THE MELISMATICS
Rising Tide
PLAYING FOR THE MAN
THE BEATLES
On Air - Live At The BBC, Vol. 2
(Apple)
It took almost 20 years for the British
Broadcasting Company (BBC) and Apple
Records to gather the tracks for Volume 2 of
the Beatles' BBC studio recordings and
package them for commercial release.
Saying the wait was worth it is almost
redundant, so we'll ask the question "what
took you so long?"
Bootleg versions of these early (and
other later period) BBC Beatles tracks have
been kicking around indie record stores
and the internet for years. As with most
"boots," the sound quality of the unauthorized music taken from acetate discs and 50
year old mono and 2 track tapes was pretty
dodgy. It goes without saying the "million
dollar" clean-up and mastering of the BBC
broadcasts is revelatory (on the CD version).
While listening to Live At The BBC it's
important to put these recordings into context of the time (1962-1965). After their
"punk rock period" playing mostly covertunes in the dive-bars of Hamburg,
Germany, the band had agreed to be managed by a Liverpool record shop owner
(Brian Epstein), cleaning up their act (aka
selling-out) for a chance at wider appeal
and a mainstream audience. Performing
for the BBC was "playing for the man," and
the band had to be on their best behavior.
After they were "approved" by the suits
at the government radio network, The
Beatles came to the BBC to record (sometimes live) hour-long radio shows reading
letters from fans (George Harrison dedicating "Do You Want to Know a Secret" for
Deanne and Jenny in Bedford) in between
cheeky banter; sometimes forced – other
times spontaneous and hilarious - with
BBC hosts.
In 1963 alone the band recorded 39
shows for the BBC in between tours of the
U.K. In many ways it was what you hear
on college radio now: spontaneous,
unscripted and loose.
What's most striking about BBC Volume
2 is John Lennon's dominant role during
the early days of the band. As a vocalist
and guitarist he was gritty, self-assured
and sarcastic. His vocals and rhythm playing on Chuck Berry's "I'm Talking About
You" and the Isley Bros. "Twist And Shout"
are raw and spot-on. All traits of a guitarist
and vocalist who honed his chops in dingy
German nightclubs and British dancehalls.
Paul McCartney's growth is also striking.
His infatuation and obsession for Little
Richard is evident on "Lucille,"as well as
Leiber and Stoller's "Kansas City."
It's fascinating to hear 20 year-old
George Harrison's weakness as a lead guitarist on BBC Vol 2. Though his rhythm
backing was adequate, without the safety
net of multiple takes, he struggles to hit the
lead notes on "Hippy, Hippy Shake," and
his take on the 1963 version of Buddy
Holly's "Words Of Love" is equally shaky.
Eventually Harrison would find his comfort zone around 1965 as he developed his
own style as a guitarist and songwriter.
Ringo Starr was brought in to stabilize the
drum throne in 1962 (after the Beatles had
fired original drummer Pete Best). His
drumming is solid and steady, everything
the band needed for their material - without the frills. The Beatles BBC sequel is for
the die-hard fan looking for an unvarnished version of the Fab Four. Here's hoping it doesn't take another 20 years for
Volume 3. Their 1966 to 1970 period is what
we really want to hear.
– John Vernon
7
RISE AGAINST
Long Forgotten Songs:
B-Sides & Covers
2000-2013
(Interscope)
Tim McIlrath's vocal coach's jaw must
have hit the floor when he learned of this.
As if screaming full-bore for six albums
weren't enough, north-suburban punk
heroes Rise Against had some 26 extra
tracks tucked away. Acoustic tracks aside,
the value in this set (which, let's face it, is
28 illinoisentertainer.com december 2013
(Pravda)
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