History TheyChangedItNowItSucks / Music

* Oh boy, what Music/{{Rush|Band}} suffered from 1982's ''Signals'' to 1991's ''Roll The Bones'' is a story of its own. They just released their most successful album a year earlier with 1981's ''Music/{{Moving Pictures|Album}}'' and [[WordOfGod Geddy Lee said]] the band could have simply followed up with "Moving Pictures Part 2" and be happy with it, but they wanted to experiment with a new sound. What did they do? Release ''Signals'' and incorporate synth-rock and new wave elements into their music, receiving very mixed reviews from the fans at the time who were expecting their next record to be just as rocking as the last. Their continued to evolve the synth-rock and new wave elements with 1984's ''Grace Under Pressure'', 1985's ''Power Windows'', and 1987's ''Hold Your Fire'', but they also started incorporating pop-rock into their music as well, all while still keeping progressive elements in the mix. Many fans felt ''Grace Under Pressure'' and ''Power Windows'' were good improvements (finding a balance between guitars and keyboards), but by ''Hold Your Fire'' many fans absolutely hated the record at the time for its 1980's pop music sound, having [[AlbumFiller "too much filler"]], and that Lee was spending way too much time on the keyboards that were drowing out Alex Lifeson's, who was play more background textured parts and later expressed some frustration of having to work around the keyboards. Fans at this point thought Rush was going to be [[CanadaEh Canada's]] equivalent to what Music/{{Genesis|Band}} and Music/{{Yes}} were doing in the at the time (going from writing prog-rock epics in the '70s to MTV pop hits in the '80s), but in their 1989 album ''Presto'', the synths were in the background instead and the guitar was back playing actual riffs. Many fans rejoiced, but still felt the albums didn't have a "hard enough" sound to it and it was still was stuck in a pop-rock style. ''Roll The Bones'' in 1991 was worse, mainly due to the infamous [[AWildRapperAppears "rap" from a pitched-altered Geddy Lee]] on the title track and the album still having a thin, pop sound. But when 1993's ''Counterparts'' came out, ''Power Windows'' and ''Hold Your Fire'' producer Peter Collins (who was partially responsible for those albums incorporating pop elements and more keyboards) was brought back, now with a experienced resume from working with metal bands such as Music/{{Queensryche}} and engineer for the record was future Music/{{Iron Maiden}} producer Kevin Shirley, who pushed Rush to record the album with a heavier sound to prevent the thin sound ''Presto'' and ''Roll The Bones'' had. The album was critically acclaimed by critics and fans, many calling it their best record since ''Music/{{Moving Pictures|Album}}''. The album was also was smash hit, charting at #2 on Billboard (only behind ''V'' by Music/PearlJam), tied with 2012's ''Music/ClockworkAngels'' for their highest charting album in the US. Rush was finally back to many fans who may have been disappointed with their '80s and '90s output.

** Modern prog idol Music/StevenWilson faced the wrath of a certain section of his fanbase in 2017 after he announced his decision to make ''To the Bone'' -- an album inspired by '80s progressive pop, featuring an upbeat disco-inspired single that contrasted heavily with his characteristically gloomy output. The album, despite not straying ''too'' far from Wilson's usual prog territory and being surprisingly Porcupine Tree-esque, prompted discussion amongst the fans about about what "progressive rock" actually is, and how much change and experimentation it allows for before it becomes something else entirely.

** But the backlash those two got was tame compared ''One More Light''. The synthy, pop-oriented singles garnered so much hatred that the lead singer told believers of this to “stab themselves in the face”, and soon after '''commited suicide.''' Leading to perhaps the [[DeadArtistsAreBetter fastest]] [[VindicatedByHistory critical 180]] in Music history.

* Music/AvrilLavigne's "Girlfriend" single was decidedly more influenced by pop music than her previous punk rock-y efforts. If one visited the official Website/YouTube upload for said video after its release, you would find nothing but a river of flames, most having to do with how she "sold out". Fans were starting to like her "girly punk" image, she releases the ''extremely'' mainstream "What The Hell".

* 90s trip-hop group Music/SneakerPimps. Any video of theirs on Website/YouTube is invariably seasoned with comments about how much the band sucked after Kelli Ali left and when Chris Corner replaced her, and comments in response will usually defend Chris and claim that fans of Kelli can't "understand" the music now.

* Go to any drum & bugle corps discussion group. You'll see endless threads on how the activity has been ruined by everything from unfamiliar music, asymmetrical drills, and sideline percussion (all commonplace since TheEighties) to B-flat/F brass (as opposed to the traditional G bugles, happened in 2000), amplification of pit instruments, synthesizers, and live narration during performances (more recent developments). As a matter of fact, [[OlderThanYouThink in 1971]], t-shirts were made showing a tombstone engraved with the words "The Day Drum Corps Died" to protest concept shows by the Cavaliers (circus), Madison Scouts ("Alice in Wonderland"), and the Garfield Cadets (UsefulNotes/TheAmericanRevolution).

* Music/{{Radiohead}}'s ''Music/KidA'' and ''Music/{{Amnesiac}}'' got this because they switched to an electronic sound. Nevermind their critical acclaim, and how ''Amnesiac'' had some AlternativeRock songs - a direction follow-up ''Music/HailToTheThief'' tried to take on, being mostly tunes that wouldn't be out of place on ''Music/OKComputer'' . Some vastly prefer their older, guitar-rock based material, and find their post-''OK Computer'' output to be too obtuse and lacking in resonance to find enjoyment in, much to the chagrin of [[TrueArtIsIncomprehensible "true fans"]].

* After drummer and lead singer Lera Kozlova left Ranetki, many rabid fans unfairly hurled hate towards new member Nyuta Baidavletova just because she wasn't Lera.

* Music/PinkFloyd: It's not clear when exactly it happened. Perhaps when [[FaceOfTheBand Roger Waters']] departure, leaving the band to become a more bloated version of David Gilmour's solo work.

* Then there's Music/TheDoors [[TheBandMinusTheFace after the death of]] [[FaceOfTheBand Jim Morrison]]. ''Other Voices'' was not very successful, and the band itself denies that it and ''Full Circle'' [[CanonDiscontinuity even exist]].

* [[({ChristianRock}} Christian rockers]] Music/{{Skillet}} got this, starting out as a {{Grunge}} band with their {{Self Titled|Album}} debut, then adopting a LighterAndSofter [[ElectronicMusic Electronica]] sound (''Hey You, I Love Your Soul'', ''Invincible''), only to then go in a DarkerAndEdgier HeavyMetal direction (''Alien Youth'', ''Collide''). Ironically enough, it was after the band found a stable sound with said ''Collide'' album that they received the most "ItSucks" furor, due to 1) sacrificing their gospelicious, openly Christian lyrics and image with vague, secular crossover allegories and macho rock star personas, and 2) having their sound and songwriting become increasingly commercialized and formulaic on their follow-ups ''Comatose'' and ''Awake''. Both of these, of course, coinciding with their switch from Ardent to AtlanticRecords. [[SellOut Selling Out]]? ExecutiveMeddling? Take your pick.

* {Christian rock}}ers Music/{{Skillet}} got this, starting out as a {{Grunge}} band with their {{Self Titled|Album}} debut, then adopting a LighterAndSofter [[ElectronicMusic Electronica]] sound (''Hey You, I Love Your Soul'', ''Invincible''), only to then go in a DarkerAndEdgier HeavyMetal direction (''Alien Youth'', ''Collide''). Ironically enough, it was after the band found a stable sound with said ''Collide'' album that they received the most "ItSucks" furor, due to 1) sacrificing their gospelicious, openly Christian lyrics and image with vague, secular crossover allegories and macho rock star personas, and 2) having their sound and songwriting become increasingly commercialized and formulaic on their follow-ups ''Comatose'' and ''Awake''. Both of these, of course, coinciding with their switch from Ardent to AtlanticRecords. [[SellOut Selling Out]]? ExecutiveMeddling? Take your pick.

* Music/{{Metallica}}'s [[Music/MetallicaAlbum self-titled album]] was a shift from thrash metal to a style reminiscent of more traditional heavy metal with a bit of hard rock influence. Cue the bitching. Some might say the band started derailing from the thrash metal genre on ''Music/AndJusticeForAll,'' a relatively over-produced, almost progressive-like album. To this day you'll more than likely run into someone saying "Cliff Burton Died, Now They Suck" just about anywhere you go. Still others say the band began to stray from their thrash metal roots as early as ''Music/MasterOfPuppets''. Then came ''Load'', ''Reload'' and ''St. Anger'', which effectively drowned the band into a DorkAge.

* The Music/RedHotChiliPeppers have faced this accusation ever since "Under The Bridge" was recorded. Hiring a HeavyMetal-style player in ex-Music/JanesAddiction guitarist Dave Navarro for their ''[[DorkAge One Hot Minute]]'' album didn't help, and abandoning their traditional funk-based HardRock sound for a LighterAndSofter prog-oriented [[AlternativeRock Alt-Rock]] one definitely didn't help, either.

* Many fans of {{GWAR}} complained about Blothar joining the band.

* Music/{{Queen}}'s 1979-1982 period comes to mind. Music/FreddieMercury grew a [[PornStache moustache]] [[NewerThanTheyThink (no, he didn't always have one, despite what many fans seem to think)]], the band released a [[GratuitousDiscoSequence disco single]] ("Another One Bites The Dust") followed by an even more disco-influenced album (''Hot Space''), incorporated synthesizers into the band after a "No Synths!" tradition in the studio, and in many ways alienated their hard rock fanbase, especially in America. Queen stopped touring in North America after 1982 as a result, and would not have a major hit in America again until "Bohemian Rhapsody" was rereleased and used in the movie ''Film/WaynesWorld'' in 1992 after Freddie's death. It's important to note that the band was never against synthesisers, they just didn't need to use them because they could make their sound effects themselves and wanted to advertise that fact. Brian May said the lack of synths in the 70's had a lot to do with how awful synths sounded at the time. They relaxed the restriction in the 80's because by then synthesizer technology had advanced to where they could actually use them musically instead of just making loud squealy noises. They remained huge in the rest of the world throughout the eighties and up to Freddie's death. The backlash was entirely in the US. "Another One Bites the Dust" is not generally classified as Disco in the [[ValuesDissonance rest of the world]] either.

* Music/DavidBowie frequently had to put up with this trope, since [[Main/NewSoundAlbum he changed his sound so often over the years]], but the loudest cries came when 1983's mainstream-radio friendly ''Music/LetsDance'' arrived.

* Music/BobDylan: The UrExample in popular music. Acoustic to Electric with ''Music/BringingItAllBackHome''. As Website/TheOtherWiki will [[http://en.wikipedia.org/wiki/Electric_Dylan_controversy tell you]], this was SeriousBusiness. Please note: this is TheyChangedItNowItSucks that warrants a (fairly long and ''extremely'' well-sourced) article on Wiki/TheOtherWiki. His 1979 conversion to Christianity and the resulting ''Music/SlowTrainComing'' album led to a similar backlash.

* Music/BobDylan: The UrExample in popular music. Acoustic to Electric with ''Music/BringingItAllBackHome''. As Wiki/TheOtherWiki will [[http://en.wikipedia.org/wiki/Electric_Dylan_controversy tell you]], this was SeriousBusiness. Please note: this is TheyChangedItNowItSucks that warrants a (fairly long and ''extremely'' well-sourced) article on Wiki/TheOtherWiki. His 1979 conversion to Christianity and the resulting ''Music/SlowTrainComing'' album led to a similar backlash.

* Oh boy, what Music/{{Rush|Band}} suffered from 1982's ''Signals'' to 1991's ''Roll The Bones'' is a story of its own. They just released their most successful album a year earlier with 1981's ''Music/{{Moving Pictures|Album}}'' and [[WordOfGod Geddy Lee said]] the band could have simply followed up with "Moving Pictures Part 2" and be happy with it, but they wanted to experiment with a new sound. What did they do? Release ''Signals'' and incorporate synth-rock and new wave elements into their music, receiving very mixed reviews from the fans at the time who were expecting their next record to be just as rocking as the last. Their continued to evolve the synth-rock and new wave elements with 1984's ''Grace Under Pressure'', 1985's ''Power Windows'', and 1987's ''Hold Your Fire'', but they also started incorporating pop-rock into their music as well, all while still keeping progressive elements in the mix. Many fans felt ''Grace Under Pressure'' and ''Power Windows'' were good improvements (finding a balance between guitars and keyboards), but by ''Hold Your Fire'' many fans absolutely hated the record at the time for its 1980's pop music sound, having [[AlbumFiller "too much filler"]], and that Lee was spending way too much time on the keyboards that were drowing out Alex Lifeson's, who was play more background textured parts and later expressed some frustration of having to work around the keyboards. Fans at this point thought Rush was going to be [[CanadaEh Canada's]] equivalent to what Music/{{Genesis|Band}} and Music/{{Yes}} were doing in the at the time (going from writing prog-rock epics in the '70s to MTV pop hits in the '80s), but in their 1989 album ''Presto'', the synths were in the background instead and the guitar was back playing actual riffs. Many fans rejoiced, but still felt the albums didn't have a "hard enough" sound to it and it was still was stuck in a pop-rock style. ''Roll The Bones'' in 1991 was worse, mainly due to the infamous [[AWildRapperAppears "rap" from a pitched-altered Geddy Lee]] on the title track and the album still having a thin, pop sound. But when 1993's ''Counterparts'' came out, ''Power Windows'' and ''Hold Your Fire'' producer Peter Collins (who was partially responsible for those albums incorporating pop elements and more keyboards) was brought back, now with a experienced resume from working with metal bands such as Music/{{Queensryche}} and engineer for the record was future Music/{{Iron Maiden}} producer Kevin Shirley, who pushed Rush to record the album with a heavier sound to prevent the thin sound ''Presto'' and ''Roll The Bones'' had. The album was critically acclaimed by critics and fans, many calling it their best record since ''Music/MovingPictures''. The album was also was smash hit, charting at #2 on Billboard (only behind ''V'' by Music/{{Pearl Jam}}), tied with 2012's ''Music/ClockworkAngels'' for their highest charting album in the US. Rush was finally back to many fans who may have been disappointed with their '80s and '90s output.

* Oh boy, what Music/{{Rush}} suffered from 1982's ''Signals'' to 1991's ''Roll The Bones'' is a story of its own. They just released their most successful album a year earlier with 1981's ''Music/MovingPictures'' and [[WordOfGod Geddy Lee said]] the band could have simply followed up with "Moving Pictures Part 2" and be happy with it, but they wanted to experiment with a new sound. What did they do? Release ''Signals'' and incorporate synth-rock and new wave elements into their music, receiving very mixed reviews from the fans at the time who were expecting their next record to be just as rocking as the last. Their continued to evolve the synth-rock and new wave elements with 1984's ''Grace Under Pressure'', 1985's ''Power Windows'', and 1987's ''Hold Your Fire'', but they also started incorporating pop-rock into their music as well, all while still keeping progressive elements in the mix. Many fans felt ''Grace Under Pressure'' and ''Power Windows'' were good improvements (finding a balance between guitars and keyboards), but by ''Hold Your Fire'' many fans absolutely hated the record at the time for its 1980's pop music sound, having [[AlbumFiller "too much filler"]], and that Lee was spending way too much time on the keyboards that were drowing out Alex Lifeson's, who was play more background textured parts and later expressed some frustration of having to work around the keyboards. Fans at this point thought Rush was going to be [[CanadaEh Canada's]] equivalent to what Music/{{Genesis|Band}} and Music/{{Yes}} were doing in the at the time (going from writing prog-rock epics in the '70s to MTV pop hits in the '80s), but in their 1989 album ''Presto'', the synths were in the background instead and the guitar was back playing actual riffs. Many fans rejoiced, but still felt the albums didn't have a "hard enough" sound to it and it was still was stuck in a pop-rock style. ''Roll The Bones'' in 1991 was worse, mainly due to the infamous [[AWildRapperAppears "rap" from a pitched-altered Geddy Lee]] on the title track and the album still having a thin, pop sound. But when 1993's ''Counterparts'' came out, ''Power Windows'' and ''Hold Your Fire'' producer Peter Collins (who was partially responsible for those albums incorporating pop elements and more keyboards) was brought back, now with a experienced resume from working with metal bands such as Music/{{Queensryche}} and engineer for the record was future Music/{{Iron Maiden}} producer Kevin Shirley, who pushed Rush to record the album with a heavier sound to prevent the thin sound ''Presto'' and ''Roll The Bones'' had. The album was critically acclaimed by critics and fans, many calling it their best record since ''Music/MovingPictures''. The album was also was smash hit, charting at #2 on Billboard (only behind ''V'' by Music/{{Pearl Jam}}), tied with 2012's ''Music/ClockworkAngels'' for their highest charting album in the US. Rush was finally back to many fans who may have been disappointed with their '80s and '90s output.

* Given that the band spent the first half of their career in a perpetual state of WereStillRelevantDammit, {{Christian rock}}ers Music/{{Skillet}} were bound to get this, starting out as a {{Grunge}} band with their {{Self Titled|Album}} debut, then adopting a LighterAndSofter [[ElectronicMusic Electronica]] sound (''Hey You, I Love Your Soul'', ''Invincible''), only to then go in a DarkerAndEdgier HeavyMetal direction (''Alien Youth'', ''Collide''). Ironically enough, it was after the band found a stable sound with said ''Collide'' album that they received the most "ItSucks" furor, due to 1) sacrificing their gospelicious, openly Christian lyrics and image with vague, secular crossover allegories and macho rock star personas, and 2) having their sound and songwriting become increasingly commercialized and formulaic on their follow-ups ''Comatose'' and ''Awake''. Both of these, of course, coinciding with their switch from Ardent to AtlanticRecords. [[SellOut Selling Out]]? ExecutiveMeddling? Take your pick.

* ''Music/{{Flyleaf}}'''s second album. The first was vaguely Christian, if not unnoticeably Christian. The newest one, while not [[NotChristianRock confirmed]] [[AlternateCharacterInterpretation to be]], has a more Christian overtone. There's also the calmer tone of it, fitting the theme of the album in sharp contract to the first album which was full of guitars, drums, and screaming.

* If you asked a fan of Music/TheRollingStones what their worst move was, chances are the answer would be when they embraced psychedelia in 1967 with ''Between The Buttons'' and ''Their Satanic Majesties Request''. While this period has it fans, many felt that the band was out of its element. [[CreatorBacklash Even the band themselves thought it was a mistake and, as a result, very few songs from this era are looked back on fondly, let alone played on stage]].

* Music/{{Queen}}'s 1979-1982 period comes to mind. Music/FreddieMercury grew a [[PornStache moustache]] [[NewerThanTheyThink (no, he didn't always have one, despite what many fans seem to think)]], the band released a [[GratuitousDiscoSequence disco single]] ("Another One Bites The Dust") followed by an [[UpToEleven even more disco-influenced]] album (''Hot Space''), incorporated synthesizers into the band after a "No Synths!" tradition in the studio, and in many ways alienated their hard rock fanbase, especially in America. Queen stopped touring in North America after 1982 as a result, and would not have a major hit in America again until "Bohemian Rhapsody" was rereleased and used in the movie ''Film/WaynesWorld'' in 1992 after Freddie's death. It's important to note that the band was never against synthesisers, they just didn't need to use them because they could make their sound effects themselves and wanted to advertise that fact. Brian May said the lack of synths in the 70's had a lot to do with how awful synths sounded at the time. They relaxed the restriction in the 80's because by then synthesizer technology had advanced to where they could actually use them musically instead of just making loud squealy noises. They remained huge in the rest of the world throughout the eighties and up to Freddie's death. The backlash was entirely in the US. "Another One Bites the Dust" is not generally classified as Disco in the [[ValuesDissonance rest of the world]] either.

* When Music/{{Nightwish}} lead vocalist, Tarja Turunen, left the group, she was replaced by Anette Olzon. While the band remains very successful, their more vocal fans are insisting that that Anette sucks and that Nightwish should get Tarja back. Other fans believe the band's style started to change into a more euro-pop genre since Century Child. Averted since Olzon left the band and Floor Jansen joined in. Virtually all the fanbase squeaked in delight at the news, but unfortunately there is still quite a bit of controversy, as while there is no doubt in anyone's mind that Jansen can sing, the band's sound is still trending farther and farther away from where they started.

* Oh boy, what Music/{{Rush}} suffered from 1982's ''Signals'' to 1991's ''Roll The Bones'' is a story of its own. They just released their most successful album a year earlier with 1981's ''Music/MovingPictures'' and [[WordOfGod Geddy Lee said]] the band could have simply followed up with "Moving Pictures Part 2" and be happy with it, but they wanted to experiment with a new sound. What did they do? Release ''Signals'' and incorporate synth-rock and new wave elements into their music, receiving very mixed reviews from the fans at the time who were expecting their next record to be just as rocking as the last. Their continued to evolve the synth-rock and new wave elements with 1984's ''Grace Under Pressure'', 1985's ''Power Windows'', and 1987's ''Hold Your Fire'', but they also started incorporating pop-rock into their music as well, all while still keeping progressive elements in the mix. Many fans felt ''Grace Under Pressure'' and ''Power Windows'' were good improvements (finding a balance between guitars and keyboards), but by ''Hold Your Fire'' many fans absolutely hated the record at the time for its 1980's pop music sound, having [[AlbumFiller "too much filler"]], and that Lee was spending way too much time on the keyboards that were drowing out Alex Lifeson's, who was play more background textured parts and later expressed some frustration of having to work around the keyboards. Fans at this point thought Rush was going to be [[CanadaEh Canada's]] equivalent to what Music/{{Genesis}} and Music/{{Yes}} were doing in the at the time (going from writing prog-rock epics in the '70s to MTV pop hits in the '80s), but in their 1989 album ''Presto'', the synths were in the background instead and the guitar was back playing actual riffs. Many fans rejoiced, but still felt the albums didn't have a "hard enough" sound to it and it was still was stuck in a pop-rock style. ''Roll The Bones'' in 1991 was worse, mainly due to the infamous [[AWildRapperAppears "rap" from a pitched-altered Geddy Lee]] on the title track and the album still having a thin, pop sound. But when 1993's ''Counterparts'' came out, ''Power Windows'' and ''Hold Your Fire'' producer Peter Collins (who was partially responsible for those albums incorporating pop elements and more keyboards) was brought back, now with a experienced resume from working with metal bands such as Music/{{Queensryche}} and engineer for the record was future Music/{{Iron Maiden}} producer Kevin Shirley, who pushed Rush to record the album with a heavier sound to prevent the thin sound ''Presto'' and ''Roll The Bones'' had. The album was critically acclaimed by critics and fans, many calling it their best record since ''Music/MovingPictures''. The album was also was smash hit, charting at #2 on Billboard (only behind ''V'' by Music/{{Pearl Jam}}), tied with 2012's ''Music/ClockworkAngels'' for their highest charting album in the US. Rush was finally back to many fans who may have been disappointed with their '80s and '90s output.

* A band identified (however loosely) with ProgressiveRock like Music/{{Yes}}, Music/{{Genesis}}, Music/TheMoodyBlues, Music/PinkFloyd (at least in the David Gilmour-led period), Music/EmersonLakeAndPalmer and their offshoots or Music/{{Supertramp}}, who switches or veers more towards a "pop" style, or a {{Supergroup}} of "prog" musicians who choose to create commercial material like Music/{{Asia}} or GTR at some point can get bad press (especially in prog-rock circles) simply for adopting a more mainstream style, no matter how good or consistent the band's works are or how much heart, soul or effort they put into it. Evidently the music has no validity unless a little EpicRocking or [[ConceptAlbum Concept Albums]] are involved (or at least some Mellotron).

* This most likely contributed to Music/PhilCollins' hatedom during the 90's and early-to-mid-2000s. Many Music/{{Genesis}} fans weren't happy with Music/PeterGabriel being replaced on vocals with a band member nobody cared about up to that point.

* Music/TaylorSwift's first album was surprisingly mature in content, especially given her young age, and had a markedly country influence. The second, however, switched to a "teen country-pop" format with songs that wouldn't sound out of place on a Miley Cyrus or Jonas Brothers album. Needless to say, this has caused quite the BrokenBase to form. One half (mostly the younger half) loves the change in tone; for the other half, "Soulless Sell-Out" is one of the ''nicer'' things they have to say about her, and made worse in that, because she writes most of her own songs, she can't even blame ExecutiveMeddling for it. It got worse with "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble", both straight-up pop songs which hit number one on the Billboard Hot 100. This marked the point at which she gave up any pretense of being a country artist and dove straight into pop, a shift which has no doubt alienated just as many fans as it has accumulated.

** ''{{Music/Yeezus}}'' harsh electrical sound was very divisive when it first came out among fans, but has since been seen as the album's strongest part.

* In a deleted scene from Music/TheBeatlesAnthology" documentary, the surviving [[Music/TheBeatles Beatles]] (Music/PaulMcCartney, Music/GeorgeHarrison, and Music/RingoStarr) reunite and reminisce about the first time they met their idol Music/ElvisPresley in 1965. George said he met him again backstage at one of his concerts in the early 70s when he was in his full white cape and jumpsuit wearing glory. While he was awestruck again he didn't like the female backup singers and horn section he now performed with on tour. George said he wished he would have told Elvis: "Just get your jeans on, get your guitar and sing 'That's All Right Mama' and bugger all that other crap!" Ironic considering George Harrison was notorious as someone who wanted to leave his past as a Beatle behind and if a Beatles fan told him he should go reunite with the other Beatles, go back to wearing suits and moptop hair and sing "I Wanna Hold Your Hand" again Harrison would have responded with a "F--k off!"