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What would the band have been without George?
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17 December 2013
11.36am
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trcanberra
Canberra, ACT
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parlance said

trcanberra said
Answering the actual question - a trio :)

Still cracks me up.

Okay, reposting over the next few...

parlance

Inspired of course by my watching Yellow Submarine as the mayor's quartet were 'bonked'.

 

==> trcanberra and hongkonglady - Together even when not (engaged for those not in the know!) <==
8 January 2014
2.46pm
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parlance
Slaggers
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Hey Dullblog has a relevant post on both George and Ringo: George and Ringo, the forgotten Beatles: A preamble and provocation for 2014.

parlance

Beware of sadness. It can hit you. It can hurt you. Make you sore and what is more, that is not what you are here for. - George

Check out my fan video for Paul's song "Appreciate" at Vimeo or YouTube.

8 January 2014
5.09pm
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Joe
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trcanberra said
Inspired of course by my watching
Yellow Submarine as the mayor's quartet were 'bonked'.

The pedant in me always objects that he says "A trio... duet... solo", rather than "A trio... duo... solo".

Please don't spoil my day; I'm miles away

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9 January 2014
6.18pm
Bungalow Bob
Seattle, Washington
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Joe said

trcanberra said
Inspired of course by my watching
Yellow Submarine as the mayor's quartet were 'bonked'.

The pedant in me always objects that he says "A trio... duet... solo", rather than "A trio... duo... solo".

I was not familiar with the word pedant, so Iooked it up yesterday. I was thrilled with my new vocabulary word, and I was anxious to "show it off" to my wife, so I was trying to think of a sentence to use it in. Spontaneously, I started to sing "She's A Woman"… "My love don't bring me presents, I know that's she's no pedant"… :)

OK, OK, that's a cheap joke, and it's not even on topic, I apologize… Without further ado, let's get back to where the band would be without George.

30 January 2014
12.16pm
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parlance
Slaggers
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thisgirlthatgirl said
It's really bugging me now which song Paul was talking about!

And I Love Her?

parlance

Beware of sadness. It can hit you. It can hurt you. Make you sore and what is more, that is not what you are here for. - George

Check out my fan video for Paul's song "Appreciate" at Vimeo or YouTube.

7 February 2014
9.59pm
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PeterWeatherby
A Park in the Dark
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A couple of years ago I wrote a review of Simon Leng's book, While My Guitar Gently Weeps: The Music of George Harrison, and I mentioned this specifically - how much George contributed to each song and even to the creative process itself (someone already mentioned that it was George's idea, for instance, to turn "And I Love Her" into more of an acoustic piece with classical guitars - the early demos have the boys all playing electric instruments):

Leng notes that George did not merely play a filler role, lobbing in the occasional riff to fill up some blank space in a song; on the contrary, his lead guitar work often played a crucial role in giving those songs their final shape (it was George who worked out the riff that bridged the gap between the first and second parts of "Happiness Is A Warm Gun" when Lennon was struggling to stitch them together).

George's solos are hardly ever throwaway noodlings, as Leng points out multiple times; as a rule, his riffs are miniature compositions in their own right, little songs-within-the-song, and as such they carry a high degree of quality of complexity. Rarely flashy, but always memorable, George's guitar work is subservient to the song and not his own ego. More often than not, his contributions to the Lennon-McCartney compositions are what make those songs shimmer and shine: just try to imagine "A Hard Day's Night" without the jarring opening chord or the closing arpeggio fade-out; imagine "Eight Days A Week" without the sweetly ringing introduction; imagine "I Want To Hold Your Hand" without the chromatic, bluesy hook that breaks up the verses, "Nowhere Man" without its chord-based solo, or "She Said She Said" without the clever, weaving riff that echoes and serves as a counterpoint to the vocal.

Quite simply, without George, they wouldn't have been as good as they were.

Not a bit like Cagney.
7 February 2014
10.16pm
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Inner Light
Friar Park
Candlestick Park
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PeterWeatherby said
A couple of years ago I wrote a review of Simon Leng's book,
While My Guitar Gently Weeps: The Music of George Harrison, and I mentioned this specifically - how much George contributed to each song and even to the creative process itself (someone already mentioned that it was George's idea, for instance, to turn "And I Love Her" into more of an acoustic piece with classical guitars - the early demos have the boys all playing electric instruments):

Leng notes that George did not merely play a filler role, lobbing in the occasional riff to fill up some blank space in a song; on the contrary, his lead guitar work often played a crucial role in giving those songs their final shape (it was George who worked out the riff that bridged the gap between the first and second parts of "Happiness Is A Warm Gun" when Lennon was struggling to stitch them together).

George's solos are hardly ever throwaway noodlings, as Leng points out multiple times; as a rule, his riffs are miniature compositions in their own right, little songs-within-the-song, and as such they carry a high degree of quality of complexity. Rarely flashy, but always memorable, George's guitar work is subservient to the song and not his own ego. More often than not, his contributions to the Lennon-McCartney compositions are what make those songs shimmer and shine: just try to imagine "A Hard Day's Night" without the jarring opening chord or the closing arpeggio fade-out; imagine "Eight Days A Week" without the sweetly ringing introduction; imagine "I Want To Hold Your Hand" without the chromatic, bluesy hook that breaks up the verses, "Nowhere Man" without its chord-based solo, or "She Said She Said" without the clever, weaving riff that echoes and serves as a counterpoint to the vocal.

Quite simply, without George, they wouldn't have been as good as they were.

Very well put. This should put to rest all those out there that feel George could have been replaced. Thanks for posting this.

The further one travels, the less one knows
8 February 2014
8.52am
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bewareofchairs
Ed Sullivan Show
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PeterWeatherby said
A couple of years ago I wrote a review of Simon Leng's book,
While My Guitar Gently Weeps: The Music of George Harrison, and I mentioned this specifically - how much George contributed to each song and even to the creative process itself (someone already mentioned that it was George's idea, for instance, to turn "And I Love Her" into more of an acoustic piece with classical guitars - the early demos have the boys all playing electric instruments):

Leng notes that George did not merely play a filler role, lobbing in the occasional riff to fill up some blank space in a song; on the contrary, his lead guitar work often played a crucial role in giving those songs their final shape (it was George who worked out the riff that bridged the gap between the first and second parts of "Happiness Is A Warm Gun" when Lennon was struggling to stitch them together).

George's solos are hardly ever throwaway noodlings, as Leng points out multiple times; as a rule, his riffs are miniature compositions in their own right, little songs-within-the-song, and as such they carry a high degree of quality of complexity. Rarely flashy, but always memorable, George's guitar work is subservient to the song and not his own ego. More often than not, his contributions to the Lennon-McCartney compositions are what make those songs shimmer and shine: just try to imagine "A Hard Day's Night" without the jarring opening chord or the closing arpeggio fade-out; imagine "Eight Days A Week" without the sweetly ringing introduction; imagine "I Want To Hold Your Hand" without the chromatic, bluesy hook that breaks up the verses, "Nowhere Man" without its chord-based solo, or "She Said She Said" without the clever, weaving riff that echoes and serves as a counterpoint to the vocal.

Quite simply, without George, they wouldn't have been as good as they were.

Very well put. On another forum someone mentioned that in Mark Lewisohn's "Sessions" he states that George came up with the And Your Bird Can Sing riff as welll. He threw it in at the end, and the band immediately made it the main riff of the song. The Anthology version seems to confirm this as Paul is playing bass, and it doesn't come up until later in the take.

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