HDTenEightyP/NetNews huggingface dataset:
From: bh@anarres.CS.Berkeley.EDU (Brian Harvey)
Newsgroups: rec.music.beatles
Subject: Re: Beatles and Pink Floyd (Was: Re:  beatles in other songs)
Date: 10 Nov 1992 19:01:41 GMT
Organization: University of California, Berkeley
NNTP-Posting-Host: anarres.cs.berkeley.edu

CGARNER@cmsa.gmr.com writes:
|I recall reading that the Floyd popped into Abbey Road to meet the
|Beatles (their idols) during the Pepper sessions and the fabs were
|so stoned that the Floyd were shocked.  Having said that I must admit
|that the source for this tidbit is the biographiction LOJL by Albert
|Golddigger. Therefore, any resemblance to the truth is purely
|coincidental.  BTW have I blown my credability with rmb?

The part of this story that's hard to believe isn't that the Beatles
would be stoned -- it's that anything along those lines would shock
Syd Barrett!
Newsgroups: rec.music.beatles
From: campo@calspan.com (Jim Campobello)
Subject: Julian Lennon song
Organization: Calspan Advanced Technology Center
Date: Fri, 6 Nov 1992 17:41:14 GMT

   Is anyone familiar with a song by Julian Lennon that has the
   refrain "Salt water wells in my eyes"?

   My friend discovered it on a tape she made some time ago of a
   Canadian show called "In Concert".  Julian performed it live,
   playing acoustic guitar.

   It's a beautiful but sad song about people and the environment.
   I would like to know the title, and if it was released as a
   single or what album it's on.

   Thanks for any info.
                               Jim Campobello
                               campo@calspan.com
Newsgroups: rec.music.beatles
From: prokopy@en.ecn.purdue.edu (dave)
Subject: Re: Why I Like Vinyl, Part III
Organization: Purdue University Engineering Computer Network
Date: Wed, 11 Nov 92 16:47:53 GMT

In article <BxJ4H2.CCx@acsu.buffalo.edu> v201lrxa@ubvmsb.cc.buffalo.edu (NOWHERE MAN) writes:
>Another reason for vinyl is that record sleeves don't break
>in a million pieces when you drop them on the floor :)
but the records do! :)

-- 
( dave prokopy - prokopy@en.ecn.purdue.edu or prokopy@sage.cc.purdue.edu )
( "silence means security.  silence means approval."                     )
(  - r.e.m., "begin the begin"                                           )
Newsgroups: rec.music.beatles
From: prokopy@en.ecn.purdue.edu (dave)
Subject: Re: The Rutles (was Re: Various questions...)
Organization: Purdue University Engineering Computer Network
Date: Fri, 13 Nov 92 19:28:30 GMT

In article <1e0ktdINNdvo@lily.csv.warwick.ac.uk> maujs@csv.warwick.ac.uk (Mr J D Morris) writes:
>	P.S. Is there a backwards message in 'Piggy In The Middle'?
yes!  it says "paul is dead"! :D

-- 
( dave prokopy - prokopy@en.ecn.purdue.edu or prokopy@sage.cc.purdue.edu )
( "silence means security.  silence means approval."                     )
(  - r.e.m., "begin the begin"                                           )
Newsgroups: rec.music.beatles
From: rm34@quads.uchicago.edu (Brother Robert)
Subject: Lennon leads
Reply-To: rm34@midway.uchicago.edu
Organization: Media Maven
Date: Wed, 11 Nov 1992 23:00:00 GMT

A subject that our good friend Mark is quite lax concerning is who plays the 
various guitar parts on Beatles songs.  Specifically, who plays all the
leads.  Now, George obviously takes the lion's share.  Paul always seemed to 
get album credits on the early ones when he played lead (Another Girl etc.).
John Lennon doesn't get one credit that I can think of, though I know of at
least three occasions that he played lead guitar-- For You Blue, Get Back and
the The End guitar duel, all obvious.  I seem to remember that he played the
lead on And Your Bird Can Sing (I think I heard this on a long radio show some
ten years ago when all the Beatles catalogue was broadcast in commemoration of
the twentieth anniversary).  Anyway, I'm sure there were more times that John
(or Paul, for that matter) played the lead.  So, what are they?

Let's chat
Brother Robert


PS. Did _Sessions_ go out of print with the publication of _Complete_?  Hope 
not.  _Sessions_ is better for little esoteric things, and for those of us who
like that stuff, it's invaluable.
From: BFANTLE@auvm.american.edu
Newsgroups: rec.music.beatles
Subject: Re: Ringo's Drumming vs. Paul's Drumming (was Re: Various questions...
Date: 13 Nov 92 15:50:38 GMT
Article-I.D.: auvm.92318.105038BFANTLE
 <1992Nov11.195017.2431@math.ucla.edu> <1dtmnkINNdq3@transfer.stratus.com>
Organization: The American University - University Computing Center

What about Paul's dumming on Band on The Run?  I thought it was pretty good.  H
e also sounds okay on Ain't No Sunshine.  Check out Tug of War(album) he plays
drums quite a bit also.  I would say he is a pretty good drummer.  Opinions?

barry
Newsgroups: rec.music.beatles
From: ifsa@quads.uchicago.edu (andrea m koziol)
Subject: unlurking, and switching from vinyl to cd
Reply-To: ifsa@midway.uchicago.edu
Organization: University of Chicago Computing Organizations
Date: Sun, 8 Nov 1992 22:55:05 GMT

Greetings to all in this newsgroup.  This is my first contributions so please
disregard my nervousness and various mistakes.
To set the scene:  I've been lurking on the rec.music.beatles group for a
while and the Beatle fever that like malaria has been dormant for a long time
has risen and gripped me again.  The immediate inspiration for this posting
is saki's recent writings on the power of the music and the images.
I am back from a conference and as I made my way through 323 postings that
had piled up in my absence I was overwhelmed by the bits of music playing in 
my head as people mentioned various songs.  The songs playing inside my head
(and btw, they are so clear, with detail and nuance, even though it's been
years since I heard If I fell, I'm only sleeping, etc. It's scary) aare those 
I listened to endlessly on vinyl.  My clear memory of them, brought up as
people mention them, is so crytalline that the slight hiss (or major crackle,
depending) that is always on vinyl is intertwined with guitar, drums, bass, and those lovely voices.
---> My main question: What is going to happen to these memories, and 
associated memories of growing up with the Beatles, as I hear the music so
cleanly on cd in the future?  It's *not* going to be the same.
	An example:  The other day my favorite radio station played "I feel
fine".  I recognized it immediately from the first nanosecond of feedback.I
was taken back to my teenage years, emerging triumphant from my grandmother's
attic with my youngest aunt's battered copy of _Beatles '65_.  I was allowed
to take it home.  That well-loved copy of Capitol label thick heavy black
vinyl hissed and clicked and popped but I loved it.  The fuzz of feedback at the beginning of I feel fine continued unabated through the entire song, filling
every nook and cranny between guitar, drumbeat, and vocal phrases.  What a 
neat sound, which I quickly associated with hot summer nights, heat bugs
sawing away, being happy with the world in general.
	As the cd version played on the radio I realized how precarious 
these memories were.  The music sounded so different, and dare I say it,
sterile.  It was entirely new to me - each guitar note was separated by
silence.  The voices rising and falling in unison, and behind them was a large
area of ... emptiness.
	I know I will learn to appreciate and love the cd versions.  To
clearly hear George's guitar and Paul and John's harmonies will be a joy. But
I also wonder what will recede , and perhaps be lost.  i would very much
appreciate input from the group on your experience of listening to the cd's
for the first time. And what you think now.  I'd like to hear.
	I bought Rubber Soul yesterday on cd.  I haven't played it yet.

andrea m. koziol     ifsa@midway.uchicago.edu
Well, then play that techno-rave cd again. Why do all the songs sound alike?
Newsgroups: rec.music.beatles
From: prokopy@en.ecn.purdue.edu (dave)
Subject: Re: Tomorrow Never Knows original take
Organization: Purdue University Engineering Computer Network
Date: Sun, 8 Nov 92 00:39:30 GMT

In article <740043@hpwrce.mayfield.hp.com> dennis@hpwrce.mayfield.hp.com (Dennis Alstrand) writes:
>Greetings Fellow RMBers,
>In The Book, Lewisohn talks about an early take of Tomorrow Never Knows,
>how it's an incredible take.
>
>There's a take on Unsurpassed Masters - is this the same one Mr. Lewisohn
>discusses?
nope, unfortunately not.  i was kinda hoping this myself, when i bought
that volume.  but when i played it, i discovered that it was just an
alternate (mono) mix of the final version.  not much different, really,
except the "leslie-d" vocals near the end are almost completely buried in
the mix, and the effects are louder.

yeah, i'd still LOVE to hear take 1 of this (along with the 20+ mintute
version of "helter skelter"

-- 
( dave prokopy - prokopy@en.ecn.purdue.edu or prokopy@sage.cc.purdue.edu    )
( "silence means security.  silence means approval."                        )
(  - r.e.m., "begin the begin"                                              )
Newsgroups: rec.music.beatles
From: Siddharth.Soni@launchpad.unc.edu (Siddharth Soni)
Subject: hey jude/let it be/PMII
Organization: University of North Carolina Extended Bulletin Board Service
Date: Wed, 11 Nov 1992 22:27:01 GMT

Which songs are on Hey Jude and Let It Be,
but NOT on Past Masters II

How long are all these songs together?
Anyone willing to tape these onto a tape if I send one?

Reply to: ssoni@csnext.colgate.edu
Thanks.

--
   The opinions expressed are not necessarily those of the University of
     North Carolina at Chapel Hill, the Campus Office for Information
        Technology, or the Experimental Bulletin Board Service.
           internet:  laUNChpad.unc.edu or 152.2.22.80
Newsgroups: rec.music.beatles
From: prokopy@en.ecn.purdue.edu (dave)
Subject: Re: Sixties newsgroup (was: Rolling Stones)
Organization: Purdue University Engineering Computer Network
Date: Fri, 13 Nov 92 20:19:54 GMT

[discussion of how great it would be to start up rec.music.sixties
 deleted]

so ... does anyone out there know how we could all go about trying
to get this started up?

-- 
( dave prokopy - prokopy@en.ecn.purdue.edu or prokopy@sage.cc.purdue.edu )
( "silence means security.  silence means approval."                     )
(  - r.e.m., "begin the begin"                                           )
Newsgroups: rec.music.beatles
From: bad@pismo.sw.stratus.com (Bruce Dumes)
Newsgroups: rec.music.beatles
Subject: Re: Beatles Recording Anomolies
Date: 5 Nov 92 13:48:39 GMT
Organization: Stratus Computer, Software Engineering

In article <1992Nov2.171841.15966@galileo.cc.rochester.edu> jwlr@okeeffe.cc.rochester.edu (James Willer) writes:
>"Benjamin D. Lukoff" <bl2m+@andrew.cmu.edu> writes:
>
>>In the songs "Here, There and Everywhere" and "Good Day Sunshine", both
>>on "Revolver", you can hear tape machines rewinding all the time.
>
>Sorry, but that's not tape rewinding.
>Anyone familiar with the recording studio will identify those noises
>as 'punch outs'. (the sound you get at the end of recording one thing
>inbetween two other things, as you turn off the tape recorder)
>
>Notice *where* the sounds are placed. Do you see the pattern?
>

I agree that it's unlikely that they are tape rewinding sounds.  Why would
they record that? :-)

However, I'm hard put to believe that those are punch outs.  I've done a
fair bit of recording in studios ranging from 4 to 32 track.  Only the
absolute worst tape machine leaves any kind of a noise from a punch in
or a punch out.  And these are mega-noises!  Of course in 1966, the 
technology for this kind of recording wasn't as advanced as it is now.  But
my experience tells me that this could not be a punch out.  The pattern
indicates *something*, but not a punch out, IMHO.

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                    
Newsgroups: rec.music.beatles
From: edc@evolution.bchs.uh.edu (edward s. chen)
Subject: Re: Introducing The Beatles on CD?
Organization: Little to none, or maybe not......
Date: Tue, 10 Nov 1992 04:56:51 GMT

In article <1992Nov9.185745.4612@HQ.Ileaf.COM> pstodd@HQ.Ileaf.COM (Paul Stoddard x5559) writes:
>In a recent issue of "Goldmine" magazine, there was an advertisement
>for "Introducing The Beatles" on CD. The claim was that the disc was
>all stereo and had been made from the master tape for the album. Has
>anyone seen, or, more importantly, heard this disc? How good/bad is
>the sound quality? The seller was an individual in Japan. The terms
>of sale were either postal money order or cash via registered mail.
>The cost was $38.00. I'd appreciate hearing from anyone who has ex-
>perience with this CD.

Almost guaranteed that this is a disc to avoid.

1)  The Japanese have been mass-producing many Beatles "collectibles"
    over the past year (eg:  the awful sounding "Yesterday...and Today"
    CD)  Such discs are quasi-legal in Japan, as the copyright on the
    material has expired.

2)  The idea of a "stereo master" for "Introducing the Beatles" is a
    bit of a ludicrous concept.   True, a stereo LP was released, and
    probably mixed by George Martin, but producing a stereo master where
    the original was a two-track recording (ie:  the "Please Please Me"
    studio tapes) is just a tad bit ludicrous.

3)  Further, given that a "master" was produced for VJ, how would such an
    item end up in Japan?  True, the company did indeed go out of business,
    but any and all Beatles tapes in possesion of the company were legally
    owned by EMI, and should've been returned.  Besides, Capitol had already
    issued their own version of the LP with the release of "The Early Beatles"

So, what does this all mean?  Simply that someone probably took a 
multi-generational stereo tape (possibly even just a stereo copy of
"Introducing...", or even "Please Please Me"), and produced many CD's.
(at the present time, bootleggers or counterfeiters can produce a CD
for roughly $3.00 apiece).   Spend a little money for some nice printing,
and sell an item which cost (at most) $6.00 to produce for $35.00.

In short, without even hearing the disc, I can guarantee it is one to avoid.
The Japanese counterfeiters were on a bit more solid ground with records like
"Y...and Today" which were at least released in Japan, but the leap of logic
necessary for the master tapes of a record *never* pressed (and never even 
released) in Japan to show up there is just astounding.

<ESC>
-- 
..You either kiss the future or the past goodbye...
                          -- Ringo Starr (written by O'Deherty / Velez)
From: weiss@boole.seas.ucla.edu (Michael Weiss)
Newsgroups: rec.music.beatles
Subject: Re: "Strawberry Fields" Lyrics Please
Date: 5 Nov 92 16:45:31 GMT
Organization: SEASnet, University of California, Los Angeles

In article <7df1r7+@rpi.edu> nangld@aix.rpi.edu (David Edward Nangle) writes:
>>I thought it went like:
>>     I think I know, I mean, ah, yes, but it's all wrong.
>I'm not sure about the first two lines there, but one book I saw
>Had that third line being
> I think a no will be a yes, but it's all wrong

The question arises, did JOHN even know what the lyrics were?  The question at
first glance seems ludicrous, but let's examine it just a bit further.

John has a history of word plays.  Things along the lines of no/know are
exceedingly typical John word plays.  Furthermore, he plays on the
juxtaposition of think/know.  The two in combination provide the general
feeling of confusion which I am certain was the point of the lyrics.

The fact that John DOES use the word plays all the time brings up the question
of whether or not HE knew what he was saying.  Now, don't get me wrong.  I'm
fairly certain that the above quoted line is "I think I know, I mean, ah, yes,
but it's all wrong."  It sounds more like that than the "a no will be a yes"
as quoted after.  However, the question of the first line of the verse makes
more sense:

"Always know, sometimes think it's me"
"Always, no, sometimes think it's me"

The know/no play is classic.  The line indicates the confusion either way.
In the first instance, it's the confusion between always/sometimes and know/
think.  In the second, it's still always/sometimes, but a correction (like the
third line); a stuttering of the lines, if you will, in an attempt to get the
point across to the listener when the singer himself is not entirely certain
what he means.

Please forgive me if this rambles.  I still haven't truly caught up on my
sleep.
-- 
\ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | /
-  Michael  weiss@seas.ucla.edu   |  School of Engineering & Applied Science  -
-   Weiss   izzydp5@oac.ucla.edu  |   University of California, Los Angeles   -
/ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | \
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.beatles
Subject: Re: beatles in other songs
Date: 6 Nov 92 23:29:00 GMT
	<2240@deadmin.ucsd.edu> <Bx985M.DKH@undergrad.math.waterloo.edu>
	<lfl0p4INNt5j@news.bbn.com>
	<1992Nov6.172831.7727@galileo.cc.rochester.edu>
Organization: BBN, Cambridge MA
NNTP-Posting-Host: kariba.bbn.com
In-reply-to: jwlr@okeeffe.cc.rochester.edu's message of 6 Nov 92 17:28:31 GMT

I missed the beginning of this thread but perhaps no one has mentioned:

 "John Lennon (Never Had a Day Job)" by The Strange Loves

and that early smash hit by 1/2 Japanese:

 "No More Beatlemania!!!!!"
Newsgroups: rec.music.beatles
From: prokopy@en.ecn.purdue.edu (dave)
Subject: Re: The Rutles (was Re: Various questions...)
Organization: Purdue University Engineering Computer Network
Date: Fri, 13 Nov 92 16:49:56 GMT

In article <1992Nov12.224043.19611@midway.uchicago.edu> enf1@midway.uchicago.edu writes:
>OK, It's time for me to make myself look very ignorant!
oh, not so!

>So where do songs like Goose Step Mama, Baby Let Me Be, Blue Suede Schubert,
>Between Us, It's Looking Good, and Get Up and Go come from?  Are these
>songs from the film only and not on the soundtrack?
they were in the movie, and released as bonus tracks on the rhino cd
(two years ago?).

-- 
( dave prokopy - prokopy@en.ecn.purdue.edu or prokopy@sage.cc.purdue.edu )
( "silence means security.  silence means approval."                     )
(  - r.e.m., "begin the begin"                                           )
Newsgroups: rec.music.beatles
From: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Subject: Re: Beatles Recording Anomolies
Reply-To: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Organization: Columbia University
Date: Fri, 6 Nov 1992 21:34:48 GMT

In article <61799@mimsy.umd.edu> dbk@cs.umd.edu (Dan Kozak) writes:
>>But PPM was recorded on a two-track.  There must be two completely different
>>takes.
>Right.  The mono (single & album) version is apparently a single take
>(tho' Lewisohn lists the take number as unknown) with harmonica added
>via tape-to-tape copy).  The stereo version is an edit of takes 16, 17
>& 18 . . .

I think Lewisohn says takes unknown for the mono?  The documentation
must be more specific for the stereo mix.  The two mixes were made a
few months apart.

This song is a real problem and we don't have the evidence to account
for this difference.

The error is in the stereo version.  One possibility is that the mono
has some kind of edit that they forgot to do when they made the
stereo.  Lewisohn leaves the door open to that idea when he doesn't
specify how the takes were combined (I think he didn't spend time
looking for it when he had the chance).

However, saki has pointed out to me that the vocal is different all
the way through, not just at the error.  We don't know of any
difference in the instrumental track.  Hypothesis:

They record the song with the error and edit takes 16,17,18 into a
continuous recording.  Noticing the error, they play the instrumental
track into a second tape, re-recording the vocals live at the same
time, without error.  The mono mix is made from that.  The stereo mix
is made straight from the edit of 16,17,18 instead.  I even have a
reason why: it's a generation closer to the original, and GM didn't
like the tape noise on the corrected version as heard in "stereo".

...except that tape copy and correction would make take 19, the way
they did things then, so the idea is questionable.  It also fails to
account for the harmonica.  We could speculate till the cows come home
that maybe 18 is the corrected vocal and the stereo is made from 16-17
only, but it gets silly quickly; the way to pin this down is to hear
the tapes!  I for one am willing to just suspend judgement on this for
now.

------
>>>"Can't buy me love" seems to have traces of another guitar solo.

> the vocals are done live (do the outtakes confirm this?)

Yes, they do.  Paul is singing on all takes and making errors.

I'll have to do some listening to follow the mix discussion.


------

Different post but sort of related--

Yeah, on "Revolution 1" I always heard "right, take 2" at the start.

--Joe Brennan
From: kent_f1@verifone.com
Newsgroups: rec.music.beatles
Subject: Re: "1964" as The Beatles
Date: 6 Nov 92 15:20:29 -1000
Organization: VeriFone Inc., Honolulu HI

>(nelson jordan) writes: 
>  "1964" as The Beatles is coming to Huntsville Nov. 7, and I was wondering
> if anyone has any general info on this show. I've seen it mentioned here a 
> few times, and would like to know if these guys are any good, do they only 
> play a "1964" set, etc. Thanks in advance.
-- 
I saw them 3 times in New Hampshire in '86 thru '88.  They were EXCELLENT
then.  Best Beatles band I've seen by far.  They did 2 sets.  One the '64
material and the second circa '65.  They kept the whole thing confined to
the Beatlemania era and didn't even attempt to do Revolver, Rubber Soul,
or Pepper material... the fact that they didn't try to do too much was 
I think one of their strengths.  These guys really had it down; from the 
suits to the hair (wigs) to the accents to the mannerisms ("Ringo" wasn't
all that hot but I hear there's a new drummer).  You'll even recognise
alot of the same between-song chat that we're all familiar with from
live boots (ie: "If I Fell...Over").  The best show I saw was the first 
time at the Capitol Theater in Concord NH.  It may have started a little
slow, but by the time they launched into AHDN, the crowd went wild.  I 
just squinted my eyes a little and it was real easy to imagine myself at 
a First US Tour concert.  Go for it... well worth almost any ticket price.
Please.... give us a report, OK?

-------------------------------------------------------------
| Kent Fletcher	           |				    |
| 150 Hamakua Drive #513   |  I test + for Rickenbakeritis  |
| Kailua, HI  96734	   | 				    |
-------------------------------------------------------------
From: dmac@julia.math.ucla.edu (saki)
Newsgroups: rec.music.beatles
Subject: Re: KINKS
Date: 13 Nov 92 14:11:57 GMT
Organization: UCLA Mathematics Department

In article <209.62.uupcb@hal9000.UUCP> brett.pasternack@hal9000.UUCP (Brett Pasternack)  writes:
>-> By the way, does anyone know if the Kinks are still together,
>-> recording, or what? Haven't heard from them in at least 3 years
>-> now....
>They signed to Columbia records a year or so ago. They put an EP out
>quickly but the full-album keeps getting pushed back. Hopefully it won't
>take as long as Dave's solo album! B^)

You never know with those battling Davies brothers.

BTW, the CD EP was called "Did Ya", released in March 1991, and included
both Ray and Dave Davies plus a couple of session fellows whose names
escape me at the moment. I haven't seen any other releases under the
Kinks' banner since then.

--
"What makes this foursome's history quite unprecedented is the fact that
two of the boys write (with an output rate which is prolific-plus!) all
the songs which The Beatles take to the top of the hit parade."
-----------------------------------------------saki (dmac@math.ucla.edu)