were recorded in mono, so while her playing is fine, for the RPO album the mono drums would’ve stuck out like Richard’s mono piano on “Ticket To Ride”. But by adding an additional drummer recorded in stereo, Richard was aiming for the best of both worlds.Thanks much Simon!
I'm wondering why Richard felt it necessary to add more drum work to what was already some really good signature drumming by Karen?!?
I guess he just couldn't help himself. He was always "messing" with her - if it wasn't overdubbing her lead vocals on far too many of their songs it was eliminating her drumming on remixes or "enhancing" it on posthumous recordings.
Back in 1973, Karen’s drum parts were recorded in mono, so while her playing is fine, for the RPO album the mono drums would’ve stuck out like Richard’s mono piano on “Ticket To Ride”. But by adding an additional drummer recorded in stereo, Richard was aiming for the best of both worlds.
He re-recorded his piano in 1985. So the piano in 85 was a true stereo recording. And in 1985 he seems to have added reverb and brought up the bass on the drum track to present it as “stereo”, even though it’s mono. And he might’ve just copied the drum track to a second track to play with the drums a little bit.If that’s the case how come he managed to remix the track with added stereo piano in 1985 and again in 1991 without having to re-record Karen’s drums on those occasions?
He re-recorded his piano in 1985.
I love road ode, one of my favorites
Analog can hide a great many sins whereas digital doesn’t.Never thought fake stereo was Richard’s thing.
I think it’s Tim Weisberg.
Bob Messenger is credited with playing flute and alto flute on the ASFY album, and Tim Weisberg on bass flute. However, I don't have a clue which type of flute was used on Road Ode.Didn't know where to ask this, and didn't find the answer in the Carpenters Resource (I may have just not searched correctly)...
Who performs the flute solo (I assume it's a flute, I'm not a musician) in Road Ode?
There is that 'lick' that to me is synonymous with Yesterday Once More that is missing from the RP album that I miss quite a bit. Between several of the phrases utilizing the high hat with the snare. You hear it also on TTR on the Singles album. Mono or non-Mono - I wish he'd have left that lick in. I find the drums on the newer version - not as tasty - not as refined... Just 'there'. Same with Hurting Each Other, actually.Thanks much Simon!
I'm wondering why Richard felt it necessary to add more drum work to what was already some really good signature drumming by Karen?!?
I guess he just couldn't help himself. He was always "messing" with her - if it wasn't overdubbing her lead vocals on far too many of their songs it was eliminating her drumming on remixes or "enhancing" it on posthumous recordings.
The UK was probably using masters that were a third or fourth or more analog generation from the original master tapes. So there would’ve been some loss is quality compared to the US versions because analog introduced additional hiss and other anomalies with each generation.I’ve just bought an original UK 45 of this single and while the mastering of the A-side is clean and clear, the B-side - which is what I bought it for - is really poor. The track is so quiet and muffled all the way through that you can barely hear it without cranking the volume right up. Was there such a big difference between A Song For You and Now and Then? Or were the source tapes altered in some way for the single pressing?