On October 3, 2019 a version of the song Two of Us was released as a joint project between Barley Station and Minneapolis band Radio Drive (Two of Us is from The Beatles Let It Be album) You can now find it on most digital retail outlets.
And THIS is a little behind the scenes story on how this composition was formed. It is a fitting release considering it is the 50th anniversary of when The Beatles actually finished the final version of this song – which was during the Jan. 31, 1969 session.
Now, when you sing harmony with someone you really have to be a good listener not just a good singer. You need to hear all the nuances of the other person’s voice. Which is why sometimes people will say to an artist “you sing like siblings”. And usually it is people who have been singing together a long time.
Or in our case, listening in the studio over and over until our voices match properly since we were doing this as a distance project. So making music isn’t just about playing it, it is about listening and feeling it. If you are a musician, producer, or songwriter/arranger, etc., you might be interested in how the rest was put together.
I sent the finished vocals over to Kevin and we were very pleased with how that part turned out and we had lots of comments of how our voices blended so well. That part was easy enough.
Kevin Gullickson
One of the biggest challenges of the song, was trying to find the right arrangement. The first idea was to make it a bit contemporary alternative rock. That didn’t work. Sonically, it was like the song demanded a simpler arrangement. So I went back in time and dug up what was going on when the Beatles were working it up. And not to my surprise, they had tried something similar but it ended up being what Paul McCartney phrased as “too chunky”. I knew exactly what he meant. It was too chunky.
At its core this is a folk song. I believe if you look up the genre of the original on iTunes it is classified as folk/rock. Keeping to that original concept and also making it into something new would prove to be challenging but we didn’t know it when we started on it. My approach has always been “let your ears guide you”, as the Beatles’ producer George Martin might say.
Randy Wayne Belt
I listened to the original and dug up outtakes, including an outtake of the song, recorded on 24 January 1969, which was released on Anthology 3 in 1996. The chief difference to me was whether the bass lines were more ascending or descending but it was clear; those lines were important to the song and oddly enough to its integrity. With the basic rhythm track finally decided upon and liked by both Kevin and myself, I had to shelf the song again until the rest of the arrangement came the way it needed to.
There had to be a way to keep it a simple arrangement but add our own flavor. So I experimented. For months and months I would go back to it to try different things. By the last time I came back to it, it finally hit me. It needed to be mixed similar to what a 4 or 8 track recording would do and it needed a guitar part on the electric end to give it more body but not interfere with the melody or the overall feel.
And then, the bass guitar part was really crucial to keep the songs integrity. In the album version, The Beatles’ George Harrison played the bass lines on a Fender Telecaster. No one knows exactly why but it could have been done on Sir Paul’s Hofner bass just as easily, but since he was playing acoustic guitar, to keep it with a live feel, George ends up doing bass parts. Imagining being there and knowing a bit how the Beatles worked, I would guess that George picked up his Telecaster and doodled along making bass notes to fill the song out and John and Paul said “lets keep it like that, it sounds cool”. And if anyone would do something of that kind of unusual nature, it would be The Beatles.
So when I lay down bass tracks, I went to my own Viola Bass, the same style McCartney used in the Revolver/Rubber Soul mid sixties era and it was definitely what the song was lacking for its low end.
Then the bongos were scaled back. In fact, everything was scaled back to make it simpler. At one point Kevin even had a Rhodes keyboard track if I remember correctly. And slowly we brought everything back in to see what fit right. The decision was finally made that Kevin’s crunchier electric guitar track would be brought in panned far to the right or left and my tremolo guitar would be far the opposite leaving the basic rhythm and vocal in the middle.
The easiest part to do whatever we wanted with was the double bridge “you and I have memories…”, probably because that part was more “open” and easier to experiment with without messing things up. The tremolo guitar and the crunchy electric are allowed to stand out more there with the simpler rhythm and bass line. I think that’s probably the part where you hear our input more – along with the original ideas that probably emanated from the brain of Sir Paul McCartney.
The final result was a balanced non chunky semi-rock version but keeping the song’s original integrity. After all, this is the Beatles. There has to be musical integrity mixed with experimentation. I think that’s how they’d have done it.
Listen on YouTube: https://youtu.be/BPZoxP8E2WU
Listen to Two of Us on Spotify
Buy it on iTunes
Buy on CDBaby
Two of Us by John Lennon and Paul McCartney
Copyright Sony/ATV Tunes LLC dba ATV o/b/o ATV (Northern Songs Catalog)
Lead vocalist Virginia Grey delivers just the right sassy soulful sound with her voice and guitar playing for this track. The line “I’ve got horns hidden under my halo” sums up the vocal work here. Carolina Magnolia is backed by Tammy Chambliss with her smooth harmony and background vocals and upright bass ability. The vocals together in harmony and alone, hauntingly sound like they were pulled straight out of a time warp to back when music was pure, raw, and real and sounded music the better for it.
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