blackleatherbookshelf | Entries tagged with beatles

Look on The Bright Side
4 Out Of 5 Stars

As a long time fan of James Lee Stanley, I am always excited when he settles in and records a new CD of original songs. He has also kept himself busy, recording duet albums in the "All Wood And..." series, so far mining The Doors and Rolling Stones for source material, Yet it is his solo CD's that I wait for with the greatest hunger. On the new "The Apocaloptimist," he weaves the magic again.

Combining the word apocalypse with the word optimist, he expects the worst and hopes for the best. The character he introduces in the first song is one who lives and sleeps, rises and falls and falls again while "Living The Party Life." Our up and coming yuppie parties when he wins, parties when he loses, and no matter what the result, is ready to party away. PBR in hand, he's probably the best dressed and most annoying person in the room, but James still sings with some sympathy for the guy. Later he hangs out at a bar and sweetly dreams of being rescued at "Last Call."

The character's not a complete yay-hoo. After all, how could he be if he likes Beatles' songs? Coming from the same respectful background as the "All Wood And..." series, "Drive My Car" gives a folk rock makeover to a classic, complete with a tasty harmonica courtesy of Corky Siegel. Or, for that matter, would such a bad man surround himself with great players like Little Feat's Paul Barrere (on slide guitar for "Gypsies In The Hallway")? James' hero may be searching for the best, and this being a story with a happy ending, lets the lead actor fumble his way to understanding with nothing but the best musicianship lighting the way. He comes to a realization about family on "Here We Have My Father," and figures out that maybe it's time to treat his life as something more precious on the strolling "When You Get Right To It."

Coming to terms with when life deals you a decent hand, James' hero ain't such a bad guy in the end. He finds true love during "Any Other Way" and learns the deepest love when singing a "Lullaby for Chloe." James takes our "Apocaloptimist" guy from annoying chump to adoring father in less than an hour, James Lee Stanley is the kind of storyteller who can do this narrative masterfully, and I love when stories have happy endings. Especially when set to music this good.

One more thing: The album's artwork. "The Apocaloptimist's" cover art is poster worthy. It harkens back to the days when the amount of thought given to the entire album package covered the music and how the artwork related to the songs within.

Current Mood: accomplished
Current Location: Philadelphia
Current Music: "Living The Party Life" James Lee Stanley

Hungry and Young Beatles Mount Their Plan for World Domination 2 1/2 Minutes at a Time
4 Out Of 5 Stars

The second edition of The Beatles "On Air - Live at the BBC" is a collection of songs to remind you just how young and hungry The Beatles were in their early days. With a couple of exceptions, you've heard the studio versions of these a million times over, and the most rabid of fans likely have the bootlegs. But it's fascinating to hear how they sink their teeth into "I Saw Her Standing There" (complete with a 1-2-3-Fooour! count-off) or the already precise interlocking harmonies on the likes of "Chains" and "And I Love Her."

The intros and interview profiles also show how the Beatles were already establishing their individual personalities in the band format. George can be heard clowning around in the "Absolutely Fab" segment and Paul has fun with his old school house on "5E." The between songs banter is often as interesting as the songs themselves, but still, this was the height of Beatlemania, and each little 2 minute firecracker was a shout heard everywhere. "On Air - Live At The BBC Vol 2" still has a raw sound to it, and shows that George Martin was a main component to The Beatles' sound, but there's no escaping the amount of energy on display here.

What this disc also does is make me wonder why "Live At The Hollywood Bowl" has yet to see a reissue, or for that matter the compilations "Love Songs" and "Rock and Roll." There's obviously still an audience for all of these, so why are they still in the tape vaults? In the meantime, enjoy this, and Volume One, of The Beatles as they take over the world, one sonic boom after another.

Current Mood: accomplished
Current Location: Philadelphia
Current Music: "I Saw Her Standing There - Live" The Beatles

You've got something that will save us now.
4 Out Of 5 Stars

Like the modernistic neon bars used to indicate the "New" title, Paul McCartney steps up to the new world of modern-ish music and applies a sheen and glow to his newest collection of pop-tunes. While "Memory Almost Full" seemed like a coda to a long career and well lived life and "Kisses From The Bottom" had a wiff of the old-fogy about it, "New" tosses that aside and finds McCartney still willing to challenge his younger contemporaries, down to having hot-shot Mark Ronson produce a few selections, in particular, the buoyant title track.

The lead-off, "Save Us," is a rocker in the Wings mold, without the annoyance of "Nod Your Head" (from "Memory") or the screaming mania of "Cut Me Some Slack," the song Paul recorded with the surviving members of Nirvana. Yes, despite the willingness to go out on the occasional limb, "New" is an album that is eager to please, even if it doesn't play its hand as a totally safe one. In that aspect, it's reminiscent of "Flaming Pie," one of Paul's best from the 90's. Which also means that there's a shout out to his days as a Liverpool youngster on "Early Days," where he tells those who have romanticized The Beatles too much for his tastes by stating "I don't see how they can remember/When they weren't where it was at."

McCartney certainly isn't above a little cheekiness, as "Early Days" and the buzzy "Queenie Eye" show. And who would have thought Paul still had time for a little lyrical nonsense like the clever "Alligator?" It's also a pleasant surprise to hear the keyboard driven "Road," which is the haunting final song before the uncredited song "Scared." "I'm still too scared to tell you...the simplest of words won't come out of my mouth, though I'm dying to set them free," he croons in the way only McCartney can in "Scared." That McCartney can still be so emotionally naked and willing to try and challenge himslef in the way "New" does is a pretty remarkable feat for a man making music for over 50 years.

Current Mood: accomplished
Current Location: Philadelphia
Current Music: "New" Paul McCartney

A Really Super Supergroup
5 Out Of 5 Stars

Roy Orbison. Bob Dylan. George Harrison. Tom Petty. Jeff Lynne. A cross generational, odd musical but stunningly workable combination, they dubbed themselves The Traveling Wilburys and cut this one off, one of a kind album. Each man brought their A-game and checked their egos. Ultimately, "Volume One" became a surprise hit, going Top Ten and generating a hit single via "Handle With Care."

Even as odd as the combination seemed, the members all had connections. Dylan toured with Petty and the Heartbreakers, Harrison had just wrapped up "Cloud Nine" with Lynne at the helm as producer, who had also produced Orbison and Petty. "Volume One" somehow managed to use the best of each member, making the album a light, fun affair. It's easy to feel the joy the band gets as they plow through "Tweeter and The Monkeyman," which is so Dylan, it could be mistaken for a Dylan parody. Or Orbison's ranging vocal on "Not Alone Anymore," using that mammoth voice of his to enchant the listener.

But the capper is "Handle With Care," where each member gets a turn at the mic for an utterly charming piece of rootsy rock. Same with the second single, "End Of The Line." Given the amount of talent in the room, it's amazing just how seamless this all is. Lynne's polished production job makes the blending also feel effortless. There weren't many supergroups that could flaunt the title without having a shoving match for the spotlight, but "Volume One" was that rare triumph.

Sadly, Orbison died shortly after the album came out, and the surprise success pretty much guaranteed a second try, but the chemistry was not there and the self-referencing (like "The Wilbury Twist") became obvious instead of effortless. You can get "Volume One" without worry, "Volume Three" is a fielder's choice.

Current Mood: devious
Current Location: Philadelphia
Current Music: "The End Of The Line" Traveling Wilburys

Guaranteed to Raise a Smile
3 Out Of 5 Stars

Glee hasn't shied away from The Beatles before, including some very deft covers, like Chris/Kurt doing "Blackbird." This time, though, for "Glee Sings The Beatles." they are tackling the Fab Four across two of the TV episodes and one full CD. Much like the attempts to do Madonna, Rocky Horror, or Grease, they're going all in. If you're a true purist who couldn't even tolerate the soundtrack to "I Am Sam" or "Across The Universe," you might have issues. Surprisingly, however, Glee takes on a handful of fairly obvious Beatles classics and treats them with respect.

I can't imagine what was going through the hearts and minds of the cast as they were taking on some of the more emotional heft of some of the songs here, so close to the passing of Cory Montieth/Finn. But when Lea Michelle opens up on "Yesterday," you can hear the emotion pouring out. Easily the best performance of the album, even if any other circumstances surrounded it. For the most part, the arrangements are kept close to the originals, with the exception of "Got To Get You Into My Life," where 'Klaine' mix it up with a marching band. On the TV episode, they even went as far as making a mock-up of the Ed Sullivan set for "When I Saw Her Standing There."

The CD does do a split between early and later Beatles, saving the music from the older period for the second episode. "Get Back" is stripped to just a piano version, and frankly, it's almost impossible to screw up "Let It Be," hay Jude" or "Here Comes The Sun" while you're staying faithful to the arrangements. With "Something" being one of my top ten personal favorite Beatles songs, I'd take it as blasphemy to try and mess with the original. In fact, the only stumble on this disc is performing "Sgt Pepper's Lonely Hearts Club Band" and then NOT following through with "A Little Help From My Friends."

When Glee started, this was the kind of music I was expecting from the show. The first two seasons did a lot to mix in classic pop, modern songs abd show tunes in equal measure, to the point where I thought the "Presents The Warblers" was one of the best of the batch. For "Glee Sings The Beatles," the do a service to some of these records that inching towards their 60th Birthday, and that is bringing them to a whole new group of listeners. That's something I'm all for happening.

Current Mood: accomplished
Current Location: Philadelphia
Current Music: "Yesterday" Glee Cast

Paul McCartney Embraces his Legacy
5 Out Of 5 Stars

When Paul McCartney and The Beatles dissolved their partnerships, McCartney was bound and determined to go his own way. He made a few solo albums, like the masterpiece "Ram," but then decided he wanted a full fledged rock band behind him. Hence were Wings born. The corresponding Wings albums, like "At The Speed Of Sound" and "Venus and Mars" had McCartney insisting, over and over, that Wings was a band. To the point where Linda McCartney and Denny Laine were singing. The Beatles were dead and gone. Wings were here and now.

Until 1976 and the tour where McCartney shocked everyone. "Wings Over America," the then triple album, featured Wings and Paul digging into The Beatles' catalog, which also meant that he was performing some of these songs for the first time in their existence to a live audience. (As a reminder, The Beatles turned their back on touring in 1966.) The crowds, understandably, went nuts. With that kind of energy, Paul leans into "Lady Madonna," "Blackbird," "Yesterday" and a few others with an obvious glee; he may have been trying to erase his past before, but there's no way to deny he was reinvigorated to be on the road without dragging around the invisible elephant in the room.

It also shows off Wings as a more capable band than most critics gave them credit for. The opening "Venus and Mars/Rock Show" opens the concert with some serious electricity, and "Live and Let Die" rivals "Helter Skelter" for McCartney's all time rockingest tune. As an added feature, the song "Soily," which was a regular on McCartney tours, has never been released except for "Wings Over America." It's among the McCartney and Wings songs that take up the bulk of the album, with highlights being "Hi Hi Hi," "Band On The Run," and the single from the album, "Maybe I'm Amazed."

Now condensed to a double CD, the remastered sound is terrific. (I had the older CD, and a one on one comparison reveals a crisper sound, less muffled.) If you want to spend a couple extra bucks, the triple version contains an eight song bonus disc from San Fransisco's Cow Palace and adds "Let Me Roll It" and a differently arranged "Bluebird" as the main attractions. (Although the fade on "Picasso's Last Words" is annoying.) All together, this is one of the more important documents of Paul McCartney's recorded legacy, the moment in time where he let his past catch up with him and he didn't turn it away.

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Current Mood: thoughtful
Current Location: Philadelphia
Current Music: "Maybe I'm Amazed" Paul McCartney

Frpm

maxauburn

Who is your all time favorite musical artist, be it a band or solo artist?

What is it about he/she/them that appeals to you?

The band and solo artist can be a seperate answer I hope!
Band, naturally is The Beatles
Artist is Elvis Costello

These can vary from Day to Day, as Steely Dan, the Ramones and Roxy Music can all spin in or out of the Top Spot depending on what I am listening to.

Ask Away, y'all.

Current Mood: accomplished
Current Location: Philadelphia
Current Music: "Can't Buy Me Love" The Beatles

Tony Sheridan, the British singer, songwriter and guitarist who once fronted the Beatles, died Saturday (Feb. 16) in Hamburg, Germany. He was 72.

The news of his death was made public by his daughter Wendy Clare Sheridan-McGinnity, according to the New York Times.

Although he wasn't a part of the Beatles for long, Sheridan's involvement with the band was pivotal. He met the group -- which then included John Lennon, Paul McCartney and George Harrison on guitars, Stuart Sutcliffe on bass and Pete Best on drums -- when they arrived in Hamburg to work as a club band in 1960. Sheridan was already an accomplished singer, but took a liking to the Beatles. When Sutcliffe and Best left the band, McCartney took over on bass and Ringo Starr officially became the new drummer in 1962. (In recent years, Sheridan claims he helped arrange Starr's first few performances with the Beatles).

In the spring of 1961, German producer Bert Kaempfert offered recording contracts to both Sheridan and the Beatles, with the intention of the Beatles acting as Sheridan's backup band. Still, the option was open for the Beatles to record on their own.

During studio sessions in Hamburg in 1961 and 1962, Sheridan and the Beatles recorded nine songs together under the name Tony Sheridan and the Beat Brothers. Sheridan sang seven of them -- “My Bonnie,” “The Saints,” “Why (Can’t You Love Me Again),” “Nobody’s Child,” “Take Out Some Insurance On Me, Baby,” “Sweet Georgia Brown” and “Swanee River.” The other two tracks were Beatles performances -- “Cry for a Shadow,” an instrumental by Lennon and Harrison, and “Ain’t She Sweet,” sung by Lennon.

When the group's first single, "My Bonnie," was released in Germany on the Polydor label in Oct. 1961, Beatles’ fans in Liverpool took over local record shops, requesting the disc. One store manager, Brian Epstein, wanted to see what all the fuss was about and caught a performance by the group at the Cavern. He obviously liked it, as he persuaded the Beatles to hire him as their manager, and within a year, got them a recording contract of their own with EMI.

McCartney called larger-than-life Sheridan "The Teacher." His most recent recordings include “Vagabond” (2002) and a DVD, “Chantal Meets Tony Sheridan” (2005), which includes the only recording of “Tell Me If You Can,” a song Sheridan wrote with McCartney in 1962.

Sheridan is survived by his three sons, Tony Jr., Bennet and Felim, and daughters, Wendy Clare and Amber.

Current Mood: sad
Current Location: Philadelphia
Current Music: "Blackbird" The Beatles

First Chance This Century
4 Out Of 5 Stars

Eighteen full years since their last album, "Propeller," (there was also Jeff Murphy's solo "Cantilever," the live "Fret Buzz" and a few archival reissues), the true pride of Zion Illinois return with "Ignition." The Shoes haven't aged at all since the 70's it seems, with the sugar coated hooks, candy coated harmonies and buzz coated guitars all remaining intact since the late 70's. That is not to say Shoes have not matured, but if you though their brand of Power Pop had gone extinct, "Ignition" will reignite that passion for all things dreamy buzzed.

First things first, though. "Ignition" is almost maddeningly uneven. I get the feeling this might have been better as a 10 song album, as many of the songs miss the immediacy of those classic early albums. Jeff and John Murphy and Gary Klebe still can harmonize like nobody's business and that often overcomes for the weaker of the songs. Besides, when your vision of pop includes both The Beatles (almost any given track here) and The Stones (the whiplike snarl of "Hot Mess"), it's enough to give a power pop geezer like me the frickin' vapors. You also can't help but get giddy from the wonderfully constructed "Out Of Round," recalling some of the brilliant ballads from the genius trilogy of "Present Tense," "Tongue Twister" and "Boomerang."

Okay, I am hyperventilating a bit. But as a one-time card carrying member of Shoes' fan club and a follower since "Black Vinyl Shoes" days, I'd pretty much guessed that these guys had called it a day. Perseverance and talent will out in the case of "Ignition." I don't know how far past the band's long suffering core of true believers will get this, but anyone who still slaves over their old copies of Pezband, 20/20, or other basic 4 member combos that looked towards "Rubber Soul" or "Revolver" as their lodestones should pick up "Ignition."

Choice cuts also include "Diminishing Returns," the melancholy "Only We Remain," the kick-off "Head Vs Heart" and "Say It Like You Mean It."ALSO: New best of!