Nice, I thought, I just had to do it again one more time (or maybe two, because, you know, dice roll) and done. Use one of the hidden character to pull the lever and BIM! The golem lost more than half of its amount of life points. I put two characters under invisibility, open lava valve with the third, and use the last one to focus the golem attention and brought it under the hammer. So here I was, trying to defeat the Golem. I like this kind of mechanics by the way : be confronted to a very hard/impossible fight with an easy trick hidden somewhere. Maybe you can use the hammer to easily defeat the golem, then use the forge and improve your stuff and maybe, that will be enough to resolve Nere's encounter. And I was saying to myself that, in fact, there is a trick. I was very proud to find all these clues talking about how you can use the hammer to defeat the golem. I mean, the map is beautifull, I just loved the exploration part with secret door, moving platform and everything, but the hell! How am I supposed to deal with the boss encounter with a 4 members party size at level 4 ?! Even with speed potion I spend half of my actions resurrecting those who were killed just before. He also made the unconvincing claim that John flatly refused to take part in the recording when he wasn’t even present in the control room in July 9.I played it once, when it cames out and rage quit on Nere's fight, triggered mad by the poor panel of choices and the insane difficulty of the encounter. Geoff Emerick wasn’t even at these sessions for the basic track or pre-Moog overdub ones, so how he could say that Ringo didn’t have the strength to lift the hammer, only to say that Mal Evans played it, but with no sense of drummer’s timing, is dubious. Doing 100 million takes of one of Paul’s songs is an insane amount to do, even for someone as multitalented as Paul to request. John said that he was ill after his car accident and perhaps he was under doctor’s orders to rest, so that may be why he didn’t appear on the final recording, but his statement that Paul made them record the song 100 million times was clearly an exaggeration, as Ringo’s statement that it went on for weeks and George saying that they spent so much time on it, because studio paperwork confirms that it only took three days plus a fourth day for a Moog overdub and even Paul himself verifies this. I always liked this song and I really enjoy singing “ting-ting” in time with the anvil hits. Maxwell…Mac’s well (Macca’s well) and not insane for writing the macabre song. The absurdity of the song is the craziness that was Beatlemania. Bang Bang/is the availability and frequency of sex. Showbiz slang “kill the people” & “killed” means “win over big” & “great success”, and The Beatles had overwhelming success everywhere worldwide. Judge/Ringo is wise and fair but doesn’t see what’s coming at him. Teacher/George is the grump who doles out character building punishment. Joan/John is his intellectual equal/science rival/songwriting partner. And the purpose of a hammer? To beat! Since Paul wrote the song, he is Maxwell Edison…(ME)…and he gets away with “murder” by making the others rehearse MSH “to death”, and it’s “killling” them to do it (“Again fellas, from the top!”). I also now believe,(because of the clues sprinkled throughout), that it’s a song about The Beatles, who at one time were The Silver Beatles. It’s Heavy, Dark and Light all at the same time. By the way, that’s also a fine example of a bass line that could have been a Hofner, but also a Fender Jazz.īut if the official version is correct then I guess Paul and George must have been incredibly motivated to sound like another Beatle when they recorded those lines.Īs I’ve said before, I love this little comedy singalong. Particularly the fills towards the end of Dear Prudence are so spectacularly Ringo-ish and much better than any other drumpart ever recorded by McCartney, I wouldn’t be surprised if it tuned out that Ringo did do those after all. And compare Back in the USSR or Jet to Dear Prudence. Compare the bass sound on Golden Slumbers and Hey Jude to the one on Maxwell. It’s hard to believe given that it sounds so much better than George’s usual bass playing and Paul’s usual drumming. The thing with George being the bassplayer here is it’s just like Paul supposedly being the drummer on Dear Prudence. I also agree that it sounds a lot like a Hofner, although it needs be said that some perceived Hofner sounds in those days were actually a Fender jazz (like much of the bass lines on the White Album.) Paul could have overdubbed his own bass over George’s guide. I would be surprised if it really were George. It sounds a lot like McCartney’s playing style and not like George’s.
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