Daarom heb ik besloten om een professionele visagie-opleiding te volgen bij The Bridal Academy, met als specialisme bruidsmake-up, pre-wedding, en andere bijzondere gelegenheden.7 x10.Youre making yourself up beautiful, which is essentially self-love.Dus ben je binnenkort de bruid, heb je een feest of een bijzondere fotoshoot..
Lekkere stevige oranje snack om van te genieten tijdens een voetbalwedstrijd.You always have the choice to experience our sites without personalized advertising based on your web browsing activity by visiting the.Ontbijtspek of bacon.Meng het gehakt samen met de mosterd, ketchup, paneermeel en gehaktkruiden door elkaar.Ze..
Orb of Discord will allow his teammates to churn through the toughest of enemies.
Strong With: Insert Strong Against: Pharah, Junkrat, McCree, Mercy, Hanzo Best Widowmaker Counters: Reinhardt, WInston, Reaper, Genji tips Shes hard to hit.Related: WWE 2K18 review Strong With: Insert Strong Against:, Mercy, Zenyatta Best Lucio Counters: McCree, Widowmaker, Genji tips Focus on snipers.But beware: without ally assistance, this is often risky.Hes the only support hero who can heal the entire team from long range, and his Ultimate is is adaptable.These include Reinhards Fire Strike, Junkrats Concussion Mine, and even the Ultimates of Mei and Zarya.Placing turrets around a doorway and then firing orbs through it constantly is a pretty sure-fire way of stopping any breaches.It prevents them from firing out, as well as firing.Ana has two options: hang back and heal or jump into the fray and heal with un-scoped basic fire.Strong With: Insert Strong Against: Insert Best Mei Counters: McCree, Widowmaker, Pharah tips Separate the enemy.Movement is also key to Bastions success.To this end, its best to stay on the move.Current Play Status The current meta massively favours champions with high survivability and high damage, both criteria which Junkrat fails to meet.Related: The Sims 5 wishlist Play style Sombras purpose is to disrupt the enemy team.Boosters Launch the mech into the air.Strong With: Insert Strong Against: Mercy, Mei, Tracer Best McCree Counters: Pharah, Zarya, Bastion, Widowmaker, Pharah, Genji tips Flashbang can interrupt certain abilities.In any case, is safe for now, with skilled players easily capable of making quick work of their opponents with her.
Current Play Status Orisa is a big target with a small, one-directional barrier and thats her biggest flaw.Correct placement depends on the map, mode and enemy squad.Current Play Status McCree has improved in recent times, but were only tentatively placing him in tier.Whole Hog is one of the trickier Ultimates to learn.Otherwise, hell simply drop the beat and negate all damage.Pair up with Symmetra.Stuck in a Zarya Ultimate?
The guns aim can be walked across multiple targets, dealing devastating damage at short-to-medium range.


"The European Society of Radiology and its related European Institute for Biomedical Imaging Research (EIBIR) should have a relevant role in coordinating future developments of biomarkers and in the assessment and validation of imaging biomarkers as surrogate end points.
This paper was kindly prepared by the ESR Subcommittee on Imaging Biomarkers (Chairperson: Bernard Van Beers. Research Committee Chairperson: Luis Martí-Bonmatí. Members: Marco Essig, Thomas Helbich, Celso Matos, Wiro Niessen, Anwar Padhani, Harriet C. Thoeny, Siegfried Trattnig, Jean-Paul Vallée. Co-opted members: Peter Brader, Nicolas Grenier) on behalf of the European Society of Radiology (ESR) and with the help of Sabrina Doblas, INSERM U773, Paris, France.
According to ESR: "There is increasing interest in developing the quantitative imaging of biomarkers in personalised medicine". In this perspective, "Biomarkers" are tissue properties that can be quantitatively and reproducibly measured by imaging devices. One example for a major unmet need, which I found to be most interesting is the imaging-based detection of tumor invasiveness.
Quoting from the paper: " Biomarkers are defined as "characteristics that are objectively measured and evaluated as indicators of normal biological processes, pathological processes, or pharmaceutical responses to a therapeutic intervention" . Broadly, biomarkers fall into two categories: bio-specimen biomarkers, including molecular biomarkers and genetic biomarkers, and bio-signal biomarkers or imaging biomarkers. Bio-specimen biomarkers are obtained by removing a sample from a patient. Examples of these molecular biomarkers are genes and proteins detected from fluids or tissue samples. Bio-signal biomarkers remove no material from the patient, but rather detect and analyse an electromagnetic, photonic or acoustic signal emitted by the patient . These imaging biomarkers have the advantage of being non-invasive, spatially resolved and repeatable . They are of particular interest if they can overcome the limitations of the established histological "gold standards". Indeed, invasive reference examinations, such as biopsy, can be inconclusive, are non-representative of the whole tissue (which is a tremendous limitation when assessing malignant tumours, which are known to be heterogeneous) and possess non-negligible levels of mortality and morbidity.
• Using imaging-biomarkers to streamline drug discovery and disease progression will drive a huge advancement in healthcare.
• The clinical qualification and validation of imaging biomarkers technology pose challenges, mainly in establishing the accuracy and reproducibility of such techniques. In that respect, agreements on standards and evaluation methods (e.g. clinical studies design) is imperative.
Reproducibility: Repeatability (measurements at short intervals on the same subjects using the same equipment in the same centres) and reproducibility (measurements at short intervals on the same subjects using different facilities in the same and different centres) studies must be conducted for image acquisition and image analysis…. Reproducibility studies are now very often included in scientific papers, as advised by the "standards for reporting of diagnostic accuracy" (STARD) criteria and should ideally include Bland-Altman plots and results of coefficients of repeatability [16, 17].
The authors admit that the requirement posed on development of imaging-biomarkers represents a huge challenge and they try to offer ideas, mainly taken from the "MRI experience" to overcome certain hurdles. There is one important point on which they do not discuss: the definition of appropriate reference test. It is my own experience, based on many study protocols I developed in the past decade, that without reaching an agreement on that point, the development of imaging-biomarkers will just move in circles. Note, that today's most "acceptable" reference test is histopathology, which everyone admits (as well mentioned in this paper); suffers many limitations. When it comes to validating imaging-biomarkers, the need to accurately match imaging products with histopathology is an additional major hurdle.
This is why, I see as a necessary step, to develop "real-time" imaging based tissue characterization combined with in-situ imaging-based histology.


Guys, I try. I really do. But it is hard not to end up totally disgusted with COB, especially anytime they engage in "habitat restoration".. i.e, fish projects.
I have been a big critic of fish restoration projects because too often, they are only intended to benefit the fish, ignoring the reason that fish bearing streams have been so important for biodiversity.. it is all about riparian habitat.. which allows other species to have connectivity corridors, access to water, food, refuge, and genetic diversity in breeding.
So I got really excited to read this, "The project benefits all wildlife," said Renee LaCroix, ecology and restoration manager. "Not just the salmon." Yeah!!!
Followed immediately by this, "At first, the trees and vegetation along the new stream corridor will be cleared……". Say What?? Sure, later on the city claims it will go back and restore the vegetation, but what does the city think that wildlife will do in the meanwhile? Will they be given rental vouchers to cash in with private property owners, just like they do with the homeless?
Because it will take years before comparable habitat value will be achieved, if ever. What does the city think happens to wildlife in the meantime? And by then, perhaps the city will decide that the homeless are sleeping in the riparian corridors and forgo the replanting, just like the butcher job at Maritime Heritage Park. The city has not committed to any time period for mitigating and addressing temporal loss, although this is something that WDFW rules require.
All I can say is that any time you hear the city stating it is doing something, anything, for the benefit of wildlife and habitat, be very, very, very critical. I will bet you a buck it is a scam.
If you look at the reroute path, you will see it focuses on new trails and roads, none of which benefit wildlife, and it routes the creek right through businesses and medical facilities, to James Street and Irongate. Does anyone believe this route was chosen to maximize wildlife benefit?
This entry was posted in Commentary, Facebook Post and tagged Bellingham, biodiversity, City of Bellingham, Habitat Restoration, Wildlife management. Bookmark the permalink.


From its beautifully inlaid headstock to its Frequensator tailpiece, the EE-EE-Epiphone-e-e Broadway is built to rock under the bright lights. When the show is over, it's right at home layin' down cool jazz tones in after-hours clubs. The guitar features a laminated maple body with a select spruce top; maple neck with a rosewood fretboard; body, neck, and headstock binding; f-holes; 2 humbuckers, each with their own volume and tone controls; a 3-way selector switch; and gold hardware.
This one's a gem. Order today.
I had been looking for another archtop with more sonic capabilities than the Regent with the single humbucker, so I purchased a Broadway a few weeks ago. After a few weeks, I can say with out reservations, very pleased with this guitar.
In comparison to the Regent, playing wise it is very comparable as one would expect, (same body/neck). The Regent pickup has a significantly higher output than the dual humbuckers in Broadway.
Build quality on this guitar is solid, with only a very small area where the binding near the cutaway seems to have been fit a bit sloppy.
Neck / Fret job very good, no high frets visible, action was set very well. No buzzing, no dead spots, with the right amount of relief for me out of the box.
Nut was a bit tight on the treble strings, easily remedied with some fine grit sandpaper and some Big Bends Nut Sauce.
Pickups have good articulation and tone, all hardware solid with no issues at all.
Intonation as per factory setting was very close, but some minor adjustments needed during the first string change.
Tone of the guitar is very well suited for Jazz, and Blues and it is more resistant to feedback than is the Regent so I am finding you can use this in higher volume settings.
Guitar ships with Gibson L5 .11 gauge strings. In my opinion flat wounds are a far more appropriate suited string set for these guitars.
Case is not included, the Epi Advanced Jumbo Case is the right case to order.
My only real issue was with the shipping. I paid additional for 2 day air to avoid the weekend sitting at UPS.
Even though I was assured the package would arrive on a Friday, it didn't in fact show up till the following Monday.
Also the packing job was just totally inept, I was amazed there was no damage during the freight to my house. I did write Custom Guitars Friend a note on this, and I did get a response.
In Summary, anyone looking to add a nice archtop to their collection and can't justify or afford what a Gibson USA comparable guitar would cost , I would look no further. The Broadway is a great guitar for the price point.
.Unlike most folks who are considering this guitar, I am not a jazzbo. I play roots rock music with a four piece band. This guitar sounds absolutely great in that context. Kudos to MF for their excellent job packaging the instrument. It came in perfect shape. The guitar came with 11s and sounded great but I through 10s on it and it sounded and played even better. You will have to adjust the setup so expect that (I had to slide the bridge to the left so it was properly lined up with the pickups and fretboard). The construction on the unit is awesome. Much better than I expected. It plays very consistently across the entire fretboard and the frequensator tailpiece really makes all strings sound equally present. Don't worry about the floating bridge moving on you. I only have 10s on the guitar and its not moving anywhere. Overall, I am very happy with the guitar and would recommend it to anyone.
.A great jazz box. If you are looking for screaming rock, this is not your guitar. This one has a beautiful warm and woody tone. I've got 13s on mine (I have 6 jazz hollowbodies, and I use either 12s or 13s). If the house were on fire, I'd make a special effort to grab this as I get out.
Only prob was a sliver of wood hanging from below the neck, where joined to the body. That's it!
.Recently took delivery of an EE-Epiphone-e Broadway. Beautiful guitar right out of the box. Nice finish, no flaws. Sounds wonderful, at a fraction of the price of a Gibson. If shopping for an archtop, don't let the lower price fool you. Headstock looks fantastic. Get a Broadway, you'll love it.
.After putting my hands all over this this beatiful jazzbox, I turned on my amp, plugged it in and listened to the warm, full bodied, mellow notes of this instrument. Oh yeah, this will do! It's easy to play right out of the box.
As with all of the instruments I purchase, I researched this one well before I ordered it. It lives up to it's heritage and it's name Broadway. It's a big guitar but doesn't feel that way while playing. The only thing that's hard to do is put it away. I'm very happy to own it.
This guitar has all the bells and whistles I want.
Great looks! I gave this thing a totally thourough inspection and it passed with honors.
At a fraction of the cost of it's cousin the Gibson, this is worth more than every cent I paid for it.
.I've been learning and experimenting for about 30 years. I currently own 10 guitars, and this one rounds out my collection. Fit and finish are very good. The stock Epi pickups can produce a variety of tones, from smooth jazz to a perfect mid 70's Nugent. I experiment with jazz, but my true love is that 70's rock. This guitar is a blast for that! Yes, it feeds back, but that can be loads of fun. I've had it for 6 months, and my only regret is not buying it sooner. Personally, my favorite string set is the Gibson L-5 .012. This set allows anything from a mellow clean tone to a nice crunch with a little gain. So stop reading about this guitar and go try one out. You'll not be disappointed.
.I've played this one at music college for four years now and am yet to be disappointed. Sure, I've done a LOT of setting up and changing string guages, but this guitar has survived all of it. I had the frets dressed when I purchased it (because most mass-luthiers don't) but other than that very little work has been needed. Pickups have a unique sound i like a lot. Tuners can handle REALLY heavy strings (.014-.060) which is nice for jazz. This thing has helped me earn a degree in jazz studies, and I'll let that speak for itself.The gold hardware has faded a little with time, but I also rest my hand on the pickups, which may have something to do with it. Also, the neck is VERY affected by the outside climate and humidity. KEEP ON THE ACTION or your guitar will become unplayable.
first thing to do is...get rid of the bridge or at least the wooden top of the bridge...i replaced mine with a rocking bar bridge and used the original bottom..huge difference in sound..and playing action...much louder acoustically too..
i tried 13 to 56 gauge ghs strings...but they are just too big for this guitar...i couldnt finger chords well on upper frets...finally settled on daddaro 11-46 strings...with plain 18 3rd string...i got the neck dead straight..with the truss rod tool..
i also changed the pickups...to a good brand...cant mention brands apparently on here..but they are A2 alnico..sounds fabulous and full sounding and very vintage now....the Grover tuners are a great bonus..stays right in tune..although i think it would benfit from a well cut bone or Delrin nut..
i love this guitar now...,it has the easiest action of any 17 inch 25 1/2 scale archtop i have ever seen...it is a joy to play now..and sounds full-on professional..nice fret work..smooth..
get one..set it up...give it a few days to get it together..i saved big by buying one of the 'used' ones on here....looked brand new to me.
.My pie-in-the-sky guitar has always been a vintage Guild Artist Award from the early 1960's. My late teacher played one for all of the 12 years I studied with him, and I decided one day, I would have one. But now, I figure because of their rarity and price, I'll probably never own one. I had decided to settle for a Joe Pass Emperor, which is a great axe. That is until I played this baby! It's the closest I've ever come to the Guild Artist Award! The sound is not quite a 5.0 because if the Humbuckers. But other than that, it is so close, it would be difficult to tell the difference! I even like this Broadway better, because I have relatively small hands, and the neck on this baby is smaller than the Guild A-A. Pay 10 Grand for the Guild A-A? I don't think so! Not with this Broadway around!
.Have been playing 36 years, and wanted a jazz box for a big band gig I recently joined. Had considered everything from a 339/335/sheraton to ibanez to godin to going big with Gibson USA...played most of these...and completely fell in love with this one. Why?
My one critique is that I'm still not sold on the Epi Alnico Classic pickups...have replaced these on other Epi's I've had, and I'm eyeing some Gibson Custom 57s for this eventually.


We start new Spanish language group courses every month. You have to register in advance. For a new batch to start we need a minimum number of students. If there are 5-7 students, the batches will be of 60 hrs. instead of 70/80 hrs. We require 8 students or more in a batch to have an 80 hrs. course (or 70 hrs in the case of a weekend batch).
Please be in touch with us to be updated about the upcoming Spanish language courses.
Our classrooms are equipped with AC, Wifi and multimedia.
We organise IB and ICSE group classes on demand. Please get in touch with us if you are interested.
Find out more about the online Spanish courses by clicking here.


text:
Portsmouth Research Portal
Faculties & groups
> Researchers
> Gina Sherwood
Dr Gina Sherwood
Associate Head (Students)
School of Education and Sociology
gina.sherwood@port.ac.uk
Profile on main University website
Gina Sherwood has been working in adult education and training for over 20 years. Her work embraces all areas of child development specialising in psychology and relationships. In the 1990s she completed her Foundation Degree in Early Years and then a BA in Education and Training at University of Portsmouth. She was awarded a PhD by the University of Southampton in 2011. Her thesis topic was exploring parents' experiences of support when they have a young child with a learning disability.
Her practice experience includes 13 years in child minding, 10 years working in Children's Centres and work as a life coach with adults. She has also had the role of an Early Years Advisor for child care settings and provided bespoke training for Hampshire County Council.
Gina Sherwood's current teaching is with Undergraduates who are studying for a degree in Early Childhood Studies or Child and Youth Studies. The areas are focused on the education of children 0-16 and embrace subjects that support students' understanding of how children develop physically and psychologically including equality and diversity.
Her publications include working with parents when their child has special educational needs; acquiring informed consent when carrying out research with children and young people and using symbol-based information to support the access needs of people entering police custody.
Further research interests include analysing empirical research arising from student evaluation, challenges and solutions in undertaking research with children and young people and how to effectively meet the needs of people who enter the criminal justice system.
The Portsmouth Research Portal links to our live database of research information (Pure)
University research home page Research & Innovation Services Graduate School
E:pure@port.ac.uk Twitter:uopresearch
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text:
Albert Woolson – militare statunitense
 Constance Fenimore Woolson – scrittrice statunitense
 Thomas Woolson – ex sciatore alpino statunitense

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text:
0 - Access key details
5 - Frequently Asked questions (FAQ)
9 - Main University of Reading contacts
Internal, open access
The Code of Practice on the External Examining of Taught Programmes describes the role of an external examiner, procedures for their nomination and appointment, their functions, and the structure of their final report. You can download the document relevant to the current session here:
Code of Practice on the External Examining of Taught Programmes (PDF - 156Kb)
A diagram summarising the process for the circulation and consideration of External Examiners' Reports can be downloaded here:
External Examiners Report flow chart (PDF - 132Kb)
Each August, the Exams Office writes to the Heads of Schools and Exam Reps regarding the nomination of both internal and external examiners for the next academic session.
If you require an external examiner nomination form for a taught programme, please contact examiners@reading.ac.uk . For more information regarding fees and expenses for External Examiners, please refer to the External Examiners Expenses Policy (PDF - 203KB).
For all other queries about external examiners, please email examiners@reading.ac.uk .
The external examining system is a key component of the University's quality assurance and enhancement processes. It plays an important role in ensuring that our awards are maintained at an appropriate standard, that our assessment process measures student achievement rigorously and fairly, and that the academic standards and achievement of students are comparable with those on similar programmes in other UK universities. External Examiners also assist the University in enhancing the quality of teaching, learning and assessment by advising on good practice.
The University appoints at least one External Examiner for each of its award-bearing programmes. External Examiners are normally drawn from other universities or, in the case of programmes with a strong professional dimension, from among relevant, suitably qualified professionals. They must meet rigorous criteria for appointment and be in a position to offer independent and impartial judgments. They are involved in scrutinising draft examination papers, moderating the marking of assessments, and determining the overall result for each student.
Each External Examiner is required to produce a report on the programme(s) to which he or she has been appointed. External Examiners' reports are considered by Staff Student Liaison Committees and by Boards of Studies. The Board of Studies is responsible for determining the action to be taken in response to the reports, and for reporting onward to the School and University Boards for Teaching and Learning on the reports and actions taken. The School is required to respond to their External Examiners explaining how points raised are being addressed.
The name, position and institution of External Examiners are published below, for information only, following their approval by the University Board for Teaching, Learning and Student Experience in the Spring Term each year. You should note that students are strictly prohibited from contacting External Examiners directly.
External Examiners: Names, Positions and Institutions 2018-19
The list for 2019-20 will be available in the Spring Term 2020.
External Examiners' Reports are made available to students on the relevant programme. If you would like to view reports relevant to your programme, you may make an appointment to visit the Exams Office by emailing examiners@reading.ac.uk . Some guidance is being developed to help students understand and contextualise such reports.
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External Examiners for Postgraduate Research Students should contact the Graduate School for further information about the relevant policies and procedures.
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text:
The Book Description Media Reviews Reader Reviews
An award-winning journalist, Virginia Morris has devoted her career to researching and writing about health care, medical research and related social and political issues. She also cared for her own parents during their final years.
How to Care for Aging Parents, which won the Books for a Better Life Award, instantly became the best-selling book on the subject when it was first released in 1996. The book has been updated and revised several times since then, and is widely considered to be the caregivers' Bible. The third edition was released in February 2014. Ms Morris is also the author of Talking About Death, which helps people prepare, well in advance, for the decisions that arise at the end of life so they can make death a gentler passage.
Ms Morris has been a guest on Oprah, The Today Show, Good Morning America, The CBS Morning Show, Primetime, ABC World News with Diane Sawyer, Katie, NPR's The Diane Rehm Show, CNN, and a host of other national media. She testified on eldercare issues before the U.S. Joint Economic Committee in 2007. She now lectures around the country on both subjects.
Click here for contact information about publicity, speaking engagements, and bulk sales, or to send questions to the author.
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Songs written by Arthur Schwartz
Libby Holman
Something to Remember You By by Libby Holman
written by Howard Dietz & Arthur Schwartz
Fred Waring's Pennsylvanians
Dancing in the Dark by Fred Waring's Pennsylvanians
written by Arthur Schwartz & Howard Dietz
Jacques Renard and His Orchestra
Dancing in the Dark by Jacques Renard and His Orchestra
[Brunswick 6136]
Dancing in the Dark by Bing Crosby
High and Low by Fred Waring's Pennsylvanians
[Victor 22708]
Alone Together by Leo Reisman and His Orchestra
Rudy Vallée & His Connecticut Yankees
③ I Guess I'll Have to Change My Plan (The Blue Pajama Song) by Rudy Vallée & His Connecticut Yankees
Guy Lombardo and His Royal Canadians
I Guess I'll Have to Change My Plan (The Blue Pajamas Song) by Guy Lombardo and His Royal Canadians
Freddy Martin and His Orchestra
Born to Be Kissed by Freddy Martin and His Orchestra
Then I'll Be Tired of You by Fats Waller
written by E. Y. Harburg (as E. Y. "Yip" Harburg) & Arthur Schwartz
Then I'll Be Tired of You by Freddy Martin and His Orchestra
Enric Madriguera and His Orchestra
If There Is Someone Lovelier Than You by Enric Madriguera and His Orchestra
You and the Night and the Music by Libby Holman
You and the Night and the Music by Leo Reisman and His Orchestra
An Old Flame Never Dies by Tommy Dorsey and His Orchestra
written by Arthur Schwartz & Al Stillman
Russ Morgan
Goodbye, Jonah by Russ Morgan
as Russ Morgan and His Orchestra
Eddy Duchin and His Orchestra
Love and Learn by Eddy Duchin and His Orchestra
written by Arthur Schwartz & Edward Heyman
Artie Shaw and His Orchestra
Love and Learn by Artie Shaw and His Orchestra
written by Edward Heyman & Arthur Schwartz
You and I Know by Tommy Dorsey and His Orchestra
I See Your Face Before Me by Guy Lombardo and His Royal Canadians
How Can We be Wrong? by Eddy Duchin and His Orchestra
written by Al Stillman, Arthur Schwartz & Howard Dietz
Glen Gray and the Casa Loma Orchestra
I See Your Face Before Me by Glen Gray and the Casa Loma Orchestra
Dancing in the Dark by Artie Shaw and His Orchestra
hit for Bing Crosby in 1931
Jimmy Dorsey and His Orchestra
① They're Either Too Young or Too Old by Jimmy Dorsey and His Orchestra
vocals by Kitty Kallen
written by Arthur Schwartz & Frank Loesser
Kay Armen and the Balladiers
⑤ The Dreamer by Kay Armen and the Balladiers
How Sweet You Are by Kay Armen and the Balladiers
written by Frank Loesser & Arthur Schwartz
How Sweet You Are by Jo Stafford
[Capitol 142]
② A Gal in Calico by Johnny Mercer
written by Arthur Schwartz & Leo Robin
Sam Donahue and His Orchestra
A Rainy Night in Rio by Sam Donahue and His Orchestra
written by Leo Robin & Arthur Schwartz
Margaret Whiting
Oh, But I Do by Margaret Whiting
Tex Beneke
④ A Gal in Calico by Tex Beneke
as Tex Beneke & The Miller Orchestra
Benny Goodman and His Orchestra
A Gal in Calico by Benny Goodman and His Orchestra
vocals by Eve Young
Bing Crosby and the Calico Kids
A Gal in Calico by Bing Crosby and the Calico Kids
Harry James and His Orchestra
Oh, But I Do by Harry James and His Orchestra
vocals by Buddy Divito
Oh, But I Do by Tex Beneke
Haunted Heart by Perry Como
[RCA Victor 2713]
That's Entertainment by Sammy Davis Jr.


Me and a few hearty elves, spreading Christmas Joy far and wide.
One of my favorite things is making a subtle transition from fall to winter.
Its tough to jump from pumpkins to snowmen.
Brown accents really make it a gentle segue.
Some of my favorite things are the brown glitter vines and brown leaves.
You can add in the really traditional holiday stuff later, but for now its just enough.
Pinecones, velvet, glitter vines and leaves.
So today these are the ingredients I will use to make a trans-seasonal environment!
My fall break is but a memory.
I should have blogged about that!


So many people are actually confused regarding the VoIP phone systems and the IP phone systems. Well, they are surely the same in some ways but they are different in an important factor for the big businesses. They are really able to offer voice transmission through the IP and the packages for both would offer the same services. Looking at them from the outside, they look similar. But, they are not the same in a big way which those large companies must take into account.
Well, the difference of the VoIP and the IP system would lie on the focus of control. The IP phone system surely works in such private network and also the VoIP would make use of the public internet for the voice broadcast and also receiving. The quality of control that you get from the IP telephone system is certainly more than the VoIP.
Those IP phone systems would give the big businesses with a benefit for those call centers and the ability to network on that global scale. Even if there are many benefits when it comes to the use of such telephone systems, some of them would include the following.
Unified global communication for the many offices may definitely get those IP systems for all the company's branches, whatever is the location and there are extensions assigned. Such is going to turn a lot of offices into a big office and this could save the company from spending for those long-distance fees. Also, this can help if the customer would contact the wrong calling area. Being able to make a simple transfer to such branch extension can save time and headaches.
You have to be aware that this also able to improve such ability to telecommute at a really affordable cost. Know that telecommuting can surely save the big businesses money when it comes to building the insurance costs and such is also an easy way to go green through reducing traffic from that regular commute. There are various companies that change from traditional call centers to such workers telecommute. Through the use of the soft phone, then the employee may dial in through the cable ISP or DSL and receive and place those calls. The caller won't get to see the private information of the workers since everything is actually accomplished with the use of the company's software.
The IP phone system would also allow the customers to contact the company 24 hours a day. Because of the advantages of such IP phone systems, the workers may connect with the customers in several time zones and also on different work schedules and they can stay open 24/7 through such global office that the IP phone would provide. There are various reasons why the companies must make use of the internet phone systems.


text:
Home Our Approach Boarding
Bush Kids Bursary
SCUTA Certificate - Australian Standard for Boarding Schools and Residences
Since 1909 the tradition of boarding has played an important role in the life of Brisbane Boys' College.
The program supports students from across the country providing a place to call home and inspiring young minds through education and unique cultural experiences, which when it comes to boarding take on a class of their own.
Boarding is a way of life that offers unique opportunities: to meet friends from across the world, develop confidence, character and independence with support from a diverse yet collective community affectionately referred to as Rudd House.
Shared support
Guidance and support for boys who are away from home is a great responsibility. We ensure the best possible care for young men in their developing years is provided through a structured system of specialised staff.
From baking a birthday cake, to providing a listening ear, our resident 'House Parents' offer extra care and support for boys living away from home. Resident Masters, Tutors, Counsellors and the College Chaplain are all in constant contact with the boys so that a personal relationship is established and lines of communication are always open.
Boy have access to qualified nursing sisters and the school's central location allows easy access to local medical centres and facilities. Our boarders enjoy nutritionally balanced and tasty meals prepared by our onsite chefs each day. Special dietary needs are also catered for by our staff.
Spaces to grow
Our modern fully air-conditioned facilities provide boys of all ages with individual, comfortable accommodation, a common room and study areas. With an emphasis on privacy and space, each boy also has access to the school's wireless network from his desk. With state-of-the-art facilities at their doorstep, boarders are also able to easily access the College's cultural precinct, brand new Middle School Precinct, sports complex, BBC's Powerzone (strength and condition facility), swimming pool, tennis courts and extensive playing fields.
A strong sense of camaraderie, team spirit and brotherhood has become synonymous with boarding at BBC. Supervised weekend activities along with Saturday sport provide a time for mateship and enjoyment. Boys from different years are grouped together for activities to encourage the sharing of common interests and to foster a family environment.
Theme nights and competitions along with social gatherings with students from sister schools are regularly organised and boys will often enjoy some free time down in the nearby hub of Toowong Village.
Brisbane Boys' College is a member of the Australian Boarding Schools Association, which has developed National Boarding Standards for Australian Schools. The Standards allow schools to assess matters relating to students, staff and the school under three categories: Welfare, Development and Management. The Standards cover a wide range of aspects of boarding, such as child protection policies and requirements, student safety, health and general well-being, personal development, supervision and catering for special needs. Schools use the Standards as a basis for continuous improvement in delivery of services.


At Diverse Health Services we are constantly educating ourselves so that we can continue to offer you the best health care services in the Metro Detroit area. Unlike conventional medicine, which focuses on attempting to treat disease once it occurs, Diverse Health Services emphasizes improving your health in an effort to reduce the risk of pain and illness.
Diverse Health Services is an alternative health office, offering a rediscovery of health and wellness. Our patients receive personally tailored wellness programs specifically targeted to needs using the least invasive yet highly-effective techniques and services.
Our patients recognize the benefit of seeking an alternative to traditional medicine; one that will help them achieve and maintain optimal health. We are devoted to improving the quality of life by providing the safest, most effective, highest quality dietary supplements that are sold through health care professionals.
Dr. R.E. Tent started this practice in 1981 and today Diverse Health Services continues to be a top family-oriented alternative health office in Michigan. We serve all ages, from infants to adults to seniors. Our practice will give you the care you need, along with the information necessary to maintain health and wellness in your everyday life.
Diverse Health Services received Diplomat Status from the National Board of Chiropractic in 1981. Dr. Tent is also a member of the National Board of Chiropractor Examiners and the International Pain Control Institute. Dr. Jeff Senechal is a Chiropractic graduate of Life University in Marietta Georgia and has been in practice working with Dr. Tent since 2009.
Dr. Tent has a highly successful local private practice in Novi, Michigan and is highly renowned all over the country for his staggering results in chiropractic and alternative treatment. He has utilized the CRA method in his practice and has become a master of the technique.
He lectures for hundreds of people interested in alternative health. His first audiotape, "Kill the Cravings" has already made it around the world! His lectures continue twice a year and his past lectures are available on YouTube and DVD.
Dr. Jeff Senechal is a Chiropractic graduate of Life University in Marietta, Georgia and has been an associate with Dr. Tent since 2009. He utilizes CRA (Contact Reflex Analysis) for assessment and diagnosis both in Chiropractic Care and Nutrition. Dr. Senechal is also certified through the Functional Medicine University as a Certified Functional Medicine Practitioner (CFMP). He is pursuing a Diplomat in Nutrition.
He is very active in his community and lectures on various health topics several times a year. You can find his recent health lectures on DVD at the office or on YouTube via the Diverse Health Services website. Dr. Senechal is also a member of the South Lyon Business Network International Group and Michigan Association of Chiropractors. Dr. Senechal's passion is alternative healthcare and he strives to change the mindset of people by getting them to think outside the box.
Both Dr. Tent, D.C. and Dr. Senechal D.C. are able to provide nutritional consultations with international and out of state patients via Skype or Facetime.
We sell only the safest, most effective, highest quality supplements available only through health care professionals. Please log in or create an account to see our entire product line.


Discover the moorland around Millbrook on a moderate 3 mile walk with Paul Nethercott.
On Sunday 3rd February Paul will be leading a 3 mile guided walk around Stalybridge Country Park & The Lower Brushes Valley.
This is an easy/moderate walk with some hills. Paul is a voluntary countryside ranger for Tameside Council. On the walk, there will be opportunities to look at the local history of the area.
The walk starts at 12 noon and finish at 3.30 pm.
The meeting point is at Oakgates Car Park, Hartley Street off Huddersfield Road, Millbrook Stalybridge SK15 3EP.
Please be advised to dress for winter- wear sensible walking shoes.
If you take part, why not share your photographs with us to show people the wonderful scenery Stalybridge has to offer.


The first Golden Yeti is to be awarded in a new commemoration involving a physical award to this year's Cryptozoologist of 2015.
The midpoint of the first decade of the 21st Century marked a calm time for a few events in cryptozoology.
The 2015 books produced on cryptozoology and, of course, about Bigfoot and Yeti topics, are dominated by a rising trend that looks at the investigators.
The International Cryptozoology Museum has a history of awards and recognitions. The Year 2015 has been no different.
The move increases the curated space and adds a library and research center to the cryptozoology museum.
These titles are highly anticipated.
Some good titles are coming for 2015.


text:
Sepher ha Zohar
Zohar: Suffering from Sexual Mistakes
Written by Simeon ben Jochai
Category: Sepher ha Zohar
853. The second chamber [hell, Klipoth, inferno, averno, or avitchi] is darker than the first chamber. It is called 'grave', corresponding to the name of the evil inclination 'unholy', just as the first chamber is called 'pit' corresponding to the name of the evil inclination 'the Satan'. And this one is called 'grave' in relation to the name of the evil inclination that 'unholy'. This chamber has three openings.
854. There is a chief in charge over the first opening, called 'Astiriya', and there are several thousands and tens of thousands of fiends under him. He is in charge over all those who became corrupted in their ways, and spill semen[orgasm] on the ground [adamah, the physical body], emit semen unnaturally [because of desire], or play harlot with their hands [masturbation], and do not see the Shechinah [the Divine Mother] at all. At that time the chief on the side of defilement, whom we mentioned, comes out, with the thousands and tens of thousands with him. They all gather upon the man, to defile him in this world. This chief and his retinue defile his soul, seize it, and bring it to be judged by them.
855. These fiends [egos, desires] are called 'steaming emission of sperm', for all the angry and defiled live on it, to hover about the man in heat. They increase his passion, then take it, together with the semen that was spilt to the ground, which strengthens them, and raise it above. They cause the covenant above, which is Yesod, to be enslaved by the side of unholiness to give them enjoyment and strength [in other words, our desires steal the sacred energy in order to feed themselves].
856. Over the second opening there is another chief, Taskifa by name. He is in charge over all those who corrupt their way, and do not spill their sperm upon the ground [adamah, the physical body] but in beasts [nefesh, the animal soul; i.e. the spill the semen inside the bodies of other people], or through the strict prohibitions of the Torah, such as sexual transgressions. This chief and his retinue of several thousands and tens of thousands are all in readiness to judge him, in the same way as we said concerning the other condemned in the first opening.
864. From this chamber come out two spirits - now they are men, and now they turn into women. They go about the world in the air, and laugh at men in their dreams, appearing in the guise of pretty women in their dreams, and so take the passion of men [through "wet dreams" or nocturnal pollutions]. Also, to women they seem like men. They are called 'evil' and 'plague', as it is written, "No evil shall befall you, nor shall any plague come near your dwelling" (Tehilim 91:10).
865. These are called 'the lower spirits' [incubi and succubi], who come out of the flame of the fire, for when the spirits above within the chamber travel, two flames of fire come out to hover about the world, and from them these two spirits were made. All this is on the side of defilement. Happy are the righteous who stayed away from these sides, and kept themselves from them. Of this it is written, "that they may keep you from the strange woman..." (Mishlei 7:5).
< Previous: Zohar: Sexual Misconduct
Next: Zohar: The Strange Visitor >
"When one thinks differently and positively about people, it is a sign that one is changing."
Samael Aun Weor, The Revolution of the Dialectic


text:
Rhino/Warner
Sep 05, 2019 Web Exclusive By Haydon Spenceley
Reviewing a Miles Davis album is a tricky thing to do. Reviewing a "lost" Miles Davis album that fans have been salivating over the prospect of for more than 30 years feels more than tricky, it feels potentially dangerous. Original producers Randy Hall and Zane Giles, along with Vince Wilburn Jr., the nephew of the great man, have toiled hard to maintain the vibe of the original recordings from 1985 and 1986, made after Davis departed Columbia Records for Warner, and sought to add a sprinkling of contemporary production and mix techniques. The question though is whether it works.
And the answer has to be a qualified yes. To hear the unmistakeable Davis tone on tracks such as "This Is It"—an homage to '80s prog synths and post-disco funk—is a wondrous thing. Similarly the funk of "Give It Up" gives free rein to the groove and spontaneity of the best of his playing over a squelching rhythm bed and delightful slap bass. And if "Carnival Time" doesn't get you up out of your seat, seeking to remember that one night someone taught you to samba in a dark club after a few drinks, I think there might be something wrong with you. This is great stuff and shows what a marked departure the new direction was for Davis as he sought constant evolution and development.
Some elements don't work, however. Vocal contributions peppered throughout serve to distract from what ought to be the centerpiece of the album, rendering songs such as "I Love What We Made Together" sub-par '90s R&B radio pop songs, when the musical beds underneath suggest they could have been so much more. Things work better on this front with opener "Rubberband of Life" where the fusion of styles really comes off, with Ledisi offering a stellar vocal. However, when the talent is as huge a draw as Miles Davis, these feel unnecessary intrusions. This leaves us with an interesting album, but not a Davis classic, when it could have been. (www.milesdavis.com)
Author rating: 7/10
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text:
They May Be Parted
Tag Archives: Maxwell's Silver Hammer
Jan. 10: A quick one, while he's away
Their man had been gone, for nigh on a few minutes.
John Lennon played a familiar riff on his guitar, the country-western lick from the middle of The Who's 1966 mini-rock opera "A Quick One, While He's Away."
"Soon be home!" sang John. Paul McCartney added an aggressive harmony as John wailed the refrain.
After a brief fade in the tapes, John returned with a spontaneous scream that devolved into a wheeze, then a cough. On regaining his composure, he barked an instruction:
OK, George, take it!
Then John giggled.
George Harrison quit the Beatles after lunch on Friday, January 10, 1969, and at the end of the second week of the Get Back sessions, the Fab Four were a sub-fab three-piece — John, Paul and Ringo Starr. John's girlfriend, Yoko Ono, was there too, a given since the previous year.
"So pissed," John said in response to nobody, certainly meaning drunk in the British vernacular, but it registered as the Americanism, too: anger at George's brazen and sudden departure.
Just like they did when Ringo quit during the White Album sessions less then five months earlier, and just like they did a year later when John was far gone from the group, the remaining Beatles immediately continued as a three-piece.
The music restarted behind an angry riff from John, and Paul and Ringo quickly fell into the jam. The riff was another iteration of Bobby Parker's "Watch Your Step," which earlier in the week was manifest in Paul's improvised "My Imagination," and previously formed the foundation of "I Feel Fine" and "Day Tripper."
John taunted George again.
"Soon be home!"
The band begins at ten to six: Pete Townshend, John Lennon, Yoko Ono and others at the filming of the Rock & Roll Circus.
The Beatles' repeated riff was rough, much in the spirit of the Who, whom John watched up close a month earlier, when director Michael Lindsay-Hogg was in the same role at the scene of the crime. That was when the Who stole the show from the Rolling Stones at the latter's own Rock & Roll Circus — an incident George himself referenced only three days before.
This quick one came grooving up slowly, with the improv running in spurts for about 20 minutes, John's full-throated scream ending one portion of the jam. The Beatles briefly "covering" the Who, itself a terrific curio, isn't nearly the most important takeaway.
Yoko Ono at Twickenham, January 10, 1969.
The most shocking moment filmed for a Beatles movie ended up on the cutting-room floor — perhaps it makes the final edit of the forthcoming Get Back '21 — and came several minutes into the jam.
That's when Yoko seized the spotlight and filled a vacuum, her voice dramatically piercing the Twickenham soundstage during what Michael later described in his autobiography as a "half an hour of anger and frustration expressed with guitars and drums." But the most memorable instrument was Yoko's voice.
Ringo recounted the afternoon in the 1990s for the Anthology book:
None of us realised until we went to lunch that George had gone home. When we came back he still wasn't there, so we started jamming violently. Paul was playing his bass into the amp and John was off, and I was playing some weird drumming that I hadn't done before. I don't play like that as a rule. Our reaction was really, really interesting at the time. And Yoko jumped in, of course; she was there.
Emphasis mine.
She wasn't simply there. She was there on George's blue cushion, and she was there on George's microphone. George eventually found out, too. As described in the previous post, George referred to Yoko "just screaming, doing her screeching number" in a 1977 interview, a moment he didn't witness but later saw on film.
Yoko wailed to the band's furious, repetitive backing in a sequence of organized chaos. It's "Whole Lotta Yoko" blended with "Helter Skelter," "Don't Worry Kyoko" tied into "John John (Let's Hope For Peace)". Previewing her vocals from the last song in the above list, she repeatedly, violently called out John's name. It's a harsh listen.
Ringo Starr "playing some weird drumming that I hadn't done before." From the unreleased The Long and Winding Road documentary.
Musically, the improvisation veered into slightly different corners of blues rock and it maintained the same general, rollicking intensity throughout.
Either you like Yoko or you don't, and I'm not going to be able to persuade you either way (and I wouldn't try to change your mind anyway). It's reasonable, though, to describe her performance as completely in character.
Ringo indeed played a little out of his mind, and at one point, Paul abandoned the bass line to evoke feedback — John did the same with his guitar. At a couple separate moments, John returned to the "soon be home" riff from "A Quick One," but he didn't sing along. Throughout the entire performance, there's no attempt by the others to join Yoko on vocals, but the remaining Beatles were a pretty good hard-rock combo when they chose to be. Even Yoko took notice of Ringo's aggressive performance, changing her lyric to call out Ringo's name, an unintentionally funny moment after a hypnotic repetition of John's name. There was no full roll call, though. Yoko never shouted "Paul."
Somebody calls out his name …
While there was frustration and anger in the wake of George's temporary flight from the Beatles, one can sense momentary release. Paul's project was at a standstill, but his most difficult relation had fled. John had one fewer person — and the most vocal one — balking at Yoko's presence. Still, the Beatles lost their lead guitarist and junior songwriter. He left them, and that clearly was a big problem.
For Yoko, though, there was no frustration, only relief. At this instant, the blue cushion was hers. She went from sitting beside John to inheriting her own equal space. If George was 25 percent of the world's greatest democracy, then she, in this moment, owned that share — the solo vocalist alongside the guitarist, bassist and drummer. In the currently available film of this sequence, from the aborted The Long and Winding Road documentary and in various Internet destinations, we see a broad smile on Yoko's face as she sings John's name.
Yoko's experience from every other day with the Beatles informs how she must have approached midday January 10, 1969. From an Anthology-era interview with Newsweek:
I was just trying to sit there very quietly without disturbing them. You know, John always wanted me there and if I was not there, John might not have gone to those sessions.
This session marked her opportunity to be an artist and create a needed disturbance. The jam couldn't have completely satisfied her creative need, but at worst, it allowed her to collaborate with John in his primary space, and scratch a specific itch.
After about 20 minutes, starting with the initial "A Quick One" sequence, the jam abruptly concluded as John searched for technical help with a microphone.
"OK, 'I've Got a Feeling,'" barked John, as this incarnation of the Threetles (or the first Plastic Ono Band, for that matter) rehearsed their newest material in a fashion they'd never present onstage. The performance was jagged and angry, and just a few days after dismissing their farewell concert, the Beatles became their own version of Cream, the disintegrating power trio. Yoko did not participate in this part of the session.
Then it turned. "Everybody had a hard year," was sung by John with such extreme gruff, it turned over into laughter. The stab at the song devolved into Paul playing the closing theme to the Beatles cartoon (for the second time that day) to close it out.
Then John yodeled.
Remember when John said he was "pissed"? The British slang was definitely the vibe. The Beatles had no care in the world and were, in this moment of relative bedlam, enjoying themselves. The full-throated "Don't Let Me Down" was the closest they came to a sincere attempt at a song, and it wasn't particularly sincere. The next 15 minutes on the tapes featured John and Paul trading small bites of a variety of oldies ("Til There Was You," "C'mon Everybody" "Mack The Knife," "Don't Be Cruel," "On a Sunny Island"). The hilarious performance devolved into moos, baas, barks, meows and whistles.
A highlight — so to speak — from this sequence was John's droll destruction of "Maxwell's Silver Hammer," as Paul played willing accomplice.
George's departure from the group completely stalled any momentum toward planning the Beatles' live show as well as reasonably developing new songs in progress. Yet, John, Paul and Ringo stayed in the studio and played purely for their own amusement. This is the Beatles at Friday afternoon happy hour. Meanwhile, Michael continued to discuss how to power the show — and group — forward.
Though we'd still hear her perform with the Beatles again before the end of the day, the band's long-term future wasn't ever going to include Yoko Ono — the Beatles weren't the proto-Plastic Ono Band, and it's difficult to imagine a scenario in which Paul and Ringo would have allowed it even if John insisted. The question now, was in what form the band would progress.
When I first started listening to the Purple Chick A/B Road bootleg about nine years ago, diving into a hulking torrent file of the Nagra Tapes, the first track I listened to was on the January 10, 1969, set of files, one marked "A Quick One While He's Away." I had Beatles bootlegs on vinyl and cassette for a long time, and knew full well the general scope of the Get Back sessions, but I hadn't listened to every possible cover song or outtake from the era. (That would be crazy!) I didn't know they attempted "A Quick One."
After playing the track, I realized they never did attempt it at all. But listening to the context around the track — George's departure from the group, which I also knew much about, but never heard on tape — convinced me to make a better effort and listen to the entirety of the tapes from the very beginning, and really study what happened. That curiosity directly led to creating this blog, weeks later.
Filed under Day by day
Tagged as A Quick One While He's Away, Beatles cartoon, breakup, Cream, George Harrison, I've Got a Feeling, January 10, John Lennon, Maxwell's Silver Hammer, Michael Lindsay-Hogg, Paul McCartney, pissed, Plastic Ono Band, Ringo Starr, Rock & Roll Circus, The Who, Threetles, Twickenham, Watch Your Step, yodeling, Yoko Ono
Jan. 7: Bangers and mashups
OK, stick with me here.
Nearly 46 years ago, somewhere between lunch and the resumption of the day's writing session-cum-rehearsals for "Maxwell's Silver Hammer," it sure sounds like Paul McCartney may just have invented the mashup, or at least a rough approximation.
This is not a medley, sampling, sound collage or musique concrete a la "Revolution No. 9" and others before it. This is turn-of-the-21st century-style mashup: Think The Grey Album, Girl Talk or the Beatles' own Love with elements of two or more songs layered on top of each other. The kind of stuff Paul got roped into a few years back before an audience, he and George performed live to tape decades earlier in a little bit of completely obscure history.
(The uploader's caption is wrong as it's obviously Paul reciting the lyrics, but it's the right clip).
That would be 1967's "When I'm 64" (written a decade earlier as one of Paul's first songs and described here by Paul as the "beautiful geriatric Beatles song") sung atop "Speak to Me," which would ultimately lead off Jackie Lomax's debut album, as produced by George and released two months later. We already heard George briefly play a more proper version of "Speak to Me" to John a few days earlier.
As Paul's "When I'm 64" vocals eventually drop out – and his mouth clicks chime in – we go from a forgotten moment of debatable history to one that would have a lasting impact on wax: the debut of Maxwell's actual Silver Hammer, the anvil, as ordered before lunch.
The band comfortably eases out of "Speak to Me" with a fun and increasingly polished run through of "Oh! Darling" – polished for this point in the sessions, for sure – the second time they played the song in a few hours, and with John having rejoined the group back on guitar. The song is essentially complete and by all accounts should have been by now part of the core considered for the live show at this early stage. It doesn't get any further attention this afternoon as Paul immediately returns to "Maxwell's" for the better part of another hour. This initial launch into the song is captured in the Let it Be film, spliced in from the point where Mal strikes the anvil. It's a truncated slice of the song, and in the film we end up getting thrust into the Shoctric Shocks incident, which actually occurred four days earlier.
Paul doesn't introduce any new wrinkles yet in this first go-round after lunch. He's pleased, though. "It's catchy enough, then," he says after the first full take. He soon boasts of the dramatis personæ and vibe of the song, "It's so cartoon … such caricatures."
Paul remains a delightful caricature of himself, remaining fixated on the whistles that color the song throughout. "We want a mic for John and George on this 'cause the whistle on this," is Paul's first and primary direction to the crew. George's initial concern in the early going of the post-lunch session is getting the song's timing and cues down, especially for the sake of Mal, who wielded the hammer. Not that George didn't try to give his drummer an additional bit of work.
"I'm sorry, George, the hammer's too heavy for me," Ringo says to laughter. As it turned out, Ringo would end up carrying that weight after all, striking the anvil in July, when the group properly recorded "Maxwell's" for Abbey Road.
By Paul's thinking, the roadie was the man for the job.
Mal's more like Maxwell, anyway. … He should be very scholarly. Very straight, in a striped tie and a blazer, sort of. Big chrome hammer. That's how I see him anyway. [He's] Maxwell Edison, majoring in medicine, in fact.
Resplendent in a smart gray blazer and striped tie, Mal Evans is already dressed for the role of Maxwell Edison, medical student, as he rides the Magical Mystery Tour bus.
Sparked by a question from George about the repeated of "bang, bang" in the chorus, Paul runs through the song structure again with the usual caveat: "I haven't written the last bit."
That's fine with George, who thinks he knows how the song goes. "I just know it in my head, rather than the words, because the words are not in the right order anyway."
Loose as he can be, Paul repeats the song structure: "It's like two verses (scatting and singing) Bang, bang. … Clang, clang. … Whistle. … That's nice fellas."
As work continues, George shows a bit of concern with his own instrumentation.
George: To the man that's producing me, whenever I play bass, because I don't know anything about it, I don't know what the sound is. I just plug it in and play it. So if somebody knows how to get the sound or record it. I mean Glyn'll have to do that if he's around. So you can mention that to him.
That's some pretty self-deprecating talk from George, but he really has few bass credits under his belt to this point.
Straight out of the Small Faces' playbook, John ad libs a narrative introduction to the song, laying out Maxwell Edison's origin story, with Paul picking up in the middle.
John: Let me tell you the story about Maxwell's Silver Hammer. He got it from F.D. Cohen, the pawnbroker from Bayswater.
Paul: Maxwell was a young boy just like any other boy, and he might've lived a life like any other young boy's life had it not been for some certain unforeseen circumstances.
And … whistle!
Given that the band spent more than an hour on the song of about five hours of recorded tapes this day, it's no surprise it was a very early contender for the live act. So much so, George began offering up suggestions on how to stage it, beyond costuming for the band and Mal. There's a practical side to his suggestions, too.
George: I think we can do it with lots of people singing the chorus, 'Bang, bang, Maxwell's Silver Hammer,' but it's very difficult for me to whistle and sing and keep in sync. … It should be like the end of [Hey] Jude.
John: 'You all know it, join in, gang, because we don't know it.'
George: We could just project it up, have the chorus projected up there.
We're not sure what Paul thinks of that idea, since there's whistling to be done, and no joke whistling, please. "Really, do it like it's straight," he says, telling George how the notes of the chorus solo goes. That's a whistle solo, not a guitar solo, mind you. Paul does work on improving the song, spending a few minutes crafting a harmony based on a short, partial climb up a scale "with jumps on the hammer," in his words. It's pretty and adds to the carnival-like atmosphere the song has to this point.
For the final takes of the day of the song, the rest of the group still doesn't have the song's structure completely down, and Paul resorts to vocal cues to alert when the whistling solos come. John asks Paul to shout out "blow it, boys" at the appropriate time. Paul can't help but repeat his helpful reminder: "It should be very straight, the whistling." He really does keep saying this, to a near obsessive state, and at no point is he kidding about it.
The "Maxwell's" rehearsals for the day end with a final, full run through. The song's basic elements are there: new harmonies, whistle solos, the anvil and a full strong structure. What it lacks is a complete set of lyrics, but Paul isn't sweating it, concluding with a simple, "OK, that's Maxwell's."
While the song did progress with the work on Jan. 7, there was a noticeable missed opportunity shortly after lunch as a lead-in to the mashup sequence. For a few brief moments as the group warms up, a sloppy yet sincere take of "Maxwell's" features Ringo on vocals, and it sounded like the perfect fit. Paul's song eventually drove the other three Beatles to fury; giving Ringo an extended vocal role could have changed a little corner of Beatles history.
As the sessions continue, John takes the reins for the next song, one that not only has its lyrics set, but the instrumentation as well.
"Should we do 'Across the Universe?' We almost know that, don't we?"
Tagged as Abbey Road, anvil, F.D. Cohen, George Harrison, granny music, Jackie Lomax, January 7, John Lennon, Let It Be movie, Mal Evans, mashup, Maxwell's Silver Hammer, Oh! Darling, Ringo Starr, Speak to Me, Twickenham, When I'm 64, whistle
TMBP Extra: White anniversary
On Nov. 22, 1968, The Beatles graced us with The Beatles, ie., the White Album. It's as brilliant on a listen today as I'm sure it was then. Yet, less than six weeks after it hit stores, John, Paul, George and Ringo were at Twickenham writing and rehearsing songs that would eventually populate Let It Be, Abbey Road, All Things Must Pass, McCartney and sporadically on other releases.
The Get Back sessions story – what we're telling here via the Nagra reels — can't be told completely without the context and seen through, in part, the lens of the rocky White Album sessions. Ringo left the band three months into recording The Beatles. It took only eight days for George to flee the group at Twickenham. Just listen to the group's own words on Jan. 7, 1969.
Paul: The past couple of months, it's been this. The [White] album was like this. The album was worse.
George: The Beatles have been in doldrums for at least a year.
Perhaps to snap out of those doldrums, the group flirted with the idea of a live show to promote the White Album into the new year – ie., 1969 – but that idea soon fizzled. That flirtation and subsequent search for a live show scenario, however, was a prevalent theme all January 1969 long with the rooftop show the ultimate answer.
Of course, another important connection linking the White Album and the Get Back sessions are the songs. And not just wacky takes like this:
The Get Back sessions continued the White Album's larger focus on playing together as a band (further distancing themselves from Sgt. Pepper) and ostensibly served as a writing lab and demo venue for Abbey Road, the clear bridge between the two records. "Maxwell's Silver Hammer" and "Something" both dated to 1968, while "Mean Mr. Mustard" and "Polythene Pam" were rehearsed in the White Album demo session at Kinfauns. "I've Got a Feeling" (and "Everybody Had a Hard Year") and "Don't Let Me Down" similarly dated to 1968.
So while proximity (1968 vs. 1970 releases) and the ultimate productions do a lot to blur some of the relations between the White Album and Let It Be (via the Get Back sessions), the anniversary of The Beatles' release offers as good an opportunity as any to briefly mark those ties.
To celebrate, here's "Revolution," filmed at Twickenham nearly four months to the day before the band returned to the same soundstage to begin the Get Back sessions.
Filed under Extra
Tagged as Abbey Road, anniversary, argument, doldrums, Don't Let Me Down, I've Got a Feeling, Let It Be, Maxwell's Silver Hammer, Revolution, Something, White Album
Jan. 7: Joke whistlings
Mal at work. From the Let It Be film
If there's a tape of Paul and John asking Mal Evans to manage the alarm clock in "A Day in the Life," it hasn't surfaced. Likewise, we never hear John telling George Martin he wanted to "smell the sawdust" in adding the fairground feel to "Being For the Benefit of Mr. Kite!"
But among the days' worth of Nagra reels covering the Get Back sessions on Jan. 7, 1969, as the band lurched toward what became at least a temporary split later that week — this is Tuesday, and George walks out on Friday — we do get to hear play out in real time the origin story of unique and memorable instrumentation to appear later on Abbey Road.
Unremarkable in the moment, Paul's suggestion, made for the second time in three days, Mal "should have a hammer. … an anvil" comes about 20 minutes into the day's work on "Maxwell's Silver Hammer."
Like, on steel. You know, a [bang, bang]. So it sounds silver, steel.
Sprouting from a short rehearsal of "I've Got a Feeling" with a quick touch of "Oh! Darling," the "Maxwell" session on Jan. 7 runs for more than an hour on the tapes, straddling both ends of a lunch break. It's far and away the longest time spent on any single song this day.
The key to appreciating the "Maxwell's Silver Hammer" rehearsals is to view them completely in a vacuum. In a sense, it's incredibly frustrating to think of the time spent on this when George has "All Things Must Pass," for instance, withering to group disinterest. Or that John has a skeleton of what would become "Gimme Some Truth" two years later, unfinished — a song tinkered with briefly this very day. Paul himself could have spent the extra time on "Oh! Darling," which purportedly had interest from other bandmates at this very specific moment in time. So on its face, just listening to this portion of the tapes is infuriating, because WHY IS PAUL MAKING US LISTEN TO "MAXWELL'S SILVER HAMMER" FOR HOURS??? STOP KILLING JOAN!!!
But in a vacuum — and with the understanding that all of The Beatles' musical children are beautiful and deserving of love — this is a very instructive and iconic moment in the history of the song, and we see significant progress in the song's overall development. This, even though Paul himself admits he hasn't finished writing it.
The band hit the ground running with the song, having already spent time on it Jan. 3 (when Paul also made reference to getting a hammer for the song, but didn't follow through as he would today), but it's a bit of a bumpy start as Paul is still reminding the rest of the group of the chords — the alignment is Paul on piano, George on bass and John on a jaunty guitar. When Paul remarks he "doesn't like the waltz" drum pattern that coming out of the chorus into the verse, Ringo laughingly bemoaned, "it's the only bit I remembered in the whole piece!" It's just an early reminder and reflection that the song was Paul's priority and his alone, something that would continue into the song's recording for Abbey Road six months later.
Paul doesn't always play it straight, hamming it up lounge-singer style, delivering cringe-worthy tongue clicks and scats along where he still needs to write lyrics. Sure, he's completely contradicting his own instructions moments earlier as they worked on "I've Got a Feeling" — "We should start off by doing everything we're going to do on the thing. Like if you're going to do the 'oh yeahs' innit, you've got to do 'em how you're going to do it." It wasn't the first (or last) time he wouldn't take his own advice, either. But here it probably shows the more advanced, but unpolished state "I've Got a Feeling" was in, the song in true rehearsal stage, while "Maxwell's" was clearly an unfinished product.
Like on so many of these tapes, and especially on Paul's songs — which more often seem to be delivered to the band incomplete — we get an incredible windows into Paul' s songwriting technique. As he plays along on piano, he'll hum a suggested bassline. Without notice, he'll change it. Once he gets a certain part down — whether it's a drum pattern or a whistle — he'll interrupt and make clear it's what he's looking for. Until he decides to change it again. That's in contrast to George's songs, which more often are closer to complete and accompanying parts are set in George's mind. While John wasn't nearly as productive as Paul or George during the sessions, we've seen how he's more willing to get open input from the rest of the band.
What Paul's looking for here is a far more whimsical production than what surfaced on Abbey Road months later. It's not just the tongue clicks. Paul's looking to go all out, proposing ukulele solos and looking to Ringo for some "razzmatazz there on the cymbals."
Then there's the whistling. There was plenty of whistling in these early takes of "Maxwell's." But lapsing into caricature, Paul — interrupting an unrelated question from George — explains just what he's looking for from his band.
If we do a solo, whistling, we should try and do like a real whistling solo, 'cause it is a bit much if it's those joke whistlings.
The man was nothing if not a perfectionist. Of all the things that would put the song over the top, Paul was sure here it would be insincere whistling. Just to make sure everyone knew he was serious, during a subsequent stab at a part whistled in unison between verses, Paul barks out "straight" just to make sure any joke whistlings didn't sneak its way in.
In all, the song was definitely coming together nicely. Incomplete, it still had shape and vibrancy, and the rest of the group beyond Paul gave every indication they were enjoying performing it, despite continued confusion at times over cues.
It was in this context Paul suggested a figurative bell to add to his literal whistles.
We should have a hammer. … Mal, on an anvil. Like, on steel. You know, a [bang, bang]. So it sounds silver, steel.
Wearing bow ties for this one.
Paul doesn't just see the anvil as part of the instrumentation. It gives Paul the excuse to think more broadly about the song in the context of the live show. "We'll all be wearing bow ties for this one, blazers." The Beatles were on the verge of breaking up earlier this day, and now Paul's suggesting costume changes during a performance of "Maxwell's Silver Hammer." Moods swing rapidly at Twickenham.
The group is in a jocular mood — probably as much as we've heard to this point on the tapes — as the band laughs, whoops and hams it up during the final takes of this portion of the "Maxwell's" rehearsals and as they head out for lunch.
They'd return with full stomachs and pieces of steel.
Tagged as Abbey Road, anvil, January 7, Joan, Mal Evans, Maxwell's Silver Hammer, Paul McCartney, razzmatazz, steel, Twickenham, whistle
May 4, 2014 · 11:13 pm
Jan. 7: Pulled their socks up
Everybody had a hard year? If we're talking about the Beatles, that's a fair appraisal just a week into 1969.
As rehearsals were set to get fully under way January, 7, 1969, the group openly discussed breaking up. Instead, moments later, they were trying to hammer out the details of "I've Got a Feeling" for more than 20 minutes before launching into an extended session dedicated to Paul's pet "Maxwell's Silver Hammer."
The out was right there for them; the group was in agreement that a divorce was not unreasonable. But while we don't know for certain, (unless this particular discussion was filmed and we can see for ourselves if the footage is ever released), it doesn't even sound like anyone moved out of their chairs, much less high-tailed for the exits. Paul left the band during the recording of "She Said, She Said" in 1966 and Ringo split during "Back in the USSR" in '68. But this cry for divorce, so much more severe than a walkout of a single member, didn't immediately lead to much of anything. Nobody budged January 7, 1969, after the early takes of "Get Back," and status quo reigned.
As tension melts and the group trades chatter for chords, it quickly becomes clear little that had led to the group to the brink had actually changed. Paul may not enjoy his role as band leader — "I'm scared of that, 'You be the boss'" — but he's not letting that job go, either, despite any prior protests from George or anyone else in the group.
Arranger/producer Paul made plain his preferences for "I've Got a Feeling," and anything else they were to tackle going forward in preparation for the live show.
We should start off by doing everything we're going to do on the thing. Like if you're going to do the 'oh yeahs' innit, you've got to do 'em how you're going to do it. No use singing 'em quiet now if you're planning on doing them loud on the night.
Paul certainly sweats the details and is quick to dictate the construction of the song, asking John to keep the chord sequence before the chorus "kind of tight," barking "riff" to George at the appropriate times and working on the balance of "oh yeahs" with "oh noes." Even Ringo wasn't spared; he received explicit directions, too: "Don't go into the swing at the end," Paul said as he vocalized the closing drum pattern.
Overall, special focus was paid to the transition to "Everybody's had a hard year" and the subsequent section. Paul pushes George to add "something recognizable" just prior to the bridge ("All these years I've been wandering around").
The vibe, meanwhile, is generally agreeable throughout, and there's certainly no indication that moments earlier the band was basically trying to figure out the right way to break up. While no songs were particularly tight by this stage of the sessions, there's a definite, steady progression here with "I've Got a Feeling, " a song that had seen time each day thus far at Twickenham. The group works their way through at least one complete take (tape cuts, as usual, keep any claim here from being definite).
Content with the state of the song, and with a lengthy pivot to "Maxwell's Silver Hammer" imminent, the band detours briefly into a pair of apparent improvisations that wouldn't be heard from again (the bluesy "Woman Where You Been So Long" and the especially catchy, Little Richard-inspired "Oh! Julie, Julia").
John cuts off the jam to ask Paul to launch into "Oh! Darling," an admitted favorite of John's up to his death 11 years later. Paul was again in instruction mode here — there was no solicitation for advice on working out kinks, rather the song was set and merely needed to be taught.
Paul had already played the song twice at Twickenham — both times solo at the piano for Lindsay-Hogg ("Sounds great, Fats Domino!" the film director said on the 6th), but it was without any further accompaniment and probably without the full band even in the building. This is the first full-band take of the song, which, despite the need for Paul to shout out chords and generally sounding in a rough state, seems to have had at least some off-tape rehearsal at some point. With John's enthusiasm for the song only helping the cause, it's not unlikely to think "Oh! Darling" could have been a viable option for an extended live show, were it to have actually been staged. Alas, with the rooftop featuring Paul only on bass, and the setlist short, it wasn't meant to be, but the song certainly found a happy home on Abbey Road.
With just single take achieved, George (largely off-mic) thinks beyond "Oh! Darling."
"'Maxwell's' would be even better to go on."
Even Paul's skeptical as the band readies to lay down the silver hammer.
"You never know."
Tagged as divorce, George Harrison, I've Got a Feeling, January 7, John Lennon, Maxwell's Silver Hammer, Oh! Darling, Oh! Julie Juila, Paul McCartney, Ringo Starr, Twickenham, Woman Where You Been So Long
Jan. 6: Cross that bridge (Pt. 1)
After basically ceding to Yoko his creative role in the band's decision-making over the live show earlier in the day, John Lennon regains a tiny bit of authority by leading the group through a lengthy rehearsal of "Don't Let Me Down," one of the primary songs the band has taken on thus far.
Well, he regains authority at the outset, at least, during a stretch that provides the first real look at the discord between band members that helped define the Get Back/Let it Be sessions.
On the A/B tapes, Jan. 6 rehearsals for "Don't Let Me Down" run in a straight shot for nearly 90 minutes, easily the longest stretch they spent on any one song this day. The structure of the song is set and doesn't change from what will eventually be pressed to vinyl. It's a delightfully simple song, both in lyrics and structure. But they're not happy to leave well enough alone quite yet.
Things kick in with the song already under way in what's labeled as Track 6.62. Shortly into things, John asks to work on what he calls "the worst bit" — the song's bridge. ("I'm in love for the first time…").
Now, it's absolutely granted that the band has a hard time working together, and that didn't just begin on January 2, when they convened at Twickenham. But at least from the relative beginning of the sessions, they're trying. An example of that comes right here as John wants the help on the bridge, asking openly, "What can we do to that bit, then?"
George says he likes the vocal line and harmony, it's just lacking in some color as far as the fills in between. He suggests a rhythm change, while John replies, "That's where the piano would come in."
Good stuff! Collaboration!
Paul scats some falsetto to alternate with John's lines, and George fiddles with some guitar fills. It actually sounds kind of nice with John on an acoustic guitar, but overall nothing overly impressive. But hey, it's a work in progress. There were probably lots of bum attempts at things over the prior decade of Beatles in-studio fiddling, right? We just have these extensive rehearsals on tape, whereas we don't have a zillion hours and hours of them wrestling with, say, "Nowhere Man."
Paul takes things a bit more into his own hands, instructing George to join him in the vocals, and telling him just what to do.
Paul offers up his falsetto part, then gives explicit suggestions for the responses.
John: I'm in love for the first time
Paul's suggestion: Love for the first time in my life
John: Don't you know it's going to last
Paul: So don't you let it get away (he soon changes it to "Not going to let it get away")
John: It's a love that lasts forever
Paul: It lasts forever and a day
Paul goes onto explain that "corny's all right in this one. What he's [John] doing is corny. That's the thing that will make it not corny, we sing different different words."
I'd question the logic (and lyrical interpretation) there, but hey, Paul's track record in writing hit songs is a lot longer than mine. The last song he referred to as "corny" was "Maxwell's Silver Hammer" a few days earlier, and I think it's safe to say they're quite different birds. I do think he says it affectionately, at least.
George says something that's not quite on mic, to which Paul, clearly trying to blow him off, says "OK, well, we'll do that, that comes later. Just sing it straight first."
The next stab at the bridge has George doing the "part that moves" that Paul had just suggested, sounding a bit Band-ish, which isn't too much of a surprise at this point. At the same time, there's a slight "Revolution 1" vibe here, where the "shooby-doo-wops" punctuate the chorus. I guess it works, but it definitely changes the feel of what we know as "Don't Let Me Down" — John in fact likens the work in progress to "something like the Drifters." (We're still a few weeks away from the Beatles actually covering the Drifters).
They continue to run through the bridge, Paul directing.
Paul : The thing is, sing the one I'm doing, and we'll improve upon it. Start off with a corny one, because the words aren't that good. (Here, he's referring to his response vocals, not John's main ones).
John: I think the words should be corny, because there are no clever words in it.
I guess he's right — it's a straight rock song with deeply honest lyrics (and his first song written for Yoko, I believe), no interpretation necessary. This isn't "I am the Walrus" or "Lucy in the Sky with Diamonds," lyrically. So I don't think he meant it as an insult to the song. But I guess I'm surprised John would want to muddy up a song like this.
More run-throughs, and John still isn't satisfied, at one point saying, "Maybe I should play piano … just to change it." George talks about using some pedals so it "doesn't sound like the same old shit," — but John says "I like the same old shit, if it's clear."
"Just think of some riffs," Paul suggests to George, as we see today's first real signs of a little bit of the big boys ganging up on the perceived help.
And so they continue, with one of the takes briefly immortalized at the beginning of the "Let it Be" film (it's taken from 6.67 on the tapes).
Of course, in this edit, the band goes straight into the Jan. 3 Maxwell's Silver Hammer performance. In reality, they churned on, with Paul thinking the answer to the seemingly busted bridge is to change the rhythm.
"This needs this," Paul insists. "It needs things to happen."
Just what does happen? Find out soon in Part 2!
Tagged as argument, corny, Don't Let Me Down, George Harrison, January 6, John Lennon, Let It Be movie, Maxwell's Silver Hammer, Paul McCartney, The Drifters, Twickenham
Jan. 3: Quizzical
Well before it was derided by John as more "granny music," George as "so fruity" and Ringo as "worst session ever" (in reference to the Abbey Road recording), "Maxwell's Silver Hammer" on Jan. 3, 1969, was simply "the corny one," a song The Beatles had yet to rehearse so many times that it literally caused bandmembers to refuse to participate or go ahead and quit the band.
Written in October 1968, just too late for inclusion on the White Album (per Lewisohn) — but apparently never rehearsed then — we hear it for the first time as Paul doodles on the piano to start the Jan. 3 sessions.
With Paul in novelty-song mode for much of the White Album (a planned topic of a post for the distant future, when I'm done with the Nagra timeline), this tune would have fit like a glove on that record. And, perhaps it's in retrospect, but it didn't fit at all with Get Back/Let it Be, at least what we've heard in these first few days.
Hours after the piano sketch, we get to hear the full band tackle the song for the first time in rehearsals that clock in at less than 35 minutes.
It's an interesting contrast with the "All Things Must Pass" rehearsals that had just occurred earlier in the day. George played and sang his heart out, clearly exasperated and desperate for the band to appreciate the song. Paul, meanwhile, is slogging through "Maxwell's." He knows he band will learn it, even if they hate it (and they will in time!).
While George is desperate to bring "All Things Must Pass" to the band, he's fully aware no one is listening.
Paul, meanwhile, laughs, scats the lyrics, has an extremely relaxed demeanor, especially impressive given the long day that's near to ending.
The Let it Be film captures some of this pretty well, with Paul barking out chords. If you're able to follow along at home, the first 45 seconds or so are indeed from these Jan. 3 sessions, with the edit coming right as the anvil hits.
With Paul in instructional mode, George is proactive in offering suggestions to the harmonies as well as guitar licks. Again, quite the opposite experience from "All Things Must Pass," where the other members of the band did little to add to the song George brought to them.
The origin of the song's most notable feature — the anvil — is discussed by Paul during one of the takes.
"Originally, I was trying to get a hammer, which we might get Mal [Evans] to do. A hammer, like on an anvil. A big hammer on an anvil.
You can't make it with anything else. Bang, bang!"
As they had done earlier in the sessions on "Don't Let Me Down" and "All Things Must Pass," the band shakes up the lineup as the "Maxwell's" rehearsals progress, with Paul shifting to piano and George taking over on bass, preferring the six-string. At one point, Paul asks George for his bass to sound like it was "from those movies" — a shivering sound during the "Joan was dead" bit.
It's a fun, bouncy song at this point, none of the weight of the Moog on the Abbey Road version, and a circus-like groove from the rhythm section. There is the old-timey movie feel to it, and it works for whatever the song at present is.
In something of a telling, but confusing exchange, George asks about the seemingly incomplete state of the lyrics. At this point, all we've heard in both the early solo piano sketch and the afternoon full-band rehearsals are just the two verses and the chorus.
To my ears, this is what they say:
Paul: There's only two verses. … But I don't really know where it goes after that.
John: Finish three of them. You need another one, yeah?
George: Do the words, like, resolve the story?
Paul: Well, they will do.
George: I mean, there's no more to write?
Paul: No, no not more to write.
Here it seems Paul is content to have the song's lyrics stay as they are in truncated form — no P.C. 31, testimonial pictures, Rose, Valerie or the judge — and perhaps the musical arrangement alone is what he plans to finish.
Again, the contrast with "All Things Must Pass" is fascinating. "Maxwell's" isn't brand-new — it's a few months old — but it's still incomplete. If anything, "ATMP" is newer, and it's a finished product when it was brought to the band.
Really, I think what we're learning here George is a saint — he not only brings polished work to the group only to have it passively embraced, he's busy working to improve everyone else's songs. Sure, we know he actually quits the band in a few days, but you'd have to think this is a pattern that appeared on prior records, but we only have tape of these sessions to hear it.
Further, and it's a point I've obsessed on before, but why bring an incomplete song to a session that seemingly had a purpose and endgame, a live show soon to be recorded? Shouldn't everyone be bringing their best material to the table? Was "Maxwell's" — and we know, ultimately, on Abbey Road it didn't change that much musically and would only get the extra verse — really something worth spending valuable time on when we know what great stuff Paul had in the bank already ("Two of Us," "Long And Winding Road," "Let it Be," "She Came in Through the Bathroom Window," etc.)? They're rehearsing an incomplete song, they'd have to get back to it regardless. Paul makes a brief mention of where an orchestra would come in — clearly he was thinking beyond just the live rock show.
At least this early version of "Maxwell's" gives us the memorable lines: "Back in class again/Maxwell is an ass again" and "She tells Max to stay/when his ass has gone away." Alas, never to make the final cut.
With the end of the "Maxwell's" sessions, the band wraps it up for the day, a Friday. The day's tapes end with the band saying their goodbyes and, the working stiffs they were, agreeing to reassemble Monday at 10 a.m.
Tagged as Abbey Road, All Things Must Pass, corny, fruity, granny music, January 3, Maxwell's Silver Hammer, Paul McCartney, White Album
May 8, 2012 · 9:33 am
Jan. 3: Fifteen minutes of fame
The second day of sessions at Twickenham on A/B Road clock in at close to 5 1/2 hours, more than two hours of which was spent solely on "All Things Must Pass" and "Maxwell's Silver Hammer" (a song to a post coming soon).
For sure, much of the time that falls under a certain song's track was actually dialogue. But ultimately, there wasn't a lot of new material introduced.
When we did get new stuff, it was a taste of some classic songs.
Indeed, the entire day's session begins with Paul tickling at the ivories with an incredible one-two punch that lasted just over a minute and a half. "The Long and Winding Road," right into "Oh! Darling." Another future Abbey Road Side 1 track — "Maxwell's Silver Hammer," which wasn't actually new, but new to the sessions — gets the solo piano treatment next. Enjoy that sequence here:
Paul continues to play, and caps an incredible 15-plus-minute stretch with one more new song, and one that eventually defined the sessions overall: Let It Be.
John, as he was throughout the entirety of the sessions, only brought in the one new track — "Gimme Some Truth" — that day. And again, it wasn't actually new to the band.
Outside of a pair of Ringo songs we've covered previously and seminal songs like "One After 909," "Because I Know You Love Me So" or "Thinking of Linking," the balance of originals on Jan. 3 were brief tastes, and in some cases presumably improvised jams.
Tagged as Because I Know You Love Me So, Get On the Phone, Gimme Some Truth, January 3, John Lennon, Let It Be, Maxwell's Silver Hammer, Negro In Reserve, Oh! Darling, Paul McCartney, Ringo Starr, The Long and Winding Road, Thinking of Linking, Torchy the Battery Boy, Twickenham, Won't You Please Say Goodbye
Jan. 10: See you 'round the clubs
Jan. 10: On his way home
Jan. 10: Knew it wouldn't last
Jan. 10: Only the Northern Songs, Pt. 2
TheyMayBeParted
RT @TheRonettes1: Working with Phil Spector was working with the best. So much to love about those days. Falling in love was like a fair… 3 days ago
RT @LettersOfNote: John Lennon writes to murderer and record producer Phil Spector, tells him it was Keith Moon & Harry Nilsson who pissed… 3 days ago
@BrianAGraham42 All Things Must Pass! Even with 280 characters, I still end up needing to abbreviate … 3 days ago
@Rubberswan For sure. That's the one specific example I was reacting to. 3 days ago
Spector being an actual madman is another subject altogether 3 days ago
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They May Be Parted · Blogging the Nagra Tapes | The Beatles' Get Back sessions


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