Greetings, Glancers! Not content with arsing about on his own and making sweet sweet music with his Missus, McCartney returned to what got him on the ladder in the first place – a band of buddies. Wings is a band I always knew from a young age due to Live And Let Die and I’ve been looking forward to delving into their catalogue to see how the differ from and compare with The Beatles. Of the eight songs listed, I don’t recognise any of them, beyond a cover. Oh dear, it doesn’t look like the album was received very well so this could be a slog.
‘Mumbo‘ has a lot to live up to, you would think. I assume there was a fair level of hype around this at the time – Paul’s first band after leaving The Beatles. You would think that, outside of whatever singles were released, the album opener would need to kick you in the nuts (with glee). It does begin with a nut-kicking series of screams from Paul. The solo piano notes – you already know I’m not a fan of that particular style – but at least it’s spliced with organ blasts and smatterings of guitar. It’s more loose than what I would have expected from an opener, but the band sound like they’re having fun, which isn’t exactly the vibe you get from the last couple of Beatles albums. It’s quite groovy – I don’t think there’s enough substance to justify the full four minutes, but it does the job for me on first listen.
‘Bip Bop‘ open like a jaunty back-woods precursor to someone’s baby being eaten. ‘Bip bop’ in other words. It screeches into the Blues lane as the vocals start, while retaining the McCartney rhythm we all know. The vocals are quite unusual, the lyrics a mixture of nonsense and warbling, and with sprinkles of backing vocals from Linda. You see I fall back on mentioning the length of the song when I’m bored – I’m typing this line before the three minute mark and there’s another ninety seconds or so to go. The remaining 90 seconds are essentially identical to any other 90 seconds from the song.
‘Love Is Strange‘ has a loose feeling again, a riff looping over and over before the drums do something similar, but nifty, then it all pulls together. Is it an instrumental version? It’s almost the two minute mark when the the familiar melody and lyrics begin. It is quite different from the version I know – not a song I have any great love for in the first place, nor do I have anything against it. This feels more like a B-Side – some things I like, others I wonder why they bothered.
‘Wild Life‘ is over six minutes long, so it better be a masterpiece compared to the previous tracks. A brief vocal intro followed by almost a minute of overlapping chords give way to a lead vocal. Some great yells in the middle of these vocals, though it does feel repetitive. Once the backing vocals join we get a little more depth and density. Halfway now and, it’s a little boring. Not quite tedious, but it’s hardly exciting. The final half is more repetition, more screaming, not a lot more.
‘Some People Never Know‘ is also over 6 minutes long. If the last song was anything to go by, we could be in for a slog. It opens with some pleasant folk ditty guitars, expanding into an old sitcom intro style. The verses are tidy – nice dual vocals from Paul and Linda – so far so good. This is a simple, old fashioned ballad with a modern 70s twist – a dash of hippy charm, a fluid ounce of McCartney magic, and any arsing about stripped away. Lyrically, it hits that sweet spot of being both personal and universal. It’s maybe longer than it should be, but beyond the final thirty seconds or so of hand drumming, it doesn’t feel drawn out.
‘I Am Your Singer‘ takes us back to a sub three minute time-frame. It’s a strange, maudlin-toned song with a broken beat which picks up after the thirty second mark. From there we get a catchy melody, flutes, and plenty of vocals of Linda. It’s quite sweet while it lasts.
‘Tomorrow‘ threatens in its opening seconds a retread of the single piano rhythm I’m always yapping about. Thanks to the eventual beat and the vocal melodies it avoids this. It’s another sweet love song. Lovely harmonies to back up Paul’s lead make this feel like a lost Beatles track.
‘Dear Friend‘ closes the album. It features a sullen piano opening along with an emotive Paul vocal. The lyrics sound like they are about John. Some percussive nudges drop after the first minute and Paul reverts to moans and ooohs before a huge string surge steers into view. This feels like the album’s centrepiece, and clearly a lot of thought and emotion went into the writing and recording. It probably doesn’t need to be as long as it is, but unlike those in the first half this doesn’t feel as stretched.
There aren’t any bad songs here, but the opening half is let down by a reliance on feeling loose and using ideas which probably sounded good at the time but didn’t translate to an interesting listening experience. These songs tended to be overlong which made them feel more average. Thankfully the second disc is stronger – Paul’s melodic and lyrical prowess comes to the fore and as such the songs feel less like rarities and more like they were put together with effort and passion. In other words, a strong second side does its best to dispel memories of how plain the first half was.
Nightman’s Playlist Picks: Some People Never Know. I Am Your Singer. Tomorrow. Dear Friend.
Let us know in the comments what you think of Wild Life!
Greetings, Glancers! At the time of writing, I am pumping out these Nightman Listens posts. I can’t say when I’ll get around to posting them – could be months or years from now (almost three years, present day Nightman), but I am writing a hell of a lot. Which means these reviews will probably feel very generic and samey. Oh well, there’s only so many things I can think of saying in the spur of the moment when I listen to these songs. Today it’s McCartney time again, and it looks like he was pumping out work too – this album coming a year after his last. Lets hope there’s some good stuff – I don’t think I’ve heard any of these before.
‘Too Many People‘ kicks us off. It’s an abrupt intro – a quick slice of guitar and a high pitch vocal before your traditional intro settles the nerves. Any experimentation doesn’t get in the way of the song being good. I don’t think he ‘sounds like McCartney’ here. No complaints, a solid song I can tap my foot too – a decent double melody in the chorus and the ‘that was your first mistake’ section. Good marching drums and a blistering solo or two betwixt the overlapping guitar parts.
‘3 Legs‘ is Paul aping ye olde Blues. His vocals are pretty close to mimicking the old masters and the lyrics and chorus offer some quirks to make it more enjoyable to me that your standard blues material which bands like The Stones were putting out. The final moments move into a dirty phat beat – nice.
‘Ram On‘ starts with a bit of piano, a bit of talking, then a bit of ukulele. It’s not as twee as most ukulele crap you hear these days, maybe because the vocals feel mournful? Is that Linda singing in the background? There’s joy in the chorus, there’s a freewheeling looseness, I love the extended ‘ahh’ vocals
‘Dear Boy‘ is an Angel episode, I think. I’m always a touch wary of these piano based songs now as they tend to go down the dreary route for me. This points down that road at first but veers off to the side just enough – like a dirt path within line of sight of the dreary route, increasingly shrouded by trees. Now I’m thinking about old BMX tracks I used to shoot along. It gets better as it goes on.
‘Uncle Albert/Admiral Halsey‘ – is this an Only Fools And Horses thing? I don’t think it was around in 1970. A smooth verse, not quite melancholy, just smooth and relaxed. Great swelling of the backing instruments. Vocal ticks and banter. The middle part stretches out a little longer than I would have liked, but then it shifts presumably to the Admiral section with a new beat and tone. Paul’s doing funny voices again. I realize I’m bopping side to side as I type and listen. Then it speeds up again and a wry smile sparks up on my face. More changes in the final moments. It’s good.
‘Smile Away‘ opens with a slower count than I Saw Her Standing There. Does this feel a like Status Quo? I think it does. Talky vocals. Funny lyrics. The whole album so far brims with a sense of fun and humour, like Paul is 100% happy to be recording whatever the hell he wants. Sometimes that can be bad for the listener – this is a bit of nonsense – but it’s infectious and catchy. The whole band lets loose in the last minute or so.
‘Heart Of The Country‘ has that music hall, Arthur Askey feel to the vocals. Paul loves all that stuff, I…. don’t. More vocal tics. Still, it somehow isn’t annoying – again I think it’s that Paul is having such fun which translates to me as something I can’t dislike, even if I never choose to listen to it again.
‘Monkberry Moon Delight‘ opens with another stonking rhythm – piano, up down bass, jangling guitars, and shouting vocals. I like it. I’m not sure why he choose the vocal approach, but I like it. I can’t grasp any rage or such on the lyrics but to be honest I haven’t been paying attention. There’s Alice Cooper meets Hallowed Be Thy Name in the guitars. Could have had a minute cut out though.
‘Eat At Home‘ feels like a more traditional old school rock n roll number. And it’s still fun – a cool combo of riffs, Linda’s vocals heighten things again. None of these songs are amazing but they do have Paul’s trademark melodic sensibility, and they are stupidly fun which means most of the cracks or reasons for me to complain are smoothed over.
‘Long Haired Lady‘ is another song with an abrupt opener. It sounds like it’s about sex. Linda, lots of instrumentation. Lots of changes in tone, including your standard Paul sound. This probably has my favourite production of them all so far. It does feel a tad stretched at times – particularly towards the end with the repetitions of ‘love is long’ – or is it ‘love is love’? A good minute or so could have been chopped from this too.
‘Reprise‘ is more of Ram On.
‘The Back Seat Of My Car‘ opens in somber, night-drenched fashion. The verse takes it into major key territory which completely takes it away from what I was expecting. Of course it’s still nice, but I was hoping for something else. Like the other songs this one goes in a few different directions, with new instruments popping up to aid those transitions. I’m still surprised (not really the correct term… pleased maybe) that it sounds so fresh and modern. It doesn’t feel dated to me in any way – but of course I’m not someone who listens to the radio every day to hear what actually is modern. A mini epic, but doesn’t quite do it for me.
‘Another Day‘ is a sweet little song of simple observances. Pure love, and again the joy drips from every phrase. It’s very easy, laid-back happiness rather than the either abundant or forced sentiments found in The Beatles stuff. It feels simple musically, but there is quite a lot going on – not just the changes in time and tone, but little flickers and accentuation of a particular instrument.
‘Oh Woman, Oh Why‘ opens with a throbbing beat, then the guitar joins for a neat groove. Then the vocals and wtf. I mean, he’s a Beatle, he can do whatever the hell he wants. It’s a little Led Zep, a little Bon Scott. Again, it’s Paul what he wants and having fun with it. I probably would have taken a straighter vocal over this, but it’s not bad.
Well that may just be the best solo album yet. Some of the other albums have more highs, but this feels like the most consistent, certainly the most fun. All Things Must Pass was great, but that last bonus disc lost me, Plastic Ono was hit and miss. That being said, the best songs here are, in my current estimation at least, a notch under The Beatles best stuff. This is mostly low B grade material, but it’s almost all in that category while the other albums had a range from A-D. That means the bulk of the material will make my playlist, but whether they drop off or remain in my, sigh, STAYLIST is up for future debate.
Nightman’s Playlist Picks: 3 Legs. Ram On. Uncle Albert/Admiral Halsey. Smile Away. Monkberry Moon Delight. Eat At Home. Long Haired Lady. Another Day.
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.
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.
Behold, in 1984 we finally landed in the future. Big Brother was watching us, flying cars were flying us to our various space-age android sex factories, and other Orwellian words were flapping around like the head of a stoned giraffe. In 1984, I was a mere mewling babe, soiling my trousers and putting bowls of beans on my head while mum and dad took photos and emitted bizarre cackling gurgles – I don’t really know as I can’t remember. Outside of my pram, the first Apple Mac was released, Tommy Cooper laughed his last (laugh), AIDS was ‘discovered’, GCSEs replaced O-Levels, Reagan was re-elected, and the world learned of the terrible famine in Ethiopia. In the music world, Band Aid unleashed Do They Know It’s Christmas, Relax was banned from airwaves and went straight to Number 1, Alice Cooper took a break, Marvin Gaye was murdered, unborn meme fans rejoiced as Lionel Richie sang Hello, Iron Maiden headed behind the Iron Curtain, Tipper Gore got all in a flap and went on a moral rampage, and Bruce Springsteen reminded Americans what it was like to be American. A year of turmoil and unrest then, so you would expect the music to reflect the atmosphere of fear and paranoia – lets find out!
I know this song gets a lot of stick from people, especially hardcore Stevie Wonder fans. I still haven’t actually listened to a full Stevie Wonder album at the time of writing, and I only know his big hits. This is one of those big hits, and as cheesy as it may be, I love it. It has all the hallmarks of an 80s disaster – synth, flat papery beats, but it has Stevie’s voice, twinkling pianos, hilarious bass, ghostly whistle synth sounds, and an immortal chorus… all together now! I just called.. to say…. I love you! Take out the 80s crap and the melody remains true, focus it more towards a minor key and it becomes a different beast entirely.
I pity the fool who doesn’t get this reference. I forgot this song ever existed. The lyrics are hilariously bad, yet the the chorus is strangely catchy. Rhyming ‘stupid’ with ‘stupid’? We get a section of war chanting and Dark Side wailing followed by a strange bridge with marching drums which suddenly breaks away into that juicy, sunny Culture Club sound. An odd one, I’m surprised this got so far up the charts.
Chinese stuff. Talking. More talking. Too much talking. Outrageous screech. Do do do doooo. Singing and clanging guitar and clanging something. Aaaand finally the chorus, which of course we all know. Verse melodies okay. Not much else, pretty funny stuff, I wonder what China made of it. There’s a happy lightness and joy to the song which feels real and infectious so I can’t criticize it for that. Unnecessarily long.
A movie soundtrack classic, though this one does go on a fair bit too. I don’t think you need me to talk about this one right? Who ya gonna call? I have always loved the weird, eerie build up to the famous intro though, so I’ll mention that at least.
So many 80s sounds in one list. I was always a bit partial to this one, but I never went out of my way to find or listen to it. It sounds very sad and moody and atmospheric and even though it is drenched in 80s, it doesn’t sound dated or cheesy. Emotion people – add it to you music and watch it live forever.
I actually have most, or a lot of McCartney’s non-Beatles stuff, but haven’t listened to it yet. I think I was put off by listening to a lot of Lennon’s and not liking it – mostly I know Paul’s major solo and Wings hits, but looking at the title of this one I didn’t recognise it. Listening now I don’t recognise the verse. It’s pretty bland stuff. The chorus doesn’t do a lot either, but throws in some sudden guitar blasts. It goes on and on a bit too, a lot of songs here being longer than they need to be – and I love long songs!
Terrible screech. And, even worse 80s noises. Know amount of emotion would stop this from being dated and cheesy. I’ve no idea what the song is about, but it sounds important from the snippets of lyrics I can make out on first listen. Trumpets and other assorted drippy droppy sounds. I think we can do without ever hearing this again.
I’ve never been much of a U2 fan, a lot of that was probably to do with my upbringing and by the time I could have made my own choices I already thought Bono was a knob. Having said that, there are plenty of U2 songs that I do like. I’m not sure if I’ve heard this in its entirety before (probably have). As with a lot of U2 songs from this period this has the same jangling guitar by Edge and the stadium chorus. It’s actually a fairly plain and simple song, made stronger by Bono’s vocals.
Another one which is on endless rotation on the radio stations my wife listens to. It’s another with dreadfully dated synth and that bland, deep male vocal from a million other 80s one hit wonders. Having said that, it does of course have a great chorus so I won’t take that away.
So, since writing this post originally in Feb 2016, Prince has sadly passed away. Yet another legend traversing through space and light and time to pop out on the other side with all the other souls which have escaped their earthly bodies. Or some such. Truth be told, I’ve never been much of a Prince fan. The few songs of his that I’ve heard never really did a lot for me. But I must emphasis the few, as I’m aware Prince released nearly 40 albums, which is ludicrous. Hopefully a few of those appear in Colin Larkin’s Top 1000 Albums and I’ll finally be able to listen to them. Anyway, I’ve rewritten this song entry just to say that this song didn’t have much of an impact on me, but it does feel more poignant now. Still, the drums, the vocals, the production all irritate me and the melodies don’t do much for me. I must be some sort of monster. Good guitar though.
There you have it folks, 1984. But these songs only tell a little of the story. Elsewhere we had albums such as Defenders Of The Faith, self-titled efforts by The Smiths and Run DMC, Psalm 9, Born In The USA, All Over The Place, Ride The Lightning, Powerslave, Reckless, Like A Virgin, and many more. It was a seminal year for many genres. Have a gander and these 10 alternative songs from 1984 – your ears will thank me.
The White Album sees the Fab Four at their most experimental, their angriest, and some would say their best. A true epic, the band enters further into uncharted territory with sounds unheard, ideas expounded never before, lyrical flourishes and weirdness all put to glorious sound and noise. Unfortunately for an album with so many songs and with so many ideas (not to mention the band chasing the dragon around on some plain just above the rest of our heads) it has many flaws. Some things don’t come off well, there is a lot of nonsense, some duff songs, and plenty of filler. Most fans who don’t see this as their best album agree that if this had been cut down it could have been much better. The good stuff that we do have ranges from classic Harrison ballads to McCartney blues romps and Lennon’s drug fuelled madness. There are plenty of fun moments, plenty of offbeat treats, but the days of the happy mop haired lads is long gone. From here on we are left with more coarse and hard edged guitar tracks as the group began to implode.
`Back In the USSR’ opens the album in a fairly rocking fashion with some ye olde fast piano playing slpiced with the modern sounds of a jet plane. McCartney sings in a clearly more gruff way hinting at the maturity, experimentation, and arguments within the band at the
time. Ringo was absent so the rest of the band took up his duties, not that this is noticeable. The lyrics speak of the excitement and relief of flying back home to be with all the ladies and is a clear homage to The Beach Boys. The Californian interlude is quite authentic.
`Dear Prudence’ fades in gently offering an opposite to what the first song displayed. Lennon’s tribute to Mia Farrow’s sister who joined them India only to stay in her room and meditate most of the time. It builds to a jamming climax accompanied by some nice guitar
before coming down to an acoustic fade out.
`Glass Onion’ returns to the heavier feel while referencing many old Beatles hits. The lyrics are deliberately messy and confusing, full of potential mystery and ideas. Mostly it is Lennon having a laugh at obsessive fans and critics obsessing over every lyric, and a challenge for them to decipher.
`Ob La Di Ob La Da’ is a McCartney ditty, a nonsense but nonetheless catchy pop song. It sounds like the band are having fun, contrary to what was actually happening, but also highlights the experimenting mode they were in when they first came up with it.
`Wild Honey Pie’ is an experimental piece with strange guitars, voices and other noises. Basically it is the group stoned, banging together whatever was close to hand and still managing to make a song out of it.
`The Continuing Story of Bungalow Bill’ features a line from Yoko but is more notable for Lennon’s excellent sarcastic lyrics. He sings of a rich American who they knew for a while who happened to go hunting and kill a tiger. Lennon saw him as an upper class mummy’s boy taking an all expenses paid trip to India for some enlightenment that he could then relate to his equally rich friends. The chorus is catchy enough, the song ends in ironic applause and whistling. With a more interesting verse melody it could have been great.
`While My Guitar Gently Weeps’ is Harrison’s famous downbeat sounding song about Eastern philosophy, yin yang, everything relating to everything and everyone. It features Clapton on guitar and is usually included in most lists of greatest guitar songs ever. The organs, effects, and Harrison’s vocals combine to create a trippy mood although it was probably intended to sound other worldy.
`Happiness Is a Warm Gun’ is a constantly evolving song with time and tone shifts as well as each part sounding musically distinct. Each part is linked by the gun imagery, and it inspired countless imitators from Halo Of Flies to Bohemian Rhapsody to Paranoid Android. Many of the ideas on the album don’t come off as well as they should have but on this song everything fits.
`Martha My Dear’ is McCartney’s music hall tribute, evoking images of old couple swirling about to gentle piano led songs. The lyrics oppose the feel of the song with thinly veiled insults to past lovers. Many dispute the song’s reference point- McCartney’s dog, his muse, his ex. As with most things it is a mixture of each influence.
`I’m So Tired’ was recorded at 3am, written about Lennon’s insomnia, and has a clear drowsy feel. There is emotional fatigue, the lyrics are angry, and the chorus livens things up.
`Blackbird’ is one of the better songs on the album, harkening back to simpler, more pop times. It is a typical McCartney song, singing of yearning, freedom, with some racial issues thrown in to satisfy the revolutionaries.
`Piggies’ is an interesting Harrison song featuring harpsichord and strings to give a baroque feel- a time noted for wealth and extravagance. This mirrors the lyrics as Harrison sings Orwell style of the rich people as piggies, rolling around in their opulence. Ironic yes given their own wealth, but at this time the group were rejecting all ideas of materialism. Charles Manson felt this was a large influence on his Helter Skelter plan, leading to the deaths of those he felt needed `a damn good
`Rocky Raccoon’ is a folk style McCartney song with Dylan leanings. There is a Cowboy movie style piano and acoustic guitar played over some storybook lyrics. It rounds off the `animal trilogy’.
`Don’t Pass Me By’ is Ringo’s first solo composition. He does his best with the vocals, though the lyrics are as bad as expected and the song has the same rolling down a hill in a shopping trolley rhythm. The strings offer a different feel from the other album tracks but it’s mostly forgettable.
`Why Don’t We Do It in the Road’ sees McCartney at his most metal, shrieking the lyrics in an attempt to match the sounds of Daltrey and Townsend. The lyrics simply speak of him seeing two monkeys at it, inspiring the primal, animal instincts in all of us.
`I Will’ is a rather simple, soft love song from McCartney to Linda. The lyrics call back to the early days when music was more important than the words. The song is catchy enough but lacks anything truly memorable.
`Julia’ closes the first side, Lennon’s only solo Beatles song. Unfortunately it is mostly tuneless as the lyrics are good and he sings and plays well. With a stronger melody this could have been a much better song.
`Birthday’ opens the second side in heavy style, blasting out with one of the most famous guitar riffs. It builds and changes with chugging chords, distorted notes, and swirling effects laden piano. It was a clear attempt to return to a more simple rock’n’roll and blues style and leads nicely into the next song.
`Yer Blues’ continues the heavier, dirtier feel with an almost Zeppelin-esque song. It showcases Lennon’s personal demons, depression, and suicidal thoughts. It’s a song which it is hard not to jump around to, filled with good drum parts and intertwining guitar solos. Performing this song for the Stones Rock n Roll Circus renewed Lennon’s love for playing live after years in the wilderness.
`Mother Nature’s Son’ is a better McCartney ballad inspired as with most of the other songs here by his time with the Maharishi,
except here it pays off well musically. The lyrics are suitably ideal, the melodies gentle and hard to shake.
`Everybody’s Got Something To hide…’ is Lennon’s view of his relationship with Yoko and all the negative feelings towards it. They felt they were in love while everyone else was paranoid and edgy. The song is quite heavy with a loud riff at the end of the chorus. Some have also claimed that it is more about Lennon’s heroin addiction.
`Sexy Sadie’ has the famous piano part which sounds like Karma Police but it’s almost insignificant. It is an average Lennon song with some nice, angry lyrics, some strange effects on the vocals and an up and down rhythm.
`Helter Skelter’ was McCartney’s main attempt to make the heaviest, dirtiest, most rock song out there in a time when The Who and other English R’nB bands were taking noise levels moonwards. To an extent it works, the drums are great, the guitar is pretty loud and riff laden, and McCartney sings at his loudest. The Helter Skelter motion of the song is notable, everything swirls and comes around upon itself. This song was one of the major influences on Manson’s already destructive mind as he believed the lyrics contained veiled messages and calls to war. The song fades in and out a few times at the end to good effect, and proves that McCartney was more than a ballad writer.
`Long Long Long’ is a soft Harrison ballad with good drum and piano parts. The deliberately bad production is annoying though and makes it too difficult to listen to.
`Revolution 1′ may be the most famous, most popular song on the album. It is a traditional Beatles song, filled with melody and ideology, with a few guitar effects and plenty of instruments clanging together brilliantly. The version here differs quite a bit from the single most people know, but all the hallmarks of a great song lie in both.
`Honey Pie’ is another unusual song from McCartney showing his seeming obsession with older styles of music around this time. There is a clear WWII vibe and I can’t help hear it now without thinking of Allo Allo or Wish Me Luck. The lyrics speak of a young English woman who makes it big in Hollywood only for her old lover back home to call her to return.
`Savoy Truffle’ is a good song to listen to while raiding the fridge. It is quite jazzy, with lots of brass and guitars, lots of timing shifts and is one of the more upbeat songs on the album.
`Cry Baby Cry’ is based on a nursery rhyme from Lennon’s youth, features the Harmonium again but isn’t a very exciting or interesting song. The lyrics are fine but the music isn’t particularly inspired. It segues into an unreleased song at the end which really should have been included instead, but can be found on bootlegs.
`Revolution 9′ is probably the most experimental piece the band ever produced, a collage of sounds, words, clips, effects all smashed together to create something monstrous. It still sounds awesome today, but is pretty difficult to listen to more than once. It is like falling into a sewer and being swept naked at a million miles an hour through various viaducts of time, surrounded by sights you don’t want to see, like Terry Wogan playing golf with Jimmy Tarbuck’s leg instead of a nine. Understandably it still splits fans; it’s great.
`Good Night’ is a rather sumptuous ending, almost like a Disney composition. Ringo does very well here, the strings are beautiful and the backing singers give it all a good night lullaby feel. It is deliberately lovely, cheesy, but looking past all that it is a pretty good song, and a great ending.
The White Album was the final great departure for the band. Break ups and bust ups followed and everyone agreed they should go back to their roots to try to hold on to their success. At times it is boring, at times it is brilliant but on previous albums the brilliance overshadowed everything else. Here there are simply too many songs and many tracks either don’t work at all or don’t live up to the expectation. This is still the favourite of many fans, largely because it tries so much, covers so much, is brave and unlike anything else. Full marks for trying, full marks for breaking new ground, but mostly (for The Beatles) average songs.
This is either the last or penultimate Beatles album depending on how you look at it, but either way it has a sense of loss and ending throughout. The album is almost more famous for the arguments between members which took place on a daily basis culminating in Harrison leaving and coming back. After not touring for years and pursuing various solo projects, as well as the band’s previous album seeming more like a collection of songs from each member, tensions were high. McCartney felt the group should write, record, and tour together to repair affairs and they should make a no frills, no experimentation simple album as they had before. The other 3 like the bare bones approach, but didn’t like the idea of touring and the film crew following them around every second. In the end the movie is more interesting than the album, while the album is a mix of good songs, throwaway bites, and a couple of classics.
`Two of Us’ is a McCartney song which can either be seen as a tribute to himself and Linda, or himself and John. Beginning with the famous Lennon quote it breaks down into a catchy acoustic ditty. The harmonies hark back to the good old days, the guitar is a gentle folk style, the lyrics speak of happier times, freedom, and nostalgia and features a nice bridge section without a chorus. The easy tone and whistling end suggest that everything in the group was fine, contrary to what we know. It is a good first song let down by a few fillers later.
`Dig a Pony’ is Lennon’s nonsense tribute to Yoko full of pointless lyrics culminating in the chorus where he pours his heart out to his soon to be wife. The false start is famous, the verse and chorus melodies are catchy enough, the guitars are good and Lennon sings in a rough fashion. Again it is not the sound the band falling apart, but definitely shows signs of weariness.
`Across The Universe’ may be the best song the Beatles ever recorded, and it is probably my favourite. Beautiful poetic lyrics which fit the sound perfectly, other-wordly guitars, wonderful simple melodies, an effortless meter for the words to float along, and sumptious production. The Eastern influence is stronger here in theme than in music, yet it is full of strange and foreign instruments. This is the song to play to people who do not yet consider themselves fans of The Beatles.
`I Me Mine’ is Harrisons take on both the egotistical problems of the band and his more personal feelings on wealth, personal gains and rejecting all notions of self for the greater good. The song has a bluesy waltz feel with it’s trumpets and guitars, but bursts into a heavy, rocking chorus.
`Dig It’ is a jam of ideas, words thrown in on the spur of the moment, instruments all jangling together- the sort of thing a band does when warming up or severely intoxicated. The version included here isn’t the best, and again it is throwaway filler.
`Let It Be’ is the most famous song on the album, McCartney’s follow up to Yesterday and superior in my opinion. It isn’t as dreary as it’s predecessor and has more emotion. Again the melodies stand out, full of cadences, the piano suits the sound perfectly and the guitar solo stands out; while it is a rather heavy effect for the song it doesn’t grate or sound out of place.
`Maggie Mae’ is a filler piece, a childhood Liverpudlian rhyme based on a modern folk tale about a prostitute. The tune is ok but it’s entirely pointless and should really have been replaced with something better.
`I’ve got a Feeling’ is another McCartney tribute to Linda, a sign that for him at least things were getting better. Of course there were darker truths as John had divorced Cynthia and Yoko had suffered a miscarriage and no-one was really happy within the band. It continues the blues rock feeling and is more hard edged than most of the back catalogue despite aiming to sound light and optimistic.
`One after 909′ is an early Blues attempt by McCartney brought back to fit in with the overall feel of this album. Written around 10 years prior to this release it shows the American influences on the young songwriters, but also exposes the adolescent songwriting. With all their experience since writing it they managed to turn it into a decent tune, adding plenty of extra riffs and instruments to make it a dance favourite.
`The Long and Winding Road’ is the last classic on the album, a wonderful epic from McCartney which is better due to the production. McCartney’s earlier, simpler version is strong but sounds a bit empty after hearing this. Some say it is over produced, but it is nice for the group to have a song such as this which sounds as if it is backed by an entire orchestra. The lyrics were based on the tensions between the band and a hope that they would all get through it.
`For You Blue’ continues the blues influence with the reference to Elmore James and slide guitar. Harrison’s vocals are perhaps too high for him, and I can’t stand the spoken parts. If it had had a few extra guitar parts or an underlying piano part I think I would like this more but for me it is too light.
`Get Back’ closes the album in rocking style, a good song but another one where McCartney’s vocals annoy me. He creates a story about a couple of lovers, the lyrics are fine, the music is suitably bluesy but it just isn’t a personal favourite.
And so the story came to an end, for a while at least; each member’s solo work features many great songs proving that even if the band was no more the spirit would live on. Record companies would continue to churn out re-issues and greatest hits, but it isn’t until the Anthologies, Blue, Red, and Love that fans had anything new to be excited about. Let It Be ends almost as an opposite to Please Please Me, with four older, more tired, more cynical worn out men belting out some great songs with a more weighed down enthusiasm. If you’re only getting into the band now, start at the beginning and work your way through. You’ll be smiling by the end.
If you liked/hated this, feel free to check out my other Beatles reviews in the music section.
With The Beatles is the inferior follow up to Please Please Me bogged down by average covers similar to the ones that stopped the predecessor from being a classic. That said, there are some terrific originals and plenty of signs that the songwriting partnerships are getting stronger. Harrison writes his first song also which is a good if not outstanding contribution, and Ringo even sings well on I Wanna Be Your Man. The album gets off to an excellent start, but has an average middle section before saving itself with a few good tracks towards the end.
`It Won’t Be Long’ kicks off the album in stonking style, full of call and response vocals, and plenty of `yeah yeahs’. It is a high tempo rocker from Lennon which has both an interesting middle section and ending typical of the Beatles songs of this time. These sorts of flourishes prevented what were essentially simple pop songs from becoming monotonous verse chorus verse types. It shows that the group were trying new things and pulling influences from all types of music into their own.
`All I’ve Gotta Do’ has a distinct Motown feel given a moody tone by Lennon’s vocal and features yet another middle section. The lyrics speak of a powerful, lustful relationship where either party simply needs to call the other, and they will come over.
`All My Loving’ rounds off the opening trilogy of great songs in a fast paced style and is notable for the interesting guitar strumming style. The lyrics are similar to PS I Love You in that they are in the format of a letter being sent to a loved one. A simple tale of faithfulness and love to a partner when being away.
`Don’t Bother Me’ is Harrison’s first song for the group and is a departure from the love songs the others had been writing. It speaks of a need to be alone, and the depression, confusion, desire of reconciliation etc which we feel after a split. It features a jazzy, Latin feel and a strong staccato guitar solo.
`Little Child’ in some ways continues the sullen feel with the `I’m so sad and lonely’ lyrics.
`Till There Was You’ is the first cover on the album and is based on a Broadway song. It is a gentle ballad which fits McCartney’s voice but it is made annoying by him singing ‘Saur’instead of ‘Saw’. Picky maybe, but it gets me every time. George’s plying is pretty good here lifting the song a great deal.
`Please Mr. Postman’ is one of the better covers the band ever recorded and could be seen as the definitive version. Lennon adds to the natural pleading tone of the song with his yearning, desperate vocals.
`Roll Over Beethoven’ however is one of the lesser covers and is less interesting than the original. The whole song sounds like a bit of a joke when they play it and you can almost hear the gang laughing as they sing.
`Hold Me Tight’ is a fine song, but is pretty forgettable. It struts along at a fair pace but lacks any interesting guitar playing and while repetitive is still an ok album track. Any song which features clapping though instantly annoys me.
`You Really Got a Hold on Me’ is another poor cover which doesn’t seem to suit Lennon or Harrison’s vocals. The Michael Jackson version is probably the best as it properly conveys the emotion of the song, while Lennon simply sounds drunk.
`I Wanna Be Your Man’ gets things back on track and is probably Ringo’s best song. It is fast, heavy, with some impressive guitars and shrieks that would blow off a mini skirt at a hundred paces. Simple lyrics and a pretty simple tune with no frills, but done with such energy that it can’t fail but be enjoyed.
`Devil in Her Heart’ is a strong cover and repeats the jazzy, Latin feel of previous tracks. Harrison sings it well and the more cynical lyrics also mirror a few other tracks. The guitar playing is nice throughout and the melodies make it fairly memorable. One of the good early ballads.
`Not a Second Time’ is an ok album track, marked by matching guitar and piano playing and again features cynical lyrics, this time sung by Lennon. The melody throughout is catchy and the ending fades out nicely.
`Money’ closes the album with dual piano and bass/guitar and is probably the best version of the song. It features a few screams and fits perfectly with today’s fame hungry world. Not their best cover but an ok end to an ok album.
Overall With the Beatles is a step down for the band if not a step backwards. There are plenty of great moments, but too many fillers prevent the album from being mentioned in the same breath as those which would follow.
As always, let us know your thoughts in the comments.
The Beatles first album is an average affair given the heights they would later reach; a mix of covers and catchy pop tunes it was stronger than most records of the day. However now it sounds in parts dated and naïve but is full of the moments which would soon become hallmarks of the most successful band ever. The most important things to note are the energy with which the songs are played and the fact that the music is so good that it covers the simplistic boy loves girl lyrics. The covers on this and a few albums which follow are a weak point and for now the original song writing is fresh but lacks the quality of later Lennon and McCartney classics.
`I Saw Her Standing There’ is as strong an opener as any band could hope for. It is energetic, catchy, and quick and shows off McCartney’s screech which he would become renowned for. A simple, lustful, fun song it grabs the listener and pulls them back into (if listening now) or opens their eyes to (if listening then) the mood of the early 60s.
`Misery’ is another Lennon/McCartney offering the dark opposite to the first song about losing love and the depression which follows. Although this is staple pop theme stuff it still sounds upbeat due to the tempo and is lifted by the little piano inserts throughout. It also marks the first appearance of the scouse harmonies.
`Anna’ is one of the better covers marked by Harrison’s guitar playing and Lennon’s doleful, yearning vocals. Another song to display the darker side of the group which would crop up in later Lennon penned hits.
`Chains’ is one of the lesser songs on the album, lacking the spark of others. The melody is more irritating than catchy but it improves on the original which was never an interesting song.
`Boys’ is a cover of a Shirelles song but I can’t help thinking an upbeat version of Will You Love Me Tomorrow would have been more suited. It shows early signs of the band’s humour though as it is essentially a song for girl bands. Although the band do what they can with it the final result is still forgettable and made worse by Ringo performing it. Personal preference though as I know it was a firm fan favourite.
`Ask Me Why’ is another upbeat sounding number with some cynical lyrics thrown in. Typically catchy with a memorable refrain it nonetheless includes the annoying too high pitched `anything I can do’ moment.
`Please Please Me’ is the title track and highlight of the album. Everything about the song is perfect, from the harmonica intro, the lustful lyrics, the harmonies, the threefold melodies of verse, bridge, and chorus. It is the obvious partner to Love Me Do with the harmonica use and lyrical intent, and it is these two songs which raise the album into greater status.
`Love Me Do’ is perhaps the most famous song on the album and showcases the growing writing talents of Lennon/McCartney even though Paul wrote the majority as a schoolboy. It is a simpler structured song than Please Please Me but perhaps has the more memorable tune.
`PS I Love You’ is another pleasant McCartney number, slower, softer, and more to do with love than sex when compared to other tracks on the album. It is marked by some unusual strumming which just about covers the simplistic and what would be considered today unfortunately as cheesy lyrics. The lyrics are helped by the fact that they seem incredibly personal yet universal as it is the sort of thing all young lovers would write in a letter to their loved one. It is also notable for the lower repetition of certain words in the `treasure’ these three `words’ when we’re `together’ sequence and others.
`Baby It’s You’ is the strongest cover on the album with Lennon’s vocal adding a certain desperation to the feel, and the backing vocals fit in perfectly with the way they were writing their own songs at the time.
`Do You Wanna Know A Secret?’ is another strong song standing out due to its unusual intro before breaking into the main melody. It is well suited to Harrison’s voice and sounds more scouse than any other song. The `oohs’ of the chorus are particularly great and the bridge helps anything from becoming repetitive.
`A Taste of Honey’ is another poor cover and is mainly album filler. It doesn’t feel much like the rest of the album and could easily be chopped or skipped when playing.
`There’s A Place’ begins with the now familiar harmonica of John before kicking into the child like yearning lyrics which sound as beautiful and innocent now as they did then. The dual vocals stretch and sear and make the song an early classic.
`Twist and Shout’ closes the album and luckily it is one of the better covers. The original song is already strong so it was unlikely the Beatles would either ruin or improve upon it. It fits well with the rest of the album as it is upbeat and catchy and shows of the vocal and musical talents of each member. Probably the definitive version of the track
On the whole this is a good album let down by a few dodgy covers. There were other songs that the band had written at this time which never made it on to any studio albums which would have been more suited. A better album than the follow up and a sign of things to come.
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