Some Weekend-after notes

[Brian.Cady@turner.com]

     Just some notes on some of the topics of the weekend:
     
     On The Who vs. Sgt. Pepper's:  I have no doubt that their was some 
     influence of Pepper's on Sell Out; however, I believe the greater 
     influence was A Quick One on Pepper's.  When The Beatles began 
     recording Pepper's. AQO was on everyone's turntable (I've heard Mick 
     and Keith were playing it when they were busted in early '67).  
     Although I've never read this, couldn't A Day In The Life, recorded in 
     Jan. '67, be a response to A Quick One While He's Away?  And couldn't 
     Pepper's conceptualization be an attempt by The Beatles to beat Pete 
     to the punch on Pete's long-threatened album-length rock opera?
     As for infulences on The Who in 1967; far more powerful than The 
     Beatles was labelmate Jimi Hendrix.  However, I have long wondered 
     whether the rock'n'roll tracks recorded for Sell Out were rejected and 
     the bass and drums mixed lower to give the album a more Peppery sound.
     
     On the studio Young Man Blues:
     I would agree with wf that the studio version is great (although the 
     "Young Man" chants at the end remind me a lot of The Who's Batman).  
     Before anyone goes out to spend a fortune for a copy of The House That 
     Track Built, I would warn you that the album (at least my copy) seems 
     to be recorded at a low level and is kind of noisy (true for you, too 
     wf?)
     
     Also some other notes:
     The new book The MTV Story has a paragraph on Pete's "I Want My MTV!" 
     clip.  To save you the embarrasement of leafing through it in the 
     store, here's the gist:  Someone in Kansas knew both the ad agency 
     putting the spots together and Pete and put the two in contact.  The 
     agency sent people to London to Pete's studio.  Pete was two hours 
     late, the book notes snippily, and upon arrival was rushed across the 
     street to a makeshift studio to shout the phrase that still rings in 
     everyone's head.
     
     On odd Who covers:
     Finally found Liberace's cover of the Overture.  It turns out to be a 
     tame little arrangement (where's the glissandos, Lib?).  Pity he 
     didn't cover Acid Queen...
     Speaking of which I also got Tina Turner's Acid Queen album with a 
     different arrangement of Acid Queen than on the soundtrack and a funky 
     R&B version of I Can See For Miles.  I would have enjoyed it except 
     for the note that the song was arranged by Ike Turner, which gives the 
     meaning of the song and very creepy twist.