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Post by debjorgo on Jul 12, 2013 19:28:48 GMT -5
George thought he was good. Didn't he challenge Eric to a guitar duel, with Patti as the prize? I heard that Eric played his guitar with mittens on just to give George a fair chance, but as it turned out Eric still won Patti. Well, he won when he challenged Ringo. I'm not sure that Ringo knew what the stakes were though. "I play guitar, A, D, E"
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Post by John S. Damm on Jul 13, 2013 1:28:30 GMT -5
So, most sources say John played the lead? Hmmmm. Hey, Geoff Emerick says it was George! He was there. He wouldn't remember it wrong, he wouldn't lie. LOL! Good one! I was blown away by Nate's assertion of John playing the lead although he does say it is George on the repeated riff in fuzz tone. Your post had me so intrigued I was looking for that last night at 1:30 a.m. when I should have been in bed!
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Post by John S. Damm on Jul 13, 2013 1:43:48 GMT -5
I heard that Eric played his guitar with mittens on just to give George a fair chance, but as it turned out Eric still won Patti. Well, he won when he challenged Ringo. I'm not sure that Ringo knew what the stakes were though. "I play guitar, A, D, E" You're on a roll debjorgo! Yeah, George beat Ringo in the guitar duel and won Maureen! I did not read Clapton's recent book but does he admit to this alleged guitar duel as reported by Pattie Boyd in her book? That has always sounded very fishy to me. A "guitar duel?" Who the winner is is so subjective unlike a good old fashioned gun duel where it is pretty clear who lost when one participant gets carted to the undertaker! I guess it would be clear who won if Clapton goes first and blasts perfectly his power solo from "White Room" and George confidently steps up and gives a note perfect rendition of his "All You Need Is Love" solo! Oh, check this link out called Eric Clapton's 10 Best Guitar Solos: ultimateclassicrock.com/eric-clapton-guitar-solos/Look at the nice things written about George(and Paul) at #2 which is of interest in and of itself!
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Post by sayne on Jul 13, 2013 1:56:44 GMT -5
So, most sources say John played the lead? Hmmmm. Hey, Geoff Emerick says it was George! He was there. He wouldn't remember it wrong, he wouldn't lie. So, we believe everything Geoff Emerick says because he was there, but question Paul about who wrote what? What's up with that? We also question Ringo, George, John, and Paul about their own facts. 'splain that.
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Post by sayne on Jul 13, 2013 2:10:59 GMT -5
. . . I did not read Clapton's recent book but does he admit to this alleged guitar duel as reported by Pattie Boyd in her book? That has always sounded very fishy to me. A "guitar duel?" Who the winner is is so subjective unlike a good old fashioned gun duel where it is pretty clear who lost when one participant gets carted to the undertaker! . . . I read Eric's book a while ago. If I recall, they did jam for a couple of hours, leaving Pattie alone in one part of the house with actor John Hurt. I think Eric says the jam (duel) was probably overstated and perhaps biasedly imagined by John and Pattie. I'm not certain, though.
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Post by debjorgo on Jul 13, 2013 7:13:24 GMT -5
Hey, Geoff Emerick says it was George! He was there. He wouldn't remember it wrong, he wouldn't lie. So, we believe everything Geoff Emerick says because he was there, but question Paul about who wrote what? What's up with that? We also question Ringo, George, John, and Paul about their own facts. 'splain that. Sarcasm on my part. Geoff's been banged around pretty good around here for either not remembering or misrepresenting facts.
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Post by debjorgo on Jul 13, 2013 7:31:25 GMT -5
. . . I did not read Clapton's recent book but does he admit to this alleged guitar duel as reported by Pattie Boyd in her book? That has always sounded very fishy to me. A "guitar duel?" Who the winner is is so subjective unlike a good old fashioned gun duel where it is pretty clear who lost when one participant gets carted to the undertaker! . . . I read Eric's book a while ago. If I recall, they did jam for a couple of hours, leaving Pattie alone in one part of the house with actor John Hurt. I think Eric says the jam (duel) was probably overstated and perhaps biasedly imagined by John and Pattie. I'm not certain, though. John Hurt, the new Doctor Who!
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Post by Sir Frankie Crisp on Jul 13, 2013 7:42:36 GMT -5
I know I'm in the minority here but I always enjoyed the Apple Jam record from All Things Must Pass. There's a lot of racket on those jammin' guitar solos and I've got to believe George is in the mix somewhere. It would be nice to know who's playing what but I understand what Sayne is saying. George had the ability to let loose but I'm not so sure he had the confidence. If he could contribute to that monstrous sound in She's So Heavy and Blues in C (Alvin Lee), he could have extended that sound to other projects but I guess it didn't interest him. Our loss.
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Post by John S. Damm on Jul 13, 2013 11:12:52 GMT -5
So, we believe everything Geoff Emerick says because he was there, but question Paul about who wrote what? What's up with that? We also question Ringo, George, John, and Paul about their own facts. 'splain that. Sarcasm on my part. Geoff's been banged around pretty good around here for either not remembering or misrepresenting facts. I caught that and that's why I complimented you above with a "LOL." That was funny. In fairness to us though, there are Abbey Road colleagues of Geoff Emerick whao have said that man can't remember what he had for breakfast yesterday let alone reconstruct events or dialogs from 1966 through 1968! If some of us have accused him of that it is because we have read that from other of his peers who think he is full of it in some anecdotes.
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Post by sayne on Jul 13, 2013 11:34:18 GMT -5
So, we believe everything Geoff Emerick says because he was there, but question Paul about who wrote what? What's up with that? We also question Ringo, George, John, and Paul about their own facts. 'splain that. Sarcasm on my part. Geoff's been banged around pretty good around here for either not remembering or misrepresenting facts. Oh, okay. I get it. Good one.
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Post by sayne on Jul 13, 2013 12:08:12 GMT -5
I know I'm in the minority here but I always enjoyed the Apple Jam record from All Things Must Pass. There's a lot of racket on those jammin' guitar solos and I've got to believe George is in the mix somewhere. It would be nice to know who's playing what but I understand what Sayne is saying. George had the ability to let loose but I'm not so sure he had the confidence. If he could contribute to that monstrous sound in She's So Heavy and Blues in C (Alvin Lee), he could have extended that sound to other projects but I guess it didn't interest him. Our loss. I'm not sure it was Blues in C form the Pure Blues album. I think the song you're meaning is Bluest Blue, where George, in fact, does play a wonderous slide. The bad thing is that it only comes out in the middle of the song. It should have been put at the end, too, so we could hear Alvin weaving his leads in, out, and through George's slide. Here's an excerpt from an interview with Alvin. Good assessment of the kind of player George was: I read you actually got to know George Harrison when Mylon brought him to your house to make the record.I’d met George before. We’d met quite a few times and had a few jam sessions. But him being a famous Beatle and me being a bit shy, I would never have dreamed of asking him to come and play on an album. It would have been a bit cheeky, really. He’s got millions of fans. But Mylon didn’t mind (laughs). He went over and said, “Oh George, we want you to play on the album.” Of course, George was a musician and he didn’t think twice about it. So he came. The funny story is about the song “So Sad,” which George wrote. Mylon said to George, “I’d really like to do one of your songs on this album.” And George said, “Well, I’ve done thousands of songs. I have the Beatles songs and songs on my solo albums you could do.” And Mylon, very cleverly, said, “George, you played them so well. I need to do one you haven’t done yet.” And George said, “I’ve got this one song I’ve been working on, which I think might be a hit.” And Mylon said, “I’ll take it!” (laughs) That night, I finished building the studio and actually, I was a bit late with that. I had the whole band down and I had them all putting up acoustic panels in the studio to finish it off. When we finally finished, Mylon said, “Well, where do all the musicians hang out?” And I said, “Speakeasy.” So he put his zoot suit on and went down to Speakeasy and came back three hours later and said, “I got us a band, man.” You obviously struck a chord with George because you two recorded several songs together. Do you have a favorite you did with him?Yeah, “The Bluest Blues.” The first guitar solo is George and it’s really beautiful…one of the best slide guitar solos I’ve ever heard. I said, “I got this one that needs a bit slide on it George.” and he said, “I’ll be right over.” And he played this beautiful, melodic solo. George doesn’t jam like me. I’m a jammer, I fire from the hip. But George writes a song when he does a solo, he writes a tune that becomes the solo. So he had this beautiful melody and a really nice touch. It kind of put me on the spot because I had to come up with something to match it. I think I did pretty good.
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Post by sayne on Jul 13, 2013 12:17:02 GMT -5
I knew George always had jam sessions over at his house, and when I first heard that he jammed with Alvin Lee, I enthusiastically imagined George going balls out with Alvin and that it was recorded. Now, after reading interviews with Alvin, it seems that Alvin did the letting loose and George stayed basic.
But, here's the good news. Seems, though, that those sessions were recorded. Olivia has them. Here's an interview I found today that says so, but she has no intention of releasing them. Oh, man, I hope she eventually gets a change of mind. George humorously once said during the Anthology Free as a Bird and Real Love sessions that he hoped that someday someone would do the same with his crap songs, or something like that. Well, Olivia, here's your chance. *********
Alvin Lee explained at the time how he got Jon, George Harrison and Clarence Clemons to help out on Zoom:
- Well, Jon Lord I’ve known since the 1960’s, he’s played on some of my albums and I’ve played on his. I’ve known George since 1973 when Mylon LeFevre and I were working on the On the Road to Freedom recording which for me was a positive step away from rock and roll. Ever since that time he likes to come over with a guitar in hand and a bottleneck, he plays a very good slide guitar by the way. George, Jon and I all live very close to each other in the part of England called the Thames Valley.
Indeed, Jon, Alvin Lee, Joe Brown and Mick Ralphs of Bad Company were all members of Harrison’s so-called Henley Music Mafia of local rock stars living in or around Henley-On-Thames just West of London.
In a 2009 interview, George Harrison’s widow Olivia revealed the existence of informal recordings of Harrison and friends jamming around his house. She was asked whether she listens to Harrison’s music a lot.
- I listen to a lot of really rough recordings, cassettes and demos. George seemed to have a tape recording going… The other night I listened to New Year’s Eve, it must have been ’87. There was Joe Brown, a great musician; and Dave Edmunds; Alvin Lee, who was a neighbour; Jon Lord from Deep Purple.
- We’re all just hanging out. And then we’re sitting around the piano, someone has a guitar. You can hear all the wives talking, the guys are playing and we’re all singing along… I’m like, ‘Wow, who had this tape going,’ you know? And George would always end up putting it in his pocket, throwing it in a drawer, so I listen to things like that.
Any thought of releasing them?
- No, not really, but you just sit and listen and it’s sort of like you’re there again.
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Post by Joe Karlosi on Jul 13, 2013 12:39:05 GMT -5
Sarcasm on my part. Geoff's been banged around pretty good around here for either not remembering or misrepresenting facts. Oh, okay. I get it. Good one. Hey, sayne - what happened?? I got the Geoff joke the first time! You're slipping!
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Post by sayne on Jul 13, 2013 12:52:18 GMT -5
I just found this great YouTube site that has songs that George has done session work with his slide. Some of the people are Badfinger (of course), Alvin Lee, Belinda Carlisle, and Bill Wyman. Haven't been able to find a Number 1:
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Post by sayne on Jul 13, 2013 13:03:12 GMT -5
I like videos like this, since we seldom have seen examples of seeing George play live or seeing his hands close up. It gives us an idea of George's technique and skill.
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Post by sayne on Jul 13, 2013 13:07:13 GMT -5
Oh, okay. I get it. Good one. Hey, sayne - what happened?? I got the Geoff joke the first time! You're slipping! Yeah, that sucks. Dealing with you all these years will do that!
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Post by acebackwords on Jul 13, 2013 15:09:48 GMT -5
This has got to be one of the greatest bands ever assembled.
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Post by sayne on Jul 16, 2013 10:57:35 GMT -5
We sort of got away from George's slide playing in order to talk about his lead playing (I'm guilty). During the life of this thread, having listened to a lot of his slide playing in songs like Handle With Care, Give Me Love, Cheer Down, Bluest Blue, Day After Day, Leave a Light On, etc, I'm beginning to believe that some Beatles songs might have sounded much better if George had possessed his slide playing style back in those days. While My Guitar Gently Weeps, Helter Skelter, Yes it Is, Revolution, Taxman, Another Girl, the Night Before, Norwegian Wood, Within You Without You, Hello Goodbye, for starters, just might have been better. The key is not in every song, but part of his arsenal, for I agree that his slide slide would ruin a lot of songs that were just fine.
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Post by mikev on Jul 19, 2013 7:19:44 GMT -5
Just to offer a quick tangent on my reference to George Harrison regarding his musical development over the years, having sat very close to the stage at the Monkees concert, I generally observed it was Peter Tork, not Nesmith that displayed the most versatile musical skills. Not to take away from Nes, but he was always first and foremost a rhythm guitarist, with some nice riffs. Even though the Monkees had a "session" lead guitarist on hand at the show, Tork handled several leads, including a slide guitar solo, banjo solos, keyboard solos and a little bit of "shredding". Over the years he strived to become a better musician. I first took notice on a 2001 Monkees live DVD when Tork handled many of the SOP Monkee riffs. In the late 80s, he played banjo, keyboard and mostly rhythm guitar. Now I've never seen his solo group, so perhaps he has done more with them.
Point being I admire greatly his desire to replicate songs on stage, some of which he didn't play on originally on, where George and even John (Lew Grade performance) preferred to farm it out.
The point of this is to wonder how many of our "rock heros" rested on their laurels and how many kept pushing to be better musicians- even into their later years? Might be something for another thread.
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Post by sayne on Jul 19, 2013 10:21:37 GMT -5
Just to offer a quick tangent on my reference to George Harrison regarding his musical development over the years, having sat very close to the stage at the Monkees concert, I generally observed it was Peter Tork, not Nesmith that displayed the most versatile musical skills. Not to take away from Nes, but he was always first and foremost a rhythm guitarist, with some nice riffs. Even though the Monkees had a "session" lead guitarist on hand at the show, Tork handled several leads, including a slide guitar solo, banjo solos, keyboard solos and a little bit of "shredding". Over the years he strived to become a better musician. I first took notice on a 2001 Monkees live DVD when Tork handled many of the SOP Monkee riffs. In the late 80s, he played banjo, keyboard and mostly rhythm guitar. Now I've never seen his solo group, so perhaps he has done more with them. Point being I admire greatly his desire to replicate songs on stage, some of which he didn't play on originally on, where George and even John (Lew Grade performance) preferred to farm it out. The point of this is to wonder how many of our "rock heros" rested on their laurels and how many kept pushing to be better musicians- even into their later years? Might be something for another thread. I don't know if you think this will count, but I think Paul's classical music compositions, his work in Fireman, playing in "Sirvana," and Kisses on the Bottom indicate an artist who is still trying to try and learn new things. Clapton with his work with Wynton Marsalis and his work with a symphony orchestra are examples for him. Robert Plant and his work with or associations with the Honeydrippers, AfroCelt Sound System, the Soweto Gospel Choir, Allison Krause show an artist who wants to explore new territory.
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Post by mikev on Jul 19, 2013 10:54:28 GMT -5
Just to offer a quick tangent on my reference to George Harrison regarding his musical development over the years, having sat very close to the stage at the Monkees concert, I generally observed it was Peter Tork, not Nesmith that displayed the most versatile musical skills. Not to take away from Nes, but he was always first and foremost a rhythm guitarist, with some nice riffs. Even though the Monkees had a "session" lead guitarist on hand at the show, Tork handled several leads, including a slide guitar solo, banjo solos, keyboard solos and a little bit of "shredding". Over the years he strived to become a better musician. I first took notice on a 2001 Monkees live DVD when Tork handled many of the SOP Monkee riffs. In the late 80s, he played banjo, keyboard and mostly rhythm guitar. Now I've never seen his solo group, so perhaps he has done more with them. Point being I admire greatly his desire to replicate songs on stage, some of which he didn't play on originally on, where George and even John (Lew Grade performance) preferred to farm it out. The point of this is to wonder how many of our "rock heros" rested on their laurels and how many kept pushing to be better musicians- even into their later years? Might be something for another thread. I don't know if you think this will count, but I think Paul's classical music compositions, his work in Fireman, playing in "Sirvana," and Kisses on the Bottom indicate an artist who is still trying to try and learn new things. Clapton with his work with Wynton Marsalis and his work with a symphony orchestra are examples for him. Robert Plant and his work with or associations with the Honeydrippers, AfroCelt Sound System, the Soweto Gospel Choir, Allison Krause show an artist who wants to explore new territory. agree on all of the above...it is not just about shredding.
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