digit
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Post by digit on Sept 15, 2013 7:35:34 GMT -5
my first beatle album was bbc, I was a student with no money and it was best value coz it had most of the early hits and a few of the quality album tracks not available on "1" like all my loving (why wasn't that a single ? ). when you take into account all the covers and goon interludes as well there , that was the start of my musical and cultural education, I completely wore out the 2 cds.
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digit
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Books
Sept 15, 2013 7:24:49 GMT -5
Post by digit on Sept 15, 2013 7:24:49 GMT -5
well I never got to do catcher because I was in a catholic priest run school (similar to belvedere where joyce went) so most of the classic novels were out of bounds.
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digit
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Post by digit on Sept 14, 2013 18:54:41 GMT -5
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digit
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Books
Sept 12, 2013 11:05:01 GMT -5
Post by digit on Sept 12, 2013 11:05:01 GMT -5
great i had a hunch just by the titles of those novels, i think there's a short story sequel to catcher coming out. i have a few months more of free time for reading so dont wanna waste it reading shite....
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digit
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Books
Sept 10, 2013 11:06:07 GMT -5
Post by digit on Sept 10, 2013 11:06:07 GMT -5
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digit
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Post by digit on Sept 10, 2013 11:01:28 GMT -5
still waiting for the mono vinyl release
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digit
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Post by digit on Sept 3, 2013 14:06:39 GMT -5
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digit
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Nothing
Aug 24, 2013 12:46:38 GMT -5
Post by digit on Aug 24, 2013 12:46:38 GMT -5
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digit
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Post by digit on Aug 24, 2013 12:26:59 GMT -5
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digit
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Post by digit on Aug 20, 2013 9:44:49 GMT -5
One Direction fans, relax. Pete Townshend has issued a statement denying rumors The Who were contemplating action over the fact that the boy band’s new single, “Best Song Ever,” sounds like The Who’s “Baba O’Riley.”
Responding to the Twitter storm that erupted yesterday, Townshend says: “No! I like the single. I like One Direction. The chords I used and the chords they used are the same three chords we've all been using in basic pop music since Buddy Holly, Eddie Cochran and Chuck Berry made it clear that fancy chords don't mean great music–not always. I'm still writing songs that sound like 'Baba O'Riley'–or I'm trying to!"
He added: “It's a part of my life and a part of pop's lineage. One Direction are in my business, with a million fans, and I'm happy to think they may have been influenced a little bit by The Who. I'm just relieved they're all not wearing boiler suits and Doc Martens, or Union Jack jackets.
The funniest thing is that in Canada this year I met with Randy Bachman, once the leader of The Guess Who, who told me that he not only copied 'Baba O'Riley' for [Bachman-Turner Overdrive's] hit 'You Ain't Seen Nothing Yet', but he even called his band after us. Why would I not be happy about this kind of tribute?"
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digit
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Post by digit on Aug 20, 2013 7:43:19 GMT -5
cool, I think the same guy took a picture of my grandparents in O'Connell Street , will try to dig it out
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digit
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Nothing
Aug 20, 2013 5:16:14 GMT -5
Post by digit on Aug 20, 2013 5:16:14 GMT -5
great video, whats not to like.
as for what solid potato salad means, its probably just a play on words like "please lend a little ear to my pleas"
songwriters back then were pretty clever , ok ?
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digit
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Post by digit on Jul 29, 2013 8:01:23 GMT -5
kite is actually a good song stripped down but all that circus shite distracts from it. i presume paulie used backing tapes on it.
its one of the most complicated pieces of music from the modern era (probably caused brian wilson headaches) so he may have wanted to see if he could pull it off as a 70 yr old. as for co-writing it, its possible since they were still meeting up at john's house to go through material at this point, although he certainly never mentioned this in the past, would be interesting to see what he says in "many years", havent got it to hand at the mo.
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digit
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Post by digit on Jul 28, 2013 10:30:26 GMT -5
well its not really surprising that it doesn't sound as good as when it first came out because musically there's fuck all happening , so the only interesting element of the song, once the tune becomes tired, are the lyrics.
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digit
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Post by digit on Jul 26, 2013 11:06:00 GMT -5
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digit
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Post by digit on Jul 22, 2013 17:29:15 GMT -5
just for historical reference I'm gonna track a couple of their posts here coz they'll probably be taken down, there's a couple of interesting points made
Passed up on buying a used copy of "The Birth Of The Beatles" by Sam Leach the other day. What is your opinion on this book? A number of interesting photos I hadn't seen before, but would it have been worth it for more than that?
Bill Harry : Sam had nothing to do with me and Mersey Beat as he purports in the book. We knew Sam and got on with him, but we had no discussions with him re Mersey Beat and he never made any suggestion about me doing a ROCK AND ROLL NEWSPAPER. At one time, after working on Frank Hessy's magazine I was considering a jazz magazine called Storyville and 52nd Street. Sam was dealing with the people at the Storyville Jazz Club and I asked Sam if they would be interested in sponsoring it. He said he would like to sponsor it. He made four appointments with me and never turned up. His friend Dick Mathews knew about this and said a friend of his would provide me with the initial finance. By that time, since I'd become friends with people like Casey Jones, Adrian Barber, Rory Storm and had begin making notes and researching the local rock and roll scene, I realised that I wanted to cover that particular scene not a jazz one. I thought of the name of the newspaper in the office in the early hours of one morning by working out the area I'd be covering and having the image of a policeman on his beat - the Mersey area would be my beat, therefore I called it Mersey Beat.
Sam Leach : Hi Teddy - can I tell you something. Bill Harry does NOT own copyright of Merseybeat - either the place or title as you are not allowed to copyright a geographical title or name. He KNOWS this s tEll him from me he' kidding people. And whilst the newspaper Mersey Beat is his copyright name it ONLY applies to the paper. And George Harrison, a famous Liverpool Echo columnist, had a column for many years BEFORE Bill, called 'Mersey Beat' - and Bill knows that too !! As you may know Bill asked me to finance and promote a JAZZ mag called 'Storeyville and 52 Streezt' but I later told him to forget Jazz and do a Rock paper instead. When I lost the Cassanova Club And therefore couldn't continue with supporting Bill I persuaded My best mate Dick Matthews and Jim Anderson, my chief cashier, to put up £200 which they did. Dick also allowed Bill to use his photos in the paper. Bill illegally pushed Dick out of the partnership - physically too. please let Bill see this post if you can and if he says this is untrue - then SUE !!! Recently Bill has even tried to falsely claim a joint copyright with Dick's great photos which is more Bill Harry bullshit. But, don't get me wrong, I freely admit Bill eventually did a great job in producing the paper which was a great boon to our Merseybeat scene.
Ted Taylor : I can only speak for myself, although many others will claim the same story. Nearly all of the American records came in via the Cross Atlantic Ships, which docked in Liverpool. From late 1955, I was getting records that were not released in the UK, until Months later, and in the case of Black Performers, perhaps NEVER got released in the UK. This resulted, in my case, turning from Skiffle, to Rock and Roll, faster than other people, who did not have such easy access to this outlet of records from the USA. PS. Thanks for the TV series link
Sam : Hi Teddy - I've always said that YOU got those records via subscription from Chess and Dot Records. .I met a guy called Chess in Chicago who confirmed that. I am pretty sure he was the original owner - -or a close relative. All the Merseybeat bands - Including the Beatles - would watch your shows and take note of the words and chord of the songs that you and the Dominoes performed.
John - the thing about Merchant Nav guys bringing in the records is only about 50% correct. Teddy Taylor brought in the rest !!
Bob - 50% was the Cunard Yanks and Teddy Taylor was the other 50%" Then I took over and showed the other promoters how to promote
Ted : Liverpool was a buzzing City Bob Nasca, long before the Mersey Beat tag. And, as Wes Paul Simpson-Gerrard said, without all of the promoters, who had faith in our music, it would never have gone anywhere. God Bless them all.
Bill : I have always promoted Sam Leach and tried to get him his due in books, magazines and videos. His first real acknowledgement in a book was when I wrote about him in my 'Beatles Who's Who.' I then suggested Philip Norman interview him for 'Shout' and over the years I have suggested to numerous interviewers that they should contact Sam when they were in Liverpool. I was very disappointed to see that he has come up with quite a nasty and vicious and unwarranted tirade against me on Ted's site. Ted is usually careful in not trying to get people use hostile comments against others, but I suppose in this instance he didn't care. I don't want to hear anything more about this affair from Ted or anyone else. If they want to promote mud-slinging, let them go ahead without me getting involved.
Ted : Just before you all throw your Dummies out of the pram, let me tell you all that Bill Mersey Beat, sent me an E.Mail, Date and Time are as follows: -----Ursprüngliche Mitteilung----- Von: Bill Harry <billharry@aol.com> An: KingsizeTaylor <KingsizeTaylor@aol.com> Verschickt: Mo, 22 Jul 2013 4:52 pm Betreff: Bill Harry _____ In this mail he did give me details contradicting the Statement posted by Sam Leach. I sent a nice reply back to Bill, and asked him for his permission to sort this potential argument out, to which I have had no reply. 2 Hours later Bill Mersey Beat put this comment out. I am willing to post the whole of my correspondence with Bill, just to show you all that this statement is an out and out LIE. So come on Mersey Beat, make your mind up.
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digit
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Post by digit on Jul 22, 2013 16:57:43 GMT -5
fun times on facebook. for those not on that there's a spat going on between mersey beat heavies Bill Harry and Sam Leach. Ted is Ted Taylor of the Dominoes.
"I have always promoted Sam Leach and tried to get him his due in books, magazines and videos. His first real acknowledgement in a book was when I wrote about him in my 'Beatles Who's Who.' I then suggested Philip Norman interview him for 'Shout' and over the years I have suggested to numerous interviewers that they should contact Sam when they were in Liverpool. I was very disappointed to see that he has come up with quite a nasty and vicious and unwarranted tirade against me on Ted's site. Ted is usually careful in not trying to get people use hostile comments against others, but I suppose in this instance he didn't care. I don't want to hear anything more about this affair from Ted or anyone else. If they want to promote mud-slinging, let them go ahead without me getting involved."
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digit
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Post by digit on Jul 14, 2013 12:52:25 GMT -5
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digit
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Post by digit on Jul 14, 2013 10:55:48 GMT -5
he's right to stick to songs with simple harmonic movement like this one, it works.
it looks like that guitar player was stealing too much of the limelight from bobby's plodding piano
in other elder guys from the 60s news, the beach boys used autotune on their 50th live dvd, maybe Brian Wilson could produce the next boby record ?
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digit
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Post by digit on Jun 27, 2013 3:37:47 GMT -5
i bet gerry adams wishes he was black.....
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