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Post by My Avatar Is A Hot Babe on Dec 15, 2021 18:44:56 GMT
The removal of Yoko - if that's what occurred here - seems a pretty massive bit of revisionist history that, in my opinion, would render the whole thing dubious. Not only does what we see of Yoko in this film not remotely fit the narrative we've heard from the non-John members of the Beatles, but in retrospect it portrays them as victimizing their brilliant, hopelessly in love bandmate for doing little more than not wanting to spend time away from his woman. So what's left, based on what we see in the film, is that Paul and George in particular just couldn't stomach the idea of Yoko's presence, silent or otherwise (despite showing virtually no evidence of that, either). Something just seems a bit too simplistic about that. Victimizing? What content in the series supports this melodramatic interpretation? you completely failed to grasp the context in which those statements were made. it's called conjecture, and it's largely (and intentionally) farcical because I'm somewhat doubtful of the accuracy of what's portrayed in the documentary.
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Post by hoffa_nagila on Dec 15, 2021 18:53:18 GMT
The only removal of Yoko was omitting the arguably important moment early on where she spoke up with an idea for the proposed performance/TV special. She suggested the band play to a room of empty chairs and MACCA at least seemed receptive.
This concept seems to have evolved into the original idea for the Plastic Ono Band, which reverses the roles and has an audience with no human band: "One [plastic] column holds a tape-recorder and amplifier, another a closed circuit TV set with live camera, a third a record player with amplifier, and the fourth has a miniature light show and a loud speaker."
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Sounds.. ago
Amy Grant
This is not a secret club. This is my forum.
Posts: 1,998
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Post by Sounds.. ago on Dec 15, 2021 20:30:07 GMT
The only removal of Yoko was omitting the arguably important moment early on where she spoke up with an idea for the proposed performance/TV special. She suggested the band play to a room of empty chairs and MACCA at least seemed receptive. This concept seems to have evolved into the original idea for the Plastic Ono Band, which reverses the roles and has an audience with no human band: "One [plastic] column holds a tape-recorder and amplifier, another a closed circuit TV set with live camera, a third a record player with amplifier, and the fourth has a miniature light show and a loud speaker." Rfreeman should adopt this concept and have no band, just music stands.
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Post by Boozin' Susan on Dec 17, 2021 0:32:13 GMT
Well, it has been almost two weeks since watching Get Back, and I admit it is still on my mind quite a bit.
The biggest surprise is I now find myself wanting to get the recent Let It Be set for Giles Martin’s remix as well as Glyn Johns’ 1969 Get Back mixes. (I didn’t bother with the White Album or Abbey Road sets, so actually wanting Let It Be is a shocker.)
I think it might be due to how Peter Jackson’s film made me rethink the entire Get Back project (and perhaps it humanized the group a bit more in my eyes).
Stuff like Paul getting teary-eyed when he thinks John has bailed (“…and then there are two…”), and the group – and Paul – openly discussing Paul’s domineering presence (as opposed to behind his back) made me see that the band was fully aware of the forces that were pulling them apart.
This wasn’t a case of 20/20 hindsight. They knew in real time that things weren’t going so great between themselves.
Yet, at this point, they were still committed to each other.
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Post by krabapple on Dec 17, 2021 0:40:23 GMT
Haven't seen it. I do plan to watch the last hour or so. Eventually.
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Chungus
Sir Ringo
High time we had a definitive Who CD pressings thread
Posts: 659
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Post by Chungus on Dec 17, 2021 0:50:21 GMT
I love poking fun at them all but still, yes, I am a Beatard. And I've been loving it. Though I'm still not finished part two. Even with all the somewhat jarring editing (where people are talking and its clearly not the right visual because they don't have that footage), it's a pretty fascinating character study and a close look at undisciplined group dynamics. It's like MTV's The Real World: Beatles. I also think McCartney is pretty much a pop music genius at this 1969 point, probably his peak year of all time, even if he can be annoying as hell.
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Post by Norman ‘Whiplash’ Mailer on Dec 17, 2021 1:49:38 GMT
I’m not a Beatles fan, but I watched it all over three consecutive nights a couple of weeks ago and really liked it. So much so that I was killing time in a record store a couple of days later, saw the Let It Be album, and considered buying it, until I looked at the track listing and realized most of the songs sucked. Conversely, the other day I watched Jim Jarmusch’s Stooges documentary and got nothing out of it, despite them being one of my all-time favourite bands. I think I just like watching documentaries about bands I don’t care about (like those Wilco or Brian Jonestown Massacre/Dandy Warhols documentaries from 15 years ago) instead of ones about bands I love because I just find myself becoming disinterested while seeing stuff I already know.
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Post by gobshite on Dec 17, 2021 2:22:22 GMT
The Metallica doc (Some Kind of Monster) is one of my top faves, and I'd never listen to any of their crud. Some day I'll be in the mood for 8 hours of the Beatles; I get the craving/nostalgia every few years.
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Post by Chicken in Black on Dec 17, 2021 6:51:15 GMT
The Velvet Underground, by Todd Haynes, is great, whether you care about the band or not.
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bradman
Better than Steve
Posts: 5,159
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Post by bradman on Dec 17, 2021 11:20:18 GMT
I hate watched the Eagles doc, every minute of it.
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Post by respiratoryproblems on Dec 17, 2021 11:46:34 GMT
I watched the final part yesterday while I was laid out with post-booster fatigue, and I really enjoyed it. The whole rooftop sequence was real lump-in-the-throat stuff - although it was exciting (and the reception staff fucking around with those junior coppers was hilarious) it was also weird knowing that they’d never play together like that again. The bit afterwards with everyone crammed into the tiny control room - which must have absolutely reeked of body odour and stale tobacco - felt almost like a wake.
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Post by hoffa_nagila on Dec 17, 2021 14:37:11 GMT
Well, it has been almost two weeks since watching Get Back, and I admit it is still on my mind quite a bit. The biggest surprise is I now find myself wanting to get the recent Let It Be set for Giles Martin’s remix as well as Glyn Johns’ 1969 Get Back mixes. (I didn’t bother with the White Album or Abbey Road sets, so actually wanting Let It Be is a shocker.) The remix is worth it alone for I Me Mine and Across The Universe. The former, for whatever reason, sounds like shit on the original album. And the latter, well, it's still Across The Universe with the big arrangement. Some people love it, some people hate it. But it comes together much better here. The Get Back disc is also great. It's as much an audio documentary. The outtakes discs are surprisingly bad though. There are much better ways to fill two discs than what they ended up choosing. I recommend seeking out a bootleg like Jamming With Heather.
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Post by sₚⲁᵣₖydₒg on Dec 17, 2021 14:39:48 GMT
Still halfway through the second part. This entire thing should have been 4 hours total, tops.
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Post by Boozin' Susan on Dec 17, 2021 14:48:01 GMT
Well, it has been almost two weeks since watching Get Back, and I admit it is still on my mind quite a bit. The biggest surprise is I now find myself wanting to get the recent Let It Be set for Giles Martin’s remix as well as Glyn Johns’ 1969 Get Back mixes. (I didn’t bother with the White Album or Abbey Road sets, so actually wanting Let It Be is a shocker.) The remix is worth it alone for I Me Mine and Across The Universe. The former, for whatever reason, sounds like shit on the original album. And the latter, well, it's still Across The Universe with the big arrangement. Some people love it, some people hate it. But it comes together much better here. The Get Back disc is also great. It's as much an audio documentary. The outtakes discs are surprisingly bad though. There are much better ways to fill two discs than what they ended up choosing. I recommend seeking out a bootleg like Jamming With Heather. From what I gather, the Japanese box is the only place to get the original 1969 Get Back mixes. As for bootlegs, I once got a rip of a huge collection called “Thirty Days”. I listened to bits here and there (there was a goofy bit of fun where Paul and John sang “Two of Us” with silly voices), but it got too tedious to listen to for very long.
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Post by hoffa_nagila on Dec 17, 2021 15:37:44 GMT
The remix is worth it alone for I Me Mine and Across The Universe. The former, for whatever reason, sounds like shit on the original album. And the latter, well, it's still Across The Universe with the big arrangement. Some people love it, some people hate it. But it comes together much better here. The Get Back disc is also great. It's as much an audio documentary. The outtakes discs are surprisingly bad though. There are much better ways to fill two discs than what they ended up choosing. I recommend seeking out a bootleg like Jamming With Heather. From what I gather, the Japanese box is the only place to get the original 1969 Get Back mixes. As for bootlegs, I once got a rip of a huge collection called “Thirty Days”. I listened to bits here and there (there was a goofy bit of fun where Paul and John sang “Two of Us” with silly voices), but it got too tedious to listen to for very long. The Japanese box features the original 1969 mix, from a safety copy. The worldwide release is a reconstructed version, mainly using the edited 1970 master, plus reinserting edited out bits from the safety copy. The sound is much better, but at the expense of a few small glitches (and beyond that, it's noticeable when the source changes). And the worldwide version features the 1970 mix of For You Blue, which features some different vocals. The Japanese set features the original 1969 mix.
For my interests, I just have the For You Blue track from the Japanese set tacked on as a bonus in iTunes.
I get that you would find the raw sessions tedious. But the bonus discs are so poorly chosen and the only value is getting some material upgraded from Glyn's recordings. And sadly there are still more interesting performances captured on the mastertapes that remain unreleased. At least they included Billy Preston doing Without A Song.
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