The way some speak of them, you'd have thought they were the creator.Originally Posted by ronmac
The way some speak of them, you'd have thought they were the creator.
Father, son, holy ghost, and Ringo.
I could say that about some KISS fans. Be fair.
"Arf." -- Frank Zappa, "Beauty Knows No Pain" (live version)
Not so much Kiss fans as Gene and Paul themselves, I think. I think in Kiss fan who has any serious knowledge of rock history knows Kiss wouldn't exist without The Who, Alice Cooper, Slade and The Move.
...and Bozo the Clown.
Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally
This is what should have been on the White Album.
An outstanding mix that combines Revolution 1 (The Slow Version) and Revolution 9, with hints of What's The New Mary Jane mixed in.
It starts to go nuts after the 4 minute mark and then takes no prisoners.
Making Wikipedia marginally more interesting at:
https://www.youtube.com/channel/UCul...PXchSo_vDxtcLg
I believe Chuck Norris will chime in soon !
They also invented rocks, time, and water.
First time I've ever heard that. What an acid drenched, droning, freak out. What is that constant noise (hard to describe) that sounds sorta like a mellotron?
Like most, I like the single version more than the album version. The only thing missing from the album version are the shooby-doo-wahs. I like those shooby-doo-wahs.
For those who don't know, the DVD and BluRay versions of one will have 5.1 surround mixes.
...and Bozo the Clown.
I read last night that Kiss has licensed their names and images for more than 3000 products.
Just to be clear, that's no mix that combines them. it's the original take from which parts of Revolution 9 were culled.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
Oh, and since we were talking about the Epiphone Casino last night, I would also point that Les Paul that George is playing in the video is the one Eric Clapton gave him. I recall reading that the guitar got stolen at some point, and he had to buy a Les Paul for some guy in Guadalajara to get it back.
A couple years ago, there was a thing on one of the cable TV channels where they actually told the story. This was when George was living in LA in the early 70's, and some guy broke into his house and stole the guitar. He then sold it at some music store, where it was almost immediately bought by a guy from Mexico who was visiting a friend who lived in LA. Fortunately, the Mexican guy put down the friend's address on the receipt, so George apparently calls the friend's house and says "This is George, have you got my bloody guitar?!". Imagine (pun intended) getting that phone call!
So eventually, they arranged a meeting with the friend at whichever studio, and it turns out by this time, the guy who bought the Les Paul had gone back to Mexico, and he doesn't have a telephone, so there was this massive debacle of getting in touch with the guy, and as was said, George had to buy a Les Paul (I think on this program he actually took two of them down to Guadalajara, and let the guy choose) to get his red Les Paul back!
^ Cool story. I didn't know George lived in the US back then.
Hardly.
Have Capitol signed someone recently whose career has tanked?
I believe that's where he met his last wife, who later had fellow Angelino Ed Begley Jr. buy Harrison's "rooftop" Tele at auction.
Hell, they ain't even old-timey ! - Homer Stokes
Love that song, but it forever will mean Breaking Bad for me now. Imagery from that final scene comes in my head every time I hear it. I guess that is a good sign that the right track was picked.
Of course Badfinger have Beatles connections beyond being on Apple- Paul gave them 'Come And Get It' and played piano on 'Rock Of All Ages' (a fantastic rocker, that one) and George had quite a bit of involvement in the 'Straight Up' album, including his instantly recognisable guitar on 'Day After Day'. Indeed, some of the band played with George at the Concert For Bangladesh.
I remember hearing Day After Day a lot on the radio back in the mid/late 80's, when the classic rock radio format first appeared. I remember only just barely knowing who Badfinger were at the time, largely because MTV used to play a clip of them miming No Matter What (I think from a Top Of The Pops) on their old Closet Classics show. So, at first I didn't know Day After Day was Badfinger. In fact, I think I thought it was something either from one of Eric Clapton's early solo records or Derek And The Dominoes (I'm not sure why I thought it might have been Derek And The Dominoes, unless that was before I actually owned Layla And Other Assorted Love Songs).
The year it was released..I was about 13 and I ran out and bought the single. I had been playing guitar and drums since age 7 and was determined to master the snare drum sound , which at first, I thought was very odd and obtained through studio effects and additionally under the impression that I would get nowhere. I grabbed a bath towel and fit it nicely on to the snare head. I had to position it various ways as an experiment and I still wasn't getting the sound. Then I bought a Ludwig snare (not sure?), and produced the sound easily. Ringo Starr was more a dynamic type of player. His role was not to be a Ginger Baker. At the time many drummers were attempting to be. But again...Ringo had experience at playing Big Band Jazz and mastered a solid technique often not considered to be taken seriously due to snooty people/fans who couldn't care less and may have visualized his value equaling the dirt under Elvin Jones' feet. Ringo Starr was butchered by seasoned drummers and his audience was split in half. People who loved him and accepted him for his talent...and people who loved what he contributed to Beatles songs, but after a few beers would begin to put his drumming down. If you listen closely to some of the more early uptempo Beatles recordings, check out WHAT he is doing on the snare. I've heard him do very fast precise rolls and strange Jazz bits. He was very creative and perfect for The Beatles. When I first heard the guitar intro to "Revolution" it was a direct indication to me that Rock guitar was going to develop a more nasty distorted sound...and it did. Although Jimi Hendrix had already pioneered feedback and many different distorted sounds, "Revolution" felt like it was more geared to sounding "dark" like the first Black Sabbath album. Paul Kossoff seemed to have the Tony Iommi sound in '68 on the Tons Of Sobs album and Eric Clapton played very dark on the live version of N.S.U. by Cream ..so in point the so called "dark" sounding Rock guitar had already developed ..but was not as outwardly unashamed as the guitar sound on "Revolution". After a few months of "Revolution"..every guitar player interested in being a serious diverse Rock player, worked at getting that sound. It was a groundbreaking song. The song laid a foundation for music to change. The Beatles were very outstanding at discovering unique elements for music composition and changed music regarding the way it had been written before. Artists adapted a Beatles writing style to their own vocabulary and not exactly with a Beatles album listened to in it's entirety, but actual songs . Many Beatles songs contain various formulas and throughout history in a musician's life..it is evident that individual songs influenced change. Change ..overall to the ideology of what one might seriously compose.
On a related note, Kurt Cobain has been dead for about 20 years, but that has not stopped him from putting out a new release: a cover of Lennon/McCartney's "And I Love Her".
Back to 1968:
We're trying to build a monument to show that we were here
It won't be visible through the air
And there won't be any shade to cool the monument to prove that we were here. - Gene Parsons, 1973
Nice, fro, Goldy
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
My neck hurts just watching those dancers.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
No...Ringo needs the money. His Sketchers sneaker ads just aren't making ends meet.
Restored video from the new "1" collection
We're trying to build a monument to show that we were here
It won't be visible through the air
And there won't be any shade to cool the monument to prove that we were here. - Gene Parsons, 1973
Horrible with that frantic editing.
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