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18 illinoisentertainer . com december 2022
THE BEATLES REVOLVER continued from page 13
that produced the original album ’ s back cover . Of Revolver ’ s 14 songs , only “ Good Day Sunshine ” isn ’ t represented with an alternate studio take or demo . The evolution of “ Yellow Submarine ” is revealed through four progressive clips . One presents Ringo ’ s song without its whimsical sound effects . The instrumental bed for “ Rain ” is included at its actual speed and again at its familiar tape-slowed tempo . Other tracks include studio banter , offering glimpses into the Beatles ’ camaraderie while they cut up and work out arrangements and Lennon / McCartney harmonies . A take of “ And Your Bird Can Sing ” is disrupted by the pair ’ s laughter . Take 11 of “ Taxman ” includes a busy background vocal arrangement that was streamlined for the final version . A rehearsal fragment of “ I ’ m Only Sleeping ” highlights an unused vibraphone part . Another attempt at the song is made in a different key at a faster tempo . Martin converses with McCartney and the string players about arrangement decisions related to “ Eleanor Rigby .” Lennon ’ s solo home demo
David J
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played in the Windy City ? David J : Chicago is one of the first places that picked up on Bauhaus . We did one of our very first U . S . gigs in Chicago that was promoted by Wax Trax . Everybody was supportive of the band , and then shortly after that , we hooked up with Joe Shanahan at the Metro and we played one really memorable two-night period in it must have been 1982 I would say . The first night , we did a conventional set , well , as conventional as Bauhaus was in those days . The second night , we had this song out , “ Antonin Artaud ,” and the whole idea was to do this very kind of ritualistic , primal performance and to start with this song , which is a celebration of the French surrealist poet / playwright , Antonin Artaud , who came up with the concept of the “ Theatre of Cruelty .” We wanted to tap into that . Also , the Metro is a significant venue for me . When I was doing a solo tour , I was opening for PJ Harvey and I had a little band there . Somehow , all our gear , apart from one instrument , got lost . We turned up and we had a stand-up bass on the stage . That was it . No guitar . No drums . Apparently it had gone to Mexico City , so we had to borrow instruments from a guitar store down the road , but there was something about the calamity of that situation that pulled from us a very special performance . Sometimes that can happen when things don ’ t go as planned . You draw on your resources and it bears fruit .
IE : From your perspective , what ’ s led to Bauhaus ’ tremendous influence and increasing regard across multiple generations at this point ?
of “ She Said She Said ” is incomplete and unrefined but fascinating . The first take of “ Tomorrow Never Knows ” is even druggier and more disorienting than the album version .
An LP-sized 100-page hardbound book contains numerous rarely-seen photos ( including a shot of McCartney studying the Rolling Stones ’ freshly-released Aftermath ) and reproductions of handwritten lyrics , as well as in-depth track-by-track notes and affectionate and insightful essays by Questlove and Kevin Howlett . Giles Martin ’ s introduction honors his father ’ s work . A graphic essay by Klaus Voorman illuminates the development of his famous black-and-white cover art for the album . Mc- Cartney ’ s foreword praises the talents of his youthful bandmates and describes “ Yellow Submarine ” as “ a children ’ s song with a touch of stoner influence .”
This set breathes new life and shines new light on a peak effort from the most beloved rock and roll catalog in pop music history . It ’ s quite a feat . As McCartney summarizes in his foreword for the book , “ All in all , not a bad album .”
10 of 10 ( available on Apple / Universal )
David J : Because we never faked it . Because that music is born of authenticity . That ’ s why . And that ’ s the same with any band that has that sustained career and sustained interest from an audience . I think they know that you can ’ t fool an audience . What ’ s been great on this latest run [ prior to being canceled for front man Peter Murphy to enter a rehabilitation facility ] is the young element coming to see us . I ’ ve met quite a few of them at the gigs and they ’ re in their early twenties . Some of them are teenagers and they ’ re discovering the band . That ’ s amazing for us . It ’ s not just the old guard , bless them , you know ? It ’ s great to see ‘ em coming out , but it ’ s the young crowd as well . They ’ re so enthusiastic about it and they get it .
IE : What was it like having lightning strike again with Love And Rockets , who were technically even more popular here in America ? David J : Yeah . Whenever we ’ ve done a Love And Rockets reunion , it ’ s always felt like the right time . We ’ ve never done that where we felt like , “ this doesn ’ t feel right .” It always feels absolutely right . I think our music really stands up . I think it actually sounds better now than it did back when we did it . Sometimes I hear our tracks on the radio . I never play it myself when I ’ m at home , but it will come at me out of the blue and sometimes it takes me a couple of seconds to realize that it ’ s Love And Rockets , but I hear this track [ and think ], “ that ’ s really good .” It ’ s gratifying there ’ s always been a receptive audience for the band . It ’ s really interesting because basically , of course , it ’ s the same nucleus as Bauhaus , but when we are together as a trio [ with both groups ’ guitarist Daniel Ash and drummer Kevin Haskins , minus Murphy ], the chemistry is quite different . It ’ s