Ok, I admit, that probably isn't true. But one of the strengths of "The White Album" was its variety, a strength that really shines on this archival release of selected Beatles materials from the 1963-1965 period.
I was given the "BBC" set as a birthday present when I turned 14, and it has remained a staple of my listening rotation. I listen to it at least three or four times a year, and I enjoy it immensely each time. Heck, I like it so much, I own three copies. I have two CD sets and I found a copy on vinyl (and it sounds FANTASTIC on vinyl).
I'm not the only one who dug the album, either. It got to No. 3 on Billboard's top 200. It sold about 8 million copies in its first year, according to Wikipedia. With 56 songs and 13 tracks of dialogue, you get a lot of content for your buck.
There are several reasons to love this collection.
Of course, there's the variety that I already named. You get tunes written by Chuck Berry, Phil Spector, Carl Perkins, Smokey Robinson and so many more. This collection exposed me to so much great music, and so many great artists ... it's a genuine "gateway" album, opening my eyes (and ears!) to songs and musicians that formed the foundation of modern music.
Rock and roll? Rhythm and blues? Country and western? Show tunes? The Beatles did them ALL and they loved them all.
There's also the charm of listening to the Beatles during their early stages, before they'd abandoned live performance completely to create their studio masterpieces. To listen to these men in their early 20s pushing themselves, proving themselves, and having such apparent love and fondness for the music of their heroes.
Finally, there's the inherent humor. The Beatles had a sense of humor that was much feted during news conferences and interviews, and you can experience it here. (Just give "Dear Wack!" a listen.)
The collection is in itself a highlight of their development, but key tracks include "Too Much Monkey Business," "Keep Your Hands Off My Baby," "A Shot of Rhythm and Blues," "Soldier of Love," "To Know Her is To Love Her," "Memphis, Tennessee," "Things We Said Today," "The Hippy Hippy Shake" and "Slow Down." Heck, almost every track either raises a smile or draws you into singing along! It's a "great music of the 1950s and 1960s" collection that rivals any Time-Life compilation.
The Beatles shine the best on this collection when they are covering the songs they loved and respected. While they were expert songwriters themselves, their own songs on this collection are slightly lackluster. They're not bad! Not by any stretch. But you already have their materials, and so it's hearing them tackle classic favorites and obscure rarities that make this collection a necessity.
If you love the Beatles, get this. If you love classic rock, classic country and the sounds of the 50s and 60s, get this. If you want to hear a young band as it develops into the world's greatest music group, get this.
And then listen to "The White Album" with all its variety and energy and the different styles it manages to envelope and tell me that I'm wrong!
Now, I'm gonna pop the album in and do a live blog kind of thing. I'll use the comments for a track-by-track (or impression-by-impression) listening experience. There's more than 2 hours of material on this album, so expect a lot of comments over a period of time tonight.
And, as always, I look forward to feedback/ideas/criticism/thoughts/whatever!
The first track is an intro ... John's "sometimes I play the fool" always sets the tone
ReplyDeleteTrack two is a brief rewrite of "From Me To You" as "From Us To You," which stood as the theme to one of their radio shows
ReplyDeleteIn the early part of their career, you can really hear how much of a Carl Perkins disciple George was. And that's meant as a great compliment.
DeleteThat bit was supposed to accompany, "I Got a Woman." Still finding my way here. I'll get there.
DeleteAs for this bit, I always got a kick out of it, even though it is all of 30 seconds long.
I don't see how being a Carl Perkins disciple could be anything other than a good thing. :)
DeleteAt least when it comes to playing guitar. ;)
The third track is a great li'l interview bit, talking about the pressures of fame and dealing with snobbery. Pretty insightful, even as a brief track.
ReplyDelete"Social comment, that."
George's bit is the perfect pitch of snarkiness, yet reality. You didn't hear a lot of that from the boys early on. Usually, it was all good natured. This had some edge to it.
DeleteI totally agree. And it really foreshadows George's character. You watch the Anthology and see how often he decries the "mania," and it becomes how obvious he despised the treatment they received from dignitaries, socialites, authorities, fans, etc.
DeleteThe first full track is a cover of Ray Charles' "I Got a Woman."
ReplyDeleteI love this song. John's voice sounds good, and the plucky guitar in the background has a bubbly, insistent quality to itself.
When the guitar solo kicks in, George's ability to knock the energy up without stealing the show is made plain.
Ringo's drumming is perfect for this song. Backbeat, indeed.
Next up is a Chuck Berry cover, "Too Much Monkey Business."
ReplyDeleteJohn's little shrieks always make me grin a bit. He's spitting the words out as fast as he can, while also interjecting some Little Richard into it.
This was rock and roll, man. And Paul's bass thrums life throughout, with George and John's guitar work supplying energy that competes with Ringo's bombastic drums.
Great school commentary, great blue-collar work commentary, with a lot of fun.
The bass really does drive this song. Great pace and movement that keeps the whole thing moving.
DeleteI think the Beatles had so many tools in their arsenal, it really gets pathetic when people talk about how "overrated" the Beatles were.
DeleteIt's like, really? An almost virtuoso bass player (who didn't even really want to be the bass player), two of the great rock and roll singers, a more-than-competent third singer, fantastic guitar players (George being the best, but Paul being fantastic and John being so feel-based), and an underappreciated drummer who understood BEAT and FEELING above all.
And we haven't even gotten to the songwriting yet ...
Yes, thank you. The overrated line always gets my blood boiling.
Delete"Keep Your Hands Off My Baby" has more great Lennon vocals (album is a bit Lennon heavy at the beginning, but you get plenty of Paul and George later, with bits of Ringo).
ReplyDeleteThis track is a bit lower fidelity, but you really get the radio feel from it. Not everything needs to sound pristine "performed in front of you."
The harmony work here on the "keep your hands" line is stellar.
The instrumental backing is almost country western here, despite it being a Goffin/King cover (King being Carole King).
When the Beatles cover a song, it stays covered.
The backing harmonies just ALWAYS seemed to be on the dime, no matter what they were singing.
DeleteIt's really amazing the number of songs that Carole King has written and the variety of work she has done. I think most people know her from Tapestry and not a lot else. She's had an amazing career and is truly one of the greatest songwriters in American popular music. I'd love to see a list of the songs she's written/co-written and the number/variety of artists who have sung her songs. I think that would blow people away.
DeleteYou're totally right. I had no idea just how much stuff she'd written until I started getting into The Monkees. Then I started listening to some compilations of Brill Building songs, and then started listening to her own albums ...
DeleteHer versatility and ability is amazing. While "Tapestry" is held in high regard, she really is criminally overlooked for her importance to American music.
Next up is a Lennon-McCartney original that was never released on an album or as a single, "I'll Be On My Way."
ReplyDeleteIt's a charming song. Almost something you'd expect from The Everly Brothers. The way Paul and John's voices stack, it's almost like one voice.
There's not much to the song lyrically, but it is so evocative ... like a high school romance fantasy with a dash of macho "hey, whatever" to it.
"As the June light turns to moonlight, I'll be on my way." Works for me.
I don't think this ended up on any of the band's albums. Hard to believe given the number of albums they cut in such a short amount of time.
DeleteMaybe John thought it was a little too syrupy and didn't want to release it on a record? I dunno. I think it's a charming little tune, and would have been a decent addition to "Beatles for Sale."
DeleteGeorge gets his first lead vocal with "Young Blood," and the whole band sounds like they're having fun.
ReplyDeleteThey're doing funny voices, they're doing shouting vocals in the background, and the instrumental arrangement is almost fair ground loose.
Lieber/Stoller/Pomus were great songwriters, and the Beatles really bring the humor and winks out of this song.
"Why, you're the one" with different intonations. Are you the one? Of course not. But give in, anyway. ;)
When I imagine the boys playing in Hamburg, this is how I imagine them doing several songs a night. Their humor playing a big part of the tunes. You really get a full taste of John's humor of this era here.
DeleteWhen I first got this compilation on my birthday years and years ago, THIS was the song that really made me pay attention. It isn't the best performance on the set, or the coolest song ...
DeleteIt's just that it so perfectly captures the image of the moptops that I had at the time (and still suits the image I have of them now).
"A Shot of Rhythm and Blues" is one of my very favorites. It's the perfect party piece.
ReplyDelete"Well just a little rock and roll on the side, just for good measure."
Such an insistent chug in the background. Man, I wish I could play the guitar or piano ... JUST so I could do this song.
Van Morrison has also covered this song to great effect. It screams for live performance and parties.
Rock and roll, friends. Rock and roll.
I'm with you: This is one of the highlights of the two discs. There's an interesting feeling of energy, but it's somehow restrained for me. It's a bit slower tempo than some of the other tunes. Just love the subtlety of this song.
DeleteIt's got this tug throughout that just grabs your ear and refuses to let go. You are totally right, there's a restrained energy to it ... And it makes the song stronger somehow.
DeleteNext up is a Carl Perkins cover, "Sure to Fall." Paul's vocal really brings the twang out in this version.
ReplyDeleteAnd when he hits full croon, well ... This consummate performer knew how to get the girls, didn't he?
I love the guitar work on the breaks, too. Such a treble heavy strum. It's similar to surf guitar, without the energy ...
"Loving you is the natural thing to do / I want you for the rest of my life."
Deal.
I'm surprised the boys never covered "Your True Love" by Carl Perkins. Wish they would have. Love that song.
DeleteThe problem with this two-disc distillation (though it's hard to call a 69-track compilation anything resembling a problem) is that it sums up three years of broadcasts, and there was a ton of material that didn't get released.
DeleteCertainly, there was a lot of material done multiple times ... but I wish they'd release companion compilations to augment this. "Live at the BBC, Vol. 2" or something.
There's good material in the vaults. (Bad stuff, too.)
Another rocker! "Some Other Guy."
ReplyDeleteAnother Lieber/Stoller cover.
This song is one of the pinnacles of early Beatles work. They performed it at The Cavern, performed it for Canadian television cameras before the group broke in the U.S., and the sheer energy on this BBC recording is astounding.
The distortion is unbelievable ... they're rocking so hard, ignoring the monitors and just letting the energy bleed through the tape. Magnificent.
Another example of the Beatles' voices working as one when sung in unison.
Yes, I can visualize the Cavern performance of this as I listen to it.
DeleteNow another Lennon-McCartney original, "Thank You Girl."
ReplyDeleteThis was the B-side to "From Me to You," and is every bit as charming and groovy as the A-side.
This is a live performance done with an audience, you can hear the girls shrieking in the background.
"And all I've got to dooooooo / is thank you girl, thank you girl."
Fantastic early Sixties rock. A classic? Perhaps not. But better than mere filler.
Love the bass on this track.
Classic example of the harmony between Lennon and McCartney and how their voices fit so well together. Lennon just had a knack for the minor part with Paul, obviously, owning the melody. Closest thing I've heard to it is some of the songs by The Jayhawks with Gary Louris owning the melody and Mark Olson with the minor. Always think of the Beatles when I listen to the Jayhawks.
DeleteI have very little in the way of listening experience with The Jayhawks. I know a couple songs. They are now on the list of groups I should get investigate!
DeleteI could definitely direct you to some of my favorite tunes of The Jayhawks. Next time it isn't hockey season and they're playing in Minneapolis, you and I should go see them. I think you'd be a fan.
DeleteNext up is some dialogue with a bit of fun. The interviewer has some fun with the group, and does a James Mason impersonation at the bidding of the Beatles. Even a bit of Micky Mouse.
ReplyDeleteGood fun.
I love how hard they laugh. I think that was part of their appeal was how genuine the fun was in the early days.
DeleteI love the Beatles' cover of "Baby It's You."
ReplyDeleteTheir harmonies are stunning.
And John, well, John had an expressive voice that could sound both earnest and kind of scared at the same time. Wanting your love but fearing the love (or possible rejection) at the same time?
I like the backing vocals here, too, on the "sha la la la las."
Cheat! Cheat!
Burt Bacharach sure knew (knows) how to craft a good tune.
This is one of the cornerstones of this collection for me. Yes, the expression in John's voice is a very interesting combination that you don't hear much ... especially today.
DeleteThis song is just one of many that shows how the Beatles could interpret a great song and make it their own. The Beatles, as a cover band, were just as good in their own way as the Rolling Stones ever were at putting a stamp on other people's material.
DeleteNow we've got the Beatles covering one of Elvis Presley's first big songs, "That's All Right, Mama." Written by Arthur Crudup, this has been a staple of R&B and soul singers well before the Beatles ever covered it.
ReplyDeleteIs the Beatles version definitive? Well, no. But it's still cool. Paul has great energy on it, and the Beatles get a good groove on it. It's a toe tapper, for sure.
Just being selfish here, I wish I could have heard John sing this. Not because I don't like Paul's version, but because I've heard him do it as a solo artist. I would have been interested to hear John's take on it.
DeleteGeorge really captures Scotty Moore's style here as well. I love Scotty Moore.
DeleteYeah, hearing John open up his throat and really belt it out would have been a cool addition. I'm guessing (and really, it's only a guess) that some versions and songs were included because the collection got a little John heavy at times.
DeleteAnd major, major, major props on the Scotty Moore mention. If anyone could speak to that, it'd be you.
DeleteWell thank you, sir. You know Scotty Moore's name gets brought up as one of the great guitarists -- and I realize these things are hard to number -- but he's always like No. 87 out of the top 100. I just think the guy deserves more recognition than he gets because he helped create an entire genre of music and if he didn't understand Elvis' vision -- and we both know how important that was in the Sun recordings -- Elvis might not have become Elvis. I just think he's a crucial person in music history.
DeleteIf you can't tell that the next song ("Carol") is a Chuck Berry cover, you need to study your classic rock guitar licks.
ReplyDeleteEverything about George's guitar work here emulates Berry's classic style. And John takes the lead vocals to give a bit of a sneer to the lyrics, to great effect.
The guitar breaks are the real stars here, as George noodles and riffs like a great student of early rock should.
Yes, for people who wonder where the musicianship was in this band -- and I hear this regularly -- I would use this as an example. George's timing on this track is just awesome. Like a lot of Chuck Berry, if you listen closely, the guitar part kind of goes all over the place with the timing and off beats ... and then into a straight ahead riff...then picking. The guy is a genius.
DeleteExactly. Exactly. I think Keith Richards once praised George for knowing just when and how to use a guitar. It's an intuitive feel that the greats master. And George was one of the greats.
DeleteNext up is one of the great songs on the whole collection, and the track my brother always liked: "Soldier of Love."
ReplyDeleteThe Beatles really could have been a great country and western band if they'd wanted to be.
Every Beatle knows his place on this track. Paul and George bring great backing vocals to the song as John takes the lead, and all of them have an energy and sincerity that totally sell the tune.
"Use your arms to hold me tight / I don't want to fight no more."
A jewel of a performance.
I know this is a love song, but I always like to also think of it as an anti-war song. Yeah, it's a reach.
DeleteThe backing vocals kind of make this song, even though I love John's lead on this. I love the way the backing vocals push the song forward and reflect what the lead singer is singing at the same time.
The backing vocals have a pleading quality that equal John's lead. Again, I agree with you. :)
DeleteNow for some dialogue, with a little rhyme done by some students addressing the Beatles (read by John).
ReplyDeleteIt's a cool li'l bit of history, and shows the band interacting with listeners. Very cool.
Now Paul takes the lead vocals on "Clarabella," unleashing his great rock vocals. He could scream and shout in a very Little Richard style, and reallly cooks on this song.
ReplyDeleteJohn contributes some harmonica work here, too, that really makes this song a potboiler. Ringo is whacking away in the background, pushing the group ahead into more energy.
A nice 1950s rock and roll feel here.
Yes, one of the things that really got lost in the live performances from 64 on was not being able to hear the harmonica. John knew his way around the instrument. I mean, he's not John Popper, but there's style and substance to what he's playing here.
DeleteYes, this is Paul doing his best Little Richard immitation.
One of the things you and I have discussed in the past was how the remastering of the Beatles albums really benefited Ringo as much as any of the other Beatles, because you finally got to hear what he was actually doing. The dude could play, didn't matter if it was live or in the studio.
DeleteIf John was doing a blistering lead or Paul was hitting the wail, they still needed Ringo to propel them into those grooves. He never failed them, and his licks kick this song in the butt.
John and Paul take the lead vocals on "I'm Gonna Sit Right Down and Cry (Over You)," a track that really blew me away when I first listened to the set.
ReplyDeleteIt sounds like a track that would slide comfortably onto "A Hard Day's Night," but isn't a Lennon-McCartney tune.
The way John and Paul sing together, one gets the feeling this was one of the songs they worked on a lot together. The way Paul takes the higher harmony with John so naturally on the track is fittingly RIGHT.
And George's picking and Ringo's drum work really show an ownership of this track that transcends your usual song cover.
One of the things missing from George's solo work was guitar work like he perfected in this era. I love the way he played guitar in the early Beatles stuff. Don't get me wrong: I get it, artists need to move forward and he fell in love with slide guitar and was very good in that style. But I wish he would have spotted more playing like this in his solo work.
DeleteI know exactly what you mean.
DeleteThere's a time and place for every sound, I suppose. But I do think there are songs in his portfolio that could have used some of the note picking and finger flurries he exhibited in this era over the suave note bending and slide work he championed later.
One thing I give Keith Richards some credit for is how he darts between styles, even in these modern years. He'll do some fuzz riffs, jump over to some country pickin', then do a little note bending. Good for him.
Unfortunately, because of all his drug issues and how he can be a comic book image of himself, Keith Richards is a guy that kind of gets almost laughed off as a guitarist. The way he pushed the blues into a different sound over time in their early years is really genius.
DeleteNow the Beatles tackle Buddy Holly's "Crying, Waiting, Hoping," and George gets the lead.
ReplyDeleteAll the Beatles loved Holly (Paul even owns the Holly publishing these days), and John and Paul were impressed that this rock pioneer wrote his own material.
This isn't the greatest Holly cover the group did, but George's voice suits the topic matter and John and Paul sound like supporting friends helping George get through a tricky relationship.
This is an underrated Buddy Holly tune. Definitely a song that, in the early Beatles stuff, you can really hear Holly's influence on their writing.
DeleteAnother dialogue track, "Dear Wack!"
ReplyDelete"Good lad, if you're a lad."
Love this one. It's just fun, and John reads another letter.
Love the dismissal of the person being a Paul fan. "Hmmph."
DeleteJohn even sounds a bit giddy at the mention of the Roy Orbison tour.
DeleteSometimes these brief dialogue pieces reveal as much as the songs do.
The Beatles now cover Smokey Robinson and The Miracles, with "You've Really Got a Hold on Me."
ReplyDeleteJohn's voice is perfect on this tune. It's plaintive, almost reedy, full of empathy. Paul and George supply harmony vocals out of a country songbook, rather than Motown.
Paul's bass really keeps the pace of the song, and the group vocals on the "hold me, hold me, hold me, hold me" break rock.
Tighter ... Tighter!
I can listen to this cover all day.
I'm with you: This is one of my favorite covers of theirs. There's a yearning in John's voice that's awesome and the harmonies on this are great.
DeleteI love Ringo's drumming on this.
Now we get to a cover of Phil Spector, with the Beatles performing "To Know Her Is To Love Her."
ReplyDeleteThe Beatles take a song that was originally written from the girl-to-boy perspective, and switch it to boy-to-girl. And the vocals are both gentle and resigned. This isn't a coy torch song, it's a genuine love song.
A minute in, the song builds to a crescendo and John's lead vocal brings the emotion. "Some day she'll see / that she was meant just for me."
The funny thing is this song version always seemed more country than Spector to me. After watching, "Backbeat," I always imagined John singing this song to Astrid for some reason.
DeleteIsn't it odd that a "beat group" that revolutionized pop/rock is so damn good at country?
DeleteMan, I love The Beatles.
I always wondered what this song would have sounded like in Smokey Robinson's hands. Having this track follow "You've Really Got a Hold On Me" is a great sequencing decision. They suit each other.
Nice Smokey Robinson call. There's another underappreciated genius. I know that may sound ridiculous for some of these people because it's not like they're NOT famous. But there's a huge difference between being famous and being appreciated as an artist.
Delete"A Taste of Honey" follows perfection with some great vocal work, even if the song is pretty show-tuney (nothing bad about that, though).
ReplyDeleteThe way John and George join with Paul on the "A Taste of Honey" (those words) really work, and I love the "do doo do doo" bits.
This track really highlights the diversity of material the group could summon for performance.
Love the harmonies here. Like the combination of George's voice and John's voice. Just gives you a bit more edge to the background.
DeleteThe harmonies transcend the roots of the song, making it more than worth the listen.
DeleteAh, no one can Little Richard like Paul can ... "Long Tall Sally," a track that rivals John's cover of "Twist and Shout" for intensity.
ReplyDeleteThe speed and fury of this performance knocks me on my butt. The original Little Richard track can never be surpassed, BUT ... you have to admire how close Paul comes on a cover. Listen to how invested that vocal is, and how the group SOUNDS like they are sweating their butts off just to keep up.
When John talked about the sheer rock the Beatles performed in the early years, he had to be talking about performances like this one.
People always talk about John's ability to scream. Listen to Paul on this track.
DeleteThe Beatles pull out an original next, with "I Saw Her Standing There." A great rocker to follow one of THE great rockers.
ReplyDeleteAgain, this is a live track with an audience. Listen to the shrieks on this track and you get just a taste of the intensity of what they must have generated.
The instrumental breaks here are almost punkish, as the group goes for volume and energy over style ... just as they should with this rock and roll classic.
This song should get more love than it does ... and it gets plenty. It's one of the best Beatles tunes that never was a hit in its own right in the UK.
Listening to that guitar solo, its easy for me to fall into hyperbole when I say that George DEFINED the lead guitarist role.
I still remember my first English class I had at St. Cloud State and the professor playing this song when we were talking about love at first sight. First trimester of college. I thought it was the coolest thing I'd ever seen done in a class. Made me glad to be in college.
Delete"The Honeymoon Song" follows, and brings the energy down.
ReplyDeletePaul tackles another "parent pleaser," but I don't mean that in any negative way.
Remembering that the 1940s, 1950s and 1960s relied on musical tastes as varied as they are today ... but with exposure much more limited than technology now allows (the Internet revolution, anyone?), being able to be a variety band is a strength.
A pleasant, if inessential, track.
Yes, this feels like a song that Paul sang to please his father, who was a musician himself.
DeleteI imagine the Beatles playing this song in Hamburg when they needed to catch their breath.
More Chuck Berry? Yeah, that'd be fine.
ReplyDeleteThe Beatles tackle "Johnny B. Goode," with a nice swing to it. John takes the lead vocal, and may as well be singing about himself ... the lyrics describe him well enough.
John's love for roots rock really comes alive on this compilation (and one wishes that his "Rock and Roll" album of 1975 had been this raw).
The fidelity on this track isn't the best, but the energy of the lead guitar breaks still leap to glorious life. Air guitar? You betcha.
I always wondered about the variety of the fidelity of the tracks. Did they always perform the songs in the same BBC studio or did they get moved around? I get the impression they moved them around a lot for these shows.
DeleteIt's my understanding that they performed at a variety of BBC studios, and also that the BBC taped at different venues where the Beatles performed when the group couldn't actually find time to hit the BBC locations.
DeleteTape degradation, different engineers and producers, different locations ... I'm sure those are all variables to the variations in quality.
More Chuck Berry, again? WOO!
ReplyDeleteThe Beatles tackle "Memphis, Tennessee," and it rocks.
The jaunty instrumental backing is a perfect life. The drum pattern is a lovely lift, and the guitar screams at you at every break.
One of my absolute favorites on the set.
John's suit emulates Elvis without impersonating him, giving more flow and finesse than Chuck Berry's quick-bite delivery of the words.
You don't hear Ringo stay off the snare drum often, but he steers pretty clear of it here. Gives the song a real interesting vibe. There's almost a Cajun feel to this version.
DeletePeople who know what they're talking about (not that I'm bragging about us) acknowledge that Ringo was THE drummer for the Beatles. The right dude for the job.
DeleteHe drums for the song, he drums for the singers, he understands that it is about getting the right performance ... not being a flashy star himself.
Sometimes his drumming seems generic, til you realize that he's providing the beat that allows George and John to really mess about on the guitars, and he never gets in Paul's way (Paul often brought the bass out of the rhythm basement).
Well, I'll put it another way: We both know how finicky Paul can be about who works with him. Who has Paul worked with the most in his career? Ringo Starr. That tells you all you need to know about the guy as far as I'm concerned
DeletePaul launches into another Little Richard riff with "Lucille," and the band gives it some drive.
ReplyDeleteIt's a thinner sound than "Long Tall Sally," but no less impressive for a white guy in his early 20s trying to wail like a southern black showboat performer.
I dig the wobbly guitar lead, too. It's almost nervous sounding.
Yes, one wonders where Paul stores this soul sometimes. :) Guy could just belt out desperation at this point of his career. Maybe that's it: Paul's gotten comfortable.
DeleteAh, "Can't Buy Me Love."
ReplyDeleteAnother Lennon-McCartney original, with a great band performance. Paul's voice is given a little echo, and this sounds pretty close to the actual single/album version.
The Beatles sure weren't phoning it in on their radio gigs (at least not yet).
What really stands out on this track is George's picking guitar lead. I know I've said this already, but the country/western appreciation this group had is palpable. This isn't flash, this isn't reverb, this isn't Dick Dale. It's pickin' goodness.
Yeah, that's what I like about the Live at the BBC CDs. None of it feels phoned in, though they could have. I also like that you can hear what they sounded like live. You see video of them playing Ed Sullivan or about anywhere else and you can hear the vocal (most of the time) and usually just the drums.
DeleteNow some dialogue. I love John asking "what about my book, then?" in the background.
ReplyDeletePaul listing his favorites is cool, too, but John is the star of this brief bit.
Paul sings the lead on "Til There Was You," another show tune. But this one is more inspired in the vocals and instrumental arrangement.
ReplyDeleteIt's a pleasant, easy-listening performance ... but it's never boring. The guitar work is top rate, and Paul's vocal brings energy to the track. If he'd sung it straight, the charm would be gone. He goes balladeer with it, and it pleases.
The energy at the last line, "Tiiiiiiiiil there wassssss yououuuuuuuu" makes it all worthwhile.
And that's the end of disc one.
I'm not exactly sure why, but I always loved this cover that they did. I think the guitar part really helps it out. If it was a bit less intricate, you'd be bored.
DeleteI think this version beats the one that made it to the album, where Paul clearly sings "sawr" instead of "saw," etc.
DeleteThat being said ...
Variety is the spice of life, and I give this set a lot of credit for just showing off all the styles the Beatles covered.
It probably would have been very lucrative for the group to have just released BBC sessions of their own songs, rather than so many covers of such a wide variety of artists.
But they DID release this wide range of material. Bless them.
Hey Mick!
ReplyDeleteI just saw a couple of your comment! Thanks for contributing. You are making a lot of great points throughout. The Scotty Moore nod, especially, giving some great background.
I'm about to pop in disc 2.
Disc two starts with some dialogue, discussing the new film / album the Beatles just released: "A Hard Day's Night."
ReplyDeleteWhile the Beatles may not have known many foreign languages, they still play the game and guess at what a translation might be for the movie/album title.
Good humor is as much a part of the Beatles' success as their fantastic songwriting and their brilliant performances. You WANT them to succeed.
The second track is a performance of the title track, "A Hard Day's Night."
ReplyDeleteThe guitar chime at the beginning isn't as marvelous as the famous single/album version ... But it's punk rock, man.
Seriously. I could see Joe Strummer just hitting a chord and then launching into the tune.
Ringo's drums sound kind of muffled here, like he's beating on boxes or something ... yet that somehow suits the song. Gives it a devil-may-care "exhausted, but not too tired to rock" feel that suits the song.
I even like the humor of how the song ends, with them bringing the fade from the album version into it ... "Fade ... FADE!" Heh.
That part, "When I'm home," I can't help but think of the Anthology and how they struggle to hit the note and then break up laughing.
DeleteI hate to go back to George, but that solo in the middle, while short, always sounded extremely intricate to me.
Always loved how they took phrases -- like this Ringo flub -- and turned it into music. A good notion for all artists. Art is everywhere if you listen and look for it.
Yes, I love John's humor at the end. Cracks me up every time ... despite how many times I've heard it.
"Have a banana" always sounded a bit dismissive to Ringo to me. It's a nice li'l fun bit, but I think Ringo deserves better. ;)
ReplyDeleteInteresting that this particular recording came before the release of "A Hard Day's Night." I think the dismissiveness of Ringo really went into full force after the movie because that's the way his role was written. The whole bit about his nose and not being appreciated. I'm not saying that Ringo should be dismissed. On the contrary, I would say that my appreciation for him as a drummer has gained throughout the years and with the remastered releases of the Beatles catalogue.
DeleteI'm 100% with you on all points (I'm sure you find that surprising ;) ).
DeleteI never lacked appreciation for his skill, but the remasters really opened my ears (and thus, my eyes) to the skill and sound he contributed. Was he as "vital" as John and Paul. Perhaps, PERHAPS, not. Was he the glue of the Beatles sound to the extent that George was? Perhaps, PERHAPS, not.
But his beat, his feel, his understanding of the music and his willingness to build his dynamics to suit the needs of a song? THAT is priceless.
I love Ringo's attack on "I Wanna Be Your Man," perhaps because he was the Beatle who'd be least likely to BE your man.
ReplyDeleteHe always had that "wet, sad dog" look to him, which probably actually increased his chances of meeting a nice girl who'd give him a good time.
When the Rolling Stones covered the tune, they brought a level of raunch and implicit dirtiness to the track that really rocks. But Ringo's energy on the track sells it so convincingly. He's not a danger to your daughter ... he's the scrawny guy who wants to take you to the dance, despite the quarterback at the door who wants the same thing.
Ringo may not have had range, but he could sell a song as well as anyone.
George's humor is perfectly demonstrated here. "It's just a rumor."
ReplyDeleteHe's been playing "Beethoven" for 28 years ... longer than he'd been alive.
Great humor here, you have to listen to it. It sums up the Beatles playfulness and lack of self-seriousness.
The more I listen to this, the more I think that if they remastered this double CD, they would get more money out of me :) Well, it would be nice if they included like two more discs' worth of material ... they could gauge me for another $50. :)
DeleteLove the contrast of the rhythm guitar with the melody in this song.
I think sometimes that people may erroneously think that old music is less complicated, less nuanced, than modern music. I'm sure there are people who think Hank Williams was less technically inclined than, say, Brad Paisley.
DeleteIt is precisely music like this that gives the lie to that train of thought ... The rhythm guitar against the melody, as you point out, shows a technical skill AND an ear that is just as important to music now as it was then. Thus, it existed then as it exists now.
George Harrison's cover of "Roll Over, Beethoven" may just be the only version of the song you'll ever need to hear.
ReplyDeleteThat's no knock on Chuck Berry, who wrote the song ... Berry is hard to beat.
But George's energy, style and his delivery are just so perfectly suited. He sounds like the guy IN the song. As John is reflected in "Johnny B. Goode," George is captured in "Roll Over, Beethoven."
Another great guitar performance, showing his mastery of the style.
The bubbling thrum of "All My Loving" follows, with Paul's assured vocal taking the spotlight.
ReplyDeleteFor me, the chiming guitar in the background throughout is the interesting part. Listen to how it never stops, til the big pause that leads into the chorus, and then it turns to stabbing riffs instead of the constant chime.
These guys were arrangement wizards.
Not sure exactly why, but this was always one of my favorite leads of Paul's from the early days. There's an earnestness to his voice here that wasn't always there ... or should I say, hasn't always been there in all of his work.
DeleteI agree. I listen to it every several weeks and I still feel the energy. Earnestness is the perfect word (thank you, sir). He sounds totally wrapped up in that love of his ...
DeleteIntoxicating. One of his very first classic songs.
"Things We Said Today" is next.
ReplyDeleteThis is the second version of the song that I'd heard, the first being the live take on Paul's solo live album "Tripping the Live Fantastic."
I loved this performance (still do), because it sounds so tired and hopeful at the same time. Not regret ... more matter-of-fact.
When I got the "A Hard Day's Night" album, I loved that version too. Hard to beat the Beatles of this era, when they'd hit their first peak.
But the BBC version? Sounds like a blues song that they'd brought the beat out on. Play this song with the 1963 recording of "One After 909," and you've got a one-two punch of great love 'em and leave 'em style.
I hate to go too far off topic, but one of the great revelations of the Anthology discs was the early version of "One After 909." You listen to the "Let it Be" version and it sounds like a band of a different genre ... and it's the same people six years later. Lots of miles in between and you can hear it.
DeleteI agree with you. I know the early version of "One After 909" was available on bootlegs, but when the Anthology made it available and in great quality ... whew.
DeleteSeriously.
A great song, even if it's a simple song. And the ability to contrast it with the "Let It Be" version really makes music analysis a treat. There's tons to say ... Maybe I'll tackle it on a future entry.
Paul follows up with the original, "She's a Woman."
ReplyDeleteProbably my least favorite version of the track. Normally he can bring some snarl to it, or the group gets grittier on their instruments.
Here, it just kind of sounds thin and flimsy. The lyrics tend to get more attention than they should (not Paul's best moment), but the chorus almost rises to the occasion.
This is the first track (and one of very few on the set) that really doesn't do the Beatles justice.
Paul has a bit of Little Richard grit on the vocals at times, but really he and the group really sound like they want to get the song done. The guitar solo is catchy, but all too brief.
Yes, everything in the sound of this song sounds like they just got off a 7-hour flight. Drags a bit for this era of the Beatles.
DeleteThe bass part in this song really bops around nicely and gives the song a cool undercurrent, though.
Paul always did have a knack for coming up with good bass parts.
DeleteJust when you think the Beatles couldn't do any more Chuck Berry ...
ReplyDelete"Sweet Little Sixteen" is tackled with great enthusiasm here. John sings the song with a joy and confidence that comes from loving the song long enough to almost feel like you wrote it yourself. Listen to the thrill in his voice throughout.
And let us not neglect the power and dexterity of the group's performance behind him. Guitars everywhere, and George more than holding his own throughout. Paul's bass really carries the rhythm so that Ringo can ride the cymbals and amp the energy.
If I had a moptop, I'd be shaking it myself at this point. :)
Here's another song that HAD to be on the set list every night when they were in Hamburg. This song is made to "Mak Show."
DeleteIt's amazing that they were able to cover Chuck as much as they did, but seemed to add something different to almost every song. I love Chuck's version, but this feels so much fuller. It reminds me of the way Bob Dylan said that his early songs played with a full band sounded like the song fully developed. That's the way this version feels to me.
Yeah. It's a pity that so many people (not you, of course) come up with comparisons that lead to "better" versions or whatever.
DeleteWords like "fuller" or "fully developed" seem far more appropriate. Many cover versions can really expand a song ... that doesn't mean the cover is better or worse than the original.
On the "BBC" sessions, the Beatles always manage to lend their touch to the originals ... and more often than not, that touch adds a shine to already great songs.
John fluffs some facts here, but his voice is fun on this dialogue bit on "1822!"
ReplyDeleteBrief, but fun.
Check the drum work on "Lonesome Tears in My Eyes."
ReplyDeleteIt's almost a conga style show tune, with a country vocal and a Buddy Holly kind of lyric (even though it isn't ... take a bow, Burnette brothers).
Sounds like a track that SHOULD have been a title track to an Elvis movie, with him standing at the front of a club and swiveling his hips and singing to some hot redhead at the front table.
But John gives it swagger enough.
Wow, good call on the Elvis movie reference. The guitar part sounds like something Buddy Holly would have played as well. Buddy had such a distinctive, ringing style. The drumming on this also reminds me of the drumming on Buddy Holly's "Peggy Sue." Very primal vibe to it.
DeleteGreat music :)
Delete"Nothin' Shakin'" is a fun song that shows off George's vocals. Sure, George's voice isn't John's or Paul's ... lacking some of the finesse, and having some of that thick burrish kind of tone buried in the mix.
ReplyDeleteHis voice, however, could convey energy and commitment like few others. And he could kick in a harmony that would leave (and still leaves) me breathless.
On this track, he brings rockabilly to life and sounds like the kid he really was at this time. His enthusiasm and good cheer carry the tune, as does Ringo's tasmanian devil drumming and the "bum bum bum" bass parts (almost like a polka horn part).
I grow a greater appreciation for the rockabilly era the older I get. This version, which I like, is kind of funny in a way because you can almost hear George trying to put some twang in his voice at different points to make it sound more like it's from the American South.
DeleteI would love to hear Jerry Lee Lewis take a run at this song. Be interesting to hear what someone who enjoyed fast songs, but played them on a piano, would have done with that. Knowing the Killer, he probably did and I just haven't heard it.
Jerry Lee Lewis ... good call! I was just thinking Seventies era Johnny Cash, myself.
DeleteChan Romero's "Hippy Hippy Shake" gets covered next, and Paul's voice has all the energy and thrill necessary to bring the tune to life.
ReplyDeleteThe instrumental backing is just fine, the emphasis being on the beat and the guitar throughout almost sounds like an organ (til you get to the solo). But Paul's voice is the selling point here.
The wooos and the whoops and the ows sound legit, he wasn't just some white boy faker.
Yeah, Paul has been a lot of things, but he was no Pat Boone in this era. He proved early on that he had the chops to stick with some of the great vocalists of early rock.
DeleteGeorge and "Glad All Over" take another dive into country territory (seriously, folks, the Beatles rocked, they rolled, they R&Bed and they westerned ... to categorize them is to ignore their versatility).
ReplyDeleteThis has a good beat and Ringo's cymbal crashes add nice color to a track that just sounds like a good live number for people to dance to. George's "take it as it comes" voice builds up at the end with a good energetic rush.
Good fun.
I haven't done a scientific study, but it seems like George and Ringo did most of the country covers. That makes sense for a number of reasons. For George it makes sense because of his love for Carl Perkins and Perkins really is one of the masters who took country and put a new tint, or bend, on it to make it that new thing called rock and roll.
DeleteI think you are probably right ... Paul seems to be higher on the show tunes and belters, John handles a lot of the rockers and R&B tunes, and George and Ringo do a lot of rockabilly and country.
DeleteWith all of them dipping toes into other genres, of course.
Good call, man.
"I Just Don't Understand" is a buried gem on the set, with a compelling instrumental intro and a very wary Lennon lead vocal.
ReplyDeleteWhen Paul and George lean in to provide the harmony, they don't add energy ... they add commiseration. This isn't a ballad to a pretty girl or a celebration, this is a song of tired resignation.
Fantastic, and Lennon's lead as the song winds down picks up with an almost irritated energy.
The song has to be heard to be enjoyed to its fullest. Truly cool.
Yes, for people who thought that the Beatles in the early days did only "up" songs, I would give you this.
DeleteThis song was one that I really loved hearing on the set because it is not like other covers on here that I'd heard a lot and it is not a song that is on any Beatles album (officially released) that I can think of. Yes, this gives listeners a different take on John in the early going.
"So How Come (No One Loves Me)" has fantastic group vocals, and George and John channel The Everly Brothers to devastating effect (Paul and John often get mentioned in this capacity, but George's vocal prowess deserves more props than it gets).
ReplyDeleteI love the energy in this track.
Ringo's drumming is really in the pocket here, just really hits the right spots.
The loneliest creatures line? Priceless.
Uh huh.
:)
LOVE the harmonies on this song. The timing on their arrangements, as you mentioned earlier, really is underrated. The pauses and the timing of where they give extended breaks -- it just puts a cool spin on what they're doing.
DeleteI wish more boy bands (yeah, I went there) did things like this. Coy, fun ... Not taking themselves too seriously, and creating just a great song.
DeleteLove this one.
"I Feel Fine" may be the coolest li'l rocker the Beatles had come up with, to date.
ReplyDeleteThe guitar and the mood of the song is served by the lyrics, which are sunny and up ... and yet, there's almost a sense of menace because of the guitars. I'm not sure what's implied here, really, but it's almost like "I feel fine ... because I'm watching you, and you're what I want because you are what I say you should be."
But it doesn't say that! It doesn't. I'm completely pulling that out of my own head.
But if you listen to the tone, you listen to the vocal style, and you take the energy ... This isn't a LOVE SONG.
Talk about some tasty feedback and riffing.
Whenever I hear this song, I think of them playing it at Shea Stadium and how the vocal got absolutely buried in the screams and the horrible mix.
DeleteI agree with you that it's not a love song. There's a lot of bitterness there. Here's what she says ... and it's presented in such a sarcastic tone. She's into him for the wrong reasons.
This song really should have been on "Beatles for Sale" because it fits the vibe on that album so well. There's a disillusionment that would have gone right in there with "I'm a Loser" so well. Speaking of which ...
The "Beatles for Sale" album is almost criminally overlooked. Such a great album / era.
DeleteMan it's tough to rank their albums for a Beatles nerd like me when I really, really take the time to break them down. I just love the turn to their music on that album, much in the way that there's a turn on "Rubber Soul." Oh, there's another album that some people don't rank high enough :)
DeleteAh, a great track from "Beatles for Sale" is up next. "I'm a Loser" is an all-around great song. Even in this mix (remember, this was for radio ... they weren't making it perfect to sell it on record), the harmonies shine and the musicianship cradles the lyrics.
ReplyDeleteThe bass is more swooping here, as the Beatles as songwriters are growing.
And the changes in tempo throughout really highlight the lyrics. Introspective? Yes, though the song is still upbeat somehow.
"Is it for her or myself that I cry?" One of Lennon's great lyrics of this era.
An absolutely stunning performance of a song that screams for more attention. And the harmonica comes to life again!
"And so it's true, pride comes before a fall / I'm telling you so you won't lose all." Ah, to be a friend of Lennon's to the extent that he gives you advice ... ;)
Of course, his relationship advice wasn't exactly the best ... But I digress.
This song has some of my favorite John Lennon lyrics -- Beatle or solo. The harmonica in this song really helps with the feeling of melancholy that are in the lyrics. And the country twang of George's guitar also helps in that vein. I have always thought that guitarists for most songs played by real bands should ALWAYS get songwriting credits. I have a hard time believing that John told him what to play on this. I have this vibe that he played some chords, sang it and told him where the breaks were and where he wanted guitar solos ... George did the rest. And it's so important to the melody. ... End of sermon
DeleteI think any substantial contribution to songwriting or performance merits some form of credit.
DeleteGuess that's not how it works. Too bad, it's a shame.
George takes the lead vocal on "Everybody's Trying to Be My Baby," and Carl Perkins gets a bit more love.
ReplyDeleteI love this version. The guitar work here jangles a bit, and the sound is so FULL. For four guys in early 1960s technology, they created a sound that 8-person bands still can't emulate perfectly.
I love this version better than the album version and the live version featured on The Beatles Anthology 2.
Listen to that guitar picking ... Ah, George.
One of my dream albums that never got made -- George Harrison and Carl Perkins, doing duets, trading guitar leads and riffs. Would have been awesome. Makes me all the glad for the release of "Blue Suede Shoes: A Rockabilly Session."
DeleteIn case you haven't caught on yet, the Beatles loved Chuck Berry.
ReplyDeleteHere's another cover of one of his classics, "Rock and Roll Music."
I've always thought this was a great song, and the version on "Beatles for Sale" is just perfect.
Here, the low fidelity of the recording and the echo on John's vocal kind of distract from the power. You can hear Paul's bass throb throughout, and that kind of stands out here.
John's vocal has bite, don't get me wrong, but the recording here brings the energy down somewhat. If you roll the "Beatles for Sale" version, you'll hear what I mean.
Still, a great song and a great cover ... just not a highlight of the collection.
Yes, I also love this version. For some reason, it feels like there's some undercurrent of surf music in this song. Chris, you would be a far better judge of that than I, though.
DeleteGetting a bit off topic, but it's interesting that people always pull that John quote out about Elvis: "Before Elvis, there was nothing." Yet you listen to this double disc, and there's very few Elvis covers. You nearly get all the greatest hits of early Chuck Berry, but few Elvis tunes. Just something that strikes me as I listen to this ... Carry on.
I think John absorbed the style and menace and mood of Elvis ... but I don't get the feeling that the music made as big of an impact on him as Larry Williams, Buddy Holly or Chuck Berry.
DeleteI can hear a bit of what you're hearing in the surf music vibe. Hmm, didn't hear that before.
See? We are still hearing new stuff :)
Hearing the guitar intro to "Ticket to Ride," with the bass thrum and the drum kicks only make me respect this song more.
ReplyDeleteAnd I love the single/album version a lot.
But this version is so bass heavy and bare, and Lennon's voice is so perfectly strained throughout.
Muddy, almost to the point of being murky? Eh, a little. But it is no less vital, and proves that a great song always shines through. And in this case, the garage sound is almost inspiring ... We can do this ourselves! (Well, not really. But we can always daydream.)
There's such a desperate vibe to this version of the song. John sounds like he's smoked about two packs before they performed this, but he could have the perfect rasp when he wanted to. There's nothing like the way John and Paul's voices worked together. It's just so interesting that voices that are so different fit together so well. I think that's an unsung secret to their success. There's sugar and spice in those harmonies and it pulls you in because of their differences.
DeleteThe energy of "Dizzy Miss Lizzy" is intoxicating, even if the guitar sounds a bit thin on the intro.
ReplyDeleteCould anyone cover a song as good as John Lennon, with such consistency and genuine feeling? I'm not sure. I don't think so.
That may be the biggest revelation of "Live at the BBC." Beatles fans know there were a lot of covers on the early Beatles albums, but when you listen to "BBC" it is just overpowering how much cover material is provided. And the Beatles manage to pull a lot of it off with quality and power that rivals the original versions.
This may sound like sacrilege (sp?) to some, but I will take "Dizzy Miss Lizzy" over "Twist and Shout" for a John Lennon cover any day of the week. What part of heaven would I be in to have that argument? But I've always loved this song.
DeleteFor me, I've always been a huge fan of "Bad Boy." One of THE great Lennon vocals.
DeleteWow, that's hitting the nail on the head on "Bad Boy." That's an AWESOME song. Surprised it isn't in this collection. That's just a near perfect version of that song.
DeletePaul brings on his Little Richard vocals with "Kansas City/Hey Hey Hey Hey," which cooks very well.
ReplyDeleteThe lyrics aren't anything stellar (one thing I can't help but notice on most of the 1950s and early 1960s rock classics is that there isn't much in the way of lyrical experimentalism ... until you get to Buddy Holly; country music and blues would tackle unusual topics or even tell stories, but early rock was pretty simple ... words that stay on the beat), but the "bye bye, bye bye, bye bye baby, bye bye" lyrics and the ENERGY and JOY the group invests in them? Perfect.
There's even a little more twist in this version than the one you hear on the recorded version for album. Yeah, the energy carries it off. Otherwise, it would just sound ridiculous. Paul really throws himself into this version.
DeleteAnother dialogue piece, with a fan asking for Ringo stuff.
ReplyDeleteAnd Ringo barks, and then gets all corny and carny.
Good humor, yet again.
Ringo takes the lead on "Matchbox," which is another Carl Perkins cover ... but Ringo does well with this kind of material (and with Carl Perkins songs in particular).
ReplyDeleteRingo loved western movies and has covered country songs in his solo career very convincingly. Here, you get the rockabilly feel, with rocking drums and a blustery bravado to the vocal.
A good Ringo track for the collection, to be sure.
Actually saw Ringo perform this when I saw him in St. Paul way back in like 1989.
DeleteIf you think that there has been no development in Ringo as a vocalist, listen to him here and then listen to one of his last 5 or 6 albums. His range is the same, but his delivery is much improved.
Delivery is often a key to success. Good call, sir.
DeleteGeorge takes the lead on "I Forgot to Remember to Forget," and he goes for a lower vocal at the beginning ... and he convinces with his Elvis styling.
ReplyDeleteThe fidelity of the track here is, again, rather low ... but in this case, that suits the song just fine. This song is perfect for a "late-night AM radio on some almost-out-of-range country station" vibe.
A low-key standout on the second disc.
Another country song covered by George :) Love the tempo change in the middle. I think their love of weird tempos came from the fact that they couldn't read music and were self taught. I think when you're self taught, you have a tendency to be more adaptable because you're not thinking about what makes sense on the page ... you're going with the feeling or the vibe that's in there and adapting as you go. There's my professor moment :)
DeleteWithout feeling, where would rock and roll be? Feeling is imperative, and the Beatles (and many others) got that.
DeleteHumor, skill, energy and talent ... and feeling. The Beatles had it all.
Here's another dialogue track, discussing the difference between harmonicas and harps/mouth organs.
ReplyDeleteJohn's humor shines through ... as always.
Another Chuck Berry cover, but not in the usual vein ... "I Got to Find My Baby" has a great group sound, and John's voice is enthusiastic and assured, and there are times when he's almost shouting the vocal (especially before blowing on the "harp," "mouth organ," whatever he wants to call it).
ReplyDeleteThis sounds more like a Buddy Holly track than a Berry track, but regardless ... it's a fantastic song and a great performance. Listen to that walking bass throughout.
There's more blues in this song than a typical Beatles cover. I enjoy that part of it, showing off another color to their rainbow ;)
DeleteAnother Little Richard cover comes to life with "Oh! My Soul," and the pace and thrill of the song are palpable. It's FAST. And listen to that guitar work. There are note flurries that ae almost Van Halen-esque on short bursts; George was trying something here, and seems to give up on it after a couple tries. Check out the 40-second mark, you'll see.
ReplyDeleteA fun rocker. Not much to the lyrics, but a hell of a performance. Paul can scream, man, when he has the material that warrants it.
Makes you wish George could have taken another shot at it :)
DeleteNow there's a breather of a dialogue piece, and the radio announcer makes a couple of jokes that crack the guys up.
ReplyDeleteNice to hear them laugh!
Sadly, for whatever reason, I have a tendency to not listen this deep into the second disc. Now I'm getting mad at myself
DeleteThe group comes up with another Goffin/King cover, "Don't Ever Change."
ReplyDeleteGeorge and Paul sing together, but George has the lead edge on it. And it's great! The energy, the performance, the timing, the harmony ...
I'd never heard of this song before the "Live at the BBC" compilation, and this song really blew me away.
And the sound is great, too. It's hard to believe this wasn't done in a regular recording studio. It's THAT good.
Yes, like a few previous songs, I'm surprised this song never made it onto one of their original albums. This could have been a big hit for them ... as if they needed another one.
DeleteThe Beatles tackle one of John's heroes (Larry Williams, also author of "Dizzy Miss Lizzy") with "Slow Down."
ReplyDeleteI love this song, and the Beatles OWN it.
"Slow Down" features a biting Lennon vocal and some nimble guitar work. The drum whacks before the brief pauses at the breaks? Pure energy.
This is vital rock here! (Makes me wish the BBC compilation also included "Bad Boy," which Lennon just KILLS on ... check out the Past Masters Vol. 1 CD to hear it).
Now I want to know more about Larry Williams. People who aren't into music (or are as sick as we are -- depends on your viewpoint) often ask me, "How did you end up with so much music?" Well, it's because you get curious about things and this is a good example. There's three great songs written by Larry Williams and it makes me want to know what else he wrote or if he was an artist himself. The sickness just feeds itself :)
DeleteYeah, that was one of the biggest benefits I got from this compilation (and from many of the early Beatles albums): exposure. So much music that I would never, ever, EVER be exposed to otherwise. I was a child of the Nineties ... there was NOTHING like this in the Nineties, and certainly no one covering stuff like this. The closest I got was "Jump, Jive an' Wail" by the Brian Setzer Orchestra ... a good cover, a talented performer but hardly a substitute for the real deal.
DeleteLarry Williams is one of the dudes I have on a mental list every time I go into a record store. When I look at used CDs or vinyl, he's one of the names I remember to look for.
I've found exactly zero albums of his. And I don't want to get the stuff digitally. As nuts as this may sound, I want the physical stuff IN MY HANDS when I hear his stuff for the first time. I want to look at the cover(s). I want to smell the vinyl (don't really need to smell a CD ...).
You know what I mean, Mick. You have the same sickness as me.
John gets his last lead vocal of the set with the second-to-last track of the collection, "Honey Don't."
ReplyDeleteThe high-hat work sets a mood, and the group adds a jaunty underpinning to John's earnest vocals. The Beatles would record and officially release a version of the song with Ringo on vocals that is charming ... but lacks the bite of John's performance.
Another Carl Perkins cover, which gives way to the final track of the set.
Yes, while we've been lauding Mr. Starkey throughout, I have to admit to being more into this version with John on the lead. The instrumentation on this just feels like a totally different version of the song than when it was in the hands of Ringo. Not sure if you feel that or not?
DeleteWhen Ringo sings it, it sounds like a pleasant dude having a minor disagreement with his lady.
DeleteWhen John sings it, there's more underlying anger and disappointment. I can't help but think that John always brought his real life into the music, even music he covered ... whereas Ringo always went for the entertainer route.
"Live at the BBC" wraps up with the Beatles' first single, "Love Me Do." The vocal blend of John and Paul are as fresh as ever here, but the feel is bluesier than the single version.
ReplyDeleteIt's a joy to hear John's harmonica breaks and Paul's suave "love ... me ... do" on the break.
To end where the Beatles began (with the record-buying public, anyway) is a nice sequencing decision. And it gives the Beatles another original for a set heavy on covers (and all the more wonderful for BEING so heavy on covers).
The only quibble I have with this version is the very abrupt fade to end the track. I don't know if the performance fade was originally that jarring, or if the compilers had to do it to make all the material fit to a CD.
Still, that's a minor complaint.
Yeah, the great thing about the BBC CD is getting to hear them perform it live and find out how they really sounded performing live. As was mentioned earlier, the sound equipment in TV studios of this era were not equipped to deal with all that was going on when they would perform. So while I like -- wait, love -- the covers, it's also great to hear them perform some of their own stuff live the way it should have been heard.
DeleteI think this is the third day that I've gone through this and it's only enhanced my appreciation for the boys, for what a knowledgeable person about music you are, sir, and confirmed that I'm a nerd ... wait, NERD about this band. I've listened to these CDs many, many times and I've only found more things to enjoy about them. So I thank you for this blog entry and for reading and reacting to all my entries. Just a highly enjoyable way to unwind.
The pleasure was all mine, man. It was awesome to have someone comment throughout and "listen" with me. Your own outlooks, musical education/tastes/appreciation augmented the quality of this entry SIGNIFICANTLY.
DeleteThank you very much!
There you have it ... both discs of the set listened to and commented on, track by track.
ReplyDeleteAND we have the added bonus of comments from Mick Hatten, a Beatles addict par excellence and one of the truly great music fans (with broad tastes and an appreciation for myriad styles) in my circle of friends.
Final impression of the set this evening: Awesome. So many styles of music, so many different songwriters getting covered, so many vocal stylings honored ... This is a melting pot album, and every serving adds a flavor that is both unique and complimentary to the other ingredients of this stew of an album.
A must-have compilation ... for everyone with even a HINT of appreciation for the music of the past, not to mention folks who already love the Beatles.