The Beatles are fucking good.

[phantom_power]

They are tanned because they are in Rishikesh with The Beatles

[SteveDave]

Surely you can get him a bootleg of the Decca tapes? Claim you're mates with Dick Rowe.

I asked and he said he can ONLY listen to what was released at the time. So he'll hear "Free As A Bird" in 32 years time.

[the science eel]

The best McCartney impression I heard over the last few years was in fact Steve Coogan's - just brief, somewhere in maybe the last The Trip, and he's driving along talking with Rob B about how Macca's jaw had slipped and it had changed his voice. It's typically accurate and funny - but I can't find it anywhere.

[BJBMK2]

The bad impressions in that are deliberate though aren't they? It's part of the joke

Exactly. Anyone who can't crack a giggle at Paul Rudd going "Ey lads, I've got a new mantra. OoooommmmmmmPaulsABigFatCuuuuunt", in a bad Scouse accent, is doing something wrong.

That whole film is very underrated.

[grainger]

Agree one of my favourite ever podcasts and has introduced me to so much solo stuff I now love. David Quantick episodes are great fun, listened to the white album one a few times and even picked up his book on it as a result.

I've been listening to the first Quantick one, and while it's interesting, I do find their approach frustrating. Firstly, the insistence (to follow Quantick's book, I presume) that they go song by song means that they assess every track as a "song". So they trash, for example, Wild Honey Pie, because it's a bad "song". But this is absurd: the Beatles were not presenting it on the same level as they did A Day in the Life. It's a transitional track, part of the flow of an album, and the music should be judged/enjoyed/disliked on those terms. Secondly, there's a sense that lyrics trump everything else when they say that two musically different songs are "exactly the same song" because they share the same lyrical theme. A very odd approach to evaluating music, really.

[Ant Farm Keyboard]

It's definitely supposed to be terrible in both examples. Walk Hard was full of terrible impersonations (usually played by celebrities) with other characters stating clumsily the full name of the musician, just like it was done in Ray or Walk the Line, because the casual audience wouldn't recognize who they were otherwise.
Jason Schwartzmann came to the set ready to play any of the four Beatles. Jack Black can't keep a consistent accent from line to line.

And, for the record, I kind of like, without any irony, Stephen Colbert as George Harrison, as he got the personality right. And Robert Siegel (Triumph the Insult Comic Dog, which never succeeded at being a realistic impersonation of a dog) nailed Ringo's flair for overselling generic memories long before Serafinowicz riffed on it.

[gilbertharding]

I've been listening to the first Quantick one, and while it's interesting, I do find their approach frustrating. Firstly, the insistence (to follow Quantick's book, I presume) that they go song by song means that they assess every track as a "song". So they trash, for example, Wild Honey Pie, because it's a bad "song". But this is absurd: the Beatles were not presenting it on the same level as they did A Day in the Life. It's a transitional track, part of the flow of an album, and the music should be judged/enjoyed/disliked on those terms. Secondly, there's a sense that lyrics trump everything else when they say that two musically different songs are "exactly the same song" because they share the same lyrical theme. A very odd approach to evaluating music, really.

In any case - Wild Honey Pie is great. It's not 'Yesterday' great, but still. I prefer that aspect of Macca's music to the Rocky Racoon/Maxwell's Silver Hammer guff. Maybe it's the same idea as Why Don't We Do It In The Road? (which is a song I genuinely think *is* great).

Heard the Pixies version?

[gilbertharding]

It's definitely supposed to be terrible in both examples. Walk Hard was full of terrible impersonations (usually played by celebrities) with other characters stating clumsily the full name of the musician, just like it was done in Ray or Walk the Line, because the casual audience wouldn't recognize who they were otherwise.
Jason Schwartzmann came to the set ready to play any of the four Beatles. Jack Black can't keep a consistent accent from line to line.

And, for the record, I kind of like, without any irony, Stephen Colbert as George Harrison, as he got the personality right. And Robert Siegel (Triumph the Insult Comic Dog, which never succeeded at being a realistic impersonation of a dog) nailed Ringo's flair for overselling generic memories long before Serafinowicz riffed on it.

Well, that's me told. Sorry everyone.

[SteveDave]

After listening to a laconic American child on the latest "Nothing Is Real" podcast, I'm going to see the Rooftop thing at the IMAX next Thursday.

[MiddleRabbit]

After listening to a laconic American child on the latest "Nothing Is Real" podcast, I'm going to see the Rooftop thing at the IMAX next Thursday.

A laconic American child who took a good six or seven goes at getting every single sentence he drawled out. 

I like Nothing Is Real, but I find the older chap who thinks George Harrison is the hottest shit in the world a bit much occasionally: he's a lot better at arguing than the other fellow, and it can turn into, "Nothing Is Really As Good As George Harrison".

They've got the nicest voices on Beatles podcasts that I've heard, but I like One Sweet Dream the most.

[SteveDave]

Seeing everything all bigly at the IMAX was disorientating.

I did catch some other things on this viewing though-

Paul nearly falls over with how much he's enjoying playing during the first version of "I've Got A Feeling".

Even though they were a well-to-do band, George's wah pedal still came in that shitty little bootbag thing (and it was lying next to the guitar cases behind them)

As much fun as Paul's reaction to the police was, George glaring daggers at them was a lot funnier.

[Replies From View]

I asked and he said he can ONLY listen to what was released at the time. So he'll hear "Free As A Bird" in 32 years time.

Has he somehow never heard any Beatles songs before now?  Or does he know what's coming.

[Replies From View]

I've been listening to the first Quantick one, and while it's interesting, I do find their approach frustrating. Firstly, the insistence (to follow Quantick's book, I presume) that they go song by song means that they assess every track as a "song". So they trash, for example, Wild Honey Pie, because it's a bad "song". But this is absurd: the Beatles were not presenting it on the same level as they did A Day in the Life. It's a transitional track, part of the flow of an album, and the music should be judged/enjoyed/disliked on those terms. Secondly, there's a sense that lyrics trump everything else when they say that two musically different songs are "exactly the same song" because they share the same lyrical theme. A very odd approach to evaluating music, really.

For absolutely years the only track I knew from Abbey Road was Mean Mr Mustard, because I had made a 90 minute tape of random Beatles tracks from my friend's dad's CD collection in 1991.  I only picked it because I liked the title.

Whacks in from nowhere and suddenly cuts out.  I'd like to know what the Quantick podcast thinks of it.

[Egyptian Feast]

Has he somehow never heard any Beatles songs before now?  Or does he know what's coming.

I've been thinking about this too. What happens if he wakes up with 'Hey Jude' in his head five years before it came out sixty years previously? Does he ignore it and listen to some Tony Sheridan to get it out of his mind? Or does he pretend he dreamed up a future hit single of the past?

[gilbertharding]

SteveDave's friend, yesterday.

[JesusAndYourBush]

I've been thinking about this too. What happens if he wakes up with 'Hey Jude' in his head five years before it came out sixty years previously? Does he ignore it and listen to some Tony Sheridan to get it out of his mind? Or does he pretend he dreamed up a future hit single of the past?

And what if he's listening to the radio or watching tv and the 'wrong' song comes on.  Does he run from the room with his fingers in his ears?

[Rich Uncle Skeleton]

maybe Richard Curtis will turn his life into a crap film.

[gilbertharding]

Just out of contrariness, with the whole rest of the world bingeing on 1970 Beatles, for the last week I've been listening to the Beatles at the BBC set.

And I think it's fucking good, on the whole.

[Replies From View]

1969 Beatles.  Unless you specifically mean I Me Mine and/or Spector's overdubs.

[gilbertharding]

1969 Beatles.  Unless you specifically mean I Me Mine and/or Spector's overdubs.

Splidding hairs there. I am aware they have to record music before they release it.

[Replies From View]

Splidding hairs there. I am aware they have to record music before they release it.

How could you have possibly known that before I told you.

[markburgle]

Splidding hairs there.

Interesting because off air I know you'd usually type "splitting".

[Rich Uncle Skeleton]

Beadles About

[famethrowa]

For absolutely years the only track I knew from Abbey Road was Mean Mr Mustard, because I had made a 90 minute tape of random Beatles tracks from my friend's dad's CD collection in 1991.  I only picked it because I liked the title.

You had it good! This was the first time I heard it....

(Sounds just like the Moog Cookbook)

[Menu]

Just out of contrariness, with the whole rest of the world bingeing on 1970 Beatles, for the last week I've been listening to the Beatles at the BBC set.

And I think it's fucking good, on the whole.

Yes I love that album. The 1994 one. So many great covers on it - you get a glimpse of what a terrific live band they must have been. Clarabella, Soldier of Love, Some Other Guy, To Know Her Is To Love Her. Fantastic stuff.

Unfortunately the sequel they released a few years back is really disappointing. It only includes slightly different versions of their own songs. I mean, it's ok, but far from vital. Did the world really need another version of Love Me fucking Do?

[SteveDave]

Has he somehow never heard any Beatles songs before now?  Or does he know what's coming.

He has heard them all before yes.

And what if he's listening to the radio or watching tv and the 'wrong' song comes on.  Does he run from the room with his fingers in his ears?

I think his plan is to not listen to them intentionally. If he's out and he hears one, it won't count.

[Replies From View]

Why doesn't he apply it to all music?  Set himself in February 1962 and not limit it to only the Beatles.

[Das Reboot]

I like Nothing Is Real, but I find the older chap who thinks George Harrison is the hottest shit in the world a bit much occasionally: he's a lot better at arguing than the other fellow, and it can turn into, "Nothing Is Really As Good As George Harrison".

It's one of the best Fabs podcasts, but I can only handle it in small doses. There's something about Cockcroft's - not voice, but more like - mouth noises that grate like fingernails on a chalk board.

[gilbertharding]

Yes I love that album. The 1994 one. So many great covers on it - you get a glimpse of what a terrific live band they must have been. Clarabella, Soldier of Love, Some Other Guy, To Know Her Is To Love Her. Fantastic stuff.

Unfortunately the sequel they released a few years back is really disappointing. It only includes slightly different versions of their own songs. I mean, it's ok, but far from vital. Did the world really need another version of Love Me fucking Do?

I like both of them. There's loads of covers on the second set.

It's fun to hear them do the old R&R and R&B covers, but they're second best compared to the Stones doing the same repertoire... where they're much better is as an Everly's tribute act, and doing unusual songs. It's clear, I think, that's where their futures lay.

[Replies From View]

Well I wish them the best of luck, even though guitar groups are on their way out.