“‘Don’t Bother Me’ I wrote in a hotel in Bournemouth, where we were playing a summer season in 1963, as an exercise to see if I could write a song. I was sick in bed.” – George Harrison
George Harrison, ‘A Hard Day’s Night’ period (image courtesy imdb.com)
John Lennon and Paul McCartney have long been ranked among the premiere songwriters of the 20th century. That the pair both wrote for the same band is certainly a central element of the The Beatles’ standing in rock history. Any band with two great songwriters is certainly very, very lucky.
As we all know, the Fabs didn’t have two great songwriters – they had three. The emergence of George Harrison’s songwriting talent only serves to reiterate that, as in so much of their lives and career, The Beatles were winners of whatever history’s equivalent of the Powerball is.
George, who was given the moniker “the quiet Beatle,” might better have been denominated “the independent Beatle.” Because he was younger (and remember, Paul, and George got together when they were very young and Paul had to sell John on allowing George to join the band that eventually became THE band) , his status was predicated on 1) his guitar playing (which was better than anyone’s, not excluding John or Paul) and 2) his absolute commitment to the cause (which equaled John’s and Paul’s). That he might be a creative contributor was a matter of little importance to the creative power center that was Lennon/McCartney. George, however, was a force to be reckoned with…. Continue reading
“He never listens to them…
He knows that they’re the fools” – Paul McCartney
Paul McCartney, Fool on the Hill (image courtesy beatlesbyday.com)
Here’s the thing about Paul. As I have written before on more than one occasion, McCartney rubs a lot of people the wrong way. He’s the most musically gifted of The Beatles (though George Harrison fans would likely argue) and in some ways the most creative force in the band (which will likely make John Lennon fans see red). He has even been accused of being an occasional threat to Ringo’s self-esteem (unjustified) which seems unconscionable, especially to the most lovable Beatle’s fans.
Here’s some truth that I doubt anyone would deny: Paul was and is the most driven Beatle, the one who wanted/needed to achieve. In a very real way, that has made him odd man out, even within The Beatles. Even within that close knit band of brothers, he felt his differentness.
As I noted in a piece written for his 70th birthday, if you want to know Paul, you’ll find him in his music. One of the songs that tells us a lot about Paul is “The Fool on the Hill.” Continue reading
“There…is a place/Where I can go/When I feel low/When I feel blue…” – John Lennon, Paul McCartney
The Beatles in all the Edenic glory (image courtesy Time.com)
The English composer and musicologist Wilfrid Mellers, in his now classic scholarly study of the Beatles, Twilight of the Gods, calls the early Beatles period, the period of screaming girls and “yeah, yeah, yeah,” their “Edenic” period. In his study, Mellers give particular attention to “There’s a Place,” the American “B-side” (there’s a quaint old term for you) to their iconic cover of the Isley Brothers’ “Twist and Shout.”
Given that the song wallows in obscurity in the Fabs’ canon, you must be wondering why Professor Mellers chose to give it serious scholarly attention and why I would choose it as the subject of of an essay. Other sources report that while John, Paul, George, and Ringo originally had high hopes for the song, that they themselves lost interest caused possibly by its having been a bit of a struggle for them to record. From being a song they expected to be their next #1, “There’s a Place” ended up as album filler and a B-side to a popular cover song.
As both Professor Mellers and I will argue, that’s a bad underestimation of what really is one of their finest early tunes. Continue reading
“I can’t stand to sing the same song the same way two nights in succession, let alone two years or ten years. If you can, it ain’t music, it’s close order drill or exercise or yodeling or something, not music.” – Billie Holiday
Billie Holiday in full flight (image courtesy Wikimedia)
Lady Sings the Blues is, I suppose, one of the first autobiographies by a popular music star. This, the first book from the 2017 reading list, is an “as told to.” One of the things the ghost writer (to resurrect an old term), William Dufty, a reporter for the New York Post and a personal friend of Holiday does beautifully is avoid much revision of Holiday’s words. As best as I have been able to discover, Dufty did a series of extended interviews with Holiday without the benefit of tape recording. That Lady Sings the Blues reads like a transcribed conversation with Lady Day is a tribute to Dufty’s careful rendering of Holiday’s words in her voice.
Dufty’s success in allowing Holiday to speak for herself is both charming and haunting, both illuminating and (unintentionally, perhaps) misleading. What one realizes as one reads this autobiography is that Holiday’s goal is to reveal herself without giving herself away. Let me put that more accurately: what Billie Holiday tries to do in Lady Sings the Blues is not give her self away even as she reveals herself.
In others words, like the rest of us, Billie Holiday is willing to tell us only so much. Continue reading
“When you’ve seen beyond yourself, then you may find, peace of mind is waiting there.” – George Harrison
John and Yoko (image courtesy Vanity Fair)
Recent news reports have noted that the best selling book at Amazon is currently George Orwell’s classic novel of dystopian horror, 1984. Given our national circumstances, I suppose this could be seen as a positive, an effort on the part of at least some of the populace to educate themselves, even if a significant number of others in the populace (including me) wish that this sudden urge toward historical and cultural literacy had occurred before a certain November event.
Such, such is life, as the poet says. We seem only to want to listen to our poets and sages in times of distress.
There are some who, in the face of what certainly feels like imminent disaster, keep telling us that, to quote the mystic, “All shall be well.” It is difficult to the level of impossibility, however, to emulate the purity and power of a Julian of Norwich’s faith which is roughly the level of faith needed these days. What are we of little faith to do?
Well, we can listen to “Across the Universe.”
The Tell-Tale Treasure is a thriller for which one cannot use the standard descriptions such as fast-paced, edge of your seat, or thrill a minute. That is its most interesting appeal.
The Tell-Tale Treasure by Diane Sawyer (image courtesy Southern Yellow Pine Publishing)
Diane Sawyer’s The Tell-Tale Treasure is a bit of an anomaly for a work of its genre.
This is a good thing.
The novel, written in 3rd person limited narration, shifts between characters throughout the work. Most readers will find the two most affecting of these narrations those that shift between Rosie Renard, an antiques dealer whose discoveries reopen a cold case concerning a talented classical musician who plays the erhu, a Chinese instrument similar to the violin, and Ivy Chen, a kidnapping victim who is a classical musician who plays that fascinating instrument…
What Rosie finds, and where that leads her and the police and how all this works out to a successful (for the reader) conclusion is part of the charm of this novel. The pleasure for the reader in The Tell-Tale Treasure is not in its main plot. The pleasure for any astute reader of Sawyer’s novel is in the parts of the novel that offer readers the opportunity to know, really know, her characters, particularly Rosie and the musician mentioned above, the classical musician Ivy Chen. Continue reading
“When it gets down to having to use violence, then you are playing the system’s game…. The only thing they don’t know how to handle is non-violence and humor.” – John Lennon
George Harrison at the time of The Beatles’ White Album (image courtesy The Beatles Bible)
We seem to be living in what the Chinese curse calls “interesting times.” 2016 was one of the most turbulent years in modern American political history, and the turmoil attendant to the presidential election felt exacerbated by the deaths of some of popular music’s most important figures. The list still seems breathtaking: inimitable talents David Bowie, Prince, and George Michael; Eagles founder Glen Frey; Jefferson Airplane founder Paul Kantner; both Keith Emerson and Greg Lake of ELP; songwriter extraordinaire Leonard Cohen; funk genius Maurice White…. I’ll stop here out of a kind of emotional fatigue. For one like me, it was at the least a trying year, one which left me feeling that I was losing my country to people possessed by greed and at the same time losing so many musicians whose work provided me with joy, solace, and inspiration. Yes, anyone and everyone have to die. Like many others, I suspect, I have questioned why it had to be these anyones and everyones. (My apologies to both you and ee cummings for the digression.)
Yet, as the French say, and rightly so, “La vie continue….” Continue reading