balzac thinks it's worth noting

In terms of "Naked", it's worth noting that the CD release was almost an afterthought. It was intended to be a companion to the DVD release of the LIB film. Then the DVD was delayed, but they went ahead with the CD.

It's worth noting, though, that the only 1968 home demos included on "Anthology 3" were from the multitracks that George Harrison provided, which had been recorded on multitrack at his home.

Also worth noting is that the tour was cancelled before the majority of the dates even went on sale.

Also worth noting is that, for a short time, there was mention on the "Face the Music" fanzine/fan club website of a "rescheduled 2002 tour", so it appears there was another attempt to reschedule the tour, which unfortunately fell through if it ever got off the ground.

Also worth noting is that at the actual show, these pre-song strings go straight into the "I look at you all" line, so George's intro has been added back in for the CD/DVD-A.

Now, having said all of that, a number of other things are worth noting:

1. The two actual main factors in Martin not working on the new songs were, in my guesstimation, Martin's unfavorable attitude towards the whole idea, and George Harrison's preference for working with Jeff Lynne.

2. The "his ears are good enough for mixing the old tracks, but not for producing new tracks" seems like a bit of questionable reasoning, especially given that he produced (or at least coproduced with his son) other "new" recordings afterwards. I would also question, given both the amount of time Martin spent preparing the "Anthology" CD's, as well as the timeframe the "Threetles" songs were recorded, whether Martin really would not have been able to produce the "Threetles" songs due to being tied with with the archival Anthology tracks.

3. Paul McCartney has spoken about how he wanted George Martin to produce. Paul said something like "the engineers can be the ears", presumably in reference to questions about Martin's hearing.

4. However, it's also worth noting that everybody pretty much "came around" by the time the songs were released: Paul admitted that he enjoyed working with Jeff Lynne. George Martin stated that he wished he had produced the "new" songs. Paul ended up using Jeff Lynne to produce tracks for "Flaming Pie" as well as a cover version of "Maybe Baby" for a movie soundtrack in 1999.

5. I don't think Martin working on the "Love" soundtrack has anything to do with "power" shifting to Paul. First of all, it's not as if Harrison would have had Jeff Lynne doing the "Love" soundtrack; Lynne was never involved in any archival/remixing work with Beatles tracks. Also, Paul allowed people other than Martin to work on "Let It Be Naked", and that was after Harrison was gone.

In any event, I think it's worth noting that some people might like something like the ATMP remaster not out of ignorance, but simply their own educated, informed preference.

As far as Amazon's listing, two things are worth noting. First, only a few days ago they had a release date of sometime in "2010" for the remasters, which is Amazon's way of simply setting a placeholder date when they have no date. Now, they have the original release date listed for each CD, but they are not even taking preorders for the CD's, which they certainly would be doing if the release date was actually still May 23 and/or if Amazon was going to have the CD's any time soon.

I don't know if Target will have the "cube" version for sure, but it's worth noting that Best Buy's ad shows a long box while Target's ad shows something approximating the "cube" version (a normal CD-sized image, but with a little black bar added along the side that they add onto all cover images, presumably to make it look like a CD case?)

I attended the first of the two nights' concerts for the "Zoom Tour Live" DVD, and it's worth noting that all of the "fans" who had received tickets via the fan club, etc. were on the floor, while the sort of bleacher-type seating behind the floor seats was filled mostly with media types (as well as apparently a few "celebrities").

Also worth noting is that, if you listen to the original Lennon demo that is circulating out there, I believe that if the Anthology 5.1 mixers *had* actually used software to raise the key and speed up the demo while keeping the timbre of his voice the same as it originally was on the demo, it would indeed sound much more natural, much more like the demo (although still not exactly the same; the software isn't perfect).

I think some McCartney stuff has been mentioned, but it's worth noting that a lot of stuff he did pre-1997, and pretty much everything he did pre-1989 (save "Get Back" and "Paul is Live") that made it out on VHS or LD at some point has never made it to DVD.

Productivity doesn't mean everything, but it's certainly worth noting that Lynne was more prolific and managed to keep the quality up overall as well.

It's worth noting that "Let It Be....Naked" and "Love" show the copyright as "EMI Records, Ltd./Apple Corps Ltd" (and of course tracks on "Anthology" are not all owned by EMI either), but I believe this is due to Apple owning the Nagra reels used on Disc 2 (in the case of "Naked"), and perhaps Apple commissioning the unique mixes and/or a tiny bit of use of non-EMI recordings such as the home demo of "Strawberry Fields" (in the case of "Love").

Also worth noting is that the MPI "Making of AHDN" documentary is now also out of print on DVD.

In any event, they finished temp tracks for both "Real Love" and "Now and Then", so presumably they had arranged "Now and Then" into something closer to a recordable song structure, and were able to obscure the buzzing to some degree (it's worth noting that the buzzing lessens a bit as the demo goes on).

It is worth noting that the question was raised (at least in terms of the on-screen text) about Wings, which would technically preclude his comment including "Press to Play."

Also worth noting is that only "Looking For You" and "Broomstick" are actual outtakes from the "Flaming Pie" sessions, the rest of the songs are from the 1984-1988 or so timeframe.

No, our lives don't hinge on these things, but it's worth noting that as cool as it is to have younger fans, a good deal of fans who would want Beatles or Harrison or McCartney, etc. are getting older.

It is worth noting, though, that some early reports and comments indicated that the deluxe vinyl set that is due out supposedly in July or August may have some additional tracks not found on the CD set.

I think it's also worth noting that the buzz/hum in the "Now and Then" demo does lessen as the recording moves along.

This is definitely true, but it's worth noting that as of the late 90's when those MPI DVD's came out, AHDN, Help, and MMT had all been relatively easy to find and in print for 10-15 years on VHS and LD.

It's worth noting that while the second and third "Anthology" CD sets sold progressively less (due to the hype dying down), all three sets debuted at #1 on the album charts.

I don't know what's going on with the Beatles reissues, but it's certainly worth noting that the various solo projects are usually at least attempted to not conflict with each other or Beatles group releases, yet we're looking at a May/June schedule that includes:

May - Live Ringo "Soundstage" CD
June - New Ringo Studio Album "Liverpool 8"
June - New McCartney Studio Album on Hear Music label
June 12 - Wilburys Reissues

(There was also talk of a new Ringo Greatest Hits CD coming out in June, but I have no idea if that's still happening or even in the works at this point.)

It is worth noting, though, that several years ago a better quality version of the Vol. 3 rough mixes started circulating, including a better version of "Maxine" without the skip.

It is worth noting, though, that they were aware of the fans' familiarity with some of these songs. I recall that in the 1995 EPK interview for the Anthology, McCartney mention that he hadn't heard "Free As A Bird" or "Real Love" before, but he was aware that Lennon fans were familiar with the songs.

Also worth noting is that Matovina praises the DCC discs in his Badfinger biography.

It's worth noting that another "possibility" brought up in our previous discussions was that the title signified nothing, and was a hoax, or was some sort of garbled listing based on bad information or confusion on the part of somebody.

Also worth noting is that Jeff Lynne fans will spot Lynne's brief solo vocal bit near the end of the song.

It's also worth noting that John apparently changed the title and lyric of "Child of Nature" to "On the Road to Marrakesh" during the "Get Back/Let It Be" sessions as well.

It's also worth noting that over at the "Home Theater Forum", there was/is a thread about the set discussing the set and the comments posted at Amazon, and I noticed some comments there saying that they would not purchase the set because of the cropping.

Also perhaps worth noting is that I was in a Starbucks today, and they had a basket full of cards for a free download of their "Song of the Day", and it was "Only Mama Knows." I just went ahead and downloaded it for free, mostly just to see if it perhaps might be the single edit (I'm not even that into single edits that simply cut out things rather than add something unique, but I thought it was worth investigating for free). The free download is simply the album version. But now I have a little business card-sized "Only Mama Knows" card to add to my big pile of memorabilia crap!

Also worth noting is that the idea of missing a pet (in this case because the pet had died) was addressed in the classic, but unreleased Mike Love solo track "Wrinkles" (or "Wrinkles the Dog", I'm not sure of the exact title).

Also worth noting is that the original tracklisting had "Midnight Blue" instead of "Eldorado."

Also worth noting is it that it might be worth checking out Ringo's various live albums and videos.

Also worth noting is that when they are clearing the "sync" rights to this music for DVD release, there is no set rate unlike when using songs on, say, a CD release.

I should point out that the guy was nice and polite, just perhaps not used to doing a lot of price matches or something. (I would think they wouldn't price match websites in general; so this might be worth noting to others: If they make a habit of matching their in-store prices to Target's website, then one can usually then by default match it to Amazon's price, which is usually lower).

Also worth noting is that I think most sets, or at least mine, has two "stretch" modes.

Less of a factor but still something worth noting is that I don't find their website interface to be very impressive.

Also worth noting is that, based on reviews of the standard DVD, it seems as though the Blu-Ray adds a few exclusive bonus features (although they are still all in Standard Def).

I think it is also worth noting that the song probably also carries a bit of interest from fans because based purely on listening to it, it seems odd that they didn't release it back then.

I've never had playback issues with those combo discs (though it's worth nothing that I've never had a use for the DVD side of those combo discs either, other than I suppose to demo the difference between SD and HD).

Also worth noting as an aside, after my months of complaining of Sony's good customer support with requesting firmware update discs and hearing nothing at all from Toshiba about their firwmare update discs, I finally received a firmware update for my HD-A3 from Toshiba a week or so ago.

Also worth noting is that the proof-reading on the text on this DVD (mainly the text bios) is awful, with typos and a total lack of punctuation. Ttrying to discern album titles in the text bios without any punctuation or font change is quite a task, especially when the albums are self-titled albums (i.e. Richard Marx is a guitarist and vocalist. Richard Marx was released in 1989. Richard Marx was a big hit with audiences, as was Richard Marx.; this isn't the actual text by the way, but it's sort of what it reads like.)

Also worth noting is that some of the same footage (both from the main film and the bonus features on the DVD) was used for the earlier BBC documentary on the "Love" show that was also broadcast on the Sundance Channel.

It's also worth noting that, if I'm getting this right, firmware updates were offered in the past for standard DVD players and other pieces of hardware.

I suppose it's worth noting that for completists, you need both versions of the EH Soundtrack.

While it certainly seems that this is likely going to happen (even if the time frame could change), it is worth noting that the actual label has not issued any press release yet, as far as I know.

It's also worth noting that this current version of the set with the lavish packaging is a "limted edition."

It is worth noting, though, that this new DVD documentary does sound generally similar to the BBC/Sundance thing, in terms of a behind-the-scenes look at the project.

So perhaps his statement about never putting female voices on Beatles tracks shouldn't be taken so much as an absolute (as that statement of his seems to indicate; although it's also worth noting that it appears he says that *he* would never add the voices, not that the Beatles never did) as a more general indication that Beatles recordings did not normally have that sort of vocal overdub, especially from "outside" session singers/choirs.

Also worth noting is that the editing of the three weekly TV installments of the show usually has little or no resemblance to what's actually going on in the house.

It's also perhaps worth noting that even at what sounds like a more natural pitch, Carl's vocal still has a bit of that slightly, well, drunk-ish quality that Carl seemed to have on some recordings and live shows in the 1977-1978 timeframe for whatever reason.

In terms of the limited CD package "selling out", it's probably worth noting that that probably means the manufacturer has made and shipped out everything they will for that edition. It doesn't mean every retailer is completely sold out.

It's worth noting that the decision to no-noise some tracks on "Surf's Up" was made against the wishes of Andrew Sandoval, described in this post:

www.stevehoffman.tv/forums/showpost.php?p=799798&postcount=63

It is worth noting that other than the group 1960 home recordings and John's "Strawberry Fields Forever" home demo, they seemed to avoid most non-studio demo recordings, several of which I think would have been essential to such a collection, like "Bad To Me", "Goodbye", etc.

Also worth noting is this from Wikipedia:

"In spite of the decline of pre-recorded VHS sales, blank, recordable VHS cassettes are still the most popular medium of recording live television programming in the American and Australian household."

Another thing perhaps worth noting (apologies if somebody else mentioned this) is that some live albums, especially once various forms of digital recording came into use, don't use studio overdubs or non-live overdubs of any sorts, but instead "fly in" fixes (either individual parts/tracks or full/whole sections of performances) from other live recordings (usually from the same tour).

Also worth noting, in terms of ELO’s diminishing popularity past the 70s, is that Jeff did himself and the ELO legacy no favors by not making any attempt to carry the torch for ELO between 1987 and 2000/2001.

One thing worth noting about "Star Wars" is that while they are paying out dollars to promote the film via all of the product tie-ins, those products are making a ton of money too!

A semi-random aside concerning Netflix's "by mail" disc service, it’s worth noting that at some point in the last year or two, they switched to only running their distribution centers five days per week instead of six.

Also worth noting is that they only had a set amount of time to record that second song in early 1995.

But if anyone is looking into it, it’s worth noting that the “voice search” function only works from the home menu.

Also worth noting is that Apple does now appear to have good sources for all of the late ’65 Intertel promo videos.

On the off-chance you're a packaging nerd, it's worth noting that sometimes those bundled multi-season sets don't have all the slipcases.

But it's worth noting that, as far-fetched as it is, I don't think even the proponents of the "unknown intruder" theory deny that the note was written on the Ramsey family notepad and with their pen.

Also worth noting is that the new F&F film is following the continuing trend of stuff doing better and better business outside the US while leveling out or falling in the US.

Also worth noting is that, I believe, Wheaton wrote this *before* Axanar's actions forced Paramount/CBS to issue "fan film guidelines", and Wheaton (and many others) totally called it ahead of time: Axanar ruined it for all the other fan films.

Also worth noting is that Chicago always kept performing all of those Cetera ballads after he left.

Also worth noting is that Cetera does "Feelin' Stronger Every Day" in the original key (and sounds pretty good for 72 years old), as well as "Wishing You Were Here."

Also worth noting is that when Mike Love has recorded solo stuff in recent years, Bruce appears to usually not be involved. They seem to have a bit of a Johnny Carson/Ed McMahon sort of relationship in that way.

It might also be worth noting that, if it isn't a GPS device in the fashion of something one would have used for a car back in the early-mid 2000s, such a "tracking device" would be even more obscure and not as easy to purchase.

If "Dunkirk" does end up losing money, it's worth noting that according to the trades, Nolan was paid *$20 million* to direct it, in addition to 20% of the gross.

Also worth noting is that the new Chandler Riggs interview paints a picture that indicates this show is *not* going to improve.

It's worth noting, though, that in at least one action Hardwick's mother-in-law was on the *opposition* side of lawsuits involving the Hearst estate.

Particularly worth noting is that films with relatively low "Rotten Tomatoes" scores and with box office that media coverage is implying is middling at best, such as "Dumbo", "Alita", and "What Men Want" all score in the "A" or "A-" range while "Us", which has performed better at the box office and on "RT", gets a "B."

There's no question that Jeff took on a lot of responsibility working with Brian for nearly 15 years. But it's worth noting that he *chose* that. He absolutely wanted to be the guy you usually had to go through to talk to/work with, etc. Brian.

Also concerning whether it's plausible that Emerick would not speak of the tape even though he was working on Beatles and McCartney projects all these years, it's worth noting that he was not above a bit of staying mum to certain parties.

I remember people commenting *back in 1995" when the stuff first aired on ABC, about how George and Paul clearly were having a bit of a strain/awkwardness there. Nothing so bad that they didn't use the footage (although, it's worth noting that the "Threetles" joint interviews are used very sparingly).

Regarding Baldwin “always being on the phone”, I have no idea if that’s the case (clearly the entire production was cheap and somewhat amateur, with a myriad of production woes, many unrelated to firearms), but I think it’s worth noting in case anybody didn’t notice, the actual photo used in a previous post of Baldwin on the phone is clearly a photo of Baldwin *after* the incident.

I don’t know if Baldwin’s camp released a press release with that information, but I think it’s worth noting that the actual report (apparently from ABC News) was actual reporting/sourcing work done by ABC News.

Also worth noting is that allegedly/supposedly, “Return to Pepperland” was considered but ultimately left off as one of the “Flaming Pie” era bonus tracks, much like several other tracks from the same era (“Love Come Tumbling Down, “Same Love”, “Love Mix”, etc.) were used.

Also worth noting is that "Return to Pepperland" actually "circulated" years before most of the rest of that 1988 Horn tape made it out.

As someone once pointed out, they actually lived fairly close to each other (not a super long drive), and while they were known to socialize from time to time, it is worth noting that they lived within driving distance of each other, both had home studios, and yet almost never worked together.

But it’s worth noting, again some other interviews that I’ve posted in the last few weeks/months, that Paul himself seemed to say he found “Now and Then” a kind of mixed bag, seeming to find the opening bit the strongest.

Also worth noting is that, on the original, presumably largely untouched circulating version of the demo from 1996, that buzz lessens as the performance goes on.

Also worth noting is that “Now and Then” is not being pushed in the same way as FAAB and RL was.

It’s worth noting that at no point, as far as we’re aware, did Paul either before or after George’s death, ever broach the subject with Yoko or the other Beatles of looking into finishing any *other* Lennon demos.

While that specifically wasn't planned, it's worth noting that if you watch the big late 1995 Capitol/Apple promotional push EPK which lays out all the plans for 1995/1996 in detail (it's a fascinating and impressive video actually!), among the items they mention is a big CD boxed set to be released *after* the three individual 2-CD sets, which presumably would have comprised all 6 CDs plus some kind of additional content, although it probably would have consisted of extra packaging and whatnot.

But, while Paul often does a one-and-done with producers, it's worth noting that apart from a one-off 1999 "Maybe Baby" session, Paul never worked with Jeff Lynne again.

And it's worth noting that with all the speculation, tabloid news, reports, etc., *nobody* ever nailed down that "Now and Then" was the third song, let alone that they *had* worked on it for a day.

Also worth noting among all of the "Now and Then" trivia is that that short-lived Lennon Broadway musical from 2005 also used the song, under its copyrighted title of "I Don't Want to Lose You."

Just for clarity's sake, it's worth noting that that quote above is compounded from two different sources. You can tell, because he names the song, then says it doesn't have a title.

It might be worth noting that in that 12-minute mini-doc, nobody including Paul really speaks much to the *song/composition* itself.

It's worth noting that the Beatles arguably did more new *music* composition on "Real Love" than "Free As A Bird", as they formulated that bridge/guitar solo part of "Real Love" seemingly from scratch.

As for MAL remixes for FAAB and RL, it's also worth noting that it's not necessarily a slam-dunk-given that MAL remixes of those tracks would be without any issues.

But it is worth noting that Paul was interviewed back around 2002 as "Brainwashed" was being worked on, and hinted not very subtly that he would have liked to play on it. But he was of course *not* asked to play on it.

Worth noting is that presumably Bev approached many ELO members including Richard Tandy, and Tandy declined, which was probably the reason Tandy was the only other ELO members involved in the 2001-and-later ELO projects.

Now, it's perhaps worth noting that, at least for me, the fact that these are supposedly *vintage* rough mixes is less interesting to me than *how* they are different.

That's a very interesting and noteworthy story, but it's also worth noting because the other Beatles/estates were much more active and involved in the other two reunion songs.

Also worth noting is that Paul McCartney did apparently do work on "Now and Then" with David Kahne in the 2008-1010-ish timeframe, which might explain how he had a bunch of post-1995 work done on the song prior to presenting it to Giles Martin.

Hard to say, but it's worth noting that he issued two new albums on the same day in 2012, "Long Wave", and the "Mr. Blue Sky" album of re-recordings.

Worth noting:

2016's "Ghostbusters", 2021's "Ghostbusters: Afterlife", and 2024's "Ghostbusters: Frozen Empire" ALL had nearly identical opening weekends at the box office:

2016's "Ghostbusters" - $46,018,755
2021's "Ghostbusters: Afterlife" - $44,008,406
"Ghostbusters: Frozen Empire" - $45,004,673