I don't hate you for being a Beatles freak. I would then have to hate myself too.
I went and grabbed an item at random from the timeline of Beatles recording sessions in '68:
Late MAY68 KENWOOD, WEYBRIDGE, SURRY SESSIONS
o Happiness Is A Warm Gun "ANTH3"
o Mean Mr. Mustard "ANTH3"
o Polythene Pam "ANTH3"
o Glass Onion "ANTH3"
And as you can see it was part "White Album," part "Abbey Road."
There was quite a bit of crossover in many of the '68 and '69 sessions. It's not even limited to Beatles records proper. Among other material recorded then and released later was a fair slice of "All Things Must Pass."
As I said, I don't know when the lyrics at the end of "You Never Give Me Your Money" first were recorded. Or when that song first was recorded. But it may have been quite a bit earlier than shortly before the release of "Abbey Road."
Paul McCartney as a rigorous intuition subject.
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vince
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whipstitch
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Wikipedia
If Manson's interest in and references to Magical Mystery Tour constituted a prologue to his focus on the White Album, there was also a kind of epilogue in the form of Family references to Abbey Road, the Beatle album that came after the White Album.
Abbey Road was released in the United Kingdom in late September 1969, after the murders. By that time, most of the Family was at the group's camp in the Death Valley area, searching for the Bottomless Pit. Around October 1 (the U.S. release date), three Family members arrived at the camp with an advance copy of the album, which the group played on a battery-operated machine.
In the second week of October, the desert redoubts were raided by law officers who found the Family with stolen vehicles, including dune buggies; Manson and several others were arrested. By mid-November, when Manson had become a suspect in the Tate-LaBianca murders, Family members who had been released from jail had made their way back to Spahn Ranch. There, on November 25, 1969, LAPD confiscated a door on which someone had written "Helter Skelter is coming down fast."
A photograph shows the confiscated door was also inscribed with "1, 2, 3, 4, 5, 6, 7 -- ALL GOOD CHILDREN (Go to Heaven?)" [sic]. This children's rhyme is heard in "You Never Give Me Your Money," a song that appears on Abbey Road. In October 1970, the prosecution offered testimony about the door during Manson's trial for the Tate-LaBianca murders; but only the "Helter Skelter" inscription seems to have been noted.
On October 2, 1969, before the arrests, Tex Watson had left the desert camp and gone on to separate himself from the Family for nearly a month. Late in the separation, he, too, bought Abbey Road. On the late-October day he walked for miles across the desert to rejoin the Family, he played his cassette tape of it over and over, to see what The Beatles might have to tell him. When, at the last moment, he turned back, an old prospector informed him the arrests had taken place. Watson returned to his native Texas, where his own arrest, for the Tate-LaBianca murders, occurred a month later.
In late July 1970, while Manson was on trial, three persons were hacked, two fatally, on the beach near Santa Barbara, California. One of the Manson girls spoke of this incident as "Maxwell's Silver Hammer," an Abbey Road song that plainly is about homicidal madness.
If Manson's interest in and references to Magical Mystery Tour constituted a prologue to his focus on the White Album, there was also a kind of epilogue in the form of Family references to Abbey Road, the Beatle album that came after the White Album.
Abbey Road was released in the United Kingdom in late September 1969, after the murders. By that time, most of the Family was at the group's camp in the Death Valley area, searching for the Bottomless Pit. Around October 1 (the U.S. release date), three Family members arrived at the camp with an advance copy of the album, which the group played on a battery-operated machine.
In the second week of October, the desert redoubts were raided by law officers who found the Family with stolen vehicles, including dune buggies; Manson and several others were arrested. By mid-November, when Manson had become a suspect in the Tate-LaBianca murders, Family members who had been released from jail had made their way back to Spahn Ranch. There, on November 25, 1969, LAPD confiscated a door on which someone had written "Helter Skelter is coming down fast."
A photograph shows the confiscated door was also inscribed with "1, 2, 3, 4, 5, 6, 7 -- ALL GOOD CHILDREN (Go to Heaven?)" [sic]. This children's rhyme is heard in "You Never Give Me Your Money," a song that appears on Abbey Road. In October 1970, the prosecution offered testimony about the door during Manson's trial for the Tate-LaBianca murders; but only the "Helter Skelter" inscription seems to have been noted.
On October 2, 1969, before the arrests, Tex Watson had left the desert camp and gone on to separate himself from the Family for nearly a month. Late in the separation, he, too, bought Abbey Road. On the late-October day he walked for miles across the desert to rejoin the Family, he played his cassette tape of it over and over, to see what The Beatles might have to tell him. When, at the last moment, he turned back, an old prospector informed him the arrests had taken place. Watson returned to his native Texas, where his own arrest, for the Tate-LaBianca murders, occurred a month later.
In late July 1970, while Manson was on trial, three persons were hacked, two fatally, on the beach near Santa Barbara, California. One of the Manson girls spoke of this incident as "Maxwell's Silver Hammer," an Abbey Road song that plainly is about homicidal madness.
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whipstitch
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vince wrote:I've been searching the You Tube-osphere for this so-called interview, but to no avail.....
The text for that 'promo' says "April 10" and the video was only posted on Saturday. Got a month to wait.
I watched all 67 videos last weekend (yes, I'm obsessed). I like the later ones best of all as his audio and video editing abilities have improved over time.
IAMAPHONEY made posts on this forum under the name Bill. His last post was in November 2007. He announced the videos as he released them on this thread.
Interesting that this morning on UPI there was an announcement that the Beatles on I-tunes is a done deal. What if Iamaphoney is Paul McCartney and all this is a viral advertisement for the digital beatles release. The whole bit about Mal Evan's lost suitcase (see the thread from page 111 discussing the "rotten apple - 101" video) got me imagining some collectors edition "lost suitcase" with the whole rotten apple series on DVD, remastered CDs. They'd make a huge amount of money on something like that (see the results of the latest NIN release) probably more than they'd see on itunes sales in the short term.
In any event, I am intrigued.
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compared2what?
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Well, timing mystery solved!
Yes, I watched all of them before the first time you posted, I thought I had said. I thought they were totally addictive and entertaining, but was unpersuaded that Paul died and was replaced by an impostor in 1966.
This thread prompted me to listen to "Abbey Road" today, though.
I've gotta say, those thirty or so seconds where George, (Paul), and John are trading eights right before the often-quoted end part of "The End" constitute one of my very favorite passages in all of their recorded work. Really, everything from the beginning of "The End" up until the end of that passage. They just sound so great, and it's nice to hear them sounding great playing so emphatically as a band. I had an epiphanic moment hearing it.
Yes, I watched all of them before the first time you posted, I thought I had said. I thought they were totally addictive and entertaining, but was unpersuaded that Paul died and was replaced by an impostor in 1966.
This thread prompted me to listen to "Abbey Road" today, though.
I've gotta say, those thirty or so seconds where George, (Paul), and John are trading eights right before the often-quoted end part of "The End" constitute one of my very favorite passages in all of their recorded work. Really, everything from the beginning of "The End" up until the end of that passage. They just sound so great, and it's nice to hear them sounding great playing so emphatically as a band. I had an epiphanic moment hearing it.
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stickdog99
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Here's the thing about McCartney dying and being replaced. Who cares?
He died and was supposedly replaced during the recording of Sergeant Peppers and his best musical period was from right before then (starting with Revolver) until he formed Wings. So who really cares if he was replaced with somebody who sounds just like him but was a better song writer and overall musician?
It would be like saying the JFK conspiracy is that Ruby and not Oswald was the lone nut who actually shot Kennedy. Who really cares?
He died and was supposedly replaced during the recording of Sergeant Peppers and his best musical period was from right before then (starting with Revolver) until he formed Wings. So who really cares if he was replaced with somebody who sounds just like him but was a better song writer and overall musician?
It would be like saying the JFK conspiracy is that Ruby and not Oswald was the lone nut who actually shot Kennedy. Who really cares?
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Seamus OBlimey
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compared2what?
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km artlu
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Thanks, Vince. I'm glad you brought these videos to our attention.
Stickdog -- for me it's not a compelling topic because of the Paul is/is not dead controversy. It's about social engineering and its possible mind-boggling scope.
As primed as I naturally am to give outrageous theories enough temporary credence to pursue them, the "Faul" concept is one which has always been just too preposterous for me to sustain. And yet, I keep returning to it, poking around, following a gut feeling that something lies behind the curtain.
The first video in the series contains two personal points of reference; two locations. When I was a lad of 19, newly arrived in LA, I "worked" for a scoundrel known as "The Gee". My duties were to go where he told me to go and await further instructions. Sometime in late '67 the place to go was the Hollywood Bowl, for a Ravi Shankar concert.
When the performance ended, an announcement came over the PA saying that I should report backstage. Eventually I found myself exiting the venue as the driver for Patti Harrison and her little contingent of the larger George entourage. My mission was to deliver them to an address on Blue Jay Way.
This was pre-cell phones, pre- GPS, and I barely knew my way around a small Hollywood radius. Hours passed fumbling about. Patti, who I presume was accustomed to being whisked about effeciently, remained unfailingly kind and patient throughout the 2-3 hour trek winding through the hills. A lovely vision of a woman.
We finally found the address and they were ushered away by anxiously hovering cohorts. Given the obscurity of the location, its quite possible that George awaited the "friends (who) have lost their way" more than once. Still, its kinda cool to think my youthfull cluelessness was the inspiration for the song.
The other location in that first video which I have known is the house where Mal Evans died. Later on, in the mid-seventies, my wife of the time and I were briefly business partners with Mal's last girlfriend, who still owned and lived in that house. This was I'd guess within a year of Mal's death.
One evening the girlfriend, her current partner, my wife and I were hanging out in the room to the left of the front door as seen in the video. The guy and I were in the corner closest to the street; the girls had become involved enough in their own conversation that I felt it would be ok to quietly ask her partner about the incident which ended Mal's life. I learned that it had happened in the room directly above us.
After a few minutes of this talk, the guy suddenly glanced down at the back of his hand, then up at the ceiling, back at his hand, and then looked at me wide-eyed and pointed towards the ceiling. Drops of "water?" were now steadily plopping down in our vicinity.
An investigation ensued, no explanation was found. My memory of surrounding details and how that night ended is sketchy. The bizarre was almost commonplace at the time, and linear memories of those days is rare.
Well, I guess I've just indulged in dredging up some personal history sparked by that video. If there's any relevance to the above, it is in how that spooky incident left me with some immediate sense of a supernatural undercurrent to the Beatles mythos.
I suspect that any of us on this board who lived as adults in the sixties could easily recognize the impact which the Beatles had on society, ourselves, and those whom we knew. There are some specifics along those lines, and some lingering questions, which I'd like to discuss here as soon as time allows.
Stickdog -- for me it's not a compelling topic because of the Paul is/is not dead controversy. It's about social engineering and its possible mind-boggling scope.
As primed as I naturally am to give outrageous theories enough temporary credence to pursue them, the "Faul" concept is one which has always been just too preposterous for me to sustain. And yet, I keep returning to it, poking around, following a gut feeling that something lies behind the curtain.
The first video in the series contains two personal points of reference; two locations. When I was a lad of 19, newly arrived in LA, I "worked" for a scoundrel known as "The Gee". My duties were to go where he told me to go and await further instructions. Sometime in late '67 the place to go was the Hollywood Bowl, for a Ravi Shankar concert.
When the performance ended, an announcement came over the PA saying that I should report backstage. Eventually I found myself exiting the venue as the driver for Patti Harrison and her little contingent of the larger George entourage. My mission was to deliver them to an address on Blue Jay Way.
This was pre-cell phones, pre- GPS, and I barely knew my way around a small Hollywood radius. Hours passed fumbling about. Patti, who I presume was accustomed to being whisked about effeciently, remained unfailingly kind and patient throughout the 2-3 hour trek winding through the hills. A lovely vision of a woman.
We finally found the address and they were ushered away by anxiously hovering cohorts. Given the obscurity of the location, its quite possible that George awaited the "friends (who) have lost their way" more than once. Still, its kinda cool to think my youthfull cluelessness was the inspiration for the song.
The other location in that first video which I have known is the house where Mal Evans died. Later on, in the mid-seventies, my wife of the time and I were briefly business partners with Mal's last girlfriend, who still owned and lived in that house. This was I'd guess within a year of Mal's death.
One evening the girlfriend, her current partner, my wife and I were hanging out in the room to the left of the front door as seen in the video. The guy and I were in the corner closest to the street; the girls had become involved enough in their own conversation that I felt it would be ok to quietly ask her partner about the incident which ended Mal's life. I learned that it had happened in the room directly above us.
After a few minutes of this talk, the guy suddenly glanced down at the back of his hand, then up at the ceiling, back at his hand, and then looked at me wide-eyed and pointed towards the ceiling. Drops of "water?" were now steadily plopping down in our vicinity.
An investigation ensued, no explanation was found. My memory of surrounding details and how that night ended is sketchy. The bizarre was almost commonplace at the time, and linear memories of those days is rare.
Well, I guess I've just indulged in dredging up some personal history sparked by that video. If there's any relevance to the above, it is in how that spooky incident left me with some immediate sense of a supernatural undercurrent to the Beatles mythos.
I suspect that any of us on this board who lived as adults in the sixties could easily recognize the impact which the Beatles had on society, ourselves, and those whom we knew. There are some specifics along those lines, and some lingering questions, which I'd like to discuss here as soon as time allows.
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streeb
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Very interesting, km artlu - thanks for that. In addition to a 'supernatural undercurrent to the Beatles mythos', which is something well worth looking into, there's also the psychic undercurrent to the band itself, or the 'group-mind' that outsiders reported. When I have time (ie. never), I'll look for some quotes from Revolution in the Head (my fave Beatles book). Off the top of my head I recall something George Martin said about it; that if you were alone with a Beatle, it was easy to communicate, but once they were joined by the others, it was like they were speaking a different language (and not just scouse).
Not the OP, I know - I really mean to watch those videos soon (how do you people find the time, seriously??)
Not the OP, I know - I really mean to watch those videos soon (how do you people find the time, seriously??)
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anothershamus
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Vince wrote:
And there are others who are referencing The Beatles: HOWEVER! They mean Post - Beatles bands with former Beatles members in them.
Who can forget the Paul McCartney and Wings sessions, without the other (FORMER) Beatles. And THE OCTOPUSES GARDEN, Was one of RINGOs finest hours! (Not Pauls!) We Gotta make the distinction guys! History depends on us remembering what happened.
I know not every one here is 'into' The Beatles,
And there are others who are referencing The Beatles: HOWEVER! They mean Post - Beatles bands with former Beatles members in them.
Who can forget the Paul McCartney and Wings sessions, without the other (FORMER) Beatles. And THE OCTOPUSES GARDEN, Was one of RINGOs finest hours! (Not Pauls!) We Gotta make the distinction guys! History depends on us remembering what happened.
)'(
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vince
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stickdog99 wrote:Here's the thing about McCartney dying and being replaced. Who cares?
I don't care if it's true or not! Besides, i'm more of a RUTLES fan than a Beatles fan. I'm just amazed that this guy MADE these things, and I brought to y'all attention not so much for the Manson stuff, but the Crowely stuff.
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Hugh Manatee Wins
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Intended or not, this 'IAMAPHONEY' stuff could serve to inoculate youth against any potential (but unlikely) anti-war expostulating by Paul McCartney.
After all, that's why the USG killed John Lennon in 1980.
The negative framing is the most obvious element to the username indictment
"IAMAPHONEY" combined with all the dark satanism referrences.
50% of US military recruits come from the very Christian south where "Paul is dead" would be very easily taken for "his soul is damned."
There are still cultural memories of burning Beatles records for John's amazed comment about Beatlemania and "being bigger than Jesus." Lots of cointelpro agit-prop mileage out of that comment.
It is 1969 all over again.
After all, that's why the USG killed John Lennon in 1980.
The negative framing is the most obvious element to the username indictment
"IAMAPHONEY" combined with all the dark satanism referrences.
50% of US military recruits come from the very Christian south where "Paul is dead" would be very easily taken for "his soul is damned."
There are still cultural memories of burning Beatles records for John's amazed comment about Beatlemania and "being bigger than Jesus." Lots of cointelpro agit-prop mileage out of that comment.
It is 1969 all over again.
CIA runs mainstream media since WWII:
news rooms, movies/TV, publishing
...
Disney is CIA for kidz!
news rooms, movies/TV, publishing
...
Disney is CIA for kidz!