Tell Me :
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Don't know why you feel the need to bash the Stones while we all enthusiastically applaud the Beatles approach. It isn't a zero sum game by a long shot.
The 'mini tours' you deride have been fantastic and much loved and highly lauded. The 'deluxe' albums for the most part have been well received and enjoyed. The Blues album was a critical and sales success. Even a few singles along the way from a band that doesn't seem to be working well in the studio, though they have been trying.
So what do you want...they're 80.
Living 'glass half empty' one's whole life must be incredibly defeating.
I'm thankful for being so uninterested in the Beatles. I would not spend time on a Beatles site to trash them. You practically live on this site, and it's become your life purpose to troll the Stones. I couldn't stand the monotony that you have proved yourself to be.What a life, eh.
well this is what you said:
Meanwhile, the Stones are milking it every step of the way with "deluxe" reissues while they spurt along on their mini-tours, and can't even deliver a single album of originals they've been yapping about for many years now.
Sounds like 'bashing' to me. "Milking it with deluxe reissues"? If you don't like it, don't buy it. "Spurt along on mini tours"? I don't even understand what that's about. They're on tour, and doing a fantastic job. Do they need to do 25 dates to satisfy you?
The album of originals is a sore spot with everyone...for me more so because they keep freaking talking about it. Just say, "no, we're done, no plans for a new album".
I'm ok with that, and I'll get over the disappointment.
I recall back in the late '70s/early '80's, Let it Be was played repeatedly on the then fairly new cable channels in the US ( HBO, The Z Channel, along with several others).
I must of seen it a dozen times or so, and also never thought it being the complete doom and gloom that it eventually was made out to be. Flash forward a couple of decades, and I bought a bootleg vhs tape of it.
Had the same impression - there were a few minor squabbles (George whining to Paul about a solo, etc.), but not the unfolding of the breakup of the Beatles that legend made it out to be. It was basically a historical documentation of the greatest band ever working away in the studio, and capping it all off with a highly successful (albeit short) live performance that showed why they were always considered #1. Masterful songwriting,
and a dazzling live performance always left me wondering what if...or what could have been. Had they been able to set aside their differences, they would have surely continued to blaze trails and be #1 for decades to come.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Lots of good stuff within this release...it's an endless gold mine of treasures!
> THE BEATLES GET BACK - 5 EMMY NOMINATIONS
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Yeah, seems a missed opportunity by the Stones, but then again they probably don't have much vintage footage of them during the creative process, at least not to the extent the Beatles have.
It might be interesting to see a documentary of the supposed new album process they've been toiling away at, and since it's been a never ending process years in the making, they could add new chapters to it every year.
Summary: In the beginning, hitting a wall, detour, Blue and Lonesome, back to the drawing board, sounds good, maybe next year, nothing to report, coming along nicely, don't hold your breath....stay tuned...
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Because Blue & Lonesome was more or less a 'coincidence' - actually they intended to record new own material but then hit a wall. So they played some Blues-cover-tracks and as a result Blue & Lonesome was born. It was very spontaneous: "Let's do another one and another one" - they just called songs off that they knew & loved and by the end of the day they had 6 tracks. In total 12 tracks were recorded over 3 days at London's British Grove Studios - [www.BBC.com] , [iorr.org] .
That one tune alone could provide enough material for a lengthy documentary including the inspiration, the writing, the recording,
the effects, etc., but happily there's plenty of written material that covers it such as this lengthy analysis from the Beatles Bible:
Tomorrow Never Knows
Beatles
Written by: Lennon-McCartney
Recorded: 6, 7, 22 April 1966
Producer: George Martin
Engineer: Geoff Emerick
Released: 5 August 1966 (UK), 8 August 1966 (US)
Personnel:
John Lennon: vocals, organ, tape loops
Paul McCartney: lead guitar, bass guitar, tape loops
George Harrison: guitar, sitar, tambura, tape loops
Ringo Starr: drums, tambourine, tape loops
George Martin: piano
‘Tomorrow Never Knows’, the monumental closing track on Revolver, was also the first song to be recorded for the album.
While the title, like ‘A Hard Day’s Night’, was a Ringoism particularly liked by John Lennon, the lyrics were largely taken from The Psychedelic Experience, a 1964 book written by Harvard psychologists Timothy Leary, Ralph Metzner, and Richard Alpert, which contained an adaptation of the ancient Tibetan Book of the Dead. Lennon discovered The Psychedelic Experience at the Indica bookshop, co-owned by Barry Miles. On 1 April 1966 Lennon and Paul McCartney visited the bookshop.
"John wanted a book by what sounded like ‘Nitz Ga’. It took Miles a few minutes to realise that he was looking for the German philosopher Nietzsche, long enough for John to become convinced that he was being ridiculed. He launched into an attack on intellectuals and university students and was only mollified when Paul told him that he had not understood what John was asking for either, and that Miles was not a university graduate but had been to art college, just like him. Immediately friendly again, John talked about Allen Ginsberg and the Beats, laughing about his school magazine the Daily Howl: ‘Tell Ginsberg I did it first!’ Miles found him a copy of The Portable Nietzsche and John began to scan the shelves. His eyes soon alighted upon a copy of The Psychedelic Experience, Dr Timothy Leary’s psychedelic version of the Tibetan Book of the Dead. John was delighted and settled down on the settee with the book. Right away, on page 14 in Leary’s introduction, he read, ‘Whenever in doubt, turn off your mind, relax, float downstream.’ He had found the first line of ‘Tomorrow Never Knows’, one of the Beatles’ most innovative songs". - Many Years From Now, Barry Miles
The full title of the book was The Psychedelic Experience: A Manual Based On The Tibetan Book Of The Dead. It was intended as a guidebook for those seeking spiritual enlightenment through the use of psychedelic drugs.
"The final track on Revolver, ‘Tomorrow Never Knows’, was definitely John’s. Round about this time people were starting to experiment with drugs, including LSD. John had got hold of Timothy Leary’s adaptation of The Tibetan Book of the Dead, which is a pretty interesting book. For the first time we got the idea that, as with ancient Egyptian practice, when you die you lie in state for a few days, and then some of your handmaidens come and prepare you for a huge voyage. Rather than the British version, in which you just pop your clogs. With LSD, this theme was all the more interesting". - Paul McCartney, Anthology
According to the notorious biographer Albert Goldman, Lennon recorded himself reading the book’s paraphrase of the Tibetan Book of the Dead into a tape recorder. He played back the passage as the drug took hold, and was so enthralled by the result that he resolved to capture the LSD experience in song.
"I remember John coming to Brian Epstein’s house at 24 Chapel Street, in Belgravia. We got back together after a break, and we were there for a meeting. George Martin was there so it may have been to show George some new songs or talk about the new album. John got his guitar out and started doing ‘Tomorrow Never Knows’ and it was all on one chord. This was because of our interest in Indian music. We would be sitting around and at the end of an Indian album we’d go, ‘Did anyone realise they didn’t change chords?’ It would be like ‘Shit, it was all in E! Wow, man, that is pretty far out.’ So we began to sponge up a few of these nice ideas. This is one thing I always gave George Martin great credit for. He was a slightly older man and we were pretty far out, but he didn’t flinch at all when John played it to him, he just said, ‘Hmmm, I see, yes. Hmm hmm.’ He could have said, ‘Bloody hell, it’s terrible!’ I think George was always intrigued to see what direction we’d gone in, probably in his mind thinking, How can I make this into a record? But by that point he was starting to trust that we must know vaguely what we were doing, but the material was really outside of his realm". Paul McCartney, Many Years From Now, Barry Miles
The idea of basing a song on a single chord was something The Beatles had attempted with ‘The Word’, and was a direct result of their growing interest in Indian music. Indian music doesn’t modulate; it just stays. You pick what key you’re in, and it stays in that key. I think ‘Tomorrow Never Knows’ was the first one that stayed there; the whole song was on one chord. But there is a chord that is superimposed on top that does change: if it was in C, it changes down to B flat. That was like an overdub, but the basic sound all hangs on the one drone" - George Harrison. Anthology
Although it was initially known as ‘The Void’, Lennon knew that this would be too far out for the majority of The Beatles’ 1966 fans, and settled instead on a phrase coined by Ringo Starr. The Beatles’ drummer had first said “tomorrow never knows” in public on 22 February 1964, during a BBC television interview at London Airport on the band’s return from conquering America.
"That’s me in my Tibetan Book of the Dead period. I took one of Ringo’s malapropisms as the title, to sort of take the edge off the heavy philosophical lyrics". - John Lennon, All We Are Saying, David Sheff
George Harrison later questioned whether Lennon fully understood the true meaning of the song’s lyrics.
"You can hear (and I am sure most Beatles fans have) ‘Tomorrow Never Knows’ a lot and not know really what it is about. Basically it is saying what meditation is all about. The goal of meditation is to go beyond (that is, transcend) waking, sleeping and dreaming. So the song starts out by saying, ‘Turn off your mind, relax and float downstream, it is not dying.’ Then it says, ‘Lay down all thoughts, surrender to the void – it is shining. That you may see the meaning of within – it is being.’ From birth to death all we ever do is think: we have one thought, we have another thought, another thought, another thought. Even when you are asleep you are having dreams, so there is never a time from birth to death when the mind isn’t always active with thoughts. But you can turn off your mind, and go to the part which Maharishi described as: ‘Where was your last thought before you thought it?’ The whole point is that we are the song. The self is coming from a state of pure awareness, from the state of being. All the rest that comes about in the outward manifestation of the physical world (including all the fluctuations which end up as thoughts and actions) is just clutter. The true nature of each soul is pure consciousness. So the song is really about transcending and about the quality of the transcendent. I am not too sure if John actually fully understood what he was saying. He knew he was onto something when he saw those words and turned them into a song. But to have experienced what the lyrics in that song are actually about? I don’t know if he fully understood it". - George Harrison, Anthology
In the studio
‘Tomorrow Never Knows’ was a remarkable and innovative recording for a variety of reasons. Firstly there was Ringo Starr’s thunderous drum pattern. The tom toms skins on his kit were slackened, and the recording was heavily compressed and echoed to give perhaps the most remarkable drum sound on any Beatles song. The drums are the main constant in ‘Tomorrow Never Knows’, a perfect counterpoint to the musical anarchy that envelopes the rest of the song. Paul McCartney’s bass guitar closely matched Starr’s drums, enhancing the song’s hypnotic effect.
"I moved the bass drum microphone much closer to the drum than had been done before. There’s an early picture of The Beatles wearing a woollen jumper with four necks. I stuffed that inside the drum to deaden the sound. Then we put the sound through Fairchild 660 valve limiters and compressors. It became the sound of Revolver and Pepper really. Drums had never been heard like that before.” - Geoff Emerick, The Complete Beatles Recording Sessions, Mark Lewisohn
Then there were the tape loops. McCartney had discovered that by removing the erase head on his reel-to-reel tape machine, he could saturate a recording with sound.
"People tend to credit John with the backwards recordings, the loops and the weird sound effects, but the tape loops were my thing. The only thing I ever used them on was ‘Tomorrow Never Knows’. It was nice for this to leak into the Beatle stuff as it did. We ran the loops and then we ran the track of ‘Tomorrow Never Knows’ and we played the faders, and just before you could tell it was a loop, before it began to repeat a lot, I’d pull in one of the other faders, and so, using the other people, ‘You pull that in there,’ ‘You pull that in,’ we did a half random, half orchestrated playing of the things and recorded that to a track on the actual master tape, so that if we got a good one, that would be the solo. We played it through a few times and changed some of the tapes till we got what we thought was a real good one. I think it is a great solo. I always think of seagulls when I hear it. I used to get a lot of seagulls in my loops; a speeded-up shout, hah ha, goes squawk squawk. And I always get pictures of seasides, of Torquay, the Torbay Inn, fishing boats and puffins and deep purple mountains. Those were the slowed-down ones". - Paul McCartney, Many Years From Now, Barry Miles
There were six loops used on ‘Tomorrow Never Knows’: a seagull noise, actually a distorted recording of McCartney laughing; an orchestra playing a B flat chord; notes played on a Mellotron’s flute setting; a second Mellotron on its violin setting; a finger rubbing the rim of a wine glass, heard midway through the song only in the stereo mix; and a distorted sitar which is most clearly heard in the instrumental break following the lines “It is being, it is being”.
"I had my own little set-up to record them. As George says, we were ‘drinking a lot of tea’ in those days, and on all my tapes you can hear, ‘Oh, I hope I’ve switched it on.’ I’d get so deranged from strong tea. I’d sit there for hours making those noises". - Ringo Starr, Anthology
It has been claimed that The Beatles also used part of McCartney’s guitar solo for ‘Taxman’, reversed and slowed down a tone, in the instrumental break. However, the two parts are different and were likely recorded on different dates. The final remarkable innovation in ‘Tomorrow Never Knows’ was John Lennon’s voice. For the first half of the song it was manually double tracked (not, as has been reported elsewhere, treated with artificial double tracking or ADT). For the second half, meanwhile, the Abbey Road engineers ran Lennon’s voice through a revolving Leslie speaker, more commonly found inside Hammond organs. It can be heard from the line ‘Love is all and love is everyone’.
"For ‘Tomorrow Never Knows’ he said to me he wanted his voice to sound like the Dalai Lama chanting from a hilltop, and I said, ‘It’s a bit expensive, going to Tibet. Can we make do with it here?’ I knew perfectly well that ordinary echo or reverb wouldn’t work, because it would just put a very distant voice on. We needed to have something a bit weird and metallic… A Leslie speaker is a rotating speaker, a Hammond console, and the speed at which it rotates can be varied according to a knob on the control. By putting his voice through that and then recoding it again, you got a kind of intermittent vibrato effect, which is what we hear on ‘Tomorrow Never Knows’. I don’t think anyone had done that before. It was quite a revolutionary track for Revolver". - George Martin, Anthology
Geoff Emerick later explained the response among those in the studio:
" It meant actually breaking into the circuitry. I remember the surprise on our faces when the voice came out of the speaker. It was just one of sheer amazement. After that they wanted everything shoved through the Leslie: pianos, guitars, drums, vocals, you name it"! - Geoff Emerick, The Complete Beatles Recording Sessions, Mark Lewisohn
Despite the groundbreaking results, Lennon later claimed to have been dissatisfied with the recording.
"Often the backing I think of early on never comes off. With ‘Tomorrow Never Knows’ I’d imagined in my head that in the background you would hear thousands of monks chanting. That was impractical of course and we did something different. I should have tried to get near my original idea, the monks singing. I realise now that was what it needed". - John Lennon, The Beatles, Hunter Davies
Recording began on 6 April 1966, the first session for Revolver. On that day The Beatles recorded just three takes of the rhythm track for ‘Tomorrow Never Knows’, under the working title ‘Mark I’, along with one of John Lennon’s vocal takes. Take one, which appeared on Anthology 2, still sounds utterly remarkable. The basis of the recording appears to be a single tape loop, featuring a repeated distorted guitar line, and heavily echoed and treated percussive sounds – giving a distinctly underwater effect. Onto this drums and bass were seemingly added, along with Lennon’s eerie vocals.
Take two was incomplete, but take three formed the basis of the released album version. Onto this they added the many effects and loops, during a five-hour session on 7 April.
"We did a live mix of all the loops. All over the studios we had people spooling them onto machines with pencils while Geoff did the balancing. There were many other hands controlling the panning. It is the one track, of all the songs The Beatles did, that could never be reproduced: it would be impossible to go back now and mix exactly the same thing: the ‘happening’ of the tape loops, inserted as we all swung off the levers on the faders willy-nilly, was a random event". - George Martin
‘Tomorrow Never Knows’ was completed on 22 April, with a final overdub containing more vocals, organ, tambourine and piano, and the reversed guitar solo by Paul McCartney.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
I always admired Lemmy's outspokenness and blunt honesty - similar to John Lydon (aka Johnny Rotten), but he was much more sincere.
He was one of a kind, and is dearly missed.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
The stones were Sh*t onstage? What a laugh.
I didn't say that, and obviously don't agree with it, so not sure why you're quoting and replying to me?
I simply mentioned admiring his outspokenness and being honest with himself, and being unafraid of what anyone else thinks of his opinions.
He wasn't an act in the same way John Lydon is - he was the real deal. Like it or not.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Edited 1 time(s). Last edit at 2022-07-25 06:30 by Hairball.
Talk about your favorite band.
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Re: Beatles vs Stones - and other Beatles stuff
Posted by:
treaclefingers
()
Date: July 16, 2022 17:02
Quote
HairballQuote
TheGreekMighty thanks for postingQuote
Hairball
From Best Classic Bands:
The Beatles’ ‘Get Back’ Arrives on Blu-ray: Lots of Music, Even More Surprises
by Jeff Burger
GET BACK
I wish the Stones would do something that's a fraction as cool and comprehensive as this release, but then again the Beatles led the way with the Anthology series back in the '90's.
Meanwhile, the Stones are milking it every step of the way with "deluxe" reissues while they spurt along on their mini-tours, and can't even deliver a single album of originals they've been yapping about for many years now.
Don't know why you feel the need to bash the Stones while we all enthusiastically applaud the Beatles approach. It isn't a zero sum game by a long shot.
The 'mini tours' you deride have been fantastic and much loved and highly lauded. The 'deluxe' albums for the most part have been well received and enjoyed. The Blues album was a critical and sales success. Even a few singles along the way from a band that doesn't seem to be working well in the studio, though they have been trying.
So what do you want...they're 80.
Living 'glass half empty' one's whole life must be incredibly defeating.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: July 16, 2022 20:53
Not bashing, just stating some facts, and this is the Beatles vs. Stones thread after all.
Thinking about how much other artists like Bob Dylan, Neil Young, and the like accomplish this late in the game, and it's inspiring to see them do so. Even the Beatles who know longer exist are still blazing trails.
Dylans just announced a 25 date tour for Europe, and has just completed a 50+ date tour of the US. Certainly no mini-tour and he's 81 years old!
As for the Stones mini-tours, I'm not deriding them - I've enjoyed six shows since 2019, and always have a fun time. And yes some of the "deluxe" material has been a welcome addition (even though they slowly milk it all).
The unofficial Fully Finished Outtakes is probably the best thing from them in years, and it might be nice to some day have an actual new album from them - but as Mick said last year "don't hold your breath". I'm not.
So yeah, the glass is not "half empty" regarding the Stones, but it's certainly not "half full: either. It's sort of lingering in the murkiness at the half way point...
That all being said, there's more to life than just being a fan of the Stones, and thankfully so...
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Edited 1 time(s). Last edit at 2022-07-16 20:54 by Hairball.
Thinking about how much other artists like Bob Dylan, Neil Young, and the like accomplish this late in the game, and it's inspiring to see them do so. Even the Beatles who know longer exist are still blazing trails.
Dylans just announced a 25 date tour for Europe, and has just completed a 50+ date tour of the US. Certainly no mini-tour and he's 81 years old!
As for the Stones mini-tours, I'm not deriding them - I've enjoyed six shows since 2019, and always have a fun time. And yes some of the "deluxe" material has been a welcome addition (even though they slowly milk it all).
The unofficial Fully Finished Outtakes is probably the best thing from them in years, and it might be nice to some day have an actual new album from them - but as Mick said last year "don't hold your breath". I'm not.
So yeah, the glass is not "half empty" regarding the Stones, but it's certainly not "half full: either. It's sort of lingering in the murkiness at the half way point...
That all being said, there's more to life than just being a fan of the Stones, and thankfully so...
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Edited 1 time(s). Last edit at 2022-07-16 20:54 by Hairball.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
MKjan
()
Date: July 16, 2022 22:48
Quote
Hairball
Not bashing, just stating some facts, and this is the Beatles vs. Stones thread after all.
Thinking about how much other artists like Bob Dylan, Neil Young, and the like accomplish this late in the game, and it's inspiring to see them do so. Even the Beatles who know longer exist are still blazing trails.
Dylans just announced a 25 date tour for Europe, and has just completed a 50+ date tour of the US. Certainly no mini-tour and he's 81 years old!
As for the Stones mini-tours, I'm not deriding them - I've enjoyed six shows since 2019, and always have a fun time. And yes some of the "deluxe" material has been a welcome addition (even though they slowly milk it all).
The unofficial Fully Finished Outtakes is probably the best thing from them in years, and it might be nice to some day have an actual new album from them - but as Mick said last year "don't hold your breath". I'm not.
So yeah, the glass is not "half empty" regarding the Stones, but it's certainly not "half full: either. It's sort of lingering in the murkiness at the half way point...
That all being said, there's more to life than just being a fan of the Stones, and thankfully so...
I'm thankful for being so uninterested in the Beatles. I would not spend time on a Beatles site to trash them. You practically live on this site, and it's become your life purpose to troll the Stones. I couldn't stand the monotony that you have proved yourself to be.What a life, eh.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Rockman
()
Date: July 16, 2022 23:46
HHHHaaaaaaaaaaaaaaaaaaaaaa ..... and the BIG joke
is that poor guy doesnt think anyone can see thru all his dribble ....
ROCKMAN
is that poor guy doesnt think anyone can see thru all his dribble ....
ROCKMAN
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: July 17, 2022 01:43
Interesting article from Ultimate Classic Rock - seems Keith's songwriting prowess is deeply rooted in listening to the Beatles stating they were all big fans of the band and ‘Love Me Do’ when it was released.
Meanwhile, after seeing them in 1963, Ronnie states: "I saw the band that I wanted to be a part of, and I thought, ‘They’re doing what I want to hear, what I want to do"!
Keith Richards’ Beatles Obsession Drove Mick Jagger ‘Batty’
Beatles #1
Rolling Stones singer Mick Jagger recalled how bandmate Keith Richards drove him “batty” with his Beatles obsession in the early ‘60s. The Stones were still a blues covers band as the Fab Four began their ascendancy to fame by writing and recording original material. “We were working the clubs in London, and the Beatles just came out and had a hit, ‘Love Me Do’,” Richards said in his episode of the BBC’s four-part documentary My Life as a Rolling Stone. “And we said, ‘Oh, man, what a great record!’” He noted that "our job was to be like the premier rhythm and blues band in London, and we managed that! But we had no idea of progressing beyond that stage. We were just envious, too, man, you know? I mean, they're doing what we want. … They could make records. The holy grail was to make records, to be able to get into a studio … you’d think you were invading Fort Knox just to make a record.” Jagger agreed, adding that "the Beatles suddenly explode … but we’re a blues band. The Beatles changed this whole thing. Keith, he’d play the Beatles all the time. It would drive me absolutely batty! And why he was playing the Beatles wasn’t because he didn’t want to listen to anything else. Keith wanted to write these pop songs because we were undeniably the blues band … we knew we had to be a pop band.”
In a separate interview with Apple Music, Ronnie Wood remembered first watching the Stones perform around that time. “I saw them in 1963 at the Richmond Jazz and Blues Festival,” he said. “The extension of the blues – and the crossover from jazz into blues and rock ’n’ roll – was just at the pivotal point where I saw the band. I saw the band that I wanted to be a part of, and I thought, ‘They’re doing what I want to hear, what I want to do! Look at the presence of these guys and look at the girls!’ I said, ‘That looks like a good job,’ and it was fantastic.”
-------------------------------
Nice of the Beatles to lend a helping hand to the Stones by gifting them with I Wanna Be Your Man, and inspiring them to write their own material so they could become bigger than they were.
Maybe the Stones will be inspired again by this recent Beatles release with all of it's accolades and award nominations, and do something similar. Not holding my breath, but it's a nice thought anyways.
Beatles - blazing trails since the beginning...
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Edited 2 time(s). Last edit at 2022-07-17 01:55 by Hairball.
Meanwhile, after seeing them in 1963, Ronnie states: "I saw the band that I wanted to be a part of, and I thought, ‘They’re doing what I want to hear, what I want to do"!
Keith Richards’ Beatles Obsession Drove Mick Jagger ‘Batty’
Beatles #1
Rolling Stones singer Mick Jagger recalled how bandmate Keith Richards drove him “batty” with his Beatles obsession in the early ‘60s. The Stones were still a blues covers band as the Fab Four began their ascendancy to fame by writing and recording original material. “We were working the clubs in London, and the Beatles just came out and had a hit, ‘Love Me Do’,” Richards said in his episode of the BBC’s four-part documentary My Life as a Rolling Stone. “And we said, ‘Oh, man, what a great record!’” He noted that "our job was to be like the premier rhythm and blues band in London, and we managed that! But we had no idea of progressing beyond that stage. We were just envious, too, man, you know? I mean, they're doing what we want. … They could make records. The holy grail was to make records, to be able to get into a studio … you’d think you were invading Fort Knox just to make a record.” Jagger agreed, adding that "the Beatles suddenly explode … but we’re a blues band. The Beatles changed this whole thing. Keith, he’d play the Beatles all the time. It would drive me absolutely batty! And why he was playing the Beatles wasn’t because he didn’t want to listen to anything else. Keith wanted to write these pop songs because we were undeniably the blues band … we knew we had to be a pop band.”
In a separate interview with Apple Music, Ronnie Wood remembered first watching the Stones perform around that time. “I saw them in 1963 at the Richmond Jazz and Blues Festival,” he said. “The extension of the blues – and the crossover from jazz into blues and rock ’n’ roll – was just at the pivotal point where I saw the band. I saw the band that I wanted to be a part of, and I thought, ‘They’re doing what I want to hear, what I want to do! Look at the presence of these guys and look at the girls!’ I said, ‘That looks like a good job,’ and it was fantastic.”
-------------------------------
Nice of the Beatles to lend a helping hand to the Stones by gifting them with I Wanna Be Your Man, and inspiring them to write their own material so they could become bigger than they were.
Maybe the Stones will be inspired again by this recent Beatles release with all of it's accolades and award nominations, and do something similar. Not holding my breath, but it's a nice thought anyways.
Beatles - blazing trails since the beginning...
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Edited 2 time(s). Last edit at 2022-07-17 01:55 by Hairball.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Rockman
()
Date: July 17, 2022 02:44
Yeah they could slide off Lavatory Lil
and pump out a rockin classic called Shit-Can Jann
ROCKMAN
and pump out a rockin classic called Shit-Can Jann
ROCKMAN
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
treaclefingers
()
Date: July 17, 2022 05:05
Quote
Hairball
Not bashing, just stating some facts, and this is the Beatles vs. Stones thread after all.
well this is what you said:
Meanwhile, the Stones are milking it every step of the way with "deluxe" reissues while they spurt along on their mini-tours, and can't even deliver a single album of originals they've been yapping about for many years now.
Sounds like 'bashing' to me. "Milking it with deluxe reissues"? If you don't like it, don't buy it. "Spurt along on mini tours"? I don't even understand what that's about. They're on tour, and doing a fantastic job. Do they need to do 25 dates to satisfy you?
The album of originals is a sore spot with everyone...for me more so because they keep freaking talking about it. Just say, "no, we're done, no plans for a new album".
I'm ok with that, and I'll get over the disappointment.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: July 17, 2022 05:58
Again, not bashing - just stating some facts in a Beatles vs. Stones thread, but won't get in to a back and forth with you on that.
For the record, I'm not the first to mention the Stones milking it - seems that phrase pops up every time a new "deluxe" rehash thread comes along. As for mini-tours - Mick himself has called them "quick" or "short" tours, and they're also commonly known as mini-tours. Won't make the comparison again with Dylan as an 81 yr. old and his Never Ending tour of dozens upon dozens of shows, nor many other older bands/musicians who do far more than 14 shows at a time - it is what it is, and they are what they are - short-tours, quick-tours, or mini- tours. Nothing wrong with that, and glad the Stones are still willing and able as they spurt along from one city to the next...in short spurts...it suits them well,and ultimately they've been covering a lot of ground from one mini-tour to the next. Hope you were able to see them last year, but I seem to recall you were stuck in Canada due to the pandemic. Maybe you were able to see them in 2019? Hope so as they may never see these North American shores again. As for the thought of any new Stones album? I'm completely disappointed they still haven't released one yet after talking about it all these years, and won't pretend to feel otherwise. As a fan of the band, it's shitty to know every other band continues to release albums, while the Stones do not. But with any luck and lots of hope, maybe they still will some day - keeping the faith against all the odds...nearly 17 years and counting since ABB...
By the way, the Who are coming back to the States starting in the fall for a quick mini-tour of 14 shows of their own . Looking forward to it as I'm a huge fan of them, and it could be the last time................
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Edited 1 time(s). Last edit at 2022-07-17 05:59 by Hairball.
For the record, I'm not the first to mention the Stones milking it - seems that phrase pops up every time a new "deluxe" rehash thread comes along. As for mini-tours - Mick himself has called them "quick" or "short" tours, and they're also commonly known as mini-tours. Won't make the comparison again with Dylan as an 81 yr. old and his Never Ending tour of dozens upon dozens of shows, nor many other older bands/musicians who do far more than 14 shows at a time - it is what it is, and they are what they are - short-tours, quick-tours, or mini- tours. Nothing wrong with that, and glad the Stones are still willing and able as they spurt along from one city to the next...in short spurts...it suits them well,and ultimately they've been covering a lot of ground from one mini-tour to the next. Hope you were able to see them last year, but I seem to recall you were stuck in Canada due to the pandemic. Maybe you were able to see them in 2019? Hope so as they may never see these North American shores again. As for the thought of any new Stones album? I'm completely disappointed they still haven't released one yet after talking about it all these years, and won't pretend to feel otherwise. As a fan of the band, it's shitty to know every other band continues to release albums, while the Stones do not. But with any luck and lots of hope, maybe they still will some day - keeping the faith against all the odds...nearly 17 years and counting since ABB...
By the way, the Who are coming back to the States starting in the fall for a quick mini-tour of 14 shows of their own . Looking forward to it as I'm a huge fan of them, and it could be the last time................
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Edited 1 time(s). Last edit at 2022-07-17 05:59 by Hairball.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
MisterDDDD
()
Date: July 17, 2022 06:06
Quote
Rockman
HHHHaaaaaaaaaaaaaaaaaaaaaa ..... and the BIG joke
is that poor guy doesnt think anyone can see thru all his dribble ....
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: July 17, 2022 06:43
Quote
CaptainCorella
The original version of the movie (Let It Be) was definitely not the arguing gloom and doom that legend portrayed it to be. (Indeed that was what I thought until I got a very good copy of it in about 2006 and watched it again).
However, the original was definitely not the uplifting film about enduring friendship, mutual respect, and love that the new version has turned out to be.
Peter Jackson's version a celebration.
We should all be grateful that they gave the task to Peter Jackson. He's not know for turning out films shorter than they need to be, and even so this one is not quite long enough. :-)
(I was lucky enough to watch the limited IMAX release of the rooftop concert segment (plus a tiny bit more), and that's simply mind blowing on the biggest IMAX screen in the world!).
I recall back in the late '70s/early '80's, Let it Be was played repeatedly on the then fairly new cable channels in the US ( HBO, The Z Channel, along with several others).
I must of seen it a dozen times or so, and also never thought it being the complete doom and gloom that it eventually was made out to be. Flash forward a couple of decades, and I bought a bootleg vhs tape of it.
Had the same impression - there were a few minor squabbles (George whining to Paul about a solo, etc.), but not the unfolding of the breakup of the Beatles that legend made it out to be. It was basically a historical documentation of the greatest band ever working away in the studio, and capping it all off with a highly successful (albeit short) live performance that showed why they were always considered #1. Masterful songwriting,
and a dazzling live performance always left me wondering what if...or what could have been. Had they been able to set aside their differences, they would have surely continued to blaze trails and be #1 for decades to come.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
TheGreek
()
Date: July 18, 2022 13:50
I just about finished watching Pt 1 of Get Back . I seen George quit in such a low key manner almost in a passing thought kind of way . Paul Aka Mr. Nice Guy McCartney came across like the head school master or task master . Now having said that it in someway is not fair to him . John , George , Ringo look like they were less organized , even though George's mind was working and coming up with ideas which seemed to be somewhat dismissed by the "leaders" of the group (John & Paul ) who seemed to have there own form of communication within the group . I could clearly see George becoming increasingly frustrated as he probably felt he was not being listened to and heard , which led him to walk out and quit . This was pretty mind blowing to me in that he said this and left in such a low key non confrontational manner . Maybe it's an English thing you know sort of a stiff upper lip kind of thing . Then the next day rolls around and John , Paul, Ringo show up and are jamming away and clowning around and vamping it up and having a jolly good time . Paul I think mentioned Brian Epstein not being around to be the taskmaster or boss or something to that effect . What was surprising to me was that George Martin is largely a silent figure up to this point and Glyn Johns is more vocal in trying to make some points come across in the recording process . Maybe I don't know how the creative process works with these supergroups including the Stones . Just seems to me there is a lot of goofing off and clowning around going on in the studio when recording new music . The other thing that caught me in a weird way was I think George using a wah wah pedal which doesn't seem to fit the essence of the music they were playing . I dreaded seeing and hearing George's red Les Paul a ka "Lucy" crash and fall down from where George leaned her up against his Fender amp I think ? The camera caught this moment , but it seemed like no one cared at all .
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: July 18, 2022 21:14
Quote
TheGreek
I just about finished watching Pt 1 of Get Back . I seen George quit in such a low key manner almost in a passing thought kind of way . Paul Aka Mr. Nice Guy McCartney came across like the head school master or task master . Now having said that it in someway is not fair to him . John , George , Ringo look like they were less organized , even though George's mind was working and coming up with ideas which seemed to be somewhat dismissed by the "leaders" of the group (John & Paul ) who seemed to have there own form of communication within the group . I could clearly see George becoming increasingly frustrated as he probably felt he was not being listened to and heard , which led him to walk out and quit . This was pretty mind blowing to me in that he said this and left in such a low key non confrontational manner . Maybe it's an English thing you know sort of a stiff upper lip kind of thing . Then the next day rolls around and John , Paul, Ringo show up and are jamming away and clowning around and vamping it up and having a jolly good time . Paul I think mentioned Brian Epstein not being around to be the taskmaster or boss or something to that effect . What was surprising to me was that George Martin is largely a silent figure up to this point and Glyn Johns is more vocal in trying to make some points come across in the recording process . Maybe I don't know how the creative process works with these supergroups including the Stones . Just seems to me there is a lot of goofing off and clowning around going on in the studio when recording new music . The other thing that caught me in a weird way was I think George using a wah wah pedal which doesn't seem to fit the essence of the music they were playing . I dreaded seeing and hearing George's red Les Paul a ka "Lucy" crash and fall down from where George leaned her up against his Fender amp I think ? The camera caught this moment , but it seemed like no one cared at all .
Lots of good stuff within this release...it's an endless gold mine of treasures!
> THE BEATLES GET BACK - 5 EMMY NOMINATIONS
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
TheGreek
()
Date: July 18, 2022 21:43
Big time , as the Emmy nominations verify that as well . I have read your posts on this thread and have to agree . Can You imagine what kind of monster sales # the Stones would garner if they took a chance like this and really let us peek behind there creative curtain ? Plus how much more merch would they sell from such a plug ? Lots , as I would be snapping up everything they release , same as I do now .Quote
HairballQuote
TheGreek
I just about finished watching Pt 1 of Get Back . I seen George quit in such a low key manner almost in a passing thought kind of way . Paul Aka Mr. Nice Guy McCartney came across like the head school master or task master . Now having said that it in someway is not fair to him . John , George , Ringo look like they were less organized , even though George's mind was working and coming up with ideas which seemed to be somewhat dismissed by the "leaders" of the group (John & Paul ) who seemed to have there own form of communication within the group . I could clearly see George becoming increasingly frustrated as he probably felt he was not being listened to and heard , which led him to walk out and quit . This was pretty mind blowing to me in that he said this and left in such a low key non confrontational manner . Maybe it's an English thing you know sort of a stiff upper lip kind of thing . Then the next day rolls around and John , Paul, Ringo show up and are jamming away and clowning around and vamping it up and having a jolly good time . Paul I think mentioned Brian Epstein not being around to be the taskmaster or boss or something to that effect . What was surprising to me was that George Martin is largely a silent figure up to this point and Glyn Johns is more vocal in trying to make some points come across in the recording process . Maybe I don't know how the creative process works with these supergroups including the Stones . Just seems to me there is a lot of goofing off and clowning around going on in the studio when recording new music . The other thing that caught me in a weird way was I think George using a wah wah pedal which doesn't seem to fit the essence of the music they were playing . I dreaded seeing and hearing George's red Les Paul a ka "Lucy" crash and fall down from where George leaned her up against his Fender amp I think ? The camera caught this moment , but it seemed like no one cared at all .
Lots of good stuff within this release...it's an endless gold mine of treasures!
> THE BEATLES GET BACK - 5 EMMY NOMINATIONS
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
TheGreek
()
Date: July 18, 2022 21:50
The other thing I forgot to mention was the Fab 4 performing Chuck Berry Rock and Roll Music . They really jammed out on it and it was beyond cool showing the tour footage from 1966 showing them opening there shows with this tune and the camera cutting back and forth between Twickenham and 1966 . I know this was edited probably by Peter Jackson , but this was mind blowing good !!!!!!!!!!! They really knocked it out of the park on this one . Just goes to show how great the Beatles were (so sad to have to say it in the past tense )
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: July 18, 2022 22:08
Quote
TheGreekQuote
HairballQuote
TheGreek
I just about finished watching Pt 1 of Get Back . I seen George quit in such a low key manner almost in a passing thought kind of way . Paul Aka Mr. Nice Guy McCartney came across like the head school master or task master . Now having said that it in someway is not fair to him . John , George , Ringo look like they were less organized , even though George's mind was working and coming up with ideas which seemed to be somewhat dismissed by the "leaders" of the group (John & Paul ) who seemed to have there own form of communication within the group . I could clearly see George becoming increasingly frustrated as he probably felt he was not being listened to and heard , which led him to walk out and quit . This was pretty mind blowing to me in that he said this and left in such a low key non confrontational manner . Maybe it's an English thing you know sort of a stiff upper lip kind of thing . Then the next day rolls around and John , Paul, Ringo show up and are jamming away and clowning around and vamping it up and having a jolly good time . Paul I think mentioned Brian Epstein not being around to be the taskmaster or boss or something to that effect . What was surprising to me was that George Martin is largely a silent figure up to this point and Glyn Johns is more vocal in trying to make some points come across in the recording process . Maybe I don't know how the creative process works with these supergroups including the Stones . Just seems to me there is a lot of goofing off and clowning around going on in the studio when recording new music . The other thing that caught me in a weird way was I think George using a wah wah pedal which doesn't seem to fit the essence of the music they were playing . I dreaded seeing and hearing George's red Les Paul a ka "Lucy" crash and fall down from where George leaned her up against his Fender amp I think ? The camera caught this moment , but it seemed like no one cared at all .
Lots of good stuff within this release...it's an endless gold mine of treasures!
> THE BEATLES GET BACK - 5 EMMY NOMINATIONS
Big time , as the Emmy nominations verify that as well . I have read your posts on this thread and have to agree . Can You imagine what kind of monster sales # the Stones would garner if they took a chance like this and really let us peek behind there creative curtain ? Plus how much more merch would they sell from such a plug ? Lots , as I would be snapping up everything they release , same as I do now.
Yeah, seems a missed opportunity by the Stones, but then again they probably don't have much vintage footage of them during the creative process, at least not to the extent the Beatles have.
It might be interesting to see a documentary of the supposed new album process they've been toiling away at, and since it's been a never ending process years in the making, they could add new chapters to it every year.
Summary: In the beginning, hitting a wall, detour, Blue and Lonesome, back to the drawing board, sounds good, maybe next year, nothing to report, coming along nicely, don't hold your breath....stay tuned...
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
TheGreek
()
Date: July 19, 2022 13:16
With the tour de force that Blue and Lonesome was in the way it was a turn back the clock to the core roots / foundation / bedrock of the Blues, why not have cameras rolling in the studio and capture all of it for eternity ? Plus they had EC on slide on Everybody Knows about My Good Thing and lead on I Can't Quit You Baby . What a missed opportunity to sell us deluxe and super deluxe packages with footage included and hey maybe even have a little studio live concert recorded as well . I mean watching the Beatles tearing it up live in the studio was mind blowing for me as in there power and glory as that was pure magic . Myself being so biased towards the Stones as that was my band that I grew up with and followed to this day . That performance at Twickenham still gives me goosebumps watching, including that Killer performance of Chuck Berry Rock and Roll Music . I have the Stones to Thank for a lot of my appreciation for all things Chuck Berry , but my goodness this was truly out of this world for me ! Alas I believe the Stones like to work in the studio in the comfort of there privacy and I get and respect that as I get all creeped out when I have someone watching me over my shoulder at work which seems to be a trending thing in recent weeks . So I get wanting privacy , but so many missed opportunities to make that cash register ring a lot . Hey what do I know ? maybe the desire is just not there for the Twins ? Maybe the Twins get all of that from hitting the stage live and basking in the glory of the crowds ?Quote
HairballQuote
TheGreekQuote
HairballQuote
TheGreek
I just about finished watching Pt 1 of Get Back . I seen George quit in such a low key manner almost in a passing thought kind of way . Paul Aka Mr. Nice Guy McCartney came across like the head school master or task master . Now having said that it in someway is not fair to him . John , George , Ringo look like they were less organized , even though George's mind was working and coming up with ideas which seemed to be somewhat dismissed by the "leaders" of the group (John & Paul ) who seemed to have there own form of communication within the group . I could clearly see George becoming increasingly frustrated as he probably felt he was not being listened to and heard , which led him to walk out and quit . This was pretty mind blowing to me in that he said this and left in such a low key non confrontational manner . Maybe it's an English thing you know sort of a stiff upper lip kind of thing . Then the next day rolls around and John , Paul, Ringo show up and are jamming away and clowning around and vamping it up and having a jolly good time . Paul I think mentioned Brian Epstein not being around to be the taskmaster or boss or something to that effect . What was surprising to me was that George Martin is largely a silent figure up to this point and Glyn Johns is more vocal in trying to make some points come across in the recording process . Maybe I don't know how the creative process works with these supergroups including the Stones . Just seems to me there is a lot of goofing off and clowning around going on in the studio when recording new music . The other thing that caught me in a weird way was I think George using a wah wah pedal which doesn't seem to fit the essence of the music they were playing . I dreaded seeing and hearing George's red Les Paul a ka "Lucy" crash and fall down from where George leaned her up against his Fender amp I think ? The camera caught this moment , but it seemed like no one cared at all .
Lots of good stuff within this release...it's an endless gold mine of treasures!
> THE BEATLES GET BACK - 5 EMMY NOMINATIONS
Big time , as the Emmy nominations verify that as well . I have read your posts on this thread and have to agree . Can You imagine what kind of monster sales # the Stones would garner if they took a chance like this and really let us peek behind there creative curtain ? Plus how much more merch would they sell from such a plug ? Lots , as I would be snapping up everything they release , same as I do now.
Yeah, seems a missed opportunity by the Stones, but then again they probably don't have much vintage footage of them during the creative process, at least not to the extent the Beatles have.
It might be interesting to see a documentary of the supposed new album process they've been toiling away at, and since it's been a never ending process years in the making, they could add new chapters to it every year.
Summary: In the beginning, hitting a wall, detour, Blue and Lonesome, back to the drawing board, sounds good, maybe next year, nothing to report, coming along nicely, don't hold your breath....stay tuned...
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Irix
()
Date: July 19, 2022 16:55
Quote
TheGreek
With the tour de force that Blue and Lonesome was in the way it was a turn back the clock to the core roots / foundation / bedrock of the Blues, why not have cameras rolling in the studio and capture all of it for eternity ?
Because Blue & Lonesome was more or less a 'coincidence' - actually they intended to record new own material but then hit a wall. So they played some Blues-cover-tracks and as a result Blue & Lonesome was born. It was very spontaneous: "Let's do another one and another one" - they just called songs off that they knew & loved and by the end of the day they had 6 tracks. In total 12 tracks were recorded over 3 days at London's British Grove Studios - [www.BBC.com] , [iorr.org] .
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Boognish
()
Date: July 19, 2022 18:40
As great as Get Back was, it showed them writing and recording when they were in their back to basics laid back phase. I would kill for a similar style documentary but to witness them create their more complex music. Imagine footage like that during the Tomorrow Never Knows sessions, for example? Goddamn!
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: July 20, 2022 22:15
Looks like Paul has found himself in a win-win situation with the Emmy Awards:
Paul McCartney & The Beatles Locked In An Emmy Battle
Danville, Illinois, USA / Vermilion County First
Music News
Beatles vs. Paul
Paul McCartney and the Beatles are locked in an Emmy battle with two of their respective music documentaries up against each other for sound editing and mixing awards.
The group's critically acclaimed Disney+ series The Beatles: Get Back snagged five Emmy nominations in this year’s awards, getting signaled out Outstanding Documentary or Nonfiction Series; Outstanding Directing for a Documentary/Nonfiction Program for Peter Jackson's directorial work on the third of the three-part series; Outstanding Picture Editing for a Nonfiction Program for Jabez Olssen on Part Three; Outstanding Sound Editing for a Nonfiction or Reality Program (Single or Multi-Camera) for Martin Kwok and his crew on Part Three; and also for Part Three, Outstanding Sound Mixing for a Nonfiction or Reality Program (Single or Multi-Camera) for Michael Hedges.
McCartney 3,2,1 — “Macca's” groundbreaking Hulu series with producer Rick Rubin got nods for both Outstanding Cinematography for a Nonfiction Program for Stuart Winecoff on the “These Things Bring You Together” episode; Outstanding Sound Editing for a Nonfiction or Reality Program (Single or Multi-Camera) for Jonathan Greber and his crew for the “The People We Loved Were Loving Us!” episode; and for Outstanding Sound Mixing for a Nonfiction or Reality Program (Single or Multi-Camera) for Gary A. Rizzo and Laura Cunningham for the “These Things Bring You Together” episode.
During a chat with BBC radio, Paul McCartney spoke about Peter Jackson's Get Back movie, and admitted that he was worried the raw footage would find the “Fab Four” at their end of their tenure, angry, and exhausted with one another: “He got back to me and said, 'No — it's a laugh. It's just four guys working — and y'know, you can see you making up songs, and George (Harrison) wonderin' about the lyric to 'Something in the way she moves' — or me trying to figure out 'Get Back.' And he's shown me little bits and pieces of it and it's great — I love it, I must say, 'cause it's how it was. It just reminds me — even though we had arguments, like any family — that we loved each other, y'know, and it shows in the film. It's a very warm feeling — and it's amazing just being backstage with these people making this music that turned out to be good.”
The 2022 Emmy Awards are set to air live on September 12th at 8 p.m. ET/5 p.m. PT on on NBC. The show will also stream live on Peacock.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Paul McCartney & The Beatles Locked In An Emmy Battle
Danville, Illinois, USA / Vermilion County First
Music News
Beatles vs. Paul
Paul McCartney and the Beatles are locked in an Emmy battle with two of their respective music documentaries up against each other for sound editing and mixing awards.
The group's critically acclaimed Disney+ series The Beatles: Get Back snagged five Emmy nominations in this year’s awards, getting signaled out Outstanding Documentary or Nonfiction Series; Outstanding Directing for a Documentary/Nonfiction Program for Peter Jackson's directorial work on the third of the three-part series; Outstanding Picture Editing for a Nonfiction Program for Jabez Olssen on Part Three; Outstanding Sound Editing for a Nonfiction or Reality Program (Single or Multi-Camera) for Martin Kwok and his crew on Part Three; and also for Part Three, Outstanding Sound Mixing for a Nonfiction or Reality Program (Single or Multi-Camera) for Michael Hedges.
McCartney 3,2,1 — “Macca's” groundbreaking Hulu series with producer Rick Rubin got nods for both Outstanding Cinematography for a Nonfiction Program for Stuart Winecoff on the “These Things Bring You Together” episode; Outstanding Sound Editing for a Nonfiction or Reality Program (Single or Multi-Camera) for Jonathan Greber and his crew for the “The People We Loved Were Loving Us!” episode; and for Outstanding Sound Mixing for a Nonfiction or Reality Program (Single or Multi-Camera) for Gary A. Rizzo and Laura Cunningham for the “These Things Bring You Together” episode.
During a chat with BBC radio, Paul McCartney spoke about Peter Jackson's Get Back movie, and admitted that he was worried the raw footage would find the “Fab Four” at their end of their tenure, angry, and exhausted with one another: “He got back to me and said, 'No — it's a laugh. It's just four guys working — and y'know, you can see you making up songs, and George (Harrison) wonderin' about the lyric to 'Something in the way she moves' — or me trying to figure out 'Get Back.' And he's shown me little bits and pieces of it and it's great — I love it, I must say, 'cause it's how it was. It just reminds me — even though we had arguments, like any family — that we loved each other, y'know, and it shows in the film. It's a very warm feeling — and it's amazing just being backstage with these people making this music that turned out to be good.”
The 2022 Emmy Awards are set to air live on September 12th at 8 p.m. ET/5 p.m. PT on on NBC. The show will also stream live on Peacock.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
MKjan
()
Date: July 20, 2022 23:27
The real winner is smoke and mirrors.
More fuel for the hype machine.
More fuel for the hype machine.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: July 21, 2022 02:15
Quote
Boognish
As great as Get Back was, it showed them writing and recording when they were in their back to basics laid back phase. I would kill for a similar style documentary but to witness them create their more complex music. Imagine footage like that during the Tomorrow Never Knows sessions, for example? Goddamn!
That one tune alone could provide enough material for a lengthy documentary including the inspiration, the writing, the recording,
the effects, etc., but happily there's plenty of written material that covers it such as this lengthy analysis from the Beatles Bible:
Tomorrow Never Knows
Beatles
Written by: Lennon-McCartney
Recorded: 6, 7, 22 April 1966
Producer: George Martin
Engineer: Geoff Emerick
Released: 5 August 1966 (UK), 8 August 1966 (US)
Personnel:
John Lennon: vocals, organ, tape loops
Paul McCartney: lead guitar, bass guitar, tape loops
George Harrison: guitar, sitar, tambura, tape loops
Ringo Starr: drums, tambourine, tape loops
George Martin: piano
‘Tomorrow Never Knows’, the monumental closing track on Revolver, was also the first song to be recorded for the album.
While the title, like ‘A Hard Day’s Night’, was a Ringoism particularly liked by John Lennon, the lyrics were largely taken from The Psychedelic Experience, a 1964 book written by Harvard psychologists Timothy Leary, Ralph Metzner, and Richard Alpert, which contained an adaptation of the ancient Tibetan Book of the Dead. Lennon discovered The Psychedelic Experience at the Indica bookshop, co-owned by Barry Miles. On 1 April 1966 Lennon and Paul McCartney visited the bookshop.
"John wanted a book by what sounded like ‘Nitz Ga’. It took Miles a few minutes to realise that he was looking for the German philosopher Nietzsche, long enough for John to become convinced that he was being ridiculed. He launched into an attack on intellectuals and university students and was only mollified when Paul told him that he had not understood what John was asking for either, and that Miles was not a university graduate but had been to art college, just like him. Immediately friendly again, John talked about Allen Ginsberg and the Beats, laughing about his school magazine the Daily Howl: ‘Tell Ginsberg I did it first!’ Miles found him a copy of The Portable Nietzsche and John began to scan the shelves. His eyes soon alighted upon a copy of The Psychedelic Experience, Dr Timothy Leary’s psychedelic version of the Tibetan Book of the Dead. John was delighted and settled down on the settee with the book. Right away, on page 14 in Leary’s introduction, he read, ‘Whenever in doubt, turn off your mind, relax, float downstream.’ He had found the first line of ‘Tomorrow Never Knows’, one of the Beatles’ most innovative songs". - Many Years From Now, Barry Miles
The full title of the book was The Psychedelic Experience: A Manual Based On The Tibetan Book Of The Dead. It was intended as a guidebook for those seeking spiritual enlightenment through the use of psychedelic drugs.
"The final track on Revolver, ‘Tomorrow Never Knows’, was definitely John’s. Round about this time people were starting to experiment with drugs, including LSD. John had got hold of Timothy Leary’s adaptation of The Tibetan Book of the Dead, which is a pretty interesting book. For the first time we got the idea that, as with ancient Egyptian practice, when you die you lie in state for a few days, and then some of your handmaidens come and prepare you for a huge voyage. Rather than the British version, in which you just pop your clogs. With LSD, this theme was all the more interesting". - Paul McCartney, Anthology
According to the notorious biographer Albert Goldman, Lennon recorded himself reading the book’s paraphrase of the Tibetan Book of the Dead into a tape recorder. He played back the passage as the drug took hold, and was so enthralled by the result that he resolved to capture the LSD experience in song.
"I remember John coming to Brian Epstein’s house at 24 Chapel Street, in Belgravia. We got back together after a break, and we were there for a meeting. George Martin was there so it may have been to show George some new songs or talk about the new album. John got his guitar out and started doing ‘Tomorrow Never Knows’ and it was all on one chord. This was because of our interest in Indian music. We would be sitting around and at the end of an Indian album we’d go, ‘Did anyone realise they didn’t change chords?’ It would be like ‘Shit, it was all in E! Wow, man, that is pretty far out.’ So we began to sponge up a few of these nice ideas. This is one thing I always gave George Martin great credit for. He was a slightly older man and we were pretty far out, but he didn’t flinch at all when John played it to him, he just said, ‘Hmmm, I see, yes. Hmm hmm.’ He could have said, ‘Bloody hell, it’s terrible!’ I think George was always intrigued to see what direction we’d gone in, probably in his mind thinking, How can I make this into a record? But by that point he was starting to trust that we must know vaguely what we were doing, but the material was really outside of his realm". Paul McCartney, Many Years From Now, Barry Miles
The idea of basing a song on a single chord was something The Beatles had attempted with ‘The Word’, and was a direct result of their growing interest in Indian music. Indian music doesn’t modulate; it just stays. You pick what key you’re in, and it stays in that key. I think ‘Tomorrow Never Knows’ was the first one that stayed there; the whole song was on one chord. But there is a chord that is superimposed on top that does change: if it was in C, it changes down to B flat. That was like an overdub, but the basic sound all hangs on the one drone" - George Harrison. Anthology
Although it was initially known as ‘The Void’, Lennon knew that this would be too far out for the majority of The Beatles’ 1966 fans, and settled instead on a phrase coined by Ringo Starr. The Beatles’ drummer had first said “tomorrow never knows” in public on 22 February 1964, during a BBC television interview at London Airport on the band’s return from conquering America.
"That’s me in my Tibetan Book of the Dead period. I took one of Ringo’s malapropisms as the title, to sort of take the edge off the heavy philosophical lyrics". - John Lennon, All We Are Saying, David Sheff
George Harrison later questioned whether Lennon fully understood the true meaning of the song’s lyrics.
"You can hear (and I am sure most Beatles fans have) ‘Tomorrow Never Knows’ a lot and not know really what it is about. Basically it is saying what meditation is all about. The goal of meditation is to go beyond (that is, transcend) waking, sleeping and dreaming. So the song starts out by saying, ‘Turn off your mind, relax and float downstream, it is not dying.’ Then it says, ‘Lay down all thoughts, surrender to the void – it is shining. That you may see the meaning of within – it is being.’ From birth to death all we ever do is think: we have one thought, we have another thought, another thought, another thought. Even when you are asleep you are having dreams, so there is never a time from birth to death when the mind isn’t always active with thoughts. But you can turn off your mind, and go to the part which Maharishi described as: ‘Where was your last thought before you thought it?’ The whole point is that we are the song. The self is coming from a state of pure awareness, from the state of being. All the rest that comes about in the outward manifestation of the physical world (including all the fluctuations which end up as thoughts and actions) is just clutter. The true nature of each soul is pure consciousness. So the song is really about transcending and about the quality of the transcendent. I am not too sure if John actually fully understood what he was saying. He knew he was onto something when he saw those words and turned them into a song. But to have experienced what the lyrics in that song are actually about? I don’t know if he fully understood it". - George Harrison, Anthology
In the studio
‘Tomorrow Never Knows’ was a remarkable and innovative recording for a variety of reasons. Firstly there was Ringo Starr’s thunderous drum pattern. The tom toms skins on his kit were slackened, and the recording was heavily compressed and echoed to give perhaps the most remarkable drum sound on any Beatles song. The drums are the main constant in ‘Tomorrow Never Knows’, a perfect counterpoint to the musical anarchy that envelopes the rest of the song. Paul McCartney’s bass guitar closely matched Starr’s drums, enhancing the song’s hypnotic effect.
"I moved the bass drum microphone much closer to the drum than had been done before. There’s an early picture of The Beatles wearing a woollen jumper with four necks. I stuffed that inside the drum to deaden the sound. Then we put the sound through Fairchild 660 valve limiters and compressors. It became the sound of Revolver and Pepper really. Drums had never been heard like that before.” - Geoff Emerick, The Complete Beatles Recording Sessions, Mark Lewisohn
Then there were the tape loops. McCartney had discovered that by removing the erase head on his reel-to-reel tape machine, he could saturate a recording with sound.
"People tend to credit John with the backwards recordings, the loops and the weird sound effects, but the tape loops were my thing. The only thing I ever used them on was ‘Tomorrow Never Knows’. It was nice for this to leak into the Beatle stuff as it did. We ran the loops and then we ran the track of ‘Tomorrow Never Knows’ and we played the faders, and just before you could tell it was a loop, before it began to repeat a lot, I’d pull in one of the other faders, and so, using the other people, ‘You pull that in there,’ ‘You pull that in,’ we did a half random, half orchestrated playing of the things and recorded that to a track on the actual master tape, so that if we got a good one, that would be the solo. We played it through a few times and changed some of the tapes till we got what we thought was a real good one. I think it is a great solo. I always think of seagulls when I hear it. I used to get a lot of seagulls in my loops; a speeded-up shout, hah ha, goes squawk squawk. And I always get pictures of seasides, of Torquay, the Torbay Inn, fishing boats and puffins and deep purple mountains. Those were the slowed-down ones". - Paul McCartney, Many Years From Now, Barry Miles
There were six loops used on ‘Tomorrow Never Knows’: a seagull noise, actually a distorted recording of McCartney laughing; an orchestra playing a B flat chord; notes played on a Mellotron’s flute setting; a second Mellotron on its violin setting; a finger rubbing the rim of a wine glass, heard midway through the song only in the stereo mix; and a distorted sitar which is most clearly heard in the instrumental break following the lines “It is being, it is being”.
"I had my own little set-up to record them. As George says, we were ‘drinking a lot of tea’ in those days, and on all my tapes you can hear, ‘Oh, I hope I’ve switched it on.’ I’d get so deranged from strong tea. I’d sit there for hours making those noises". - Ringo Starr, Anthology
It has been claimed that The Beatles also used part of McCartney’s guitar solo for ‘Taxman’, reversed and slowed down a tone, in the instrumental break. However, the two parts are different and were likely recorded on different dates. The final remarkable innovation in ‘Tomorrow Never Knows’ was John Lennon’s voice. For the first half of the song it was manually double tracked (not, as has been reported elsewhere, treated with artificial double tracking or ADT). For the second half, meanwhile, the Abbey Road engineers ran Lennon’s voice through a revolving Leslie speaker, more commonly found inside Hammond organs. It can be heard from the line ‘Love is all and love is everyone’.
"For ‘Tomorrow Never Knows’ he said to me he wanted his voice to sound like the Dalai Lama chanting from a hilltop, and I said, ‘It’s a bit expensive, going to Tibet. Can we make do with it here?’ I knew perfectly well that ordinary echo or reverb wouldn’t work, because it would just put a very distant voice on. We needed to have something a bit weird and metallic… A Leslie speaker is a rotating speaker, a Hammond console, and the speed at which it rotates can be varied according to a knob on the control. By putting his voice through that and then recoding it again, you got a kind of intermittent vibrato effect, which is what we hear on ‘Tomorrow Never Knows’. I don’t think anyone had done that before. It was quite a revolutionary track for Revolver". - George Martin, Anthology
Geoff Emerick later explained the response among those in the studio:
" It meant actually breaking into the circuitry. I remember the surprise on our faces when the voice came out of the speaker. It was just one of sheer amazement. After that they wanted everything shoved through the Leslie: pianos, guitars, drums, vocals, you name it"! - Geoff Emerick, The Complete Beatles Recording Sessions, Mark Lewisohn
Despite the groundbreaking results, Lennon later claimed to have been dissatisfied with the recording.
"Often the backing I think of early on never comes off. With ‘Tomorrow Never Knows’ I’d imagined in my head that in the background you would hear thousands of monks chanting. That was impractical of course and we did something different. I should have tried to get near my original idea, the monks singing. I realise now that was what it needed". - John Lennon, The Beatles, Hunter Davies
Recording began on 6 April 1966, the first session for Revolver. On that day The Beatles recorded just three takes of the rhythm track for ‘Tomorrow Never Knows’, under the working title ‘Mark I’, along with one of John Lennon’s vocal takes. Take one, which appeared on Anthology 2, still sounds utterly remarkable. The basis of the recording appears to be a single tape loop, featuring a repeated distorted guitar line, and heavily echoed and treated percussive sounds – giving a distinctly underwater effect. Onto this drums and bass were seemingly added, along with Lennon’s eerie vocals.
Take two was incomplete, but take three formed the basis of the released album version. Onto this they added the many effects and loops, during a five-hour session on 7 April.
"We did a live mix of all the loops. All over the studios we had people spooling them onto machines with pencils while Geoff did the balancing. There were many other hands controlling the panning. It is the one track, of all the songs The Beatles did, that could never be reproduced: it would be impossible to go back now and mix exactly the same thing: the ‘happening’ of the tape loops, inserted as we all swung off the levers on the faders willy-nilly, was a random event". - George Martin
‘Tomorrow Never Knows’ was completed on 22 April, with a final overdub containing more vocals, organ, tambourine and piano, and the reversed guitar solo by Paul McCartney.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
powerage78
()
Date: July 24, 2022 22:40
“The Beatles were hard men too. Brian Epstein cleaned them up for mass consumption, but they were anything but sissies. They were from Liverpool, which is like Hamburg or Norfolk, Virginia a hard, sea-farin town, all these dockers and sailors around all the time who would beat the piss out of you if you so much as winked at them. Ringo is from the Dingle, which is like the f***ing Bronx.
The Rolling Stones were the mummys boys they were all college students from the outskirts of London. They went to starve in London, but it was by choice, to give themselves some sort of aura of disrespectability. I did like the Stones, but they were never anywhere near the Beatles not for humour, not for originality, not for songs, not for presentation. All they had was Mick Jagger dancing about. Fair enough, the Stones made great records, but they were always s**t on stage, whereas the Beatles were the gear.”
— Lemmy Kilmister
***
I'm just a Bad Boy Boogie
The Rolling Stones were the mummys boys they were all college students from the outskirts of London. They went to starve in London, but it was by choice, to give themselves some sort of aura of disrespectability. I did like the Stones, but they were never anywhere near the Beatles not for humour, not for originality, not for songs, not for presentation. All they had was Mick Jagger dancing about. Fair enough, the Stones made great records, but they were always s**t on stage, whereas the Beatles were the gear.”
— Lemmy Kilmister
***
I'm just a Bad Boy Boogie
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: July 24, 2022 22:58
Quote
powerage78
“The Beatles were hard men too. Brian Epstein cleaned them up for mass consumption, but they were anything but sissies. They were from Liverpool, which is like Hamburg or Norfolk, Virginia a hard, sea-farin town, all these dockers and sailors around all the time who would beat the piss out of you if you so much as winked at them. Ringo is from the Dingle, which is like the f***ing Bronx.
The Rolling Stones were the mummys boys they were all college students from the outskirts of London. They went to starve in London, but it was by choice, to give themselves some sort of aura of disrespectability. I did like the Stones, but they were never anywhere near the Beatles not for humour, not for originality, not for songs, not for presentation. All they had was Mick Jagger dancing about. Fair enough, the Stones made great records, but they were always s**t on stage, whereas the Beatles were the gear.”
— Lemmy Kilmister
I always admired Lemmy's outspokenness and blunt honesty - similar to John Lydon (aka Johnny Rotten), but he was much more sincere.
He was one of a kind, and is dearly missed.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
treaclefingers
()
Date: July 25, 2022 06:05
Quote
HairballQuote
powerage78
“The Beatles were hard men too. Brian Epstein cleaned them up for mass consumption, but they were anything but sissies. They were from Liverpool, which is like Hamburg or Norfolk, Virginia a hard, sea-farin town, all these dockers and sailors around all the time who would beat the piss out of you if you so much as winked at them. Ringo is from the Dingle, which is like the f***ing Bronx.
The Rolling Stones were the mummys boys they were all college students from the outskirts of London. They went to starve in London, but it was by choice, to give themselves some sort of aura of disrespectability. I did like the Stones, but they were never anywhere near the Beatles not for humour, not for originality, not for songs, not for presentation. All they had was Mick Jagger dancing about. Fair enough, the Stones made great records, but they were always s**t on stage, whereas the Beatles were the gear.”
— Lemmy Kilmister
I always admired Lemmy's outspokenness and blunt honesty - similar to John Lydon (aka Johnny Rotten), but he was much more sincere.
He was one of a kind, and is dearly missed.
The stones were Sh*t onstage? What a laugh.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: July 25, 2022 06:30
Quote
treaclefingersQuote
HairballQuote
powerage78
“The Beatles were hard men too. Brian Epstein cleaned them up for mass consumption, but they were anything but sissies. They were from Liverpool, which is like Hamburg or Norfolk, Virginia a hard, sea-farin town, all these dockers and sailors around all the time who would beat the piss out of you if you so much as winked at them. Ringo is from the Dingle, which is like the f***ing Bronx.
The Rolling Stones were the mummys boys they were all college students from the outskirts of London. They went to starve in London, but it was by choice, to give themselves some sort of aura of disrespectability. I did like the Stones, but they were never anywhere near the Beatles not for humour, not for originality, not for songs, not for presentation. All they had was Mick Jagger dancing about. Fair enough, the Stones made great records, but they were always s**t on stage, whereas the Beatles were the gear.”
— Lemmy Kilmister
I always admired Lemmy's outspokenness and blunt honesty - similar to John Lydon (aka Johnny Rotten), but he was much more sincere.
He was one of a kind, and is dearly missed.
The stones were Sh*t onstage? What a laugh.
I didn't say that, and obviously don't agree with it, so not sure why you're quoting and replying to me?
I simply mentioned admiring his outspokenness and being honest with himself, and being unafraid of what anyone else thinks of his opinions.
He wasn't an act in the same way John Lydon is - he was the real deal. Like it or not.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Edited 1 time(s). Last edit at 2022-07-25 06:30 by Hairball.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: July 25, 2022 22:00
Another new Beatles movie in the works?!!!!
Seems to be the case... from Deadline.com:
After 5-Emmy-Nom Haul, ‘Get Back’s Peter Jackson Plots Another Beatles Film With Paul McCartney & Ringo Starr
By Mike Fleming Jr
BEATLES
EXCLUSIVE: When we think of recurring characters in Peter Jackson film franchises, names like Frodo, Gandalf, Gollum and Sauron stand out. Add John, Paul, George and Ringo to that list.
Following a five-Emmy-nomination haul for his Disney+ three-part docu The Beatles: Get Back, Jackson tells Deadline he is cooking up another film project with surviving Beatles members Paul McCartney and Ringo Starr. “I’m talking to The Beatles about another project, something very, very different than Get Back,” Jackson told Deadline. “We’re seeing what the possibilities are, but it’s another project with them. It’s not really a documentary … and that’s all I can really say.” The revelation comes after Jackson emerged from four years spent culling through 130 hours of audio and 57 hours of video shot by Michael Lindsay-Hogg for the Beatles breakup docu Let It Be. It wasn’t as long an immersion as Middle-earth, but close enough. It also didn’t dent his fanship or eagerness to do more with the surviving members of the band. “It wasn’t as intense as making three Lord of the Rings back to back, but it was four years with a pandemic in the middle of it all,” he said. “We are never in a position where we have to do anything, but we’ve got a few things percolating.”
It has been nearly a decade since he directed the third installment of The Hobbit, and Jackson followed that with the WWI documentary They Shall Not Grow Old. Like Get Back, the making of the docu involved a painstaking process to restore footage and audio. Jackson said there is also a big narrative film on the docket, and like the Middle-earth films, Jackson’s ambitions will test existing technology. Which means part of his task is to develop the tools to make his vision a reality. “One of them could be big scale, but it’s so technically complicated I’m trying to work how exactly I’ll do it,” Jackson said. “It’s a live-action movie, but it needs technology that doesn’t quite exist at the moment, so we’re in the middle of developing the technology to allow it to happen. I’m trying to anticipate what I might be able to do, before it even exists. They’re not fantasy epics, but they’re pretty interesting.”
As for the Emmy nominations, Jackson said he was gratified by the editing nomination Jabez Olsson received — Jackson got one for Best Director and Get Back is up for Best Documentary Series — and Jackson was sparked by the two noms for Sound Mixing. The latter, he said, “is always a category that people don’t hold in the highest esteem, I guess would be a way to say it, other than people who work in the field. Get Back is all about the sound, and restoring the sound and developing the AI things to separate the musical tracks. We did a lot of groundbreaking work, so it’s really great that the guys who did that work are part of the Emmy nominations. I’m really pleased with that.” As for his editor, Jackson saidm “Jabez and I spent the four years in the trenches together, so I am very pleased for him.”
Jackson felt the positive results and strong reviews validate his decision to make creative decisions on the basis of being a fan of the band and not favoring one Beatle over another, as has been done in some past works. That informed his decision to go against the plan to deliver a six-hour cut for Disney+ and a DVD, and make the latter 7.5 hours, with a separate rooftop concert cut for Imax. Being a superfan also sparked his idea to make it possible for McCartney to duet with his deceased songwriting partner John Lennon during McCartney’s recent tour. “I delivered a six-and-a-half-hour cut earlier, and people thought, “It’s a bit long, can you cut it down to six hours?” I had final cut,” Jackson said, “but I think you’ve got to be careful about being a rogue operator. But then we had the conversation about the DVD, which was a victory. Disney hadn’t done or released a DVD or Blu-ray at the beginning, and I assumed I would do an extended cut because there was a lot of great stuff we didn’t have room for. I was told, ‘No, there’s no market for extended cuts anymore.’ Nobody at Disney was particularly enthusiastic about an extended cut.” One of the great pleasures for rabid LOTR fans was watching the Extended Version DVD cuts of all three films, which each layered in 30 minutes or more of very worthy footage that made the theatrical releases too long. Jackson took no money to make those DVDs; instead, he kept every prop and costume, which he houses in Wellington, New Zealand.
This was a different situation. “I went rogue, and without telling anybody — Apple Corps, Disney or The Beatles — I decided to put scenes in that we’d pulled out,” Jackson said. “I thought the trims from six-and-a-half hours to six were good because they were about pacing. But with no extended cut, this great stuff would go back in the archives, back in the vault for another 50 years. So I just started working with Jabez, which is why we delivered late. We were piling scenes back into the cut. What’s funny is, nobody knew it was going to be 7.5 hours, until we delivered to them. They were expecting a six-hour cut. And they never said a word — not a single note or word from anybody. They might have been talking amongst themselves behind the scenes, but nobody ever expressed any surprise. Somehow 7.5 hours was it. I did it because, as a Beatles fan, there was a lot of material where I’d have felt it was wrong from the point of view of musical history for it to go back into the vault. I thought, ‘If there’s not going to be the extended DVD, which I was putting things on one side for, it should go back into the movie.’ That’s what I did.”
The effort to separate Lennon’s vocal tracks from that rooftop concert on “I’ve Got a Feeling” for McCartney to be able to sing along with Lennon’s image on the screen behind him for the Got Back tour, also was pure Beatles fandom, and it haunted Jackson for a while. “I had that idea when I started working on Get Back, four years ago,” Jackson said. “We had access to all that footage, and to do something like that, you need the footage. The shots have to be right. I didn’t mention it to Paul. I thought, ‘Suggesting to Paul that he sing onstage with John, he’s going to think I’m a fanboy geek idiot.’” Still, Jackson went to McCartney’s concert at Dodger Stadium three and a half years ago, just in case he mustered the courage to ask. “When he did ‘I’ve Got a Feeling,’ I sat there with my phone,” Jackson said. “I held it really still and filmed, with the idea I would take that in the cutting room and do a mockup, a simple CGI proof of concept. Rather than me pitching something to him, I thought it better if I can show him how it will look. Then the pandemic hit, and he wasn’t touring anymore and there was no point doing a demo for him. “So the next 18 months I worked on Get Back and then Paul is rehearsing to go back out on tour, and I just thought, ‘I either have to suggest it to him, or I don’t.’ I’d gotten cold feet because I thought, ‘How many harebrained suggestions like this has Paul gotten over the years? I don’t want to appear too geeky.’ Finally, I thought, ‘I’m going to regret this for the rest of my life if I don’t even suggest it.’ I sent him a text. I didn’t send him the mockup version, just a text trying to describe it to him. Within 10 minutes, he replied to me: ‘Yeah, this is a fantastic idea; let’s go do it.’ Then it was a frantic rush to restore frames that were missing from that long shot of John from Let It Be. But Paul was thrilled by it.”
Jackson also generated the rooftop concert version for Imax. While Lindsay-Hogg’s film was viewed as a promotional film, Jackson tipped the hat over the amount of footage he shot. “The great thing about documentaries is, you don’t have to shoot anything,” Jackson said. “I’ve always been the cutting-room guy who always found the process of shooting a movie to be highly stressful. In a way, my idea of heaven is to take footage from someone else. And Michael Lindsay-Hogg shot amazing footage. He should get more credit here than he has. People seem to react to Michael as we present him, they make fun of him a little, as this guy behind the camera. I admire him. He was doing a job and that’s what they hired him to do. He was pushing to make the best film he could. It’s a perfectly OK film. If you see it now, it’s not the depressing movie people thought. The way he should be thought of is, he not only made Let It Be, he shot all the footage we see in Get Back. That’s all his and Michael deserves a huge shout out.”
Here is the Lennon-McCartney duet that meant so much to Jackson:
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Seems to be the case... from Deadline.com:
After 5-Emmy-Nom Haul, ‘Get Back’s Peter Jackson Plots Another Beatles Film With Paul McCartney & Ringo Starr
By Mike Fleming Jr
BEATLES
EXCLUSIVE: When we think of recurring characters in Peter Jackson film franchises, names like Frodo, Gandalf, Gollum and Sauron stand out. Add John, Paul, George and Ringo to that list.
Following a five-Emmy-nomination haul for his Disney+ three-part docu The Beatles: Get Back, Jackson tells Deadline he is cooking up another film project with surviving Beatles members Paul McCartney and Ringo Starr. “I’m talking to The Beatles about another project, something very, very different than Get Back,” Jackson told Deadline. “We’re seeing what the possibilities are, but it’s another project with them. It’s not really a documentary … and that’s all I can really say.” The revelation comes after Jackson emerged from four years spent culling through 130 hours of audio and 57 hours of video shot by Michael Lindsay-Hogg for the Beatles breakup docu Let It Be. It wasn’t as long an immersion as Middle-earth, but close enough. It also didn’t dent his fanship or eagerness to do more with the surviving members of the band. “It wasn’t as intense as making three Lord of the Rings back to back, but it was four years with a pandemic in the middle of it all,” he said. “We are never in a position where we have to do anything, but we’ve got a few things percolating.”
It has been nearly a decade since he directed the third installment of The Hobbit, and Jackson followed that with the WWI documentary They Shall Not Grow Old. Like Get Back, the making of the docu involved a painstaking process to restore footage and audio. Jackson said there is also a big narrative film on the docket, and like the Middle-earth films, Jackson’s ambitions will test existing technology. Which means part of his task is to develop the tools to make his vision a reality. “One of them could be big scale, but it’s so technically complicated I’m trying to work how exactly I’ll do it,” Jackson said. “It’s a live-action movie, but it needs technology that doesn’t quite exist at the moment, so we’re in the middle of developing the technology to allow it to happen. I’m trying to anticipate what I might be able to do, before it even exists. They’re not fantasy epics, but they’re pretty interesting.”
As for the Emmy nominations, Jackson said he was gratified by the editing nomination Jabez Olsson received — Jackson got one for Best Director and Get Back is up for Best Documentary Series — and Jackson was sparked by the two noms for Sound Mixing. The latter, he said, “is always a category that people don’t hold in the highest esteem, I guess would be a way to say it, other than people who work in the field. Get Back is all about the sound, and restoring the sound and developing the AI things to separate the musical tracks. We did a lot of groundbreaking work, so it’s really great that the guys who did that work are part of the Emmy nominations. I’m really pleased with that.” As for his editor, Jackson saidm “Jabez and I spent the four years in the trenches together, so I am very pleased for him.”
Jackson felt the positive results and strong reviews validate his decision to make creative decisions on the basis of being a fan of the band and not favoring one Beatle over another, as has been done in some past works. That informed his decision to go against the plan to deliver a six-hour cut for Disney+ and a DVD, and make the latter 7.5 hours, with a separate rooftop concert cut for Imax. Being a superfan also sparked his idea to make it possible for McCartney to duet with his deceased songwriting partner John Lennon during McCartney’s recent tour. “I delivered a six-and-a-half-hour cut earlier, and people thought, “It’s a bit long, can you cut it down to six hours?” I had final cut,” Jackson said, “but I think you’ve got to be careful about being a rogue operator. But then we had the conversation about the DVD, which was a victory. Disney hadn’t done or released a DVD or Blu-ray at the beginning, and I assumed I would do an extended cut because there was a lot of great stuff we didn’t have room for. I was told, ‘No, there’s no market for extended cuts anymore.’ Nobody at Disney was particularly enthusiastic about an extended cut.” One of the great pleasures for rabid LOTR fans was watching the Extended Version DVD cuts of all three films, which each layered in 30 minutes or more of very worthy footage that made the theatrical releases too long. Jackson took no money to make those DVDs; instead, he kept every prop and costume, which he houses in Wellington, New Zealand.
This was a different situation. “I went rogue, and without telling anybody — Apple Corps, Disney or The Beatles — I decided to put scenes in that we’d pulled out,” Jackson said. “I thought the trims from six-and-a-half hours to six were good because they were about pacing. But with no extended cut, this great stuff would go back in the archives, back in the vault for another 50 years. So I just started working with Jabez, which is why we delivered late. We were piling scenes back into the cut. What’s funny is, nobody knew it was going to be 7.5 hours, until we delivered to them. They were expecting a six-hour cut. And they never said a word — not a single note or word from anybody. They might have been talking amongst themselves behind the scenes, but nobody ever expressed any surprise. Somehow 7.5 hours was it. I did it because, as a Beatles fan, there was a lot of material where I’d have felt it was wrong from the point of view of musical history for it to go back into the vault. I thought, ‘If there’s not going to be the extended DVD, which I was putting things on one side for, it should go back into the movie.’ That’s what I did.”
The effort to separate Lennon’s vocal tracks from that rooftop concert on “I’ve Got a Feeling” for McCartney to be able to sing along with Lennon’s image on the screen behind him for the Got Back tour, also was pure Beatles fandom, and it haunted Jackson for a while. “I had that idea when I started working on Get Back, four years ago,” Jackson said. “We had access to all that footage, and to do something like that, you need the footage. The shots have to be right. I didn’t mention it to Paul. I thought, ‘Suggesting to Paul that he sing onstage with John, he’s going to think I’m a fanboy geek idiot.’” Still, Jackson went to McCartney’s concert at Dodger Stadium three and a half years ago, just in case he mustered the courage to ask. “When he did ‘I’ve Got a Feeling,’ I sat there with my phone,” Jackson said. “I held it really still and filmed, with the idea I would take that in the cutting room and do a mockup, a simple CGI proof of concept. Rather than me pitching something to him, I thought it better if I can show him how it will look. Then the pandemic hit, and he wasn’t touring anymore and there was no point doing a demo for him. “So the next 18 months I worked on Get Back and then Paul is rehearsing to go back out on tour, and I just thought, ‘I either have to suggest it to him, or I don’t.’ I’d gotten cold feet because I thought, ‘How many harebrained suggestions like this has Paul gotten over the years? I don’t want to appear too geeky.’ Finally, I thought, ‘I’m going to regret this for the rest of my life if I don’t even suggest it.’ I sent him a text. I didn’t send him the mockup version, just a text trying to describe it to him. Within 10 minutes, he replied to me: ‘Yeah, this is a fantastic idea; let’s go do it.’ Then it was a frantic rush to restore frames that were missing from that long shot of John from Let It Be. But Paul was thrilled by it.”
Jackson also generated the rooftop concert version for Imax. While Lindsay-Hogg’s film was viewed as a promotional film, Jackson tipped the hat over the amount of footage he shot. “The great thing about documentaries is, you don’t have to shoot anything,” Jackson said. “I’ve always been the cutting-room guy who always found the process of shooting a movie to be highly stressful. In a way, my idea of heaven is to take footage from someone else. And Michael Lindsay-Hogg shot amazing footage. He should get more credit here than he has. People seem to react to Michael as we present him, they make fun of him a little, as this guy behind the camera. I admire him. He was doing a job and that’s what they hired him to do. He was pushing to make the best film he could. It’s a perfectly OK film. If you see it now, it’s not the depressing movie people thought. The way he should be thought of is, he not only made Let It Be, he shot all the footage we see in Get Back. That’s all his and Michael deserves a huge shout out.”
Here is the Lennon-McCartney duet that meant so much to Jackson:
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: August 5, 2022 03:10
New book scheduled to be released October 10th.
From Best Classic Band:
‘The Beatles Rubber Soul to Revolver’ Book Coming
"The timing of the book follows speculation that the Beatles’ Apple Corps Ltd.
is planning a fall 2022 expanded release of one (or both) of the albums".
TheBeatles
A new book examining the middle years of The Beatles’ recorded output is being published this fall. The Beatles Rubber Soul to Revolver, the latest installment in Bruce Spizer’s Beatles Album Series, arrives Oct. 10, 2022. As the announcement notes, the title covers two of the group’s much-loved albums, December 1965’s Rubber Soul and August 1966’s Revolver albums, as well as Capitol Records’ June 1966 U.S. release, Yesterday And Today, as well as the singles associated with these albums. [The timing of the book follows speculation that the Beatles’ Apple Corps Ltd. is planning a fall 2022 expanded release of one (or both) of the albums. Beginning in 2017, and continuing annually through 2021, the label has delivered Super Deluxe Editions for the 50th anniversaries of Sgt. Pepper, The Beatles aka The White Album, Abbey Road and Let It Be.]
More from the book’s announcement: Rubber Soul and Revolver set new standards for pop and rock records, and presented a maturing and evolving Beatles to the world. The 16 tracks recorded during the Rubber Soul sessions, including “Norwegian Wood (This Bird Has Flown),” “Nowhere Man” and “In My Life,” are among the group’s finest. With Revolver, the Beatles were looking for more color in their recordings, trying new instruments and techniques. But they were not using studio wizardry to cover weaknesses; they were looking for new sounds to enhance their already brilliant songs. The album includes such classics as “Eleanor Rigby,” “Here, There and Everywhere,” and “For No One.” As producer George Martin noted, “For the first time, we began to think of albums as art on their own, as complete entities.”
The book contains chapters on the British, American, and Canadian perspectives, an extensive treatment on the infamous Yesterday And Today “butcher cover” and substitute trunk cover (featuring all of the significant images from the photo sessions and the true story behind the controversial cover). There are also chapters on the recording sessions and album covers, as well as on the news, music, and films of the era to place these albums in their proper context. The New Orleans-based Spizer has written 13 critically acclaimed Beatles books, including The Beatles Are Coming and his series on the Beatles albums. He has given presentations at the Grammy Museum, the Rock and Roll Hall of Fame and Museum, and Beatles conventions in the U.S. and Liverpool. He serves a consultant on Beatles projects for Universal Music Group, Capitol Records, and Apple Corps, Ltd.
Pre- order from Amazon: The Beatles Rubber Soul to Revolver
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Edited 1 time(s). Last edit at 2022-08-05 03:12 by Hairball.
From Best Classic Band:
‘The Beatles Rubber Soul to Revolver’ Book Coming
"The timing of the book follows speculation that the Beatles’ Apple Corps Ltd.
is planning a fall 2022 expanded release of one (or both) of the albums".
TheBeatles
A new book examining the middle years of The Beatles’ recorded output is being published this fall. The Beatles Rubber Soul to Revolver, the latest installment in Bruce Spizer’s Beatles Album Series, arrives Oct. 10, 2022. As the announcement notes, the title covers two of the group’s much-loved albums, December 1965’s Rubber Soul and August 1966’s Revolver albums, as well as Capitol Records’ June 1966 U.S. release, Yesterday And Today, as well as the singles associated with these albums. [The timing of the book follows speculation that the Beatles’ Apple Corps Ltd. is planning a fall 2022 expanded release of one (or both) of the albums. Beginning in 2017, and continuing annually through 2021, the label has delivered Super Deluxe Editions for the 50th anniversaries of Sgt. Pepper, The Beatles aka The White Album, Abbey Road and Let It Be.]
More from the book’s announcement: Rubber Soul and Revolver set new standards for pop and rock records, and presented a maturing and evolving Beatles to the world. The 16 tracks recorded during the Rubber Soul sessions, including “Norwegian Wood (This Bird Has Flown),” “Nowhere Man” and “In My Life,” are among the group’s finest. With Revolver, the Beatles were looking for more color in their recordings, trying new instruments and techniques. But they were not using studio wizardry to cover weaknesses; they were looking for new sounds to enhance their already brilliant songs. The album includes such classics as “Eleanor Rigby,” “Here, There and Everywhere,” and “For No One.” As producer George Martin noted, “For the first time, we began to think of albums as art on their own, as complete entities.”
The book contains chapters on the British, American, and Canadian perspectives, an extensive treatment on the infamous Yesterday And Today “butcher cover” and substitute trunk cover (featuring all of the significant images from the photo sessions and the true story behind the controversial cover). There are also chapters on the recording sessions and album covers, as well as on the news, music, and films of the era to place these albums in their proper context. The New Orleans-based Spizer has written 13 critically acclaimed Beatles books, including The Beatles Are Coming and his series on the Beatles albums. He has given presentations at the Grammy Museum, the Rock and Roll Hall of Fame and Museum, and Beatles conventions in the U.S. and Liverpool. He serves a consultant on Beatles projects for Universal Music Group, Capitol Records, and Apple Corps, Ltd.
Pre- order from Amazon: The Beatles Rubber Soul to Revolver
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Edited 1 time(s). Last edit at 2022-08-05 03:12 by Hairball.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: August 13, 2022 06:46
Hats off to Ringo - 82 years old and continuing to release new music on a regular basis.
Sir Ringo Starr announces new EP and vows to keep them coming
RINGO
Sir Ringo Starr is set to release a new EP.
The Beatles drummer, 82, has unveiled the four-track mini album, 'EP3', and vowed to "continue" to drop music in the format as he's penning tunes "every chance I get".
In a statement, he said: “I am in my studio writing and recording every chance I get. It’s what I have always done and will continue to do, and releasing EPs more frequently allows me to continue to be creative and give each song a little more love.” Fans can expect “feel-good lyrics” and “easy-breezy melodies”. Ringo has previewed the collection with the track 'World Go Round', which is out now. The music icon has once again teamed up with collaborators Steve Lukather, Linda Perry, Dave Koz, José Antonio Rodriguez, and Bruce Sugar. 'EP3' - which Ringo recorded at his Roccabella West home studio in Los Angeles - is released digitally on September 16, with a number of physical copies available from November 18. It follows September's 'Change the World' and March 2021's star-studded 'Zoom In'.
Next month will see Ringo and his All-Star Band play their postponed remaining dates of his North American summer tour, which were delayed due to two positive COVID-19 tests within his backing group. The 'Octopus's Garden' singer was forced to reschedule a number of shows after keyboard player Edgar Winter and guitarist Steve Lukather both caught coronavirus. In a statement on his website, Ringo said in June: “We are so sorry to let the fans down.It’s been wonderful to be back out on the road and we have been having such a great time playing for you all. But as we all know, [COVID-19] is still here and despite being careful these things happen.” The shows, including Easton, Providence, Baltimore, Lenox, Pittsburgh, Philadelphia, Richmond, Atlanta, St Augustine, Florida, and Clearwater, will now take place in September, kicking off on September 5 in Lenox, Massachusetts. He concluded: “I want to thank the fans for their patience. I send you all peace and love, and we can’t wait to be back in the Fall.” Edgar had already missed out on three shows due to the virus.
Ringos statement came hours before they were due to play Easton, Pennsylvania. Head to www.ringostarr.com/tour to see Ringos entire tour schedule.
The track-listing for 'EP3' is:
1. ‘World Go Round’
2. ‘Everyone and Everything’
3. ‘Let’s Be Friends’
4. ‘Free Your Soul’
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Sir Ringo Starr announces new EP and vows to keep them coming
RINGO
Sir Ringo Starr is set to release a new EP.
The Beatles drummer, 82, has unveiled the four-track mini album, 'EP3', and vowed to "continue" to drop music in the format as he's penning tunes "every chance I get".
In a statement, he said: “I am in my studio writing and recording every chance I get. It’s what I have always done and will continue to do, and releasing EPs more frequently allows me to continue to be creative and give each song a little more love.” Fans can expect “feel-good lyrics” and “easy-breezy melodies”. Ringo has previewed the collection with the track 'World Go Round', which is out now. The music icon has once again teamed up with collaborators Steve Lukather, Linda Perry, Dave Koz, José Antonio Rodriguez, and Bruce Sugar. 'EP3' - which Ringo recorded at his Roccabella West home studio in Los Angeles - is released digitally on September 16, with a number of physical copies available from November 18. It follows September's 'Change the World' and March 2021's star-studded 'Zoom In'.
Next month will see Ringo and his All-Star Band play their postponed remaining dates of his North American summer tour, which were delayed due to two positive COVID-19 tests within his backing group. The 'Octopus's Garden' singer was forced to reschedule a number of shows after keyboard player Edgar Winter and guitarist Steve Lukather both caught coronavirus. In a statement on his website, Ringo said in June: “We are so sorry to let the fans down.It’s been wonderful to be back out on the road and we have been having such a great time playing for you all. But as we all know, [COVID-19] is still here and despite being careful these things happen.” The shows, including Easton, Providence, Baltimore, Lenox, Pittsburgh, Philadelphia, Richmond, Atlanta, St Augustine, Florida, and Clearwater, will now take place in September, kicking off on September 5 in Lenox, Massachusetts. He concluded: “I want to thank the fans for their patience. I send you all peace and love, and we can’t wait to be back in the Fall.” Edgar had already missed out on three shows due to the virus.
Ringos statement came hours before they were due to play Easton, Pennsylvania. Head to www.ringostarr.com/tour to see Ringos entire tour schedule.
The track-listing for 'EP3' is:
1. ‘World Go Round’
2. ‘Everyone and Everything’
3. ‘Let’s Be Friends’
4. ‘Free Your Soul’
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
OT: 18th August marks the 60th anniversary of Ringo Starr becoming a member of the Beatles.
Posted by:
ukcal
()
Date: August 19, 2022 10:52
In August 1962, Ringo made the daring, and hugely prescient decision to leave Rory Storm and the Hurricanes to join a new up-and-coming Liverpool band. Ringo officially played with The Beatles for the first time at the Royal Horticultural Society's Annual Dance at Hulme Hall, Port Sunlight. Already friends with the boys from performing at the same gigs in Hamburg and the UK, Ringo was, according to Mike McCartney in his book, Mike McCartney's Early Liverpool, the perfect fit.
'Ringo's style of playing complemented John, Paul and George's music… He had a dry sense of humour and was able to fit in easily with the band.' – Mike McCartney
'Ringo's style of playing complemented John, Paul and George's music… He had a dry sense of humour and was able to fit in easily with the band.' – Mike McCartney
Re: OT: 18th August marks the 60th anniversary of Ringo Starr becoming a member of the Beatles.
Posted by:
frankotero
()
Date: August 19, 2022 11:43
Peace and Love to Ringo!!!
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