Discussion in 'Music Corner' started by Steve Hoffman, Jul 17, 2006.
Since when was Robin Gibb in The Beatles!?!
Cool photos, Mal. Thanks!
I know! From most accounts it was hate at first sight -
this must've been the first meeting complete with promo shots.
Maybe it was on the ride home after this shoot that Paul
realized he wanted Klein to take 5% less...
I think people are mistaking this photo and the timeframe. This is not the meeting where Paul refused to sign Klein's personal services/management contract, that was in late August. This photo was the signing of their new deal with EMI/Capitol. At the very least, Klein DID get them a big advance and a higher royalty rate with this contract. The Beatles got 25% of the wholesale price from US sales. He also was able to include solo recordings in the "Two albums per year" contract. Another reason for them to be happy.
They did have a sense of humour ...
thanks for that clarification - I forgot about that Klein move
Here's a top down view from one of their shows...
George is playing a Fender amp in that overhead shot -- probably a Bassman combo. An unusual occurrence live. A couple of stomp boxes, again unusual, has to be a later show. Paul is playing thru what looks like a Vox AC100 amp and John has two Vox amps. Notice the guitars just lying on the floor.
Any chance this photo is from the Hollywood Bowl show?
How often did they perform with a grand piano on stage? Who played it, Paul?
Not really a keen student of this.
I doubt it. Was there a piano onstage at the Bowl?
Maybe it's a Poll winner's show and the piano was used by one of the earlier acts.
It looks to me like the Fender amp in the lower left corner isn't being used: the three Voxes are all miked up with mike stands in front of them, but there's none on the Fender. It was probably used by one of the support acts, while the Beatles stuck to having a Vox each.
And the stage surface looks too roughshod and temporary to me to be from a purpose-built, permanent auditorium like the Holywood Bowl. It looks more like one of those thrown-together-from-scaffolding jobs from those shows in sports arenas.
Just my thoughts. It's a great photo, wherever it is.
Your thoughts are good thoughts. I'll bet the Fender amp is from an opening act and the grand piano is either from an opening act also, or it's a house piano that was deemed not in the way so..there it stands. I agree though that the stage looks pretty temporary, construction-wise , so it was probab
ly left there from an opeing act.
People forget how low tech everything was in that era. No elaborate stage sets etc, just plug in and play . When an opening act was done the amps and drumset, etc., were just pulled back out of the way, or if they weren't blocking anything..leave 'em where they are.
It was only the Beatles playing for cryin' out loud, a "pop" act, not someone with REAL talent like Andy Williams or something.
I like this one obviously.
John writting SFF in Spain in his hotel room.....hence the shorter hair cut for the film he was making at the time.
ah canna do it...
Cool pic. I don't remember seeing this picture before.Thanks!
You could be right.
Although, almost all the time amps were not mic'ed until much later on in really big shows. For most of the Beatles touring life their amps had to carry the instruments and the promoter only had to provide a PA system. (Not just the Beatles... everyone did this) Which is why Vox kept having to increase the power in their amps from the AC-30 to AC-50 to the AC-100. Because the Beatles complained the amps weren't loud enough.
PA Systems were very rudimentary until the larger venues and large outdoor shows started to become common place. The idea that you could mic any amp and mix it with the voices on the PA was not a pre-70's concept or practice.
Just look at the PA system for the Shea Stadium show. Ridiculously unacceptable.
Also, George was very found of the Fender Bassman Combo Amp. And by the time they got around to recording the "Let it Be movie" he had switched to a lot of Fender gear.
That's because Brian Epstein had worked out an agreement with Vox very early on, and being a man of his word he stuck to that agreement.
After Brian died though, all bets were off agreement-wise. Fender shipped a bunch of gear for the Beatles to try and possibly use, and use it they did. That's why you see a ton of Fender gear by the time of "Let It Be ", if I remember the story correctly.
Ah got it from child of Nature's blog
Some great pics there.
P.S. -- i've been on that bridge over The Ganges that Macca's photographed on with Jane.
I have seen several photos of Paul using a capo on both his Hofner and Rickenback basses ... It is curious ... what tunes did he use this method to changes keys or the voicings on ? After reading RECORDING THE BEATLES it became apparent that Paul did overdub some of his bass parts i.e. played unison or harmonic bass lines on certain songs ... You can here this distinctly on Baby YouA Rich Man if you listen close ...You hear the very trebley bass like a lead and under that is a very double bass sound with another line ...The guy was and is a bloody creative genius ...
Putting a capo on a bass won't "change keys or the voicings". Since you're not playing chords on a bass, the only purpose for capoing is to allow you to play further up the neck and still be able to play certain notes on open strings. The open strings might make a bass line slighty easier to play or give a slightly different effect since an open string will sustain a bit longer than a fretted note. And in fact, generally you want to use open strings with an acoustic bass but avoid them with an electric bass. But capong doesn't that make much of a difference, which is why bass players usually don't use capos!
The main reason that Paul started overdubbing his bass was that it was easier to come up with a more complex bass line while overdubbing, as you could do the recording in sections.
I've been playing bass for well over 30 years and have never used, or thought to use, a capo. Just a theory... Paul may have used one after coming up with a specific bass pattern only to have the song change key during the session. By using it, he could have replicated the same pattern in a different key. It may have been used just to change the sound a bit.
As for overdubbing his bass, it was also a way to get the best bass response possible on tape. Once this became standard practice, and Paul switched from the hollow-bodied Hofner to Rickenbacker, the bass became much more to the fore in the mix and it was easier to manipulate the tonal quantities of the instrument. Ron
Wish I had something to post for you all....just wanted to say thanks for a whole bunch of photos I've never seen before. (and I thought I'd seen them all!)
The photo was from taken on June 20, 1965 at one of the two shows that day at the Palais de Sports in Paris. The reason the amps are miked is because the afternoon show was recorded for a French radio program called `Musicorama' and the evening show even broadcast live on the radio.
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