HDTenEightyP/NetNews huggingface dataset:
From: edc@evolution.bchs.uh.edu (edward s. chen)
Subject: Re: Hey Jude
Organization: Little to none, or maybe not......
Date: Thu, 30 Jul 1992 17:44:26 GMT

In article <1992Jul30.153131.2117@dartvax.dartmouth.edu> David.T.Greenfield@dartmouth.edu (David T. Greenfield) writes:
>In article <1992Jul29.045343.1773@menudo.uh.edu>
>edc@evolution.bchs.uh.edu (edward s. chen) writes:
>
>> It is not only "not officially sanctioned", it is being done without the
>> permission of the Beatles, EMI, or Capitol, and the boys receive no money
>> from the sale of the disc.
>> 
>> >I will attempt
>> >to fish the info on this thing out of the trash.  If I recall, the going
>> >price was $70 and included an alternate shot of the cover (not all that
>> >exciting when one considers Ethan Russell has been
>> >peddling his pix through outlets like Rockaway Records for some time now). 
>> 
>> Not to mention that the CD is mastered from a vinyl disc.  Can we say
>> "counterfeit" (or alternatively "pirate") boys and girls?  [...and much
>> like "Yesterday...and Today", not even an interesting one]  A very definite
>> avoid at all costs.
>
>Is this legally different from "bootleg"?  Do I detect a new morality
>emerging in this group?
>

Legally, all of these would fall under the category "released recordings not
sanctioned by the group, recording company, or publishing company."

As far as a person purchasing the material, there evolve three distinct
classes (at least):

"Counterfeit" - most commonly, an inferior quality release, attempting to pass
itself off as legitimate.  Usually refers to someone at a pressing plant
mastering copies of a then-popular record from a legitimate source, producing
cheap reproductions of the cover, and then attempting to sell that item at
less then market value.  (which is still a tidy profit for the counterfeiter).
As far as the Beatles are concerned, the VJ albums (esp. "Introducing...") are
the most commonly counterfeited.

"Pirate" - re-packaging of official material, from official sources, and
selling at outrageous prices.  At about the same time as "Reel Music", some
entrepeneurs re-packaged legitimate Capitol copies of the "A Hard Day's Night",
"Help!", "Magical Mystery Tour", and "Let It Be" in a film cannister, and 
selling it for $150.00.  Similarly, the "Help!" and "Revolver" CD's have
been packaged with copies of unreleased photos, and sold for outrageous sums.

"Bootleg" -  usually refers to unreleased material, mass-produced for the
audience that will pay for it.

Further, there is most definitely not a "new morality" emerging in this
group.  Speaking only for myself, I don't care what people want (or don't
want) to purchase.  It is just that I can see no justification for spending
$70.00 - $80.00 for a CD created using a commonly available vinyl record as 
the sound source.

<ESC>
-- 
..You either kiss the future or the past goodbye...
                          -- Ringo Starr (written by O'Deherty / Velez)
From: shroymp@wkuvx1.bitnet (Mike Shroyer )
Newsgroups: rec.music.beatles
Subject: Re: Need help in finding out who sang a particular songclo
Date: 30 Jul 92 20:50:21 CDT
Organization: Western Kentucky University, Bowling Green, KY

In article <1992Jul29.162420.10312@techbook.com>, sameer@techbook.com (Sameer Siddiqui) writes:
> Hi All,
> I am sorry if this is not the appropriate news group for this sort of 
> question, but I would appreciate your help in trying to find out who
> sang a song:
> 
> 	He ain't heavy, he's my brother .......
> That's all I know about the contents of the song. It was released 
> somewhere in the late 60's and may have been a beatles song.
> Thanks for your help. E-mail response would be preferred.
> Sameer..
> -- 
> sameer@techbook.COM  Public Access User --- Not affiliated with TECHbooks
> Public Access UNIX and Internet at (503) 644-8135 (1200/2400, N81)

Isn't that an Olivia-Newton John song?  The only beatle song that
comes close is 'I want you/She's so heavy'

Mike
-- 
******************************************************************************
*  Mike Shroyer                     What's the difference between Greeks     *
*  Western Kentucky University       who all dress alike and non-conformists *
*  shroymp@wkuvx1.bitnet             who all dress alike                     *
*  shroyer@wku.edu                                                           *
*                                                                            *
*    HELP SUPPORT YOUR LOCAL BANDS ... GO TO THE SHOWS AND BUY THE ALBUMS    *
*                                                                            *
******************************************************************************
Newsgroups: rec.music.beatles
From: galuska@oz.asel.udel.edu (Scott Galuska)
Subject: Re: Yoko Background Vocals
Organization: AI duPont Institute
Date: Tue, 28 Jul 1992 14:49:10 GMT

In article <1992Jul27.140431.6660@cbfsb.cb.att.com> yyz@cbnewsf.cb.att.com (donald.w.coons) writes:
>I just listened to Past Masters Volume 2 for the first time and really enjoyed
>the version of Across the Universe. My question is did Yoko sing back-up vocals
>for this song, it sounds like she did. Anybody know for sure? On this subject,
>does anyone know what songs she participated on, I know you can hear her on
>Bungalow Bill (if I remember right Paul fought to have her off this) and of
>course Revolution 9, but what others.

Yoko is not on "Across The Universe" ('twas a couple of girls who hung out
outside of Abbey Road (or was it Apple) studios).  Yoko also did backup
vocals (with George's wife) on "Birthday"...

.
-- 
Scott Galuska
Dept. of Computer & Info. Science        "There's no crying in baseball!"
Univ of Delaware
galuska@asel.udel.edu
From: dennis@hpwrce.mayfield.hp.com (Dennis Alstrand)
Date: Mon, 27 Jul 1992 15:56:54 GMT
Subject: Re: Who wrote what?  Does it matter?
Organization: the HP Mtn.View Resp. Cntr.
Newsgroups: rec.music.beatles

In rec.music.beatles, ereidell@media.mit.edu (Evan A. Reidell) writes:


>   In a Lennon/McCartney composition, which stuff is Lennon and which
>   stuff is McCartney?  Is this worth even thinking about, or is this
>   splitting-up of the group's work too anti-Beatles, subject to
>   lots of pointless debate, and a bad thing to do?


I don't think it's a bad thing to do at all.  There are three songs in
particular that show Paul/Optimist and John/Realist.


John:  Wait!  Until I come back to your side 
       We'll forget the tears we cried, etc 

Paul:  I feel as though
       You ought to know 
       That I've been good as good as I can be
       And if you do
       I'll trust in you
       And know that you will wait for me


We Can Work It Out

Paul:  Think of what I'm saying 
       We can work it out and get it straight or say goodnight
       We can work it out etc

John:  Life is very short and there's no time
       For fussing and fighting my friend
       I have always thought that it's a crime
       So I will ask you once again


Getting Better

Paul:  It's getting better all the time John: It can't get no worse

John:  I used to be cruel to my woman I beat her 
       and kept her apart from the things that she loved
       and (it can't get no 

Paul:  Man I was mean but I'm changing my scene
       And doing the best that I can


Two other obvious candidates for songs written seperately by John and Paul
are A Day In The Life and I've Got A Feeling.

Those two wrote together until late in the Beatles career.  It's interesting
to ponder the lyrics and try to guess who wrote what.


Dennis Alstrand
(I finally found where the "I want a short haired girl who sometimes wears
 it twice as long came from"!
From: hpky@gauguin.cc.rochester.edu (Hanan Polanski)
Newsgroups: rec.music.beatles
Subject: Re: Analog Beatles
Date: 23 Jul 92 01:27:16 GMT
Organization: University of Rochester - Rochester, New York

In <1992Jul22.173315.27049@news.columbia.edu> brennan@cunixf.cc.columbia.edu (Joseph Brennan) writes:

>In article <1992Jul21.230512.25650@midway.uchicago.edu> enf1@midway.uchicago.edu writes:
>>>But then again, I miss the false take at
>>>the beginning of "I'm Looking Through You"....
>>
>>speaking of which, what is the story with this? 

>The problem is that the affiliated labels should have been getting
>copies of the stereo and mono masters, already mixed by GM at Abbey
>Road.  To explain ILTY or AML, we need to suppose that (1) the intros
>are on the mix tapes, to be edited out when preparing masters for
>cutting records, or (2) the songs were mixed again for the affiliates,
>with variations.  As for (1), it seems silly to leave something you
>don't want in a stereo or mono master and require further editing; and
>yet as for (2) Lewisohn lists no separate mixes being made for those
>songs (for a handful of songs, he does list separate mixes for the US,
>done for unexplained reasons).  I don't know what this means.

I'm not sure if you caught my last posting or not. (I will try not to be
redundant, but I would like to clarify.)

What I was trying to get across (in the case of ILTY) is that when
*Capitol* took the mixes of the songs (from GM & Co.) and assembled them
as an album "master" tape, they made a mistake.  If you listen closely,
I think you will agree that the false notes are *exactly* the same as
the first notes of the "real" song. 

>There are also variations in editing of music, as opposed to trimming
>introductory material-- two sections in "I am the walrus" (the opening
>beats, and some after "I'm crying..."), the guitar at the end of "And
>I love her"...  Some people collect these.  As in ILTY and AML, the
>mixes seem otherwise identical.  

I can't speak for all the examples you cite, but I *think* some of them
were songs mixed for *rush* release that were cleaned up in later mixes.

>--Joe Brennan
				James Willer, email to jmw1388@cs.rit.edu

{The opinions above are probably NOT those of
 Hanan Polansky. I don't know. I never asked.}
From: bad@pismo.sw.stratus.com (Bruce Dumes)
Newsgroups: rec.music.beatles
Subject: Re: Let it be
Date: 31 Jul 92 13:25:17 GMT
Organization: Stratus Computer, Software Engineering

In article <1992Jul31.095438.3842@mr.med.ge.com> hinz@bonfire (David Hinz Mfg 4-6987) writes:
>
>Yes, but wasn't there a song on Let It Be that was the last one that the
>Fab's recorded together?  I think it was a George song, I can't recall
>offhand.
>

Prophetically (or maybe not) it was "I Me Mine".  

Bruce



-- 
Bruce Dumes			| "Bruce is too obsessed with the Beatles"   |
Stratus Computer, Inc.		|   --comment on report card from Spring '64 |
bad@sw.stratus.com              
508-460-2816
From: sameer@techbook.com (Sameer Siddiqui)
Newsgroups: rec.music.beatles
Subject: Need help in finding out who sang a particular song
Date: 29 Jul 92 16:24:20 GMT
Article-I.D.: techbook.1992Jul29.162420.10312
Reply-To: sameer@techbook.com
Organization: TECHbooks --- Public Access UNIX --- (503) 644-8135

Hi All,
I am sorry if this is not the appropriate news group for this sort of 
question, but I would appreciate your help in trying to find out who
sang a song:

	He ain't heavy, he's my brother .......
That's all I know about the contents of the song. It was released 
somewhere in the late 60's and may have been a beatles song.
Thanks for your help. E-mail response would be preferred.
Sameer..
-- 
sameer@techbook.COM  Public Access User --- Not affiliated with TECHbooks
Public Access UNIX and Internet at (503) 644-8135 (1200/2400, N81)
Newsgroups: rec.music.beatles
From: edc@dawn.cs.rice.edu (Edward Chen)
Subject: Re: Analog Beatles
Organization: Rice University, Houston
Date: Fri, 24 Jul 1992 19:33:20 GMT

In article <7119987467177@c00015-118dan.eos.ncsu.edu> jcsmith@eos.ncsu.edu (Jay C. Smith) writes:
>I distinctly remember a possibly apocryphal story of how George Harrison
>heard Capitol's mix of The Beatles (the white album) while he was visiting
>the US before its release.  He thought Capitol had really mucked it up,
>and aided in remixing performed at the last minute by Capitol.  Of course,
>I've never heard anyone point out differences between the US and British
>versions of The Beatles.  If at all true, could George have been appalled
>with the stereo mix, since the mono mix was only released in Britain?
>

That story is indeed one of those pesky "Beatles urban legends", that
gets re-circulated from time to time (and has even made it into a
few bios of the quiet one).   It never ceases to amaze me, since the
timeframe usually indicated is *weeks* prior to release.  Such a remixing
of the entire record would mean new masters would need to be pressed (etc),
delaying the final release by several *months*.  Further, the idea of George
deciding the mix on JOHN and PAUL's songs was abysmal is absolutely
ludicrous.  I don't quite understand your last question.  The mono "The
Beatles" was released in many countries other then Britain.  (witness the
recent bootleg mono CD, mastered from an original Japanese mono "White Album")

>Of course, George has also said that he thinks the "remixing" on the Sgt.
>Pepper CD altered things quite a bit, but then I wondered how often he
>had heard the stereo version of Pepper before then.

George's exact comments were: "I don't know about the CD releases.  They
bring out everything.  Even some of the things we buried (in the mix) stick
out like a sore thumb".  George was commenting on the format, but never did
he claim Pepper was "remixed" for CD.  Those comments (IMHO) are as much
due to the differences between stereo/mono [as you indicate] as well as the
improved fidelity...

<ESC>



-- 
.. newspaper taxis appear on the shore, waiting to take you away ...
From: ireland@iccgcc.decnet.ab.com
Newsgroups: rec.music.beatles
Subject: Re: Why the CD's were mono..
Date: 24 Jul 92 08:30:52 EST

A coupla' years ago I read an interview with George Martin in (I think) Mix
magazine. He says that he had never intended to issue the vinals in
stereo way-back-when. And supposedly (according to G.M.), some engineer
in this country got ahold of the stereo masters - and instead of mixing
(yea, I know its only 2 track) down, - just assumed that all that was required
was to just have the "mothers" (or whatever) copied directly off the 2 track
"multi-track" tape. 

He says that when Capitol approached him about re-mastering for CD, he 
made a case for issueing them in mono - again, he never WANTED the vinals 
to be in stereo - because the stereo is just too naked. You have instruments 
on one side, vocals on the other, and "all the dirt in-between", he said. 
So, he saw this as an opportunity to "correct" the earlier oversight in 
this country.

If I'm not mistaken, he oversaw the original British vinal releases (which 
were in mono).

Personally, I like the stereo versions. Yea, its primitive, and maybe you
CAN "here all the dirt in-between", but its a very pleasing effect. What
the hell, too - the Hollies did it... 

Newsgroups: rec.music.beatles
From: hinz@bonfire (David Hinz Mfg 4-6987)
Subject: Her Majesty
Organization: GE Medical Systems, Magnetic Resonance
X-Newsreader: Tin 1.1 PL4
Date: Wed, 22 Jul 92 09:43:46 GMT

Since I first bought my first copy of Abbey Road, so long ago it seems,
something has puzzled me.  At the end of I want you/She's so heavy, the sound
cuts out VERY abruptly.  The same thing on side 2 with Her Majesty.  I've heard
a bootleg of what seems to be the same take of HM with the final chord, it sounds
OK.  Why is it cut off on the album?  When I first got it, I thought it was
Capitol being VERY sloppy with the mastering, but is there an artistic
reason for it, other than to drive people nuts with the unresolved
tonal series?

Just wondering.

--

Dave Hinz  -  Opinions expressed are mine, not my employer's.  Obviously.
Pherrets are Phun!! 
hinz@picard.med.ge.com


Newsgroups: rec.music.beatles
From: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Newsgroups: rec.music.beatles
Subject: Re: The worst Beatles compilations? (was: Re: The Old Mixmaster)
Date: 29 Jul 92 17:53:37 GMT
Reply-To: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Organization: Columbia University

In article <1992Jul28.180402.11845@menudo.uh.edu>
edc@evolution.bchs.uh.edu (edward s. chen) writes:

>Nah, the wonderfully deceptive covers . . .
> easily raise those LP's to minimally useful (if not listenable).
>Besides, they are nice as collectables

OK, I'm convinced!  Just for "The Beatles vs Don Ho" alone!

>5.  Past Masters I (vinyl only) -  While useful on CD, this collection
>    of tunes was completely unnecessary on vinyl.
>4.  Past Masters II (vinyl only)

These were a single 2-LP set, or at least that's what I own, and
"completely unnecessary on vinyl" isn't quite true.  The stereo "Yes
it is" and "The inner light" made their first easily-obtainable
appearances, and I recall thinking at the time that some of the others
sounded better than I'd heard before.  Those of us with the Parlophone
albums also liked getting the miscellaneous songs in one place.

Shall we raise the issue of the "Yellow Submarine" album?  Why did we
need to buy a whole LP for 4 new songs?  And now it's a high-priced CD!

--Joe Brennan
From: weiss@babbage.seas.ucla.edu (Michael Weiss)
Newsgroups: rec.music.beatles
Subject: Mobile Fidelity CD's
Date: 25 Jul 92 22:36:32 GMT
Organization: SEASnet, University of California, Los Angeles

In article <oeNlSeO00WBOQ3bHVZ@andrew.cmu.edu> bl2m+@andrew.cmu.edu (Benjamin D. Lukoff) writes:
>Mobile Fidelity Sound Lab issued an Original Master Recording of Please
>Please Me which is in stereo.

Tell me, has anyone noticed Mobile Fidelity's latest set of albums?  They're
releasing CD's with gold reflective material and a specially designed jewelbox.
If any of you have noticed them, have you purchased any?  How do they compare
to the "boring" aluminum versions?  After all, if you're gonna plunk down
enough to buy two aluminum CD's, you'd better be getting more than a pretty
jewelbox and a micron-thick layer of gold.
--
\ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | /
-  Michael  weiss@seas.ucla.edu   |  School of Engineering & Applied Science  -
-   Weiss   izzydp5@oac.ucla.edu  |   University of California, Los Angeles   -
/ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | \
From: prokopy@en.ecn.purdue.edu (Dave)
Newsgroups: rec.music.beatles
Subject: Re: Beatles Songs in 3/4
Keywords: Beatles Songs 3/4
Date: 27 Jul 92 04:21:06 GMT
Organization: Purdue University Engineering Computer Network

In article <1992Jul20.182950.12591@oclc.org> rms@oclc.org (Russ Schnall) writes:
>I was trying to remember which Beatles' songs are written in 3/4 time.
>4/4 and its variants seem to be the most predominant today.  Any ideas why 3/4
>time is not used so much?

Because you can't DANCE to it!  (Unless you wanna waltz!)

As for Beatles songs in 3/4, try "You've Got To Hide Your Love Away",
which is the only one I can remember off of the top of my head right
now.  Oh, also a small section of "We Can Work It Out" (the parts between
John's sections and Paul's verses ...)

-- 
David Prokopy - prokopy@en.ecn.purdue.edu
"So walk tall ... or baby, don't walk at all."
 -Bruce Springsteen, "New York City Serenade" (1973)
Newsgroups: rec.music.beatles
From: magnus@nexto.udac.uu.se (Magnus Ring)
Subject: Re: Her Majesty
Organization: UDAC, Uppsala, Sweden
Date: Wed, 22 Jul 1992 14:25:14 GMT

In article <1992Jul22.094346.5374@mr.med.ge.com> hinz@bonfire (David Hinz  
Mfg 4-6987) writes:
> Since I first bought my first copy of Abbey Road, so long ago it seems,
> something has puzzled me.  At the end of I want you/She's so heavy, the  
sound
> cuts out VERY abruptly.  The same thing on side 2 with Her Majesty.   
I've heard
> a bootleg of what seems to be the same take of HM with the final chord,  
it sounds
> OK.  Why is it cut off on the album?  When I first got it, I thought it  
was
> Capitol being VERY sloppy with the mastering, but is there an artistic
> reason for it, other than to drive people nuts with the unresolved
> tonal series?
> 
> Just wondering.
> 
> --
> 
> Dave Hinz  -  Opinions expressed are mine, not my employer's.  

"Her Majesty' was recorded by Paul and put after one of the other songs on  
the master tape (I don't remember wich one at this moment).
Later he decided to cut the song from the tape and for resons unknown
the tape was put last on the master tape. When Paul discovered this he
liked it and the song was left there. As you can hear the cut wasn't to
carefully done and a bit of the last chord of the preceding song was cut
to. I think the preciding song is one of the songs on the B-side of
'Abbey Road' but I suppose it might be 'She's So Heavy' too.

/Magnus Ring.
Newsgroups: rec.music.beatles
From: dap@portal.vpharm.com (David A. Pearlman)
Subject: Stereo early Beatles sneak out again
Organization: Vertex Pharmaceuticals, Inc.
Date: Tue, 21 Jul 1992 05:48:59 GMT

I recently obtained a copy of a promo-only CD collection issued by 
Capitol to celebrate their 50th anniversary: "50th Anniversary Sampler"
DPRO-79176. The sampler contains 22 tracks from the history of Capitol.
Of interest here is The Beatles' "I Want To Hold Your Hand", which
appears in stereo. (Paul McCartney's "Silly Love Songs" is also
on the sampler).

There is apparently a more extensive 4CD promo box set (and accompanying
promo book with lots of interesting pictures) which contains four (as
I recall) Beatles Tracks. I don't know which tracks are on this set, or
if they're in stereo...

dap

-- 
===============================================================================
    David A. Pearlman

Vertex Pharmaceuticals Inc.                     email: dap@vpharm.com
From: hpky@gauguin.cc.rochester.edu (Hanan Polanski)
Newsgroups: rec.music.beatles
Subject: Re: two of us/on our way home
Date: 21 Jul 92 05:24:26 GMT
Organization: University of Rochester - Rochester, New York

In <92202.163340BFANTLE@auvm.american.edu> BFANTLE@auvm.american.edu writes:

>I really like the rock n'roll version of Two of Us as seen in the Let it Be
>video.  Are there any boots that would have an uncut version of this song.
>Thanks

Yes.

>Barry

				James Willer at hpky@gauguin.cc.rochester.edu
					OR jmw1388@cs.rit.edu
{The opinions above are probably not those of
 Hanan Polansky. I don't know. I never asked.}
Newsgroups: rec.music.beatles
From: prokopy@en.ecn.purdue.edu (Dave)
Subject: Saki's .sigs (was Re: Whitburn (was: World Without Love ...))
Organization: Purdue University Engineering Computer Network
Date: Mon, 27 Jul 92 04:34:42 GMT

>>"Modern music is, however, the groups' delight, and as if to prove the
>>point, John and Paul have written over 50 tunes, ballads & faster
>>numbers, during the last three years!"_________________________________
>>                                        saki (dmaclaug@agsm.ucla.edu)
>
> And my last riddle - WHAT THE HEY DOES SAKI's .SIG MEAN?!

Good point!  Saki, would you PLEASE credit these things?!? :)  I've
recognized a couple (like the "walls of Rome" one, which was pretty
tricky), but I'd LOVE to know where you're getting these things!

-- 
David Prokopy - prokopy@en.ecn.purdue.edu
"So walk tall ... or baby, don't walk at all."
 -Bruce Springsteen, "New York City Serenade" (1973)