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~ THE WHO-I Can See For Miles (REHEARSAL)
Views: 72324 |  |  |  |  | Shot on 13 June 2002.
This was Day four of WHO rehearsals for their 2002 U.S. Tour.
Thunderfingers/The OX (aka John Entwistle) would pass away a few weeks later [27 June 2002]
:^(
He was the best bassist in RocknRoll history. Bass Player Magazi ...More ne voted him 'BASSIST OF THE MILLENIUM'
R.I.P. OX..you are greatly missed, and thanks for all the great brain shakes!
THE WHO
LONG LIVE ROCK!! |
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~ The Who
Views: 5882 |  |  |  |  | The Who' are an English rock band that first formed in 1964 and grew to be considered one of the greatest[1] and most influential[2] bands in the world. They are also famed for their prowess as a live band - winning awards[3] and being described as "possi ...More bly the greatest live band ever."[4] The primary lineup consisted of Pete Townshend, Roger Daltrey, John Entwistle and Keith Moon. The Who rose to fame in the United Kingdom with a pioneering instrument destruction stage show, as well as a series of top ten hit singles (including the celebrated "My Generation") and top five albums, beginning in 1965 with "I Can't Explain". They first hit the top ten in the USA in 1967 with "I Can See for Miles". The 1969 release of Tommy was the first in a series of top five albums for the group in the USA, followed by Live at Leeds (1970), Who's Next (1971), Quadrophenia (1973), and Who Are You (1978) among others. Keith Moon died in 1978, after which the band released two more studio albums, the top five Face Dances (1981) and the top ten It's Hard (1982), with drummer Kenney Jones, before officially disbanding in 1983. They reformed on several occasions to perform at special events such as Live Aid and for reunion tours such as their 25th anniversary tour (1989) and the Quadrophenia revival tours of 1996 and 1997. In 2000, the three surviving original members began to discuss the possibility of recording an album of new material. These plans were delayed following the death of John Entwistle in 2002. Pete Townshend and Roger Daltrey continue to perform as The Who. In 2006 they released the studio album Endless Wire, which reached the top ten in the USA and UK. 1970s Lifehouse & Who's Next Also in 1970, The Who began work on a studio album that was never released. At the Isle of Wight Festival in August, Daltrey introduced "I Don't Even Know Myself" as "off the new album, which we're sort of half-way through". But within a few weeks of that concert Townshend wrote "Pure and Easy", a song which he later described as the "central pivot" of what became an ambitious concept album/performance art project called Lifehouse, distracting him and the band from work on the album in progress. Lifehouse was never completed in its intended form. Some Lifehouse songs were released as non-album-track singles, b-sides and on various albums over the years, such as 1974's outtakes compilation Odds & Sods and Townshend's 1972 solo album Who Came First. Townshend would later reconstruct it as a radio play for the BBC in 2000, and most of the material was released on a 6-CD album from Pete Townshend's website shortly after. Meanwhile, in March of 1971, the band began recording the available Lifehouse material with Kit Lambert in New York, and then restarted the sessions with Glyn Johns in April. Selections from the material, along with one unrelated song by Entwistle, were released as a traditional studio album, Who's Next, which became their most successful album among both critics and fans, but which effectively terminated the Lifehouse project. Who's Next reached #4 in the USA pop charts and #1 in the UK. Two tracks from the album, "Baba O'Riley" and "Won't Get Fooled Again", are often cited as pioneering examples of synthesiser use in rock music; ironically, both tracks' distinctive keyboard sounds were actually generated in real time by a Lowrey organ[11] (though in the case of "Won't Get Fooled Again", the organ's output was processed through the filters of a VCS3 synthesiser). However, synthesisers can be found elsewhere on the album, playing a prominent role in "Bargain", "Going Mobile", and "The Song is Over". |
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~ The Beatles - Helter Skelter
Views: 12453 |  |  |  |  | The Beatles - Helter Skelter
High Quality: http://www.youtube.com/watch?v=xqnDaBe7rzc&feature=email&fmt=18
Copyright - 1968 EMI Records Ltd.
Helter Skelter" is a song written by Paul McCartney, credited to Lennon/ McCartney, and recorded by The B ...More eatles on The White Album. A product of McCartney's deliberate effort to create a sound as loud and dirty as possible, the clangorous piece has been noted for both a "proto-metal roar" and "unique textures." It was one of several White Album compositions taken by Charles Manson as elaborate prophecy of a war to arise from racial tensions between blacks and whites.
Inspiration
McCartney was inspired to write the song after reading an interview of The Who's Pete Townshend where he described their latest single, "I Can See for Miles," as the loudest, rawest, dirtiest song the Who had ever recorded. McCartney then "wrote 'Helter Skelter' to be the most raucous vocal, the loudest drums, etcetera" and said he was "using the symbol of a helter skelter as a ride from the top to the bottom—the rise and fall of the Roman Empire—and this was the fall, the demise." (In British English, the term helter-skelter not only has its meanings of "confused" or "confusedly" but is the name of a spiralling amusement park slide.) McCartney has used this song as a response to critics who accuse him of only writing ballads. John Lennon stated that Helter Skelter is "Paul's completely ... It has nothing to do with anything, and least of all to do with me."
Recording
The Beatles recorded the song multiple times during the The White Album sessions. During the 18 July 1968 sessions, a version of the song lasting 27 minutes and 11 seconds was recorded, although this version is rather slow and hypnotic, differing greatly from the volume and rawness of the album version. Another recording from the same day was edited down to 4:37 for Anthology 3. On September 9, eighteen takes of approximately five minutes each were recorded, and the last one is featured on the original LP. After the eighteenth take, Ringo Starr flung his sticks across the studio and screamed, "I've got blisters on my fingers!" The Beatles included Starr's shout on the stereo mix of the song (available on CD); the song completely fades out around 3:40, then gradually fades back in, fades back out partially, and quickly fades back in with three cymbal crashes and Ringo's scream. (Some sources erroneously credit the "blisters" line to Lennon; in fact, Lennon can be heard asking "How's that?" before the outburst.) The mono version (on LP only) ends on the first fadeout without Ringo's outburst. The mono version was not initially available in the US as mono albums had already been phased out there. The mono version was later released in the American version of the Rarities album.
According to Chris Thomas, who was present,[11] the 18 July session was especially spirited. "While Paul was doing his vocal, George Harrison had set fire to an ashtray and was running around the studio with it above his head, doing an Arthur Brown."[8] Starr's recollection is less detailed, but agrees in spirit: "'Helter Skelter' was a track we did in total madness and hysterics in the studio. Sometimes you just had to shake out the jams."
On the version that appears on the Anthology 3 album, McCartney occasionally sings "hell for leather" instead of "helter skelter".
Lyrics:
When I get to the bottom
I go back to the top of the slide
Where I stop and turn
and I go for a ride
Till I get to the bottom and I see you again
Yeah, yeah, yeah
Do you don't you want me to love you
I'm coming down fast but I'm miles above you
Tell me tell me come on tell me the answer
and you may be a lover but you ain't no dancer
Go helter skelter
helter skelter
helter skelter
Yeah, hu, hu
I will you won't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer
Look out
Helter skelter
helter skelter
helter skelter
Yeah, hu, hu
Look out cause here she comes
When I get to the bottom
I go back to the top of the slide
Where I stop and turn
and I go for a ride
Till I get to the bottom and I see you again
Yeah, yeah, yeah
Well will you won't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer
Look out
Helter skelter
helter skelter
helter skelter
Yeah, hu,
Helter Skelter
She's coming down fast
Yes she is
Yes she is
coming down fast |
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~ Mötley Crüe - Helter Skelter
Views: 5139 |  |  |  |  | (1)
When I get to the bottom
I go back to the top of the slide
I get to the top
And I go for a ride
I get to the bottom
And I do it again
Well I do it again
(2)
Do you or don't you
Want me to love you
I'm comin' down fast
But I'm miles above ...More you
Well tell me come on man
Tell me the answer
You may be a lover
But you ain't no dancer
(Chorus)
Helter Skelter (repeat)
Do you or don't you
Want me to make you
I'm comin' down fast
But don't let me break you
(Pre-Chorus)
Oh tell me, come on man
Tell me the answer
You may be a lover
But you ain't no dancer
No
(Chorus)
Oh yeah, come on
Turn on the power
(1)(2)(Pre-chorus)(Chorus)
Now I'm comin' down on you
It's helter skelter
_________________________
http://en.wikipedia.org/wiki/Helter_Skelter_(song)
"Helter Skelter" is a song written by Paul McCartney, credited to Lennon/McCartney, and recorded by The Beatles on The Beatles. A product of McCartney's deliberate effort to create a sound as loud and dirty as possible, the clangorous piece has been noted for both its "proto-metal roar" and "unique textures."[3][4] It was one of several White Album compositions interpreted by Charles Manson as coded prophecies of a war to arise from racial tensions between blacks and whites.
McCartney was inspired to write the song after reading a 1967 Guitar Player magazine interview with The Who's Pete Townshend where he described their latest single, "I Can See for Miles," as the loudest, rawest, dirtiest song The Who had ever recorded. McCartney then "wrote 'Helter Skelter' to be the most raucous vocal, the loudest drums, et cetera" and said he was "using the symbol of a helter skelter as a ride from the top to the bottom—the rise and fall of the Roman Empire—and this was the fall, the demise." In British English, the term helter-skelter not only has its meanings of "confused" or "confusedly" but is the name of a spiralling amusement park slide. McCartney has used this song as a response to critics who accuse him of only writing ballads.[8] John Lennon stated that "Helter Skelter" is "Paul's completely ... It has nothing to do with anything, and least of all to do with me." |
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~ Helter Skelter vs. I Can See for Miles
Views: 2182 |  |  |  |  | So which song is "louder"?
Paul McCartney made Helter Skelter after seeing that Pete Townshend of The Who named his new single, "I Can See for Miles" the loudest song they ever wrote. Helter Skelter was McCartney's response. Please leave a comment expl ...More aining which song is louder, better, or just comment on how great they both are.
Pictures from Google Image Search |
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~ Prince of Tennis- 48 songs in 4 minutes
Views: 69480 |  |  |  |  | -I've added the artists for each song, so if you want to know who they are look here, I will no longer be telling people who sings what-
Forty-eight songs in 3 minutes 56 seconds.
(In the order they appear)
Teenaged Mutant Ninja Turtles theme
This ...More Magic Moment- Lou Reed
I want it That Way- Backstreet Boys
Kids in America- No Secrets
Best Friend- ToyBox
Help- The Beatles
Wake me up before you go-go- Wham
What do we do with a drunken sailor?- Irish Rovers
I can see for Miles- The Who
Eye of the Tiger- Survivor
If only through heavens eyes- NSYNC
Everybody loves me, baby- Don McLean
I'll make a man out of you- Mulan
Milk Rap- Milk Farmers
Let my people go- The Prince of Egypt
Mambo Number 5- Lou Bega
I want Candy- Bow Wow Wow
Happy Song- Sifl and Olly
Victory- TeniMyu
Monday Sucks
Superstar- ToyBox
The ultimate showdown of ultimate destiny- Lemon Demon
Ninjas of the Night- Sifl and Olly
99 red balloons- GoldFinger
You're the best around- Joe Espisito
Ninja- Europe
The last Shanty
The Logical song- Supertramp
Bring it all back- S Club 7
Larger than Life- Backstreet Boys
Shape of my heart- Backstreet Boys
Secret Agent- The Backyardagins
Sally the Camal- Barney and Friends
Safari- Dr. Bombay
Doesn't Remind me- Audioslave
SOS- ToyBox
One in a million- Backstreet Boys
Hey Juliet- LMNT
I drive myself crazy- NSYNC
Be As- Prozzak
Stop- Spice Girls
Happy Boys and Girls- Aqua
The Cat's Meow- Barbie as the Princess and the Pauper
My Band- Eminnem
Aitsu koso ga Tennis no Oujisama- TeniMyu
Free- Barbie
Kyle's Mom is a b*tch- South Park
I'm too sexy- Right Said Fred
I basically just took a whole bunch of random songs, shortened them to about 5 seconds each and made a...thingy...yeah.
I know I reused some parts, but really...I have one normal picture of Ryoma (the other ones are him looking foolish) and I have about...5 or 6 of Horio. Besides, they're spread out enough, that I didn't even notice until I was almost done. |
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~ I Can See for Miles (Live Smothers Brothers 1967)
Views: 80530 |  |  |  |  | After putting together a lot for this one video, i tell ya it was worth it. Although some of the audio might be off from the video, i had to speed up the audio to be the same speed of the video. Mind you, the music you're hearing is NOT the studio versi ...More on, but the actual "live" prerecording they played to. Enjoy! |
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~ I Can See for Miles The Who 320 KBPS STEREO HOFFMAN MASTER
Views: 2218 |  |  |  |  | I can see for miles 1967 from album The Who Sell Out
Mastered by Steve Hoffman for compilation Meaty Beaty Big and Bouncy
EAC secure lame encoded 320 kbps mp3 stereo
I know you've deceived me, now here's a surprise
I know that you have 'cause th ...More ere's magic in my eyes
I can see for miles and miles and miles and miles and miles
Oh yeah
If you think that I don't know about the little tricks you play
And never see you when deliberately you put things in my way
Well, here's a poke at you
You're gonna choke on it too
You're gonna lose that smile
Because all the while
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah
You took advantage of my trust in you when I was so far away
I saw you holding lots of other guys and now you've got the nerve to say
That you still want me
Well, that's as may be
But you gotta stand trial
Because all the while
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah
I know you've deceived me, now here's a surprise
I know that you have 'cause there's magic in my eyes
I can see for miles and miles and miles and miles and miles
Oh yeah
The Eiffel Tower and the Taj Mahal are mine to see on clear days
You thought that I would need a crystal ball to see right through the haze
Well, here's a poke at you
You're gonna choke on it too
You're gonna lose that smile
Beacuse all the while
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles
and miles and miles and miles and miles
I can see for miles and miles*
*(sung 9 times, fading) |
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