HDTenEightyP/NetNews huggingface dataset:
From: bad@pismo.sw.stratus.com (Bruce Dumes)
Newsgroups: rec.music.beatles
Subject: George's playing
Date: 1 Sep 92 18:46:32 GMT
Organization: Stratus Computer, Software Engineering

In article <RSHAPIRO.92Aug31161218@kariba.bbn.com> rshapiro@bbn.com (Richard Shapiro) writes:
>
>Once sometime in the early 70s some "hip" tv show (maybe Johnny Cash's
>show?) had Clapton and Perkins on at the same time. Carl played
>*rings* around poor Eric, made him look utterly ridiculous even though
>Eric played about 20 times as many notes. It was a pitiful sight.
>I've never seen "Carl Perkins: A Rockabilly Special", but I would hope
>George came off better than Eric did in the earlier encounter...


Eric has gone thru some pretty bad times, both personally and musically,
IMHO.  I tend to think that his bad times musically were resulting from
his periods of alcohol and substance abuse.  For another example, "The 
Last Waltz" had Robbie Robertson and Eric playing together, and Robbie
blew away Eric.  Eric also almost lost his guitar when his strap fell
off.  

Of course, Robbie is very much underrated anyway.

OBC:  I am another person who has been amazed at the amateurish leads played
by George in the outtakes, especially considering the brilliance of the 
finished solos.  I think it could be one of a few things:

a) George spent more time working on the sound and feel of the solo, rather
   than worrying about the notes until he really needed to, almost in the
   way that Paul used "pseudo-lyrics" until he needed to finish them.

b) George was not an improvisor, but approached the solos as "mini-
   compositions" and should not be judged on his ability by analysis
   of the outtakes.

c) George didn't try too hard to get it perfect the first time, because 
   once they started multi-tracking, he could take all the time he wanted.

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: williasr@NeXTwork.Rose-Hulman.Edu (Steven R. Williams)
Subject: Re: Asides in Fab songs (was Elmore James & George)
Organization: Rose-Hulman Institute of Technology
Date: Tue, 1 Sep 1992 23:41:18 GMT


In article <1992Sep1.102714.10483@waikato.ac.nz> deryl@waikato.ac.nz  
writes:
> Hey, while I'm on the topic, can anyone enlighten me to what it is that
> a male voice (John?) says at the end of ... arrgghh! I disgust myself,
> I can't remember the song!!! Anyway, it's on Double Fantasy, and the  
words
> are something like 'when you come over tonight, don't sell a cow...'
> and then it kind of fades out.
I believe the song is "Oh Yoko" and he certainly does say somethingh like  
that but I can't decipher it either.

--
-williasr@nextwork.rose-hulman.edu
------------------------------------------------------
"Take my smile and my heart they were yours from the start"
Newsgroups: rec.music.beatles
From: ben@media.mit.edu (Benjamin Kline Lowengard)
Subject: Re: Fixing a Hole guitar break
Organization: MIT Media Laboratory
Date: Thu, 27 Aug 1992 13:45:39 GMT

In article <1992Aug27.062330.7573@mr.med.ge.com> hinz@picard.med.ge.com (David Hinz Mfg 4-6987) writes:
>Andrew Rogers (rogers@rosencrantz.osf.org) wrote:
>: In article <1992Aug26.054038.691@mr.med.ge.com> hinz@picard.med.ge.com (David Hinz Mfg 4-6987) writes:
>: >I've been playing it in my mind here, (don't have the CD with me, just 
>: >my memory), but it sounds to me like a fuzz fed through a flanger, possibly
>:                                         ^^^^               ^^^^^^^
>: >with an envelope follower or wah effect towards the end of the solo.
>:          ^^^^^^^^^^^^^^^^^    ^^^
>: 
>: Three out of four of which didn't exist at the time it was recorded...
>: 
Actually, these effects did exist, though not in the tidy little boxes
we know now(we now know?)

They had compressors, equalizers, tape delay(doubling, flanging) distortion
and other effects as well as plate and spring reverb and tremelo. Achieving
cool guitar effects and vocal doubling was the cornerstone of Beatles music
for Sgt. Pepper. I think in Lewisohn's Bible it is said that once John heard
his voice doubled (and chorused a bit) that he prefered it that way ever
since(hence his "trademark voice"). Pink Floyd, Zappa, and the Beatles (well,
George Martin) pioneered effects in rock music but take a listen to the 
father of Electric Guitar and Effects -Les Paul- to see how he turned
the world around to effecting recorded sound with tape recorders. In 
answer to the original question the guitar sound was probably recorded 
with distortion and tape-flanged(often created by doubling the track to
another tape and playing it back with a finger slowing and warping the
speed of the tape against the tape head) This is lots of fun!

-benj
Organization: The American University - University Computing Center
Date: Monday, 31 Aug 1992 16:35:15 EDT
From: <BFANTLE@auvm.american.edu>
Newsgroups: rec.music.beatles
Subject: Re: The Beatles Live
 <1992Aug31.072449.9390@malmo.trab.se> <1992Aug31.183856.20377@menudo.uh.edu>

I haven't really watched Concert for Bangladesh so I will not comment on it but
...in the Princes Trust he really doesn't do anything spectacular in his 'Weeps
' solo and looks uncomfortable at first.  Don't get me wrong what he plays soun
ds good but I would hardly say he is keeping up w/E.C.
In the Carl Perkins special he doesn't really do anything great with the solos
either.  Just kind of plays some chord variations.  Again it stills soulds grea
t and fits the music.  On a different note, I wasn't aware that Carl played any
 lead.  Not bad.
I have no problem with Georges playing.  He is better than me. :-)  I like his
slide work.  I do find him rather boring, though.  Wish he would cut loose just
 once.  Like he did on the Good Morning and Old Browne Shoe solo's.(If Mac or L
en played any of those two please accept my apologies.


Barry
From: steven@jaynes.uswest.com ( Steve Novak)
Newsgroups: rec.music.beatles
Subject: Ringo Tonight near Denver!  (Sept. 1)
Date: 1 Sep 92 19:14:01 GMT
Organization: U S WEST Advanced Technologies

I have tickets to tonight's show at Fiddler's Green in Englewood, Coloardo.
Fiddler's is a smallish outdoor venue, which will mean great sound.

I'm excited a bit beyond my expectations.  

Has anyone seen R/All-Starrs in the last week or so?  I'm wondering how
everyone in the band is holding up.

E-mail or post, please.
Thnx.....

-- 
+-+-+-+-+-+-+-+
| Steve Novak |    |"Wacker the K"| 
+-+-+-+-+-+-+-+
steven@advtech.USWest.Com
From: prokopy@en.ecn.purdue.edu (Dave)
Newsgroups: rec.music.beatles
Subject: Re: Elmore James & George
Date: 31 Aug 92 20:20:56 GMT
Organization: Purdue University Engineering Computer Network

[I tried to respond directly by e-mail, but it bounced.  But I thought
I might just wanna post this, anyway ...]

In article <1992Aug31.173702.25912@brtph560.bnr.ca> you write:
>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.

"For You Blue" on _Get Back_.  He's commenting (I guess) on JOHN'S
slide-guitar playing, not his own ...

>Also, I recently posted asking for track listings and/or comments on the
>"Unsurpassed Masters" series of boots. I'm sure you all thought that there
>was no need to respond since someone else would :). well, no one else did-
>so feel free to email any info to the address below. All help will be
>appreciated!

If you'd asked this two weeks ago, I could go into more detail here;
but unfortunately, I left my UM's back at home.  But if you want overall
impressions, I'd say they're probably the BEST most COMPREHENSIVE boots
of Beatles material available.  That's not to say they're totally perfect.
Some of the stuff is pointless, repetative (esp. the disc covering 1968,
which has little in the way of genuinely "new" material), and the sound
quality varies from track to track.  But that's to be expected with boots
of any sort, I suppose.

So ... sorry no individual track listings.  If no one else has provided
you with this info by October, write me back and I'll make sure I jot
the tunes down when I'm back home (towards the middle of the month).

Hope it helped, nonetheless ...

>Thanks,
>Charles Board
>email: cnc405@bnr.ca

-- 
David Prokopy - prokopy@en.ecn.purdue.edu
677 Cary Quadrangle
West Lafayette, IN  47906-4243
(317) 495-2843
Newsgroups: rec.music.beatles
From: jcsmith@eos.ncsu.edu (Jay C. Smith)
Subject: Revolution No. 9 (was Re: John acting being shot)
Organization: North Carolina State University, Project Eos
Date: Fri, 28 Aug 1992 14:39:04 GMT

In article <1992Aug27.172358.1323@eng.ufl.edu> greg@ise.ufl.edu 
(Greg O'Rear) writes:
>There is also that section in Revolution 9 where all the gunfire and cannons
>go off, with John making weird shuddering noises; kind of sounds like
>backward laughter, but it sounds the same backwards.

Many many moons ago a Beatles guru I knew told me this "Paul is dead"
interpretation of "Revolution No. 9" (and pardon me if I make a mistake, but 
I'm not listening to the track as I write this):

Near the beginning one hears sounds that imitate a car going through the 
gears very rapidly and passing through intersections--supposedly this is Paul 
out for a blow-off-some-steam drive after having an argument with Jane Asher 
(possibly represented by the bit between George Martin and Geoff Emerick at 
the beginning?).  Unfortunately, Paul has an accident, and winds up in the 
hospital.  There's a lot of talk going around about his condition, some 
saying he's dead, but he manages to make an appearance and announce that he's 
okay.  But his injuries are actually pretty severe, he's in great pain and 
hallucinating (that's the gunfire and other noises), and he's given some 
pain-killing drugs that are also possibly hallucinogenic.  Paul doesn't pull 
through, and he's greeted by the angelic Ringo in the afterlife (and the next 
song).

I always thought it was interesting....

--
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: jbeer@lonestar.utsa.edu (Jason R. Beerhalter)
Newsgroups: rec.music.beatles
Subject: Re: Ringo & Hollywood Bowl....
Date: 27 Aug 92 21:04:44 GMT
Distribution: usa
Organization: University of Texas at San Antonio

In article <19773@fritz.filenet.com> ganjavi@fritz.filenet.com (Ray Ganjavi) writes:
>I've been away from this group for a while (choicelessly). There are a
>couple of things I'd like to say:
>
>	1. I really like Ringo's new album. It has some killer
>		songs.
>	2. I love the Beatles Live at Hollywood Bowl album. I think
>	   it's my favorite album of all times. It has such
>	   tremendous energy.
>
>Sincerely,
>Ray Ganjavi
>
>--
>Ray Ganjavi
>FileNet Corporation, Costa Mesa, CA
>ganjavi@filenet.com

     There is no doubt that Live at the Hollywood Bowl is excellent, but to
     say Ringo's new album has some "KILLER?" songs may be going a little
     too far.
     IMHO, "Weight of the World" and "I Don't Believe You" were the only
     salvageable tracks on it.
Jason Beerhalter
jbeer@lonestar.utsa.edu
jbeer%UTSAVM1.BITNET@ricevm1.rice.edu
Newsgroups: rec.music.beatles
From: CGARNER@cmsa.gmr.com
Newsgroups: rec.music.beatles
Subject: The Beatles Live
Date: 28 Aug 92 14:16:07 GMT
Organization: GM Research Labs

Since I started this thread by inquiring about the"Star Club" CD, I
thought it only appropriate to post some comments.  Firstly, I didn't
buy it, a fellow rmber let me borrow it (Thanks Frank).  As expected
the sound quality was horrible.  Reminded me of a high school dance
in a gym.

As far as the quality of the performance I thought it was good to good++.
The boys were loose as in relaxed, not as in sloppy.  Hearing old rnr
standards like "Little Queenie" and "Sweet Little Sixteen" was great.
The most impressive thing about the performance was envisioning how much
fun the boys must have been at that period.  They truly conveyed that
feeling to the audience.  For example, John's changing the words to "Mr.
Moonlight" from "...here I am on my knees beggin' if yo please" to
"....here I am on my NOSE beggin...".  Certainly at this stage in their
career they had more freedom to be creative in their live performances
than during Beatlemania when they probably had a fixed play list and
probably couldn't even hear each other well enough to interact on
stage.  Or maybe I'm reading too much into a 25 min CD. 8^)
All in all live Beatles are quite interesting, and convey a certain
warmth and presence sometimes not captured in Abbey Road.

Other comments: I think John's guitar playing and Ringo's drumming are
underrated.  While John is not a hot lick player he certainly plays rhythym
guitar very fluently and manages to find the right tempo/tone/feeling/
etc. for a song.  Ringo, while a Kieth Moon he is not, also manages to not
only keep the beat, but puts fills and accents in some very tasty places.

Flame Generator: George on the other hand, doesnt seem to have the technique
one would expect from a man of his stature.  I love his studio leads, from his
clever early fills (CBML, etc), his mid period Chet Atkins-like stuff (HD,
ETTBMB, IDWTSTP etc) to his later more adventurous endeavors (SFF, FAH, ST,
OANS etc).  But, his live solos seem to have a 50% chance of noodling off
to nowhere (KC/HHH fron Star Club, CBML, AHDN both taped form the radio
so I don't know the specific origins, are live and quite frankly embarassing).
I'm not trying to be derogatory (sp), I'm just trying to be objective.
I think Georges songs represent some of the best form the later period
(HCTS, S, WMGGW, BJW).But live ???

Anyway, back to the Star Club.  John once said something to the effect of
when we're on as a live band......"no one in England can touch us" (aimed
at the Stones??).  Maybe he was right.


cg       "sarry if we urt your field mista"
Newsgroups: rec.music.beatles
From: edc@evolution.bchs.uh.edu (edward s. chen)
Subject: Re: Ringo & Hollywood Bowl....
Organization: Little to none, or maybe not......
Date: Tue, 1 Sep 1992 23:33:18 GMT

In article <1992Sep1.200625.8292@math.ucla.edu> dmac@julia.math.ucla.edu (saki) writes:
>In article <1992Aug28.192044.7281@galileo.cc.rochester.edu> jwlr@dali.cc.rochester.edu (James Willer) writes:
>>In <19773@fritz.filenet.com> ganjavi@felix.filenet.com (Ray Ganjavi) writes:
>>
>>>	2. I love the Beatles Live at Hollywood Bowl album. I think
>>>	   it's my favorite album of all times. It has such 
>>>	   tremendous energy.
>>
>>So when's the CD coming out? I-)
>
>EMI has no current plans to release the Hollywood Bowl album on CD,
>for reasons that remain unclear. They could have decided that it's
>not marketable, not profitable, or not worth the tangle over copyrights.
>I'm not certain but I believe the remaining Fabs must okay such releases.
>
>Perhaps a letter-writing campaign to EMI would be in order.

While we're dreaming, why not ask for a single CD consisting of *both* 
concerts, in their entirety.  Both shows would quite easily fit on a single
CD.  I've always been a bit put off by the hack-n-slash version as released.

<ESC>


-- 
..You either kiss the future or the past goodbye...
                          -- Ringo Starr (written by O'Deherty / Velez)
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.beatles
Subject: Re: The Beatles Live
Date: 31 Aug 92 23:12:18 GMT
	<1992Aug31.072449.9390@malmo.trab.se>
	<1992Aug31.183856.20377@menudo.uh.edu>
Organization: BBN, Cambridge MA
NNTP-Posting-Host: kariba.bbn.com
In-reply-to: edc@evolution.bchs.uh.edu's message of Mon, 31 Aug 1992 18:38:56 GMT

In article <1992Aug31.183856.20377@menudo.uh.edu> edc@evolution.bchs.uh.edu (edward s. chen) writes:
   "The Prince's Trust Concert", or even "Carl Perkins: A Rockabilly Special".  In
   all of these, George is more then capable of keeping up with "legendary"
   guitar players such as Clapton, or Mark Knopfler...


Once sometime in the early 70s some "hip" tv show (maybe Johnny Cash's
show?) had Clapton and Perkins on at the same time. Carl played
*rings* around poor Eric, made him look utterly ridiculous even though
Eric played about 20 times as many notes. It was a pitiful sight.
I've never seen "Carl Perkins: A Rockabilly Special", but I would hope
George came off better than Eric did in the earlier encounter...
From: jwlr@dali.cc.rochester.edu (James Willer)
Newsgroups: rec.music.beatles
Subject: Re: Inane question re: _Yellow Submarine_
Date: 4 Sep 92 16:31:23 GMT
Organization: University of Rochester - Rochester, New York

In <Bu1zxJ.70B@watdragon.uwaterloo.ca> drraymon@watdragon.uwaterloo.ca (Darrell Raymond) writes:


> In <1992Sep3.235745.13192@pellns.alleg.edu> mccombj@alleg.edu (Joseph McCombs) writes:
>> 
>>2) What in the world was the characters' name?

>  And what was the name of the Big Blue Meanie's chief "lieutenant",
>the one who, when the meanies are defeated, and the chief says, "what
>will we do (insert-name-here), where will we go?", he says:

>	"Argentina?"  

Max.
				James Willer
{the opinions above are probably NOT those of
 anyone at all}
Newsgroups: rec.music.beatles
From: greg@irl.ise.ufl.edu (Greg O'Rear)
Subject: Re: Byrds
Reply-To: greg@ise.ufl.edu (Greg O'Rear)
Organization: Industrial Research Lab - Univ. of Florida
Date: Thu, 27 Aug 92 17:15:31 GMT

I think the Beatles/Byrds/Beatles connection is that McGuinn saw George with
the Rick 12-string in "Hard Day's Night" and got one.  Then George heard
The Byrds and wrote "If I Needed Someone".  Seems like that's the way it
goes.

As for the Notorious Byrd Brothers, I put off buying it because of the cover;
I figured it was in their country phase, but it turned out to be the most
psychedelic of the Byrds' albums.  Country tinged, but very psychedelic
(like in the song Get To You).
--
Greg O'Rear
Industrial and Systems Engineering, University of Florida
orear@ise.ufl.edu
Newsgroups: rec.music.beatles
From: grumpy@jpradley.jpr.com (Jeff Markel)
Subject: Re: Beatles novelty list 
Reply-To: grumpy@jpradley.UUCP (Jeff Markel)
Organization: Unix in NYC
Date: Wed, 26 Aug 1992 17:03:45 GMT

In article <QeXzeHi00Uzx03LZ5H@andrew.cmu.edu> Arthur Edgar Bucholtz <ab3f+@andrew.cmu.edu> writes:
>>	Farther afield, there's the music from the satirical film "The Rutles"
>>It doesn't specifically send up any particular songs but does a good job
>>parodying the various musical styles of the Beatles' career.  The music is
>>by Neil Innes and the film was produced by George Harrison, who also has a
>>cameo role.
>>[album: Rhino CD #R2 75760   movie: <AKA "The Rutles--All You Need Is Cash">
>>Broadway Video/Pacific Arts Video Records, Pacific Arts Building,
>>Carmel, CA 93923 ]
>
>A Couple Additions:
>
>There was recently (this year) released a 'indie-rock' cover LP of
>Rutles songs on Shimmy Disc Records in New York. Featuring bands like
>Unrest and Shonen Knife (from Japan.)
>
>Also just a couple months ago the New York 'new music' club the Knitting
>Factory released a CD of beatles covers recorded at the Knitting Factory
>by various New York 'new music' groups/people such as Lydia Lunch (doing
>"Why don't we do it in the road"), Eugene Chadbourne, Marc Ribot. The
>record label I believe is Knitting Factory Works. 
>
>Unfortunately I know of no covers of "You Know My Name Look Up The Number."
>
>----Ed Bucholtz 91.08.17

The only group who could do justice to "You Know My Name..." is the
The Bonzo Dog Band. 

                        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!"
===============================================================================
Newsgroups: rec.music.beatles
From: jailbird@ddsw1.mcs.com (Ron D. Harvey, Professional Bachelor)
Subject: Re: Elmore James & George
Organization: Evil, Inc.
Date: Thu, 3 Sep 1992 18:31:52 GMT
X-Disclaimer:  Material posted in this article is the sole responsibility of
                the poster and does not represent MCSNet or the system owners.

From article <1992Sep2.152347.21809@dartvax.dartmouth.edu>, by David.T.Greenfield@dartmouth.edu (David T. Greenfield):
> In article <7153835142797@c00481-224wi.eos.ncsu.edu>
> jcsmith@eos.ncsu.edu (Jay C. Smith) writes:
> 
>> In article <1992Sep1.151445.4345@dartvax.dartmouth.edu> 
>> David.T.Greenfield@dartmouth.edu (David T. Greenfield) writes:
>> >In article <92244.164749BFANTLE@auvm.american.edu>
>> >Didn't George play slide way back on Drive My Car?  I don't have
>> >Lewison's book here with me to consult.
>> 
>> I believe that was Paul.
> 
> Wow.  Did Paul play slide on other tunes, as well?
> 
> David
> david.t.greenfield@dartmouth.edu

Hey!  

First of all, that solo definitely not played with a slide, and 
it was George who played it.  I remember reading that in The Book, 
because it mentions how you can hear Paul's yell of approval at 
the close of the solo just before the (overdubbed) chorus refrain.
Paul did play a lot of guitar solos, but let's credit George for
that neat little ditty.

My impression is, George didn't do that much slide work with the
Beatles; it seems that John did a bit, though during the later days.
I think George really blossomed as a slide player (seemingly almost
overnight) in his ex-Beatle years -- to the point that his solos 
used the slide almost exclusively.

It's the main reason that I liked George's solo music a lot, even 
though the songs got progressively weaker through the years.  _All 
Things Must Pass_ is still, in my opinion, the best Beatles solo album.

Back to lurking,


-- 
Ron D. Harvey	jailbird@ddsw1.mcs.com 

"Sorry, wrong number.  Cute answering machine message, though."  >click<
From: deryl@waikato.ac.nz
Newsgroups: rec.music.beatles
Subject: Re: Beatles influence 'Crowded House'
Date: 31 Aug 92 10:28:23 +1200
Organization: University of Waikato, Hamilton, New Zealand

>> (Karen Pepper) writes:
> (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.

In fact, Neil has often said that the Beatles are his favourite musicians.
Woodface was, of course, the only CH album (hopefully not the last??) to
feature Tim Finn's contributions, so had a slightly different flavour to
the previous 2 CH albums.  There is a CH mailing list if you're interested
(Email me for details), and many of its members comment on the Beatles
similarities.  

Pardon me r.m.b'ers for this diversion... but I'm a New Zealander you
know, and I just can't let a chance go by to spread the good word of our
native talent (alas, now shipped out to Aussie...).

OB Beatles comment.... I love 'em!

Deryl


Newsgroups: rec.music.beatles
From: drlecter@admiral.uucp (Ackbar Rajapurus)
Subject: X-fer
Reply-To: drlecter@admiral.uucp (Ackbar Rajapurus)
Organization: The Grid/Waffle BBS, 203-661-2873, -1279, -0450, -2967
Date: Wed, 2 Sep 1992 17:50:43 GMT




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