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  1. #41
    1970




    As the year started, John Lennon had already left the Beatles and the remaining three would work on a George Harrison song on January 3, marking the last time the Beatles would actually record as a group. The public would be blissfully unaware of the turmoil though until Paul McCartney announced that he himself was leaving the Beatles. He performed a self interview on his first solo effort, McCartney, which he wanted released at the same time as Let It Be. It would get even worse as at year’s end as he would sue to dissolve the Beatles, thus becoming enemy number one to Beatles fans. So where did that leave the Beatles musically? Well, there was no Beatles musically except that they wanted to release Let It Be. George Martin had washed his hands of the whole thing and Lennon would bring in Phil Spector, something that displeased McCartney to no end. Indeed, the solo efforts of Lennon and Harrison in particular would be far more superior than Let It Be would be.

    But this is a Beatles thread. We can talk about the solo Beatles another time. As for now, the last of the Beatles catalog, at least for another twenty five years anyway.

    Interlude: Hey Jude 1970




    Predating the Past Masters’ CDs by about eighteen years, this was a small collection of previously released singles and B sides that were not released on albums. It was an Allen Klein brainstorm to make some extra money, such as his cynicism was. The album did sell moderately well and it did make sense for someone that didn’t have the Beatles singles. Not a terrible collection of course except that A) the album only has ten songs and B) the Red and Blue albums released three years later would be much more extensive and a much better buy. Nice late Beatles cover though.

    LET IT BE




    So here we are with one more final release from the Beatles. Of all the Beatles albums this is my least favorite. For one thing, it doesn’t sound a lot like what you would expect from the Beatles. In other words, this could have easily been a Rolling Stones album the way this was recorded. Indeed, the Rolling Stones had heard about these recordings months before and titled their new album Let It Bleed, perhaps their own comment on the Beatle mess. Anyway, the songs for the most part aren’t terrible, even with Spector trying to turn Let It Be into a Ronettes spectacular. In fact…

    Two of Us: The album starts off pretty well as McCartney and Lennon sing a touching duet about their friendship. It starts off with a whimsical comment by Lennon that has nothing to do with the song (who cares if Doris Day can get her oats), but it doesn’t take away from one of the better songs on the album. Some nice acoustic work.

    Dig a Pony: The one Lennon original on the album. This is an example of Lennon’s penchant for repetitive blues. This too is a decent song. The recording is rather raw as it is from the rooftop concert. It may be why this song works rather well as the rooftop concert was the one moment where the Beatles seemed to be in relative harmony. Pity they couldn’t have simply used the entire rooftop concert for this album and maybe just release Let It Be and Winding Road as separate singles.

    Across the Universe: Revived by Phil Spector, gone are the female background vocals and added are some strings. Maybe it’s because it wasn’t originally recorded during the acrimonious Get Back sessions that makes this the best song on the album. It also proves that song still stands up no matter what anyone else (read: Phil Spector) could do to it.

    I Me Mine: One of Harrison’s two contributions and not an especially impressive song. This was the last song that the Beatles would officially work on and without Lennon at that. As Harrison himself said, it is a bit egocentric. He must have liked it though because he titled his autobiography I Me Mine.

    Dig It: Simply a snippet from a Beatles jam session. Nothing much to report here except that Lennon must have a fixation on Doris Day.



    Let It Be: This would prove to be a big hit for the Beatles but it isn’t one of my favorite songs to be honest. Maybe it should be as it is obviously a personal song from McCartney singing about his mother for the most part. It is a nice melody and they are good lyrics, but I think Lennon put it best in his Playboy interview in 1980. This just as well could have been Wings. There are two versions, the heavier guitar break being on the album, which I think is the better version of the two.

    Maggie Mae: Another piece of tomfoolery by the Beatles. I guess they had to highlight Lennon in some way.

    I’ve Got a Feeling: This was a mish mash of two melded songs, the main one by McCartney and the Everybody Had a Hard Year refrain by Lennon. This was one of the rooftop recordings and as such, it works on this album quite well.

    One After 909: This was actually one of the first songs Lennon and McCartney wrote dating back to 1960 at least. They even recorded it in 1963 during the From Me To You sessions, not to see the light of day until Anthology 1 in 1995. As for the Let It Be version, this sounds like another rooftop recording and it sounds like Lennon and McCartney are simply having fun on this track, something they weren’t having a lot of at that time.



    The Long and Winding Road: This is the song McCartney hated Spector for. The last released single by the Beatles is a rather soft song that Spector added a lot of lush strings to, something that McCartney objected to. McCartney finally got to release this song stripped down on Let It Be Naked, the way he had intended it. Actually, I like the Spector version. Yeah, it may be a little too lush but I think the song needed more than simply a piano accompaniment. It might not have been the greatest way for the Beatles to go out, but it could have certainly been a lot worse.

    For You Blue: Harrison’s other entry and a better tune than I Me Mine. It’s a fairly straightforward song without the cosmic references he would have been prone to at the time. Lennon plays a mean lap steel guitar in the instrumental break and Harrison seems to have fun with this. Not a bad way for Harrison to go out.

    Get Back: And a great way for the Beatles to go out again, this version is from the famous rooftop concert and you can hear the live energy on this one. Like on the single, Preston plays that great electric piano solo. There is also that quip from Lennon at the end asking if the had passed the audition. At least Spector didn’t mangle that one.

    And that’s about it for the Beatles, except, well, it’s not. There are still a couple loose ends which we’ll tend to now.

    Bonus Track: You Know My Name (Look Up the Number): A silly track that was originally recorded in 1967, this ended up as the flip side to Let It Be. In a way it’s also something of a tribute to the Rolling Stones’ Brian Jones, who died in 1969. He plays a sax solo on this. This song was popular on Doctor Demento.

    Interlude: The Beatles’ Christmas Album




    These were five to seven minute messages that were sent out to the Beatles’ fans at Christmas from 1963 to 1969. You can sort of hear the progression from the happy go lucky Beatles of 1963 and 1964 to the more experimental Beatles of the middle years to the Beatles distancing themselves from each other at the end. The best of these messages has to be 1967’s Christmas Time is Here Again. This was probably the last real release that truly had the Beatles’ blessing (The album was released initially to the fans in late 1970) until possibly Live at the BBC (or maybe the Red and Blue albums from 1973).



    And so that’s it for the Beatles proper. But there are still some things to review such as the various repackagings, of course, the Anthology series, and a few things the Beatles released in the Millenium. We’ll cover them over the next few days. In the meantime, stay cool and turn off your mind, relax and float downstream as they say in Tomorrow Never Knows.
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  2. #42
    Member Irwin's Avatar
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    Here's a video of the Beatles recording Two of Us.


  3. #43
    AFTER THE BEATLES



    The seventies would be interesting times indeed for the now ex-Beatles. Paul McCartney had taken the other three to court and eventually would win his case to officially break up the Beatles. Musically, it was obvious that McCartney and Lennon were not exactly happy with each other as the would trade barbs through their music. McCartney would complain about Too Many People which would provoke Lennon to record his scathing How Do You Sleep, with some help from none other than George Harrison. 1971 was a very creative year for all four ex-Beatles as Harrison was riding high on his All Things Must Pass album and used that good will to stage a concert with other stars of the day to help the people of Bangla Desh. Lennon would release two acclaimed albums of his own during 1970-1971 and would pursue his own political agenda, something that would get him in hot water with Richard Nixon and leading to some major immigration problems later on. McCartney's album, Ram, panned at the time, is now considered one of his best albums. He would form Wings with wife Linda and would become one of the most successful artists in the seventies, probably second only to Elton John. Even Ringo would score with a number one hit in 1971 with It Don't Come Easy. He would have a string of hits in the early and mid seventies and manage a film career as well.

    As for relations, things would thaw by around 1973 and there would be Beatles reunion rumors for the rest of the decade. It would never happen and, when John Lennon was more or less assassinated in December 1980, the chances of a full Beatles reunion was gone forever.

    So where did that leave the Beatles as an entity? Well, for one thing, as Lennon said before he died, the music is out there. And there would be some repackings of their material starting with a four album greatest hits package which was well put together, and what I like to call Capitol's desperation albums which were in hopes of cashing in on what they could with some moderate success. Capitol even allowed a rumor of a reunion by way of a Canadian group called Klaatu (which also happened to be a term Ringo used on his Goodnight Vienna album cover- aping The Day the Earth Stood Still). The Beatles, for the most part, stayed obvious to it, preferring to live their own lives. So, here we are as we look at the various releases from the seventies not mentioned in other posts (such as Beatles Live at the Star Club, Beatles Live at the Hollywood Bowl, etc).


    1973: The Beatles 1962-1966 and The Beatles 1967-1970

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    Otherwise known as the Red and Blue albums, these were, combined, a four disc set of The Beatles greatest hits including some choice album tracks that the four of them must have liked. Girl, for example, probably wouldn’t have made another person’s greatest hits (It does for me though). Girl, of course, is a great example that the Beatles weren’t afraid of using album cuts on this greatest hits package (Michelle, Lucy in the Sky With Diamonds, A Day in the Life, While My Guitar Gently Weeps, etc). So where’s Here There and Everywhere or Tomorrow Never Knows? You only have the single from Revolver? What’s wrong with you guys? Anyway, despite the omissions, The two double album sets are a very good snapshot of the best of the Beatles career.

    Capitol Record’s Desperation Beatles Compilations

    With the Beatles having broken up years ago, there wasn’t any new product on the horizon. Sure, all the Beatles were selling records as solo artists; McCartney was even among those that was a major player in what was the known as the Superstar Era, but it wasn’t the same thing. On top of that, this was a period where people were asking when were the Beatles going to get back together. Sometimes, the ex-Beatles, who by now were on reasonably good terms, would be coy as if to say it was possible. This would make Capitol desperate enough to market a Canadian band named Klaatu with a rumor that they were the Beatles incognito (They weren’t of course). So, on the backdrop of all that, some whiz kid at Capitol had the brainstorm of releasing old Beatle material and they could make a killing. And Capitol did make some money, especially with the first repackaging, but in the end analysis, fans in the seventies preferred buying the new Wings record rather than buy Beatles songs that were a decade old. So what did Capitol come up with? Well. Let’s see.

    Rock and Roll Music (1976):



    This cash in was a combination of early Beatles covers and selected originals. Done in chronological fashion, they managed to skip most of the mid period save Got To Get You Into My Life, the hit single from the album. I guess Capitol was a little disappointed when the song merely made the top ten. Helter Skleter didn’t even fare that well.

    Love Songs (1977):



    Not content with one foray into the Beatles archives, Capitol put together another two album set and dubbed it Love Songs. They’re obviously struggling to get enough Lennon songs on this thematic brainstorm as McCartney was the primary love song writer. I guess Yer Blues was out.

    Rarities (1980):



    There really isn’t very much rare about this album as these are merely British recordings of different takes such as I’m Only Sleeping for example. There is an extra two bars at the end of And I Love Her, about as rare as this album gets. Beatles fans like me were suckered into buying this anyway.

    Reel Music (1982):



    And to top it all off, Capitol released this collection of songs that were used in their movies. Yes, all five films are covered here but where is Hello Goodbye? Where is Nowhere Man or Lucy in the Sky With Diamonds (used in Yellow Submarine)? What about Hey Bulldog? This album made Capitol rich beyond its wildest dreams by peaking all the way to number 19 on the album charts. They were so excited they forgot to release the next Beatles desperation package, The Beatles Sing Sinatra Covers.

    So, yes, if you’re a die hard Beatle fan, these were fairly wasted releases because, with the exception of some of Rarities maybe, you could pretty much get the same cuts on the nine hundred Beatle albums already in your collection. I think, by 1982, Capitol and Parlophone had to live with the fact that the Beatles would never get together again, especially with John Lennon no longer with us.

    But the three survivors would get together again over a decade later and they would release a six disc set of real Beatles outtakes and live performances plus they would record over two Lennon demos to make it sound like a Beatles reunion, but you’ll have to wait until the next installment for my thoughts on the three part package. Until then, well, I’ll think of something clever to write one day
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  4. #44
    Very interesting. Funny thing: Today, I was listening to the classic rock station in the car, and, "Revolution," came on. I turned the radio off. The song just irritated me, although it used to be one of my favorites. I don't know why it irritated me, but... there it is.

  5. #45
    THE BEATLES ANTHOLOGY SERIES



    There is still some history to discuss in the eighties in particular. The Beatles, in no big surprise, we’re inducted into the fledgling Rock n Roll Hall of Fame. What was a bit shocking though, was that while Harrison, Starr, and even Yoko Ono appeared to accept the induction, McCartney was nowhere to be found. It seems that there were still some business issues that we’re keeping the now Fab Three and Yoko apart. Things would change in the nineties though as business tangles finally were settled and the surviving Beatles could actually be friends again. McCartney would even be the one to induct the late John Lennon into the Hall of Fame in 1994 with Yoko’s blessing. On the backdrop of this was the surviving Beatles’ determination to set the story straight in their own words, using archives from old Lennon interviews to air his side of the story. They did this lovingly and Yoko equally lovingly gave the Threetles, as they would be affectionately referred, three demo tapes of Lennon’s that they could record over. Two of these songs would be released as part of a three volume set of Beatles alternate takes, rehearsals, and some live performances. Here then, are the reviews of these extraordinary sets. I won’t be dissecting these track by track except for the two new songs and maybe a couple significant moments.



    Beatles Anthology 1: This two disc set covers the Beatles from the days of the Quarrymen to the recording of Beatles For Sale. It’s a fascinating look into their early history dating back to an amateur recording they made in 1958. The discs also cover recordings from 1960, a few songs with Tony Sheridan in Germany, some of the Decca auditions, and various outtakes of early era Beatles. Plus some rather interesting TV appearances and concerts. Among the tracks I’m not reviewing individually here, I’m especially partial to the Morecambre and Wise appearance as well as alternate takes of Can’t Buy Me Love, And I Love Her, and Eight Days a Week. Overall, this is a wonderful glimpse into how the Beatles became, well, the Beatles. Personal note: I was one of those in line when the discs came out at midnight. The anticipation was unparalleled as it was like buying the Beatles’ new album all over again. Needless to say, it was all worth it.

    Now for a few tracks.

    Free as a Bird: As part of the new goodwill between the surviving Beatles and Lennon’s widow, Yoko supplied the three with demo recordings of Lennon’s that they could use for their Anthology series. Free as a Bird is the best of those demos. Lennon’s demo in of itself doesn’t sound like anything particularly special but the other Beatles do great justice to it. McCartney and Harrison wrote the two middle eights and Ringo adds his drums (not to mention Harrison’s slide guitar and of course, McCartney’s signature bass lines). If the Beatles had been able to reunite for real (obviously Lennon’s death made that impossible), this would have been a great way to kick the reunion off.

    You Know What To Do: One of two tracks off of the Beatles For Sale sessions that went unreleased. This was a Harrison composition and you can see why it wasn’t used on the album. It’s not his worst song to be honest and Beatles For Sale was not the Beatles’ best album. So no, this certainly wouldn’t have been a Beatles classic in any stretch of the imagination but, come on, it has to be better than Mr. Moonlight.

    Leave My Kitten Alone: And this searing cover of the Little Willie John classic definitely is better than Mr. Moonlight or over half the songs on Sale for that matter. Lennon has great chops on this one and the rhythm is similar to something you might have heard on the Help! soundtrack. This could have been one of the Beatles best covers along with Twist and Shout and Roll Over Beethoven. So why did they leave this in mothballs for thirty years? I mean, I love Carl Perkins but this song has to blow Everybody’s Trying To Be My Baby out of the water. Tsk, tsk, boys.
    Okay that’s part one, so now on to part two.



    Beatles Anthology 2: This set covers the Beatles’ mid period from the Help! sessions in 1965 to the Lady Madonna recordings in 1968. In between are some interesting alternate takes from Rubber Soul, Revolver, Sgt. Pepper, and Magical Mystery Tour. What’s really fascinating about this set is how the Beatles have progressed as a serious band. You hear three different versions of Strawberry Fields Forever though I have to protest keeping Harrison and McCartney’s background vocals off on the first demo (You will hear it on Love). There are also some interesting versions of Norwegian Wood, I’m Only Sleeping, Tomorrow Never Knows, and A Day in the Life among others. This is my favorite set of the three volume Anthology series as it explores what is certainly the Beatles’ most creative period.

    Now for a few track reviews.

    Real Love: The other Lennon demo that was used by the Beatles. They had also worked on Now and Then but they would abandon that attempt for Anthology 3. Now Real Love had been released on the Lennon: Imagine soundtrack in 1988 and it had also started the film. I actually prefer Lennon’s demo version as there is a gentle simplicity to the song. I mean the Beatle version works, but maybe Yoko should have given them something else to work with. I think the Beatles used too much instrumentation on this.

    If You’ve Got Trouble: This was meant to be the Ringo vehicle on the Help! soundtrack, but the Beatles didn’t particularly like the song so it would be pulled for Act Naturally (not in the movie) instead. Obviously, this isn’t a great song but it wouldn’t have been the worst thing the Beatles did either, even on the Help! album. Ringo is charming as always and the melody works for him. I think it was maybe the lyrics that turned the Beatles off. In any event, it’s a good glimpse on what the Beatles were doing circa 1965.

    That Means a Lot: A McCartney track, also recorded for the Help! soundtrack and rejected. The Beatles were also dissatisfied with this track and instead, PJ Proby would score a hit in England with this. I kind of like this song. I agree maybe most if not all of the tracks in the film are a little better but certainly they could have put this on side two somewhere, couldn’t have they? Anyway, a couple tracks later, you’ll hear more Beatles live performances including a few from Blackpool Night Out and a live track from Shea Stadium. Then we get into the meat of the Beatles mid-period.

    Norwegian Wood: This version is done in a lower key and there is more sitar on this early take. This could have worked on Rubber Soul as easily as the final product. I also notice that Harrison sounds already fairly adept at what is considered a rather difficult instrument to master. They probably did pick the right take for the album though.

    The Strawberry Fields Forever takes: There are actually over twenty takes on this track starting with Lennon’s tape recording when he was writing this in Spain. Anthology features Lennon’s original demo, Take 1 where they inexplicably take out the background vocals, And Take 7 and an edit piece. One day I will do a thread on this song in particular as it may be the most worked on song ever, certainly in the Beatles’ catalog. It says something of the greatness of this song, which I rate as my all time favorite. I understand why they didn’t release more takes on this collection for obvious reasons, there are other tracks to cover after all, but as much as I love these tracks, I guess I feel that it wasn’t enough.



    Beatles Anthology 3: This is the volume that gets the most criticism as these are the outtakes and unreleased tracks from the Beatles’ later years. No longer are the Beatles in an experimental mode so to speak and yet there are some great demos and alternate takes from The White Album, especially but also many of the Get Back sessions as well as a handful of cuts from Abbey Road. The whole first disc is devoted to the White Album alone, and there some early versions I quite like such as a bluesy version of Sexy Sadie as well as Happiness Is a Warm Gun. The second disc is a little more uneven to be honest as it covers mostly Let It Be/Get Back sessions but even there we have some nice demos of Teddy Boy and All Things Must Pass, tracks that would later find themselves on so albums by McCartney and Harrison respectively. This disc completes a well put together archive by the surviving Beatles and I am quite happy that they kept Lennon’s legacy alive in this especially. This really was a labor of love.

    And now for a few tracks.

    While My Guitar Gently Weeps (demo): This acoustic demo by Harrison assisted with a harmonium track by McCartney at the end is perhaps the most beautiful track on the entire Anthology series. Of course they were correct to record the final track with Clapton the way they did, but it’s a shame they couldn’t have gotten this stripped down version out a lot sooner. Here, this is haunting and actually my favorite track on all the Anthologies.

    Not Guilty: Harrison would later record this on his self titled album. This certainly would have fit in well on the White Album but it was written with barbs towards Lennon and McCartney and it is alleged they kept it off the album for that reason. Nevertheless, it is a decent track and probably would have been a better track than, say, Savoy Truffle?

    What’s the New Mary Jane: This is one of those legendary tracks you heard on Beatle bootlegs for years so it made sense that this track might see the light of day here. A silly, sort of psychedelic track really, this might have been more appropriate for the Mothers of Invention. The song, if you want to call it that, was one of those John and Yoko sessions with a little help from George. It’s pretty silly, but I do kind of like it.

    Come and Get It: I think Paul McCartney actually recorded this demo for Badfinger, who would have a very big hit with this. It doesn’t sound all that different from the Badfinger version as this too is piano based. McCartney doubles his vocals here. I can’t say which version is superior which is probably a good thing. It’s also a pretty good song which helps.


    So that wraps up the Anthology series. After this, the Beatles would truly be friends again and Ringo and Paul work together to this day. Unfortunately, soon after the Anthologies were released, George would develop cancer and would die in 2001. So, today we only have McCartney and Starr to keep up the Beatle legacy, along with help from the two widows. We can get to that though in our last chapter, coming up next as The Beatle legacy ends with grace.
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  6. #46
    AND IN THE END…




    So the Beatles had finally found closure and they could enjoy their lives apart, and occasionally, together. It would be a good thing as George Harrison would succumb from a long battle with cancer. This left Starr and McCartney, with some help from George Martin, to release a few more interesting packages and this is what this last chapter will cover.

    1 (2000)



    Released in 2000, this was essentially a greatest hits package, the only caveat being that the song had to have either been number one in the UK or in the US, thus twenty-seven songs made the cut. This album is noted more for its omissions (namely Please Please Me and Strawberry Fields Forever) in some ways but overall, well, you’ve heard the songs, it’s a fantastic compilation and it, sadly, will be the last Beatle project to involve George Harrison as he will pass away the following year.




    Let It Be Naked: (2003)


    Paul McCartney never liked how Phil Spector had mixed this particular album and this was his way of doing something about it. For the most part, Lennon’s and Harrison’s mixes are relatively untouched, but McCartney’s The Long and Winding Road in particular, is stripped down without the lush strings. It sounds nice hearing it as McCartney had intended it, but I have to admit I like Spector’s arrangement just a little better. I will say that the mixes are a bit superior to the original. You do hear a lot more instruments on these recordings. Perhaps it has more to do with the improvements in technology or maybe McCartney was right that they were adding too much instrumentation on the original. Either way, it’s a nice job.



    The Capitol Albums series ( 2004,2006)


    Not to be outdone, Capitol decided to release on CD the original American albums. Now I used to call this a desperation move by Capitol but in this case I think this was appropriate as this is how American fans would have remembered the Beatles at the time. I myself started buying American reissues as a kid without realizing the albums were totally different in England. My only complaint is that they didn’t release Yesterday and Today in the two four CD packages (that would have been album nine and the US Revolver, ten). Still a nice piece of nostalgia though



    Love: (2006)


    This would be the last (for now) project the Beatles would officially undertake. It would also be the last project the ailing George Martin would be involved in. By now he had lost much of his hearing and it would be his son, Giles, that would do most of the mixing. This was also with involvement from not only Paul and Ringo, but with Yoko Ono and Olivia Harrison, John and George’s widows respectively as well as with Cirque Du Soleil who was featuring this package in their Las Vegas show. The album itself is basically a mash up of their songs, some more obvious than others. My favorite mashups are Drive My Car/The Word/What You’re Doing, the Strawberry Fields Forever studio takes and the While My Guitar Gently Weeps demo with strings added. If this is indeed the Beatles’ swan song of sorts, it’s a great way to go.


    And that’s it for my review of the Beatles. I may explore some of the best of the Beatles as solo artists though I think I’ll likely be fairly selective, especially when we get past the seventies. But now is the time for other projects. Soon, I’ll be doing a Reviewing the Rolling Stones thread so stay tuned for that. In the meantime, All You Need is Love in an Octopus’ Garden, or something like that .
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  7. #47
    BBC radio merseyside does a 1 hour show at midnight Friday covering all aspects of the band and one thing that always gets me is the game..name the backward Beatle song...it might only be a few seconds of the song played backward but I've never found it easy to answer correctly...
    The only one who can heal you is you.




  8. #48
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    I just listened to Let It Be naked. It's deeply spiritual sounding music (minus the religion), the way it's arranged with backing vocals that sound (and feel) like angels in the studio. It actually gave me goosebumps listening to it. I've always believed the Beatles used magic when they played because what they created together is beyond what should be humanly possible. It's like all the planets were perfectly aligned or some other kind of astrological phenomenon that I might be able to specify if I knew more about astrology.

    But then the electric guitar comes in and ruins it because it's too far out front. It should be set back as another angelic voice instead of taking the spotlight away from Paul.

  9. #49
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    I listened to the entire White Album last night, straight through, just sitting on the couch, and I must say, that was one incredible album, even after 50 years. I don't think I ever listened to it through headphones before, and it was the remix from 2018, so it was much clearer than the original release. It does lack cohesion in that about half or maybe one-third of it was recorded with orchestral accompaniment and the rest with just standard band instruments as well as a Mellotron and a few effects. It might have been better to release it as two seperate albums. I may separate out the tracks and create the two albums myself one day if I have some spare time, just for the hell of it, to see how that changes the listening experience.

    Also, in Beatles news, I heard they're going to remaster and re-release the Let It Be movie. Maybe they'll show it in theaters. That would be cool, watching it with a bunch of other Beatles fans.

  10. #50
    I thought the 5th Beatle was the late Billy Preston.

    One thing never talked about now as all is lost in history and peoples knowledge becomes 'only' what others have wrote in books etc, is that John Lennon in the early 70's was regarded as a pain in the backside and a bit of a dick. This was because he was always telling others what they should do. A bit like a 70's version of Bono.......but not as bad.

    Whereas Paul Mcartney was accepted as the norm (maybe be cause of Wings?) and was even seen using public transport quite a lot around London until Lennon's murder. But people especially the media didn't like Linda.

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