Beatle George – the influence of a leg end

I grew up in the Beatle Era. The Beatles invaded America when I was four, five years old. One of my earliest memories is of, standing on the lawn of the family home at 6728 Mineral Drive, in what is now San Carlos, California and hearing the sparkling guitars and soaring vocal harmonies of a new Beatles track called “Nowhere Man”. I’ve never been able to forget that moment, because from then on, the Beatles were “my band”.

I wanted to be George Harrison; I wanted a guitar for my ninth birthday, and, I got one. But I didn’t end up learning to play one properly until a bit later, when I was 12, 13 years old, and there were all these amazing new groups and albums like “Led Zeppelin II” or “No Time” by “The Guess Who”, so much amazing music to explore…

But I never ever got over my initial love for the music of the Beatles,and it really was, for me, the sound of the guitars that reeled me in, that caught my ears and my attention…in particular, the sound of George Harrison, who played a really magical role that was called “lead guitar”. The guy who had to be serious, had to play the most difficult parts live.  For several years, I only had albums by The Beatles…I mean, you don’t really need anything else, do you?
I wanted to be that guy, I really did want to be George – and later on, as George grew as a songwriter, turning out amazing tunes like his trio of songs from the “revolver” album:

Taxman

Love You To

I Want To Tell You

…surely, three of the most amazing “pop songs” ever written or recorded, sheer Harrison genius – nobody saw it coming, we all figured, Lennon and McCartney, those are the two guys to watch in this band, those are the writers….well, yes, but really, all four of the Beatles were the writers, and even Ringo wrote some great tunes…but for me, it’s always been all about George, those odd B-sides like the astonishing “Old Brown Shoe” or the seriously beautiful “The Inner Light”…where do songs that unique, that incredible, COME from?

The imagination of one man, Beatle George. The mind that brought us the wit of “Piggies” and the warning of “Savoy Truffle” but then there was his lead guitar playing too, not just on his own songs, but on many of those Lennon andMcCartney songs, too. A new kind of lead guitar, razor sharp fuzz tones, detuned guitars (think of the lead solo in “Fixing A Hole” from Sgt. Pepper) when you heard it, you knew it was George. A simply brilliant guitar tone, and a beautiful, concise style.

As the years progressed, George got into playing slide guitar, and very very quickly, developed a trademark slide guitar “tone” (think of the slide guitars on John Lennon’s “How Do You Sleep?” from the “Imagine” album) some of George’s finest slide work…you should hear the out takes from that session, too, on the Lennon box set…amazing slide guitar. But the special tone George got for his slide parts, which really only reached full maturity by the time of his second solo studio album, “Living In The Material World”, which, by the way, is an amazing collection of truly beautiful songs…you owe it to yourself to hear this record if you haven’t done so, so far…its quietly brilliant.

George was always economical with his guitar playing, he never over played, and it was that economy, which at first, was an enforced economy, it was Beatle-driven, here’s your eight bars George, go for it – so George learned to play well in a very small piece of allotted “solo” time. As time progressed, George did play some nice, longer solos, but that economy was always present, he always reigned himself in and never got boring or predictable.

You never knew what you were going to get with George, and his own songs were a mystery even to the other Beatles, who would bemusedly play on, say, 102 takes of a song like “Not Guilty” without complaint, as George continued the search for that elusive ‘perfect take’, and if it took 102 takes then that’s what it takes.

In some cases, no Beatles version was considered “good enough”, so we simply waited, and eventually we did get to hear the properly recorded version of the song “All Things Must Pass” – on a George Harrison record, not on a Beatles album. The same held true for “Not Guilty” where we had to wait even longer for George’s “perfected” version – again, on a George Harrison album, not on a Beatles album.
If you happened to own or know where to borrow the right Beatle bootlegs, then you might have at least heard the Beatles’ versions of “All Things Must Pass” and “Not Guilty” but most people had to wait until George put out the definitive editions of those songs.

 

I never minded waiting, although I do remember being very impatient to get George’s first solo album, the three LP “All Things Must Pass” and I first heard it in Uganda, in the home of some Peace Corp workers who had the brand new pre-recorded cassette version of the album, so that was very exciting, and then I got to hear it in Amsterdam, too, in a massive record store, complete with 60s erotic posters (“wow” was all I could say) – where I had to motion to the bored Dutch girl to turn the record over again, please…five times, because I didn’t know a single word of Dutch.

I finally purchased my own copy, in the Netherlands, and took it back to the USA with me, where I played it endlessly. The only record that excited me more than ATMP was the forthcoming “Concert For Bangladesh” which was another one I just couldn’t wait for, the idea was fantastic, half the Beatles plus Clapton and even the reclusive Bob Dylan…here were another six sides of amazing music, but amazingly, over time, it is Side One that stands the test of time the best, with Ravi Shankar on sitar, and the amazing Ali Akbar Khan on sarod, Alla Rakah on tabla…their piece of Bangladeshi folk music, “Bangla Dhun” just absolutely blows me away. These performers are at the top of their skill level, and are playing with speed, accuracy, and sheer musical joy….its amazing to see it in the film version, it truly is the best part of the concert!

That performance opened up my fourteen year old eyes to the sheer beauty of Indian melody and music, and I followed the careers of Shankar and Khan until the present day. Each the master of their instrument, I had George Harrison to thank for bringing that music into my life. And years later, that led me to a house concert at Ravi Shankar’s house in Encinitas, California, where I sat on the floor and listened to Ravi’s daughter play with the remarkable Bikram Ghosh on tabla…a remarkable “house concert” that I will never forget.

I was lucky enough too, to see Ravi and Anoushka performing live in more standard music venues, too and their music has always blessed my ears with its beauty.

So the influence of George Harrison changed me as a person, so much, that I went from being a fan of pop and rock, to being one who also loves the sarod, and loves listening to the master of the sarod, Ali Akbar Khan, play the sarod. Sure, it started on TV, watching the famous Ed Sullivan show where the Beatles performed, and seeing how serious George was, playing his lead guitar lines so carefully and so perfectly, and taking his concise eight bar solo so carefully, too…

Then it was the movie “A Hard Day’s Night” watching George playing his intensely cool guitar parts on film, trying to analyse what he was playing, on something like “You’re Going To Lose That Girl” trying to understand what he was doing with his guitar parts and then, that mad solo…amazing stuff. All the while, singing his harmony vocal parts as if they were easy, as if the guitar part was easy, he made it look easy!

And then there was that tender rendition of “And I Love Her” the first great Beatle love song, and that was my first exposure to nylon string classical guitar, and George worked it out and played the lead parts beautifully in that tune…really simple, yes, but really effective and quite beautiful when you are a young George-guitarist-wannabe like I was…I thought that performance was incredible, and really beautiful…and a lot of that is down to how George handles the nylon guitar part.

That inspired me directly, seeing George play on TV and in films, and hearing him on record, too, on vinyl, was a true inspiration for a budding teenage guitarist such as myself. But later,by presenting the music of Ravi Shankar and friends to the Western world, that opened me up to an entire new universe of music. Thousands of years old oral traditions, of the sitar and the ragas, or rags, that Shankar learned from his teacher, that stretched.back in time, an amazing musical heritage and proud tradition…brought to me by Beatle George.

He really was The Quiet Renaissance Man of the Beatles, later, he brought an entire Indian orchestra into the studio to record “Within You Without You” in 1967…and in 1974, at the Los Angeles Forum, I saw a different Indian orchestra perform, led by Ravi Shankar, the opening act for the first of just two solo tours undertaken by George, live in 1974, playing brilliantly but with a hoarse voice…and again, in less stressful times, 1991 in Japan with his old friend Eric Clapton.

I feel so privileged that I got to see George play, and his guitar playing was awesome, including some of that amazing slide (in the first song, no less) and it was a night I’ve never forgotten. In fact, over time, I managed to see three of the four Beatles perform live…so I am very fortunate indeed. Only Lennon eluded me, but three out of four is not bad at all. At that 1974 Forum gig, George even played his specially modified version of Lennon’s “In My Life” and that was really cool.

George Harrison, the guitarist, was a huge inspiration to me as a kid, and I absolutely took up the guitar because of him, and the rest of the Beatles too. When I was a kid growing up, the Beatles were our heroes, and they raised the bar so high, that soon they became the benchmark to judge new groups by: “they’re OK, but they are not as good as the Beatles” – I don’t know how many times I said that about groups, or if a group was good, you’d say they were “almost as good as the Beatles”…it was the benchmark by which all other groups were measured, for years after the Beatles themselves broke up…we still judged new bends against their music….

Sure, in time, as I grew older, there came guitarists with more technical skill than George, but most of those players, probably looked up to the Beatles in the same way I did. OK, George was no Steve Howe or Robert Fripp, but, George did write “Something” and “While My Guitar Gently Weeps” and “Taxman” and “If I Needed Someone” and “The Inner Light” and “My Sweet Lord” and “Within You Without You” and “Here Comes The Sun” and…

I could go on, but you get it, I’m sure. George didn’t need to play like the proggers, because the proggers built their music on the back of the Beatles and atop the pop music from the end of the 60s, and George’s guitar playing was what it needed to be to realise those songs.

And that includes the whole of “All Things Must Pass” including the remarkable “Apple Jam” where we do get a hint of George’s guitar prowess, holding his own even against Clapton, and sounding amazing across the entire Beatles catalogue, from the very beginning, and on through his 1970 masterpiece, “All Things Must Pass” as well and also on  “Living In The Material World” – and occasionally on his later records.

Some of his best guitar work can be found on his 1971 solo album, “Living In The Material World” – especially “that slide” sound; but it cropped up whenever it was needed…on Lennon’s “How Do You Sleep?”, on the 74 and 91 tours…not to mention his standard soloing, on “Apple Jam”, on “Something”, where he famously asked to record the solo along with the live strings overdub, to get a more “live” feel for the solo – and of course, that was the take – the keeper. And what a beauty it is, too.

There are so many specific examples of great Harrison guitars, that I could just keep listing them, but instead, you should just listen…and you will hear them. I certainly did.

What I would give to be able to write a song like “The inner Life”. Or “Something”.  Or maybe one that is half as good :-).

Yes, I’d settle for that, thanks.

We miss you, George.

 

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the apple years vol. 1- 1968 – 1975 – george harrison

…being for the benefit, being rather, a review of a beautiful box set, one of two, of the remastered and expanded works of the man who started it all for “Dave from pureambient”, before Fripp & Eno, before Led Zeppelin, before Jimi Hendrix, before King Crimson – there was George Harrison – and his career after he left the Beatles was in some ways, his best work – as this beautiful new six CD set demonstrates.  George was my favourite Beatle, George was the serious one, the one who played the most magical of the guitar parts, the one who brought Indian Music to the world – George really rocked my world, from the time I was nine years old, in 1967 to the present, a long time – one of the very best slide players who ever lived, with the sweetest slide guitar tone – and, a tone that was instantly, recognisably “George” – and these first few solos albums really let George soar musically – from his amazing Beatlesque vocal arrangements on the third and fourth solo albums, which also introduced us to his increased skill with the bottleneck slide; to his live performances in 1974 and 1992…to the man who created the first ever benefit concert in the form of 1971’s “The Concert For Bangladesh” – strangely, not included in this box set.

George was often mis-nicknamed as “the quiet Beatle” – but in 1970, as he started his career away from The Beatles – he was anything but quiet:

1970 – releases first ever triple album set (by any solo artist) – “All Things Must Pass” – sells millions worldwide, spending 7 weeks as the number 1 album – however, as of 2011, it has outsold both Lennon’s “Imagine” (which George also played slide guitar on in 1971) and McCartney & Wings “Band On The Run” combined – and is the most successful album ever released by an ex-Beatle – and, is the 36th best-selling album of the 1970s !!

1970-1971 – “My Sweet Lord” tops the charts – sells millions worldwide biggest selling single of 1971 in the UK, it was the first No. 1 single by an ex-Beatle – 5 million copies sold by 1978, by 2010, over 10 million copies sold!  That is simply astonishing.

1971 -1972 “The Concert For Bangladesh” – the prototype of the modern-day “benefit concert” is released on another triple album, this time, the live music soundtrack and accompanying film that enjoyed a long theatrical release as well.

1973 – releases the remarkable, acoustic guitar and slide guitar-heavy “Living In The Material World” – and this was when we realised just how good George was getting on slide – a remarkable fourth studio album, and, along with “All Things Must Pass”, of course, it was the record that made me sit up and say, “I thought George was good when he was in the Beatles…but just listen to him NOW!”. Shiver-inducing slide guitar – sheer beauty…not to mention that voice…

But this is where it all started, in India, with an unusual soundtrack album…

 

Disc 1 – Wonderwall Music (November 1968) – re-mastered version

This under-rated, under-reported album, has the distinction of being the first Beatles solo album, by George, released in 1968, made while the Beatles were still ongoing.  George had been approached about doing a soundtrack for this rather odd film “Wonderwall”, starring Jane Birkin, Jack MacGowran and Iain Quarrier, and he agreed – a lot of it was recorded in India, because this was at the time that George was exploring Indian music heavily, so, since that was what he was listening to, and the film was vaguely psychedelic in nature, too – he used a lot of Indian music, with a few remarkable “western” songs thrown in for good measure.  George is said to have wanted it to be an introduction to Indian music, and to that end, the first recordings for the album were a series of ragas recorded at EMI Bombay in early 1968.  The “ordinary” western songs, were recorded later in London, and one track, which featured vocals, was unearthed when George was hunting down the master tapes to give to producer Joe Massot, for the remastering of the film in 1998, the track was “In The First Place” by the “Remo Four”.  It is believed that Harrison actually sang and played on the track, but insisted that he only wanted a credit for production – Massot was happy to include the track, which George had originally held back because he believed that Massot only wanted instrumental music.  So this lost vocal track, “In The First Place”, finally saw it’s release in 1999, some thirty one years after it probably originally should have!

“Ski-ing” remains my favourite of the non-Indian music tracks; it features some wonderful reverse sounds, and an amazing but simple guitar riff that I love to play, with fabulous harmonies, over a wonderful raga / drone – and, one of my beloved reverse guitar solos at the end – it’s fantastic!  it’s just one of those riffs that gets stuck in your head – and the album is worth the price of admission for that song alone.  There are one or two Indian songs that I truly love, like the track immediately following “Ski-ing”, which is called “Gat Kirwani” – a fast gat that is 1:15 of pure sitar magic…and one or two tracks, of either variety – that are irritating to the point of – irritation.  But I never skip tracks, I enjoy the whole record, and I love to listen to this whenever the mood strikes me – it’s a great little record, given that it’s a soundtrack, given that George wouldn’t have had much time to make it – I think he did a great job.

But it’s a journey everyone should take – you have to remember, that George was still a very young man, and writing film music was a new process for him – and this is very much, music for a film, rather than a collection of “songs” from a solo Beatle – there are really no “songs” of any description, the album is basically instrumental, and it’s just about as strange as the film that it’s the soundtrack for – quite odd – but, over time, it has really grown on me, and in some ways, it’s one of my favourite records of the late sixties, because it’s George, sure, but just because it captures a mood and a time in a perfect snapshot, this album screams “it is 1968” and it’s heavy Indian influence is undeniable – and very trendy at the time, perfect for a trendy, oddball film.

I recommend this album highly, and of course, I never, ever expected to own a re-mastered version of it, so that is a huge, huge bonus, and it’s a wonderful addition to the box set and to the collection of any George Harrison fan.

 

Disc 2 – Electronic Sound (May 1969) – re-mastered version

From the quickly-defunct “Zapple” label, which was meant to house experimental music – well, that’s what this is.  George was one of the earliest adopters of the Giant Moog Synthesizer, which can be heard on [later] Beatles’ tracks such as “Maxwell’s Silver Hammer”, and “Here Comes The Sun” – the instrument was very new, this was one of the first “production” synths that ordinary people could actually buy – so George got one.  Two long improvs. “Under The Mersey Wall”, and “No Time Or Space”, of not-unpleasant synth noise, again, nothing spectacular, but you should absolutely hear it once – a strange curiosity from the short-lived Zapple label – and, I believe, the second Beatle solo album – George absolutely had cornered the market on solo albums well before any of the other Beatles caught on. Even stranger, the presence of these two early records, means that the classic “first” George solo album, “All Things Must Pass” – is actually his third solo album !

That said, of all of George’s earliest works, this is probably the least accessible – but, if you are not faint of heart, you really should give it a go – I was pleasantly surprised.  It’s not a million miles away from some of the synth warblings that we got later on by bands like Tangerine Dream or Kraftwerk – it mostly sounds like sound effects, like someone showing off what a “synthesizer” is capable of.   I’ve heard other synth records that are far more annoying than this one, and some of it is quite pleasant given how new synth technology was at the time it was made – not unpleasant at all.  Certainly worth a listen when the mood strikes you…

 

 

Disc 3 – All Things Must Pass (November 1970) – re-mastered, expanded version

The first ever triple record set, this album sold in the millions, and it did better than both McCartney & Wings’ “Band On The Run” and Lennon’s “Imagine” combined – in retrospect – it outsold them both!  People WANTED to hear what George wanted to sing about.  I first heard it in the home of two Peace Corps volunteers at their home in Eastern Uganda, in 1970, they had just been to visit the States, and they had brought back the cassette version of “All Things Must Pass” with them – hot off the press.  Since I hadn’t heard it yet (I knew it was out, but I didn’t own it – you couldn’t buy it in Uganda) I spent almost my entire time there, one day and one night, listening to this amazing, magical record – on cassette, no less – and I have never forgotten that day.  I then had to wait many months, until we were travelling home from Uganda (where I lived at the time, with my parents) to the States, to purchase my own copy, from a very cool record store in Amsterdam.  So I did eventually get my copy, at long last…and at long last, I could enjoy it any time I wanted to, and luxuriate in these amazing, personal, heartfelt songs from the mind of George Harrison.

From that gorgeous, soft-guitars opening on the Dylan ballad “I’d Have You Anytime” to the power of Eric Clapton’s solo on the amazing “Wah-Wah” – a song with one of the best riffs of all time, a classic E major riff, that is not particularly easy to play – what an amazing riff to base a song around!  To the beautiful, multi-layered first version of “Isn’t It A Pity” – the opening side of “All Things Must Pass” (I mean vinyl album side, of course) is one of the most familiar pieces of music in the universe to me.  As the newly-re-mastered album rolls along, I am hearing my old friends, with new sounds – and it’s a revelatory experience, and one I highly recommend – as the “main meal” of the box set, having yet another version of “All Things Must Pass” does not bother me in the slightest!  It’s fast becoming my favourite version…

Also on that first vinyl side, was a little song that took the world by storm, the thinly veiled religious anthem “My Sweet Lord” which was a huge-selling single for George, and an incredibly popular song, with its “all religions together” approach to finding God – moving serenely from singing “Hallelujah” to “Hare Krishna” as the background vocals began to name all sorts of deities that mostly, you had never heard of, this song was a truly inspired and truly inspiring acoustic guitar-led ballad of the day – featuring gorgeous “twin” harmony slide guitars (that “trademark” George Harrison slide sound – unforgettable) and fantastic ever-changing background vocals, “My Sweet Lord” – whether you like it or not – you probably know it anyway 🙂  A real beauty…

But there are many, many other less-well known musical gems, hidden in different corners of this record…who knew, for example, what a complex, multi-layered, and beautiful musical construction, a song like “What Is Life?”, actually is??  The re-mastering brings out a lot of small touches in both performance and production that I’ve not noticed before, and this is the album I have probably played more times than any other in my entire collection – and, hearing this new, re-mastered “What Is Life?” is a sonic revelation, for example, while I had heard the strummed acoustic guitars clearly, I did not realise that there were ALSO picked acoustic guitars playing along quietly – I’d NEVER heard them before!

I’d heard the string arrangement, but never realised the hard left panning to some of it before, by Phil Spector, and that “wall of sound” was not so heavily applied to this song, and really – I mean, you can really, really hear everything in this new, excellent mix; including so many multiple harmony vocals from George, I don’t know if anyone else has realised this, but George was drawing directly on his experience of being “voice 3” in the Lennon-McCartney-Harrison Harmony Machine, so when it came time to lay down the vocals on tracks for “All Things Must Pass”, when it was for a big chorus like the one in this song – the layers of harmony, are built up just like tracks from “Abbey Road” and every other Beatles track prior to it – and don’t forget, in 1970, “Abbey Road” was only a year in the near past, so the experience of laying down melody and harmony vocal tracks, in the style of the Beatles, for God’s sake – was fresh in his mind.

So if you listen to something like “The Making Of All Things Must Pass”, you can actually hear this layering process – for example, that record contains several different reductions and partial mixes of “Apple Scruffs”, and you can hear George adding in his lead vocal, his “George” harmony, his “John” harmony, and his “Paul” harmony – and sometimes, there are multiples, double tracks for every part, so instead of three-part, it becomes six-part harmony or more – and if you do listen carefully to this re-master, you can hear the fully developed, finished products, mixed by the remarkable Phil Spector – the vocals of “Apple Scruffs” absolutely shine here, but that is literally because, George was just following the Beatles vocal process, but using his own voice for all of the parts – and that is absolutely amazing to think about – he was literally, besides George Martin, the only person in the entire WORLD who totally knew and understood this vocal “process” – but why not – he had paid his dues, he had started out poor and unloved, in Hamburg, the youngest and most teased of the Beatles, and worked his way up into the biggest band in the world – and he took what he learned, and applied it in his own life – on his first, and best, solo album – “best”, not because what followed was not as good, but because never again, did he amass such an amazing group of players, to play such an amazing group of songs, nor did he ever take the time again, to layer the Beatles-style vocals – sometimes, but never to the degree, never to the quality of what he accomplished on “All Things Must Pass” – which in some ways, is more “Beatle-y” than some Beatles albums – I’d much rather hear “All Things Must Pass” than “Let It Be” for example!

And Phil Spector, for all of his giant reverbs and overwrought string parts, and strident horn parts, did a great job of capturing those layered Beatle harmonies – maybe not quite to the spec that George Martin, and the Lennon-McCartney-Harrison Harmony Machine did – there will never, ever be another “Because” – but, a close second, and there are other example of amazing, multi-layered vocals a la Beatles – “Apples Scruffs” being one of my absolute favourites, where the harmonies really make the chorus, and George, in that case, and to a lesser extent in “What Is Life?” is hitting those high notes, doing the “Paul” part of the vocal – with no problem – it’s flawless, it’s perfect, and what could be better than the dreamy, note-drifting harmonies in the chorus of “Apple Scruffs”?  Not much, if you ask me.  What a fantastic song, and a song for the fans, for the fans that George saw every day at Apple Studios.

It’s a “famous fact” that the songs on “All Things Must Pass” were borne of George’s frustration at never getting his songs released on Beatles albums, he would get one, or two tracks at most, three in one rare case (on Revolver) and the rest, would go back onto the reject pile, in some cases, as in the title track of this album, “All Things Must Pass”, multiple times – it’s still odd for me to realise that the Beatles ran through, rehearsed, and learned this song – and then rejected it.  George’s gain, the Beatles’ loss, I reckon. [Famously, one George Harrison song, “Not Guilty”, was recorded over 100 times by the Beatles – and was STILL never released – it was finally released years later on a Harrison solo album].

But regarding this “famous fact” of this alleged “musical constipation”; OK, there is perhaps, some truth to that, in any event – this is George, saying to the whole world “I wrote a LOT of songs, and HERE THEY ARE” – but also, these songs are George still at the height of his writing powers, coming off the back of tracks like “Something”, “I Me Mine”, “Piggies”, “Long, Long, Long”, “Love You To”, “I Want To Tell You”, and “Taxman”, to name but a few – to me, the songs on “All Things Must Pass” are basically, an extension of that line of song writing, and the quality of the songs on “All Things Must Pass”, is undeniably, close if not equal to that revered catalogue of Beatles tracks penned by our Mr. Harrison.

I mean, whether this album is the result of “artistic constipation” (as some have claimed) or not – it’s still an amazing record – and if you consider some of the deep tracks – like the amazing “Let It Down” – one of the most incredibly beautiful songs George ever wrote, with that deep organ chord laying across his beautiful, loving lyric – and then the power of that chorus, when the horns come in – it’s just an awesome experience musically, and then it’s followed by the twelve-string driven, shiver-inducing beauty of “Run Of The Mill” with it’s odd, Spanish sounding horn parts, funky piano, and earnest, beautiful vocal – and now, you can hear the vocal doubling in the verses properly, for the first time, too – thanks to that fabulous re-master – wonderful!  Or if we move to what was on the original vinyl side four, another hidden gem of a deep album cut, “The Art Of Dying” with its driven, wah-wah guitars, I don’t know it that’s Clapton or Harrison on lead guitar (very probably, both!), but whoever it is, they are ON FIRE.  That song just gives me the shivers, from the opening slide-down wah chord to the last of the dying fade out, with those amazing triplets C – A – E or whatever it is, going at Robert Fripp-like speed and with a similar precision delivery – that little song simply rocks.

Everywhere you turn, are songs that are just…good songs.  In some cases, brilliantly good songs.  And the one that got away, the gorgeous “I Live For You” featuring an amazing Pete Drake pedal steel guitar riff – George’s voice, on the unfinished demo, is just perfect, and the rough harmonies are absolutely perfect – I love that little track, and I am so glad it’s been re-incorporated into the album – it should have always been there, but I am really glad it’s there now – and Drake’s pedal steel solo in the middle of it is a master-class in the instrument, one thing George was always able to do, was to coax world-class performances out of his guest musicians – and on this album, that roster of guest musicians reads like a Who’s Who of 60 British rock royalty, with his old friend Eric Clapton as the main guitar slinger, there are a host of other guitarists present, and it must have been an amazing feeling, in that room, running through tracks with the giant live band, with two drummers and piano and organ and God only knows how many guitars – starting with that, and then, another layer of performance from Phil Spector, horns, strings, reverb – and, just for good measure – some more reverb.

George remarked on camera, in later years, that he wished that the album didn’t “suffer” from a cloud of reverb, from the “production values of the day” – but I disagree, what Spector did, as with what he “did”, to “Let It Be” – was what was right for that moment, for that time, and while I would like to “hear” a reverb-less version of the album, I would never consider it to be the real master – the master is this master, with its huge amounts of reverb – and I am sure that’s where I get my own propensity for drowning whole tracks in massive reverbs – it sounds fecking amazing!  Try it sometime – record a song, play it back dry – then, trial some large reverb rooms on it.  When you find the right one, you will know…then, turn up the “wet” control to at least 50 percent, and close your eyes.  There – that’s the Phil Spector method, which I am strangely, proud to say, I often use in my ambient music – treating entire completed tracks with reverb – and it just changes everything, it makes an already-ambient track, super ambient, it just brings out some amazing reverberations, literally, and I am still fascinated with that sound – so the supposedly “over-produced” “All Things Must Pass” does not bother me in the slightest, and I think that Spector got a bad rap for it – he was hearing a sound in his head, and George trusted him, so this is the album that got made – and it’s an amazing album, syrupy strings, strident horns, waves of untrammelled reverb – it’s perfect, a perfect time capsule of 1970, and absolutely, the highlight of the box set – this album is why you buy “The Apple Years Vol. I – 1968-1975”.

If you take a track like “Awaiting On You All”, with its irresistible descending riff, OK, sure, it dissolves into a mass of reverb, but it still rocks – nothing Phil Spector did, really detracted from that fact – the songs, the performances – rock.  I love that song, and if you took away the reverb, it just wouldn’t be the same – but, having said that, if you listen to this re-master, in headphones – you can hear EVERYTHING, it’s a quality mix, Spector was no dummy, you can hear everything, clearly, every tiny part – every vocal harmony – it’s simply quality.  The reverb is really over-exaggerated by the press, especially now in this nice, clean re-master – you can hear that it’s only on a few tracks where he may have over-egged the musical pudding a tiny bit – but it simply does not matter! Because it’s such a great bunch of performances from a truly great band led by a truly great musician, our George.

Speaking of great performances, “All Things Must Pass” featured something I’d never seen before, and rarely if ever, have seen since – an alternate version of a track, right there on the main album.  So on side one, you got the first of the versions of “Isn’t It A Pity”, and then later, on the second record, you get “Isn’t It A Pity, Version 2” – and the differences are substantial, wonderful flutes float up through this second version, and different, bluesy guitar leads appear out of nowhere, with the most subtle, beautiful note-bending I’ve ever heard – delicate, emotive – shiver-inducing again – a lovely alternate version of a great song – and that experience, prompted me to create alternate versions of my own songs much later on in life – inspired by this simple idea.  As far as “Isn’t It A Pity” goes, I almost like the second version better than the “real” version, but they are both great, both have a lot to offer to the discerning listener.

“Hear Me Lord” closes out the four “song” sides, and this is a song that I played on the piano a lot, we accepted this heavy song about God as just another song, and I loved to play it and sing it, George was ever-evolving in his beliefs, and we may never know which “lord” he is referring to at any given moment, but what we did know was, just how serious he was about it – and this is a great song, with some surprising fuzz guitar layered in there, that you don’t really notice – beautiful work – and the stellar piano part is absolutely spot-on, too – a great piece of music, and a great, uplifting “anthemic” song to end the album proper with – brilliant!  A giant chorus, complete with those trademark George Harrison slide guitars that we know so well, takes us out on the long fade.  But it also – rocks “above and below us… out and in, there’s no place that you’re not in – won’t you hear me lord?.”  The rhythm guitar part is surprisingly fierce, and again, we have carefully layered vocal work, and that astonishingly improv-like piano, just jamming throughout the track – inspirational indeed!  Proving that in the right hands – even songs about God can rock.  Sigh.

 

A word now about “Apple Jam” – originally, the “main” vinyl album had four sides, the first four sides / two LPs, were of “songs”, and a third record, sides five and six, were called “Apple Jam” – jam sessions recorded in between tracks.  Growing up, this being one of very few albums I had at all, and learning to play guitar, it was “Apple Jam” that I started out with, in terms of listening to improvised guitar playing for the first time, it was the first time I’d ever head guitarists “jam” – and it was a real revelation.  I still play many, many of the riffs I learned from this record, and it’s not a bad place to start – you can jam along to it pretty easily, and I grew up playing guitar much in the style of a modified Harrison/Clapton clone, and later, it was “Live Cream” and other live tracks featuring long improvs, so I really got into learning the Clapton oeuvre…closely followed by Jimi Hendrix, and that’s where I, and pretty much everyone else, lost the plot – impossible to imitate, but it sure is fun trying, Hendrix blew us all away, and Clapton and Harrison were his contemporaries, and were aware of him – so I don’t think having a load of George Harrison and Eric Clapton riffs in my head, from playing “Apple Jam” over and over and over and over when I was 12, 13 years old – is such a bad thing.

It certainly gave me a great start at improvising, and if you are going to jam with others, and they are playing some kind of I-IV-V or other modified blues – knowing Clapton’s lead lines from “Apple Jam” is an absolute boon.  The whole thing is in the key of C, or C Minor for “Out Of The Blue” – and to this day, it’s a great record to put on and jam along to.  It totally rocks – live, instrumental rock tracks from the best rock musicians of the 1960s, assembled in one room to make a George Harrison album – the excitement is palpable!

Sure, later on, my influences changed, and I became as much about Fripp & Eno as I did about Clapton & Harrison, but all of it is my musical DNA, I would not be the guitarist I am, if it were not for those influences, if it were not for the experience of “Apple Jam” being the first, and for a long time, only, album of improvised guitar playing I ever owned, and therefore, it became the template for all jams that I played probably from age 15 to 20 – it was what I knew, what I played – what I loved.  So having the…slightly rearranged, albeit, tracks from “Apple Jam” in this newly re-mastered package, is just the icing on the cake, and I can barely contain myself, I can hardly wait until I get there, so I can rock out once again to “Out Of The Blue” or “Thanks For The Pepperoni” – amazing jams from the most amazing, giant “rock band” ever assembled – George Harrison And His Famous Friends.

Not to be missed, do not, do not, I repeat – miss this record.  It’s a hugely important part of the Beatles story, and to me, it’s almost like a final Beatles record made by a different version of the band, led by and directed by George, to play George’s songs – which was NOT the avowed purpose of the Beatles – that was, to play Lennon-McCartney songs :-).

So “All Things Must Pass” is a very important part of history, and it’s now taken it’s rightful place in this amazing box of the “Apple Masters Vol. 1” – a brilliant collection showcasing the talents of the “quiet” Beatle, who in 1970, was not quiet in the slightest!

 

Disc 4 – Living In The Material World (June 1973) – remastered, expanded version

Then came the somewhat lower-key “Living In The Material World”, with it’s absolutely astonishing Hare Krishna artwork – one of the brightest, boldest album covers of the day – simply striking!  And a visual, and auditory, declaration, from George, of his new-found love for Sri Krishna – we’d had some broad hints before this, such as the mega-worldwide hit “My Sweet Lord” from the previous record, the afore-described “All Things Must Pass” but it wasn’t until “Living In The Material” hit the record stores in 1971, that we knew, without a doubt, that George had “gone” completely Hare Krishna – and we mean, completely.

The songs – reflected this, OK, there are still a few normal “love songs” such as the very catchy, acoustic-guitar led “Don’t Let Me Wait Too Long” but the majority of the songs seemed to be about…Krishna.  Or – how people’s perceptions of George had changed for the worse, because of his love of Krishna – as exemplified by “Who Can See It” – a song about those who can, and can’t, see the truth right in front of their noses, about Krishna being God, that is.

This very, very strong religious bent of George’s, actually, never bothered me in the least.  The press had a field day with it, and I don’t think George was too pleased with some of the reactions to his new found religion.  But for me – this was just a new batch of songs by George Harrison – and, it was startling in other ways – a lot of acoustic songs, but also, a LOT, and I mean a LOT, of that brilliant slide guitar, with that special George Harrison “tone”, that we’d heard hints of before, but now we were getting the real thing – and some of the songs, like “The Lord Loves Him (Who Loves The Lord)” and the acerbic “Sue Me, Sue You Blues” are almost entirely based around slide guitar riffs – and that was something new for George.  Dobros and acoustic slide were appearing, too, so really, for guitarists, this is a hugely important record, because it showed us the next evolution of George Harrison, the guitarist – and this is still a great record to study if you want to learn the best slide guitar technique ever known to man, or, just how to play guitar with style, class and skill.

The album opener, “Give Me Love (Give Me Peace On Earth)” was a substantial hit for George, a very catchy acoustic riff opens the song, and some amazing slide guitar cements it’s musical credentials, this is a quality piece of work with a beautiful, universal message – and this is the kind of thing that all Beatles seem to be able to pull off – from “All You Need Is Love” to “Give Me Love (Give Me Peace On Earth)” various Beatles at various times, seem to be able to talk openly about universal truth and beauty, and make it palatable to the masses – well, “Give Me Love” is just that, a song about love and peace – and in 1971, as now, the world needs more love, the world needs more peace – this message is eternal, and what a great way to start the record, too.

The acoustic feel of most of the album is, I believe, very intentional, and for me, some of those “quieter” songs are some of the most important, and most beautiful, one of which, “The Day The World Gets Round” uses guitar harmonics in a brilliant way, and I really, really love the whole feel of that track – again, and actually, I believe, for the last time, George is really paying attention to the vocal approach, and in this track, he is hitting some of the highest notes I’d ever heard him sing – and pulling it off.  He really pushed himself vocally here, and there is once again, evidence of the modified “Beatles” vocal harmonies technique – what I might dub the “Wall Of Georges” – not to the extent as it’s used on All Things Must Pass, but it’s still there – whereas in all of the records after this one – I don’t personally feel that George ever matched the vocal work he did on those two records – “All Things Must Pass” and “Living In The Material World” – that’s his highest point as both vocalist and, more importantly, vocal arranger – and I think this is just a work of genius in that regard.

Not all of the songs are acoustic in nature, to appease the record company, the did do one “big production number” which is the title track of the album, which contains THE most gorgeous middle eight break, where the rock music shifts effortlessly and beautifully over to tablas and tanpuras, while George sings in a voice of heaven “from the spiritual sky, how I pray, how I pray, that I won’t get lost or go astray…” – and when you hear those tablas kick in, it’s just magic – and this is one of those amazing examples of the integration of Indian music into Western music that should not work, but somehow – it works amazingly well.  And when that beautiful Indian music section ends, it just melts right back into the “western rock band” sound as if NOTHING had happened – and the song continues as a normal piece of rock – Ringo on the drums, Klaus Voorman on bass, George on electric guitars – horns, etc. – the big band sound – for “Living In The Material World” – the one “production” track on the album.  That track appeared at what was the last position on the vinyl album’s “side one”, so you got four or five acoustic tracks, then this big, loud, piece of showy rock music (with, gorgeous Indian middle section, don’t forget) and then back to vinyl album “side two” another batch of mostly acoustic songs.

The album ends on a very quiet song indeed, one of my personal favourites, with some of the most moving and gorgeous slide guitar anywhere – and that song is the beautiful “That Is All” – a lovely love song of some significance.  When it reaches the moment for the slide guitar solo, I just collapse in a heap, it’s so incredibly beautiful – words cannot describe it, you just have to hear it – and then it just quietly wanders off to its inevitable sleepy ending…low key, no big exit, no big statement – just, this is me, now, George-who-loves-Krishna – and you have to hand it to him – to come out like that, showing what you love on your sleeve in that incredibly public way – that must have taken some big cahones – really, it takes nerves of steel to publish a cover like that, knowing that it will probably alienate a lot of people, including a lot of your fans.

George was always a man of his convictions, and his love for Krishna to me, was very real, I knew, and I still know now, from listening to the absolutely honest and absolutely heartfelt lyrics of this record, that George truly believed in Krishna, and in the love he’d found there – and while he may have wavered later on, at this point, his faith was so strong, that he was willing to face millions of people and say “I’ve found peace and fulfilment in the Lord Sri Krishna” and being dead serious about it – not a publicity stunt, not like an early equivalent of announcing “I like, so many others, am a Scientologist” – that just makes me laugh, but nothing about “Living In The Material World” makes me want to laugh – it’s a truly important album, which is often overshadowed by it’s much, much more famous predecessor, “All Things Must Pass”, but now, I think people should really listen to this record, because it, to me, is just a logical next step, it makes sense to me – this is what you do to follow “All Things Must Pass”.

That album was a very public record, made with a large group of “famous” musician friends, while “Living In The Material World” – despite also being very public (it would be many years before every move a Beatle made, was not in the public eye) – it’s also incredibly personal and private, almost – and I think George must have thought to himself, well, if they “get it”, they will “get it” – if they don’t – they don’t – and he was willing to lose a few million fans if he had to – he was going to tell the truth (as he saw it) about his beliefs, and let people know that he now loves the Lord Krishna, and he is proud and happy about that – and he wants to let the world know about the happiness he has found there, about the personal fulfilment and joy of being a believer in Krishna.

At the same time, there is still George the man, and, George the man who writes ordinary songs about love, such as “Don’t Let Me Wait Too Long” or “That Is All” as well as songs that describe his new-found closeness to his new God, the Lord Krishna: “The Light That Has Lighted The World”, “The Day The World Gets Round”, “Who Can See It” and “The Lord Loves The One (Who Loves The Lord” and the beautiful, mystical “Be Here Now”, surely one of the most beautiful acoustic George Harrison songs since the brilliant “The Inner Light” – a Beatles B-side – and “Be Here Now” has a beautiful, quiet appeal that really resonates with me, it’s just a lovely little tune.

While the “ordinary” songs are seriously outnumbered by the “religious” songs, it makes no difference to me, I love all of these songs, there is wry humour as in the very litigious “Sue Me, Sue You Blues” (another fantastic example of some of the greatest slide guitar playing on the planet – give this one a listen!) as well as deep, personal love songs “That Is All”.

One real curiosity is the presence of a song that was originally intended for Ronnie Spector, the cautionary tale “Try Some, Buy Some” which is very odd, it somehow works within the context of the album, but it’s strange because it doesn’t really fit the mostly acoustic mould of the record – George took the track, and recorded new vocals and I think, guitars on it – maybe this was just to flesh out what is otherwise a fairly short record, I do not know, but even this odd song has its place here, a bit of “overblown” Phil Spector string arranging for anyone hankering back to that previous record again, the Spector-produced “All Things Must Pass”.  The difference in this record is simple: it’s produced by Harrison throughout – with one exception – Phil Spector on “Try Some, Buy Some”.  So it does sound a bit out of place, here you have these very clear, very clean, definitely not clouded by reverb acoustic-led tracks, beautifully produced by George – and then comes the massive of reverb-y strings that is “Try Some, Buy Some” – so it does stick out, like the proverbial Spector-sore-thumb.  But at the same time – it belongs here, there is no other place it would belong, and I think George does a good performance of the tune – I like this track – despite its production values being totally at odds with every other song on the record J.

The two bonus tracks that have long been associated with this record are the lovely “Deep Blue”, and the somewhat silly, somewhat…frivolous “Miss O’Dell” – a strange, unfinished sounding demo-like song where George periodically breaks down into hilarious laughter during the vocals as he attempts to sing the chorus – so in that sense, I do welcome this song, as it does provide one “light moment” in what is essentially, some very heavy, very serious musical proceedings – not to say there isn’t joy present in some of the songs, in the love songs in particular, but there is certainly nothing nearly as light-hearted (or as slight as) “Miss O’Dell” – it’s definitely unique in George’s not insubstantial canon.

It’s difficult for me to believe this, but this is only George’s fourth studio album, from the period from 1968 – 1973 – although 1971 is not represented here because it produced a live album, which you do not get in this set – the Concert For Bangladesh – which of course, doesn’t “count” as a studio album – so it’s odd to me that this fairly “late” record is already the fourth studio solo album – but there it is.  No matter though, it’s a fantastic way to end the set, and despite the final track, “That Is All”, going out on a serious, quiet note – “Living In The Material World” itself is a great high point to leave the box set at, a positive record made by a man who was finding himself, finding his true beliefs, and making his way in the world – one song at a time.

I love this record, I have always loved this record, and I think I love it almost as much as I love “All Things Must Pass” – which, on recent reflection, may actually be my favourite record of all time!  Because it was so important to me as a child, I really believed in George, and I felt that the Lennon-McCartney Axis Of Power gave George short shrift – that George and his songs were constantly being side-lined in favour of adding just one more “Lennon-McCartney original” to the next Beatle album…I was so, so happy then, with the appearance of these two records, both of which are crafted with so much heart – that’s one thing you can’t deny – George Harrison had heart, and on these two records – you don’t have to look far to find it.

 

 

Disc 5 – Dark Horse (December 1974) – remastered, expanded version

 

This was an album that I didn’t own at the time, there were a lot of records I didn’t buy, simply because I didn’t have the money.  So when I went to see George Harrison and Friends, at the LA Forum, in 1974, I had no idea what to expect.

It starts out very, very promising, with a bright little instrumental called “Hari’s On Tour” which I have learned to love, despite the somewhat dated sound of Tom Scott and the LA Express’s approach to horn playing, Harrison himself is actually jamming pretty well on his slide here, and it’s worth it just for the slide playing.

Unusual, too – a Beatle starting a solo album with an instrumental?  I think that “Hari’s On Tour” is an bit of an underrated gem, and if I am not mistaken, this was the piece that the band started with when I saw them – which was a complete surprise, and of course, at the time, I had NO IDEA what it was.

After this most unusual opening salvo, George moves us into “Simply Shady”, which is the first indication that something is amiss, George’s beautiful high voice is a bit lower now, there are still nice harmonies, but they are simpler – there are still really nice lead guitars, as one would expect, some nice bluesy riffs in this tune, along with bits of pedal steel guitar – again, probably a better tune than I thought.

I don’t know now, how to really react to the tracks from Dark Horse, and all of the albums that followed – I mean, it’s George, so I a part of is loyal, but another part of me longs for the deep spirituality of “Living In The Material World” or the just-freed pop/rock genius of “All Things Must Pass” – and you can tell, two songs in, that yes, it’s George – there’s a nice little blues guitar solo on the outro of “Simply Shady” – it’s pleasant, it’s well done, but some of the spark is gone.

Continuing the alliteration, probably unconsciously, we then get “So Sad” which starts out with some very Beatle-y chorused / leslied guitars, but then it sort of dissolves into standard pop fare – sure, there is a small fanfare of slide guitar in between each chorus – that’s something that seems to crop up in many of George’s songs on every album, but there is just something about the vocal delivery, it’s just not what it was, and for me – well, I feel a slight sense of loss.

George worked himself far, far too hard in 1974, to the point of exhaustion, and his voice suffered – and maybe, you can hear the beginnings of that here on the album, I don’t know – but by the time of the tour, his voice was well and truly shot, so we got to hear super-hoarse renditions of Harrison classics and newer material, which was a bit of shame – but I didn’t care – it was flippin’ GEORGE HARRISON, playing live – and I got to see it.  It was an amazing concert, with Ravi Shankar and his Orchestra opening the show – and that was the experience of a life time – seeing Ravi Shankar followed by George Harrison – brilliant.

The musical excesses of the times are already starting to catch up with George, “Bye Bye Love” – a strange cover of the Everly Brothers song that all of the Beatles adored, starts with, of all things – a fretless bass.  To my mind – that is just about the most inappropriate instrument you could choose – but there it is – It is a very, very, VERY strange cover, to say the least. George’s voice is more animated, he definitely sounds better on this track than on the preceding tracks, but beyond that – the fretless just ruins this for me – not my thing I guess – sure, there is a time and a place for fretless bass – but NOT when you are covering classic 50s pop.

A funky electric piano now enters about half-way through, which just further dates this to 1974, but a bit of a clichéd 1974, and there are guitars a plenty, a strange Rhodes/guitar/vocal break appears, with that inappropriate fretless getting funkier and funkier…and retrospectively, I personally would question George’s choices of musicians for this project – it was a very funky band, and sure, they were all great players – but for me, George needed a pop band, a rock band – not a funky band with Billy Preston and Willie Weeks to the fore.   Like the band he had for the 1991 tour.  But – it was 1974, and these were the choices he made.

It had a huge influence on the sound of the record, which then of course alters the feel of the songs, so – it’s all change, this album does not, to my ears, sound like an album made by the same musician who made the third and fourth solo albums.

“Maya Love” starts to bring things back a bit, although there is an incredibly funky electric piano and bass line to deal with, at least there is a ton of great slide playing once again – and for me, I can ALWAYS enjoy George’s slide playing, in any context, in any song – so for me, even an album like Dark Horse, I can listen to, because if I am not maybe so wild about the songs, or the vocals – I can listen to the guitars.

“Ding Dong” is another one that is up tempo and quite cheery, with the Tom Scott Overdone Horns still at it, the predictable bell sounds, but the vocals are a bit better again – although the massed vocal chorus is just plain silly.  I just have trouble with this song – “ring out the old, ring in the new…” – I wish he had rung in some different “kind” of new – this new George was not really the George for me.

But – the concert was fantastic, the “Dark Horse” tour was an amazing event, even with George’s damaged voice – there was no stopping him, on with the show – until Ravi had his heart attack, at which point George moved him and his family to Encinitas, California, very near to where I lived – so he could have the best heart care available at the time.  Years later – I was fortunate enough to be able to attend a private concert at Ravi’s home – and that was an amazing experience – and since he now lived in the San Diego area, this enabled me to see him perform many times, and also, to see Anoushka, his daughter, perform – and that was a real stroke of luck for me!

And I feel a million times lucky – because I got to see Ravi’s band play at that 1974 concert – before his heart attack side-lined him.  Of course, he recovered fully, and eventually lived to the hearty old age of 93 – an incredible person, and as George’s mentor, one of the most amazing musicians to have walked the planet – I know, I’ve seen him play.

By the time we get to the title track, “Dark Horse” – well, you’ve now become somewhat acclimated, and actually, I find this to be one of the best songs on the album – the acoustic guitars make a welcome FIRST APPEARANCE, so that make it nice, and flutes instead of horns is a nice change, too – a very pleasant little tune, and one of the tracks I actually recall from the concert.

Then things go from bad to worse, suddenly, I feel like I’m in some seamy B-movie, as “Far East Man” assaults my ears – strange, strange, strange – funky chord progression that owes more to 70s soul than to George Harrison, rock guitarist – and it’s just so seamy, with its smooth jazz sound, it’s slithering saxophone riffs – ugh.  A strained vocal, with Tom Scott on sax, answering the phrases – doesn’t help – and trying to hit the high notes, and not quite doing so – oh God, I just want it to stop – and of course, the solo is a horn solo, not a slide solo – so there is nothing redeeming here – “Dark Horse” (the song) was clearly a high point, followed immediately by this low point – OK – there is some slide guitar eventually, but even it’s not worth struggling through this terrifically dated and disturbing funky soul diva nightmare.  I don’t like it, George – I’m sorry.  It’s not for me.

“It Is “He” (Jai Sri Krishna)” is repetitive but anything is an improvement on “Far East Man”, at least this is more like a normal song, but I feel nothing of the devotion and love that I get when I listen to “Living In The Material World” – and the silly “gubba-dub” instrument that George plays takes any possible serious religious message and makes it seem quite silly – it’s just a stupid sound, and why George thought it appropriate for this song, or for any song – I simply cannot imagine.

And then, a “jew’s harp” – yet another cheap gimmick, appears in the very next song, the first of two bonus tracks the short and sweet “I Don’t Care Anymore” – which is, blessedly, acoustic guitar and voice mostly…a real song, tacked onto the end of an album of songs, that to me, are mostly, not real.

The final piece, and the second of two bonus tracks, is an early version / different mix of the title track – and it shows what a good song it was even early on – I do like this song, it’s the best on the album – and here, it’s just acoustic guitar, lead vocal, and a lot of nicely overdubbed vocals.  So this, and the real version of the title track – are my two favourite tracks on the album!

Disappointing in many ways, I think this album had some potential, but I feel like it was rushed (and it was, they were rushing to finish it in time for the tour…so, haste makes waste, was never more true than in this case!) and that is a real shame.  A couple of the songs, I find unlistenable, and one or two, are worth it – otherwise, I suggest you look elsewhere in the Harrison catalogue, and leave Dark Horse alone except for the two fine versions of the title track – which are undeniably pleasant, and show such promise…sigh.

 

Disc 6 – Extra Texture (October 1975) – remastered, expanded version

 

A rocking pace, an upbeat, up tempo track, “You”, starts us out on the 1975 George Harrison solo album, “Extra Texture” (Read All About It) – another one that I did not buy at the time, but have only heard much, much later on – and while I can’t call it a “return to form” (after the very disappointing “Dark Horse”) it certainly sounds better – except unfortunately, that damnable Tom Scott is there again, with his incessant sax riffs, and I just don’t know why George is so fond of the saxophone – but he seems to want it EVERYWHERE – and for me, well, I would probably like “You” if it weren’t for that damn sax!

Nice guitar riff, a clean Telecaster-y sounding riff, vocals back on form, hits the very high note at the end, sounding relaxed and confident – this is more the George I want to hear, but the band, the arrangements – well, they are just not up my street, and we are still uncomfortably, many light-years away from the pure genius of “All Things Must Pass” or the beautiful, quiet introspection of “Living In The Material World”…too far away for my liking.

“The Answer’s At The End” is slow, slower, almost dirge-like in comparison to the snappy opener, so the mood of the album takes a down swing right away, and that earnest, strained-voice sound starts to return, not quite as disappointing as the vocal sound on “Dark Horse”, but still, a bit troubling.  This is a ballad, seventies style, full on, with cheap sounding strings, pianos, and plenty of drama…it’s OK, but I don’t really feel a huge amount of love for it – a slinky, descending piano riff suddenly moves it into cocktail lounge territory, until thank you God, a slide guitar appears, briefly, to make the rest of the song worthwhile.  Even that four second solo is worth it, it sounds great, and I just wish he would play, play, play – but, he feels that he has to do these “songs” – and that’s what he does – until the end of his career.  He is so earnest, it’s difficult to feel upset with him, he means so well, he wants these songs to work so badly – but as with “Dark Horse” – they have dated considerably.

More tinkling pianos take us at last, to the end of this long, somewhat tedious ballad – and then…then, we get “This Guitar (Can’t Keep From Crying)” and indeed, the opening guitar figure, has a beautiful, beautiful tone – and we do get a lot of guitar in this tune, another serious one (with another earnest, heartfelt, vocal) interspersed with the most incredibly beautiful guitars imaginable – really lovely, and for me, this track is a highlight, even though as a song, it doesn’t thrill me – the slide techniques, the tone – it’s just unbelievable – wah slide, slide harmonies – all beautifully done – really nice work – and I love it.  But that’s the big deal here – the slide guitars are ALWAYS good, even when they appear in the worst possible arrangements, even when they appear in bad songs – they are really good.

“Ooh Baby” (You Know That I Love You) starts to move us into that 70s soul again, but this time, it’s so tastefully done, that I don’t actually mind it – a very serious love song, with a sort of Smoky Robinson style vocal and approach to it – George takes this stuff so seriously – and for a sappy love song, done in a very soul style, it’s really pretty well done, and a pleasant vocal – I actually don’t mind this, oddly – because it’s really not my kind of song, but I admire the quality of it anyway.

Piano and organ introduce the next piece, yet another earnest, modified ballad – with a terrible title, “World Of Stone” – very serious stuff here, featuring some strange sounds from the guitar, wah sounds – but then, we get a very nice Stratocaster/clean guitar solo, followed by an odd chorus vocal – this is just kinda strange, but it’s OK, harmless, it doesn’t bother me, and some of the chord progressions are fairly interesting and fairly advanced, so I can admire it’s structure, even if I don’t really get it as a tune…more beautiful clean guitar soloing on the outro, with that strange, mixed-low chorus in the background – nice, nice guitar playing – I love it when he takes a longer solo like this, it’s a real beauty – and I will remember this – if I want to hear some nice, nice guitar – the last part of “World Of Stone” is the place to go – surprising, and beautiful.

Next comes “A Bit More Of You”, which is upbeat, up tempo – and you guessed it, full of sax riffs – but, surprise – it’s a musical joke, obviously, the end of the vinyl side one, it’s 45 seconds “more” of “You” – get it?  So, a faded in and then faded out, reprise of that first track (to remind you of back when this album was still good?) – I don’t quite know why, but it’s more of George’s wry humour, I suppose.  Good joke – “A Bit More Of You” J.

“I Can’t Stop Thinking About You” features that phrase, repeated four times, before some other lyrics appear, followed immediately by a fifth iteration.  More serious, serious balladry, very very strange background vocals here, too – almost weird – and some strange chord progressions, too – but still, not a lot to recommend it – a sort of nauseating chorale sound on the chorus, which once again, features those same words, over and over and over again… not much of a lyric, if you ask me.  Forgettable, but at this point, inevitable.  George seems locked into this “I am a serious soul singer” thing, he has to write these super serious ballads – I don’t get it – what happened to pop music, what happened to rock and roll?  It’s just not here, on these albums – it’s not on “Dark Horse”, with the possible exception of parts of “Hari’s On Tour” – otherwise – no – and it’s not here on “Extra Texture” either.

I don’t know what happened, it’s almost as if the 80s started early for George, and he went straight from 1972, to 1980 – his middle 70s, was like our 80s – bereft of most musical value J.

“Tired Of Midnight Blue” is the next aural assault on our ears, this one is a bit funky, piano led, with high pitched background vocals at first – but then, it gets better, it’s sort of like modified spy music, and it has some nice guitar work, maybe a bit “Steely Dan” if you know what I mean, interesting because it’s a bit odd.  I don’t mind this one, and so far, the songs have been overall, better, and much more palatable than the songs from the last album, “Dark Horse”.  Nice vocal harmonies, beautiful slide guitars – it is here, if you are patient and you know which tracks to listen to – this is one I will listen to again – it’s quite good, imagine that!  Strange – but good.

“Grey Cloudy Lies” with it’s strange piano, Leslie’d (rotating speaker) guitars, and moog synth arrangement – is just odd, another ballad, another downbeat, serious track, with a serious vocal – and it just sort of drifts by it’s not unpleasant, but it’s also not terrifically memorable for any reason.

“His Name Is Legs (Ladies And Gentlemen)” is the first of two obligatory bonus tracks, funky bass, piano, funky horns, trite lyrics, forgettable tune – funky Rhodes piano – I don’t really see the point, unless this is an attempt at “rocking” – if it is, it’s a pretty lame one – I suppose I should be thankful that there is something else besides the album opener that is actually upbeat, but I don’t get a lot out of this track – it’s just OK, but I just don’t really engage with it, and the horns are too funky for my liking, and any song with a bad horn arrangement – and, in this case, a really weird vocal break, that I can’t even explain – it’s just goofy – really, really silly voice-over “comedy” I think this is supposed to be quite funny, but it’s really not, and the spoken sections do not travel well.  Very silly stuff, and with such an otherwise downbeat, subdued record, its perkiness seems false and just kinda unnecessary.  It’s not helping!   However – his name is Legs, in case you were wondering – ladies and gentlemen.  Not recommended. Not particularly funny, or particularly good – it’s just plain odd.

Our second of two and final bonus track is “This Guitar Can’t Keep From Crying (Platinum Weird Version)” – and I suppose that is as good an explanation as any.  It’s sparser than the original version, much less “produced” – and, much more powerful too – much more – the original version is one of the stronger tracks on the record – which, by the way, is said to be so downbeat and low key, because George was depressed over the panning he’d received over his 1974 projects – the “Dark Horse” album and tour.  If so – well, it’s not that bad – I think overall, it’s substantially better than “Dark Horse” – and this version of this song, has one of the best solos George has played in a long time – it just rocks, it has a wicked, wicked guitar sound – and I will tell you what, I would happily sit through this entire album again just to hear this rocking version of this little song.  Said to be a “follow up” to the 1968 classic George Harrison song “While My Guitar Gently Weeps” and also, an indictment of the responses to the “Dark Horse” album and tour – but my God, the guitar playing is just amazing – when the main solo arrives, (guitarists, you do NOT want to miss this one – check it out at 1:53 – far, far better than the one on the “finished version” – far better!!) – just about knocks you out of your seat – a really nice surprise.

 

DISC 6 – The Apple Years DVD

 

The DVD is just what you would expect, it contains an “Apple Years” feature, an “All Things Must Pass” feature, some live video clips from the 1992 “Live In Japan” CD, a making-of “Living In The Material World” piece, and additional videos and features for Dark Horse and The Concert For Bangladesh – which of course, isn’t in either of the boxes!

So it’s a bit odd – the Live In Japan video clips are VERY welcome (PLEASE PLEASE GIVE US THE WHOLE CONCERT FFS!) but they actually relate to Vol. 2 of the box set – and the Concert For Bangladesh feature is in the right place chronologically, but – that album, for whatever reason, is not included in the set (because it’s live? because they didn’t have the rights?) I don’t know why – because the second box contains the live 1992 concert CD – so it can’t be that.  I don’t understand the omission of the Bangladesh CD – but there it is.

Short but sweet, enjoyable, but nothing earth-shaking, and as always, you will have seen some or all of this material elsewhere – but, still, a nice addition to the box.  I very much enjoyed it.

 

 

IN CONCLUSION – THOUGHTS AND WISHES, HOPES AND DREAMS…

The fact that George’s career took a bit of a hit in 1974 / 1975 does not in any way detract from what a brilliant set of music “The Apple Years Vol. 1 – 1968 – 1975” is – it’s just what happened, and I think that any lack of inspiration present on “Dark Horse” and “Extra Texture” are more than made up by the amazing music on the four albums that precede them, and you would really need them to understand the full story of George’s music.

It’s also important to hear the next phase, as represented by “The Dark Horse Years Vol. 2 – 1976 – 1992” because George did produce some better music, later on, once the bad experiences of 1974 receded into the background.

I actually felt quite sorry for George – after those first few amazing years of the 1970s, and his absolutely runaway successes – one after the other – “All Things Must Pass” selling beyond his wildest dreams – “The Concert For Bangladesh” being a huge success – two triple albums in a row…and then the beautiful, understated “Living In The Material World” – at the end of 1973, he could look back at three solid years of massive success, with his “My Sweet Lord” single eventually selling in excess of TEN MILLION copies…and “All Things Must Pass” itself, over time, outselling McCartney and Lennon’s most famous albums combined…in a way, at this point in George’s life, really, the only way he COULD go was down…and it’s was, sadly, “Dark Horse” – album and tour – that took him there.

It could have been anything – any record – any time, but, for George, 1974 was truly disastrous, and I think too, that the madness of his first three years as an ex-Beatle were probably quite wearing, quite tiring – a lot of expectation, a lot was expected of George – and he delivered, over and over and over again, how he managed to pull of the Bangladesh benefit is still a miracle to me, he managed to convince Dylan to play at literally the last minute – he just made things happen.

So I was not surprised by “Dark Horse” being not quite as good – well, to be frank – not nearly as good, as what came before.  But I don’ t know if ANY songwriter could keep up with the output and the quality that George produced between 1970 and 1973 – and don’t forget, in 1969, he’d written “Something” – so you can really add that last year or two as a Beatle to this same time line, he was really on an incredibly musical high from 1963 to 1973 – a non-stop musical high, that started with his 1963 rendition of “Roll Over Beethoven” (taken from the Beatles’ second album “With The Beatles”), with his somewhat famous pals “The Beatles” and ended with “That Is All” which sits nicely at the end of 1973’s fourth solo album “Living In The Material World”.

If you think about it – from the first songs that George sang lead vocals on:

“Chains”

“Do You Want To Know A Secret”

“Devil In Her Heart”

“Roll Over Beethoven”

“Everybody’s Trying To Be My Baby”

“I’m Happy Just To Dance With You”

 

…and, from the first songs that George wrote AND sang lead vocals on, too:

“Don’t Bother Me”

“Cry For A Shadow” (Co-written with John Lennon)

“I Need You”

“You Like Me Too Much”

“Think For Yourself”

“If I Needed Someone”

“Taxman”

“Love You To”

“I Want To Tell You”

“Within You, Without You” (compare this 1967 track to 1963’s “Don’t Bother Me” – quite a change there!)

“Blue Jay Way”

“Flying” (Co-written with Lennon, McCartney, Starkey)

“Christmas Time (Is Here Again)” (Co-written with Lennon, McCartney, Starkey)

“The Inner Light”

“Sour Milk Sea” (Jackie Lomax)

 

At this point, this is where we join the “Apple Years Vol. 1 1968 – 1975” box set, where George is credited with writing all of the songs on the first solo album, the soundtrack for “Wonderwall” the film.

Then – all the songs from “The Beatles” – aka “The White Album”:

“While My Guitar Gently Weeps”

“Piggies”

“Long, Long, Long”

“Savoy Truffle”

 

And then…

“Only A Northern Song”

“It’s All Too Much”

“Badge” (as performed by “Cream” co-written with Eric Clapton)

 

Followed by the two songs from 1969’s “Electronic Sound”

Then…

“Old Brown Shoe”

“Something”

“Here Comes The Sun”

“I Me Mine”

“For You Blue”

 

Not to mention or forget…

 

“Dig It” (Co-written with Lennon, McCartney, Starkey)

“Maggie May” (a traditional folk song covered by the Beatles on “Let It Be”)

Songs from the Doris Troy solo album of 1970

Songs from the Billy Preston solo album of 1970…

 

And off the back of that – off the back of this massive list of George Harrison penned songs – most of them, written and performed to an amazingly high standard – he went on, having JUST WRITTEN both “Something” and the amazing “Here Comes The Sun” months previously – to build the tracks that became “All Things Must Pass” – and when you look at that legacy, the whole thing (or most of it, anyway) it’s an amazing career, of amazing songs – culminating in the triple-whammy of “All Things Must Pass” followed by “The Concert For Bangladesh” followed by “Living In The Material World” – amazing, and built on a foundation of songs, the list above – that are frankly, absolutely incredible!

What a list of truly remarkable songs, and Dhani Harrison, as compiler, must be complimented for the very thorough and very high quality job he has done compiling these re-mastered, expanded albums included in the two box sets, “Apple Years” and “Dark Horse Years” – both, highly recommended!

I am so glad they appeared, and in particular, having pristine re-masters of “Wonderwall” (a personal favourite of mine), “All Things Must Pass” (George’s finest hour), “Living In The Material World” (from the Apple Box), and “Live In Japan 1992” (from the Dark Horse box – not reviewed here) – is a huge, huge deal to me – I love those records, not to mention “Cloud Nine” (also included in the “Dark Horse” box) which while a bit dated, sound pretty good still.

Of course, there was also the “Travelling Wilburys”…George’s “other” band of famous folk, which are omitted here entirely, and, the “Concert For Bangladesh”, only mentioned in passing on one of the DVDs…and not included in either of the boxes.  But even without those, the six discs here, represent a fine legacy, of my favourite Beatle, and preserved in a brilliant way by his son Dhani (a talented producer, musician, singer, and writer in his own right).

A remarkable man, a very talented man, a great musician, an astonishingly innovative and unique slide guitarist – George Harrison is a musical force to be reckoned with, a songwriter beyond compare – and you could not start in a better place than his output for Apple Records from 1968 – 1975 – this was when it was all happening for George – not to be missed!!

 

 

 

“And that is all I want to say…

Our love could save the day…

And that is all I’m living for…

Your love and nothing more

 

That is all…”

 

 

 

Peace, love and harrisongs forever !

 

 

Dave

 

 

 

 

 

 

 

 

 

 

studio diary 20141230 – year’s end – the view to 2015 from here…

as the year end approaches, we are wrapping up a number of small projects, continuing work on others, and preparing for a very, very musical 2015 indeed,  the last few months have seen a lot of change, a lot of good change, and we are now more fully equipped to make music – a lot of music – on the fly, or with meticulous planning and execution, or maybe even, singing Todd Rundgren ballads at the piano, who knows?? – a little bit of everything, no doubt.

 

GLASSWORKS by Soniccouture

 

before we talk more about what is to come, we wanted to catch up with recent musical events, of which there are many.  on the mind at the moment, are the “Glassworks” instruments, there was a session recorded on December 6, 2014, using two different sampled glass instruments, one an emulation of an instrument invented by Harry Partch, the first track using the instrument called “cloud chamber bowls” the second one,  “armonica”, invented by none other than Ben Franklin (yes, the guy on those bills you never see any more) – we managed to upload the first track from the session, which was simply titled “cloud chamber” in honour of the “cloud chamber bowls” Harry Partch-based patch used to create the track – and it was at that point in time that events just caught up with me, and I did not, at that time, complete two other mixes from the session, both of which were made with the “armonica” tool.

 

I’ve now dealt with that issue, I’ve spent this entire morning – December 29th, 2014 – mastering these two remarkable and remarkably delicate recordings, I’ve been working very, very hard to retain the eerie beauty of the “armonica” instrument, it’s a very ghostly, ethereal sound to begin with, sort of like a floating pipe organ from heaven.  words are not really very useful when it comes to trying to describe Harry Partch‘s instruments, really the best way is to hear them – they are utterly unique, and in the case of the glass Partch instrument included in Soniccouture‘s “Glassworks” offering, they are also uncannily beautiful, fragile and other-worldy, ancient and somehow, because they are so ahead of their time, literally, they represent the future, too, Soniccouture have truly surpassed themselves with the “Glassworks” package, and I can easily see myself, and hear these instruments, making their way into future compositions – easily.

 

all three tracks from the December 6th “Glassworks” session are now up and loaded onto the “music for pcs: komplete samples” eternal album, the track listing for the three tracks is as follows:

 

21 glassworks – cloud chamber – recorded using the “cloud chamber bowls” instrument  2:07

22 glassworks – quiet grace – recorded using the “armonica” instrument  2:51

23 glassworks – quiet passion– recorded using the “armonica” instrument  3:00

 

these have subsequently been uploaded to the appropriate “eternal album” on bandcamp, which in this case is SSDL1751 “music for pcs: komplete samples”

 

all tracks recorded 20141206 by dave stafford for pureambient records

all rights reserved © & ℗ 2014 / 2015

 

 

 

REV by Output

 

and then there was REV.  I am very, very excited by the sonic possibilities that rev offers, I am still very much a new user, but I have indeed, set aside some time to work with rev, and I was not in any way disappointed.  on December 27, 2014 I sat down and recorded a few pieces using just multiple instances of rev, which is clearly one of the most innovative of all sample based instruments.  I actually agree with their marketing information, which states that this is not the sound of a few guitars going backwards, it has been designed from the ground up to be a playable instrument, with the option in every case, of using the reversed or the forward sample – it is left up to the user.

 

the reversed samples that have been utilised, are simply beautiful to listen to; and I can tell this because if you just sit and “trial” the voices, it sounds utterly amazing, almost like a beautiful song.  so they are right, this thing is way beyond a few reversed samples, it is a unique and beautiful instrument in it’s own right.

 

as with soniccouture’s “glassworks”, I can see myself using the rev library and instruments for many, many years in compositions and in on-the-fly improvs like these tracks.  I set up two instruments, one loop, and one “rise” and at first, I was so blown away by the sounds, I just sat there playing, drifting away on ambient clouds of reverse acoustic and electric guitars.

 

my first test of most new music software or sample instruments is usually ambient in nature, basically, I want to know if this sample set, or this synthesizer, or this generative device, is capable of producing beautiful, calming ambient music ?  happily, in the case of rev, the answer is a resounding “yes” – it did beautifully, and I feel that the two ambient tracks I produced using it were excellent – totally down to the instrument, not the player!!  rev is awesome for ambient music, but I can also already tell, it will rock in active music, too – it’s just a brilliant sounding instrument, and I cannot recommend it highly enough – it’s a fantastic and very musical instrument!!

 

on the day, I actually recorded at least three tracks, two ambient, and one active, which I have just now mixed and am in the process of uploading – it’s called “perpetual grunge” and it could not be more different to tracks 24 and 25 – hold onto your hats…

 

 

24 rev – time waits for no woman – recorded using the rev “instrument”, category: complex pad, patch: “beautiful”  2:50

 

25 rev – timeless – recorded using the rev “instrument” including  cctwo patches: both category: simple pads, first patch “electric guitar harmonics” and second patch: “acoustic guitar harmonics”  2:40

 

26 rev – perpetual grunge – recorded using two patches: first, a loop from the factory category called “pulses mid” run through effect “filter gate 1”; second, a rise from the factory category called “4 Bars + Tail” run through effect “rewind”  1:50

 

these have subsequently been uploaded to the appropriate “eternal album” on bandcamp, which in this case is SSDL1751 “music for pcs: komplete samples”

 

all tracks recorded 20141227 by dave stafford for pureambient records
all rights reserved © & ℗ 2014 / 2015

 

 

 THE IBANEZ RGKP6 KAOSSILATOR GUITAR

 

our other new star is this remarkable new instrument, that combines a normal electric guitar with the synth / effects processing power of a korg mini-kaoss pad, the mini-kaoss 2s – which, when used on the guitar, gives guitarists (in this case, me!) unparalleled ability to manipulate the sound of their guitar in realtime and in near-realtime, meaning, as you play, or, directly after you play when effecting notes or chords that are still “ringing”.

 

Either way, it’s an absolute joy, pure dead good fun to play, as I hope the videos demonstrate.  While I initially put it to the test with a fairly ambient guitar improv, as soon as I switched on the built-in distortion circuit…that’s when the real fun begins.  With a more sustained signal, the mini-kaoss 2s really comes into it’s own…it does WILD things to your guitar sound.

 

With 100 basic patches available, the pad allows you to slice and dice and squash and decimate and rip apart your normal guitar sound in more than 100 ways. Each patch can be tweaked by the user, and of course your technique also has a huge effect on “what come out”.  It’s such a simple but genius arrangement, only really made possible by the fact that korg decided to create “Effects” style kaossilators like the mini-kaoss 2s to complement their existing range of “synthesizer” kaoss pads…so the original idea was, you buy a normal kaoss pad, which is a mini-synthesizer with an xy input pad (instead of keys or strings) and then, you buy an “effects” kaoss pad and you plug the two together, running the synth thru the effects, to get the best of both worlds……

 

Ibanez simply replaced the mini synth in the above set up, with an electric guitar!! So instead of a synth, you get the guitar, which is your input / sound source, and it runs thru the “effects” kaoss pad which is of course, embedded physically on the guitars where your pick guard would normally be 🙂

 

AND NOW FOR SOMETHING COMPLETELY DIFFERENT

 

not forgetting the enormous amount of work done over in the arena of APPLICATIONS, we’ve worked on a huge range of projects from sample based PC apps like Komplete ultimate, to performing live duets using two instances of tc-11, a touch controlled app for the ipad.

 

THE FUTURE AND BEYOND…

 

So – what is to come in 2015?

 

refining and improving what i’ve learned in 2014 (and, a few of the years just before 2014!!) so I will be working in all of the arenas we’ve been looking at the recent history of:

 

1) More Kaoss Guitar videos, plus, the use of Kaoss Guitar in other compositions providing unusual textural guitar for solos or backings…long live the Kaoss Guitar !!

 

2) More work, both solo and combining sampled instruments, basically, diving deep behind the covers of komplete 9, native instruments effects, native instruments sample instruments, soniccouture instruments, waves audio effects, scar-bee sample instruments and anything we can get our happy sampling hands on, basically – a massive world of very, very real sounds – because – they ARE real – they are samples!

 

3) Much more visibility for the native instruments synthesizers, of which I have done so little with – there is a huge, beautiful, terrifying sound world there – that I plan on visiting soon…

 

4) Much more use of Guitar Rig 5, one of or possibly the best of the software guitar system emulators, I used Guitar Rig on the sessions for the Ibanez RGKP6 Kaoss Guitar; and it sounded great – more work with that, for sure.

 

5) Working with applications – a whole phalanx of them, existing, new and future – if it makes sound, I want to hear it, if it sounds good, I want to record it.  At the moment, I have planned a few sessions involving newer apps, probably starting with the mysterious and ambient “VOSIS” application, which I very much want to do more tracks with.  Also, I want to explore the relatively new world of the Korg Module iPad application, and how it is realised through their existing iPad music app “Gadget”Korg Module features world class samples, available through Module or in limited form, thru “Gadget” – so I have sessions planned for Module and “Gadget”, too.

 

6) Nearest and perhaps dearest to my heart – with all of the exciting new technologies I’ve been trying to absorb (with “trying” being the very most appropriate verb in this case) I feel that 2015 is the year to take all of those technologies, and use them to build an old-style, non-eternal dave stafford guitar album made mostly with real guitars, real basses, real keyboards, real kaoss pads, and so on…a normal album, in the style of “gone native” perhaps, or maybe one active album and one ambient album – I am not quite sure yet, and, it would be a case of starting such a venture 2015, but it might not be completed for quite a while…well, we shall see.  But – definitely – guitar based songs, and ambient dreaming music – will be here beginning in 2015.

 

7) Finally…both Bryan Helm and myself have made the commitment in time to begin work on the second “scorched by the sun” album – in our discussion so far, we are thinking we might do a “loud” or active album, instead of ambient, or maybe, as we sometimes used to do, one that starts out loud, and then gets gradually more ambient, with the final track being full on ambient.  The content is up in the air, and again, it will just be a beginning in 2015, it might take time to complete, but – we really want to work together more, we really enjoyed the process of making the first album, “dreamtime” – so it follows that it’s time for “scorched by the sun” to make their second record!  It is time.

 

 

 

 

So the new year looks to be our most active and intense to date, but we are gonna give it our best shot.  Meanwhile…have a safe and prosperous and happy, happy New Year – see you on the other side…

 

 

Peace And Love To All

 

D. 🙂

 

SKYLARKING – XTC – a mini review – yes, the polarity, and a few other things, have been corrected!

Hello. This is a review of the re-released ‘Skylarking’ CD by XTC, written in a new style that I like to call, ‘stream of consciousness’. In headphones, my very first listen to the ‘new’ ‘Skylarking’. I hope you enjoy it. 🙂

Ahhhh…..I am back now in “SUMMER’S CAULDRON” – drowning here, in actual, fact, sonically drowning in my headphones, at least! – with the insects buzzing in rhythm all across the sharpest stereo field of any version of “SKYLARKING” I’ve ever heard – from the moment the disc begins, I realise that ANDY PARTRIDGE is right – the original release does sound “thin and distant” – but that has now been sorted by original album engineer JOHN DENT, who, after discovering the album’s polarity issues, then applied just the right amount of 2013 technology to the problem, this strange problem of “incorrect polarity” – but whatever that really is, it’s been fixed, let me assure you – the backing vocals of “SUMMER’S CAULDRON”, so clear and clean, the vocal harmonies layered so beautifully, TODD RUNDGREN’S melodica part drifting beautifully through this wonderful, clear new mix – the insects and birds constant throughout, and then we are suddenly brought into “GRASS”, with its swaying, utterly beautiful violins introduction, one of COLIN MOULDING’S best pop songs, ever, from any album – and the guitars, finally, the XTC GUITARS have arrived – jangly, bendy, wonderful guitars – and there seem to still be some crickets lurking here and there in this song – with its double entendre about being “on grass” – lying on grass, or, is it lying on grass whilst BEING on grass – “the things we used to do on grass”…what a lovely tune, and when that big vocal harmony comes in near the end, and the violins switch back from pizzicato to legato – and then, the birds and insects return to help the feedback guitar to gently end the piece in their long fade out. Producer Todd Rundgren’s wonderful “musical” programmed birds and insects sound amazing throughout “SUMMER’S CAULDRON”, and then when they reappear at the end of “GRASS” in full, finally fading away so that we can all meet up in “THE MEETING PLACE” – this one is so, so quirky, but I love it, it’s just fantastic – with its gently moving up and down form, and that irresistible descending guitar riff, COLIN MOULDING supplying some wonderful PAUL MCCARTNEY style high register riffs as is his habit, and then “THE MEETING PLACE” gives away to ANDY PARTRIDGE’S ode to superwoman, “THAT’S REALLY SUPER, SUPER GIRL” – a fantastic and underrated piece of pop music, very complex background harmonised vocals, wonderful Electro-Harmonix phaser shifter style sounds, great effects on all of the vocals – this song is really all about harmony, and even counterpoint – the layering of main vocal, background vocals, and harmonising vocals is exquisite – and then, we get the first proper lead solo on the record, an absolutely snappy gem, ending with some truly sublime whammy bar bending, a super (sorry, there’s just no other word to describe it!) clean, super concise lead solo, the kind that XTC have become known for, ever since childhood friend and guitarist DAVE GREGORY joined the band, on their third album, the much lauded “DRUMS AND WIRES”. But now we are back to ANDY PARTRIDGE, and a song that has a very special place in my heart, as I spent many, many hours working up my own very special cover version of the song, for one of IAN STEWART’S wonderful XTC cassette compilations, this one entitled “SKYLACKING”. My version of “BALLET FOR A RAINY DAY” wasn’t meant to sound anything like the XTC version, I built the music for the song entirely out of ebow guitars, working in harmony, to emulate the pianos and guitars of the original – and then, I sang a very tenuous, uncertain lead vocal on top of the ebows – but, even if imperfect, working on this song just sent my admiration for XTC through the ceiling – the vocal arrangement, when those background vocals appear, and the amazing piano in the background, not to mention ANDY PARTRIDGE’S remarkable lead vocal performance – what an incredibly beautiful voice…and with the words “slow descending grey” a phalanx of violins introduces us to our next tune, “1000 UMBRELLAS” which features an all strings backing, very, very intense strings, which underpin Andy’s strangely agonised vocal, he seems at the point of desperation here, a huge contrast to the easy and beauty of the previous track, “BALLET FOR A RAINY DAY”, which just shows you how multi-talented he is – this vocal is practically a different persona – and then, hope returns at the end, the strings cheer up a tiny bit…Andy’s voice of desperation changes to beautiful pop mode again…and then suddenly, a slow ritard to our all-strings extravangza ending, and it’s the circus-accordion into to the bouncy, jaunty, and extremely fun “SEASON CYCLE” – “pushing the pedals on the season cycle – summer changed by autumn….” this piece is very, very PAUL MCCARTNEY to my mind, like something that belongs next to “GOOD DAY SUNSHINE” – but in this case, “SEASON CYCLE” has a curious central bridge section that is suddenly very solemn and serious, taking the mood down several notches briefly – before returning to the bright and wonderful refrain of this remarkable pop tune from ANDY PARTRIDGE. A very short silence now, for the first time, and suddenly, the incredibly powerful beginning of what may be my personal favourite track on the album, “EARN ENOUGH FOR US”, which every man seeking employment or a better job or a better paying job can instantly relate to, having a wife and family to worry about, but this age-old story here is told to the absolutely popping snare of ex-TUBES then-TODD RUNDGREN drummer PRAIRIE PRINCE, who plays drums on a number of these tunes (and completely kicks ass on this particular tune – it really is an amazing piece of drumming) – and this song, to me, is just THE perfect power pop song – it rocks, that’s all there is to it, it has a really strong drum part, and then, powerful, power-chording and lead guitar playing from both ANDY PARTRIDGE and DAVE GREGORY, a fantastic chord progression that the BEATLES would have been proud to use, it’s just an incredible piece of power pop / rock craftsmanship – and there a million reasons why it’s my favourite – COLIN MOULDING’S bass part is amazing, again, with those PAUL MCCARTNEY like high register sections, working perfectly with the drums – very REVOLVER-like at the end – this song just wakes me up, it’s bright, it’s message, while somewhat dark, is framed in the brightest of sounds – a wonderful dichotomy, and I can’t say enough good about this song. Amazing, beautiful vocals, too. “I’ve been praying I could keep you – and, to earn enough for us” – no sooner has it arrived, then the hopeful, beautiful pop masterpiece “EARN ENOUGH FOR US” has to end…leading into the a cappella start of “BIG DAY”, Colin’s foreboding warning to newlyweds everywhere, which while lyrically is not perhaps the most genius on this record, or as a song – this song still has a lot going for it, including that odd intro, which repeats during the song, which actually comes to a complete stop to allow this burst of harmonised “BIG DAY”S to repeat. I like the stop start feel of the track, it’s nice that it stops, and each time that vocal section plays, it gets odder and odder, the second repeat, a strong tremolo is applied to the vocals, and there are lots of lovely psychedelic sounds in the background…the tremolo then is applied to the verse itself – maybe it’s more of an auto-panner, difficult to tell sometimes, but a great effect nonetheless, this song is all about sonic imagery – and the sounds do evoke a lot of mental, visual images – so it succeeds wildly on that scale. The next song is one of the most eerie, beautiful songs that ANDY PARTRIDGE has ever written, with a vocal that is so remarkable, and has such beautiful effects applied to it – what an amazing piece of music is “ANOTHER SATELLITE” with it’s beautiful delay lead vocal, which then leads to other islands of different types of vocals, including some lyric-less “ta-ta” sounds, then, glockenspiel or similar arrives to accompany our spaced-out lead vocal, the rhythm is sort of drum machine, but with those big ringing, heavily chorused guitar chords ringing out in the background, it sound alive, not machine like – marimbas now appear, to tie up the verses – and then, a long outro of repeated choruses ‘don’t need “ANOTHER SATELLITE”…’ on and on into the distance, which then leads up to…the lovely (and for a time, the “omitted”) “MERMAID SMILED” a beautiful acoustic guitar number, with insane, high speed percussion courtesy of ex-TUBES percussionist MINGO LEWIS, another awesome musician who participates on this amazing album, due to the RUNDGREN-EX-TUBES axis of power. Meanwhile, muted trumpets, and intense bass part, and some just amazing melodic and chordal ideas, bring “MERMAID SMILED” inexorably to its all-too soon ending…but then, more MINGO LEWIS mad percussion begins another one of the albums standout tracks “THE MAN WHO SAILED AROUND HIS SOUL” – with its hippie flutes and jazzy piano and bass parts, this is just an odd, odd song, but somehow, it absolutely belongs here – and it also sounds incredibly “JAMES BOND” – high pitched strings, heavily-reverbed “spy” guitars – in fact a lot of cliché spy guitar here and there in this piece – and then back to those jazz breaks – it’s so odd – but I love it to bits, what an amazing and unique ANDY PARTRIDGE piece – MINGO LEWIS popping the fastest bongo solos you ever heard, PRAIRIE PRINCE’S drumming is insanely clever, a mad break in the middle, then, back to bongo’s and flute for the outro, with Andy singing a lone refrain of the title…an absolute classic, with a perfect spy ending. And then – the other controversial song on the album, the incredibly poignant, sad and musically perfect “DEAR GOD”, this song is the first thing I heard from this album, except, at the time, it was just a single, it wasn’t actually ON the original album, it has only been added in in later years (and some purists object to its presence on these later releases – this one included) but personally, I can’t imagine listening to the rest of SKYLARKING without it. In this short, pop masterpiece, ANDY PARTRIDGE has a long chat with GOD, and he challenges him on several burning issues, whilst amazing, Beatle-like TODD RUNDGREN strings drift in sheer beauty in the background, a great tune – fantastic string arrangement, and ANDY PARTRIDGE’S acoustic guitar and vocals are absolutely sublime – and then, a strident, powerful bridge, where ANDY PARTRIDGE seems fairly disgusted with GOD’S performance – and finally, to an ending that mirrors the song’s beginning, both the beginning lines, and the final line, both being sung by a young girl named JASMINE VEILLETTE that TODD RUNDGREN suggested for the part. The amazing GOD-questioning “DEAR GOD” is followed, suitably, by COLIN MOULDING’S remarkable song, “DYING”, which features among other things, a sort of clip-clop horse-like rhythm (but not quite) some fragmentary acoustic guitar chords, a serious bass part, and then, a beautifully arranged bridge, with lovely clean electric guitars, and a lot of beautiful ATMOSPHERE – and finally, a clarinet during the songs fade out, “DYING” is a song full of regrets, and a song full of forlorn longing, not wanting to end like his beloved relative did – “I don’t want to die like you…” – very, very serious subject, but a wonderful and rewarding song…sitting in the penultimate position on the album, “DYING” is followed by yet another COLIN MOULDING tune, the very unusual “Sacrificial Bonfire” – with yet another absolutely incredible, truly beautiful orchestral arrangement from TODD RUNDGREN, which in the middle part of the song, threatens to overcome the vocalist with its power and presence. Luckily, COLIN MOULDING holds his own throughout, the song is based around a very simple acoustic guitar and bass figure, but it then builds to a fantastic crescendo thanks to TODD RUNDGREN’S orchestral contributions. In 1986, when the album first came out, I admit, I struggled with both “DYING” and “SACRIFICIAL BONFIRE”, but over time, as is their wont to do, their particular magic has worked on me, and I eventually realised just how beautiful, and just how important they are to winding your SKYLARKING experience in just the right way – it can’t all be triumphant highs, and COLIN MOULDING provides just the right amount of sober realism to create a rounded, beautiful end block of two remarkable songs. The contrast between the writing and performing styles of ANDY PARTRIDGE and COLIN MOULDING has always been one of the most important aspects of why the music of XTC is so successful – they each write in a very individual style, but by gracefully peppering a bunch of ANDY PARTRIDGE tracks with a smaller number of COLIN MOULDING tracks – you end up with the perfect masterpiece pop album – and SKYLARKING is damn near perfect in every way – I can’t think of a more consistent, more creative, and frankly, more beautiful pop extravaganza – 15 remarkable tracks by two writers who over time, have become national treasures in Britain – I just wish they were still writing together. So – SKYLARKING – Polarity Corrected version – get it- you won’t regret it. A beautiful setting-straight of the record, this is the way it was meant to sound, and, the way it was meant to look – and now that Andy has the rights, he has set right a grievous error, the release of the thin and distant, incorrect polarity version, from 1986 through to 2014 – it’s now, in 2014, finally “right”. Enjoy the fruits of ANDY PARTRIDGE’S labours: a new, improved, thick and lustrous SKYLARKING. 🙂

“under the influence” (beatlesque)

I wanted to take a little time to try to give some indication of the vast scope and reach of the influence of the Beatles, and in particular, their influence on other musicians.  This has inspired everything from direct Beatle parodies such as “The Rutles” (featuring Neil Innes and Eric Idle) to tracks that sound very Beatle-like (such as any number of Raspberries, Badfinger, Todd Rundgren, The Move, Roy Wood, Knickerbockers, songs – and many, many others – see lists below) to whole albums of Beatles tribute (such as Utopia’s brilliant and very musical Beatles spoof album, “Deface The Music”, from 1980).

Even the world of jazz was invaded by the music of the Beatles, from Wes Montgomery and other guitarists of the day, inventing their own jazz versions of Beatles tracks, or someone of the stature of Ramsey Lewis, making, in 1968, an entire album of Beatles covers, all taken, amazingly, from the Beatles then-current 1968 “White Album” – in a completely unique and extremely jazz way.

Awesome inspiration, across all genres of music – the music of the Beatles actually can be called “universal” in its appeal, given the strange and disparate characters who breathe new life into a huge, huge range of covers and tributes and sound-alikes, from the very ordinary covers, to the truly bizarre spoofs, jokes and odd variations that abound the world over – everybody under the sun has had a crack at covering a Beatles song – and some go much, much further, either creating amazing near-carbon copies of Beatles songs (such as 1976’s “Faithful” album by Todd Rundgren – his “faithful” version of “Strawberry Fields Forever” is exquisite) or creating music that sounds so much like the Beatles, that it is actually thought to be by the Beatles (for some unknown reason, “Klaatu” was one such band, where folk thought that it was actually the Beatles, performing anonymously six or seven years after they had broken up…but, it was not).

For my money, there are other artists who create original music that is much, much closer in content and feel than the music of “Klaatu” (but, don’t get me wrong, “Klaatu” are a remarkable, very capable, and very interesting band to listen to – and, little-known fact, they are the actual authors and creators of the original version of the Carpenters’ hit single, “Calling Occupants (Of Interplanetary Craft)” – not too many people know that in that case, the Carpenters were doing a cover of…“Klaatu” !

I think, though, that in many ways, that the Beatles, and to a somewhat lesser extent, The Beach Boys, had a huge influence on musicians all over the world.  From Apples In Stereo to XTC, there are so many musicians, including some pretty unlikely characters, that have either covered Beatles songs faithfully (or unfaithfully in some cases), or have created either songs and/or albums of songs that mirror, mimic or even mock, the sound of the Fab Four.

I think that it’s very true what they say, that imitation is the sincerest form of flattery, if that is true, then the Beatles have been flattered until they are completely flat, because so, so many musicians have cited them as a major influence, and have unashamedly copied their songs, their sound, their harmonies, their guitar playing, their bass playing, their song structures and so on – and the list of people who do cite the Beatles as a musical influence is just simply too long to print in this forum.

What always surprises me is the number of extremely progressive musicians who claim a serious Beatle influence, when you listen to the music of a band like Yes, or King Crimson – you wouldn’t necessarily immediately think “Beatles” – but Yes were obviously fans of the band, in the early days, they covered the Beatles “Yes It Is”, and I believe that both Steve Howe and Chris Squire have said they are fans of the Beatles music.  Robert Fripp has also acknowledged the influence of “Sgt. Pepper’s Lonely Hearts Club” band on him upon hearing the whole album on his car radio one fateful evening, and Beatles references are embedded, sometimes deeply, into the music of King Crimson – “Happy Family” from the third Crimson album, “Lizard” is an unconcealed tale of the Beatles breakup, penned by then-Crimson lyricist Peter Sinfield.

So sometimes, there are Beatle-influenced bands and musicians, where the music made by those musicians, music sounds nothing like the Beatles to our ears – but for them, the Beatles still loom larger than life, buried deep in their internal, musical DNA – just waiting to get out, in the form of new songs that are about the Beatles, influenced by the Beatles, or simply sound like the Beatles, intentionally (usually) or not (occasionally).  Perhaps yet another splinter-list should be “Songs That Sound Like The Beatles But Their Composers / Performers Did Not Intentionally Try To Sound Like The Beatles – It’s By Complete Accident” but I feel that my already non-legendary non-skills as a list producer have already fallen flat, and that’s too complicated for me to work out who did or did not “intend” to sound like the Beatles!  I don’t think I can write that list – but if you can – please do, and please send it in, and if it’s complete enough, I will post it here.

Speaking now as a guitarist, I don’t think I’ve ever met a guitarist who did not care for the guitar playing of  John Lennon or George Harrison, nor have I ever met a bassist who did not respect the massive skills of Paul McCartney on the bass guitar – the absolute, indisputable master of melodic bass playing – and when I listen to Chris Squire play, I do hear echoes of Paul McCartney’s style in his playing – especially the “high register” bass work.  This famed skill at playing beautifully in the higher and highest pitch ranges of the bass guitar has been imitated by many, but for me, well, it’s Todd Rundgren’s “Determination” that showcases this technique in an incredible way (see below for more on “Determination” ).

The same can absolutely be said for drummers admiring Ringo Starr, everyone knows that Ringo is not a “flashy” drummer, he doesn’t often “show off” but what Ringo has that many, many drummers do not have, is the steadiest tempo imaginable, and, a sense of when to play, and when not to – he always provides just the right amount of percussion to any given song, never overplays – just what is required.  This is borne out when you hear live sessions by the Beatles, while John, Paul and George make error after error in the earliest takes of any given song, it’s rare indeed to hear the almost metronome-like Starr make an error.

Even guitarists who also play bass get the whole “Paul McCartney high-register bass playing” concept, as can be evidenced by the multi-talented Todd Rundgren, from his 1978 solo album “Hermit Of Mink Hollow”, there is a brilliant track called “Determination” , which not only features pitched up, trebled up, “jangly guitars” but a beautiful, beautiful, McCartney-esque bass line, that just pulls the heartstrings as it flies beneath the open chords, beginning in the high register, and then sweeping down to become a bass again – McCartney’s early adoption of unusual styles such as playing bass melodically, playing bass in the very high registers, or playing bass in any number of innovative ways, not always melodic – playing with his low E string slightly detuned (as in the song “Baby, You’re A Rich Man”) or, playing the low E string so hard that it detunes as he plays (as can be heard in parts of the song “Helter Skelter”)  – has not gone unnoticed by Todd, and any number of other McCartney imitators.  Speaking of McCartney imitators, Eric Carmen and the Raspberries also recognise the genius of the Beatles front line which is evidenced by songs that closely resemble Beatles songs in form and content, lyric and guitar styles.

I wish more drummers were like Ringo, well, there is one that immediately comes to mind – Zak Starkey, Ringo’s eldest son.  Zak is a remarkably talented drummer in his own right (I was fortunate to see him perform with an early incarnation of “Ringo Starr’s All Stars” (a show which also happened to feature the above-mentioned Todd Rundgren) and, hearing Zak and Ringo Starkey nail the complex drum part of Todd’s “Black Maria” live was absolutely fantastic – Zak made it his own, but carried the band of mostly older musicians, through the set with his unshakeable rhythm, and he has certainly inherited Ringo’s steady hand – but Zak is also a thoroughly modern drummer, and in some ways, he goes far beyond his famous dad – which is what you might expect – I mean look at Jason Bonham, it’s the same thing, drummer with a famous drummer dad, and with that burden of being the son of a legend, they try that much harder to sound unique, and go beyond the “oh, he’s the son of Ringo…” or “oh, he’s the son of Jason” – and I am justifiably proud of both of them, for carving their own musical paths, and not relying on “dad” for their fame or ability, but making it on their own laurels.

witnessing one of the variations of “Ringo Starr‘s All-Starr Band”, on the 1989 tour featuring Todd Rundgren, it was remarkable to see Zak take sole control of the drums when Ringo went front and centre to sing, so for some of the classic Beatles songs that the band played, it was Zak on the drums rather than Ringo himself, but it absolutely mattered not, Zak did an amazing job on tracks like “With A Little Help From My Friends” and “It Don’t Come Easy” – and at other times, father and son played together, and that was truly a joy to see – amazing !

Two generations of Starkey’s, doing what they do best – playing the drums, and playing the music of the Beatles too – among other items from the various band members such as the aforementioned Todd cover – and “Black Maria” live  with Zak AND Ritchie Starkey is not something I shall forget any time soon – fantastic”!

And, because it was Todd’s big moment, Ringo was free to join Zak on drums, so it was the pair of them behind Todd – and you could see in Ringo’s face how much he enjoyed playing the song (I believe it was included in the set list, because Ringo always had liked the song, so much so that he insisted that it be the “Rundgren” moment in the concert – it being his favourite track off of Todd Rundgren’s seminal 1972 album, “Something / Anything”) and Zak was just head down getting on with the drum part – and that is the only time I’ve ever seen the song performed with two drummers – and if those drummers are Ringo and Zak Starkey, you know it’s going to go well – and it was an excellent cover, absolutely spot-on, and a real highlight of the show.

I don’t think anyone can argue that the Beatles had a very, very significant influence on musicians of many generations, and new generations of players are discovering the Beatles anew even now, in 2014, and are translating their experience of hearing Beatles material into their own new “musics” – so the process continues, of hearing songs influenced by the Beatles, even in new music created by young musicians – because, in 2014, maybe they just heard “Revolver” for the first time, and it absolutely blew their minds – just like it blew our minds back in 1966 when we (now, unbelievably, now we’re the “older generation”!) first heard it.

And – it’s undeniable – this is unforgettable music, genius music from the writing to the playing to the singing and even to the packaging – Beatle imagery is also something that has been oft-copied, and some of their most famous album cover designs have been copied again and again by so many bands.

Some of those copies are more on the side of parody, for example, Frank Zappa & The Mothers of Invention classic Beatles parody, made not that long after the original came out, “We’re Only In It For The Money” is directly made to look like a bizarre “version” of “Sgt. Pepper’s Lonely Hearts Club Band” and in some ways, the cover is the biggest part of the joke – the music on the album (which is brilliant, by the way – one of my favourite early Zappa / Mothers records) is not nearly as important to the parody as the album design was.  But the whole effect is…kind of hilarious 🙂

In particular, some of the most famous Beatles album covers, such as the “bendy” photographs of the band that graces the cover of their innovative “Rubber Soul” album have been imitated by many other bands, time and time again.  Even in the earliest days, the unusual photographs of photographer Robert Freeman (as in, the classic shot of the Beatles silhouetted against a dark background) as on “With The Beatles” (UK) or it’s US counterpart, “Meet The Beatles” has been copied many times over the last few decades.  But revolutionary cover art is difficult to come up with, so bands just borrow from the best…The Beatles.

No article about Beatles’ influence would be complete without mentioning two gentlemen from different eras of pop music, firstly, the ridiculously talented eric stewart of 10cc, who has performed Beatles songs live in concert with 10cc, and also has an undeniable streak of “beatlesque” harmony and sound on various tracks throughout the long career of 10cc – the best example is probably part 1 and part 3 of 10cc’s pop opus, “feel the benefit” – very “dear prudence” if I don’t mind saying so myself :-).  the other gentleman in question is from a couple of decades later, from the 1990s and beyond, and that is Jason Falkner; unwilling conscript into pop genius band “jellyfish”, after he escaped their clutches, went off on a very successful if low-key solo career – and again, the sound of his vocal harmonies, the beautiful chord progressions in his music tell me one thing: he, like Eric Stewart before him, is under the influence of the Beatles.  Personally – I cannot get enough of the music of 10cc or Jason Falkner, two generations apart, perhaps, but, united in their love for Beatle harmonies, jangly Beatle guitars, beautiful Beatle chord progressions, and even Beatle-like lyrics.

I started out writing this edition of the Beatles’ story by trying to create various lists of bands that sound like the Beatles, and then, albums inspired by the Beatles, and I was really only able to touch upon a very few – I know that I have missed out so, so many – and everyone has a different “take” on what bands sound like the Beatles, what albums are directly or indirectly inspired by the Beatles and so on.

Regarding my attempts at filling in these lists – I am ultimately not satisfied by my primitive attempts at “list-making”, and in searching the Internet for valid lists of bands that sound like the Beatles, I kept finding lists that made no sense to me, personally – that would always include every big rock band of the day, so it would always be “Pink Floyd”, “The Who”, “Jimi Hendrix” – and I don’t think any of those bands sound like the Beatles at all !  Yet, site after site would cite (ha ha, get it – site – cite) Hendrix or Pink Floyd as a Beatle sound-alike – but I cannot bring myself to agree with this, yes, Hendrix loved the Beatles, he played bit of Beatle melody in the middle of his own songs, he covered many Beatles songs – but, he doesn’t really SOUND like the Beatles, does he?  Maybe very vaguely, on a song like “Crosstown Traffic” perhaps – but, I’d say, if anything, that Hendrix influenced the Beatles, as much or more than the Beatles influenced Hendrix.

Jimi Hendrix sounds like…Jimi Hendrix, and no other, really – he is utterly unique.  Hendrix did absolutely love the Beatles, and would indeed, often insert a perfect bar of George Harrison lead guitar, into one of his own original songs, in live performance – and then give a little laugh, like it’s an “in-joke”  – “here’s a cool melody that I nicked off of the new Beatles disc, it’s called “Revolver…”.

As for Pink Floyd, it would take some real convincing for me to add them into the list –  I love a bit of early Floyd as much as anyone, but I do not hear echoes of the Fab Four in their music (you saw what I did there….”Echoes”…Pink Floyd – and, it was completely unintentional!) I am afraid I just don’t get it, these constant references to Pink Floyd sounding like the Beatles – maybe they are talking about the odd Syd Barrett track, I don’t know, but it just doesn’t seem right to me….so I did not add them in :-).  Yes, the Beatles and Pink Floyd did both play psychedelic music, but it was very different in nature – so, no, I don’t see the connection, musically.

So – please send in your additions and corrections to any of the lists, and I will update them periodically to reflect world opinion – I am not a Beatle expert (although I have read extensively about them, in particular, I started out years ago with Hunter Davies’ remarkable biography of the Beatles;  in later years,  I’ve studied the remarkable works of Mark Lewissohn, whose “The Beatles Recording Sessions” is like the Bible, to me, one of my most cherished and most often re-read Beatles information sources).

I will read anything and everything written about the Beatles, even now – and I cannot possibly compile complete lists of the type I am presenting here, so any and all input from readers would be much appreciated – please comment, and in your comments, submit corrections or additions to any of the lists, and every few months, I will compile all of the comments and update the lists – so over time, maybe, these lists will become relatively complete – which would be great, because we would be creating a useful, accurate, and complete Beatle resource – or rather, a resource of bands and albums that SOUND like the Beatles, anyway – why not?

Meanwhile, on the subject of the Beatles music, I’ve been very happily really enjoying my two latest Beatle purchases: from 2013, the two-double-CD “Live At The BBC” – volume 1 (from 1994) completely remastered, and a new volume 2 entitled “On Air” which is a fantastic addition to this wonderful series – four CDs chock full of radio performances, studio out-takes, and the Beatles chattering – a fantastic Beatles music resource, of early live tracks and one demo, and at this point I say, thank God for the BBC !  Luckily, they kept all of these Beatle recordings, so now they have been compiled for future generations to enjoy.

My other purchase, “The U.S. Albums” is a 13 disc monstrosity, but hearing the albums in the U.S. running orders for the first time since I was a child, is just remarkable – even though John Lennon condemned Capitol for messing with the Beatles’ carefully considered running orders, the odd, arbitrary, Capitol-created running orders are unfortunately for we Americans, what we grew up hearing, so even now, I am still startled by the UK releases – because the songs don’t arrive in the order my brain expects they will.  So now I have complete choice – if I want the real thing, I consult the Stereo and Mono boxes from 2009.  If I want the Capitol versions – I consult the US Albums from 2014 – very exciting stuff for Beatle-maniacs such as myself 🙂

The last time I bought this many Beatles CDs all at one go, was in 2009, when the long-awaited stereo and mono re-masters appeared – and of course, that was an essential purchase. Following that, though, I am truly amazed, and at the same time, very grateful indeed, that in 2014, I can almost casually pick up 17 “new” Beatles albums – four from the BBC, and 13 from Capitol – and that just makes my Beatles catalogue so much more complete and containing even more variations on their remarkable catalogue of music – beautiful, rockin’ Beatle music.

So we’ve gone down an alternative path this time, a path taken by the many, many musicians who revere the Beatles, and admire their music enough to copy it exactly, partially, or, some aspect of Beatle music has entered into their own songs, anything from a guitar riff to some high register bass work of a melodic nature, or a steady Ringo Starr back beat – so sometimes, you may have a completely unique song, but there is a section of it that REALLY recalls the Beatles very strongly – so, five percent of the song is 98 percent Beatle-like – but, the REST of the song is not !

As a musician and a guitarist, I do hear a lot of these “stand-alone” Beatle moments, it might be a few bars of music in a Jason Falkner or Michael Penn pop song that strongly remind one of the Beatles, or just a 10 second passage in a song on the radio – you hear “Beatlesque” bits of music almost every day, and I am often fascinated by them, sometimes, you work in your mind to try and figure out which Beatles song or songs is being referenced – sometimes it’s obvious, sometimes, it’s impossible to determine – but you do know, just by hearing, when something has the quality of being “Beatlesque”.

 

Lists Of Bands That Sound Suspiciously Like The Beatles

 

Bands Or Artists That Always Sound Like The Beatles:

The Rutles

Bands Or Artists That Often Sound Like The Beatles:

Badfinger – an Apple band

The Knickerbockers

James McCartney – son of Paul McCartney

The Move – featuring Roy Wood

Raspberries – featuring Eric Carmen

The Swinging Blue Jeans

 

Bands Or Artists That Occasionally Sound Like The Beatle

10cc

Apples In Stereo

The Bears – featuring Adrian Belew

Adrian Belew (ex-King Crimson) – solo artist

Electric Light Orchestra – featuring Jeff Lynne

Jason Falkner (ex-Jellyfish) – solo artist

Dhani Harrison – son of George Harrison

Jellyfish – featuring Jason Falkner

The Kinks

Klaatu

Julian Lennon – son of John Lennon

Jeff Lynne – Electric Light Orchestra – Harrison’s producer /  member of Traveling Wilburys

Aimee Mann – solo artist

Bob Mould (ex-Husker Du) – solo artist

Nazz – featuring Todd Rundgren

The New Number 2 – featuring Dhani Harrison – son of George Harrison

Andy Partridge (ex-XTC)

Michael Penn – solo artist

Michael Penn & Aimee Mann – couple (they did an incredibly lovely cover of “two of us” – gorgeous track)

Todd Rundgren – solo artist

Teenage Fanclub –  Scottish pop band

Utopia – featuring Todd Rundgren

Roy Wood (ex-Move) – solo artist

XTC – featuring Andy Partridge

 

Bands That Sound Suspiciously Sort Of Like The Beatles

Oasis – (in their dreams, anyway!)

Tame Impala

 

Albums That Are Directly Inspired By The Beatles

Fresh – Raspberries – 1974

Faithful – Todd Rundgren – 1976 (all covers album, including Beatles covers)

The Rutles – The Rutles – 1978

Archaeology – The Rutles – 1996

Deface The Music – Utopia – featuring Todd Rundgren – 1980

We’re Only In It For The Money – Frank Zappa & The Mothers of Invention – 1968

– visual parody of Sgt. Pepper’s Lonely Hearts Club Band

 

Well-Known Known Admirers Of The Beatles – Musicians

Jon Anderson (ex-Yes)

Adrian Belew (ex-King Crimson)

Eric Carmen (ex-Raspberries)

Robert Fripp (King Crimson)

Liam Gallagher (ex-Oasis)

Noel Gallagher (ex-Oasis)

Steve Howe (Yes)

Eric Idle (ex-Rutles)

Graham Gouldman (10cc)

Jimi Hendrix (may he rest in peace)

Neil Innes (Rutles)

Aimee Mann (solo artist)

Andy Partridge (ex-XTC)

Michael Penn (solo artist) – brother of Sean Penn

Todd Rundgren (solo artist) – w/Nazz, Utopia

Chris Squire (Yes)

Eric Stewart (10cc)

Alan White (Yes)

 

Please – agree or disagree with my choices; send in additions, recommend deletions, recommend changes – and if there is enough input, I will periodically re-published updated versions of any Beatles lists that have appear in this blog series based on your input.

Meanwhile, maybe there are some artists noted here that you were not aware of, that have obviously studied the music of the Beatles and learned from it, and I am always happy to listen to any musician or band that sounds like the Beatles – so, if I have missed any truly obvious ones – please let me know, and again, I will update the list, too.

Happy listening – the influence of the Fab Four runs deep, traverses the entire globe, and only seems to be on the increase over time, as successive generations re-discover their music (often prompted by their parents, but still…) and then integrate parts of it into their own new kinds of music – a process that I hope goes on forever.

Nothing would make me happier, “in the year 2025” (another 60s pop joke for the older folk in the audience!!), let’s say, to hear a brand new song on the radio that sounds very original, but, completely Beatlesque at the same time – that would please me no end, because we then will know – young people are still listening to the greatest rock band that ever was – the fabulous Beatles – and they rock!!

I don’t know about you, but I am definitely under the influence of the Beatles – always have been, always will be – my favourite band from childhood, the first band I truly appreciated, and in actual fact, I literally “grew up” with them and their music, it’s a joy to still be listening to them now, in the year 2014, and feeling just as happy about it as I first did back in 1963, when I must have heard them on the TV, on the Ed Sullivan show – being only five then, I don’t directly recall it, but as it was repeated on TV every year or more often every year thereafter, I feel like I do remember it – and I do remember their later TV appearances directly.

What a remarkable group, and what a remarkable influence they’ve had on a remarkably talented group of very respectful and creative musicians – my peers I am proud to say, who also “grew up” with the Beatles.  There’s no better way to end up “under the influence…”

learning the beatle repertoire…

After a childhood dominated by the Beatles (I only had four long-playing vinyl LPs – all by the Beatles!) and their music, when I returned from Africa in 1971, armed with a rudimentary, self-taught knowledge of the guitar, one of the first things I did, was seek out other musicians to work with.  it came as no surprise, somehow, that we already had something in common – we all loved the songs of the Beatles, and in almost every band I was ever in as a young teenager, we tried to learn Beatles songs – with varying degrees of success, I must hasten to add.

 

Two early bands, both joined when I was still in Junior High School, provided the vehicle – and I was one of the few who purported to play lead guitar (and I could,  but, very, very haltingly, and, very, very slowly, and…not very well at this point in my life, age 13 – 14) I was “in” – it’s difficult to recall, and in fact, I have no idea what the name of either of these bands are, but for the sake of reference, I will call them the “Mike Lewis Band” and the “Stafford / Monaco” bands, respectively, because those were the alleged “leaders” of the two budding beat groups 🙂

 

There is even a recording of the “Stafford / Monaco” band, an amazingly good cassette tape (considering the age and the quality of the tape – recorded by my older brother John on a poor quality 120 minute tape, no less) of a live performance, where we tackle some Beatles numbers, and I even have a go at singing John Lennon’s “Imagine” – the verses only, no bridge 🙂

 

This is a perfect example of great enthusiasm for the material, from a group that did not have the chops or ability to play the songs particularly well – but – we were all just thirteen, so, I don’t really expect much out of either of these bands, to be honest!  So if a few of our songs were missing bridges or the odd verse, it’s just the way things worked out…

 

I think the “Mike Lewis Band” was the first band I was in, Mike was a gregarious, friendly bass player / acoustic guitarist who spent his entire life forming bands, writing songs, and playing in bands – he was determined if not incredibly talented.  I remember though that he and I did reach some dizzy heights, such as our attempts to play the beautiful acoustic guitar balled “Julia” from the Beatles “White Album” – I am happy that there is no tape of that !  But we even took turns singing the verses, so we could do the overlapping vocal bit – very sophisticated.  But – “Julia” was not part of our repertoire, Mike and I would tend to play acoustic guitars just for fun, playing the songs of the day, and singing, and I can remember we learned and played “The Needle And The Damage Done” by Neil Young, which was also very popular at the time.

 

In the “Mike Lewis Band”, we started out as a three-piece band; I think, with Mike Lewis on bass and lead vocals, Mike Brooks on drums, and myself on lead guitar.  Then Mike announced that he was going to bring around this amazing pianist that he knew of, to see if he would join our band.  That was when I first met Ted Holding, who later on, would become my very best and dearest personal friend, but at this point in time, Ted was quiet, unassuming, with his long, straight blond hair hanging in his face – but when he sat down at the piano – it was a different story.

 

Ted had the voice of an angel, a far, far better voice than Mike (which I am sure didn’t please Mike too much) – but, Mike was smart enough to know that bringing in someone of Ted’s calibre truly strengthened the musicality of the band, so he set aside any feelings of inferiority – he had such bravado anyway, that he would probably never admit that Ted was miles beyond us all in terms of ability and talent.  Ted on the piano – even at age 13 ! – was a revelation, and as we grew up together in the early 70s, I was privileged to watch Ted graduate from pop music, Beatles music, on through (of course) Elton John, and then, onto prog: learning the music of Genesis, ELP and so on, on the piano.  I watched, I imitated, I begged him to teach me songs – so really, my own keyboard ability came along in leaps and bounds directly as a result of working with Ted – may he rest in peace.

 

I don’t remember that the “Mike Lewis Band” played a lot of gigs, although we must have played some, I’m really not sure – I remember practicing in the back bedroom at Mike’s parents’ house, spending a lot of time there either with the band, or working with Mike on new repertoire for the band.  And that would have included some Beatles covers, although with this band, since it’s the farthest back, I literally cannot remember a single song that we actually played – the memories are gone, I’m afraid.

 

But – I do remember the “Stafford / Monaco” band a bit better, partially because of the taped show, and because it was later – I don’t know what happened to the “Mike Lewis Band”, but I ended up joining up with this kid Rick Snodgrass, and many an hour was spent at his parents’ house, learning songs and working out our repertoire.  I brought along one of my new pals, who lived in my neighbourhood, around – our drummer (who also sang) – the very talented Brian Monaco.

 

Our set list included everything you would expect from a cover band in 1971: the Beatles (of course!), Creedence Clearwater Revival (of course!), the aforementioned John Lennon (and our half-cover of “Imagine”), and Santana, that kind of thing.  For a band whose four members age was all exactly 13, we were remarkably accomplished.  In those days, as was always the case in the early days of most bands it seems, there was a shortage of bass players – so we just didn’t have one.  To compensate for this, we went from a standard two guitars and drums to a really confusing three guitars and drums – but somehow, we made it work – Rick brought in a friend of his on third guitar, so we had one rhythm guitarist (Rick) and two lead guitarists (myself and Tommy).  Rehearsals could be a real row if we weren’t all in tune !

 

Excerpts from this rare concert are available on the pureambient blog companion page, where you can actually hear the “Stafford / Monaco” band’s primitive renditions of Beatles and other popular songs of the day – here are the tracks that have been uploaded so far (the rest will probably not be uploaded – but maybe someday), but even this partial set list is stacked very, very heavily in favour of our favourite band – the Beatles:

 

Stafford / Monaco Band Live At Johnson’s, 1971

 

3 Back In The U.S.S.R. – drums & lead vocal, Brian Monaco

Imagine – (the verses only, no bridge) – guitar & lead vocal, Dave Stafford

And I Love Her – (Instrumental Version)

10 Born On The Bayou

13 Gentle On My Mind

16 Lucy In The Sky With Diamonds  – drums & lead vocal, Brian Monaco

17 Honey Don’t – acoustic guitar & lead vocal, Rick Snodgrass

20 Twist And Shout

22 Evil Ways

Credits:
Tracks 1, 9 & 16 – Lennon / McCartney
Track 7 – Lennon
Track 10 – Fogerty
Track 13 – Hartford
Track 17 – Perkins
Track 20 – Medley / Russell
Track 22 – Henry

Now, one shouldn’t approach this as a great musical tribute to the Beatles or any of the bands we covered, we were very, very young, very inexperienced, but I will say, we were enthusiastic, and Rick’s parents were endlessly supportive, too, giving us advice, listening, and making suggestions – it was a very positive experience overall.  What we lacked in experience and proficiency, was made up for by our burning desire to play the music that we loved – and, in later years, when I was in my late teens, I did participate in Beatles covers that sound much, much better than these very primitive versions, with typical very-old-cassette bad sound quality.  When I hit 19, 20 – I was playing in cover bands, and playing Beatles songs, reasonably well, every night for a couple of years.

 

But – learning these songs – what a struggle it could be !  I think what amazes me most about the the “Stafford / Monaco” band’ set list is the fact that we tackled two very musically complex tracks; one from “Sgt. Pepper’s Lonely Hearts Club Band” and one from the “White Album” – which, for a group of 13 year old boys, was incredibly ambitious.  I am especially proud of Brian Monaco, for his remarkably accurate drumming and his lead vocal on the rather difficult to play “Lucy In The Sky With Diamonds”.  I only wish the guitars were even close to the original – they are not !  But Brian’s performance of “Lucy In The Sky With Diamonds” is really remarkably good, all things considered.

 

The earlier Beatles tracks and covers that we did, were not much easier to learn – I do recall that our instrumental arrangement of “And I Love Her” – an early favourite track of mine, was especially arranged by myself for the band, and we worked very, very hard to be able to perform this song as well as we did on the cassette.  Of course, the straight-ahead rock numbers are a little bit easier to learn, the bread and butter of every cover band that ever existed – “Honey Don’t” featured Rick, while “Twist And Shout” was another Monaco lead vocal – a real rocker!

 

The inclusion, oddly, of Glen Campbell’s huge hit, “Gentle On My Mind”, is down to Rick, who was a huge fan.  While it’s not a track I would have picked – it actually works quite well.

 

Santana, of course, were huge at this time, so our final track of the evening, “Evil Ways” – again, featuring the unstoppable Brian Monaco on drums and lead vocal – made good sense.

 

There were several Creedence numbers in the set, of which “Born On The Bayou” was one of the most popular, this band had just skyrocketed to fame, and every band of teenagers with guitars was learning this now-classic piece of rock music – ourselves included.  This was one of the first proper “lead solos” I learned – two notes of it, anyway.

 

I cite these two bands as the earliest examples of myself learning Beatles music, a process that began when I was 13, and continues to this day (I recently recorded, but did not release, a live cover of “I’m So Tired” on piano – piano and voice) – and I plan to work on the track until I do get a releasable version – so even now, in my mid-50s, I am STILL learning, playing and singing songs by the amazing Beatles.  As I got older, my ability to play the guitar improved somewhat, and by age 16 0r 17, I could do a much better job of covering a Beatles tune than my 13 or 14 year old self could – that’s for sure!  By age 19, I could confidently reel off a three part Beatle medley that was part of the repertoire of another band I was in – Slipstream.

By the time I was 20 or 21, I had learned so much from the remarkable Ted Holding, that my piano playing skills were way beyond what they had been – which of course, opened up opportunity to learn Beatle songs on the piano, too – a whole new world of songs.

So where did this go next?  Time passed, school went on, friends, and fellow musicians, came and went – in fact, for example, I was in many, many different bands formed by the also-unstoppable bass player Mike Lewis – we remained friends, and he would pretty much bring me into every band he formed for a number of years (whether I really wanted to be in that band or not, sometimes!). Some of these, unfortunately to my ever-lasting shame, were Christian rock bands – a place that neither Ted nor myself belonged or felt comfortable in, but – we did it for our friend, Mike.  Later on, in high school, we teamed up with a new rhythm section, Mitch and Kent, and that was yet another Christian rock band, with the horrific name of “Soul Benefit” (and we could not play soul at all, so a complete misnomer) – but, Ted and I did it for our friend Mike, and, to play with superior musicians – Mitch played bass far better than Mike, so Mike switched to acoustic guitar/lead vocal/rock star, and Mitch took over the bass parts, Kent, the drums.  We were together for a couple of years, needless to say, except for “fun”, we didn’t cover the Beatles in those two bands 🙂  I do remember us playing “Smoke On The Water” by Deep Purple really, really loud one night rehearsing in a church!

Mike had a system, he really, really needed Ted’s talents on piano and vocals, so in order to convince Ted to join whatever crazy band Mike was forming this week; Mike would first get me to agree to be in the band, and then, we would work on Ted, get him to come along, and then, and only then, things would start to sound really good.  Ted’s ability on piano absolutely took off; he progressed far beyond his years, and his voice also just got better and better.  To be frank, he made Mike look pretty bad, and his piano playing was far, far beyond any of us – we were not as skilled on our chosen instruments.

The years after Junior High school are more of a blur, for my 14th year on the planet, I would have been moving on from those earliest bands into more sophisticated bands, and while I still worked with Mike Lewis on his many projects, I began to work more directly with Ted Holding, who happened to also love the music of the Beatles.  I began to hang around at Ted’s house, and we worked on music incessantly – all the time, for hours and hours and hours, usually just the two of us– I would play bass, or guitar, or even organ – and Ted would play the piano.  We would sing Beatles songs – Ted singing lead, me attempting harmonies – and it was just fantastic fun.

This became several different bands, some quite imaginary, like “Ted & Dave” (also known as: “Holding & Stafford”) and others more substantial, like “Ted & Dave & Rick & Jennings” (also known as: “Holding”, “Stafford”, “Corriere” and “Morgan”) – I was in a lot of configurations of these “for fun” bands – and it was enormous fun!  It really was.  “Ted, Rick and Dave” (also known as “Holding”, “Corriere” and “Stafford”) was probably my favourite, but who is to say – no, wait, my absolute favourite had to be the “Ted & Dave” configuration, because we could play every kind of music possible, from Elton John to the Beatles to Ted’s own original songs and so on – an absolute blast and one of the happiest times of my life.  By the way, Rick Corriere was a junior high friend of Ted’s and mine, an accomplished drummer, and when we were all about 18, 19, 20 years old, we would stage “progressive rock” style improv sessions in Ted’s studio that were just amazing – please see the pureambient audio companion, see the entry for 1977 – for more on this particular prog wannabe band.

 

One day, in the “Ted and Dave” configuration, Ted and I decided to try and work out a favourite Beatle track of ours, the beautiful, heartbreaking “No Reply”.  We decided we would record it (we must have been about 16 by now) on Ted’s brother’s reel-to-reel recorder, which had an amazing ability that was new to me – “multitracking”.

 

So we laid down basic instrumental tracks, Ted on piano, myself playing nylon string classical guitar (my first acoustic guitar purchase – a beautiful little guitar that I still have to this day) and we worked very hard to get it sounding just right.   Then – we overdubbed vocals.  When I say we…I mean, mostly Ted, I think I do sing on the track (I don’t actually know, it hasn’t been transferred from analogue yet) but I think he does the majority of the voices – and trying to work out the exact harmonies that the Beatles sang, was difficult, challenging, and exhilarating at the same time – we were so pleased with the result – it really sounded extraordinary to us – I mean, multitrack tape – incredible!.  Once this is eventually converted, I will add a link to the “Ted & Dave” version of “No Reply” – for now, I don’t have the track available – yet.

 

I hope one day to go through the reel to reel tapes (which Ted gave to me many years ago, because I wanted to preserve this music) and present this piece – but it is on a long list of analogue-to-digital conversions that need to be done, and I do not have a reel to reel deck set up at the moment.  So it’s a minor mystery, does it really sound as good as my memory tells me it does?  Hopefully, one day, I will find out.

 

But it was the process that was so fascinating – when you “took apart” any Beatles song, to try and learn the parts – first of all, it always amazed me how quite tricky many Beatles tracks are – not easy to learn, deceptively difficult, and maybe you would know the chord sequence, but for some reason, even though you THINK you are playing the exact, right chord sequence, it never sounds quite as good as the Beatles version!

 

Next up, was one of the more challenging Beatles tracks for me, this was still early on, I was probably 15 or 16 at this point, back in the famous downstairs bedroom studio once again and not yet such a great lead guitarist that I could easily learn the quite tricky solo in “Ticket To Ride”.  I remember struggling mightily with it, but luckily, Ted saved the day, he worked out the exact notes, figured out where and when to bend the strings – and eventually, I got it – I was so pleased!  I can remember him standing in front of me, almost WILLING me to learn it, telling me when to bend, pointing at the guitar neck to show me what note to play next –  my first true decent almost-right lead guitar solo – and, I get to do it twice during the song (or was it three times? – not sure – that’s the problem with memory).

 

Another memory from this time involves a different session at Ted’s house, this time, a couple of years later, aged, approximately 17 – and, we’d moved from his large downstairs bedroom studio, into the much larger garage space, probably because Ted was also working in other bands, often with his then brother-in-law, Joe Norwood.  One day, Ted and I were trying to learn “While My Guitar Gentle Weeps” and Joe, who was a few years older than we were, and himself, an extremely good lead guitarist (from whom I learned a lot) – stopped by – and then to our amazement, joined in with his guitar, working out the Eric Clapton parts that I was really not-quite-yet-able to emulate – so I happily switched to rhythm guitar, and held down the basis of the song with Ted, provided vocal harmonies, and let Joe wail away a la Clapton.

 

That was the beauty of being a young musician, with a lot of really quality musician friends, you always ended up playing music, often, with players far better than you (and for me, both Ted and Joe were far beyond my modest abilities – as pianist, and as lead guitarist) – Ted taught me almost everything I know about piano – that I didn’t teach myself, and, I learned a lot from watching and listening to Joe play lead guitar, and also, he spent time explaining a lot of things to me, about music, about guitar, and I owe a debt of gratitude – here was this really cool older dude (he was probably like, 19, or 20, maybe 21!) and I was a scruffy 17 year old wannabe lead guitarist – but Joe Norwood very kindly and patiently shared his knowledge and expertise with me – a good friend, and a great blues guitarist, by the way.  a video of Joe’s music can be found here.  Joe also sold me one of my best guitars, my Ibanez destroyer, which I still play to this day.

 

It was fantastic fun, “While My Guitar Gentle Weeps” is certainly one of George’s best-known tracks, and I think, quite a remarkable tune.  It’s very difficult to play well, the basic riff is one thing, but that bridge “I don’t know how, nobody told you…” is so, so hard to sing – George’s voice was really at his best in 1968, he was still young enough to hit some really high notes with relative ease, yet by then, he was an experienced enough lead singer to really write and sing some amazing songs – and on the “White Album”, George’s range of song contributions is absolutely remarkable: “While My Guitar Gentle Weeps”, “Piggies”, “Long, Long, Long”, “Savoy Truffle” – you could not get four more “different” songs – the sadness, longing and truth of “Guitar Gently Weeps”, the wonderful harpsichord and political satire of “Piggies” – incredible creativity there, and sense of humour; “Long, Long, Long” one of George’s unrecognised masterpieces, a love song of such beauty and intensity (I remember performing “Long, Long, Long” at a wedding reception with my friend, drummer Rick Corriere) that I really feel it’s an overlooked masterpiece, and George’s ode to Eric Clapton’s chocolate addiction, the wonderful, rockin’ “Savoy Truffle”, with it’s almost sleazy horn arrangement and awesome lead guitar work from George – and that sinister vocal “you know that what you eat you are, but what is sweet now, turns so sour…” – brilliant, ominous – George at his cynical best!

 

Another earlier recording / jam session back in Ted’s bedroom studio focussed on the fantastic pop song, “I Should Have Known Better” – with Ted on piano, and myself on guitar and harmonica – and, we shared the vocal duties.  I loved playing this tune, it’s always been a favourite, and it was easy enough to learn (for a change!) and it was fun trying to play harmonica and guitar at the same time – because I didn’t have one of those harmonica holders – I never have had one.  But that didn’t stop us, we just…did it, somehow.  I loved doing harmony vocals to Ted’s confident lead vocals, “and I do – hey hey hey – and I do !” – and, I got to play the fab guitar solo, which was fun to learn and even more fun to play.

 

When I look back at this time, from 1971 to perhaps, 1979 – so basically, the 1970s – I was 12 when they started, and 21 when they ended – I am looking back at one of the most creative, fun, exciting times in my life, and during those “difficult teenage years”, I was too busy playing guitar, playing piano, singing, and just having a great time playing music, with so many different bands and players – it was an absolutely amazing time to be involved in music.  And while the Beatles had broken up at the beginning of the 70s, their music had had such an incredible impact on the world, we were still reeling from the shock of their transformation, from innocent 50’s rockers, to 60s pop icons, to the musical revolution that was the “Beatles Studio Years” – beginning with “Rubber Soul” and carrying on through “Revolver”, and “Sgt. Pepper’s Lonely Hearts Club Band” and the “White Album” – the sheer musical change that the band underwent was absolutely astonishing, and I think the world was still absorbing this, sort of thinking “what the hell did they DO?” – how did they GET from “I Want To Hold Your Hand” to “Tomorrow Never Knows” in just three years’ time???  How could a band of self-taught teddy boy long-haired art-school drop-outs from Liverpool, end up in Abbey Road Studio No. 2 with a 40 piece orchestra, recording the incredibly complex and musically amazing “A Day In The Life”??  How can this have even HAPPENED?

 

It’s almost enough to believe that at some point in 1965, aliens landed, and planted seeds in the Beatles’ collective brains, which sent them on the musical journey that they then embarked on.  OK, maybe not aliens, but certainly, Bob Dylan, who introduced them to…”tea”, had an influence, but it can’t just be the ”tea” – surely, that music was already somewhere deep inside the Beatles, it just needed the right catalyst to bring it out.   In my opinion, one of the biggest and most significant catalysts was none other than the good Sir George Martin – who had the most influence over the Beatles, and encouraged them, even from the earliest days, to try new things.  And try them, they did.

 

So when it came to “Rubber Soul” – they tried new things.  Acoustic songs, folk-rock songs, volume-knob lead guitar.  But to my mind, the biggest transformation is “Revolver” – from that first count-in preceding George’s “Taxman” (which of course, is not from “Taxman”, but never mind – it was added in to the front of the song, later on) to the dying notes of “Tomorrow Never Knows” (which, curiously, was last on the album, but recorded first in the album sessions).

I personally think that “Revolver” may be the “best” Beatles album (if such a thing is even possible!!!).  It’s certainly one of my very, very most favourite records of all time, not just, favourite Beatles record.  Favourite records, full stop!

Almost every Beatle album has any number of unusual or interesting musical facts about it, and George’s brilliant tirade against the 95% tax imposed on early Beatle earnings, has the curious story as told by one Lindsay Buckingham from Fleetwood Mac, who, upon finally meeting George Harrison after many, many years, the first thing out of Lindsay’s mouth was “George, I loved your amazing guitar solo on “Taxman” – it’s fantastic!” to which George laconically replied “oh – that was Paul, actually”.

And that story, amazing as it is, was heartbreaking even for me, although it made my admiration for Paul McCartney increase, I had, like Lindsay Buckingham, for 20 years or more, had always thought that since it was George’s song, and George was the lead guitarist of the Beatles – that George had played the amazing, Indian sounding solo – only to find out years and years later, that it was the very capable McCartney who had actually done so!

But if you step back, and think about Beatle repertoire, and think about the content and song structure of “early” Beatles work, and then, compare and contrast that to some of the startling new kinds of music that began emerging on ““Revolver” in particular – I mean, even Paul’s “Eleanor Rigby” was a complete shock, like nothing else the world had ever heard – some say it’s a successor to “Yesterday”, but in my opinion, while “Yesterday” is a deservedly famous and uncontestably beautiful ballad, with a lovely string arrangement, “Eleanor Rigby”, by comparison, is high art – a heart-wrenching story-song, and George Martin’s string arrangement here, is absolutely sublime – so incredibly beautiful (which I was absolutely delighted when they included the live take of the strings alone, as recorded in the big room, Abbey Road Number 2 studio, on “The Beatles Anthology”what a sound!).

 

So what happened in Paul McCartney’s brain, that he would be able to write “Yesterday” one year, and the next, come up with something that is an order of magnitude more intense, more complex, and is certainly more musically amazing: “Eleanor Rigby”.  It’s almost like two different people, as if his brain did a re-boot and said “what if I wrote a song like THIS…” – and the rest is history.

 

“Revolver” also gives us Paul‘s astonishingly tender and beautiful “Here, There & Everywhere” – surely one of the best love songs of ALL TIME.  A song that John Lennon so liked, that his only comment was, “I wish I’d written it”.  One of Paul’s very best and most beautiful songs, with a vocal that is just heartbreaking (including John’s delicate harmonies…”watching her eyes…”) and the chord progression – wow – this is not actually that easy to play, either.

 

And yet – “Eleanor Rigby” and “Here, There & Everywhere”, for all their increased sophistication – are not even the “unusual” or “different” or “strange” tracks on “Revolver” – they are the “normal” sounding tracks !!!! The most normal of all the tracks on the record.

 

Something definitely happened in Paul McCartney’s brain, but at the same time, both John and George were experiencing a remarkably similar brain transformation.  “She Said, She Said” with it’s odd time signatures, and fabulous, distorted guitars, is one of John’s best and most amazing tracks, I love the whole sound of it, it just takes me somewhere, immediately – and when I think’I want to hear “Revolver”‘ it’s usually “She Said, She Said” that I am thinking of – but when I get to the album, it’s then generally going to be George’s songs that I actually start with – “Love You To”, “I Want To Tell You” and the redoubtable “Taxman” – three of George’s very best Beatles songs, and, that amazing combination of heavy fuzz guitar and Indian instrumentation on “Love You To” just knocks me out – it’s an amazing idea – mixing traditional classical Indian instruments with rock music – but it works, and, it works really, really well.

 

John’s brain was maybe the most altered of all, and besides the aforementioned “She Said, She Said”, his contributions to “Revolver” are among his very, very best Beatles output:  the incredibly beautiful “I’m Only Sleeping” – where George spent ages recording two “reverse guitars” – and that song is responsible for my own obsession with playing reverse guitar (or – “backwards guitar” – which is now available at the touch of an effects pedal) – which, in 1966, could only be achieved by turning the tape over, playing “forwards” while the song played “backwards”, then, turning the tape back over (I know this, because that is how I had to record reverse guitars in my own music for many, many years -a great technique!), and HOPING that your resulting melody line “forwards”, has resulted in a musically pleasing “backwards” guitar – a very hit or miss proposition; but Harrison painstakingly wove two guitar tracks into one of the most beautiful examples of reverse guitar ever created – and while many have tried, no one has every really quite captured the beauty of reverse guitar in the way that George Harrison did on John’s “I’m Only Sleeping” – which is an incredible song in it’s own right, the reverse guitars are just the icing on a very, very sweet cake.

 

Even though Lennon dismissed it in the “Playboy Interviews”, he was also mostly responsible for one of my very favourite Beatle tracks from “Revolver”, “And Your Bird Can Sing”, with it’s amazing dual lead guitar part that just drives the song so beautifully, when I first heard this song, I could not BELIEVE the guitar parts, and to this day, I still can’t quite imagine how they worked this out!  The interplay of the twin guitars with the rhythm section is just perfect, and Paul’s bass just soars in between the cascading, rising and falling lead guitars – plus, one of the best harmony vocal works on the album, I love the vocals on this song too – they just fly over the top of those guitars, which seem to be playing almost continuously throughout the song – and again, I can’t imagine how they worked out the vocal parts – but the end result is astonishing – a great song, often overlooked.

 

It’s no accident that this part of my memories of the early days of learning Beatles songs suddenly has become dominated by a somewhat-useful-but-far-from-complete review of the “Revolver” album, but, it does tie in (believe me, it really does!) because I would cite “Revolver” as the album where it first became utterly impossibly to replicate the songs live – well, some of them could be rendered, maybe, but in the main – they have become so complex as to not be easy to replicate on stage, or, by other musicians either.

 

So – none of my bands, ever played anything from “Revolver”, although I do recall privately playing “Got To Get You Into My Life” with Ted on piano – just for fun.  And I spent a lot of time studying the chords to, and learning as best I could, Paul’s very lovely “Here, There & Everywhere” – a truly beautiful and remarkable song. I’ve also played and sang “I’m Only Sleeping” on acoustic guitar, and I learned the main riff of “And Your Bird Can Sing”on a Guitar Craft course (at the 21st anniversary course in Argentina, no less), in the new standard tuning for guitar, no less!  That was hugely fun, playing “And Your Bird Can Sing” with other guitarists, “Crafty”-style – remarkable – a totally unique and unforgettable experience.

 

 

But most of “Revolver” – especially songs like “Love You To”, and “Tomorrow Never Knows” were so advanced, even “She Said, She Said”, were so incredibly strange and new, and so musically intriguing – that you can only really listen, you can’t really imitate – sure, Paul has now performed some of these songs with his live band, in the 2000s, but, it’s not the same, really – and while he has every right to play Beatles material live in the here and now – it’s never going to sound like the original sound of “Revolver” – one of the most distinctive sounding Beatles records of all time, and in my mind, the “turning point” from normal rock music, into the exciting and mostly uncharted territories that they experimented with from “Revolver” on out.

 

It is remarkable then, that at age 13, in 1971, the second band I was ever in, the “Stafford / Monaco band” played one track from the “White Album” and one track from “Sgt. Pepper’s Lonely Hearts Club Band” – two records made after the turning point, and while our versions are not musically accurate, the fact that we even TRIED these songs is remarkable – we tried!  It was down to a shared love of the Beatles, and to be honest, almost every musician I ever worked with in the 70s, loved the music of the Beatles.

Almost every drummer in almost every band, would at some point, sit up a bit straighter on their drum stool, and bash out a version of Ringo’s famous drum solo from the end of the “Abbey Road Medley” – every drummer worth his salt had learned that solo, inside out – and it was instantly recognisable – so there was a great love for the Beatles, and for Beatles music, in the musical community that I worked with in the San Diego, California area in the 1970s.

 

The Beatles were the benchmark to which every other group would be compared, even if that group broke a Beatle record, I don’t mean vinyl here, I mean, for example, that a band like Creedence Clearwater Revival might have surpassed Beatles sales figures from the 60s, in the 70s – certainly, bands like Led Zeppelin surpassed a lot of the Beatles‘ accomplishments, such as “largest audience”.

 

But the interesting thing here is, such news was ALWAYS announced, with a backwards reference to the Beatles, so it would be “In 1973, hard rock band Led Zeppelin sold out a show in Tampa, Florida, with over 56,000 people in the audience – the largest audience at a rock gig since the previous record set by the Beatles at Shea Stadium in 1965”.

 

Every new sensation, every new “record” was always compared back to the originals, to the masters, to the boys who did it first – the Fab Four.  It always amazed me, for example, Zeppelin were (rightfully) very proud of the fact that they had broken a record set by the Beatles – it was an honour, somehow.

 

Everything was bigger in the 1970s, in the 60s, large concerts were a thing of the future, and as the infrastructure of rock grew ever-larger in the 1970s, it was unavoidable that most of the then-rather amazing records that the Beatles did set in the 1960s – were easily surpassed by their more sophisticated 1970s successors – like the incredible Led Zeppelin – who for example, did no less than NINE US tours between the years of 1968 and 1971.  In the 70s – all records were utterly blown away by the eventual emergence of “stadium rock” – with Led Zeppelin leading the way to ever larger and larger productions.

 

The Beatles never had that infrastructure, and the technical aspects of their live performances were pretty primitive and often, quite dismal, with underpowered PA systems and insufficient monitors, you can see them in the film of the Shea Stadium concert, struggling to hear themselves sing and play over the screaming.  But of course, the screaming was always there, and that did eventually cause the Beatles to lose heart in the idea of live performance – which, while heartbreaking for the legions of fans who never got to see them play live (myself included, sadly) was actually, very, very beneficial – because escaping the terrors of the road, and moving permanently into Abbey Road Studio No. 2, meant that the Beatles could now blossom creatively – and by God, blossom they did.  An explosion of growth – demonstrated by the insanely fast musical progress made by the Beatles, across the albums spanning 1966 – 1969, a musical journey of unprecedented scale and scope – leaving one of the most remarkable catalogues of music ever created in it’s unstoppable wake.

 

Note: I have actually seen three of the Beatles live, but, as solo artists; first, George, at the Forum in Los Angeles with the Ravi Shankar Orchestra and Billy Preston in 1974, then, “Wings Over America”, Paul, at the San Diego Sports Arena, either in 1976 or 1977, and finally, twice, Ringo‘s All Stars, sometime in the 1990s, one of them featuring Todd Rundgren.

 

Every year, we would be treated to a new Beatles album (just one now in most years; not two a year as Brian Epstein and the record company had pressed the Beatles to do back in the early 60s) and each year, it would be a totally different musical experience – and if again, you step back and look at it – it’s absolutely astonishing; I view it like this:

 

1965 – “Rubber Soul” – the beginning of “the change”, Lennon starts singing and writing in a much more personal way, under the influence of a) Bob Dylan and b) ”tea” supplied by Bob Dylan – with songs such as  “Nowhere Man”, “Girl” and the amazing “In My Life” – a complete and radical re-invention of the man & musician,  John Lennon.

 

1966 – “Revolver” – a radical re-imagining of rock music, including heartbreaking string arrangements, classical Indian instruments integrated with heavy guitar rock, progressive bass playing, and the one-chord / one-note drone / raga style music concrète” sonic experiment, “Tomorrow Never Knows” – which was actually the first piece recorded for the new album – a groundbreaking record in so many ways

 

1967 – “Sgt. Pepper’s Lonely Hearts Club Band” – the world’s first concept record, with the famous photo montage on the front cover – and the lyrics on the back (a world “first”, there, too!) but to me, it’s just a bunch of truly great songs – and some of the best moments are maybe not the most famous, for example, the detuned and distorted lead guitar solo in “Fixing A Hole” is absolutely astonishing in it’s complexity and beauty, for a guitarist like myself, it was a revelation – and while after this, everyone began to use detuned guitars – created via a device called “Automatic Double Tracking” or ADT – the birth-device that all flangers and choruses since, have come from – the Beatles were really the first to come up with this kind of radical guitar sound in the studio – absolutely marvellous.  George and John begin to experiment with truly distorted and detuned sounds after seeing Jimi Hendrix perform – and you can hear it on tracks such as the reprise version of the title track – the lead guitars are really powerful.  And of course, the closing song is the absolutely unbelievably beautiful “A Day In The Life”, featuring what is surely one of the most beautiful John Lennon vocals ever recorded – George Martin said about John’s dreamlike vocal on the track – something like: “a voice…from the heavens”.  I agree with Sir George Martin – a truly beautiful song with an incredible Lennon vocal.

 

[1967 – “Magical Mystery Tour” – OK, this year, they made two records. “Magical Mystery Tour” is highly underappreciated, I absolutely love it – especially the wonderful “Hello Goodbye”, the title track, the wonderful only-instrumental “Flying” and even “Your Mother Should Know” – there are no bad songs on this record – much overlooked and underappreciated.  But then, “Sgt. Pepper” and then, the “White Album” really stole MMT’s thunder – hard to compete against those two behemoths.]

 

1968 –  “The Beatles” (aka The “White Album”).  A complete change.  Minimalism.  Stark white cover.  The pageantry and grandeur of “Sgt. Pepper” is wiped away, by 30 darker, more experience-driven songs, a strange batch of songs, no doubt, but with that amazing diversity that you get when you have three strong players and three strong singers and three strong writers in the band – and I shouldn’t downplay Ringo – he very much tried to hold his own (imagine, having to complete with the two impossibly powerful songwriting teams, the “Lennon-McCartney” team AND “Harrison” who was practically a team in his own right – that can’t have been easy !!!) and this album has two cracking Ringo tracks on it, “Don’t Pass Me By”, and the really beautiful “Good Night” which is maybe one of his most beautiful vocals – a lovely tune.

 

[1969 – “Yellow Submarine” – honourable mention.  OK, they made two records this year, too.]

 

1969 – “Abbey Road” – I am intentionally leaving out “Let It Be” because of it’s chequered past.  I love “Let It Be”, but, even though it was recorded before “Abbey Road” – it was then shelved, and eventually emerged in 1970, hanging it’s head in shame, but, gloriously re-invented by Lennon and Phil Spector as a grandiose strings and choir kind of record. However, I think that “Abbey Road” is truly the band’s swan song and legacy – they went into the studio, stopped arguing (for the most part) and recorded an album of songs “like they used to”.  The album was a compromise: to please John, side one of the vinyl LP was “songs”, to please Paul, side two of the vinyl LP was a suite of “connected” songs, the so-called “Abbey Road Medley” – which is a minor masterpiece in it’s own right.  The maturity of songwriting on display here is absolutely startling, especially in George (who, at this point, is about to blossom musically with his upcoming triple album “All Things Must Pass” – but that’s another story for another blog) who produced not just the awe-inspiring love song “Something”, but also, the fantastic, irrepressible “Here Comes The Sun” – featuring the Moog synthesizer, and the most beautiful, sparkling guitars imaginable – a great song, one of George’s best, and personally, I probably actually like and respect “Here Comes The Sun” actually more than “Something”. (I should give honourable mention for George’s guitar solo in “Something”, however; it was played live by George during the strings overdub on the song, remarkably – beautifully underpinned by one of the best, most melodic bass guitar parts ever recorded – really incredible work from Sir Paul).

I’ve played both pieces many times, usually, I play “Something” at the piano, while I would always play “Here Comes The Sun” on guitar – and I love them both – but it’s difficult to say which one is “better” – they are both fantastic, and showed the George could actually compose right at, or even better than, the level that John and Paul had been composing at all along.  He caught up, and in a way, with those two tracks, even surpassed John and Paul – and certainly, his first solo album, the redoubtable “All Things Must Pass”, shows us even more examples of his songcraft, and overshadows all of the debut solo releases by all of the other Beatles – it basically wiped the floor with the other Beatles’ post-Beatle output, selling millions – I bought two or three copies over the years in various formats.

 

Right up to the end, the Beatles kept writing and producing the most amazing catalogue of original music in the world of rock, that the world had ever seen.  Songs that became more and more sophisticated, and for musicians such as myself, became more and more difficult to play, or imitate – but it was sure fun to try !

 

Over the years, I’ve played a LOT of Beatles songs, a huge range of them, and learning them, was often quite a bit of work, but once learned, playing them was just sure joy.  Just for fun, I’ve attempted to write down every Beatle song (including both songs that they composed, and, their cover versions of songs that they also performed) that I’ve ever learned, and / or, performed or recorded – just to see how many I can come up with:

 

 

Baby It’s You (with the Mike Packard Band – successor to Slipstream – circa 1979)

Twist & Shout (with the Stafford / Monaco Band – circa 1971)

I Should Have Known Better (with the Holding / Stafford Band – circa 1972)

I’ve Just Seen A Face/Ticket To Ride/Help! Medley (with Slipstream – circa 1978 / 1979)

And I Love Her (with the Stafford / Monaco Band – circa 1971)

No Reply (with the Holding / Stafford Band – circa 1972)

Eight Days A Week (with the Holding / Stafford Band – circa 1972)

Honey Don’t (with the Stafford / Monaco Band – circa 1971 – and other bands, too)

I’m Only Sleeping (solo acoustic guitar & vocal  – circa 1970s)

Here, There & Everywhere (solo piano & vocal – circa 1970s)

Got To Get You Into My Life (with the Holding / Stafford Band – circa 1972)

Lucy In The Sky With Diamonds (with the Stafford / Monaco Band – circa 1971)

A Day In The Life (solo piano & vocal – circa 1970s)

Back In The U.S.S.R. (with the Stafford / Monaco Band – circa 1971)

While My Guitar Gently Weeps (w/ the Holding  / Stafford Band feat. Joe Norwood- guit. – circa  1973)

I’m So Tired (solo piano & vocal – unreleased – 2013 live -in-the-studio piano & vocal demos)

Blackbird (solo acoustic guitar & vocal – circa 1968 – the first“finger-picked” song I ever learned; summer 1968)

Rocky Raccoon (solo acoustic guitar & vocal  – circa 1970s)

Julia (acoustic guitar duet & vocal – circa 1972 – the second “finger-picked” song I ever learned, circa 1972 – with Mike Lewis, acoustic guitar and vocal)

Helter Skelter (electric guitar – various times, 1970s – present)

Long, Long, Long (piano & vocal – with Rick Corriere, percussion – circa 1970s)

Cry Baby, Cry (piano & vocal – circa 1970s)

Something (piano & vocal – circa 1970s)

I Want You (She’s So Heavy) (electric guitar & vocal – w/ Jim Whittaker, guitar – circa mid  1970s)

Here Comes The Sun (acoustic guitar & vocal – circa 1970s)

You Never Give Me Your Money (piano & vocal – circa 1970s)

Golden Slumbers (piano & vocal – circa 1970s)

Carry That Weight (piano & vocal – circa 1970s)

Two Of Us (acoustic guitar & vocal – circa 1970s)

Let It Be (piano & vocal – circa 1970s)

The Long And Winding Road (piano & vocal – circa 1970s)

 

So – remarkably, thirty one songs – which surprises me, I would not have thought it would have been as many as that, but it’s also NOT surprising, because, the Beatles‘ catalogue is something that musicians almost always “fall back on” at one time or other in their careers, and if you cover Beatles‘ songs, you are guaranteed that at least people will know the song, although they may not love your version of it – or, they may – but they are one of the groups most “covered” over time – not to mention, that in a list of the top ten covered songs of all time, the Beatles not only hold the top two spots, but they actually have four tracks out of the ten, plus, John Lennon’s “Imagine” makes five – so, either the Beatles or a Beatle own the record for most covered song, for HALF of the top ten – amazing!

 

Before I continue, I have to say, that even to the present day, there is nothing more satisfying than sitting down at the piano with a Beatles songbook, and having a go at a Beatles song you’ve never tried – or, for that matter – one you’ve played a million times.  Or – get out your electric guitar, turn up the distortion, and work on your Beatle rock riffs – “Hey Bulldog”, “I Want You (She’s So Heavy)”, “Helter Skelter” and so on.  And of course, that makes me realise that there are actually probably quite a few “partial” Beatles songs I know, or just the main riff, and, a few that I have learned and then completely forgotten because I didn’t keep up with them (including the amazing “Yer Blues” – with the guitar solos actually learned from tab – brilliant tab! – something I never normally use, tabs, but this one was spot-on – excellent) – but I REALLY wanted to learn that solo.  So really, “Yer Blues” makes it 32…but if I start adding in fragments of songs, I will never finish the list – so there it shall sit 🙂

 

I would say, that growing up, for those nine or ten years from 1971 to 1979, learning, singing, and playing Beatles songs, along with a healthy helping of Jimi Hendrix Experience, Cream, Led Zeppelin, ZZ Top, and so on, was the best musical education I could get – far better than going to music college, instead, just dive in and learn the music that you love.  That’s what I did – and I am glad of it.  Huge chunks of Led Zeppelin I are still in my fingers’ memory, and huge chunks of Hendrix music, too – I could play those two bands’ music all day long, along with the Beatles  But, the Beatles had the most profound impression, because of their incredible melodic values, and the hard-won vocal harmony which really, were what set them apart at first.

So while Cream and Zeppelin and Hendrix really, really rocked, they never quite had the songwriting skill and stamina that Lennon, McCartney, or Harrison did (and that may be why I found myself drawn to progressive rock fairly early on – seeking better songcraft – and often finding it) – although some of the late Cream and later Zeppelin, are pretty musically advanced.  But those are the successors, the Beatles, I think, wisely disbanding before the heavy metal bombast of Stadium Rock took over the world – by then, they were gone…

 

Having the Beatles so central to my education, music or otherwise, was hugely important, and it’s also simply given me a world of personal satisfaction and enjoyment, I will never forget the day I finally mastered Paul McCartney’s quite difficult “Blackbird”, the first guitar piece using fingerpicking that I ever learned, at age 10, no less – it took me a couple of weeks (being taught by a 16 year old girl, who had in turn, been taught the song by somebody else…) but eventually, I “got” it – and that was wonderful, because any time I was out with an acoustic guitar, I could play it – and everyone around me INSTANTLY recognised it, and responded positively – I never got a negative response to playing a Beatles song – ever.  People in general, either really like them, OK, maybe some younger people, don’t really know their the Beatles were the best band in the world, from 1963 to 1969, unchallenged.

 

At the same time, during 1969, was that “other” best band in the world that I like so much, King Crimson – whose leader, guitarist Robert Fripp, has described a personal, musical epiphany that he had one night, hearing back to back on the radio first, music by Bela Bartok, and then, the last part of “Sgt. Pepper’s Lonely Hearts Club Band” – with “A Day In The Life” – and it was the impetus of that, that eventually led him towards the pursuit of the creation of King Crimson – so, unlikely though it seems, one of the heaviest and most complex of all “progressive rock” bands – actually started out by a young guitarist being utterly struck with the incredible piece of music that the Beatles‘ “A Day In The Life” is.

I can just imagine Fripp, in his car, as the final orchestra part builds and builds, so loud, overwhelming the whole song…and if you think about it, on the first few Crimson albums, of course, the dominant sound (besides Fripp’s amazing lead guitar) is the mellotron – which they had two of – and they used it to create Beatle-like string sections in live performance – so again, inspired by “A Day In The Life”, young Robert Fripp imagined a band with two mellotrons in it – and then, he built it.  Repeatedly.

 

It’s amazing the number and diversity of musicians either directly or indirectly inspired by the Beatles, some of them wearing their inspirations out on their sleeve, others, are more hidden or difficult to discern – but they are still there. So, you get a band like Oasis, who unashamedly try to sound like a modern day Beatles (and mostly fail at it, in my opinion) although I quite like a lot of their songs anyway, on over to a band like Klaatu, who people thought might BE the Beatles, secretly reformed and making records under a mysterious new name in the 70s.  As it turns out, Klaatu are just some guys from Canada, who made Beatlesque music (I really enjoy Klaatu, especially their first three albums).

 

There are so many others who obviously admire the Beatles, from Todd Rundgren, his first band The Nazz, and the latter-day versions of Todd Rundgren’s Utopia, to any number of other latter-day Beatles soundalikes – the Raspberries in the early 1970s, Badfinger – an Apple band, discovered by the Beatles,  and far too many others to even mention.  Perhaps I will attempt a “list of bands that sound suspiciously like the Beatles” – but I am not quite sure I can do such a thing.  I will have a “think” about that…meanwhile, back to the subject of cover versions…

 

Here are the Beatle tracks and their positions in the list of “most covered songs of all time” – of course, these lists change all the time, and it was very difficult to find a list that seemed properly representative – this list, from 2008, contained no less than 5 Beatle-related tracks as “most covered”:

 

1)      Eleanor Rigby ***

2)      Yesterday

4)      And I Love Her

6)      Imagine (John Lennon)

8)      Blackbird

 

Apparently, for a long, long time, “Eleanor Rigby” was second to “Yesterday”, it was only in recent years when it knocked “Yesterday” out of the top spot.

 

I was surprised to NOT find George Harrison’s “Something” in these lists, I had thought it was one of the highest covered songs of all time – but I might be remembering that old Frank Sinatra joke, where he introduced “Something” as the finest song ever written by Lennon-McCartney – in all seriousness, he actually did not seem to know or realise that it was written by George Harrison.  That’s a famous story there!

 

***However…the Wiki contains some conflicting information here, because it also states, on the page for the song “Something”, that the song has more than 150 cover versions, which means it’s the second most-covered song after “Yesterday”.  So somebody needs to do some counting, and really find out a) what the top ten most covered songs of all time REALLY are, by all artists, and b) what the top ten most covered Beatles songs are – what song is REALLY, currently in the top spot – make up your minds !! 🙂

 

 

For those who might be interested, there is a very interesting page here on Wikipedia, that lists many of the most significant cover versions of Beatles songs

 

http://en.wikipedia.org/wiki/List_of_cover_versions_of_the_Beatles_songs

 

When I say significant, that refers to all of the real musicians in the list, it does not, however, actually refer to the included “group” called “Alvin and the Chipmunks” who did a whole album of Beatles covers in 1964, so they have twelve entries in the chart !  I am sure that’s a really, really good album (if you are a fan of sped-up vocals, that is).  But – it’s an interesting list, Chipmunks aside…and it includes some of my very favourite cover versions of Beatles tracks: containing everything from:

 

Herb Alpert & The Tijuana Brass to 10cc to Bela Fleck & The Flecktones to Adrian Belew to David Bowie to The Carpenters to Johnny Cash to Cheap Trick to Bryan Ferry to Neil & Liam Finn to Peter Gabriel to Jimi Hendrix to Allan Holdsworth to Eddie Izzard to Tom Jones to King Crimson to Sean Lennon to Marillion to Pat Metheny to Keith Moon to Nazz to Harry Nilsson to Oasis to Tom Petty & The Heartbreakers to Phish to Radiohead to Red Hot Chili Peppers to The Residents to Todd Rundgren to The Sandpipers to Santana to Peter Sellers to The Shadows to Sandie Shaw to Frank Sinatra to Elliott Smith to The Smithereens to Soundgarden to Stereophonics to The Supremes to James Taylor to Teenage Fanclub to They Might Be Giants to Richard Thompson to Transatlantic to Travis to Ike & Tina Turner to Utopia to U2 to the late, great Sarah Vaughan to The Ventures to Rick Wakeman to Paul Weller to Jack White to Roy Wood to XTC to The Yeah Yeah Yeahs to Yellow Magic Orchestra to Yes to Neil Young to Dweezil Zappa to Frank Zappa and I told you it was a great list – this is just a tiny portion of artists represented on the entire list.

 

A truly interesting resource for an incredibly diverse set of Beatles covers – and the diversity of artists who have covered the Beatles is immense, yet, they all share the same love we feel for the band – a love for Beatles music, reflected in the fact that they took the time to learn, perform, or record a Beatles track or tracks.  Shared love = love of the Beatles‘ music = All You Need Is Love – that’s an equation that I can understand and believe in – and I do.

 

 

 

“Love, love, love – love, love, love

 

There’s nothing you can do that can’t be done

Nothing you can sing that can’t be sung…”

 

 

 

 

– from “All You Need Is Love” – June 1, 1967

 

 

 

see you next time ~~~~~

“whisper words of wisdom…”

the beatles – in the beginning

I have been remiss.  While I have written at length about so many great bands and artists, and – OK, I have mentioned the Beatles at times, but what an omission – this band dominated my musical world for six years, from the age of 9 through 15, for me, there was only one band, and that was John, Paul, George and Ringo – my beloved Beatles.

So when I had an unusual request arrive in my email inbox the other day: a nice lady in Las Vegas, asking me if I would be interested in writing in my blog, about the Beatles – well, how could I refuse?  In fact, it struck me, why on EARTH have I not dedicated a single blog to the four lads from Liverpool who started it all for me?…(and, for so many others, too!).

Oh my God, I thought, I can’t believe that I’ve done a hundred plus blogs in just over a year’s time, and I’ve never dedicated one to the Fab Four!!!

That is a grievous error on my part, and this kind soul who asked me so innocently if I would write about my favourite group of all time – she will eventually end up with more words than she ever, ever dreamed of.  Just – give me a few years, and I will make this up to you all – and, I will add to her ever-growing collection of Beatle memories (what a job – I’d love to collect Beatle memories as part of my “day job”!).

Strangely, though – Las Vegas has been on my mind of late: because one of my strongest wishes in terms of my ongoing relationship with the Beatles, is to visit Las Vegas for the sole purpose of attending the Cirque du Soleil‘s remarkable Beatles “LOVE” production.  I really, really want to see and hear this musical and visual spectacle (and I absolutely love the innovative “Love” CD that George and Giles Martin worked so incredibly hard on) – it’s a great album, it just is – an uncanny juxtaposition of some of the best songs ever recorded by anyone -the music of the Beatles, totally reinvented for the purpose of supporting the Beatles “LOVE” production.

This also provided us with the first alternative remixes of Beatles tracks from an official Beatles source (most fans were delighted, some cried “blasphemy” – but I am firmly in the former category) – I approve of the alternative approach of these remixes, Giles Martin especially worked very hard to create something really unique and wonderful from there tracks; so, in 2006 – George and Giles Martin  gave the world 80 minutes of new Beatle music – which is simply brilliant.

If you watch the 2008 DVD documentary video about the making of “LOVE”; it looks like it’s going to be an amazing live performance (and we already KNOW the music is good…) – so, hopefully, one day, we’ll travel to Las Vegas and check it out.

But already – I digress.  Back to the business at hand, by all means! 🙂

 

Consider this then, to be the beginning of a series of articles about the Beatles, as a group, and possibly, also as solo artists, although that’s another story – however, I do reserve the right to write at length about my favourite Beatle, George Harrison, at great length; out of sequence; at any time in his life – because George was the quintessential Beatle to me – he had it all, that wry humour, a winning smile, advanced prowess with the lead guitar, the most beautiful slide guitar sound of all time – truly amazing slide guitar sound and technique – George was just an all-around cool guy…may he rest in peace.

However, George will be the subject of a future series of Beatle-related posts, this time, however, I am writing about the Beatles as a group – and I intend to begin at the beginning, and just see where we travel to.  or, possibly, as George said: “arrive without travelling…”.  Sigh.  Note – I only just realised, from reading the wiki entry for the song, that the bansuri (Indian classical flute) player on “The Inner Light”, is none other than the remarkable Hariprasad Chaurasia, one of my favourite Indian musicians – a brilliant player – imagine that, I had no idea!

But now it’s time, finally, to talk about the Beatles .  And when it comes to the Beatles , well…

 

It all begins with memories.

One of my earliest memories of all, is a memory of standing in the front yard of my house on Mineral Drive, in San Carlos, a suburb of San Diego, California, in about 1965 or 1966, as a young child, and hearing “Nowhere Man” playing on a transistor radio, and feeling utterly transfixed and transported – frozen in time, almost mesmerised, while this heavenly music played, sounding literally like musical magic…  (which, in my opinion – it simply is).

the memory is kind of…mixed up in my mind, I mainly remember the incredible sound of the vocal harmonies (although at 7 or 8 years old, I had no concept that that sound was “vocal harmony” – that knowledge came much later) – but, that sound is mixed up with bright, bright sunshine, on a late afternoon, with late afternoon shadows behind me from the house, but bright, bright sunshine in my eyes – standing there, looking out at the street – and just listening to “Nowhere Man” by the Beatles.  What a beautiful, mournful, wistful, heartbreakingly beautiful sound.

To this day, “Nowhere Man” gives me shivers – without fail, when they hit the chorus the first time…it’s the sound of heartbreak, the sound of sympathy, the sound of empathy, the sound of joy at hitting a perfect harmony…a song so complex, so far ahead of it’s time – what a beauty – and I think this song encapsulates the beauty of the song-writing and singing of John Lennon in particular, who just excels on this tune – until that amazing dual lead solo comes along, that is, when the good George joins in with John to absolutely steal the show with their amazing, concise, super bright guitar solo or I should say, duet – ending with that magical-sounding harmonic – a great piece of guitar playing from both players, if you ask me.

Of course, at that age, I already knew who the Beatles were, I had been aware of them probably since I was about 5, but it wasn’t until a couple years later, when I recognised “Nowhere Man” for what it was, a beautiful, yearning, shiver-inducing slice of perfect pop music.

like so many kids did in the States, I watched the Beatles cartoon as a young boy, and I saw the Beatles themselves on our tiny black and white television, although I was just a little too young to see the live performances on the Ed Sullivan Show (actually, I probably did see it, as I imagine that my parents watched it); they did watch the Ed Sullivan Show show regularly at least in it’s later years, not sure about in 1963 – but I would have only been five at the time (1963), and I have few memories from before kindergarten (i.e. about age 5).

the Beatles performed live on the Ed Sullivan Show for the final time on august 14, 1965, but, for a few years following that, they would regularly send Sullivan other video artefacts, like the much, much more sophisticated colour videos that the Beatles shot and sent to the show (since they could not possibly schedule live performances at the time, their schedule was absolutely insane – so they sent their data instead!).

I remember in particular, the video of “Rain” (which was shown along with three other later tracks, “Paperback Writer”, “Penny Lane”, and “Strawberry Fields Forever”) – [apologies for any annoying ADVERTS at the beginning of any or all of the preceding video links] – and specifically, with regards to “Rain”, I can recall being absolutely gob-smacked by the increased complexity of that song, Lennon’s beautiful, dreamy vocal – and George looked so, so cool with his Gibson SG, too.   And why were they all wearing sunglasses, I wondered?

It was years later that I found out the answer to that one:  “tea”.  They had been…having “tea”.  Lots and lots of “tea”. 🙂

 

When I was about 8 or 9 (so, 1966 / 1967), my parents started allowing me to buy long playing vinyl albums for the first time.  I may have had some 7 inch singles of a more juvenile nature, but my first actual LPs were Beatles albums – starting, strangely, with, “The Beatles Second Album” and then, “Meet The Beatles”, followed by “Beatles 65” and later on, the truly awesome “Yesterday And Today”

– of course, being an American, and living in the U.S. at the time, meant that I had the doubtful “joy” of owning the somewhat inferior US pressings, courtesy of Capitol Records, USA – fewer songs, and incorrect running orders, changes to the original albums not sanctioned by the Beatles at all.   these four Capitol albums were, for a number of years, the only albums I had – and I really didn’t ever have the money to buy them all until I was an adult – so sadly, I never owned “Rubber Soul” or “Revolver” on vinyl (perhaps my two favourite mid-period records!) but eventually did on CD, (nor did I ever own most of the other early to mid period albums – “Please Please Me”, “With The Beatles”, “A Hard Day’s Night”, “Beatles For Sale”“Help”, and many others – on vinyl) – I think “Sgt. Pepper” and then the “White Album” were some of the first “later” Beatles albums that I finally acquired, and eventually, as part of the remastered box sets that finally “set the record straight” for beatles recordings, with the beautiful stereo and mono box sets – finally, I had the bulk of the Beatles output.

I have just now, during the research for this blog, supplemented that CD catalogue by ordering both the “US Albums” box set, as well as the two-double-CD remastered “Live At The BBC” discs – can’t wait for those to arrive – Vol. 2 is all previously unreleased material, so more LIVE Beatles on the radio is a good, good thing…more “new” Beatles music – especially excited about hearing the “new” music from Vol. 2.

Regarding Capitol’s uh, “adjustments” to the Beatles catalogue without their consent, I remember reading the John Lennon interviews from Playboy in book form, wherein he was aghast at being handed the U.S. albums to discuss by the interviewed, and explaining to him how very hard they (the Beatles and George Martin) worked on presentation, running orders, and so on – only to have Capitol America just ignore it all, and release inferior, shorter “versions” of Beatles albums – to make MORE money – fewer tracks, more records sold for fans to get all the tracks – simple arithmetic, probably made them millions – Capitol I mean, not so much the Beatles.

 

It wasn’t until the Beatles full catalogue were first released on CD, that I finally became truly familiar with the real Beatles catalogue, which took some real getting used to since I was so, so accustomed to “The Capitol Albums”.  However, now, even though I do own Vol. I of “The Capitol Albums” mainly for sentimental reasons, I vastly and totally prefer the British releases – with the correct running orders, and songs all intact – plus the singles – which in the US, were sometimes added to albums, too, I believe – rather than mirroring the British releases.  I can recall, too, that the VERY first compact disc I ever bought, ever, was “White Album” – bought from the Price Club for $20.00 – what a way to start your CD collection!  For me, it was almost like hearing the album for the first time, the lead guitars on “Good Morning, Good Morning” practically LEAP out of the speakers, while George Martin’s impeccably-arranged horn section on George Harrison’s “Savoy Truffle” came through the mix with a hitherto unheard brightness and clarity – sounding fantastic!

I am well aware I’ve not really spoken much about the band’s individual talents, from the rock-solid drum beats invented by Ringo Starr, to the absolutely remarkably talented Paul McCartney, possibly the best melodic bass player of all time, and an absolute innovator on the bass guitar (not to mention, what a voice!!!) – so many “firsts” for Paul, the high register passages, the strange note at the end of “And Your Bird Can Sing”, the “sticking” or repeated bass line in the outro of “taxman” – Paul is simply an amazing and extremely innovative bassist – and when you matched him up with the rock steady, unflappable Starr – you had the best rhythm section in rock music – with two genius guitarist, songwriter, singers on the front line with them.  what an amazing group – literally the first, and the best, at just about everything.

 

Of course, we now have the much more recent (2009) “Stereo” and “Mono” ultimate remasters box sets, which truly are incredible – and I am so, so glad that they did not mess with the catalogue in terms of the albums themselves, and the two aforementioned box sets really get it right when it comes to preserving the legacy of the Beatles amazing catalogue of music – and, bonus of all bonuses – in stereo and in MONO, too – and I personally especially love the “Mono” box set, even though it’s not for everyone – I’ve never owned the mono mixes; I’d heard a few of them, most of them came as a surprise to me – some amazing variations from the much more familiar “Stereo” versions.  But – as I am want to do when I get excited about the music of the Beatles – I digress.

 

The next phase of my earliest Beatle memories come from an unlikely time and place: Uganda, East Africa, where between 1967 and 1971, I lived with my parents and my two brothers– my parents were both teachers, and my father had won a place on a US Aid sponsored opportunity to move your family to Africa for two years to teach (in a program called “TEEA” – Teacher Education In East Africa) – basically, teaching teachers how to teach – which was then extended to four years.

 

My schooling during those years was a bit erratic, but my next early Beatle memory is of me, having no way to copy the lyrics from the AMAZING poster included in the Beatles most ambitious album to date, the “White Album” – I was boarding in Kampala, at Makerere University, with an American family (so I could attend school), and they had the album – which I played all the time – but my specific memory is of  writing out, by hand, ALL of the lyrics, of all of the songs, onto yellow foolscap paper – because I WANTED THOSE LYRICS !!!  I believe that somewhere in a box of keepsakes, I may still have those handwritten yellow sheets from 1968!

 

At age 10, I was not really aware of copiers, and in Kampala, Uganda, in 1968, they would not have been commonplace – so the only way I could “take a copy” of those lyrics, was to write them out longhand – which used up an enormous amount of paper, and my right had ached horribly from the effort – but I was determined, and after a couple of days, I had them all – and since it was a long time before I actually owned a copy of the “White Album” – I would often read those mysterious words from my yellow lined paper, hearing those beautifully picked electric guitars in my head, even after we returned to California from Uganda:

“She’s not a girl, who misses much….”

Next time: we will discuss the joys and frustrations of trying to learn, and perform, and occasionally record, the music of the Beatles – beginning with the very first proper band I was in – just about every band I was in from that time forward, played at least one Beatles song – at least, up until I got into Guitar Craft, Looper’s Delight and looping – but that was my strange career choice, to become an ambient looping guitarist; the time I am talking about, I am still at the tender age of 13, so with only a couple of years of self-taught guitar (and I later found, I had not done a particularly good job of teaching myself!) experience, I was finding that it was quite difficult to learn, remember, and play even the simpler Beatles songs – and it was during this time that my admiration for the skill of George Harrison in particular changed from admiration, to admiration and immense respect – that tricky little, bendy lead solo in between the verses of “Ticket To Ride” was at the time, one of the most difficult riffs I ever had to learn.

With just a couple of years of playing chords, I was not yet a lead guitarist, but learning that incredibly difficult riff, and then, learning more and more Beatles songs, also truly helped my own playing – when you imitate the best, you can’t help but sound good sometimes 🙂

So until then, I will leave you with that shiver-inducing refrain, the one I heard that day back in the mid-60s, that probably changed the course of my life for ever – because I seriously doubt, that I would EVER have become a musician, if it weren’t for the inspiration that the Beatles, as a group and as individual musicians, too, provided to me, all the time, through their amazing music:

 

“nowhere man – please listen

you don’t know – what you’re missing

nowhere man – the world is at your command…”