875:, you've ended up underplaying the historical aspect of there being two separate bass lines. The lead now describes this feature as "atypical" but I think the previous wording – "a departure from convention" – is more accurate. The claim's supported in the main text by the statement that there was no precedence before "Think for Yourself" for having a standard bass part and a fuzz bass part on the one song. I imagine Spector might've had two bassists playing the same lines on a track, perhaps upright and electric to create a fatter sound. But the significant point is that this song contains two completely separate lines.
1314:
statement leads a reader who has listened to the song's lyrics to think that Gould is insinuating that contemporary listeners were idiots, which of course is untrue. If the song is about relationships, then it is, if anything, as Gould himself is reported as describing it in the very next sentence, an anti-love song. It cannot be both, surely. Right? You see, we have Gould calling it both in successive sentences. That’s great if we want to confuse the reader. The song is also described as a love song elsewhere in the article, and that's also strange, to be honest.
951:, and so it more fully informed his work as he tried to find his own voice as a songwriter. Put it another way, Lennon and McCartney had been writing so long by 1965, they'd been able to explore and develop by incorporating or imitating a long line of influences and musical heroes (Buddy Holly, Elvis, Carl Perkins, Little Richard, Wilson Pickett, etc) from the late '50s onwards, whereas, as most commentators have it, Harrison's development as a writer began, in effect, with his absorption in Dylan (and hallucinogens).
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857:(which, it goes without saying, focuses on rock history way outside the Beatles or the 1960s). Don't know what else to say. I certainly don't want to attribute this or any other first to the Beatles for the sake of it; but if they're credited with this, and nothing appears to challenge the point, it seems to me that it's "fact".
913:, I think it was, suggest the book's claims are dubious, partly fictional even. As I alluded to above, I'd forgotten the article was up for GAN – thought I'd pulled it before going away for a month in August. This Curley/Best issue was something I'd flagged in my mind back then. Will just cut the whole paragraph.
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at all highly, from the point of view of exploring what the album's about and its impact at the time, and I've read other readers expressing the same disappointment. One thing he is good at, though (too good), is jumping on tangential points and exploring them to the max, and he gives the fuzz bass
1313:
In the second para of the lyrics section, Gould is reported as saying that most contemporary listeners likely interpreted it as a love song. I don’t have the book, so cannot check whether he really says that?. But I know that contemporary listeners were able to work out what lyrics meant. The
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I agree, but I have to confess I'm utterly hopeless when it comes to samples here! I can't even get it together to play any of the files that are currently in
Knowledge (XXG) music articles. If you or someone else wants to add a sample, that would be great, but I've never found it to be an issue
853:: this amounts to how loads of bass players long before the Beatles used to doctor their amps to achieve a distorted effect, but no one apparently had actually recorded bass played through a fuzzbox – which is the "first" that's stated under Recording. I've cited the statement to Everett's
1232:
Thanks once again, Ritchie, and especially for adding the sample (not that I can play it). You haven't commented on the "atypical"/"departure from convention" issue, but I'm hoping you're okay with reinstating the wording as I've suggested, to more accurately reflect what the sources say.
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Aargh. In fact, it's only this "Best biographer
Mallory Curley" who says that writers/commentators have interpreted it as a song directed at Best. Months ago, I looked everywhere I could to see if anyone held that opinion (it was complete news to me as well), let alone whether it was an
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Dylan certainly (still) influenced Lennon, and for the first time McCartney, around this period, yes. I think the point that Inglis is making is that Dylan was a far more profound influence/inspiration for
Harrison because he was just beginning to really engage with songwriting
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I've added mention of the first bootleg release. Somewhere down the line, I might add a bit more detail on this tape. It receives a fair bit of attention in books by John Winn and Richie
Unterberger, and (as Unterberger notes) pages worth of commentary in
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organ. Does anyone know which keyboard Lennon played in the song? I would think that these sites would be more accurate. Otherwise, the "electric piano" claim would have to be cited because I can't find any sites that credit Lennon on the Hohner Pianet in
909:
interpretation that had gained some traction with others. I found nothing, but I did find enough to realise that Curley's book is in no way a reliable source: it's self-published (I couldn't even get an ISBN for the title); and comments by
1117:: I know you're a Macca fan 'n all, but do you really think the Ricky image needs to look so gigantic?! I laughed at first but, quite honestly, I'd rather we lose the pic altogether than see it appear so comically large.
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1289:. In the introduction to the book (from memory), Miles acknowledges Doggett, Patrick Humphries and Chris Charlesworth as fellow contributors. Doggett's and Humphries' pieces were later compiled into the 2010 book
844:, say – yes. (If the Who released a track before 3 December '65 with Entwistle playing bass through a fuzzbox, and it's supported by a reliable source, then OK …) I don't rate Kruth's book on
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to the other viewpoints. Given
Harrison wrote "Taxman" not long after this, having a swing at the government and the "squares" sounds the most obvious choice of where the lyrics came from.
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While the musical form is all technically correct, I think this is one instance where a 5-6 second audio sample of the chord sequence in the verse would help explain things to the reader.
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was playing bass through
Marshall 4x12s twelve months before this was recorded and was well-known for putting all sorts of effects through his bass, though possibly not as early as '65.
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I guess you mean in the lead – "The song's lyrics … The lyrics …" Have rephrased but personally I'm always keen to avoid constant mentions of "the song" (hence some rewording
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939:" - wasn't Lennon equally Dylan-influenced at this point, though? ("You've Got To Hide Your Love Away" and "Norwegian Wood" have Dylan's influenced stamped all over them).
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and related topics on
Knowledge (XXG). Users who are willing to participate in the project should visit the project page, where they can join and see a list of open tasks.
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Okay, I've reworded it. I was trying too hard perhaps to avoid the implication that McCartney's own 4001S was necessarily the guitar in the picture. PS. Re
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I think everything's been addressed; the issue with the picture or choices about copyediting don't really affect the GA criteria, so I'll pass this now.
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before. Although there are multiple sources confirming this, I think it still might be worth trimming this section down a little bit to give
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to the talk pages of all
Beatles-related articles. Send a newsletter to members, canvas for new members and coordinate tasks. Enter articles
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part on "Think for
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Thanks for taking this one on, Ritchie. It's been so long a-sittin' on the noms pile, I'd pretty much forgotten all about it.
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I'll give this a go. A quick read through suggests no problems, so I don't see any issues with this getting to GA status.
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recording of the vocal overdub session been released on bootlegs? (I've heard a boot of the overdubs for "
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The reason for enlarging the pic was primarily because the caption looked squashed; no other reason.
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to avoid "The song … a love song … Bob Dylan's song …"). I thought previous wording was better.
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Is it really Peter
Doggett who wrote the "Diary" in 2001, or should it be Barry Miles? --
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Can you reword one of the two sentences next to each other that starts with "The lyrics"?
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That'll be because of the triplets in the middle, emphasised by the fuzz bass line.
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Is Lennon's keyboard part audible at all in the final release? I can't hear it.
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The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes"
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the first time that a bass guitar had been recorded with a fuzzbox device
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John Lennon on "Vox Continental organ" not "Hohner Pianet electric piano"
1168:" in which you can hear McCartney shout "oooh, bloody hell" at the end).
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onto this list, also list articles needing cleanup and other work here.
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No, it's Doggett – he writes all the italicised song commentary in
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I hadn't heard about the lyrics possibly being directed towards
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A list of articles needing cleanup associated with this project
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I've dropped a sample in - hopefully that should be alright.
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A Rickenbacker 4001S. McCartney used a similar model
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Well, absolutely certain based on what the sources,
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This Beatles-related article is within the scope of
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