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Old 10-05-2018, 04:00 PM   #381
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I finally watched Yellow Submarine a few weeks ago, as it was on Amazon. I can't believe I'd never seen it before. Didn't really know what to expect - but it wasn't that. So fun.
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I, too, watched it recently for the same reason. I haven't seen it since I was a kid and didn't remember it *at all*. I had a great time. My brother was on the plane next to me while I was watching it and he kept tapping me on the shoulder and I'd take my headphone out and he'd go, "What were they on for this scene?" lol. He couldn't hear a thing, he was just watching the visuals over my shoulder and just kept looking at me bug-eyed.
It used to be on TV when I was a kid (I think annually like they used to show the Wizard of Oz) and I would watch it every chance. Very different interpretation/understanding of it as a kid vs. as an adult. As a kid just thought it was a fun romp battling the Blue Meanies with some cool music attached.
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Old 10-05-2018, 04:32 PM   #382
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While the album as a whole isn't their best, the highlights of Beatles For Sale are among my early favorites:

No Reply
I'm a Loser
Baby's in Black
I'll Follow the Sun
Eight Days a Week
Every Little Thing
What You're Doing

People who act like the album is bad are full of shit.




And these songs aren't as poptastic as She Loves You, From Me To You either.

No Reply has a more sinister sound than these pop singles.

I'm tempted to revisit the album - the harmonies in Every Little Thing, the sheer beauty of Follow The Sun. Love t
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Old 10-05-2018, 07:12 PM   #383
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It used to be on TV when I was a kid (I think annually like they used to show the Wizard of Oz) and I would watch it every chance. Very different interpretation/understanding of it as a kid vs. as an adult. As a kid just thought it was a fun romp battling the Blue Meanies with some cool music attached.
Yeah the whole time I was watching it, I wished I could remember how I'd felt about it as a kid to compare, because man, what a whacked out film.
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Old 10-05-2018, 08:21 PM   #384
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My White Album Rushmore would be:

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Prudence
Onion
Guitar


I haven't listened to the White Album in its entirety since the 1990's. Its got some great songs on it, but there's a lot of stuff that shouldn't have made the final cut. Piggies, Honey Pie, and Savoy Truffle come to mind. This was the first Beatles album where George Martin's input meant close to nothing. Forcing him to take a leave of absence. Ringo at some point quit the band. I mean, shit, this album is the beginning of the end for The Beatles. Pretty fucking depressing. And ironically enough, Yer Blues is also one of my favorites and it's about being lonely and wanting to die. But, if you call yourself a Beatles fan, you at least have to have the album in your library. At least for an historical perspective. The fun drug use enjoyed during the previous albums gave way to the hard drugs on this one and it shows.
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Old 10-05-2018, 09:08 PM   #385
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I won't hear a bad word about Savoy Truffle, that song fucking slaps.

Not everyone, I understand the appeal of those earlier songs, and I get why they are so important and influential, and I get the impressiveness of the harmonies and the playing.

But it's just a style of music that shits me up the wall. To me, they're all two-minute songs with airy-fairy singing, they all sound the same, they're all called essentially a variation of "Here's to You" with lyrics that are extremely simple and lightweight. Now in 1963 of course they would have been revolutionary but all my life they've sounded like nails on a chalkboard to me.
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Old 10-05-2018, 10:10 PM   #386
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Listen to Let It Be.

And Past Masters Vol. 2.
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Old 10-05-2018, 10:26 PM   #387
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I should listen to MMT too. I’ve owned it for years.
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Old 10-05-2018, 10:33 PM   #388
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Flying followed by Blue Jay Way is such a trippy two song segment of MMT.
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Old 10-05-2018, 10:52 PM   #389
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I should listen to MMT too. I’ve owned it for years.
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Old 10-06-2018, 03:50 AM   #390
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The second half of MMT is one of the best stretches of music ever. All genres. Always. It contains my favorite song of all time (Strawberry Fields Forever) and another for the top 50 (Penny Lane).

Thing is, the first half really holds together too. Airy psychedelia and considerable experimentation. Collectively, I see it as a masterpiece, even if it wasn't intended to be one.
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Old 10-06-2018, 05:32 AM   #391
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Listen to Let It Be... Naked.
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Old 10-06-2018, 12:49 PM   #392
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I prefer the track order of the original release, but most of the versions on Naked are superior, and getting Don't Let Me Down instead of Maggie Mae and Dig It is more than a fair trade.

If only they had included The Ballad of John and Yoko.

El Mel said his album rankings are kinda screwy, but my custom playlist of Let It Be (which keeps everything from the original but For You Blue, and adds the above two from Past Masters plus Old Brown Shoe) is either my #2 behind The White Album or #3 behind that and Revolver. I don't listen to either of the other versions anymore, and didn't buy the 2009 remaster.

I do listen to the official Pepper CD, but it wasn't The Beatles' choice to remove Strawberry Fields and Penny Lane from the album for single release, but the record company's, so I feel custom playlists should be fair game as well. Mine adds those two plus Only A Northern Song (recorded during the sessions), and with those I'd put Pepper considerably higher.
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Old 10-08-2018, 05:18 PM   #393
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so many spicy hot takes in this one from june 1970:

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So in the End, The Beatles Have Proved False Prophets
By CRAIG MCGREGOR

June 14, 1970, Page 13
The New York Times Archives

SO the Beatles have broken up. Judging by their latest album, “Let It Be,” it's about time. This is not to denigrate their total achievement: it's a truism that the Beatles have been the most imaginative and most influential of all rock groups. But it seems there comes a time in the progress of any artistic group—whether it be a theater company, a movie co operative or a rock band—when it reaches some sort of creative impasse and has to decide whether to rethink its purpose and work out a new direction for itself, or split up.

Each of the Beatles has decided to go his own way. It”s probably just as well, even though the individual records they have cut so far have been mediocre. “Let It Be” is their least together album since “The Beatles,” a parodistic, two‐record conglomerate of pop sounds which was itself a sign that the Beatles' creative energy was beginning to flag. Parody is the most accessible and least demanding of all forms, be cause it is always easier to parody than to attempt something original, and on their new album at least three songs —“For You Blue” (a put‐down of country blues). “Dig It” (which I take to be a Stones spoof) and “Maggie Mae” (a self‐satire of their own skiffle past?)— are parodies. In fact, the whole album is a mish‐mash of different musical styles, including their own, thrown together with little of the feeling for development or structure which is evident in “Abbey Road,” and which made Sergeant Pepper” such a brilliantly unified masterwork. Of course, the album may make more sense as the soundtrack for their movie, also titled “Let It Be.” But even if it works there as a functional device, as music it is merely an example of triumphant eclecticism.

*

One could forgive the Beatles this: a good deal of rock is eclectic, and the Beatles have been among the most imaginative garnerers of musical traditions of the 20th century. What is harder to take is that their final statement should be so counterrevolutionary. I always thought that their earlier numbers, “Revolution 1” and “Revolution 9,” were less than heart‐felt; “Let It Be” proves it. The album is suffused with a kind of spiritual weariness, a sense of resignation, which extends from the lyrics of key songs such as “Across the Universe” (“Nothing”s gonna change my world”) and “Let It Be” to the Phil Spector mellow‐drama of “The Long and Winding Road” which, with its overripe harmonies and MGM melody, belongs back with Cole Porter and the thirties. It”s a tribute to the Beatles' understanding of their own music that they changed the title of the album from “Get Back” to “Let It Be”; that song, with its simple hymn‐like melody and almost Roman Catholic sense of resignation (“Mother Mary comes to me/ speaking words of wisdom/ Let be, let it be”), defines more than any other where the Beatles are right now.

And that is at the end of the road. For they have turned full circle, and returned to the music of Before The Revolution. If rock has any revolutionary significance at all, it is because it has rebelled against precisely that tradition for which “Let It Be” so clearly stands: the tuneful, sentimental, easy to‐listen‐to Tin Pan Alley ballad which dominated the world”s popular music from the twenties to the fifties, and threatens to take over again should rock ever lose its energy. Rock ‘n’ roll rescued us from that. Elvis, Little Richard, Fats Domino, Chuck Berry and the others were a glob of phlegm spat in the face of that romance‐and‐roses world, a raucous, vulgar, high‐tension howl of defiance. That”s when the revolution started, and ever since rock has been trying to create a countertradition to the old discredited culture: a genuinely original and populist music that deals with the realities of the contemporary world—ghettos, Vietnam, do‐it yourself bombs, suburbia, phony idols, acid freak‐outs, warm guns and cold gropes, the love‐and‐agony of 20th century existential life—instead of the masturbatory fantasies which Tin Pan Alley imposed upon the people; a music which substitutes intensity, abrasiveness, and a fiercely joyful sense of rhythm for the lush and swooning song schmaltz of the past.

The Beatles have helped in that. They began as white imitators of black music, but even their imitations were unique —their version of John Lee Hooker's “Money” on their very first album is classic. Together with other British rock groups they revived the flagging rock ‘n’ roll impulse, which by then had petered out into a mess of Fabians, Pat Boones, Cliff Richards and late model, super‐soft Elvis, and made rock the pop music of the global village. In the process they created some enduring masterpieces, from the driving purity of “My Babe” (which always reminds me of jazzman Bunk Johnson, another revivalist who demonstrated classicism to a post‐classic audience) to the rich, multi‐textured expressionism of “I Am the Walrus” and “A Day in the Life.” Those and two‐score other disks represent the revolutionary stream in the Beatles' music.

*

But there has always been another, softer, much more conventional side to them; it can be heard right at the start in songs like “Love Me Do,” their first big hit, and as time went on it became progressively stronger. Every album has had its quota of slushy, old‐form songs such as “Michelle,” “Girl,” “Julia”—the list is endless, and in each album the soft, lyrical nostalgic‐romantic tone has become louder until in “Let It Be” it has become, quite clearly, the dominant one. It is, I suppose, their native, white, British song background reasserting it self, and much of it seems to come from Paul McCartney, whose own album (titled simply “McCartney”) is comprised almost entirely of the sort of music rock set out to overthrow. Liverpool, the Cavern and that first ex plosive discovery of rhythm‐and‐blues which set the River Mersey afire are a long, long time ago.

So in the end the Beatles have proved false prophets. It could hardly have been otherwise. But it is a cruel paradox, and a damaging one for the new culture, that the most important gioup in rock should have been white instead of black, and English instead of American, and should finally have turned its back upon the revolution. For it is the black American who has created the music of the revolution; it is the black American who (as Norman Mailer prophesied years ago in “The White Negro”) has liberated the young white “hip” from the puritan, materialistic ethic of white WASP culture, and it is the black American who will probably have to map out, yet again, the direction which rock and the counter‐culture of which it is a symbol takes. It may be that in soul, or avant‐garde jazz, or in some other hot music still cooking in the ghettos, the future is even now being shaped.

Hot? It is the hot element in rock which is its really revolutionary quality, and which the Beatles have deserted. Contemporary popular music has virtually no precursors in Western culture; it is derived not from the main stream of Western music, which is fundamentally cool, but from the fusion of African and American musics which created in jazz, then in rhythm‐and blues, and then in rock the first authentically new musics of the 20th century. They are all hot, The hot concept has been gradually taking over the world's popular music ever since the 1920's, when hot jazz swept away the lingering remnants of Victorian mu sic hall songs and Edwardian art music and inspired a dozen dance crazes— from the cakewalk to the Black Bottom to the Charleston—which, In the con text of the times, were as uninhibited disco dances today.

The music, and the dances, were black; it was the start of the long (and ironic) process by which America's ex slaves were to free their own masters. But it was the white orchestras such as Paul Whiteman's, which imitated and cooled the original hot motif, that reaped the benefit. The same thing happened in the thirties and forties, when the hot riffs of the big bands dominated the pop scene; it was the white imitators like Benny Goodman and Glenn Miller, who played a much gentler and mellower swing than Count Basie, who “sent” a generation of teen‐age jitter bugs. It wasn't until rock ‘n’ roll ar rived in the fifties that the final con quest of pop music by the hot concept began. And yet, once again, it was white imitators, the Beatles, who exploited the black man's music and final ly betrayed it.

*

The trouble is that every imitation, however sincere (whether it be by the Beatles, or Janis Joplin, or Joe Cocker), tends to modify and soften the original, to dilute the revolutionary potential of rock. It is probably an inevitable process, built into the nature of the act of imitation, and one which won't change until the original creators and their music achieve the pre‐eminence they deserve. Elvis started off hot, but quickly cooled down. So have nearly all the other white rock singers and groups, from the Stones to the current American exponents of “soft rock.” Now the Beatles have gone the same way. In any society which repressed its minorities less effectively than America the black breakthrough would already have occurred. . .and the Beatles would have been black, hot and less ready to betray. For the sake of the revolution, and all it stands for, that's one thing we can't let be.
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Old 11-12-2018, 03:19 PM   #394
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I semi-impulse bought the Super Deluxe White Album on Saturday.

I mean I knew it was out and I had thought about pre-ordering it, but when I saw it in the store I couldn't resist.

I've only listened to the original album so far.
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Old 11-12-2018, 03:42 PM   #395
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I too should have pre-ordered it from Amazon when the price was considerably lower. Really can’t afford it now for $140 and it’s killing me.

Hopefully can score a used copy or something down the line but with a collector’s item it’s less likely.

Here’s a great article about the reissue, and it points out that the loss of quality from all the mixdowns has now been eliminated:

The Accidental Perfection of the Beatles’ White Album
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Old 11-12-2018, 10:00 PM   #396
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Very pleased with the new mix, sounds fantastic.
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Old 11-13-2018, 12:02 PM   #397
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Here’s a great article about the reissue, and it points out that the loss of quality from all the mixdowns has now been eliminated:
Interesting. I have the CD from the 80s and the 2009 reissue. I will have to compare all 3 to see if I can hear the improved clarity.
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Old 11-13-2018, 12:44 PM   #398
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The new mix is insanely good.
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Old 11-16-2018, 11:32 PM   #399
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Even better with headphones on.
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Old 11-17-2018, 01:14 AM   #400
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i have a six hour flight on monday and i plan to listen to the whole super deluxe edition
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