#anyway it's really not hard so that's good--it's mostly a chatter project

[bigcats-birds-and-books]

update!: have made it to the end of the section labeled "CHEVRONS" and now i am onto the section labeled "CONTINUE CHEVRONS" (in which she hits you with a "Read carefully through this section before beginning as multiple steps occur at the same time," which has been making me low-key nervous since the first time i read through the pattern, because it looked Convoluted and Tricky).

fortunately! her instructions for the multiple simultaneous steps are just written unhingedly! it's basically "keep working in the established pattern BUT make it bigger every 8 rows to account for the increases in said 8th row" lmao. i wrote myself out a handy cheat sheet so i have something to check off (because i've been putting check marks upon row completion but. ah. seventy-eight (78) more rows is. too many check marks, for the current printed pattern to withstand).

making good progress on the first ball of black yarn! theoretically i'll use a second one, too, and then switch to the FLAMES. i'm so glad i'm not speedrunning this all in december lmao

me?? checking knitting books out both to support my library and to avoid paying per pattern??? it's More Likely Than You'd Think

[shinygoku]

Let it Be (1970)

Oh god, here we go. This album [and the Docu-film of the same name] is one big magical mess, with multiple different versions, the "main" one being coated in the musical version of Glitter Glue by a strange disgusting weirdo, so I guess I gotta check my expectations. This album and the larger ideas for the project were heavily affected by the rampant discord in the group due to many factors, too complex and quite frankly depressing to get into here. These reasons, and the songs themselves being another mixed bag, are why I'm adamant to get it outta the way before the Actual Last Album, the release date can suck it up.

The concept behind this, of the four in their own little photos, is fine (if unintentionally symbolism for the division among 'em...) but oh my god, the execution here sucks. John looks like a wet dog, Paul is getting blocked by his mic, something else is in front of Ringo and George.... well George seems to be having a funky good time! But why the hell were these snapshots chosen over the thousands of other photoshoots, or even nicer individual frames from the Documentary? Insane but in a banal, boring way. Worst cover of their whole set of Albums, easy.

SIDE ONE

Two of Us: After an unrelated introduction by John, a more folksy ballad starts up. Describing comfy mundanities between a pair, and intercut with solo Paul sections, mentioning a road that stretches on ahead (foreshadowing?). It's a nice one and so very John and Paul coded its title was used for the RPF movie made by the Fujoshi who was there to watch and film 'em for the Docu.

Dig a Pony: A western style opening leads to a mellow John monologue that seems to be another series of codes with a mostly coherent line having an odd ending, for example the title itself. "Pick a Moondog" might be a reference to the prototype early Group Name, back in the 50's... Overall though this feels like hearing an easy listening song but it's in a language you only know some vocab of. There's hard to hear talking both before and after the track, which I don't object to (Studio chatter can be very charming and/or insightful!) but can't pick out well.

Across the Universe: This is absolutely one of the strongest songs on the album and some beautiful lyric weaving of John's.... so how come it sounds like I'm hearing it through a wall? While some quiet orchestra music is also playing? A song this thoughtful deserves crisp, clean audio!! The metaphors and evocative imagery are complemented with some spiffy guitar work and I easily see why it's a Favourite but the 2021 remix (while still having the chorus overlay ¬¬;; ) is the better option for this one.

I Me Mine: George's vagueblogging about John and Paul and their hyperfocus on each other, coupled with the expense of their true feelings and also other people in general? It sure could be! A nice waltz and then rocking section that calms back down. There's also some hard hitting drums here, so I'm digging it B3

Dig It: I swear I didn't plan my previous words to lead into this lmaooo - Anyway! At less than 1 minute this is an odd one. Seems to be more a warm up exersise and/or larking around rather than a song. I don't really care for this tbh

Let it Be: We're finally at the title track! Another song Paul got from a Dream, though not as powerful and interesting lyric-wise as Yesterday. Still, the piano makes a lovely start, and I really like how the other instruments come on in sequence spaced out along the song. The High Hat(?) and later the blazing guitar work, ooooh that's some good stuff!!

Maggie Mae: For the first time in ages, a cover! Seems this one just like, Existed in Liverpool for many years, though I've only heard the Beatles' take of the whole song. That is, 40 seconds of a jaunty tune. It's fine and has some good R trilling, but kind of just ends. However I like how it has all the lads lean into their Scouse Roots so I rate it higher for that <3

SIDE TWO

I've Got a Feeling: Paul and John do their wombo combo thing. I can't understand some of Paul's yelling but overall I like it! But not love. Cheeky moments and surging energy helps make it a funky experience. Another moment where there's talking after the song itself wraps... are these takes from the Rooftop Concert? o3o;;

One After 909: I think this counts as Rockabilly. Again I like it but I'm not wild, though that may be a genre thing as the wordplay is still clever and fun. Splendid instruments keep a great energy to go with the lyrics about rushing here and there. And then a smidge of Danny Boy? .....ok.......

The Long and Winding Road: Hello, operator? I'd like to report a crime! This song has been absolutely butchered!!

One of Paul's most raw, emotional, very thinly veiled messages to John. But under Spector's editing, absurdly overdone. Flippin' heavenly choirs getting slapped on top. Stupid soaring instruments that overinflate the whole experience. It pisses me off that this is the "main" version, making it on compilations like #1s and The Blue Album, when Paul's redone it himself in the Naked edition and it's actually clean and lovely.

Still, one of the strongest on the album if you can get past the orchestral bullshit. Its beautiful if sombre words make the Naked version one of my favourites of Paul's of all time, and this way I can actually hear the band's subdued instrumentation and the range of emotion in Paul's voice.

For You Blue: After more murmuring, George's second song of the album kicks in, with an odd Sproing-y tune and I guess bluesy ditty. Even includes George making a spoken word comment in the midst. It's fine but I know George can do better, like the aforementioned I Me Mine.

Get Back: The other title track, if we're thinking about the epically long version of the Documentary. Yet more Chatter opens this one, including a twist on some of the lyrics to come lol. Another US Country kind of flavoured tune, with ambiguous lyrics about being told to ...get back to where they once belonged being easy to misunderstand between being affirmation or shooing (even John suspected that Paul was directing it at Yoko), and also the verse about Loretta being trans as people in the 60's understood it, so it's shaky by today's standards but for the time having someone following their own idea of gender is pretty progressive.

And finally some talking I can hear without replaying it! John's remark about passing the audition, it's pretty famous ;3

CONCLUSION

Best 3: Two Of Us, Across the Universe, The Long and Winding Road (Paul's work)

Blurst 3: Dig It, For You Blue, The Long and Winding Road (With stupid ass Dubbing. Spector out here trying to be Proto-Funimation!)

This album was conceived as an attempt for the band to go back to their roots, with blues and rock and acoustic guitars. Maybe not as far as Hamburg level of raw grit, but still re-finding themselves after their increasing reliance on cutting edge technology and techniques. But it didn't quite work out that way, both seen in the Documentary footage of a group of blokes at a bit of a loss, and in this production with overdubbed orchestral and choirs that muddy the music further. Damn does it ever suck this was the last full album released when the four of 'em were all alive!

With this real world subtext and the general tone of most of the songs, I dub this the Sombre album. Not to say it's completely lacking in va va voom, but it's mostly known for the sad, wistful Road, the Acceptance song, and their final concert on a humble rooftop.

🪲🪲🪲🪲

Fortunately the actual last album the lads made is actually a Grand Finale! For a beautiful silver lining to a rather large cloud, look no further than above the streets of Abbey Road~