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The Classic/Retro Pop Culture Thread

I'm surprised you haven't heard this before. It was an annual tradition for close to 25 years to close David Letterman's Christmas show with a rendition of this.
I was not a regular watcher of David Letterman, but the song does seem familiar so it's likely that I saw it at least once.

"Crosstown Traffic," The Jimi Hendrix Experience
Well, I can say that I like it for the nostalgia, anyway. :D

Not their best, but I like The Grass Roots.

Kind of straightforward, but nice.

A classic, but not a fave.

"If I Can Dream," Elvis Presley
Generic Gospel Elvis!

"Son of a Preacher Man," Dusty Springfield
Now there's a classic.

"Soulful Strut," Young-Holt Unlimited
And then a brief musical interlude.....

"Everyday People," Sly & The Family Stone
Now there's a stone-cold classic for you. :bolian:

Been seeing commercials for that and was meaning to bring it up. Looks like some of the segments were new to the '90s when they compiled the special (e.g., Della Reese).
Yeah, apparently some folks are making return appearances-- and it's hosted by Bob Newhart, another fave.

Would that have been early syndication? Trek was never on Saturdays first run...and it looks like Andy Williams started running on Saturdays in the '69-'70 season. Adam-12 should have been on right after it.
Good question. I've been trying to correlate that myself. I started watching Trek sometime in the third season when it was still in first run, and when Channel 56 got it they ran it Monday through Friday. I'm thinking that this must have been first-run third season episodes that were delayed to or repeated on Saturday evenings.

When I was quite young I thought it was Andy Williams playing Garth in "Whom Gods Destroy."
Nice. :rommie: I never noticed that, but you're right. I always wanted to see Andy Williams play an admiral in a TOS movie or TNG because of that personal connection, but nobody but me would ever make that connection.

The Spingsteen/E Street version is an homage to the Crystals.
I can see that.

Surely one of the most heartbreaking and iconic images of the 20th century.

"Have You Heard," The Duprees feat. Joey Vann
I have not. Heard it, that is.

You don't even have to say it this time, RJ!)
:D

"The Boy Next Door," The Secrets
I don't think I've heard this one either, but that is the epitome of the Girl Group sound.

"When the Lovelight Starts Shining Through His Eyes," The Supremes
They do show some promise, don't they? :rommie:

Artie in Disguise (with Whiskers)
John Fred and His Playboy Band?

and the villain was ultimately defeated by himself without Jim and Artie playing an active hand in the matter...other than arguably having made him desperate to play his hand, which the episode didn't clearly establish.
That's a major storytelling flaw, unless there's some specific dramatic reason for it.
 
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50th Anniversary Viewing

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Mission: Impossible
"The Cardinal"
Originally aired November 17, 1968
Wiki said:
To secure power, a general replaces a country's beloved cardinal with a lookalike; the team devises a plan to switch them back.

The reel-to-reel tape that Jim played out loud in a library said:
This tape will self-destruct in five seconds. Good luck, Jim.
Back to no portfolio.

This week the IMF is fighting in its weight class again, taking on Worf's dad, Theodore Bikel, as General Zepke, and Barbara Babcock as his chief henchwoman disguised as a nun, Major Felder...the same week as one of her two onscreen Trek appearances.

To initiate their plan, the IMF team exposes Fake Cardinal (Paul Stevens) to infected mosquitoes. Lucky for him, Doctor Jim and Nurse Cin show up at the gate of the monastery with a flat tire!

Cardinal Rollin visits his "old colleague" and lets Zepke know that he knows that the other Fake Cardinal is indeed a fake cardinal, which gets him put in an air-tight sarcophagus. Fortunately, he brought his James Bond car-jack big honkin' crucifix, with which he pries the coffin open just enough to get some air and put into place some small cylinders that let him roll off the lid when nobody's watching. Definitely gotta squint past the omniscient planning here...they knew specifically that Cardinal Rollin would get sealed in a sarcophagus?

Barney and Willy take to the always-useful local catacombs, where they're also having trouble with air following a cave-in. Escaped Cardinal Rollin rescues them by letting them in the door that has a deadweight trap on their end, following which the trio sneak into Real Cardinal's (also Paul Stevens) cell and Rollin applies his Real Cardinal disguise (Paul Stevens yet again!) to fool the observers while Barney and Willy remove some blocks from the wall to reveal Fake Cardinal in his oxygen tent on the other side. Once the obligatory commercial-straddling close call is out of the way, they slip Fake Cardinal through the wall into the cell and Real Cardinal into the tent. With the Cardinals successfully switched, Rollin removes the disguise that he just took all that trouble of putting on and the IMF trio slip out to take the roles of reporters at the Cardinal's press conference. Real Cardinal uses the conference to publicly denounce Zepke and drives off free as a bird.

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The Avengers
"Wish You Were Here"
Originally aired November 18, 1968 (US); February 12, 1969 (UK)
Wiki said:
In a spoof of the 1967 British TV series The Prisoner, Tara finds herself trapped in a posh prison without bars or guards, which, on the surface, appears to be merely an elegant hotel in a quiet English town.

Well, that description certainly caught my interest.

Tara's uncle has gone missing "on vacation," while an executive at his office who turns out to be behind the plan to get him out of the way and take over is covering it up. Tara goes to investigate, as this posh prison is easily found on the map. She finds that certain guests who try to check out quickly fall victim to accidents...so it's a little less The Village and a little more "Hotel California". In Tara's case, the mishaps shouldn't have been much of a discouragement if she was really determined to leave--first having window washers' water spilled on her, then finding a big hole ironed into her suit.

Steed stays in the background for this installment, but Tara gives a nod to the metaphor in his name:
As a damsel in distress, I have a feeling that a knight in shining armour on his trusty steed will come rescue us at any moment.


Mother's scene features him riding in circles on a large scale. Steed gets suspicious about his failed attempts to contact Tara, so he sends a bumbling guest agent, Basil Crighton-Latimer (Brook Williams), to check into the hotel, which gives Tara the opportunity to be the experienced half of the duo.

Tara and accomplices take over the kitchen, which conveniently has the water shutoff and the electric box, both of which they use to cause all of the legitimate guests to leave. Steed pops in at the end, once they've taken control of the situation.

The coda spoofs the episode's spoof, with Steed convincing Tara that he's being held prisoner in his own flat and to switch places with him, only for her to find that she's now babysitting for one of his neighbors.

I think that spoofing The Prisoner only underscores how lightweight this show is at this point.

A quick Google tells me that Tara's red sports car is a 1968 Lotus Europa.

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Rowan & Martin's Laugh-In
Season 2, episode 9
Originally aired November 18, 1968
The Wiki list of guest appearances said:
Victor Borge, Rosemary Clooney, Arlene Dahl, George Gobel, Phil Harris, George Kirby, The Banana Splits

It was interesting to see the Banana Splits again. I used to catch their show really early on Saturday mornings when I was little. Alas, I couldn't find a clip.

Jack Riley does King George III a la LBJ, discussing the Revolutionary War using Vietnam talking points.

The Priest said:
I'm in favor of religion on TV...but why change the name of Sermonette to Missionary: Impossible?

Gary Owens said:
Due to technical difficulties, Laugh-In will now continue.


Dan introduces the Potpourri segment solo, doing Dick's part as well as his own.

Laugh-In salutes the U.S. Post Office:
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This week's New Discovery--The Stardust Cowboy:
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They're clearly trying to find the next Tiny Tim with these weird novelty acts. Maybe they should have gotten Yoko on the show.

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Chelsea Brown may have given the Stones a song idea!

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TGs3e9.jpg
"Just Donald and Me and Jerry Makes Three"
Originally aired November 21, 1968
Wiki said:
Jerry and Ruth's marriage is on the rocks, and a remorseful Jerry is interrupting Ann & Donald's time with each other.

Ruth must have found out about Margie, the woman he married in Season 1! :lol: The title shot set-up was particularly weak this week.

Ann and Donald struggle not to take sides, but Ruth's gone to Buffalo while Jerry's right next door to Ann, so they take pity and have him over for what was supposed to be a romantic dinner; then he treats them to lunch the next day when they already had plans. After that, they get to a point where they're trying to get out before he comes over.
Donald said:
Listen, we've seen twice as much of him as Ruthie ever did, and she's getting a divorce.


This episode gives us Gloria, another secretary at Donald's office who's interested in Jerry (which is how Margie was introduced, though they left it ambiguous as to whether the woman he married was supposed to be the same Margie). To his credit, Jerry doesn't take the bait.

Donald finally gives into Ann's original inclination to interfere in the situation. Their strategy is to plant suggestions to each that the other is starting to see other people. The climactic mock-romantic reunion scene uses the love theme from Tchaikovsky's Romeo and Juliet and slow-motion.

In the coda, Ann and Donald get even with Jerry for sticking them with the bill at their previous lunch by recreating his breakdown over a baked apple at the same restaurant...which is pretty funny.

"Oh, Donald" count: 2
"Aw, Donald" count: 1
"Oh, Ruthie" count: 1

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Ironside
"Reprise"
Originally aired November 21, 1968
Wiki said:
As a manhunt ensues for the person who shot Eve, she remembers her first meetings with her co-workers during her life-and-death struggle.

Actually, the flashbacks are from everyone else's perspectives while she's in critical condition. Anyway, the premise gives Raymond Burr a rare opportunity to not-metaphorically stretch his legs a little in the role.

Eve is shot while buying the Chief an antique kettle for his birthday. The flashbacks reveal that Ambulatory Ironside met her as a rich society gal who was a witness to another crime with a good eye for detail. He challenged her to go back to school and get a career, and she chose...well, you know. Detective work must run in the family, though...Eve's Mom is Irene Hervey, which would make her Honey West's cousin.

Eve's first meeting with Ed is interesting...in the flashback, she talks him down from seeking revenge on somebody who'd just killed his partner. In the present, the Chief chastises Ed for carrying a .357 Magnum, asking him if he's planning to stop a tank.

As something of a format-breaker, this one really flew for me. Tracking down the shooter is relatively uncomplicated, and only half the story.

In the coda, the recovering Eve is horrified to learn what the Chief's using his birthday present for...though I saw it coming a mile away.
Mark said:
It's the only kind of pot his chili won't burn a hole through.

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Star Trek
"Plato's Stepchildren"
Originally aired November 22, 1968
Stardate 5784.2
H&I said:
Kirk and his crew find themselves at the mercy of powerful individuals who possess mind-over-matter powers and plan to use the Enterprise crew for their twisted entertainment.
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See my post here.

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Hogan's Heroes
"Guess Who Came to Dinner?"
Originally aired November 23, 1968
Wiki said:
Informant Heidi Eberhardt is desperate to get out of Germany, but when her underground contact is arrested Hogan has second thoughts about her loyalty.

Guesting Marj Dusay (Kara from "Spock's Brain") as Heidi.
Hogan said:
Why is it you can only trust short, dumpy spies?

After learning that Heidi may be a double agent, Hogan arranges to get LeBeau back to their grocery store contact by convincing Klink to let him shop for food (guarded by Schultz, of course) to make a dinner for their distinguished guest, munitions mogul Otto von Krubner (Milton Selzer). When Hogan meets von Krubner, Heidi is also there, and is revealed to be his fiancee. She doesn't give him away and initiates a covert conversation with him, giving her some benefit of the doubt. Now Hogan has to arrange her escape himself.

With Hogan's prompting, von Krubner learns of the bombing at the secret factory that his fiancee identified, which makes her the prime suspect for having passed the information to the Allies...but Newkirk intercepts his call to Gestapo HQ, and the man who comes to take Heidi away is a contact (I think the grocery store proprietor, though I didn't check).

In the coda, LeBeau gives von Krubner a parting gift, which detonates as he drives away from the camp.

DIS-missed!

_______

Well, I can say that I like it for the nostalgia, anyway. :D
Nostalgia for the day last week when you thought that you might like Jimi Hendrix? :p

Not their best, but I like The Grass Roots.
Yeah...enjoyable but low-key, not one of their classics.

Kind of straightforward, but nice.
It's certainly of sign-o'-the-times interest, dealing with the racial issues of the day very bluntly.

A classic, but not a fave.
The James Brown original is a stone-cold classic. Otis doing Brown? Well, it's Otis...and his last Top 30 single...but nobody can improve upon James Brown doing James Brown.

Generic Gospel Elvis!
:wtf: But...but...this is Comeback ELVIS...spelled out in big, red stage lights! The reinvigoration of his career! The Return of the King!

On that note, the iconic Comeback Special from which that video is taken hits its anniversary next week, and having always seen clips of it but never the entire special, I'd love to include it in my viewing, but it doesn't seem to be available for rent or purchase via Xfinity or iTunes. I read that NBC will be doing a special about the special, but that it will air in 2019. Elvis's VEVO has been posting lots of clips from the special, but as there are so many soundtracks and videos with expanded material out there, I can't seem to find a list of in-order performances from the actual special as it was originally broadcast. Do we have any Elvis aficionados in the house who might be able to share that info?

Now there's a classic.
And her higher of two entries on the Rolling Stone list...but also her last Top 20 single, though we'll be hearing another one or two deeper cuts from her.

And then a brief musical interlude.....
The year gives us yet another high-charting instrumental--'68 must really annoy you! :p

Now there's a stone-cold classic for you. :bolian:
Sly & the Family make a welcome return to the weekly playlist!

I'm thinking that this must have been first-run third season episodes that were delayed to or repeated on Saturday evenings.
Must have been a local affiliate thing, I'd guess. The question then is...why didn't they want you to see Adam-12? :shifty:

Surely one of the most heartbreaking and iconic images of the 20th century.
John John.... :weep:

I have not. Heard it, that is.
Hopefully you gave it a listen to hear what we were dealing with! Sirius probably puts it on 50s on 5.

I don't think I've heard this one either, but that is the epitome of the Girl Group sound.
It's enjoyable in its poppy way, but pretty lightweight compared to the Spector girl groups.

They do show some promise, don't they? :rommie:
They've got that certain something (i.e., a ginormous career upswing just around the corner).

That's a major storytelling flaw, unless there's some specific dramatic reason for it.
Zerba played it well, FWIW.
 
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To initiate their plan, the IMF team exposes Fake Cardinal (Paul Stevens) to infected mosquitoes.
Whoa, biological warfare.

Definitely gotta squint past the omniscient planning here...they knew specifically that Cardinal Rollin would get sealed in a sarcophagus?
Of course! The old seal-him-in-a-sarcophagus-so-he-can't-give-away-the-fake-cardinal trick!

Fake Cardinal in his oxygen tent on the other side.
This episode brought to you by the Oxygen Association of America. Got Air?

"Wish You Were Here"
I always hear Pink Floyd....

Mother's scene features him riding in circles on a large scale.
The Village would be a good place for Mother, actually. It would be a nice retirement community for agents that have gone totally around the bend, as well as its function of sending agents around the bend who haven't gone yet.

I think that spoofing The Prisoner only underscores how lightweight this show is at this point.
Yeah, but it's still enjoyably surreal.

It was interesting to see the Banana Splits again. I used to catch their show really early on Saturday mornings when I was little. Alas, I couldn't find a clip.
I used to watch them, too. I never realized they were on Laugh-In.

They're clearly trying to find the next Tiny Tim with these weird novelty acts. Maybe they should have gotten Yoko on the show.
Ouch. :rommie:

As something of a format-breaker, this one really flew for me. Tracking down the shooter is relatively uncomplicated, and only half the story.
Reading these reviews makes me wonder why I didn't get into this show more as a kid.

Nostalgia for the day last week when you thought that you might like Jimi Hendrix? :p
It's not that I don't like him.... :rommie: No, it's that the sound of the song, like "Hey, Joe," even though it doesn't grab me, just conjures up that happier time.

The James Brown original is a stone-cold classic. Otis doing Brown? Well, it's Otis...and his last Top 30 single...but nobody can improve upon James Brown doing James Brown.
True enough.

:wtf: But...but...this is Comeback ELVIS...spelled out in big, red stage lights! The reinvigoration of his career! The Return of the King!
Also, Frodo lives!

Do we have any Elvis aficionados in the house who might be able to share that info?
I'm surprised the Wiki page doesn't have it. They're usually pretty thorough.

The year gives us yet another high-charting instrumental--'68 must really annoy you! :p
On balance, I'd give it a thumbs up.

Must have been a local affiliate thing, I'd guess. The question then is...why didn't they want you to see Adam-12? :shifty:
Beats me. And it was a regular routine for me, too, not just something that happened once.

Hopefully you gave it a listen to hear what we were dealing with! Sirius probably puts it on 50s on 5.
Yup, I listen to all of them (well, maybe not when you review an album, due to time constraints).
 
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50th Anniversary Album Spotlight

The Beatles ("The White Album")
The Beatles
Released November 22, 1968 (UK); November 25, 1968 (US)
Chart debut: December 14, 1968
Chart peak: #1, December 28, 1968, through February 1, 1969, and February 15 through March 1, 1969
#10 on Rolling Stone's 500 Greatest Albums of All Time
Wiki said:
The Beatles, also known as "The White Album", is the ninth studio album by the English rock band the Beatles, released on 22 November 1968. A double album, its plain white sleeve has no graphics or text other than the band's name embossed, which was intended as a direct contrast to the vivid cover artwork of the band's previous LP Sgt. Pepper's Lonely Hearts Club Band. Although no singles were issued from The Beatles in Britain and the United States, the songs "Hey Jude" and "Revolution" originated from the same recording sessions and were issued on a single in August 1968. The album's songs range in style from British blues and ska to tracks influenced by Chuck Berry and Karlheinz Stockhausen.

Most of the songs on the album were written during March and April 1968 at a Transcendental Meditation course in Rishikesh, India. The group returned to EMI's Abbey Road Studios in London at the end of May to commence recording sessions that lasted through to mid-October. During these sessions, arguments broke out among the foursome over creative differences. Another divisive element was the constant presence of John Lennon's new partner, Yoko Ono, whose attendance in the studio broke with the Beatles' policy regarding wives and girlfriends not attending recording sessions. After a series of problems, including producer George Martin taking a sudden leave of absence and engineer Geoff Emerick suddenly quitting, Ringo Starr left the band briefly in August. The same tensions continued throughout the following year, leading to the break-up of the band by 1970.

On release, The Beatles received favourable reviews from the majority of music critics, but other commentators found its satirical songs unimportant and apolitical amid the turbulent political and social climate of 1968. The band and Martin later debated whether the group should have released a single album instead. Nonetheless, The Beatles reached No. 1 on the charts in both the United Kingdom and the United States, and has since been viewed by some critics as one of the greatest albums of all time.
(Part 1 of 4)

In my early days as a Beatles fan, I strongly favored the "middle period" of Rubber Soul, Revolver, and Sgt. Pepper. And music scholarship would tend to agree with me, as those albums rank #'s 5, 3, and 1 on the Rolling Stone 500, respectively. But the White Album does have the honor of being the fourth highest ranking Beatles entry on that list. In my own listening experience, it was a little while before I really started bonding with this quirky, post-psychedelic collection. But once I did, it proved to be a veritable treasure trove of discovery, having so many interesting nooks and crannies in its greater length.

I did go through a period of believing that a stronger single album could have been extracted from this collection's abundant material...but in the long run, I've come to defer to Paul's words of wisdom on the subject. Still, I may revisit that idea in more detail when the review of the actual album is done. As it is, I've started weeding through the material in my write-up.


Side 1 opens strongly with what's come to be one of the better-known tracks from the album, Paul's "Back in the U.S.S.R.":

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(#85 on Rolling Stone's 100 Greatest Beatles Songs; 6th most popular download from the White Album on iTunes)

This is a good, rollicking number that partly takes its inspiration from a Chuck Berry song, but mainly seems to be sending up the Beach Boys to my ear. Reportedly Mike Love, who was in India with the Beatles, contributed to the idea for the song. This in spite of what I also read about his having been perturbed at how they were "working" instead of meditating. "U.S.S.R." and the following song are also two that didn't feature Ringo on drums, having been recorded after his walk-out in August.

Single-album note: This one would definitely be on a short list of keepers.


"U.S.S.R." segues seemlessly into "Dear Prudence," a contrastingly gentle (but gradually intense) John contribution:

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(#63 on Rolling Stone's 100 Greatest Beatles Songs; 5th most popular download from the White Album on iTunes)

This one was written about Mia Farrow's sister, also in India, who was so focused on meditation that she wasn't socializing. Nice instrumentation overall, and a great build-up of tension and release, but Paul's bass line sticks out for me in particular.

Single-album note: Also a keeper.


"Glass Onion" is a decent rocker and chock full of references to previous Beatles songs--meant by Lennon as a tease to fans who read too much into the group's work. Alas, such fans would completely miss the point and hold up his line "the Walrus was Paul" as a clue in the "Paul Is Dead" conspiracy madness of the following year.

Single-album note: With so much stronger Lennon material to chose from, I think this one could be considered disposable.


It's mildly fun, but I was never much into Paul's reggae-inspired "Ob-La-Di, Ob-La-Da":

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(Released as a US single in 1976, charted Nov. 20 and reached #49 US, #39 AC; 3rd most popular download from the White Album on iTunes, and 11th most popular Beatles download overall)

Reportedly I'm in good company, as the other Beatles were impatient with the perfectionism that caused Paul to lavish so much time and attention on this song in the studio.
Wiki said:
According to studio engineer Geoff Emerick, John Lennon "openly and vocally detested" the song, calling it Paul's "granny music shit".
George also slipped a dig about this number into another song on the very same album! I can only assume that its download popularity owes at least in part to it having been a chart-topping single in several countries other than the US and UK.

Single-album note: Tempted as I am to exclude it, given Paul's obsession with this song, I have trouble envisioning a scenario in which it wouldn't have been included. Between that and its download popularity, I'm inclined to keep it in spite of my own tastes.


"Wild Honey Pie," OTOH, is practically the definition of a throwaway. Paul completely soloed this song and it shows. I'd guess that its short length explains how it made the cut when so many songs initially developed during the White Album sessions were left out, many to be revisited on future group and solo albums...though Paul asserts that it was left in because George's wife Pattie liked it.

Single-album note: Chuck it!


Inspired by a tiger hunter that the Beatles met in India, "The Continuing Story of Bungalow Bill" is quite enjoyable as an example of John's satirical side. That said...

Single-album note: Given its thematic similarity, I'd be inclined to leave this one off in favor of the stronger "Happiness Is a Warm Gun".


Perhaps the most distinguished track on the album, "While My Guitar Gently Weeps" represents George finally realizing his full potential as a songwriter:

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(#135 on Rolling Stone's 500 Greatest Songs of All Time--the only song from the White Album on that list; #10 on Rolling Stone's 100 Greatest Beatles Songs; #7 on Rolling Stone's 100 Greatest Guitar Songs of All Time; 2nd most popular download from the White Album on iTunes, and 8th most popular Beatles download overall)

As touched upon upthread, early demos and outtakes featured a gorgeously gentle arrangement, but it's hard to disagree with the stone-cold classic rocker that it became...complete with a rare example of a guest performance on a Beatles record: Eric Clapton on lead guitar. (You knew that, right, RJ?)

Single-album note: Seriously, is there any question?


The first side closes with "Happiness Is a Warm Gun," which works multiple, distinct song fragments into a mini-symphony of a rock song, and, in its third and final part, provides us with another example of John at his satirical best:

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(#24 on Rolling Stone's 100 Greatest Beatles Songs; 10th most popular download from the White Album on iTunes)

I guess that one could get squicky about it in light of John's fate, but I'd rather err on the side of enjoying his work than obsessing over how he was killed.

Single-album note: Keeper!


To be continued with Side 2....

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Of course! The old seal-him-in-a-sarcophagus-so-he-can't-give-away-the-fake-cardinal trick!
:techman:

Yeah, but it's still enjoyably surreal.
Again in comparison to The Prisoner, I'm not even sure I'd honor The Avengers with that description at this point. It's quirky and idiosyncratic to be sure, but "surreal" is perhaps giving it too much credit.

I'm surprised the Wiki page doesn't have it. They're usually pretty thorough.
Comparing enough track listings that included bonus material, I think I managed to come up with a likely order of the originally aired performances.

Yup, I listen to all of them (well, maybe not when you review an album, due to time constraints).
On that note, while my initial idea had been to split the White Album review into a post for each disc, I had the idea to further divide it by side the very day before you posted this. Why? Because it's the goddamned Beatles, that's why! :D
 
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Side 1 opens strongly with what's come to be one of the better-known tracks from the album, Paul's "Back in the U.S.S.R.":
A great song, but very odd and definitely a sign of the times. In the darkest days of the Cold War, a positive song about Russia that the Right Wing saw as pro-Commie, the Left Wing saw as pro-Commie, and Paul McCartney as a Chuck Berry homage. :rommie:

"U.S.S.R." segues seemlessly into "Dear Prudence," a contrastingly gentle (but gradually intense) John contribution:
A nice song, and I had no idea about that backstory.

"Glass Onion" is a decent rocker and chock full of references to previous Beatles songs--
Always cracks me up. The song about the Beatlesverse. :rommie:

Single-album note: With so much stronger Lennon material to chose from, I think this one could be considered disposable.
The song about the Beatlesverse?!? :eek:

It's mildly fun, but I was never much into Paul's reggae-inspired "Ob-La-Di, Ob-La-Da":
Well, it definitely shows their range.

"Wild Honey Pie," OTOH, is practically the definition of a throwaway.
The Anti Gadda-Da-Vida.

Inspired by a tiger hunter that the Beatles met in India, "The Continuing Story of Bungalow Bill" is quite enjoyable as an example of John's satirical side. That said...
Not bad objectively, but somehow doesn't work for me.

Perhaps the most distinguished track on the album, "While My Guitar Gently Weeps" represents George finally realizing his full potential as a songwriter:
Yup, this is a stone-cold classic, and George was always underrated.

..complete with a rare example of a guest performance on a Beatles record: Eric Clapton on lead guitar. (You knew that, right, RJ?)
I did know it, although I may not have known it at that particular moment without the reminder. :rommie:

The first side closes with "Happiness Is a Warm Gun," which works multiple, distinct song fragments into a mini-symphony of a rock song, and, in its third and final part, provides us with another example of John at his satirical best:
Classic chomping satire and always reminds me of Charles Schulz.

I guess that one could get squicky about it in light of John's fate, but I'd rather err on the side of enjoying his work than obsessing over how he was killed.
I think John would say, "I told you so."

Again in comparison to The Prisoner, I'm not even sure I'd honor The Avengers with that description at this point. It's quirky and idiosyncratic to be sure, but "surreal" is perhaps giving it too much credit.
I'm not going to argue with that. :rommie:
 
a positive song about Russia that the Right Wing saw as pro-Commie, the Left Wing saw as pro-Commie
Well, perhaps having a little fun with the Soviets...who officially did not approve of the Beatles.

The song about the Beatlesverse?!? :eek:
If you're going to effectively cut the album in half to come up with a single, originally vinyl album of appropriate length, tough choices have gotta be made. I'm sure that much of the excised material would have shown up elsewhere. And if I found myself in a position to retain one more John song, I'd be more inclined to go with "Bungalow Bill". "Glass Onion" is a novelty song.

Well, it definitely shows their range.
True. They actually, occasionally go someplace that I can't terribly get into. Fortunately, there's always another Beatles song right around the corner.

The Anti Gadda-Da-Vida.
:lol:

George was always underrated.
I think that his solo career would prove that his muse was a fickle mistress, but between this and his contributions to Abbey Road, he was definitely enjoying a creative peak in this period that finally put him on the same playing field as Lennon and McCartney.
 
I'm not going to post my full response until The Old Mixer is done reviewing the entire White Album, however, I'd just like to say that I recently purchased the 50th Anniversary Deluxe edition of the White Album as my Christmas present to myself

It includes the 2018 remix by Giles Martin, the Esher demos, and three additional CDs of outtakes along with a Blu-Ray that includes the 2018 remix, and the original stereo and mono mixes along with complete studio recording information and reproductions of the original lyrics.

Now, having said all that, I'm sure you're well aware of the fact that Ringo quit The Beatles for three weeks during the making of the White Album and it's Paul's drumming that is heard on the first two tracks, Back in the USSR and Dear Prudence; and, having listened to the 2018 remix and the backing tracks, sans vocals, that Paul's drumming on those two tracks, especially Dear Prudence, has probably never been equaled before or as a solo artist.
 
I just got the regular Deluxe Edition with the Esher demos, and have had second thoughts. Alas, my purchase of the Deluxe doesn't count toward the price of the Super Deluxe, and that'd be a huge double dip.

I'm in no hurry review-wise...prob won't get around to writing up Side 2 until sometime this weekend.

ETA: Just saw that I didn't include a single-album note for "Happiness"...edited in, it's a keeper.
 
Well, perhaps having a little fun with the Soviets...who officially did not approve of the Beatles.
But Russian kids did, or so it was said.

If you're going to effectively cut the album in half to come up with a single, originally vinyl album of appropriate length, tough choices have gotta be made. I'm sure that much of the excised material would have shown up elsewhere. And if I found myself in a position to retain one more John song, I'd be more inclined to go with "Bungalow Bill". "Glass Onion" is a novelty song.
Perhaps the cornerstone of a Beatlesverse album. "Return to Strawberry Fields," "The Revenge of Eleanor Rigby," "Lady Madonna Goes Hawaiian...."

I think that his solo career would prove that his muse was a fickle mistress, but between this and his contributions to Abbey Road, he was definitely enjoying a creative peak in this period that finally put him on the same playing field as Lennon and McCartney.
True. Poor Ringo.

It includes the 2018 remix by Giles Martin, the Esher demos, and three additional CDs of outtakes along with a Blu-Ray that includes the 2018 remix, and the original stereo and mono mixes along with complete studio recording information and reproductions of the original lyrics.
That's like the White Album Presidential Library. :rommie:
 
50th Anniversary Album Spotlight
The Beatles ("The White Album")
The Beatles
Released November 22, 1968 (UK); November 25, 1968 (US)

AKA Charles Manson's Guide to Launching a Race War. More on that later.

In my early days as a Beatles fan, I strongly favored the "middle period" of Rubber Soul, Revolver, and Sgt. Pepper. And music scholarship would tend to agree with me, as those albums rank #'s 5, 3, and 1 on the Rolling Stone 500, respectively. But the White Album does have the honor of being the fourth highest ranking Beatles entry on that list.

It does not belong there, but its Rolling Stone, so.... :p

In my own listening experience, it was a little while before I really started bonding with this quirky, post-psychedelic collection. But once I did, it proved to be a veritable treasure trove of discovery, having so many interesting nooks and crannies in its greater length.

I did go through a period of believing that a stronger single album could have been extracted from this collection's abundant material...but in the long run, I've come to defer to Paul's words of wisdom on the subject. Still, I may revisit that idea in more detail when the review of the actual album is done. As it is, I've started weeding through the material in my write-up.

The problem is that the group was in such a chaos-battered period that there was no true anchor to stop the over-indulgences of the group, allowing many a track that--frankly--did not hold up to their reputation at the time, and in several cases, did not weather the passage of time. Its only given a pass (or protection) because "Well...its the Beatles..." when any other group would have been criticized--deservedly so--for dumping what could be described as a glorified outtakes production (with a handful of gems) on the world.

From the "White Album" chapter from The Complete Guide to the Music of The Beatles--

Paul McCartney: "That was the tension album. We were all in the midst of that psychedelic thing, or just coming out of it. In any case, it was weird. Never before had we recorded with beds in the studio and people visiting for hours on end: business meetings and all that. There was a lot of friction during that album. We were just about to break up, and that was tense in itself."

"...the group were individually and collectively aware that without leadership or a definite direction, they had no unifying purpose."

"From the start of 1968 onwards, they seemed to work from a 'two steps forward, three steps back, one step into another dimension' policy--with results that were often inspired, and just as often muddle-headed."

"Muddle-headed" "...into another dimension" and "three steps back" were perfect descriptions of what was happening during the production of this album. Yes, everyone and their uncle have covered this period as the beginning of the end of The Beatles, and its so easy to see why--and the seeds (and sounds) of their early solo albums only a year away. That sound forecasted a group could no longer function as a whole, only rallying for brief bursts of "that old sound", only to fall apart. Songs such as "Honey Pie", "Long Long Long", "Glass Onion", "Happiness is a Warm Gun", "I'm So Tired", "Rocky Raccoon", "Cry Baby Cry" and others were not then--or now--worth revisiting unless one is being a completist for a review, or just trying to take the total track voyage while moving toward the next album.

Although The Beatles don't deserve the unshakable historical weight of the perversion from Charles Manson's interpretation, in many ways, this album is likely best known as his self-created blueprint to launch his sickening Helter Skelter race war plan as much as its known was the beginning of the end of the group, which makes the overall experience of it being erratic, strange, dark and lacking anything resembling harmony all too fitting.

Its a minor miracle their sessions going forward managed to get what was released on Abbey Road and Let it Be, considering where they were at this point.
 
"Lady Madonna Goes Hawaiian...."
Now, are you trying to make "Lady Madonna" interesting...?

Poor Ringo.
I prefer the "glass half full" view--Ringo: The Luckiest Man in the World!

The problem is that the group was in such a chaos-battered period that there was no true anchor to stop the over-indulgences of the group, allowing many a track that--frankly--did not hold up to their reputation at the time, and in several cases, did not weather the passage of time. Its only given a pass (or protection) because "Well...its the Beatles..." when any other group would have been criticized--deservedly so--for dumping what could be described as a glorified outtakes production (with a handful of gems) on the world.
The thing is, to many an ear, the Beatles' trash is anyone else's treasure. Their albums, including this one, are full of material that easily could have been hit singles, which they never bothered to release as singles. And Anthology showed us that there was a huge demand for their actual outtakes...they sold more albums in 1996 than in any year of the '60s.

Now the backstage chaos in this period is legendary. I've read volumes on it, and have forgotten more book-learned Beatles lore than most people ever knew. Thus I didn't even attempt to get into that, but linked to the Wiki article for the album, which covers quite a bit of it. It's all the more amazing that amidst such chaos, they still managed to create such great music in the studio.

Does the White Album sound like four solo careers sharing the same album? Yes. But that's just the unique character of this album, forever enshrined in music history.

Songs such as "Honey Pie", "Long Long Long", "Glass Onion", "Happiness is a Warm Gun", "I'm So Tired", "Rocky Raccoon", "Cry Baby Cry" and others were not then--or now--worth revisiting
Wow. Many a Beatles fan and rock music scholar would disagree with you strongly on at least three or four of those.
 
The thing is, to many an ear, the Beatles' trash is anyone else's treasure. Their albums, including this one, are full of material that easily could have been hit singles, which they never bothered to release as singles

I grade albums on their entire track listings, not cherry-pick the good bits as a takeaway of overall quality, so to that end, The Beatles / White Album is battered with many an unlistenable and/or self-indulgent song, which reflects the tension and internal decay breaking down the group at the time of its recording.

And Anthology showed us that there was a huge demand for their actual outtakes...they sold more albums in 1996 than in any year of the '60s.

Historical note: that was coming off of the new attention paid to the group by The Beatles Anthology documentary (and the surviving members' new recordings), which premiered in November of 1995. That sales bump similar to what happened with The Monkees' records--many of the reissues (between 1986-87) charted on Billboard all over again (including a reengineered "Daydream Believer" single) thanks to the second wave (tied to their 20th anniversary) of Monkeemania triggered by MTV's near-constant re-runs of the series and the reunion tour. In other words, a sudden swelling of new interest had a strong media motivator.

Does the White Album sound like four solo careers sharing the same album? Yes. But that's just the unique character of this album, forever enshrined in music history.

Its the most debated, divisive album of the Beatles' career, and almost universally viewed as being all over the place in terms of quality of a start-to-finish listening experience. I do not even need to compare it to Revolver or Sgt. Pepper's to share a conclusion that is not in isolation.


Wow. Many a Beatles fan and rock music scholar would disagree with you strongly on at least three or four of those.

To each his own. I can find as many who write off those tracks as being the prime example of the Beatles going off the rails. Its funny--when 1968 arrived, some thought the Rolling Stones were the one and only big group personally and creatively in a 50-car pile-up (so to speak)--its a common mischaracterization, usually made in comparisons to The Beatles. Sure, they certainly had interpersonal and legal issues, but they left that same year with a new face that would define them as the cream of the crop almost forever with Beggar's Banquet and singles such as "Jumpin' Jack Flash" and "Street Fighting Man", while by any honest assessment, it was the Beatles who left 1968 in the aforementioned pile up. Yes, that had some great tracks, but as a band and their overall output on the LP by comparison, the Rolling Stones came away as the shining gem that year.
 
I grade albums on their entire track listings, not cherry-pick the good bits as a takeaway of overall quality, so to that end, The Beatles / White Album is battered with many an unlistenable and/or self-indulgent song, which reflects the tension and internal decay breaking down the group at the time of its recording.
I've been sampling a lot of highly regarded albums from the same period this past year, and even flawed Beatles product is better to my ear, pound-for-pound, than pretty much anything else. And there is such a thing as the whole being greater than the sum of its parts, which many Beatles albums epitomize.

Historical note: that was coming off of the new attention paid to the group by The Beatles Anthology documentary (and the surviving members' new recordings), which premiered in November of 1995.
Well yeah, that's what I was referring to when I brought the 1996 sales up in context of the interest in their unreleased material. Some of that sales bump was their back catalog, but a good deal of it was the Anthology albums themselves. And once again the Beatles were the trendsetters...after that, suddenly lots of artists of similar vintage were digging into their vaults and putting out previously unreleased material.

Its the most debated, divisive album of the Beatles' career
Really? Moreso than Let It Be?

the Rolling Stones
Beggar's Banquet and singles such as "Jumpin' Jack Flash" and "Street Fighting Man"
but as a band and their overall output on the LP by comparison, the Rolling Stones came away as the shining gem that year.
Yeah, I can see where this is going.... :p
 
_______

50 Years Ago This Week
December 3 – The videotaped NBC television special Singer Presents...ELVIS (sponsored by The Singer Company, the American sewing machine manufacturer) marks the comeback of Elvis Presley after the legendary musician had been away from singing.
Inaccurate...he'd been singing in his films and releasing singles throughout the decade. The special is considered his comeback in terms of his relevance as a cultural figure. Basically, when he started being taken seriously as an artist again.
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December 6 – The Rolling Stones release Beggars Banquet, which contains the classic song "Sympathy for the Devil."
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(#32 on Rolling Stone's 500 Greatest Songs of All Time)


Selections from Billboard's Hot 100 for the week:
1. "Love Child," Diana Ross & The Supremes
2. "Hey Jude," The Beatles
3. "For Once In My Life," Stevie Wonder
4. "I Heard It Through the Grapevine," Marvin Gaye
5. "Who's Making Love," Johnnie Taylor
6. "Magic Carpet Ride," Steppenwolf
7. "Abraham, Martin and John," Dion
8. "Wichita Lineman," Glen Campbell
9. "Stormy," Classics IV feat. Dennis Yost
10. "Those Were the Days," Mary Hopkin
11. "I Love How You Love Me," Bobby Vinton
12. "Hold Me Tight," Johnny Nash
13. "Both Sides Now," Judy Collins
14. "White Room," Cream
15. "Cloud Nine," The Temptations
16. "Little Arrows," Leapy Lee
17. "See Saw," Aretha Franklin
18. "Bring It On Home to Me," Eddie Floyd
19. "Promises, Promises," Dionne Warwick
20. "Chewy Chewy," Ohio Express
21. "Little Green Apples," O.C. Smith
22. "Bang-Shang-A-Lang," The Archies
23. "Midnight Confessions," The Grass Roots
24. "Cinnamon," Derek
25. "Quick Joey Small (Run Joey Run)," Kasenetz-Katz Singing Orchestral Circus
26. "Scarborough Fair," Sergio Mendes & Brasil '66
27. "Pickin' Wild Mountain Berries," Peggy Scott & Jo Jo Benson
28. "Too Weak to Fight," Clarence Carter

30. "Shame, Shame," Magic Lanterns
31. "Soulful Strut," Young-Holt Unlimited
32. "Elenore," The Turtles

35. "Till," The Vogues

37. "Hi-Heel Sneakers," Jose Feliciano

41. "Hooked on a Feeling," B.J. Thomas
42. "Hang 'Em High," Booker T. & The MG's

44. "Lo Mucho Que Te Quiero (The More I Love You)," Rene & Rene

49. "Son of a Preacher Man," Dusty Springfield
50. "Papa's Got a Brand New Bag," Otis Redding

57. "I'm Gonna Make You Love Me," Diana Ross & The Supremes and the Temptations
58. "A Ray of Hope," The Rascals


63. "If I Can Dream," Elvis Presley
64. "Crown of Creation," Jefferson Airplane

67. "Stand by Your Man," Tammy Wynette

69. "This Is My Country," The Impressions

73. "Crosstown Traffic," The Jimi Hendrix Experience
74. "Going Up the Country," Canned Heat

76. "With a Little Help from My Friends," Joe Cocker

78. "Everyday People," Sly & The Family Stone

90. "Bella Linda," The Grass Roots


Leaving the chart:
  • "Always Together," The Dells (8 weeks)
  • "Fire," The Crazy World of Arthur Brown (13 weeks)
  • "Over You," Gary Puckett & The Union Gap (11 weeks)
  • "Sweet Blindness," The 5th Dimension (10 weeks)

New on the chart:

"A Ray of Hope," The Rascals
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(#24 US; #36 R&B)

"Going Up the Country," Canned Heat
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(#11 US; #19 UK)

"I'm Gonna Make You Love Me," Diana Ross & The Supremes and the Temptations
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(#2 US; #2 R&B; #3 UK)


And new on the boob tube:
  • The Ed Sullivan Show, Season 21, episode 7, featuring Engelbert Humperdinck, Tiny Tim, David Hemmings, Gloria Loring, and Peter Gennaro
  • Mission: Impossible, "The Diplomat"
  • The Avengers, "All Done with Mirrors"
  • Rowan & Martin's Laugh-In, Season 2, episode 11
  • Singer Presents...Elvis
  • That Girl, "Ann vs. Secretary"
  • Ironside, "Side Pocket"
  • Star Trek, "The Empath"
  • Adam-12, "Log 111: The Boa Constrictor"
  • Get Smart, "The Farkas Fracas"
  • Hogan's Heroes, "Bad Day in Berlin"
_______
 
ESHER DEMOS
In late May 1968, The Beatles went to George Harrison’s estate Kinfauns to demo and record songs for consideration for the upcoming sessions for ‘The Beatles’.

I’m not going to go through and analyze every song that was demoed for ‘The Beatles’, I’m only going to highlight/comment on a few that stuck out while listening to ‘The Esher Demos’.

Of the 27 songs recorded, 19 would eventually find their way onto the album in a re-recorded version, 2 songs would appear on later Beatles releases, 5 songs would not appear until after The Beatles broke up, 1 song which was given to another artist, and an additional 11 were recorded during the making of ‘The Beatles’.

John was the most prolific, with 15 songs in various stages of completion, appearing on the CD. 7 of them, with minor lyrical variations, are the most complete in terms of arrangement. The remaining 8 are sometimes just a line or verse repeated ad-infinitum.

Of the one that is the most complete that didn’t make the album, ‘I’m Just A Child Of Nature’; well, it’s a pleasant enough sounding song, showcasing John’s new finger-picking style picked up from Donovan during their sojourn to India in March-April 1968, but too me, it feels like the son of ‘Across The Universe’, which The Beatles had recorded in February 1968 prior to their departure. Compared to the heavier numbers that John was previewing at the time, it stands out like a sore thumb. John was wise to leave it off and rework the lyrics into ‘Jealous Guy’.

Also, while critics and reviewers point out ‘Back In The USSR’ as having a Beach Boys influence, ‘Revolution’ at this early stage, also shows signs of Brian Wilson and Mike Love with its doo-wop harmonies, which would appear on the album version ‘Revolution I’ but be left off the heavier re-make.

Paul, of the 7 songs previewed at Esher, 4 of them are the most complete, changing little from the time of demo to recording. ‘Back In The USSR’ and ‘Honey Pie’ are missing their final verse so Paul just repeats the first verse on ‘. . . USSR’ and hums on ‘Honey Pie’.

Of the one song that didn’t make it past demo stage, ‘Junk’; again, it’s a pleasant enough sounding song, but very slight and feels out of tenor with the rest of the songs surrounding it. It would take until Paul re-recorded it, along with an instrumental version, for his solo album ‘McCartney’, that it would find a place in his catalogue.

Poor George gets the short end of the stick. Of the five songs previewed, 3 would be recorded, but only 2 would find their way onto the album.

All five songs, with minor lyric variations, are complete in terms of arrangements. ‘While My Guitar Gently Weeps’ has an extra verse not included in the final recording, and ‘Piggies’ has them ‘cut their pork chops’ instead of ‘eat their bacon’.

Of the three songs left off the album, unfortunately, they sound like ‘Grumpy George’ being angry at The Beatles or critics or life in general.

‘Circles’, with the harmonium/organ as its main instrument, is dirge-like and it didn’t improve when George re-recorded it for his solo album ‘Gone Toppo’ in 1982.

‘Sour Milk Sea’ has George singing at the upper range of his falsetto, and had he kept for himself instead of giving it to Jackie Lomax for his debut single on Apple Records, would have made for a strong B-Side. I’m sure there’s some enterprising recording engineer’s out there trying to extract George’s demo vocal and replace it on the officially released version featuring Jackie Lomax, George, Paul, Ringo, Eric Clapton and Nicky Hopkins, creating a Beatles ‘outfake’.

And what of the song ‘Not Guilty’? Taking 102 takes to record and still being left off the album at the last minute; sparking debate as to whether it should have been included at the expense of one of George’s other songs or someone else’s.

Well, I’m going to be in the minority here and say no, it was right to be left off the album.

In its demo form, it’s a pleasant-sounding song; the problem is when it came time to record it for the album, George and The Beatles worked it to death, recording 102 takes and still not settling on a proper arrangement.

The problem, to my ears, on the only complete version recorded and released, is the shift to waltz-time on the bridge. They can’t find a way to transition in and out of it without it sounding clumsy. Up until then, it’s a pretty chunky rocker with some good guitar work by George and interplay with the others.

George would re-record a much gentler version for his self-titled solo album ‘George Harrison’ in 1979, wisely excising the waltz-time bridge.

When listening to the demos, one gets the feeling they’re happy and having fun goofing around while recording. John being the instigator of much of the laughter, probably brought about by his newfound love of Yoko; whose voice is evident in the background on several tracks. Mal Evans, Derek Taylor and Patti Harrison are also addressed or heard at various points on the CD.

Overall, the Esher demos are a welcome addition to The Beatles catalogue.

Next, in the coming days, I’ll comment on some of the outtakes and works-in-progress released on the deluxe edition.

GEORGE HARRISON
Circles* [*Note: Never recorded professionally by The Beatles. George issued a solo version on his album ‘Gone Troppo’ in 1982.]
Not Guilty* [*Note: Recorded by The Beatles at EMI 7-12 August 1968, but not released by them until an edited version appeared on ‘Anthology 3’ in 1996. The full version appears as a bonus track on the ‘50th Anniversary Deluxe Edition’. George issued a solo version on his album ‘George Harrison’ in 1979.]
Piggies
Sour Milk Sea* [*Note: Never recorded professionally by The Beatles. George donated this song to Jackie Lomax in summer 1968.]
While My Guitar Gently Weeps

PAUL McCARTNEY
Back In The USSR
Blackbird
Honey Pie
Junk* [*Note: Never recorded professionally by The Beatles. Paul issued a solo version on his album ‘McCartney’ in 1970.]
Mother Nature's Son
Ob-La-Di, Ob-La-D
Rocky Raccoon

JOHN LENNON
Continuing Story Of Bungalow Bill, The
Cry Baby Cry
Dear Prudence
Everybody's Got Something To Hide Except Me And My Monkey
Glass Onion
Happiness Is A Warm Gun
I'm Just A Child Of Nature* [*Note: Never recorded professionally by The Beatles. John put a new lyric to this medley in 1971 and released it then as ‘Jealous Guy’ on his second album ‘Imagine’.]
I'm So Tired
Julia
Mean Mr. Mustard* [*Note: Recorded in summer 1969 as part of ‘Abbey Road’ medley.]
Polythene Pam* [*Note: Recorded in summer 1969 as part of ‘Abbey Road’ medley.]
Revolution
Sexy Sadie
What's The New Mary Jane* [*Note: Recorded at EMI 14 August 1968 to 26 November 1969 but left unreleased until ‘Anthology 3’ in 1996.]
Yer Blues

RECORDED DURING SESSIONS FOR ‘THE BEATLES’ [AKA ‘THE WHITE ALBUM’]
PAUL McCARTNEY
Birthday
Helter Skelter
Hey Jude
I Will
Martha My Dear
Why Don’t We Do It In The Road?
Wild Honey Pie

GEORGE HARRISON
Long, Long, Long
Savoy Truffle

JOHN LENNON
Good Night
Revolution 9

RINGO STARR
Don’t Pass Me By

DEMOED DURING SESSIONS FOR ‘THE BEATLES’ [AKA ‘THE WHITE ALBUM’]
PAUL McCARTNEY
Etcetera
Her Majesty
Let It Be
Long And Winding Road, The

GEORGE HARRISON
Something

SONGS ON WHICH THE BEATLES APPEAR
John, Paul, George And Ringo:
Glass Onion
Ob-La-Di, Ob-La-Da
Continuing Story Of Bungalow Bill, The
While My Guitar Gently Weeps
Happiness Is A Warm Gun
I’m So Tired
Piggies
Rocky Raccoon
Birthday
Yer Blues
Everybody’s Got Something To Hide Except Me And My Monkey
Sexy Sadie
Revolution 1
Honey Pie
Cry Baby Cry
Hey Jude

John, Paul, George:
Back In The USSR
Birthday

John, Paul, Ringo:
I Will

Paul, George, Ringo:
Long, Long, Long
Martha My Dear
Savoy Truffle

John, George:
Revolution 9

Paul, Ringo:
Don’t Pass Me By
Why Don’t We Do It In The Road?

John:
Julia

Paul:
Blackbird
Mother Nature’s Son
Wild Honey Pie

Ringo:
Good Night
 
I love the Esher demos and welcome them to my digital collection. They really convey the acoustic genesis of this album in India, and make for great hiking music.

ESHER DEMOS
Of the one that is the most complete that didn’t make the album, ‘I’m Just A Child Of Nature’; well, it’s a pleasant enough sounding song, showcasing John’s new finger-picking style picked up from Donovan during their sojourn to India in March-April 1968, but too me, it feels like the son of ‘Across The Universe’, which The Beatles had recorded in February 1968 prior to their departure. Compared to the heavier numbers that John was previewing at the time, it stands out like a sore thumb. John was wise to leave it off and rework the lyrics into ‘Jealous Guy’.
First, keep in mind that "Across the Universe" hadn't been released in either of its versions yet, so "Child of Nature" feeling similar wouldn't have been a consideration in keeping it off the White Album. As for its contrast to John's other songs on the album, there's nothing wrong with that, but there are also other gentle John songs on the album, like "Julia". If anything, I think that its thematic similarity to Paul's "Mother Nature's Son" might have been an issue.

Of the one song that didn’t make it past demo stage, ‘Junk’; again, it’s a pleasant enough sounding song, but very slight and feels out of tenor with the rest of the songs surrounding it. It would take until Paul re-recorded it, along with an instrumental version, for his solo album ‘McCartney’, that it would find a place in his catalogue.
I have a considerable fondness for the quirky gem-in-the-rough that is the McCartney album. "Singalong Junk" is beautiful.

‘Circles’, with the harmonium/organ as its main instrument, is dirge-like and it didn’t improve when George re-recorded it for his solo album ‘Gone Toppo’ in 1982.
I hadn't realized--or had more likely forgotten--that "Circles" was on Gone Troppo...but that's not surprising, as I couldn't stand that album.

And what of the song ‘Not Guilty’? Taking 102 takes to record and still being left off the album at the last minute; sparking debate as to whether it should have been included at the expense of one of George’s other songs or someone else’s.

Well, I’m going to be in the minority here and say no, it was right to be left off the album.

In its demo form, it’s a pleasant-sounding song; the problem is when it came time to record it for the album, George and The Beatles worked it to death, recording 102 takes and still not settling on a proper arrangement.
Indeed, had it been ready for prime time, George would have put it out as early as All Things Must Pass, rather than not getting around to it for another 9 years after that.

Next, in the coming days, I’ll comment on some of the outtakes and works-in-progress released on the deluxe edition.
Alas, I have none of this except for any overlapping material on Anthology 3, though I was at a listening party for this material just last night. At this point I think I'd pay the price difference to get the additional material if my purchase of the regular Deluxe Edition counted toward the purchase of the Super Deluxe. As it doesn't, I think it'd be a pretty damn steep double dip.

_______

ETA: Ooh, the Elvis Comeback Special is available for rent on iTunes. Think I'll watch it properly, then.
 
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Basically, when he started being taken seriously as an artist again.
Now there's Elvis.

"Sympathy for the Devil."
Epic classic.

"A Ray of Hope," The Rascals
Kind of religious, but very nice.

"Going Up the Country," Canned Heat
Always pleasant to listen to.

"I'm Gonna Make You Love Me," Diana Ross & The Supremes and the Temptations
A classic by two classics (and featuring a goddess).
 
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