Tell Me :
Talk
The bass player could be a right-handed lesbian from Ghana playing with her back to the crowd and a photo of McCartney taped to the back of her head for all I care.
__________________________
Eh?
"soon to be released..."
Was I imagining last year's release by Peter Jackson of a version that was about 8hrs long, Giles talking about how the technology developed for that had helped work on 'Revolver', and a trip I had to an IMAX to see the rooftop concert?
Or am I misunderstanding what you've written??
Captain Corella
"Following the release of this new film [Get Back], a restored version of the original Let It Be movie directed by Michael Lindsay-Hogg will also be made available" - [www.TheBeatles.com] .
Michael Lindsay-Hogg (2021): "The plan is that we will re-release ‘Let It Be’ sometime after Peter’s movie, ‘Get Back’, has rolled out. We don’t know whether it will be streaming, we don’t know whether it will be limited theatrical [release], but it will be the original movie, but with [a] new soundtrack from Giles Martin which is just kind of buffed and polished. And also, we’ve already worked on the film, so that it’s brighter, there’s less grain and things like that. Yes, and ‘Let It Be’ will come out." - [Forums.SteveHoffman.tv] .
Edited 2 time(s). Last edit at 2023-03-31 11:50 by Irix.
Gotta agree. I rewatched the original Let It Be after watching Jackson's and its kinda pointless now. I respect what Michael Lindsay Hogg created and for the time its all they could do, but it was never really that good of a film anyway. It plays as two things: either a very depressing breakup of the Beatles, amplified by key editing, or it plays as essentially a straight up concert film of music videos for the songs on that record. Neither was ever really all that necessary, and with the new film now available it doesn't render it complete obsolete, as its still something for historical purposes, but its one of the last things you should feel compelled to check out about the Beatles. I'd rather listen to Two Virgins before it.
Edited 1 time(s). Last edit at 2023-04-01 02:57 by RollingFreak.
Ah! My brain obviously could not compute the meaning of the article as it was such a silly endeavour.
Carefully remastering/remixing the albums with an obsessive attention to detail that hugely improves the recreation of the sound makes a lot of sense to me. Giles is good at that. All power to him, and get on with going back through the catalogue!
Remaking the old, tired, version of the film makes no sense to me.
I've written here before that my view is that the old version of the film isn't as dire gloom and doom as everyone says. I have a copy (seemingly a transfer from the very limited Laserdisc release) and watched it with very low expectations, and I was very surprised that it was generally far better than legend related.
But, now, post Peter Jackson it's irrelevant other than as a historic curio.
I'll not be wasting my money on this release.
Captain Corella
I haven’t seen either one but my understanding is the new version shows them all happy and being buddies and the old version shows them down and miserable so the Beatleheads are happy and like the new one better, is that correct?
But since the reality is they broke up soon after and started writing songs attacking each other, wouldn’t the original be closer to the truth?
As Richard Pryor once said”Ya’all some funny mthrfckrs”
No.
Whilst it is true that the old version shows arguments, it's by no means 90% of the time arguing. There are stretches when it's simply the Fabs in a studio trying to record songs, plus the Glory of the Rooftop Concert.
The new version has a better balance. Arguments are shown in context.
Watch them both and then come back with your informed comments and not your second hand assessment.
Captain Corella
Indeed. As well as the showing on Disney last year, I was also able to go and see it on the largest IMAX screen in the world. Mind blowing.
Captain Corella
Can you explain that?
To my ears it sounds like 4 very experienced players who genuinely enjoy playing live together doing it well and producing some good songs. I've watched it several times and I reckon I see mutual enjoyment and affection in what's going on on that rooftop.
Captain Corella
I’m not the biggest Beatles fan but that rooftop concert is a display of what made them brilliant.
They were like a sports team that peaked on game day. The 2-3 weeks leading up to it where they kicked the songs back and forth, teasing them out having fun with them, exploring where they could go how they would play them. Then they get to the rooftop and everyone’s concentration level and “professionalism” goes up 2 gears.
Edited 1 time(s). Last edit at 2023-04-03 05:19 by Paddy.
Good analogy Paddy.
I have not really words to describe this but a general feeling.
Even if played over some pre recorded parts I enjoy much more the 1968 tv performance of Revolution.
Edited 1 time(s). Last edit at 2023-04-04 01:21 by ds1984.
Basically this is astonishingly interesting/good and 100% unmissable.
There's a bit of a oddness - early on the narrator talks as if the boys at Stowe had never heard, or heard of, The Beatles. (IMHO in April 1963 that's basically impossible). And then later on the audience - the boys at Stowe School - are shouting out song title requests.
Captivating listening.
Mark Lewisohn's bits really tell you how special this is.
Captain Corella
Hmmmm... Interesting.
In the programme it talks about The Beatles being booked in early February (1963) - so that's clearly early in the Spring term, early January to Easter. So the whole thing (booking to performance) was arguably within one school term.
'Please Please Me' (single) was released Jan 11th, so that could have been known at the time of the booking early in February.
The Beatles were VERY popular in Liverpool well before they became recording artists, so the Moores (sp?) family connection makes very good sense - ie Teenage member of family, well connected financially, knowing the local clubs, connection to Brian (who was a dedicated social climber) etc.
I think that it's the narrative in the programme that's flawed, not the real credibility of the swift and extreme rise in their popularity.
The programme mentions that the performance was squeezed in before the recording of a BBC guest spot. The Stowe show was 4th April - by 24th May they had their own SERIES on the BBC - Pop Goes The Beatles. Not bad for 4 Liverpool lads who 12 (approx) months previously didn't have a solid recording contract.
Captain Corella
Moreover, they invented music. On the 8th day they created Country & Western with "Act Naturally" (Ringo's idea - credit where it's due), then introduced Blues to the world by conceiving "Yer Blues" while casually pioneering Avantgarde with "Revolution 9". In quick succession they put Reggae, Heavy Metal and Psychedelia on the map, simply by dreaming up "Ob-La-Di, Ob-La-Da", "Helter Skelter" and "Tomorrow Never Knows". They designed a new instrument they called "sitar" to help the people on the Indian subcontinent to a more spiritual life. Furthermore the moptops thought up the concept of the evergreen ballad with "Yesterday" and discovered that children listen to music, too. How? Easy, kids responded favourably to "Yellow Submarine" (Ringo again!). Finally, they innovated the art of songwriting by designing three tunes so overwhelmingly sublime that billions of listeners worldwide found immediate and everlasting happiness. The three tunes? "All Together Now","Good Morning, Good Morning" and "Piggies". Alas, after only ten short years the Fabs were so far ahead of everybody else that they had to disband and call it a day, simply to give all their hopeless disciples a chance to catch up a bit. Fat chance.
Talk about your favorite band.
For information about how to use this forum please check out forum help and policies.
Re: OT: Beatles tribute band with left-handed bass player...
Posted by:
Swayed1967
()
Date: March 23, 2023 08:52
Quote
The Joker
Some Beatles tribute bands have a left-handed bass player
Brings some questions
Is this a non-negotiable requirement?
The bass player could be a right-handed lesbian from Ghana playing with her back to the crowd and a photo of McCartney taped to the back of her head for all I care.
Re: OT: Beatles tribute band with left-handed bass player...
Posted by:
NICOS
()
Date: March 23, 2023 21:35
Quote
Swayed1967Quote
The Joker
Some Beatles tribute bands have a left-handed bass player
Brings some questions
Is this a non-negotiable requirement?
The bass player could be a right-handed lesbian from Ghana playing with her back to the crowd and a photo of McCartney taped to the back of her head for all I care.
__________________________
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: March 25, 2023 20:26
In the beginning.............
The Beatles' rushed first album turns 60
After the single "Please Please Me" became the Beatles' first number-one hit, the band needed a debut album quickly and recorded the songs in just one day.
By Silke Wünsch, Deutsche Welle | Mar 24 2023
BEATLES 60
When the album "Please Please Me" was released in the UK on March 22, 1963, it shot straight into the Top 10 of the British charts. Six weeks later it was number one, and stayed there for 30 weeks. It also spawned a number of hit singles including "I Saw Her Standing There" and "Twist and Shout." But the record was a rush job. It was mostly recorded in one day by the Fab Four from Liverpool while Paul McCartney and John Lennon were suffering from a cold. At the time, the band played a grinding schedule of gigs in small clubs, or as an opening act for other artists. With a growing fan base, and as mainstays of the popular Liverpool Cavern Club, "The North's No. 1 Rock Combo" sometimes played two gigs a day. On New Year's Eve in 1962, The Beatles performed what proved to be their last gig at the Star Club in Hamburg, a venue where they had played residencies since 1960.
The Beatles' first number one
In between gigs, producer George Martin of EMI Records — with which the band signed in 1962 — called the band into Abbey Road Studios in London. The single "Love Me Do," released in October 1962, reached number 17 in the charts but still made the Beatles famous nationwide. A successor had to come quickly. Martin desperately wanted to record "How Do You Do It," written by composer Mitch Murray, but the Beatles wanted to release their own composition. They looked to John Lennon's "Please Please Me," which was recorded in September 1962 at the same sessions where "Love Me Do" was written. Peppered with sexual innuendo, the lyrics of "Please" seem almost raunchy by the standards of the time. Producer Martin didn't like the style of this version of the song — too monotonous, too slow. And so they were all back in the studio recording the single that was to catapult the Beatles to number one. When the recordings were finished, Martin was confident: "You've just recorded your first number one." On January 11, 1963, the single with the B-side "Ask Me Why" was released and Martin was proven right. Meanwhile, the hit single helped The Beatles promote their ongoing daily concert schedule, with manager Brian Epstein now firmly at the helm. It was not long before Martin called them back into the studio on February 11, 1963. The first long-playing record was to be made — and in one day!
The Fab Four's 13-hour recording marathon
George Martin wanted to get the raw, original sound out of the Fab Four. The band was tight, having been playing so many shows, and they managed to record the remaining 10 songs live — in addition to the existing four titles. For the last number, "Twist and Shout," John had to give his battered voice a rest, forcing Martin to go with a scratchy take that has endeared the song to millions of Beatles fans to this day. Martin only used a two-track tape recorder, and only a few instruments were mixed in. It took them between 15 and 90 minutes per song. After almost 13 hours, gallons of tea, milk, throat lozenges and cigarettes, the songs were recorded, with Martin later adding some piano tracks. Despite the rather simple recording technique, the production costs were relatively high: £400, which would correspond to about $9,200 (€8,500) today.
The start of Beatlemania
It was unusual for a band to put so many of their own songs on a debut album at the time: only six of the 14 tracks on "Please Please Me" were cover versions. The fact that the Beatles had convinced their producer to record their own material meant that the Lennon-McCartney pair were quickly recognized as songwriters. Paul and John agreed to always use both their names, even if a song was only written by one of them. The album "Please Please Me" still sounds fresh and testifies to the band's, and George Martin's, perfectionism and conviction to break new ground. The first of 12 studio albums, the debut long-play not only marked the start of a global Beatlemania but also the birth of a new way of making pop music that would inspire future generations of musicians.
*This article was originally written in German.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
The Beatles' rushed first album turns 60
After the single "Please Please Me" became the Beatles' first number-one hit, the band needed a debut album quickly and recorded the songs in just one day.
By Silke Wünsch, Deutsche Welle | Mar 24 2023
BEATLES 60
When the album "Please Please Me" was released in the UK on March 22, 1963, it shot straight into the Top 10 of the British charts. Six weeks later it was number one, and stayed there for 30 weeks. It also spawned a number of hit singles including "I Saw Her Standing There" and "Twist and Shout." But the record was a rush job. It was mostly recorded in one day by the Fab Four from Liverpool while Paul McCartney and John Lennon were suffering from a cold. At the time, the band played a grinding schedule of gigs in small clubs, or as an opening act for other artists. With a growing fan base, and as mainstays of the popular Liverpool Cavern Club, "The North's No. 1 Rock Combo" sometimes played two gigs a day. On New Year's Eve in 1962, The Beatles performed what proved to be their last gig at the Star Club in Hamburg, a venue where they had played residencies since 1960.
The Beatles' first number one
In between gigs, producer George Martin of EMI Records — with which the band signed in 1962 — called the band into Abbey Road Studios in London. The single "Love Me Do," released in October 1962, reached number 17 in the charts but still made the Beatles famous nationwide. A successor had to come quickly. Martin desperately wanted to record "How Do You Do It," written by composer Mitch Murray, but the Beatles wanted to release their own composition. They looked to John Lennon's "Please Please Me," which was recorded in September 1962 at the same sessions where "Love Me Do" was written. Peppered with sexual innuendo, the lyrics of "Please" seem almost raunchy by the standards of the time. Producer Martin didn't like the style of this version of the song — too monotonous, too slow. And so they were all back in the studio recording the single that was to catapult the Beatles to number one. When the recordings were finished, Martin was confident: "You've just recorded your first number one." On January 11, 1963, the single with the B-side "Ask Me Why" was released and Martin was proven right. Meanwhile, the hit single helped The Beatles promote their ongoing daily concert schedule, with manager Brian Epstein now firmly at the helm. It was not long before Martin called them back into the studio on February 11, 1963. The first long-playing record was to be made — and in one day!
The Fab Four's 13-hour recording marathon
George Martin wanted to get the raw, original sound out of the Fab Four. The band was tight, having been playing so many shows, and they managed to record the remaining 10 songs live — in addition to the existing four titles. For the last number, "Twist and Shout," John had to give his battered voice a rest, forcing Martin to go with a scratchy take that has endeared the song to millions of Beatles fans to this day. Martin only used a two-track tape recorder, and only a few instruments were mixed in. It took them between 15 and 90 minutes per song. After almost 13 hours, gallons of tea, milk, throat lozenges and cigarettes, the songs were recorded, with Martin later adding some piano tracks. Despite the rather simple recording technique, the production costs were relatively high: £400, which would correspond to about $9,200 (€8,500) today.
The start of Beatlemania
It was unusual for a band to put so many of their own songs on a debut album at the time: only six of the 14 tracks on "Please Please Me" were cover versions. The fact that the Beatles had convinced their producer to record their own material meant that the Lennon-McCartney pair were quickly recognized as songwriters. Paul and John agreed to always use both their names, even if a song was only written by one of them. The album "Please Please Me" still sounds fresh and testifies to the band's, and George Martin's, perfectionism and conviction to break new ground. The first of 12 studio albums, the debut long-play not only marked the start of a global Beatlemania but also the birth of a new way of making pop music that would inspire future generations of musicians.
*This article was originally written in German.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
JJHMick
()
Date: March 25, 2023 20:58
Ha, one day for a long player! The Rutles only needed 15 minutes...
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Hairball
()
Date: March 29, 2023 20:47
From musicradar.com
George Martin played on more Beatles songs than you think: are these his best piano solos and orchestral arrangements?
By Ben Rogerson
published 1 day ago
David Bennett lists the 27 songs that feature the Fab Four's producer's greatest contributions
BEATLES
Not for nothing is George Martin frequently referred to as ‘the fifth Beatle’. Yes, he was the band’s producer, but that title alone doesn’t do justice to the level of involvement he had on the band’s records, as documented in this recently published video from David Bennett. Here, Bennett runs through the 27 Beatles songs that he believes George Martin contributed the most to.
First up, he deals with his keyboard performances, which came when Lennon and McCartney needed someone who could play the kind of intricate parts that were beyond them. That’s why you hear Martin on songs such as Lovely Rita, Good Day Sunshine and, particularly memorably, In My Life. Asked to write a piano solo for the song, Martin soon realised that the one he’d composed was too difficult to play at the tempo required. So, he used the ‘wound-up piano’ recording technique that had served him well when he worked with Billy J Kramer. This involved the engineers dropping the tape down to half speed and Martin playing down the octave. Then, when the recording was played back at regular speed, the piano went back up an octave and created the ‘harpsichord’ type tone that you’ll hear on In My Life. Martin used the same technique for the piano solo on Rocky Raccoon, and played harpsichord for real on Fixing a Hole and Because (in the latter case an electric model). He also jumped on the harmonium for various songs, including Being for the Benefit of Mr Kite, and it was also Martin who created Kite’s circus sound atmospherics by cutting up and reassembling clips of existing steam organ recordings (sampling, effectively).
It was perhaps as an orchestrator, though, that Martin had his biggest musical impact. A classically trained oboist, he composed, arranged and conducted on classic songs such as Yesterday, Eleanor Rigby, I Am The Walrus and Strawberry Fields Forever. As Bennett points out, it’s now common practice for producers to receive songwriting credits and royalties even if their contributions are relatively minimal, but this wasn’t the case during Martin’s time with the Fab Four. For him, though, it wasn’t about the money: “I’ve been awfully lucky,” he told BBC Radio 4’s Desert Island Discs in 1995. “As a whole I’ve had a wonderful life - I’ve worked with the most wonderful people, worked with the greatest of artists and I’m very fortunate. I’ve got no grudges at all.”
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
George Martin played on more Beatles songs than you think: are these his best piano solos and orchestral arrangements?
By Ben Rogerson
published 1 day ago
David Bennett lists the 27 songs that feature the Fab Four's producer's greatest contributions
BEATLES
Not for nothing is George Martin frequently referred to as ‘the fifth Beatle’. Yes, he was the band’s producer, but that title alone doesn’t do justice to the level of involvement he had on the band’s records, as documented in this recently published video from David Bennett. Here, Bennett runs through the 27 Beatles songs that he believes George Martin contributed the most to.
First up, he deals with his keyboard performances, which came when Lennon and McCartney needed someone who could play the kind of intricate parts that were beyond them. That’s why you hear Martin on songs such as Lovely Rita, Good Day Sunshine and, particularly memorably, In My Life. Asked to write a piano solo for the song, Martin soon realised that the one he’d composed was too difficult to play at the tempo required. So, he used the ‘wound-up piano’ recording technique that had served him well when he worked with Billy J Kramer. This involved the engineers dropping the tape down to half speed and Martin playing down the octave. Then, when the recording was played back at regular speed, the piano went back up an octave and created the ‘harpsichord’ type tone that you’ll hear on In My Life. Martin used the same technique for the piano solo on Rocky Raccoon, and played harpsichord for real on Fixing a Hole and Because (in the latter case an electric model). He also jumped on the harmonium for various songs, including Being for the Benefit of Mr Kite, and it was also Martin who created Kite’s circus sound atmospherics by cutting up and reassembling clips of existing steam organ recordings (sampling, effectively).
It was perhaps as an orchestrator, though, that Martin had his biggest musical impact. A classically trained oboist, he composed, arranged and conducted on classic songs such as Yesterday, Eleanor Rigby, I Am The Walrus and Strawberry Fields Forever. As Bennett points out, it’s now common practice for producers to receive songwriting credits and royalties even if their contributions are relatively minimal, but this wasn’t the case during Martin’s time with the Fab Four. For him, though, it wasn’t about the money: “I’ve been awfully lucky,” he told BBC Radio 4’s Desert Island Discs in 1995. “As a whole I’ve had a wonderful life - I’ve worked with the most wonderful people, worked with the greatest of artists and I’m very fortunate. I’ve got no grudges at all.”
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
NICOS
()
Date: March 29, 2023 23:24
Nice post Haiball 
__________________________
__________________________
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Manofwealthandtaste
()
Date: March 30, 2023 16:59
Interesting article, thanks Hairball.
Of course, Giles Martin continues the good work.....currently on the soon to be released/remastered/recolourised Let It Be film.
Of course, Giles Martin continues the good work.....currently on the soon to be released/remastered/recolourised Let It Be film.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
CaptainCorella
()
Date: March 30, 2023 23:51
Quote
Manofwealthandtaste
Interesting article, thanks Hairball.
Of course, Giles Martin continues the good work.....currently on the soon to be released/remastered/recolourised Let It Be film.
Eh?
"soon to be released..."
Was I imagining last year's release by Peter Jackson of a version that was about 8hrs long, Giles talking about how the technology developed for that had helped work on 'Revolver', and a trip I had to an IMAX to see the rooftop concert?
Or am I misunderstanding what you've written??
Captain Corella
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Irix
()
Date: March 31, 2023 11:30
Quote
CaptainCorella
Or am I misunderstanding what you've written??
"Following the release of this new film [Get Back], a restored version of the original Let It Be movie directed by Michael Lindsay-Hogg will also be made available" - [www.TheBeatles.com] .
Michael Lindsay-Hogg (2021): "The plan is that we will re-release ‘Let It Be’ sometime after Peter’s movie, ‘Get Back’, has rolled out. We don’t know whether it will be streaming, we don’t know whether it will be limited theatrical [release], but it will be the original movie, but with [a] new soundtrack from Giles Martin which is just kind of buffed and polished. And also, we’ve already worked on the film, so that it’s brighter, there’s less grain and things like that. Yes, and ‘Let It Be’ will come out." - [Forums.SteveHoffman.tv] .
Edited 2 time(s). Last edit at 2023-03-31 11:50 by Irix.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Manofwealthandtaste
()
Date: March 31, 2023 12:24
All being well, there should be a release of the film as soon as next month.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
NICOS
()
Date: March 31, 2023 23:29
I'm totally not interested in a new version of the original Let It Be movie, it doesn't showed the atmosphere of the Peter Jackson version
__________________________
__________________________
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
RollingFreak
()
Date: April 1, 2023 02:57
Quote
NICOS
I'm totally not interested in a new version of the original Let It Be movie, it doesn't showed the atmosphere of the Peter Jackson version
Gotta agree. I rewatched the original Let It Be after watching Jackson's and its kinda pointless now. I respect what Michael Lindsay Hogg created and for the time its all they could do, but it was never really that good of a film anyway. It plays as two things: either a very depressing breakup of the Beatles, amplified by key editing, or it plays as essentially a straight up concert film of music videos for the songs on that record. Neither was ever really all that necessary, and with the new film now available it doesn't render it complete obsolete, as its still something for historical purposes, but its one of the last things you should feel compelled to check out about the Beatles. I'd rather listen to Two Virgins before it.
Edited 1 time(s). Last edit at 2023-04-01 02:57 by RollingFreak.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
CaptainCorella
()
Date: April 1, 2023 07:58
Quote
NICOS
I'm totally not interested in a new version of the original Let It Be movie, it doesn't showed the atmosphere of the Peter Jackson version
Ah! My brain obviously could not compute the meaning of the article as it was such a silly endeavour.
Carefully remastering/remixing the albums with an obsessive attention to detail that hugely improves the recreation of the sound makes a lot of sense to me. Giles is good at that. All power to him, and get on with going back through the catalogue!
Remaking the old, tired, version of the film makes no sense to me.
I've written here before that my view is that the old version of the film isn't as dire gloom and doom as everyone says. I have a copy (seemingly a transfer from the very limited Laserdisc release) and watched it with very low expectations, and I was very surprised that it was generally far better than legend related.
But, now, post Peter Jackson it's irrelevant other than as a historic curio.
I'll not be wasting my money on this release.
Captain Corella
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
lem motlow
()
Date: April 1, 2023 08:00
Quote
NICOS
I'm totally not interested in a new version of the original Let It Be movie, it doesn't showed the atmosphere of the Peter Jackson version
I haven’t seen either one but my understanding is the new version shows them all happy and being buddies and the old version shows them down and miserable so the Beatleheads are happy and like the new one better, is that correct?
But since the reality is they broke up soon after and started writing songs attacking each other, wouldn’t the original be closer to the truth?
As Richard Pryor once said”Ya’all some funny mthrfckrs”
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
CaptainCorella
()
Date: April 1, 2023 08:39
Quote
lem motlow
the old version shows them down and miserable so the Beatleheads are happy and like the new one better, is that correct?
No.
Whilst it is true that the old version shows arguments, it's by no means 90% of the time arguing. There are stretches when it's simply the Fabs in a studio trying to record songs, plus the Glory of the Rooftop Concert.
The new version has a better balance. Arguments are shown in context.
Watch them both and then come back with your informed comments and not your second hand assessment.
Captain Corella
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
lem motlow
()
Date: April 1, 2023 09:27
I have seen the rooftop concert, I can’t lie.that was pretty damn good.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
CaptainCorella
()
Date: April 1, 2023 12:02
Quote
lem motlow
I have seen the rooftop concert, I can’t lie.that was pretty damn good.
Indeed. As well as the showing on Disney last year, I was also able to go and see it on the largest IMAX screen in the world. Mind blowing.
Captain Corella
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
ds1984
()
Date: April 2, 2023 14:00
The Rooftop Concert still sounds as an oddity to my ears.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
CaptainCorella
()
Date: April 3, 2023 03:33
Quote
ds1984
The Rooftop Concert still sounds as an oddity to my ears.
Can you explain that?
To my ears it sounds like 4 very experienced players who genuinely enjoy playing live together doing it well and producing some good songs. I've watched it several times and I reckon I see mutual enjoyment and affection in what's going on on that rooftop.
Captain Corella
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Paddy
()
Date: April 3, 2023 05:19
Quote
CaptainCorellaQuote
ds1984
The Rooftop Concert still sounds as an oddity to my ears.
Can you explain that?
To my ears it sounds like 4 very experienced players who genuinely enjoy playing live together doing it well and producing some good songs. I've watched it several times and I reckon I see mutual enjoyment and affection in what's going on on that rooftop.
I’m not the biggest Beatles fan but that rooftop concert is a display of what made them brilliant.
They were like a sports team that peaked on game day. The 2-3 weeks leading up to it where they kicked the songs back and forth, teasing them out having fun with them, exploring where they could go how they would play them. Then they get to the rooftop and everyone’s concentration level and “professionalism” goes up 2 gears.
Edited 1 time(s). Last edit at 2023-04-03 05:19 by Paddy.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
treaclefingers
()
Date: April 3, 2023 05:27
Quote
PaddyQuote
CaptainCorellaQuote
ds1984
The Rooftop Concert still sounds as an oddity to my ears.
Can you explain that?
To my ears it sounds like 4 very experienced players who genuinely enjoy playing live together doing it well and producing some good songs. I've watched it several times and I reckon I see mutual enjoyment and affection in what's going on on that rooftop.
I’m not the biggest Beatles fan but that rooftop concert is a display of what made them brilliant.
They were like a sports team that peaked on game day. The 2-3 weeks leading up to it where they kicked the songs back and forth, teasing them out having fun with them, exploring where they could go how they would play them. Then they get to the rooftop and everyone’s concentration level and “professionalism” goes up 2 gears.
Good analogy Paddy.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
frankotero
()
Date: April 3, 2023 13:32
To my knowledge and memory I never heard anti Beatles fans talk bad about the fabled rooftop gig. That was a great moment in history, simple but high impact. Genius!
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
ds1984
()
Date: April 4, 2023 01:20
Quote
CaptainCorellaQuote
ds1984
The Rooftop Concert still sounds as an oddity to my ears.
Can you explain that?
To my ears it sounds like 4 very experienced players who genuinely enjoy playing live together doing it well and producing some good songs. I've watched it several times and I reckon I see mutual enjoyment and affection in what's going on on that rooftop.
I have not really words to describe this but a general feeling.
Even if played over some pre recorded parts I enjoy much more the 1968 tv performance of Revolution.
Edited 1 time(s). Last edit at 2023-04-04 01:21 by ds1984.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Cristiano Radtke
()
Date: April 4, 2023 06:26
The Beatles - Live at Stowe School, Buckingham, United Kingdom (April 4, 1963)
Samira discovers a previously unheard recording of The Beatles historic gig for the boys at Stowe School on 4 April 1963. She visits the school to mark the 60th anniversary and talks to former pupil John Bloomfield, who was fifteen when he recorded the concert, the current headmaster Anthony Wallersteiner, and Beatles historian Mark Lewisohn.
[www.bbc.co.uk]
Samira discovers a previously unheard recording of The Beatles historic gig for the boys at Stowe School on 4 April 1963. She visits the school to mark the 60th anniversary and talks to former pupil John Bloomfield, who was fifteen when he recorded the concert, the current headmaster Anthony Wallersteiner, and Beatles historian Mark Lewisohn.
[www.bbc.co.uk]
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
CaptainCorella
()
Date: April 4, 2023 08:57
Quote
Cristiano Radtke
The Beatles - Live at Stowe School, Buckingham, United Kingdom (April 4, 1963)
Samira discovers a previously unheard recording of The Beatles historic gig for the boys at Stowe School on 4 April 1963. She visits the school to mark the 60th anniversary and talks to former pupil John Bloomfield, who was fifteen when he recorded the concert, the current headmaster Anthony Wallersteiner, and Beatles historian Mark Lewisohn.
[www.bbc.co.uk]
Basically this is astonishingly interesting/good and 100% unmissable.
There's a bit of a oddness - early on the narrator talks as if the boys at Stowe had never heard, or heard of, The Beatles. (IMHO in April 1963 that's basically impossible). And then later on the audience - the boys at Stowe School - are shouting out song title requests.
Captivating listening.
Mark Lewisohn's bits really tell you how special this is.
Captain Corella
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Manofwealthandtaste
()
Date: April 4, 2023 13:00
Thanks for posting this Cristiano. I haven't listened to it yet but I may be able to throw some light on your 'bit of oddness' Captain Corella.
A friend of mine was at Stowe at that time and was one of the boys who 'signed The Beatles' for the gig. (in other words arranged for a band to come and play a school pop concert) This was arranged the previous term, several weeks in advance of the show itself. At the time of booking the band, prior to the release of Please Please Me, maybe the boys hadn't heard of them and they were able to confirm the booking for what I am sure was a very modest fee. Then, in the interim, the album and singles were released. The headmaster must have been having second thoughts about whether to allow this pop concert to go ahead in his school!
Come showtime, I am not surprised the boys were yelling out requests! Credit to The Beatles that they honoured the date and the gig went ahead.
A friend of mine was at Stowe at that time and was one of the boys who 'signed The Beatles' for the gig. (in other words arranged for a band to come and play a school pop concert) This was arranged the previous term, several weeks in advance of the show itself. At the time of booking the band, prior to the release of Please Please Me, maybe the boys hadn't heard of them and they were able to confirm the booking for what I am sure was a very modest fee. Then, in the interim, the album and singles were released. The headmaster must have been having second thoughts about whether to allow this pop concert to go ahead in his school!
Come showtime, I am not surprised the boys were yelling out requests! Credit to The Beatles that they honoured the date and the gig went ahead.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
CaptainCorella
()
Date: April 4, 2023 14:06
Quote
Manofwealthandtaste
Thanks for posting this Cristiano. I haven't listened to it yet but I may be able to throw some light on your 'bit of oddness' Captain Corella.
A friend of mine was at Stowe at that time and was one of the boys who 'signed The Beatles' for the gig. (in other words arranged for a band to come and play a school pop concert) This was arranged the previous term, several weeks in advance of the show itself. At the time of booking the band, prior to the release of Please Please Me, maybe the boys hadn't heard of them and they were able to confirm the booking for what I am sure was a very modest fee. Then, in the interim, the album and singles were released. The headmaster must have been having second thoughts about whether to allow this pop concert to go ahead in his school!
Come showtime, I am not surprised the boys were yelling out requests! Credit to The Beatles that they honoured the date and the gig went ahead.
Hmmmm... Interesting.
In the programme it talks about The Beatles being booked in early February (1963) - so that's clearly early in the Spring term, early January to Easter. So the whole thing (booking to performance) was arguably within one school term.
'Please Please Me' (single) was released Jan 11th, so that could have been known at the time of the booking early in February.
The Beatles were VERY popular in Liverpool well before they became recording artists, so the Moores (sp?) family connection makes very good sense - ie Teenage member of family, well connected financially, knowing the local clubs, connection to Brian (who was a dedicated social climber) etc.
I think that it's the narrative in the programme that's flawed, not the real credibility of the swift and extreme rise in their popularity.
The programme mentions that the performance was squeezed in before the recording of a BBC guest spot. The Stowe show was 4th April - by 24th May they had their own SERIES on the BBC - Pop Goes The Beatles. Not bad for 4 Liverpool lads who 12 (approx) months previously didn't have a solid recording contract.
Captain Corella
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
Manofwealthandtaste
()
Date: April 4, 2023 14:47
Thanks, Captain, I will listen to the programme. I must also speak to my friend to see how his memory compares to this version!
Re: OT..The Beatles still amaze me
Posted by:
mkbbcmr
()
Date: April 14, 2023 21:28
Quote
jazzbass
When I think of the Beatles, I think of something so great, so influential, it borders on mythical. To watch a performance like the rooftop concert is to bear witness to greatness. A band so legendary and a moment so iconic, and fleeting, it's almost "Jesus-like". They were so huge that they transcended music and pop culture to mainstream, global, household name popularity.
Moreover, they invented music. On the 8th day they created Country & Western with "Act Naturally" (Ringo's idea - credit where it's due), then introduced Blues to the world by conceiving "Yer Blues" while casually pioneering Avantgarde with "Revolution 9". In quick succession they put Reggae, Heavy Metal and Psychedelia on the map, simply by dreaming up "Ob-La-Di, Ob-La-Da", "Helter Skelter" and "Tomorrow Never Knows". They designed a new instrument they called "sitar" to help the people on the Indian subcontinent to a more spiritual life. Furthermore the moptops thought up the concept of the evergreen ballad with "Yesterday" and discovered that children listen to music, too. How? Easy, kids responded favourably to "Yellow Submarine" (Ringo again!). Finally, they innovated the art of songwriting by designing three tunes so overwhelmingly sublime that billions of listeners worldwide found immediate and everlasting happiness. The three tunes? "All Together Now","Good Morning, Good Morning" and "Piggies". Alas, after only ten short years the Fabs were so far ahead of everybody else that they had to disband and call it a day, simply to give all their hopeless disciples a chance to catch up a bit. Fat chance.
Re: Beatles vs Stones - and other Beatles stuff
Posted by:
ds1984
()
Date: April 14, 2023 22:21
And Georges Harrison invented Live Aid 15 years in advance
Edited 2 time(s). Last edit at 2023-04-14 23:16 by ds1984.
Edited 2 time(s). Last edit at 2023-04-14 23:16 by ds1984.
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