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krista4 last won the day on September 26

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About krista4

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    Nica...Atl...Seattle, I think

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  1. It's basically a receipt, saying that the person received xxxxxx lire (I can't really read the number) for ancient engravings that are authentically from the 17th century. Edit: thought I had quoted simey's post.
  2. I get the impression that was it; he was just too upset to work with John's songs. For a tribute, though, he participated with George and Paul on George's reworking of "All Those Years Ago," which George had originally written for Ringo.
  3. I got pulled into a project this afternoon that's going to make my work life even more hellacious for the next 7-10 days. Believe it or not, I work a ton of hours in the best of times, and these are not they. Given that I am not at all ahead in my write-ups, while I'll work them in during this time, they are going to be fairly short and simple. I'll leave it to the lot of you to add to the discussion and analysis, which you do already. The alternative is to put everything on hold until the end of next week, but I made the executive decision not to do that. wikkid, I do have your 'ludes for whenever they come up, as I'd completed those about 10 days ago.
  4. Fixed the crediting on the prior song - should have included Yoko and the Plastic Ono Band. 165. John Lennon and Yoko Ono - I Don't Wanna Face It (Milk And Honey, 1984) Spotify YouTube (John #33) Oh John, you had me at "eins zwei hickle fickle"! I genuinely love this song, much more than some songs I'll have ranked above it. But as with #235 "I'm Stepping Out," it's ranked lower by virtue of its feeling unfinished. In fact, this one sounds much less complete than "I'm Stepping Out," but I really, really love this one. I love the edgy, self-deprecating lyrics, I love the guitar, I love the rest of the rocking band, I love the intro, I love that little bark at 1:25, I love the spoken outro. Have I mentioned I love this one? This was one of two songs on Milk And Honey that John originally intended for Ringo's next album (later called Stop And Smell The Roses), along with "Strange Days Indeed" (which became "Nobody Told Me"). After John's death, Ringo couldn't bear to record the songs so passed on them. John's assistant, Fred Seaman (teehee) also gave a copy to Julian Lennon for possible recording, but Yoko prevented that from happening, so we're left with this unfinished cut and a couple of demo versions.
  5. Yes, I know. Purposefully did not go there. Excellent point. Another excellent point.
  6. 166. John Lennon and Yoko Ono/Plastic Ono Band - Happy Xmas (War Is Over) (single, 1971) Spotify YouTube (John #34) It’s a Christmas song! It’s an anti-war song! It’s both! John had discovered from the success of “Imagine” that putting an anti-war sentiment in a pretty little package might find a more receptive audience for his message. The song was a build upon a global campaign in 1969 in which John and Yoko had rented billboards in major world cities, including one in Times Square in NY, declaring “WAR IS OVER! If you want it, Happy Christmas, John and Yoko.” In addition to cribbing his own billboard phrasing (which itself might have been cribbed from Phil Ochs’s song “The War Is Over”), John also incorporated a melody from the English standard “Stewball,” lyrics from Sly and the Family Stone’s “Everyday People,” guitar riffs from “Try Some, Buy Some,” and possibly other retreads. While the song was only mildly successful in the US upon its initial release, reaching #42 on the charts, it was immediately a much bigger hit in the UK when released there the following year, and in subsequent years has become a Christmas staple around the world both in its original form and in covers by numerous artists. John called in some of the usual for the recording – including Keltner and Hopkins, and Spector on production – but added Hugh McCracken on guitar, unaware that McCracken was also working on Paul’s Ram album, and the Harlem Children’s Choir for the counter-melody and chorus. It’s this last bit that is probably a highlight for many people but is why I don’t enjoy it quite as much. I simply don’t like children’s singing. Ever. No, you are not going to come up with an exception. Bah humbug. I also find Yoko’s parts on this song to be particularly jarring. Still, I like this song for its composition, for the little bits like the chimes and glockenspiel, and for John’s lovely vocal, so it gets an overall positive ranking. We’ve now had a Christmas song from each of Paul, John, and Ringo on the countdown. Will we be adding George’s attempt at creating a new Christmas standard, “Ding Dong, Ding Dong”? No, no we won’t. This is the last of the holiday tunes.
  7. I hadn't noticed it, but it's there! Nice catch. Also gave me another chance to listen to this excellent song.
  8. How many pseudonyms do you have, Shaft, if that is your real name?
  9. I realize both Spotify links go to the same place. I'm tired of messing with it.
  10. 167. Ram On/Ram On (Reprise) (Ram, 1971) Side One: Spotify YouTube Side Two (Reprise): Spotify YouTube (Paul #77) Paul once again ties together an album by reprising an established theme from a prior track, with an initial "Ram On" contained on Side One, and a 56-second Reprise tying Side Two of the album to the first. The two sections were part of the same recording, with the last portion simply lopped off to become the Reprise, so I'm taking them as one. This was a particularly difficult song for me to place; at times it didn't even make my top 100 Paul due to being...well, not really a song so much as a collection of ideas mushed together into a fragment of a song. It ends up fairly high on my list, though, because the various ideas so mushed tend to be interesting ones. This song was unusual on Ram in that all instruments were played by Paul, with the only other contributor being Linda on backing vocals, which she pulled off quite well on this track. The core of the "song" is Paul strumming a ukelele in a little folksy melody; Paul has said that during this time he would just carry a uke around with him wherever he went, much to the befuddlement of NY taxi drivers who had some weirdo with a uke in the back seat of their cars. (Yes, that was spotlighting.) In this instance, Paul was in the studio simply rocking side to side while playing the uke and singing the repeating "ram on" vocal, and an on-the-ball engineer set up a mic on the uke, one by Paul's face, and two by his feet, capturing the foot tapping from Paul that you hear on the track, too. Paul repeats that basic vocal for three verses, but in each verse, differing flourishes are added to the backing vocals, so that even though each verse is repetitive, they all sound different, and the minor to major chord changes back and forth add to the interest. I'm a fan of the second verse's especially ethereal feel. Between the second and third verses is a section with the same basic pattern, but with lyrics replaced by mouth noises; I dig that, too. The Side One portion ends with Paul whistling the melody, which is then picked up again as the beginning of the Reprise on Side Two. The Reprise then contains one repeat of the verse before changing into Paul singing what became the first lines of #212 selection "Big Barn Bed" on the Red Rose Speedway album two years later. To all of this was added some reverbed percussion and electric piano, plus an intro that came from a different session, comprising a nice piano arpeggio section and some chatter. The end result was a somewhat hauntingly beautiful, compelling track (or tracks). Do I know what the lyrics are about? No. Do I care? Also no. I'd be remiss if I didn't note that the words "ram on" could be a reference to the pseudonym Paul used in the Beatles days, "Paul Ramon," which The Ramones adopted for their band name. Paul sure does love his pseudonyms.
  11. ---MINI-LUDE – Thrillington (1977)--- Before I post another song from Ram, I wanted to mention this unusual project, which was an orchestral version of the entire Ram album. It had been recorded in 1971 a month after the release of Ram, but wasn’t put out until 1977, under the name Percy “Thrills” Thrillington. Thrillington was allegedly an “Irish bandleader” who was also an sprightly socialite whose activities began to be eagerly reported in the UK press (as well as in Rolling Stone). After a dozen years of keeping mum about the project, Paul admitted in 1989 that he was Thrillington, which of course anyone with brain cells already suspected, and that he had planted the spottings of the “socialite” in the various publications. At the same time, he also owned up to being “Clint Harrigan,” who wrote the liner notes for this album and Wild Life, as previously discussed. When Thrillington was re-issued in 2012, Paul set up a Twitter account where he again pretended to be Thrillington. Paul really can be one weird dude. One interesting aspect of the record is that Paul used the same orchestral arranger for it who had done the arrangement of “The Long And Winding Road” that Paul absolutely despised. I don’t much care for this album despite being a huge fan of Ram and generally being instrumental friendly, but I thought I should point it out in case anyone who hasn’t heard it wanted to check it out. My notes for various songs include “plodding AF,” “granny music,” “boring and dissonant,” etc. – in general it was too granny loungey for me. I’m either entranced or disturbed by the ram violinist on the cover.
  12. I'd like to point out that I said you were a Paul before wikkid's post about all of Paul being "cute."
  13. Nah, Binky is too sometimes angry to be a Ringo. I don’t know if we have one. Closest might be simey for just being so kind? There are others who are just very nice, too, but I worry it could seem insulting to be “the Ringo” even though I consider it a compliment! ETA: You know, it’s simey. She’s kind and full of peace and love, but like Ringo, her best work isn’t flashy but consists of holding all this #### together. Like Ringo was the heart of the Beatles, she’s the heart of any music thread.
  14. I’m a John, minus the genius. I think Shaft is a Paul. Now I go no further in the twisted “Which ####ed up Beatle are you” not-a-Buzzfeed quiz lest I offend anyone.