Yet another song I lifted the needle on religiously as a boy, the German true stereo version of “Your Mother Should Know” is very cinematic. This is another phrase that I cringe at stating in public – next I’ll go on about some movie that sucked but had a “great screenplay” – but the air around Paul’s bass, the piano, and the vocals really do fulfill a desire to create a sound Paul had been plucking away at for some time and had never done so well. I’ll take this song over “When I’m 64” and “Honey Pie”, for instance, not that that’s saying much. Still, this mix of “Your Mother Should Know” should have been the final word on Paul’s “granny” songs, thereby saving the world from Give My Regards to Broad Street.
I was reading this article about how someone has purchased Elvis Presley’s former part-time home in Palm Springs and intends on turning it into a tourist attraction.
Aside from wondering why someone hasn’t already exploited this property, I got to thinking about Rock Meccas. Continue reading »
Here’s a song I used to skip half the time I listened to Magical Mystery Tour as a kid. Granted, when I was 7 years old I hadn’t done the sort of things to my brain that might have helped me better tune into this song, but even years later, after I should have had a better idea of what George was up to, the song dragged.
That started to change as I got used to the German true stereo version of Magical Mystery Tour. Now, it couldn’t drag enough. The bass is so friggin’ deep. It’s a wonder the entire band didn’t fall asleep to Ringo’s beat. George, for a rare time in his raised-consciousness phase, shows rather than tells what he’s going through.
Again, the true stereo mix lets the closely mic’ed strings be fully felt. You can hear the bizarre vocal effects as The Beatles themselves might have heard them in the studio. Athough I usually hate when a remastered ’60s album cleans everything up and offers me the opportunity to pick and choose what I want to hear (rather than slamming me in the face with the main hooks, as most great ’60s records were meant to do). In the absence of tremendous songs, the vague focus of the German mix becomes a strength.
More broadly, as we head to the finish line of side 1, although the band’s loss of Brian Epstein is often pointed to as a profoundly negative turning point in their overall quality, the sense of unease in side 1’s EP-collected recordings, especially as reflected in the true stereo mix, can be seen as a treat for Beatles fans. There’s a humanity to these mixes that I find refreshing after the monolithic studio wizardry that is Sgt. Pepper’s.
A few thoughts while I am abroad and without my beloved apostrophes. When I next check in, I hope to be delighted and instructed by your candid comments.
With which Rutles character do you most identify?
What artist – new or old – did you discover or learn to appreciate over the summer?
With fall approaching, what is your favorite fall song?
Over what unidentified sound on a record have you most frequently scratched your head (eg, the key sound in “Crosstown Traffic”, by Jimi Hendrix)? Do not be shy about sharing – perhaps another Townsperson can solve your mystery!
What rock biography or biofilm – if any – do you plan on approaching next?
What rock biography or biofilm – if any – do you dread approaching the most?
What rock-related technological leap did you make this summer?
This psychedelic take on Booker T & the MGs has always been one of the coolest deep cuts among Beatles fans. If you don’t agree, you must have one of those Squaresville zip codes. The German true stereo version only adds to the song’s groove. Again, it’s all the stuff that’s slightly off that gets under my skin and gives me goosebumps. What’s off is more fully off on this release.
Fogerty Syndrome, named after Creedence Clearwater Revival leader John Fogerty, refers the musical phenomenon of having a chip on one’s shoulder for reasons known only to one’s self. Also known as Eric’s Burdon.
Ever notice how pissy and pissed off John Fogerty is in his music with Creedence Clearwater Revival and beyond? Fogerty packs a powerful rock package, but warmth and loving vibrations are nowhere to be found. He’s always singing like he’s said what he’s had to say three times already and this fourth time sure as hell is going to be the last time he says it, so listen up! Maybe it’s just the way the good lord made him, but he performs with the flinty eyes of drill sergeant.
A closer examination of his lyrics may make one question what exactly’s gotten under Fogerty’s skin. The guy gives no clues as to his personal life – there are no songs about being deserted by his mother or being torn apart by a lost love. Rather, he works in Chuck Berry territory, but with a major chip on his shoulder…about…something. It’s one thing to approach a biting social commentary song like “Fortunate Son” from this hellbent angle; it’s quite another to push the lyrics of “Willie and the Poor Boys” and “Centerfield” through clenched teeth. Centerfield? No coach in his right mind would put Fogerty in centerfield; he’s not fit for a position requiring such range and fluidity. I’d pen Fogerty up for 8 innings, then stick him in to close games, packing nothing but heat and a badass attitude.
What’s up, Fogerty, do you ever, you know, just chill?
