"Bill" was a young man
whom John met in India
and came to resent.
Friday, April 30, 2010
"Hey Jude" - an epic sing-a-long song
It's a minor anniversary today: April 30th of last year gave us the magic of "Hey Jude" in Trafalgar Square. It's definitely worth another watch.
(If the video is removed, go here).
And let's not forget "Hey Jude" at Newark Airport.
(If the video is removed, go here).
And let's not forget "Hey Jude" at Newark Airport.
Thursday, April 29, 2010
"A Day in the Life" lyrics for sale
"Lennon’s ‘Day in the Life’ Lyrics May Fetch $700,000 in Auction"
Excerpt:
Signed by Lennon, the single sheet of paper with words covering both sides could fetch as much as $700,000 when it comes up for sale at Sotheby’s New York on June 18. The item once belonged to Mal Evans, the Beatles’ road manager. Sotheby’s London sold the lyrics in 1992, and Bonhams in New York offered them in a sealed-bid auction in 2006 but they didn’t sell.
The lyrics feature crossed out words, corrections and additions in different colors.
Excerpt:
Signed by Lennon, the single sheet of paper with words covering both sides could fetch as much as $700,000 when it comes up for sale at Sotheby’s New York on June 18. The item once belonged to Mal Evans, the Beatles’ road manager. Sotheby’s London sold the lyrics in 1992, and Bonhams in New York offered them in a sealed-bid auction in 2006 but they didn’t sell.
The lyrics feature crossed out words, corrections and additions in different colors.
Wednesday, April 28, 2010
Wednesday haiku - "Wild Honey Pie"
An odd sing-along
that George's wife Pattie liked,
"Wild" features just Paul.
that George's wife Pattie liked,
"Wild" features just Paul.
Paul in "Q"
The feature piece in this month's issue of Q is a 26-page special on Paul. That amount of coverage might actually justify doing what is a rare act in my life these days: purchasing a hard copy of a magazine.
Here's a description of the piece:
Q gets close and personal with Sir Paul, talking past albums, his new stadium tour, and everything else in between in this 26 page special. Including an insight into what it was like to work with John Lennon, an eye witness account into the Avant-Garde years of Sir Paul through the eyes of stars such as George’s Martin and Harrison.
Over the last couple days, I came across several articles ("Macca wants to write protest songs" and "Sir Paul McCartney: It's Best Beatles Didn't Get Back") that highlighted a few of Paul's remarks from the Q interview. Have a look at them, or just buy the magazine.
Excerpt (from the first article I linked to):
He told Q: "You can't have it all, I've written songs more about emotions. Like Eleanor Rigby is about loneliness. Love songs like Maybe I'm Amazed. That's my forte.
"I'd love to write more protest songs, but I don't think I have the knack for it that other people do. I've complained about situations - Give Ireland Back To The Irish, Big Boys Bickering - but they're not necessarily my better songs."
His ability to write music is still a source of amazement, he revealed in the interview for the June edition of Q, to be pubished on Thursday.
"I'm still intoxicated by the fact I can do it," (Bold mine - Barry) he said.
Here's a description of the piece:
Q gets close and personal with Sir Paul, talking past albums, his new stadium tour, and everything else in between in this 26 page special. Including an insight into what it was like to work with John Lennon, an eye witness account into the Avant-Garde years of Sir Paul through the eyes of stars such as George’s Martin and Harrison.
Over the last couple days, I came across several articles ("Macca wants to write protest songs" and "Sir Paul McCartney: It's Best Beatles Didn't Get Back") that highlighted a few of Paul's remarks from the Q interview. Have a look at them, or just buy the magazine.
Excerpt (from the first article I linked to):
He told Q: "You can't have it all, I've written songs more about emotions. Like Eleanor Rigby is about loneliness. Love songs like Maybe I'm Amazed. That's my forte.
"I'd love to write more protest songs, but I don't think I have the knack for it that other people do. I've complained about situations - Give Ireland Back To The Irish, Big Boys Bickering - but they're not necessarily my better songs."
His ability to write music is still a source of amazement, he revealed in the interview for the June edition of Q, to be pubished on Thursday.
"I'm still intoxicated by the fact I can do it," (Bold mine - Barry) he said.
Tuesday, April 27, 2010
Tuesday haiku - "Ob-La-Di, Ob-La-Da"
It's zany white ska
that Paul dug and John disdained;
it's still divisive.
that Paul dug and John disdained;
it's still divisive.
Monday, April 26, 2010
"A Hard Day's Night of the Living Dead"
God bless YouTube and the creative minds who take advantage of it.
The Beatles vs. zombies:
(If the video is removed, go here).
The Beatles vs. zombies:
(If the video is removed, go here).
Thoughts on "Don't Bother Me"
Though he was "the quiet Beatle" and later the "spiritual" member of the Fab Four, George wrote some of the most salty, ill-tempered, and accusatory songs in The Beatles' celebrated catalogue. There are plenty of examples: the cynical "Think for Yourself," the anti-tax screed "Taxman," "Piggies," which was a rebuke of upper-class greed and indifference, "Only a Northern Song," George's "personal denunciation of the Beatles' music publishing business," and "I Me Mine" (and there are likely more). If George had an ax to grind, he didn't shy away from venting; if he was pissed off, he didn't let his status as "the quiet Beatle" muzzle him.
Perhaps it's appropriate then that the first song George wrote for a Beatles album finds him in a bitter mood. "Don't Bother Me," which George composed while sick and on-tour in the summer of 1963, is an expression of loss and sharp frustration. He's smarting over a recent breakup - she was the "only girl" for him - and he can't be bothered to talk about it with anyone: "Don't come around/Leave me alone/Don't bother me." Basically, George just wants to brood in private. How very Lennon-esque (indeed, these are jaded sentiments that John would've likely spouted following a breakup). In any event, George is more than convincing. His voice, with its subtle, dark-eyed edge, works well with the mood of the lyric. I especially like how he sings the chorus in such understated fashion, which gives his hot emotions a sense of control and purpose. At the very least, George comes off more engaged on "Don't Bother Me" than he did on his two previous lead-vocal outings - "Chains" and "Do You Want to Know a Secret."
All told, "Don't Bother Me" is a solid track (this despite George's characterization of it as a "fairly crappy" and perfunctory attempt to just write something). Noteworthy details: its misleadingly chipper intro, Ringo's busy drumming, which is part of an almost Latin rhythm, and (once again) the song's overall angry mood, which puts it at odds with the rest of The Beatles' music through that point in time. By this I mean, on their previous songs, the Fabs had tackled a variety of moods and emotions: lovelorn, contented, ecstatic, yearning, and even horny. But not angry. Thus, "Don't Bother Me," like "There's a Place" for its introspection, represents an outlier in The Beatles' early oeuvre. As later songs would show, George was the right catalyst for this deviation.
Perhaps it's appropriate then that the first song George wrote for a Beatles album finds him in a bitter mood. "Don't Bother Me," which George composed while sick and on-tour in the summer of 1963, is an expression of loss and sharp frustration. He's smarting over a recent breakup - she was the "only girl" for him - and he can't be bothered to talk about it with anyone: "Don't come around/Leave me alone/Don't bother me." Basically, George just wants to brood in private. How very Lennon-esque (indeed, these are jaded sentiments that John would've likely spouted following a breakup). In any event, George is more than convincing. His voice, with its subtle, dark-eyed edge, works well with the mood of the lyric. I especially like how he sings the chorus in such understated fashion, which gives his hot emotions a sense of control and purpose. At the very least, George comes off more engaged on "Don't Bother Me" than he did on his two previous lead-vocal outings - "Chains" and "Do You Want to Know a Secret."
All told, "Don't Bother Me" is a solid track (this despite George's characterization of it as a "fairly crappy" and perfunctory attempt to just write something). Noteworthy details: its misleadingly chipper intro, Ringo's busy drumming, which is part of an almost Latin rhythm, and (once again) the song's overall angry mood, which puts it at odds with the rest of The Beatles' music through that point in time. By this I mean, on their previous songs, the Fabs had tackled a variety of moods and emotions: lovelorn, contented, ecstatic, yearning, and even horny. But not angry. Thus, "Don't Bother Me," like "There's a Place" for its introspection, represents an outlier in The Beatles' early oeuvre. As later songs would show, George was the right catalyst for this deviation.
Sunday, April 25, 2010
Assorted George news
- George's ten best solo songs, according to AOL Music Blog.
And here are two articles about George's good friend, renowned sitarist Ravi Shankar:
- "Ravi Shankar At 90: The Man And His Music."
- "Beatles introduced to Ravi Shankar's music at LSD party, Byrds singer reveals."
And here are two articles about George's good friend, renowned sitarist Ravi Shankar:
- "Ravi Shankar At 90: The Man And His Music."
- "Beatles introduced to Ravi Shankar's music at LSD party, Byrds singer reveals."
Saturday, April 24, 2010
Assorted Paul news
- The Zeitgeisty Report lists the ten best and ten worst bass players in rock 'n' roll history. Excerpt: "Let’s face it, Sir McCartney is the single-most influential bass player in rock & roll."
- This certainly wouldn't have happened in the U.S.
- An historical curio (h/t Steve Marinucci).
- Finally: "Stella McCartney, Taschen Celebrate Linda McCartney, the Photographer."
- This certainly wouldn't have happened in the U.S.
- An historical curio (h/t Steve Marinucci).
- Finally: "Stella McCartney, Taschen Celebrate Linda McCartney, the Photographer."
Friday, April 23, 2010
Friday haiku - "Glass Onion"
"The walrus was Paul",
reveals John on "Glass Onion",
mocking "Paul-is-dead".
reveals John on "Glass Onion",
mocking "Paul-is-dead".
Thursday, April 22, 2010
More on Paul's move to Concord
From Crawdaddy:
[Via Daily Swarm] The Wall Street Journal reported today that Paul McCartney has officially yanked his entire post-Beatles catalog out from under EMI, and bestowed global distribution rights unto independent record label Concord Music Group. Of course, CMG isn’t exactly Asthmatic Kitty, or even Merge for that matter. It’s a conglomerate of Concord Records, Fantasy Records, jazz label Telarc International and newly relaunched soul label Stax. It was CMG that partnered with Starbucks for their Hear Music label, which has already put out en EP, and LP and a double live album by McCartney. The CMG corporate umbrella ultimately covers over 20 other imprints besides.
So, really, where McCartney has gone isn’t all that interesting in and of itself. CMG handles a mighty swath of artists current and bygone, big and no-longer-big, from the Bar-Keys to Vanessa Williams, Dave Van Ronk to Elvis Costello. It’s not an inappropriate home for McCartney and his roughly 50 albums from the past 40 years. It does, however, reinforce two points that are obvious enough now that they’re barely worth repeating: EMI is going down the tubes, and the terms “indie” and “independent” are often totally meaningless in the cultural sense.
[Via Daily Swarm] The Wall Street Journal reported today that Paul McCartney has officially yanked his entire post-Beatles catalog out from under EMI, and bestowed global distribution rights unto independent record label Concord Music Group. Of course, CMG isn’t exactly Asthmatic Kitty, or even Merge for that matter. It’s a conglomerate of Concord Records, Fantasy Records, jazz label Telarc International and newly relaunched soul label Stax. It was CMG that partnered with Starbucks for their Hear Music label, which has already put out en EP, and LP and a double live album by McCartney. The CMG corporate umbrella ultimately covers over 20 other imprints besides.
So, really, where McCartney has gone isn’t all that interesting in and of itself. CMG handles a mighty swath of artists current and bygone, big and no-longer-big, from the Bar-Keys to Vanessa Williams, Dave Van Ronk to Elvis Costello. It’s not an inappropriate home for McCartney and his roughly 50 albums from the past 40 years. It does, however, reinforce two points that are obvious enough now that they’re barely worth repeating: EMI is going down the tubes, and the terms “indie” and “independent” are often totally meaningless in the cultural sense.
Wednesday, April 21, 2010
Wednesday haiku - "Dear Prudence"
"Dear" shows John's soft side:
he's extending a kind hand
to Prudence Farrow.
he's extending a kind hand
to Prudence Farrow.
Paul ditches EMI, joins Concord
The Wall Street Journal has the details.
Excerpt:
In the latest setback for EMI Group Ltd., Paul McCartney has joined a parade of well-known artists headed for the exits at the struggling global music giant, handing world-wide distribution rights for his catalog of about 50 post-Beatles albums to independent record label Concord Music Group
For EMI, the impact of the move may be more symbolic than material but nevertheless marks a challenge for a fragile company.
Sir Paul has been out of contract with EMI for newly recorded music since 2007 and released his three most recent albums through other labels, including two on Concord. But in February he regained control of the vast library of albums he released between 1970 and 2006, both as a solo artist and as the leader of the band Wings. It is that catalog that he now is yanking from EMI.
Excerpt:
In the latest setback for EMI Group Ltd., Paul McCartney has joined a parade of well-known artists headed for the exits at the struggling global music giant, handing world-wide distribution rights for his catalog of about 50 post-Beatles albums to independent record label Concord Music Group
For EMI, the impact of the move may be more symbolic than material but nevertheless marks a challenge for a fragile company.
Sir Paul has been out of contract with EMI for newly recorded music since 2007 and released his three most recent albums through other labels, including two on Concord. But in February he regained control of the vast library of albums he released between 1970 and 2006, both as a solo artist and as the leader of the band Wings. It is that catalog that he now is yanking from EMI.
Tuesday, April 20, 2010
Re: Thoughts on "All My Loving"
Here's one last nugget about "All My Loving" before I move on to "Don't Bother Me." On Wikipedia, it says: "John Lennon's rhythm guitar track uses quickly strummed triplets similar to 'Da Doo Ron Ron' by The Crystals, a song that was popular at the time" (the source of this statement is Ian MacDonald's widely revered book, Revolution in the Head). Well "Da Doo Ron Ron," produced by the Great though Disturbed Phil Spector, is a superb tune and very much merits a listen. Enjoy.
(If the video is removed, go here).
(If the video is removed, go here).
"A life in pictures"
Paul's life, that is. It's a nice collection, courtesy of the Daily Mail. I especially liked the shots of Paul with Linda and the kids. Unlike John, he was a steadfastly devoted family man.
Wednesday haiku - "Back in the U.S.S.R."
A tongue-in-cheek tune,
"Back" owes much to the Beach Boys
and Chuck Berry both.
"Back" owes much to the Beach Boys
and Chuck Berry both.
Monday, April 19, 2010
"Yellow Submarine"...
... in haiku form.
1) "Yellow Submarine"
2) "Only a Northern Song"
3) "All Together Now"
4) "Hey Bulldog"
5) "It's All Too Much"
6) "All You Need Is Love"
7) "Pepperland"
8) "Sea of Time"
9) "Sea of Holes"
10) "Sea of Monsters"
11) "March of the Meanies"
12) "Pepperland Laid Waste"
13) "Yellow Submarine in Pepperland"
1) "Yellow Submarine"
2) "Only a Northern Song"
3) "All Together Now"
4) "Hey Bulldog"
5) "It's All Too Much"
6) "All You Need Is Love"
7) "Pepperland"
8) "Sea of Time"
9) "Sea of Holes"
10) "Sea of Monsters"
11) "March of the Meanies"
12) "Pepperland Laid Waste"
13) "Yellow Submarine in Pepperland"
Monday haiku - "Yellow Submarine in Pepperland"
The Beatles bring hope
as they enter Pepperland -
music will triumph!
as they enter Pepperland -
music will triumph!
"Lennon acid discovery"
Several empty bottles were recently unearthed from the grounds of John's old house Kenwood, prompting the important question: Were these the same bottles that John once allegedly filled with acid and then buried in the hopes of kicking his drug habit? What vacuous but amusing speculation.
Editorial comment: Couldn't John have taken somewhat more aggressive steps to part ways with his LSD stash? Just burying it in his own yard seems halfhearted, no?
Excerpt:
Builders digging up the lawn of his old house, Kenwood, came across the remains of a leather holdall containing several large broken glass bottles. Legend has it that John buried a large quantity of the drug in his garden in 1967 when The Beatles declared they had given up drugs in favour of transcendental meditation.
But when the band returned from India, John decided he'd been a bit hasty and tried to dig it up - but never found it.
Editorial comment: Couldn't John have taken somewhat more aggressive steps to part ways with his LSD stash? Just burying it in his own yard seems halfhearted, no?
Excerpt:
Builders digging up the lawn of his old house, Kenwood, came across the remains of a leather holdall containing several large broken glass bottles. Legend has it that John buried a large quantity of the drug in his garden in 1967 when The Beatles declared they had given up drugs in favour of transcendental meditation.
But when the band returned from India, John decided he'd been a bit hasty and tried to dig it up - but never found it.
Sunday, April 18, 2010
Sunday haiku- "Pepperland Laid Waste"
Ending frenziedly,
"Waste" delivers on its name:
the attack has come.
"Waste" delivers on its name:
the attack has come.
Saturday, April 17, 2010
Record Store Day has arrived
As part of today's festivities, some "new" limited-edition releases from both John and The Beatles will be available.
Excerpts, respectively:
They include John Lennon Singles Bag (limited edition), (Capitol/EMI); Individually numbered Kraftpak envelope with button & string closure; custom plastic adaptor hub. 24” x 36” poster + three postcards and three 45 RPM vinyl singles with replicated original artwork. Includes such tracks as “Mother,” “Imagine,” and “Watching the Wheels.”
___________________
Forty years after their much-lamented demise, the Beatles are to release a limited edition vinyl edition of 'Paperback Writer' backed with the psychedelic classic 'Rain' in celebration of this year's Record Store Day on April 17. Presented in a vintage-style paper Parlophone house bag, the single is limited to a run of just 1,000 copies.
___________________
For more on Record Store Day, go here.
Excerpts, respectively:
They include John Lennon Singles Bag (limited edition), (Capitol/EMI); Individually numbered Kraftpak envelope with button & string closure; custom plastic adaptor hub. 24” x 36” poster + three postcards and three 45 RPM vinyl singles with replicated original artwork. Includes such tracks as “Mother,” “Imagine,” and “Watching the Wheels.”
___________________
Forty years after their much-lamented demise, the Beatles are to release a limited edition vinyl edition of 'Paperback Writer' backed with the psychedelic classic 'Rain' in celebration of this year's Record Store Day on April 17. Presented in a vintage-style paper Parlophone house bag, the single is limited to a run of just 1,000 copies.
___________________
For more on Record Store Day, go here.
Friday, April 16, 2010
Friday haiku - "March of the Meanies"
Trouble is afoot;
Pepperland is under threat;
the Blue Meanies march!
Pepperland is under threat;
the Blue Meanies march!
Thursday, April 15, 2010
Thursday haiku - "Sea of Monsters"
Like much of the score,
"Monsters" has a varied feel:
both soothing and tense.
"Monsters" has a varied feel:
both soothing and tense.
Absolution for The Beatles: "no need" for it
So says The Vatican (quite reasonably I think, considering the source) in a clarification of its recent assessment of The Beatles.
Excerpt:
The writers' perspective, which was printed on April 10 to observe the 40th anniversary of the official break-up of the band, was not intended to extend absolution “of which the four artists from Liverpool naturally did not have any need,” LOR said.
“Consonance” between the Holy See and the Beatles had already between witnessed, according to the Vatican paper, when John Lennon issued an apology in 1966 for having expressed himself in a way which may have been confusing to people.
Excerpt:
The writers' perspective, which was printed on April 10 to observe the 40th anniversary of the official break-up of the band, was not intended to extend absolution “of which the four artists from Liverpool naturally did not have any need,” LOR said.
“Consonance” between the Holy See and the Beatles had already between witnessed, according to the Vatican paper, when John Lennon issued an apology in 1966 for having expressed himself in a way which may have been confusing to people.
Wednesday, April 14, 2010
Great non-Beatles song...
... with a random Beatles reference. This entry comes from one of the more compelling, enigmatic, and influential figures to have graced the pop music scene in the last four decades. Notably, the song - and it's an outstanding song - served as a manifestation of one of the varied theatrical personae that this artist showed a penchant for taking on and then discarding. It was part of his "plastic soul" phase, which is specific to the point of exclusivity, quickly eliminating all possibilities save one - David Bowie. Only Bowie went through a "plastic soul" stage in his career, and only Bowie could have made such a classic out of "Young Americans," the title track to his 1975 album and the song that I'm referring to with the name of this post. It's also worth pointing out that, on the same album, you find both a cover of "Across the Universe" and the song "Fame," which John co-wrote with Bowie and Carlos Alomar. Make no mistake though: the luxurious "Young Americans" was and remains the main attraction.
The line: "I heard the news today/Oh boy" (which is clearly a nod to the opening line of "A Day in the Life").
The song: "Young Americans"
The line: "I heard the news today/Oh boy" (which is clearly a nod to the opening line of "A Day in the Life").
The song: "Young Americans"
Wednesday haiku - "Sea of Holes"
Danger lurks on "Holes":
it's fraught with menacing sounds
and a sense of dread.
it's fraught with menacing sounds
and a sense of dread.
Tuesday, April 13, 2010
"I think I've done my share"
Ringo blames eBay for his refusal to sign autographs.
Excerpt:
Speaking to Terry Wogan on Radio 2 yesterday, Starr said he banned autographs to stop them appearing on eBay.
"I was signing and then they were on eBay the next day. So I just decided, I think I've done my share. That's it," he explained.
Excerpt:
Speaking to Terry Wogan on Radio 2 yesterday, Starr said he banned autographs to stop them appearing on eBay.
"I was signing and then they were on eBay the next day. So I just decided, I think I've done my share. That's it," he explained.
Monday, April 12, 2010
The Catholic Church hearts The Beatles
It's been evidenced several times in recent years that Catholic dogma no longer precludes the Vatican from playing nice with and even praising The Beatles. Who really cares? The latest example of this about-face was issued over the weekend in an article on the front-page of the Vatican's official newspaper, L’Osservatore Romano. Showing that the Catholic Church's opinion of one slice of pop culture isn't as reactionary as its stance on contraception, the article says, "They (The Beatles) may not have been the best example for the youth of the day but they were by no means the worst. Their beautiful melodies changed music and continue to give pleasure.” Thanks for stating the obvious. I believe Ringo had the right response: "I think the Vatican, they've got more to talk about than the Beatles." Indeed; how could one suggest otherwise in light of the repulsive and infuriating sex abuse scandal - only the most recent - that has ensnared the Church? Indulgent though they were in many ways, The Beatles appear saintly compared to these monsters who masquerade as men of God and then use their position of authority to bring unthinkable harm to the innocent and helpless. It's obvioulsy a moral outrage. Off my soapbox.
Sunday, April 11, 2010
More on "Paul leaves the Beatles"
Over the weekend, Steve Marinucci posted the text of an interview that Paul did in 1970 in which he discussed his decision to leave the band.
Excerpt:
Q: "Did you miss the other Beatles and George Martin? Was there a moment when you thought, 'I wish Ringo were here for this break?'"
PAUL: "No."
Q: "Assuming this is a very big hit album, will you do another?"
PAUL: "Even if it isn't, I will continue to do what I want, when I want to."
Q: "Are you planning a new album or single with the Beatles?"
PAUL: "No."
Q: "Is this album a rest away from the Beatles or the start of a solo career?"
PAUL: "Time will tell. Being a solo album means it's 'the start of a solo career...' and not being done with the Beatles means it's just a rest. So it's both."
Q: "Is your break with the Beatles temporary or permanent, due to personal differences or musical ones?"
PAUL: "Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don't really know."
Q: "Do you foresee a time when Lennon-McCartney becomes an active songwriting partnership again?"
PAUL: "No."
Q: "What do you feel about John's peace effort? The Plastic Ono Band? Giving back the MBE? Yoko's influence? Yoko?"
PAUL: "I love John, and respect what he does - it doesn't really give me any pleasure."
Excerpt:
Q: "Did you miss the other Beatles and George Martin? Was there a moment when you thought, 'I wish Ringo were here for this break?'"
PAUL: "No."
Q: "Assuming this is a very big hit album, will you do another?"
PAUL: "Even if it isn't, I will continue to do what I want, when I want to."
Q: "Are you planning a new album or single with the Beatles?"
PAUL: "No."
Q: "Is this album a rest away from the Beatles or the start of a solo career?"
PAUL: "Time will tell. Being a solo album means it's 'the start of a solo career...' and not being done with the Beatles means it's just a rest. So it's both."
Q: "Is your break with the Beatles temporary or permanent, due to personal differences or musical ones?"
PAUL: "Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don't really know."
Q: "Do you foresee a time when Lennon-McCartney becomes an active songwriting partnership again?"
PAUL: "No."
Q: "What do you feel about John's peace effort? The Plastic Ono Band? Giving back the MBE? Yoko's influence? Yoko?"
PAUL: "I love John, and respect what he does - it doesn't really give me any pleasure."
Saturday, April 10, 2010
Saturday haiku - "Sea of Time"
"Time" shifts course often,
going from eerie and calm
to warm and festive.
going from eerie and calm
to warm and festive.
"Paul leaves the Beatles" and other news
- Below are two articles that ponder the events and aftermath of April 10, 1970, the day Paul announced the breakup of The Beatles:
The first, from a Christian publication called World Magazine, attributes the band's divorce to "sin." Let's consider this. Now if one is allowed to define "sin" as "human failings," then I suppose this interpretation has merit. Some of the lesser points of human nature - ego, selfishness, envy, etc. - certainly contributed to the dissolution of The Beatles. At the same time, I suspect that the author of this piece, Matt Ristuccia, is suggesting that because The Beatles were not devout Christians and because they had such easy access to many of life's indulgences, they collectively led a decadent, self-serving existence, and this fact, more than any other, was at the heart of their breakup. Ristuccia likely thinks that if The Beatles had acknowledged their "need for redemption" and accepted Jesus Christ as their Lord and Savior, then maybe their fate as a band would have been different. I don't find this convincing at all. Approaching it in Christian terms, just because one believes that Christ died and rose for humanity's sins doesn't necessarily mean that he or she will lead a highly virtuous life. Had The Beatles all converted to Christianity, it would have been no guarantee against them growing weary of one another and ultimately disbanding. Positing the opposite (or something close to it) results in an argument that ignores the particular circumstances The Beatles found themselves in at the end of the 1960s, circumstances that made their breakup rather likely.
The second asks, "Should the Beatles have worked it out?"
- Relatedly, Time analyzes the "Top 10 Band Breakups."
- Revisiting the message behind George's "Taxman" in the context of 21st Britain and its "new pro-tax political consensus."
- Famed rock 'n' roll photog Jim Marshall, "the only photographer allowed backstage at the Beatles’ last concert," has died at the age of 74.
- Here's Wired's list of the greatest pop-music concept albums, one of which, inescapably though not untouchably, is Sgt Pepper’s. Side note: I too would have given Dark Side top honors.
- Madonna has eclipsed The Fabs as the UK's most played pop-act over the last decade.
- Lastly, here's an update on EMI's situation.
The first, from a Christian publication called World Magazine, attributes the band's divorce to "sin." Let's consider this. Now if one is allowed to define "sin" as "human failings," then I suppose this interpretation has merit. Some of the lesser points of human nature - ego, selfishness, envy, etc. - certainly contributed to the dissolution of The Beatles. At the same time, I suspect that the author of this piece, Matt Ristuccia, is suggesting that because The Beatles were not devout Christians and because they had such easy access to many of life's indulgences, they collectively led a decadent, self-serving existence, and this fact, more than any other, was at the heart of their breakup. Ristuccia likely thinks that if The Beatles had acknowledged their "need for redemption" and accepted Jesus Christ as their Lord and Savior, then maybe their fate as a band would have been different. I don't find this convincing at all. Approaching it in Christian terms, just because one believes that Christ died and rose for humanity's sins doesn't necessarily mean that he or she will lead a highly virtuous life. Had The Beatles all converted to Christianity, it would have been no guarantee against them growing weary of one another and ultimately disbanding. Positing the opposite (or something close to it) results in an argument that ignores the particular circumstances The Beatles found themselves in at the end of the 1960s, circumstances that made their breakup rather likely.
The second asks, "Should the Beatles have worked it out?"
- Relatedly, Time analyzes the "Top 10 Band Breakups."
- Revisiting the message behind George's "Taxman" in the context of 21st Britain and its "new pro-tax political consensus."
- Famed rock 'n' roll photog Jim Marshall, "the only photographer allowed backstage at the Beatles’ last concert," has died at the age of 74.
- Here's Wired's list of the greatest pop-music concept albums, one of which, inescapably though not untouchably, is Sgt Pepper’s. Side note: I too would have given Dark Side top honors.
- Madonna has eclipsed The Fabs as the UK's most played pop-act over the last decade.
- Lastly, here's an update on EMI's situation.
Friday, April 9, 2010
Friday haiku - "Pepperland"
I intend to write a haiku for every song from The Beatles' official canon of albums - Please Please Me through Let It Be - along with the two Past Masters compilations. As you might have noticed, I'm proceeding in reverse chronological order. Let It Be and Abbey Road are in the bag, and I recently wrapped up side one of Yellow Submarine. Because I want to be a completist, I'm going to give the same treatment to side two, even if it mostly consists of a symphonic score done by George Martin. It's still one half of a Beatles album and shouldn't be ignored.
With that in mind....
Done by George Martin,
"Pepperland" starts the film score
that makes up side two.
With that in mind....
Done by George Martin,
"Pepperland" starts the film score
that makes up side two.
Thursday, April 8, 2010
April 8, 1963...
... was the day John's first son, John Charles Julian Lennon, was born. In honor of Julian's 47th birthday today, below is "Hey Jude," which Paul wrote in 1968 to help the young boy cope with his parents' divorce. Without question, it's a classic.
Let me add that one of my favorite small moments in The Beatles' body of work comes at the 2:41 mark of this song, when John or George (or perhaps both) does a spot harmony on the line, "Don't make it bad." I've always really enjoyed how the vocal just eases in next to Paul's. It's subtle and affecting.
(If the video is removed, go here).
Let me add that one of my favorite small moments in The Beatles' body of work comes at the 2:41 mark of this song, when John or George (or perhaps both) does a spot harmony on the line, "Don't make it bad." I've always really enjoyed how the vocal just eases in next to Paul's. It's subtle and affecting.
(If the video is removed, go here).
Wednesday, April 7, 2010
"American Idol" does The Beatles
Here's Rolling Stone's wrap-up of last night's episode which showed the remaining nine contestants trying their hands at the Lennon-McCartney oeuvre.
Excerpt:
Last night’s episode lacked an innovative, stand-out performance, but it did feature a few words of encouragement from Sir Paul, who’s currently showing everyone how it’s done on an incredible solo tour: “I just want to say get out there, go for it, enjoy yourselves!” Everyone did get out there — even a didgeridoo player and bagpiper hit the stage.
Excerpt:
Last night’s episode lacked an innovative, stand-out performance, but it did feature a few words of encouragement from Sir Paul, who’s currently showing everyone how it’s done on an incredible solo tour: “I just want to say get out there, go for it, enjoy yourselves!” Everyone did get out there — even a didgeridoo player and bagpiper hit the stage.
Wednesday haiku - "All You Need Is Love"
Performed on Our World,
"Love" is a simple anthem
with a lofty aim.
"Love" is a simple anthem
with a lofty aim.
Thoughts on "All My Loving"
When I listen to "All My Loving," I hear Paul pushing back against the predominance of John's darker, more anxious songs. It's as if the ambiguous and somewhat overcast mood engendered by the preceding pair of tracks on With The Beatles - "It Won't Be Long" and "All I've Got to Do," both of which were John's - was too much for Paul and convinced him that John Lennon and all his heavy songs needed to be countered. For despite being about a couple's impending physical separation, "All My Loving" is warm and buoyant, filled with affection and promises of fidelity ("Close your eyes and I'll kiss you/Tomorrow I'll miss you/Remember I'll always be true"). It's very much a Paul song, possibly his most engaging through that early stage of his career. Had it been helmed by John, who was more prolific at the time and wrote songs fraught with tension, it would have likely had a much different feel and mood.
This shouldn't be surprising, of course: it was evident from the start of their union that John and Paul didn't share the same temperament and sensibilities. Far from it (that they underwent such divergent reactions to the premature passing of their mothers is instructive). On Please Please Me, for instance, there's a firm contrast between the likes of the title track and "There's a Place" - songs principally written by John - and some of Paul's numbers like "I Saw Her Standing There" and "P.S. I Love You." Frustrated vs. elated; introspective vs. forthcoming.
The pattern continues through With The Beatles, which features "All My Loving" as its third track. As I mentioned above, both of the two preceding entries on the album - "It Won't Be Long" and "All I've Got to Do" - came from John, and both of them have ostensibly positive outcomes and try to remain emotionally upbeat in getting there, but they each end up sounding desperate and uncertain instead. This is especially true of "All I've Got to Do," which emits hardly a negative vibe through its lyric. The music that those words are couched in, though, speaks a very different language, one that's tense and much better suited to John's dusky nature.
What Paul accomplishes, then, with the cheery "All My Loving" is a commanding, even if temporary, shift in the feel of With The Beatles. From uneasy and ambiguous to optimistic and youthfully earnest; from John to Paul.
More generally, Paul is asserting himself - his emotions, his personality, his writing style - against what was then John's relative control of the band. And to that end, he strikes a solid blow. "All My Loving" is a terrific song: sonically busy but efficient, sweet, and welcoming. It opens in bracing fashion, and most of its details, like George's country/western-style guitar solo, provide interesting touches. It's curious that it wasn't released as a single in the UK; it definitely has the goods.
Other quick notes: "All My Loving" was inspired by Jane Asher; it represents a rare instance when Paul wrote a song's lyric before the music; it hit #1 on the charts in Australia, Canada, Finland, and Sweden; and it was The Beatles' opening song for their historic appearance on The Ed Sullivan Show in February of 1964.
This shouldn't be surprising, of course: it was evident from the start of their union that John and Paul didn't share the same temperament and sensibilities. Far from it (that they underwent such divergent reactions to the premature passing of their mothers is instructive). On Please Please Me, for instance, there's a firm contrast between the likes of the title track and "There's a Place" - songs principally written by John - and some of Paul's numbers like "I Saw Her Standing There" and "P.S. I Love You." Frustrated vs. elated; introspective vs. forthcoming.
The pattern continues through With The Beatles, which features "All My Loving" as its third track. As I mentioned above, both of the two preceding entries on the album - "It Won't Be Long" and "All I've Got to Do" - came from John, and both of them have ostensibly positive outcomes and try to remain emotionally upbeat in getting there, but they each end up sounding desperate and uncertain instead. This is especially true of "All I've Got to Do," which emits hardly a negative vibe through its lyric. The music that those words are couched in, though, speaks a very different language, one that's tense and much better suited to John's dusky nature.
What Paul accomplishes, then, with the cheery "All My Loving" is a commanding, even if temporary, shift in the feel of With The Beatles. From uneasy and ambiguous to optimistic and youthfully earnest; from John to Paul.
More generally, Paul is asserting himself - his emotions, his personality, his writing style - against what was then John's relative control of the band. And to that end, he strikes a solid blow. "All My Loving" is a terrific song: sonically busy but efficient, sweet, and welcoming. It opens in bracing fashion, and most of its details, like George's country/western-style guitar solo, provide interesting touches. It's curious that it wasn't released as a single in the UK; it definitely has the goods.
Other quick notes: "All My Loving" was inspired by Jane Asher; it represents a rare instance when Paul wrote a song's lyric before the music; it hit #1 on the charts in Australia, Canada, Finland, and Sweden; and it was The Beatles' opening song for their historic appearance on The Ed Sullivan Show in February of 1964.
Tuesday, April 6, 2010
Assorted Paul news
- Paul's five worst songs, his "Five Songs Sillier Than 'Silly Love Songs,'" his top ten solo albums, and his "Top 10 Surprisingly Hip...Projects of the Last 10 Years."
- A review of Paul's second night at the Hollywood Bowl.
- Despite reports to the contrary, Paul's current tour will not be his last.
- "Peterhead...scene of a truly electric performance by Sir Paul."
- An air quality expert argues against the usefulness of "Meat Free Mondays."
- Finally, Heather Mills vs her ex-nanny.
- A review of Paul's second night at the Hollywood Bowl.
- Despite reports to the contrary, Paul's current tour will not be his last.
- "Peterhead...scene of a truly electric performance by Sir Paul."
- An air quality expert argues against the usefulness of "Meat Free Mondays."
- Finally, Heather Mills vs her ex-nanny.
Monday, April 5, 2010
Assorted John news
- From October 9th to December 9th, Liverpool will be celebrating John's legacy with a "festival of art, music, film and poetry."
- AOL Radio Blog's "Top 10 John Lennon Songs."
- On May 10th, the DVD and Blu-ray of Nowhere Boy will be released in the UK. The movie is also slated to open the Nashville Film Festival later this month.
- Deets about Lennon Naked and John Lennon: Rare and Unseen.
- Here in the U.S. on April 17th, Capitol/EMI will reissue three of John's singles - "Mother," "Imagine," and "Watching the Wheels" - in 45 RPM vinyl form to support Record Store Day.
- The Village Voice recently republished its withering review of Richard Lester's 1967 black comedy, How I Won the War, which starred John as Musketeer Gripweed.
- Finally, author Jude Kessler is planning a 9-part biography of John. The first installment, Shoulda Been There, has already been released, and the second will be available in October.
- AOL Radio Blog's "Top 10 John Lennon Songs."
- On May 10th, the DVD and Blu-ray of Nowhere Boy will be released in the UK. The movie is also slated to open the Nashville Film Festival later this month.
- Deets about Lennon Naked and John Lennon: Rare and Unseen.
- Here in the U.S. on April 17th, Capitol/EMI will reissue three of John's singles - "Mother," "Imagine," and "Watching the Wheels" - in 45 RPM vinyl form to support Record Store Day.
- The Village Voice recently republished its withering review of Richard Lester's 1967 black comedy, How I Won the War, which starred John as Musketeer Gripweed.
- Finally, author Jude Kessler is planning a 9-part biography of John. The first installment, Shoulda Been There, has already been released, and the second will be available in October.
Sunday, April 4, 2010
Paul in Miami (4/3)
Jim Abbott of the Orlando Sentinel offers his take on the show at Miami's Sun Life Stadium.
Excerpt:
He reminisced about his first trip to Miami, to perform with the Fab Four on the Ed Sullivan show. "It was like paradise," he said. "We were kids from Liverpool and we'd never seen anything like it. And it's still cool."
Also still cool: That timeless Beatles music, performed by the one guy on the planet most qualified to do it. (Sorry, Ringo.) For the record, McCartney still sounds terrific, with a voice nimble enough to turn on a dime from raucous to honey sweet in a set that hit all the obvious targets ("Let It Be," "The Long and Winding Road," "Hey Jude," "Get Back," "Yesterday") as well as a few surprises.
Excerpt:
He reminisced about his first trip to Miami, to perform with the Fab Four on the Ed Sullivan show. "It was like paradise," he said. "We were kids from Liverpool and we'd never seen anything like it. And it's still cool."
Also still cool: That timeless Beatles music, performed by the one guy on the planet most qualified to do it. (Sorry, Ringo.) For the record, McCartney still sounds terrific, with a voice nimble enough to turn on a dime from raucous to honey sweet in a set that hit all the obvious targets ("Let It Be," "The Long and Winding Road," "Hey Jude," "Get Back," "Yesterday") as well as a few surprises.
Saturday, April 3, 2010
Friday, April 2, 2010
Friday haiku - "It's All Too Much"
When George makes the claim,
"All the world's a birthday cake",
there's acid at work.
"All the world's a birthday cake",
there's acid at work.
Beatles/LCD/Kinks mash-up
Mashing up two songs is challenging in and of itself. But to successfully add a third requires a gifted touch. Just thinking of a trio of tracks that might blend together with some coherence would seem difficult. Then there's the actual execution.
Entitled "The Brits Are Playing at My House," this Beatles-related mash-up combines The Fabs' "Get Back," LCD Soundsystem's "Daft Punk Is Playing at My House," and The Kinks' "You Really Got Me" - three terrific songs - into one busy, propulsive, and exciting collage of sound.
It's clearly no amateur job. The editing is very precise, the sense of timing deft, and the selection of tracks inspired.
Furthermore, a problem that often plagues these mash-ups is that, early in the proceedings, they show their hand, i.e., they demonstrate the trick of how the songs will interact with one another, and then quickly become repetitive and much less interesting. Working against this pitfall, "The Brits Are Playing at My House" is short (just 2:34), meaning it doesn't stay around long enough to stumble into the trap of repetition. Second, by bringing in "You Really Got Me" roughly halfway through the running time, the song stays fresh and dynamic.
Overall, it's a fun romp.
Entitled "The Brits Are Playing at My House," this Beatles-related mash-up combines The Fabs' "Get Back," LCD Soundsystem's "Daft Punk Is Playing at My House," and The Kinks' "You Really Got Me" - three terrific songs - into one busy, propulsive, and exciting collage of sound.
It's clearly no amateur job. The editing is very precise, the sense of timing deft, and the selection of tracks inspired.
Furthermore, a problem that often plagues these mash-ups is that, early in the proceedings, they show their hand, i.e., they demonstrate the trick of how the songs will interact with one another, and then quickly become repetitive and much less interesting. Working against this pitfall, "The Brits Are Playing at My House" is short (just 2:34), meaning it doesn't stay around long enough to stumble into the trap of repetition. Second, by bringing in "You Really Got Me" roughly halfway through the running time, the song stays fresh and dynamic.
Overall, it's a fun romp.
Thursday, April 1, 2010
Assorted George/Ringo news
George:
- I haven't encountered much news of late concerning Martin Scorsese's documentary about George, but this blog post from The Playlist claims that it's due to be finished in May.
- Image Entertainment now owns the rights to 30-plus movies from the library of HandMade Films, a "British film production and distribution company" started by Denis O'Brien and George in 1978 to finance Monty Python's Life of Brian.
- Jeff Lynne reminisces about The Traveling Wilburys. Money quote: "What didn't come across in the music was a sense of awe. I see Roy Oribson (sic) across the mic, and I go, 'This is really happening....'"
Ringo:
- Here are the full details of Ringo's summer tour.
- Ringo provided his services to Ben Harper on one song from Relentless7's forthcoming album, Give Till It's Gone.
- Finally, AOL Radio Blog's "10 Best Ringo Starr Songs."
- I haven't encountered much news of late concerning Martin Scorsese's documentary about George, but this blog post from The Playlist claims that it's due to be finished in May.
- Image Entertainment now owns the rights to 30-plus movies from the library of HandMade Films, a "British film production and distribution company" started by Denis O'Brien and George in 1978 to finance Monty Python's Life of Brian.
- Jeff Lynne reminisces about The Traveling Wilburys. Money quote: "What didn't come across in the music was a sense of awe. I see Roy Oribson (sic) across the mic, and I go, 'This is really happening....'"
Ringo:
- Here are the full details of Ringo's summer tour.
- Ringo provided his services to Ben Harper on one song from Relentless7's forthcoming album, Give Till It's Gone.
- Finally, AOL Radio Blog's "10 Best Ringo Starr Songs."
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