I’ll keep the intro to Lennon’s solo work short and sweet. His songs post-Beatles were more simple and direct. I think this is the reason his solo work resonates just as strongly (and sometimes stronger) than the stuff he wrote with his former band.
Each and every one of these tracks is available on the bevy of greatest hits collections released posthumously. This is not to say that the “deep cuts” are somehow inferior; it’s more a reflection of the fact that most of my exposure to Lennon’s solo catalogue have come through the greatest hits collections.
These are my top 12.
Just missing the cut: “Whatever Gets You Thru The Night,” (his only solo #1 single, unbelievably), “Mind Games,” “Jealous Guy,” and many others.
12. “Cold Turkey” - single, b/w “Don’t Worry Kyoko” by Yoko Ono (1969)
For a brief period of time, both John and Yoko were addicted to heroin. “Cold Turkey” is John’s recollection of what it was like to kick smack. The guitar is screechy, his vocals raw (specifically the screaming at the end), but the burbling bass line and plaintive drums keep the song from falling apart. “Cold Turkey” is vital and visceral and a sign of things to come on his solo album to be released the next year.
On a more personal note, “Cold Turkey” is partially responsible for this curse of a hobby I like to call writing. After hearing this song for the first time in 8th grade, I wrote a parody of it... about how much I hated being in 8th grade. Thanks a lot, John.
11. “Beautiful Boy (Darling Boy)” - Double Fantasy LP (1980)
One unfortunate aspect of having memories is that they are fallible. Things happen over the years and our memories change with them; sooner or later what we remember and what actually happen differ. Sometimes it’s because we plain forgot; other times because we want to believe something so much that it commits itself to our subconscious.
“Beautiful Boy” is a song that has that effect on me.
I’m not sure anymore, but I swear my dad said to me once that he used to sing this to me when I was a baby. As you might imagine, it’s not something I want to confirm with him as the memory I have now is much more pleasant than what may be the truth.
It’s a cute song, a slightly Carribean-sounding lullaby written for his son Sean. It’s probably also famous for the line “Life is what happens to you while you’re busy making other plans.” Whatever the cause for its resonance, I think it’ll be safe to say that if I ever have a son, I’ll be singing this to him at bedtime. And I won’t let him forget it.
10. “Mother” - John Lennon/Plastic Ono Band LP (1970)
Up until just a few years ago, the only Lennon hits collection I was familiar with was The John Lennon Collection, and this song wasn’t on it. So it was much to my surprise when I bought the Instant Karma compilation that featured artists covering John’s songs, and heard Christina Aguilera sing the hell out of this one. Needless to say, I sought out the original shortly after, and love it.
Fellow Beatles dorks know that John always had issues with his mother. She abandoned him at a young age, then came back into his life when he was a teenager only to get run over by a car. “Mother” is John’s thoughts on the subject: “Mother, you had me / But I never had you.” As the song goes on, his singing turns to screaming (encouraged by Yoko and Arthur Janov of Primal Scream therapy fame), making his feelings that much more poignant.
For me, the song makes me quite thankful that I’ve always had my mom there for me when I needed her. I couldn’t imagine what went through John’s head all those years, but “Mother” brings us all a little closer to understanding it a bit.
9. “Gimme Some Truth” - Imagine LP (1971)
Most of John Lennon’s solo songs are his own personal declarations, his feelings on whatever he happens to be singing about. “Gimme Some Truth” could very well be about life itself as I think John was always looking for it from his early days as Beatle. In this case it’s about his frustration with the Vietnam war and Nixon as well as politicians in general. (Which of course makes the song just as relevant today as it was 40 years ago).
As apathetic as I am -- I don’t think things will ever truly change, nor will I work to change them -- I still think the lyrics speak to me, as, like pretty much everyone, I don’t like being lied to. I’d rather face an uncomfortable truth -- and have other people face them as well -- than telling them little white lies to save face. (This doesn’t happen all the time. I guess I am one of those “hypocritics” he references in the song. Like George Carlin said, if we introduced honesty into this country, there would be a lot more crying. However, I still like the sentiment of truth and I think Lennon nailed it nicely.)
8. “Grow Old With Me” - Milk and Honey LP (1984)
John and Yoko were working on songs for the follow-up to Double Fantasy when John was killed. “Grow Old With Me” was one of them, and a demo of it was featured on Milk and Honey. Like pretty much everything else, it’s a simple, sweet song -- the version on the Working Class Hero compilation features just vocals, piano, light drumming (possibly a tambourine), and an overdubbed string section -- but that’s all you need when you’re singing about spending the rest of your life with someone.
I’m not sure the beat is slow enough for a slow dance at a wedding -- not that it matters, I guess -- but, yeah, I’ve totally thought about it being the first dance at this mythical wedding that I talk about occasionally. I’m sure I’m not the first.
7. (Just Like) Starting Over - Double Fantasy LP (1980)
According to John, this was him playing “Elvis Orbison.” It was an apt description because the song indeed does have a very classic early rock n’ roll vibe, right down to the vocal affectations.
My mom and dad love this song, so therefore I grew to love this song. It’s no wonder as the song has a very easy-going rhythm, and I’ve always liked the verse “Why don’t we take off alone / On a trip somewhere far, far away / We’ll be together all alone again / Just like we used to in the early days”
It was the perfect song to start off Lennon’s comeback record, and it’s classic sound makes it timeless, and a song that I can listen to over and over again.
6. “Love” - John Lennon/Plastic Ono Band LP (1970)
When I finally got around to finding a girl who wasn’t totally put off by me liked me at 16, we eventually chose this as our song. I’ve always thought it was pretty awesome that we picked a song that was written 10 years before we were even born.
But sentiments aside, “Love’ is another plain, sweet song that gets right to the heart of the matter: “Love is you / You and me / Love is knowing we can be” and “Love is needing to be loved.” The song doesn’t say much at all, but at the same time I think the song says everything. Pretty much par for the course for John Lennon.
5. “Working Class Hero” - John Lennon/Plastic Ono Band LP (1970)
Some Lennon detractors will point out that though Lennon came from a mostly working class town, he was more middle class than anything (He did go to art school instead of working at a mill or something, after all.) That may be true, but that doesn’t mean he didn’t know any actual working class people (giving him some perspective), or that his ideas presented in the song are any less valid.
I think the song goes beyond the notion that a “working class hero is something to be.” I think it’s about how tough it is to grow up, how much it sucks to be a wage slave: “Keep you doped with religion and sex and TV / And you think you’re so clever and classless and free / But you’re still fucking peasants as far as I can see,” he sings passionately, imploring us to open up our eyes to what’s going on in the world. This isn’t a message to the working class; it’s a message to all classes and all people.
My favorite line, though, is “There’s room at the top they are telling you still / But first you must learn to smile as you kill.” Call me a commie if you want, but that’s what it takes to be a successful businessman in this world and thus far I want no part of it. Lennon’s take on it here is brilliant as usual.
4. “Instant Karma!” - single b/w “Who Has Seen the Wind? (by Yoko Ono) (!970)
This song was written and recorded in a day, and available in record stores ten days later. I’m not sure what else to say about it, really. It’s obviously Lennon’s way of telling all of us to think about what we’re doing.
So why is this song ranked so highly? Because it’s so fucking catchy, that’s why. John implored buyers to “Play it loud” on the record itself, and that’s exactly how it should be listened to. And how could you not sing along to the chorus of “We all shine on / Like the moon and the starts and the sun!”? You can’t. It’s an irresistible rock song with a universal message, and so it is my #4 Lennon solo song.
3. “God” - John Lennon/Plastic Ono Band LP (1970)
Though it seems like the song is critically acclaimed, I don’t think the song was much of a commercial success. I can’t say I’ve ever heard it on classic rock radio, though because the song is a little too heady to be played along with “More Than A Feeling” and “Wheel in the Sky.” Of course, you’ve probably at least heard of the song. It’s famous for the shocking (at the time) line (referenced in Ferris Bueller’s Day Off): “I don’t believe in Beatles, I just believe in me.”
Basically, it’s John saying what he thinks “God” is (a concept by which we measure our pain) and all the people -- religious figures and ideas (Buddha, the Bible, Jesus), leaders good and bad (Hitler, Kennedy), and musicians (Dylan, the Beatles) -- he doesn’t believe in. He just believes in himself. On some level, it seems kind of selfish but I don’t think he means that he doesn’t respect those things. He’s just saying that first and foremost it is important to believe in one’s self before believing in anything else.
When he says “The dream is over” he could be talking about the hippie movement in the sixties. But again I don’t think he’s disrespecting it, rather saying that maybe it’s time for a new one. I can’t say I disagree with him there; though we can learn from the past, we must stay focused on the present.
2. “Imagine” - Imagine LP (1971)
Though “Imagine” is easily Lennon’s most famous and revered song, there is plenty of divisiveness surrounding the song. Certainly the political right didn’t like this song as the lyrics feature a Communist utopia. Then other people, especially today, like to point out that he was worth 240 million dollars at the time the song came out, not to mention other demons he had such as beating his wife (not Yoko, naturally), being a shitty father to his first son, etc, etc.
They’re all kind of right. John was a contradiction of many things (or if you must, a hypocrite) and the lyrics of “Imagine” are hard to take from such a complicated man.
However, I will take some interpretive license here and look beyond what the lyrics literally say. Yeah, he says “no possessions” and “no religion” and “no country.” Whether or not those would be good things is infinitely debatable. I don’t think that’s the core of what he meant, though.
I’ve read that his reason for writing “Revolution” was because he didn’t believe a violent, bloody revolution was a good way to change things. He thought the answer was to change what was in people’s heads. I think with that in mind, listening to “Imagine” is less of a direction of what people should actually do, but a plea for people to cooperate to make the world a better place. I can’t claim to know John Lennon beyond what I’ve read in books, but I think he would have been thrilled even if people didn’t take his word as gospel, but instead just worked together for the common good.
That’s all he was saying: We can do this, but we need all of you to do this.
1. “Watching the Wheels” - Double Fantasy LP (1980)
If you actually know me, or have read this blog before, you knew I was going to pick this song at the top spot.
But it’s getting late, and I’m lazy and don’t feel the need to explain it further than what I have already written, so here’s the link to that.
It’s been my favorite Lennon solo song for more than 12 years now, and I don’t see that changing in the foreseeable future.
Sunday, December 19, 2010
Tuesday, December 14, 2010
The Top Eleven John Lennon Songs - Beatles Edition
I’m only six days late on this one, but I wanted to write about this -- partially out of my love of all things Beatles and Lennon, partially because I wanted to one-up Ken’s list -- so here are my top eleven (mostly) Lennon-penned Beatles’ songs.
One thing you’ll find just from glancing at the list is that it is mostly dominated by the post-touring period in the Beatles timeline. This isn’t simply because the music from 1966-1970 is better -- though it kinda is -- but because early-period Beatles music was much more collaborative. Even though you could easily tell who wrote the the bulk of the song by who sang the lead vocal, and even though McCartney’s writing voice (confident, upbeat, mostly happy) or Lennon’s writing voice (insecure, angry, and more insecurity), the songs were mostly the same and dealt with the same subjects. There are plenty of great early songs in the Beatles oeuvre, but when they broke free of the shackles put on them by the pop music industry at the time, their works shined -- Lennon’s in particular.
I chose 11 songs because while compiling this list, I decided that I wanted to write about all of them so an extra song was left on.
Much thanks to the book “A Hard Day’s Write” by Steve Turner for tidbits and minutiae for the various songs. It was an invaluable resource.
Without further ado, here are my top 11 John Lennon Beatles songs.
Just missing the cut: "A Day in the Life" (not distinctly Lennon enough, but a great song nonetheless), "Revolution" (I'm an idiot and forgot all about it and didn't want to squeeze it in there), and "Nowhere Man" (not enough to say about it.)
11) “The Ballad of John and Yoko” - single b/w “Old Brown Shoe,” (1969)
(tidbit that might interest only me: Only John and Paul play on this song, with Paul playing drums and bass.)
I used to hate this song. I skipped it every time I listed to the Beatles’ #1 hits CD. Years later I find not only myself but my friends and their friends in long-term relationships and suddenly this song makes a lot more sense.
John wrote the lyrics mostly about how much of a pain in the ass it was to get married to Yoko Ono, and how much the press shit all over his relationship with her (“They’re going to crucify me!”).
I know I’m stretching it here, but in my experience we -- as in the long-term relationship people -- are all kind of like John and Yoko in this case. We all have our reservations about other people’s relationships (and sometimes our own), whether through jealousy or hatred or both. Some are more vocal about it than others, but we all gossip and talk shit about these types of things. In today’s world of endless snark, it’s kind of tough to be in a relationship if you’re self-conscious -- Christ, you know it ain’t easy.
10) "I’m A Loser" - Beatles for Sale LP (1964)
This song is one of the first where John’s personality really shows through, from the title on through the lyrics: “I'm a loser, and I'm not what I appear to be / Although I laugh and I act like a clown / Beneath this mask I am wearing a frown” He’s not just upset over losing a girl here, he’s upset over a lot of other things he’s lost, such as his mother. Not only that, but that “wearing a mask” bit is apt too, because he did cover up a lot of his own insecurities by being funny and sarcastic, and later with drugs.
Personally, I always found “I’m a Loser” to be one of those unhappy Beatles songs that cheered me up, mostly because I identified heavily with it. Early Beatles songs are timeless, and this is a prime example of it. For example, tell me this song wouldn’t fit right in on Weezer’s Pinkerton album. I rest my case.
9) “Across the Universe” - Let it Be LP (1970)
I’ve never read it this way but it makes perfect sense: it’s a song about writing songs, or at least about the creative process. Images and thoughts and sounds wander throughout his mind, and that’s how he comes up with this stuff.
What caught my ear about the song and got it stuck in my head (not just aurally but visually) were the images made by the lyrics themselves: “Words are flowing out like endless rain into a paper cup,” “Images of broken light which dance before me like a million eyes,” etc. I like plaintive melody and find it pretty; I like the repeated mantra -- Lennon was big on slogans and the like at the time -- of “Nothing’s going to change my world.” Just what a stubborn bastard like me needs to hear, right?
8) “Dear Prudence” - The Beatles LP (1968)
The genesis of this song was on the Beatles’ trip to India to learn from Maharishi Mahesh Yogi. One of the people there was Prudence Farrow (sister to Mia), and she was so into her meditation exercise that she would rarely come out of her room, and John (and others) wanted her to “come out and play.”
“Dear Prudence” has such a beautiful melody and the lyrics paint such a wonderful picture that you can’t help but to smile while listening to it: “The sun is up, the sky is blue / It’s beautiful / And so are you!”
If I had to take Lennon’s lyrics on a more personal level, I’d say that the song isn’t just asking you to “come out and play”, but to come out and experience life itself. I can’t say I always (or ever) do that, but it’s nice to know that if I want to, I can turn on the Beatles to cheer me on.
7) “Good Morning Good Morning” - Sgt. Pepper’s Lonely Heart’s Club Band LP (1967)
Lennon got the idea for this song from watching a commercial for Corn Flakes and it’s lyrics describe a boring suburban life, which John mostly was living at the time.
I always liked it because it was one of the more rocking tunes on Sgt. Pepper -- not that the other songs were bad, but it was nice to know they still played guitars -- and as a hormonally-challenged 13-year-old listening to it for the first time, the lines “Watching the skirts / You start to flirt / Now you’re in gear” at the very least gave me something to look forward to later in life. It’s still one of my favorite tracks on Sgt. Pepper, and I listen to it regularly.
6) “You’ve Got To Hide Your Love Away” - Help! LP (1965)
By this point Lennon had discovered Bob Dylan and his introspective style of songwriting. I’m sure if he had written this song a few years later there would be much speculation that the song was about Yoko, but alas, he’s just sad over a girl that doesn’t love him back -- or perhaps sad that he’s married and can’t show his love to another girl.
This song -- and this album, maybe the Beatles’ most underrated -- got me through many a lonely night in college, though you could probably substitute “lust” for “love.” No matter, it worked like a charm and I hold in high regard among not just Lennon songs, but Beatles songs as a whole.
5) “Help!” - Help! LP (1965)
Though I’m sure I’d heard it on the radio way before, my first memory of this song is when it was used during a montage on Full House, the episode where Uncle Jessie hurt himself while riding his motorcycle. Even then, I could identify with the song, and would only identify with it more and more through adolescence.
John originally wanted this song to be like a slow dirge, but the Beatles vetoed that one in favor of the album version. Even with it’s jaunty beat, it was literally a cry for help from Lennon -- he was hurting inside and depressed. I identify with that part of the song as well: John wrote the song for that reason, and a lot of the things I write are for those same reasons. It’s catharsis for me.
4) “Come Together” - Abbey Road LP (1969)
It’s been well-documented that as time went on, John became more and more disinterested in the Beatles, and thus his output on the band’s records decreased significantly. Of course, if “Come Together” is evidence of John on auto-pilot, I can’t find any evidence of it.
The verses are mostly nonsense, but the music and chorus are pure sex. He starts out the song by chanting “Shoot me!” (He’s doesn’t mean with a gun, people.) During the chorus he implores us: “Come together, right now, over me.” and then pants and asks us again to “come.” The music itself is sexy, almost seductive even, with a great little lead guitar line... and in the end he finally lets out an orgasmic moan.
On a personal note, I love singing this song at karaoke. It’s classic rock vibe and simple vocal parts make it a good time all around.
3) “I Am the Walrus” - Magical Mystery Tour LP (1966)
What I thought was an urban legend -- and one that totally sounds like something John would make up to amuse himself -- is apparently true as I read in the book that part of the reason this song exists is that a pupil at a school John used to attend wrote him telling him that the teacher was having them analyze Beatles lyrics. “Let the fuckers work that one out,” he reportedly said after he finished the song.
“I Am the Walrus” might be the best example of Lennon’s fascination with words and wordplay, with its vivid images, nonsense words, and internal rhymes. As a still-hormonally-challenged 16-year-old, I was titillated (pun intended) with the lines “Pornographic priestess / Boy you’ve been a naughty girl / You let your knickers down.”
It’s really kind of hard to describe why you’d like a song with nonsense lyrics. It’s just a fun to listen to while closing your eyes and imagining the the things Lennon is singing about. The sad, drooping string section is a great hook. I don’t know what else to say -- go sit in an English garden and wait for the sun.
P.S.: Paul wasn’t the walrus, and the eggman is apparently Eric Burdon of The Animals, who apparently had the kink of cracking eggs over his sexual conquests. You learn something new every day, huh?
2) “Tomorrow Never Knows” - Revolver LP
This song isn’t solely Lennon when the actual composition of the music is considered. Lennon asked to sound like “a thousand Tibetan monks,” so producer George Martin did his best. The tape loops throughout were Paul’s idea, and were something that Paul was into well before John’s “Revolution #9” (It took every bone in my body not to call it an abortion.) (Oops, just did.) The drumming on the track is perhaps Ringo’s finest moment as a Beatle. And the lyrics were taken mostly verbatim from Timothy Leary’s interpretation of the Tibetan Book of the Dead.
So it wasn’t all Lennon’s, but yet it was pure Lennon nonetheless. The guitars and drums and loops all swirl around the head like an acid trip. It was a sure sign of things to come. The opening line “Turn off your mind, relax, and float downstream” is perfect for the kind of introspection (through psychedelic drugs and otherwise) that Lennon would champion throughout his musical career.
It is the perfect closing track to perhaps the perfect Beatles album. It is an experience not to be missed.
1) “In My Life” - Rubber Soul LP (1965)
Essentially a song about growing up and moving on, “In My Life” was inspired by a poem John wrote about his childhood. It’s a sweet, sentimental song about the nature of love, and for that alone it could make the top of many critics’ lists.
Not for this critic.
I’ve always been intrigued by the verse that goes:
Though I know I'll never lose affection
For people and things that went before
I know I'll often stop and think about them
In my life I love you more
I’ve always been taught -- by parents, the media, other people, whatever -- that at some point you’ll get married and you’re wife will be your best friend. That now that you’re married, those other relationships and those other friends are mostly meaningless. I call bullshit. Lennon came out and said what I’ve always thought on the matter, that though “I love you more,” those that came before you are pretty damned important; they shaped who I was and who I would become.
The melody, the lyrics, even Lennon’s voice here are absolutely perfect. It’s no surprise that it was voted the best Beatles song by some British survey a few years ago. It might not be my all-time favorite, but it’s definitely my favorite Lennon track.
I know I’m lazy so I won’t say “check back tomorrow,” but check back soon for my top 12 solo Lennon songs.
One thing you’ll find just from glancing at the list is that it is mostly dominated by the post-touring period in the Beatles timeline. This isn’t simply because the music from 1966-1970 is better -- though it kinda is -- but because early-period Beatles music was much more collaborative. Even though you could easily tell who wrote the the bulk of the song by who sang the lead vocal, and even though McCartney’s writing voice (confident, upbeat, mostly happy) or Lennon’s writing voice (insecure, angry, and more insecurity), the songs were mostly the same and dealt with the same subjects. There are plenty of great early songs in the Beatles oeuvre, but when they broke free of the shackles put on them by the pop music industry at the time, their works shined -- Lennon’s in particular.
I chose 11 songs because while compiling this list, I decided that I wanted to write about all of them so an extra song was left on.
Much thanks to the book “A Hard Day’s Write” by Steve Turner for tidbits and minutiae for the various songs. It was an invaluable resource.
Without further ado, here are my top 11 John Lennon Beatles songs.
Just missing the cut: "A Day in the Life" (not distinctly Lennon enough, but a great song nonetheless), "Revolution" (I'm an idiot and forgot all about it and didn't want to squeeze it in there), and "Nowhere Man" (not enough to say about it.)
11) “The Ballad of John and Yoko” - single b/w “Old Brown Shoe,” (1969)
(tidbit that might interest only me: Only John and Paul play on this song, with Paul playing drums and bass.)
I used to hate this song. I skipped it every time I listed to the Beatles’ #1 hits CD. Years later I find not only myself but my friends and their friends in long-term relationships and suddenly this song makes a lot more sense.
John wrote the lyrics mostly about how much of a pain in the ass it was to get married to Yoko Ono, and how much the press shit all over his relationship with her (“They’re going to crucify me!”).
I know I’m stretching it here, but in my experience we -- as in the long-term relationship people -- are all kind of like John and Yoko in this case. We all have our reservations about other people’s relationships (and sometimes our own), whether through jealousy or hatred or both. Some are more vocal about it than others, but we all gossip and talk shit about these types of things. In today’s world of endless snark, it’s kind of tough to be in a relationship if you’re self-conscious -- Christ, you know it ain’t easy.
10) "I’m A Loser" - Beatles for Sale LP (1964)
This song is one of the first where John’s personality really shows through, from the title on through the lyrics: “I'm a loser, and I'm not what I appear to be / Although I laugh and I act like a clown / Beneath this mask I am wearing a frown” He’s not just upset over losing a girl here, he’s upset over a lot of other things he’s lost, such as his mother. Not only that, but that “wearing a mask” bit is apt too, because he did cover up a lot of his own insecurities by being funny and sarcastic, and later with drugs.
Personally, I always found “I’m a Loser” to be one of those unhappy Beatles songs that cheered me up, mostly because I identified heavily with it. Early Beatles songs are timeless, and this is a prime example of it. For example, tell me this song wouldn’t fit right in on Weezer’s Pinkerton album. I rest my case.
9) “Across the Universe” - Let it Be LP (1970)
I’ve never read it this way but it makes perfect sense: it’s a song about writing songs, or at least about the creative process. Images and thoughts and sounds wander throughout his mind, and that’s how he comes up with this stuff.
What caught my ear about the song and got it stuck in my head (not just aurally but visually) were the images made by the lyrics themselves: “Words are flowing out like endless rain into a paper cup,” “Images of broken light which dance before me like a million eyes,” etc. I like plaintive melody and find it pretty; I like the repeated mantra -- Lennon was big on slogans and the like at the time -- of “Nothing’s going to change my world.” Just what a stubborn bastard like me needs to hear, right?
8) “Dear Prudence” - The Beatles LP (1968)
The genesis of this song was on the Beatles’ trip to India to learn from Maharishi Mahesh Yogi. One of the people there was Prudence Farrow (sister to Mia), and she was so into her meditation exercise that she would rarely come out of her room, and John (and others) wanted her to “come out and play.”
“Dear Prudence” has such a beautiful melody and the lyrics paint such a wonderful picture that you can’t help but to smile while listening to it: “The sun is up, the sky is blue / It’s beautiful / And so are you!”
If I had to take Lennon’s lyrics on a more personal level, I’d say that the song isn’t just asking you to “come out and play”, but to come out and experience life itself. I can’t say I always (or ever) do that, but it’s nice to know that if I want to, I can turn on the Beatles to cheer me on.
7) “Good Morning Good Morning” - Sgt. Pepper’s Lonely Heart’s Club Band LP (1967)
Lennon got the idea for this song from watching a commercial for Corn Flakes and it’s lyrics describe a boring suburban life, which John mostly was living at the time.
I always liked it because it was one of the more rocking tunes on Sgt. Pepper -- not that the other songs were bad, but it was nice to know they still played guitars -- and as a hormonally-challenged 13-year-old listening to it for the first time, the lines “Watching the skirts / You start to flirt / Now you’re in gear” at the very least gave me something to look forward to later in life. It’s still one of my favorite tracks on Sgt. Pepper, and I listen to it regularly.
6) “You’ve Got To Hide Your Love Away” - Help! LP (1965)
By this point Lennon had discovered Bob Dylan and his introspective style of songwriting. I’m sure if he had written this song a few years later there would be much speculation that the song was about Yoko, but alas, he’s just sad over a girl that doesn’t love him back -- or perhaps sad that he’s married and can’t show his love to another girl.
This song -- and this album, maybe the Beatles’ most underrated -- got me through many a lonely night in college, though you could probably substitute “lust” for “love.” No matter, it worked like a charm and I hold in high regard among not just Lennon songs, but Beatles songs as a whole.
5) “Help!” - Help! LP (1965)
Though I’m sure I’d heard it on the radio way before, my first memory of this song is when it was used during a montage on Full House, the episode where Uncle Jessie hurt himself while riding his motorcycle. Even then, I could identify with the song, and would only identify with it more and more through adolescence.
John originally wanted this song to be like a slow dirge, but the Beatles vetoed that one in favor of the album version. Even with it’s jaunty beat, it was literally a cry for help from Lennon -- he was hurting inside and depressed. I identify with that part of the song as well: John wrote the song for that reason, and a lot of the things I write are for those same reasons. It’s catharsis for me.
4) “Come Together” - Abbey Road LP (1969)
It’s been well-documented that as time went on, John became more and more disinterested in the Beatles, and thus his output on the band’s records decreased significantly. Of course, if “Come Together” is evidence of John on auto-pilot, I can’t find any evidence of it.
The verses are mostly nonsense, but the music and chorus are pure sex. He starts out the song by chanting “Shoot me!” (He’s doesn’t mean with a gun, people.) During the chorus he implores us: “Come together, right now, over me.” and then pants and asks us again to “come.” The music itself is sexy, almost seductive even, with a great little lead guitar line... and in the end he finally lets out an orgasmic moan.
On a personal note, I love singing this song at karaoke. It’s classic rock vibe and simple vocal parts make it a good time all around.
3) “I Am the Walrus” - Magical Mystery Tour LP (1966)
What I thought was an urban legend -- and one that totally sounds like something John would make up to amuse himself -- is apparently true as I read in the book that part of the reason this song exists is that a pupil at a school John used to attend wrote him telling him that the teacher was having them analyze Beatles lyrics. “Let the fuckers work that one out,” he reportedly said after he finished the song.
“I Am the Walrus” might be the best example of Lennon’s fascination with words and wordplay, with its vivid images, nonsense words, and internal rhymes. As a still-hormonally-challenged 16-year-old, I was titillated (pun intended) with the lines “Pornographic priestess / Boy you’ve been a naughty girl / You let your knickers down.”
It’s really kind of hard to describe why you’d like a song with nonsense lyrics. It’s just a fun to listen to while closing your eyes and imagining the the things Lennon is singing about. The sad, drooping string section is a great hook. I don’t know what else to say -- go sit in an English garden and wait for the sun.
P.S.: Paul wasn’t the walrus, and the eggman is apparently Eric Burdon of The Animals, who apparently had the kink of cracking eggs over his sexual conquests. You learn something new every day, huh?
2) “Tomorrow Never Knows” - Revolver LP
This song isn’t solely Lennon when the actual composition of the music is considered. Lennon asked to sound like “a thousand Tibetan monks,” so producer George Martin did his best. The tape loops throughout were Paul’s idea, and were something that Paul was into well before John’s “Revolution #9” (It took every bone in my body not to call it an abortion.) (Oops, just did.) The drumming on the track is perhaps Ringo’s finest moment as a Beatle. And the lyrics were taken mostly verbatim from Timothy Leary’s interpretation of the Tibetan Book of the Dead.
So it wasn’t all Lennon’s, but yet it was pure Lennon nonetheless. The guitars and drums and loops all swirl around the head like an acid trip. It was a sure sign of things to come. The opening line “Turn off your mind, relax, and float downstream” is perfect for the kind of introspection (through psychedelic drugs and otherwise) that Lennon would champion throughout his musical career.
It is the perfect closing track to perhaps the perfect Beatles album. It is an experience not to be missed.
1) “In My Life” - Rubber Soul LP (1965)
Essentially a song about growing up and moving on, “In My Life” was inspired by a poem John wrote about his childhood. It’s a sweet, sentimental song about the nature of love, and for that alone it could make the top of many critics’ lists.
Not for this critic.
I’ve always been intrigued by the verse that goes:
Though I know I'll never lose affection
For people and things that went before
I know I'll often stop and think about them
In my life I love you more
I’ve always been taught -- by parents, the media, other people, whatever -- that at some point you’ll get married and you’re wife will be your best friend. That now that you’re married, those other relationships and those other friends are mostly meaningless. I call bullshit. Lennon came out and said what I’ve always thought on the matter, that though “I love you more,” those that came before you are pretty damned important; they shaped who I was and who I would become.
The melody, the lyrics, even Lennon’s voice here are absolutely perfect. It’s no surprise that it was voted the best Beatles song by some British survey a few years ago. It might not be my all-time favorite, but it’s definitely my favorite Lennon track.
I know I’m lazy so I won’t say “check back tomorrow,” but check back soon for my top 12 solo Lennon songs.
Saturday, August 7, 2010
Taste Validator #2: Ken's Mix CD
I once started a blog called Taste Validator where I was to review my music collection to see where it stacked up among readers. That didn't go very far. But here's the next installment, under that banner, just because.
There was a time, maybe 11 or 12 years ago, when my best friend Ken and I shared pretty much the same musical tastes. They weren't identical to be sure. To his credit, he did introduce me to classic bands like AC/DC and Guns N' Roses, not to mention the mighty Metallica. Over on my end of the spectrum, I showed him Weezer, Blink-182, and Everclear. (Yeah, go ahead and say how much more important his bands are. It's okay.) But for the most part our musical tastes met somewhere in the middle.
The difference between then and now is that now I feel like we're much more dismissive of each other's choices in music. This is not to say that when we were teenagers we were completely receptive of what the other was listening to; in fact, we resisted quite a bit. I can remember our first concert together, Stabbing Westward. I had convinced him to go with me even though he wasn't very familiar with the band's music. They started with a slow, synth-laden number, and he gave me a look like "Are you fucking kidding me?" before proceeding to enjoy the rest of the show, particularly the mosh pits.
To say that we were and are (mostly) musically at odds with one another is an understatement.
Last weekend, Ken handed me a CD with music that he wanted me to give a listen to. Being as such that he is now a bigshot music reviewer -- albeit for a magazine no one has ever heard of -- I thought that maybe he would throw me a few curveballs in the mix and have some songs that I would never expect from him.
My girlfriend was watching Buffy the Vampire Slayer when he came over, so they sort of bonded over that as I previewed the CD. What I found was modern rock song after modern rock song after modern rock song. So much for the curveball.
He demanded, perhaps jokingly, a review of his mix. This is that review.
* * * *
I will start by saying I tried in my heart of hearts to listen to the CD without any sort of bias. This was impossible. Even when Ken puts his critic hat on, I would think that he would carry his preconceived notions of a certain genre along with him during the listening. You can go into it with an open mind all you want, but those thoughts are still there percolating in the back of your mind.
I slogged my way through all 77+ minutes of the disc without skipping a track. I listened with an ear out for stereotypes, and was rebuffed on them for the most part. There were no songs about how shitty the singer's childhood was. The vocals were, for the most part, not Cookie-Monster-esque.
However, most of the songs sounded pretty much the same. This is the biggest problem I had with the disc, and a problem that I think modern rock as a whole. You can say what you want about indie rock -- no balls, it's boring, derivative from the past, whatever -- but at the very least their heavy hitters, the best and brightest don't sound like one another. The White Stripes don't sound like Death Cab for Cutie, who don't sound like Arcade Fire, so on and so forth. I understand that bands in a certain genre tend to sound like other bands in that genre. That is what makes it a genre. However, I think modern rock sounds, if not unimaginative -- I cannot say this for certain as I have not heard any full albums by these bands, only the songs presented here -- then most certainly incestuous. 12 Stones sounded like Three Days Grace. 2Ccnts, Nonpoint, and Bloodsimple sounded kind of like Disturbed. We Are the Fallen ripped off Evanescence completely. None of these songs were inherently terrible, but none of them made me want to listen to the full albums either.
I want to allay any feelings about "oh, you just don't like loud, aggressive music anymore." That may be a small part of it, but it's more that I just can't relate to it. This is not to say that I don't get angry or feel angst anymore -- you vs. everyone seemed to be common theme throughout the disc -- because I do, it's just that I feel it because of different things. I feel angst because I wasted my early 20's in college and now have a job that barely pays the bills. Or I feel it because I'm a mediocre lover, or because, at nearly thirty, I wonder what the hell I'm doing with my life and where it's going.These things, of course, are my fault and my fault alone, but it doesn't make it any less easier. None of the songs presented here deal with that. That isn't to say that everything I listen to now deals with those things, but it's more likely that a song will resonate with me emotionally if it deals with similar subject matter.
My final problem with these songs, which goes with my previous points, is that I've pretty much heard these songs already. Modern rock hasn't changed appreciably in the past 10 years. Godsmack, Disturbed, and System of a Down released debut albums that pretty much covered what I've heard here tonight. Even though they're mostly the same, the reason I connect with those "old" songs and not these new ones is because I, like everyone else, experience music autobiographically. Much like punk rock -- another genre that I have stopped listening to far as modern music is concerned -- certain songs take me back to certain times and experiences in my life. I have no use for Three Days Grace or Breaking Benjamin because I already have memories of cranking "fuck-you" anthem "Whatever" by Godsmack in my dorm room, or screaming my lungs out to "Down With the Sickness" by Disturbed at karaoke.
Lest you think I was just going to shit all over Ken's CD, there are some things that I liked about it.
An obvious point to make would be the energy involved. Too often indie rock can get bogged down, but modern rock has no such problems. I won't lie, I lost my patience about 15 songs in (as my notes that grew sparse with each track will show) but the relentless fervor in most of the performances was undeniable.
I liked some of the lead guitar work in songs such as "Cowboy Way" by Hellyeah and "Get What?" by 2Cents.
"Your Betrayal" by Bullet for My Valentine had some good dynamics, even if it was just an emo song in metal clothing. Hawthorne Heights, probably close to 'Bullet' in genre, had the only song on the disc that didn't really sound like anything else. In a world of same-tempo, same-vocal songs, this was a plus.
Machinehead, a band I have heard of, wins the award for most throwback sounding band. I feel like they could have played with Metallica, Megadeth, or maybe even Iron Maiden. (They may or may not have been around that long. I did no research for this.)
* * * *
I come to the conclusion of this post with no conclusions at all. I can't dismiss most of the music out of hand because the music wasn't bad and the vocals and subject matter weren't completely off-putting. However, I'm not going to be listening to Madison's WJJO (the nearest true modern rock station) anytime soon. The music doesn't resonate with me. Simple as that.
Like most things in our lives, I will agree to disagree with Ken. However, Ken can expect a disc full of indie rock for him to rip apart someday soon. I'm sure his analysis will be captivating.
Rating: 1.5 Devil horns.
* * * *
My listening notes, for anyone interested...
There was a time, maybe 11 or 12 years ago, when my best friend Ken and I shared pretty much the same musical tastes. They weren't identical to be sure. To his credit, he did introduce me to classic bands like AC/DC and Guns N' Roses, not to mention the mighty Metallica. Over on my end of the spectrum, I showed him Weezer, Blink-182, and Everclear. (Yeah, go ahead and say how much more important his bands are. It's okay.) But for the most part our musical tastes met somewhere in the middle.
The difference between then and now is that now I feel like we're much more dismissive of each other's choices in music. This is not to say that when we were teenagers we were completely receptive of what the other was listening to; in fact, we resisted quite a bit. I can remember our first concert together, Stabbing Westward. I had convinced him to go with me even though he wasn't very familiar with the band's music. They started with a slow, synth-laden number, and he gave me a look like "Are you fucking kidding me?" before proceeding to enjoy the rest of the show, particularly the mosh pits.
To say that we were and are (mostly) musically at odds with one another is an understatement.
Last weekend, Ken handed me a CD with music that he wanted me to give a listen to. Being as such that he is now a bigshot music reviewer -- albeit for a magazine no one has ever heard of -- I thought that maybe he would throw me a few curveballs in the mix and have some songs that I would never expect from him.
My girlfriend was watching Buffy the Vampire Slayer when he came over, so they sort of bonded over that as I previewed the CD. What I found was modern rock song after modern rock song after modern rock song. So much for the curveball.
He demanded, perhaps jokingly, a review of his mix. This is that review.
* * * *
I will start by saying I tried in my heart of hearts to listen to the CD without any sort of bias. This was impossible. Even when Ken puts his critic hat on, I would think that he would carry his preconceived notions of a certain genre along with him during the listening. You can go into it with an open mind all you want, but those thoughts are still there percolating in the back of your mind.
I slogged my way through all 77+ minutes of the disc without skipping a track. I listened with an ear out for stereotypes, and was rebuffed on them for the most part. There were no songs about how shitty the singer's childhood was. The vocals were, for the most part, not Cookie-Monster-esque.
However, most of the songs sounded pretty much the same. This is the biggest problem I had with the disc, and a problem that I think modern rock as a whole. You can say what you want about indie rock -- no balls, it's boring, derivative from the past, whatever -- but at the very least their heavy hitters, the best and brightest don't sound like one another. The White Stripes don't sound like Death Cab for Cutie, who don't sound like Arcade Fire, so on and so forth. I understand that bands in a certain genre tend to sound like other bands in that genre. That is what makes it a genre. However, I think modern rock sounds, if not unimaginative -- I cannot say this for certain as I have not heard any full albums by these bands, only the songs presented here -- then most certainly incestuous. 12 Stones sounded like Three Days Grace. 2Ccnts, Nonpoint, and Bloodsimple sounded kind of like Disturbed. We Are the Fallen ripped off Evanescence completely. None of these songs were inherently terrible, but none of them made me want to listen to the full albums either.
I want to allay any feelings about "oh, you just don't like loud, aggressive music anymore." That may be a small part of it, but it's more that I just can't relate to it. This is not to say that I don't get angry or feel angst anymore -- you vs. everyone seemed to be common theme throughout the disc -- because I do, it's just that I feel it because of different things. I feel angst because I wasted my early 20's in college and now have a job that barely pays the bills. Or I feel it because I'm a mediocre lover, or because, at nearly thirty, I wonder what the hell I'm doing with my life and where it's going.These things, of course, are my fault and my fault alone, but it doesn't make it any less easier. None of the songs presented here deal with that. That isn't to say that everything I listen to now deals with those things, but it's more likely that a song will resonate with me emotionally if it deals with similar subject matter.
My final problem with these songs, which goes with my previous points, is that I've pretty much heard these songs already. Modern rock hasn't changed appreciably in the past 10 years. Godsmack, Disturbed, and System of a Down released debut albums that pretty much covered what I've heard here tonight. Even though they're mostly the same, the reason I connect with those "old" songs and not these new ones is because I, like everyone else, experience music autobiographically. Much like punk rock -- another genre that I have stopped listening to far as modern music is concerned -- certain songs take me back to certain times and experiences in my life. I have no use for Three Days Grace or Breaking Benjamin because I already have memories of cranking "fuck-you" anthem "Whatever" by Godsmack in my dorm room, or screaming my lungs out to "Down With the Sickness" by Disturbed at karaoke.
Lest you think I was just going to shit all over Ken's CD, there are some things that I liked about it.
An obvious point to make would be the energy involved. Too often indie rock can get bogged down, but modern rock has no such problems. I won't lie, I lost my patience about 15 songs in (as my notes that grew sparse with each track will show) but the relentless fervor in most of the performances was undeniable.
I liked some of the lead guitar work in songs such as "Cowboy Way" by Hellyeah and "Get What?" by 2Cents.
"Your Betrayal" by Bullet for My Valentine had some good dynamics, even if it was just an emo song in metal clothing. Hawthorne Heights, probably close to 'Bullet' in genre, had the only song on the disc that didn't really sound like anything else. In a world of same-tempo, same-vocal songs, this was a plus.
Machinehead, a band I have heard of, wins the award for most throwback sounding band. I feel like they could have played with Metallica, Megadeth, or maybe even Iron Maiden. (They may or may not have been around that long. I did no research for this.)
* * * *
I come to the conclusion of this post with no conclusions at all. I can't dismiss most of the music out of hand because the music wasn't bad and the vocals and subject matter weren't completely off-putting. However, I'm not going to be listening to Madison's WJJO (the nearest true modern rock station) anytime soon. The music doesn't resonate with me. Simple as that.
Like most things in our lives, I will agree to disagree with Ken. However, Ken can expect a disc full of indie rock for him to rip apart someday soon. I'm sure his analysis will be captivating.
Rating: 1.5 Devil horns.
* * * *
My listening notes, for anyone interested...
Monday, July 5, 2010
Summerfest concert(s) review
So, Summerfest is over for another year and this time around I made my way to a few more shows than usual. I know, I know, I'm a little late to the party as usual and you've already read reviews of the shows or heard how "amazing" they were from your friends, but I am going to review them anyway.
The Hold Steady - US Cellular Stage 7/1
The Hold Steady are one of indie rock's biggest names, but the size of the crowd did not show this. Out of all the headliners I saw, this was the most sparsely attended. Thankfully, this did not dissuade lead singer Craig Finn and his band from having a great time. Bespectacled and decked out in Old Navy's finest plaid button-down shirt, Finn sing-spoke, danced, and gesticulated wildly through the entire set.
"Let's build something, Milwaukee!" he said as the band kicked into all-too-appropriate opener "Constructive Summer" from 2008's Stay Positive. The Hold Steady mostly didn't let up for all of 1 hour and 40 minutes. However, I was struck by the crowd's lack of participation. I'm not sure if it was because The Hold Steady attracts the arms-folded serious indie crowd or because people were just curious because of the hype. This was not for lack of effort on THS's part; their music is particularly fitting for a summer festival, full of hooks and singalong choruses. It took until near the end of the set during "Massive Nights" for the biggest reaction thus far -- the 'Whoa-oh-oh-oh!" refrain -- but from then on the crowd was completely engaged.
They played a nice selection of songs from all of their albums: "Chips Ahoy!" from their breakout Boys and Girls in America, "Your Little Hoodrat Friend" from Separation Sunday and "Hurricane J" from their latest record Heaven is Whenever. Overall, the band sounded great. Finn's enjoyment in particular came across rather well -- "This is awesome!" he said, three songs in -- and The Hold Steady's first Summerfest performance as a whole was a success. Here's to many more.
Favorite songs: "Hot Soft Night," "Chips Ahoy!," and "Stay Positive."
Could've played but didn't: "Girls Like Status"
New Politics - US Cellular Stage 7/3
Because I am an idiot, I wrongfully assumed Modest Mouse was playing at the US Cellular stage so my girlfriend and I staked out spots to see them while these guys were playing. Fortunately, they weren't all that bad.
Steph said the lead singer was a spaz, and that wasn't far off. He breakdanced and did headstands and otherwise just freaked out for the entire 40 minute set. The lead singer split time between singing and spitting out rhymes sort of like Zach de la Rocha of Rage Against the Machine. (In sound only; the lyrics weren't nearly as incendiary.) New Politics hail from Brooklyn by way of Denmark, but their 80's-influenced pop rock managed to cross those borders. The crowd seemed pretty into it, particularly for radio single "Yeah Yeah Yeah"
Though I was not familiar at all with the band beforehand, I think I will be checking out their debut CD, due out July 13.
Favorite songs: "Yeah Yeah Yeah"
Could've played but didn't: N/A
Modest Mouse - Miller Lite Oasis 7/3
We made our way to the Oasis only to find an overflow crowd for indie superstars Modest Mouse. I was surprised by the distinct lack of hipsters, at least from my vantage point. Instead of the expected people decked out in Goodwill's finest, I saw plenty of girls all gussied up in sundresses and heels, and bros with t-shirts and backwards hats.
Sometimes spacey (opener "Dramamine"), sometimes hooky (smash hit "Float On"), and sometimes WTF? (sort of gothy Americana "Bury Me With It"), Modest Mouse has a sound all their own, but it is a sound that doesn't come across all that well in an outdoor festival setting. Singer/Guitarist Isaac Brock was sometimes lost in the din of the overpowering band, complete with two drummers. Admittedly, though it was pretty awesome to hear banjo, violin, and clarinet (oboe? other woodwind?) during the course of the set, the whole thing just kind of ran together.
I noted the lack of hipsters, but the people were into Modest Mouse beyond "Float On" which was a surprise. There were plenty of people dancing and enjoying the twisted tunes. To put an exclamation on my befuddlement, there was a small mosh pit formed in front of me for encore closer "The View." You read me right, a mosh pit at a Modest Mouse show. Truth is stranger than fiction.
I've been to two Modest Mouse shows now, and my impression of them live is that they are just okay. Maybe it's because they have such a wealth of material that I just don't get/am not familiar with some of their songs, but I much prefer listening to them at home with my headphones. Or maybe I just don't like people, I don't know.
Favorite songs: "Dramamine," "Float On," "The View."
Could've played but didn't: "Good Times are Killing Me," "Black Cadillacs," "Talking Shit About A Pretty Sunset."
Against Me! - US Cellular stage 7/4
I will admit that I arrived very late for Against Me!'s set. For all the talk from indie tastemakers and the punk rock Powers That Be about how much Against Me! sold out, the Summerfest crowd was having none of it. The place was packed to the hilt.
I only heard a few songs, but what I heard was great. Set-closer "Sink Florida Sink" and lone encore song "Baby, I'm an Anarchist" went over well, as was evidenced by the mosh pit and crowd surfing going on by the right side of the stage.
I'd very much like to see these guys headline a show at the Rave or a similar venue.
Could've played (but probably did because I suck and got there late): "Pints of Guinness Make You Strong," "Thrash Unreal."
Silversun Pickups - US Cellular Stage 7/4
An apt metaphor occured before LA's Silversun Pickups took the stage: A couple of inflatable blue balls with the Milwaukee's Alternative 102.1 logo were let loose and bounced around before the set. I say this because Silversun Pickups are experts at building and building a song... thankfully they also pull off the release full of guitar squall and hammering drums just as well.
I figured SP to be among the most likely of bands to have a mosh pit, but no such luck. No matter, though, as their fuzzed-out guitar atmospherics went over well with the crowd who bobbed their heads and danced along with the songs.
The lead singer/guitarist Brain Aubert and bassist Nikki Monninger appeared to be having a good time onstage, but the drummer Chris Guanlo was easily the most striking, bashing away at the kit without abandon.
They made their way through a set that comprised of songs from their two albums, and the standout from their debut EP Pikul, "Kissing Families," and it was good. I feel like this is a band that can move on to greater things, and their set only furthered that notion.
Favorite songs: "Well Thought Out Twinkles," "Little Lover's So Polite," "Future Foe Scenarios," "Lazy Eye"
Should've played but didn't: None, surprisingly.
Stray notes:
Maybe I have a shitty taste in music, or I wasn't in the right place, but the crowds seemed restrained. Where was all the dancing that Summerfest is supposed to be famous for? I am admittedly self-conscious, but I found something within myself to rock out to the bands I liked.
The sound overall was better than I've heard in a long time. Kudos to you, sound guys.
I was only carded once in about twenty attempts to buy beer, and it was on the last time I tried. I don't know whether to feel terrified or awesome that I'm finally a grown-up.
The Hold Steady - US Cellular Stage 7/1
The Hold Steady are one of indie rock's biggest names, but the size of the crowd did not show this. Out of all the headliners I saw, this was the most sparsely attended. Thankfully, this did not dissuade lead singer Craig Finn and his band from having a great time. Bespectacled and decked out in Old Navy's finest plaid button-down shirt, Finn sing-spoke, danced, and gesticulated wildly through the entire set.
"Let's build something, Milwaukee!" he said as the band kicked into all-too-appropriate opener "Constructive Summer" from 2008's Stay Positive. The Hold Steady mostly didn't let up for all of 1 hour and 40 minutes. However, I was struck by the crowd's lack of participation. I'm not sure if it was because The Hold Steady attracts the arms-folded serious indie crowd or because people were just curious because of the hype. This was not for lack of effort on THS's part; their music is particularly fitting for a summer festival, full of hooks and singalong choruses. It took until near the end of the set during "Massive Nights" for the biggest reaction thus far -- the 'Whoa-oh-oh-oh!" refrain -- but from then on the crowd was completely engaged.
They played a nice selection of songs from all of their albums: "Chips Ahoy!" from their breakout Boys and Girls in America, "Your Little Hoodrat Friend" from Separation Sunday and "Hurricane J" from their latest record Heaven is Whenever. Overall, the band sounded great. Finn's enjoyment in particular came across rather well -- "This is awesome!" he said, three songs in -- and The Hold Steady's first Summerfest performance as a whole was a success. Here's to many more.
Favorite songs: "Hot Soft Night," "Chips Ahoy!," and "Stay Positive."
Could've played but didn't: "Girls Like Status"
New Politics - US Cellular Stage 7/3
Because I am an idiot, I wrongfully assumed Modest Mouse was playing at the US Cellular stage so my girlfriend and I staked out spots to see them while these guys were playing. Fortunately, they weren't all that bad.
Steph said the lead singer was a spaz, and that wasn't far off. He breakdanced and did headstands and otherwise just freaked out for the entire 40 minute set. The lead singer split time between singing and spitting out rhymes sort of like Zach de la Rocha of Rage Against the Machine. (In sound only; the lyrics weren't nearly as incendiary.) New Politics hail from Brooklyn by way of Denmark, but their 80's-influenced pop rock managed to cross those borders. The crowd seemed pretty into it, particularly for radio single "Yeah Yeah Yeah"
Though I was not familiar at all with the band beforehand, I think I will be checking out their debut CD, due out July 13.
Favorite songs: "Yeah Yeah Yeah"
Could've played but didn't: N/A
Modest Mouse - Miller Lite Oasis 7/3
We made our way to the Oasis only to find an overflow crowd for indie superstars Modest Mouse. I was surprised by the distinct lack of hipsters, at least from my vantage point. Instead of the expected people decked out in Goodwill's finest, I saw plenty of girls all gussied up in sundresses and heels, and bros with t-shirts and backwards hats.
Sometimes spacey (opener "Dramamine"), sometimes hooky (smash hit "Float On"), and sometimes WTF? (sort of gothy Americana "Bury Me With It"), Modest Mouse has a sound all their own, but it is a sound that doesn't come across all that well in an outdoor festival setting. Singer/Guitarist Isaac Brock was sometimes lost in the din of the overpowering band, complete with two drummers. Admittedly, though it was pretty awesome to hear banjo, violin, and clarinet (oboe? other woodwind?) during the course of the set, the whole thing just kind of ran together.
I noted the lack of hipsters, but the people were into Modest Mouse beyond "Float On" which was a surprise. There were plenty of people dancing and enjoying the twisted tunes. To put an exclamation on my befuddlement, there was a small mosh pit formed in front of me for encore closer "The View." You read me right, a mosh pit at a Modest Mouse show. Truth is stranger than fiction.
I've been to two Modest Mouse shows now, and my impression of them live is that they are just okay. Maybe it's because they have such a wealth of material that I just don't get/am not familiar with some of their songs, but I much prefer listening to them at home with my headphones. Or maybe I just don't like people, I don't know.
Favorite songs: "Dramamine," "Float On," "The View."
Could've played but didn't: "Good Times are Killing Me," "Black Cadillacs," "Talking Shit About A Pretty Sunset."
Against Me! - US Cellular stage 7/4
I will admit that I arrived very late for Against Me!'s set. For all the talk from indie tastemakers and the punk rock Powers That Be about how much Against Me! sold out, the Summerfest crowd was having none of it. The place was packed to the hilt.
I only heard a few songs, but what I heard was great. Set-closer "Sink Florida Sink" and lone encore song "Baby, I'm an Anarchist" went over well, as was evidenced by the mosh pit and crowd surfing going on by the right side of the stage.
I'd very much like to see these guys headline a show at the Rave or a similar venue.
Could've played (but probably did because I suck and got there late): "Pints of Guinness Make You Strong," "Thrash Unreal."
Silversun Pickups - US Cellular Stage 7/4
An apt metaphor occured before LA's Silversun Pickups took the stage: A couple of inflatable blue balls with the Milwaukee's Alternative 102.1 logo were let loose and bounced around before the set. I say this because Silversun Pickups are experts at building and building a song... thankfully they also pull off the release full of guitar squall and hammering drums just as well.
I figured SP to be among the most likely of bands to have a mosh pit, but no such luck. No matter, though, as their fuzzed-out guitar atmospherics went over well with the crowd who bobbed their heads and danced along with the songs.
The lead singer/guitarist Brain Aubert and bassist Nikki Monninger appeared to be having a good time onstage, but the drummer Chris Guanlo was easily the most striking, bashing away at the kit without abandon.
They made their way through a set that comprised of songs from their two albums, and the standout from their debut EP Pikul, "Kissing Families," and it was good. I feel like this is a band that can move on to greater things, and their set only furthered that notion.
Favorite songs: "Well Thought Out Twinkles," "Little Lover's So Polite," "Future Foe Scenarios," "Lazy Eye"
Should've played but didn't: None, surprisingly.
Stray notes:
Maybe I have a shitty taste in music, or I wasn't in the right place, but the crowds seemed restrained. Where was all the dancing that Summerfest is supposed to be famous for? I am admittedly self-conscious, but I found something within myself to rock out to the bands I liked.
The sound overall was better than I've heard in a long time. Kudos to you, sound guys.
I was only carded once in about twenty attempts to buy beer, and it was on the last time I tried. I don't know whether to feel terrified or awesome that I'm finally a grown-up.
Monday, June 7, 2010
Concert review: Weezer at Verge Festival
It took a special kind of music fan -- or an awful lot of alcohol, your choice -- to brave the cold, driving rain that hampered much of the Verge Festival on Saturday night. Those that stuck it out until the end were rewarded with a respite from the awful weather and a set by Weezer that, while it didn't do anything to silence its critics, did provide 75 minutes of solid entertainment.
Rivers Cuomo is now only a part-time guitarist in a live setting (drummer Pat Wilson takes over those duties) which allowed him to show off a geeky sort of charisma and showmanship that included -- but was not limited to -- splashing around in puddles, wrapping himself up in a tarp, and generally running and dancing around the stage with reckless abandon. I thought this was both captivating and off-putting. On the one hand it's great to see him having fun up there, and for him to be a shoegazer would make no sense while cranking out jams like "Pork and Beans" or "My Name is Jonas." But on the other -- and I may have said this before but it bears repeating -- Rivers reminds me of the theater geeks in high school trying way too hard to be funny and noticed. The tarp incident highlighted this point: it was as if he were trying to say "Look at me! Aren't I silly?" Weezer's music is good enough on its own; it doesn't need extra stage antics.
But I won't begrudge a guy for having fun, and if there was an overriding theme to this particular night that was definitely it.
The set included songs from every album, leaning heavily on the Blue Album but had only one from cult favorite Pinkerton. Personally I think "El Scorcho" or even "The Good Life" would have fit in perfectly with the party vibe Weezer had going, but the show didn't suffer any without them. Opener "Hash Pipe" got the crowd moving right away, and they didn't let up for the remaining 16 songs. The songs didn't sound much different from their studio counterparts -- Rivers did take on Lil' Wayne's verse on "Can't Stop Partying" though -- but Weezer's music hasn't ever been about improvisation; it's been about playing catchy, rockin' power-pop perfect for dancing and singing along. Weezer did not disappoint on that one, and there wasn't a clunker in the entire set. Particular favorites of mine were "Troublemaker," from the mostly horrible Red Album, "Perfect Situation" from Make Believe, and "Say It Ain't So."
As for surprises, there really weren't any if you've checked the set lists beforehand. They tossed in a tease of Van Halen's "Hot for Teacher" which would have been more awesome if they played the whole song. Also played was their medley of "Kids" by MGMT and "Poker Face" by Lady Gaga. I like the former and despise the latter, but Weezer managed to polish a turd on "Poker Face."
After the final encore of "Island in the Sun" and "Buddy Holly" the age-diverse crowd left the Summerfest grounds with good vibes. Rain notwithstanding, it was a good way to spend a Saturday night.
Monday, May 31, 2010
Seven Songs: Song 4 - "Watching the Wheels" by John Lennon
One of my favorite things about music is that it's open to interpretation. Sure, the songwriter has the final say when it comes to what he or she meant when writing it, but the listener can take whatever they want from the song and that meaning can even change over time.
(I suppose I just recapped why I'm writing this series of posts. Bear with me.)
John Lennon's “Watching the Wheels” has always been near and dear to my heart since the first time I heard it in high school. If you'll recall from the last post, I had just been dumped and was naturally feeling sorry for myself. Enter “Watching the Wheels.”
I listened to those lyrics obsessively and determined that Lennon had taken a break from something important – perhaps life itself – and that it was just fine with him, thank you very much.
I was on the right track, sort of. “Watching the Wheels” was John's response to his critics deriding him for taking five years off from music to raise his son: “No longer riding the merry-go-round / I just had to let it go.” When you really think about it, taking that time off was quite the admirable thing to do. He was John Lennon, after all, and instead of taking cues from his contemporary rock stars – penetrating groupies with seafood, being in the throes of heroin addiction – he chose to correct a mistake he made with his first child.
My connection to this song isn't so noble.
I wanted to take a step back from life not because I needed to get my head straight but because I was hurt and vulnerable and I didn't want to feel anymore.
Lennon came back from exile and wrote “(Just Like) Starting Over” and “Woman” along with “Watching the Wheels”; I started an exile of my own and wore black while listening to angry music. If “No Surprises” was my immediate reaction to the breakup, “Watching the Wheels” was the confirmation of those feelings. Maybe I didn't need her after all. Maybe I would be all right on my own.
Now I could just leave it at that – a childish reaction to a teenage relationship – but I did write above that the meaning of a song to me can change over time, and “Watching the Wheels” has done just that since my first experience with it in 1998.
John Lennon has always been my favorite Beatle – though George Harrison is running a close second – for as long as I've loved the Beatles. It started out as being that way because of his way with words and his sarcastic sense of humor, but as I learned more and more about him, it became apparent that he was a deeply flawed and conflicted human being. He lost his mother not once but twice: she abandoned him at an early age, then just when he was reconnecting with her as a teenager she was run over by a bus. He supposedly beat his first wife. But then he turns around and writes a song like “All You Need Is Love.” Lennon was a millionaire many times over, but he didn't forget his roots with his song “Working Class Hero.” It just goes on and on and on.
I admire the man for not being afraid of wearing those scars on his sleeve, and I've taken “Watching the Wheels” as a sort of philosophy. That, of course, is a conflict in and of itself. (I'm pretty sure I don't need to spell out for you why, so I won't.)
I've never been one to show much emotion. I might feel it inside, but it's rare that it would actually come out. This has led to being described at least twice on separate occasions as “cool” by coworkers. I just don't let the bullshit of a workaday lifestyle get to me. Sure, I get pissed off once in a while, but I'll always try my hardest not to let coworkers see me cursing to myself, ready to destroy something.
This isn't just about work, though. I am certainly a proponent of not getting caught up in your job – your profession does not define you completely. There's so much more to life that's not worth losing your shit over. (Note: I've lost my shit over stupid things. It happens to everyone. This is okay.) I started off by referencing my first relationship and I think the message of “Watching the Wheels” (how it speaks to me, anyway) carries over even into adulthood. I'm not saying that if a relationship ends – even with someone you love dearly – you should just go out and drink whiskey until you're so pissed up that you can't see then try to nail the nearest warm body with a pulse. But the world has not ended at that point. To let something like that cripple you, to let it affect your everyday life, is like letting them win. It's okay to take a few steps back and say “I will not let this ruin me.”
In the song Lennon wrote “Well I tell them there's no problems, only solutions.” I think that line about sums up what I'm trying to say here. I've had people do shitty things to me like everybody else. I get flustered and angry just like everybody else. But at the same time I don't think – I hope – I dwell on it as much as most other people do.
My philosophy courtesy of “Watching the Wheels” probably won't work for too many people. There is a level of disconnection involved here that probably would make a lot of people feel uncomfortable. But over the years it has held true that being on the fringes of whatever it is that I'm supposed to be involved in has been nothing short of a calming influence on me. It's not perfect, but what is?
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