Talk:Wonderwall Music

Lead-in groove
I've heard that the album actually starts in the lead-in groove. I skimmed through the article and couldn't find information on this and I wonder if anyone can clarify?--TangoTizerWolfstone (talk) 00:08, 14 April 2015 (UTC)

Re: "I think you may have misunderstood"
JG66, I did not misunderstand. EMI Bombay had a mono (one track) machine, prior to "Wonderwall"; in the very next sentence of the article, it states that Bhaskar Menon brought a stereo (two tracks) machine to the studio for Harrison to use. This is an upgrade in equipment. The tape machine was not "converted" from mono; the studio itself was. To convert the machine would be impractical (not to mention expensive), particularly when ready-to-go stereo recorders were available. Remember, EMI were notoriously "budget-conscious" (read "CHEAP"). Zephyrad (talk) 05:43, 10 December 2017 (UTC)

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Contemporary NME review
This has been driving me mad: I read, very recently, the NME's contemporary review of the album, written by either Alan Smith or Allen Evans, but now I just can't find the piece at all. I'm thinking it has to have been at the American Radio History site, yet I can't see it in any of the late 1968 issues when I look now. If anyone feels like trawling through the issues here and comes across the review (it'll be a very short paragraph), please give me a shout. Or add the comments yourself, of course.

I'll try again when I've got a bit more patience ... Thanks, JG66 (talk) 03:23, 1 February 2019 (UTC)

Just to add: the piece by Smith/Evans is a pretty unfavourable assessment, more explicit than the contemporary Melody Maker comments I added ("Much of the music fails to have much point away from the pictures" etc). I'm thinking that adding these two reviews more than makes up for cutting Carr & Tyler's comments, which I removed mostly because, writing in the mid 1970s, they appear to base their derision on an assumption that Harrison had little to no creative involvement. As the article indicates via more recent sources, that view has since been found to be completely wrong.

If we can't unearth the 1968 NME review, could always reinstate Carr & Tyler's verdict: "... dismissed the soundtrack album as an 'undistinguished film muzak sampler' on which 'real music manages to surface' only on the Bombay-recorded pieces" – because that is their opinion as music critics, so it's valid. As in all album articles, I'd just rather include as many dedicated, contemporary reviews as possible, instead. JG66 (talk) 03:58, 1 February 2019 (UTC)