I think there's a lot of really cool stuff on Wonderwall Music, although being a soundtrack it is understandably quite a mixed bag. Harrison at his proggiest, for sure.
I think there's a lot of really cool stuff on Wonderwall Music, although being a soundtrack it is understandably quite a mixed bag. Harrison at his proggiest, for sure.
I wouldn't call it proggy. It's an eclectic mix of Eastern and Western music, mostly interludes for the soundtrack. I don't really hear any of the characteristics of what we here would call prog.Originally Posted by viukkis
But, then again, what is prog?
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I wouldn't call it prog either, but I'm just comparing it to the rest of his solo albums. It's experimental, interesting most of the time and contains a wide variety of moods.
As big a Beatles fan as I am, I have no interest at all in those late 60s solo albums.
Liverpool Sound Collage was released in 2000, although it contains elements from the 1960's Beatles.
So, JJ, as a big Beatles fan, which, if any, solo Beatles albums do you have an interest in?
Never been that interested in solo Beatles either. Paul had some great solo hits in the early 70s, and John too but never interested in buying the solo albums.
Basically all of them, except those 'experimental' ones (and most of Ringo's- a best of and the eponymous album is all I need).
The only Fireman one I have heard is Electric Arguments but I haven't played it much since it came out. I listen to McCartney's other late-period albums a lot...they are better than most of his 70s albums with Wings.
Last edited by JJ88; 10-26-2016 at 01:58 PM.
All Things Must Pass
Plastic Ono Band
Imagine
All essentials.
One might throw Band on the Run in there, too. There are a lot of Ram fans, but I'm not one of them, aside from a couple of songs
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+1. In the early 70s the NYC FM stations played them ad nauseum, but I found them largely unremarkable.
Hell, they ain't even old-timey ! - Homer Stokes
Two songs that he worked on as a Beatle, along with "Junk," "Teddy Boy" and "Hot As Sun."
I almost added that LP to the list.
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'Teddy Boy' was met with derision by Lennon...it's not a particular favourite of mine either. 'Junk' is (so to speak!) lovely though.
As for Lennon, I find a lot to like on all of his (sadly all too few) studio albums...except Sometime In New York City. 'Woman Is The Nigger Of The World' is the closest to being something but even that is weighed down by the lyrics, which don't quite cohere IMHO.
Harrison...All Things Must Pass is the obvious peak, nothing else comes close. The 1979 eponymous album gets closest, probably followed by Cloud Nine. 33 1/3 has a certain charm too.
I agree with much of that, but I'll have to disagree with your comment about the lyrics of WitNotW. I don't find them incoherent or confusing at all. I think it's one of his most incredibly powerful songs.
I always felt 33-1/3 was a pretty strong album.
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For years I was fascinated with the acts The Beatles signed to Apple. It's a really fascinating period of Beatles history. I never bought the Apple Records Box Set based on what would be my consistency of appreciation for it. As a 13 year old in '69, I collected all the 45 rpm's of most or all artists signed to the Apple label. Had a lot on vinyl as well. But I'm unsure if I'd appreciate it today. For an extensive amount of time I felt the impact they had on society and it had to be one of the most powerful in the world . Regarding the deepness of it and their relation to a mass of people . You could imagine being hit by this as a kid and everyone around you is caught in an explosion of extremism. Living through that period in time was strange . '64 to '66 were years made up of American bands covering Beatles songs....I still think that's a strange realization. I suppose you could observe this as marketing but I really valued Beatles fans above all.
Like who? Badfinger? Jackie Lomax? Mary Hopkin? Rdha Krishna Temple? James Taylor? Seems to me Apple had rather less success with its signings than the average labels of the time.
Much less. It was a vanity endeavor, employing no one who knew a lick about what it took to run a label, or to encourage creativity for that matter. But hey, you forgot the MJQ. LOL. At least THEY were more famous than all of the others you mention.
Absolutely. I agree. I was obsessed.
Well, at least two of those artists (Taylor and Badfinger) were monster talents.
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Yup, but if you look at the whole list (available on Wikipedia) most of them were "who?"
I'm guessing it's not unlike other labels. I know their primary goal with Apple was to create an opportunity for artists they believed in. So, commercial success might have been secondary. And, they certainly showed their inability to make it work. Let's face it, this was after Brian had died and they really weren't well-suited for business exploits.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
No different from a lot of other vanity labels - Swansong, Purple, Rolling Stones. Difficult to name more than a couple of major acts from any or all of them.
Band on The Run was a great album. I never got All Things Shall Pass because I wasn't a big fan of George's solo stuff.
Funny thing is, it has my all time favorite track from a former Beatles solo album- "What Is Life"
Best thing to do on the solo albums is to get their greatest hits. Ringo's are barely worthwhile thou.
Just wondering, did anyone else think "Come And Get It" by Badfinger was a Beatles track when they first heard it on the radio?
I didn't have any Beatles albums at the time, and my brothers only had Abbey Road and Hey Jude (a U.S. Capitol release), so I didn't know if it was one of their past songs or if they had got back together . I sure thought it was them because the parts all sounded Beatlesque, especially the vocals which sounded like John.
^'Come And Get It' was given to them by Paul McCartney- he said just copy the demo as it is and you'll have a hit.
Yep. In fact, Paul's demo FINALLY got released on the Anthology. I'm pretty sure Badfinger used his music, too, and just overlaid vocals.
Regretfully, Paul's demo of "Goodbye" has yet to see an official release. I suppose it's because he sang it in a high voice for Mary Hopkin.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
The Beatles gave away many songs that became hits for other artists. "Sour Milk Sea" is my fav.
Do The Beatles have anything you'd call "psychedelic" aside from what's on Sgt Pepper, Magical Mystery Tour, and Yellow Submarine? Maybe Come Together, sort of?
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