Cleveland's newest, and I think only, pressing plant is profiled in this cool article.
Read it. Then call them and GET SOME RECORDS PRESSED!
Thursday, November 26, 2009
Sunday, November 8, 2009
Chicago Emmy Jokes 2009
These were mine. You have to work in Chicago, and in TV, to get these. No exceptions!
-After 16 years, "The Jerry Springer Show" has left Chicago, which means the bathrooms at NBC Tower no longer need to be labelled "men," "women" and "question mark?"
-Even though WFLD is in hot water for airing the school beating video, Fox
wants to turn it into a regular series starring Rihanna and Chris Brown and
called "Flee."
-Today they announced there's 10% unemployment in this country, with most of
the increase blamed on Channel 2 and Joe Ahern. Actually, CBS is thinking of selling Channel 2 to the government as soon as the "Cash For Clunkers" program is started again.
-With Ft. Hood the site of a deadly massacre yesterday, Sam Zell has expressed
interest in buying the army base as a tax write off.
-With all the bad news in Chicago lately, at least we can be glad we're not
in Cleveland. I understand they've found twelve murder victims in that
house. Sowell says he got the idea years ago from Jeffrey Dahmer, who called it "The Last Supper."
-After 16 years, "The Jerry Springer Show" has left Chicago, which means the bathrooms at NBC Tower no longer need to be labelled "men," "women" and "question mark?"
-Even though WFLD is in hot water for airing the school beating video, Fox
wants to turn it into a regular series starring Rihanna and Chris Brown and
called "Flee."
-Today they announced there's 10% unemployment in this country, with most of
the increase blamed on Channel 2 and Joe Ahern. Actually, CBS is thinking of selling Channel 2 to the government as soon as the "Cash For Clunkers" program is started again.
-With Ft. Hood the site of a deadly massacre yesterday, Sam Zell has expressed
interest in buying the army base as a tax write off.
-With all the bad news in Chicago lately, at least we can be glad we're not
in Cleveland. I understand they've found twelve murder victims in that
house. Sowell says he got the idea years ago from Jeffrey Dahmer, who called it "The Last Supper."
And a not-so-instant Stones boxed set
Some of the Rolling Stones' more interesting and readily available material that has never seen an official release:
-"And Mr. Spector and Mr. Pitney Came Too": More or less the instrumental
version of Andrew's Blues aka 1964 Blues Jam on some releases.
-Bright Lights Big City: This early 1970s bootleg features tracks cut
at Chess Studios in 1964, and RCA Studios (L.A.) in 1965. Highlights include
Stewed and Keefed / Tell Me Baby / How Many Times / Down In The Bottom / Hi
Heel Sneakers / Looking Tired (with a riff lifted from Robert Johnson's "32-20
Blues," which Johnson lifted from Skip James' "20-20 Blues"). "Look What
You've Done" is from the same sessions, but was not on the album.
-Cops and Robbers: apparently a pretty good bootleg of mid-1960s
material. Don't know much more about it.
-(I Can See It) Get Yourself Together: Between The Buttons outtake
(1966). aka Can't Believe and I Can See It
-Cosmic Christmas: Satanic Majesties outtake (1967). Not really a song at
30 seconds, but interesting. (Essentially "We Wish You a Merry Christmas"
played on a theremin. Backwards.)
-Hamburger To Go: Beggars Banquet outtake (1968)? Mentioned in The
First Twenty Years (1981 by David Dalton).
-Highway Child: Beggars Banquet outtake (1968). At one point, the riff
sounds like .38 Special's "Hold On Loosely"!
-Still A Fool: Muddy Waters cover. No other info.
-"Gimme Shelter" and "Dandelion": versions exist with Keith Richards on
vocals.
-Sister Morphine: a version exists with the Stones backing Marianne
Faithfull!
-You Got The Silver: a version exists with Mick Jagger on vocals
-Loving Cup / All Down The Line / Tumbling Dice: outtakes from the Let It
Bleed or Sticky Fingers sessions, all of which were re-recorded for
Exile On Main Street. "Tumbling Dice" is called "Good Time Women"
here, by the way.
-Live at the Marquee Club and Get Yer Leeds Lungs Out: The former is a concert, taped by BBC-TV, while the latter is audio only. Both are readily available if you know where to look.
-"And Mr. Spector and Mr. Pitney Came Too": More or less the instrumental
version of Andrew's Blues aka 1964 Blues Jam on some releases.
-Bright Lights Big City: This early 1970s bootleg features tracks cut
at Chess Studios in 1964, and RCA Studios (L.A.) in 1965. Highlights include
Stewed and Keefed / Tell Me Baby / How Many Times / Down In The Bottom / Hi
Heel Sneakers / Looking Tired (with a riff lifted from Robert Johnson's "32-20
Blues," which Johnson lifted from Skip James' "20-20 Blues"). "Look What
You've Done" is from the same sessions, but was not on the album.
-Cops and Robbers: apparently a pretty good bootleg of mid-1960s
material. Don't know much more about it.
-(I Can See It) Get Yourself Together: Between The Buttons outtake
(1966). aka Can't Believe and I Can See It
-Cosmic Christmas: Satanic Majesties outtake (1967). Not really a song at
30 seconds, but interesting. (Essentially "We Wish You a Merry Christmas"
played on a theremin. Backwards.)
-Hamburger To Go: Beggars Banquet outtake (1968)? Mentioned in The
First Twenty Years (1981 by David Dalton).
-Highway Child: Beggars Banquet outtake (1968). At one point, the riff
sounds like .38 Special's "Hold On Loosely"!
-Still A Fool: Muddy Waters cover. No other info.
-"Gimme Shelter" and "Dandelion": versions exist with Keith Richards on
vocals.
-Sister Morphine: a version exists with the Stones backing Marianne
Faithfull!
-You Got The Silver: a version exists with Mick Jagger on vocals
-Loving Cup / All Down The Line / Tumbling Dice: outtakes from the Let It
Bleed or Sticky Fingers sessions, all of which were re-recorded for
Exile On Main Street. "Tumbling Dice" is called "Good Time Women"
here, by the way.
-Live at the Marquee Club and Get Yer Leeds Lungs Out: The former is a concert, taped by BBC-TV, while the latter is audio only. Both are readily available if you know where to look.
Instant Rolling Stones boxed set
I mentioned that the Stones are one of the few HUGE bands not to have released a boxed set. They DID release plenty of rare material during their golden era (1962-81) to make your own. Most of the titles below have probably passed through your hands at some point, or are easily findable for chump change (with one exception).
-Got Live If You Want It 1966 UK EP: Completely different from the American long player of the same name. From the EP, "I'm Alright" was released on the US version of Out of Our Heads. "Route 66" and "I'm Moving On" were released on the US LP December's Children (And Everybody's). "We Want The Stones" is a short excerpt of teens chanting, followed by 30 seconds of "Everybody Needs Somebody to Love" and then a full recording of "Pain in My Heart." These last three titles are only on the UK EP, or as part of the 2004 ABKCO boxed set The Singles 1963–1965 (which contains otherwise previously released material).
-"I've Been Loving You Too Long" and "Fortune Teller": studio versions of
these songs had fake audience screaming added by Glynn Johns for inclusion on
the American 1966 Got Live If You Want It! LP. If you have a stereo copy of the album, turn your balance knob all the way to the left to drown out the audience.
-Con Le Mie Lacrime: "As Tears Go By" sung in Italian and released in Italy in 1966
-Da Doo Ron Ron: demo by the Andrew Loog Oldham Orchestra with Mick Jagger on
vocals.
-C*cks*cker Blues: The Stones' last single for Decca, from 1970, which was
obviously rejected by the label. Released on a quasi-legal 12" colored vinyl
single in 2007 in Europe.
-"Brown Sugar" and "Wild Horses": from the original U.S. pressings of Hot
Rocks (identifiable by the matrix number "XZAL 11018 Shelley / 11-18-71").
"Brown Sugar" is similar to the demo version heard in the hotel room scene in
Gimme Shelter. "Wild Horses" has noticeable vocal reverb added. This LP commands thousands of dollars, when you can find it, so you may have to copy the songs from "other" sources.
-Sway: single mix features a different take than the album
-Let It Rock (Live): additional track on the B-side of the UK "Brown Sugar"
single (1971); recorded live at the University of Leeds, 13 March 1971
-Brussels Affair 1973: An INCREDIBLE bootleg of a show
in... Brussels. Not released because, when the Stones split from Decca/ABKCO
in 1970, they had been signed to the label for 7 years. Hence, they agreed
not to re-record any of their Decca/ABKCO material for a further 7 years (and
6 of this album's 14 songs are from 1968-69). This is also why their first
live album after 1970's Got Live If You Want It was 1977's Love You
Live. Brussels is better than both, by the way.
-Through the Lonely Nights: B-side to "It's Only Rock 'n Roll (But I Like It)"
from 1974
-Miss You (Dance Version): "Special Disco Version" (1978) released asa 12"
single.
-Beast of Burden / Respectable / Shattered: The Stones' legendary 1978 appearance on Saturday Night Live is available on that show's season 4 boxed set.
-If I Was a Dancer (Dance Pt. 2): Emotional Rescue outtake that
originally appeared on 1981's Sucking in the Seventies (out of print).
-Beast of Burden (Live): B-side to "Going to a Go-Go" (1982); recorded live at
the "Rosemont Horizon", Chicago, 25 November 1981.
-Got Live If You Want It 1966 UK EP: Completely different from the American long player of the same name. From the EP, "I'm Alright" was released on the US version of Out of Our Heads. "Route 66" and "I'm Moving On" were released on the US LP December's Children (And Everybody's). "We Want The Stones" is a short excerpt of teens chanting, followed by 30 seconds of "Everybody Needs Somebody to Love" and then a full recording of "Pain in My Heart." These last three titles are only on the UK EP, or as part of the 2004 ABKCO boxed set The Singles 1963–1965 (which contains otherwise previously released material).
-"I've Been Loving You Too Long" and "Fortune Teller": studio versions of
these songs had fake audience screaming added by Glynn Johns for inclusion on
the American 1966 Got Live If You Want It! LP. If you have a stereo copy of the album, turn your balance knob all the way to the left to drown out the audience.
-Con Le Mie Lacrime: "As Tears Go By" sung in Italian and released in Italy in 1966
-Da Doo Ron Ron: demo by the Andrew Loog Oldham Orchestra with Mick Jagger on
vocals.
-C*cks*cker Blues: The Stones' last single for Decca, from 1970, which was
obviously rejected by the label. Released on a quasi-legal 12" colored vinyl
single in 2007 in Europe.
-"Brown Sugar" and "Wild Horses": from the original U.S. pressings of Hot
Rocks (identifiable by the matrix number "XZAL 11018 Shelley / 11-18-71").
"Brown Sugar" is similar to the demo version heard in the hotel room scene in
Gimme Shelter. "Wild Horses" has noticeable vocal reverb added. This LP commands thousands of dollars, when you can find it, so you may have to copy the songs from "other" sources.
-Sway: single mix features a different take than the album
-Let It Rock (Live): additional track on the B-side of the UK "Brown Sugar"
single (1971); recorded live at the University of Leeds, 13 March 1971
-Brussels Affair 1973: An INCREDIBLE bootleg of a show
in... Brussels. Not released because, when the Stones split from Decca/ABKCO
in 1970, they had been signed to the label for 7 years. Hence, they agreed
not to re-record any of their Decca/ABKCO material for a further 7 years (and
6 of this album's 14 songs are from 1968-69). This is also why their first
live album after 1970's Got Live If You Want It was 1977's Love You
Live. Brussels is better than both, by the way.
-Through the Lonely Nights: B-side to "It's Only Rock 'n Roll (But I Like It)"
from 1974
-Miss You (Dance Version): "Special Disco Version" (1978) released asa 12"
single.
-Beast of Burden / Respectable / Shattered: The Stones' legendary 1978 appearance on Saturday Night Live is available on that show's season 4 boxed set.
-If I Was a Dancer (Dance Pt. 2): Emotional Rescue outtake that
originally appeared on 1981's Sucking in the Seventies (out of print).
-Beast of Burden (Live): B-side to "Going to a Go-Go" (1982); recorded live at
the "Rosemont Horizon", Chicago, 25 November 1981.
Beatles MONO boxed set
I posted this a few weeks ago on my old blog, but here 'tis with updates!
9/9/09 finally brought reissues of The Beatles' entire catalog on CD. And most of you know that they are being released in stereo, too, as you'd expect. But the mono versions (i.e. "one speaker") are the ones to get. The Beatles assumed most pop listeners only had a mono turntable. AM radio was king, and it was in mono. TV was in mono. And (I'm surprised no other "reporter" has mentioned this) ABBEY ROAD STUDIOS WAS "IN MONO." Geoff Emerick (engineer on almost every Beatles session from 1966 forward) has said he was only allowed to monitor recording sessions through one speaker. EMI management apparently didn't want to "waste" two speakers on mere "pop" recordings, saving the wear and tear for classical recordings, or the necessary evil of stereo mixdowns.
The Beatles themselves rarely attended mixdown sessions until the Sgt. Pepper era, and then it was only the mono mix sessions. The stereo mixes were prepared much later by George Martin and an engineer, often accidentally leaving out important bits (or leaving in extraneous material) compared to the mono mix. In fairness to Martin and Emerick (who were integral to the Beatles' success), the stereo versions are more refined when it comes to editing, clarity, etc. The Beatles' perceived sound "balance" is the key in the mono mixes.
Every Beatles album was mixed and released in BOTH mono and stereo in the US and England through 1967's Magical Mystery Tour. After that, albums were all stereo in the U.S. (England/Europe did get a mono White Album, the majority of which was mixed by John and Paul in one marathon session. And again, the stereo mixes were done at another time by an engineer). In January, 1969, the Yellow Submarine soundtrack was released in England in mono, but it was merely a "fold down" of the stereo mix (i.e. like hitting the "mono" switch on your hi-fi). Unique and separate mono mixes HAD been prepared, though, and they are being released (for the first time) in the mono box.
Just as I did when the original CDs came out, I spent my first evening skipping around the Beatles' new mono boxed set. With a vast knowledge of not only the Beatles, but also recording technology and music theory, I am happy to share some observations/highlights with you...
REVOLVER-the whole layer of "grit" that seemed to be on the album is gone. I think it came from doing so many effects and sub-mixdowns to free up tracks, and they were new at it, and they had a new engineer (Geoff Emerick), so that's why it'll never have fidelity as high as Sgt. Pepper.
-Taxman-MORE COWBELL!
-Got to Get You Into My Life-punchier; fade out is different
-I'm Only Sleeping-more backwards guitars
-Tomorrow Never Knows-the guitar solo is differently mixed; tape loops not as prominent
SGT. PEPPER-cleaner sound
-She's Leaving Home-faster
-Good Morning-chicken cluck at the end is much less refined. Also, I noticed that John's pronunciation of "ruined" is the same as Stewie's on Family Guy.
-Sgt. Pepper (reprise)-mix is much less refined
-Within You Without You-seems "brighter"; laughing at the end is much more prominent
MAGICAL MYSTERY TOUR
-Magical Mystery Tour-slightly different sound effects
-Your Mother Should Know-echo sounds slightly different
-I Am the Walrus-QUITE different... effects are timed differently, verse intros, etc., have extra beats in places, echo is different
-Baby You're a Rich Man-punchier
WHITE ALBUM-quite different. At first, it will sound more "closed in" than the stereo (i.e. a tad more muffled), but I consider it "cozier"
-Back In the USSR-different effects
-Don't Pass Me By-faster, different ending
-Helter Skelter- VERY different. More effects and totally different ending (no "Blisters," alas)
-Savoy Truffle-last 60 seconds are quite different. More extraneous noise in the track. Different guitar punch-ins/solos.
-Yer Blues-vocal echo is different
-Long Long Long-vocal echo is different
-Good Night-MUCH more prominent strings at the beginning
MONO MASTERS-a compilation of singles tracks, etc. not on any official album (essentially the "Past Masters" disks)
-Paperback Writer-this is the ORIGINAL mono 45 mix, which has vastly different and more jarring echo coming out of the chorus (reminds me of the Monkees' "Pleasant Valley Sunday")
Additionally, despite the release of the mono and stereo boxed sets, the recent "Capitol Albums" boxes, and the original 1987 CDs, there are STILL Beatles mixes (and recordings) out there that are currently unavailable through legitimate means. None are really mind-blowing, but if you found a garage sale flyer designed by Picasso, wouldn't you at least want to tell people about it?!
-"All My Loving": a rare German compilation, "Beatles Greatest," features a hi-hat intro to this song
-"And I Love Her": alternate German version with six-bar ending, available on the 1980 LP, "Rarities"
-"I Feel Fine": version on the British "1962-66" album has strange "whispering" in the intro
-"Help!": mono single mix with different vocals than LP, available on the 1980 LP, "Rarities"
-Live at the Hollywood Bowl (1977): An LP of songs from shows at the venue in 1964 and 1965.
-rare mixes of "Day Tripper" and "We Can Work It Out" are on the U.S. "Yesterday and Today" album
-early mixes of "I'm Only Sleeping," "Doctor Robert" and "And Your Bird Can Sing" appear on the US "Yesterday and Today" album
-"Penny Lane": U.S. promotional 45 has mono version with extra piccolo trumpet solo on the end
-"Tomorrow Never Knows": VERY early British mono pressings of Revolver feature an alternate mix of this song. These pressings were apparently deleted after the first day and replaced with the "common" mix (on the Mono boxed set). The matrix number (in the runout groove of side 2) on this pressing is XEX 606-2.
-"A Day In The Life": version with "clean" opening (no applause leftover from "Sgt. Pepper (Reprise)") is on "The Beatles 1967-1970"
-"I Am the Walrus": stereo version compiled from various mixes features six-bar intro and extra beats before the "Yellow matter custard" verse; available on the 1980 LP, "Rarities"
-The Beatles' Christmas Album (1970): All 7 of the group's annual Christmas messages, compiled on one LP and sent to fan club members in 1970.
-This doesn't even take into account bootlegs (alternate takes of familiar songs), video soundtracks (the Shea stadium concert; the 1968 documentary "Music!"), BBC recordings (many of which remain unissued), songs "missing" from the vaults (such as the slow version of "Please Please Me" and Paul's "Et Cetera"), unissued songs ("Carnival of Light" and the long version of "Helter Skelter"), the whole 1962 Decca audition tape, the complete 1968 Kinfauns demos for "The White Album," the entire 1969 "Get Back"/"Let It Be" Sessions, concerts that are known to have been recorded in some form (Budokan, Candlestick Park, Sam Houston Coliseum, Cleveland), the "Let It Be" film, their Saturday Morning cartoon series, etc....
9/9/09 finally brought reissues of The Beatles' entire catalog on CD. And most of you know that they are being released in stereo, too, as you'd expect. But the mono versions (i.e. "one speaker") are the ones to get. The Beatles assumed most pop listeners only had a mono turntable. AM radio was king, and it was in mono. TV was in mono. And (I'm surprised no other "reporter" has mentioned this) ABBEY ROAD STUDIOS WAS "IN MONO." Geoff Emerick (engineer on almost every Beatles session from 1966 forward) has said he was only allowed to monitor recording sessions through one speaker. EMI management apparently didn't want to "waste" two speakers on mere "pop" recordings, saving the wear and tear for classical recordings, or the necessary evil of stereo mixdowns.
The Beatles themselves rarely attended mixdown sessions until the Sgt. Pepper era, and then it was only the mono mix sessions. The stereo mixes were prepared much later by George Martin and an engineer, often accidentally leaving out important bits (or leaving in extraneous material) compared to the mono mix. In fairness to Martin and Emerick (who were integral to the Beatles' success), the stereo versions are more refined when it comes to editing, clarity, etc. The Beatles' perceived sound "balance" is the key in the mono mixes.
Every Beatles album was mixed and released in BOTH mono and stereo in the US and England through 1967's Magical Mystery Tour. After that, albums were all stereo in the U.S. (England/Europe did get a mono White Album, the majority of which was mixed by John and Paul in one marathon session. And again, the stereo mixes were done at another time by an engineer). In January, 1969, the Yellow Submarine soundtrack was released in England in mono, but it was merely a "fold down" of the stereo mix (i.e. like hitting the "mono" switch on your hi-fi). Unique and separate mono mixes HAD been prepared, though, and they are being released (for the first time) in the mono box.
Just as I did when the original CDs came out, I spent my first evening skipping around the Beatles' new mono boxed set. With a vast knowledge of not only the Beatles, but also recording technology and music theory, I am happy to share some observations/highlights with you...
REVOLVER-the whole layer of "grit" that seemed to be on the album is gone. I think it came from doing so many effects and sub-mixdowns to free up tracks, and they were new at it, and they had a new engineer (Geoff Emerick), so that's why it'll never have fidelity as high as Sgt. Pepper.
-Taxman-MORE COWBELL!
-Got to Get You Into My Life-punchier; fade out is different
-I'm Only Sleeping-more backwards guitars
-Tomorrow Never Knows-the guitar solo is differently mixed; tape loops not as prominent
SGT. PEPPER-cleaner sound
-She's Leaving Home-faster
-Good Morning-chicken cluck at the end is much less refined. Also, I noticed that John's pronunciation of "ruined" is the same as Stewie's on Family Guy.
-Sgt. Pepper (reprise)-mix is much less refined
-Within You Without You-seems "brighter"; laughing at the end is much more prominent
MAGICAL MYSTERY TOUR
-Magical Mystery Tour-slightly different sound effects
-Your Mother Should Know-echo sounds slightly different
-I Am the Walrus-QUITE different... effects are timed differently, verse intros, etc., have extra beats in places, echo is different
-Baby You're a Rich Man-punchier
WHITE ALBUM-quite different. At first, it will sound more "closed in" than the stereo (i.e. a tad more muffled), but I consider it "cozier"
-Back In the USSR-different effects
-Don't Pass Me By-faster, different ending
-Helter Skelter- VERY different. More effects and totally different ending (no "Blisters," alas)
-Savoy Truffle-last 60 seconds are quite different. More extraneous noise in the track. Different guitar punch-ins/solos.
-Yer Blues-vocal echo is different
-Long Long Long-vocal echo is different
-Good Night-MUCH more prominent strings at the beginning
MONO MASTERS-a compilation of singles tracks, etc. not on any official album (essentially the "Past Masters" disks)
-Paperback Writer-this is the ORIGINAL mono 45 mix, which has vastly different and more jarring echo coming out of the chorus (reminds me of the Monkees' "Pleasant Valley Sunday")
Additionally, despite the release of the mono and stereo boxed sets, the recent "Capitol Albums" boxes, and the original 1987 CDs, there are STILL Beatles mixes (and recordings) out there that are currently unavailable through legitimate means. None are really mind-blowing, but if you found a garage sale flyer designed by Picasso, wouldn't you at least want to tell people about it?!
-"All My Loving": a rare German compilation, "Beatles Greatest," features a hi-hat intro to this song
-"And I Love Her": alternate German version with six-bar ending, available on the 1980 LP, "Rarities"
-"I Feel Fine": version on the British "1962-66" album has strange "whispering" in the intro
-"Help!": mono single mix with different vocals than LP, available on the 1980 LP, "Rarities"
-Live at the Hollywood Bowl (1977): An LP of songs from shows at the venue in 1964 and 1965.
-rare mixes of "Day Tripper" and "We Can Work It Out" are on the U.S. "Yesterday and Today" album
-early mixes of "I'm Only Sleeping," "Doctor Robert" and "And Your Bird Can Sing" appear on the US "Yesterday and Today" album
-"Penny Lane": U.S. promotional 45 has mono version with extra piccolo trumpet solo on the end
-"Tomorrow Never Knows": VERY early British mono pressings of Revolver feature an alternate mix of this song. These pressings were apparently deleted after the first day and replaced with the "common" mix (on the Mono boxed set). The matrix number (in the runout groove of side 2) on this pressing is XEX 606-2.
-"A Day In The Life": version with "clean" opening (no applause leftover from "Sgt. Pepper (Reprise)") is on "The Beatles 1967-1970"
-"I Am the Walrus": stereo version compiled from various mixes features six-bar intro and extra beats before the "Yellow matter custard" verse; available on the 1980 LP, "Rarities"
-The Beatles' Christmas Album (1970): All 7 of the group's annual Christmas messages, compiled on one LP and sent to fan club members in 1970.
-This doesn't even take into account bootlegs (alternate takes of familiar songs), video soundtracks (the Shea stadium concert; the 1968 documentary "Music!"), BBC recordings (many of which remain unissued), songs "missing" from the vaults (such as the slow version of "Please Please Me" and Paul's "Et Cetera"), unissued songs ("Carnival of Light" and the long version of "Helter Skelter"), the whole 1962 Decca audition tape, the complete 1968 Kinfauns demos for "The White Album," the entire 1969 "Get Back"/"Let It Be" Sessions, concerts that are known to have been recorded in some form (Budokan, Candlestick Park, Sam Houston Coliseum, Cleveland), the "Let It Be" film, their Saturday Morning cartoon series, etc....
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