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Post by oh oooh on Jan 18, 2019 0:34:15 GMT
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loveless
god
Bringing ballet to the masses. Sticking to the funk.
Posts: 2,815
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Post by loveless on Jan 18, 2019 2:18:21 GMT
That particular performance is powerful as hell.
You can hear the whole band kick it up several notches when they go into the bridge (unusually strong low end for 1963 television appearance!) - and John sounds especially urgent/wild at/above the top of his range. Paul sort of famously got the high parts cause he was effortless in the higher registers (the bridge to "A Hard Day's Night", "The Night Before"), whereas John sounds a lot more intense because he has the sound of a man who is fearlessly leaping out of his sweet spot with all of the "How will this work out?" abandon that such a daredevil move requires. You can hear the uncertainty of the outcome and the loss of surefooted technique when he goes up there ('Yer Blues", "Money", "Well, Well, Well") and just starts shredding his voice.
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fange
god
Listening to long jazz tracks
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Post by fange on Jan 18, 2019 3:53:24 GMT
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Post by Charlie O. on Jan 18, 2019 4:24:27 GMT
Dig Paul grinning over at John after the bridge (around 1:32)... |
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Post by jeffk on Jan 18, 2019 4:33:28 GMT
Dig Paul grinning over at John after the bridge (around 1:32)... No Pere Ubu comparisons this time, Charlie? |
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Post by Charlie O. on Jan 18, 2019 4:36:57 GMT
I'll have to think on it...
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Post by oh oooh on Jan 18, 2019 9:09:29 GMT
This one's another good example of them tugging at your heartstrings, I think. I love it just as much as 'This Boy'. That little bell-chime guitar bit after every line in the verse, Ringo tapping on the hi-hat (he loved that hi-hat!). And those backing vocals are sweet, especially when they scale up before 'all of my life...'.
Musically it might be a bit more buttoned-up than some of their early efforts, but that's part of what breaks your heart, the innocence. And John's boiling over at points.
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Post by Reactionary Rage on Jan 18, 2019 10:32:29 GMT
John's In My Room.
There is a raw vulnerability here that really cuts deep. Johns vocal, in particular the moment where his voice shakes on the "like I love only you" line is something special. When people talk about the shock of the early Beatles this is one of the songs that always makes me understand how different they must have sounded to so much other pop music of the time.
There's a realness here that must have been quite shocking. And thrilling of course. I mean who can't relate?
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Post by oh oooh on Jan 18, 2019 10:38:21 GMT
It fucking slaughters me, that one. I don't really have much more to say. You know I dig it, D...
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Post by Reactionary Rage on Jan 18, 2019 10:59:36 GMT
It fucking slaughters me, that one. I don't really have much more to say. You know I dig it, D... It's one of those songs that captures something that is maybe associated more with the extremes of emotion that occur during adolescence but of course it resonates for the rest of your life. It captures something ageless and universal and maybe in doing so it reminds us that as much as we grow and "mature" somethings simply never leave us. |
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loveless
god
Bringing ballet to the masses. Sticking to the funk.
Posts: 2,815
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Post by loveless on Jan 18, 2019 12:40:09 GMT
There's all of these sort of lopsided, asymmetrical harmonic and melodic elements to "There's a Place" (insanely modern chord changes) that add to its sense of urgency and "presence". It's a ballsy song on a number of levels, and...however many decades later, when I occasionally perform it with people onstage, it STILL really does "wake itself up" by virtue of having these jarring, oddball components (for as much as the band had cut their chops on Tin Pan Alley and straight rock and roll, blues, country, R&B, etc. - you can hear all of these sharp proprietary twists and turns in some of these early songs - "Please Please Me", "It Won't Be Long" - that really do provide a certain future shock...from the opening harmonica note, "and it's my MIND, and there's no TIME...", "don't you know that it's SO"...).
It's downright churlish to sort of count the ways they stood apart from the likes of "Living Doll" (or "How Do You Do It"), but...the depth of unique character they were bringing to their moment in time (songs, sound) can't really be overlooked.
Talking shit to their elders in AHDN is but an extension of something they'd already delivered.
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loveless
god
Bringing ballet to the masses. Sticking to the funk.
Posts: 2,815
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Post by loveless on Jan 18, 2019 15:31:55 GMT
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Deleted
Deleted Member
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Post by Deleted on Jan 18, 2019 17:45:37 GMT
For completely different reasons.
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nolamike
star
Old Fart At Play
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Post by nolamike on Jan 22, 2019 21:44:27 GMT
For me, Beatles for Sale is the one to mine for this stuff. They're clearly exhausted, trying to comprehend the insanity of the last two years, and despite containing far fewer "classics" (and far more covers) than most of their other albums, it seems to have a deep sadness running throughout that resonates. There are quite a few obvious tunes that contribute to this - "No Reply," "I'm a Loser," "Baby's in Black," "What You're Doing," but for me, I just really love this one... much like Sam Cooke's "Havin' a Party" or Big Star's "Nighttime," it dwells on internal sadness while the rest of the world around the protagonist is filled with joy; it's quite simple and straightforward, but in a beautiful way:
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Deleted
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Post by Deleted on Jan 22, 2019 21:52:04 GMT
The sweetness of Paul and the sourness of John worked so well in the formula of the Beatles but solo Paul can be a bit cringeworthy. I'm embarrassed to say though that I saw Paul McCartney three or so years ago and blubbled like an infant when he sang 'Blackbird'. I really don't do blubbing.
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