WOW - what a contrast between what we've been made to believe about Jon and Yoko versus the reality. It's as if Yoko were his MK handler, and she wanted to handle the entire group - because in this hive-conformity-dictatorship- paradigm individuals don't exist; the resentment John expresses is so spot on and poetic. This analysis is so moving because it speaks to and exposes the challenges they faced, and we face as individuals in this collectivist society that works day and night to extinguish us.
Notice how gaunt Lennon is in this film? Cat says he was on heroin at this point? Cat, or someone, correct me if I'm wrong. He looks malnourished. Yoko just looks strange like a Svengali witch. Addicts have to have some weirdo around them. A great drummer I knew, a heroin addict, had this spaced out G/F hanging around. Unhealthy relationship to be sure.
Your presentations are simply fantastic. I wasn't expecting part two so soon, but I'm delighted. You have tremendous insight, in my opinion. You're a very thorough researcher. It shows in your presentations. Thank you for your efforts in these endeavors.
Haha! God, this is the wildest tale I've ever heard! Cat, this is a fabulous and I know it to be true story! Thank you so much! You made my day -- again.
Thanks for making the Beatles interesting again with this 2nd part of the podcast Kat. If it wasn't for folks like you and Mike I would have ended up paying zero attention to these people. You are actually doing them a favour. Take care.
Fantastic!! This 2nd part of the series was my favorite... because the band was a total mess. I did enjoy watching them jam out with each other. Another great video, my friend! I look forward for pt. 3
The pram on the Rosemary's Baby poster looks like a pie-chart with the 1st quarter missing. Or a circle with the top 1/4th removed. Seeing as it's located at John's future death site maybe that's why it "has the censor[sensor]? anxious"? As John is always listed 1st whenever their order of importance was mentioned. He's the 1st quarter of the band, in the story. It also kinda resembles time running out on a clock.
Cat, hmm. After listening to pts. 1-2, I found "Get Back" which I never watched much less "Let It Be" -- how I wish there was a way I could have a discussion with you personally about my observations having worked in and around some high powered acts during this time period and how we wrote, rehearsed against the backdrop of "Get Back." I suppose I was shocked. I thought Shears would have all sorts of sheet music written out only to discover they rehearsed their material on the exact same basis as my high school pop band! Fortunately I got into music school and got trained in the Real Books with some very serious cats. Maybe I've just said it all what I would speak to you about. Still, I so love what you're doing here. It is sublime and brings back many memories. Caused me to pick up my ax to see if I could play along and keep up!
Billy Shears could not write his music down, and that must have been very frustrating for him as a sight reading musician. I couldn't work like that. My memory is too flaky! I want everything written down, even if I only have chord progressions to work from. Unfortunately for Billy, he's playing a man whose official backstory includes musical illiteracy, so there's nothing he can do. I suspect the idea is that, one day, when the occultists try to make "Paul" into a god of music, it will seems more miraculous for him to have a huge body of work attributed to him, as a man who needed no formal training. His music (including many songs yet to be attributed to him) will be like a divine gift.
@@supernaturalbeatles Cat, if you're telling me Shears in playing Paul actually was required to dumb himself down, that blows my mind! Didn't the Beatles have so much money thrown at them they could have had basic musical training which might have helped them write and solidify their arrangements far faster than what is depicted here? Or was he paid to play this Paul of no academic training but a natural songbird which this guy is. I mean, he copped a groove on bass I'm still blown away now utterly natural it is. From that aspect, I suppose that describes what is documented, yes? It's how the Beatles wrote all their OWN music or all of it, i.e., minimally melodies and perhaps harmonies?
My abiding impression here (halfway thru) is that this is a highly confected film about a band that has been abandoned on purpose by management and they have no producer. Bands without management or producers are a complete disaster, nothing gets done and everyone argues. In any event, this is all fascinating, thank you.
Another excellent show. I just caught a RUclips show on Louie Shelton a wrecking crew guitarist in late 60's +, 1 three hour session $250 = 3 tracks. Three sessions a day. That's professional musicianship. Tracks include 'Hello' , last train to Clarksville to name a few
I thought the cafeteria piece in Get Back was one of the most interesting sections - thank you for clarifying the scene and offering additional lines. I found the raw 30 minute "Lunchroom" audio on RUclips and its really unlistenable. I want to address the line you highlight when John says regarding George's dissatisfaction such as the surprises with Revolver.. I think this line confirms the idea that the Beatles had little control over the final product up through Revolver. For George to be unsatisfied tells me that he may have written his credited songs but was not allowed to arrange or record outside of vocals. I think George's credited Revolver songs are better than Johns. Paul's are the best but we don't know the extent he was contributing to the final mix and he is unable (dead) to complain about anything at this point. It's all the very interesting.
28:15 --So the "Get Back" movie makes no mention of George H. pulling strings to bring Billy Preston in to join them in the studio? The George bringing in Billy P. narrative has been floating around for years. Interesting. Great job with this presentation!
34:05 There's an Elton John interview where he talks about him and John locked in a hotel room doing coke for weeks in the 70s. In the same interview Elton says that John had a drag persona, just like Mick Jagger et al, and that he bought John a cuckoo clock where a male phallus comes out on the hour (instead of a cuckoo). Make of that what you will...(could have been banter and a joke present from Elton, but we know all about him and Taupin). Billy was stage side at Elton's Glastonbury permormance.
Glyn Johns had to always look sharp, he also worked with the 'Stones. lol (I only know this from reading the liner notes from the 'Stones' "Metamorphosis" record waaayyyy back when it came out!) Thanks for doing these. You are the best.
I think they must be going to release some more of this footage later. As its basically the look how good bill is and john looks like a blubbering mess and George and ringo or are as important as the milk man or a couple of tea boys😢
For me right now(i never thought of that before) the rooftop concert make any sense to me(mike williams says the same)-why not in a concert hall ? A great mystery !!!!!
I think the reason it looks like there just messing about is that there writing the songs and doing live recordings. If they were doing it the tried and tested wat of recording things in parts. Like put down the guitar and voice then the other instruments multitracking. Thats what there famous for! not this way there trying to just wing it. so i can see how it looks so sloppy. But there studio monsters not live performers they craft sounds and build it up over time.. they may have thought it might have been to slow to film and wouldn't gave been as interesting. I personally think it would have been better and would have shown what they had learned over all the years..
Billy uses the phrase “canyons of your mind” which alludes to a Bonzo song he sang as Vivian Stanshall. Does that song sound a bit like the Doris Day song, “If I Give my Heart to You”? The lyrics would appeal to Billy because there is a theme of ‘letting my love into my heart’. It is similar to Billy’s lyrics about attempting to channel Paul’s spirit. Hey Jude: ‘let her into your heart’ and My Love: ‘my heart can stay’. The first line of the chorus “If I Fell” is the title of Doris’ song. Could ‘if I fell’ be a double meaning for ‘if I died’? In “Dig it”, John mentions Doris Day (and FBI and CIA). Also, ‘Doris gets her oats’. In a Rolling Stone magazine interview, John is asked about LSD: “The second time we had it was in L.A. We were on tour in one of those houses, Doris Day's house or wherever it was we used to stay, and the three of us took it, Ringo, George and I.” Maybe he meant her son Terry Melcher’s house which brings in Manson connections.
@bradpejack6868 Great catch! Thanks! That connects more dots between Billy Shears, Doris Day, her son Terry Melcher, and Charles Manson. I think Billy grew up on show tunes and similar songs. Certainly the Bonzos used them as source material to work from. I guess that's why Neil Innes was so good at parody, as demonstrated by his songwriting for the Rutles.
@@supernaturalbeatles maybe Neil innes was much more than a good friend of Billy? Maybe the parodies were the originals ? Check out the new album by Shakin Stevens , unbelievable that he should suddenly begin to write original and good songs at his age! Revelation of the medley from the film under the silver lake.comes to mind.
This is the second time I’ve uploaded my views on this channel…the first time, my comment on Part One of this series of “Get Back/Let it Be” was taken down It’ll be interesting to see if this new version of my comment will be allowed… I wrote: It’s an interesting channel, I dig the quasi-geomysticism and the suggestion of soul transference, but the more I watch the videos here the more it becomes obvious that PID is a red herring to distract everyone from the real, narcotic laced ritualistic sex death magick mind control that governed that band since their emergence in 1950s Liverpool… which led to death of both Stu and Brian which has been described well enough in the much detested, but not contested, “Lives of John Lennon” by Albert Goldman But even Goldman avoided the REAL substance of the most powerful force behind The Beatles success RINGO STARR Ringo is the occult focus of The Beatles Occult Ringo easily outdoes Lost Boy John, Paul Is Dead and Mystic George by a English Countryside mile His stage name alone suggests a direct connection with Saturn… The God of Time… A deep rabbit hole… but Ringo emerges as an avatar for every magical mystery aspect of that band… and that time… Roll Up Roll Up… Apart from all that, Ringo is the master of timing… If you still listen to Beatles records, it’s probably because Ringo’s performances are so great… as much as the songwriting, vocals and impeccable production… Ringo’s drumming keeps their wild, innovative ideas together… In essence, That band were going nowhere, man, without Richard Starkey… (Star Key… Key to Stardom) He was the last to join 1962 He was the first to quit 1968 He was The Beatle who decided they would perform on the roof in 1969… ruclips.net/video/R_YtyGQ8sEM/видео.html Of all The Beatles, Ringo is the most hell raising Rock’n’Roller… successfully skirting life and death with dangerous unhealthy style and glamour… He easily ran as hard as Keiths Richards and Moon in the 1970s alcoholic narcotic stakes… His son is the drummer with The Who and Oasis… his 1977 disco album is great because it’s the worst… He’s The Beatle who lives in LA and Monte Carlo… He was coked up to the gills at The Rock’n’Roll Hall Fame ceremony in 1988… When he returned to live performance in 1989, he was straight, sober and brought “The Last Waltz” on the road with him… Genius move… He has pretty much conquered and mastered the demons he encountered along the way… Interesting how he looks so youthful at going on 84 years old and still putting bands together to tour… Peace and Love, indeed… Apart from all THAT, As outlandishly entertaining and informative your channel is, it’s WOEFULLY inaccurate to claim The Beatles were in any way fake… The suggestion they mimed in Japan in your first instalment in 1966 is laughable… they were ropey and tired but they were playing live all they way… Also, your suggestions that they got very little done in January 1969 also displays an ignorance of the process of rock bands rehearsing And getting the songs together… They certainly were great Rock’n’Rollers, songwriters and recording artists Interesting how you only talk about Glyn Johns as a fashion icon… because his assessment of MANY rock bands Stones, Beatles, Led Zep, Eagles is impeccable and unquestionable… There’s plenty of footage of him talking about how incredible The Beatles were to work with at this point and how he worked with them to help them realise their great ideas… He’s well known for a non nonsense approach… And you can actually see in the recent “Get Back” doc how well they actually worked well together and got, at least, a great new single “Get Back/Don’t Let Me Down” and were on their way to “Abbey Road” because of their association with Glyn But hey! I wonder did anyone here even read down this far? Either way, I look forward to the next instalment
11:08 your to good at what you do to still believe that. After seeing how they are doing it on get back that it takes time there tired it's coming to the end and there not working as good anymore there's loads of people around. If this was recorded around the white album. It would be a different movie it would reaffirm the idea of the Beatles the best band in the world incredible team of creators. But they still got a good album out of it. Two albums really. They wrote the songs . Maybe, actually definitely in the beginning I can see them working with other writers but not later on it was all them .. this is mike Williams thought and he doubles down on this idea and will not change i dont think the man is capable of admitting to a mistake. It's hard to write under those circumstances.. get back should have shown you that his views were wrong. Why put something out that makes them human. Even with that coming out he doesn't admit to thinking hay I might be wrong he just chooses things that reaffirm his belief and that's as bad as the people he's talking about. That you say your not sure and you don't know and is open to interpretation is the answer to give anyone who doesn't is beyond reaching.
I think maybe you misunderstand my position. I think in the beginning of their time at EMI, the Beatles had their songs written for them, regardless of whether or not they were capable of writing the songs themselves. It was important for the psyop that it was planned and carried out in a certain way, and I doubt the Beatles even really understood what they were getting involved with at that point. Also, I can tell you as a music graduate and a music teacher, that there are too many anomalies in their early songs to be an accident. They definitely had extensive help from people formally trained in music during the writing and production of their early albums. Later on, and certainly after Billy joined the band as "Paul", I do think the Beatles wrote much of their own music, which means that there had to be a transitory period running up to that point. I don't think it's as cut and dry to say that they completely did or didn't write their own music. It's much more complicated than that. It's also funny that you mentioned the White Album, because I will talk about that in part 3.
Thanks for clearing that up I'm happy to here that. I'm of the same thought in ways. But that it wasn't decided by the studios that they could be used for there agenda until later after they got signed and had something special. But there is another level that new who they could be and new what they would be. But they are neither good nor bad. The whole Beatles things goes deeper I think than any of us could imagine. I enjoy you uploads very much . I wouldn't be surprised The white album is an incredibly special album on alot of levels. @@supernaturalbeatles
WOW - what a contrast between what we've been made to believe about Jon and Yoko versus the reality. It's as if Yoko were his MK handler, and she wanted to handle the entire group - because in this hive-conformity-dictatorship- paradigm individuals don't exist; the resentment John expresses is so spot on and poetic. This analysis is so moving because it speaks to and exposes the challenges they faced, and we face as individuals in this collectivist society that works day and night to extinguish us.
Notice how gaunt Lennon is in this film? Cat says he was on heroin at this point? Cat, or someone, correct me if I'm wrong. He looks malnourished. Yoko just looks strange like a Svengali witch. Addicts have to have some weirdo around them. A great drummer I knew, a heroin addict, had this spaced out G/F hanging around. Unhealthy relationship to be sure.
I believe Yoko was John's handler. You should read the famous Albert Goldman book about John and how Yoko acted towards him.
@@CaraChapina - thank you!
In Memoirs Billy admits this,He was not happy but went along with it
The gift that keeps on giving - thank you!
Your presentations are simply fantastic. I wasn't expecting part two so soon, but I'm delighted. You have tremendous insight,
in my opinion. You're a very thorough researcher. It shows in your presentations. Thank you for your efforts in these endeavors.
Superb! Exquisite narrated in her soothing, sane, wonderfully British! To me this is very serious stuff not just to me but the world.
Haha! God, this is the wildest tale I've ever heard! Cat, this is a fabulous and I know it to be true story! Thank you so much! You made my day -- again.
Speaking words of wisdom…and exposing the Truth of it al… Thank You.
Thanks for making the Beatles interesting again with this 2nd part of the podcast Kat. If it wasn't for folks like you and Mike I would have ended up paying zero attention to these people. You are actually doing them a favour. Take care.
Fantastic!! This 2nd part of the series was my favorite... because the band was a total mess. I did enjoy watching them jam out with each other.
Another great video, my friend! I look forward for pt. 3
Superb analysis and observations. Your magnum opus - so far!
Your analysis is a joy. Thank you.
Brilliant as always.
The pram on the Rosemary's Baby poster looks like a pie-chart with the 1st quarter missing. Or a circle with the top 1/4th removed.
Seeing as it's located at John's future death site maybe that's why it "has the censor[sensor]? anxious"? As John is always listed 1st whenever their order of importance was mentioned. He's the 1st quarter of the band, in the story.
It also kinda resembles time running out on a clock.
Edit: Oh gosh -- and the other Evening Standard posters all say "Shots Fired"!
Interesting observations!
I bet they cut alan out so they didn't wanna pay him
Cat, hmm. After listening to pts. 1-2, I found "Get Back" which I never watched much less "Let It Be" -- how I wish there was a way I could have a discussion with you personally about my observations having worked in and around some high powered acts during this time period and how we wrote, rehearsed against the backdrop of "Get Back." I suppose I was shocked. I thought Shears would have all sorts of sheet music written out only to discover they rehearsed their material on the exact same basis as my high school pop band! Fortunately I got into music school and got trained in the Real Books with some very serious cats. Maybe I've just said it all what I would speak to you about. Still, I so love what you're doing here. It is sublime and brings back many memories. Caused me to pick up my ax to see if I could play along and keep up!
Billy Shears could not write his music down, and that must have been very frustrating for him as a sight reading musician. I couldn't work like that. My memory is too flaky! I want everything written down, even if I only have chord progressions to work from. Unfortunately for Billy, he's playing a man whose official backstory includes musical illiteracy, so there's nothing he can do. I suspect the idea is that, one day, when the occultists try to make "Paul" into a god of music, it will seems more miraculous for him to have a huge body of work attributed to him, as a man who needed no formal training. His music (including many songs yet to be attributed to him) will be like a divine gift.
@@supernaturalbeatles Cat, if you're telling me Shears in playing Paul actually was required to dumb himself down, that blows my mind! Didn't the Beatles have so much money thrown at them they could have had basic musical training which might have helped them write and solidify their arrangements far faster than what is depicted here? Or was he paid to play this Paul of no academic training but a natural songbird which this guy is. I mean, he copped a groove on bass I'm still blown away now utterly natural it is. From that aspect, I suppose that describes what is documented, yes? It's how the Beatles wrote all their OWN music or all of it, i.e., minimally melodies and perhaps harmonies?
My abiding impression here (halfway thru) is that this is a highly confected film about a band that has been abandoned on purpose by management and they have no producer. Bands without management or producers are a complete disaster, nothing gets done and everyone argues. In any event, this is all fascinating, thank you.
Another excellent show. I just caught a RUclips show on Louie Shelton a wrecking crew guitarist in late 60's +, 1 three hour session $250 = 3 tracks. Three sessions a day. That's professional musicianship. Tracks include 'Hello' , last train to Clarksville to name a few
I thought the cafeteria piece in Get Back was one of the most interesting sections - thank you for clarifying the scene and offering additional lines. I found the raw 30 minute "Lunchroom" audio on RUclips and its really unlistenable.
I want to address the line you highlight when John says regarding George's dissatisfaction such as the surprises with Revolver.. I think this line confirms the idea that the Beatles had little control over the final product up through Revolver. For George to be unsatisfied tells me that he may have written his credited songs but was not allowed to arrange or record outside of vocals. I think George's credited Revolver songs are better than Johns. Paul's are the best but we don't know the extent he was contributing to the final mix and he is unable (dead) to complain about anything at this point. It's all the very interesting.
Absolutely fantastic have a wonderful 2day ❤😊
28:15 --So the "Get Back" movie makes no mention of George H. pulling strings to bring Billy Preston in to join them in the studio? The George bringing in Billy P. narrative has been floating around for years. Interesting. Great job with this presentation!
34:05 There's an Elton John interview where he talks about him and John locked in a hotel room doing coke for weeks in the 70s. In the same interview Elton says that John had a drag persona, just like Mick Jagger et al, and that he bought John a cuckoo clock where a male phallus comes out on the hour (instead of a cuckoo). Make of that what you will...(could have been banter and a joke present from Elton, but we know all about him and Taupin). Billy was stage side at Elton's Glastonbury permormance.
Great work 👏
Amazing, thanks ✌🏻
I also always thought having "Billy" Preston was another obvious PID clue.
Also helpful if one of the three call "paul" BILLY
45:30.
Glyn Johns had to always look sharp, he also worked with the 'Stones. lol
(I only know this from reading the liner notes from the 'Stones' "Metamorphosis" record waaayyyy back when it came out!)
Thanks for doing these. You are the best.
And The Who, part of big 3 Satanic acts as per Memoirs
20:12 he definitely goes for it thats for sure . Its the sheepskin waistcoat thats my favourite 😂
I think they must be going to release some more of this footage later. As its basically the look how good bill is and john looks like a blubbering mess and George and ringo or are as important as the milk man or a couple of tea boys😢
In a section of the movie YOKO is reading a BEATLES GREATEST HITS MUSIC BOOK!
Yes, she's reading the Complete Beatles. I've always wondered why.
For me right now(i never thought of that before) the rooftop concert make any sense to me(mike williams says the same)-why not in a concert hall ? A great mystery !!!!!
George was also goin thru divorce and messin with ringo wife anybody been in a band understands all of this
14:20 he was and will be Vivian! There all in there.
Once its dead its dead and to have to keep doin it is like eating glass
I think the reason it looks like there just messing about is that there writing the songs and doing live recordings. If they were doing it the tried and tested wat of recording things in parts. Like put down the guitar and voice then the other instruments multitracking. Thats what there famous for! not this way there trying to just wing it. so i can see how it looks so sloppy. But there studio monsters not live performers they craft sounds and build it up over time.. they may have thought it might have been to slow to film and wouldn't gave been as interesting. I personally think it would have been better and would have shown what they had learned over all the years..
Does this Doris Day song sound just like “Canyons of Your Mind” by the Bonzos? ruclips.net/video/ConcAF29L3I/видео.htmlsi=Lkxa_ZsjEHg4gal5
Billy uses the phrase “canyons of your mind” which alludes to a Bonzo song he sang as Vivian Stanshall. Does that song sound a bit like the Doris Day song, “If I Give my Heart to You”?
The lyrics would appeal to Billy because there is a theme of ‘letting my love into my heart’. It is similar to Billy’s lyrics about attempting to channel Paul’s spirit. Hey Jude: ‘let her into your heart’ and My Love: ‘my heart can stay’. The first line of the chorus “If I Fell” is the title of Doris’ song. Could ‘if I fell’ be a double meaning for ‘if I died’? In “Dig it”, John mentions Doris Day (and FBI and CIA). Also, ‘Doris gets her oats’. In a Rolling Stone magazine interview, John is asked about LSD: “The second time we had it was in L.A. We were on tour in one of those houses, Doris Day's house or wherever it was we used to stay, and the three of us took it, Ringo, George and I.” Maybe he meant her son Terry Melcher’s house which brings in Manson connections.
@bradpejack6868 Great catch! Thanks! That connects more dots between Billy Shears, Doris Day, her son Terry Melcher, and Charles Manson. I think Billy grew up on show tunes and similar songs. Certainly the Bonzos used them as source material to work from. I guess that's why Neil Innes was so good at parody, as demonstrated by his songwriting for the Rutles.
@@supernaturalbeatles maybe Neil innes was much more than a good friend of Billy? Maybe the parodies were the originals ?
Check out the new album by Shakin Stevens , unbelievable that he should suddenly begin to write original and good songs at his age!
Revelation of the medley from the film under the silver lake.comes to mind.
This is the second time I’ve uploaded my views on this channel…the first time, my comment on Part One of this series of
“Get Back/Let it Be”
was taken down
It’ll be interesting to see if this new version of my comment will be allowed…
I wrote:
It’s an interesting channel,
I dig the quasi-geomysticism and the suggestion of soul transference, but the more I watch the videos here the more it becomes obvious
that PID is a red herring to distract everyone from the
real, narcotic laced
ritualistic sex death magick mind control that governed that band since their emergence in 1950s Liverpool…
which led to death of both
Stu and Brian
which has been described
well enough
in the much detested, but not contested, “Lives of John Lennon” by Albert Goldman
But even Goldman avoided the REAL substance of the most powerful force behind The Beatles success
RINGO STARR
Ringo is the occult focus of
The Beatles
Occult Ringo
easily outdoes
Lost Boy John,
Paul Is Dead and
Mystic George
by a English Countryside mile
His stage name alone suggests a direct connection with Saturn…
The God of Time…
A deep rabbit hole…
but Ringo emerges as an avatar for every magical mystery aspect
of that band…
and that time…
Roll Up Roll Up…
Apart from all that,
Ringo is the master of timing…
If you still listen to Beatles records, it’s probably because Ringo’s performances are so great…
as much as the songwriting,
vocals and impeccable production…
Ringo’s drumming keeps
their wild, innovative ideas together…
In essence,
That band were going nowhere, man, without Richard Starkey…
(Star Key…
Key to Stardom)
He was the last to join 1962
He was the first to quit 1968
He was The Beatle
who decided they would perform on the roof
in 1969…
ruclips.net/video/R_YtyGQ8sEM/видео.html
Of all The Beatles,
Ringo is the most
hell raising Rock’n’Roller…
successfully
skirting life and death
with dangerous unhealthy style and glamour…
He easily ran as hard as Keiths Richards and Moon
in the 1970s alcoholic narcotic stakes…
His son is the drummer
with The Who
and Oasis…
his 1977 disco album is great because it’s
the worst…
He’s The Beatle who lives in LA and Monte Carlo…
He was coked up to the gills at The Rock’n’Roll Hall Fame ceremony
in 1988…
When he returned to
live performance in 1989,
he was straight, sober and brought
“The Last Waltz”
on the road with him…
Genius move…
He has pretty much conquered
and mastered
the demons
he encountered
along the way…
Interesting how he looks so youthful at going on 84 years old and still putting bands together to tour…
Peace and Love, indeed…
Apart from all THAT,
As outlandishly entertaining and informative your channel is, it’s WOEFULLY inaccurate to claim The Beatles were in any way fake…
The suggestion they mimed in Japan in your first instalment
in 1966 is laughable…
they were ropey and tired
but they were playing live
all they way…
Also, your suggestions that they got
very little done in January 1969
also displays an ignorance
of the process of rock bands rehearsing
And getting the songs together…
They certainly were great Rock’n’Rollers, songwriters and recording artists
Interesting how you only talk
about Glyn Johns as a fashion icon…
because his assessment of MANY rock bands
Stones, Beatles, Led Zep, Eagles
is impeccable and unquestionable…
There’s plenty of footage of him
talking about how incredible The Beatles were to work with at this point
and how he worked with them to help them realise their great ideas…
He’s well known for a non nonsense approach…
And you can actually see in the recent “Get Back” doc how well they actually worked well together and got, at least,
a great new single
“Get Back/Don’t Let Me Down”
and were on their way to “Abbey Road” because of their association with Glyn
But hey!
I wonder did anyone here
even read down this far?
Either way, I look forward to the next instalment
11:08 your to good at what you do to still believe that. After seeing how they are doing it on get back that it takes time there tired it's coming to the end and there not working as good anymore there's loads of people around. If this was recorded around the white album. It would be a different movie it would reaffirm the idea of the Beatles the best band in the world incredible team of creators. But they still got a good album out of it. Two albums really. They wrote the songs . Maybe, actually definitely in the beginning I can see them working with other writers but not later on it was all them .. this is mike Williams thought and he doubles down on this idea and will not change i dont think the man is capable of admitting to a mistake. It's hard to write under those circumstances.. get back should have shown you that his views were wrong. Why put something out that makes them human. Even with that coming out he doesn't admit to thinking hay I might be wrong he just chooses things that reaffirm his belief and that's as bad as the people he's talking about. That you say your not sure and you don't know and is open to interpretation is the answer to give anyone who doesn't is beyond reaching.
I think maybe you misunderstand my position. I think in the beginning of their time at EMI, the Beatles had their songs written for them, regardless of whether or not they were capable of writing the songs themselves. It was important for the psyop that it was planned and carried out in a certain way, and I doubt the Beatles even really understood what they were getting involved with at that point. Also, I can tell you as a music graduate and a music teacher, that there are too many anomalies in their early songs to be an accident. They definitely had extensive help from people formally trained in music during the writing and production of their early albums. Later on, and certainly after Billy joined the band as "Paul", I do think the Beatles wrote much of their own music, which means that there had to be a transitory period running up to that point. I don't think it's as cut and dry to say that they completely did or didn't write their own music. It's much more complicated than that. It's also funny that you mentioned the White Album, because I will talk about that in part 3.
@@supernaturalbeatles - thank you !!!
Thanks for clearing that up I'm happy to here that. I'm of the same thought in ways. But that it wasn't decided by the studios that they could be used for there agenda until later after they got signed and had something special. But there is another level that new who they could be and new what they would be. But they are neither good nor bad. The whole Beatles things goes deeper I think than any of us could imagine. I enjoy you uploads very much . I wouldn't be surprised The white album is an incredibly special album on alot of levels. @@supernaturalbeatles