seanb
Hewerya love...?

Just kind of lost my shit at Call me Maybe. You're a very very talented guitarist and that sounded bizarrely similar to Brian May's Red Special. I know it wasn't but god it took me back!

All good. Yeah I agree, summer's getting to be a drag for myself as well. I live in a remote area where I get slowed to 12mb/sec download speeds if I go over my 12GB data transfer a month. Before that it's about 112kb/sec so still insanely unstable and slow. Move in about a move though so that will all change soon but then classes start for me again. Why's your summer such a drag?

Yeah I know, march 29th is the supposed airing date of season 3. I, cant wait!

hey bud, you watching season 2 game of thrones? I think last you told me was that you were really getting into it.

gotta say. I was a tad urked when you made fun that 'Nelson Mandela was a boxer joke reference' which ended my retribution thread... Other than that ..what is up my brudda?!

It’s not that I think Sgt. Pepper is that bad, not at all. It’s a colourful expression of mind expansion and musical innovation. But the fact remains it is a collection of songs that make up a record and nothing more. And yeah you’re completely right, it is a concept album and a brilliantly executed one at that. The idea behind it is clever though as well as commercial – Paul knew this would be experimental in nature and it’s smart to deflect any negativity away from the Beatles, should there be any. I thought it was one of his smarter ideas but I know John partially objected. I think this was the beginning of strained relations, a very minor thing to begin with but it snowballed.
The cover is a complex issue to be honest because while it was meant to portray this new-found musical freedom from the Beatles’ fame and notoriety, it just became more fuel for the ‘Paul is dead’ rumour-mill. They laughed about it then but it got ridiculous levels of press and radio coverage. It’s a classic parody but ruined by the aftermath sadly. Musically I can appreciate ‘A Day in the Life’ for the sheer compositional complexity and mixing of genres – it’s a work of musical art. I’m not overly-enamoured with though as a song. Maybe I’m a little naïve and just prefer the poppier stuff, haha embarrassing but probably true
Getting Better as I’ve mentioned is a favourite, not just because of John’s contribution but yes, completely right with George’s sound. Speaking of which, the second solo of Back in the USSR! One solitary note over-strummed but could you imagine the song without it? His talent lay not in intricacy but sheer simplicity, and I think that’s why a lot of guitarists these days give his Beatle years as the inspiration behind them taking up the instrument. He showed that skill didn’t require overly complicated pieces of composition, but just having a feel for what he was playing. It’s why I respect Ringo so much for almost precisely the same reason.
I just find it hard to see where all the sheer vitriol comes from towards her. It’s not as if John was brainwashed, he loved that woman and she loved him. If anything it was nothing short of a tragedy the way they were chastened and mistreated by especially the British press (the Ballad of John and Yoko being a nice example of how THEY felt about it) but then I do blame her for the shocking treatment of Cynthia if not Julian. Cyn never deserved half of what she put up with, but Yoko did encourage John to re-establish contact with Julian so it’s hard, you know? A complicated affair. And yes, couldn’t agree more about Toronto as I’ve said before – there’s a time and a place and that wasn’t it!
Phil was a very hard to work with man from all accounts, but then with someone as volatile and snaphappy as John in tow perhaps it was a match made in heaven? I’m unsure as to how he behaved with George in the studio though. A cracking record producer though, such a shame he ruined his legacy with the Lana Clarkson murder, may she RIP. Imagine is a good documentary too, I might re-watch that when I get chance.
From what I know of that album, it was supervised intermittently by McCartney when he could (something about being on a world tour at the time, pft, any excuse!) and he seemed happy with the result but I couldn’t agree more that it’s opened the door to fairweather fans. If those people though, take the time to get the albums and then listen to them, try to find the deeper meanings and appreciate how ground-breaking they truly are then I’m all for it. I couldn’t think of a better way to get the Beatles music out there to another generation who might acknowledge just how big an impact they had.
That guitar is a beauty! I love Epiphone guitars and especially Casinos. Everyone but George had one, and I think Paul was the first to pick one up in ’65. Cracking sound and comfortable to play

I will be replying haha, don't think I won't sir! Just need to find some time, will explain more another day

Crack is wack, Sean! And thanks, now I want some fecking icecreammmmm.

Seannnnnnn. Howerya doin?

Toronto was a bit of a shambles though – musically and in the organisation. Eric was high as a kite and whilst John was dabbling in heroin at the time, I read something Yoko said that it was almost entirely nerves about performing on stage again. I mean you have to take into account that Candlestick Park in ’66 was the last time he’d performed live, and that was with three people whom he’d spend almost every waking minute with. These were musical juggernauts with whom he’d barely rehearsed, so I can understand where he/she was coming from.
I don’t really have a bad word to say about Spector and his contribution. Paul hated what he did to Let It Be, in particular the wall of sound he added to TLAWR (funny you should mention that!) reportedly writing a memo to Allen Klein that it should be changed back to the original recording and not to tamper with it again. I like the version in the film too, with Billy Prestons’ little piano piece. But I agree with you, I think he turned a bunch of ill-feeling, disparate recordings and made them into an album worth listening to. John agreed.

‘He was given the shittiest load of badly recorded shit with a lousy feeling to it ever, and he made something out of it. He did a great job.’

And Phil produced the three best Beatles’ solo albums in Plastic Ono Band, Imagine and All Things Must Pass. The guy may be a murderer but he knows how to produce a record. George Martin wanted nothing to do with it anyways, rather someone have a stab who knew what they were doing than nothing at all. Could never deny GM’s contribution to the Beatles. Paul is right when he says that he was the closest thing to a Fifth, and musically he’s present on every single album and EP. A genius at the mixing desk, and it’s nothing short of wonderful that he’s still with us today.
I’d say it’s a trip worth doing alone as you can spend some time there, see the sights and talk to the people. There’s a lot of friendly folk there and they have good memories. And memorabilia!
I think we’re both right there Sean. You can see it as two in that Rubber Soul is the end of the beginning, and then Revolver is the beginning of the end, or you can see them as three with them separate. I think you’re really onto something there. Good old Georgie! That riff is the centrepiece but again, so understated that it blends well into the overall song. Never has there been four musicians so in feel with their music, than is shown on that album.

Ah, not a Yoko fan then? I think she gets a lot more bad press than perhaps she deserves –she didn’t really break them up and yeah, she’s definitely a manipulator but then most people are when it comes down to it. See what redeems her in my eyes is that those that despise her often say she wanted the fame of the Beatles which is why she clung to John. But then how so, when in 1966 she’d never heard of them, and in the years since his death she’s remained largely out of the public spotlight, you know? It’s always perplexed me. Having said that, she isn’t a particularly warm woman and she did interfere in the later years (as did Linda, and yet she’s a saint).
I’d go for it! Paul has changed, and I think he appreciates what he has because of the legal struggles to obtain what he has. I mean he still doesn’t have all the distribution rights alongside the Lennon estate to Maclen – his own songs! So I think he has mellowed and realised that he is this global superstar and will always be. Ringo has tried to do his own thing, and apart from George I think he’s the most able to shake off the Beatles persona but Paul has always been that cute 20-something Scouser with a Hofner Bass, and I reckon he’ll always be to be honest.
Love the **** Cavett interview haha, that was George at his most impish.
I think the problem with John is he needed a cause. His music is basically sedentary when he doesn’t have a reason to scream, and tear the walls down. Double Fantasy is a classic example of that – it’s a sweet album and there’s a couple of genuinely brilliant songs on there like Watching the Wheels, and Beautiful Boy but it just feels.. lame. Emotionally saccharin. It’s not what he should have produced, but then he was more at peace than he’d ever been, do you see what I mean? Whereas George needed to be calm to produce his magic – and I’ve never seen or heard anyone produce that kind of majesty with a slide guitar since. Marwa Blues – need I say more? I know what you mean with strumming style too, it’s very understated like himself really – it’s personality through performance and my goodness he got that down to a fine art.
I could never explain John but then I don’t think he could himself. He was a danger unto himself and his own worst enemy – but I think that was more misplaced passion more than anything else. When he had a goal or something to accomplish, he was at his most focussed – for instance Sgt Pepper was a response to Pet Sounds by the Beach Boys. Once that piece of art was achieved, the interest waned, the material suffered and any clip you see from 1968 onwards, he just looks bored. I always assumed he was just thinking what was left to achieve, you know?

Part two starts unequivocally with the supposedly best album they ever made. Not if you ask me, I think that it's a musical tour de force but Sgt Pepper is lacking in feeling. It's a collection of songs rather than an album. And considering it was supposed to tell a story, why is there only two songs that actually refer to this new creation on the whole album? But I do like it, I can't lie. Good Morning Good Morning, It's Getting Better and For the Benefit of Mr Kite! being my favourites.
Although it was only an EP I usually add Magical Mystery Tour in. The tv show may have bombed (only because it was shot entirely in colour and the wise old folks at the BBC decided to broadcast it in black and white) but I think it's a wonderfully jazzy piece, a good segue to Sgt Pepper. This was clearly a drug inspired album but, then so was Sgt Pepper, and I don't think the songs suffered as a result. The title track, Your Mother Should Know, The Fool On The Hill and Strawberry Fields Forever on here.
Then there's the White Album. Alright - it's essentially four solo albums in one but that doesn't detract from some killer tunes that we've already discussed. Back in the U.S.S.R., Dear Prudence, I'm So Tired, Martha My Dear.. Oh and Don't Pass Me By. Love that song. Despise Blackbird, not really sure why.
Yellow Submarine is basically we're all on LSD, let's make an soundtrack. But then it did give birth to Hey Bulldog with one of the catchiest bass riffs in pop history, It's All Too Much, showing that not everything George wrote in this period had to have Indian leanings, All Together Now which I sing nigh daily and another classic in Only A Northern Song.
It's a shame Abbey Road didn't come out before Let It Be considering it was recorded after, and at least showed that the disharmony was set aside to make one last great album. It would have shown that the sadness and bitterness seen in 1969 was ignored for just a short time, to make a final collaborative happy effort. I love Because, Here Comes The Sun (obviously), Come Together and Something. And like John, I dislike the medley.
And then there's Let It Be. The hardest album to listen to simply because of the apparent discord amongst the four. Yet there's some beautiful tracks on there, Two of Us, The Long and Winding Road as notable examples..

I've said too much.

Now here's a question. I see two Beatles periods - 1962-66, 1967-70. Like yourself I appreciate them in different ways. The early period has some of the catchiest and lyrically sweet songs you'll ever hear, and towards the end of that more lyrically diverse and eye-catching songs.
Please Please Me is a work of art. Ten hours, ten new songs to go with the four already released, three three-hour sessions, all in one day. I doubt that's ever been repeated in the history of pop music and certainly if it has, it wasn't as successful. Love There's A Place and the cover of Anna (Go To Him) on there.
Then With The Beatles has Don't Bother Me which George himself thought was 'a bit crap' but I think is a catchy tuneful piece of work with a steady flow. Their cover of Please Mister Postman is the best by a country mile if you ask me, and Roll Over Beethoven sung Scouse is a marvel.
There's not a song I don't like on A Hard Day's Night. If I Fell has a ridiculously intricate three part harmony for the time, I'm Happy Just to Dance With You if played slightly faster is like honey to the ears and then I'll Cry Instead was the first sign of the more emotional Lennon but still so dancey at the same time.
I reckon Beatles for Sale is the first sign of the increasing complexity of their music, and more the type of songs they'd always wanted to produce but never had the confidence to. I love I Don't Wanna Spoil the Party, Baby's in Black and I'll Follow the Sun off that album, mainly because they're still upbeat yet a touch more melancholic that the previous albums. And I'll Follow the Sun was particularly poignant for me, considering that's literally what I did!
Help! was simply that - a cry for help from Lennon. I love that he called it his 'fat Elvis' stage. As far as the album is concerned it's the most easy to sing along to I think, and I don't think the film was anywhere as bad as people made out. I think it's very easy on the eye, and A Hard Day's Night is classic so it wasn't going to live up to that billing. I mean if AHDN is 10/10 then Help is like, 8.5? Songwise, just the whole first side of that album is top notch. Give me Help! to Ticket to Ride in that order and I'll be a happy man.
Rubber Soul is probably my favourite album, tied or slightly ahead of Revolver. I think that the end of 1965-66 was their most creative period, before the psychedelia and mind expansion, before they said goodbye to the soft pop they'd become famous for. Their mid session. I could wax lyrical about probably every song on there but I won't, suffice to say I love If I Needed Someone, Nowhere Man and Norwegian Wood (This Bird Has Flown).
Revolver is basically part two to Rubber Soul, and the Beatles never looked back. If Rubber Soul was folky, then this was rocky. Tomorrow Never Knows was the beginning of the end for the clean cut band, but it's a hell of an ending and probably my most listened to track if I'm honest.

Bungalow Bill is an odd one for sure, I mean it seems quite jocular and light hearted but there's a much deeper meaning behind those lyrics. You have too much to say, I'm hoping there isn't a character limit cause I'm likely to break it just replying Sean!

I'm glad, it's a cracking little set and everyone they interviewed had a great appreciation and better understanding of George that most could. Even Paul, whom he'd probably been less close to than anyone else throughout the 70's to 90's could only heap praise upon him. I think Paul has changed considerably over the last 15 years. It's less about his ego and his ability - he's really started to recognise the impact the others had, and not just John.

"I always say the Beatles is like four sides of a square. Without any side, the square collapses. And we were very much four elements that had to be in that group."

Bangladesh is, and was a world changing event. It opened the eyes of the world to use wealth responsibly, and distribute it a bit more evenly. George would always receive criticism and claims of hypocrisy about it for not practising what he preached but I think that's grossly unfair. Name me any man that worked harder that gave up ALL his wealth and I'd call that man a liar. As far as John vs. George it's always a tough one. I go for George because of the personal impact he's had for me, and the fact I can listen to his music for what it is, rather than having to seek some deeper meaning. This was a man who never wanted fame, but was comfortable in his own bubble within that fame. He never courted the press, but was happy enough to deal with them if it benefited others. Intensely private but an extrovert with a guitar - a real enigma.

As far as John is concerned I find him so complex, years of psychology couldn't scratch the surface. A remarkably kind yet violent at the drop of a hat kind of character. A tortured genius? He'd probably tell whoever said that to stop talking bollocks, but a flawed genius sounds about right. He'd never claim he was perfect but he wrote some outstanding compositions, and although his output dropped marginally when he wasn't competing with Paul so much, some of his solo work stands aside anything the Beatles ever did. I think that's why I like George more, because not only of the reasons I listed but because as a solo artist he accomplished far more than the other ex-Beatles. He stood out, and he had the confidence to. He didn't need the help of the Beatles breakup like Paul did in April '70 to launch his solo career. He didn't need to escape to Toronto and then NY, with the Plastic Ono Band like John did. He didn't need three quarters of his album written for him like Ringo did. With a little help from Phil Spector, All Things Must Pass became a seminal album and all his own work. It's a masterpiece of musical creativity and groundbreaking really, you listen to that and you could scarcely believe that Wah-Wah was written in 1969, that the titular song was written in 1968.. I could go on but I should stop!

The slideshow is a nice piece of work and I love that song!

I saw most of the landmarks in Liverpool when I lived back home, and I had a photo of me leaning on Lennon, aha. I can't seem to find it anywhere though, but I'm going to go to Strawberry Fields in NY to pay my respects one day. I always considered going to the Dakota but I think that could be viewed as a little morbid considering. Can't wait to see the guitar!

Sean, I'm not going to lie. When I came back onto TFF I was tossing up between making my profile entirely about the Beatles, George Harrison or Ron. I chose Ron simply because more people would get it and it's a decision I regret immensely. I would say it's a borderline obsession for myself - I have to listen to at least one album a day, at the moment it's been the White Album simply because I'm getting a real kick out of Martha My Dear and I'm So Tired. But if it's not them it's Georgie - god bless his soul. The man was a tremendous innovator, a style icon and a songwriter on par with anything the Lennon-McCartney partnership ever produced. Have you seen Living in the Material World yet by any chance? If you haven't make it an essential purchase.