While the big, mammoth McCartney reissues come with books, memorabilia and hours of unreleased audio and video, this new reissue is a welcome addition to his vast canon. Although there have been many reissues of his Wings and solo albums, hopefully this single, vinyl album half-speed mastering process will be used on other releases, with Ram, all his Wings albums and Thrillington leading my wish list.
George Harrison, Wonderwall Music Full Album Zip
Download Zip: https://posbimruize.blogspot.com/?xw=2vFEHo
The recordings reflected Harrison's commitment to the Gaudiya Vaishnava teachings of the movement's leader, A. C. Bhaktivedanta Swami Prabhupada, who had sent devotees from San Francisco to London in 1968. The success of the Temple's first single, "Hare Krishna Mantra", helped popularise the Hare Krishna movement in the West, and inspired Harrison's more overtly religious songs on his 1970 triple album All Things Must Pass. Among the Temple members, former jazz musician and future ISKCON leader Mukunda Goswami provided the musical arrangements on the recordings.
Harrison had first experienced kirtan, or communal chanting, while in the Indian city of Vrindavan with Ravi Shankar, in 1966.[6] Harrison was inspired by the devotees' music-making, whereby mantras were sung accompanied by instrumentation such as harmonium and percussion.[7] He and John Lennon had similarly enjoyed Prabhupada's album of chants, Krishna Consciousness.[8][9] In addition, Harrison had come to appreciate the positive properties of the Maha or Hare Krishna mantra,[10] after he had chanted it when his plane lost control during a flight back from San Francisco in August 1967.[11]
The recording for "Hare Krishna Mantra" took place at EMI Studios in July 1969,[19] shortly before a session for the Beatles' Abbey Road album. Harrison worked through a musical arrangement for the piece on guitar, with Mukunda playing piano. For the recording, Harrison decided on joint vocalists over the verses, Yamuna and Shyamsundar,[20] with the other devotees joining in on the choruses.[21] The engineer on the recording was Ken Scott.[22]
Featuring a photo taken by John Kosh,[22] the album cover depicted the deities Radha and Krishna in the temple at Bury Place.[77] The LP's inner sleeve included a reproduction of a painting of Chaitanya Mahaprabhu, while a photo of Prabhupada appeared on the back cover.[22] Print advertisements accompanying the US release carried text reading: "Vibrations of these mantras reveal to the receptive hearer and chanter the realm of KRSNA consciousness, joyfully experienced as a peace of self and awareness of GOD and KRSNA. These eternal sounds of love release the hearer from all contemporary barriers of time and space."[103][104]
The 1993 Apple CD added the non-album B-side "Prayer to the Spiritual Masters" as a bonus track,[130] while the 2010 reissue also included the previously unreleased "Namaste Saraswati Devi",[119] a song written in praise of Saraswati, the Hindu goddess of knowledge, music and the arts.[131] That year, the album version of "Govinda" appeared on Apple's first-ever multi-artist compilation, Come and Get It: The Best of Apple Records.[132] This second Apple reissue was remastered by Paul Hicks and Alex Wharton, led by Abbey Road project coordinator Allan Rouse.[77]
In a review of the Come and Get It compilation, Douglas Wolk of Pitchfork Media includes the Temple as an example of the Beatles' "willingness to go to bat for totally uncommercial ideas" on their short-lived record label;[135] music historian Colin Larkin similarly highlights the devotees' album among an "eccentric catalog" that included the composer John Tavener and the Modern Jazz Quartet.[136] This adventurousness, Wolk continues, provides the "really fun" aspect of the 2010 compilation, just as it "made the Beatles' own Apple releases particularly entertaining".[135] According to David Fricke of Rolling Stone, Harrison viewed the Radha Krishna Temple's presence on Top of the Pops as "one of the greatest thrills of his life". In the same 1980s interview, Harrison added: "That was more fun really than trying to make a pop hit record. It was the feeling of utilizing your skills to do some spiritual service for Krishna."[49] The track "Govinda" continues to be played every morning at ISKCON temples around the world, to greet the deities.[137]
The record propelled Oasis from being a crossover indie act to a worldwide rock phenomenon, and is seen by critics as a significant record in the timeline of British indie music.[2] Morning Glory sold a record-breaking 345,000 copies in its first week in the UK before going on to spend 10 weeks at number one on the UK Albums Chart. It was also the band's breakthrough in America, reaching number four on the US Billboard 200 and being certified 4 platinum there. The album yielded four major hit singles in the band's native Britain: "Some Might Say" and "Don't Look Back in Anger" reached number one, and "Roll with It" and "Wonderwall" peaked at number two; the latter spent a then lengthy 30 consecutive weeks on the chart during its initial run and emerged as the band's biggest selling UK hit. "Champagne Supernova" and "Wonderwall" reached number one on the Billboard Alternative Songs chart. At the 1996 Brit Awards, the album won Best British Album. Over several months in 1995 and 1996, the band supported the album with an extensive world tour, which saw them play to among the largest audiences ever at the time.
Although a commercial success, the record initially received lukewarm reviews from mainstream critics; many reviewers deemed it inferior to Definitely Maybe, with the songwriting and production particular points of criticism. However, critical opinion towards the album completely reversed in the ensuing months and years, with critics recognising its strengths and its "populist appeal".[3] Despite the acclaim surrounding it being lesser today due to its intensive media hype at the time,[4][5] Morning Glory is still considered a seminal record of both the Britpop era and the 1990s in general. The album has also appeared on several lists of the greatest albums in rock music, and at the 2010 Brit Awards, it was named the greatest British album since 1980.[6] It has sold over 22 million copies worldwide, making it one of the best-selling albums of all time.[7] As of October 2018, it is the UK's fifth best-selling album and third best-selling studio album of all time, having been certified 16 platinum and selling 4.94 million copies.[8] It was also the UK's best-selling album of the 1990s, and is currently the second-longest charting studio album in the UK, having spent over 500 weeks on the UK Album Chart.[not verified in body]
Despite the friction between the Gallagher brothers, Owen Morris reflected in 2010 that: "The sessions were the best, easiest, least fraught, most happily creative time I've ever had in a recording studio. I believe people can feel and hear when music is dishonest and motivated by the wrong reasons. Morning Glory, for all its imperfection and flaws, is dripping with love and happiness."[1] Paul Weller joined them in the studio and provided lead guitar and backing vocals for "Champagne Supernova",[12] and harmonica for the two untitled tracks known as "The Swamp Song".[13] Noel wrote the last song for the album, "Cast No Shadow", on the train as he returned to the studio.[9]
The music on (What's the Story) Morning Glory? has been characterised by commentators as rock[20][21][22] and Britpop.[23] Music critic John Harris commented in his music history Britpop!: Cool Britannia and the Spectacular Demise of English Rock that much of the music seemed to be "little more inspired than a string of musical hand-me-downs". Among the musical cues Harris noted on the album were Gary Glitter's "Hello, Hello, I'm Back Again", John Lennon's "Imagine" ("Don't Look Back in Anger"), the theme to the 1970s children's programme You and Me and the Beatles' "With a Little Help from My Friends" ("She's Electric"), and the influence of R.E.M.'s "The One I Love" on "Morning Glory". One song, "Step Out", bore such a close resemblance to the song "Uptight (Everything's Alright)" by Stevie Wonder that it was removed from the album shortly before release due to the threat of legal action.[24] Musicologist Allan F. Moore compares "She's Electric" to the Beatles' "When I'm Sixty-Four", writing that both songs can be claimed by an older generation.[25] In Britpop ..., Bennett and Stratton analysed Liam Gallagher's vocal style in significant detail, stressing its importance to the songs of the album; "[Liam's] Mancunian accent blends into a register and timbre that works the gestural contours of the melody and lyrics." Bennett and Stratton went on to conclude that Liam's 'over-personalized' style on songs such as "Wonderwall" resulted in "a beautiful sense of sentimentality that bespeaks the despondency of a generation. This occurs through the narrative structure of the song, vocal production, and the conventions of the singer's cultural context."[26]
(What's the Story) Morning Glory? was released to lukewarm reviews from the mainstream music press. Many contemporary reviewers expressed disappointment at the album's perceived inferiority to Definitely Maybe, taking aim at the "banal lyrics" and the unoriginal nature of the compositions.[56][57] David Cavanagh of Q magazine said of the lyrics: "They scan; they fill a hole; end of story. They [say] nothing much about anything."[52][3] Andy Gill of The Independent commented that "She's Electric" is "laddism of a tiresomely generic kind", while "Roll with It" is "drab and chummy".[57] In Spin, Chuck Eddy wrote that the band had eschewed the "Bowie glitter" of their debut for "generic classic rock",[55] while Chicago Tribune critic Greg Kot felt that they lacked a distinguishing "attitude" despite being "modestly tuneful".[46] While stating that "Some Might Say" was "the best single of the year", David Stubbs of Melody Maker was critical of the album as a whole; "What's the Story [sounds] laboured and lazy. On this evidence, Oasis are a limited band ... they sound knackered."[56][3] 2ff7e9595c
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