Batting Down Bad Ideas (And Trusting Your Gut) The four freezing lads on the roof would vanish from our collective memory, and we'd have to find some other Turkey Day diversion this year. you can do it too, probably.” /Un4wAUjWVz- your friend Grace Spelman November 28, 2021Īll in all, without somebody to show up on time, nag Lennon to write new material, and, overall, keep the trains running on time, this misshapen, classic album wouldn't exist at all.
Perfect little clip that encapsulates why Paul is my favorite.“hey random kid on set, isn’t it crazy how a cool song can just be right here in front of you? look - here’s how I do it. More importantly, they show how viewers today can apply the Beatles' strategies to whatever group they belong to, whether it’s a congregation or a corporation. To figure out how these four childhood friends - who were rapidly growing apart and questioning the world-conquering entertainment module they'd constructed - achieved what they did, it's worth examining three components of their interaction in Get Back. So, yes, the music that NME slammed as "a cheapskate epitaph, a cardboard tombstone, a sad and tatty end" in 1970 was a success - a thunderously significant one. Not only this: the rooftop concert, which is captured in fabulous, multi-camera detail in Get Back, showed how a band can bow out stylishly, poignantly and memorably - even if they didn't know for sure if it was the end of the line back then. The album sounds far better than ever on this year's Super Deluxe Edition, putting it within spitting distance of its far more focused and generally better-loved predecessor, Abbey Road. While Phil Spector's rococo embellishments in post-production made Let it Be the black sheep of the discography, let's remember that this is the album that gave us "Two of Us," "Across the Universe," "The Long and Winding Road," "Get Back" and the hymnal title track. I tried it, and it sounded okay.John Lennon at Apple Studios, January 1969. So I said, 'Okay, Mack, if you want to set it up, I'll play it.' He put it through a Mesa/Boggie, which is an amplifier I don't get on well with at all it just doesn't suit me. It basically doesn't suit my style.' But 'Crazy Little Thing Called Love' was such a period piece, it seemed to need that period sound. I said 'I don't want to play a Telecaster. I used on of Roger's really old, beat up, natural wood Telecaster.
Interviewer: Did you use a Fender on 'Crazy Little Thing Called Love'?