HDTenEightyP/NetNews huggingface dataset:
From: bad@pismo.sw.stratus.com (Bruce Dumes)
Newsgroups: rec.music.beatles
Subject: Re: Multi-track recording
Date: 22 Jul 92 18:19:08 GMT
Organization: Stratus Computer, Software Engineering

In article <UePLfdS00awA0AGVIv@andrew.cmu.edu> bl2m+@andrew.cmu.edu (Benjamin D. Lukoff) writes:
>Second, when I said multi-track never could be true stereo, you
>misunderstood me. My point was an eight-track tape mixed to a two-track
>is what we call stereo, because the eight mono signals are mixed in
>auditory space. I certainly call that stereo. Just as well, any
>two-track recording, if the channels are panned left and right, is
>stereo, albeit very poor stereo which can be annoying. This has been
>checked out with the recording engineers here at CMU, in case you think
>this is just a high school kid speaking of things which he doesn't
>know...(see my posting "Patrick Dubbrow") Of course I consider
>multi-track true stereo. What do you all think I am, crazy or something
>:)
>
>Benjamin Lukoff


I'm sure that everyone is very tired of this subject, and I would be more
than delighted to continue this off line, but you have asked me
not to write to you, and my private email seems to show up here anyway.

Here is what you wrote before:

In article <weP20hi00awAI5_HdU@andrew.cmu.edu> bl2m+@andrew.cmu.edu (Benjamin D.
 Lukoff) writes:
>
>TRUE stereo can only be gotten with a stereo mike pair.
>Multi-track will never be TRUE stereo, it is just a collection of
>monophonic signals mixed to resemble stereo. 

So before you said "multi-track will never be TRUE stereo".  Now you say,
"Of course I consider multi-track true stereo".

I don't think you're crazy, but I think you have said two contradictory 
things. 

You can call almost anything stereo.  Electronically re-processed stereo
is stereo, it's just not very much fun to listen to, and it is not
what the artist wanted.  But you can call it stereo, since there's 
different stuff coming out of the two speakers.

This has devolved into a pointless discussion, and no one is getting
anything out of it, 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: psbapat@mtu.edu (BAPAT)
Subject: Re: Beatles' record impact etc..
Organization: Michigan Technological University
Date: Fri, 31 Jul 1992 17:11:14 GMT

In article <1992Jul31.092759.3503@mr.med.ge.com>, hinz@bonfire (David Hinz Mfg 4-6987) writes:
> psbapat@mtu.edu (BAPAT) writes:
> : In article <1992Jul29.104528.21440@mr.med.ge.com>, hinz@bonfire (David Hinz Mfg 4-6987) writes:
> : 
> : > I think, MUSICALLY, Rubber Soul influenced me more than anything else.  Nowhere
> : > Man, And Your Bird Can Sing, etc. are all very well crafted songs.  I think
> : > (at times) that that is my favorite album, although they all are at different
> : > times.
> : > 
> : > 
> : > --
> : >
> : 
> : I thought that And Your Bird Can Sing is from Revolver. Anybody??
> :  
> Well, in the "It's 04:00 and I haven't slept in 30 hours" collection, it's on
> Rubber Soul.  So there.
> 
> P.S.  OOPS.  How embarassing.  I guess it would be safe to say, at this point,
> on the topic of damage control, that I consider Rubber Soul AND Revolver
> to be the peak of the Beatles' carrers, musically.  Just my opinion.
> 
> --
> 
> Dave Hinz  -  Opinions expressed are mine, not my employer's.  Obviously.
> hinz@picard.med.ge.com
> 
> 

I have just been informed that the British release of Rubber Soul
does not contain AYBCS but the American release does. AYBCS is in 
Revolver (again a British release) and that is the cassette I have.

-- 

Pushpak Bapat                      | LIFE IS LIKE A SEWER; WHAT 
e-mail: psbapat@mtu.edu            | YOU GET OUT OF IT DEPENDS  
Michigan Technological University  | ON WHAT YOU PUT INTO IT !!
From: wayman@lamar.ColoState.EDU (Jeffrey Wayman)
Newsgroups: rec.music.beatles
Subject: Re: Her Majesty - a post scriptum
Date: 23 Jul 92 18:08:49 GMT
Organization: Colorado State University, Fort Collins, CO  80523

In article <1992Jul23.064008.27436@mnemosyne.cs.du.edu> mcodogno@nyx.cs.du.edu (Maurizio  Codogno) writes:
>In article <1992Jul22.180411.15434@leland.Stanford.EDU>
> franblan@leland.Stanford.EDU (Francois Marcel Blanc) writes:
>>Just a thought. I always thought that the end should have truly been the end.
>>Among all the disconcerting things the fab have done, I always thought that
>>Her Majesty was not very accurate. Golden Slumbers + Carry that weight
>>+The end is such a masterpiece that the silence that follows still belongs to 
>>it. I wish it was not disturbed by a "silly" song. 
>>
>>Any radically different opinions ?
>
>Mine. I wholeheartedly agree - GS+CTW+TE is simply terrific, and 
>"In the end the love you take is equal to the love you make" is the
>best ending of a group career (_Let it be_ is chronologically
>precedent, of course ... :-) ) 
>
In Peter Brown's book (I think it's called 'The Love You Take'??)
the foreword (again, my horrible memory fails me, maybe it's not
the foreword) quotes the last line of "The End" as the last line
of the last song of the Beatles career.  I got the impression that
people close to the Beatles think that way.  Has anyone else read
the book and have a better memory than I? :-)

Jeff         wayman@lamar.colostate.edu
From: hpky@gauguin.cc.rochester.edu (Hanan Polanski)
Newsgroups: rec.music.beatles
Subject: Re: The worst Beatles compilations? (was: Re: The Old Mixmaster)
Date: 31 Jul 92 03:17:05 GMT
Organization: University of Rochester - Rochester, New York

In <1992Jul30.013726.21245@menudo.uh.edu> edc@evolution.bchs.uh.edu (edward s. chen) writes:

>Ummmm, that was the point of the British "Rarities" LP.  (Not the 
>American one, but the one with the Blue cover)

>The Track listing:
>------------------
[tracks deleted ...]
>You Know My Name (Look Up the Number) - stereo
                                         ^^^^^^ ???

Did I miss something, or is this a misprint?

					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: Analog Beatles
Date: 23 Jul 92 13:24:35 GMT
Organization: Stratus Computer, Software Engineering

In article <1992Jul22.173315.27049@news.columbia.edu> brennan@cunixf.cc.columbia.edu (Joseph Brennan) writes:
>
>This is a really good question, and Lewisohn's "Beatles Recording
>Sessions" does not answer it.  There are other examples too.  One that
>comes to mind is that the German Odeon label got a copy of "All my
>loving" with a "hi-hat intro", that is, you hear Ringo tapping out a
>countdown at the beginning.  
>

Another example being the version of "I Feel Fine" on some Japanese
issues with a bit of chat (1 or 2 seconds) before the guitar starts.


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: dmaclaug@agsm.ucla.edu (saki)
Newsgroups: rec.music.beatles
Subject: Re: Scientific American (August issue)
Date: 28 Jul 92 22:59:31 GMT
Organization: UCLA, Anderson Graduate School Of Management

In article <679@fab4.UUCP> jimk@fab4.UUCP (Jim Kendall) writes:
>
>Imagine my suprise when I opened my August issue of Scientific American
>to see a photograph of John and Paul gracing the table of contents.
>Curious, I rapidly flipped the pages to the related article and found
>an extremely interesting dissertation on the differences in pitch per-
>ception relative to height vs. position on the "chromatic clock" in
>control groups of southern Californians and south Englanders. Apparently,
>the two groups perceive musical pitch intervals quite differently.
>
>This paradox only serves to re-enforce my belief in the magical, musical
>ecclectic of the Fab's genius.

Only problem is... the Fabs are not southern Englanders. This renders
the authors' entire thesis extremely suspect! Where were the fact
checkers? Who gave these men their degrees? :-)

I was going to buy a copy but thought otherwise when I saw this
glaring error. Southerners, indeed! Nice picture of the Boys though.

Does this mean that Northern Englanders and Californians perceive
pitch in an even more disparate manner? Or does it merely indicate
that the Beatles were chromatically prevented from ever playing
surf-music successfully? (No wonder they never covered "Pipeline"!)

--
"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)
Newsgroups: rec.music.beatles
From: ers1@cbnewsm.cb.att.com (eugene.r.schroeder)
Subject: Yellow submarine
Organization: AT&T
Date: Wed, 22 Jul 1992 17:08:51 GMT

What is being said in Yellow Submarine in the middle part?
I could never understand it.  From The Book I believe I read
that part of it is John saying "Full Speed Ahead Mister Captain,
Full Speed Ahead" which sounds right, but I still can't make out
the rest.

Gene
Newsgroups: rec.music.beatles
From: UCPL040@UNLVM.UNL.EDU
Subject: KLAATU
Organization: University of Nebraska
Date: Sun, 26 Jul 92 19:07:37 CST

KLAATU was a four piece band from Canada that produced four albums
on the Capitol label back in the late 1970s (one in 1980).  There
was a rumor that this band was the reformation of the Beatles.
Personally, I don't beleive this, even though there are a couple
of KLAATU's songs that have some close similarities.  Apparently
the band broke up in 1980 and has never produced anything else,
either together or individualy.

If anyone out there has any information on the band, needs any
information on them, or enjoys their music as much as I do
(there are very few of us left), post here or, better yet, E-mail me.
            skott underwood    UCPL040@UNLVM

                                   >skweek!<
Newsgroups: rec.music.beatles
From: cordio@wpi.WPI.EDU (Kenneth Bernard Cordio)
Subject: Her Majesty
Organization: Worcester Polytechnic Institute
Date: Wed, 22 Jul 1992 15:34:51 GMT


	_Her Majesty_ was originally included on Side B of Abbey Road.
It belongs between _Mean Mr. Mustard_ and _Polythene Pam_.  The LOUD chord
in the very beginning of _Her Majesty_ is really the final chord in MMM, and 
the "missing" note at the end of the song is really the first guitar chord in
_Polythene Pam_.  If you have the CD you can program it so that you can hear
it the way it was before the cut.  Also, in MMM the lyric speaks of the Queen 
and "his sister Pam", suggesting a unifying theme between _Mean Mr. Mustard_,
_Her Majesty_, and _Polythene Pam_.

	I think I heard this on the "Lost Lennon Tapes" radio program.

Ken

Newsgroups: rec.music.beatles
From: jcsmith@eos.ncsu.edu (Jay C. Smith)
Subject: Re: Analog Beatles
Organization: North Carolina State University, Project Eos
Date: Mon, 27 Jul 1992 19:17:06 GMT

In article <1992Jul24.193320.14902@rice.edu> edc@dawn.cs.rice.edu 
(Edward Chen) writes:
>I don't quite understand your last question.  The mono "The
>Beatles" was released in many countries other then Britain.

I apologize for my anglo-centrism--what I meant was that the mono mix was
*not* released in the US.

>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.

I don't think the quoted comments constitute everything George has said about
the Sgt. Pepper CD.  That he does not mention Sgt. Pepper or the exact item 
sticking out in the mix leads me to believe that I was referring to a 
different source than the one you are referring to.  Unfortunately, I do not 
have mine handy.  I think it may have been the live call-in radio show he 
did.  Plus there were interviews in Musician, Guitar Player, Pulse, and 
Rolling Stone (I think).

Or maybe I'm just misremembering.  But I thought he referred to the remixing,
and to a certain tambourine or other instrument that he thought was really
brought out in spots.

--
Jay C. Smith
Domain/internet: jcsmith@eos.ncsu.edu  uucp: ...!mcnc!ncsuvx!eos!jcsmith
------------------------------------------------------------------------
"Good.  For a minute I thought we were in trouble."
From: shroymp@wkuvx1.bitnet (Mike Shroyer )
Newsgroups: rec.music.beatles
Subject: The End (was Re: Her majesty)
Date: 23 Jul 92 17:18:21 CDT
Organization: Western Kentucky University, Bowling Green, KY

In article <1992Jul22.180411.15434@leland.Stanford.EDU>, franblan@leland.Stanford.EDU (Francois Marcel Blanc) writes:
> Just a thought. I always thought that the end should have truly been the end.
> Among all the disconcerting things the fab have done, I always thought that
> Her Majesty was not very accurate. Golden Slumbers + Carry that weight
> +The end is such a masterpiece that the silence that follows still belongs to 
> it. I wish it was not disturbed by a "silly" song. 
> 
> Any radically different opinions ?

I fully agree,  although i do not think that Her Majesty is that much
of a silly song.

-- 
******************************************************************************
*  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    *
*                                                                            *
******************************************************************************
From: ccrjgw@bristol.ac.uk (Bob Walker)
Newsgroups: rec.music.beatles
Subject: McCartney Rarity.
Date: 28 Jul 92 08:00:36 GMT
Organization: University of Bristol, England


A couple of weeks ago I recorded a radio programme (one of a series) called
"Love Me do". This is a sort of history of the B's mainstream recorded music.

I was listening to it in the car the other day and, to my surprise they played
what was apparently a demo of Paul singing Mary Hopkin's "Goodbye", very
much in the style of Mary Hopkin. Is this track available anywhere else?
Should I consign the tape to the archives? It's not of that much interest
to me..I like BEATLES music.

Bob.
From: ereidell@media.mit.edu (Evan A. Reidell)
Newsgroups: rec.music.beatles
Subject: Who wrote what?  Does it matter?
Date: 23 Jul 92 19:41:32 GMT
Distribution: usa
Organization: MIT Media Laboratory

After reading rec.music.beatles for a few weeks, I went and bought
The Book (The Beatles Recording Sessions by Mark Lewisohn.)  Thank
you, everybody!  I have really enjoyed it, it inspires me, it's great!

It also makes me think about something which might have already been
discussed to death (if so, inform me, I'm sorry, I'm new here...)

  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?

My reasons for wondering about such a thing:

In `We Can Work It Out', the various sections have a different feel to
them, and this is underlined by Lewisohn on p.64: "... John's downbeat
choruses providing the perfect foil for Paul's positive optimism."
This really got me thinking: what songs had one Beatle composing the
verses and another one doing the choruses?  Not only singing, but
composing!  To me, a very interesting idea: Perhaps this is where part
of the group magic came from: different perspectives for the verse /
chorus, but within the same song and similar enough that they sound
good together...  (ringo gets intro, George gets guitar solo, split
verse / chorus between john / paul... instant song!)

In The Book, Mr. Lewisohn is not as explicit about Who Did What as he
is in the liner notes to the Sgt. Pepper CD: "Writer: Paul" "Writer:
John, with Paul." "Writer: John"...  Is there a document that digs into
this kind of group-splitting info (I am curious, I confess), just to
know who wrote what melodic hook...  maybe this matters just as much as
which take the song was mixed from...

Did John ever write a song then give the lead vocal to Paul, or P->J?
If I read TBRS carefully, I might find such a beast.  Isn't it great to
have a book you can read and reread, and reread carefully to find still
new information!?

John's comment about Carry That Weight to the crazed fan in IMAGINE:
"it was Paul who sang that... but that belonged to all of us" How true
that is...  And it's somehat more obvious who composed what in a George
Harrison composition.

Well, something for all to think about.  Thanks again for The Book!

Evan A. Reidell (ereidell@media-lab.media.mit.edu)
Newsgroups: rec.music.beatles
From: bchs1k@menudo.uh.edu (Edward S. Chen)
Subject: Re: Saki's .sigs (was Re: Whitburn (was: World Without Love ...))
Organization: University of Houston
Date: Tue, 28 Jul 1992 04:34:24 GMT

In article <1992Jul27.043442.10404@en.ecn.purdue.edu> prokopy@en.ecn.purdue.edu (Dave) writes:
>>>"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!
>

*enter grumpy old man voice*

why, these youngsters have it easy, in my day, we didn't have any
ATT-RI-BUSHONS...  We had to look it up.  We actually had to open 
up books, and learn from them... [:-) for the humor impaired]

*exit grumpy old man voice*

Saki's current .sig was written by none other then the "cute Beatle",
in response to a Liverpool journalist's inquiries about the boys and
their music...

<ESC>
-- 
-------------------------------------------------------------------------------
 ... Take us from the dark, out where we can see ...
                                                    --- Paul McCartney
-------------------------------------------------------------------------------
From: David.T.Greenfield@dartmouth.edu (David T. Greenfield)
Newsgroups: rec.music.beatles
Subject: Re: Hey Jude
Date: 30 Jul 92 15:31:31 GMT
 <1992Jul27.191117.25667@athena.mit.edu> 
 <gilmore-280792172752@mezzmac170.engin.umich.edu.>  
 <1992Jul29.045343.1773@menudo.uh.edu>
Organization: Dartmouth College, Hanover, NH

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?

David
david.t.greenfield@dartouth.edu
Newsgroups: rec.music.beatles
From: hinz@bonfire (David Hinz Mfg 4-6987)
Subject: Re: Beatles' record impact etc..
Organization: GE Medical Systems, Magnetic Resonance
X-Newsreader: Tin 1.1 PL4
Date: Fri, 31 Jul 92 09:27:59 GMT

psbapat@mtu.edu (BAPAT) writes:
: In article <1992Jul29.104528.21440@mr.med.ge.com>, hinz@bonfire (David Hinz Mfg 4-6987) writes:
: 
: > I think, MUSICALLY, Rubber Soul influenced me more than anything else.  Nowhere
: > Man, And Your Bird Can Sing, etc. are all very well crafted songs.  I think
: > (at times) that that is my favorite album, although they all are at different
: > times.
: > 
: > 
: > --
: >
: 
: I thought that And Your Bird Can Sing is from Revolver. Anybody??
:  
Well, in the "It's 04:00 and I haven't slept in 30 hours" collection, it's on
Rubber Soul.  So there.

P.S.  OOPS.  How embarassing.  I guess it would be safe to say, at this point,
on the topic of damage control, that I consider Rubber Soul AND Revolver
to be the peak of the Beatles' carrers, musically.  Just my opinion.

--

Dave Hinz  -  Opinions expressed are mine, not my employer's.  Obviously.
hinz@picard.med.ge.com
Organization: Penn State University
Date: Wed, 29 Jul 1992 12:01:04 EDT
From: <TXK9@psuvm.psu.edu>
Newsgroups: rec.music.beatles
Subject: Chords for songs

I have come across many different books which gives guitar chords for
beatles songs. But now I am looking for a good and comprehensive book
which has entire collection of songs. Could anyone suggest a book like
that? Or can any one mail e-mail me a collection of such songs? Is the
chords available on ftp sites? Thanx in advance.
Kesh
Newsgroups: rec.music.beatles
From: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Subject: Re: Analog Beatles
Reply-To: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Organization: Columbia University
Date: Wed, 22 Jul 1992 17:33:15 GMT

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? 

This is a really good question, and Lewisohn's "Beatles Recording
Sessions" does not answer it.  There are other examples too.  One that
comes to mind is that the German Odeon label got a copy of "All my
loving" with a "hi-hat intro", that is, you hear Ringo tapping out a
countdown at the beginning.  

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.

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.  

--Joe Brennan

Newsgroups: rec.music.beatles