Nightman Listen To – George Harrison – All Things Must Pass (Non Beatles Series)!

All Things Must Pass - George Harrison

Greetings, Glancers! We’re several albums deep into my Non-Beatles journey and so far we’ve had two pieces of whimsy from Ringo, two pieces of experimental junk by George, one middling effort by Paul, and not a single word from John. I think we are past most of the arsing about and feet-finding now and we might actually get back to the dark art of making good songs. George Harrison’s 1970 effort  All Things Must Pass is at least an album I’ve heard of, but I don’t know anything about it. A glance at the tracklist tells me there’s a few songs I know, and that it features a tonne of songs – there’s a lot to get through. It better be good, otherwise, well… nothing. I just want to year some sweet tunes, yo.

I’d Have You Anytime‘ opens with that near dreary swirl quality which features on many of Harrison’s Beatles works. The first thing to mention though, is that it’s an actual song, not some experimental guff. Solo guitar licks burn at the hairs and that mournful chord series underlays some classic downbeat Harrison vocals. A promising start then – not the best song I’ve heard by Harrison, but at least it’s a song.

My Sweet Lord‘ is of course one I know. I know a lot of… groups have claimed this song. Which doesn’t seem right. It is a lovely song – all the sweet melodies of harmonies of the best Beatles work, but with Harrison’s signature laid-back rhythm. It also follows his tendency towards the cyclical and repetitive, with only a few repeated lyrics and melodies, all which build as more vocals and instruments are thrown into the mix. I think if it went any longer it would begin to wear thin, but it stops at just the right time.

Wah-wah‘ brings the guitar and the latter day Beatles hippy psych sound. It could easily be a cut from one of their final records. It’s nicely chaotic too, and the main riff is groovy. The cyclical sound is present, the lyrics have definite frustration – perhaps at what was going on within The Beatles towards the end. It’s another good one, but I don’t know if it warrants going over the five minute mark.

Isn’t It A Pity’ is over the seven minute mark, so it better be good. It has that familiar Beatles sound, I don’t know if it’s the overall production, the combination of instruments and rhythm, but it feels like I know the song even though I’m certain this is the first time I’ve ever heard it. It builds in a similar way to some of their latter songs – particularly  with respect to the drums. Melodically it’s more of the same from George – mellow, dreamy, no real peaks or wide range. There’s a sort of Eastern swelling of strings in the middle, along with a solo. The instrumental then covers most of the final three minutes, with assorted vocals moments. There’s a solid four minute track here, five at a push, but no real need to pass seven.

What Is Life‘ opens with a horn-like riff and a faster pace. This has a markedly, I guess that’s the right word, sound from everything else. It’s a few steps adjacent from the dreamy slow stuff, and instead sounds jubilant. Neat, tidy verses lead into a lovely, summery, hopeful chorus. There’s a slight Motown vibe in the midst too. I believe I’ve heard parts of this before, in Goodfellas, but this is exactly the sort of thing I was hoping for in my journey through the Beatles’ solo work – great songs I had no idea existed.

If Not For You’ is apparently a Dylan song. I haven’t heard his version yet, but given what I think of his vocals I imagine this one is preferable. It’s somewhere in between the ethereal slow and more hopeful up-tempo prior songs. Sweet melodies, very simple, nice accompanying piano and strings – no need for the harmonica but it is Dylan after all.

Behind That Locked Door‘ is… Country? Please no. That pedal guitar sound is almost always instantly depressing to me. It’s unfortunate, because this is a genuinely gorgeous song emboldened by piano and backing vocals. Melodies and emotion… at least it does have some Caribbean flavour to bring down the Country a notch. I’d love to hear a version of this without the pedal guitar.

Let It Down‘ blasts into view like a Bond movie song. It’s huge, then it withdraws into a sweet spot between Floyd and trippy Beatles. The dreamy mellow vibe is there, but it’s countered by louder chaotic moments, swelling vocals and pointed guitars. George’s tone for his lead parts keeps a recurring theme through all the songs so far. This one warrants the five minutes, but could have faded out sooner.

Run Of The Mill‘ opens nicely, another sweet and gentle instrumental followed by a trademark vocal. I would do with a substitute for the horns, that’s just me of course. It feels a little like a Lennon song, lyrically and musically. It does feel slightly Run Of The Mill and doesn’t leave enough of an impression to differentiate it from the songs around it.

Beware Of Darkness‘ features another smooth opening. Lyrically and musically this is more up my alley. I like the switch between minor and major keys too mirror what he’s talking about – the inner struggle over depression and hope. I’d prefer a little more on the minor side, and the middle eighth doesn’t add a lot, but it’s still a good song which shows how much he had grown as an artist and writer.

Apple Scruffs‘ starts with harmonica, which is never good. It’s pleasing enough filler which begins to wear thin long before it ends, but is short enough to not cause too much damage.

The Ballad Of Frankie Crisp‘ surely can’t be good with a name like that. It starts promisingly, with an organ led stomp, ably built up by piano and guitar. The wall of sound production brings more of the dreamlike sensations lending this one a drift away quality – though the same can be said for many of the songs so far. The danger with that tactic is of course that you lose melody, and while the melodies here are light and distant they are still tactile. I’m enjoying the inspirational messages flowing through the album.

Awaiting On You All‘ starts quickly, like a jaunty Swinging Sixties song. I’m not sure about the production on this one, maybe it’s the copy I’m listening to. No, the comments say the same. There is a lot – too too much reverb – to the point that it’s hissing all over the place. A pity as the song is fun, a bit of entertaining pop fluff raised by lyrics and ideas.

All Things Must Pass‘ is one of the few songs I’m familiar with here. The title track and focal point, it’s a good one. I never ranked it as high as others have, but there’s no doubting its quality. The message fits perfectly with what he has spoken about elsewhere and the music echoes the tone and feel of the album.

I Dig Love‘ starts with an amusing down scale piano which makes me think of Boris The Spider. It then climbs up, which also adds to the humour. The opening melodies are fine, but it opens up once the familiar beat and tambourine kick in. It’s another song which could have had a minute or so shaved off to keep the repetition at bay, but that’s a minor quibble.

Art Of Dying‘ is a return to the reverb. Then it suddenly explodes in a glorious fusion of noise, beats, guitars, and if this doesn’t sound like it was recorded today and not 50 years ago, then I’m a monkey’s uncle’s arse. I had no clue this existed, and it’s wonderful. It also has a slight 007 vibe, but it’s a fine blend of rock and dance. Then he pauses in the middle for a bit of metal guitar, which continues as the din rejoins. Great stuff.

Isn’t It A Pity Two‘ is another version of a song that was already three minutes too long. Maybe this is completely different though. It is shorter, and it does feel quieter, less concerned with the wall of sound, more sedate. This allows the vocal melody to come through with more potency. It’s still a little too sleepy and lacking in those peaks I mentioned before.

Hear Me Lord‘ continues with the gentle rock – plenty of piano and horn, plenty of layered vocals and solo guitar lines. This one is a little too slow for me, but it does remind me of some entries from Dark Side Of The Moon. Melodically it’s a little hit and miss for me – the best moments when George really pushes his vocal, but in other places it’s a little too mellow, verging on stagnant. Overall, no doubting it’s yet another good song.

Out Of The Blue‘ is almost 12 minutes long, so I’m going to guess it’s a bit of an experimental mess. It begins in that fashion, an instrumental jam. A touch of blues, some distortion, some funk. It’s not empty, there is a beat and some attempt at coherence. And it goes on like this. And on. With only slight variance. Every band does this stuff. No need to release it, other than as a bonus or hidden track.

It’s Johnny’s Birthday‘ is Congratulations but sung to the name of the track, with added zaniness.

Plug Me In‘ continues as we left off. Another loose instrumental slice of trickery. Some neat guitar, plenty of piano. But it’s an excuse to arse about.

I Remember Jeep‘ goes even more experimental, with hissing and swirling and noise giving way to more standard jam fare.

Thanks For The Pepperoni‘ recalls a bunch of well known rock standards. It’san other instrumental jam. It’s fine.

Well, that was easily the best non-Beatles album so far, though we are fairly early in the journey. It certainly makes up for the prior experimental guff and Ringo’s attempts. Is it overlong? For fans, obviously not, but for me coming to it for the first time there are a few songs I would strip away. Probably that final side would be dropped. It’s not as poppy as The Beatles biggest hits – that was never George’s game, but it succeeds in many ways over what they tried to do from an ethereal, worldly, wall of sound perspective. It sounds like a dude finally releasing what he had known was inside him, and it’s at worst joyous, at best transcendent. A load of these songs already make my playlist, and I’ll certainly listen to the whole thing again to fully absorb the lyrics and allow the music to grow on me. It’s a positive, mature outing, and while I’ve seen many commentators saying it’s the best of all the post Beatles albums, I’m hoping there’s plenty more to come from George, and from the others.

Nightman’s Playlist Picks: My Sweet Lord. Wah Wah. What Is Life. If Not For You. Behind That Locked Door. Awaiting On You All. All Things Must Pass. Art Of Dying.

Nightman Listens To – Beaucoups Of Blues – Ringo Starr (Beatles Solo Series)!

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Greetings, Glancers! Are you ready for this? I know I’m not. First off, it’s Ringo. Secondly, his first album was pretty bad. Third – this is supposed to be based in the Country and Western genre – my most disliked genre of music. Is there any way this will be enjoyable to me?

Beaucoups Of Blues‘ starts with a very slow beat, perfect for Ringo. It’s gentle and I was about to compliment Ringo’s vocals, but then he did something weird. On the whole his vocals are fine – there are moments when he tries to move up or down through the notes in a single breath when it fallsapart, but this rasping suits the general yapping nature of CW music. There’s harmonica and strings and slide guitar, because of course there is. Some backing vocals. It’s not terrible. At least Ringo doesn’t have your standard CW male voice.

Love Don’t Last Long‘ is another slow one. It sounds like every other Country ballad you’ve ever heard. Seriously, if you’ve heard a few of these in your time and I told you without hearing this to start whistling a Country ballad, what would come out would be pretty close to this. The lyrics tell some sort of sorry story – they all do – and at least that’s better than generic pop, but musically it’s perfectly ordinary. It’s perfectly fine for people who like this sort of thing, but it’s just not my style.

Fastest Growing Heartache In The West‘ is, inside the first 10 seconds or so, everything I despise about Country music. It’s just so whiny. It takes instruments I love and makes me hate them. It’s like… have you every had or heard of Irish Stew? It’s this manky local food we’re all supposed to eat and love but it’s fucking awful. It’s a product of famine time, when whatever crap was left drooping out of the garden would be shoved into a pot and called food. Stew takes individual ingredients I do like to eat, and somehow makes them inedible. That’s exactly what Country music is to me, with the added offence that every dickhead in the world enjoys it.

Without Her‘ has more promise, in that I don’t want to clap my head between a couple of bricks within the first thirty seconds. It feels like it was actually influenced by his time in The Beatles. It’s the best song so far, because it sounds the least Country. It’s sweet, still not very good, but I can get through it without cringing.

Woman Of The Night’ sounds okay too. More folk than Country so far. Decent verse, nice swell for the chorus, and Ringo gets to stretch his vocals more than usual.

I’d Be Talking All The Time‘ loses any good will we gained from the last too. It’s another Country horror show. This is the sort of thing my extended family enjoy – it’s music for oldies and farmers. If you enjoy it… why do you? No, that’s not fair, if you enjoy it then good for you but it’s absolutely the opposite of everything I look for in music. Plus, wtf was that thing he did with his voice in the last moment?

$15 Draw’ brings a little slap of of funk. It’s a song about learning to play guitar and therefore the guitarists get to show off. Still, not very good, but at least it feels different from most of the other tracks. He goes buck nuts in the vocals at the end of this one too.

Wine, Women, And Loud Happy Songs‘ is another example of Country music’s false bravado. Sometimes they’ll come up with a song title which makes them sound like bad-asses or all about the fun – but almost every time the song makes them sound like the wankers that they are. No-one who writes a song like this has ever had a taste of wine or probably even met a woman. Or a human.

I Wouldn’t Have You Any Other Way‘ is…. I don’t care anymore. I tried, I really did, but Country music is just painful to me. This must be how people who don’t like Metal feel when they hear Metal – the difference being of course that Metal is good. There’s a woman singing here too. It adds nothing.

Loser’s Lounge‘ is faster at least. It feels like another one which could have appeared in a late Beatles album. It’s not good, but it has energy and humour and if Lennon and McCartney had had a go at it they could have turned it into something worth listening to more than once. As it stands this is one of the more tolerable songs on the album, but it’s a one listen and forget.

Waiting‘ is another sour ballad. There’s two or three others exactly like this on the album. Which means there’s about 4 billion already like it outside of this album. Take your pick.

Silent Homecoming‘ is the last song. Thank God none of these go far beyond three minutes. This is another which feels slightly different. It’s not traditionally Country thanks to some nifty drums and a different guitar tone. Still, that cringing Country guitar interrupts at various points to stop it from being something I’d want to hear again.

Well, that was just as bad as I was expecting. Ringo performs well, some of the songs are solid, in the main the lyrics are sound in that interesting ‘why me’ Country way, but it’s just that the songs are done in the Country style which takes them from forgettable to unforgivable. There’s at most four songs here worth hearing once – the rest are generic Country crap. This is one of the earliest modern forms of popular music, and it hasn’t progressed in the hundred or so years it has been around. I get that that’s why it remains so popular – it reminds you of Grandaddy slapping your arse or fiddling with a sheep or whatever. But the problem for me is simply, you hear one Country song from the 1940s, or one from this album, or one from today, and there’s is no progression, no effort, no originality. There’s a handful of songs which are genuinely outstanding in this genre, and a handful which are not painful. The rest are entirely, well, shite. I don’t doubt the talent of the musicians, but to me Country musicians, even the best, always seemed to me like jaded music teachers in school – entrenched in a single way of playing and unable to think or perform or see beyond those four walls. Which all means that this album could really have been by anyone – Ringo didn’t write the songs and he doesn’t add much to them to make them better or worse. It’s simply a batch of songs you’ve heard before which cold have been written at any point since 1900, with almost nothing to recommend it.

Let us know in the comments how much you loved this!

Nightman’s Playlist Pick: If forced at gunpoint – Woman Of The Night, Without Her.

Nightman Listens To – McCartney Debut (Beatles Solo Series)!

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Greetings, Glancers! It’s safe to say we haven’t got off to a flying start with regards to the quality of the Beatles solo work I’ve heard so far. Experimental guff and Ringo’s ramblings, but surely old faithful Paul will give us a slice of groovy pop rock with his debut? And hey, I even know (and like) one of the songs listed here so it can’t be all bad! I know the album was mostly written and recorded when The Beatles were splitting up and fighting so maybe the music will reflect whatever anguish and torment was being felt. Or maybe it reflects the fresh start Paul needed. Or maybe it’s more of the same sort of ballad and blues based stuff from Let It Be. Who knows? Well, I’m about to….

‘The Lovely Linda’ hand drums of some sort and sweet ‘la la la’ vocals and melodies. Oh, it’s over. An unnecessary laugh at the end there.

‘That Would Be Something’ is led by a neat riff. It’s a little bluesy. The vocals feel distant. Nice introduction of the drums and a funny piece of mouth drumming going. Sounds like he’s experimenting and having fun without being too outlandish or abstract.

‘Valentine Day’ continues the low-fi style. It’s a pretty cool introduction. Unless it’s going to be an instrumental. Still, it’s neat and lean, like a jam or a loose set of ideas waiting to become something else.

‘Every Night’ reminds me of Joni Mitchell. The guitar sound, anyway. It’s very sweet. It’s just as catchy as you would expect. I could see this landing on something like The White Album. A nice surprise. Surprise isn’t the right word, it’s McCartney for Heaven’s sake.

‘Hot As Sun/Glasses’ feels Mediterranean, lazy, Mexican, Greek? I don’t know, something about lazing about on a beach with a drink and zero cares. It’s already better than most of the instrumental stuff on Yellow Submarine. Then it goes all weird and ghostly. Then he sings… something?

‘Junk’ is another sweet one, more sorrowful this time. It ticks the melody box, and it ticks the emotion box, so what more do you need?

‘Man We Was Lonely’ opens in dreamy fashion. Then it goes off in stomping fashion like some of the more dodgy compositions of his final years in The Beatles. It’s similar to those, but maybe this one’s newness means I don’t mind it as much. Catchy too. Feels like one Ringo could have tackled.

‘Oo You’ is very bluesy and mirrors the rock tracks of Abbey Road. Good vocals. It still feels very loose, like he just walked in with a few ideas and started recording. Still good.

‘Momma Miss America’ is, I’m guessing, another instrumental. At least these instrumentals are good – I can see these being hits or becoming hits if vocals were added, unlike what most bands’ instrumentals are like. It gets less dreamy and more groovy as it goes on. Great bass and guitar all around.

‘Teddy Boy’ is another which sounds straight out of The Beatles later catalogue. It’s fine but a bit too close to McCartney’s Music Hall stuff.

‘Singalong Junk’ is a sequel to junk? More piano led. Or an instrumental version. It’s quite lovely too.

‘Maybe I’m Amazed’ is the one song I knew before hearing the album, and as far as I can tell it’s the main (only) one which has survived over time. It does feel like the most complete song, compared to the jam-style nature of most of the others. It has a tighter, more traditional structure, and again wouldn’t feel out of place on Let It Be. 

‘Kreen Akrore’ starts with sporadic drums for about a minute before a jumpscare guitar and piano drops. Then it gets weird – monkey noises and more drums and sounds. It’s the most experimental piece of freestyle on the album, just a few minutes of arsing about and messing with different sounds and styles.

So, that was somewhere middling. It followed the experimentation and avant-garde nature of John and George’s first solo outings, but thankfully these were not as esoteric, coming across more as studio jams than ill-advised freak-outs. Quite a few of the ‘traditional’ songs feel either unfinished or waiting for that little extra touch to make them fully realised – in the traditional sense, but most of those are still perfectly good to listen to thanks to Paul’s ability as a songwriter. There are a few songs here that I didn’t know previously which I plan on listening to again – which is more than I can say for any of the other three boys’ efforts so far. It’s not peak Beatles material, but there are gems.

Nightman’s Playlist Picks: Every Night. Hot As Sun/Glasses. Junk/Singalong Junk. Oo You. Momma Miss America. Maybe I’m Amazed.

Nightman Listens To – Ringo Starr – Sentimental Journey (Non-Beatles Series)!

Sentimental Journey: Amazon.co.uk: Music

Greetings, Glancers! You know, throughout my life I’ve heard quite a few songs by Lennon, McCartney, and Harrison that they wrote, recorded, and performed outside of The Beatles. Ringo Starr though? I can’t think of any off the top of my head. That’s why I was surprised that he has made so many albums – surely I’ve heard something. As I make my way through this journey, I’m sure I’ll find out. And yet, Ringo’s voice was probably more familiar to me than any of the other Beatles when I was young, thanks to his work on Thomas The Tank Engine. 

Sentimental Journey was released in 1970 and is apparently the first non experimental, weird, avant-garde album by any Beatle. I was looking forward to this until I saw the tracklist and released it was a cover album. Ah well, I suppose Ringo had to work through his shit before making something good too. Lets do this.

Sentimental Journey: We open with a song I don’t recognise. It threatens Country, then Jazz, then settles into some easy-listening crooning once Ringo starts singing. I know Ringo’s vocals tend to get a lot of criticism – he can sing fine, it’s just that he’s limited. His vocals work well for things like With A Little Help. The problem here is that the song is junk. There’s a lot thrown into the arrangement – droopy horns, backing vocals, and some unusual voicebox work. A slow, yet detailed opening.

Night And Day: Big band wank. If there’s one other genre I typically cannot find any worth in beyond Country (and Irish) it’s Big Band/Swing stuff. Ironically, Starr’s vocals do suit that style, though he probably doesn’t have the strength or supposed sex appeal the singers in this genre are supposed to have. But the melodies, the brass, the beat, the swagger – everything about this is abhorrent to me, aside from some of the snazzy drum fills, but it’s not Ringo’s fault – it’s just a crap song in a style I can’t stand.

Whispering Grass: More big band jazzy stuff. At least this song has a discernible, appealing melody. The strings are whining, the song is boring, and Ringo’s voice doesn’t have the chops to quite pull it off. It takes a certain level of talentlessness to put violins in a song and make me wish they weren’t there.

Bye Bye Blackbird: Is this Paul McCartney? Or Arthur Askey? It’s the sort of jaunty piece of novelty crap McCartney would have written then passed over to Ringo to sing. Funny for about three seconds, then tragic. It should also be noted that I was listening to this while trying to untangle my Laptop power cable before the battery died, and I almost headbutted the monitor in rage.

I’m A Fool To Care: More brass. More ass. I’m not sure I would have survived in an era when music was this bad – pre 1950. Then again, I’m alive now. If I had been alive then, I’m fairly certain I would have single-handedly invented Metal. Somehow.

Stardust: Oh no. I see the whole album was meant to be a selection of his parents’ favourite songs. That would explain it – parents haven’t a fucking clue. This has some interesting pronunciation.

Blue, Turning Grey Over You: Dear Jeebus, so much useless noise. All that brass makes me feel how pensioners must feel when they hear Cannibal Corpse. The melody is almost non-existant, the trumpets run over everything else making the song nothing more than a predictable selection of brass farts.

Love Is A Many Splendoured Thing: Another of the songs I know. Of course it’s a song I never liked. He keeps the awful choral backing vocals, but his vocals act as a counterpoint and somehow improve things. This is absolutely a song which should be performed solo with quiet vocals and as little backing arrangement as possible.

Dream: I know a version of this. This isn’t much better. Ringo’s verse vocals don’t work at all. It’s just another boring pre-rock ballad with the same rhythm as the others. Nigh on unlistenable.

You Always Hurt The One You Love: At least this one starts interestingly, before the verse arrangement gets things all wrong. More wanky jazz in the middle. Terrible.

Have I Told You Lately That I Love You: We all know this. Apparently Elmer Bernstein had a crack at arranging this. It’s somewhere between a complete mess and something that weird ginger kid in your class who usually said funny things and sat with one hand in his pocket all time would write.

Let The Rest Of The World Go By: Twinkling and tinkling. Then more brass. And the same rhythm as the other dreary ballads. Worse than Love Island. 

Well, the title was right. Kind of. It probably was a Sentimental Journey recording these for his parents. For everyone else (me) it means absolutely nothing and is as pointless a piece of shit I’ve ever had the misfortune of hearing. What do you think? Actually, forget it – I never want to think of this again.

Nightman’s Playlist Picks: Seriously?

Nightman Listens To – Wonderwall Music – George Harrison!

Greetings, Glancers! Here we are, my first full (fool?) foray into the world of non-Beatles music by members of The Beatles. For a few years in my youth I was an Oasis fan – that’s the first time I heard the word ‘Wonderwall’. I wasn’t much of a fan of the song, but I loved the album it appeared on. Shortly after, Travis asked the question ‘What’s a Wonderwall anyway?’ in their hit ‘Writing To Reach You’, but I was none the wiser. I knew by this point that the Oasis lads were massive Beatles fans and as time went on they were repeatedly accused of nicking off the Liverpudlians. It must have been around this time that I heard about this George Harrison album. This was still before the days of downloading, at least for me, and I had no intention of forking out my pocket money on a Beatles’ bloke’s solo album when I hadn’t even heard a single Beatles album all the way through.

It turns out Harrison was the first to release solo material. In late 1968, The Beatles were already crumbling – Harrison’s rise as a songwriter and desire to do his own thing possibly one of the factors of the band coming to an end. I’ve always had a middling opinion of Harrison’s work with The Beatles – his writing contributions – some good, most average, and certainly not up to the standards of Lennon or McCartney’s day to day stuff. Maybe he felt constricted by them, and going solo would let him soar? I was going to say I had middling hopes for this one – more positive than negative – but then I saw that this is actually an instrumental only album, a soundtrack to a movie nobody has ever seen. My hopes have plummeted. Still, it can’t be much worse than Lennon’s experimental stuff, can it? CAN IT?

Microbes: We begin, as expected, with some sitar. Other Indian instruments too. I’ve never been much of a fan of Indian instruments, but something about the way George uses them does create a trance-like tone and atmosphere. That atmosphere people say they get in general from Indian music, but in most cases it just annoys me or makes me think of Mario 64. This though…. I like it. It very much works in conjuring up images of the movie which I haven’t seen – I’m making up my own opening scene in my head.

Red Lady Too: A plodding piano piece, like someone walking slowly or footering about the house. Credit for making it sound unlike anything The Beatles had written.

Tabla And Pakavaj: As the name suggests, this is mainly a drum led piece, with some sitar in the background. Picks up pace near the end, short enough to not get boring.

In The Park: More Indian strings. Maybe my problem with India music is that I’m so heavily invested in melody, Western melody, and emotion that India stuff typically feels like it has no melody and just a chaotic random selection of notes with no discernible emotion. I’m not saying that’s how it is, that’s just how it makes me feel. For me, this goes nowhere and does nothing.

Drilling A Home: A jaunty, more Western tune. Sounds like something you’d hear in a saloon in a Western movie, only with more dancing. Sounds like something McCartney would write.

Guru Vandana: Lots of horns and sitar.

Greasy Legs: A much nicer tune, with lots of… I don’t know – keyboard stuff of some description. Sounds like a child writing a song on a child’s toy.

Ski-Ing: Finally some honest to goodness electric guitar, with India stuff lurking ominously in the background like a strange stirring pot. It’s just the same riff played on a loop by different instruments with a lot of stuff blasting off around it. Pretty cool.

Gat Kirwani: Fast beats and Indian guitar stuff. If it’s fast, it’s good.

Dream Scene: Backwards stuff and some vocals. India vocals, so I have no idea. Changes halfway through, merging piano with Indian horns. Chaos drums. I assume this is the clash of East and West. Then is suddenly changes again, becoming hungover. Then it goes buck nuts. Sounds nice enough, not sure I need to hear it again.

Party Seacombe: Harry Seacombe? Sounds like the start of Across The Universe. Funky enough. Guitars, wall of sound, piano, drums.

Love Scene: More of what you would expect. I don’t have anything insightful or useful to say about most of this. I’m listening to it, maybe that’s enough. Don’t worry, I’ll have more to say once we get to a more familiar style. Still, it works as a melding of East and West.

Crying: A strange whining piece which almost sounds like a woman wailing in pain – not as bad as it sounds.

Cowboy Music: This is exactly as it sounds. If someone told me to write, in five minutes, a typical cowboy instrumental, this is exactly what I would write. Except it seems to have a slight Caribbean twinge.

Fantasy Sequins: There’s that whining again. This one is a little more jaunty. Like a scene at a fair or a market or a party in a palace.

On The Bed: A bit more of a groove and a tune to this one and the way the drums fade in is something The Beatles would play with.

Glass Box: Another short piece, jangly.

Wonderwall To Be Here: A Western opening, with pianos and triangles, and a vaguely threatening soap opera tone. So this prompted one of the biggest songs of all time, eh?

Singing Om: Organs and voices doing an ‘ahhhh’ mantra. Works as an end credits, I guess.

So what did I think? I’m happy I’ve heard it, but I don’t think I need to ever hear a single track again. It didn’t make me overly interested in ever seeing the movie of the same name. There isn’t a stand out piece but George does a fairly good job of slapping together Eastern and Western instrumental music – at least as he envisioned them at the time. If you’re a regular on the blog you probably know I’m not big on instrumental music, at least when made by ‘regular’ artists or bands, and they rarely feel anything more than an experimental aside, a curiosity to be heard once and forgotten. Pretty much sums this up. What did you think – let us know in the comments!

Nightman Listens To – Lennon, McCartney, Harrison, and Starr!

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Greetings, Glancers! I know they don’t get nearly as many views as my movie or TV posts, but I’m trying to keep up to date with my musical posts too, bringing you the worst the net has to offer in terms of my opinions on Bowie, Madonna, Jovi, The Stones, The Top 1000 Albums ever, yearly chart music et cetera etc. Many years ago I posted my Amazon Beatles album reviews and recently I’ve been posting updated versions of those along with my Nightman Scoring System (c) comments. In doing all of that I realized that I was missing out on the vast array of non-Beatles work that each of the four members created. Therefore, I’m going to start listening and reacting to all of those too. It’s a massive undertaking but I always planned on listening to them at some point so I may as well write about my experiences too.

It’s obvious that Paul McCartney has done the most out of each member – he has been extremely prolific since 1970, releasing with Wings, other bands, and on his own. Lennon died in 1980 and only managed a handful of albums, while Harrison released here and there up until his death. Ringo, I’ve honestly no idea. What I can say is that I haven’t listened to any of their non-Beatles albums all the way through. Actually, I have listened to Lennon’s experimental records with Yoko, and will not be doing so again for the purposes of this blog or otherwise, thank you very much. I know I’ve heard many of the individual songs by each artist post-The Beatles, but no albums. So I’m going to go through them in some sort of chronological order, I hope I get to listen to some great music for the first time, and I hope you’ll join me on the journey. Coming soon (probably not)!

Feel free to let me know in advance which solo/non-Beatles albums by John, Paul, Ringo, and George I should look forward to in the comments.