The Big Four: The Beatles

 

The Big Four: The Beatles

Photo: Robert Freeman

Article by Matthew Anthony Allair

    There’s a good argument, that is yearly made, that the Beatles remain the most relevant band out there, just about everything that came out since their end in 1970 as far as bands and solo acts, are just variations on the ground they broke. It’s almost impossible to ignore their work, even with acts that don’t cite them as an influence, there’s often some musical element that can be traced back to them. I would argue that every period of the band is important. Their evolution from 1963 until late 1965 is startling, to compare, only a few bands saw as much growth as the Beatles. They were blessed with several miracles, first, there is the fact four that super talented men happened to converge from Liverpool near the end of the 50s. Most musicians have a difficult time finding other musicians they are in sync with, forming bands that gel is not an easy task.

    The other miracle is that they found a manager with Brian Epstein who was so well intended, and protective, the rock scene is littered with less than honest managers who don’t protect their artists. For example, let’s compare The Beach Boys to the Beatles. The Beach Boys and the Wilson brothers were saddled with a tyrant of a manager and father with Murry Wilson, who also acted as their Producer until Brian Wilson took over. The Beach Boys were also plagued with a record label, Capitol, that were content to just have them follow the formula that was set up in 1963. Brian had to fight to evolve the music and it wore him down. The Beatles were blessed with Producer George Martin, that while he may have been strict in the beginning around 1962, Martin recognized their growth early on and didn’t inhibit them, and became a creative partner. Thus, allowing them to expand and redefine the decade. It also helped that Brian Epstein accepted their decision to stop touring and just record after 1966. He very easily could have insisted, as much as the decision was detrimental to him, Brian gave The Beatles the space to create. We have already covered Revolver and Magical Mystery Tour here. 

    Much of the early work from 1963 till 1965 had magical moments, they had massive hits, but it is the work from 1966 onward that is now seen as important. The UK Help album showed real growth with “Ticket To Ride,” the flutes on “You’ve Got To Hide Your Love Away”, and the string section on “Yesterday”, or “Help!, The Night Before, You’re Going To Lose That Girl,” or “I’ve Just Seen A Face”. All of which hinted at what was about to unfold in the second half of 1965. As they started to meet their contract obligations with the first two films, and their touring schedule, they had the clout to grow. If The Beatles had been an American band and on Capitol Records, they probably wouldn’t been allowed to develop in the fashion they did. With Parlophone, they could do anything and the next few years would prove that. 

Photo: Robert Freeman

Rubber Soul (1965)

    Rubber Soul is often described as the ‘wood and smoke’ album, it may not have featured outside musicians, but with the advent of the sitar, or Martin’s use of a slowed down and speed up piano, giving at least one track an Elizabethan harpsicord feel, or the much more present use of acoustic guitars, electric, and more exotic instruments, the album was the fusion between rock, folk rock, soul, baroque, and proto-psychedelia. The Beatles served notice that the full album as art had arrived. The influence of Bob Dylan was already self-evident on the Help! album, but it’s even more so here. While the instrumentation isn’t all that different on Rubber Soul, it feels different. There’s an added complexity on various numbers to be found here, argumentatively, there’s only two weak numbers on the album, but there’s a vitality to the rest of the material that one can’t ignore. One should note the singles recorded during the sessions, John’s riff rock on “Day Tripper”, and Paul and John’s folk optimism of “We Can Work It Out”, both hinted at what was on the way. 

    On one level, the opening number “Drive My Car”, which was a big hit for them, feels like a typical electric number, but there’s notable shifts. George’s twang guitar would be imitated by countless players at the end of 65 and through 66, the interplay between John’s single line guitar and Paul’s piano reveals an added growth. As well as playfulness with Ringo’s drumming and tambourine. John’s “Norwegian Wood (This Bird Has Flown)” shows incredible development with John’s acoustic guitar, and George’s first dalliance with the Sitar, an instrument that had been used as source material in western music, Lyrically, John’s narrative about a dalliance with a woman. Paul brings in the soul and RNB with “You Won’t See Me”, a piano anchors the number along with counter point melodies, another one of his songs about Jane Asher. John’s “Nowhere Man” is another marvel, and another hit. One should not ignore that the Beatles were not using standard chord voicings on the album, but inversions, therefore there’s an added depth and complexity here. The three-part harmonies enhance John’s lyric, and George’s bright lead guitar lines give it an extra shimmer. George’s “Think For Yourself” show’s more hints of growth, aside from Paul’s standard bass playing, there’s his added fuzz bass, which gives this a slight edge. More piano drives John and Paul’s “The Word”, a clever slogan for more than romantic love, the added harmonium is a nice touch. Paul’s “Michelle” has become iconic, the background vocals give The Beach Boys a run for their money, George’s tasteful jazz tone guitar solo seems so apt.

    The second half opener, the country flavored “What Goes On” is a showcase for Ringo, and some country shuffles from Ringo, and George is allowed bring out his rockabilly fills, but probably the weaker number on the album. John’s “Girl” feels like a Russian folk tune or dirge with some vivid lyrical content and a dose of John’s philosophical edge. John had a history of depression filled moments. Paul’s “I’m Looking Through You” is probably one of his most scathing numbers, one is hit with that lead guitar and organ accent, the sad realization when a person you know had been hiding who they are, another Jane related number. John’s “In My Life” has become one of his most enduring numbers, even George covered it on his 1974 Dark Horse tour. George Martin’s speed up piano managed a harpsicord quality, and Bach sensibility. John’s “Wait” manages some volume guitar from George, more a true co-written number with Paul’s bridge and vocal. Probably one of Harrison’s first great numbers “If I Needed Someone” and his 12-string work had a huge impact on countless players, The Byrd’s would lean into that sound, decades later you could still hear the stylistic influence, for example, on Queen’s “Long Away”. John’s “Run For Your Life” is probably the weakest number, despite its blue’s country feel attempts. Years later. John admittedly dismissed the number. Nevertheless, 12 of the numbers are real gems, and many took on an iconic status.

Cover: Peter Blake

Sgt. Pepper’s Lonely Hearts Club Band (1967)

    Yes, I admit, Sgt. Pepper isn’t my favorite album of theirs, that honor goes towards Revolver and one other title in this article. But Sgt. Pepper is a significant album, and a real game changer for them. For those paying attention to the importance of Revolver, there were clues that they were developing, and this album in some ways felt inevitable. It broke ground in many ways, the arrangements, the production, the use of the gatefold and printed lyrics, and the added inserts. It wasn’t really a concept album, but thematically, it pulled the audience in as though you are at a public square or Galizio, and you were being presented with a musical fantasy, just ignore the psychedelic embellishes, and you get an entertaining diversion that is brought back to reality with the final number. The album is awash with Pianos, Organs, Harmoniums, mellotrons, a swarmandel, sitars, various percussion, tape loops, and their guitars.

    It also feels futile to describe these iconic numbers, so I will offer the highlights. The band had already used audio source material before with Revolver, but the clever crowd sounds set the tone, the trio of acid guitars of “Sgt. Pepper Lonely Heart’s Club Band”, and punch of Ringo’s drums state what the listener will hear. Ringo’s showcase on “With A Little Help From My Friends”, is one of the rare Lennon / McCartney collaborations, something we’d see less of. John’s surreal fable on “Lucy In The Sky With Diamonds” was simply inspired by a child’s drawing, and Lewis Carol. Paul with John’s “Getting Better” has an optimistic yet dark edge to it. Paul’s “Fixing A Hole” feels like an appeal to focus less on trivial people, and what matter’s. George Martin was too busy to work on it, so Paul had someone else work on the strings for “She’s Leaving Home”, a number where John has a sympathetic read. John’s “For The Benefit Of Mr. Kite” has a carnival or fairgrounds feel, and some incredible tape loops from Martin and engineer Emerick.

    With side two’s opener, George wasn’t about to let himself be outdone, so he brought in the exotic philosophy of “Within You, Without You”, a piece that has grown with stature over time, his second number with Indian instrumentation. Paul’s “When I’m Sixty-Four” was an old number he dusted off, the music hall, or vaudeville quality of the number, it offers a fresh contrast to the rest of the material. “Lovely Rita” is probably one of the slighter Paul numbers, but George Martin’s piano solo with that unusual delay gives it an orchestral quality. John’s “Good Morning Good Morning” is the other slight number, but the overdriven horn section gives it an extra bite, and that fuzz guitar lead has a vibrancy to it. The animal segway is enormously clever. The “Sgt. Pepper (Reprise)” leans into a greater edge with the guitar work, the number gently guides the audience back into real life. The masterful “A Day In The Life” is the ‘reality song’, this is after you have exited the movie theatre, or leave the circus tent, or fairgrounds, and are back in the parking lot and facing the daily grind again, hence why ‘Day’ is the ‘reality’ number, and leave it to John to bring some grounding to the proceedings. Few had heard experimental orchestrations like it on a commercial record, but I think everyone knew we had reached the Rubicon due to the album – nothing would be the same again in pop or rock music. 

Design: Richard Hamilton

The Beatles (White Album) (1968)

    The second half of 1967 was taken up with the Magical Mystery Tour TV film and the album / EP, but the Beatles seem to have intuitively known they had to get back to basics. Of course a big part of this album’s origin was the Rishikesh, India sojourn to see the Maharishi Mahesh Yogi’s meditation ‘guide course’, but only half the band stayed for two months, nevertheless, the outing was highly productive, much of the material on their eponymous album was written there and then demoed at Harrison’s home in Esher. They were so productive that other material would be used for Abbey Road, a little for Let It Be, and even a few songs would appear on McCartney’s and Lennon’s early solo albums. Released as a double album, The Beatles might be their most audacious release and my second favorite album, the album just about encompassed every style of music imaginable, short of funk music that is, but there’s a lot to digest with the album. This is the closet to the Beatles producing themselves, with George Martin coming and going through the process. This was the first time that future producer Chris Thomas was given a notable role during the sessions. 

    The first clues about the album were Paul’s iconic “Hey Jude” and John’s proto metal with the “Revolution” single. There was also Paul’s “Lady Madonna” and George’s Bi side last Indian flavored, as singles. “The Inner Light”. The band decided to strip things down after all of the ornamentation of the prior year’s psychedelic experimentation. But the white album is a fascinating work, I admit uneven, not all of it works, but the highlights outweigh the drawbacks. The minimalist album design was another clue this was less elaborate. Nevertheless, there are still psychedelic elements within. After the audio effects, Paul’s “Back In The U.S.S.R.” is a kind of humorous nod to the Beach Boys, and offers a clever twist. John’s “Dear Prudence” is a Travis picked wonder, a haunting number that build’s in dynamics. John’s “Glass Onion” is another word play nod to recent songs, he was already spoofing the over analysis of the band’s lyrics. Paul’s “Ob La Di, Ob La Da” is a playful, fantasy narrative of a Caribbean life. Paul’s other throwaway is the acoustic “Wild Honey Pie”, a Spanish flamingo leads into John’s “The Continuing Story of Bungalow Bill” features a few mellotrons, and a big crowd chorus, including the first cameo of Yoko Ono, a satire about animal hunting. Then there’s the iconic “While My Guitar Gently Weeps” by George, with a little help from Eric Clapton’s electric lead, John plays organ, and Paul gallops on Piano. The first side is all rounded up with John’s “Happiness Is A Warm Gun”, one of his more adventurous numbers with four sections and a good dose of his whit.

    Paul’s “Martha My Dear” opens side two, one of his most dexterous piano pieces with Martin’s sympathetic scores. John’s “I’m So Tired” and it’s langued pace matches the lyrics, even John’s random numbles ease into the next number. Paul’s “Blackbird”, an acoustic, baroque ballad has a lingering power after the decades. George’s satirical “Piggies” is a clever comment on class warfare. Paul’s “Rocky Raccoon” is a western parody with some nice old saloon tack piano, all of which segways into the Ringo original “Don’t Pass Me By”, a country number and it is fitting that Ringo would write it, considering his affinity for that genre, he would release a country album at the start of his solo career. Paul’s “Why Don’t We Do It In The Road?” was just about a one man show, John was later disappointed he wasn’t involved. Paul follows it with his lovely ballad “I Will”, a bossa nova where John and Ringo helped with percussion. The side two closer, John’s “Julia” is a wonder, another intricate acoustic guitar piece from him, that is a touching tribute to his mother.

    Side three opens with Paul bringing back the whole band for “Birthday”, one of the more rousing rocker’s in the set. John’s full band number, “Yer Blues” is a satire on the genre, and while Clapton does not play on it, the lead work does capture the feel of Clapton, hence why people were confused over if Eric was involved. Paul’s “Mother Nature’s Son” is another touch acoustic number with tasteful horns arranged my Martin. John’s “Everybody’s Got Something To Hide Except for Me and My Monkey” is one of the more unabashed rockers on the album with an abrasive tone and manic vocals from John, the track was slightly speed up in the final mix.  John’s sardonic “Sexy Sadie” was a satirical dig at the Maharishi, where the guitars have a strange quality to them. Paul was able to match John’s energy with the heavy “Helter Skelter”, a rocker about a British playground spiral slide, where manages to capture the hyperkinetic joy of childhood. George’s “Long Long Long” is a hymn to God, with an eerie organ, manages to close out the side. 

    Side four is probably the most problematic. The energy of the album flags at this point. John’s “Revolution” is great, and I prefer the ‘soulful album version’ to the faster single release. After “Wild”, Paul’s “Honey Pie” is significantly better number, another music hall, vaudeville number with a nice little jazz guitar solo from John. Of the four Harrison number’s, “Savoy Truffle” is probably the weakest, but a fun number, with some meaty, and distorted horns. George’s lead and the horns have a nice interplay. John’s “Cry Baby Cry” is a folk flavored number with nice dynamics between the piano, harmonium and organ, John’s vocal has a relaxed, soulful quality to it. Paul’s “Can You Take Me Back” leads into the infamous “Revolution 9” a musique concrete piece that manages to have some brief interesting musical ideas within the strangeness and humor, and manages to still be a stronger result than John and Yoko’s three other experimental records at the end of the sixties. John’s “Good Night” with a lead vocal by Ringo and a lush orchestration and choir from Martin, is a welcome balance to the side and to close out the album. 

    There was a lot of tension during the making of the album, in spite of the many full band performances, often they would work in pairs on various numbers, or work solo. They were simply growing up and apart, but the public didn’t know that. Still The Beatles album is a high watermark of their catalogue.

Photo: Iain Macmillian

Abbey Road (1969)

    The last half of 1968 saw the release of the animated Yellow Submarine film and album that would soon be released in early 69. Paul tried to unify the band to play as an actual band again, the Get Back film, which would later be retitled Let It Be in 1970, was an attempt to film them rehearsing with the plan to do a live concert at a special event. Their productivity through January of 1969, from the rehearsal to session recordings, but the project was shelved by the start of February, Two non-album singles were released, Paul’s “Get Back”, which would appear on the 1970 album, and John’s “Don’t Let Me Down”. There’s was George’s “Old Brown Shoe”, a great number with a vibrant guitar solo that was released as a double A side, and John’s “The Ballad Of John & Yoko”, which would feature John and Paul playing everything when the lads were away. The album that would become Abbey Road was something of a compromise, but with George Martin having a more predominant role, engineer Geoff Emerick would have an important role, and would deliver a sonically impressive, and a young Alan Parsons, whom would be a major force through the seventies, was the assistant engineer.

    A number of material from the 68 India sojourn would be featured on the album, much of it had been rehearsed during the Get Back project, Paul talked John and George to be more fully involved, this would be to George’s great benefit as he would deliver the best songs and his two iconic singles. Even Ringo would write a song that would be a future single. There’s a feeling and Paul and John finally appreciated the value of George and Ringo enough to give them a fair shake. Aside from Martin’s musical keyboard contributions, Billy Preston acted as nearly a fifth Beatle with his Organ work. John’s “Come Together” which began as another non-sense words type of piece was helped by Paul’s swampy bass, and the harmonized guitars. George’s “Something” is masterful, with great playing from Paul and Preston’s organ. George’s guitar solo channels a trace of Clapton’s melody, yet it is his own. Paul’s “Maxwell’s Silver Hammer” has a musical hall quality, some dark humor, and odd feel. Paul’s nod to blues “Oh Darling” features one of his best vocals and has taken on a certain stature over the years. Ringo’s “Octopus’s Garden” had a little help from George, has remained one of their more endearing songs and fitting was it would be another country number. John’s “I Want You (She’s So Heavy)” remains groundbreaking, a cross between a proto metal number, and a lounge blues jazz number, its white noise build up near the end, and the abrupt edit is jarring at first listen but highly effective.

    George opens the second half with his iconic other number, “Here Comes The Sun”, the instrumentation is so perfectly balanced between George’s intricate guitar, Martin’s orchestration and tasteful keyboard flourishes George reached his first peak – but it wouldn’t be the last. The reverse Beethoven of John’s “Because” would the last time anyone would see their complex three part harmony, which was done with multiple passes. ‘The medley’ as it would become known began with Paul’s “You Never Give Me Your Money” was the first hint to the public that this was the end, but it also featured the acknowledgement of great freedom looming. John’s “Sun King” was inspired by the feel of Fleetwood Mac’s “Albatross”. John’s “Mean Mr. Mustard” and “Polythene Pam” were more numbers from India. “Mustard” represented John’s musical hall take, and “Pam” was a nod to his early Rock N Roll influence. Paul’s “She Came In Through The Bathroom Window” would be one of his more durable numbers and covered by other, and dress up here with a rockabilly feel. There’s a brief reprieve before the remainder of the Medley finished it out. With’s Paul’s final trio, “Golden Slumber’s, Carry That Weight” – based on a 17^th Century poem - and “The End”, where Paul manages a great vocal out of “Slumbers”, and “Weight” manages to tie back “You Never Give Me”, the dynamism of “The End” is nearly legendary. There’s an exuberance to Ringo’s drum solo, and the dueling guitars between Paul, George and John., and the band’s closing statement, which Paul described as a ‘couplet’, summed up the spirit of the band - the love they made was indeed equal to what the public took from them. The Beatles even managed a ‘bonus track’ before anyone thought of it with Paul’s “Her Majesty”.

    Ultimately, Abbey Road was a master class in song writing, arranging, performance and recording, The Beatles had said everything they needed to say, there would be one more posthumous album, but this was their final goodbye, and they just about went out with a bang.

    Post Beatles, most bands would try to emulate what they did, but nearly all of them just couldn’t match it. There was an magical chemistry as players by them that others just couldn’t define. Many people have tried to sound the notes without playing the music. In the end, the Beatles were not overhyped but represented the best of the sixties. 

Retro Reviews: Barry Manilow: Even Now

     I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Barry Manilow – Even Now* (1978)

****

Producers: Barry Manilow, Don Dante

Musicians: Barry Manilow, Bill Mays, Paul Shaffer, Mitch Holder, Jeff Mironow, Lee Ritenour, Jay Gradon, Will Lee, Bob Babbitt, Ronnie Zito, Jimmy Young, Alan Estes, Jimmy Maelen, Ginger Blake, Laura Creamer, Linda Dillard, Don Dante, Artie Butler, Dick Behrke, Richard Winzeler, Jimmie Haskell

Songs: Copacabana (At The Copa), Somewhere In The Night, A Linda Song, Can’t Smile Without You, Leavin’ In The Morning, Where Do I Go From Here, Even Now, I Was A Fool (To Let You Go), Losing Touch, I Just Want To Be The One in Your Life, Starting Again, Sunrise

Reviewed By Matthew Anthony Allair

    Barry Manilow’s new album is out, and the follow up to This One’s For You from a few years ago, it’s all pretty much safe, but is it any good? Manilow started out as the accompanying piano player for Bette Midler and produced her first two albums, and after struggling, he found a formula. It appears Barry must have heard Phil Spector’s production on The Beatles Let It Be, especially on “The Long and Winding Road”, and built a template from it. But the album is a pretty varied and mixed collection, with a touch of AOR for good measure. Barry remains a strong singer, and able piano player, he may not have the edge of a contemporary like Billy Joel, but production and the team of players make it fairly immaculate. Yet, there isn’t pretense behind this, if you are looking for light rock or pop, this will be ideal. Besides, Manilow fans probably won’t mind. Barry does seem like he has a knack for writing a catchy melody or finding one. There’s no soloists, so the ensemble playing is pleasant 

    Barry has a dalliance with Disco, and it makes sense, there’s an old Hollywood feeling behind the narrative to “Copacabana (At The Copa)”, it’s fun and good opener for the album. This is followed by the ballad “Somewhere In The Night”, pretty standard Manilow fare, but he is able to articulate an emotional arc. “A Linda Song” is a overlooked romance about a woman who supported an artist who was blinded their need for her, another well executed ballad. The brighter pop of “Can’t Smile Without You” is an obvious single, than manages to modulate keys four times, the spirit of it could be seen as sweet or pitiful depending on your outlook. The guitar pop of “Leavin’ In The Morning” has a touch of the current Neil Diamond sensibility. The ballad “Where Do I Go From here” ends the first half, and he does have a knack for a lovely melody. 

    The title track opens the second half, a regret about a lost love, and apparently the other single issued. Barry has dabbled before with writing American songbook jazz number before and does it again with the light swing of “I Was a Fool (To Let You Go)”. Barry has obviously figured out that ballads are his safe territory, so “Losing Touch” is about the end of a relationship. The slight mid tempo of “I Just Want to be One in Your Life” has a catchy melody with a bridge that has a hint of brief gospel, it’s not earth shattering, but well done with another modulating key. “Starting Again” is an ambivalent number that will feel all to common for many. The closer, “Sunrise” manages to have a haunted quality with a Latin feel, and a good closing statement for the album. Manilow and Marty Panzer wrote most of the songs, along with material from Richard Kerr, Will Jennings, Chris Arnold, David Martin, Parker McGee, and Michael Price, Dan Walsh. 

    Yes, the whole packaging, the production has a very corporate pop feel to it, I admit, nothing really profound per se, and mostly pleasant background music, but Barry does a good job of it, and it will probably help find a broader audience, it serves it’s purpose well.  

* This is one of those albums I have a sense memory with as it was one of my mother's favorites from in the mid-seventies.

Retro Reviews: Yes: The Yes Album

     I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Yes – The Yes Album (1971)

*****

Producers: Yes, Eddie Offord

Musicians: Jon Anderson, Steve Howe, Chris Squire, Tony Kaye, Bill Bruford, Colin Goldring

Songs and Music: Yours Is No Disgrace, The Clap, Starship Trooper (a. Life Seeker b. Disillusion c. Wurm), I’ve Seen All Good People (a. Your Move  b. All Good People), A Venture, Perpetual Change

Reviewed By Matthew Anthony Allair

    As a follow up to the prior years’ Time And A Word or the first album from 1969, The introduction of Steve Howe as a player is very different from Peter Banks, but his inclusion reflects real growth for the band, the prior album’s use of an orchestra seemed too self-conscious of The Moody Blues, or Pink Floyd’s Atom Heart Mother for my taste. The band has gone back to basics and this feels like a reset. In addition, the change of producers from Colton to Offord has helped to give them a new focus. To say that the playing between Howe, Squire, Bruford and Kaye is exceptional would be an understatement. Often the vocals between Anderson and Squire have a synergy to them that distinguishes this band. While the album only features five songs and one instrumental, it indeed packs a wallop and doesn’t’ wear out it’s welcome. Welther or not this band are the denizens of King Crimson is hard to access, but I can say it’s possible.

    The dynamics of “Yours Is No Disgrace” establishes an impressive tone. The opening rock section has a lifting quality, the band sits back with the vocals before the propulsive support with the verses, when you think you have reached a comfort zone, there’s a laid-back swing grove that reframes it. Although the core of it repeats, it manages to find interesting variations. The breakdown takes it to another level with some expressive guitar work from Howe, that swing section is represented with a folk a flavor. It all resolves with an ascending quality. Recorded live, “The Clap” is a showcase for Howe with an acoustic bluegrass excursion. “Starship Trooper” opens with a nod to the late sixties with some dexterous guitar and bass work, the first section “Life Seeker” seems to set up a narrative, the shift with the light bluegrass folk of “Disillusion” before another band shift again. The closer “Wurm” has a meditative anthem quality, Tony Kaye builds up some nice support before Howe rides out the solo. 

    The second half also moves at a brisk pace, the Two part “I’ve Seen All Good People”, opens with “a. Your Move”  the acapella establishes the feeling before a bright folk feel of the number, as well some tasteful recorder work, in the midst of the Organ, there’s a nice quote to Lennon’s “Give Peace A Chance”. The old school rock of “b. All Good People” has a bright rockabilly sensibility with some fine piano work, Howe sounds liberated at this moment. The gothic organ takes over in the resolution. A track that is definitely in the running for radio attention. A moody piano eases into the pensive pop of “A Venture”, the interplay between the guitar and piano is compelling. But Squire and Bruford opens up the second half up as well. The closer, “Perpetual Change” has a dynamic opening before the lighter pop tone of Anderson’s vocal settles, but like a creative mirror to “Yours”, manages to shift into an introspective jazz feel by the mid-point, and offers up surprises. A shift towards a rhythmic RNB shuffle riff allows some more work from Howe and Kaye solos. This is a track that could manage to stumble, but the manages to execute an uplifting ending.

    Yes, with its new line up, has managed to arrive, and I will be curious to see what they offer up next. 

Retro Reviews: David Bowie: Station To Station

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

David Bowie – Station to Station (1976)

*****

Producers: David Bowie, Harry Maslin

Musicians: David Bowie, Carlos Alomar, Earl Slick, George Murray, Dennis Davis, Roy Bittan, Warren Peace, Harry Maslin

Songs: Station To Station, Golden Years, Word On A Wing, TVC 15, Stay, Wild Is The Wind

Reviewed By Matthew Anthony Allair

    David Bowie’s follow-up to last years Young Americans is a marked evolution from the white soul that was offered up from that album. The main shift is producers as Harry Maslin takes the helm, Carlos Alomar has been brought back, but Earl Slick has been brought in to add an extra rock edge, perhaps this is Bowie’s acknowledgment that Mick Ronson had given a needed component, yet don’t make the mistake, the accent of rhythm is all important with this release. While reviews from peers have been quite decent, I have to strongly disagree with Dave Marsh’s assessment that this album is ‘inconsequential filler’, this is nonsense, if true, I wouldn’t say this album is any more inconsequential that Lennon’s Mind Games (1973) or Walls and Bridges (1974). Bowie has completely removed himself from his glam rock persona at this stage.

    The album does seem to be a darker meditation on what had been explored with Young Americans. This time, the paranoia seems more desperate and sounds like a man, or character, who doesn’t like what he’s become, and perhaps can’t overcome it. The six tracks move at a good pace, and are varied. The album seems to coincide with Bowie’s first acting role The Man Who Fell To Earth, Jerome Thomas Newton, the title character of that film, and his new persona The Thin White Duke may mirror each other, but the Duke may be even more disturbing. The title track has an epic, and long build, the lyrics seem to build to a paranoid delusion, and a romance with addiction. “Golden Years” has been released as the single, the rhythmic groove has enough of an off-kilter quality to keep it enticing. The piano of “Word On A Wing” has a hymn like moment, before this mid-tempo ballad shifts into its core. Roy Bitten’s work anchors the piece. 

    The second half opens with the Rock N Roll whimsy of “TVC 15” with its barrel house piano, and dissonate guitar work that offers an ode to a British television station, but the tone belies that fact that this is likely an addict with an obsession. The album leans into dark funk with “Stay”, a track where Slick offers a fine balance to Alomar groove. The song seems to offer a moment of clarity for a person breaking out of a trap and in need of salvation from another. That moment of clarity is brought back with the album closer and ballad “Wild Is The Wind”, a cover from Dimitri Tiomkin, Bowie delivers a fine performance with a bottomless sadness. There’s nothing heroic about the tone of the album, unlike the Ziggy persona that offered glimmers of hope, it sounds like a persona that is trapped and wrapped in an enigma. Lost in the maze of their own design.

    This album hints that Bowie is headed in some fascinating directions, but one doesn’t know where those winds will blow. I will be curious. 

Retro Reviews: Pink Floyd: The Final Cut

       I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Pink Floyd – The Final Cut (1983)

**

Producers: Roger Waters, James Guthrie, Michael Kamen

Musicians: Roger Waters, David Gilmour, Nick Mason, Andy Newmark, Michael Kamen, Ray Cooper, Andy Bown, Raphael Ravenscroff, Doreen Chanter, Irine Chanter

Songs: The Post War Dream, Your Possible Pasts, One Of The Few, The Hero’s Return, The Gunner’s Dream, Paranoid Eyes, Get Your Filthy Hands Off My Desert, The Fletcher Memorial Home. Southhampton Dock, The Final Cut, Not Now John, Two Suns In The Sunset

Reviewed By Matthew Anthony Allair

    This is probably one of the most frustrating albums to have had to access. This is an album seems to be 'in name only' as far as the band’s namesake. If it’s viewed as Roger Water’s solo effort then one can view it as a success as far as evoking the emotional goals, but if it’s accessed as a Pink Floyd release, then it feels like a forgery. The absence of Richard Wright is palpable on the album. Nick Mason only plays drums on seven of the twelve tracks, and this means that David Gilmour acts as the emotional glue as a player, when he is given free rein to showcase himself, but that becomes infrequent as it evolves. This feels like Roger is using the flatform to exorcise demons that could be more appropriate with therapy sessions. David, the best singer in the outfit, is only allowed to co-lead one vocal with “Not Now John”, the one song released as a single that manages to sabotage itself with profanity, the use of language I don’t mind, but it does seem like a bizarre choice.  Michael Kamen’s keyboard and arrangements have practically supplanted Gilmour’s role for the band.

    While Roger has moments of being effective as a vocalist, he is simply not a great singer, and it sabotages some of the songs would have been served better from Gilmour, or for them to have brought in outside singers, gone are the days of bringing in Roy Harper as a guest, or Clare Torry, the use of such singers could have helped bring differing perspectives on the themes explored. The album also feels too self-conscious about referencing their prior album The Wall, or the tone of Animals. While James Guthrie is brought back in, the absence of Bob Ezrin is notable. In terms of the production, it is indeed immaculate, and much of the sonic experimentation with the sound effects is there, but it just feels too superficial, if not based on gimmicks. While players like Raphel Ravenscroff do a commendable job, it just feels too imitative of Dick Parry’s past glories and my sympathies go out to the musicians asked to do this. Andy Bown’s Organ work is commendable as far as a mimic of Wright – but it’s an approximation. 

    While The Wall was an uneven album, it had a balance between introspective material, ballads, and up-tempo numbers, this album is top heavy with somber introspective numbers, and the ballads, but not much else, and it makes for a tedious listen. While I have little doubt that younger music fans will be forgiving about the album, the surface depth starts to sound rather hollow from Waters in what was initially probably well intended. The loose theme of the album, described as a ‘requiem for the post war Dream’ is a screed against modern war, the idea of broken promises for those who served in World War II, that society would be living in a utopia that never came to be, much of this feels like a variant over Roger’s past and the death of his father in Anzio when he was an infant. Ideas that were hinted at with The Wall but explored a little too in depth here. Once again, the addition of outside vocalists playing differing characters may have made this a little more compelling. 

    A harmonium drives the orchestral opener “The Post War Dream”, this is one of the few cases where Roger’s vocal fits as far setting up the tone, but it needed more moving forward. “Your Possible Pasts” is one of the few cases where David’s guitar seems present, but the occasional drum and organ accents don’t make a rock song, and some of the arrangements lean too heavy on the 1979 album, still David’s lead transcends at moments, but another vocalist should have handled the material. The brief “One of the Few” acts as preamble to the next number. Some of David’s pulsating guitar work reappears for “The Hero’s Return”, Roger’s unhinged vocal style wears pretty thin soon enough, and starts to feel like a one trick pony. The opening of the ballad “The Gunner’s Dream” acts as a trauma flashback before the core of the material creeps through. But the bombast feels empty in the instrumental section. The ballad “Paranoid Eyes” has a strange self-pity to it that may have been unintentional, due to Roger’s inability to translate the material, again, they needed another vocalist.

    There is a kind of dark humor that opens the second half with “Get Your Filthy Hands Of My Desert”. The next number seems to be told from the perspective of an older veteran, “The Fletcher Memorial Home”, but it needed a different vocal read for it, what is otherwise, a moving piece. The middle section seems to reference modern political policy, as Smedley Butler once said, ‘War Is a Racket’, and very little has changed. This is another case where Gilmour is allowed to cut through in the last half. With “Southhampton Dock” once again seems offer another perspective that needed another singer, perhaps Gilmour. The ballad “The Final Cut” has the last of the truly effective Gilmour guitar leads. Many of these songs seem driven by characters full of anger that have translated into defeated self-pity. The prior mentioned “Not Now John” is the most up-tempo number, Gilmour’s guitar leads bring some life to the number. The spare use of synths seems like an odd choice, other than  on “John”, that choice simply leaves the album feeling a little thinner somehow. The closer “Two Suns in the Sunset” seems to be warning about nuclear winter if we don’t abandon our warring inclinations. Wars are all built about land grabs and extraction of resources without the proper arrangements of trade deals seen in peace time. 

    I must disagree with my Rolling Stones peers on this one. If you want a political or sociological screed; then by all means, pick your poison. But music should partly entertain, and there’s a drudgery to some of the proceedings here.  I hold no ill will towards Gilmour or Mason, but I have serious questions about Mr. Waters now. If the album was Waters’ attempt to validate his argument about his importance within the band, his questionable choices has undermined that very objective, while Waters remains an incisive lyricist, the sum of the other parts have become all too apparent in their importance. In the end Waters manages to undermine some potentially good material, and you are not certain why – Perhaps over confidence in Roger’s omnipotent intellect. That’s for others to conclude*. 

    It isn’t as though I disagree with the sentiments of the album’s ideas, but I just feel the execution leaves a lot of be desired. Rumors are out there’s no intended tour for the album, and if this is final statement from Pink Floyd, a band with such an important legacy, then this is rather unfortunate. Roger seems to have run out of a bag of tricks to illustrate his ideas. This album isn’t really a move forward for the band, maybe Gilmour will have some fresh ideas in the future, but I have my doubts about Mr. Waters. This is an unfortunate listen. 

* In hindsight, we all know what happened after this album. To quote Saphire from Almost Famous, "I mean everyone knows". Roger would likely have a proverbial coronary for anyone to question his intellectual heft. But we have explored that here before.   

Retro Reviews: Joni Mitchell: Blue

     I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.

Joni Mitchell – Blue (1971)

*****

Producer: Joni Mitchell

Musicians: Joni Mitchell, James Taylor, Russ Kunkel, Stephen Stills, Sneaky Pete Klienow

Songs: All I Want, My Old Man, Little Green, Carey, Blue, California, This Flight Tonight, River, A Case Of You, The Last Time I Saw Richard

Reviewed by Matthew Anthony Allair

    The theme of regret and reflection seems to be the persistent thread on Joni Mitchell’s outstanding album Blue. Four tracks use the dulcimer played by Joni to great effect, “All I Want, Carey, California” and “A Case Of You.” Her piano work remains outstanding, and her angelic voice remains the glue that ties this all together. There may be a little ornamentation as far as horns to flute, but the added percussion, a touch of bass, and extra guitars serve the material well. James Taylor and Stephen Stills make another appearance. There’s an honesty, candor and a sweetness that isn’t built on resentment, but resignation at various points. This is the kind of material one could need when they seek something meditative yet relaxing. Her production, while modest, archives intimacy and a relatability to the songs. The songs seems to run the gambit of friendships and lost loves.

    The aural vibrantly is there with the opener “All I Want”, a track that Mr. Taylor provides second guitar, but the Dulcimer drives the tone of the track. The longing of the lyrics about traveling onward in the midst of an ambivalent relationship latches onto the listener. The piano on “My Old Man” has a rich tapestry and the kind of harmonic complexity you come to expect, about a couple who aren’t bound by the convention of marriage, as well acknowledging the emptiness when separate. The acoustic work of “Little Green” almost hints at “Morning Morgantown”, but it develops into a more bitter sweet tone with a haunting or haunted quality. The bass And light percussion of “Carey”, along with the dulcimer, offers a whimsy over a complicated relationship. The title track, “Blue” closes the first half with some impressionistic piano. This song seems to be about the consequences of too much, too much indulgence, too much need in lieu of a healthy relationship.

    The second half opens with the acoustic whimsy of “California”, and some nice pedal steel guitar that responds to the lyric. There’s already growing mythos over the California folk and country scene that is unfolding and this seems to touch on this. There’s a dark tone musically to “This Flight Tonight”, but there’s an ambiguity and ambivalence to the lyrics, there’s a nice nod transistor radio rockabilly over a few lyrics. “River” is simply magical as a piano driven song, set around the holidays, it’s a kind of thematic hymn to childhood memories of winter adventures. Which is often the case, her best songs are often near the end of an album, “A Case Of You” is such a song, a piece about the deep connection that isn’t going to quite work out. The closing Piano piece, “The Last Time I Saw Richard” is a meditation - a reflection on a past relationship that has given the female partner a reality check, or perhaps they simply knew each other too well, but this paints a very vivid picture. 

    The consistency with Mitchell’s artistry, her work as a singer and musician, has remained impressive with four albums under her belt. Rumor has it, that she is going to sign with another label, and one could view these first four albums as the close of the first chapter, her growth is astonishing and I await the next phase. She is on par with contemporary Dylan, perhaps even surpassing him for the time being. That is a heady statement to make, but it bears fruit to argue it after this release.   

Perspectives: McCartney: What lead to 'Too Many People' Pt 1

 

Perspectives: McCartney: What lead to “Too Many People”

Article by Matthew Anthony Allair

Those Long and Winding Roads

    There’s an analogy I have seen with old spring wound movie camera’s – as the camera winds down, the image speeds up. The output of the Beatles did seem to intensify within the last two years before their official break-up. For starters, there was the label Apple Records and its enterprises, the idea of the label did create opportunities and some fine records were released from its very inception. Paul produced Mary Hopkin’s first single, “Those Were The Days” in late 68 and her first album, Postcard in 1969. Badfinger was signed to the label, and several key figures produced their singles or albums. Paul produced “Come and Get It”, with Mal Evans producing tracks on Magic Christian Music, Geoff Emerick producing tracks for No Dice, and George Harrison producing tracks for Straight Up. Peter Asher, of Peter & Gordon, were friends of Paul’s, and he brought James Taylor who signed with Apple in 68 and released his classic first album. Billy Preston and Jackie Lomax worked with George. Even Yoko Ono brought in the Modern Jazz Quartet for a few albums, but the idea of Apple was burning through their profits. There were bound to be problems.

    What is one of the most unfortunate things about The Beatles break-up, was the very narratives that were set up, and opinions that were set and formed that people still cling to this day. Essentially, people were forced to ‘choose sides’; it wasn’t enough to just accept all of members and what they would offer in the Post Beatles years. Lines were drawn, and people convinced themselves as to ‘who was brilliant’ in the band. The truth was, they were all brilliant in different ways. But the band were all not business savvy enough, and it showed with some of the decisions made with the Apple enterprise. It didn’t help that figures like Jann Wenner would capitalize on the issues. Near the end of 68, prior to the release of the controversial Two Virgins, John Lennon granted Rolling Stone to print one of the nude photos of the cover. The magazine was in trouble and the scoop helped their circulation. We will get back to that in a moment.

    Through 1969 and 1970, there were bad actors on all sides, whom saw opportunities with The Beatles in business, and in the music press, and it’s tragic to see the number of agitators who were whispering into each ear of the Lads from Liverpool,  If you have seen in chronological order the Get Back sessions from the start of Jan until the end of that month, based on Peter Jackson’s eight hour documentary, you saw tensions, boredom, but you saw a willingness to iron things out after George quit the band for a couple of days.

    Even at the start of 69, Paul knew The Beatles were in trouble, you could see it on his face in the Get Back documentary - at the moment George left. 

“This was a very difficult period. John was with Yoko full time, and our relationship started to crumble: John and I were going through a very tense period. The breakup of The Beatles was looming and I was very nervy. Personally it was a very difficult period for me, I think the drugs, the stress, the tiredness, and everything started to take its toll. I somehow managed to miss a lot of the bad effects of all that, but looking back on the period, I think I was having troubles.”

    Paul was also guilty of having blind spots with his zeal to keep the band going, and keep creating for the band, that much is fair to say. But two figures did more sew divide them near the end, Allen Klein and Jann Wenner, their toxic actions pretty much guaranteed the key players would never work together again.

The False Prophet (Profit) Manager

    As documented in Get Back on the 27^th of January, John and Yoko met Allen Klein at the Dorchester Hotel. Allen’s knowledge of the band - and John’s work prior 1968 - in particular impressed Lennon, plus John’s drug recovery left him susceptible to flattery at that moment. Yoko liked Allen because he promised to get her an expedition of her work, which he followed through with two years later. Klein was also someone who didn’t appear dismissive of Yoko’s work. Even if the others wouldn’t agree to have Klein manage The Beatles, he made up his mind, and within a short space of time, Lennon wrote to Sir Joe Lockwood at EMI, Clive Epstein at NEMS, Dick James at Northern Songs, and Harry Pinkster at Bryce Hamner and requested their full cooperation with Klein. 

    A band meeting shortly followed there to state the case for Klein. George and Ringo were convinced to have Klein manage the band. But Paul wasn’t convinced. Paul’s brother-in-law Eastman had heard about the case pending against Klein with American tax authorities and was weary. Paradoxical thinking won the day, a typical aspect of most musicians, someone bad must be good. When George would write about some of these frustrations with the band and even Paul, he also saw things in an interesting way.

    In His 1980 Book, I Me Mine, When George Harrison was talking about the situation with Apple, he was more philosophical about it all. “Wah Wah” was about the tensions in the band. But “Run Of The Mill” even more so. 

“’Trouble at t’mill’; it was when Apple was getting crazy – Ringo wanted it blue, John wanted it white, Paul wanted it green, and I wanted it orange. Paul was falling out with all of us and going around Apple offices saying “You’re no good’—everybody was just incompetent (the Spanish Inquisition sketch). It was that period – the problems of partnerships.”

    The story of Allen Klein is revealing, in a nutshell, Pop star Bobby Darin first met Allen in 1962, Klein was an accountant who started in the late 1950s and was good at looking into audits and finding unpaid royalties. Darin was impressed and gave Klein his business, then Klein negotiated a new deal for Darin with the Capitol contract, but he inserted some interesting clauses, Klein wanted Capitol to sell the Trinity Music Publishing Company to Darin for a substantial sum, Thar publishing had seven hundred songs in it’s catalog, and Darin had only seventy at Trinity, but Capitol was so desperate to get Darin, they agreed. Bobby was a multi-millionaire within a year. Then Klein went after Sam Cooke, securing a nearly million-dollar deal with RCA, prior to Cookes murder. Most record labels were ripping off their artists, so it was easy for Klein to snoop around and extract better deals. Klein got deals for The Dave Clark Five, Herman’s Hermits, as well as his fantastic deal with Decca for the Rolling Stones. His company The Allen and Betty Klein Company (ABKCO) would be a powerhouse for a spell, but it all came with a tradeoff, Klein understood the power of publishing companies and would leverage for that power. 

    Klein was a scrapper, He was born in 1931 in Newark, New Jersey, his mother died of cancer before he was two years old, and his father, a Kosher butcher was forced to place Klein and his sisters in a Jewish orphanage. As he grew older, he had to fend for himself, Klein had to work hard to become an accountant and attended classes at Upsala College in the evenings. John Lennon identified with Klein’s working-class background very quickly. John felt that the Eastman’s upper crust background was suspect, John also accused the Eastman’s of being condescending to him. The only problem was that John misread the situation, some would argue, John assumed Klein shared the same goals as their deceased manager Brian Epstein.

    Rumors circulated that Lennon was consulting Klein back to Mick Jagger, who handed a note via his assistant Peter Swales that was sent to Paul issuing a warning about Klein, Paul asked Mick to come by the Apple offices for a meeting with the band. When asked how Klein was, Mick replied “Well, he’s all right if you like that kind of thing.” But Paul sensed that Mick was intimidated about speaking, Klein would soon have the copyrights to the Stones Hot Rocks compilations.

    On February 3^rd Klein was appointed to conduct an audit on the Beatles finances, as much as Paul vetoed by the others a board meeting as far as Klein becoming manager, he did get one concession, the Eastman’s would be appointed general counsel to The Beatles so there could be some general check on Klein, John and Lee Eastman became the bands lawyers the following day, Fed 4^th. The band would start work on what would become Abbey Road by February 22^nd.

    For two months Klein examined everything, while the Apple staff waited nervously, by March 21^st Klein became Apple’s business manager. Anyone who was considered a threat to Klein was soon let go, long-term loyalist Alistair Taylor, as well as Apple records executive Ron Kass were fired, Neil Aspinall was nearly fired, but the band objected, so he was spared, so was Derek Taylor also kept, as he was not a threat. Countless staffers who were considered hangers-on were let go.

    The below comment by Allen Klein from a Playboy interview 1971, speaks volumes about him. 

“The Music business is about 99 per cent no-talent losers who can’t stand a winner in their midst. I’m a winner, and if they want to sour grape my success by calling me names, let them. I don’t give a shit.”

    In spite of the tensions with Apple, the band pressed forward with sessions for Abbey Road. Early on, by April 14^th, 69, John brought to Paul’s home “The Ballad Of John and Yoko” to finish up, because Ringo and George were away, John and Paul went to the studio    and recorded it as a duo, this may have helped make the rest of the sessions for the album so a little smoother as it was a bonding moment for Paul and John. As the sessions evolved, Paul would write several songs, that in retrospect, seemed like veiled comments that the band were over, “You Never Give Me Your Money, Carry That Weight” and “The End”. The fact that George was now considered on par to have “Something” and “Here Comes The Sun” be the singles was a kind of generous act by Paul and John, as well as Ringo’s “Octopuses’ Garden” being released as a single. The last track recorded by the full band on August 20^th was John’s “I Want You (She’s So Heavy)”.

    In the midst of the sessions the Eastman’s were fired as the band Lawyers as Klein took more control, things built to a head on May 9^th when the band was booked for a session at Olympia studios with Glyn Johns, when Paul was presented with a ultimatum by the band, Klein told them he needed to have his three year contract signed before he wanted to head back to New York and have Klein present it to the board of his corporation. Klein insisted on 20 percent, Paul argued: “He’ll take 15 percent, we’re the biggest act in the world, he’ll take 15 percent”. The band ganged up on Paul over the percentage, bullied him and outvoted him anyway. Klein claimed ‘I Can’t do it for any less, my board won’t allow it’, Of course, there was no board as Klein and Peter Howard were the board members. But John, George and Ringo believed him.

    Paul countered that it was already the weekend, and no business would get done until Monday, The rest of the band accused Paul of “Stalling”, while Paul argued his lawyer could be present on Monday, the band couldn’t do anything else, so they all stormed off leaving Paul alone for the session. Paul vented to musician Steve Miller on the day, and they recorded as a duo, “My Dark Hour”, which Miller would release later as single under a alias. Paul never did sign that contract. While the radio DJ "Paul is Dead" hoax and rumor had circulated by October of 1969, as much as it was false, what is true is that a proverbial funeral procession was on the loom for The Beatles that no one saw.

    I have argued that Allen Klein was a narcissist, now narcissism isn’t a mental illness but more a personality type, there is a range to the traits, some people are malignant, grandiose, covert, or victimized, the common trait is a lack of empathy, although they may be extremely good at feigning empathy when it benefits them. They often believe they are superior to others, critical of others they look down on, expect special favors and expect others to do what they want without question. Take advantage of others to get what they want, behave arrogantly, and have the inability to recognize the needs or feelings of others. Most narcissists have suffered some extreme traumas in childhood that shape their personality. Therein lies the enigma, not everyone who suffered trauma becomes narcissistic. John did have empathy, so did Paul, that is the difference. However fiercely intelligent John was, he was also capable of being naïve. Many smart people are often duped by narcissists.

    Paul’s actions and arguments probably planted the seed that Klein would view Paul as an enemy. The way that narcissists work is to bully people into their way of thinking, or to pit associates against one another for the sake of winning. Klein probably even thought he could brow beat Paul into doing what he wished, but it never happened, Paul seemed to intuitively have a sense of the big picture over how much control Klein should have. 

Linda recalled:

“It was weird times. Allen Klein was stirring it up something awful. Between Allen Klien in one ear and Yoko* in the other ear, they had John so spinning about Paul it was really quite heartbreaking. So Stupid. It reminded me of the Eisenstein movie Ivan The Terrible: they were all whispering. It was like that with John; he was getting so bitter about Paul, and all Paul was saying was that he didn’t want to sign a big management contract with Allan Klein. Nothing to do with anything else.”

    Upon the completion of the Abbey Road sessions, the Apple offices had settled into a different climate, John and Yoko took over Ron Kass’s office, even with other appointed staffers, Klein has final say over every detail, even Paul was quoted with saying to Klein, “If you are screwing us, I don’t see how.” The deal that Allen Klein made included a stipulation that a compilation had to be released per year for Capitol. That would lead towards the American Hey Jude compilation in February 1970. The Red and Blue sets in 73, the Rock N Roll set in 76, and Love Songs in 1977 for Capitol, and so on. In fairness to Klein, George Harrison’s beloved Victorian estate Friar’s Park never would have been sold to George had it been for him. Also, the distribution deal that lead to the release of Alejandro Jodorowsky’s El Topo, a film John and Yoko advocated for, would have never seen a global release, due to Klein’s company.

    What was about to happen shouldn’t have been a surprise in hindsight to anyone. When John and Yoko was invited to guest at the Toronto Rock N Roll Revival, and around some point on that September 13^th date. John informed Clapton and Klaus Voormann that he was leaving The Beatles, that album would be released December of 1969. Allen Klein did negotiate a new deal with EMI / Capitol where they agreed to raise the royalty to 25 percent of retail to be paid directly from EMI to Apple. An unprecedented amount. Yet on September 20^th, 1969 after the new contract had been signed while the band mates speculated about what do to next. John was candid with Paul: “Well, I wasn’t going to tell you till after we signed the Capitol contract. Klein asked me to not tell you. But, seeing that you asked me, I’m leaving the group.” Everyone blanched over John’s revelation, but John seemed excited, like his prior divorce with Cynthia, the rest of the band signed the deal in a daze.

    Ringo had left for a few days during the white album sessions but was coaxed back. George left for a spell at the start of 69, and was talked back, but when John announced he was leaving, it felt final. Paul and Linda retreated for three weeks to his small farm in Scotland to regroup after news it. Paul acknowledged:

“I was through a bad period. I exhibited all the classic symptoms of the unemployed, the redundant man. First, you don’t shave, and it’s not to grow a groovy beard, it’s because you cannot be fucking bothered. Anger, deep, deep anger sets in… Mornings weren’t for getting up. I might get up and stay on the bed a bit and not know where to go, and get back into bed. Then if I did get up, I’d have a drink. Straight out of bed. I’ve never done that,…I felt I’d outlived my usefulness….But the minute I wasn’t with the Beatles anymore it became very difficult.”

Paul admits he needed a month or so to think things over; to plant trees, he became a hermit. He was bound to a contract he didn’t want to be in. Prior to Klein, the band signed a contract in July 1967 at the forming of Apple that bound each of them financially for ten years. Any solo projects would be added into a till. For example; John’s Plastic Ono Band profits would be shared equally between the four of them. The share and share alike philosophy that reflected the early days of Apple records would soon become a two-edged sword. Paul would soon realize that Klein could benefit from Paul’s sales when that man had nothing to do with the work, he didn’t want to see ABKCO label on every McCartney solo release. This trap has similarities, for example, to the early contracts with Billy Joel when he and signed worked with Artie Ripp, although Ripp would have nothing with Joel’s work after 1971, his company Family Productions, took a percentage of every future Joel album sale for a decade. This was all too common in the music business, as Paul was about to get more of the dental experience. Paul pretty much excluded himself from The Apple offices and EMI. 

Paul’s removal from the business side of the situation may seem childish or controlling by some, but his actions may have been intuitive. When dealing with a narcissist, the best tactic is what they call Grey Rocking, to become invisible, to not share certain details, remove oneself from manipulation, and to also remove oneself from the circle around the narcissist – the enablers. This is often very difficult with a business venture, or a marriage that is falling apart, but can be necessary for one’s mental health.

Paul’s solo venture with Linda’s help would give him solace and purpose, when he would start to record tracks for what would become McCartney (1970), while he separated himself from the rest of the band and Apple records, it would soon get worse. In truth, Linda’s support is probably what saved Paul from becoming a drug addict or committing suicide. In the same way Yoko probably saved John from becoming a drug causality, but it was a painful growing up for all of them. Even the in midst of 1969, John was not oblivious as to how others were trying to manipulate him. Plenty of bad actors were part of the gossip mill, as Paul explained:

“When John and I used to meet during this period, he’d say ‘Do they try and set you against me like they try and set me against you?’ And I’d say ‘Yes, often, People’ll say, “Oh, did you hear that Lennon threw up before he went on stage in Taranto?’” They’d always tell me the juicy things, in case I wanted to go ‘Did he? What a bastard! Well, serves him right, ha, ha,ha.’

“The two of them were on Heroin, and this was a fairly big shocker for us because we were far-out boys but we kind of understood that we’d never get quite that far out. I don’t think people understood what was happening but there was still a lot of affection still.”

Generally, addicts won’t make good decisions. While John and Yoko used in 69, they were still using to a degree in 1970, and in-between rehab visits, would still use until John stopped in 1975. John admitted he was stoned for most of the Get Back project, which you can see, he didn’t seem to care. The added influence of Klein as the building confusion with the enterprise didn’t help. Shortly, Paul was trapped. 

* In fairness to Linda's remarks, Yoko was merely being defensive of her husband, in the same way that Linda was defending her husband. Actually, Linda would advocate for Yoko as she recognized the misogyny they both dealt with. 

Continued on part two...