Dan's Comments on King George

I can't really respond to intro in a much more thoughtful way than did Mix. I, too, echo the idea that history may look back at Colonial British as bastards and fops, but significantly less so than they will the Spanish. Also-it would seem that Britons regard, above the mythical King Arthur, the real King Richard the Lionhearted as their true "ideal king," perhaps if somewhat undeservedly so.

Thanks for the background info on Easton. I think we all have fond remembrances of this young, idealistic, and daydreaming PG. And I still recall the words Mark Anderson (44) spoke in the early 90s, giving voice to what was a fear of all: "I'm not sure I like this new, knowledge-based Pat. I'm really going to miss ignorance-based Pat." I am lucky to have known you through some evolutionary years to your current state, which is a pleasant blend of the two. But the old, PG...the one who asked out (and go shot down by) only girls he knew were already dating, thought if he cut a hole in his dashboard he could stick a tape in there and it would play, and tried numerous times to walk into Narnia via his bedroom wall...THAT is the Easton Gib, and the one for whom we all have a wistful eye back upon. To know (not that we couldn't have guessed) that your appreciation of King George dates to those days-and is influenced by the youngGib colored glasses-well, it puts it in some nice context for me.

1. Rocking Chair in Hawaii: I can appreciate the picture to which you refer, and this sort of natural Hawaii appreciation by meditative George. However, it's tough for me to get past a story I once read about how George, alone of a whole collection of wealthy Hawaiian beachfront owners, was unwilling to let the public access his stretch of shore. So, let me get this straight: you want to share your love of this wonderful spot of the world through song, but fence off your beach? Reminds me of that lyric of his I always hated, "Didn't want to be a star/just wanted to play guitar/in this cockamanie business." Well, GEORGE, I got news for you. Lots of other people would "just like to play guitar," too. And being a star is what got you your little slice of paradise. Fuck you. It reminds me a bit of some sort of vapid wife of a CEO, showing off the size of her wedding ring, just really plain not realizing how good she's got it (financially) or how completely apart from the rest of the struggling world her existence really is. Rant done. As far as the song, I like the lyric you (and Mixdorf) point out, but I'm not a huge fan of the music. Seems pretty straightforward blues. I kind of like the lazy harmony. I can appreciate what you love about this song, and how it makes you feel. And I hope my negativity on it doesn't ruin anything for you. I'm sure it won't.

2. Ski-ing: This may not be the last time I say this in my comments but...this sounds like something you could have recorded, Gib. Something tells me you could have been a really good friend of George. Like, moreso that with any of the other Beatles. Hanging out and having a good time, but also recording together. Sorry that won't happen. But all the different guitar fuzz & exploration & different strains, AND the Indian instrumentation. It's SO Patty G! Fun to see him rocking out here.

3. How to Know God: Wow-now this is a BEAUTIFUL little aural departure. Fits with the (Indian?) accented voice and the simple, yet deep conceptual words which, though I don't necessarily reflect my perception of God, are a very interesting way of looking at things. I LOVE this. And the "page one hundred and thirty" part: how fun! What a great end!

4. Wah-Wah: Does seem a bit of a joyous romp to be too cynical of a dig at a person. A pretty fun rocker, but I get nothing approaching the sprinkles you get. A little like Ski-ing (and like many PGibby recording sessions) I picture George in the recording studio working on, I don't know, a 64-track recorder and using all tracks. Like, he could never listen to a recording he's made and not say, "hmmm...I could add another guitar right there." A lot happening, sonically. I like two of the chord changes quite a bit. Right off the bat-at about :29, right when he says (I think) you're giving me the wah-wah." A very late 60s/early 70s thing. Something that reminds me of The Hollies. Also, halfway through each "wah-wah" refrain, when it goes "up to the next level."

5. Pieces Fish: Very interesting words, and some quite funny. I've always been fascinated with zodiac stuff. Was George into that? Any connection to the transcendentalism & so on? I wouldn't think so. I think I do like it better, listen by listen. The topic-like he's hit upon what stirs him & makes him tick and now knows how to approach the rest of his life. Kind of like "CS&N"'s "Southern Cross." Very relaxing. Good to hear George "go low" on "through my soul."

6. Party Seacomb: Hey, Wonderwall. Magical Mystery Tour called, and it wants "Flying" back. Seriously, if not modeled after that earlier song, this song was certainly inspired by it. Beatle (Hammond?) organ going on in the later part. Sort of sonic cacauphony taking over towards the end, also in that same vein. I like it OK, and especially the little noodling guitar that is recorded quite starkly against the somewhat mushy soundscape of the rest of the song. But I don't think it could ascend above a "Blackberry Jam" status for me as a nice piece to a greater whole of an album. I take it that's not how you view the song, but for me it would help to hear it in the context of the rest of the album.

7. All Things Must Pass: Seems like this is sort of George's "Imagine." At once, a bit of a crowning achievement, musically, and also some kind of summation of his post-Beatles philosophy. Of course, he's "Dark Horse," so it never really totally caught the same sort of commercial wind. But I like your description of the hope in the song, for "a day, a season, a storm, a conversation, an illness, a relationship, a cycle." And I like Mixdorf's placing of it in Bhuddist context. Interesting that, despite it's hopeful message of acceptance, it's of a bit of a melancholy plodding nature, when his "attack on Paul McCartney" was the joyful romp. Perhaps that's how the Bhuddists do it.

8. George on Ringo: All the while echoing Mixx's "he shouldn't have to defend Ringo" sentiment, I can find the humour in it that Gibbs does. My favorite part: "People say, 'oh, that's just Ringo,' or 'haha.'" My other favorite part, when he's "dissecting the meaning" is when he explains the line, "We could be warm, beneath the STORM." Oh, thanks, George! I guess I never really quite thought of it that way!

9. When We Was Fab: I like Mixx's encapsulation of a retrospective that does not wish to necessarily relive the past, but appreciates it. And I like Gibbs placing us in our own "Fab" context. Not that George, who was taken to court over "My Sweet Lord" really needs this, but in hearing the piano in this song, was anyone else thinking of Double's "Captain of Her Heart?" The "weehee haaa" may have been the same "weehee haaa" from "I am the Walrus." I love the descending harmony during the "and when you're in this world/the fuzz gonna come and claim you" parts. I like the song; always have.

10. The Devil and the Deep Blue Sea: A great choice of a song for a cover. A nice version, with the Uke, and the tuba. "I should hate you, but I guess I love you" IS heavy stuff. A little like Smokey Robinson's "I don't like you, but I love you."

11. On the Bed: LOVE IT!!!! Like some sort of John Lennon experiement circa Revolver mixed with only the best parts of Manheim Steamroller (of which I now acknowledge there aren't many). The loops of - what - flugelhorn? The buzzy Indian intonations on couple of guitar layers. The moment of drums kicking in. Beautiful! A masterwork, really. That's what I thought upon first hearing it. Danbient, no. Because everything is so visceral and real sounding. Perhaps loops, but nothing synthesized. Sounds like certain members of a brass band were lifted by a giant eagle and carried upwards through the clouds. I do love your story, by the way.

12. Isn't it a Pity: I echo the appreciation of the lyrics, and his general ability to convey a substantive take with relatively simple words. I like the music and arrangement, though perhaps not quite as much as either of the Pats. I'm starting to sense some Jeff Lynne here, that most insidious of little devils on George's shoulder. His Own Gay Yoko/Linda.

Conclusion: Yes, it IS a pity what the English did to the Irish, but the Irish deserve some blame for what they've done to themselves. Look at all their old men in the pubs. Look at all their young men on drugs.

BS: On the Bed. A Triumph! Close second: How to Know God.

SIWHI: Here Comes the Moon: Looks like a brother to the sun/Or mother to the stars at night/And here it is and here it comes... /Here comes the moon the moon the moon the moon Moooooon.