All Things Must Beat. Share Anything Beatles!!

[dougjwray]

I was just leafing through an old Guitar Player magazine issue with George Harrison on the cover, published shortly after his death.

The issue included many tributes to Harrison's influence from a wide range of guitarists. A bunch of classic rock guys extolled his lead playing, but many of the solos that they singled out were, we now know, played by McCartney (or, occasionally, by Lennon) and not by Harrison.

I wonder how many people here don't realize how many Beatles songs had Lennon or McCartney playing lead.

Started a list, then did a search, and found this post in a thread on another music-related forum (post #24) (the same post goes on to list who played bass on what song, too):

Paul: "Ticket To Ride", "Another Girl", "Taxman", "And Your Bird Can Sing" (with George), "Strawberry Fields Forever" (the two quick little solos before the fade), "Sgt Pepper's Lonely Hearts Club Band", "Being For The Benefit Of Mr Kite", "Good Morning Good Morning", "It's All Too Much", "Maxwell's Silver Hammer" (I think), "You Never Give Me Your Money" (1st solo after the "Oh that magic feeling" section), "Carry That Weight" (I think), "The End" (1st solo)

John: "You Can't Do That", "When I'm 64", "Yer Blues" (1st solo), "Honey Pie", "Get Back", "I Want You (She's So Heavy)", "You Never Give Me Your Money" (2nd solo- "1,2,3,4,5,6,7..." section), "The End" (2nd solo)

[Note: the guy who wrote up this list missed a few John leads, including but not necessarily limited to Every Little Thing, the first solo on Long Tall Sally, and You Can't Do That.]

George: every other guitar solo except "While My Guitar Gently Weeps" (Clapton)

A good list, but John was 3rd, not 2nd in rotation on "The End", and I think he also played lead on "The Ballad of John and Yoko" (on which Paul played drums).
I saw something where he said that they call George the invisible songwriter, but he (John) is the invisible guitarist. He could really surprise you.

 

[Guitalia]

A good list, but John was 3rd, not 2nd in rotation on "The End", and I think he also played lead on "The Ballad of John and Yoko" (on which Paul played drums).
I saw something where he said that they call George the invisible songwriter, but he (John) is the invisible guitarist. He could really surprise you.

Yes. I didn't notice that when I quoted the list, but I knew that John went third, not first.

From what I've read, Paul got the first slot because he was the main writer for The End, and John said he wanted to go third because he had a great idea for an ending, so George got the short end of the stick, as usual.

 

[beans-on-toast]

 

[GregC]

 

[beans-on-toast]

Well worth the watch.

 

[zontar]

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[zontar]

Not many songs with those writing credits…

 

[MAJOR METAL]

 

[G-Dog]

I like seeing the lads playing different guitars. Don't think I've seen that picture with the Jazzmaster before.

Here's another pic I hadn't seen before. Nice of George to loan him the Ric 12.

 

[Guitalia]

I like seeing the lads playing different guitars. Don't think I've seen that picture with the Jazzmaster before.

John must have borrowed the Jazzmaster to sit in with the pub band. Paul apparently didn't feel like playing on a right-handed bass.

 

[Guitalia]

Never noticed Paul playing his bass finger-style before. He must have preferred the softer attack for quieter ballads.

 

[G-Dog]

Never noticed Paul playing his bass finger-style before. He must have preferred the softer attack for quieter ballads.

Exactical! As a budding guitarist in the '60s I noticed he seemed to use a pick on fast songs, which (at the time) I thought bassists never did! But, in "A Hard Day's Night" I was fascinated watching him plunk fingerstyle, even using double stops, on "And I Love Her".

 

[beans-on-toast]

Jack talks about John and other interesting things.

 

[MAJOR METAL]

 

[beans-on-toast]

 

[zontar]

 

[zontar]

 

[Alkali Ike]

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"After being disassembled and sitting unused for more than five decades, the recording console underwent a five-year restoration process under the guidance of Beatles collaborator and former EMI engineer Brian Gibson. Gibson, along with a team of audio engineers and technicians, managed to reunite the console with 70% of its original parts, working with expert British companies to faithfully reproduce the replacement parts to seamlessly work alongside their older counterparts.

After years of work, Gibson and his team were able to bring the console to almost exactly the same form as it was when it sat at EMI Studios (known as Abbey Road Studios only after the success of the album). According to Hedges, the console had last been used during the Beatles’ solo sessions in the ’70s until this autumn, when Reverb gathered artists and engineers at a legendary London studio that was reopened just to put the recording console to the test ahead of its October sale.

“This particular console is a one-off. It’s unique. You can’t replace it,” said Harries of the TG 12345, which was the first of just 17 consoles worldwide made by EMI. “It sounds so good that it holds up against any modern console and, in many respects, it’s probably better. Because in those days, it was built to a different standard—cost, no object. EMI built this to be the best in the world.”

 

[gcb]

 

[gcb]