HDTenEightyP/NetNews huggingface dataset:
From: howells@pioneer.arc.nasa.gov (John Howells)
Subject: Re: Rev9 woman's voice
Organization: NASA Ames Res. Ctr. Mtn Vw CA 94035
Date: Thu, 3 Sep 92 21:56:17 GMT

stuart@apollo.hp.com (Stuart Troutman) writes:

<The female "...you become naked" voice on "Revoultion 9" always sounded to
<me like Mia Farrow. But then, I was about 15 or 16 at the time, so that was
<probably wishful thinking. (Me and Woody.) But, it IS a possibility, since
<most of the white album material came from their long stay with the Haharishi
<at Rishikesh, India, and Farrow was among their entourage. So maybe that was
<just a tape of some conversation that included Farrow. 

I was under the impression that it was Yoko Ono. I thought Revolution#9
came largely from tapes John and Yoko made soon after they became a
couple. At least I remember John saying something to that effect in an
interview.

<I've always liked a funny voice that pops up right after she says, "....you 
<become naked." All of a sudden, there's a transition into a noisy blend of
<sounds that includes: 1) someone plunking around on a piano; 2) John's voice
<overdubbed a few times, making a lot of fragmented vowel sounds, bouncing all 
<over the mix; 3) some very distorted "cheap radio" sounds (a male operatic 
<voice and maybe someone shouting in the distance); and, my favorite, 4) a
<close-up recording of a subdued low male voice, apparently just waking from
<sleep - ("Wha?...what?...Ohh....").

Most obvious to me is the crowd noise at a football game - "hold that
line! hold that line! hold that line!..."

--
                                        John Howells
                                        howells@pioneer.arc.nasa.gov 
                                        howells@earth.arc.nasa.gov
Newsgroups: rec.music.beatles
From: stuart@apollo.hp.com (Stuart Troutman)
Subject: Fixing a Hole guitar break
Originator: stuart@mingus
Date: Tue, 25 Aug 1992 20:38:24 GMT
Organization: Hewlett-Packard Company, Apollo Division - Chelmsford, MA


I imagine this has come up for discussion here at some point, but I
don't recall it myself. I understand that the recent issue of Guitar
World contains a little feature on the guitar playing in the "Sgt.
Pepper" sessions; I wonder if it mentions anything about something 
that I've always found to be a little marvel. (Maybe someone here can
shed some light on this for me.) 

The terrific little guitar break in McCartney's "Fixing a Hole" (it 
comes in after the 3rd verse, after McC sings: "...heh-heh hey..."). 
I don't remember from Lewisohn's notes if this was played by Harrison 
or by McCartney himself (sounds more like Harrison to me), but I'm 
actually less interested in what's being played than I am in the actual
recorded SOUND of that guitar. What an amazing sound. Does anyone know 
how that audial texture was achieved? Is it a detuned guitar, a slowed-
down tape, or is it purely the specific qualities of whatever model of 
guitar and amp were used? It sounds a bit like a 12-string in the 
higher notes, but not so much as it plummets into that descending ultra-
low-note final line, where you really FEEL that solid-body electric 
punch. Have any of you guitarists out there ever tried to duplicate 
that sound? I've even wondered if it was an effect that Martin and his 
crew created through some sort of filters and/or compressors. It 
slightly resembles the famous sound of the James Bond theme guitar (I
think that was played by Big Jim Sullivan), which The Beatles used as
a joking intro to "Help" on the soundtrack lp.

                                    -stuart@apollo.hp.com
From: jwlr@gauguin.cc.rochester.edu (James Willer)
Newsgroups: rec.music.beatles
Subject: Re: Rev9 woman's voice
Date: 3 Sep 92 23:39:41 GMT
Organization: University of Rochester - Rochester, New York

In <1992Sep3.215617.9094@riacs.edu> howells@pioneer.arc.nasa.gov (John Howells) writes:

>stuart@apollo.hp.com (Stuart Troutman) writes:

><The female "...you become naked" voice on "Revoultion 9" always sounded to
><me like Mia Farrow. But then, I was about 15 or 16 at the time, so that was
><probably wishful thinking. (Me and Woody.) But, it IS a possibility, since
><most of the white album material came from their long stay with the Haharishi
><at Rishikesh, India, and Farrow was among their entourage. So maybe that was
><just a tape of some conversation that included Farrow. 

>I was under the impression that it was Yoko Ono. I thought Revolution#9
>came largely from tapes John and Yoko made soon after they became a
>couple. At least I remember John saying something to that effect in an
>interview.

I am almost *certain* that it's Yoko! I'd know her voice anywhere (well,
almost)!
The only way I could be more certain is if I had been there when they
recorded it! (I wasn't, but I know voices!)

>Most obvious to me is the crowd noise at a football game - "hold that
>line! hold that line! hold that line!..."

I always thought it was "block that kick! block that kick!", but I could
be wrong on this one.

				James Willer
{the opinions above are probably NOT those of
 anyone at all}
Newsgroups: rec.music.beatles
From: grumpy@jpradley.jpr.com (Jeff Markel)
Subject: Re: George interviews
Reply-To: grumpy@jpradley.UUCP (Jeff Markel)
Organization: Unix in NYC
Date: Tue, 01 Sep 1992 13:08:20 GMT

> Just a quick note:
> 
> 1) George is featured in the current (September 1992, with U2 on the cover)
>    issue of Musician magazine.  A short interview (6 pages), but still a
>    nice piece.  George seems much more "spiritual" in tone throughout the
>    interview, and the black and white full-page photo used at the front
>    makes George look very old...
> 
> 2) George was on Rockline on 8/24.  Nice interview, and he made it through
>    the whole thing completely sober ;-).  [ The last time George was on 
>    _Rockline_, he was nervous, and drank a few too many Dostekeys before the
>    show ]  More on this later, after I've gotten to listen to it a few hundred
>    more times.
> 

What on earth is a Dostekeys? A Dostoyevsky? a Dos Equis? What?


                        Jeff Markel

Jeffrey Markel | uucp:     jpradley!argos!markel   | Argos Computer Systems Inc
KD2HN          | internet: grumpy@jpradley.jpr.com | 110 W. 32nd Street 
(212)594-5400  | amprnet:  kd2hn@kd2hn.ampr.org    | New York, NY 10001
===============================================================================
	The New World Order is ... "Shoot to kill!"
===============================================================================
From: jwlr@gauguin.cc.rochester.edu (James Willer)
Newsgroups: rec.music.beatles
Subject: Re: "All This and World War II"?
Date: 30 Aug 92 23:35:55 GMT
Organization: University of Rochester - Rochester, New York

In <92243.123756AOAFF@ASUACAD.BITNET> AOAFF@ASUACAD.BITNET writes:

>I have seen a Sgt. Pepper soundtrack album, songs sung by various artists.
>I read this was a flop, but I don't know the details. Now, I have come
>across another soundtrack called "all this and World War II." Is this
>another variant? I would appreciate a little background information
>on these two soundtrack albums. Most of the literature I have read on
>the Beatles so far has been on their early years, and I don't remember
>anything about these movies when they came out. Allen

"All This and World War II" was the soundtrack to a movie of the same
name.  Someone (I don't recall who) had the brilliant idea of taking
footage from WWII and putting it to covers of Beatle tunes.

I think this film got much less exposure than "Sgt. Pepper" (produced
by Robert Stigwood, who had just done "Saturday Night Fever", the biggest
selling soundtrack album of all time) and the double LP soundtrack was
rereleased under another name. (I can't think of the name right now.
It may come to me...)

					James Willer
{The opinions above are probably NOT those of
 anyone at all.}
From: herreid@plains.NoDak.edu (Todd J. Herreid)
Newsgroups: rec.music.beatles
Subject: Lyrics for "Imagine"
Date: 3 Sep 92 19:50:06 GMT
Article-I.D.: plains.20129
Distribution: usa
Organization: North Dakota Higher Education Computing Network

B
FTYPE 42.002.00**1g
F
F

F
Could someone please post a copy of the lyrics to the JohnLennon song "Imagine"? Thanks, Todd Herreid 

F
From: kp@cc.uow.edu.au (Karen Pepper)
Newsgroups: rec.music.beatles
Subject: Re: Beatles influence 'Crowded House'
Date: 28 Aug 92 05:33:31 GMT
Organization: University Of Wollongong

webb@gamera.eng.hou.compaq.com (Donna Webb) writes:

>Just wondering - has anyone else heard a little of the Beatles'
>sound in Crowded House CD - Wooden Faces? 

There's quite a lot of it, actually.

> The more I listen to
>the CD, the more I hear the sound.  Any comments would be
>interesting and appreciated.

I think it's entirely deliberate. CH are quite open about
the Beatle influence in their work.

-- 
* Karen Pepper                  *                                     *
* Moth Wrangler and Stylist     *  " Fingite me mortuum esse. Dicite  *
*                               *    aliquid belli. "                 *
* kp@wampyr.cc.uow.edu.au       *                        - Petronius  *
Newsgroups: rec.music.beatles
From: tjehl@sedona.intel.com (Timothy Jehl)
Subject: Re: George says Paul plays slide on "Drive My Car" (was Re: Elmore etc.)
Originator: tjehl@sedona
Reply-To: tjehl@sedona.intel.com
Organization: Intel Corporation.
Date: Fri, 4 Sep 1992 16:56:21 GMT


In article <71561774020846@c00355-247dan.eos.ncsu.edu>, jcsmith@eos.ncsu.edu (Jay C. Smith) writes:
> 
> On a related note:  In Tom Petty's "I Won't Back Down" video, lead
> guitarist Mike Campbell can be seen playing that very George-like 
> solo on a guitar that looks just like George's old psychedelic one,
> and George is of course present.  Was that really George's guitar he 
> had borrowed?
> 
   I was wondering about Campbell's solo.  After hearing those very
Willbury backing vocals, I would have bet a considerable sum that Harrison
had played that slide.  Up until hearing Campbell, I would have said that
B.B. King on lead and George Harrison on slide were the two most recognizable
instrumentalists in rock music.  Does anybody know if Campbell was
consciously trying to copy Harrison's sound, because he obviously has been
influenced.

Tim
From: randall@informix.com (Randall Rhea)
Newsgroups: rec.music.beatles
Subject: Re: While My Guitar GW  (chords)
Keywords: Harrison George chords
Date: 25 Aug 92 16:29:49 GMT
Organization: Informix Software, Inc.

dchavez@tincup.enet.dec.com (Dale J. Chavez - Colo Spgs) writes:

>Is there an FTP site available that list's the chords for Beatle songs?
>If not, can someone post the chords to "While My Guitar Gently Weeps".

Acoustic version: Capo up 5 frets
White Album version: Capo up 7 frets

    Dm       ?1      ?2       ?3            <=== I don't know the names
  ======   ======   ======   ======              of these chords
  .....X   .....X   ....X.   .X..X.
  ...X..   ...X..   .X....   ......
  ....X.   .X..X.   ......   ......
  ......   ......   ......   ......
  ......   ......   ......   ......



  Dm            ?1          ?2                ?3
  I look at you all see the love there that's sleeping

  Dm          C            G      A
  While my guitar gently weeps

  Dm            ?1          ?2              ?3
  I look at the floor and I see it needs sweeping       

  Dm          C           F      A 
  Still my guitar gently weeps

  D            F#m         Bm     F#m
  I don't know why y  y    Nobody told you

  Em                   A
  How to unfold your love

  D            F#m         Bm      F#m
  I don't know how w  w    Someone controlled you

  Em                   A
  They bought and sold you

	
ADDITIONAL VERSE (Acoustic version only):


  Dm            ?1             ?2          ?3
  I look from the wings at the play you are staging     

  Dm          C            G      A
  While my guitar gently weeps

  Dm             ?1          ?2        ?3
  As I'm sitting here doing nothing by aging         

  Dm          C           F      A 
  Still my guitar gently weeps


  Dm    ?1   ?2   ?3    Dm   C    Dm
  Weeeeeeeeeeeeeeeeeeeeeeeeeps

-- 

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Randall Rhea                                        Informix Software, Inc. 
Project Manager, MIS Sales/Marketing Systems    uunet!pyramid!infmx!randall
From: jr4q+@andrew.cmu.edu (Jason M. Roth)
Newsgroups: rec.music.beatles
Subject: Re: Welcome - final
Date: 31 Aug 92 16:57:33 GMT
	<17r8qcINNs0q@agate.berkeley.edu>
Organization: Junior, Architecture, Carnegie Mellon, Pittsburgh, PA

>I can easily understand how Michal might have interpreted Saki's remark
>about not posting before reading the FAQ as insulting.  I didn't interpret
>it that way, but it's not an absurd thought.  His response then seems to
>have gotten a lot of other people all defensive.  Chill out, gang!

It's no wonder we all got defensive; our beloved leader/guru/expert was
accused of the foulest motives by an over-sensitive outsider! I nearly
went off myself, but I realised that would only prove Michal's point.
Anyway, enough of all this drivel!  Let's talk about Our Boys....

JMR
HSK
Newsgroups: rec.music.beatles
From: mccombj@alleg.edu (Joseph McCombs)
Subject: Lyrics request: "Old Brown Shoe"
Organization: Allegheny College
Date: Thu, 3 Sep 1992 23:53:15 GMT

Hi again!

I was wondering if anyone out there could e-mail me (or post) the lyrics  
to "Old Brown Shoe."  I've never been able to find them anywhere!

Thanks in advance,
Joe McCombs (mccombj@alleg.edu)
Newsgroups: rec.music.beatles
From: gdridle@pbhya.PacBell.COM (Guy D. Ridley)
Subject: Live track on The Beatles Story
Organization: Pacific * Bell
Date: Tue, 1 Sep 1992 16:34:24 GMT


The Beatles Story (that 2-LP Capitol documentary album, c. 1964) has one
(partial) live track.  Does anyone know which concert that's from?
 
Guy Ridley
"but who'll remember the buns, Pudgy?"
From: Rob Granville <rgranvil@bbn.com>
Newsgroups: rec.music.beatles
Subject: Re: Asides in Fab songs (was Elmore James & George)
Date: 2 Sep 1992 12:34:54 GMT
Organization: BBN
Distribution: world
     <1992Sep2.035640.4694@menudo.uh.edu>
     <1992Sep2.045447.3928@galileo.cc.rochester.edu>
NNTP-Posting-Host: bbn.com
X-UserAgent: Nuntius v1.1

>Newsgroups: rec.music.beatles

In article <1992Sep1.162617.9149@pbhya.PacBell.COM> Guy D. Ridley,
gdridle@pbhya.PacBell.COM writes:
>> By the way, the end of Hey, Bulldog is my favorite bit, esp. when it's
> 
>But what's the phrase about grandchildren, that John says after Paul's
been
>barking awhile... I've never been able to decipher it.

What *I* hear is:
	Don't look at me, man, I already have grandchildren!

Rob Granville
Newsgroups: rec.music.beatles
From: stuart@apollo.hp.com (Stuart Troutman)
Subject: Rev9 woman's voice
Originator: stuart@mingus
Date: Thu, 3 Sep 1992 20:32:34 GMT
Organization: Hewlett-Packard Company, Apollo Division - Chelmsford, MA


The female "...you become naked" voice on "Revoultion 9" always sounded to
me like Mia Farrow. But then, I was about 15 or 16 at the time, so that was
probably wishful thinking. (Me and Woody.) But, it IS a possibility, since
most of the white album material came from their long stay with the Haharishi
at Rishikesh, India, and Farrow was among their entourage. So maybe that was
just a tape of some conversation that included Farrow. 

I've always liked a funny voice that pops up right after she says, "....you 
become naked." All of a sudden, there's a transition into a noisy blend of
sounds that includes: 1) someone plunking around on a piano; 2) John's voice
overdubbed a few times, making a lot of fragmented vowel sounds, bouncing all 
over the mix; 3) some very distorted "cheap radio" sounds (a male operatic 
voice and maybe someone shouting in the distance); and, my favorite, 4) a
close-up recording of a subdued low male voice, apparently just waking from
sleep - ("Wha?...what?...Ohh....").

I love "Revolution 9". It's a great audio collage. I've often wanted to make
a visual animated film to go with it. My imagination has come up with a "picture"
of the whole thing (sure to be different from your own personal pictures of it).
Lennon's efforts led me to explore further into the whole genre of "musique
concrete" creations by the likes of the late John Cage and Luciano Berio, among
others.
                                          -stuart@apollo.hp.com
From: edc@evolution.bchs.uh.edu (edward s. chen)
Newsgroups: rec.music.beatles
Subject: Re: "All This and World War II"?
Date: 31 Aug 92 15:57:48 GMT
Organization: Little to none, or maybe not......

In article <1992Aug31.132748.12123@udel.edu> galuska@oz.asel.udel.edu (Scott Galuska) writes:
>In article <1992Aug30.233555.968@galileo.cc.rochester.edu> jwlr@gauguin.cc.rochester.edu (James Willer) writes:
>
>>"All This and World War II" was the soundtrack to a movie of the same
>>name.  Someone (I don't recall who) had the brilliant idea of taking
>>footage from WWII and putting it to covers of Beatle tunes.
>

Just be glad the film has not made it's way to video.  The best way to
describe it is ... bizarre.  The footage used is too cheezy for WWII
buffs, and offensive to many Beatlefans.  The soundtrack was re-released
later as "The Stars sing the Songs of Lennon & McCartney" or somesuch.

>>I think this film got much less exposure than "Sgt. Pepper" (produced
>>by Robert Stigwood, who had just done "Saturday Night Fever", the biggest
>>selling soundtrack album of all time) and the double LP soundtrack was
>>rereleased under another name. 
>

The Sgt. Pepper soundtrack, while not offensive, is definitely boring.
There are a few high points, (Earth, Wind, and Fire's "Got To Get You Into
My Life" first appeared here) but far too much chaff among the wheat. (George
Burns doing a Beatles tune -- 'nuff said).  For a much better collection of
Beatle covers, search out the "Sgt. Pepper Knew My Father" set, or the really
nice "Boston Does the Beatles" by "hungry" relative unknowns from the Boston
Area.  

This thread has got me thinking though.  Nowadays, collections of different
artists covering the material of one artist are relatively commonplace. (ie:
"Deadicated", "Two Rooms", "Rutles Highway Revisited ;-)").  However, the 
first such collection I can remember is the aforementioned "All This..."
set.  (and actually, the second such collection I can remember is John's
"Every Man has a Woman Who Loves Him" tribute to Yoko).  Can anyone contradict
this impression, or am I indeed correct that this was another way the boys were
(well, indirectly) innovators in the rock-era.

<ESC>





-- 
..You either kiss the future or the past goodbye...
                          -- Ringo Starr (written by O'Deherty / Velez)
From: David.T.Greenfield@dartmouth.edu (David T. Greenfield)
Newsgroups: rec.music.beatles
Subject: Re: Elmore James & George
Date: 1 Sep 92 15:14:45 GMT
 <16854CCF3.RJS@USLVM.USL.EDU>  <92244.164749BFANTLE@auvm.american.edu>
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a2@newshost.dartmouth.edu

In article <92244.164749BFANTLE@auvm.american.edu>
BFANTLE@auvm.american.edu writes:

> It was 'Yer Blues' from the Let it Be album/film.  He refers to John's
> slide playing.  Interesting that John plays slide before George gets
> into it.

Didn't George play slide way back on Drive My Car?  I don't have
Lewison's book here with me to consult.

David
david.t.greenfield@dartmouth.edu
From: dmac@julia.math.ucla.edu (saki)
Newsgroups: rec.music.beatles
Subject: Re: Byrds vs. Beatles
Date: 28 Aug 92 23:27:06 GMT
Organization: UCLA Mathematics Department

In article <1992Aug27.003607.18463@lowton.rn.com> mark@lowton.rn.com (Mark Powell) writes:
>
>According to the documentary "It was 20 years ago today" on British TV
>in 1987... There was an interview with Paul and he said that they'd
>picked up that jangly guitar song *from* the Byrds.

Somebody get that man a history book! :-)

Paul's undoubtedly misremembering. No question that the Byrds' sound
influenced the Boys; but the Fabs had the 12-string Ricky sound first.
--
----------------------------------------------------------------
"I've read millions of books. That's why I seem to know things."
----------------------------------------------------------------
saki (dmac@math.ucla.edu)
Newsgroups: rec.music.beatles
From: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Subject: Madonna bashing (was "Don't believe in Gita")
Reply-To: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Organization: Columbia University
Date: Tue, 25 Aug 1992 16:31:19 GMT

In article <RYANR.92Aug25021541@beethoven.CS.ColoState.EDU>
ryanr@beethoven.CS.ColoState.EDU (richard ryan) writes:

> That is, he (John Lennon) at least recognizes the
>existence of values.  But where can you start with a "material girl"
>who is a businesswoman first, a musician last, and musically speaking,
>just terribly boring everywhere in between?  If anyone ever gets the
>notion that the music is getting really pretty old, just stage another
>outrageous public appearance in the nude.

I wasn't sure for a minute whether you meant Yoko or Madonna!

But I guess it's the latter, and if so, I would like to speak to the
opposite view.  Madonna has shown an astonishing ability to work the
entertainment news industry and push the borders of public acceptance,
year after year, and I can't help laughing sometimes at how she
manages to poke the system just in the right places.  Call it
performance art, or call it comic relief in a music biz that takes
itself just a little too seriously sometimes.  Nonetheless, the music
itself is well crafted, judging from the many songs of hers I've heard
on radio; whether a whole album of hers holds up is something someone
else will have to say.

> to this day, the media has done
>one heck of a job making entertainment figures hold a bigger part of
>our attention and thought than do our beliefs and values.

I agree with you.  I think Madonna's humor is to show how easily the
media can go nuts over something that isn't very important at all.

>. . . I think John just
>said what he felt like saying at the time without much premeditation
>and probably without any conscious intent. 

Is this better though?  Particularly when he had something important
to communicate, I think more attention to presentation might have
helped.  Saying that the litany in "God" was just whatever popped into
his head reduces the meaningfulness of the song, doesn't it?

--Joe Brennan

Newsgroups: rec.music.beatles
From: mark@lowton.rn.com (Mark Powell)
Subject: Re: Elmore James & George
Organization: Mark-one Communications
Date: Tue, 1 Sep 1992 16:39:29 GMT

In article <1992Aug31.173702.25912@brtph560.bnr.ca> n5ppm264 (Charlie Board) writes:
>This weekend i bougt the new 2-CD Elmore James package "King Of The Slide
>Guitar" (a fantastic collection btw). Anyway, on the way home I a beatle song
>snippet popped into my head. It's a spoken aside right after a guitar solo,
>in which George(?) says something like "Elmore James got nothing on this
>fellow".  can anyone tell me which song this was? It's been bugging me for 2
>days now. Thanks.

"Elmore James got nothing on this baby."
For You Blue - next track to last (before Get Back) on Let It Be.

>Charles Board
-- 
Mark Powell

mark@lowton.rn.com   uunet!ibmpcug!jshark!lowton!mark   Nr. Manchester, UK.
Home: +44 942 714317  v32/v32bis news and email feeds soon. Just ask.
Newsgroups: rec.music.beatles