The first song I remember liking was Walk Right In by The Rooftop
Singers. I was about ten at the
time. Later that year (1963), The
Beatles came to America and I never was the same. Thus I became a living fan of Rock music
during the true golden age of Boomer "love, peace and rock and
roll". In the tumult of in the
sixties, we believed that music could change to world.
By the seventies, we lost faith in the possibilities
of music transforming the world. What
was left was the music. It was the music
we never gave up. There was not much to
recommend in rock to Christian sensibilities truth be told; but there was
always a part of us that remained little pagans.
Sorry to say to the younger generations, but rock is
over. You missed it. It was great while it lasted. In the last half of the sixties and half way
into the seventies, rock was robust with life.
Afterward, however, it began to die a slow and sometimes painful
death. While there were still signs of
life, the eighties were terrible for rock as we knew it. By the mid-nineties, with a few exceptions,
it was over.
Every generation is entitled to its own music. There is little reason for the young to
harken back to when dinosaurs roamed the earth.
But, if you are interested in a little musical paleontology, we'll talk
about the great albums of yesteryear and consider why they were so great. The rest of us old-timers will engage in a
little rusty nostalgia. And, no, we
won't visit the wonderworks of Justin Bieber or Lady GaGa.
Mick Lee.
DARK YET INDISPENSIBLE
Many younger listeners
prefer THE WHITE ALBUM above all
other Beatles albums. Above even the gold standard of Sgt. Pepper and the
highly beloved Abbey Road. I don't share this enthusiasm. I place the afore
mentioned SGT. PEPPER and ABBEY ROAD in the top two followed by REVOLVER and A HARD DAYS NIGHT. Rounding
out the top five would be the unjustly neglected MAGICAL MYSTERY TOUR. THE WHITE ALBUM would then come in
sixth.
The Beatles never made a bad album. LET
IT BE may be the lone exception--a failure so curious that it is difficult
to merely tag it as "bad". (So "bad" it's good in a
peculiar sort of way.).
Coming after the psychedelic period, THE
WHITE ALBUM is a surprisingly dark album--the previous focus of peace and
love is missing here. The record anticipated the stripped down production and
"confessional" songwriting found in prevalence during the early
1970's. While this was a welcome development for some, THE WHITE ALBUM was something of a let down initially. Most who
rushed out to buy the new Beatle album were disappointed in the absence of the Hey Jude and Revolution. The Beatles had a preference for not putting their
singles on the albums; but in this case it this was a significant error.
Like most double albums, this one could easily been paired down to a single
disc. Many of the cuts are frivolous while others bog things down. Harrison
felt on reflection that some of the tracks could have been released as B sides.
Still many critics acclaim THE WHITE ALBUM as a celebrated explosion of
musicianship in which the Beatles demonstrated that they could play in number
of styles--as if such a demonstration was necessary. Still, many listeners like
the album precisely because it is so varied.
Whatever else could be said, the wide variety of styles signaled a foreboding
and desperation. With the exception of the first side, each song is distant and
isolated from all the others. There is a sense of fragmentation and
disassociation on THE WHITE ALBUM
not found on any of the Beatles previous records. Indeed, now that we know some
of the history behind the scenes, it can be seen that The Beatles were
fracturing. In retrospect, without the glue of Brian Epstein, their recently
deceased manager, each band member was spinning of into separate directions.
The Beatles, particularly Lennon and McCartney, had in the past bounced off
each other to good effect-- jolting each from their own element.. Collaboration
was deteriorating and alongside many flashes of brilliance weaker musical
instincts slithered in.
Only side one hangs together in the flow of tracks to form a "whole"
which is both pleasing and memorable. Three great songs, even the lesser songs
stick with you, fun, humorous and recklessly inventive -and it absolutely
rocks. The three remaining sides of the original LP version suffer in
comparison.
Side one opens with a great coupling in Back
in the USSR and Dear Prudence.
Parody is a much overused word--too often meaning a barb thrown at others. In
fact the Beatles frequently paid homage to the music they loved from other
musicians. Back In The USSR is no
more a parody of the Beach Boys or Elvis (both of whom McCartney loved) than Got To Get You Into My Life was of
Motown. This is seamlessly followed by Dear
Prudence which sounds better with each listening and is far more complex as
a song than it seems. The rest is pleasant enough and one song follows another
in sharp focus. But the room stops still with While My Guitar Gently Weeps. Harrison's *Guitar* towers over the
rest of the album and is the one song that immediately jumps to mind in any
discussion of THE WHITE ALBUM.
McCartney and Lennon were like the older brothers turning out excellent work.
But Harrison is like the little brother who pops out of nowhere with a piece of
work that blows the daylights off the competition. The acoustic version found
in the Anthology series reveals it
is actually a simple song that lends itself to a relaxed and tender
presentation. But here it is played with vehemence with the guest guitar solo
by Eric Clapton. The Beatles loved silly songs for their own sake. Yet here,
following the failure of the age of peace and love to appear, lyrics of
unvarnished grief are put on full display.
Side Two does not hang together well and most tend to pick their favorites to
listen to rather than the entire side. I'm
So Tired is a Lennon downer that ruins this side for me. Much better is Rocky Raccoon--a McCartney nonsense
song. I Will is a lovely McCartney
romance that remains an unjustly neglected song by even McCartney's diehard
fans. Lennon's Julia is one of the
sweetest songs he ever wrote--infuriately used as a bit of psychoanalysis into
his soul by his biographers (Julia was his mother's name).
Side three was a favorite of early FM rock radio. Birthday just rocks. Me and
My Monkey is joyous, free flying a rocker and truly funny. Helter Skelter is one tough hard rocker
which some claim is a precursor to heavy metal. Long Long Long anticipates much of ALL THING MUST PASS and the rest Harrison's output in the 1970's.
However, here THE WHITE ALBUM really
needs a kickass rocker--perhaps Lennon's Bulldog
or a reworking of Harrison's own It's All
Too Much (both found on the YELLOW
SUBMARINE soundtrack).
Side four is a disappointment. The version of Revolution appearing here has its own charm but in the context of
the album is slow, plodding, and understated where the excitement and full
blast rock and roll of the original is needed. John Lennon later claimed that
he preferred the slower version--but like many things he said in the 1970's he
was just plain wrong. Harrison's big band Savoy
Truffle is quite good.
In view of what was to come after the Beatles broke up, it is interesting to
note that the styles of music we now associate with each Beatle are pretty much
here. If you separate and group each song according to its author, we find the
spiritual and sometimes sarcastic George, the gentle and good hearted Ringo,
the acidic yet sometimes sentimental John, and the entertainer Paul with one
foot in rock and roll and the other foot in the old English music hall.
Taken as a whole, John's contributions are not his best. Yer Blues is a desolate and pointless barb aimed at the British
blues revival. Revolution #1 had none
of the exhilaration of the original. Sexy
Sadie is just plain tedious. I'm So
Tired* makes one uncomfortable and not in a good way. On the other hand,
contrary to his common image, THE WHITE ALBUM
contains two of Lennon's sweetest and charming compositions: Dear Prudence and Julia. It is tempting to search Revolution
# 9 for a deep meaning in the chaos--there is none there. It is only a cut and
paste job of various sounds and spoken word. George Martin hated it and opposed
its inclusion. It sucks the air out of the room. It would have been much better
if Hey Jude took its place.
Absent the earlier psychedelic wash, much of McCartney's work remains charming
but devoid of "cosmic significance". This is not to say that much of
his contributions to THE WHITE ALBUM
aren't truly great. It is just that he has a penchant to write very minor work.
As much as many complain of the deteriorating quality of McCartney's work in
the 1970's, the truth is it is all found here.
Harrison hits two out of four with My Guitar and Savoy Truffle --making one
wish that he caught the fire again in his later work. Ringo Starr remains the
"gentle giant" who is more fun than musically significant.
Perhaps one's opinion of THE WHITE ALBUM
depends on how one views psychedelic music. If you have an innate understand of
the multi-layered, slightly touched noise, THE
WHITE ALBUM is a step down. If you feel that psychedelic music is rubbish, THE WHITE ALBUM is a revelation. What
is clear is that the Beatles largely began the psychedelic era and then ended
it after a few years. Just compare the chronology of the Beatles and the Stones
and you'll get a hint of others following in the Beatles wake. THE WHITE ALBUM is dark, yes. But it is
also indispensible.