just consider reading some day from a library,The Beatles Recording Sessions by Mark Lewisohn,as I said it's a very thorough music diary of The Beatles amazing only 8 year recording career. And many of their recording engineers and tape operators are interviewed in this book such as Geoff Emerick,Norman Smith who was one of their early recording engineers and went on to produce Pink Floyd,Ken Scott who went on to work with David Bowie,and Alan Parsons who was a highly impressed Beatles fan and was one of their recording engineers on two of their last albums,Abbey Road and Let It Be, some of their recording engineers were innovative themselves.
And they all describe how truly innovative,creative and prolific they were in the recording studio especially John and Paul.George Martin has said in other interviews that even though he has produced many other recording artists,he still has never known or worked with anyone as brilliant as The Beatles.
A musician who reviewed this book on amazon.com said that he finds Mark Lewisohn's portrayal of THe Beatles genuis(especially that of John Lennon and Paul McCartney to be completely thorough, and accurate as well as really insightful. So while you may still not become a huge fan of The Beatles music,you will have a whole new increased appreciation and respect for them.
Thank you for at least appeciating my information at least somewhat. When you say you are not much of a fan of The Beatles( and a lot of that is because you have many misperceptions about them and have gotten a lot of that from a certain someone who writes what most people even people who said they are not much of a beatles fan,recognized as bullshit,and garbage and they said that Scaruffi's an idiot about them) and that I should post where people agree with my sentiments, it's not just my sentiments at all obviously most people feel this way about The Beatles but I demonstrated on here that many well known respected music artists and musicians including Bob Dylan,Eric Clapton,Stanley John Stirratt,and others I didn't post from on here like Brian Wilson who said on a 1995 Nightline Beatles tribute show that he feels Sgt.Pepper is the greatest album he has ever heard and that he feels that John Lennon and Paul McCartney were the two greatest song writers of the 29th century.
Brian Wilson also said that he was so impressed with The Beatles 1965 Rubber Soul album and he said all of the songs flowed together and it was pop music but folk rock at the same time and this is what he couldn't believe,and this inspired him to make the Pet Sounds album.
Elton John was asked on a CBS morning news show who he musically admires and he said you can talk about your Rogers and Hammerstein for the quanity of quality songs that Lennon and McCartney wrote in such a short period of time he said they were the greatest song writers of the 20th century.
Brilliant classical composer and conducter Leonard Bernstein said this about them also.Most music artists want to believe and want the public to believe that *they* are the greatest so when they say it about other artists it really means a lot!
There is also an online interview with Roger McGuinn of The Byrds from Sing Out The Folk Song Magazine from 2006 called,The Artful Roger:In The Folk Den With Roger McGuinn. And he says that he started to play a 12 string guitar after he saw George Harrison playing one in The Beatles movie A Hard Day's Night. And he says that The Beatles used folk rock chords in their early songs like She Loves You and I Want To Hold Your Hand and he said that folk rock chords in pop rock was never done before and he said THe Beatles invented folk rock music without even knowing it! He also played Beatles songs in the Troubadour Club in the early -mid 1960's and he hung out with THe Beatles and The Rolling Stones.
I wasn't spamming I posted great information that shows that ignoramouses like Piero Scaruffi are WRONG about The Beatles and one of the many many false things he says is that none of The Beatles musocal peers praised their music and couldn't understand why they were held in such high regard,and I showed that there are *many* well known respected music artists and musicians that do!
I forgot to mention that Paul and his brother visited their mother in the hospital for the last time and Paul remebers she was bleeding on the sheets but nobody tod Paul and his brother that their mother had breast cancer and that she was bleeding from the operation and what she died from. And Paul and his brother weren't even allowed to go their mother's funeral.
And also that Paul and Jane constantly argued because Paul kept wrongfully asking her to give up her acting career and devote herself to him,and she kept refusing because she she loved acting and she was in her first film at age 5. Also Strawbery Fields Forever is another great John vocal with emotional expression,Strawberry Fields was a real place a Salvation Orphanage that John's aunt would take him to the annual picnic there and John played with friends a lot there as a child and he had good memories of it. Also John's entire brilliant Plastic Ono Band album is filled with songs with great vocals with with anger and sadness based on his recent scream therapy with psychologist Arthur Janov where John was dealing with his childhood traumas for the first time.
And Afterhours if you want just a few of the countless great examples of real emotions in great singing,by The Beatles,Let It Be by Paul McCartney certainly is especially if you know what he's really singing about.
In his authorized 1997 biography Many Years From Now by Barry Miles Paul explains that 12 years after his wonderful mother Mary who was a loved nurse and midwife died of breast cancer when Paul was only 14,and his brother just 12, Paul had a vivid dream where he saw her alive again,and she told him in the dream to just accept things as they are. And he says that when he woke up he thought how wonderful it was to see her again,and thats what he wrote and sang the beautiful Let It Be About,When I Find Myself In Times Of Trouble Mother Mary Comes To Me,Speaking Words Of Wisdom Let It Be,And In My Hour Of Darkness She Is Standing Right In Front Of Me Speaking Words Of Wisdom Let It Be.
And John Lennon's beautiful song on the great Beatles White album,Julia also has great genuine expression of strong emotions because it's about and devoted to John's own mother Julia who was killed instantly after being hit by an off duty cop who was drunk when John was only 17! John had been raised by his aunt Mimi Julia's older sister since his mother gave him away to her when he was 5,and he was just starting to have a close relationship with her and he was waiting at his mother's and her boyfriend's house when Julia was hit by the car and killed right near John's house!
Don't Let Me Down is another emontional expression to Yoko. And Paul's songs,I'm Looking Through You,We Can Work It Out,You Won't See Me,and For No One were also genuine great sung expresions of the painful relationship Paul had with his first love beautiful British red haired movie and theatre star Jane Asher. He met her when she was just 17 and he was 21,and he lived with Jane and her father who was a resoected London doctor,her mother who was a music teacher, her younger sister,and her older brother Peter who was a musician in Peter and Gordon.
When Paul was 24 and Jane 20 they bought and moved into their own house and they lived together for 2 years and on Christmas day 1967 they became engaged to be married. But in June 1968 after a 5 year love affair,Jane came home unexpectedly early from touring with her theatre company and found Paul in bed with another woman and so she left him for good! Paul also wrote and sung the beautiful love songs for Jane,And I Love Her,Things We Said Today,and Here There And Everywhere and the great rocker,She's A Woman.
And John's In My Life is another great vocal with emotional expression so is A Day In The Life which John wrote mostly about the death in a car crash of their good friend the 21 year old Guiness Heir,Tara Browne. Paul met him first in a club and he was a very good friend of Paul's and Paul introduced him to John,George and Ringo and Mick Jagger,Keith Richards and Brian Jones also became friends with him through Paul. John wrote a lot of the words to this song after he read the coroner's report on Tara's death.
George Harrison's song Something is sung with great genuine emotion about his love of his then wife,the beautiful model Pattie Boyd.etc etc
Anyway there are many more examples too many to name.
Introduction
How Did He Become An Icon? 1966 Post Beatles
Thanks Pre-1963
1967
Five String Taste
Influential Bass Players of the '60s 1963
1968
Driving Rain
Large Scale vs. Small Scale Basses 1964/1965
1969
What Do Others Say?
contact the author Bibliography
WHAT DO OTHERS SAY?
George Martin
" There's no doubt that Lennon and McCartney were good musicians. They had good musical brains, and the brain is where music originates - it has nothing to do with your fingers. As it happened, they could also play their own instruments very well.
And since those early days they've all improved, especially Paul. He's an excellent musical all-rounder, probably the best bass-guitarist there is, a first-class drummer, brilliant guitarist and competent piano player."
Sting
" It's hard to separate McCartney's influence on my bass playing from his influence on everything else-singing, songwriting, even becoming a musician in the first place. As a child, I would play my Beatles albums at 45 RPM so I could hear the bass better. He's the Guvnor."
Will Lee
" Growing up in Texas in the early '60s I was so obsessed with the Beatles' music that I didn't feel like a fan, I felt like I was in the Beatles. About the same time I switched from drums to bass I became aware of who gave the band its charm and personality, from visual tunes like "Penny Lane" to the group's repartee with the press. It was the same fellow who was able to take a poor-quality instrument like the Hofner bass and create magic on it. I especially dug Paul's funky, Motown-influenced side, evident in the bass line from Everybody's Got Something to Hide Except Me and My Monkey," or even in the syncopated part from "A Day In The Life.
Paul's influence on bassists has been so widespread over numerous generations that there's no denying he's in everybody's playing at this point. We're all descendants. He played simple and solid when it was called for. But because he had so many different flavors to add to a song, he was able to take the instrument far beyond a supportive role. Paul taught the bass how to sing."
Stanley Clarke
"Paul definitely had an influence on my bass playing, not so much technically, but more with his philosophy of melodic bass lines - especially as I hit my teens and the Beatles' records became more adventurous. On tracks like "Come Together," the bass line WAS the song. I've always liked that. The only other person I knew of who was doing that was James Jamerson. That was one of the reasons I was inspired to write "School Days": so I could just play the bass lines and people would hear a whole song.
I had the honor of being contacted by Paul through George Martin to play on Tug of War, and I also appeared on Pipes of Peace [both on Capitol]. Paul was very nice. He asked me to show him how to slap. During Pipes we got a groove going in a studio jam, and it ended up making on the album as "Hey Hey." He graciously gave me a co-writing credit, and it's still a thrill to see my name next to his above the music in the song book."
Billy Sheehan
" The reason I got involved with music in the first place was because I saw the Beatles on the Ed Sullivan Show. I watched all the girls going crazy, and I figured this was the best business in the world to be in. Later on, when I got more deeply into music, Sgt. Pepper was a break-through record for me. I must have listened to it several hundred times. What intrigued me was how totally musical every aspect of it was, especially Paul's melodic, fluid bass lines. When my band Talas was starting in the mid '70s, [the Beatles' tribute show] Beatlemania was big, and we used to play entire gigs of just Beatles tunes. I've learned so much from Paul about playing, writing, and playing and singing at the same time that I should probably start sending him checks.
Most bassists get into the flashy players, but I think the reason Paul is often overlooked is that what he was doing wasn't really obvious. It was so brilliantly woven into the context of the songs. One of my favorites is the bass line from "Rain." I still use it to test the low end of an amp. That Paul happens to play bass is a great boon to all of us, because he made us realize that there are no limitations to being a bass player."
John Lennon
"Paul was one of the most innovative bass players ever. And half the stuff that is going on now is directly ripped off from his Beatles period."
John Lennon/Paul McCartney All Performers that have performed this Title
Song Review by Richie Unterberger
"She's a Woman" was one of the hardest-rocking early Beatles originals, and although it was the B-side to "I Feel Fine," it was almost as big a hit in its own right, reaching number four on the American charts. Sung and primarily written by Paul McCartney, it's a belter that illustrates how the Beatles could be bluesy without writing conventional blues songs that stuck to normal blues progressions. Right from the start, the track has a brash, almost harsh edge, with choppy guitar chords that are more like barks than power chords. McCartney , too often unfairly pegged as a sweet balladeer, demonstrates that he was also one of the best white rock hard singers of all time with his shrill yet rich, even ballsy, vocal. Certainly his vocal style here betrays a strong trace of Little Richard, but it's unfair to accuse him of imitating or lifting wholesale from his idol. In its confidence and assertiveness, McCartney 's high-octane style is most assuredly his own. The basic, R&B-derived melody is effectively counterpointed with one of the briefer Beatle bridges on record, in which the Beatles detour into some non- blues chords and melodies for just a few bars before returning to the main thrust of the tune. McCartney , while devoting most of the words to celebration and praise of his woman, throws in a couple of phrases as evidence that he's starting to think in more sophisticated terms, particularly the line "turns me on when I get lonely" (a very, very early use of "turn me on" slang). There's also the declaration that his love doesn't buy him presents, even though she's no peasant. Peasant's an unusual word to use in a pop song no matter what the era, and McCartney's value of true love over money (as previously also stated in "Can't Buy Me Love") is eternally hip. George Harrison executes a crafty blues-rock solo with a touch of country influence that's, as was his wont, just right for the song at hand. The ending is uncommonly unimaginative for a Beatles track, with McCartney repeating the title phrase several times over a fade; a more basic alternate take exists (on bootleg) in which he extends this section by improvising on that title line for a few minutes. He'd have to wait until "Hey Jude," however, to take that approach to the multi-extended fade onto an official single. As a rabble-rousing rocker, "She's a Woman" was a natural for the Beatles' live shows; a 1965 version was recorded for their The Beatles at the Hollywood Bowl album, and it was still part of their set on their final world tour in 1966. The most famous, or notorious, cover of "She's a Woman" was done by Jeff Beck in the mid-'70s, employing a voicebox on his guitar to sing-play the lyrics. That version was an FM radio favorite for a while, and subsequently sometimes scorned (as were Peter Frampton's voicebox-heavy tracks) as an example of mid-'70s hard rock excess.
Appears On
Rating
Year
Album
1964 Beatles '65 2:57 Capitol
AMG Track Picks
No Reply, I'll Follow the Sun, I Feel Fine
196Z Beatles in Italy EMI
1977 Live at the Hollywood Bowl 2:47 Capitol
1984 The Complete Beatles [Video] MGM
1988 Past Masters, Vol. 1 3:03 Capitol
AMG Track Picks
She Loves You, I Want to Hold Your Hand, I Feel Fine, I'm Down
1988 The Beatles Box Set [1988] 3:03 Capitol
1988 Ultra Rare Trax, Vol. 1 The Swingin' Pig
1989 Documents, Vol. 2 6:31 Oh Boy
1989 Five Nights In A Judo Arena Swingin' Pig
1989 Hold Me Tight 6:34 Condor
1989 Ultra Rare Trax, Vol. 6 6:32 The Swingin' Pig
1989 Unsurpassed Masters, Vol. 2 (1964-1965) Yellow Dog
1991 British Rock: 1st Wave [video] RCA
1991 I Feel Fine/She's a Woman Capitol
1992 Ready Steady Go!, Vol. 3 [Video] Pioneer
1992 The Beatles Box Set [1992] Capitol
1993 Artifacts, 1958-1970 6:32 Big Music
1993 Compact Disc Singles Collection 3:01 Capitol
1994 Artifacts II 1960-1969 3:19 Big Music
1994 Complete BBC Sessions Great Dane
1994 Live at the BBC 3:14 Apple/Capitol
AMG Track Picks
I'll Be on My Way, Soldier of Love (Lay Down Your Arms)
1996 Anthology 2 2:54 Apple/Capitol
AMG Track Picks
Yes It Is, If You've Got Trouble, That Means a Lot, I'm Looking Through You, Strawberry Fields Forever
1996 Anthology Video, Vol. 5 Apple
1998 Live in Japan 2:52 Walrus
1999 CD Singles Collection 3:01 EMI
AMG Track Picks
We Can Work It Out, Paperback Writer, Strawberry Fields Forever, Don't Let Me Down, I Am the Walrus, I'm Down, Ticket to Ride, She's a Woman, Revolution, All You Need Is Love
1999 EP Boxset 3:05 EMI
2004 The Capitol Albums, Vol. 1 3:01 Capitol
AMG Track Picks
I Want to Hold Your Hand, It Won't Be Long, I Wanna Be Your Man, Roll Over Beethoven, You Can't Do That, She Loves You, I'll Cry Instead, Things We Said Today, And I Love Her, No Reply, I'm a Loser, She's a Woman, I Feel Fine
Released in May 1971, Ram peaked at #2 on the Billboard Hot 200 and remained on the charts for 37 weeks. Paul and Linda shared equal billing in the production and the couple also designed the album cover.
Uncle Albert/Admiral Halsey and the Ram Album
By Gary Eskow
Bach, Beethoven — those guys may edge a legendary musician or group out over the long haul, but will any musician ever have a more explosive short-term impact on the world than The Beatles did during their great run that ended with the release of Abbey Road in 1969? After the group splintered and each bandmember was left to his own devices, it came as no surprise that the prolific Paul McCartney, whose cherubic smile masked a flinty resolve, was first out of the gate. McCartney, released in 1970, yielded the hit “Maybe I'm Amazed” and remained on the charts for nearly a year. Not bad for an album recorded entirely at home. Always a workhorse, McCartney began writing material for his next album, Ram, while the first album was still sailing on the charts. Although some critics fault Ram, which was released on May 17, 1971, as the saccharine effort that began a slide into camp from which McCartney has never fully recovered, McCartney's hauntingly beautiful touch can be heard throughout the album and is particularly evident in “Back Seat of My Car” and “Ram On.” Ram also produced the smash single “Uncle Albert/Admiral Halsey,” which combines McCartney's knack for memorable melodies with some of that theatricality he was always prone to.
Rhythm tracks for “Uncle Albert/Admiral Halsey” were cut in Studio B at CBS Studios on East 52nd Street in Manhattan, with CBS staff engineer Tim Geelan at the desk. Now semi-retired and living in a house that he built into the side of a mountain in Virginia, Geelan cut 22 songs with McCartney during a six-week period in 1971.
“Working on ‘Uncle Albert/Admiral Halsey’ was one of the highlights of my career,” says Geelan, whose long list of credits includes engineering for Dave Brubeck, Wynton Marsalis, Billy Cobham, The Dictators, Blue Öyster Cult and many others. “Paul was a great producer: thorough, businesslike and loose at the same time. They were very comfortable sessions that followed a pattern. We'd start working at nine or 10 in the morning. Paul would show Denny Seiwell, the drummer [who would later become an original member of Wings], and David Spinozza and Hugh McCracken, the guitar players who split the date, the song we'd be tracking that day. After rehearsing for several hours, we'd cut a version of the tune and then have a lunch break. After lunch, we'd listen to what we had and then record another couple of takes if it was necessary.
“We had a 3M MM-1000 16-track recorder and a homemade console at CBS. Studio B was a big room, about 40 or 50 feet long and 50 feet wide with a 40-foot-high ceiling. We didn't worry about bleeding at all. The setup was real tight and everyone had headsets. Paul was absolutely the best. I was impressed with his musicianship and command of the studio.”
Dixon Van Winkle remembers the Ram sessions well. A young staff member at A&R Recording in New York City at the time, Van Winkle had been on the job for about six months when McCartney and his wife, Linda, showed up after scheduling conflicts forced them out of CBS. “I was a setup man in those days,” says Van Winkle. “Phil Ramone was the king of large orchestral recordings in New York at the time. He didn't have that many guys around who had gone to music school and could read scores, which I was able to do. So I had some value to Phil, who asked me to work with him on the Ram sessions.”
A&R had four studios in Manhattan; A1 was located in the penthouse at 799 7th Ave. “A1 was one of those magical New York rooms — arguably the best of them all,” Van Winkle says. “Originally a CBS studio, it was large enough to handle a full orchestra and it sounded great. We had a warm, fat vacuum tube Altec console that had been custom-built with handmade sidecars and four Altec 604E speakers across the front room, each powered by a 75-watt McIntosh tube amplifier.
“Paul came over to A&R to track the orchestra, vocals and some other overdubs with Phil. But Phil had a scheduling conflict one day and Paul asked me to take over. Things went well, and then Paul asked me if I'd finish the record with him.
“Security was tight, and each day Paul and Linda would come up the back elevator with their kids and a playpen, which we set up in the front of the control room. I was a part-time nanny since Mary would often be crawling around the console and sitting on my lap! The interplay between Paul and Linda was sweet, especially when they were on-mic. Linda actually came up with some parts on her own — the entire backing vocals on ‘Uncle Albert/Admiral Halsey’ consists of the two of them — but when she needed a hand, Paul was great with her. We used a combination of U87s — if we were working on something smooth — and Shure SM57s for the rockier stuff throughout the album. Paul didn't care what mic you put on him, although he did like the U87. He's such a great singer. I know that the vocals they cut over at CBS are Paul singing live right off the floor with the rhythm section into an Electro-Voice RE20, which was a relatively new mic at the time. They recorded the telephone section [of the song] over at CBS, as well. That character voice was also Paul, with a simple highpass filter engaged to give the telephone effect.”
Although Van Winkle did not record the guitar parts that McCracken contributed to “Uncle Albert/Admiral Halsey,” he remembers the guitarist well. “Everybody wanted Hugh on their sessions. He wasn't the best reader in town, but the parts he came up with were fantastic. I've heard lots of great guitar players over the years, and I'd say Hugh was in the top five.” Still an active player who can be heard on the current Alicia Keys record and other tracks, McCracken has distinct memories of working with McCartney.
“My answering service got a call asking me if I'd like to audition for Ram, but I was in Florida working on an Aretha Franklin record and didn't pick up the message until I got back into town,” says McCracken. “I was disappointed but happy that David had gotten the job.” Spinozza, who has gone on to enjoy a long and successful career in the music production business and in Broadway pits, now plays in the Hairspray orchestra. After working on “3 Legs” and several other Ram songs, Spinozza and McCartney parted ways. As McCracken recalls, his phone rang one afternoon and Linda McCartney was on the line.
“Linda asked me to hang on while she put Paul on the phone. Paul simply asked me if I could be in the studio the following morning at nine o'clock. I canceled the sessions I had and made the date.” After recording several tracks under McCartney's direct supervision, it came time to lay down basics for “Uncle Albert/Admiral Halsey.” “This song represented a breakthrough in our musical relationship,” McCracken says. “Paul is a genius. He sees and hears everything he wants, and would give specific instructions to me and the drummer. But he didn't know what he wanted the guitar part to be like on this song. I asked him to trust me and he did. After I came up with the parts, he was very pleased. For the rest of the record, Paul let me try things out before making any suggestions.”
“Uncle Albert/Admiral Halsey” stems from the British musical theater and has the feel of an overture, with multiple sections that are independent of one another. “That's right,” agrees Van Winkle, “and there were some issues we had to deal with as a result. For example, if you listen carefully, you'll hear Paul gurgling right before the telephone voice comes in. That sound was his imitation of a British telephone ring. He was supposed to give the engineer a cue when he wanted the lowpass filter dropped in for the Admiral Halsey character. The engineer made the switch too early and the filter came in on one of the gurgles! Paul didn't care, though. To him, it was all about the feel of the music.”
The chart, written by George Martin, also posed some engineering challenges. “Everybody knows that George Martin loved experimenting as much as any of The Beatles did,” Van Winkle notes. “If you listen carefully to the trumpet solo that leads into the ‘Hands across the water’ section — which Marvin Stamm, who's still an active player in town, played — you'll hear Paul whistling. Underneath, there's a sound effect written out by George Martin for four French horns; it's a flutter-tongue, fast-fingering atonal little thing in the horns' low range.
“Our usual way of recording horns at A&R was to put a pair of mics either in the front or distant rear of the players. That was traditional at the time, based on the fact that the French horn is a reflective instrument and you want to capture it with some space. But that's not what Paul was used to. He wanted us to stick mics right up in the bell. Although the U87 was the mic we used on horns back then, it would have been too big, so we probably used AKG C-60s instead. At any rate, none of us could figure out the purpose of the chart at that section, but when the mix was completed, it all worked perfectly.
“We did have a little problem mixing some of the horn pads in other sections of the song because they often sat directly in the vocal range. We pulled them down and processed them, as I remember, and you can hardly tell what they are at some points.”
Recording the rain and thunder effects that help glue the first two sections together would be easy today, but it was no small feat in 1971. “I remember Paul telling me that Armin Steiner went out to the edge of a cliff to record that storm, and that it was Paul's idea to add the effect at that point in the track.”
Very few artists in 1971 had the clout to release a single comprising 12 discrete sections, but McCartney's artistic vision was so solidly commercial that no record execs would cross him. Still, Van Winkle was unprepared for the success of “Uncle Albert/Admiral Halsey”: “Despite Paul's charm and ability to pull off anything, I was surprised when the record went so big.”
The first single from the Ram sessions, “Another Day,” never made it onto the album. It was Van Winkle who decided that “Another Day” should be the first release: “We were sitting in Studio A2 one day listening to the takes and Paul asked me to pick the single. I had definite feelings about the record and was in love with ‘Another Day.’ Paul said, ‘Okay. “Another Day” it is.’ I mixed the track and David Crawford cut about 100 copies of it in a back room at A&R for the radio stations. The next day when I heard it on the air, I realized it was a disaster! We got carried away with the bass part, and when it hit the radio station's compressor, it pumped like crazy! I learned that lesson real quick! But we never remixed the song, and Paul never said anything about it.”
Based on Ram's success and the relationship they developed, McCartney asked Van Winkle to work with him on Red Rose Speedway, which was also recorded at A&R.
McCracken eventually worked in the studio with all of the former Beatles, and considers himself fortunate to have had the experience, even though his work with John Lennon brought him face to face with tragedy: “I first worked with John on ‘And So This Is Christmas.’ Like Paul, he was extremely intelligent and aware of what he wanted in the studio. But you'd never find two more diametrically opposed personalities. I was working on Double Fantasy at the time of his death. How long did it take me to recover from that night? I still haven't recovered.”
Currently active as a freelance engineer, Van Winkle lives in New York City with his wife, Jan.
Released - 1973, on Apple Records. Produced by George Martin, except tracks 27 & 28, produced by Phil Spector
John Lennon - Lead & Backing Vocals, Rhythm, Lead, Slide Guitars, Bass on track 15, Percussion, Harp, Keyboards
Paul McCartney - Lead & Backing Vocals, Bass, Drums & Lead Guitar on track 15, Keyboards, Percussion
George Harrison - Lead and Rhythm Guitars, Backing and Lead Vocals
Ringo Starr - Drums, Percussion, Keyboards, Backing Vocals, and Lead Vocals on tracks 4 &25
Additional Personnel - Eric Clapton, Billy Preston, Mick Jagger, Keith Richards, Brian Jones, Keith Moon, Marianne Faithfull, Pattie Harrison, Jane Asher, Graham Nash, Mike Sammes Singers and several others.
All songs written by Lennon/McCartney except "While My Guitar Gently Weeps", "Old Brown Shoe", "Here Comes The Sun" and "Something", written by G. Harrison and "Octopus's Garden" written by R. Starkey.
SONG YEAR RELEASED
RATING
Strawberry Fields Forever 1967 10.0
Penny Lane 1967 10.0
Sgt. Pepper's Lonely Hearts Club Band 1967 10.0
With a Little Help from My Friends 1967 10.0
Lucy in the Sky With Diamonds 1967 10.0
A Day in the Life 1967 10.0
All You Need Is Love 1967 10.0
I Am the Walrus 1967 10.0
Hello Goodbye 1967 10.0
The Fool on the Hill 1967 10.0
Magical Mystery Tour 1967 10.0
Lady Madonna 1968 10.0
Hey Jude 1968 10.0
Revolution 1968 10.0
Back in the U.S.S.R. 1968 10.0
While My Guitar Gently Weeps 1968 10.0
Ob-La-Di, Ob-La-Da 1968 10.0
Get Back 1969 10.0
Don't Let Me Down 1969 9.6
The Ballad of John and Yoko 1969 10.0
Old Brown Shoe 1969 6.0
Here Comes the Sun 1969 10.0
Come Together 1969 10.0
Something 1969 10.0
Octopus's Garden 1969 8.4
Let It Be 1970 10.0
Across the Universe 1970 9.0
The Long and Winding Road 1970 10.0
Ave. 9.75
Review
This is the companion greatest hits double album to 1962 - 1966 . You sure can see how much not only The Beatles appearance changed in just a few short years (just check out the two LPs covers, with photos taken at the same location of the Fabs just 6 years apart), but boy did their music change too!
No longer a pop group, they were now a pure rock band with songs that said a lot more than just I love you and I wanna hold your hand! Thanks to John Lennon, some of the most far-out lyrics written by anybody were now showing up on their records, and it seemed to rub off on Paul McCartney in some of his songs, too.
The best overall song on here was written by Paul for John's young son, "Hey Jude". It was at the time of its release the longest time running single ever released and was a smash hit, and most people were fooled into thinking the lyrics were about heroin addiction. The best written song in this greatest hits package has to be John's "I Am the Walrus", with "Lucy in the Sky With Diamonds" (another Lennon penned gem) a close second. One more song to make the "best" list would be "Revolution" with one of the first and best acid lead guitar parts ever played, courtesy of John.
The three greatest songs ever written by George Harrison show up on here, too, "While My Guitar Gently Weeps", "Here Comes The Sun" and "Something". But what in the world is his "Old Brown Shoe" doing on here? This one is a weak song, if not for the slide guitar and neat bass it would not even be an average song, but for sure it was not a Beatles greatest hit, nor a song that most Beatles fans cared for. Almost any other song from '67 -'70 would have fitted in better than this dull one!
I guess I could close out this review in the same matter that I closed out my review for 1962 - 1966, nothing more needs to be written about this album, yes, it too speaks for itself! Damn, the Beatles were one GREAT group!
- Keno 2005
To listen to some soundclips from THE BEATLES 1967-1970 or to purchase it, click on: The Beatles '67 - '70
Released - 1973, on Apple Records. Produced by George Martin
John Lennon - Lead & Backing Vocals, Rhythm, Slide, Lead Guitars, Harmonica, Percussion, Keyboards
Paul McCartney - Lead & Backing Vocals, Bass, Acoustic Guitar on track 13, Keyboards, Percussion
George Harrison - Lead and Rhythm Guitars, Percussion, Backing Vocals
Ringo Starr - Drums, Percussion, Keyboards, Backing Vocals and Lead Vocal on track 25
Additional Personnel - Johnnie Scott - Flute on track 15; On track 25: Brian Jones - Percussion &Backing Vocals, Donovan, Pattie Harrison, Marianne Faithfull, Mal Evans, Neil Aspinall - Backing Vocals; Many others play on tracks 13 &24.
All songs written by John Lennon &Paul McCartney
SONG YEAR RELEASED RATING
Love Me Do 1962 10.0
Please Please Me 1963 10.0
From Me to You 1963 10.0
She Loves You 1963 10.0
I Want to Hold Your Hand 1963 10.0
All My Loving 1964 10.0
Can't Buy Me Love 1964 10.0
A Hard Day's Night 1964 10.0
And I Love Her 1964 10.0
Eight Days a Week 1964 10.0
I Feel Fine 1964 10.0
Ticket to Ride 1965 10.0
Yesterday 1965 10.0
Help! 1965 10.0
You've Got to Hide Your Love Away 1965 10.0
We Can Work It Out 1965 10.0
Day Tripper 1965 10.0
Drive My Car 1965 10.0
Norwegian Wood (This Bird Has Flown) 1965 10.0
Nowhere Man 1965 10.0
Michelle 1965 10.0
In My Life 1965 10.0
Girl 1965 10.0
Paperback Writer 1966 10.0
Eleanor Rigby 1966 10.0
Yellow Submarine 1966 10.0
Ave 10.0
Review
This greatest hits double album was released along with the companion greatest hits double album 1967 - 1970 . Every single song found on here is a pure ten, and too think for the time period covered ('62-'66), they had other songs just as good that didn't make it into this package.
Michael Jackson can call himself the king of pop, but the real pop kings in the early '60s were the Beatles, as anybody who was around back then can tell ya. The first 16 songs on here are all pop, but by mid 1965 their music style would slowly start to change, and since the Beatles were the main trendsetters in music, all of rock music changed along with them.Whatever the Beatles did, everybody else would follow.
It is totally impossible to say for sure which song on here is the best one, but I will try. Let's see, the best pop song would be "She Loves You" - better sung and blended vocals are just not possible, best drug song would be "Day Tripper" - even if most fans didn't have a clue what the song was really about when it first was released, and the best of the newer sounding songs is "Girl", a song with a double meaning to it, something that they would get into again in the upcoming years.
I really don't have to say too much more about this greatest hits album, it speaks for itself and if you love the Beatles you more than likely already have it and love it. If you don't love or at least like the Beatles and their music, then you are not a true rock fan, and more than likely never will ever get it.
-Keno 2005
To listen to some soundclips from THE BEATLES 1962-1966 or to purchase it, click on: The Beatles '62 -'66
John Lennon’s Ivor Novello Award Will be Auctioned July 3 in Las Vegas
Las Vegas, NV, June 25, 2007 -(PR.com )--John Lennon's Ivor Novello award, the UK equivalent to the Grammy Award in the US, will be auctioned off in Las Vegas July 3rd including 400 lots of rare and authentic Beatles Memorabilia, Autographs, Photographs and Artwork by ItsOnlyRockNRoll.com and Victorian Casino Antiques.
Since 1955, members of the “British Academy of Composers and Songwriters” have annually selected recipients of the prestigious Ivor Novello award honoring songwriting and composing excellence. The American award equivalent would be the Grammy category for “Song of the Year” and was presented to John in 1968.
Named in honor of the famous British composer, actor and playwright (1893-1951), winners truly appreciate the fact that their selection came from a cross-section of their peers. A wide array of categories, all spotlighting the songs and the songwriters, has contributed to making the annual Ivor's Award Ceremony a very intimate, integrity laden affair.
The engraved plaque reads: “JOHN LENNON - She’s Leaving Home 1967-68”. The circular base upon which the sculpted figure stands reads: “AN IVOR NOVELLO AWARD”.
The idea for the poignant ballad which appears on The Beatles landmark album, “Sgt. Pepper’s Lonely Hearts Club Band”, came to Paul McCartney after reading a February 27th, 1967 newspaper account of a missing upper class teenage girl. Incidentally, unbeknownst to McCartney at the time, The Beatles had actually met the girl, Melanie Coe, in October ‘63 when she was a dancer on “Ready Steady Go” (she can be seen with The Beatles in a photo that appears in Steve Turner’s “A Hard Day’s Write”).
“She’s Leaving Home” came to fruition very quickly as George Martin arranged and recorded the string and harp section on March 17th, then on March 20th McCartney’s lead vocal and John Lennon’s backing vocals were added. Neither Harrison nor Starr appears on the track. The Beatles were awarded three Ivor Novellos in March 1968: 1) Best British Song (musically &lyrically), “She’s Leaving Home” 2) Second Best-Selling Record Of The Year, “Hello Goodbye” and 3) Best Instrumental Theme Of The Year, “Love In The Open Air”, Paul McCartney’s theme for the film, “A Family Way”. The Beatles cumulatively won more than twenty Ivors between 1963 and 70; a remarkable achievement.
Ivor Novellos rarely come into the marketplace. The highly stylized sculpted female statuette made from solid brass is 11.25” high with a 7.75” diameter base and green felt bottom. EX.
We’ve added a photo of John Lennon with the Ivor Novello and an unidentified fan. The photo is not included with the lot and is shown here for illustration only.
The auction will focus on Original Memorabilia and Collectibles from the 1964-1969 era, authenticated Beatles group and individual’s Autographs and Handwritten Material, Original Artwork, Concert Posters, Photographs, Lithographs, Awards, Clothing, Personal Effects and Toys.
“One highlight is a previously unknown concert poster advertising The Beatles appearing at Busch Stadium in St. Louis in 1966 that is expected to bring over $50,000,” says ItsOnlyRocknRoll.com president Marc Zakarin. “The woman that consigned it obtained it from the ticket agency that sold tickets at the time and kept it in her drawer for 41 years.” ItsOnlyRocknRoll.com Auctions set the world record for the sale of a concert poster recently when a 1966 Beatles Shea Stadium poster sold at auction for $132,000.
A highlight of the Mirage auction will be items from original Beatles Bass Player Stuart Sutcliffe’s collection including original artwork, paintings, writings and drawings from his days as an original Beatles. Stuart was killed early in the Beatles history and his sister, Pauline Sutcliffe, will be ItsOnlyRockNRoll.com’s special guest appearing at the auction.
The auction will feature fantastic authentic autographs and writings, including Paul McCartney handwritten lyrics to a Gene Vincent song, a Stuart Sutcliffe song list, Hotel registration cards signed by each Beatle, John Lennon's Signed registration for his Rolls Royce, The Animal’s guitarist Hilton Valentine’s Beatles and Animals signed “Thank Your Lucky Stars" television cue sheet, flight attendant Eva Van Enk’s "In His Own Write” book signed by all four Beatles along with her candid photographs from the trip. And a guitar signed by Ringo Starr &His All Starr Band from his 1992 tour.
The Photography section includes hundreds of vintage photos from photographer Sam Leach's archive, along with previously unseen and unpublished photos from Ian Wright and others. Rare toys and merchandise items include a Beatles Phonograph in the original box, a John Lennon Halloween costume in the box and a set of prototype Beatles Bobble Head Car Mascot Nodders in the sale of 300 lots of memorabilia.
Full color catalogs will be available prior to the auction by mail and at the event. The auction will also be live online for bidding at www.ItsOnlyRocknRoll.com and eBay Live with Victorian Casino Antiques of Las Vegas.
Do you believe that Lennon and McCartney are the best songwriters of the 20th century? Or are you still in love with the everlasting classics of Porter and Bernstein? By whittling the choice down to a handful of contestants, Howard Goodall has highlighted five 20th century composers who changed the face of popular music. But who gets your vote? Join our poll by clicking on the composer of your choice.
In this illuminating four-part series, British composer, Howard Goodall, considers the work of five composers who left an indelible mark on the 20th century. From Lennon &McCartney to Bernard Herrmann (composer of the film scores for Psycho and Vertigo), Cole Porter and Leonard Bernstein, Goodall explains why they will be judged to be among the greatest and most influential composers of the last 100 years.
In our bass lessons we will probably start with learning several rock bass tunes. These are some of the players we will focus on in our lessons:
Paul McCartney
Bassist for The Beatles. The impact The Beatles had on music history is stupendous. Likewise, the impact The Beatles bass player, Paul McCartney , had on rock bass was huge, too. His basslines are very melodic and intelligent. One of the best.
Jack Bruce
The father of heavy rock bass playing. His work with Cream is his most famous. Check out the Live Cream recordings. Three guys with a huge sound together.
John Entwistle
Bassist for The Who. Fast flurries of notes and unrelenting rock power! Another highly influential early rock bass player. The song My Generation contains the first recorded rock bass solo.
John Paul Jones
Led Zeppelin bassist. Some of the best hard rock bass playing ever. Just buy the boxed set!
Geezer Butler
Bassist for Black Sabbath. Great, standard rock bass playing.
Geddy Lee
Extraordinary bass player in the band Rush. He not only plays the bass, but writes songs, plays keyboards, and sings! Consider getting the album Moving Pictures.
Sting
Sting's work with the Police showcases his use of sparse, but effective lines. Listen to The Police - Regatta DeBlanc or Ghost in the Machine. He is also a genius songwriter to top things off.
Tony Levin
Bassist with Peter Gabriel and King Crimson. A rock bass virtuoso. He always plays the right notes at the right time. Never one too many or too few.
Mick Karn
Perhaps the most interesting bass voice I've heard. Karn mixes exotic scales with unusual time signatures on his fretless bass. He takes you to a different planet I swear it.
Les Claypool
Bassist and singer for Primus. Les Claypool's style and sound is very unique.
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And Afterhours,
just consider reading some day from a library,The Beatles Recording Sessions by Mark Lewisohn,as I said it's a very thorough music diary of The Beatles amazing only 8 year recording career. And many of their recording engineers and tape operators are interviewed in this book such as Geoff Emerick,Norman Smith who was one of their early recording engineers and went on to produce Pink Floyd,Ken Scott who went on to work with David Bowie,and Alan Parsons who was a highly impressed Beatles fan and was one of their recording engineers on two of their last albums,Abbey Road and Let It Be, some of their recording engineers were innovative themselves.
And they all describe how truly innovative,creative and prolific they were in the recording studio especially John and Paul.George Martin has said in other interviews that even though he has produced many other recording artists,he still has never known or worked with anyone as brilliant as The Beatles.
A musician who reviewed this book on amazon.com said that he finds Mark Lewisohn's portrayal of THe Beatles genuis(especially that of John Lennon and Paul McCartney to be completely thorough, and accurate as well as really insightful. So while you may still not become a huge fan of The Beatles music,you will have a whole new increased appreciation and respect for them.
I meant to say Stanley Clarke also praised Paul McCartney as a bass player.
Afterhours,
Thank you for at least appeciating my information at least somewhat. When you say you are not much of a fan of The Beatles( and a lot of that is because you have many misperceptions about them and have gotten a lot of that from a certain someone who writes what most people even people who said they are not much of a beatles fan,recognized as bullshit,and garbage and they said that Scaruffi's an idiot about them) and that I should post where people agree with my sentiments, it's not just my sentiments at all obviously most people feel this way about The Beatles but I demonstrated on here that many well known respected music artists and musicians including Bob Dylan,Eric Clapton,Stanley John Stirratt,and others I didn't post from on here like Brian Wilson who said on a 1995 Nightline Beatles tribute show that he feels Sgt.Pepper is the greatest album he has ever heard and that he feels that John Lennon and Paul McCartney were the two greatest song writers of the 29th century.
Brian Wilson also said that he was so impressed with The Beatles 1965 Rubber Soul album and he said all of the songs flowed together and it was pop music but folk rock at the same time and this is what he couldn't believe,and this inspired him to make the Pet Sounds album.
Elton John was asked on a CBS morning news show who he musically admires and he said you can talk about your Rogers and Hammerstein for the quanity of quality songs that Lennon and McCartney wrote in such a short period of time he said they were the greatest song writers of the 20th century.
Brilliant classical composer and conducter Leonard Bernstein said this about them also.Most music artists want to believe and want the public to believe that *they* are the greatest so when they say it about other artists it really means a lot!
There is also an online interview with Roger McGuinn of The Byrds from Sing Out The Folk Song Magazine from 2006 called,The Artful Roger:In The Folk Den With Roger McGuinn. And he says that he started to play a 12 string guitar after he saw George Harrison playing one in The Beatles movie A Hard Day's Night. And he says that The Beatles used folk rock chords in their early songs like She Loves You and I Want To Hold Your Hand and he said that folk rock chords in pop rock was never done before and he said THe Beatles invented folk rock music without even knowing it! He also played Beatles songs in the Troubadour Club in the early -mid 1960's and he hung out with THe Beatles and The Rolling Stones.
I wasn't spamming I posted great information that shows that ignoramouses like Piero Scaruffi are WRONG about The Beatles and one of the many many false things he says is that none of The Beatles musocal peers praised their music and couldn't understand why they were held in such high regard,and I showed that there are *many* well known respected music artists and musicians that do!
I forgot to mention that Paul and his brother visited their mother in the hospital for the last time and Paul remebers she was bleeding on the sheets but nobody tod Paul and his brother that their mother had breast cancer and that she was bleeding from the operation and what she died from. And Paul and his brother weren't even allowed to go their mother's funeral.
And also that Paul and Jane constantly argued because Paul kept wrongfully asking her to give up her acting career and devote herself to him,and she kept refusing because she she loved acting and she was in her first film at age 5. Also Strawbery Fields Forever is another great John vocal with emotional expression,Strawberry Fields was a real place a Salvation Orphanage that John's aunt would take him to the annual picnic there and John played with friends a lot there as a child and he had good memories of it. Also John's entire brilliant Plastic Ono Band album is filled with songs with great vocals with with anger and sadness based on his recent scream therapy with psychologist Arthur Janov where John was dealing with his childhood traumas for the first time.
And Afterhours if you want just a few of the countless great examples of real emotions in great singing,by The Beatles,Let It Be by Paul McCartney certainly is especially if you know what he's really singing about.
In his authorized 1997 biography Many Years From Now by Barry Miles Paul explains that 12 years after his wonderful mother Mary who was a loved nurse and midwife died of breast cancer when Paul was only 14,and his brother just 12, Paul had a vivid dream where he saw her alive again,and she told him in the dream to just accept things as they are. And he says that when he woke up he thought how wonderful it was to see her again,and thats what he wrote and sang the beautiful Let It Be About,When I Find Myself In Times Of Trouble Mother Mary Comes To Me,Speaking Words Of Wisdom Let It Be,And In My Hour Of Darkness She Is Standing Right In Front Of Me Speaking Words Of Wisdom Let It Be.
And John Lennon's beautiful song on the great Beatles White album,Julia also has great genuine expression of strong emotions because it's about and devoted to John's own mother Julia who was killed instantly after being hit by an off duty cop who was drunk when John was only 17! John had been raised by his aunt Mimi Julia's older sister since his mother gave him away to her when he was 5,and he was just starting to have a close relationship with her and he was waiting at his mother's and her boyfriend's house when Julia was hit by the car and killed right near John's house!
Don't Let Me Down is another emontional expression to Yoko. And Paul's songs,I'm Looking Through You,We Can Work It Out,You Won't See Me,and For No One were also genuine great sung expresions of the painful relationship Paul had with his first love beautiful British red haired movie and theatre star Jane Asher. He met her when she was just 17 and he was 21,and he lived with Jane and her father who was a resoected London doctor,her mother who was a music teacher, her younger sister,and her older brother Peter who was a musician in Peter and Gordon.
When Paul was 24 and Jane 20 they bought and moved into their own house and they lived together for 2 years and on Christmas day 1967 they became engaged to be married. But in June 1968 after a 5 year love affair,Jane came home unexpectedly early from touring with her theatre company and found Paul in bed with another woman and so she left him for good! Paul also wrote and sung the beautiful love songs for Jane,And I Love Her,Things We Said Today,and Here There And Everywhere and the great rocker,She's A Woman.
And John's In My Life is another great vocal with emotional expression so is A Day In The Life which John wrote mostly about the death in a car crash of their good friend the 21 year old Guiness Heir,Tara Browne. Paul met him first in a club and he was a very good friend of Paul's and Paul introduced him to John,George and Ringo and Mick Jagger,Keith Richards and Brian Jones also became friends with him through Paul. John wrote a lot of the words to this song after he read the coroner's report on Tara's death.
George Harrison's song Something is sung with great genuine emotion about his love of his then wife,the beautiful model Pattie Boyd.etc etc
Anyway there are many more examples too many to name.
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Introduction
How Did He Become An Icon? 1966 Post Beatles
Thanks Pre-1963
1967
Five String Taste
Influential Bass Players of the '60s 1963
1968
Driving Rain
Large Scale vs. Small Scale Basses 1964/1965
1969
What Do Others Say?
contact the author Bibliography
WHAT DO OTHERS SAY?
George Martin
" There's no doubt that Lennon and McCartney were good musicians. They had good musical brains, and the brain is where music originates - it has nothing to do with your fingers. As it happened, they could also play their own instruments very well.
And since those early days they've all improved, especially Paul. He's an excellent musical all-rounder, probably the best bass-guitarist there is, a first-class drummer, brilliant guitarist and competent piano player."
Sting
" It's hard to separate McCartney's influence on my bass playing from his influence on everything else-singing, songwriting, even becoming a musician in the first place. As a child, I would play my Beatles albums at 45 RPM so I could hear the bass better. He's the Guvnor."
Will Lee
" Growing up in Texas in the early '60s I was so obsessed with the Beatles' music that I didn't feel like a fan, I felt like I was in the Beatles. About the same time I switched from drums to bass I became aware of who gave the band its charm and personality, from visual tunes like "Penny Lane" to the group's repartee with the press. It was the same fellow who was able to take a poor-quality instrument like the Hofner bass and create magic on it. I especially dug Paul's funky, Motown-influenced side, evident in the bass line from Everybody's Got Something to Hide Except Me and My Monkey," or even in the syncopated part from "A Day In The Life.
Paul's influence on bassists has been so widespread over numerous generations that there's no denying he's in everybody's playing at this point. We're all descendants. He played simple and solid when it was called for. But because he had so many different flavors to add to a song, he was able to take the instrument far beyond a supportive role. Paul taught the bass how to sing."
Stanley Clarke
"Paul definitely had an influence on my bass playing, not so much technically, but more with his philosophy of melodic bass lines - especially as I hit my teens and the Beatles' records became more adventurous. On tracks like "Come Together," the bass line WAS the song. I've always liked that. The only other person I knew of who was doing that was James Jamerson. That was one of the reasons I was inspired to write "School Days": so I could just play the bass lines and people would hear a whole song.
I had the honor of being contacted by Paul through George Martin to play on Tug of War, and I also appeared on Pipes of Peace [both on Capitol]. Paul was very nice. He asked me to show him how to slap. During Pipes we got a groove going in a studio jam, and it ended up making on the album as "Hey Hey." He graciously gave me a co-writing credit, and it's still a thrill to see my name next to his above the music in the song book."
Billy Sheehan
" The reason I got involved with music in the first place was because I saw the Beatles on the Ed Sullivan Show. I watched all the girls going crazy, and I figured this was the best business in the world to be in. Later on, when I got more deeply into music, Sgt. Pepper was a break-through record for me. I must have listened to it several hundred times. What intrigued me was how totally musical every aspect of it was, especially Paul's melodic, fluid bass lines. When my band Talas was starting in the mid '70s, [the Beatles' tribute show] Beatlemania was big, and we used to play entire gigs of just Beatles tunes. I've learned so much from Paul about playing, writing, and playing and singing at the same time that I should probably start sending him checks.
Most bassists get into the flashy players, but I think the reason Paul is often overlooked is that what he was doing wasn't really obvious. It was so brilliantly woven into the context of the songs. One of my favorites is the bass line from "Rain." I still use it to test the low end of an amp. That Paul happens to play bass is a great boon to all of us, because he made us realize that there are no limitations to being a bass player."
John Lennon
"Paul was one of the most innovative bass players ever. And half the stuff that is going on now is directly ripped off from his Beatles period."
You know your music - so do we. THE ALLMUSIC BLOG
She's a Woman
The Beatles
Composed By
John Lennon/Paul McCartney All Performers that have performed this Title
Song Review by Richie Unterberger
"She's a Woman" was one of the hardest-rocking early Beatles originals, and although it was the B-side to "I Feel Fine," it was almost as big a hit in its own right, reaching number four on the American charts. Sung and primarily written by Paul McCartney, it's a belter that illustrates how the Beatles could be bluesy without writing conventional blues songs that stuck to normal blues progressions. Right from the start, the track has a brash, almost harsh edge, with choppy guitar chords that are more like barks than power chords. McCartney , too often unfairly pegged as a sweet balladeer, demonstrates that he was also one of the best white rock hard singers of all time with his shrill yet rich, even ballsy, vocal. Certainly his vocal style here betrays a strong trace of Little Richard, but it's unfair to accuse him of imitating or lifting wholesale from his idol. In its confidence and assertiveness, McCartney 's high-octane style is most assuredly his own. The basic, R&B-derived melody is effectively counterpointed with one of the briefer Beatle bridges on record, in which the Beatles detour into some non- blues chords and melodies for just a few bars before returning to the main thrust of the tune. McCartney , while devoting most of the words to celebration and praise of his woman, throws in a couple of phrases as evidence that he's starting to think in more sophisticated terms, particularly the line "turns me on when I get lonely" (a very, very early use of "turn me on" slang). There's also the declaration that his love doesn't buy him presents, even though she's no peasant. Peasant's an unusual word to use in a pop song no matter what the era, and McCartney's value of true love over money (as previously also stated in "Can't Buy Me Love") is eternally hip. George Harrison executes a crafty blues-rock solo with a touch of country influence that's, as was his wont, just right for the song at hand. The ending is uncommonly unimaginative for a Beatles track, with McCartney repeating the title phrase several times over a fade; a more basic alternate take exists (on bootleg) in which he extends this section by improvising on that title line for a few minutes. He'd have to wait until "Hey Jude," however, to take that approach to the multi-extended fade onto an official single. As a rabble-rousing rocker, "She's a Woman" was a natural for the Beatles' live shows; a 1965 version was recorded for their The Beatles at the Hollywood Bowl album, and it was still part of their set on their final world tour in 1966. The most famous, or notorious, cover of "She's a Woman" was done by Jeff Beck in the mid-'70s, employing a voicebox on his guitar to sing-play the lyrics. That version was an FM radio favorite for a while, and subsequently sometimes scorned (as were Peter Frampton's voicebox-heavy tracks) as an example of mid-'70s hard rock excess.
Appears On
Rating
Year
Album
1964 Beatles '65 2:57 Capitol
AMG Track Picks
No Reply, I'll Follow the Sun, I Feel Fine
196Z Beatles in Italy EMI
1977 Live at the Hollywood Bowl 2:47 Capitol
1984 The Complete Beatles [Video] MGM
1988 Past Masters, Vol. 1 3:03 Capitol
AMG Track Picks
She Loves You, I Want to Hold Your Hand, I Feel Fine, I'm Down
1988 The Beatles Box Set [1988] 3:03 Capitol
1988 Ultra Rare Trax, Vol. 1 The Swingin' Pig
1989 Documents, Vol. 2 6:31 Oh Boy
1989 Five Nights In A Judo Arena Swingin' Pig
1989 Hold Me Tight 6:34 Condor
1989 Ultra Rare Trax, Vol. 6 6:32 The Swingin' Pig
1989 Unsurpassed Masters, Vol. 2 (1964-1965) Yellow Dog
1991 British Rock: 1st Wave [video] RCA
1991 I Feel Fine/She's a Woman Capitol
1992 Ready Steady Go!, Vol. 3 [Video] Pioneer
1992 The Beatles Box Set [1992] Capitol
1993 Artifacts, 1958-1970 6:32 Big Music
1993 Compact Disc Singles Collection 3:01 Capitol
1994 Artifacts II 1960-1969 3:19 Big Music
1994 Complete BBC Sessions Great Dane
1994 Live at the BBC 3:14 Apple/Capitol
AMG Track Picks
I'll Be on My Way, Soldier of Love (Lay Down Your Arms)
1996 Anthology 2 2:54 Apple/Capitol
AMG Track Picks
Yes It Is, If You've Got Trouble, That Means a Lot, I'm Looking Through You, Strawberry Fields Forever
1996 Anthology Video, Vol. 5 Apple
1998 Live in Japan 2:52 Walrus
1999 CD Singles Collection 3:01 EMI
AMG Track Picks
We Can Work It Out, Paperback Writer, Strawberry Fields Forever, Don't Let Me Down, I Am the Walrus, I'm Down, Ticket to Ride, She's a Woman, Revolution, All You Need Is Love
1999 EP Boxset 3:05 EMI
2004 The Capitol Albums, Vol. 1 3:01 Capitol
AMG Track Picks
I Want to Hold Your Hand, It Won't Be Long, I Wanna Be Your Man, Roll Over Beethoven, You Can't Do That, She Loves You, I'll Cry Instead, Things We Said Today, And I Love Her, No Reply, I'm a Loser, She's a Woman, I Feel Fine
Budokan Concert VAP Inport
Concerts 1964-66 [DVD]
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Released in May 1971, Ram peaked at #2 on the Billboard Hot 200 and remained on the charts for 37 weeks. Paul and Linda shared equal billing in the production and the couple also designed the album cover.
Uncle Albert/Admiral Halsey and the Ram Album
By Gary Eskow
Bach, Beethoven — those guys may edge a legendary musician or group out over the long haul, but will any musician ever have a more explosive short-term impact on the world than The Beatles did during their great run that ended with the release of Abbey Road in 1969? After the group splintered and each bandmember was left to his own devices, it came as no surprise that the prolific Paul McCartney, whose cherubic smile masked a flinty resolve, was first out of the gate. McCartney, released in 1970, yielded the hit “Maybe I'm Amazed” and remained on the charts for nearly a year. Not bad for an album recorded entirely at home. Always a workhorse, McCartney began writing material for his next album, Ram, while the first album was still sailing on the charts. Although some critics fault Ram, which was released on May 17, 1971, as the saccharine effort that began a slide into camp from which McCartney has never fully recovered, McCartney's hauntingly beautiful touch can be heard throughout the album and is particularly evident in “Back Seat of My Car” and “Ram On.” Ram also produced the smash single “Uncle Albert/Admiral Halsey,” which combines McCartney's knack for memorable melodies with some of that theatricality he was always prone to.
Rhythm tracks for “Uncle Albert/Admiral Halsey” were cut in Studio B at CBS Studios on East 52nd Street in Manhattan, with CBS staff engineer Tim Geelan at the desk. Now semi-retired and living in a house that he built into the side of a mountain in Virginia, Geelan cut 22 songs with McCartney during a six-week period in 1971.
“Working on ‘Uncle Albert/Admiral Halsey’ was one of the highlights of my career,” says Geelan, whose long list of credits includes engineering for Dave Brubeck, Wynton Marsalis, Billy Cobham, The Dictators, Blue Öyster Cult and many others. “Paul was a great producer: thorough, businesslike and loose at the same time. They were very comfortable sessions that followed a pattern. We'd start working at nine or 10 in the morning. Paul would show Denny Seiwell, the drummer [who would later become an original member of Wings], and David Spinozza and Hugh McCracken, the guitar players who split the date, the song we'd be tracking that day. After rehearsing for several hours, we'd cut a version of the tune and then have a lunch break. After lunch, we'd listen to what we had and then record another couple of takes if it was necessary.
“We had a 3M MM-1000 16-track recorder and a homemade console at CBS. Studio B was a big room, about 40 or 50 feet long and 50 feet wide with a 40-foot-high ceiling. We didn't worry about bleeding at all. The setup was real tight and everyone had headsets. Paul was absolutely the best. I was impressed with his musicianship and command of the studio.”
Dixon Van Winkle remembers the Ram sessions well. A young staff member at A&R Recording in New York City at the time, Van Winkle had been on the job for about six months when McCartney and his wife, Linda, showed up after scheduling conflicts forced them out of CBS. “I was a setup man in those days,” says Van Winkle. “Phil Ramone was the king of large orchestral recordings in New York at the time. He didn't have that many guys around who had gone to music school and could read scores, which I was able to do. So I had some value to Phil, who asked me to work with him on the Ram sessions.”
A&R had four studios in Manhattan; A1 was located in the penthouse at 799 7th Ave. “A1 was one of those magical New York rooms — arguably the best of them all,” Van Winkle says. “Originally a CBS studio, it was large enough to handle a full orchestra and it sounded great. We had a warm, fat vacuum tube Altec console that had been custom-built with handmade sidecars and four Altec 604E speakers across the front room, each powered by a 75-watt McIntosh tube amplifier.
“Paul came over to A&R to track the orchestra, vocals and some other overdubs with Phil. But Phil had a scheduling conflict one day and Paul asked me to take over. Things went well, and then Paul asked me if I'd finish the record with him.
“Security was tight, and each day Paul and Linda would come up the back elevator with their kids and a playpen, which we set up in the front of the control room. I was a part-time nanny since Mary would often be crawling around the console and sitting on my lap! The interplay between Paul and Linda was sweet, especially when they were on-mic. Linda actually came up with some parts on her own — the entire backing vocals on ‘Uncle Albert/Admiral Halsey’ consists of the two of them — but when she needed a hand, Paul was great with her. We used a combination of U87s — if we were working on something smooth — and Shure SM57s for the rockier stuff throughout the album. Paul didn't care what mic you put on him, although he did like the U87. He's such a great singer. I know that the vocals they cut over at CBS are Paul singing live right off the floor with the rhythm section into an Electro-Voice RE20, which was a relatively new mic at the time. They recorded the telephone section [of the song] over at CBS, as well. That character voice was also Paul, with a simple highpass filter engaged to give the telephone effect.”
Although Van Winkle did not record the guitar parts that McCracken contributed to “Uncle Albert/Admiral Halsey,” he remembers the guitarist well. “Everybody wanted Hugh on their sessions. He wasn't the best reader in town, but the parts he came up with were fantastic. I've heard lots of great guitar players over the years, and I'd say Hugh was in the top five.” Still an active player who can be heard on the current Alicia Keys record and other tracks, McCracken has distinct memories of working with McCartney.
“My answering service got a call asking me if I'd like to audition for Ram, but I was in Florida working on an Aretha Franklin record and didn't pick up the message until I got back into town,” says McCracken. “I was disappointed but happy that David had gotten the job.” Spinozza, who has gone on to enjoy a long and successful career in the music production business and in Broadway pits, now plays in the Hairspray orchestra. After working on “3 Legs” and several other Ram songs, Spinozza and McCartney parted ways. As McCracken recalls, his phone rang one afternoon and Linda McCartney was on the line.
“Linda asked me to hang on while she put Paul on the phone. Paul simply asked me if I could be in the studio the following morning at nine o'clock. I canceled the sessions I had and made the date.” After recording several tracks under McCartney's direct supervision, it came time to lay down basics for “Uncle Albert/Admiral Halsey.” “This song represented a breakthrough in our musical relationship,” McCracken says. “Paul is a genius. He sees and hears everything he wants, and would give specific instructions to me and the drummer. But he didn't know what he wanted the guitar part to be like on this song. I asked him to trust me and he did. After I came up with the parts, he was very pleased. For the rest of the record, Paul let me try things out before making any suggestions.”
“Uncle Albert/Admiral Halsey” stems from the British musical theater and has the feel of an overture, with multiple sections that are independent of one another. “That's right,” agrees Van Winkle, “and there were some issues we had to deal with as a result. For example, if you listen carefully, you'll hear Paul gurgling right before the telephone voice comes in. That sound was his imitation of a British telephone ring. He was supposed to give the engineer a cue when he wanted the lowpass filter dropped in for the Admiral Halsey character. The engineer made the switch too early and the filter came in on one of the gurgles! Paul didn't care, though. To him, it was all about the feel of the music.”
The chart, written by George Martin, also posed some engineering challenges. “Everybody knows that George Martin loved experimenting as much as any of The Beatles did,” Van Winkle notes. “If you listen carefully to the trumpet solo that leads into the ‘Hands across the water’ section — which Marvin Stamm, who's still an active player in town, played — you'll hear Paul whistling. Underneath, there's a sound effect written out by George Martin for four French horns; it's a flutter-tongue, fast-fingering atonal little thing in the horns' low range.
“Our usual way of recording horns at A&R was to put a pair of mics either in the front or distant rear of the players. That was traditional at the time, based on the fact that the French horn is a reflective instrument and you want to capture it with some space. But that's not what Paul was used to. He wanted us to stick mics right up in the bell. Although the U87 was the mic we used on horns back then, it would have been too big, so we probably used AKG C-60s instead. At any rate, none of us could figure out the purpose of the chart at that section, but when the mix was completed, it all worked perfectly.
“We did have a little problem mixing some of the horn pads in other sections of the song because they often sat directly in the vocal range. We pulled them down and processed them, as I remember, and you can hardly tell what they are at some points.”
Recording the rain and thunder effects that help glue the first two sections together would be easy today, but it was no small feat in 1971. “I remember Paul telling me that Armin Steiner went out to the edge of a cliff to record that storm, and that it was Paul's idea to add the effect at that point in the track.”
Very few artists in 1971 had the clout to release a single comprising 12 discrete sections, but McCartney's artistic vision was so solidly commercial that no record execs would cross him. Still, Van Winkle was unprepared for the success of “Uncle Albert/Admiral Halsey”: “Despite Paul's charm and ability to pull off anything, I was surprised when the record went so big.”
The first single from the Ram sessions, “Another Day,” never made it onto the album. It was Van Winkle who decided that “Another Day” should be the first release: “We were sitting in Studio A2 one day listening to the takes and Paul asked me to pick the single. I had definite feelings about the record and was in love with ‘Another Day.’ Paul said, ‘Okay. “Another Day” it is.’ I mixed the track and David Crawford cut about 100 copies of it in a back room at A&R for the radio stations. The next day when I heard it on the air, I realized it was a disaster! We got carried away with the bass part, and when it hit the radio station's compressor, it pumped like crazy! I learned that lesson real quick! But we never remixed the song, and Paul never said anything about it.”
Based on Ram's success and the relationship they developed, McCartney asked Van Winkle to work with him on Red Rose Speedway, which was also recorded at A&R.
McCracken eventually worked in the studio with all of the former Beatles, and considers himself fortunate to have had the experience, even though his work with John Lennon brought him face to face with tragedy: “I first worked with John on ‘And So This Is Christmas.’ Like Paul, he was extremely intelligent and aware of what he wanted in the studio. But you'd never find two more diametrically opposed personalities. I was working on Double Fantasy at the time of his death. How long did it take me to recover from that night? I still haven't recovered.”
Currently active as a freelance engineer, Van Winkle lives in New York City with his wife, Jan.
Keno's Classic Rock n Roll Web Site
GREATEST HITS ALBUM REVIEW
THE BEATLES
1967 - 1970
Released - 1973, on Apple Records. Produced by George Martin, except tracks 27 & 28, produced by Phil Spector
John Lennon - Lead & Backing Vocals, Rhythm, Lead, Slide Guitars, Bass on track 15, Percussion, Harp, Keyboards
Paul McCartney - Lead & Backing Vocals, Bass, Drums & Lead Guitar on track 15, Keyboards, Percussion
George Harrison - Lead and Rhythm Guitars, Backing and Lead Vocals
Ringo Starr - Drums, Percussion, Keyboards, Backing Vocals, and Lead Vocals on tracks 4 &25
Additional Personnel - Eric Clapton, Billy Preston, Mick Jagger, Keith Richards, Brian Jones, Keith Moon, Marianne Faithfull, Pattie Harrison, Jane Asher, Graham Nash, Mike Sammes Singers and several others.
All songs written by Lennon/McCartney except "While My Guitar Gently Weeps", "Old Brown Shoe", "Here Comes The Sun" and "Something", written by G. Harrison and "Octopus's Garden" written by R. Starkey.
SONG YEAR RELEASED
RATING
Strawberry Fields Forever 1967 10.0
Penny Lane 1967 10.0
Sgt. Pepper's Lonely Hearts Club Band 1967 10.0
With a Little Help from My Friends 1967 10.0
Lucy in the Sky With Diamonds 1967 10.0
A Day in the Life 1967 10.0
All You Need Is Love 1967 10.0
I Am the Walrus 1967 10.0
Hello Goodbye 1967 10.0
The Fool on the Hill 1967 10.0
Magical Mystery Tour 1967 10.0
Lady Madonna 1968 10.0
Hey Jude 1968 10.0
Revolution 1968 10.0
Back in the U.S.S.R. 1968 10.0
While My Guitar Gently Weeps 1968 10.0
Ob-La-Di, Ob-La-Da 1968 10.0
Get Back 1969 10.0
Don't Let Me Down 1969 9.6
The Ballad of John and Yoko 1969 10.0
Old Brown Shoe 1969 6.0
Here Comes the Sun 1969 10.0
Come Together 1969 10.0
Something 1969 10.0
Octopus's Garden 1969 8.4
Let It Be 1970 10.0
Across the Universe 1970 9.0
The Long and Winding Road 1970 10.0
Ave. 9.75
Review
This is the companion greatest hits double album to 1962 - 1966 . You sure can see how much not only The Beatles appearance changed in just a few short years (just check out the two LPs covers, with photos taken at the same location of the Fabs just 6 years apart), but boy did their music change too!
No longer a pop group, they were now a pure rock band with songs that said a lot more than just I love you and I wanna hold your hand! Thanks to John Lennon, some of the most far-out lyrics written by anybody were now showing up on their records, and it seemed to rub off on Paul McCartney in some of his songs, too.
The best overall song on here was written by Paul for John's young son, "Hey Jude". It was at the time of its release the longest time running single ever released and was a smash hit, and most people were fooled into thinking the lyrics were about heroin addiction. The best written song in this greatest hits package has to be John's "I Am the Walrus", with "Lucy in the Sky With Diamonds" (another Lennon penned gem) a close second. One more song to make the "best" list would be "Revolution" with one of the first and best acid lead guitar parts ever played, courtesy of John.
The three greatest songs ever written by George Harrison show up on here, too, "While My Guitar Gently Weeps", "Here Comes The Sun" and "Something". But what in the world is his "Old Brown Shoe" doing on here? This one is a weak song, if not for the slide guitar and neat bass it would not even be an average song, but for sure it was not a Beatles greatest hit, nor a song that most Beatles fans cared for. Almost any other song from '67 -'70 would have fitted in better than this dull one!
I guess I could close out this review in the same matter that I closed out my review for 1962 - 1966, nothing more needs to be written about this album, yes, it too speaks for itself! Damn, the Beatles were one GREAT group!
- Keno 2005
To listen to some soundclips from THE BEATLES 1967-1970 or to purchase it, click on: The Beatles '67 - '70
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Keno's Classic Rock n Roll Web Site
GREATEST HITS ALBUM REVIEW
THE BEATLES
1962 - 1966
Released - 1973, on Apple Records. Produced by George Martin
John Lennon - Lead & Backing Vocals, Rhythm, Slide, Lead Guitars, Harmonica, Percussion, Keyboards
Paul McCartney - Lead & Backing Vocals, Bass, Acoustic Guitar on track 13, Keyboards, Percussion
George Harrison - Lead and Rhythm Guitars, Percussion, Backing Vocals
Ringo Starr - Drums, Percussion, Keyboards, Backing Vocals and Lead Vocal on track 25
Additional Personnel - Johnnie Scott - Flute on track 15; On track 25: Brian Jones - Percussion &Backing Vocals, Donovan, Pattie Harrison, Marianne Faithfull, Mal Evans, Neil Aspinall - Backing Vocals; Many others play on tracks 13 &24.
All songs written by John Lennon &Paul McCartney
SONG YEAR RELEASED RATING
Love Me Do 1962 10.0
Please Please Me 1963 10.0
From Me to You 1963 10.0
She Loves You 1963 10.0
I Want to Hold Your Hand 1963 10.0
All My Loving 1964 10.0
Can't Buy Me Love 1964 10.0
A Hard Day's Night 1964 10.0
And I Love Her 1964 10.0
Eight Days a Week 1964 10.0
I Feel Fine 1964 10.0
Ticket to Ride 1965 10.0
Yesterday 1965 10.0
Help! 1965 10.0
You've Got to Hide Your Love Away 1965 10.0
We Can Work It Out 1965 10.0
Day Tripper 1965 10.0
Drive My Car 1965 10.0
Norwegian Wood (This Bird Has Flown) 1965 10.0
Nowhere Man 1965 10.0
Michelle 1965 10.0
In My Life 1965 10.0
Girl 1965 10.0
Paperback Writer 1966 10.0
Eleanor Rigby 1966 10.0
Yellow Submarine 1966 10.0
Ave 10.0
Review
This greatest hits double album was released along with the companion greatest hits double album 1967 - 1970 . Every single song found on here is a pure ten, and too think for the time period covered ('62-'66), they had other songs just as good that didn't make it into this package.
Michael Jackson can call himself the king of pop, but the real pop kings in the early '60s were the Beatles, as anybody who was around back then can tell ya. The first 16 songs on here are all pop, but by mid 1965 their music style would slowly start to change, and since the Beatles were the main trendsetters in music, all of rock music changed along with them.Whatever the Beatles did, everybody else would follow.
It is totally impossible to say for sure which song on here is the best one, but I will try. Let's see, the best pop song would be "She Loves You" - better sung and blended vocals are just not possible, best drug song would be "Day Tripper" - even if most fans didn't have a clue what the song was really about when it first was released, and the best of the newer sounding songs is "Girl", a song with a double meaning to it, something that they would get into again in the upcoming years.
I really don't have to say too much more about this greatest hits album, it speaks for itself and if you love the Beatles you more than likely already have it and love it. If you don't love or at least like the Beatles and their music, then you are not a true rock fan, and more than likely never will ever get it.
-Keno 2005
To listen to some soundclips from THE BEATLES 1962-1966 or to purchase it, click on: The Beatles '62 -'66
Return to Rock Album's Reviews
ItsOnlyRockNRoll.com
Press releases from ItsOnlyRockNRoll.com
John Lennon’s Ivor Novello Award Will be Auctioned July 3 in Las Vegas
Las Vegas, NV, June 25, 2007 -(PR.com )--John Lennon's Ivor Novello award, the UK equivalent to the Grammy Award in the US, will be auctioned off in Las Vegas July 3rd including 400 lots of rare and authentic Beatles Memorabilia, Autographs, Photographs and Artwork by ItsOnlyRockNRoll.com and Victorian Casino Antiques.
Since 1955, members of the “British Academy of Composers and Songwriters” have annually selected recipients of the prestigious Ivor Novello award honoring songwriting and composing excellence. The American award equivalent would be the Grammy category for “Song of the Year” and was presented to John in 1968.
Named in honor of the famous British composer, actor and playwright (1893-1951), winners truly appreciate the fact that their selection came from a cross-section of their peers. A wide array of categories, all spotlighting the songs and the songwriters, has contributed to making the annual Ivor's Award Ceremony a very intimate, integrity laden affair.
The engraved plaque reads: “JOHN LENNON - She’s Leaving Home 1967-68”. The circular base upon which the sculpted figure stands reads: “AN IVOR NOVELLO AWARD”.
The idea for the poignant ballad which appears on The Beatles landmark album, “Sgt. Pepper’s Lonely Hearts Club Band”, came to Paul McCartney after reading a February 27th, 1967 newspaper account of a missing upper class teenage girl. Incidentally, unbeknownst to McCartney at the time, The Beatles had actually met the girl, Melanie Coe, in October ‘63 when she was a dancer on “Ready Steady Go” (she can be seen with The Beatles in a photo that appears in Steve Turner’s “A Hard Day’s Write”).
“She’s Leaving Home” came to fruition very quickly as George Martin arranged and recorded the string and harp section on March 17th, then on March 20th McCartney’s lead vocal and John Lennon’s backing vocals were added. Neither Harrison nor Starr appears on the track. The Beatles were awarded three Ivor Novellos in March 1968: 1) Best British Song (musically &lyrically), “She’s Leaving Home” 2) Second Best-Selling Record Of The Year, “Hello Goodbye” and 3) Best Instrumental Theme Of The Year, “Love In The Open Air”, Paul McCartney’s theme for the film, “A Family Way”. The Beatles cumulatively won more than twenty Ivors between 1963 and 70; a remarkable achievement.
Ivor Novellos rarely come into the marketplace. The highly stylized sculpted female statuette made from solid brass is 11.25” high with a 7.75” diameter base and green felt bottom. EX.
We’ve added a photo of John Lennon with the Ivor Novello and an unidentified fan. The photo is not included with the lot and is shown here for illustration only.
The auction will focus on Original Memorabilia and Collectibles from the 1964-1969 era, authenticated Beatles group and individual’s Autographs and Handwritten Material, Original Artwork, Concert Posters, Photographs, Lithographs, Awards, Clothing, Personal Effects and Toys.
“One highlight is a previously unknown concert poster advertising The Beatles appearing at Busch Stadium in St. Louis in 1966 that is expected to bring over $50,000,” says ItsOnlyRocknRoll.com president Marc Zakarin. “The woman that consigned it obtained it from the ticket agency that sold tickets at the time and kept it in her drawer for 41 years.” ItsOnlyRocknRoll.com Auctions set the world record for the sale of a concert poster recently when a 1966 Beatles Shea Stadium poster sold at auction for $132,000.
A highlight of the Mirage auction will be items from original Beatles Bass Player Stuart Sutcliffe’s collection including original artwork, paintings, writings and drawings from his days as an original Beatles. Stuart was killed early in the Beatles history and his sister, Pauline Sutcliffe, will be ItsOnlyRockNRoll.com’s special guest appearing at the auction.
The auction will feature fantastic authentic autographs and writings, including Paul McCartney handwritten lyrics to a Gene Vincent song, a Stuart Sutcliffe song list, Hotel registration cards signed by each Beatle, John Lennon's Signed registration for his Rolls Royce, The Animal’s guitarist Hilton Valentine’s Beatles and Animals signed “Thank Your Lucky Stars" television cue sheet, flight attendant Eva Van Enk’s "In His Own Write” book signed by all four Beatles along with her candid photographs from the trip. And a guitar signed by Ringo Starr &His All Starr Band from his 1992 tour.
The Photography section includes hundreds of vintage photos from photographer Sam Leach's archive, along with previously unseen and unpublished photos from Ian Wright and others. Rare toys and merchandise items include a Beatles Phonograph in the original box, a John Lennon Halloween costume in the box and a set of prototype Beatles Bobble Head Car Mascot Nodders in the sale of 300 lots of memorabilia.
Full color catalogs will be available prior to the auction by mail and at the event. The auction will also be live online for bidding at www.ItsOnlyRocknRoll.com and eBay Live with Victorian Casino Antiques of Las Vegas.
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Timeline
Howard Goodall
Who’s your favourite composer?
Do you believe that Lennon and McCartney are the best songwriters of the 20th century? Or are you still in love with the everlasting classics of Porter and Bernstein? By whittling the choice down to a handful of contestants, Howard Goodall has highlighted five 20th century composers who changed the face of popular music. But who gets your vote? Join our poll by clicking on the composer of your choice.
Who is your favourite composer?
Lennon & McCartney 38%
Cole Porter 27%
Bernard Herrmann 12%
Leonard Bernstein 23%
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Lennon & McCartney
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Howard Goodall
Find out more
First transmitted in June 2004
In this illuminating four-part series, British composer, Howard Goodall, considers the work of five composers who left an indelible mark on the 20th century. From Lennon &McCartney to Bernard Herrmann (composer of the film scores for Psycho and Vertigo), Cole Porter and Leonard Bernstein, Goodall explains why they will be judged to be among the greatest and most influential composers of the last 100 years.
• Vote for your favourite composer
• Howard Goodall assesses 20th century music.
Credits
Rock Bass Players
By Bassist and Music Teacher Andrew Pouska
In our bass lessons we will probably start with learning several rock bass tunes. These are some of the players we will focus on in our lessons:
Paul McCartney
Bassist for The Beatles. The impact The Beatles had on music history is stupendous. Likewise, the impact The Beatles bass player, Paul McCartney , had on rock bass was huge, too. His basslines are very melodic and intelligent. One of the best.
Jack Bruce
The father of heavy rock bass playing. His work with Cream is his most famous. Check out the Live Cream recordings. Three guys with a huge sound together.
John Entwistle
Bassist for The Who. Fast flurries of notes and unrelenting rock power! Another highly influential early rock bass player. The song My Generation contains the first recorded rock bass solo.
John Paul Jones
Led Zeppelin bassist. Some of the best hard rock bass playing ever. Just buy the boxed set!
Geezer Butler
Bassist for Black Sabbath. Great, standard rock bass playing.
Geddy Lee
Extraordinary bass player in the band Rush. He not only plays the bass, but writes songs, plays keyboards, and sings! Consider getting the album Moving Pictures.
Sting
Sting's work with the Police showcases his use of sparse, but effective lines. Listen to The Police - Regatta DeBlanc or Ghost in the Machine. He is also a genius songwriter to top things off.
Tony Levin
Bassist with Peter Gabriel and King Crimson. A rock bass virtuoso. He always plays the right notes at the right time. Never one too many or too few.
Mick Karn
Perhaps the most interesting bass voice I've heard. Karn mixes exotic scales with unusual time signatures on his fretless bass. He takes you to a different planet I swear it.
Les Claypool
Bassist and singer for Primus. Les Claypool's style and sound is very unique.
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