Why the Beatles? (1 Viewer)

That guitar is an odd duck. I owned a Gretsch at one point and I've played a few others, and they are nice players, but that 12-string looks like a clunky dog. I hadn't really read about that one. But I think it's great that you were able to show Mike Nesmith's son a picture of the guitar (more or less) his dad had loved. As for who has it, there's an underground market of stolen art that someone no doubt has paid dearly for and has hanging in an underground bunker or an antechamber deep in the hills of somewhere (such as the 13 pieces of art stolen from the Isabella Stewart Gardner Museum in 1990). It's no more difficult to play that Gretsch 12-string (or, more likely, have in a large collection) than it is to have a stolen Degas, Rembrandt, or Manet hanging over your brandy cabinet. That is, it's extremely difficult; just not any more difficult. :eek:
 
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my wife taped the grammys last night and showed me as much as i could stomach of ringo starr's "performance".

i love ringo in the proper context but the fact that he's been able to sustain a solo career for 45 years is frightening testament to the awesome power of the "beatle effect".

he's like someone's old but trying to be hip uncle at a wedding doing karaoke.

due to massive respect, i won't comment on macca's appearance, but seeing those cutaways to the audience pretending to love that whatever tune he was doing was embarrassing.

i guess an ego that big is a hard thing to retire but c'mon, man!
 
I remember seeing Ringo's autograph surrender video years ago and wondering why people would still send their shit to him to sign. But then I remembered that there are people who spend their lives chasing pennies on eBay and it all made sense.

I'm sure The Widow©®™ still gets books in the mail for Bukowski to sign. My email inbox reminds me every few days that there are still a lot of people out there who aren't yet aware that he's quite dead.

I would have liked to have seen Bukowski's Ringo video though...

"Yeeeeaaaaah, it's B'kowski. Listen, stop sending me your god damn books. Look at this pile [shaky camera pan to pile of books and envelopes, then pan back]. A man only has so many hours! You're murdering me with these books. I won't sign any more, so stop sending them. Leave me to what's left of my sanity. Okay. It's B'kowski, over and out." [Reaches for the camera, then reconsiders] "And stop friending me on Facebook!"

Right?
;)
 
There was serious talk of releasing Yesterday as a Paul McCartney record, not a Beatles record, but the "we're all in this together" philosophy prevailed, which may have gone a long way to minimize the hacking off.
I've read that. None of the others at that time thought of it as a Beatles song - in 1965. Had it been released as just a McCartney single, you wonder if it would have caused an earlier break up.
I thought that Come Together was the last song they did together in the studio, or was it I Want You (She's so heavy) seem to read different things.

The photo shoot from Tittenhurst Park (John and Yoko's humble abode) are good, but a bit sombre, you just need to add in The Band and you've got the 1849 Californian gold rush all over again.

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I thought that Come Together was the last song they did together in the studio, or was it I Want You (She's so heavy) seem to read different things.
Depends on what you mean by "together." After they quit touring and became a studio band it would have been unusual for the four of them to record a basic track, do overdubs and finish the track together. Get Back/Let It Be was supposed to be a return to that kind of recording, but of course that ended up being a big mess that they couldn't stop dicking around with, and ultimately none of them really liked it.

The people who worked with them on The Beatles (a.k.a. The White Album) and Abbey Road all seem to tell the same story, and that is they very rarely worked together by that time. George was absent for long periods of time during the recording Sgt. Pepper, so really, the last album they recorded"together" was probably Revolver.

Technically, the last time they were all four in the studio together as The Beatles was to listen to the final mix of Abbey Road in the summer of 1969. Purple Stickpin can probably tell you which song was the last true, all-in-the-same-room-at-the-same-time group effort.
 
I thought that Come Together was the last song they did together in the studio, or was it I Want You (She's so heavy)...
...but a bit sombre
The last track ever worked on by the four of them in the same room was I Want You (She's So Heavy) and the date was 20 August 1969 (they also worked on editing and mastering the whole of Abbey Road). The photoshoot at Tittenhurst Park was just two days later; no doubt they all knew that it was effectively over. George, Paul, and Ringo were all together at Abbey Road for mixing and overdubbing as late as 3-4 January 1970 (For You Blue and Let it Be), and Ringo added live drum overdubs on 1 April 1970 while some orchestral tracks were being recorded. Of course, John was there on his own or with George in 1970 working on tracks such as Instant Karma!, etc.

Then again, mjp makes a good point about the final actual collaborative effort on an entire album from inception to mastering. Revolver would probably be it. A bit ironic in that Revolver was the last album made while still touring. Once they stopped touring to focus on recording, they ceased to really be a band. Perhaps that's not so ironic after all. What makes a band a band? Was Steely Dan in the 1970s a band or were they a group of studio musicians who got together on occasion to write and record material? Nothing disparaging meant here, but I'd argue the latter, clearly. It's only semantics, really.
 
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The last track ever worked on by the four of them in the same room was I Want You (She's So Heavy) and the date was 20 August 1969. The photoshoot at Tittenhurst Park was just two days later; no doubt they all knew that it was effectively... [... mjp makes a good point about the final actual collaborative effort on an entire album from inception to mastering. Revolver would probably be it. A bit ironic in that Revolver was the last album made while still touring.
I believe you absolutely Stickpin:), thank you. The death of Brian Epstein must have had a big impact on them and their ability to keep it together as a band. In their younger days, John as the oldest (oops Ringo a few months older) was seen as the boss, but at the end none of them really seemed to have the heart to carry on despite Paul trying to organise things.
 
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Epstein's death was a coincidental occurrence, but it makes an easy "reason" to hang the Beatles break up on to (as does Yoko). I think John didn't have the heart to carry on and he was very much still the leader and that's why they split. McCartney was the one flogging the horse, Lennon was trying to walk away.

At least that's how I interpreted the news when I was 9 years old.

;)
 
I remember reading about the righty Jazz in Babiuk's book...
The latest issue of Guitar Player showed up at the house yesterday, and it has an interview with Babiuk and excerpts from his latest project, Rolling Stones Gear: All the Stones' Instruments from Stage to Studio. I'm not necessarily a Stones fan, but I'll definitely be picking up the book (when the paperback comes out, anyway).
ir


But in the interview they asked him what he was working on, he said a revised edition of Beatles Gear with 300 new pages. To which I can only say, 'wow,' and, 'sign me up!'
 
I seem to be getting swept up again in Beatlemania, this time 50 years after I saw them on the Ed Sullivan Show. I listened to "I Feel Fine" on Utube and noticed that the song did not begin with
the sustained low note (is it the low "E" on the guitar?) which gets progressively louder. I assume they added this after their live performances? I always thought this was one of their most inventive
pieces...
 
I listened to "I Feel Fine" on Utube and noticed that the song did not begin with the sustained low note (is it the low "E" on the guitar?) which gets progressively louder. I assume they added this after their live performances?
The origin of the "feedback note" was the A string on Paul's Hofner bass. Since Paul isn't on this particular track, what I think you are hearing is sympathetic resonance of John's A string to Paul's original note which you hear opening the full recording (the idea was John's apparently). This actually explains something I've wondered about over the years. The primary characteristic of the note is most definitely guitar, but the origin of the note is clearly bass. It didn't occur to me that the end product was both bass and guitar, but now hearing just the guitar portion of the feedback, clearly starting after the note originated, it seems very likely that John sat near Paul's bass rig and let the note cause vibration of his A string.

To my ear, there are a few parts on this recording. The primary guitar you hear is either George or John on 6-string, but you can also hear the other chording in the background. I would have guessed that this main part was George, but the feedback note is from John's guitar and that sounds like the guitar playing this main part. At 1:11, the brief lead break is George dubbed in on his Rickenbacker 12-string.

Edit: The viddy d gray posted seals it: John's playing the watch your step lick and George is strumming rhythm on this one.
 
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I seem to be getting swept up again in Beatlemania...
Me too, even talking about them at work... strange.
It's not strange, it's marketing. ;)

John's playing the watch your step lick and George is strumming rhythm on this one.
Lewisohn seems to corroborate:

The session tape also reveals another new song, 'I Feel Fine', was being worked out at this time. John strumming its distinctive guitar riff between takes of 'Eight Days a Week'.

And on the feedback:

A Lennon idea of which he was particularly proud, with Paul plucking a single bass string and John getting amplifier feedback from his guitar.
 
Great, thanks alot! You all know as much or more about the other "B"--the Beatles! Interesting how they produced that wonderful opening sound...I also wonder how many other of their songs have origins elsewhere? It's like Leonard Bernstein's "There's a Place for Us" which is a "borrowing" of the slow movement of Beethoven's 5th piano concerto...
 
There are only so many notes; and a good riff is a good riff. I wasn't aware of the Watch Your Step association until today, but you've got to figure that songs in your brain eventually work their way into your playing, either consciously or unconsciously. I've done that on bass - a cool groove comes out and I think "did I make that up or am I ripping it off?" Look around popular music - The Kinks' Superman totally uses the Stones' Jumping Jack Flash riff, while the chord progression to All Along the Watchtower is essentially what Zep plays under the guitar solo on Stairway to Heaven. And Harrison got dinged in the '70s for apparently using the melody from He's So Fine for My Sweet Lord. I believe the judgment was that he didn't do it consciously.
 
And let's not forget Lennon getting pinched for stealing part of Come Together from Chuck Berry...
 
And let's not forget Lennon getting pinched for stealing part of Come Together from Chuck Berry...
I didn't know about that; I learned two things today! The Night that Changed America just wrapped up here on the east coast. I only caught the last half-hour, which was McCartney. Still kickin' it at 72. I saw that same band at Fenway Park almost five years ago (it's hard to believe it's been that long) and they absolutely killed it that night.
 
There were several great moments. Aside from Paul's, who was in great shape, I loved Annie Lennox singing The Fool on the Hill. I recorded it but also missed one half hour of the show.
 
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It's not overly surprising that stodgy critics would look at the screaming fans as a reason to dismiss them as a passing fad. But it is rather surprising that they would cite their harmonies and musicianship as reasons as to why they were no better than dirt. McCartney sang Till There Was You that first night on Ed Sullivan and that was a good choice - it contrasted the old guard with the new guard in a completely non-confrontational way. For some reason, many critics couldn't even listen to that and think about how different these guys were from the other new-fangled R&R stuff. As for harmonies, I don't think that the live performances in the U.S. from '64 are the best way to judge them; without true monitors in those days, singing harmonies was a crap-shoot. I'm rambling, I suppose; and I have the benefit of hindsight.

In the interest of equal time, there were critics who gushed glory about them in '64; even using terms from music theory that left the Beatles scratching their heads.
 
How about this one:

Science Newsletter

Feb. 29, 1964

The Beatles follow a line of glamorous figures who aroused passionate cries and deep swoons. Most prominent in the 1940s was Frank Sinatra and in the 1950s Elvis Presley. Their glory passed when they got too old to be teenagers' idols or when teenagers got too old to need them.

The same, it is predicted, will happen to the Beatles. In the meantime, there are two ways to handle the situation: either grin and bear it or relax and enjoy it. For the Beatles are inevitable.

- Elvis was still quite popular in 1964 and so was Sinatra so it's not true their glory passed when they got too old to be tennage idols.
 
And let's not forget Lennon getting pinched for stealing part of Come Together from Chuck Berry...

There's also the old one about The Damned/Killing Joke/Nirvana that went on, they sound a bit the same to me, but I couldn't talk about the technical musical side of it:
 
My favourite tracks from John Lennon/Plastic Ono Band are Working Class Hero and Well Well Well; I just love the Bass in it, amazing.
But here's another influence, found it on Wiki - so it must be true:):
[ According to Ringo Starr, Lennon played Lee Dorsey's "Everything I Do Gonh Be Funky (From Now On)" 100 times while recording "Well Well Well" in an effort to capture the feel of the song...]



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That's got to be my favourite Beatles album cover, kind of in between Peter Blake's smorgasbord Sgt Pepper and Richard Hamilton's stark, elegant The Beatles (White Album) cover.
 
A bit of a debate at work yesterday, with a colleague who didn't think The Beatles were suitable material for university! - Ph.D's etc, which annoyed me a bit, how is it not valid? told him you could also do Bob Dylan at uni - to wind him up further, snooty bugger.
-I hope that's true, or I'm in trouble.
Anyhooo, looking at Abbey Road stuff last night, think these are my favourite photos of the day, anyone know who the lady is with them?
Also came across this webcam of Abbey Road for extreme fans: :) Apparently it's now a listed site of cultural importance.
http://www.abbeyroad.com/Crossing


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Kind of knew she wasn't a secret 5th Beatle, but a lot of the people in the album cover shot have been tracked down and their story documented,
even the white Volkswagen Beetle was sold to a german museum. I just like the photo , she looks like she is trying to get them to smarten up a little for the photo shoot, it just strikes me as a little incongurous with her overall on, maybe she was an Abbey Road studio cleaner or something, I am just being nosey.
 

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