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The Classic/Retro Pop Culture Thread

50 Years Ago This Week

Wiki said:
December 27 – President of India V. V. Giri declares new elections.
December 28
  • Burgos Trial: Three Basques are sentenced to death, twelve others sentenced to imprisonment (terms from 12 to 62 years), and one is released.
  • The suspected killers of Pierre Laporte, Jacques and Paul Rose and Francis Sunard, are arrested near Montreal.
December 29 – U.S. President Richard Nixon signs into law the Occupational Safety and Health Act.
December 30 – In Viscaya in the Basque country of Spain, 15,000 go on strike in protest at the Burgos trial death sentences. Francisco Franco commutes the sentences to 30 years in prison.
December 31 – Paul McCartney sues in Britain to dissolve The Beatles' legal partnership.
January 2
  • Ibrox disaster: A stairway crush at the Rangers vs. Celtic football match in Glasgow, Scotland, kills 66.
  • A ban on radio and television cigarette advertisements goes into effect in the United States.



Selections from Billboard's Hot 100 for the week:
1. "My Sweet Lord" / "Isn't It a Pity", George Harrison
2. "One Less Bell to Answer," The 5th Dimension
3. "Knock Three Times," Dawn
4. "The Tears of a Clown," Smokey Robinson & The Miracles
5. "Black Magic Woman," Santana
6. "I Think I Love You," The Partridge Family
7. "Does Anybody Really Know What Time It Is?," Chicago
8. "Stoned Love," The Supremes
9. "Domino," Van Morrison
10. "Gypsy Woman," Brian Hyland
11. "For the Good Times," Ray Price
12. "Stoney End," Barbra Streisand
13. "No Matter What," Badfinger
14. "Pay to the Piper," Chairmen of the Board
15. "It's Impossible," Perry Como
16. "River Deep - Mountain High," The Supremes & Four Tops
17. "Groove Me," King Floyd
18. "Rose Garden," Lynn Anderson
19. "5-10-15-20 (25-30 Years of Love)," The Presidents
20. "One Man Band," Three Dog Night
21. "Lonely Days," Bee Gees
22. "He Aint Heavy...He's My Brother," Neil Diamond
23. "If I Were Your Woman," Gladys Knight & The Pips
24. "Immigrant Song," Led Zeppelin
25. "Your Song," Elton John
26. "Be My Baby," Andy Kim
27. "Love the One You're With," Stephen Stills
28. "We've Only Just Begun," Carpenters
29. "I'll Be There," Jackson 5

32. "We Gotta Get You a Woman," Runt
33. "Stop the War Now," Edwin Starr
34. "(Don't Worry) If There's a Hell Below We're All Going to Go," Curtis Mayfield
35. "I Really Don't Want to Know" / "There Goes My Everything", Elvis Presley
36. "Born to Wander," Rare Earth

39. "After Midnight," Eric Clapton
40. "Mr. Bojangles," Nitty Gritty Dirt Band

46. "Only Love Can Break Your Heart," Neil Young
47. "Remember Me," Diana Ross
48. "Amazing Grace," Judy Collins

50. "Amos Moses," Jerry Reed

58. "Watching Scotty Grow," Bobby Goldsboro

61. "Paranoid," Black Sabbath
62. "I Hear You Knocking," Dave Edmunds

65. "Temptation Eyes," The Grass Roots

71. "If You Could Read My Mind," Gordon Lightfoot

76. "(Do the) Push and Pull (Part 1)," Rufus Thomas

78. "One Bad Apple," The Osmonds
79. "Let Your Love Go," Bread

82. "Superstar," Murray Head w/ The Trinidad Singers


91. "Sweet Mary," Wadsworth Mansion


Leaving the chart:
  • "Fire and Rain," James Taylor (16 weeks)
  • "Heaven Help Us All," Stevie Wonder (11 weeks)
  • "Montego Bay," Bobby Bloom (16 weeks)
  • "Share the Land," The Guess Who (10 weeks)
  • "You Don't Have to Say You Love Me" / "Patch It Up", Elvis Presley (10 weeks)

Re-entering the chart:

"Superstar," Murray Head w/ The Trinidad Singers
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(First charted Jan. 31, 1970, reaching #74 US; reaches #60 US this run)


New on the chart:

"Let Your Love Go," Bread
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(#28 US)

"One Bad Apple," The Osmonds
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(#1 US the weeks of Feb. 13 through Mar. 13, 1971; #37 AC; #6 R&B; #51 UK)


And new on the boob tube:
  • Hogan's Heroes, "The Dropouts"
  • The Ed Sullivan Show, Season 23, episode 15
  • Rowan & Martin's Laugh-In, Season 4, episode 15
  • Hawaii Five-O, "Paniolo"
  • Ironside, "Blackout"
  • The Brady Bunch, "The Impractical Joker"
  • The Partridge Family, "The Red Woodloe Story"
  • That Girl, "That Script"
  • Mission: Impossible, "Takeover"
  • Adam-12, "Log 175: Con Artists"
  • The Mary Tyler Moore Show, "Howard's Girl"

_______

55 Years Ago Year-End Blowout Special

From the week ending December 25, 1965:

"I Ain't Gonna Eat My Heart Out Anymore," The Young Rascals
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(#52 US)

"It Was a Very Good Year," Frank Sinatra
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(#28 US; #1 AC)

_______

Interesting. I've never heard this, and had no idea Herb Albert was involved in Zorba the Greek
What J.T.B. said. And FWIW, what I played (and own) is the album version; the single version was edited down and had faux-live audience noise added.

Never heard this before either. I guess it's a song.
Sure you've heard it before...it was called "1-2-3" then.

Also meh.
I find this one interesting in that it has a little more of a garage rock sound to my ear than their future hit "Western Union".

Now we're getting somewhere. Ironically, after my recent comment, this sounds like the 50s.
Not to my ear. It's very now...give or take 55 years.

Probably my favorite Beach Boys song, after "Sloop John B." Also sounds like the 50s.
A bit more understandable, as it's a cover of a doo-wop song...which was from the early '60s, but early '60s doo-wop is commonly lumped in with '50s music. It's interesting to hear the Beach Boys put out something like this after a release from the Pet Sounds sessions, but there's a story behind that...
Wiki said:
Capitol rush-released "Barbara Ann" as a single after the relatively poor performance of the group's previous disc, "The Little Girl I Once Knew".
Also found this tidbit:
Dean Torrence of Jan and Dean is featured on lead vocals along with Brian Wilson. Torrence is not credited on the album, but Carl Wilson is heard saying "Thanks, Dean" at the song's conclusion.


RJDiogenes said:
I got it for Mom last year when her big tree died. I thought she might use it as her main tree rather than get a new big one, since she's, y'know, 80 years old. But no, she thinks she's still 70.
Sounds like the one you got is full scale; mine is maybe half scale; the trunk is under a foot high. I used to put it on top of the TV.
 
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I think their only involvement was recording their version of a tune from the movie a year or two later.
Ahh, okay, that makes sense.

"Superstar," Murray Head w/ The Trinidad Singers
I love pretty much everything from Jesus Christ, Superstar.

"Let Your Love Go," Bread
I generally like Bread, but this isn't one of their best.

"One Bad Apple," The Osmonds
This is a catchy Oldie... wait, the Osmonds? No! :rommie:

"I Ain't Gonna Eat My Heart Out Anymore," The Young Rascals
I think I remember this, except for the spoken parts. Is it a cover or something?

"It Was a Very Good Year," Frank Sinatra
Gotta admit, this is a Sinatra song that I like.

What J.T.B. said. And FWIW, what I played (and own) is the album version; the single version was edited down and had faux-live audience noise added.
Interesting. It's all new to me.

Sure you've heard it before...it was called "1-2-3" then.
Heh, that one I know. :rommie:

I find this one interesting in that it has a little more of a garage rock sound to my ear than their future hit "Western Union".
"Western Union" is a goodie.

Also found this tidbit:
That's interesting. I don't hear the "Thanks, Dean," though.

Sounds like the one you got is full scale; mine is maybe half scale; the trunk is under a foot high. I used to put it on top of the TV.
No, it's the tabletop version. I didn't think she should be messing with a full-sized tree anymore, but I was outvoted Mom to One. :rommie:
 
_______

50th Anniversary Viewing

_______

The Ed Sullivan Show
"The Great Santa Claus Switch" (Season 23, episode 14)
Originally aired December 20, 1970

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This special teams up Art Carney (in the dual roles of Santa Claus and evil magician Cosmo Scam) and the Muppets, with narrative bookends provided by Ed Sullivan, who's depicted as reading the story to children. Alas, I wanted to like it more than I did, finding that it dragged a bit, filling up its hour with mediocre musical numbers. Cosmo's scheme to impersonate Santa as a means of burglary seemed a little Grinchmiliar. Santa's habit of unsuccessful magic trick attempts was a bit random, though it did have a brief moment of payoff. His disarming niceness in all situations, however, was a nice touch. The part I enjoyed the most was the sequence in which Cosmo has Santa's suspicious elves replaced one by one with his own minions, the Frackels...and the elves' roll call song is repeated each time to display the new substitutions. And I'm sure that somebody here quite liked the elves' escape from Cosmo's lair disguised as rocks, which included elf hero Fred breaking the fourth wall to indulge in multiple puns of this nature...

Fred: I used to be scared, but this costume has made me a little boulder.​

On the subject of the special's status as an Ed Sullivan episode, the name The Ed Sullivan Show is displayed at the end of the closing credits.

_______

The Odd Couple
"The Blackout"
Originally aired December 24, 1970
Wiki said:
When $50 goes missing after a power outage during a poker game, Oscar is the prime suspect. Cynthia Lynn guest stars.

Felix and Oscar are already having power issues in the apartment prior to the game, while Felix sets up the situation that the guys are already untrustworthy of Oscar's ability to pay his debts...which is underscored when Felix tries to hit up the super (Herbie Faye) for a loan so he has enough cash to play.

The lights go out in the entire building during the game, and a neighbor named Inga (Cynthia Lynn), whom Felix has been flirting with at the grocery store, comes to the apartment by mistake. When the power comes back on, a $50 bill is missing from the top of the cigar box that serves as the bank. Felix turns the lights out to give whoever took the bill the chance to replace it anonymously, and it turns back up at the top of the box; but the guys are still suspicious of Oscar, and make excuses to cut the game short. Felix reveals to Oscar afterward that he put the $50 in the box out of his wallet to cover for Oscar, convinced that Oscar swiped it.

Reading mystery books for ideas of how to solve the crime (Oscar cites Perry Mason as one of the great detectives--here I thought he was a lawyer), Oscar comes up with the idea of reassembling the entire gang, including Inga, at an odd hour of the morning to reenact the scene of the crime. Surprisingly, everybody comes. During the reenactment, Felix's attention is drawn to a sandwich that Oscar made in the dark, which turns out to have a $50 bill as one of its fixings--bitten into along with the rest of the sandwich.

_______

Adam-12
"Log 85: Sign of the Twins"
Originally aired December 26, 1970
Wiki said:
The officers' day begins with a liquor store robbery allegedly committed by the owner's brother that resulted in an officer being shot, later confronting the thieves in a shootout. Other calls include a zoning dispute with an elderly woman doing astrology readings out of her apartment, and a young boy asking a pharmacist questions about Seconal pills and his very uncooperative mother.

The officers are about to respond to a call about a zoning dispute when an all-units call about an officer having been shot at a liquor store takes priority. Officer Quinn (Larry J. Blake) is only wounded in the leg, and is able to give a great deal of detail about the suspects and their vehicle. The owner, Carl Kegan (Stacy Harris), complains about Quinn's ineffectiveness, while separately giving completely contradictory details. When they compare notes, the officers suspect that Kegan is hiding something. Quinn also tips them off that Kegan didn't fire at the robbers, when he had a gun in his hand and a clear shot. Detectives later confirm that Quinn's details were more on-the-mark, helping them to identify one of the possible suspects. When the officers later go back to the liquor store to inform the detectives there, Kegan is confronted with this information and eventually admits that one of the robbers was his own brother...but he says that he doesn't know his brother's current whereabouts.

The officers proceed to their original call, which concerns a senior citizen named Mrs. Wade (Sheila Bromley) who's making money giving astrology readings out of her apartment, in a residential neighborhood. She seems genuinely unaware that she was doing anything wrong, and Malloy suggests that she try to get a permit to do it at a senior citizens' club that she mentions. She correctly identifies Malloy as a Leo, and manages to narrow down his exact birthday (July 23, I think it was).

Next the officers see a druggist (Howard Culver), who's concerned about a 14-year-old neighborhood boy named Terry Pendleton having brought in a partially consumed bottle of Seconal pills, asking a lot of questions about potential overdosing. They go to the boy's home and talk to his mother (Margaret O'Brien), who'd just attended a lecture about drugs that the officers had given, and seems very defensive about their questions. After putting out a description of Terry (Buddy Foster), they spot him on the street and chase him down. He doesn't want to talk and insists on being taken to the station instead of his mother; and when taken home, he urges her not to talk. When informed that Terry's facing a felony, Mrs. Pendleton admits that the capsules are hers, that she's been getting them under the table, and that she's been taking eighteen a day.

Finally, the officers receive a request from the detectives investigating the liquor store robbery to rendezvous with them at a service station. The detectives have gotten a lead on the suspects' address, which is within sight of the station, and have the officers stake the place out while they check out some other leads. Eventually the vehicle that Quinn had identified pulls in, and when it looks like the suspects are about to leave again before the detectives have gotten back, the officers rush in to intercept the suspects. There's an exchange of fire, in which one of the suspects is wounded in the leg.

_______

I love pretty much everything from Jesus Christ, Superstar.
This song is all that I've got of the soundtrack, though I did see a production of it at a Westchester County dinner theater several years back. The theater shut down this year because of you-know-what.

I generally like Bread, but this isn't one of their best.
But isn't it adorable? I think Bread is trying to do rock!

This is a catchy Oldie... wait, the Osmonds? No! :rommie:
Apparently the Osmonds had been releasing records for several years. I'm not familiar with their earlier works, but it seems that they finally found breakout success by aping the Jackson 5.

I'm dancing with my hobgoblin here. I went ahead and reluctantly bought this one...I could stop there, as it's their only #1--and the only song by them that I can recall ever having heard on oldies radio--but I'm inclined to at least give their Top 10 singles a try. By the time I've done that, I've bought their $6.99 collection and might as well include all of their Top 20 singles (which I'll be covering here anyway), as I'll already own them... :crazy:

I think I remember this, except for the spoken parts. Is it a cover or something?
It was originally recorded by the Rascals, but subsequently covered by a number of other artists over the years, including a 1992 single version by Divinyls that was part of the Buffy the Vampire Slayer film soundtrack.

Gotta admit, this is a Sinatra song that I like.
It is an attention grabber. I had to get this one in before the New Year, for contrast with 2020.

Interesting. It's all new to me.
And me.

That's interesting. I don't hear the "Thanks, Dean," though.
Turns out that bit of business is from the largely different, extended, more live-in-the-studio album version:
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"The Great Santa Claus Switch" (Season 23, episode 14)
That's the stuff!

Alas, I wanted to like it more than I did, finding that it dragged a bit, filling up its hour with mediocre musical numbers.
It probably helps if you first see it as a nine year old. :rommie:

And I'm sure that somebody here quite liked the elves' escape from Cosmo's lair disguised as rocks, which included elf hero Fred breaking the fourth wall to indulge in multiple puns of this nature...
Gneiss one!

On the subject of the special's status as an Ed Sullivan episode, the name The Ed Sullivan Show is displayed at the end of the closing credits.
By the way, while I came up with no evidence that the episode was ever released as part of the show, my research did turn up this little obscurity: An unsold pilot from the early 60s where Kermit plays a Medieval bard. You'll recognize some Muppets that later turned up in Frog Prince.

but the guys are still suspicious of Oscar, and make excuses to cut the game short. Felix reveals to Oscar afterward that he put the $50 in the box out of his wallet to cover for Oscar, convinced that Oscar swiped it.
Not a lot of trust in this group. :rommie:

(Oscar cites Perry Mason as one of the great detectives--here I thought he was a lawyer)
He does do the Sherlock Holmes thing, though.

During the reenactment, Felix's attention is drawn to a sandwich that Oscar made in the dark, which turns out to have a $50 bill as one of its fixings--bitten into along with the rest of the sandwich.
A sandwich with extra bread.

Quinn also tips them off that Kegan didn't fire at the robbers, when he had a gun in his hand and a clear shot.
I wouldn't think that this is something that cops would hold against a civilian.

Mrs. Pendleton admits that the capsules are hers, that she's been getting them under the table, and that she's been taking eighteen a day.
Mother's bunch of little helpers.

There's an exchange of fire, in which one of the suspects is wounded in the leg.
Dramatic symmetry. I wonder if it was the guy's brother.

This song is all that I've got of the soundtrack, though I did see a production of it at a Westchester County dinner theater several years back. The theater shut down this year because of you-know-what.
Yeah, my local theater shut down, too, although I just got a postcard that they are planning to open on a yet-unspecififed date.

But isn't it adorable? I think Bread is trying to do rock!
:rommie:

Apparently the Osmonds had been releasing records for several years. I'm not familiar with their earlier works, but it seems that they finally found breakout success by aping the Jackson 5.
That's what I mean. I always thought this song was the Jackson 5.

It was originally recorded by the Rascals, but subsequently covered by a number of other artists over the years, including a 1992 single version by Divinyls that was part of the Buffy the Vampire Slayer film soundtrack.
It's probably the Rascals I'm thinking of.

Turns out that bit of business is from the largely different, extended, more live-in-the-studio album version:
Ah, no wonder.
 
50th Anniversary Album Spotlight

Layla and Other Assorted Love Songs
Derek & The Dominos
Released November 9, 1970
Chart debut: November 21, 1970
Chart peak: #16 (December 19, 1970)
#115 on Rolling Stone's 500 Greatest Albums of All Time (2003)
Wiki said:
Layla and Other Assorted Love Songs is the sole studio album by the English–American blues rock band Derek and the Dominos, released in November 1970 as a double album. It is best known for its title track, "Layla", and is often regarded as Eric Clapton's greatest musical achievement. The other band members were Bobby Whitlock on keyboards and vocals, Jim Gordon on drums, Carl Radle on bass. Duane Allman played lead and slide guitar on 11 of the 14 songs.


The album opens with the country rock-flavored "I Looked Away," which, like the majority of originals on the album, was co-written by Clapton and Bobby Whitlock. Appropriately enough, it's about "Layla":

And if it seemed a sin
To love another man's woman, baby
I guess I'll keep on sinning
Loving her, Lord, till my very last day

Next is the album's second most familiar song, the powerful "Bell Bottom Blues" (charts Feb. 27, 1971; #91 US):
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According to Clapton, the song was written for Pattie Boyd after she asked him to get her a pair of bell-bottom blue jeans from the United States. Clapton wrote the song for her, along with many others on the album such as "I Looked Away" and "Layla".
I'm sensing a theme here... :shifty:

"Keep on Growing" is notable for having a guitar in each channel, with a third in the middle for the solo--all apparently Clapton, as Duane Allman isn't on this track.

Duane is on side one's closer...the first of the album's covers, Jimmy Cox's blues standard "Nobody Knows You When You're Down and Out".
Bobby Whitlock said:
This song was recorded live, vocals and all, with no overdubs. It was the first take, but of course it was all worked out before we went into it.


Side two commences with one of the album's gentler tracks, "I Am Yours," written by Clapton based on The Story of Layla and Majnun by the 12th-century Persian poet Nizami, which is the work that inspired...well, you can figure that much out.

Next is "Anyday," featuring Clapton and Allman on guitar. I assume other vocalist is Bobby Whitlock. As the original songs on the album go, it's pretty undistinguished to my ear.

The remainder of the side is devoted to the album's longest track, an immersive impromptu jam of the Charlie Segar blues number "Key to the Highway":
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According to [producer Tom] Dowd, the recording of "Key to the Highway" was unplanned, triggered by the band hearing Sam Samudio [a.k.a. Sam the Sham] performing the song for his album Hard and Heavy in another room at the studio. When the Dominos spontaneously started playing it
record producer Tom Dowd...quickly told the engineers to "hit the goddamn machine!" to start the tape recorder. Because of the late start, the album track starts with a fade-in to a performance already underway.


Side three's opener, "Tell the Truth," has an interesting story behind it:
An earlier version of "Tell the Truth" was recorded in London during the sessions for George Harrison's 1970 triple album All Things Must Pass. The session marked the first recordings by Derek and the Dominos. Produced by Phil Spector, this original, faster version of the song featured guitar contributions from Harrison and Dave Mason. It was issued as Derek and the Dominos' debut single, in September 1970, although the band had the release withdrawn.


"Why Does Love Got to Be So Sad?" is an enjoyable and relatively memorable, but still not particularly outstanding, up-tempo rocker:
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The third side closes with Eric and the band in good blues-jamming form for "Have You Ever Loved a Woman," written by Billy Myles and originally recorded by Freddie King in 1960.

Side four opens with a strong but almost unrecognizable cover of "Little Wing"--I guess they knew better than to try to out-Hendrix Jimi!
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Next is the album's final and least notable cover, of Chuck Willis's 1956 R&B hit "It's Too Late".

The album goes penultimate with its title track, the artist-defining "Layla" (charts Mar. 27, 1971, reaching #51 US, #7 UK; recharts May 13, 1972, reaching #10 US; recharts in the UK in 1982, reaching #4; #27 on Rolling Stone's 500 Greatest Songs of All Time):
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The source of the album's eventual centrepiece, "Layla", was rooted in Clapton's infatuation with Pattie Boyd, the wife of his friend and Beatle lead guitarist George Harrison, who had joined Clapton as a guitarist on Delaney & Bonnie's European tour in December 1969.


Not attempting to compete with that epic masterpiece, the album closes on a low-key note with its shortest song, Whitlock's gentle "Thorn Tree in the Garden," which "was recorded with Whitlock, Clapton, Allman, Radle and Gordon sitting in a circle around a single microphone."

Wiki said:
Initially regarded as a critical and commercial disappointment, [the album] failed to chart in Britain and peaked at number 16 on the Billboard Top LPs chart in the United States. It returned to the US albums chart again in 1972, 1974 and 1977, and has since been certified Platinum by the RIAA. The album finally debuted on the UK Albums Chart in 2011, peaking at number 68.

In 2000, the album was inducted into the Grammy Hall of Fame.


Overall, this makes for a pretty good, solid listen, though I'm not sure how much casual listening I'll be giving it going forward, as I have a busy album spotlight year ahead between the two eras. Its representative tracks will be with me for a while in the master shuffle, however.

_______

It probably helps if you first see it as a nine year old. :rommie:
I'm relieved that you're not too disappointed.

And I was nine when the Star Wars Holiday Special aired...and wondered the next year why they didn't rerun it... :crazy:

Gneiss one!
That would've totally flown over the heads of the intended audience.

An unsold pilot from the early 60s where Kermit plays a Medieval bard.
I didn't know that the Muppets went back that far.

Not a lot of trust in this group. :rommie:
I meant to note that it seemed like a big step back after the Christmas episode...and it aired on Christmas Eve, no less!

I wouldn't think that this is something that cops would hold against a civilian.
I was writing this one up from memory without having taken notes while watching most of the episode, so I forgot to include a beat where they turned up that Kegan had fired on and killed a previous robber. Now under different circumstances, that might've actually been his motivation for being gun-shy in this incident. But the attitude of our hero officers was that the robbers had shot a cop, so such force was warranted.

Dramatic symmetry. I wonder if it was the guy's brother.
Think it was his partner, but he might have been the shooter. And Reed did note the poetic justice.

That's what I mean. I always thought this song was the Jackson 5.
Reading up a smidge, it seems that the song was originally written with the Jacksons in mind, by a George Jackson (apparently no relation). Anyway, isn't little Michael Donny so cute?
 
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I'm sensing a theme here... :shifty:
It's kind of sad how it all turned out. Clapton was really kind of a mess, and had his share of tragedy.

"Why Does Love Got to Be So Sad?" is an enjoyable and relatively memorable, but still not particularly outstanding, up-tempo rocker:
It gets a good amount of airplay, though.

The album goes penultimate with its title track, the artist-defining "Layla"
Definitely one of the all-time classics.

I'm relieved that you're not too disappointed.
Nah, it's definitely a personal thing. You've got to admit, though, those are some great monster Muppets and Art Carney is a joy to watch.

And I was nine when the Star Wars Holiday Special aired...and wondered the next year why they didn't rerun it... :crazy:
Still waiting for that Special Edition Blu Ray. :rommie:

That would've totally flown over the heads of the intended audience.
Their loess.

I didn't know that the Muppets went back that far.
I knew they did as far as variety-show appearances and commercials (when Kermit was a lizard!), but I had no idea they scored a pilot that early. There was actually a second pilot in the same setting, too, but it was much less ambitious.

I meant to note that it seemed like a big step back after the Christmas episode...and it aired on Christmas Eve, no less!
Maybe they aired them out of order for some inscrutable reason.

Reading up a smidge, it seems that the song was originally written with the Jacksons in mind, by a George Jackson (apparently no relation). Anyway, isn't little Michael Donny so cute?
Not as cute as Michael. I was never a big Donny and Marie fan. :rommie:
 
It's kind of sad how it all turned out. Clapton was really kind of a mess, and had his share of tragedy.
It didn't end well between him and Pattie, but at this point--when I'm sure the general public had no idea what was going on--it's like an Arthurian romance...Clapton is Lancelot, Pattie is Guinevere, and George is Arthur...which could be considered a step up from being the Third Beatle. And FWIW, George and Eric remained friends to the end.

Their loess.
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It didn't end well between him and Pattie, but at this point--when I'm sure the general public had no idea what was going on--it's like an Arthurian romance...Clapton is Lancelot, Pattie is Guinevere, and George is Arthur...which could be considered a step up from being the Third Beatle.
It was definitely epic and inspired great art.

And FWIW, George and Eric remained friends to the end.
And that is amazing.

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I guess you have no apatite for mineral puns.
 
50th Anniversary Cinematic Special

Gimme Shelter
Directed by Albert and David Maysles and Charlotte Zwerin
Starring The Rolling Stones (Mick Jagger, Charlie Watts, Keith Richard, Mick Taylor, and Bill Wyman)
Premiered December 6, 1970 (New York)
Wiki said:
Gimme Shelter is a 1970 British-American documentary film directed by Albert and David Maysles and Charlotte Zwerin chronicling the last weeks of The Rolling Stones' 1969 US tour which culminated in the disastrous Altamont Free Concert. The film is named after "Gimme Shelter", the lead track from the group's 1969 album Let It Bleed. Gimme Shelter was screened out of competition as the opening film of the 1971 Cannes Film Festival.

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This counterculture era documentary is associated with the Direct Cinema movement of the 1950s and 1960s. It was directed by the Maysles Brothers who are strong figures of the era. The movement revolves around the philosophy of being a "reactive" filmmaker, recording events as they unfold naturally and spontaneously rather than investigating the subject matter through documentary techniques such as interviews, reconstruction and voiceover.

The film depicts some of the Madison Square Garden concert later featured on the 1970 live album, Get Yer Ya-Ya's Out! The Rolling Stones in Concert, as well as Charlie Watts and a donkey filmed on the M6 motorway near Birmingham during a photography session for the album cover.
The film goes in and out of the MSG concert, early performances shown being "Jumpin' Jack Flash" and "(I Can't Get No) Satisfaction". These are intercut with foreshadowing of the end, as the Stones review film footage of the Altamont concert and listen to a radio report about the stabbing of Meredith Hunter by a member of the Hell's Angels, who were recruited to provide security. The extent of what happened out in the audience is clearly news to the band. Then the focus shifts back to the announcement of the Altamont Free Concert, in segments that feature celebrity lawyer Melvin Belli (infamous in these parts for his 1968 role in "And the Children Shall Lead") working the speaker phone to arrange the show. In this he's shown running into a major logistical roadblock regarding the scale of needed parking space.

It also shows the Stones at work in Muscle Shoals, Alabama recording "Brown Sugar" and "Wild Horses"
This relatively brief portion of the film is most noteworthy for giving late 1970 audiences a preview of the above-mentioned songs, which are coming our way in '71 with the Sticky Fingers album.

The focus goes back to MSG with a segment of Let It Bleed track "Love in Vain" being played over slo-mo footage of Mick onstage; and opening act Ike and Tina Turner performing Otis Redding's "I've Been Loving You Too Long". The Stones apparently opening their MSG set with "Honky Tonk Women"; security issues at Altamont are foreshadowed as guys and girls alike have to be dragged offstage. Mick's bit about busting a button on his trousers, which was edited for the live album, comes off more naturally as presented onscreen.

Audio from a performance of "Street Fighting Man" at MSG plays over people setting up and flocking to the Altamont concert. Mick is hit by an attendee while walking from a helicopter to his trailer; we only see the aftermath on camera. There's lots of footage of wild young attendees engaging in times-signy behavior reminiscent of Woodstock.

The daytime portion of the concert commences with the Flying Burrito Brothers performing "Six Days on the Road", and continues with Jefferson Airplane doing "The Other Side of This Life". Chaos and confusion ensues as the Hell's Angels try to beat back crowd members with pool cues, culminating in Paul Kantner chastising them on microphone for knocking out Marty Balin, who attempted to intervene. The Grateful Dead appear on camera, but aren't shown performing.

After dark the headliners mount the stage and go into "Sympathy for the Devil," while the Angels are involved in more scuffles as seen from onstage. Mick interrupts the song to try to tell everyone to cool out. Mick is not wearing a devil costume, but a half-black, half-red puffy shirt with trailing sleeves. After some additional incidents that include at least one felled person being dragged out, Mick tries ineffectually to reason with the audience and the Angels again. The band then proceeds into "Under My Thumb," the number immediately after which the stabbing of Meredith Hunter occurs.

Cut to Mick in the editing room viewing the footage in detail, with David Maysles, I presume, freezing the frame to indicate the silhouette of Hunter's gun. The film then takes us back to the concert, with the Stones proceeding into "Street Fighting Man," clearly unaware of what just happened in the audience. The Stones are then shown leaving the concert via helicopter, and a sobered Mick is shown leaving the editing room. The film ends with footage of crowds leaving the next day, accompanied by a live recording of the title song.

A tidbit of interest:
The credited camera operators for Altamont included a young George Lucas. At the concert, Lucas' camera jammed after shooting about 100 feet (30 m) of film. None of his footage was incorporated into the final cut.

_______

I guess you have no apatite for mineral puns.
This is the point where human rights organizations start getting involved.
 
RIP, Dawn Wells, the sweetest castaway ever. :(

and listen to a radio report about the stabbing of Meredith Hunter by a member of the Hell's Angels, who were recruited to provide security.
A biker gang named Hell's Angels. What could possibly go wrong?

segments that feature celebrity lawyer Melvin Belli (infamous in these parts for his 1968 role in "And the Children Shall Lead")
So, kind of a Hell's Angel himself. :rommie:

This relatively brief portion of the film is most noteworthy for giving late 1970 audiences a preview of the above-mentioned songs, which are coming our way in '71 with the Sticky Fingers album.
One of which is my favorites Stones song.

There's lots of footage of wild young attendees engaging in times-signy behavior reminiscent of Woodstock.
Unfortunately, it turned out to be kind of the anti-Woodstock.

Chaos and confusion ensues as the Hell's Angels try to beat back crowd members with pool cues, culminating in Paul Kantner chastising them on microphone for knocking out Marty Balin, who attempted to intervene.
"Shame on you!"

Mick tries ineffectually to reason with the audience and the Angels again.
"Let's think about this logically."

A tidbit of interest:
Hmm, I wonder what was on there and if it still exists.

This is the point where human rights organizations start getting involved.
Now I feel like schist. :(
 
Then the focus shifts back to the announcement of the Altamont Free Concert, in segments that feature celebrity lawyer Melvin Belli (infamous in these parts for his 1968 role in "And the Children Shall Lead") working the speaker phone to arrange the show. In this he's shown running into a major logistical roadblock regarding the scale of needed parking space.

These parts are almost pathetic. I know there were problems with the venues changing, but a celebrity lawyer is taking the helm for organizing this massive public event? He spits out stuff about "affidavits" and "orders" but he is clearly in over his head at this point. But so is everyone else involved. Belli also seems insufferably self-satisfied.

Chaos and confusion ensues as the Hell's Angels try to beat back crowd members with pool cues, culminating in Paul Kantner chastising them on microphone for knocking out Marty Balin, who attempted to intervene.

Yeah, IIRC Balin is pointing and arguing with someone below and then jumps off the stage, never to be seen again! Good plan! Later Keith Richards gets a little heated, too, singling out "that cat there" for causing some trouble, but Mick Jagger is clearly the leader and tries to take a calming approach, however ineffectual. His appeals to togetherness and peacefulness just sound futile, and even naïve.

The Grateful Dead appear on camera, but aren't shown performing.

Another great choice by the Maysles brothers!

Compared to the Stones (and Burritos) I always found the Airplane's number unfocused and weak. But their brand of psychedelic jamming was never really my bag.

The last time I watched this movie I was much more affected by it than when I first saw it in the '80s. It is, as my wife said the first time she saw it, terrifying. The way they allow the foreboding to build is terrifically effective. By the time the concert starts everybody knows: It's dangerously beyond control, but it's just too big to stop. Everybody involved is going to have to go into survival mode and ride it out.

The Maysleses are great at finding and holding on faces that reveal something: Charlie Watts's thoughts turning over and over as he tries to process the footage, Jagger much more guarded while looking at the same, the girl who is crying while trying to enjoy the music, the cold-eyed gum-chewing Angel who looks itching for a fight, the young fellow so intent on the music that his face is locked in puzzlement, the guy completely in his own tripped-out world as he pulls faces and looks like he's regressing to a caveman. I remembered a lot of the faces absolutely clearly after some 20 years when I rewatched the movie.

The short shot of concert-goers picking their way up the hill in the dark, backlit by a spotlight, has an almost post-apocalyptic eeriness. The overloaded helicopter escape seems like kind of a foreshadowing of Saigon 1975.

I really like the version of "Gimme Shelter" at the end, more rhythmic strummed chords than the arpeggiated way Keith plays it live later on. I haven't found this style of the song on any recordings other than in the movie, but it's probably out there somewhere in their universe of box sets and special re-releases.

A tidbit of interest:
The credited camera operators for Altamont included a young George Lucas.

I think it must be an unwritten law that this has to be mentioned every time this film is discussed.

Anyway, this is a really great movie. I may watch it again soon.
 
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50th Anniversary Album Spotlight
(Part 1 of 2)

All Things Must Pass
George Harrison
Released November 27, 1970
Chart debut: December 19, 1970
Chart peak: #1 (January 2 through February 13, 1971)
#437 on Rolling Stone's 500 Greatest Albums of All Time (2003)
Wiki said:
All Things Must Pass is the third studio album by English rock musician George Harrison. Released as a triple album in November 1970, it was Harrison's first solo work after the break-up of the Beatles in April that year. It includes the hit singles "My Sweet Lord" and "What Is Life", as well as songs such as "Isn't It a Pity" and the title track that had been overlooked for inclusion on releases by the Beatles. The album reflects the influence of Harrison's musical activities with artists such as Bob Dylan, the Band, Delaney & Bonnie and Friends and Billy Preston during 1968–70, and his growth as an artist beyond his supporting role to former bandmates John Lennon and Paul McCartney. All Things Must Pass introduced Harrison's signature slide guitar sound and the spiritual themes present throughout his subsequent solo work. The original vinyl release consisted of two LPs of songs and a third disc of informal jams titled Apple Jam. Several commentators interpret Barry Feinstein's album cover photo, showing Harrison surrounded by four garden gnomes, as a statement on his independence from the Beatles.

I'd intended to cover this in one sprawling post, but ran afoul of the character limit. Even the board software thinks that this album was too damn long!

The standard narrative is that George had so many songs backed up from typically only being allowed two per Beatles album that he had to release a triple album to get them all out...but this is really more of a double album with a relatively dispensable bonus disc. Thus, while it certainly contains plenty of strong material, the choice to release all three discs in one package strikes me as having been rather indulgent. And the spottiness of George's subsequent solo releases suggests that perhaps he might have held onto some of these songs for the future. He could have gotten an even better double album out of the first two discs, or pared the contents of those down to one killer single disc.

That said, I never had more than a passing interest in George's late-/post-Beatle career, and while the 30th anniversary CD set of ATMP has been in my collection since it came out, this album was previously only casually listened to. Delving into the album in more detail for the purpose of this review helped me to appreciate it as a document of George's experience in the years leading up to it.

Production began at London's Abbey Road Studios in May 1970, with extensive overdubbing and mixing continuing through October. Among the large cast of backing musicians were Eric Clapton and members of Delaney & Bonnie's Friends band – three of whom formed Derek and the Dominos with Clapton during the recording – as well as Ringo Starr, Gary Wright, Preston, Klaus Voormann, John Barham, Badfinger and Pete Drake.


The album opens on a moodily mellow note with "I'd Have You Anytime," a Harrison/Dylan collaboration.
At Woodstock in November [1968], Harrison started a long-lasting friendship with Bob Dylan and experienced a creative equality with the Band that contrasted with John Lennon and Paul McCartney's domination in the Beatles. He also wrote more songs, renewing his interest in the guitar after three years studying the Indian sitar.
"I'd Have You Anytime" is recognised as a statement of friendship between the two musicians....Harrison's verses urge the shy and elusive Dylan to let down his guard, and the Dylan-composed choruses respond with a message of welcome.


Following this, the album wastes no time going straight for the big single--the first chart-topper by any of the former Beatles--"My Sweet Lord" (charted Nov. 28, 1970; #1 US the weeks of Dec. 26, 1970, through Jan. 16, 1971; #10 AC; #1 UK; #454 on Rolling Stone's 500 Greatest Songs of All Time):
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Harrison wrote "My Sweet Lord" in praise of the Hindu god Krishna, while intending the lyrics as a call to abandon religious sectarianism through his blending of the Hebrew word hallelujah with chants of "Hare Krishna" and Vedic prayer. The recording features producer Phil Spector's Wall of Sound treatment and heralded the arrival of Harrison's slide guitar technique, which one biographer described as "musically as distinctive a signature as the mark of Zorro". [Billy] Preston, Ringo Starr, Eric Clapton, and the group Badfinger are among the other musicians on the recording.

Later in the 1970s, "My Sweet Lord" was at the centre of a heavily publicised copyright infringement suit due to its similarity to the Ronnie Mack song "He's So Fine", a 1963 hit for the New York girl group the Chiffons. In 1976, Harrison was found to have subconsciously plagiarised the song, a verdict that had repercussions throughout the music industry. Rather than the Chiffons song, he said he used the out-of-copyright Christian hymn "Oh Happy Day" as his inspiration for the melody.


Next is "Wah-Wah," an upbeat if negatively lyriced rocker written during George's temporary walk-out from the Get Back / Let It Be sessions in January 1969.
The lyrics reflect his frustration with the atmosphere in the group at that time – namely, Paul McCartney's over-assertiveness and criticism of his guitar playing, John Lennon's lack of engagement with the project and dismissal of Harrison as a songwriter, and Yoko Ono's constant involvement in the band's activities.
Recorded shortly after the Beatles' break-up in 1970, "Wah-Wah" was the first track taped for All Things Must Pass. The recording features a dense production treatment from Phil Spector and backing from a large cast of musicians including Eric Clapton, Ringo Starr, Billy Preston, Bobby Keys and the band Badfinger. On release, Rolling Stone magazine described it as "a grand cacophony of sound in which horns sound like guitars and vice versa". While several reviewers find the heavy production appropriate for the song, Harrison considered the recording overproduced and the sound too cluttered.
Contrary to expectations upon seeing the title, the song doesn't employ the guitar effect of that name.

The first side closes with the album's longest non-Apple Jam track, the sprawling "Isn't It a Pity" (#1 US as double A-side w/ "My Sweet Lord")--distinguished as "(Version One)" for the album's purposes:
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Furthering the narrative of George's artistic backup, the composition of this song and "Art of Dying" reportedly date back to 1966!
An anthemic ballad and one of Harrison's most celebrated compositions, "Isn't It a Pity" has been described as the emotional and musical centrepiece of All Things Must Pass and "a poignant reflection on The Beatles' coarse ending". Co-produced by Phil Spector, the recording employs multiple keyboard players, rhythm guitarists and percussionists, as well as orchestration by arranger John Barham. In its extended fadeout, the song references the closing refrain of the Beatles' 1968 hit "Hey Jude". Other musicians on the recording include Ringo Starr, Billy Preston, Gary Wright and the band Badfinger.


Side two opens strongly with the album's second most popular track and one of George's catchiest singles, "What Is Life" (charts Feb. 27, 1971; #10 US; #31 AC):
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Harrison's backing musicians on the song include Eric Clapton and the entire Delaney & Bonnie and Friends band, with whom he had toured during the final months of the Beatles. Harrison co-produced the recording with Phil Spector, whose Wall of Sound production also employed a prominent string arrangement by John Barham and multiple acoustic rhythm guitars, played by Harrison's fellow Apple Records signings Badfinger.

An uptempo composition in the soul genre, "What Is Life" is one of several Harrison love songs that appear to be directed at both a woman and a deity. Harrison wrote the song in 1969 and originally intended it as a track for his friend and Apple protégé Billy Preston to record.
This is one of those songs that just makes me instinctively notch up the volume.

Next is "If Not for You," a charming Dylan composition from his contemporaneous New Morning album, the sessions for which George participated in.
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Bob Dylan wrote "If Not for You" as a love song to his wife Sara. It was one of several songs he wrote in 1970 that conveyed his contentment with family life.
A cover of this song, based on George's arrangement, will be Olivia Newton-John's first chart hit in 1971.

Dylan's presence on the album--despite being one of the few musicians on the planet who didn't participate in its recording--continues with "Behind That Locked Door," a Harrison composition written to him.
Harrison wrote the song in August 1969 as a message of encouragement to Bob Dylan, who was making a highly publicised comeback to the concert stage, accompanied by the Band, with a headlining performance at the Isle of Wight Festival. "Behind That Locked Door" is a rare Harrison composition in the country music genre and the second song dealing with the friendship between himself and Dylan....Its lyrics address Dylan's elusive nature, and reflect the high regard in which Harrison held the American singer's work.
Co-produced by Phil Spector, the recording features a prominent contribution from Nashville pedal steel virtuoso Pete Drake, and twin keyboard parts from Gary Wright and Billy Preston in the tradition of the Band, whose sound influenced Harrison's arrangement. With its understated performance, the track is a comparatively rare departure from the big production commonly associated with All Things Must Pass.
Speaking of wah-wah, the album's Wiki page drops the tidbit that an uncredited Peter Frampton played on the tracks that featured Drake.

"Let It Down" is striking for the contrast noted below...
The recording was co-produced by Phil Spector and employs the latter's Wall of Sound production technique to lavish effect. Its brash opening and choruses contrast with the ethereal quality of the verses....

Harrison wrote the song in 1968 and offered it to the Beatles in January 1969 for inclusion on what became their Let It Be album (1970), also produced by Spector....Harrison biographers recognise "Let It Down" as an erotic love song, perhaps written to a woman other than Pattie Boyd, his wife at the time....

Harrison recorded the song in London, backed by a large cast of musicians, including the whole of Clapton's newly formed band Derek and the Dominos, Gary Brooker, Gary Wright, Bobby Keys and the group Badfinger. With its dense mix of horns, orchestral strings and heavy rock instrumentation, commentators identify "Let It Down" as an extreme example of Spector's influence on All Things Must Pass.


I'd say that the first disc closes with "Run of the Mill," but the triple LP likely had its first four sides sequenced for automatic record changers, in which case this would have been the first side of the second disc. Anyway, the song has a story of waning Fabness...
Harrison wrote the song shortly after the Beatles' troubled Get Back sessions in early 1969....The lyrics reflect the toll that running their company Apple Corps had taken on relationships within the band, especially between Paul McCartney and the other three Beatles, as well as Harrison's dismay at John Lennon's emotional withdrawal from the band....

The musical arrangement for "Run of the Mill" bears the influence of the Band, with whom Harrison had spent time in Woodstock before starting work on the Get Back project. Co-produced by Phil Spector, the recording features contributions from Gary Wright and former members of Delaney & Bonnie's Friends band, including Jim Gordon, Jim Price and Bobby Whitlock.

Biographers and reviewers have variously described "Run of the Mill" as an essay on karma, a tale of lost friendship, and a love song to the Beatles. Olivia Harrison has named it among her favourites of all her late husband's compositions.


Side three--which would have been on the second disc one way or the other--opens with "Beware of Darkness".
The lyrics warn against allowing illusion to get in the way of one's true purpose in life, an admonition that, like the content of "My Sweet Lord", reflects the influence of Harrison's association with the Radha Krishna Temple. Several critics recognise the song as one of the best tracks on All Things Must Pass.


I find "Apple Scruffs" to be kind of cute in its concept, but not of much musical enjoyment.
It was written as a tribute to the die-hard Beatles fans known as Apple scruffs, who would wait in certain London locations where the band members were likely to appear, even long after the group's break-up in April 1970.

The recording has been noted for its Bob Dylan influence, featuring Harrison on acoustic guitar and harmonica, and is recognised as a departure from the big sound synonymous with All Things Must Pass. "Apple Scruffs" was also released as the B-side to "What Is Life", gaining further popularity through airplay on US radio, and became the preferred side of the single in some countries.


The second disc's worth of material definitely ventures into weaker and less memorable territory. "Ballad of Sir Frankie Crisp (Let It Roll)" also has a story that's more noteworthy than the song that conveys it.
Harrison wrote the song as a tribute to Frank Crisp, a nineteenth-century lawyer and the original owner of Friar Park – the Victorian Gothic residence in Henley-on-Thames, Oxfordshire, that Harrison purchased in early 1970. Commentators have likened the song to a cinematic journey through the grand house and the grounds of the estate.

The recording features backing from musicians such as Pete Drake, Billy Preston, Gary Wright, Klaus Voormann and Alan White. It was co-produced by Phil Spector, whose heavy use of reverb adds to the ethereal quality of the song....

Crisp's eccentric homilies, which the former Beatle discovered inscribed inside the house and around the property, inspired subsequent compositions of Harrison's, including "Ding Dong, Ding Dong" and "The Answer's at the End".


The album--and George's solo career--take a turn for the more blatantly preachy with "Awaiting on You All"...but at least the music grabs your attention here.
Along with the single "My Sweet Lord", it is among the more overtly religious compositions on All Things Must Pass, and the recording typifies co-producer Phil Spector's influence on the album, due to his liberal use of reverberation and other Wall of Sound production techniques. Harrison recorded the track in London backed by musicians such as Eric Clapton, Bobby Whitlock, Klaus Voormann, Jim Gordon and Jim Price – many of whom he had toured with, as Delaney & Bonnie and Friends, in December 1969, while still officially a member of the Beatles. Musically, the composition reflects Harrison's embracing of the gospel music genre, following his production of fellow Apple Records artists Billy Preston and Doris Troy.

In his lyrics to "Awaiting on You All", Harrison espouses a direct relationship with God over adherence to the tenets of organised religion. Influenced by both his association with London-based Hare Krishna devotees, known as the Radha Krishna Temple, and the Vedanta-inspired teachings of Swami Vivekananda, Harrison sings of chanting God's name as a means to cleanse and liberate oneself from the impurities of the material world. While acknowledging the validity of all faiths, in essence, his song words explicitly criticise the Pope and the perceived materialism of the Catholic Church – a verse that EMI and Capitol Records continue to omit from the album's lyrics. He also questions the validity of John Lennon and Yoko Ono's 1969 campaign for world peace, reflecting a divergence of philosophies between Harrison and his former bandmate after their shared interest in Hindu spirituality in 1967–68.

Several commentators have identified "Awaiting on You All" as one of the highlights of All Things Must Pass; author and critic Richard Williams likens it to the Spector-produced "River Deep – Mountain High", by Ike & Tina Turner. The track is featured in the books 1001 Songs You Must Hear Before You Die by Robert Dimery and 1001 Songs by Toby Creswell.
The controversial lines are pretty cute:

And while the Pope owns 51% of General Motors
And the stock exchange is the only thing he's qualified to quote us

Side three closes with the album's title track, "All Things Must Pass":
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Billy Preston released the song originally – as "All Things (Must) Pass" – on his Apple Records album Encouraging Words (1970), after the Beatles had rejected it for inclusion on their Let It Be album in January 1969. The composition reflects the influence of the Band's sound and communal music-making on Harrison, after he had spent time with the group in Woodstock, New York, in late 1968, while Timothy Leary's poem "All Things Pass", a psychedelic adaptation of the Tao Te Ching, provided inspiration for his song lyrics.

The subject matter deals with the transient nature of human existence, and in Harrison's All Things Must Pass reading, words and music combine to reflect impressions of optimism against fatalism. On release, together with Barry Feinstein's album cover image, commentators viewed the song as a statement on the Beatles' break-up. Widely regarded as one of Harrison's finest compositions, its rejection by his former band has provoked comment from biographers and reviewers....The recording was co-produced by Phil Spector in London; it features an orchestral arrangement by John Barham and contributions from musicians such as Ringo Starr, Pete Drake, Bobby Whitlock, Eric Clapton and Klaus Voormann.


To be continued...
 
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50th Anniversary Album Spotlight
(Part 2 of 2)

All Things Must Pass
George Harrison

The side of the album that would have shared a disc with side one opens with "I Dig Love".
A paean to free love, it marks a departure from the more profound, spiritually oriented subject matter of much of that album. Musically, the song reflects Harrison's early experimentation with slide guitar, a technique that he was introduced to while touring with Delaney & Bonnie and Friends in December 1969.

Typically of much of the material on All Things Must Pass, the recording features an extended line-up of musicians, including three guitarists, two drummers and three keyboard players. Among the musicians were former Delaney & Bonnie band members Eric Clapton, Bobby Whitlock and Dave Mason, along with Billy Preston and Ringo Starr. The track was co-produced by Phil Spector and recorded in London. On release, it was among the album's most popular songs on US radio. Given the high standard of Harrison's songwriting on All Things Must Pass, however, several of his biographers have since held "I Dig Love" in low regard and consider it to be one of the album's weakest tracks.
It opens with a catchy (multiple?) keyboard hook, at least.

Spiritual concerns come to the fore again with the morbid yet upbeat "Art of Dying".
Harrison began writing the song in 1966 while still a member of the Beatles and during a period when he had first become enamoured with Hindu-aligned spirituality. The subject matter is reincarnation and the need to avoid rebirth, by limiting actions and thoughts that lead to one's soul returning in another, earthbound life form.

Harrison recorded "Art of Dying" in London shortly after the Beatles' break-up in April 1970. The song was co-produced by Phil Spector and features a hard rock arrangement. The backing musicians include Eric Clapton and the rest of the latter's short-lived band Derek and the Dominos, as well as Gary Wright, Billy Preston, Bobby Keys and Jim Price. The song has received praise from several music critics; among these, James Hunter of Rolling Stone described it as a "spookily proto-disco" performance by "a rock orchestra recorded with sensitivity and teeth and faraway mikes".
Glad it wasn't just me thinking that it sounds like disco! It's interesting and not a bad listen as recorded here, but if George pulled this out at Abbey Road back in '66, I can't blame John and Paul for giving it a pass. "Right, then...let's have a go at 'Taxman,' shall we?"

As previously alluded to, the reason for adding a qualifier to "Isn't It a Pity" is because the album gives us a more succinct reprise, "(Version Two)," which features Eric Clapton on lead guitar.

The album proper closes on a pious note with "Hear Me Lord," which has a good gospel-influenced sound.
Harrison wrote "Hear Me Lord" in January 1969 while still a member of the Beatles. The band rehearsed it briefly at Twickenham Film Studios that month, but it was passed over for inclusion on what became their final album, Let It Be.

The song is in the gospel-rock musical style and the lyrics take the form of a personal prayer, in which Harrison seeks help and forgiveness from his deity. Along with "My Sweet Lord", it is among the most overtly religious selections on All Things Must Pass. The recording was co-produced by Phil Spector and includes musical contributions from Eric Clapton, Gary Wright, Billy Preston, Bobby Whitlock and other musicians from Delaney & Bonnie's Friends band.


Wiki doesn't have as much to say about the final disc--which I assume remained separate sequentially--Apple Jam (referring to the Beatles' Apple Studios, where it was recorded).
Four of the five tracks – "Out of the Blue", "Plug Me In", "I Remember Jeep" and "Thanks for the Pepperoni" – are improvised instrumentals built around minimal chord changes, or in the case of "Out of the Blue", a single-chord riff.
"Thanks for the Pepperoni" and "Plug Me In" [feature] Harrison, Clapton and Mason each taking extended guitar solos.
In a December 2000 interview with Billboard magazine, Harrison explained: "For the jams, I didn't want to just throw [them] in the cupboard, and yet at the same time it wasn't part of the record; that's why I put it on a separate label to go in the package as a kind of bonus."


Side five opens with the full triple album's longest track at over eleven minutes, "Out of the Blue," which isn't as immersive as I like my sprawling instrumental jams to be, as it mostly stays on the same loudly monotonous track.

This is followed by the only vocal song on the disc, "It's Johnny's Birthday," which was recorded in commemoration of the 30th birthday of, yes, that Johnny. Its demented, carnivalesque arrangement was based on a Cliff Richard song, which eventually resulted in co-credits being added for the original writers, Bill Martin and Phil Coulter.

The last number on this side is a much shorter instrumental, the more enjoyably hard-rocking "Plug Me In".

Side six contains only two instrumentals. "I Remember Jeep"--the title of which refers to Eric Clapton's dog--features Ginger Baker on drums. It's attempting to be a little more ambitious/experimental, but I find the "outer space" electronic effects grating.

The full triple album closes with the Chuck Berry-style "Thanks for the Pepperoni".

All Things Must Pass was critically and commercially successful on release, with long stays at number one on charts worldwide. Co-producer Phil Spector employed his Wall of Sound production technique to notable effect; Ben Gerson of Rolling Stone described the sound as "Wagnerian, Brucknerian, the music of mountain tops and vast horizons". Reflecting the widespread surprise at the assuredness of Harrison's post-Beatles debut, Melody Maker's Richard Williams likened the album to Greta Garbo's first role in a talking picture and declared: "Garbo talks! – Harrison is free!" According to Colin Larkin, writing in the 2011 edition of his Encyclopedia of Popular Music, All Things Must Pass is "generally rated" as the best of all the former Beatles' solo albums.

During the final year of his life, Harrison oversaw a successful reissue campaign to mark the 30th anniversary of the album's release. After this reissue, the Recording Industry Association of America certified the album six-times platinum. Among its appearances on critics' best-album lists, All Things Must Pass was ranked 79th on The Times' "The 100 Best Albums of All Time" in 1993, while Rolling Stone placed it 368th on the magazine's 2020 update of "The 500 Greatest Albums of All Time". In 2014, All Things Must Pass was inducted into the Grammy Hall of Fame.


Overall and with due consideration, I have to stick to my guns on this one. The first couple of sides make a very strong first impression; but with even the most casual of listens, somewhere in the middle two sides the album comes to seem like it's never-ending; and the general consensus on the last two sides is that they're throwaway filler. So it's a very frontloaded work that I could see myself putting on some more in the future, but which would inevitably entail starting but never finishing it.

_______

RIP, Dawn Wells, the sweetest castaway ever. :(
I saw that last night...she had a long life, but it shouldn't have ended with COVID. :(

So, kind of a Hell's Angel himself. :rommie:
I had considered making a crack about the not-so-friendly Angels...

One of which is my favorites Stones song.
Hmmm...I'd like to think that it's the obvious one, but have learned not to expect the obvious from you.

"Shame on you!"
Paul Kantner said:
Hey, man, I'd like to mention that the Hells Angels just smashed Marty Balin in the face, and knocked him out for a bit. I'd like to thank you for that.


RJDiogenes said:
"Let's think about this logically."
Mick said:
Who's fighting and what for? Why are we fighting? Why are we fighting? We don't want to fight. Come on!
Mick also said:
Hey, people. Sisters. Brothers and sisters. Brothers and sisters. Come on, now. That means everybody just cool out! Will you cool out, everybody. I know. Everybody, be cool now. Come on. Alright? How are we doing over there? Alright? Can we still make it down the front? Is there anyone there that's hurt, huh? Everyone alright? Okay? Alright. I think we are cool. We can go. We always havin' something very funny happens when we start that number.
Mick also also said:
I cannot see what's going on. I just know that every time we get to a number, something happens. I don't know what's going on. Who's doing what? It's just a scuffle. All I can ask you, San Francisco, is like the whole thing, like, this could be the most beautiful evening we've had for this winter. You know and we've really--Why, don't, let's--get up man--let's get it together! I can't do any more than just ask you. To beg you--just to keep it together. You can do it! It's within your power. Everyone. Everyone. Hell's Angels. Everybody. Let's just keep ourselves together. You know, if we, if we are all one--let's show we're all one!


These parts are almost pathetic. I know there were problems with the venues changing, but a celebrity lawyer is taking the helm for organizing this massive public event? He spits out stuff about "affidavits" and "orders" but he is clearly in over his head at this point. But so is everyone else involved. Belli also seems insufferably self-satisfied.
"I WILL DESTROY YOU! YOU WILL BE SWEPT AWAY TO MAKE WAY FOR THE STRONG!"

Mick Jagger is clearly the leader and tries to take a calming approach, however ineffectual. His appeals to togetherness and peacefulness just sound futile, and even naïve.
I think that he was genuinely expecting to catch lightning in a bottle, for this to be the next Woodstock...the main kink in that plan being the Hell's Angels.

Another great choice by the Maysles brothers!
Rights issues, perhaps? Didn't they withhold their performance from the Woodstock film and soundtrack so that they could do their own release?

The last time I watched this movie I was much more affected by it than when I first saw it in the '80s. It is, as my wife said the first time she saw it, terrifying. The way they allow the foreboding to build is terrifically effective. By the time the concert starts everybody knows: It's dangerously beyond control, but it's just too big to stop. Everybody involved is going to have to go into survival mode and ride it out.
Now that you mention it, I recall it having more of an impact upon watching it for the first time back in the '90s. This time, while my memory of the film's details was vague to nonexistent (the main part sticking out in my memory being the editing room reveal of the gun), I went in knowing what to expect.

the guy completely in his own tripped-out world as he pulls faces and looks like he's regressing to a caveman
I know exactly who you're talking about here, and what the hell was up with that guy!?! :lol: He's just plain freaky to watch.

I think it must be an unwritten law that this has to be mentioned every time this film is discussed.
Well, it is of some interest in a place like this, and was news to me!

Anyway, this is a really great movie. I may watch it again soon.
Hopefully you have it in a more modern format than I. Getting my copy ready for viewing brought to mind those immortal words, "BE KIND--PLEASE REWIND".

_______

HAPPY NEW YEAR, EVERYONE!

:beer: 1966 :beer:

:beer: 1971 :beer:

:crazy: :crazy: 2021...? :crazy: :crazy:
 
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"I WILL DESTROY YOU! YOU WILL BE SWEPT AWAY TO MAKE WAY FOR THE STRONG!"

:lol:And was that his law office? It looked like a cross between a badly-decorated restaurant and a junk shop.

Rights issues, perhaps?

That was just a joke, the Dead never played. One version is they got bad vibes and split, another is that everything was getting so delayed that they gave up their spot so the Stones set could start at a reasonable time.

Well, it is of some interest in a place like this, and was news to me.

Sure, I would have mentioned it if it was me.

Hopefully you have it in a more modern format than I. Getting my copy ready for viewing brought to mind those immortal words, "BE KIND--PLEASE REWIND".

Wow! No, I have it on a streaming service, I've just been watching it with the commentary track.

HAPPY NEW YEAR, EVERYONE!

Seconded!
 
:lol:And was that his law office? It looked like a cross between a badly-decorated restaurant and a junk shop.
Well, it was the the threshold between the '60s and '70s...

That was just a joke, the Dead never played. One version is they got bad vibes and split
Ah, right...now I remember reading that.

Wow! No, I have it on a streaming service, I've just been watching it with the commentary track.
I recorded it in '94, I presume, when VH1 did an all-Stones day as a promotion for the kickoff of their Voodoo Lounge tour.
 
I'd intended to cover this in one sprawling post, but ran afoul of the character limit.
Impressive. :D

the album wastes no time going straight for the big single--the first chart-topper by any of the former Beatles--"My Sweet Lord"
An excellent song, despite the religion.

Contrary to expectations upon seeing the title, the song doesn't employ the guitar effect of that name.
I assumed it meant that somebody's a crybaby. :rommie:

"What Is Life"
This one is my favorite.

I saw that last night...she had a long life, but it shouldn't have ended with COVID. :(
No, that was not her time.

Hmmm...I'd like to think that it's the obvious one, but have learned not to expect the obvious from you.
I'm complicated. :rommie: I'm also not sure which one you think is the obvious one. :rommie:

As for Mick's quotes, it was a genuinely nice try. It's a tragedy the way things turned out, but he was complicit in that.

HAPPY NEW YEAR, EVERYONE!

:beer: 1966 :beer:

:beer: 1971 :beer:

:crazy: :crazy: 2021...? :crazy: :crazy:
Happy New Year to all!
party.gif
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Strange-Brew.gif


2021 seems stable so far. I'm keeping an eye on it.
unsure.gif
 
55 Years Ago This Week

Wiki said:
January 2 – A wildcat strike by public transportation workers in New York City, led by Mike Quill, begins, designed to coincide with the beginning of Republican John V. Lindsay's mayoralty. (The strike ends on January 13.)
January 3 – The first Acid Test is conducted at the Fillmore, San Francisco.
January 4
  • A military coup occurs in Upper Volta (later Burkina Faso).
  • The prime ministers of India and Pakistan meet in Moscow.
  • A gas leak fire at the Feyzin oil refinery near Lyon, France, kills 18 and injures 82.



Selections from Billboard's Hot 100 for the week:
1. "We Can Work It Out," The Beatles
2. "The Sound of Silence," Simon & Garfunkel
3. "She's Just My Style," Gary Lewis & The Playboys
4. "Flowers on the Wall," The Statler Brothers
5. "Ebb Tide," The Righteous Brothers
6. "Over and Over," The Dave Clark Five
7. "I Got You (I Feel Good)," James Brown & The Famous Flames
8. "Five O'Clock World," The Vogues
9. "Turn! Turn! Turn! (To Everything There Is a Season)," The Byrds
10. "Day Tripper," The Beatles
11. "Let's Hang On!," The Four Seasons
12. "Fever," The McCoys
13. "No Matter What Shape (Your Stomach's In)," The T-Bones
14. "As Tears Go By," The Rolling Stones
15. "A Must to Avoid," Herman's Hermits
16. "You Didn't Have to Be So Nice," The Lovin' Spoonful

18. "The Duck," Jackie Lee

21. "Puppet on a String," Elvis Presley

23. "Just Like Me," Paul Revere & The Raiders

25. "It's My Life," The Animals

27. "Don't Think Twice," The Wonder Who?
28. "Attack," The Toys
29. "A Sweet Woman Like You," Joe Tex
30. "Thunderball," Tom Jones
31. "Sunday and Me," Jay & The Americans
32. "Jenny Take a Ride!," Mitch Ryder & The Detroit Wheels

34. "The Little Girl I Once Knew," The Beach Boys
35. "Lies," The Knickerbockers
36. "I Can Never Go Home Anymore," The Shangri-Las
37. "Sandy," Ronny & The Daytonas
38. "A Well Respected Man," The Kinks

40. "Taste of Honey," Herb Alpert & The Tijuana Brass

43. "Hang On Sloopy," Ramsey Lewis Trio

45. "Crying Time," Ray Charles

47. "It Was a Very Good Year," Frank Sinatra

52. "My Love," Petula Clark

56. "Zorba the Greek," Herb Alpert & The Tijuana Brass
57. "Uptight (Everything's Alright)," Stevie Wonder
58. "Barbara Ann," The Beach Boys
59. "Going to a Go-Go," The Miracles

65. "Don't Mess with Bill," The Marvelettes
66. "Lightnin' Strikes," Lou Christie
67. "Like a Baby," Len Barry

80. "I See the Light," The Five Americans
81. "Call Me," Chris Montez
82. "I Ain't Gonna Eat My Heart Out Anymore," The Young Rascals

98. "Michelle," David & Jonathan
99. "California Dreamin'," The Mamas & The Papas


Leaving the chart:
  • "I Hear a Symphony," The Supremes (10 weeks)
  • "I'm a Man," The Yardbirds (10 weeks)
  • "1-2-3," Len Berry (15 weeks)

New on the chart:

"Call Me," Chris Montez
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(#22 US; #2 AC)

"Michelle," David & Jonathan
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(#18 US; #3 AC; #11 UK; written by...but you caught the album spotlight, right?)

"California Dreamin'," The Mamas & The Papas
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(#4 US; #23 UK; #89 on Rolling Stone's 500 Greatest Songs of All Time)


And new on the boob tube:
  • The Ed Sullivan Show, Season 18, episode 17
  • Branded, "The Golden Fleece"
  • 12 O'Clock High, "Falling Star"
  • Gilligan's Island, "Not Guilty"
  • The Wild Wild West, "The Night of the Steel Assassin"
  • Hogan's Heroes, "Happy Birthday, Adolf"
  • Get Smart, "Double Agent"

_______

I'm complicated. :rommie: I'm also not sure which one you think is the obvious one. :rommie:
One of them was a chart-topper, and the other didn't make the Top 20.

Slow Stones were never my bag. I like to sing along, "Willllllld horses / couldn't speed up this song".

Happy New Year to all!
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Strange-Brew.gif
Had to inspect the image to verify what the guy in the middle is doing. Looks more like he's playing a keyboard, very angrily.

2021 seems stable so far. I'm keeping an eye on it.
unsure.gif
In the immortal words of a guy named John, "It can't get no worse."
 
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"Call Me," Chris Montez
It's funny that this came out in January. I've always thought of it as a Summery song.

"Michelle," David & Jonathan
Kind of redundant.

"California Dreamin'," The Mamas & The Papas
An Oldies classic.

One of them was a chart-topper, and the other didn't make the Top 20.
Well, that's surprising. But I'll go with the chart-topper this time.

Slow Stones were never my bag. I like to sing along, "Willllllld horses / couldn't speed up this song".
:rommie: I do like "Wild Horses," but my favorite Stones tunes tend to be the rockin' ones.

Had to inspect the image to verify what the guy in the middle is doing. Looks more like he's playing a keyboard, very angrily.
Hmm. Maybe I'm just used to him. Or maybe it's the background color here. Or maybe your eyes are even worse than mine. :rommie:

In the immortal words of a guy named John, "It can't get no worse."
Knock on wood.
 
50 Years Ago This Week

Wiki said:
January 3 – BBC Open University begins in the United Kingdom.
January 5 – The first ever One Day International cricket match is played between Australia and England at the Melbourne Cricket Ground.
January 8 – Tupamaros kidnap Geoffrey Jackson, British ambassador to Uruguay, in Montevideo, keeping him captive until September.
January 9 – Uruguayan president Jorge Pacheco Areco demands emergency powers for 90 days due to kidnappings, and receives them the next day.



Selections from Billboard's Hot 100 for the week:
1. "My Sweet Lord" / "Isn't It a Pity", George Harrison
2. "Knock Three Times," Dawn
3. "One Less Bell to Answer," The 5th Dimension
4. "Black Magic Woman," Santana
5. "I Think I Love You," The Partridge Family
6. "The Tears of a Clown," Smokey Robinson & The Miracles
7. "Does Anybody Really Know What Time It Is?," Chicago
8. "Stoned Love," The Supremes
9. "Lonely Days," Bee Gees
10. "Stoney End," Barbra Streisand
11. "Groove Me," King Floyd
12. "It's Impossible," Perry Como
13. "Pay to the Piper," Chairmen of the Board
14. "River Deep - Mountain High," The Supremes & Four Tops
15. "Domino," Van Morrison
16. "For the Good Times," Ray Price
17. "Your Song," Elton John
18. "Rose Garden," Lynn Anderson
19. "One Man Band," Three Dog Night
20. "If I Were Your Woman," Gladys Knight & The Pips
21. "No Matter What," Badfinger
22. "Gypsy Woman," Brian Hyland
23. "Immigrant Song," Led Zeppelin
24. "Love the One You're With," Stephen Stills
25. "We Gotta Get You a Woman," Runt
26. "He Aint Heavy...He's My Brother," Neil Diamond
27. "Be My Baby," Andy Kim

29. "I Really Don't Want to Know" / "There Goes My Everything", Elvis Presley
30. "(Don't Worry) If There's a Hell Below We're All Going to Go," Curtis Mayfield
31. "Remember Me," Diana Ross
32. "Born to Wander," Rare Earth
33. "Stop the War Now," Edwin Starr

35. "5-10-15-20 (25-30 Years of Love)," The Presidents
36. "Amos Moses," Jerry Reed
37. "Amazing Grace," Judy Collins
38. "Mr. Bojangles," Nitty Gritty Dirt Band
39. "Watching Scotty Grow," Bobby Goldsboro

43. "I Hear You Knocking," Dave Edmunds

46. "Only Love Can Break Your Heart," Neil Young

49. "(Do the) Push and Pull (Part 1)," Rufus Thomas

50. "If You Could Read My Mind," Gordon Lightfoot

57. "Let Your Love Go," Bread

61. "Temptation Eyes," The Grass Roots

64. "One Bad Apple," The Osmonds

68. "Paranoid," Black Sabbath

78. "Superstar," Murray Head w/ The Trinidad Singers

83. "Sweet Mary," Wadsworth Mansion

87. "Mother," John Lennon / Plastic Ono Band


Leaving the chart:
  • "After Midnight," Eric Clapton (12 weeks)
  • "I'll Be There," Jackson 5 (16 weeks)
  • "We've Only Just Begun," Carpenters (17 weeks)

New on the chart:

"Mother," John Lennon / Plastic Ono Band
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(#43 US)


And new on the boob tube:
  • The Ed Sullivan Show, Season 23, episode 16
  • Rowan & Martin's Laugh-In, Season 4, episode 16
  • Hawaii Five-O, "Ten Thousand Diamonds and a Heart"
  • Ironside, "The Quincunx"
  • The Odd Couple, "They Use Horseradish, Don't They?"
  • The Brady Bunch, "Where There's Smoke"
  • The Partridge Family, "Mom Drops Out"
  • That Girl, "Those Friars"
  • Love, American Style, "Love and the Only Child / Love and the Wig"
  • Mission: Impossible, "Cat's Paw"
  • Adam-12, "Log 115: Gang War"
  • The Mary Tyler Moore Show, "Party Is Such Sweet Sorrow"

_______

It's funny that this came out in January. I've always thought of it as a Summery song.
My first exposure to this song was Billy Crystal doing it on a karaoke machine in When Harry Met Sally...which I've always considered to be a New Year's movie, so the song is right where it should be.

Kind of redundant.
Well, at least somebody got a modest hit out of it. The original could have been a #1.

An Oldies classic.
And the debut of another major mid-60s artist...the music of the decade is entering its peak period.

Or maybe it's the background color here.
I am using Big Blue, and some of the guitar details seemed obscured.
 
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"Mother," John Lennon / Plastic Ono Band
Ah, well, there's better on the way.

My first exposure to this song was Billy Crystal doing it on a karaoke machine in When Harry Met Sally...which I've always considered to be a New Year's movie, so the song is right where it should be.
Interesting. I never saw that movie.

I am using Big Blue, and some of the guitar details seemed obscured.
Ah, that's too bad. I love those green Smilies.
 
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