Wednesday, December 31, 2008
The opening track, “Reception”, is bound to bewilder American ears that aren’t familiar with all the sounds from the different countries fading in and out of British radio. But the bass line is funky, and those keyboards are pretty sci-fi as well. “Getting Closer” continues the rock feel, and like most of his recent heavy singles, sank on the charts. “We’re Open Tonight” repeats the same theme over and over, but is done soon enough. (If you’ve been listening exceptionally closely, you may discern a theme to the album: that of getting back to basics and back on the road. It’s not obvious.) “Spin It On” is Paul’s salute to speed metal. Good luck trying to understand the words. “Again And Again And Again” is Denny’s, while it could have been Paul writing for all we knew. “Old Siam, Sir” is also impenetrable, but has enough attitude to make it good, especially those breaks. (Also released as a single, it too tanked.) “Arrow Through Me” has a smooth funk sheen to nicely end the side.
“Rockestra Theme” is performed en masse by two dozen all-star invitees set up around the studio like an orchestra. It was a good idea, and the tunes he wrote fit like a glove, even if you couldn’t pick out anyone’s particular style. “To You” gets major demerits for these lyrics: “What if it happened to you/Get it out of my shoes/You’re stepping on my toes/Get it out of my nose”. But it does rock, particular the synthed-up guitar solo. A couple more ‘look! It’s a medley!’s follow. “After The Ball” is half-finished, while “Million Miles” has us standing at the side of a fjord with a concertina. “Winter Rose” has you checking your needle, as his voice sounds so scratchy. It’s nice by itself, but when added to “Love Awake” it gets lifted. There’s even a “snow” reference to hearken back too. Very nice. “The Broadcast” is a lovely classical melody that’s about as repetitive as “We’re Open Tonight”, only with poems on top of it, apropos of nothing. (Has the “theme” revealed itself yet? Don’t worry, it won’t.) “So Glad To See You Here” has the Rockestra again, with yet another reference to “We’re Open Tonight”. “Baby’s Request” is another music hall saloon song, and while it doesn’t Rock, ends it all neatly and as a nice add-on as the big show’s encore.
Back To The Egg got lambasted at the time. America’s record-buying market had long succumbed to the idea that singles promote albums, so the public didn’t know what to expect. Columbia didn’t know what to do with it either, and they didn’t promote it further than they had to. (One nasty review even says the cover depicts Paulie staring glumly at his career having fallen through a hole in the floor into the vacuum of outer space.) While it should have appeased those of his ready-made consumers who said he’d been getting soft, it just confused the public as a whole. What some call diversity, others call bandwagon jumping. It’s held up just fine for those willing to give it a chance. (The CD adds the excellent B-side “Daytime Nightime Suffering”, plus both sides of the most annoying Xmas single in music history: the execrable “Wonderful Christmastime” and the instrumental “Rudolph The Red-Nosed Reggae”.)
Wings Back To The Egg (1979)—3½
1989 CD reissue: same as 1979, plus 3 extra tracks
Monday, December 29, 2008
The opening notes of “Love Comes To Everyone” are encouraging, and the rest of the song is just as good. There’s lots of guitars, and he found a decent synth sound in Steve Winwood’s Oberheim. A fantastic start. “Not Guilty” is a softer, nearly note-for-note version of one of the more famous Beatles outtakes. Its slow fade at the end sets us up for another rewrite, the slightly successful “Here Comes The Moon”. While nowhere near as universal as its predecessor, it uses a sinuous electric piano bed to support the upside-down acoustic guitar line. On its own, it’s right on target. “Soft-Hearted Hana” starts with the atmosphere of his favorite local pub before leading us on a lysergic trip through vaudeville, complete with fluctuating tape speed towards the end of the song. The side closes with the charming “Blow Away”, proving he could really write a hit single when he wanted to. It’s also a very happy song for a change.
A racing car revs up in the left channel and zooms over to the right to start “Faster”, a tribute to his new buddies at Brands Hatch. “Dark Sweet Lady” is a fairly overt song for his new wife, with Hawaiian undercurrents aplenty. “Your Love Is Forever” is just gorgeous all over: an open tuning that doesn’t drone, with melodies and harmonies just packed with real emotion. George has always layered his own backing vocals on his albums, and always in such an unobtrusive manner that they’re often ignored. This is another one of his love songs that could apply to any object you wish. “Soft Touch” may not necessarily be about his young son, but it’s still catchy. The album ends on a strong, upbeat level with “If You Believe”, co-written with Dream Weaver and longtime Harrison session rat Gary Wright.
On its own, it’s not much, but coming after the last few, it has endured. From start to finish George Harrison is an enjoyable listen, and doesn’t embarrass even in the slightest. At the time it didn’t get any respect—it was a really bad hairdo—but it’s certainly aged the best out of any of his mid-to-late ‘70s albums. Overall, it’s a genuinely enjoyable listen, since he seems so content with his current situation. Coming from Paul, this mood would have started to grate. Coming from George, it was a welcome sensation.
George Harrison George Harrison (1979)—3½
2004 Dark Horse Years reissue: same as 1979, plus 1 extra track
Friday, December 26, 2008
One of those singles kicks off the set. “Another Day” was originally a teaser from the Ram sessions, a portrait of Eleanor Rigby as a modern lonely secretary. It may not have been that exciting on the first listen, but hasn’t grown too annoying in the meantime. “Live And Let Die” was a big deal both as a movie theme when James Bond films were really big deals, and also as Paul’s first collaboration with George Martin in over three years. It’s another case of Paul writing a song quickly without worrying about the words. (“And in this ever-changing world in which we live in”? Yeesh.) “Junior’s Farm” is a great rocker about a card game or something; all those guitars, that ending—another of his more underrated tracks. This was Jimmy McCulloch’s first appearance on a Wings record, and listening to it now just shows off what a great guitarist he was. “Hi Hi Hi” was an early attempt of Paul’s trying to come off as a rebel, and it worked, suggestive lyrics and all. “Mull Of Kintyre” did nothing in the States, but managed to break the record for the most copies sold in the UK. (The previous champion? “She Loves You”. Paul’s record would stand until “Do They Know It’s Christmas?”, which features his voice on its B-side.) It’s a nice three-chord pub singalong, complete with bagpipes. As for the rest, not all of the hits are here, but the ones that do appear in their longer album tracks. (And while there were no lyrics in the package, he did include yet another two-sided poster.)
For telling the story up to this point, Wings Greatest succeeds. It’s since been surpassed by other compilations, but it’s still a nice artifact from the days before McCartney could be accused of shilling empty “product”.
Wings Wings Greatest (1978)—4
Wednesday, December 24, 2008
In addition to being a lot of fun, The Beatles’ Christmas Album provides a fairly descriptive arc of their career. 1963’s message is excited and fresh, with the boys breathlessly thanking their fans for making them famous. 1964’s greeting is similar, but with a bit more wry humor sneaking in between the songs and speeches. By 1965, they’re just as exhausted as they are restless to do something new, making the humor even more pointed (doubtlessly helped by all the pot they were smoking). The turning point arrives in 1966, where the straight talk is replaced with a collection of short skits, bookended by the original “Everywhere It’s Christmas” and featuring the unique performance of “Please Don’t Bring Your Banjo Back”.
1967’s message takes the idea further, combining a Monty Python-esque sendup of BBC programming with the slightly psychedelic group original “Christmas Time Is Here Again!” interspersed in and out, along with such other jingles as “Plenty Of Jam Jars” and “Get Wonderlust For Your Trousers”. It was the last of the collaborative fan greetings; 1968’s disc—complete with an appearance by Tiny Tim—was recorded by each Beatle separately and edited together after the fact, as was the John-and-Yoko-heavy 1969 message. Even so, their personalities are consistent: Paul is musical; Ringo is a clown; George thanks their closest friends for sticking with them; and John is consumed with his public personal life.
Since EMI has the rights to holiday-themed songs by John, Paul, and George, logic would suggest that an official Beatles Christmas CD, expanded or not, would be a perennial holiday best seller. These seven tracks, a continuously entertaining 45 minutes of speech, skits and song, led the short list of Beatle recordings fans would like to see officially released, and their continual non-appearance remained a mystery. Except for a three-minute montage based around “Christmas Time Is Here Again!” included on a mid-‘90s CD single, a severe edit of the 1963 message that snuck out on iTunes in 2010, and two further minutes buried on Spotify five years after that, none of these messages had been in print or distributed since 1970. In 2017 they were finally reissued—as a box set of seven replica vinyl discs retailing for about eighty bucks, with no CD, digital, or even streaming equivalent. Meanwhile, its continual absence from legitimate shelves meant The Beatles’ Christmas Album was endlessly counterfeited and pirated over the years. Some of the better-packaged bootlegs contain all of the messages in pristine sound, with various relevant outtakes to fill up the disc. With just a little digging around cyberspace, these can be heard and enjoyed all year long.
(Footnote: even if the Fabs didn’t have much use for each other in the new decade, they retained fond memories of these little gestures for the fans. John and Yoko prepared a segment for a possible 1970 message just in case, followed a year later by the original “Happy Xmas (War Is Over)”, which is probably being played on a radio station somewhere at this very moment. Also doubtlessly saturating the airwaves today is “Wonderful Christmastime”, Paul’s contribution to the genre, which has been wearing out its welcome since 1979. George’s “Ding Dong, Ding Dong” was a 1974 single, and Ringo recorded a whole album of rock ‘n roll holiday tunes in 1999.)
The Beatles The Beatles’ Christmas Album (1970)—4
Current CD equivalent: none
Monday, December 22, 2008
Much of London Town was recorded on a boat in the Caribbean where they could presumably smoke pot in peace, yet the bulk of the music still has a more continental flair to it. The title track has been described as the lost song from a Broadway show. It’s not unpleasant. One would think this has the other two guys on it, since the drums and screaming lead guitars sound too, well, polished. “Café On The Left Bank” takes us to Paris for some more foreign intrigue. “I’m Carrying” is too sweet for its own damn good. “Backwards Traveller” doesn’t do anything, and neither does the “Cuff Link” that’s about as clever as its title. “Children Children” is a nice kids’ song, but sits too close to the Michael Jackson homage “Girlfriend”. Paul wrote it for him, let him use it and began an acquaintance that would bite him in the ass in ten short years. The midsection with its nasty guitar solo salvages the tune. “I’ve Had Enough” is the first rocker here that would have worked onstage. But it’s pretty pointless.
“With A Little Luck” is too long, despite the creative use of the synthesizers. This was classic McCartney tailor-made for AM radio, except for his insistence on including the word “damn”. At the same time, “Famous Groupies” went right over most kids’ heads. It seems odd that Paul would sing about groupies at this stage in his career, not having seen one in over a decade; maybe the roadies had good stories. “Deliver Your Children” was a mild radio hit, another folk departure for Denny. “Name And Address” has a Sun rockabilly flavor to it, and though it was recorded before the death of Elvis Presley, it’s a fitting tribute. It also winds down to a halt right when it should and after the album has already worn thin. “Don’t Let It Bring You Down” does just that, sadly, and “Morse Moose And The Grey Goose” is his most pointless song since “Loup”. The first minute or so is good in a “Beware My Love” kind of way, but it just leaves the listener stranded in the middle of the sea.
With its poster, lyrics and custom labels, fans were getting spoiled with the packaging. Too bad the album doesn’t stand up to repeated listening. London Town was his longest album yet, so we get a lot of music packed into the grooves, but the recipe doesn’t seem prepared correctly. Not enough salt? The good moments were starting to become farther between, if not necessarily fewer. (The CD includes the rocking and risqué “Girls’ School”, a contemporary B-side. We will discuss the A-side shortly.)
Wings London Town (1978)—2½
1989 CD reissue: same as 1978, plus 1 extra track
Friday, December 19, 2008
Of course, there were plenty of other live performances captured for posterity, at the very least visually. The 1965 Shea Stadium concert and a few 1966 Tokyo concerts were expertly filmed and broadcast, and most of their final show from Candlestick Park in 1966 has been circulating for years. But for reasons known only to Apple, none of these have been cleared for official release, either on audio or video. (There is another entity of live recordings that have managed to sneak into the racks of legitimate record dealers. The 1962 Hamburg tapes began their interminable saturation around the same time as the Hollywood Bowl set. The first release on the Lingasong label usually gets mentioned in the official discographies; the music itself is nothing special, while it has its moments, again, as a historical artifact.)
It took nearly four full decades for the Hollywood Bowl album to be re-released, and then as a tie-in with a major motion picture helmed by Opie Cunningham. Decent-sounding bootlegs had demonstrated the occasional sloppy performance, repetition and equipment malfunction throughout each of the performances, though only the most naïve of Beatlemaniacs would expect Apple to issue a complete show from either year, at any price. Instead, the 1977 album was reissued in its original hodgepodge sequence, remixed from better quality tapes to bring out more of the music, with four extra songs tacked on at the end (one of which had already appeared on a CD single in the Anthology era). Even the original cover, with its understated charm, was changed to hype the movie.
Nitpicking aside, the music is great, right from the abbreviated blast through “Twist And Shout”. Six of the songs are covers, songs they’d been playing for years. We can already hear waning enthusiasm on the parts of John and George, but their attitude didn’t dilute their strumming capabilities. George’s 12-string Rickenbacker dominates the 1964 tracks, and boy, does it shimmer. John always seemed to screw up the lyrics to “Help!”, but listen to Paul’s bass while he’s singing “All My Loving”, and marvel at the power of “Things We Said Today”. To this day we don’t know why, of all the songs they could’ve chosen, “Baby’s In Black” was a staple of their set, but there it is and there the new album ends—much too quickly, just like their concerts.
The Beatles The Beatles At The Hollywood Bowl (1977)—3½
2016 Live At The Hollywood Bowl: same as 1977, plus 4 extra tracks
Wednesday, December 17, 2008
Appropriately the “Venus And Mars/Rock Show” medley starts it all, going directly into “Jet” when we least expect it. It’s a good rocking start to the set. Side two starts with the version of “Maybe I’m Amazed” that was released as a single, complete with extended ending. It was the best choice. “Lady Madonna” and “The Long And Winding Road” excite the crowds, before the pyrotechnics of “Live And Let Die”.
Side three is acoustic. “Picasso’s Last Words” is started, going into Simon and Garfunkel’s “Richard Cory” sung by Denny for some reason. A few more Beatle hits round out the side. Denny also gets to sing his Moody Blues hit “Go Now”, amidst some more piano songs on side four.
Side five is devoted to the new album, with four strong choices for the crowd: the hits “Let ‘Em In” and “Silly Love Songs”, Denny’s “Time To Hide” and a blistering “Beware My Love”. Side six is back to the rocking encores. “Hi Hi Hi” makes its first album appearance, as does “Soily”, a Wings live staple for years, never included on any other album.
The packaging of Wings Over America was quite complex, with custom sleeves, labels and posters, and the album as a whole is a good souvenir of a good night out. One truly gets a sense of the excitement of seeing one of the biggest bands of the Seventies that also happened to feature a Beatle. And the official Wings horn section doesn’t get in the way at all.
Its popularity among fans probably had something to do with why it was unveiled as part of the ongoing Paul McCartney Archive Collection in 2013. This time there was only a standard two-CD package with no extras, unless you bought it from Best Buy, where you got a third disc with eight slightly shaky songs recorded on the tour at the Cow Palace. That was also an extra in the Deluxe Edition box, which also added the Wings Over The World TV special on a DVD, three thick books and other ephemera. (Meanwhile, the Rockshow feature film was concurrently issued as a separate DVD.) Interestingly, after all that effort to establish Wings as an entity unto itself, the spine for the CD now plainly lists the artist as Paul McCartney and Wings.
Wings Wings Over America (1976)—3½
2013 Archive Collection: same as 1976 (Deluxe Edition adds 8 extra tracks and DVD)
Monday, December 15, 2008
Originally intended to coincide with his 33⅓rd birthday, Thirty-Three & ⅓ was trumpeted at the time as his best album since his first. Today, it’s hard to see why. Granted, the songs are back to a tempo that gets your toes tapping, but several years on it has dated badly, just as Paul’s contemporary disco arrangements have. “Woman Don’t You Cry For Me” may have been started in 1969, but the recording is all 1976 thump. “Dear One” is a more pleasant hymn, but the synthesizer torpedoes it. “Beautiful Girl” was intended for All Things Must Pass, and gives support for the idea that he really ought to consider the other songs he never finished for that album. “This Song” is one of his best, a fantastic defense of his writing process that, at the time, had been costing him money and leaving him in litigation. Here again is the humor that had been so lacking of late. “See Yourself” also dates from the Maharishi era, but stumbles around too much to be appreciated.
“It’s What You Value” is filled with hooks and a very enthusiastic vocal, but goes nowhere. “True Love” is soaked in what had become George’s trademark sound, but is actually a Cole Porter tune. (In all seriousness, George should be commended for exposing his listeners to all kinds of music they’d otherwise ignore.) “Pure Smokey” is a retread of the last album’s “Ooh Baby”, literally thanking God for Smokey Robinson. “Crackerbox Palace” is the other hit, and a catchy one; the arrangement for once actually enhances the song. “Learning How To Love You” closes us out, and he finally gets the sound he wanted on the last album right. The jazz chords fit the vocal, and the guitar solo is virtuosic without showboating. But do you really feel like hearing the whole album again?
Besides producing others and helping out friends, George stayed busy for most of the ‘70s, and had let the public hear quite a bit of music. But the promise he seemed to exude when finally allowed to shine on his own six short years earlier seemed to dim. Despite his continued success, his laissez-faire attitude towards the pop business was about to take serious root.
George Harrison The Best Of George Harrison (1976)—4
Current CD availability: none
George Harrison Thirty-Three & ⅓ (1976)—2½
2004 Dark Horse Years reissue: same as 1976, plus 1 extra track
Friday, December 12, 2008
Another two-record rehash appeared in 1977, and just in time for Christmas too. Love Songs was to serve as the other side to the rock ‘n roll, but the novelty was starting to wane. Eight out of 25 tracks were on the Red or Blue albums, and come to think of it, picking out specific Beatles songs as examples of love songs is about as logical as picking rock ‘n roll songs. The packaging had a faux-leather motif, and a thick book with all the lyrics in calligraphy added to the candy bar/photo album idea that had been beaten into the ground already by Chicago. The famous Richard Avedon photo on the emblem, gatefold and poster was retouched so Paul’s head is bigger than the others (he being the only Beatle still signed to EMI in 1977).
Both albums garner a satisfactory rating solely on the basis of the music within. Neither of these collections has been retooled for CD and probably never will be. Nor should they be.
The Beatles Rock ‘N’ Roll Music (1976)—3
Current CD equivalent: none
The Beatles Love Songs (1977)—3
Current CD equivalent: none
Wednesday, December 10, 2008
“Let ‘Em In” is an awfully tedious song that managed to be a hit anyway, and we’re still not sure why it works. Most of the people mentioned are McCartney family members. Denny Laine sings “The Note You Never Wrote”, a spooky tale that is interesting despite itself. The jaunty “She’s My Baby” follows, and it’s also grown over the years. “Beware My Love” fades up from this, with an early acoustic vocal section as a diversion, then wham! This one was made for the stage. It’s got a relentless, driving power to it, and the band sounds great. “Wino Junko” is Jimmy McCulloch’s second, and ultimately, last writing contribution to Wings. Both songs warned against drug abuse; considering he would die of an overdose within two years it’s odd he didn’t take his own advice.
“Silly Love Songs” has 1976 slathered all over it, and is one of those songs you can’t help liking. The bass line pulls you right along, and all the sections weave nicely at the end. This is Paul sticking his tongue out at the critics, and getting a blockbuster #1 hit in the process. Linda sings “Cook Of The House” to nobody’s pleasure but Paul’s, followed by Denny’s own “Time To Hide”, which would also work well on stage; another stomper with heavy wah-wah guitar. Joe English gets to sing “Must Do Something About It”; he’s about as unique a singer as he is a drummer. (It’s interesting to see which songs Paul kept for himself, isn’t it?) “San Ferry Anne” is insignificant, and simply refuses. But “Warm And Beautiful” is another sneaky underrated one, extending the “Maybe I’m Amazed” theme both musically and lyrically. An elegant if anticlimactic end to a schizophrenic album.
A world tour was underway when this hit the stores, and the setlist leaned heavily on this and Venus And Mars. The best songs on stage were also used well as hit singles. Wings At The Speed Of Sound was a monster hit, but was also an obvious rush job, and has not improved with age as a whole. Paul had started to follow trends instead of setting them, so that increasingly his albums didn’t transcend eras or genres as they depended so much on contemporary production styles.
The first CD version of the album included three anachronistic bonuses: the B-side “Sally G” and both sides of the Country Hams single, all recorded in Nashville in 1974 and originally released the same year. These have since been appended to Venus And Mars, so the bonus audio on 2014’s Speed Of Sound Archive Collection is entirely previously unreleased. At 21 minutes, it’s also too short, but we get piano demos of four songs, Paul’s guide vocal for “Must Do Something About It” and, most interestingly, a take of “Beware My Love” with John Bonham on drums. At first he seems restrained, but once that foot starts going you know it’s him.
Wings Wings At The Speed Of Sound (1976)—3
1989 CD reissue: same as 1976, plus 3 extra tracks
2014 Archive Collection: same as 1976, plus 7 extra tracks (Deluxe Edition adds DVD)
Monday, December 8, 2008
The idea of bookending the album with short, different excerpts of “Give Peace A Chance” is interesting, but most of us would prefer to have the complete single version. After an almost pastoral opening, it’s jarring to have “Cold Turkey” blast through one’s head. John was irritated that the Beatles didn’t want this to be their single—and can you blame them?—but it’s still a key document of his autobiography in song. “Instant Karma!”, distorted as it is, is still a joyful number, and a strong candidate for anyone’s fantasy late-1970 Beatle album. “Power To The People” always seemed out of place, though it’s intriguing to hear him change his mind about revolution yet again. Side one ends with the single edits of “Mother” and “Woman Is The…”, while side two is all album tracks with the exception of “Happy Xmas (War Is Over)”. Since 1980 this, like “Imagine”, has come close to wearing out its welcome every December, but it’s still such a nice song with such a neat production (listen for the stings playing “Silent Night” over the second chorus). Several folks have recorded their own carbon copy versions, but there’s no beating the original. The fade here is smothered by a cacophonous segment of “Give Peace A Chance” from the 1972 One-to-One concerts. (And if you’re keeping score, “Whatever Gets You Thru The Night” appears in a slightly shorter single edit.)
In 1975 we had no idea this would be his last release for five years, nor would we imagine it would be the second to last release in John’s lifetime, which only adds to its stature. It is very convenient to have these singles here, for they add to the flow of the running order. Other compilations since released are more complete, but this still was the first. (It fits comfortably on one side of a 90-minute blank tape too, which is also convenient.)
John Lennon Shaved Fish (1975)—4
Friday, December 5, 2008
Easily, the best track is “You”, left over from the same Ronnie Spector sessions that had spawned “Try Some Buy Some”. This is an incredibly simple song, but it’s so pretty and such a great production it’s a success. (And he knew this too, which is why he added another thirty seconds of it at the start of side two.) From there, it’s straight downhill, hitting tree trunks and rocks along the way. “The Answer’s At The End” is another Frankie Crisp-inspired plea for understanding that is buried, like the rest of the album, underneath a plodding arrangement. “This Guitar (Can’t Keep From Crying)” is the first of his occasional rewrites. It’s very similar to the far superior “While My Guitar Gently Weeps”, but pales in its shadow, being much more forced with a burping Moog bass part borrowed from “Jive Talkin’”. “Ooh Baby (You Know That I Love You)” is an inaudible salute to Smokey Robinson, and while “World Of Stone” aspires to emulate the Spectorisms of All Things Must Pass, it misses widely.
The aforementioned “A Bit More Of You” fades into “Can’t Stop Thinking About You”. Perhaps he was so consumed by the one of whom he was thinking that he couldn’t write better lyrics. “Tired Of Midnight Blue” is a step in the right direction, but its arrangement sounds so much like the rest of the clinkers here that it’s too late. “Grey Cloudy Lies” also can’t get us out of the driveway, so we’re stuck with the in-joke of “His Name Is Legs (Ladies & Gentlemen)”. The protagonist—and guest vocalist—is supposed to be one hilarious fellow, but this does nothing to illustrate it, taking six minutes to boot.
Most of the songs on Extra Texture are upbeat in a smooth soul manner, with a lot of romance on his mind. But outside of “You”, there is little of any lasting value on this collection. He neatly finished off his obligation to Apple, and said goodbye with an eaten-away logo. Despite its occasional subtitle (“Read All About It”), the album doesn’t inspire much interest today. When the Harrison estate finally got around to reissuing it in the next century, the only value-add even they could find was an unreleased re-recording of “This Guitar (Can’t Keep From Crying) produced by the poor man’s Jeff Lynne, Dave Stewart.
George Harrison Extra Texture (1975)—2
2014 Apple Years reissue: same as 1975, plus 1 extra track
Wednesday, December 3, 2008
The proceedings start like his concerts would, with the almost pastoral title track colliding into the stomping “Rock Show”. Can you name any other song that mentions Jimmy Page? The “oi” section, silly as it is, still brings a smile and the piano part at the end almost makes up for the voiceover. “Love In Song” sneaks up on you, and it’s achingly gorgeous. It’s one of those underrated classics that he manages to put on every album. “You Gave Me The Answer” fits in with his music hall tunes from ‘67 and ‘68, and is real sweet. From there we go to the Marvel Comics world of “Magneto And Titanium Man”, and one of his best album sides ends with the FM rock of “Letting Go” (there’s that Rickenbacker bass).
Side two isn’t nearly as strong. “Venus And Mars (Reprise)” puts us in space with the “Spirits Of Ancient Egypt”. Denny Laine sings this one, and it makes absolutely no sense, but it was designed to Rock so that will have to do. Jimmy McCulloch sings his own “Medicine Jar” (more on that topic later), a very heavy tune. “Call Me Back Again” tries in vain to recapture the “Oh! Darling” sound; the production makes up for it. If he wrote it just to play it on stage, that makes sense, since he was doing all he could to avoid the Beatles songs as much as he could. After an interminable fadeout, what sounds like a Wolfman Jack impression but probably isn’t goes from speaker to speaker right into “Listen To What The Man Said”. This is another classic McCartney song, though to this day we still don’t know who the man is or what he’s telling us. The saxophone is a lot of fun, and coming from someone who hates saxophones and Tom Scott as a rule, that means something. The panoramic ending takes us right into “Treat Her Gently/Lonely Old People”, yet another example of Paul fitting two unrelated songs together because he can. The joke at the end of this album is the theme to the British soap opera “Crossroads”, which sounds like it might as well be a McCartney melody. “And that’s basically it.”
Venus And Mars set out to Rock, so it succeeds on that score. Putting all the pieces together it makes mathematical sense, but doesn’t seem to inspire many listens these days. Paul now had enough tunes and a heavy-hitting band to take on the road for the sole purpose of ruling the coliseums for the next 18 months. Also, following the lead of Band On The Run, this one upped the ante with two posters, stickers, gatefold and lyrics; the CD didn’t have those but added some later B-sides recorded around the same time.
The Archive Collection filled in a lot of the extra work and music that led up to the eventual album, starting with the excellent “Junior’s Farm”/“Sally G” single. Both had been recorded in Nashville, along with an instrumental single released under the moniker The Country Hams. Other B-sides and single mixes are mingled with demos of “Let’s Love” and “4th Of July”, both given away to other singers, and a rocking take of “Soily”.
Wings Venus And Mars (1975)—3½
1988 CD reissue: same as 1975, plus 3 extra tracks
2014 Archive Collection: same as 1975, plus 13 extra tracks (Deluxe Edition adds DVD)
Monday, December 1, 2008
“Be-Bop-A-Lula” kicks us off fairly simply. (It also happens to be one of the songs John was singing the day he met Paul.) “Stand By Me” follows; it’s this version of that has become the pop standard most people know and love. His trademark reggae-strumming style (see “A Day In The Life”) sets the pace, and he turns in one of his greatest vocals ever, cementing his as one of the best voices in rock. “Ain’t That A Shame” and “Slippin’ And Slidin’” are fantastic, and the two medleys are effective yet faithful juxtapositions, but it’s the other twisty ones that still raise eyebrows. Most, but not all, of these tracks can be blamed on Spector, who thought it would be a good idea to slow down these tunes to dirge tempo. The percussion effects, like the cowbells and that thudding sound straight out of “Rock On” by David Essex, may have worked in the ‘70s, but only annoy ears today. “Do You Want To Dance” sounds like Bette Midler, and that’s not meant kindly. “Bony Moronie” just doesn’t work at anything less than top speed. “Just Because” was Phil’s idea (John hadn’t heard it before the first sessions), but John finished it at the New York sessions, effectively saying goodbye to that crazy show business.
Rock ‘N’ Roll doesn’t get as much play as his others, mostly because it’s so disjointed and partly because it’s not insightful lyrically. But his heart is in every note, which makes it above average. He probably could have recorded five more albums’ worth of his favorite songs from his youth, but again, this didn’t turn out like he’d envisioned it, and was essentially released to combat a marginally legal bootleg. (The 2004 CD reissue boasts improved sound, a handful of photos, nothing more in the way of liner notes, and dubious extra tracks: three songs from side one of the 1986 compilation Menlove Ave. and an faded-in reprise of “Just Because” seemingly included for name-checking the Other Three.)
John Lennon Rock ‘N’ Roll (1975)—3
2004 remaster: same as 1975, plus 4 extra tracks