Long live the memory of George Harrison

George Harrison died five years ago today, on November 29, 2001. We miss him. But his music lives on for all to enjoy.

S$# 048 Eagles | The Last Resort

Hotel California by the Eagles is one of my favourite albums of the 1970s. It contained three huge hits - Hotel California, New Kid In Town and Life In The Fast Lane - and every track is just as strong. My particular favourite is the album closer, The Last Resort.

Lavishly enveloped with strings, synthesizers and pedal steel, the piano-dominated song has a beautiful arrangement of Don Henley and Glenn Frey's superb tune.

Their lyrics explore the theme of the decimation of the American wilderness by the white man. It's a serious theme, but the majesty of the music prevents the song from over-severity.

She came from Providence,
the one in Rhode Island
Where the old world shadows hang
heavy in the air
She packed her hopes and dreams
like a refugee
Just as her father came across the sea

She heard about a place people were smilin'
They spoke about the red man's way,
and how they loved the land
And they came from everywhere
to the Great Divide
Seeking a place to stand
or a place to hide

Down in the crowded bars,
out for a good time,
Can't wait to tell you all,
what it's like up there
And they called it paradise
I don't know why
Somebody laid the mountains low
while the town got high

Then the chilly winds blew down
Across the desert
through the canyons of the coast, to
the Malibu
Where the pretty people play,
hungry for power
to light their neon way
and give them things to do

Some rich men came and raped the land,
Nobody caught 'em
Put up a bunch of ugly boxes, and Jesus,
people bought 'em
And they called it paradise
The place to be
They watched the hazy sun, sinking in the sea

You can leave it all behind
and sail to Lahaina
just like the missionaries did, so many years ago
They even brought a neon sign:"Jesus is coming"
Brought the white man's burden down
Brought the white man's reign

Who will provide the grand design?
What is yours and what is mine?
There is no more new frontier
We have got to make it here

We satifsy our endless needs and
justify our bloody deeds,
in the name of destiny and in the name
of God

And you can see them there,
On Sunday morning
Stand up and sing about
What it's like up there
They call it paradise
I don't know why

A$# 048 Beatle| Magical Mystery Tour

As the second album by the Beatles during the heady year of 1967, Magical Mystery Tour lies in the shadow of the era-defining Sgt. Pepper's Lonely Hearts Club Band. But of course it's got some of the best rock music on it ever recorded by anybody.

In the UK, MMT was not originally released as an album, just as an EP with the six songs from the film of the same name .The album, originally just a US release, collects the six new songs, plus other a-sides and b-sides from 1967, including the most ground-breaking and sophisticated release, the double a-side Strawberry Fields Forever / Penny Lane, and the anthemic All You Need Is Love.

(The album was released in many other countries, including the UK in 1976. Issues in the US and Canada did not have Penny Lane in true stereo. I got a copy from Austria in 1980 so that I could have it in true stereo. When the Fabs' album were released on CD in 1987, the album became part of the standard worldwide catalogue, all tracks in stereo.)

The Beatles kept up such a constant pace in the recording studio that some of the MMT songs – not just SFF and PL, which were recorded during the early Sgt. Pepper sessions, in late 66 and early 67 - were in the can even before the June 1 Pepper release. They worked quickly to get backing tracks done for All You Need Is Love for the historic June 25 Our World telecast and prepare it for release as a single in early July. (Its b-side, Baby You're A Rich Man, was already recorded.) After a respite of just under two months, they returned to the studio on August 22 to record Your Mother Should Know.

Not even the tragic death of manager Brian Epstein kept them from the studio for long. On September 5, they started on another of their great masterpieces, John's I Am The Walrus, with its cryptic lyrics, sound effects and sophisticated orchestration. Work continued in and around the filming of the group's strange bus tour...

Six new songs would ultimately end up in the film, and a seventh, Hello Goodbye, would be a no. 1 a-side. Paul's The Fool On The Hill is an elegant ballad, and Your Mother Should Know displays his penchant for music hall style. The title song is a great classic rocking song. George provided the moody Blue Jay Way, and the four Beatles collaborated on the interesting Flying instrumental.

The Magical Mystery Tour film may have been a disappointment to some – indeed, many critics pounced on it – but the music was first rate. When it was topped up with their other, brilliant non-album tracks from that year, it meant another masterpiece that capped off the Summer Of Love.

Track listing:
1. Magical Mystery Tour
2. The Fool On The Hill
3. Flying
4. Blue Jay Way
5. Your Mother Should Know
6. I Am The Walrus
7. Hello Goodbye
8. Strawberry Fields Forever
9. Penny Lane
10. Baby You're A Rich Man
11. All You Need Is Love

Shore Leave

Shore Leave is an entertaining episode of Star Trek: The Original Series. Written by Theodore Sturgeon and directed by Robert Sparr, it aired in the first season, on December 29, 1966.

On Stardate 3025.3, Captain Kirk and the Enterprise have stopped at an idyllic uncharted planet. It seems to fit the bill for much needed rest and recreation for the crew. But strange things start to happen when Bones sees the White Rabbit from Alice in Wonderland, Jim meets up with an old flame and a tormentor from his academy days, Sulu finds a gun.... People's wishes come to life - sometimes with deadly consequences.

It's a lighthearted episode, and I've always enjoyed it. While it's not in my top 10, I would definitely recommend it.

The guest cast includes Emily Banks as Tonia Barrows, Oliver McGowan as Caretaker, Bruce Mars as Finnegan and Shirley Bonne as Ruth.

CHUM top 100 for 1971

This is a list of the top 100 singles from 1050 CHUM Toronto for 1971. The AM station was really top of the pops back then. (I found the list at this site.)

1. Joy To The World - Three Dog Night
2. Maggie May - Rod Stewart
3. Put Your Hand In The Hand - Ocean
4. Superstar - Murray Head
5. It's Too Late - Carole King
6. Brown Sugar - Rolling Stones
7. You've Got A Friend - James Taylor
8. Sweet City Women - Stampeders
9. Indian Reservation - Radiers
10. Don't Pull Your Love - Hamilton,Joe Frank & Reynolds
11. Rose Garden - Lynn Anderson
12. Black Magic Woman - Santana
13. Gypsys, Tramps & Thieves - Cher
14. I Don't Know How To Love Him - Helen Reddy
15. Uncle Albert/Admiral Halsey - Paul & Linda McCartney
16. Riders On The Storm - Doors
17. Yo-Yo - Osmonds
18. When You're Hot You're Hot - Jerry Reed
19. Love The One You're With - Stephen Stills
20. Mr. Big Stuff - Jean Knight
21. She's A Lady - Tom Jones
22. Signs - Five Man Electrical Band
23. How Do You Mend A Broken Heart - Bee Gees
24. The Immigrant Song - Led Zeppelin
25. Got To Be There - Michael Jackson
26. Another Day - Paul McCartney
27. Stay Awile - Bells
28. One Bad Apple - Osmonds
29. The Night They Drove Old Dixie Down - Joan Baez
30. Baby I'm-A Want You - Bread
31. Whatcha See Is Whatcha Get - Dramatics
32. Gotta See Jane - R. Dean Taylor
33. Theme From 'Shaft' - Issac Hayes
34. Draggin' The Line - Tommy James
35. Lonely Days - Bee Gees
36. Smiling Faces Sometimes - Undisputed Truth
37. Go Away Little Girl - Donny Osmond
38. Spanish Harlem - Aretha Franklin
39. Rainy Days And Mondays - Carpenters
40. If You Really Loved Me - Stevie Wonder
41. Where Evil Grows - Poppy Family
42. If You Could Read My Mind - Gordon Lightfoot
43. Beginnings - Chicago
44. Albert Flasher - Guess Who
45. Marianne - Stephen Stills
46. Imagine - John Lennon
47. Be My Baby - Andy Kim
48. Your Song - Elton John
49. Proud Mary - Ike & Tina Turner
50. One Less Bell To Answer - Fifth Dimension
51. Two Divided By Love - Grassroots
52. Chick-A-Boom - Daddy Dewdrop
53. One Fine Morining - Lighthouse
54. No Matter What - Badfinger
55. Superstar - Carpenters
56. Woodstock - Matthew's Southern Comfort
57. Want Ads - Honey Cone
58. I Am... I Said - Neil Diamond
59. Wont Get Fooled Again - Who
60. Love Her Madly - Doors
61. Double Barrel - Dave & Ansil Collins
62. Born To Wander - Rare Earth
63. Theme From 'Love Story' - Francis Lai
64. I've Found Someone Of My Own - Free Movement
65. Stoney End - Barbara Streisand
66. Do I Love You - Paul Anka
67. Domino - Van Morrison
68. Amos Moses - Jerry Reed
69. Have You Seen Her - Chi-Lites
70. If I Were Your Woman - Gladys Knight & The Pips
71. Lucky Man - Emmerson Lake & Palmer
72. Question 67 & 68 - Chicago
73. So Long Marianne - Brian Hyland
74. Ain't No Sunshine - Bill Withers
75. Liar - Three Dog Night
76. Sooner Or Later - Grassroots
77. It Don't Come Easy - Ringo Starr
78. What Is Life - George Harrison
79. Groove Me - King Floyd
80. Hey Girl - Donny Osmond
81. Funky Nassau - Beginning Of The End
82. Nathan Jones - Supremes
83. I'd Love To Change The World - Ten Years After
84. Me & You And A Dog Named Boo - Lobo
85. Do You Know What I Mean - Lee Michaels
86. 5-10-15-20 (25-30) Years Of Love - Presidents
87. Only You Know & I Know - Delaney & Bonnie & Friends
88. Never Can Say Goodbye - Michael Jackson
89. Resurrection Shuffle - Ashton, Gardner & Dyke
90. Tired Of Being Alone - Al Green
91. Here Comes The Sun - Ritchie Havens
92. Eighteen - Alice Cooper
93. Sweet Hitch-Hiker - Creedence Clearwater Revival
94. That's The Way I've Always Heard It Should Be - Carly Simon
95. High Time We Went - Joe Cocker
96. Take Me Home Country Roads - John Denver
97. Rock Steady - Aretha Franklin
98. Burning Bridges - Mike Curb Congregation
99. Temptation Eyes - Grassroots
100. Treat Her Like A Lady - Cornelius Brothers & Sister Rose

Articles 12: a comeback?

Playboy magazine has changed in some respects during its many years of publication. One thing is always constant: interesting articles. In August 2006, the interview was with Denis Leary; Luke Wilson answered 20 questions; John McCain, Lindsey Graham and Jessica Lynch spoke out on US foreign policy in Why Are We In Iraq? Other features included Sun, Skin and the Birth of the Bikini - A sizzling tribute, plus Real Girls of the O.C. - Wet, Waxed and Wild.

The playmate was Nicole Voss, born 19 September 1982, originall from Florida, now living in Georgia. Her turn-ons included "intellect, athletic prowess and nonconformity." Among her turn-offs were "messy digs and cologne." Nicole featured a characteristic that playmates have not had in a long time. It's unknown at this time whether this heralds a change in direction for the magazine or not. The images below reveal this feature....

Elaine Paige

One really strong point of this week's highlighted album, Chess, is the voice of Elaine Paige.

Elaine is one of the premier actors of the West End stage in Britain. She's she's released many albums, done radio and TV appearances, toured, and originated some of the best known roles in modern musical theatre (viz Eva Peron in Evita, Grizabella in Cats) etc. Yet she's not very well known on this side of the Atlantic.

I first heard her wonderful voice on the London cast recording of Cata. Then when I heard Chess, I really knew Elaine is a major vocal talent. The very first two CDs I bought, back in 1985, were her albums Stages and Cinema - months before I even bought a player. (I had a friend make cassettes of the tapes for me so that I could enjoy the songs until I bought a player.)

You can read more about her at Wikipedia, her official site or this fan site.

S$# 047 Bob Seger | In Your Time

Bob Seger's 1994 Greatest Hits collection included two previously unreleased tracks, one of which is this week's song pick, In Your Time.

The veteran rocker discussed the song in a Detroit Free Press article quoted at The Seger File: "It's a song about my son. It was intended for the next album...but it made sense to me to have one song, 'C'est La Vie,' that says 'Here's where we started,' and this one to say 'Here's where we are today.' We've all got kids. We're all grown up. We've all hopefully learned a little wisdom we can pass along. A modicum (laughs)."

IYT is a fine Seger song that can stand up there with any of his classic numbers. His imagery speaks of life's tribulations, but concludes on a very optimistic note:

In your time
The innocence will fall away
In your time
The mission bells will toll
All along
The corridors and river beds
There'll be sign
In your time

Towering waves
Will crash across your southern capes
Massive storms
Will reach your eastern shores
Fields of green
Will tumble through your summer days
By design
In your time

Feel the wind
And set yourself the bolder course
Keep your heart
As open as a shrine
You'll sail the perfect line

And after all
The dead ends and the lessons learned
After all
The stars have turned to stone
There'll be peace
Across the great unbroken void
All benign
In your time
You'll be fine
In your time

A$# 047 Andersson / Rice / Ulvaeus | Chess

As many readers guessed correctly from yesterday's post, this week I am highlighting Chess, the brilliant 1984 concept albumby ABBA meisters Benny Andersson and Bjorn Ulvaeus, and lyricist Tim Rice.

The album has many strong points: the musicality of Benny and Bjorn; Tim's sharp lyrics; presenting the game chess both literally - in high stakes international tournmants - and metaphorically for emotional betrayal, big egos and political intrigue; the magnificent voice of vocalist Elaine Paige....

The first track I heard from the album back in 1984 was One Night In Bangkok (sung by Murray Head), which became a worldwide hit. Because of that tune and finding out that the project involved Benny and Bjorn, I bought the double LP strightaway, and I was amazed.

A story of love triangles and emotional entanglement, "Chess is more about chess players than the actual game of chess," lyricist Tim once said.

In addition to 1NIB, standout tracks include:

• Heaven Help My Heart - Elaine Paige
• Anthem - Tommy Korberg
• Pity The Child - Murray Head

and especially

• I Know Him So Well, - Elaine Paige and Barbara Dickson; it spent four weeks atop the UK charts

The storyline of Chess has been revised during several different productions of the show over the years. (Wikipedia has an extensive write-up about this.) Some productions have been more successful than others. I saw the original West End version in 1988 (unfortunately it was after Elaine had finished with the role) and really enjoyed it.

The original album is what still captures my imagination. I've had the CD more than 20 years now, and I still enjoy listening to this great musical work of the 1980s.

Track listing:

Disc 1:
1. Merano
2. The Russian and Molokov: Where I Want to Be
3. Opening Ceremony
4. Quartet (A Model of Docorum and Tranquilty)
5. The American and Florence: Nobody's Side
6. Chess
7. Mountain Duet
8. Florence Quits
9. Embassy Lament
10. Anthem

Disc 2:
1. Bangkok / One Night in Bangkok
2. Heaven Help My Heart
3. Argument
4. I Know Him So Well
5. The Deal (No Deal)
6. Pity the Child
7. Endgame
8. The Epilogue: You and I / Story of Chess

Chess - the game is afoot

Wikipedia says that chess is "an abstract strategy board game and mental sport for two players."

It is indeed that. It's also been used as a metaphor in many works of art. Stay tuned....

George Harrison's musical genius

Beatle scholar Rip Rense has an interesting interview on his site with Simon Leng, author of a recent book about the musical accomplishments of the great George Harrison.

***

Simon Leng is the world's leading authority on the music of George Harrison, author of WHILE MY GUITAR GENTLY WEEPS: The Music of George Harrison. He is an ardent student and admirer of Harrison's work as a guitarist and songwriter, from the earliest recordings to the yet-unreleased final songs. His previous biography, Soul Sacrifice, spotlighted Carlos Santana. The Rip Post interviewed Mr. Leng, who is also a guitarist, while he was on the road, doing humanitarian work in Africa. He discussed Harrison's utterly distinctive guitar work, his ying-yang attitude toward fame, his immersion in Indian classical music structure, his humility, and much more. . .

Rip Post: You are the only author who has looked at George Harrison largely from the standpoint of his musicianship. There are many studies of Lennon & McCartney’s musical talent, but yours is the lone example on George. Why do you think this is?

Simon Leng: Well, for better or worse, in the general eye of the media and public, Lennon & McCartney are the beginning, middle and end of The Beatles. My angle is not to say that those two have been unfairly praised, because they are great artists and deserve their fame, it’s just a gentle nudge to suggest that the “third man” was a great musician and artist too!

Rip Post: Tell me a bit about your background and how you came to be so intensely interested in all of Harrison’s work.

Leng:: There isn’t much to report really…. I come from a musical family and learnt the trumpet at school like many other folk did. My father played classical music a lot in the house, played the piano and wrote some music too. Then, like millions before me, I discovered The Beatles and became a fan. At the same time I took up the guitar and so became interested in the guitar parts on the records. I distinctly remember the day Harrison’s music hit me. I had read in “the lore” about “My Sweet Lord”, and went to get a copy in the days when record stores still stocked back catalogue singles. This was around 1976. When I heard the song its impact on me was instant and seismic. I related to it instantly and was uplifted by it. I also remember loving the slide guitar solos and thinking it was a unique sound. From there I got into “33&1/3, but the clincher was “Living In The Material World”, which remains my favourite Harrison album – to me that album has a certain “magic” that even “All Things Must Pass” does not.

My father was English and my mother Portuguese, and so I was raised as a Catholic. As a result I grew up with plenty of Irish people, and spent time in Liverpool – I was taught by the rightly infamous Christian Brothers who had a sister school there. Looking back, I think this all fits with an interest in Harrison.

Rip Post: What were some of the surprises you found while researching and writing the book?
How highly respected he was by his musical peers and how intensely loyal people felt towards him as a friend. Oh, and how many positive reviews there actually were of the Dark Horse tour in 1974! Did you ever see George perform, or interview him? Who are some of the people you interviewed for the book?

Leng: I didn’t ever meet George, but I did see the one and only solo concert he gave in England in spring 1992 at the Albert Hall. The event had a magical, almost surreal quality to it – it was hard to believe that it was happening. And then as he played one brilliant composition after another, and laid down some great guitar on tunes like “Something” and “Cheer Down”, it hit me again that the man was incredibly talented. And, you know, that concert was a huge event – the crowd was apoplectic with joy and George was genuinely moved by the reception he received. I will never forget that show.
I was lucky enough to interview some very interesting people for the book; I really enjoyed talking to the late Doris Troy and I think this was her final interview. I also spoke to David Bromberg, who is a key bridge between George and Bob Dylan – David is somewhat reticent about giving interviews, so I was lucky to get the opportunity to speak to him.

And then from the very early days I spoke to Tony Sheridan who I think gives quite unbiased insights into the politics and dynamics of the group in the Hamburg years, and, tells us much about George’s key role in the band. I found it fascinating to hear Tony’s overview of the band as this was the nascent situation of the group, which coloured the way it developed as they became famous. Klaus Voormann was also a key interview as he was so close to George for so long – he offers many wonderful insights into the 1968-69 period, the making of the early solo albums and the experience of The Concert for Bangla Desh.

Two other figures I would draw out as being important are John Barham and Bob Purvis. John is a fascinating and hugely talented musician, with great erudition in the fields of classical and Indian music. He met George through Ravi Shankar in 1966 and became a kind of “birth partner” to George as he started his journey into classical Indian music and philosophy. He worked very closely with George on “Wonderwall” and then went on to create the wonderful orchestrations for “All Things must Pass” and “Living In The Material World”. There was a tremendous musical and spiritual empathy between George and John Barham - I think the music they created confirms this. Just listen to the flow between the orchestra and the guitar on the first version of “Isn’t It A Pity”. For me, the insights John gives about George’s music in the book are priceless, and it made me think they should be recorded for posterity as it were.

Bob Purvis is also a very interesting guy, who is a little scarred by the music business, and was also reticent to be quoted in the first person, although the Splinter section is based on the interview I did with him. I think that the Splinter section is a pivotal part of the book as it gives great insight into how George worked as a producer, a skill for which he is not widely lauded. All we need to do now is to get that first excellent Splinter album released again!

Rip Post: Harrison’s work is unmistakable. You never take a George song for a work by anyone else, even if heard in Muzak (gasp.) What is it about Harrison as a musician that you find so compelling? Both as a guitarist and songwriter?

Leng: It’s all a matter of taste of course, but for me there is a compelling mixture of serenity and passion in his music, and a deep level of expressiveness that doesn’t necessarily arise from technical virtuosity, but “from the soul”. George was a uniquely”soulful” musician, and certainly the only one of The Beatles who could be described in that way.

He also had a unique harmonic sense which derived partly from his erudition in the field of Indian music. Let’s be in no doubt that George was a proficient practitioner in the theory of Indian music, and this was reflected in the way he used certain chord voicings (I’m thinking in particular of diminished chords here), and melodies that to western ears skirt towards dissonance. In fact they are reflecting of the “microtones” of Indian music scales – a good example of this is “Blue Jay Way”, which was directly based on an Indian raga, and is a very advanced example of cross-cultural musical synthesis.

It’s interesting to note that it seems that George had an immediate and almost innate understanding and empathy with Indian music. That’s an interesting happening for a guy from Liverpool.

As a guitarist the words that spring to mind again are “unique” and “soulful”. He had a unique musicality, and the way in which he incorporated Indian inflections into his slide guitar style was unprecedented. I say this because he did not do it as if he were a “cultural tourist”, just learning to play a few phrases by ear and replicating them. Rather, he understood the phrasing, rhythmic and expressive nuances of Indian music in great detail and made them his own.

The problem of recognition of these skills might be down to “currency” if you will. We tend to measure and value things in terms of paper qualifications deriving from examinations, and great technical proficiency. George was never a showboating technical guitarist in the Jeff Beck mould, but that’s fine isn’t it? Beck is great and how he plays fits perfectly with his musical mission – George was also great, but in a different way, and his style was perfect for his musical idiom. I guess the point here is that we don’t all have to be the same, or aspire to the same talents because that is the norm propagated by mainstream media. To suggest that George was a lesser guitarist as some have because he didn’t rip through scales like a jazz guitarist is specious. I mean, if George was meant to be a jazz guitarist, he would have been! In George’s case, his understanding and exposition of Indian music flowed from his innate musicality and ability to communicate mood and emotional timbre to the listener. So, George’s “currency” was slightly at odds with the general flow and therefore overlooked. This book is about addressing that imbalance.

Rip Post: His history as a guitarist is so interesting. He was considered the most dextrous, I believe, of the three Beatles guitarists in the early days. There was some hype floating around in the early ‘60’s about how he was a “guitar genius,” as I recall. How did he learn to play, and how good was he in the early ‘60’s, compared to John and Paul?

Leng: Well, Tony Sheridan has a lot to say on this in the book. It seems that Harrison was the most dedicated and gifted guitarist of the band, and that he had a constant passion for learning the instrument and new musical ideas. His view was that John Lennon was not a very good guitar player at that time, and that Paul McCartney did not have that love for the instrument that George did. I don’t think Tony Sheridan has any axe to grind (as it were), so we can be reasonable confident that this is close to the reality of the situation.

But going way back, Harrison’s first inspirations on the guitar were Hank Williams, Carl Perkins, Buddy Holly and Scotty Moore and none of these guys played long blues solos. They tended to play the part to suit the song, which is the modus Harrison adopted and explains why he became the guitar player he did.

Rip Post: Please comment on what is probably Harrison’s least applauded talent: his singing. Please comment. Also, can you give examples from the early years to the late solo years of songs that really showcase his skills here?

Leng: I think it is fair to say that Harrison was no great singer in a technical sense. On the other hand, as a harmony singer, he could be regarded as one of the greats. The evidence is on all the albums.
His voice was never as powerful as John or Paul’s. But, the point is, and David Bromberg says it in the book, he could sing the song. His voice was absolutely the perfect instrument to deliver a song like “Long Long Long” for instance, and it is precisely the softness of his voice that makes it work so well. And on the excellent live version of “Bangla Desh” the passion and commitment in his singing is palpable. Even a much-maligned song like “This Guitar” has a very fine vocal performance, and the standard of singing on the George Harrison album for instance is very high.

Also, in the very early days Harrison was no mean rock’n’roll singer; check out the versions of “Roll Over Beethoven” and “Glad All Over” on Live At The BBC. It’s worth remembering that in the pre-fame years The Beatle virtually operated with Harrison as one of three lead singers.

Rip Post: Why did longtime Beatles engineer (and sometimes de facto producer) Geoff Emerick all-but-dismiss George as a Beatles soloist before his inspired solo on “Something?” It’s true that, as Emerick says, you can hear young George “fumbling” in live performances, almost as if he doesn’t know how to fill up all that “blank space.” Paul played a number of solos on Beatles recordings, reportedly because George could not come up with anything fast enough.

Leng: Well, he probably said it because it is true, but my view on that would be “so what?” Perhaps the true value is in the finished product, does it really make a material difference how quickly the solo was created? Or if it was improvised or not? I would want to beware of mistaking the wood for the trees here. If a musician delivers a performance that affects the listener that is the important part, and not so much how it was created or how quickly.

Certainly Paul McCartney had a quicker musical mind than George and that’s great, but, again, I can’t help but feel that we would be better celebrating the complementary differences between musicians, or anybody else for that matter, rather than insisting that only one model has value.

And, as long as we are comparing the two styles, I would just suggest that people reflect on how many instantly memorable guitar breaks George came up with that they can sing as if they were songs in their own right. And, then ask the same of Paul’s solos. For instance, which is more musically memorable – George’s solo on “Nowhere Man”, or Paul’s on “Another Girl”?

Rip Post: Yet students of the group can hear some terrific live solos from George even in the very early days, and his Perkins-esque twanging on “Can’t Buy Me Love” is no more or less considered classic stuff---McCartney had his band reproduce it note-for-note on recent tours. So why was his soloing in the Beatles period inconsistent?

I think it comes down to cyclical changes, confidence and the pecking order of the band. When The Beatles first hit it big George was at the forefront of lead guitarists for that time – take With The Beatles as an example. How many other guitarists at that time could have played the variety of solos George did on that album i.e. “Roll Over Beethoven”, “Til There Was You” and “All My Loving”? So, he was at the forefront – but, by 1965 the white blues soloists like Eric Clapton had started to emerge and a more virtuoso style came into vogue. As George did not come from a blues-based tradition he was not immediately in that groove of longer improvised solos. So, given that he was a somewhat diffident character, and that Paul was quicker at picking up that style, his confidence took a knock. But, as we have seen, by 1969 he was playing that style if he wanted to.

But then again, I come back to the main point – it’s one thing to have all the flashy technique in the world, but what’s the point of it if you have nothing to say musically? And let’s be clear about this, aside form those solos on With The Beatles, George played some wonderfully musical and inventive solos on early to mid-period Beatles records – to pick out a few: “I Call Your Name”, “Nowhere Man”, “Baby’s In Black”, “And Your Bird Can Sing” (which almost has elements of Bach counterpoint in it) and, as you say, “Can’t Buy Me Love”.

It’s also worth remembering that amongst musicians and other guitarists George is widely respected, and possibly more so than he is by the media in general.

Rip Post: It’s my contention that none of the Beatles had reached their maturity as musicians when the group broke up, that they would have gone on to greater virtuosity and sophistication. Ringo’s drumming had reached a peak in 1969 and ’70 (that it would never approach again), while the other three went on to increased musical skills and virtuosity---but none more than George. His signature slide guitar sound is not to be found on a single Beatles record; it debuted on “All Things Must Pass.” Do you agree? Please talk about how and why George finally found his solo guitar “voice,” and how Indian music brought this about.

Leng: I think you are right. George reached an important peak as a finger guitar player around 1969 – the evidence is all over “Let It Be”, “Abbey Road” and “Old Brown Shoe”. By this period he’d assimilated those elements of the blues sound he wanted, and was playing solid-body guitars through better amplification. His sound had fundamentally changed, but his aim was still unerringly musical. This style developed throughout his solo career, and although he played mostly slide from 1970 to his death, he did record some powerful non-slide solos, one fine example being on the song “Somebody’s City” from the first Splinter album, and another would be “Pure Smokey”. And then by the time her recorded “P2 Vatican Blues” you can hear that he was playing fine blues solos. It’s also perhaps worth mentioning that he also played some beautiful acoustic guitar solos, I’m thinking of “Learning How To Love You” and “Dark Sweet Lady” in particular.

Meanwhile, he discovered slide guitar through a mixture of Delaney Bramlett and Dave Mason around the time of the Delaney and Bonnie tour, and I think he felt emancipated by it. At that level I think it freed him from the “pressure” of not being a gun slinging hot licks guy, but it later became his unique voice, which is where the Indian influence comes in. There are certain ornamentations used in classical Indian string instruments that are very close to the slide guitar technique. And certain Indian instruments are actually played using a sort of slide, the one I’m thinking of is the Veena.

So, George knew Indian instruments and musical theory inside out, and was a competent sitar player who had the technique to play the ornamentations – you can hear this on his solo passage on “Within You Without You”, where he plays “authentic” sitar. So, given all this you can see the logical net result was his slide guitar style, which was the perfect vehicle for him to express his cross-cultural musical ideas. It became an utterly unique musical voice, which thousands of record producers have striven to get other guitarists to reproduce without success. The apogee of this style is the priceless “Marwa Blues”.

Rip Post: Give me an overview of George as a songwriter. . .You are very high on his skills as a writer and composer. . .Name five of his most important songs from his solo catalogue---still not well known to the general public. . .

Leng: I would regard him as a “natural” rather than a classical songwriter. I think he worked on instinct and his main instinct was to go for melody as his anchor. So, there are swathes of beautiful melodies in all his work.

Given that he was a guitarist his method for writing songs was largely to develop interesting chord sequences and then eke out a melody from the notes within the chords. Interestingly, you can hear this happening on the demo version of “Mystical One” released on the “Dark Horse Years” package.
As a lyricist he also dealt in his vernacular which didn’t endear him to some critics who tended to approach rock music as an ersatz literature course. Nevertheless, on the Brainwashed album there is some fine poetry – “Pisces Fish” for instance.
5 songs - “Your Love Is Forever”; “Learning How To Love You”;”Never Get Over You”; “Marwa Blues”;

Rip Post: It seems that the vexing thing about George was his conflicting feelings about fame and ego. Here he was absolutely exasperated not to be writing more songs for the Beatles, in the later years, then broke out with enormous success and fame in the early ‘70’s. And yet he was always much happier not being a leader, but rather being a sideman in various other projects. One of the very surprising things in your book is to discover how often George happily played sideman to lesser, even incidental artists, like Larry Hosford. Who?

Leng: This comes down to friendship. One of the themes that kept emerging from the interviews I did for the book was that George formed lasting and strong friendships. He was a great friend to many musicians and it seems that he would do almost anything for a friend. Therefore, in the case of Larry Hosford, that session was done for his friends Leon Russell and Dino Airali who were both professionally connected to Larry.

Rip Post: Another sometimes maddening part of that dichotomy: When George played live, whether in the Concert for Bangladesh, or the terrible ’74 tour, or the tour with Clapton in Japan, he almost always delegated his solos to other players. NOBODY wanted to hear other people play those parts. NOBODY. Why did he do this?

Leng: First of all I would humbly like to suggest that the ’74 tour was not terrible, but actually produced plenty of good music ;o )

(Rip Post note: Agreed---the '74 tour was not terrible, musically. It was a terrible event, in that the press was unkind and Harrison had lost his voice for almost the entire tour.)

But, you are right that he often deferred playing his solos to others on stage. I think the equation is simple – in the book Tony Sheridan describes George as “the egoless Beatle”, and I think that could be extended to the “egoless guitarist”. What George was primarily interested in was the overall package – if that meant someone else playing the lead guitar, then he didn’t care, because his ego was not wrapped up in whether he played it or not.

All the same, he played a lovely solo on “Something” at the Concert for Bangla Desh, and some great slide on the “Live In Japan” tour. And on many of the tapes I have heard from 1974 he plays some burning solos in duet with Robben Ford on “While My Guitar Gently Weeps”. He got a standing ovation for it at Madison Square Garden.

Rip Post: He once said something like, “not all songs have to be written.” While this is true, it seems to me that he took it too far. I often wish he had recorded and written more. I realize he didn’t feel the need---and that the thousands of trees he planted by hand on his estate was probably more important to him than recording---but do you feel he backed off too much from writing and recording?

Leng: Well, I think it is worse than that because the material is actually there. He actually never stopped writing and recording – it was just that he could not be bothered to deal with the music business to get them released. I think Joni Mitchell is in much the same frame of mind these days.

Rip Post: You say in the book that it was the press, specifically Rolling Stone, that ruined Harrison’s performing career and drove him into semi-seclusion for the rest of his life. And something must be blamed for the abysmal “Extra Texture” album, as I can’t imagine George being very proud of that thing. Please explain.

Leng: Well, it is a fact that George took very personally the coverage of the 1974 tour in Rolling Stone. Some say that he never forgave them. And as the book documents, with the invaluable help of Patti Murawski and Kristen Tash from The Harrison Alliance magazine, there were plenty of extremely positive reviews of the tour.

And I think there is a cultural thing here too. With the exception of John Lennon, all of the Beatles came from working class backgrounds in tough neighbourhoods of Liverpool. With the passage of time and the sheen of fame, it is easy to forget that these were pretty tough guys from a tough place, where disputes were often settled with a fight. If you recall Harrison used to tell how he was “hit” by a teacher once – his father’s response was to go to the school and “stick one” on the teacher. So, to some extent Harrison’s response to the reviews was to fight back.

As for “ExtraTexture”, it was a contractual obligation album…….so….

Rip Post: “Brainwashed,” a brilliant record---a real tour-de-force---was touted as his final album. Yet there are many songs that remain unreleased. The late Timothy White reported a total of about 37 songs that George told him he had finished---or nearly finished. That would leave about 24 unreleased George songs, by my reckoning. Is this true? What are Olivia and Dhani Harrison’s plans regarding this music?

With those other fellows, 1967, for the first worldwide television broadcast.

Leng: I would be prepared to bet that there are more than 24 unreleased songs – the best hope we have is that Olivia and Dhani go ahead and release them on an Anthology project.

Rip Post: George actually instigated the Beatles “virtual reunion” using John Lennon demo tapes. At one point in the sessions, Ringo remarked that they might do a whole album together. What were George’s feelings during those sessions, and to what extent did he pull the plug on them?

With George there was always a feeling that it was a bit of a chore, and the difficult professional relationship between him and Paul McCartney was always in the background. If the performances he produced on guitar and vocals are anything to go by he was inspired during the sessions, but I think it is well known that he brought proceedings to a halt due to the apocryphal “musical differences” with Paul during the attempted recording of a third song.

Rip Post: Back to his soloing. . .There are a lot of guitarists, and a lot of guitarists who play beautiful slide. But a George Harrison slide guitar part, from “My Sweet Lord” all the way to one of his last, the incredibly beautiful passage on Ringo’s “King of Broken Hearts,” a Harrison guitar solo is unmistakable, inimitable. You can even tell when someone is trying to imitate it in other songs (“America’s” “Sister Golden Hair,” for instance.) What makes his sound so unusual?

Leng: It’s his touch, the vibrato, the Indian inflections, the choice of notes, the way he “plays the silence”, but above all his soul.

Rip Post: Another unduly overlooked part of his career was The Traveling Wilburys. Every time I read something about their music in a fan publication, it’s almost as if they are writing about The Beatles! This is ridiculous, as these guys got together to knock out some good songs that were unpretentious and fun to play. Here George tried to invent a kind of spoof “super-group,” and the music turned out to be pretty super---for its melodiousness, wit, and energy (not bad for a bunch of old guys.) What were George’s feelings about the group, and did he plan to tour with them?

Leng: As ever with George I think that there was yin-yang at work here. At the start he had a great time working with his friends and having a knock-about good time. However, you can hear on the second album that Harrison had taken the lead in producing the record (along with Jeff Lynne) and there is just a sense that it had become hard work and therefore a chore. I never heard any talk of a tour; I can just imagine the legal hurdles they would have needed to clear for that to happen. And that would have put George off from the start. But, maybe someone out there knows something different.

Rip Post: Harrison’s religiosity is too often taken for proselytizing, in my view. It really was a very broad view that drew from Hinduism, but also from Buddhism and Christianity. When he said “God,” he did not mean a guy in nice white robes and beard peeking through the clouds. Can you comment on his spirituality, and how it dominated his life---for good or ill?

Leng: For me it is important to focus on the terms used to describe this area. I don’t think Harrison was religious, but he was deeply spiritual and I think the evidence is that he was highly developed in that regard and had many genuine spiritual experiences. “Religious” implies organisations, bishops, ministers, priests, control of the masses (no pun intended!) and the whole “civil service” side of it. Harrison was definitely not that and “Awaiting On You All” tells us that clearly.

I would imagine that if a person is lucky enough to gain fundamental spiritual insights it would be a challenge to keep it to himself. But, ultimately, the majority of Harrison’s work is his life’s travelogue set to music, so the spiritual aspect is bound to figure strongly because that is where he was. For instance, I think it is just as valid for Harrison to sing about his spiritual experiences as it was for John Lennon to sing about his love for Yoko Ono.

Rip Post: Of all the Beatles solo work, I think Harrison’s is the strongest. Lennon didn’t live long enough to find his strengths as a solo artist, despite a couple of very fine albums---plus he retired for about five years. McCartney is the most prolific, but as a result it often happens that he falls into the “two or three good songs per album” category. Harrison had some real clunker albums, but his solo career is bracketed by excellence. McCartney as a solo artist cannot touch George as a lyricist. How would you stack up their respective solo work?

Leng: I have to say that McCartney’s solo work has never really grabbed me, so I don’t have much to say about it, although I agree that it is very inconsistent. It’s just a matter of taste and to my taste music working on a purely “entertainment” level is of less interest than the more emotionally powerful and revealing work that George produced. As for John Lennon I enjoyed many of his albums and they are of a generally high standard, but I think that his best work was during the Beatle years. And it’s also very noticeable how much of a positive difference Harrison’s lead guitar presence lends to the Imagine album.

In that regard I think the key difference is that only George did his best work after The Beatles, and I certainly think that his is the most consistently strong set of solo work, but I would say that wouldn’t I?

For my money the weakest Harrison album is “Somewhere In England”, although, paradoxically, if it had been released as originally intended it would have been far stronger. Other than that “Extra Texture” is patchy but still has some fine songs on it (“The Answer’s At The End” and “Tired of Midnight Blue” spring to mind). The rest are good to very good and some brilliant albums, which is a high strike rate.

Articles 11: the return

The March 1979 issue of Playboy magazine included interviews with Ted Patrick and Mario Andretti. Features included What Do You Say to a Naked Cheerleader?, and a pictorial of Denise Crosby (Bing Crosby's granddaughter, and who later played Tasha Yar on Star Trek: The Next Generation), and several interesting articles: Life Inside the Congressional Cookie Jar by James Abourezk; You Gotta Have Heart by Craig Vetter; There are Days When I Wish It Hadn't Happened by Alex Haley; and The Psyche and the Starting Grid by Keith W. Johnsgard and Charles Fox.

The Playmate was Denise McConnell, an American born December 23, 1958 in Wiesbaden, Germany. In the playmate data sheet, she listed her turn-ons as "anything green, the outdoors, directness in people" and her turn-offs as "phonies, dishonesty, people who don't come through after a promise."







This is the first post about articles after a hiatus of several months. To understand why these posts are referred to as such, you have to see the first one, wherein I used a common euphemistic phrase to explain why one purchases that certain magazine. Other posts in the series have looked at articles pertaining to similar images from a variety of sources.

1. I got it for the articles ... really (09-Feb-06)
2. More interesting articles (01-Mar-06)
3. Articles during an anniversary (05-Apr-06)
4. Articles and a first (03-May-06)
5. Articles and a mayor (04-May-06)
6. Articles and the TV reporter (10-May-06)
7. Articles and the reactionary so-called therapist (14-May-06)
8. Articles and the rock star (24-May-06)
9. Articles and the women of Star Trek (31-May-06)
10. Articles and another first (07-Jun-06)

Got my DVD (1)

I got a copy of Paul McCartney's The Space Within Us DVD the other day. I've watched a lot of it. I really like it. I missed the 2005 tour, so it's good to have this document of that event.

I'm still waiting on my Bachman Cummings First Time Around DVD. I ordered it online.

The automotive quests of Mr. Tran's cousins

There's a guy I know named Vincent Tran. He's Canadian, and his heritage is part of the Vietnamese diaspora that fled that country amid the political upheaval and chaos after the war there. Many of his extended family members also settled in other parts of the world - including his cousin Otto in Germany and another cousin named Manuel, who hails from Spain.

Both of these men have set out on quests to drive across Europe in a special car rally, in order to raise money for good causes. They're seeking financial support.

If you care to contribute, you can support Otto Tran's mission, or Manuel Tran's mission. It depends on your preference.

***

That is why I am not a comedy writer, folks. Jokes don't come much worse than the preceding blurb.

S$# 046 Kinks | Days

The Kinks' Days is from the sessions for the interesting 1968 album The Kinks Are The Village Green Preservation Society. Interestingly, the song was on the early 12-track configuration of the album previewed in September of that year, but not on the 15-track version that was ultimately released in UK shops in November. It was released as a single (backed with She's Got Everything) in the summer of 1968, though.

Written (of course) by group leader Ray Davies, and recorded on May 3 and 27, 1968 at Pye Studios (No. 2) in London, Days is a lovely, melodic mid-tempo number that evokes the sunny side of 1960s life. Its infectious melody really grabbed me when I first caught it many years ago on a Kinks compilation. It's available on several Kinks compilations and remasters of The Kinks Are The Village Green Preservation Society.

Thank you for the days
Those endless days, those sacred days you gave me

I'm thinking of the days
I won't forget a single day, believe me

I bless the light
I bless the light that lights on you believe me

And though you're gone
You're with me every single day, believe me

Days I'll remember all my life
Days when you can't see wrong from right

You took my life
But then I knew that very soon you'd leave me
But it's all right
Now I'm not frightened of this world, believe me

I wish today could be tomorrow
The night is dark
It just brings sorrow, let it wait

Thank you for the days
Those endless days, those sacred days you gave me

I'm thinking of the days
I won't forget a single day, believe me

Days I'll remember all my life
Days when you can't see wrong from right

You took my life
But then I knew that very soon you'd leave me
But it's all right
Now I'm not frightened of this world, believe me

Days

Thank you for the days
Those endless days, those sacred days you gave me

I'm thinking of the days
I won't forget a single day, believe me

I bless the light
I bless the light that shines on you believe me

And though you're gone
You're with me every single day, believe me

Days

A$# 046 Guess Who | Road Food / Power In The Music

This week I'm highlighting two albums at once, both by the fabulous Guess Who: Road Food (1974) and Power In The Music (1975). The two records were paired in a 2004 twofer CD release, so it seems logical to focus on them both in one post.

The CD was one of four TGW twofers released that year by BMG, and many have criticized the lack of remastering, and the curious pairings of some of the albums. For example, Road Food and Power In The Music don't seem like a natural fit, since RF is from the period of guitarists Kurt Winter and Donnie McDougall, and PITM is from the Domenic Troiano period. It would have made more sense to match PITM with the other Dom album from 1975, Flavours. The style of the group changed dramatically when Kurt (and fellow guitarist Donnie McDougall) left and then Dom ushered in a much jazzier type of sound.

Nonetheless, this makes for an interesting pairing, in that both represented different kinds of endings - RF being the last Kurt/Donnie album, and PITM being the last, period, by the classic era TGW.

(Note: RCA issued The Way They Were in 1976 (which had been recorded back in 1970 before Randy Bachman left), an excellent set, but by this time the group had broken up. Original bass player Jim Kale would later head up klone lineups under the TGW moniker. I've written about this before. In my mind the only legit configurations of The Guess Who post 1975 were the reunions involving Burton and Randy, in 1983 and 1999-2003.)

Now to the albums: Kurt and Donnie's influence is not that evident on Road Food, because they had by all accounts pretty much lost interest int he group by then. They participated in early sessions in LA, but barely at all when the record was finished up in Toronto. Burton was definitely taking the lead role, ably helped by bassist Bill Wallace.

You probably know the two hits that the album generated: Star Baby and Clap For The Wolfman. They enjoyed singles chart success with the latter that they had not seen for quite awhile. That's not all there is to the album, though. (TGW scholar John Einarson says "the album enjoys a consistency throughout not found since [1972's] Rockin'.") Some songs explore the road-weariness of touring and recording (Atilla's Blues, title song Road Food, The Ballad Of The Last Five Years), the tribulations of the workaday world (One Way Road To Hell), the amorous activities of a groupie (Pleasin' For Reason), jazz influences (Straighten Out) or an odd anger song (Don't You Want Me, which the group had earlier recorded in 1972 as part of the Hi Rockers medley on Rockin'). My faves are Pleasin' For Reason, Road Food and Star Baby.

Power In The Music is an underappreciated record. (The earlier Dom album, Flavours, featured a minor hit, Dancin' Fool. But PITM's two singles didn't do a whole lot, though I quite like both songs.) A lot of Guess Who fans didn't quite know what to make of the new sound. Perhaps the group members didn't either...

As John Einarson wrote in American Woman: The Story Of The Guess Who:

Somewhat confused, the band returned to Toronto's Soundstage Studios in March 1975 to begin recording Power In The Music. Once again Domenic was largely in charge in the studio, providing the guitar riffs for Burton's lyrics. The results this time, though were generally more satisfying [than on Flavours], with a couple of genuine grabbers in Rosanne ... and When The Band Was Singin' (Shakin' All Over), which harkened back to the good old days when tings were a lot more innocent. You can just feel the exhilaration in the studio as Burton hollers out in the fade out, "Stomp it out, Willy" to Bill Wallace. Another highlight was the Cummings-dominated Dreams, a hint of what was to be in store for his future. The title track was an ambitious attempt to combine a cool jazz-rock feel to the story of the development of popular music, capped off with a typical Troinaoesque progression that built to a climax.

I agree that there is power in this music. I particularly like Women, Rosanne, WTBWSSAO, Dreams and the first half of the title song.

Unfortunately, the album did not fare well, and the stage was set for Burton to disband the group and set out on his successful solo career. Three decades later, though, PITM and RF bear reconsideration.

Track listing:

1. Star Baby
2. Attila's Blues
3. Straighten Out
4. Don't You Want Me
5. One Way Road to Hell
6. Clap for the Wolfman
7. Pleasin' for Reason
8. Road Food
9. Ballad of the Last Five Years
10. Down and Out Woman
11. Women
12. When the Band Was Singin' (Shakin' All Over)
13. Dreams
14. Rich World - Poor World
15. Rosanne
16. Coors for Sunday
17. Shopping Bag Lady
18. Power in the Music

NOC NOC ... who's there?

What kind of work do you do? Every type of job has been categorized by our friends at the federal government through the National Occupation Classification (NOC) system. There are 10 categories, which are further divided into groups and specific job types. So a one digit code would describe the category, and a four-digit code denotes the specific occupation.

0 - Management Occupations

1 - Business, Finance And Administration Occupations

2 - Natural And Applied Sciences And Related Occupations

3 - Health Occupations

4 - Occupations In Social Science, Education, Government Service And Religion

5 - Occupations In Art, Culture, Recreation And Sport

6 - Sales And Service Occupations

7 - Trades, Transport And Equipment Operators And Related Occupations

8 - Occupations Unique To Primary Industry

9 - Occupations Unique To Processing, Manufacturing And Utilities

Management Occupations

Major Group 00
Senior Management Occupations

001 Legislators and Senior Management

011: Legislators
012: Senior Government Managers and Officials
013: Senior Managers - Financial, Communications and Other Business Services
014: Senior Managers - Health, Education, Social and Community Services and Membership Organizations
015: Senior Managers - Trade, Broadcasting and Other Services, n.e.c.
016: Senior Managers - Goods Production, Utilities, Transportation and Construction

Major Group 01-09
Middle and Other Management Occupations

011 Administrative Services Managers

0111: Financial Managers
0112: Human Resources Managers
0113: Purchasing Managers
0114: Other Administrative Services Managers

012 Managers in Financial and Business Services

0121: Insurance, Real Estate and Financial Brokerage Managers
0122: Banking, Credit and Other Investment Managers
0123: Other Business Services Managers

013 Managers in Communication (Except Broadcasting)

0131: Telecommunication Carriers Managers
0132: Postal and Courier Services Managers

021 Managers in Engineering, Architecture, Science and Information Systems

0211: Engineering Managers
0212: Architecture and Science Managers
0213: Computer and Information Systems Managers

031 Managers in Health, Education, Social and Community Services

0311: Managers in Health Care
0312: Administrators - Post-Secondary Education and Vocational Training
0313: School Principals and Administrators of Elementary and Secondary Education
0314: Managers in Social, Community and Correctional Services

041 Managers in Public Administration

0411: Government Managers - Health and Social Policy Development and Program Administration
0412: Government Managers - Economic Analysis, Policy Development and Program Administration
0413: Government Managers - Education Policy Development and Program Administration
0414: Other Managers in Public Administration

051 Managers in Art, Culture, Recreation and Sport

0511: Library, Archive, Museum and Art Gallery Managers
0512: Managers - Publishing, Motion Pictures, Broadcasting and Performing Arts
0513: Recreation, Sports and Fitness Program and Service Directors

061 Sales, Marketing and Advertising Managers

0611: Sales, Marketing and Advertising Managers

062 Managers in Retail Trade

0621: Retail Trade Managers

063 Managers in Food Service and Accommodation

0631: Restaurant and Food Service Managers
0632: Accommodation Service Managers

064 Managers in Protective Service

0641: Commissioned Police Officers
0642: Fire Chiefs and Senior Firefighting Officers
0643: Commissioned Officers, Armed Forces

065 Managers in Other Services

0651: Other Services Managers

071 Managers in Construction and Transportation

0711: Construction Managers
0712: Residential Home Builders and Renovators
0713: Transportation Managers

072 Facility Operation and Maintenance Managers

0721: Facility Operation and Maintenance Managers

081 Managers in Primary Production (Except Agriculture)

0811: Primary Production Managers (Except Agriculture)

091 Managers in Manufacturing and Utilities

0911: Manufacturing Managers
0912: Utilities Managers

Business, Finance and Administration Occupations

Major Group 11
Professional Occupations in Business and Finance

111 Auditors, Accountants and Investment Professionals

1111: Financial Auditors and Accountants
1112: Financial and Investment Analysts
1113: Securities Agents, Investment Dealers and Brokers
1114: Other Financial Officers

112 Human Resources and Business Service Professionals

1121: Specialists in Human Resources
1122: Professional Occupations in Business Services to Management

Major Group 12
Skilled Administrative and Business Occupations

121 Clerical Supervisors

1211: Supervisors, General Office and Administrative Support Clerks
1212: Supervisors, Finance and Insurance Clerks
1213: Supervisors, Library, Correspondence and Related Information Clerks
1214: Supervisors, Mail and Message Distribution Occupations
1215: Supervisors, Recording, Distributing and Scheduling Occupations

122 Administrative and Regulatory Occupations

1221: Administrative Officers
1222: Executive Assistants
1223: Personnel and Recruitment Officers
1224: Property Administrators
1225: Purchasing Agents and Officers
1226: Conference and Event Planners
1227: Court Officers and Justices of the Peace
1228: Immigration, Employment Insurance and Revenue Officers

123 Finance and Insurance Administrative Occupations

1231: Bookkeepers
1232: Loan Officers
1233: Insurance Adjusters and Claims Examiners
1234: Insurance Underwriters
1235: Assessors, Valuators and Appraisers
1236: Customs, Ship and Other Brokers

124 Secretaries, Recorders and Transcriptionists

1241: Secretaries (Except Legal and Medical)
1242: Legal Secretaries
1243: Medical Secretaries
1244: Court Recorders and Medical Transcriptionists

Major Group 14
Clerical Occupations

141 Clerical Occupations, General Office Skills

1411: General Office Clerks
1413: Records Management and Filing Clerks
1414: Receptionists and Switchboard Operators

142 Office Equipment Operators

1422: Data Entry Clerks
1423: Desktop Publishing Operators and Related Occupations
1424: Telephone Operators

143 Finance and Insurance Clerks

1431: Accounting and Related Clerks
1432: Payroll Clerks
1433: Customer Service Representatives - Financial Services
1434: Banking, Insurance and Other Financial Clerks
1435: Collectors

144 Administrative Support Clerks

1441: Administrative Clerks
1442: Personnel Clerks
1443: Court Clerks

145 Library, Correspondence and Related Information Clerks

1451: Library Clerks
1452: Correspondence, Publication and Related Clerks
1453: Customer Service, Information and Related Clerks
1454: Survey Interviewers and Statistical Clerks

146 Mail and Message Distribution Occupations

1461: Mail, Postal and Related Clerks
1462: Letter Carriers
1463: Couriers, Messengers and Door-to-Door Distributors

147 Recording, Scheduling and Distributing Occupations

1471: Shippers and Receivers
1472: Storekeepers and Parts Clerks
1473: Production Clerks
1474: Purchasing and Inventory Clerks
1475: Dispatchers and Radio Operators
1476: Transportation Route and Crew Schedulers

Natural and Applied Sciences and Related Occupations

Major Group 21
Professional Occupations in Natural and Applied Sciences

211 Physical Science Professionals

2111: Physicists and Astronomers
2112: Chemists
2113: Geologists, Geochemists and Geophysicists
2114: Meteorologists
2115: Other Professional Occupations in Physical Sciences

212 Life Science Professionals

2121: Biologists and Related Scientists
2122: Forestry Professionals
2123: Agricultural Representatives, Consultants and Specialists

213 Civil, Mechanical, Electrical and Chemical Engineers

2131: Civil Engineers
2132: Mechanical Engineers
2133: Electrical and Electronics Engineers
2134: Chemical Engineers

214 Other Engineers

2141: Industrial and Manufacturing Engineers
2142: Metallurgical and Materials Engineers
2143: Mining Engineers
2144: Geological Engineers
2145: Petroleum Engineers
2146: Aerospace Engineers
2147: Computer Engineers (Except Software Engineers and Designers)
2148: Other Professional Engineers, n.e.c.

215 Architects, Urban Planners and Land Surveyors

2151: Architects
2152: Landscape Architects
2153: Urban and Land Use Planners
2154: Land Surveyors

216 Mathematicians, Statisticians and Actuaries

2161: Mathematicians, Statisticians and Actuaries

217 Computer and Information Systems Professionals

2171: Information Systems Analysts and Consultants
2172: Database Analysts and Data Administrators
2173: Software Engineers and Designers
2174: Computer Programmers and Interactive Media Developers
2175: Web Designers and Developers

Major Group 22
Technical Occupations Related to Natural and Applied Sciences

221 Technical Occupations in Physical Sciences

2211: Chemical Technologists and Technicians
2212: Geological and Mineral Technologists and Technicians
2213: Meteorological Technicians

222 Technical Occupations in Life Sciences

2221: Biological Technologists and Technicians
2222: Agricultural and Fish Products Inspectors
2223: Forestry Technologists and Technicians
2224: Conservation and Fishery Officers
2225: Landscape and Horticulture Technicians and Specialists

223 Technical Occupations in Civil, Mechanical and Industrial Engineering

2231: Civil Engineering Technologists and Technicians
2232: Mechanical Engineering Technologists and Technicians
2233: Industrial Engineering and Manufacturing Technologists and Technicians
2234: Construction Estimators

224 Technical Occupations in Electronics and Electrical Engineering

2241: Electrical and Electronics Engineering Technologists and Technicians
2242: Electronic Service Technicians (Household and Business Equipment)
2243: Industrial Instrument Technicians and Mechanics
2244: Aircraft Instrument, Electrical and Avionics Mechanics, Technicians and Inspectors

225 Technical Occupations in Architecture, Drafting, Surveying and Mapping

2251: Architectural Technologists and Technicians
2252: Industrial Designers
2253: Drafting Technologists and Technicians
2254: Land Survey Technologists and Technicians
2255: Mapping and Related Technologists and Technicians

226 Other Technical Inspectors and Regulatory Officers

2261: Nondestructive Testers and Inspectors
2262: Engineering Inspectors and Regulatory Officers
2263: Inspectors in Public and Environmental Health and Occupational Health and Safety
2264: Construction Inspectors

227 Transportation Officers and Controllers

2271: Air Pilots, Flight Engineers and Flying Instructors
2272: Air Traffic Control and Related Occupations
2273: Deck Officers, Water Transport
2274: Engineer Officers, Water Transport
2275: Railway Traffic Controllers and Marine Traffic Regulators

228 Technical Occupations in Computer and Information Systems

2281: Computer Network Technicians
2282: User Support Technicians
2283: Systems Testing Technicians

Health Occupations

Major Group 31
Professional Occupations in Health

311 Physicians, Dentists and Veterinarians

3111: Specialist Physicians
3112: General Practitioners and Family Physicians
3113: Dentists
3114: Veterinarians

312 Optometrists, Chiropractors and Other Health Diagnosing and Treating Professionals

3121: Optometrists
3122: Chiropractors
3123: Other Professional Occupations in Health Diagnosing and Treating

313 Pharmacists, Dietitians and Nutritionists

3131: Pharmacists
3132: Dietitians and Nutritionists

314 Therapy and Assessment Professionals

3141: Audiologists and Speech-Language Pathologists
3142: Physiotherapists
3143: Occupational Therapists
3144: Other Professional Occupations in Therapy and Assessment

315 Nurse Supervisors and Registered Nurses

3151: Head Nurses and Supervisors
3152: Registered Nurses

Major Group 32
Technical and Skilled Occupations in Health

321 Medical Technologists and Technicians (Except Dental Health)

3211: Medical Laboratory Technologists and Pathologists' Assistants
3212: Medical Laboratory Technicians
3213: Veterinary and Animal Health Technologists and Technicians
3214: Respiratory Therapists, Clinical Perfusionists and Cardio-Pulmonary Technologists
3215: Medical Radiation Technologists
3216: Medical Sonographers
3217: Cardiology Technologists
3218: Electroencephalographic and Other Diagnostic Technologists, n.e.c.
3219: Other Medical Technologists and Technicians (Except Dental Health)

322 Technical Occupations in Dental Health Care

3221: Denturists
3222: Dental Hygienists and Dental Therapists
3223: Dental Technologists, Technicians and Laboratory Bench Workers

323 Other Technical Occupations in Health Care (Except Dental)

3231: Opticians
3232: Midwives and Practitioners of Natural Healing
3233: Licensed Practical Nurses
3234: Ambulance Attendants and Other Paramedical Occupations
3235: Other Technical Occupations in Therapy and Assessment

Major Group 34
Assisting Occupations in Support of Health Services

341 Assisting Occupations in Support of Health Services

3411: Dental Assistants
3413: Nurse Aides, Orderlies and Patient Service Associates
3414: Other Assisting Occupations in Support of Health Services

Occupations in Social Science, Education, Government Service and Religion

Major Group 41
Professional Occupations in Social Science, Education, Government Services and Religion

411 Judges, Lawyers and Quebec Notaries

4111: Judges
4112: Lawyers and Quebec Notaries

412 University Professors and Assistants

4121: University Professors
4122: Post-Secondary Teaching and Research Assistants

413 College and Other Vocational Instructors

4131: College and Other Vocational Instructors

414 Secondary and Elementary School Teachers and Educational Counsellors

4141: Secondary School Teachers
4142: Elementary School and Kindergarten Teachers
4143: Educational Counsellors

415 Psychologists, Social Workers, Counsellors, Clergy and Probation Officers

4151: Psychologists
4152: Social Workers
4153: Family, Marriage and Other Related Counsellors
4154: Ministers of Religion
4155: Probation and Parole Officers and Related Occupations

416 Policy and Program Officers, Researchers and Consultants

4161: Natural and Applied Science Policy Researchers, Consultants and Program Officers
4162: Economists and Economic Policy Researchers and Analysts
4163: Business Development Officers and Marketing Researchers and Consultants
4164: Social Policy Researchers, Consultants and Program Officers
4165: Health Policy Researchers, Consultants and Program Officers
4166: Education Policy Researchers, Consultants and Program Officers
4167: Recreation, Sports and Fitness Program Supervisors and Consultants
4168: Program Officers Unique to Government
4169: Other Professional Occupations in Social Science, n.e.c.

Major Group 42
Paraprofessional Occupations in Law, Social Services, Education and Religion

421 Paralegals, Social Services Workers and Occupations in Education and Religion, n.e.c.

4211: Paralegal and Related Occupations
4212: Community and Social Service Workers
4213: Employment Counsellors
4214: Early Childhood Educators and Assistants
4215: Instructors and Teachers of Persons with Disabilities
4216: Other Instructors
4217: Other Religious Occupations

Occupations in Art, Culture, Recreation and Sport

Major Group 51
Professional Occupations in Art and Culture

511 Librarians, Archivists, Conservators and Curators

5111: Librarians
5112: Conservators and Curators
5113: Archivists

512 Writing, Translating and Public Relations Professionals

5121: Authors and Writers
5122: Editors
5123: Journalists
5124: Professional Occupations in Public Relations and Communications
5125: Translators, Terminologists and Interpreters

513 Creative and Performing Artists

5131: Producers, Directors, Choreographers and Related Occupations
5132: Conductors, Composers and Arrangers
5133: Musicians and Singers
5134: Dancers
5135: Actors and Comedians
5136: Painters, Sculptors and Other Visual Artists

Major Group 52
Technical and Skilled Occupations in Art, Culture, Recreation and Sport

521 Technical Occupations in Libraries, Archives, Museums and Art Galleries

5211: Library and Archive Technicians and Assistants
5212: Technical Occupations Related to Museums and Art Galleries

522 Photographers, Graphic Arts Technicians and Technical and Co-ordinating Occupations in Motion Pictures, Broadcasting and the Performing Arts

5221: Photographers
5222: Film and Video Camera Operators
5223: Graphic Arts Technicians
5224: Broadcast Technicians
5225: Audio and Video Recording Technicians
5226: Other Technical and Co-ordinating Occupations in Motion Pictures, Broadcasting and the Performing Arts
5227: Support Occupations in Motion Pictures, Broadcasting and the Performing Arts

523 Announcers and Other Performers

5231: Announcers and Other Broadcasters
5232: Other Performers

524 Creative Designers and Craftpersons

5241: Graphic Designers and Illustrators
5242: Interior Designers
5243: Theatre, Fashion, Exhibit and Other Creative Designers
5244: Artisans and Craftspersons
5245: Patternmakers - Textile, Leather and Fur Products

525 Athletes, Coaches, Referees and Related Occupations

5251: Athletes
5252: Coaches
5253: Sports Officials and Referees
5254: Program Leaders and Instructors in Recreation, Sport and Fitness

Sales and Service Occupations

Major Group 62
Skilled Sales and Service Occupations

621 Sales and Service Supervisors

6211: Retail Trade Supervisors
6212: Food Service Supervisors
6213: Executive Housekeepers
6214: Dry Cleaning and Laundry Supervisors
6215: Cleaning Supervisors
6216: Other Service Supervisors

622 Technical Sales Specialists, Wholesale Trade

6221: Technical Sales Specialists - Wholesale Trade

623 Insurance and Real Estate Sales Occupations and Buyers

6231: Insurance Agents and Brokers
6232: Real Estate Agents and Salespersons
6233: Retail and Wholesale Buyers
6234: Grain Elevator Operators

624 Chefs and Cooks

6241: Chefs
6242: Cooks

625 Butchers and Bakers

6251: Butchers, Meat Cutters and Fishmongers - Retail and Wholesale
6252: Bakers

626 Police Officers and Firefighters

6261: Police Officers (Except Commissioned)
6262: Firefighters

627 Technical Occupations in Personal Service

6271: Hairstylists and Barbers
6272: Funeral Directors and Embalmers

Major Group 64
Intermediate Sales and Service Occupations

641 Sales Representatives, Wholesale Trade

6411: Sales Representatives - Wholesale Trade (Non-Technical)

642 Retail Salespersons and Sales Clerks

6421: Retail Salespersons and Sales Clerks

643 Occupations in Travel and Accommodation

6431: Travel Counsellors
6432: Pursers and Flight Attendants
6433: Airline Sales and Service Agents
6434: Ticket Agents, Cargo Service Representatives and Related Clerks (Except Airline)
6435: Hotel Front Desk Clerks

644 Tour and Recreational Guides and Casino Occupations

6441: Tour and Travel Guides
6442: Outdoor Sport and Recreational Guides
6443: Casino Occupations

645 Occupations in Food and Beverage Service

6451: Maîtres d'hôtel and Hosts/Hostesses
6452: Bartenders
6453: Food and Beverage Servers

646 Other Occupations in Protective Service

6461: Sheriffs and Bailiffs
6462: Correctional Service Officers
6463: By-law Enforcement and Other Regulatory Officers, n.e.c.
6464: Occupations Unique to the Armed Forces
6465: Other Protective Service Occupations

647 Childcare and Home Support Workers

6471: Visiting Homemakers, Housekeepers and Related Occupations
6472: Elementary and Secondary School Teacher Assistants
6474: Babysitters, Nannies and Parents' Helpers

648 Other Occupations in Personal Service

6481: Image, Social and Other Personal Consultants
6482: Estheticians, Electrologists and Related Occupations
6483: Pet Groomers and Animal Care Workers
6484: Other Personal Service Occupations

Major Group 66
Elemental Sales and Service Occupations

661 Cashiers

6611: Cashiers

662 Other Sales and Related Occupations

6621: Service Station Attendants
6622: Grocery Clerks and Store Shelf Stockers
6623: Other Elemental Sales Occupations

664 Food Counter Attendants, Kitchen Helpers and Related Occupations

6641: Food Counter Attendants, Kitchen Helpers and Related Occupations

665 Security Guards and Related Occupations

6651: Security Guards and Related Occupations

666 Cleaners

6661: Light Duty Cleaners
6662: Specialized Cleaners
6663: Janitors, Caretakers and Building Superintendents

667 Other Occupations in Travel, Accommodation, Amusement and Recreation

6671: Operators and Attendants in Amusement, Recreation and Sport
6672: Other Attendants in Accommodation and Travel

668 Other Elemental Service Occupations

6681: Dry Cleaning and Laundry Occupations
6682: Ironing, Pressing and Finishing Occupations
6683: Other Elemental Service Occupations

Trades, Transport and Equipment Operators and Related Occupations

Major Group 72/73
Trades and Skilled Transport and Equipment Operators

721 Contractors and Supervisors, Trades and Related Workers

7211: Supervisors, Machinists and Related Occupations
7212: Contractors and Supervisors, Electrical Trades and Telecommunications Occupations
7213: Contractors and Supervisors, Pipefitting Trades
7214: Contractors and Supervisors, Metal Forming, Shaping and Erecting Trades
7215: Contractors and Supervisors, Carpentry Trades
7216: Contractors and Supervisors, Mechanic Trades
7217: Contractors and Supervisors, Heavy Construction Equipment Crews
7218: Supervisors, Printing and Related Occupations
7219: Contractors and Supervisors, Other Construction Trades, Installers, Repairers and Servicers

722 Supervisors, Railway and Motor Transportation Occupations

7221: Supervisors, Railway Transport Operations
7222: Supervisors, Motor Transport and Other Ground Transit Operators

723 Machinists and Related Occupations

7231: Machinists and Machining and Tooling Inspectors
7232: Tool and Die Makers

724 Electrical Trades and Telecommunication Occupations

7241: Electricians (Except Industrial and Power System)
7242: Industrial Electricians
7243: Power System Electricians
7244: Electrical Power Line and Cable Workers
7245: Telecommunications Line and Cable Workers
7246: Telecommunications Installation and Repair Workers
7247: Cable Television Service and Maintenance Technicians

725 Plumbers, Pipefitters and Gas Fitters

7251: Plumbers
7252: Steamfitters, Pipefitters and Sprinkler System Installers
7253: Gas Fitters

726 Metal Forming, Shaping and Erecting Trades

7261: Sheet Metal Workers
7262: Boilermakers
7263: Structural Metal and Platework Fabricators and Fitters
7264: Ironworkers
7265: Welders and Related Machine Operators
7266: Blacksmiths and Die Setters

727 Carpenters and Cabinetmakers

7271: Carpenters
7272: Cabinetmakers

728 Masonry and Plastering Trades

7281: Bricklayers
7282: Concrete Finishers
7283: Tilesetters
7284: Plasterers, Drywall Installers and Finishers and Lathers

729 Other Construction Trades

7291: Roofers and Shinglers
7292: Glaziers
7293: Insulators
7294: Painters and Decorators
7295: Floor Covering Installers

731 Machinery and Transportation Equipment Mechanics (Except Motor Vehicle)

7311: Construction Millwrights and Industrial Mechanics (Except Textile)
7312: Heavy-Duty Equipment Mechanics
7313: Refrigeration and Air Conditioning Mechanics
7314: Railway Carmen/women
7315: Aircraft Mechanics and Aircraft Inspectors
7316: Machine Fitters
7317: Textile Machinery Mechanics and Repairers
7318: Elevator Constructors and Mechanics

732 Automotive Service Technicians

7321: Automotive Service Technicians, Truck and Bus Mechanics and Mechanical Repairers
7322: Motor Vehicle Body Repairers

733 Other Mechanics

7331: Oil and Solid Fuel Heating Mechanics
7332: Electric Appliance Servicers and Repairers
7333: Electrical Mechanics
7334: Motorcycle and Other Related Mechanics
7335: Other Small Engine and Equipment Mechanics

734 Upholsterers, Tailors, Shoe Repairers, Jewellers and Related Occupations

7341: Upholsterers
7342: Tailors, Dressmakers, Furriers and Milliners
7343: Shoe Repairers and Shoemakers
7344: Jewellers, Watch Repairers and Related Occupations

735 Stationary Engineers and Power Station and System Operators

7351: Stationary Engineers and Auxiliary Equipment Operators
7352: Power Systems and Power Station Operators

736 Train Crew Operating Occupations

7361: Railway and Yard Locomotive Engineers
7362: Railway Conductors and Brakemen/women

737 Crane Operators, Drillers and Blasters

7371: Crane Operators
7372: Drillers and Blasters - Surface Mining, Quarrying and Construction
7373: Water Well Drillers

738 Printing Press Operators, Commercial Divers and Other Trades and Related Occupations, n.e.c.

7381: Printing Press Operators
7382: Commercial Divers
7383: Other Trades and Related Occupations

Major Group 74
Intermediate Occupations in Transport, Equipment Operation, Installation and Maintenance

741 Motor Vehicle and Transit Drivers

7411: Truck Drivers
7412: Bus Drivers, Subway Operators and Other Transit Operators
7413: Taxi and Limousine Drivers and Chauffeurs
7414: Delivery and Courier Service Drivers

742 Heavy Equipment Operators

7421: Heavy Equipment Operators (Except Crane)
7422: Public Works Maintenance Equipment Operators

743 Other Transport Equipment Operators and Related Workers

7431: Railway Yard Workers
7432: Railway Track Maintenance Workers
7433: Deck Crew, Water Transport
7434: Engine Room Crew, Water Transport
7435: Lock and Cable Ferry Operators and Related Occupations
7436: Boat Operators
7437: Air Transport Ramp Attendants

744 Other Installers, Repairers and Servicers

7441: Residential and Commercial Installers and Servicers
7442: Waterworks and Gas Maintenance Workers
7443: Automotive Mechanical Installers and Servicers
7444: Pest Controllers and Fumigators
7445: Other Repairers and Servicers

745 Longshore Workers and Material Handlers

7451: Longshore Workers
7452: Material Handlers

Major Group 76
Trades Helpers, Construction Labourers and Related Occupations

761 Trades Helpers and Labourers

7611: Construction Trades Helpers and Labourers
7612: Other Trades Helpers and Labourers

762 Public Works and Other Labourers, n.e.c.

7621: Public Works and Maintenance Labourers
7622: Railway and Motor Transport Labourers

Occupations Unique to Primary Industry

Major Group 82
Skilled Occupations in Primary Industry

821 Supervisors, Logging and Forestry

8211: Supervisors, Logging and Forestry

822 Supervisors, Mining, Oil and Gas

8221: Supervisors, Mining and Quarrying
8222: Supervisors, Oil and Gas Drilling and Service

823 Underground Miners, Oil and Gas Drillers and Related Workers

8231: Underground Production and Development Miners
8232: Oil and Gas Well Drillers, Servicers, Testers and Related Workers

824 Logging Machinery Operators

8241: Logging Machinery Operators

825 Contractors, Operators and Supervisors in Agriculture, Horticulture and Aquaculture

8251: Farmers and Farm Managers
8252: Agricultural and Related Service Contractors and Managers
8253: Farm Supervisors and Specialized Livestock Workers
8254: Nursery and Greenhouse Operators and Managers
8255: Landscaping and Grounds Maintenance Contractors and Managers
8256: Supervisors, Landscape and Horticulture
8257: Aquaculture Operators and Managers

826 Fishing Vessel Masters and Skippers and Fishermen/women

8261: Fishing Masters and Officers
8262: Fishing Vessel Skippers and Fishermen/women

Major Group 84
Intermediate Occupations in Primary Industry

841 Mine Service Workers and Operators in Oil and Gas Drilling

8411: Underground Mine Service and Support Workers
8412: Oil and Gas Well Drilling Workers and Services Operators

842 Logging and Forestry Workers

8421: Chainsaw and Skidder Operators
8422: Silviculture and Forestry Workers

843 Agriculture and Horticulture Workers

8431: General Farm Workers
8432: Nursery and Greenhouse Workers

844 Other Fishing and Trapping Occupations

8441: Fishing Vessel Deckhands
8442: Trappers and Hunters

Major Group 86
Labourers in Primary Industry

861 Primary Production Labourers

8611: Harvesting Labourers
8612: Landscaping and Grounds Maintenance Labourers
8613: Aquaculture and Marine Harvest Labourers
8614: Mine Labourers
8615: Oil and Gas Drilling, Servicing and Related Labourers
8616: Logging and Forestry Labourers

Occupations Unique to Processing, Manufacturing and Utilities

Major Group 92
Processing, Manufacturing and Utilities Supervisors and Skilled Operators

921 Supervisors, Processing Occupations

9211: Supervisors, Mineral and Metal Processing
9212: Supervisors, Petroleum, Gas and Chemical Processing and Utilities
9213: Supervisors, Food, Beverage and Tobacco Processing
9214: Supervisors, Plastic and Rubber Products Manufacturing
9215: Supervisors, Forest Products Processing
9216: Supervisors, Textile Processing

922 Supervisors, Assembly and Fabrication

9221: Supervisors, Motor Vehicle Assembling
9222: Supervisors, Electronics Manufacturing
9223: Supervisors, Electrical Products Manufacturing
9224: Supervisors, Furniture and Fixtures Manufacturing
9225: Supervisors, Fabric, Fur and Leather Products Manufacturing
9226: Supervisors, Other Mechanical and Metal Products Manufacturing
9227: Supervisors, Other Products Manufacturing and Assembly

923 Central Control and Process Operators in Manufacturing and Processing

9231: Central Control and Process Operators, Mineral and Metal Processing
9232: Petroleum, Gas and Chemical Process Operators
9233: Pulping Control Operators
9234: Papermaking and Coating Control Operators

Major Group 94/95
Processing and Manufacturing Machine Operators and Assemblers

941 Machine Operators and Related Workers in Metal and Mineral Products Processing

9411: Machine Operators, Mineral and Metal Processing
9412: Foundry Workers
9413: Glass Forming and Finishing Machine Operators and Glass Cutters
9414: Concrete, Clay and Stone Forming Operators
9415: Inspectors and Testers, Mineral and Metal Processing

942 Machine Operators and Related Workers in Chemical, Plastic and Rubber Processing

9421: Chemical Plant Machine Operators
9422: Plastics Processing Machine Operators
9423: Rubber Processing Machine Operators and Related Workers
9424: Water and Waste Plant Operators

943 Machine Operators and Related Workers in Pulp and Paper Production and Wood Processing

9431: Sawmill Machine Operators
9432: Pulp Mill Machine Operators
9433: Papermaking and Finishing Machine Operators
9434: Other Wood Processing Machine Operators
9435: Paper Converting Machine Operators
9436: Lumber Graders and Other Wood Processing Inspectors and Graders

944 Machine Operators and Related Workers in Textile Processing

9441: Textile Fibre and Yarn Preparation Machine Operators
9442: Weavers, Knitters and Other Fabric-Making Occupations
9443: Textile Dyeing and Finishing Machine Operators
9444: Textile Inspectors, Graders and Samplers

945 Machine Operators and Related Workers in Fabric, Fur and Leather Products Manufacturing

9451: Sewing Machine Operators
9452: Fabric, Fur and Leather Cutters
9453: Hide and Pelt Processing Workers
9454: Inspectors and Testers, Fabric, Fur and Leather Products Manufacturing

946 Machine Operators and Related Workers in Food, Beverage and Tobacco Processing

9461: Process Control and Machine Operators, Food and Beverage Processing
9462: Industrial Butchers and Meat Cutters, Poultry Preparers and Related Workers
9463: Fish Plant Workers
9464: Tobacco Processing Machine Operators
9465: Testers and Graders, Food and Beverage Processing

947 Printing Machine Operators and Related Occupations

9471: Printing Machine Operators
9472: Camera, Platemaking and Other Prepress Occupations
9473: Binding and Finishing Machine Operators
9474: Photographic and Film Processors

948 Mechanical, Electrical and Electronics Assemblers

9481: Aircraft Assemblers and Aircraft Assembly Inspectors
9482: Motor Vehicle Assemblers, Inspectors and Testers
9483: Electronics Assemblers, Fabricators, Inspectors and Testers
9484: Assemblers and Inspectors, Electrical Appliance, Apparatus and Equipment Manufacturing
9485: Assemblers, Fabricators and Inspectors, Industrial Electrical Motors and Transformers
9486: Mechanical Assemblers and Inspectors
9487: Machine Operators and Inspectors, Electrical Apparatus Manufacturing

949 Other Assembly and Related Occupations

9491: Boat Assemblers and Inspectors
9492: Furniture and Fixture Assemblers and Inspectors
9493: Other Wood Products Assemblers and Inspectors
9494: Furniture Finishers and Refinishers
9495: Plastic Products Assemblers, Finishers and Inspectors
9496: Painters and Coaters - Industrial
9497: Plating, Metal Spraying and Related Operators
9498: Other Assemblers and Inspectors

951 Machining, Metalworking, Woodworking and Related Machine Operators

9511: Machining Tool Operators
9512: Forging Machine Operators
9513: Woodworking Machine Operators
9514: Metalworking Machine Operators
9516: Other Metal Products Machine Operators
9517: Other Products Machine Operators

Major Group 96
Labourers in Processing, Manufacturing and Utilities

961 Labourers in Processing, Manufacturing and Utilities

9611: Labourers in Mineral and Metal Processing
9612: Labourers in Metal Fabrication
9613: Labourers in Chemical Products Processing and Utilities
9614: Labourers in Wood, Pulp and Paper Processing
9615: Labourers in Rubber and Plastic Products Manufacturing
9616: Labourers in Textile Processing
9617: Labourers in Food, Beverage and Tobacco Processing
9618: Labourers in Fish Processing
9619: Other Labourers in Processing, Manufacturing and Utilities