The Black Keys are guitarist Dan Auerbach and drummer Patrick Carney.  Together they have forged a highly successful blues rock revivalist band that are the darlings of the upper tiers of the indie rock world.  I’ve always like them, but have not extensively combed through their catalog.  Perhaps I’ve finally found a reason to.  The reason comes in the form of their cover of the Beatles “She Said, She Said,” from their debut album The Big Come Up.  The original Beatles song, from Revolver, is about one of John’s most infamous LSD trips.  In 1966, he was tripping in LA with the rest of the Beatles, the Byrds, and Peter Fonda.  Fonda, tweaking out, began to obsessively tell a story about how he nearly died as a boy, and couldn’t stop saying, “I know what its like to be dead.”  John, understandably freaked out by Fonda’s dark ramblings, promptly wrote a song, and changed Fonda into a girl to fit the Beatle songwriting mold.  Though, by 1966, the Beatle mold now included feedback, acid drenched distorted guitars, and glorious swirling psychedelic harmonies.  The song was a progressive leap forward for the Beatles, and for rock and roll as a whole.  36 years later, the Black Keys took that song, a song that was still in mid leap mind you, and gave it a real throwback treatment, turning it into a hip 60s blues club rocker.  I love the Black Keys version, as it gives the song a grungy and gritty makeover and reveals the essence of the song’s fantastic pop melody.  Because it is so fantastic, I’m giving you two versions, the unofficial music video, and a cool live performance.  Check em out.

The clip below is how The Beatle’s “I am the Walrus,” will be preserved forever, remastered in HD stereo glory.  It’s hard to imagine the scope of the genius behind this song.  Lennon himself said, “Let the fuckers work that one out.”  By putting on fresh ears, and letting the song just hit you in 2011, an experience I am sad John himself never got to try, what comes across is the ultimate post-modern anthem.  It doesn’t sound like it came from 1967, but rather from some timeless place in someones imagination.  The mere fact that “I am the Walrus” did emerge from 1967, is one of the things that gives people like me, who never lived then, the magical impression that 1967 was a year when human creativity knew no limit, and was so powerful that it transcended time.  The song both hurls itself at you while simultaneously digging trenches of mad gorgeous beauty in your brain.  It changes your thinking somehow, giving you an epileptic cinematic insight into a few minutes of a John Lennon LSD trip.  It’s both profound and silly, and its profoundly silly; 2 opposite forces interacting on their own, but also interlocked somehow.  It’s simply a musical masterpiece, and I hope you serviceable villains enjoy it in bright psychedelic HD as much as I have.

In yesterdays post I alluded to how Dark Side of the Moon reminded me strongly of Abbey Road.  I must not be the only one, because the image above is all over the internet.  This leads to an interesting debate amongst music fans, mostly ardent Pink Floyd people, that claim that Pink Floyd is the spiritual successor to the Fab Four.  Some go even further claiming that Pink Floyd’s dazzling studio mastery and reflections on more mature philosophical themes elevate them as a technically greater band then the Beatles.  I’ll address the claims in reverse order.  While its true that Pink Floyd was a massive commercial success in the 70s, among the top 3 bands in the decade, they are not the Beatles of the 70s.  What Pink Floyd did was continue the Beatles psychedelic studio experimentation in the pop rock format, pushing its boundaries and increasing its sonic power.  Like the Beatles, their best songs had strong melodies, beautiful harmonies, and precise arrangements.  The difference is, Pink Floyd was a psychedelic folk band, while the Beatles were an ever expanding rock and roll outfit, encompassing a wide variety of styles and sensibilities.  At their height, Pink Floyd reached a massive arena audience and influenced youth culture strongly with their detached nihilistic messages railing against a corrupt and oppressive system.  At the Beatles height, they did all things Pink Floyd accomplished, times a factor of  100, plus creating the universe of youth culture that Pink Floyd successfully tapped into.  Tracing back to the first argument, in which people claim that Pink Floyd are spiritual successors of the Beatles, it is true, but so was practically every other band that came after the Beatles.  Pink Floyd were the best group that continued the Beatles perfect psychedelic folk experimentation heard on the White Album and copped the professionalism and thematic track linking the Beatles employed in creating Sgt. Pepper and Abbey Road.  It was just a few aspects of the Beatles that Pink Floyd carried on, not the whole bundle, but honestly, who could do everything the Beatles did?  This is no knock on Pink Floyd, merely a comment on the truly extraordinary accomplishments the Beatles achieved.  I’m sure most Pink Floyders would probably agree this because I’d be hard pressed to find a PF fan that didn’t like the Beatles.  Those that disagree are just not being fair to history and are letting their Pink Floyd love cloud their objective judgement.  Anyway, those are my opinions on the subject, and I have no problem with others thinking otherwise, its a fun debate.  I have one more song today from Dark Side of the Moon, “Time.”  “Time” is one of the best songs on the album, a sweeping collage of sound effects, guitar power, and haunting lyrics.  It’s a philosophical song about wasting ones life presented as an angry rant.  It’s almost a call to arms, and its fascinating.  Enjoy.

I was sneaking under a bus parked over a snowy muddy pit.  I jostled a hinge holding the front of the truck to the freight, and it began to collapse on me.  As it caved in on me, I genuinely thought I was going to die.  This was the phrase that went through my mind, “This is the end of Willie Simpson…”  (lame I know.)  The truck hadn’t completely caved, so I dashed away from the pit and jumped just as the freight tipped over and crushed the bottom of my legs.  I couldn’t feel a thing and I assumed I was in extreme shock.  I was wrong, I had just woken up from an intense dream.  Naturally shaken by such a thing, I went right to my website, which I forgot to update yesterday, and found “#9 Dream,” the John Lennon single from Walls and Bridges that peaked on the Billboard Charts at #9.  Nine was John’s lucky number as he was born on the 9th day of October, and accorded it special status in his life, already borrowing it for “Revolution #9.”  He wrote the song when he was broken up with Yoko Ono, and living with May Pang in Los Angeles, in fact she’s in the backing vocals.  Other famous “Beatle friend” luminaries include the presence of bassist Klaus Voorman, (the German who discovered the Beatles in Hamburg), Nicky Hopkins, (famous British piano player who jammed frequently with the Beatles, Rolling Stones, and Kinks), and Jim Keltner on drums, (a famous session man who appeared on all the solo Beatle records and a zillion other super famous mega acts albums.)  Lastly, that mysterious phrase Lennon chants throughout the song, “Ah! böwakawa poussé, poussé” has no meaning whatsoever and is exclusively from the dream that inspired the song.  Enjoy the tune, as its one of John’s best solo efforts, and be careful in your dreams, or you might wake up thinking your dead.

EDIT:  When I posted this at 7 am this morning, I had no idea, that today, would have been John Lennon’s 71’st Birthday.  How’s that for Instant Karma!?

There is no tonal quality more life affirming, more charging, and more powerful than the one found in John Lennon’s voice during his rendition of the Isley Brothers tune, “Twist and Shout.”  It’s the vocal performance that electrified the ears of the world; a singularity of rock and roll perfection, and simply among the greatest expressions of human joy ever performed.  There are just so many layers to the sound of John’s voice in this take; joy, beauty, pain, dominance, and thunder.  The superlatives I have for this performance are endless, and if this was the only song of the Beatles we ever had, it might have been enough.  Not only does the song present John’s best lead singing ever, it also showcases what the Beatles did best, group singing.  Paul and George’s backing vocals are authoritative and fun, and when all 3 boys come together for the “ahhhhh” bridge, it’s as if the Beatles were trying to crack the Hoover Dam with their exuberant power.  So now you’re asking what voice could possibly top the the greatest group of the recorded sound era?  Well, stay tuned tomorrow for the thrilling conclusion to the definitive list of rock’s greatest vocalists.

Sorry for the disturbing lack of updates, but I was busy packing up my Brooklyn apartment and heading north for Maine.  I’ve got three weeks in beautiful Portland before I head across the world to South Korea and Australia.  I’m happy to be out of the city and hear crickets out my window, as four and a half years in New York really drains the nature out of you.  I couldn’t be more excited for my trip across the Pacific, and I’m reminded of four other guys who had to get away from it all, the fab four.  The rare song you are about to hear was NOT recorded by the Beatles, but rather its a solo John number from 1980 that he made reflecting on the journey he took just 12 years prior.  John was beginning to feel sentimental about his life, emotions reflected strongly in his last record Double Fantasy.  “India, India” didn’t survive the cutting room floor of that record, but luckily it survives the cutting room floor of history.  It’s a pretty psychedelic folk ballad with a wistful haunting melody.  Enjoy.

Help!  John Lennon managed to cram an unusually clear psychological slogan into one of the best pop songs he’d ever write.  It’s hard for most people to just shout out help, especially when they need it.  It really must have been difficult for someone as stubborn, independent, and prideful as John Lennon.  When you have the weight of a global audience of screaming teenagers, and the world’s press crushing you in some surreal never ending circus come to life, it must have been easier for someone like John to beg for help.  What I love about the song is how John can take a propulsive driving rock song and somehow add the element of desperate folk ballad introspection in the verses.  “Now these days are gone, I’m not so self assured, and now I find, I’ve changed my mind, and opened up the doors.”  On the surface, the song works as an ironic satire of John’s life, as the exciting fast driving joyfulness present in the music still conveys the giddy excitement of Beatlemania.  But all you have to do is dig a bit deeper to feel the swirling doubt and disillusionment felt by a guy trying to hold on in a world quickly moving faster than his feet.  HELP!

They say elephants never forget, and they also say fuck Yoko Ono.  When John Lennon played Madison Square Garden Live in 1972, he played an afternoon show and an evening show.  “Elephant’s Memory,” the backup band for John, claimed that the evening show was far superior, but upon releasing this concert  in 1986, long after John’s death, Yoko decided to use the inferior afternoon show  as the basis for the album and the concert video.  Why?  Nobody knows what Yoko is thinking.  She probably thinks that her performances in the afternoon show were better than her performances in the evening show, which is insane, because nobody could possibly care.  The tapes and video of the evening show are locked away forever, or maybe even destroyed, and we might never get to see them thanks to the brilliant Yoko.  Yoko did the same thing for the Mind Games video where she took a raw 19 hours of footage, shot by college kids who followed John Lennon around for a day, and condensed it to a precious 4 minutes!  In that 19 hours you can supposedly see John Lennon making an appearance at Radio City Music Hall, where the “Sgt. Pepper’s Lonely Hearts Club Band On The Road” was playing.  He apparently got a 20 minute standing ovation that he described as one of the greatest moments of his life, and proceeded to sit down on organ and play with the house band.  Why this footage is not released is beyond me.  I actually rather wish I knew it never existed, then to think Yoko’s got it hidden away somewhere for no one to see.  Blah, that’s the end of my rant.  Enjoy John’s performance of “Come Together,” a song originally written as a way to get people to vote LSD guru Timothy Leary as governor of California.  It’s a little historical tidbit that’s a perfect segue for me to champion my status as finalist in the CBS Best Local NYC Blogger award one last time!  Tomorrow is the last day of voting, and you can STILL vote for me, even if you’ve already voted!  Once a day counts, so click that link and put me over the top! 

To paraphrase George Harrison, “the “you” in the song, is God.”  Gaining this insight gives the song even more creepy mysticism.  “Long, Long, Long,” from the “White Album,” is officially one of my favorite Beatles songs.  Like many people growing up with the Beatles, I wasn’t a fan of the song until I got much older.  When I was a little kid, it was too quiet (probably the quietest Beatles song in the catalog) and too boring for me to really feel.  As I grew older,  I realized it was a master class of songwriting and personal expression, and it began to affect me greatly.  It’s simply a fantastic gorgeous ode to love and God, expressed in the most ambiguous way imaginable.  I also love the little high pitched organ part, which reminds me of an ice queen ballerina dancing alone in the snow.  What’s that mysterious rattle at the end of the song you ask?  It’s a bottle of wine vibrating to the frequency of a peculiar Hammond organ note being played by Paul McCartney.  Pretty cool no?  You know what else is cool, you only have 4 more days to vote me as CBS’s Best Local NYC Blogger, by clicking here!

On January 14th, 1969, John Lennon, Paul McCartney, and Ringo Starr were sitting around Twickenham Studios.  George Harrison had temporarily quit the band, so John was on piano, Paul was on electric guitar, and Ringo was behind the drums.  John led the shortened group through a new improvised jam he had been fooling around with called “Watching Rainbows.”  The song would never see the light of day as a Beatle tune or as a John solo song, but did find its way on Beatles bootlegs by 1978.  I think its a shame that John never finished it, because it has a real seductive folk rock hook, and a beautiful lyric.  Perhaps they junked it because they didn’t feel like working on stuff that they created when George was absent, or perhaps they just forgot about it.  Either way, the version I have below has all the lyrics, including the studio banter, giving you the full picture of what was going on that day during one of the lesser known unreleased Beatle song sessions.  I personally love it, and have played it seven times in a row.  Oh, and don’t forget to keep voting for me everyday as CBS’s best local NYC blogger, just click these words, thanks!