Macca’s latest album under the Fireman moniker, Electric Arguments, finds him dabbling in a variety of musical styles, the result being one of his most satisfying releases. Check out the video for the single “Sing the Changes.”
It was early Tuesday morning, December 9. I was 9 years old and living on 30th Terrace in Lauderdale Lakes, Florida. I must have been eating my breakfast and getting ready for school. My memory of this day has all the clarity of a dream, except for one element:
I still can recall watching the Today show and seeing the live footage of people gathered near Central Park to mourn the passing of John Lennon. He’d been shot the night before and pronounced dead just after 11 p.m.
Mom wasn’t crying, but I could sense that her world, if only for a little while, had just become a little bit grayer.
Even at my young age, I was a Beatles fan. At my insistence in 1978, Mom took me to see Sgt. Pepper’s Lonely Hearts Club Band: The Movie. It’s probably an awful film, but as a child who played that record over and over on 8-track, I loved it.
So I was well aware who John Lennon was and why his passing could bring so many to tears. He was a Beatle. And I loved the Beatles. I would walk around one of the handful of apartment complexes I lived in singing “Let It Be.” I barely knew any words to “Good Morning, Good Morning,” but I would sing it anyway, much to Mom’s aggravation.
Paul McCartney’s late-career renaissance may have hit another high point. Though his new disc doesn’t drop until
Nov. 25, you can head over to National Public Radio’s website and listen to the exclusive streaming of Electric Arguments, the third collaboration between McCartney and Youth under “The Fireman” moniker.
While their previous two releases were rooted in trance, Electric has the duo more fully exploring McCartney’s chameleon-like tendencies, finding compelling artistic expression in a wide range of musical styles. From the heavy, bluesy “Nothing Too Much Just Out of Sight” and “Highway” to the spacey tranquility of “Is This Love?” and “Lifelong Passion,” McCartney and Youth create arresting, at times surreal soundscapes that are mesmerizing for their complexity. It’s an astounding effort that never sounds forced or as if McCartney is just dabbling or indulging in his eccentric side.
Texas rock band Los Lonely Boys played a spirited set for an enthusiastic and appreciative crowd last night at Jannus Landing. Brothers Henry, Jojo and Ringo took the stage wearing Tampa Bay Rays jerseys (adorned with World Series patches) and proceeded to burn through about 90 minutes of their trademark Texican rock ‘n’ roll, spiked with extended, jaw-dropping jams.
Los Lonely Beatles?
The interplay among the siblings was mesmerizing, from Jojo’s effortless runs on his five-string bass to Ringo’s spot-on, energizing rhythms to the trio’s sweet, otherworldly harmonies that one can only guess are so perfect because they’re genetically encoded.
But it was guitarist Henry who shone brightest, coaxing an array of gorgeous sounds out of what looked like a series of Fender Stratocasters. He could be soothing and soulful, as on the bluesy, pop-tinged “I Am the Man to Beat” or shred with abandon, as on the chugging, Cream-influenced cover of “Crossroads.” Henry’s fiery fretwork often bore the imprint of his influences, recalling the warm tone and lead/rhythm majesty of Stevie Ray Vaughan, as well as the crystal raindrop precision of Carlos Santana.
From the moment they hit the stage to their post-encore (the sublime “Heaven,” by the way) valedictions of “God bless you” to the crowd, the Boys radiated good vibes, particularly Jojo, who smiled almost nonstop as he mugged and played to the crowd (and even gave his Rays jersey to a fan late in the show). Henry gave shout-outs to “Tampa Bay,” “St. Petersburg” and “Florida” throughout the evening, but the best hometown reference came when Jojo (if memory serves) let the crowd know that the Rays were up 4-0 over the Phillies at nearby Tropicana Field. The crowd roared its approval and the Boys went back to work, eager to please their fans. They were more than up to the task.
The Jack White-penned theme to the latest James Bond flick, Quantum of the Solace, has been released for download at iTunes, but not in North America, where it will be available October 23. “Another Way to Die” is, however, receiving airplay over the radio.
After giving the highly anticipated Jack White/Alicia Keys duet (the first in Bond history) a few listens, my reaction has remained consistent: This will go down as among the least of the Bond title songs. And I’m not the only one who feels White’s effort is rather underwhelming. Or that it’s just a pretty bad song.
While its angular, menacing sound may be appropriate to the harder edge Daniel Craig and Bond’s producers have crafted for their hero, it is by no means worthy of a James Bond film, and it’s totally outclassed by the the classic Bond songs performed by Shirley Bassey, Tom Jones and Paul McCartney. Melody, which should set a compelling mood, is virtually nonexistent, while the featherweight lyrics fail to either tell a story or capture the essence of the iconic super spy.
Bond, you deserve better.
Update: The original YouTube link to the song has been taken down, but you can hear the song in its entirety at theboombox.com.
Isn’t this the way the Internet works: Without even trying, you occasionally stumble upon something wonderful.
I’d never heard of or even heard Timi Yuro before today. But as I was perusing a Beatles set list from 1963 that had been posted online, I noticed a song titled “If You Gotta Make a Fool of Somebody” a version of which was recorded by James Ray, a soul singer who died shortly after finding some success in the early ’60s. While I sought out Ray’s version of the song, I happened upon a recording by Timi Yuro on YouTube.
I was duly impressed by Yuro’s brassy, soulful vocals, and so I ended up listening to her other recordings, many of which were standards of the day: “All Alone Am I,” “Cry,” “I’m Sorry,” to name just a few.
According to Yuro’s entry in Wikipedia, she was Morrissey’s favorite singer, and counted Elvis among her biggest fans.
Yuro released her last album in 1984, Timi Yuro Sings Willie Nelson, which was produced by Nelson. Take a listen to one of her lovely duets with Willie, “Did I Ever Love You.” Yuro died of throat cancer in 2004. If you don’t already know of her, take the time to discover a stunning talent.
Here’s a cool find: Neil Young performing The Beatles’s “A Day in the Life,” June 27 at the Rock in Rio Madrid music festival.
Ah, the perks of working at the Loaf: I’m listening to a review copy of Mamma Mia! movie soundtrack that cubicle buddy/Bar Tab-ber/music critic Wade Tatangelo was kind enough to pass on to me, as he knows I’m a big ABBA fan (and, more importantly, had no intention of reviewing himself).
My first impression of the CD is that the arrangements are very faithful to the original versions. No surprise, since Benny Andersson, one of the group’s original members and architects of its sound, also produced this album. (more…)
A scribe for Wired, reporting on the recent Beatles/Guitar Hero/Rock Band rumors, posted his Top 10 songs he’d like to play on one of the popular video games, to wit:
“Blackbird”
“Day Tripper”
“Dear Prudence”
“Helter Skelter”
“Here Comes the Sun”
“Norwegian Wood (This Bird Has Flown)”
“Octopus’s Garden”
“Revolution”
“Sgt. Pepper’s Lonely Hearts Club Band”
“While My Guitar Gently Weeps”
I can’t say I agree with the choice of “Octopus’ Garden” or “Dear Prudence,” and might prefer to see “I’ve Just Seen a Face,” and “And Your Bird Can Sing.”
So which 10 Beatles songs would you choose for Guitar Hero/Rock Band?
Well, here’s an interesting bit of news on a potential Beatles/video game mash-up:
Publishers Activision and MTV Games are courting representatives of the Beatles to license the wildly popular band’s catalog for use in their respective rhythm franchises Guitar Hero and Rock Band, the Financial Times reports.
According to the report, both publishers have held discussions with representatives of the band concerning a “Beatles-themed video game.”
So what’s your call? Are the Beatles too sacrosanct to be involved in this kind of deal, or is there no shame in following the money?
I can’t believe I missed this til now, being the devoted Macca fan that I am, but Sir Paul McCartney turned 66 today. On June 14, he played before over 350,000 fans in Independence Square in Kiev. One of the show’s highlights was undoubtedly “Mrs. Vandebilt,” (off Band on the Run) which was the top song requested by fans at a Ukrainian website. It also happens to be one of my favorite songs off the album, particularly for its cheeky refrain “What’s the use of worrying/ What’s the use of hurrying/ What’s the use of anything?” Check out the stellar performance for yourself.
In honor of the recent release of the Beach Boys box set, Political Whore Wayne Garcia and yours truly, humble copy editor Anthony Salveggi, have put together our individual Top 10 lists of our favorite Beach Boys songs.
Anthony’s list
10. Our Sweet Love — Carl Wilson’s high vocals sell this gorgeous affirmation of romantic love: “I thought about a summer day/ And how the time just floats away”
9. Disney Girls — Penned by Brian Wilson’s tour replacement, Bruce Johnston: “Oh reality, it’s not for me/ And it makes me laugh”
8. This Whole World — Clocking in at under two minutes, but packed with Brian’s genius for melody and orchestration: “You are there like everywhere/ Like everyone you see”
7. ‘Til I Die — Try listening to this without your blood running cold: “I’m a leaf on a windy day/ Pretty soon I’ll be blown away”
6. Warmth of the Sun — “I loved like the warmth of the sun/ It won’t ever die”
5. I’m Waiting for the Day — Like nearly everything else on Pet Sounds, pure magic: “He hurt you then, but that’s all gone/ I guess I’m saying you’re the only one”
4. I Can Hear Music — A soaring cut off 1969’s 20/20: “This is the way I always dreamed it would be/ The way that it is, when you are holding me”
3. Please Let Me Wonder — A honey-drenched, hook-filled gem with melancholy lyrics that sound as if they must have been written on a California beach at sunset: “If I’m the one you’re dreaming of/ Please let me wonder, love”
2. Don’t Worry Baby — Sonically stunning layering of vocals and instrumentation: “But she looks in my eyes/ And makes me realize when she says “don’t worry baby.”
1. Caroline, No — See Wayne’s description below. This is the track off of Pet Sounds that sent shivers down my spine the first time I heard it: “Break my heart/ I want to go and cry/ It’s so sad to watch a sweet thing die)
Wayne’s List
10. Wouldn’t It Be Nice — “Maybe if we think and wish and hope and pray it might come true/ run run weee-oooooo”
9. All This Is That — The most obscure cut here, a Mike Love TM effort that is hypnotic, from Carl and the Passions
8. Long Promised Road — A great Carl Wilson composition.
7. Don’t Worry Baby — A simple heartfelt love song. Nothing better than that.
6. Surfer Girl — Cuz it’s all about the sun and sand and boys and girls.
5. Surf’s Up — An orchestral tour de force that Van Dyke Parks’ baroque lyrics lift to another level. Leonard Bernstein thought this song was the future of pop music. Unfortunately, he was wrong.
4. ‘Til I Die — Yes, zen buddhism makes a wonderfully sad vehicle for Brian accepting the fact that he will be mentally confused and in emotional pain until the day he dies.
3. Friends — The sonic bed here is tremendous, with simple keyboard figures augmented by bass harmonica over waltz time. “I talked your/ folks out of/ making you/ cut off your hair.”
2. Caroline, No — Brian’s whine on “No” is an indication of the pain that he poured into his music. I remember seeing an interview with his ex-wife, who says that part of the song always runs right through her, it was such a personal statement about their relationship at the time.
1. Warmth of the Sun — Written the evening that JFK was assassinated, Wilson’s simple inverted chord structure and Love’s heartfelt lyrics perfectly capture the start of one era at the end of another, and the trademark layered vocals and soaring falsetto continue to stun the listener.
