Beatles Books

A Brief Review of buying Beatles stuff

I have alluded to several books on this blog and so, with Christmas long gone and books, book tokens, book sales and replacements being favoured activities here are some thoughts about books and buying Beatles stuff in. Since I first wrote this blog Mark Lewisohn has published his new meisterwerk Tune-In (2013), which covers everything you ever wanted to know about the Beatles up to Love Me Do. Not only is it a real work of scholarship that moves past the errors in earlier works (by others) to provide both a definitive and balanced account of the flaming pie that gave us The Beatles  but it is a is now the key text for fans as he has interviewed many of them to help contextualise the narrative. I will be rereading it for pleasure.

Records; Of course I am assuming that you will have already gotten the remasters, a key topic of this blog, and they produce a great narrative of Beatle life, but if not I would recommend the following five albums in order.

1) White Album; “the greatest group in the world at the height of their powers” Marmalade Skies

2) Revolver; when then they learnt to play the studio with Geoff Emerick.

3) Hard Days Night; Merseybeat in excelsis 5th Best British Rock Album according to Q in 2000 and composed entirely of Lennon-McCartney songs

4) Rubber Soul; great folk-rock influenced epic by Dylan & Crosby as they lift off (with one last blast of misogyny)

5) Abbey Road; the most polished and 21st century sounding of their albums; White Album Part 2 meets Love Part 1

Acidheads, mellotron-freaks and prog-revivalists (hello Italy!) should head to the Magical Mystery Tour for a breakfast of semolina pilchards and an English tan. A painless MashUp of all things Beatles for the kids is the wonderful Love! The show in Las Vegas is worth seeing too; it feels just like sitting next to Ringo in Abbey Road studio 2 as the music is from the master tapes 🙂

BOOKS

Before I wrote this blog I thought there were only two Beatles book that anyone would ever need and they were both British. Ian McDonald’s “Revolution In The Head” and Mark Lewisohn’s “The Complete Beatles Studio Recording” (now out of print) which both put you at the centre of The Beatles world in the 1960s. Perhaps that is still all that you will ever need to read however recent American scholarship and enthusiasm pretty much trumps those two, in my opinion. Yes I can’t believe it either! So what are the other books worth buying?  Read the rest of this entry »

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All You Need is Heutagogy

There’s nothing you can make that can’t be made.

No one you can save that can’t be saved.

Nothing you can do but you can learn how to be you (It’s easy)

1! 2!! 3!!! 4!!!! was replaced by a woozy “a-one, a-two, a-three, a-four!” and the bass that inspired The Jam’s best track kicks in. The Beatles had replaced the urgent intro to the faux live show of Please Please Me with the lazy faux ambience of their studio recording. Presence, the Holy Grail of recording since Edison in 1888, was to be replaced with artifice. Revolver, what goes around, was to come around again, this time at the bidding of the artisans.

“It was like letting the workmen take over the factory,” said McCartney about Revolver two years before May 68, five years before Lennon supported the Upper Clyde Shipbuilders work-in and ten years before the Lucas Aerospace Shop Stewards alternative Corporate Plan. But before they could run their own factory they needed yet another Fifth Beatle, the golden-eared wunder-kid Geoff Emerick who, as a nineteen year old studio engineer was promoted to work on Revolver. A fan, young and imbued with the shape-shifting sixties spirit, Emerick was to set up Abbey Road for recording in ways that were forbidden by EMI, but demanded by the Beatles. He miked McCartney’s bass with a loudspeaker on Taxman and told the stuffy classical string players on Eleanor Rigby to play loud.

Despite their productivity tending to support McCartney’s industrial assertion, The Beatles in fact turned Abbey Road into an Art School not a factory. A musical research lab for their creativity, just before Arts Labs, from which David Bowie would emerge, gained popular currency, along with the mid-sixties fad for multi-media happenings and various forms of experimental art. McCartney befriended the emerging leading lights of London counter-culture, Hopkins, Miles, Dunbar, supported the Indica Gallery and it, engaging with various tropes of the English counter-culture. Lennon, of course, was ready to Howl on a Daily basis if he could throw a Spaniard in The Works. So let’s get inside The Beatles creativity like Vpmatt on the Beatles most “experimental” track.   Read the rest of this entry »