Paul McCartney, Accidental Bassist Extraordinaire

When it comes to Paul McCartney and his accomplishments, where do you even start? Co-founding member of The Beatles, which in my book was the greatest band of all time; a man who has written hundreds of songs, including timeless classics; multiple award-winning two-time inductee in the Rock & Roll Hall of Fame; and great musician who after more than five decades is sill hungry to perform live are some of the highlights that come to mind. This post focuses on something folks outside musician circles may not fully appreciate: McCartney’s significance in pop and rock music as a bassist.

As frequent readers of the blog know, I used to play bass guitar in my late teens and early twenties. As such, the topic should be right up my alley, so what the heck took me so long to write about it? Frankly, I don’t really have a good answer. I included McCartney in a previous post about some of my favorite bassists, and of course I’ve also covered him on other occasions. Still, as one of my all-time music heroes, Macca and his remarkable bass playing certainly deserve more attention.

The interesting thing one may sometimes forget is that McCartney not only started out as a guitarist but did not have any initial intention to become a bassist. A long interview with Macca, which Tony Bacon conducted in November 1994 as part of his research for a book about the bass, provides some great insights. It was published by online music gear and news website Reverb in January 2018. I’m relying on this interview for quotes throughout the remainder of the post.

The Beatles 1960 Lineup
The Beatles’ lineup in 1960 (from left): John Lennon, George Harrison, Pete Best, Paul McCartney and Stuart Sutcliffe

“The bass player was normally a fat guy who stood at the back,” Macca told Bacon. [Note: This bassist was skinny, and while he has developed a little bit of the belly over the years, he’s far from fat. In fact, his dear wife still says he’s pretty handsome!😆] “In our minds it was the fat guy in the group nearly always played the bass, and he stood at the back. None of us wanted that. We wanted to be up front, singing, looking good. That was what we wanted, to pull the birds. There’s no other reason, basically.”

The above photo shows an early lineup of The Beatles. It must have been taken during the second half of 1960, after Pete Best had joined the band as a drummer. Stuart Sutcliffe, a friend of John Lennon from art school, had been added in January that year, after John and Paul had persuaded him to use prize money he had won for art to purchase a Hofner bass guitar. “So, Stu was suddenly there just because he could afford the bass, and none of us could,” Macca said. Ouch…

“The Hofner kind of dwarfed Stu a bit,” Macca further pointed out. “He was a smallish guy. But it looked kind of heroic—he stood a certain way, he had shades, he looked the part—but he wasn’t that good a player. And that was the problem with me and Stu. It was always much reported that we didn’t get along. There were two reasons, really. One, I was very ambitious for the group, and I didn’t actually like anything that might hold us back. There’s enough stuff holding you back anyway, without someone in the group who’s not that good, you know?”

Stuart Sutcliffe with Hofner
Stuart Sutcliffe with his 1959 Hofner 500/5 semi-hollow bass

In July 1961, after The Beatles had returned from one of their engagements in Hamburg, Germany, Sutcliffe decided to leave the band to pursue painting. “So it was like oh-oh, we haven’t got a bass player. And everyone sort of turned round and looked at me,” Macca recalled. “I was a bit lumbered with it, really. It was like, well, it better be you then. I don’t think you could have caught John doing it—I don’t think he would have done it. ‘No, you’re kidding. I’ve got a nice new Rickenbacker.’ I didn’t have a guitar [at the time], see, so I couldn’t really say, ‘But I want to be a guitarist.’ They’d say, Well get a fucking guitar then—that might be a start! As I say, I’d been playing piano, which was on the stage, and that was quite good for me, gave me a lot of piano practice. I couldn’t really play but I learned. So I was quite glad to get back in the front line.”

Sutcliffe ended up lending McCartney his bass for a short time. “Eventually I saw a bass in the window of a shop in Hamburg, this violin-shaped bass, the Hofner. It was a good price, because my dad, as I say, had always said I shouldn’t do the never-never, but we were earning reasonable money.” And so McCartney essentially became the bassist of The Beatles by, well, accident. “That was it. I had the bass. I was now the bass player in the group, and I kind of took it from there.” Well, he certainly did.

It’s fair to say that McCartney didn’t become a brilliant bassist overnight. He started out largely playing root notes, which probably wasn’t that much different from Sutcliffe. But McCartney liked to push himself forward by experimenting. “The thing with the bass on a lot of this stuff was that you’ll try anything once,” he explained. “So, I’ll try a capo on a bass…I often used to tune ‘em down, too – tune the strings down a tone, so the E would become a D. You’d have to be careful how hard you hit them, but it was kind of interesting. I would just mess around with any experimental effects, just to try it.”

Macca with Bass and Capo
Paul McCartney on the cover of Beat Instrumental magazine, with his Rickenbacker 4001 bass and a capo, together with George Martin and George Harrison

After The Beatles had stopped touring, the studio became a major enabler for experimentation. Advances in technology also allowed the separate recording of instruments. By the time of Sgt. Pepper, Macca would oftentimes record the bass part as one of the last tracks. This allowed him to hear all other instrumental parts and take the bass beyond it’s traditional role of timekeeper to becoming an additional melody-driving instrument. And this is where Macca’s true magic as a bassist happened. From a strictly technical standpoint, his playing is nothing extraordinary, which he himself has stated in various interviews I’ve read over the years.

When after the breakup of The Beatles Macca formed Wings, many things changed, including his bass playing. Not only did he now consistently use his Rickenbacker 4001S he had been given by Mr. Rickenbacker himself as a freebie during The Beatles’ 1965 U.S. tour, but his playing became more traditional again. Asked about it, he said, “I think it was OK, but I think I never quite had the interest that I had during that sort of dream period around Sgt. Pepper and Rubber Soul, when I was doing something.”

Macca Key Bass Guitars
Paul McCartney with his two signature bass guitars, a Hofner 500/1 violin bass and a Rickenbacker 4001S

“See, with Wings, I was now the band leader, the business manager, the this, the that, the this,” he went on. “We didn’t have Apple, we didn’t have Epstein, we didn’t have anything. It was me doing it all. That was the biggest headache – that’s difficult. In The Beatles, I’d been free of all of that. We had a manager, we had three other great guys.” Macca also could have added that unlike The Beatles in their later stage, Wings was not set up as a studio band.

Asked about his influences for the bass, McCartney said, “Mainly as time went on it was Motown, James Jamerson—who became just my hero, really. I didn’t actually know his name until quite recently. James was very melodic, and that got me more interested. Actually he and Brian Wilson [from The Beach Boys] were my two biggest influences: James just because he was so good and melodic. Brian because he went to very unusual places. Brian would use, if you were playing in C, he might stay on the G a lot just to hold it all back, and I started to realize the power you had within the band.”

I’d like to wrap up this post by highlighting some of McCartney’s great basslines during his time with The Beatles. I apologize to the non-musicians, who may find the following clips a bit geeky. I think the best way to hear Macca in action, especially on a computer or other non hi-fi device, is to listen to his isolated bass parts. First up: Rain, the B-side from the non-album single Paperback Writer, released in May 1966. The song was written by Lennon and, as usually, credited to Lennon-McCartney. This is quite a busy bassline that provides a nice complementary melody to the tune. Since I couldn’t find a YouTube clip with the original isolated part, I’m relying on a chap called Norby Hofner, who does a pretty decent job.

With A Little Help From My Friends from Sgt. Pepper’s Lonely Hearts Club Band is an example of a melodic bassline where McCartney nicely varies between sparing and busy playing. The tune wasn’t only credited to Lennon-McCartney but was also written collaboratively.

Another great example of a busy Macca bassline is Hey Bulldog, a song off the Yellow Submarine album, primarily written by Lennon and again credited to Lennon-McCartney. I dig how the bass is pushing the tune forward.

The last bassline I’d like to call out is one of my all-time favorites by Macca: Something. Should I ever go back to playing the bass, this would be on top of my list to learn. This bass part represents such great melodic playing that one can easily enjoy listening to it all by itself. I also think that Something, which appeared on Abbey Road, is one of George Harrison’s best compositions.

Sources: Wikipedia, Reverb, YouTube

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To Be Or Not To Beatles

Canadian trio Klaatu took some on magical mystery tour in 1976/77

Just before Christmas, I listened to a refreshing new album that sounded incredibly “Beatlish.” I checked the album, entitled Klaatu, for names or pictures of the musicians but there were none. All credits were given to Klaatu. Curious, I called Capitol Records and was told it was a “mystery group.” 

The above is the opening paragraph of a story written by Steve Smith and published on February 17, 1977 in the Providence Journal, a Rhode Island daily newspaper. I was reminded about the album, when it showed up as a listening recommendation in my streaming music service this morning. While I first covered it in May 2017, I felt it was worthwhile revisiting what I would call one of the more intriguing rumors in rock music in an updated post.

Providence Journal Klaatu Review

In retrospect, it’s easy to dismiss Smith as a writer who seemingly was chasing what would have been a potentially career-defining scoop. British magazine New Music Express, now simply known as NME, was quick to dismiss the piece with a story titled Deaf Idiot Journalist Starts Beatles Rumor. Rolling Stone subsequently called it the “hype of the year.”

I agree while sounding Beatlesque, if you listen closely, it is pretty clear the vocals weren’t performed by The Beatles. Still, Smith made some valid points in his story. For example, I agree with his observation that the tune Sub-Rosa Subway sounds like The Beatles from 1968/69. Plus, something that in my opinion got a bit lost is that Smith didn’t firmly conclude Klaatu were The Beatles. Instead, he identified four possibilities. To quote: 1. The Beatles. 2. A couple of The Beatles with other people. 3. A Beatle-backed band. 4. A completely unknown but ingenious and talented band.

Klaatu 2

Klaatu (from left): John Woloschuk, Terry Draper and Dee Long

Also, let’s not forget the other actors in this story. The obvious place to start here is Klaatu. Named after the extraterrestrial character in the motion picture The Day The Earth Stood Still, the Canadian trio included John Woloschuk (bass), Terry Draper (drums) and Dee Long (guitar).  During a 1980 interview with former Capitol Records editorial manager Stephen Peeples, which is posted on Klaatu’s website, Draper said, “I think we were flattered more than anything. Surprised, though, considering that it was totally regardless of us that it happened. We didn’t perpetrate it. It just sorta came to pass by an article written in Providence [Journal] by Steve Smith. We were surprised as everyone else.”

I’m sorry, but I don’t entirely buy the above. While Klaatu may not have planned the plot, they did not do anything while the rumors were unfolding. The band essentially attributed their silence to a desire to remain anonymous musicians, which is why they had not included their names, photos or any biographical information on the album cover. Did they think they would generate “Klaatumania” with fans running after them wherever they would go? I feel the following commentary Woloschuk made during the above interview is more insightful: “We got more hype out of that than you could have manufactured with 15 promo records directors. I mean, it backfired on us. While we were looking for anonymity, we got more exposure than we could have dreamed was possible.”

Klaatu 3

Then there was Frank Davies, president of Klaatu’s label Daffodil Records, which had a distribution deal with Capitol Records. When Smith called him, Davies reportedly told the writer everything “you’ve summarized is pretty accurately all around” and “everything that is there, can and will be identified even without, perhaps them, the people being seen.” Capitol Records certainly added to the rumor by calling Klaatu a “mystery band.” Meanwhile, they were likely laughing and watching sales of the album pick up.

Eventually, Dwight Douglas, program director at radio station WWDC in Washington, D.C., put the mystery to an end. He checked the records at the U.S. Copyright Office and uncovered the band members’ real names. As soon as Klaatu’s identity became known, the album’s sales started to tumble and started the band’s slow decline. Time for some music.

Here’s the opener of the album, which in Canada was titled 3:47 EST. When Capitol Records released it in the U.S., they decided to rename it Klaatu.  Co-written by Woloschuk and Draper, Calling Occupants Of Interplanetary Craft is one of tunes that have a very strong Beatlesque vibe. While it’s fairly obvious to me that the voices aren’t The Beatles, the singing style definitely is reminiscent of The Fab Four. Even more so is the instrumentation. It’s actually a great song you could imagine on an album like Sgt. Pepper’s Lonely Hearts Club Band or Magical Mystery Tour.

California Jam starts out with a George Harrison style electric guitar. The harmony singing is reminiscent of The Beatles and sometimes also sounds a bit like The Beach Boys. The song was co-written by Woloschuk and Dino Tome, a close friend.

Next up is the above mentioned Sub-Rosa Subway, also a Woloschuk-Tome co-write. It strikingly sounds like a Paul McCartney style composition, in particular the melody, the piano part and the bassline.

The last tune I’d like to highlight is Doctor Marvello. It has a bit of a George Harrison  feel, both in terms of the singing and the sitar. In his story Smith compared the tune to Blue Jay Way, which I think is a fair comparison.

After 3:47 EST/Klaatu, Klaatu released four additional studio albums and eventually disbanded in August 1982. They had two brief reunions in 1988 and 2005. In March 2011, Klaatu announced the launch of their own label Klaatunes Records. They reissued a 2009 compilation titled Solology. In addition, Klaatu has released remastered editions of their first three albums 3:47 EST/Klaatu, Hope and Sir Army Suit.

What if anything did the former members of The Beatles have to say about the whole Klaatu saga? A December 2013 story published in music magazine Goldmine quoted Long who recalled an encounter with Paul McCartney in the late ’80s while working as an engineer at George Martin’s Air Studios in London. “Later, when I was working in Studio 5, there was a knock on the door, and in comes Paul,” Long said. “He introduced himself (like he needed any introduction) and said, ‘So you’re the chap from The Beatles clone band.’ He explained that he was on a TV talk show and the host played a bit of ‘Calling Occupants’ and asked Paul if that was him singing! Paul had never heard the song and said so…We talked for at least an hour, and I explained that we were never a clone band but just heavily influenced by The Beatles. We talked about music and life…He came back many times to hang out and jam and talk about writing songs. Again, he was just a wonderful person — easy to talk to, and full of positive energy. An experience I will always treasure.”

During another interview posted on Klaatu’s website, which was conducted by David Bradley in September 1997, Woloschuk was asked whether he would have done the Klaatu album again. ” Yeah, I think I would have done it again,” he answered. “When I was 17, I bought my first copy of “Sgt Pepper’s,” and I was blown away by it…And within 10 years, the whole world was claiming the group that I was in was the Beatles.  And that’s got to be looked at as an achievement, I think, one way or the other.”

I think Woloschuk is partially right. There’s no question that musicians who write music that could have been created by The Beatles are talented. The album is a lot of fun to listen to. But why conceal your identities? It was incredibly naive to think they could get away with it. Plus, including their names on the record would not have taken anything away from the great music. Yes, it’s safe to assume Klaatu wouldn’t have received the publicity they did. And while it helped the band in the short-term, unfortunately, it tainted them and eventually led to their demise.

Sources: Wikipedia; Could Klaatu be Beatles? Steve Smith. Providence Journal, Feb 17, 1977; Klaatu website; Goldmine, YouTube

On This Day In Rock & Roll History: January 23

Even though I’ve already done numerous installments for this recurrent feature, many of the 365 dates remain to be explored. Let’s take a look at some of the events on January 23 in rock & roll history.

1956: Cleveland, Ohio banned rock & roll fans under the age of 18 from dancing in public unless accompanied by an adult, after the Ohio police had re-introduced a law dating back to 1931. Music bans rarely work, and there was no way young people could be kept away from rock & roll. Ironically, 27 years later, the very same city saw the founding of the Rock & Roll Hall of Fame. The times they are a-changin’.

50s dance ban

1965: Petula Clark hit no. 1 on the Billboard Hot 100 with Downtown, the first female singer from the U.K. to reach the top of the U.S. chart since Vera Lynn in 1952. The tune, which peaked at no. 2 in the U.K., was written by Tony Hatch, who also produced it for Clark. The song’s recording session on October 16, 1964 at Pye Studios in London was attended by a popular studio guitarist. His name: Jimmy Page. That same year, his session work also included As Tears Go By (Marianne Faithfull), Heart Of Stone (The Rolling Stones) and Baby, Please Don’t Go (Them), among others.

1969: The Beatles were working at Abbey Road Studios as part of the Get Back/Let It Be sessions. They spent a great deal of time on Get Back, recording an impressive 43 takes of the Paul McCartney tune, none of which was officially released. Their efforts eventually would pay off during their rooftop concert. And, yes, they passed the audition!

1971: George Harrison reached no. 1 on the Official Singles Chart in the U.K. with My Sweet Lord, becoming the first former member of The Beatles to top the charts as a solo artist. The tune appeared on All Things Must Pass, Harrison’s first solo album following the band’s breakup. My Sweet Lord peaked at no. 1 in many other countries as well, including the U.S., Canada and Australia. It also made Harrison the first and only ex-Beatle to find himself embroiled in major copyright infringement litigation. The lawsuit alleged My Sweet Lord plagiarized He’s So Fine, a tune Ronnie Mack had written for The Chiffons, giving them a no. 1 single in the U.S. in 1963. In September 1976, a New York judge ruled that Harrison had “subconsciously copied” Mack’s tune. Subsequent litigation over damages dragged on until 1998.

1976: David Bowie released his 10th studio album Station To Station. It became his highest-charting record in the U.S. during the ’70s, climbing to no. 3 on the Billboard 200. The record also catapulted the Thin White Duke into the top 10 in various other countries, including the U.K. (no. 5), Australia (no. 8), The Netherlands (no. 3), Norway (no. 8) and New Zealand (no. 9). In 2012, Rolling Stone ranked Station To Station at no. 324 on their list of 500 Greatest Albums of All Time. Here’s the closer Wild Is The Wind, which like all tracks was written by Bowie.

1978: Terry Kath, best known as a founding member of Chicago, accidentally shot himself dead. Following a party, he started playing around with guns, held a pistol he thought was empty to his temple and pulled the trigger. The freak accident happened only a few days prior to what would have been his 32nd birthday. Referring to Kath, Jimi Hendrix reportedly once told Chicago’s saxophone player Walter Parazaider that “your guitar player is better than me.” Regardless whether Hendrix meant it or not, there’s no question that Kath was an ace guitarist. Here’s I Don’t Want Your Money, which was co-written by him and Robert Lamm, and appeared on Chicago’s third studio album Chicago III from January 1971.

Sources: Wikipedia, This Day in Music.com, The Beatles Bible, YouTube

On This Day In Rock & Roll History: January 5

Earlier today, fellow bloggers Intogroove and Slicethelife reminded me of Creedence Clearwater Revival’s sophomore album Bayou Country, which was released today 50 years ago. Then I spotted a Rolling Stone story about Greetings From Asbury Park, N.J., the Bruce Springsteen debut, which appeared on January 5, 1973. Last but not least, Ultimate Classic Rock wrote about the 40th anniversary of Look Sharp!, Joe Jackson’s first record – three great reasons to do another installment of my music history series, and there’s more!

1962: English rock & roll singer Tony Sheridan released his debut album My Bonnie as Tony Sheridan and The Beat Brothers. The Beat Brothers, Sheridan’s backing band at the time, actually were an early incarnation of The Beatles. Their line-up included John Lennon (guitar), Paul McCartney (guitar), George Harrison (guitar), Stuart Sutcliffe (bass) and Pete Best (drums). While there are different versions of the story, the release of the album’s title track as a single appears to have played a role in getting The Beatles on the radar screen of a man who at the time ran the record department of the family’s music store NEMS. His name? Brian Epstein.

1969: Bayou Country, the sophomore album by Creedence Clearwater Revival, came out, the first of three records the band released that year. Unlike their debut, which included three covers, all except one tune on Bayou Country were written by John Fogerty. Looking at the band’s sudden success with Proud Mary and the rapid succession of additional records, one could forget they had actually struggled for a decade, initially performing as the Blue Velvets and then the Golliwogs before adopting the name Creedence Clearwater Revival in January 1968 ahead of the release of their eponymous debut album in May that year. Here’s Bayou Country’s strong opener Born On The Bayou.

1973: Bruce Springsteen released his debut Greetings From Asbury Park, N.J.  As the above Rolling Stone story notes, while the album wasn’t a huge commercial success, it included various tunes that would become staples during Springsteen’s live performances. One of them is the only Springsteen song that ever topped the Billboard Hot 100, though not in its original version: Blinded By The Light, which Manfred Mann’s Earthband turned into a major chart success in 1976. The record also featured five musicians who eventually became part of the E Street Band: Vini “Mad Dog” Lopez (drums), Garry Tallent (bass), David Sancious (keyboards) and Clarence Clemons (saxophone). Initially, Blinded By The Light and Spirit In The Night weren’t part of the record that was submitted to Columbia. At the insistence of label president Clive Davis, who felt the album lacked a hit, Springsteen wrote both songs. Here’s Spirit In The Night, another tune that was also covered by Manfred Mann.

1979: Joe Jackson made his studio debut with Look Sharp! Jackson was remarkably successful right out of the gate, with the record peaking at no. 20 on the Billboard 200 and climbing to no. 40 on the UK Albums Chart. The lead single and one of his signature tunes Is She Really Going Out With Him? climbed to no. 13 on the UK Singles Chart and reached no. 21 on the Billboard Hot 100. I think the above UCR story put it nicely: “Thin and balding, Jackson wasn’t exactly born for the looming video revolution, but he had an impeccable sense of style reflected by the distinctive Look Sharp! album cover, graced with a striking shot of white dress shoes shining in a beam of light on a city sidewalk. Simple and elegant, it summed up Jackson’s early recordings perfectly, evoking all the sleek musical lines and bracing urban wit throughout the album’s 36-minute running time.” Here’s the great opener One More Time, which like all other tracks on the album was written by Jackson.

Sources: Wikipedia, Rolling Stone, Ultimate Classic Rock, This Day In Rock, This Day In Music, YouTube

My Busy 2018 Music Journey Part 2: New Music & 2019 Preview

Part 1 of this 2-part series looked back on the concerts I was fortunate to catch this year. Another significant aspect of my 2018 journey was listening to music, both familiar and new. While most of the music that’s coming out these days isn’t my cup of tea, I still ended up reviewing 24 new releases this year. About half (13) are studio albums, while the remainder is a mix of reissues, vault type releases and live records. Even if you only consider the new studio releases, 13 albums over the course of one year, or an average of approximately one per month, isn’t so bad for somebody who almost entirely lives in the past when it comes to music.

From the above studio albums, I’d like to call out the following: John Mellencamp, Other People’s Stuff, Dec 7 (review); Greta Van Fleet, Anthem Of The Peaceful Army, Oct 19 (review); Paul McCartney, Egypt Station, Sep 7 (review); Buddy Guy, The Blues Is Alive And Well, Jun 15 (review); Roger Daltrey, As Long As I Have You, June 1 (review); and Sting & Shaggy, 44/876, Apr 20 (review). Following are some clips.

Teardrops Will Fall, a ’60s tune co-written by Gerry Granaham and Marion Smith, was first recorded by John Mellencamp for his June 2003 album Trouble No More. But it actually sounds he could have taken the tune from his 1987 gem The Lonesome Jubilee, Mellencamp’s first record where he moved away from straight rock toward a more roots-oriented sound.

While Greta Van Fleet will probably need to find a more original style to ensure their longevity, selfishly, I can’t deny getting a kick out of their Led Zeppelin-style rock. The Cold Wind from their new album is a great example. I don’t know of any other band that sounds like the mighty early Zep. One thing is for sure: Robert Plant can no longer deliver vocals with this degree of intensity.

Egypt Station is Paul McCartney’s 17th solo study album. Here’s I Don’t Know, a classic McCartney piano-driven pop song. Yes, Macca’s voice has noticeably changed since New from October 2013, but I actually think it goes pretty well with his latest songs. Based on YouTube clips I’ve watched, I’m less sure about Beatles tunes. Many are in high keys and as such tough to sing, so Macca may have to make some adjustments.

Moving on to Buddy Guy, who at age 82 shows no signs of slowing down. One of the highlights of his latest record is Cognac, where he trades guitar licks with Jeff Beck and Keith Richards. If you’re a guitarist with basic blues skills, you just feel like grabbing your instrument and joining in!

As Long As I Have You is Roger Daltrey’s first solo album in close to 26 years. Here’s the excellent title track, a cover of a tune that initially was recorded by soul singer Garnet Mimms in 1964. The Who also played it in their early days.

Last but not least in the new studio album category is what at first sight may look like a somewhat odd pairing: Sting & Jamaican pop reggae fusion artist Shaggy. But they actually blend quite well, and here’s some pretty groovy evidence: Just One Lifetime.

This year also saw various great reissues and songs from the vault type albums. The two releases I’d like to highlight here are the reissue of The Beatles’ White Album (review) and Songs For Judy, an excellent Neil Young compilation of live solo performances from his November 1976 tour with Crazy Horse (review).

To me the true revelation of the Beatles’ reissue are the so-called Esher Demos, early and unplugged versions of most of the original album tracks, along with a few additional songs that didn’t make the White Album. They were all recorded at George Harrison’s bungalow in Esher located to the southwest of London. Here’s the Esher demo of Revolution.

The song I’d like to call out from Neil Young’s recent vault release is The Needle And The Damage Done. It remains one of my favorite tunes from Harvest, Young’s fourth studio album that came out in February 1972.

I also would like to acknowledge two Jimi Hendrix releases: The reissue of Electric Ladyland, the third and final studio album by The Jimi Hendrix Experience, and Both Sides Of The Sky, the third in a trilogy of posthumous albums after Valleys Of Neptune  (2010) and People, Hell and Angels (2013).

The last category of 2018 albums I’d like to touch on are live releases. I already noted Neil Young’s record. Three others that deserve to be called out are Bruce Springsteen’s Springsteen On Broadway (review), Sheryl Crow’s Live At The Capitol Theatre (review) and Soulfire Live (review) by Little Steven and The Disciples of Soul. Springsteen On Broadway is one of the best new albums I’ve heard this year. While Bruce Springsteen as a great music performer wasn’t any news to me, I had not fully appreciated his compelling verbal story-telling capabilities. There’s a bit of that on the Live/1975-1985 box set where Springsteen talks about how he was drafted for Vietnam and that his dad was happy they didn’t take him. Springsteen on Broadway takes his story-telling to another level. In fact, Springsteen’s monologues that precede his songs are almost more compelling than the music performances. Here’s part 1 of the introduction to My Hometown.

Next up: Sheryl Crow. If It Makes You Happy is one of my favorite Crow tunes from her eponymous second studio album released in September 1996. On the new live album, she starts off with another unidentified song I don’t recognize, before launching into Happy.

On to Little Steven. Soulfire Live captures his 2017 tour with The Disciples of Soul in support of his excellent Soulfire album, one of my favorite new records from that year. Among the live album’s highlights is a terrific cover of the Etta James tune Blues Is My Business. In addition to Steven demonstrating that he can be more than just a side-kick,  The Disciples of Soul prove what a terrific backing band they are.

So what’s in store for my music journey next year? On the concert front the only thing I can say for sure is I’m thrilled I got a ticket for The Rolling Stones on June 13 at MetLife Stadium in East Rutherford, N.J. It will only be my second time to see the Stones. Three other artists who are currently on my radar screen are John Mellencamp, John Mayall  and Paul McCartney.

Mellencamp has a series of gigs in New Jersey and New York at the end of February. I’d definitely enjoy seeing him again! Mayall has started booking dates in Europe for February and March. I’ve never been to one of his shows and hope he’ll add a U.S. leg to the tour that includes at least one logistically feasible concert. As for McCartney, his current tour schedule shows U.S. gigs between late May and mid-June. Unfortunately, none of them are within reasonable reach, so hopefully there will be additional dates closer to my location.

To frequent visitors of the blog it won’t come as a shock that I have every intention to continue seeing tribute bands. In fact, I already have a ticket for Neil Young tribute Decade for January 11 in Asbury Park, N.J., where they are going to recreate Young’s MTV Unplugged concert from 1993 – should be pretty cool! On February 23, I’m hoping to see Good Stuff, a great new tribute to Steely Dan, Gino Vannelli, Sting and Stevie Wonder. I’m planning to do more about these guys in the near future. Assuming the above British Invasion and Rock The Farm festivals will happen again in 2019, I certainly want to return to both events. Undoubtedly, there will also be plenty of other tribute opportunities.

2019 Outlook

Before finally wrapping up this post, I also would like to take the opportunity to reflect on the current status of the blog. I’m generally pretty happy where things stand at this time. Sticking with it wasn’t necessarily a given when I started out in late June 2016. While I’ve always emphasized I’m doing this because of my passion about the subject of music, not to become “famous,” I cannot deny that getting recognition in the form of comments, likes and followers is encouraging. I’m happy traffic has multiplied from 2017 and to date includes visitors from more than 70 countries.

I’d like to thank all readers, especially those who keep returning and leave comments. Apart from learning new stuff about music, feedback can also help me gain new perspectives. Whether you’re a fist-time visitor or one of the regulars, I’d like to wish you a great and peaceful Holiday season. And if you’re a fellow music blogger, to borrow creatively from Neil Young, keep on rockin’ in the blogosphere!

Christian

Rocking Bitmoji

Sources: Wikipedia, Christian’s Music Musings, YouTube

Clips & Pix: The Beatles/While My Guitar Gently Weeps (Third Version/Take 27)

I know I just posted about the 50th anniversary edition of the White Album. In the meantime, I’ve further explored the massive reissue and simply couldn’t resist to write more about it.

The above clip is a studio take of While My Guitar Gently Weeps, one of my favorite George Harrison songs. In addition to George (vocals, Hammond organ, acoustic guitar), it features John Lennon (electric guitar), Paul McCartney (vocals, piano, bass), Ringo Starr (drums, tambourine, castanets) and Eric Clapton (lead guitar).

Not only have I gained a new appreciation for the incredible variety of music The Beatles wrote for this album (just consider the differences between tracks like Blackbird, Helter Skelter and Revolution 9), but it’s also been an eye-opener how unlike Sgt. Pepper’s Lonely Hearts Club Band, they mostly recorded the White Album as a band playing live in the studio. Based on background chatter, it’s also obvious to me they had a good deal of fun.

You don’t sense any of the tension between them you always read about. I’m not saying it didn’t happen. After all it’s a fact that Ringo walked out at some point, since he couldn’t take it any longer. But it’s also true that John, Paul and George truly wanted him to come back and decorated the entire studio with flowers when he did.

So despite of all the conflict, The Beatles were still able to function as a band, as mind-boggling as that sounds! During a fascinating 90-minute panel discussion about the White Album, which you can still watch on YouTube here, Giles Martin attributed this in part to the fact that John, Paul, George and Ringo really appreciated each other as musicians. At some point, he also appears to doubt that the conflicts between The Beatles were as bad as is commonly thought.

Sources: YouTube

50th Anniversary Editions Of Two Iconic Albums Released

The Beatles’ White Album and the Jimi Hendrix Experience’s Electric Ladyland are celebrated with major reissues

Today could be a first, or in case I’m wrong, it’s safe to say this doesn’t happen often: Two major reissues of albums by iconic music artists appearing the same day. The White Album by The Beatles and Electric Ladyland by the Jimi Hendrix Experience are now officially out. Other than what’s currently available in Apple Music I don’t have access to any of the actual special releases at this time, yet I’d feel remiss not write about these special editions.

While the White Album isn’t my favorite Beatles album and I tend to agree with those who say they should have put the strongest songs on one record rather than releasing a double album, The Beatles remain my all-time favorite band. That’s likely not going to change. Moreover, based on what I’ve read and heard, this reissue definitely features material that intrigues me. As for Jimi Hendrix, Electric Ladyland would be my no. one album choice overall, even though it doesn’t include my two favorite Hendrix tunes: Purple Haze and Hey Joe.

The White Album 50th Anniversary Configurations

The White Album reissue is available in four configurations: A Super Deluxe 7-disc set (on the left in above picture) featuring 50 mostly previously unreleased recordings all newly mixed with 5.1 surround audio as well as the so-called Esher Demos; a deluxe 4-LP edition; a 2-LP issue (pictured above in the middle); and a deluxe 3-CD set (on the right in the above image). The remixed original tracks, the Esher Demos and additional takes are also available on iTunes/Apple Music and other digital and streaming services.

Similar to last year’s Sgt. Pepper’s Lonely Hearts Club Band anniversary edition, Giles Martin, son of Beatles producer George Martin, worked together with mix engineer Sam Okell. They newly mixed the album’s 30 original tracks in stereo and 5.1 surround audio, together with 27 early acoustic demos and 50 session takes, most of which weren’t released in any form previously. While I have no doubt the sound is fantastic and superior to previous recordings, for the most part I can’t hear the differences. That’s largely because the streaming versions are lower quality than the CDs or vinyl records. And, yes, part of it may also be explained by some hearing loss I can’t deny! Here’s a cool lyric video of the 2018 mix of Back In The U.S.S.R.

Given the above mentioned sound quality constraints, what’s more intriguing to me, are the additional demo and session tracks, particularly the Esher Demos that were recorded in May 1968 at George Harrison’s bungalow in Esher located to the southwest of London. These are early and unplugged versions of most of the original album tracks, along with a few additional songs that didn’t make the album.

Two of the tunes that weren’t included on the White Album, Mean Mr. Mustard and Polythene Pam, ended up on Abbey Road. Not Guilty, a Harrison composition, was eventually released on his eponymous studio album from February 1979, his eighth studio record. And then there’s John Lennon’s Child Of Nature, which became Jealous Guy and was included on Lennon’s second solo album Imagine from September 1971 – admittedly stuff that is likely to primarily excite Beatles fans like myself.

Two things are very striking to me about these Esher Demos. The amount of writing was just remarkable during a time when tensions among The Beatles were increasing, which even led to Ringo Starr’s temporary departure. But despite their differences, somehow these guys were still able to engage as a band. They even has some fun, as background chatter on some of these home recordings suggests. Here’s the Esher Demo of Ob-La-Di, Ob-La-Da. While it’s clearly not my favorite Beatles tune, does this sound to you like a band in distress?

The Electric Ladyland Deluxe 50th Anniversary Box Set comes in two formats: 3-CD/one Blu-ray or 6-LP/one Blue-ray. It features a newly remastered Electric Ladyland album; Electric Ladyland: The Early Takes (unreleased demos); Live At The Hollywood Bowl 9/14/68 (unreleased concert); the previously released documentary about the making of the album At Last … The Beginning with 40 minutes of new footage; 5.1 surround sound mix of Electric Ladyland album; Linda McCartney’s original cover photo as chosen by Jimi Hendrix but rejected by the record company; a 48-page book featuring unpublished photos; and new essays by Rolling Stone’s David Fricke and Hendrix biographer John McDermott.

Electric Ladyland Box Set

CD mastering and the 5.1 surround sound mix were done by Eddie Kramer, sound engineer on all Hendrix albums released during his lifetime. Vinyl mastering was done by Bernie Grundman, who has mastered albums, such as Aja (Steely Dan), Thriller (Michael Jackson) and various Prince records.

Similar to Abbey Road, which couldn’t have been more different from Sgt. Pepper’s Lonely Hearts Club Band, Electric Ladyland marked a significant change for Jimi Hendrix. Unlike the first two albums by the Jimi Hendrix Experience, where producer Chas Chandler tightly managed the recording process, Hendrix was fully in charge on Electric Ladyland. Recording sessions were no longer determined by Chandler’s tight organization and time management, but by Hendrix’s unconstrained perfectionism. Hendrix also repeatedly invited friends and guests to join him in the studio, such Brian Jones (still with The Rolling Stones at the time), Steve Winwood and Al Kooper. This created oftentimes chaotic recording conditions, which eventually led to Chandler to walk out on Hendrix.

Except for some tracks from the documentary At Last … The Beginning, currently, nothing else from the Electric Ladyland reissue is available on iTunes or Apple Music. I suspect it is similar for other digital or streaming platforms. That’s unfortunate and I assume done by design to encourage purchases of the actual box set. Probably for the same reason, I also couldn’t find any YouTube clips of songs from the reissue. The CD version currently sells for $42.39 on Amazon, while the vinyl configuration is going for $98.39. Here’s a fun clip of Eddie Kramer talking about Electric Ladyland and the new box set.

Sources: Wikipedia, Beatles website, Jimi Hendrix website, YouTube