Purple People Eater - Sheb Wooley
Posts by Backdrifter
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A rare occurrence for me today:
Nothing.
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Any Colour You Like -- Pink Floyd
Dah! You know, if you're not going to take it seriously the whole thing becomes utterly pointless!
Scott Walker - Blanket-Roll Blues
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I cannot seem to get home grown tomatos, but mainly buy from supermarkets. The large variety are tasteless now. So I buy the Cherry variety, both for salads & Sandwiches.
Maple Walnut ..... Others I like is Cherry & Mint Choc Chip
You didn't pose the next one so I'm going to choose from your other two ice cream flavours, cherry or mint-choc chip:
Cherry - I like both but too often the mint-choc chip has that horrible luminescent green colouring.
Lazy beach holiday or hill-walking/hiking?
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That goal-keeping blunder that gave the Croatians a 2nd goal was a nice bit of poetic justice after suffering that dubious penalty decision.
Yep.
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VAR clearly doesn't work as it's being shown in this world cup . Far to many inconsistencies , some decisions go right but the majority don't . Football used to be about having some luck on your side but it was always down to if the officials seen it there and then .
More should be done about the diving imo . Maybe if you go down injured you should be made to leave the field for 5 mins before coming back on . That way the medical team can make sure your fit to carry on and would stop the play acting
Yep.
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The thing I don’t understand is why do they get the ref on the pitch to make a decision on VAR ?
Surely if you have about four of them in the VAR studio it would be more accurate if they come to a decision between them rather than making the bloke on the pitch do it on his own when he might of already given a wrong decision to start with.
Plus why have refs in the VAR studio if they are not going to make a call.....it’s nonsense
Yep.
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Admittedly I'm not an expert either, but as I understand it the handball has to have clear intent. From the replays, that wasn't clear, in my view, nor in the referee's since he didn't give the penalty but it seemed he re-watched the VAR so much he convinced himself it was intended. But yeah you're right about the free kick, definitely an anticipatory dive!
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France won by a stunning 4 goals against 2 Croatia... Not bad for a final game. Makes France look like a good nation indeed and got it right.
Well.... a stunning 2 goals plus 2 goals thanks to terrible refereeing decisions!
Congrats France but well done Croatia on reaching their first final. I was rooting for them and felt they got a bit mugged in the first half by those rotten decisions, but you can't argue with the two proper goals France scored in the second half.
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I just remembered another sacred cow type song I've never much liked: Day Tripper.
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Display MoreRegardless of how anyone feels about "Revolution 9," I can't say I blame them. I used to look down on it myself, mostly because that seemed to be the expected reaction.
Now I think of it as an example of how expertly the whole mishmash of material on the White Album was sequenced, apparently by George Martin. As musicologist Alan Pollock points out, if R9 had to be on the album, 2nd to last is the only spot that works for it.
I hear the album's ending stretch as follows:
"Cry Baby Cry" (one of my favorites on the album) - not quite a lullaby
"Take Me Back" - a subtle transition out of wakefulness
"Revolution 9" - a nightmare, in restless sleep
"Good Night" - the real lullaby (and what Beatle could be more reassuring than Ringo?)
BTW, I've heard a couple of John's early albums with Yoko. Compared to those, R9 is an absolute masterpiece.
I hadn't ever thought of that final sequence in that specific way, but have always loved the ordering. Something about that sequence has always made an impression on me. Those tracks, including the Take Me Back snippet (jaunty-sounding as it is), have something a bit creepy about them. Yes, even Good Night. But maybe that's just me.
This has just reminded me of something; back in the 90s one night I decided to put this album on when I went to bed. I turned the light off and got into bed and gradually drifted off. I woke up, with that momentary confusion you sometimes get when waking up, in the middle of R9. For a few seconds I was completely disoriented and slightly alarmed with these weird noises and voices in the dark.
You probably had no interest in reading that, but I wanted to mention it as it suddenly came back to me!
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Isn't in a way what happened with Whodunnit? It was released as a sort of annoying, obnoxious joke and it was broadly received in that way , except, some fans ended up liking it. My point there would be, and it applies to Revolution#9 too, are we fans over-indulgent in a way? Would we give songs like these even a remote chance if they hadn't a certain name stamped on it? To me, songs like these are a clear example of emperor's new clothes. They are what they are, nothing else and nothing more, even when the Beatles or Genesis wrote them.
All songs are what they are. And I think in fact quite a few dedicated fans will often go the other way and be extra-picky about their favourite bands' releases. Many others will of course react as you said and be much more accepting than less enthusiastic listeners. I think Who Dunnit largely got the reaction the band expected and to some extent wanted - I think TB said they hoped to really annoy the more 'old-fashioned' fans. I'm not sure if it's noted anywhere whether Lennon wanted fans to specifically be annoyed by R9, but he must have known that would be one very likely reaction, along with bafflement, confusion and possibly boredom. I'd guess his thinking was at least partly what you just said - this is this, it is what it is, make of it what you will.
I can go as far as saying I don't mind Who Dunnit. It earns a few points from me simply on the basis that it is, indeed, what it is. I like the whole stripped-down approach to that album, even more so when I learned they abandoned what they'd done at first because it was sounding too Genesis-y. That song kind of sums up that thinking, and also I like some of its sounds and textures. Beyond that, it's never going to be high on my list - it didn't make it onto my 6-disc compilation - I just don't detest it in the way many seem to. I don't think it comes under Emperor's New Clothes because it's not pretending to be anything other than what it is.
And for me, neither is R9. However much intent Lennon may have had about any 'meaning', like any track once it's out there it's up to the audience. For it to be an Emperor's New Clothes job it would have to have been revered by many as a deep artistic statement. I honestly don't know if it has been.
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Julie With - Brian Eno
I wanted to just say, nice choice and it's made me think of:
Blank Frank - Brian Eno
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Just my opinion. but the only think bold about it, is slapping it on a Beatles album. It could have been titled Revolution#8 and have whole different sounds and atmosphere and it it would have been the same…...Equally audacious. It was basically John AND Yoko goofing around. That said, if you like listen to it it's quite OK but let's not kid ourselves into believing there's some sort of artistic merit to it. We would do no justice to one of the greatest songwriters ever.
In a way I think you've raised an interesting question about its artistic merit. Ian McDonald suggests it was an artistic achievement in being possibly the most commercially widely distributed piece of abstract art ever. It'd be interesting to know how many copies ever got past a single play. I disagree that appreciating it or arguing for its possible artistic merits takes anything away from appreciation of Lennon as a songwriter or does any injustice to his status as such. Indeed as a sound collage would we even count it as a 'song', rather think of its possible artistic merit in context of what you said, ie the boldness of slapping it on a Beatles album?
I gather McCartney, lover of Stockhausen and musique concrete, and prime architect of the infamous Carnival of Light, was away and had no involvement in its creation, and wasn't too pleased to find it had been done and his name as usual co-credited.
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I like the audacity of R9. Without wishing to be wilfully provocative, I find it easier listen to than WMGGW which I find a sombrerly over-earnest dirge. GH's songs on that album are generally poor. In his canon I think Something and Taxman are streets ahead of WMGGW.
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Great info! Will be listening again and paying attention to the time display. 😁
I agree that Supper's Ready, or at least a snippet could have worked in a lower key. All the other songs worked. My understanding though is that Supper's Ready was off the table from the get go. I kind of remember a Q&A or info piece coming put after the tour was announced saying such. Perhaps someone could confirm or deny...
At the London press conference for the tour announcement in 2006 they said straight off they would go back as far as 1973 and therefore not including SR.
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We've had a "Genesis songs I'm afraid to admit I dislike" thread. As I said in that thread, no-one should ever have to be afraid to "admitting" disliking any song. As such, I wondered if given that so far in this thread we are fulsome in our praise and admiration of the Beatles, what are the ones where you think "That said, I'm not keen on...." - especially any that are generally regarded as sacred cows?
For me, a couple of Harrison ones - While My Guitar Gently Weeps, which I find a bit tedious and quite pompous in the way some GH songs could be, and Here Comes The Sun, which I find a little twee and trebly and generally naff.
Dare I revisit it, but also Walrus is quite underwhelming for me.
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I just heard Penny Lane on the radio while driving. Never fails to put me in a good mood and automatically makes me smile and sing along.
If I ever had to do the near-impossible task of picking out just one Beatles track as a desert-island disc, this would be the one. For the reasons you said, plus how deceptively complex it is. Even for such a simple-sounding singalongy song, it goes in subtle unexpected directions.
The piccolo trumpet solo is indeed sublime and I gather McCartney sang it to the player to show what he wanted. The piano track is 8 tracks mixed together, giving it that richness.
And probably my favourite lyric ever: "And though she feels as if she's in a play, she is, anyway".
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Particularly love Paul's guitar solo in Taxman - great bit.
It's an astonishing piece of work. You may have spotted it gets cut up and backtracked during Tomorrow Never Knows (surely one of the most stunning songs of the 60s. Or ever) - thus giving the album a nicely bookended feel.
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Yes also dumped the whole of Topographic on their audiences, at least initially, so pre-dated Genesis in that approach; I think they ended up doing half of it per show.
Yeah the 'album showcase' gig has become very popular. I saw Bowie do a double one - the whole of Low and the then newly released Heathen at his Meltdown show in 2002, followed by a handful of classics as an encore.
That one was good, but overall I'm not a huge fan of the album showcase gig. Simple Minds handled it quite well when one year, about halfway through a gig they played the whole of New Gold Dream. No announcement, no fanfare, just inserted it into the set. I quite liked that. REM also had a nice take on it, in 2003 they did small gigs at London Brixton Academy and in each did not an album but a sequence of tracks from a specific album, as a sort of mini-showcase as part of the set. e.g. the one I went to featured a handful of tracks from Life's Rich Pageant, another night it was Fables, etc.
I also saw Magazine do the whole of Soap, and Floyd do Dark Side.