Making Mixtapes: Autumn Edition

I know, I know, it's a massively-cliché stock photo... But hey! At least it's pretty!

I know, it’s a cliché stock photo… But hey! At least it’s pretty!

Late Autumn and early Winter is my favourite time of year – the searing heat of Summer turns into breezy, hazy sunshine, that soon finds itself becoming a satisfying brand of icy, crisp cold. Everything just seems so dreamy, so magical, so perfect. So maybe the climate is to blame for the fact that almost all of my favourite musical memories occur somewhere within the cooler months of the year. And considering that, in Australia, we are entering the final weeks of Autumn, I thought it would be especially appropriate to make a ‘mixtape’ of a few of these today!

‘Penny Lane’ – The Beatles

I remember the day I bought my first Beatles album (1, for the curious): it was the 10th of July, 2013. I’d never heard anything so thrilling in my short life, and I listened to it on endless repeat for the remainder of the year. The day after The Purchase, however, I was hanging out with my best friend at the time, a more seasoned Beatles fan who actually introduced me to them in the first place. We spent much of that afternoon listening our favourite songs, dancing and chanting the words we knew. I remember picking ‘Hello Goodbye’ and ‘Help!’ – and I remember that she picked ‘Lady Madonna’ and ‘Yesterday’, among others. But she also picked ‘Penny Lane’, a song I was yet to hear, then. And as I listened, there was something just so magical about the song – whether it be its surrealism or inventive band arrangement or the beautiful melody of the lyrics – something that moved me like no song had before… I couldn’t have had any idea as to how monumentally that moment would change the course of my life. I wouldn’t be a rock’n’roll fan without it.

‘Sugar Man’ – Rodriguez

I first learnt of Rodriguez – a cult musician who created quirky, psychedelic folk in the early ’70s – in April 2014, via a documentary on his life that lead to a major resurrection of his work. His discography fascinated me from the first listen – partly because it reminded me of The White Album, but also because it was ‘weird’ in a way I didn’t yet know music could be. The best-know track off Cold Fact – his debut – is a freakishly beautiful folk song called ‘Sugar Man’ – whirring synths and woodwind arrangements accompany his echoey guitar and his voice, which is only describable is incredible… At a time when I felt that listening to artists other than The Beatles equated betraying them, his music became one of my favourite things in the world.

The following Spring, I saw Rodrgiuez play in my hometown. It was my first proper gig, and what a great one it was! He still sounded incredible, and to this day I consider it one of the greatest nights of my life…

‘Sunday Morning’ – The Velvet Underground

I first heard the phrase ‘Velvet Underground’ on the night that Lou Reed died – everyone was talking about him, and though I remain mildly annoyed that I only got into his work afterwards, it was through this that I learnt of his first band. I never felt compelled to listen to them, however – that was, until, I first heard a cover of ‘Sunday Morning’ one night, in May 2014. I felt like I knew it (I didn’t), like it and I were meant to be – and it happened to be one of my mum’s favourite songs. As we listened, she told me of how The Velvet Underground had played a part in the the soundtrack of her 20’s, and she told me to go and look the original version up. The next day, I did just that, and its immense beauty captivated me – it is hard to explain in words the affect it had. The Velvets have continued to captivate, inspire and influence me ever since…

‘Lust For Life’ – Iggy Pop

In the Winter of 2014, my mum and I decided we’d listen to CDs in her car instead of the radio. So we sifted through the glovebox, and found – among the stacks of children’s novelty albums and musical soundtracks – the soundtrack to Trainspotting. We inserted the CD into the player, and soon enough, this ferocious rhythm burst out of the speakers – and then this sneering, couldn’t-care-less voice joined it all, too. ‘Lust For Life’ was dangerous, tough, fiery, in a way that I didn’t realise music could be. It didn’t matter that I didn’t know the next thing about Iggy Pop, that my days of blasting ‘Search and Destroy’ and ‘1969’ at maximum volume were still years off, that I hated punk rock; I wanted to dance. I was hooked.

‘Isn’t It A Pity’ – George Harrison

By the middle of 2014, I’d officially listened to every Beatles song, so I’d begun to delve into their solo catalogues as well. One particularly cold and dark July day that year, I was sitting – or shivering, rather – in an apartment in Melbourne  when I finally decided to listen to All Things Must Pass. There was something so dreamy, so warm about the album – it was the definition of ‘ethereal’, and it seemed so bright, in contrast to the dark clouds that loomed outside my window. I was introduced to ‘Isn’t It A Pity’ that afternoon – a song that was perhaps the warmest, the most shimmery of them all, and one that I’ve loved ever since. It is the perfect song for dark, cold Winter nights…

‘Hallelujah’ – Jeff Buckley

Jeff Buckley’s version of ‘Hallelujah’ is perhaps the definitive late-Autumn song. The warm, twinkling beauty of the guitar and Buckley’s beyond-incredible voice seem to be the sonic equivalent of the hazy, dying heat of Australian Aprils. Like the weather, the song seems like something of magic, too. I first heard it in June or July 2014, after my guitar teacher told me about it. All I remember was how overwhelmed I was, of how I thought it sounded almost as beautiful as my favourite Beatles songs. There weren’t too many songs that made me cry, then – but this was one of them.

‘I’m Only Sleeping’ – The Beatles

It was August, 2014 when I decided, rather innocuously, that I was going to listen to Revolver one afternoon. This, of course, wasn’t an uncommon decision at the time – Revolver was my all-time favourite album, after all. So I placed it on the turntable, and I began to listen. Everything seemed perfectly normal to me – until I reached ‘I’m Only Sleeping’. I’d listened to it a thousand times before, but that afternoon I felt something I’d never felt before. I realised just how incredible, how beautiful the song – and the album – was; I became entirely overwhelmed by this immense love for the music. I’d been a music fan for a while, at that point – but it wasn’t until that day that I realised how powerful it was.

‘Waterloo Sunset’ – The Kinks

In the March of 2015, I borrowed a biography on The Kinks from a nearby library. I found their story fascinating – not always in a good way, yet endlessly interesting nonetheless. And, I mean, I’d heard ‘Waterloo Sunset’ countless times before reading the book, but I’d never appreciated it – I’d always liked their early garage ventures (‘You Really Got Me’; ‘All Day and All of the Night’) more. But as I read, I realised that Ray Davies is a certified songwriting genius, and I felt compelled to listen to it properly. And of course, I also realised how wrong I’d been to take it for granted, and by the time it was through, I’d concluded that it was among the greatest songs of our time. I do, after all, have ears…

‘The Real Me’ – The Who

I first heard Quadrophenia in the Autumn of last year. On May 19th – Pete Townshend’s birthday – to be exact… At this point in time, I was becoming a massive Who fan – I’d read Townshend’s autobiography, I’d played my CD of Tommy so many times that the fancy gatefold had started to ever-so-slightly fall apart… But Quadrophenia blew my mind like no other Who album ever had. It was ambitious, but it was also one of the greatest I’d ever heard – it was so passionate, so expertly crafted, so captivating, and oh, how I loved the brass arrangements! ‘The Real Me’ was what started it all – everything about it was so energetic, so flawlessly recorded and it made you want to dance, too. To this day, it’s my favourite Who song.

‘Miss Amanda Jones’ – The Stones

Some Kind of Wonderful – not The Breakfast Club, not Pretty in Pink – is my favourite ’80s movie. This is for a number of reasons; mainly because the protagonists are both quirky outsiders who, unlike PiP‘s Andie and TBC‘s Allison, never compromise who they are – but also for the fact that one of the characters is named after a Stones song. ‘Miss Amanda Jones’ (the song in question) is ridiculously underrated – it’s a seemingly conventional rock song on the surface, yet Keith Richards’ fuzzy guitar turns it into a darkly psychedelic freak-out. It also happens to be on my favourite Stones album, Between the Buttons. It’s the most perfect song for a movie about two people who never apologise for not ‘fitting in’ – it’s so freaky, yet it’s so great… I listened it on repeat all through the coldest, darkest Winter days last year!

‘Old Man’ – Neil Young

Like ‘Hallelujah’, Neil Young’s music is, to me, the sonic equivalent of the beauty of late Autumn. His voice, his guitar, his songwriting style all resonate with the most beautiful melancholy warmth that is so innately satisfying to the listener. Harvest is easily one of my all-time favourite albums because of this. And ‘Old Man’ happens to be one of my favourite songs, too. There’s just something about it – his achingly beautiful voice, the thoughtful lyrics, its catchiness, the exquisite guitar, backing vocals… It really is the perfect song to listen to as the final rays of sun shine on your back, as Summer draws to an end.

‘Another Girl, Another Planet’ – The Only Ones

Before the beginning of last year, I hated punk rock. But then I watched a documentary on Joy Division and decided it wasn’t so bad – and that Unknown Pleasures was amazing. But it wasn’t until I was introduced to the Only Ones that I grew to love it.

In the Winter of last year, my mum found her Only Ones album in her vinyl collection, and we decided to play it sometime. But first, we looked up ‘Another Girl, Another Planet’. I was instantly hooked. Listen to the song: the gritty power chords, the pretty melody. I decided it was one of the greatest I’d ever heard, and consequently, I finally felt compelled to listen to the punk bands that I’d read so much about. In hindsight, the Ones aren’t actually that punk (though this does nothing to diminish how much I like them). But they were an incredible gateway, and for that I owe them a lot!

‘Gloria’ – Patti Smith

I’d read a lot about Patti Smith, and of how Horses was supposedly one of the greatest albums of all time. So last July, I bought it. I wanted to see if it was really that amazing. I placed it in my CD player as soon as I had the chance – I turned it up loud, sat nearby and pressed ‘play’. The first track began innocuously enough, and it confused me; wasn’t Patti supposed to be punk? Why is it just piano chords? But then, she sang the first line: ‘Jesus died for somebody’s sins, but not mine.’ There are few times in my life where I’ve felt as liberated, as incredible as I did in that moment. And of course, ‘Gloria’ turned into the most incredible rollercoaster ride of poetry, bohemianism and her unique brand of minimalist rock. By the time it faded out, my life would never be the same again.

‘Suffragette City’ and ‘Oh! You Pretty Things’ – David Bowie

Funnily enough, David Bowie was one of my first musical discoveries – I became a music fan in 2013, after all, a year in which his presence was unavoidable. But it wasn’t until 2014 that I actually began to listen to him, and before August 2015, I really was only a casual fan. But the first Bowie song I loved predates that August by a couple of months – ‘Suffragette City’. I first heard it in an episode of Gilmore Girls, yet I didn’t realise how amazing it was until I listened to it minus the context of my favourite TV show. It is hard to forget how it blew my mind – how edgy and thrilling it sounded, how I couldn’t keep my feet still, how I couldn’t stop grinning for the entire duration of the song, how I couldn’t help but scream ‘Wham! Bam! Thank you ma’am!’ with him. I promptly added it to my last ‘Making Mixtapes’ post (from last July), and in one draft, added that I soon hoped to become more than a casual fan of his work…

By the time I heard ‘Oh! You Pretty Things’ – only a few months later – I was well beyond casual fandom. I’d seen the ‘David Bowie Is’ exhibition a couple of weeks beforehand, and he’d stormed into my life and almost entirely changed how I saw the world. I’d spent those weeks in a daze, so overwhelmed by his art, and I listened to him whenever I had the chance. Hunky Dory was among the first of his albums that I discovered, and there are few I love as much as it. I fell in love with ‘Pretty Things’ on my first listen – I loved the chords, and the singalong chorus, and his juxtaposition of darkly philosophical lyrics and upbeat melodies. I remember listening to it at school all the time last year, feeling cool and comfortable in myself in a way I hadn’t really experienced before. He made me realise that I didn’t have to change myself, that I didn’t have to ‘fit in’ to be comfortable in my own skin.

‘Teen Age Riot’ – Sonic Youth

Sonic Youth was first recommended to me at the end of 2014. I tried listening to them then – and I decided I liked one of their songs (‘Sunday’) but that they were too ‘weird’ for me. But as 2014 turned into 2015, and as my music taste became progressively freakier, I tried again that Winter – but this time, I adored them. ‘Teen Age Riot’ is a song prone to obsessive fanaticism, and it isn’t hard to see why. It’s magical, hypnotic – as Kim Gordon chants about ‘sweet desire’ to clashing guitars, and as Thurston Moore frantically sings its lyrics to punky, noisy rhythms. It’s one of the songs that enters and changes your life so fast – one that you’ll listen to on endless repeat while chanting the lyrics by heart. It’s so unconventional, yet it’s so rewarding. I’ve proudly called myself a Youth fan ever since my first listen.

 

‘Kiss Off’ – Violent Femmes

When it was announced that the Violent Femmes were on the bill for this year’s WOMADelaide (a music festival I’ve attended every year since I was 8 or 9), my mum and I were so excited. I’ve been a Femmes fan ever since she played me their 1991 album, Why Do Birds Sing, in the Spring of 2014. But in the months that lead up to the festival, I dived deeper and deeper into their catalogue, and listened to their classic debut on constant repeat for at least a month or two… ‘Kiss Off’ was my favourite track off it, even if mainly for the frantic chant of ‘Everything! Everything! Everything!’ at the end of the bridge.

And of course, their set at the festival was every bit as amazing as I expected. I sang the lyrics to almost every song, dancing madly and raucously applauding at the end of each. I even managed to get my CDs signed by bassist Brian Ritchie afterwards!

‘Just Like Honey’ (The Jesus and Mary Chain)/’Boys Don’t Cry’ (The Cure)

For some reason, these songs are linked in my mind. I first (deliberately) heard them, back to back, while working on an assignment for my Music class a month or so ago. ‘Just Like Honey’ was first: it appeared as a ‘recommended video’ on YouTube, and I decided to listen – I’d been meaning to try the Jesus and Mary Chain for a while, after all. I had high expectations for the song, yet I couldn’t have predicted how amazing it would be: the booming drums, the guitar (so laden with gritty effects that it seemed to shimmer and twinkle), Jim Reid’s flowing voice, the melody. It was just so impossibly pretty – it sent shivers down my spine. I haven’t been able to get enough of it since!

Despite trying multiple times, I’ve never been able to ‘get’ The Smiths – so perhaps that’s why I only began listening to The Cure earlier this year. On the day that I discovered ‘Just Like Honey’, I’d only listened (yet also really liked) to a couple of their songs – so when YouTube recommended ‘Boys Don’t Cry’ after ‘Just Like Honey’, I thought I’d try it, too. I wasn’t surprised to discover I loved the song, as well – Robert Smith’s voice sounded so great, and I loved the hook that ran between the verses. I ended up singing it to myself for the rest of the day, and right now, it’s definitely among my favourite songs…

‘The Ballad of El Goodo’ – Big Star

Sometimes it takes only one song to entirely fall in love with a band’s discography. ‘The Ballad of El Goodo’ is one of those songs. I first listened to it a month or so ago, during my Art class, as the Autumnal sun poured through the window and onto my sketchbook. Its beauty entirely overwhelmed me. And it really is beautiful – the achingly exquisite guitar, Alex Chilton’s stunning voice, the dreamy backing vocals, the lyrics, the chiming, pretty melodies… It is one the most perfect songs in history. It’s just incredible.

‘God Only Knows’ – The Beach Boys

Last month, my mum and I went to see Brian Wilson perform Pet Sounds. We decided, quite literally, a few hours before, but it was certainly among the better decisions we’ve made… While we may have been sitting in the back row, and Brian’s voice mightn’t have been so great anymore, it was one of the most incredible experiences of my life. Just knowing that the man sitting in front of the white grand piano on stage wrote one of the greatest albums of all time was enough. As one would expect, the performance of ‘God Only Knows’ was one of the greatest moments of the night – the silence, the admiration that spread through the theatre was spine-chilling. At its end, we all gave him a standing ovation – and then he told us to sit down so he could start the next song!

‘Here Comes Your Man’ – Pixies

I feel like I came to the Pixies kind of late. I was so busy obsessing over Sonic Youth that I almost forgot about the other definitive 80s’ alternative band. Yet, not too long ago, I listened to Doolittle for the first time with slightly strange expectations – I wanted it to be amazing, but I never thought it could equal Daydream Nation. But as I played it, I became more and more hooked as the album progressed – their combination of arty noise and conventional melodies fascinated me. ‘Here Comes Your Man’ must be my most-played YouTube video of late – there is something so great about Black Francis’s voice on the track, the pretty, poppy melodies in the context of, well, the Pixies… So I’ve been listening to it on repeat ever since, and you know what? I reckon I like them just as much as SY!

‘I Can’t Give Everything Away’ – David Bowie

Despite the fact that I’d been beyond excited about it since rumours started spreading of its existence, I didn’t listen to Blackstar on the day it was released. I’d preordered it on vinyl as soon as the chance was available, and I knew it was going to be incredible – so I decided I would wait until my vinyl arrived, so I could truly appreciate its greatness on the first listen. Of course, between its release and its arrival on my doorstep, something happened: it was announced that David Bowie had passed away. That night, a lot of things flew through my head as I tried to contend with my grief – one of these things was an incredible regret, as I’d never have the chance to listen to the album without its now-apparent context…

My copy of Blackstar arrived a week later, almost to the minute. It sat on my record player for a couple of weeks, but eventually, I worked up the courage to play it. This was a strange experience; musically, I loved it, yet I found it incredibly difficult and emotional to listen to, as well. ‘I Can’t Give Everything Away’  was perhaps the pinnacle of this – it was such a great song, yet it also happened to the most melancholy on the album. Yet, I still love it. It sounds like the future, so heady and positively intergalactic – proof that Bowie will always be 20 years ahead of the rest of us. A few weeks ago, a music video was released for it. It was so beautiful – surprisingly uplifting, too – and I gained even more of an appreciation for the song. As I watched the video, it proved to me that my sadness at his passing would never lessen the incredible way his art makes me feel – it remains too powerful, too brilliant for that…

‘Perfect Day’ – Lou Reed

And so, I find myself at the beginning, again. I, too, first heard this on the Trainspotting soundtrack – yet unlike ‘Lust For Life’, it wasn’t love at first hearing. ‘It’s not as good as the Velvets,’ I remember telling my mum at the time. Yet, at some point – last year? this year? – something really changed. Because now it – a song recorded by one of my favourite artists and produced by another (Bowie!) – is among my all-time favourite. It’s so incredible, so beautiful, so moving. I’d be glad to spend any day with this song, perfect or not…

So, what are your go-to songs as the cold weather begins to set in? Be sure to tell me in the comments!

You can listen to the whole thing here!

And here’s an appropriately-themed song to finish off…

And so this is Christmas…

Merry Christmas! (via pinterest.com)

Merry Christmas!
(via pinterest.com)

I have an admission to make: I haven’t been in the Christmassy mood this year. Blame this on the fact that I’m Australian. Aussie Christmasses basically consist of hot weather  (this year in Adelaide, it’s set to be just below 40 degrees Celsius) and following traditions started in England and America that are probably more suited to weather around the 40 degree-Fahrenheit mark. Blame this also on the world’s mad rush that begins with the festive season, and the stress of leaving one’s house that ensues. Oh, how I’d love a cold, calm Christmas…

But considering today is Christmas Eve, my Christmassy apathy is something I am going to change. And I’m going to go about this one of the few ways a music blogger knows how: with some Christmas tunes! So here are some of my favourite festive-themed tracks… Enjoy!

‘Christmas Time Is Here Again’: The Beatles

‘Happy Xmas (War Is Over)’: John Lennon, Yoko Ono, The Plastic Ono Band and the Harlem Community Choir

‘Peace on Earth/Little Drummer Boy’: David Bowie & Bing Crosby

‘Father Christmas’: The Kinks

‘Christmas’: The Who

‘Merry Xmas Everybody’: Slade

‘Jesus Christ’: Big Star

‘Ghost of Christmas’: The Manic Street Preachers

‘Winter Wonderland’: Cocteau Twins

‘Christmas Wrapping’: The Waitresses

‘Santa Claus’: Throwing Muses

‘Got Something For You’: Best Coast and Wavves

If you’d like to listen to the playlist in its entirety, here it is!

So, what are your favourite Christmas songs? Be sure to tell me in the comments!

Hope you all have a very merry Christmas, and a great final week of 2015! 🙂

My 15 Favourite Albums on the 16th

Reading through the most recent posts of my blog post feed this morning, I found many people had participated in the #top15onthe15th tag, and listed their 15 favourite albums. And I decided I’d add my opinion to the mix, too! Of course, it is well and truly the 16th in Australia, now, but anyway… This list certainly isn’t comprehensive. My full list of all-time favourite albums would probably only fit on ten rolls of toilet paper, and narrowing it down to 15 was certainly hard! But anyway, in no particular order…

Revolver (1966) The Beatles (1968): The Beatles

Revolver the white album

Revolver is easily my favourite album of all-time. Featuring everything from dark, mysterious psychedelic rock, to a garage song with searing hot guitar, to spellbinding, well-crafted ballads, it possesses a special kind of magic. It was the album that made me realise just how special The Beatles – and music, in general – are. ‘Genius’ is oft overused, but it certainly applies here.

Compared with the perfectionism of Sgt Pepper, The White Album isn’t technically good at all. But technicality and perfectionism has never been an essential requirement in good rock music, and the album is perhaps one of the best embodiments of this. Sprawling from proto-metal to soft folk to avant-garde musique concrete to vaudevillian jazz to good-ol’ fashioned rock’n’roll, it transcends genres. Whilst it’s certainly self-indulgent in parts, this contributes to the unconventional vibe of the album. And that – its eccentricity –  is what makes it so great.

Hunky Dory (1971) & The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972): David Bowie

hunky dory ZiggyStardust

Hunky Dory is a work of musical art. Displaying Bowie’s eclectic gift for songwriting – ranging from the pop of ‘Changes’, to the flamenco-infused folk of ‘Andy Warhol’, to the music hall-inspired ‘Oh! You Pretty Things, to the glam-rock of ‘Queen Bitch’ – each song is perfection. Lyrically, the album contains some of Bowie’s best, his unique imagery and way-with-words particularly evident on tracks such as ‘Life on Mars?’ and the aforementioned ‘Queen Bitch’. Utter genius!

There isn’t a single song I don’t love on Ziggy Stardust. Bowie tells the story of a rock star who takes it all too far – subject matter rarely broached by a popular musician – with surrealist imagery, his voice (ranging from the screaming passion of ‘Rock’n’Roll Suicide’ to the almost-lazy tone of ‘Suffragette City’), thought-provoking lyrical matter and guitars, drums and saxes that absolutely rock. It’s easy to see why it affected teenagers so much at its original release, and why it continues to do so – myself included – today…

Tommy (1969) & Quadrophenia (1973): The Who

Tommyalbumcover quadrophenia

Tommy was my first Who album, and continues to be the one I listen to the most. Whilst its narrative is more disjointed and less plausible than that of Quadrophenia, this is definitely accounted for with the music. Containing everything from the falsetto beauty of ‘See Me, Feel Me’, to the hard rock of ‘Go To The Mirror!’, to the (successful!) ambitiousness of the album’s instrumentals, it is certainly one of the band’s best.

Quadrophenia is definitely my favourite Who album. With it, the band reached levels of emotion, passion and musical virtuosity that would be the highest they’d ever reach. The tracks are something of songwriting genius, again arguably the best of The Who’s career. And though the story is incredibly sad, it’s ability to move listeners only serves as a testament to its power and importance.

Their Satanic Majesties Request (1967): The Rolling Stones

their satanic majesties request

An unpopular opinion here: Satanic Majesties – The Stones’ psychedelic experiment – is almost universally hated, by both fans and the band themselves. And yeah – the lows are unarguably very low (‘On With The Show’, anybody?), but its highs are incredibly high, as well. From the driving hard rock of ‘Citadel’, to the baroque pop of ‘She’s A Rainbow’ and – my favourite – the hypnotic, hazy psychedelia of ‘2000 Light Years From Home’, it is moments like these that make it so good.

The Velvet Underground and Nico (1967): The Velvet Underground (featuring Nico)

the velvet underground and nico

The Velvet Underground and Nico was the first non-Beatles album to affect me, and it’s easy to see why. Incredibly edgy, yet with its share of exquisite beauty; the voices of Lou Reed and Nico delightfully nonconformist; the lyrical matter still controversial to our 21st-century ears, it was totally unlike anything I’d heard before. Ranging from out-of-tune protopunk to the prettiest ballads, it is truly a masterpiece.

The Piper at the Gates of Dawn (1967): Pink Floyd

PinkFloyd-album-piperatthegatesofdawn_300

The Piper at the Gates of Dawn is – unlike the lengthy prog. rock of Pink Floyd’s later work (which, of course, are ‘gems’ as well) – is a psychedelic gem. The album patents a brand of wild, cacophonous psychedelia – heady and deeply rooted in the underground. Syd Barrett’s lyrics, too, are wonderful. Whimsical and naïve, they add a level of childlike innocence to the music. As much as I love the band’s prog era, it is – hands down – my favourite Floyd album.

The Doors (1967): The Doors

TheDoorsTheDoorsalbumcover

The Doors’ self-titled debut is often regarded as their best, and my opinion is no exception. An intriguing mix of psychedelia and jazz, the music is mysterious and dangerous; Ray Manzarek’s organ, in particular, adds a layer of shimmery beauty to the tracks. And of course, Jim Morrison’s lyrics are as well-written and fascinating as usual, his voice a contrast to the trends of the time…

John Lennon/Plastic Ono Band (1970): John Lennon and the Plastic Ono Band

JLPOBCover

John’s first post-Beatles solo album is a stark contrast to Abbey Road, the last album the band would record together. Musically, it’s pared back to tough, basic hard rock (with a couple of exceptions); lyrically, it’s a mixture of realism, denouncement of authority and a recurring theme of his painful childhood. But it’s contrast to The Beatles is, again, what makes it such a great album. John had moved on, and he had begun to make great art on his own.

Sometimes I Sit and Think and Sometimes I Just Sit (2015): Courtney Barnett

sometimes i sit

Though only released in the March of this year, Courtney Barnett’s debut studio album quickly has become among my all-time favourites. I don’t know what it is about it – whether it be Barnett’s wonderfully witty and intelligent lyrics, her Australian accent, the music itself (a brand of grungy rock’n’roll rarely heard these days) – but it is impressively good, and will likely be listened to by indie fans alike many years from now…

Horses (1975): Patti Smith

PattiSmithHorses

I picked up Horses at a nearby record shop on a whim, a few months ago, to see if I agreed with all the accolade. I inserted it into the CD player, and turned it up loud. ‘Gloria’ began, with its serene piano chords and Smith’s famous lyric of “Jesus died for somebody’s sins, but not mine”. The music soon turned into unique arty punk, something which intrigued me. I felt a sense of liberation – maybe it was Smith’s lyrics, or her singing (which reminded me a little of my own), or her successful merging of bohemianism and punk. But anyway, I knew it was my kind of music. And I’ve loved it ever since.

Attack and Release (2008): The Black Keys

attack + release

Though The Black Keys have forever been plagued by comparisons to The White Stripes, it is with Attack and Release that they prove these claims blatantly wrong. Helped by their then-new partnership with producer Brian Burton (AKA Danger Mouse), it is the perfect mix between psychedelia, blues rock and punk, perhaps my favourite genres ever. Easily my favourite Keys album!

Rolling Stones Rock and Roll Circus (recorded 1968, released 1996): various

Rolling_Stones_Circus

This one’s self-explanatory. There is so much to love: a John Lennon-fronted supergroup (featuring Keith Richards on bass and Eric Clapton on lead guitar) playing a searing version of ‘Yer Blues’, an electrifying Who performance of their mini rock-opera, ‘A Quick One While He’s A Way’, a set from The Stones themselves, featuring a spine-chilling slide performance from Brian Jones and a rendition of ‘You Can’t Always Get What You Want’ seven months before its release… Virtually my musical dream!

So, what are your favourite albums of all time? Be sure to tell me in the comments!

On The Who and the rock opera

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Last Sunday – the 23rd of August – would have been Keith Moon’s 69th birthday. Despite only living to the age of 32, Keith was definitely one of (if not the) the most talented drummers ever. His melodic and distinctive technique fit alongside both The Who’s heavy, “maximalist” style and his deserved reputation as one of rock’s most iconic madmen perfectly. Happy birthday, Keith!

The Who are one of my very favourite bands. Although I’ve only been a fan since December 2014, the band’s unique, brash brand of rock (highlighted by the virtuosic ability of each member on their respective instruments) has fascinated me ever since. But there is one aspect of the band that particularly interests me: their pioneering of the “rock opera”. The Who were among the first to record an album linked together by a common narrative. And most of their better-known albums fit under the category, or at least began life under it. So today, I thought I’d write about The Who’s history with the art of the rock opera.

(via wikipedia.org)

(via wikipedia.org)

The Who’s “relationship” with the rock opera began as early as 1966, with their single ‘I’m A Boy’.

‘I’m A Boy’ was originally a part of a narrative concept created by Pete Townshend, named QuadsQuads was set in an alternative future where expecting parents could choose the sex of their children. In the case of the protagonist family, the parents choose four girls. However, there is a mistake, and one of the four girls turns out to be a boy! Consequently, the parents refuse to accept the fact that their child is a boy, and he is forced to dress and act like his sisters.

The idea for Quads was soon abandoned, but ‘I’m A Boy’ was salvaged. Musically, the tune centres around the ‘power pop’ genre which The Who also pioneered until 1969, and was released on the 26th of August, 1966. It reached number 2 in the UK, yet failed to chart in the US.

Pete would create another prototype rock opera in 1966, which was featured during the last nine minutes of the band’s sophomore album, A Quick One, released that December: ‘A Quick One, While He’s Away’. The song has since been hailed as one of The Who’s most classic and innovative cuts, and it is one of the band’s first in which Pete’s songwriting genius is in full spotlight.

With the deadline for A Quick One fast approaching, The Who did not have enough material for the album. Pete, trying to find extra tracks to record, went through a bunch of songs he had written but not used for the band, and played these to then-manager Kit Lambert. One of these songs was named ‘Gratis Amatis’, supposedly consisting of only the title repeated constantly in high-pitched voices over a guitar. Whilst none of the songs were deemed good enough for release, Lambert jokingly referred to ‘Gratis’ as a “rock opera”, unintentionally inspiring Pete. Pasting together hastily-scribbled lyrics (about a girl whose lover has disappeared and proceeds to have an affair with an engine driver) and six “movements” in a mere few days, The Who soon recorded their first stab at a concept they would master in later years…

Though the lyrics of ‘A Quick One…’ weren’t thought much of when they were originally written, Pete has said in recent years that they came from a dark place in his subconscious. In his 2012 autobiography, Who I Am, he writes that the words allude to the time he spent with his bizarre grandmother who abused him as a small child. Consequently, he finds it difficult to play live and it was only reintroduced into the band’s live repertoire in 2014, for the first time since 1970.

However, there are a few live versions of the song circulating that are arguably as good as the studio version. The tune was part of the band’s set list of their famous Live At Leeds concert. However, my favourite live version of the song is the one originating from the 1968 Rolling Stones Rock and Roll Circus. It is often speculated that the film’s (which wasn’t officially released until 1996) unreleased status was due to The Stones’ opinion that The Who upstaged them!

The Who would continue to create prototype “rock operas”. The band’s third album, The Who Sell Out, was a concept album about the advertising which was played alongside the music on pirate radio stations. The front and back covers depicted the band members comically advertising different products: Pete applied an oversized tube of Odorono deodorant, Roger Daltrey sat in a tub of frozen baked beans, Keith (too) applied medicated pimple cream and John Entwistle hugged a bikini-clad woman and a teddy bear, advertising a fake bodybuilding course. Between the actual songs, advertising jingles written by the band for the products featured on the packaging were included.

(via medium.com)

A poster showing ‘The Who Sell Out’s packaging. (via medium.com)

But it wasn’t until 1968 that The Who would start to perfect the art of the rock opera, and consequently release what would become one of the greatest albums of all time: Tommy.

(via wikipedia.org)

(via wikipedia.org)

The story of Tommy centres around a protagonist of the same name. Tommy is born at a time when his father, who had been fighting in World War 1, is presumed dead. His mother moves on with her life, and soon meets a man who becomes her lover. However, a few years later, Tommy’s father returns home to find his wife with her lover. In a fit of rage, he murders the lover, unwittingly in front of Tommy. Both parents frightened of their secret getting out, they brainwash Tommy (“You didn’t hear it / you didn’t see it / you won’t say nothing to no-one…”), turning him deaf, dumb and blind.

Tommy’s parents become desperate to find their son a cure. They enlist the help of a hawker who claims he can cure him, but to no avail. The hawker’s wife – the Acid Queen – also claims she can cure Tommy, and injects acid into him, leaving him shaken by the hallucinogenic experience. Tommy soon becomes a victim of the cruel behaviour of those around him: his cousin Kevin tortures and bullies him, and his uncle Ernie begins molesting him. Tommy’s parents also become annoyed that their son will never find Christianity in his isolated state, and start to cease caring as much about him.

However, they are unaware that Tommy’s disability has gifted him with a sensitive sense of touch. Tommy begins playing pinball, and due to his ability to feel the slightest vibrations, is soon established as a prodigy. He wins the title of top pinball player from the highly-esteemed Pinball Wizard, and is idolised by pinball players around the world. But Tommy’s parents still wish to find a cure, and take him to a doctor who, again, claims to have a cure. The doctor’s tests establish that Tommy’s disability is psychological, and, after telling him to stand in front of a mirror, that he can see himself in the reflection. Later, his mother – in a fit of frustration regarding the fact that Tommy will never see or hear her – smashes the mirror that Tommy now almost permanently stares at, and magically cures him. Already worshipped by the world, Tommy now realises his power and begins a “religious” movement centring on playing pinball in a deaf, dumb and blind state. All goes well for a while, until Tommy’s followers realise the amount of control he is exerting on them, and revolt. Tommy again becomes deaf, dumb and blind, and presumably stays that way for the rest of his life.

According to Pete, the narrative of Tommy is inspired by the teachings of Meher Baba, an Indian spiritual master who he had begun to follow. Recurring themes of Baba’s teachings, like love and introspection, connected with Pete and also became central to the album. Baba would go on to influence plenty more Who music, perhaps most famously with 1971’s ‘Baba O’Riley’.

Musically, Tommy is a departure from what The Who had been recording for the previous four years. Rejecting the power pop of before, the album centres around a harder, more overdriven brand of rock. However, their sound owes as much as always to the gifted and melodic bass and drums of John Entwistle and Keith Moon, the equally-talented, rhythmic guitar of Townshend and the amazing voice of Roger Daltrey – so some things stay the same!

Throughout their tours of 1969 and 1970, The Who performed much of Tommy live. The most iconic of these was their performance at Woodstock, immortalised by the festival’s accompanying film and album. They were supposed to be the second-to-last act on the Saturday of the festival, but by the time they got to play, it was the early hours of Sunday…

Tommy, in 1975, was adapted into a musical film. Directed by Ken Russell and produced by Robert Stigwood, Roger reprised his role as Tommy, who he also played on the album. His work in the film is stunning, and would begin an acting career for him. Ann Margaret was cast as Tommy’s mother, and was nominated for an Academy Award for her performance. Other roles included Tina Turner as the Acid Queen, Elton John as the Pinball Wizard and Keith Moon as Uncle Ernie. This made the story of Tommy even more successful, the album already widely recognised as a masterpiece.

Inspired by the immense success of Tommy, Pete begins to write another rock opera in 1970, this time based around a complicated sci-fi plot: Lifehouse. However, this time, things wouldn’t go so well…

According to Who I Am, the story of Lifehouse begins in a dystopian future where rock music has been banned and almost completely wiped from the world. The world is collapsing, and the society’s citizens are effectively programmed and brainwashed into blindly following authority figures. To prevent an apocalypse, the government forces the citizens into a forced hibernation, plugging them into a prototype internet concept named ‘the Grid’. To make the forced hibernation somewhat bearable, and eventually freeing them from its constraints, various members of the society rebelliously set up the ‘Lifehouse’ and begin putting on live rock shows. Various citizens begin to hack into the Grid, and broadcast rock music. The society is drawn into the Lifehouse, and eventually end up entranced by a musical nirvana. In a way, there are a few parallels to the narrative of David Bowie’s classic album, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, released in 1972 – in both stories, the world is about to end, and (in the beginning) the world’s interest in rock music has seriously diminished, for one.

Pete’s original plan for releasing Lifehouse was to hire the Young Vic Theatre in London, to work on the unfinished songs for the album in front of an audience, and get them involved in the development of the album. Once the material was developed enough, the concerts would eventually be filmed. Pete also purchased a number of synthesisers especially for the production of the album.

(via wikipedia.org)

(via wikipedia.org)

However, when Pete began to tell the rest of The Who about Lifehouse, its misfortune also began to become clear. The rest of the band found it hard to grasp the concept of the album, and the cost of the album’s making was too large. It was scrapped in favour for a traditional rock album, which would become the highly-acclaimed Who’s Next. Many of the songs from Lifehouse found themselves on the track-listing of Next, and the album is sometimes named as the band’s best album. However, despite The Who’s ever-rising success, the desertion of Lifehouse devastated Pete. Songs from the rock opera would be released on many of the following Who albums and some of Pete’s solo albums. Some tracks originally on the aborted project – like ‘Won’t Get Fooled Again’ and ‘Behind Blue Eyes’ – have gone on to become some of The Who’s best known songs.

A year after the release of Who’s Next, Pete – still eager to write another rock opera – began work on what would become the next Who album, and an album now also oft cited as one of rock’s great works of art: Quadrophenia. Though it was given mixed reviews at its original release, and remained overshadowed by Tommy, the album, in recent years, has begun to receive its proper due.

(via wikipedia.org)

(via wikipedia.org)

The story of Quadrophenia is somewhat more realistic than that of Tommy, and centring around mod culture in mid-’60s London, is loosely based on The Who’s own experiences with the subculture during that time. The album’s protagonist is a teenage boy named Jimmy. He is diagnosed as schizophrenic early in the narrative, though refers to himself as ‘Quadrophenic’ in the liner notes that came with the original vinyl release. Each of Jimmy’s four personalities is based on the characteristics of each Who member. Each band member and their personality has one song each dedicated to them, and these, too, are referred to in the liner notes – Roger’s (“a tough guy; a helpless dancer,”) song was ‘Helpless Dancer’; John’s (“a romantic, is it me for a moment?”) was ‘Is It Me?’, a mini-song found inside ‘Dr Jimmy’; Keith’s (“a bloody lunatic, I’ll even carry your bags,”) was ‘Bell Boy’, and Pete’s (“a beggar, a hypocrite, love reign o’er me,”) was ‘Love Reign O’er Me’. The album’s two instrumentals – ‘Quadrophenia’ and ‘The Rock’ – plus opening track ‘I Am The Sea’ use the melodies of the four themes, as well.

The narrative begins with Jimmy, disillusioned with his life and desperate to find something that will set him apart from the crowd. He endures time with his parents and a psychiatrist, neither of whom seem to ‘get’ him, and a number of jobs which he can’t stand. However, after attending a Who gig, he discovers the mod subculture and realises it is just what he has been looking for. Jimmy completely invests himself into mod culture: he buys the hip clothing, uses the subculture’s drug of choice (speed), and rides everywhere on his recently-purchased scooter. Finally the ‘cool’ person he always wanted to be, Jimmy also enjoys hanging out with his new mod friends, although he sometimes finds them hard to keep up with. He even finds a mod girlfriend, but she eventually leaves him for his best friend, Dave. Jimmy travels to Brighton, the mod capital, and contributes to a riot with their rival gang, the rockers. Leading the entire ordeal is the head mod known as the ‘ace face’, who Jimmy idolises.

A little while later, Jimmy’s mental health problems get the better of him, and he ends up crashing his scooter and contemplating suicide. He leaves home and takes a train to Brighton, in an attempt to recreate the times he had enjoyed there previously as a mod. But as he walks past the local hotel, he spots the ‘ace face’ – who he once respected more than anybody – now working as a bell-boy, symbolising the superficiality of the subculture to him. Jimmy steals a boat and sails out to a rock by the sea, feeling that the world has betrayed him and that his life has all but wasted away. He sits on the rock, again contemplating suicide, getting soaked in the heavily-falling rain. The listener never discovers what happens to Jimmy on the rock.

Quadrophenia, again like Tommy, is something of a departure from The Who’s previous material. The songs – infused with the heavier “mod rock” of The Who’s first album, My Generation, and the synthier, artier rock of Who’s Next – contain much darker and realist lyrical matter than much of the band’s previous work. Because of these factors, I feel the songs are the most emotionally-charged and passionate of The Who’s catalogue. The performances from each member on the album are better than ever before: Entwistle’s bass work on ‘The Real Me’, and Daltrey’s vocals on ‘Love Reign O’er Me’ are often regarded as career highlights, for one. Arguably the best example of this is on the aforementioned ‘The Real Me’ – accompanying John’s incredible bass are stunning performances from the other three members, as well. Pete’s genius is arguably at its peak on the album, too, with it containing everything from killer riff-based rockers, to heart-wrenching synth-lead ballads, and everything in between!

The packaging of the original Quadrophenia vinyl release included a gatefold cover, on which the liner notes were printed, and a booklet containing the songs’ lyrics, and photographs to illustrate the story.

A picture from the booklet. (via coverlib.com)

A picture from the booklet.
(via coverlib.com)

A film adaptation of Quadrophenia was released in 1979, shortly after the tragic death of Keith in 1978. The movie starred Phil Daniels as Jimmy, but the most high-profile role was that of ‘Ace Face’, who was played by Sting. Quadrophenia was not filmed in a musical format, unlike Tommy, the music from the album instead woven into the background. (However, much of The Who’s early, mod-intended work is used in the storyline – such as the usage of ‘My Generation’ in a party scene – to sit alongside the cuts from the film’s namesake.) The storyline of the film also differs somewhat from that of the album, so in a way, they both stand as great works of art on their own.

Whilst Quadrophenia is usually considered the last iconic Who rock opera, they would go on to record one more: The Boy Who Heard Music. Beginning life as a novella written and published by Pete on his blog during 2005 and ’06 (which you can read on both his old blog and old website, via the Wayback Machine), the story was eventually adapted into a mini-opera named Wire and Glass, released as an EP in 2006. The band’s studio album from the same year, Endless Wire, also includes the mini opera, plus a number of songs that relate to its narrative. In 2007, a full rock opera on the narrative, sharing a name with the original novella, was performed as a live musical also. Unsurprisingly, the story of The Boy Who Heard Music is considerably lesser-known when compared to The Who’s other rock operas, and I have to admit that I haven’t listened to it in full, yet… However, one track from the full rock opera – ‘Real Good Looking Boy’ – was included on a 2004 compilation of some of The Who’s better-known songs, Then and Now.

Many of Pete’s solo albums are also, in a similar vein of much of is Who work, concept albums. 1985’s White City follows the stories of residents living in a housing estate in the ’60s; 1989’s The Iron Man: The Musical by Pete Townshend is a, well, musical adaptation of Ted Hughes’ sci-fi novel of the same name (and also features two songs boasting a personnel including all three surviving members of The Who); 1993’s Psychoderelict (including a few characters who would also find themselves in The Boy Who Heard Music) tells the story of a washed-up ’60s rockstar named Ray High. He has also revisited the concept of Lifehouse many times since its failure in the early ’70s, especially during the early-to-mid 2000s.

The Who’s work with the rock opera is incredibly interesting, and a testament to the genius of much of their discography. Under their ‘opera’ umbrella has come some of the greatest and most innovative albums + songs ever, that have certainly stood the test of time and continue to be discovered by many a music fan today!

At Woodstock.

At Woodstock.

Making Mixtapes…

The disappearance of mixtapes is sad, in my opinion. Making someone a YouTube playlist of their favourite tunes is a nice gesture, but it doesn’t seem to have as much thought and effort behind it. Plus, nothing beats listening to “physical” music.

So, in keeping with my mixtape-ish mood, I thought I’d make just that! Of course, for the sake of the Internet, a YouTube playlist will have to do, but anyway… And in keeping within the general theme of this blog, my mixtape will consist of all the songs from the ’60s and ’70s that are most important to me. So, here goes…

‘I’m Only Sleeping’, ‘Happiness Is A Warm Gun’, ‘Here There and Everywhere’, ‘You Never Give Me Your Money’, ‘While My Guitar Gently Weeps (Anthology 3 Version)’ & ‘Long, Long, Long’: The Beatles

Revolver

‘I’m Only Sleeping’ is perhaps my most important Beatles song. I first heard it in late 2013, and was captivated by its psychedelic, lazy vibe, unlike anything I’d ever heard before. But in August 2014, I was listening to Revolver on vinyl, and the song came on. I felt a love for the music that I’d never felt before, and I realised just how special it was. I’d called The Beatles my favourite band for over a year prior, but it was only then that I knew what it meant…

‘Happiness Is A Warm Gun’ is my current favourite Beatles song. I love how, in under three minutes, it covers the history of rock’n’roll. Stretching from psychedelic imagery to Zeppelin-esque hard rock to a doo-wop parody, plus one of John’s best vocal performances, it’s definitely one of The Beatles’ best!

‘Here, There & Everywhere’ was one of John’s and Paul’s favourite Beatles songs, and it’s my favourite Paul-penned song. It has such a delicate vibe to it. The vocals from all parties are hypnotically beautiful – not to even mention the drums, and bass… A wondrous song!

‘Long, Long, Long’ & the Anthology 3 version of ‘While My Guitar Gently Weeps’ are both folky, George-written tunes from the White Album era. The former has long been a favourite of mine. In contrast to the cacophony of ‘Helter Skelter’ before it, it’s a beautifully peaceful tune, with the wonderful guitar, organ and drums among its highlights. The latter song is my favourite version of the tune. Whilst I love the official version, with its Clapton-played lead guitar, there isn’t much better than the gentle acoustic guitar and the shimmery organ of the Anthology 3 version, for me…

‘My Generation’, ‘The Real Me’, ‘I’m Free’ & ‘See Me, Feel Me’: The Who

Thewho-therealme1

Though I love the musical work from each Who member on ‘My Generation’ (John Entwistle’s bass, in particular!), my favourite part of the song is the lyrics. Where I live, among the mainstream media’s favourite pastimes is criticising anyone under the age of 30. ‘My Generation’, like the generations before who listened to the song, made for a good antidote to their criticism & generalisations.

‘The Real Me’ is my favourite Who song at the moment. Like most of their tunes, the guitars/bass/drums/vocals are amazing – one of my favourite things about the band is how each band member was really good at what they did. The perfect opener to one of my favourite Who albums, Quadrophenia!

‘I’m Free’ & ‘See Me, Feel Me‘ are both from Tommy, my other favourite Who album.The former is a rocker, with a standout rhythm guitar performance from Pete Townshend. It’s only recently that I began to listen to it more “in-depth”, but since I have, it has quickly become a favourite. The latter in contrast, was one of my original favourites. Roger Daltrey’s falsetto vocals and Keith Moon’s drums during the “listening to you” chorus, in particular, make the song a very deserved classic…

‘Stray Cat Blues’, ‘No Expectations’, ‘Under My Thumb’, ‘2000 Light Years From Home’ & ‘Midnight Rambler (Get Yer Ya Ya’s Out version)’: The Rolling Stones

their satanic majesties request

‘Stray Cat Blues’ & ‘No Expectations’ are from The Stones’ 7th album, Beggar’s Banquet. I’ve been listening to ‘Stray Cat Blues’ almost exclusively for the past few days. It’s edgy; it’s hard; it’s great! The instruments and vocals are all awesome, and I love it. ‘No Expectations’ is another favourite. Brian Jones’s slide guitar on the song is one of the last things he did with The Stones. It’s beautiful, and only proves Brian’s musical genius.

‘Under My Thumb’ & ‘2000 Light Years From Home’ are from my favourite Stones period, the mid-’60s. Despite the horribly misogynistic lyrics, I love ‘Under My Thumb’. The fuzzed bass and stabbing guitar are great, but the highlight of the song is definitely Brian’s marimba riff. And ‘2000’ is my favourite song on The Stones’ album that everyone loves to hate, and I love to love: Their Satanic Majesties Request. The mellotron, the keyboards, the guitar & the vocals bring a song by a primarily R&B band to sound more like Pink Floyd… Probably my favourite Stones song!

My dad introduced me to Get Yer Ya Ya’s Out, and ‘Midnight Rambler’ is perhaps my favourite song on the album. I love its rawness. But the most special bit about it, for me, is the cry of “Paint it black, you devil!” at the end. Dad and I joked about it for months, and continue to do so…

‘Venus In Furs’, ‘I’ll Be Your Mirror’, ‘White Light/White Heat’, ‘I’m Waiting For The Man’ & ‘Sunday Morning’: The Velvet Underground

All_Tomorrow's_Parties--I'll_Be_Your_Mirror

‘Venus In Furs’ was my original favourite Velvets song. I remember being captivated by the cacophony of violas, guitars and drums the first time I listened to it. To this day, it’s one of my very favourites. I tried to cover it whilst busking earlier this year, with less-than-successful results…

It was only recently that I realised the beauty of ‘I’ll Be Your Mirror’. I never really liked Nico’s songs on The Velvets’ debut, The Velvet Underground and Nico, and ‘Mirror’ is one that she sings. It was only after listening to Beck’s cover of the song for his Record Club project that I realised how beautiful the song is. I particularly like the guitar part!

‘I’m Waiting For The Man’ is one of the rockier songs on Nico, yet is just as great. After the beauty of ‘Sunday Morning’, it’s refreshingly hard and punk-esque. I’ve always loved the song, and continue to do so today!

‘Sunday Morning’ was the song that introduced me to The Velvets, and perhaps the first non-Beatles song to have an impact on me. After hearing a cover of it on one of our favourite shows, my mum played me the song. And so began my love of a wonderful band…

‘White Light/White Heat’ is the title track of The Velvets’ second album. The songs are less “beautiful” than The Velvet Underground and Nico, but are no less experimental. It’s a tough, distorted avant-garde rock tune, and its influence on punk rock is easy to hear…

‘The End’, ‘L.A. Woman’, ‘Alabama Song (Whisky Bar)’ & ‘People Are Strange’: The Doors

TheDoorsTheDoorsalbumcover

‘The End’ & ‘Alabama Song’ are from The Doors’ self-titled debut. ‘The End’ is often regarded as one of The Doors’ masterpieces, and for good reason! Jim Morrison’s lyrics are some of his best, and the mysterious, psychedelic vibe that floats throughout the song is magical. The ending, with Jim’s infamous Oedipal spoken word section and rhythmic usage of the f-bomb, is also intriguing and helps create a magnificently climactic ending to the album. ‘Alabama Song’, in contrast, is a cover, but I love it all the same. Jim’s vocal performance on the song is one of my favourites, and I love Ray Manzarek’s pulsating, off-beat organ!

‘L.A. Woman‘ is the first song I can remember. One of my first memories is of my parents playing the song, and of being appalled once being informed that the song included the word ‘damn’! The album of the same name was in high rotation during my childhood, too. And now that I’m older, it has since become one of my favourite songs…

‘People Are Strange’ has always fascinated me, ever since I first heard it last year. The song was such a departure from any Doors stuff I’d heard before, at that point. Perhaps my favourite part of the song is the guitar, though the piano and, of course, the vocals give it quite a different vibe. It’s quite an understated song, and I like it a lot!

‘Welcome To The Machine’, ‘Interstellar Overdrive’, ‘The Gnome’ & ‘Wish You Were Here’: Pink Floyd

PinkFloyd-album-piperatthegatesofdawn_300

‘Welcome To The Machine’‘Wish You Were Here’ are both from, well, Wish You Were Here. The former is the song that introduced me to Floyd, and what made me a fan. I remember listening to the song last year – its hypnotising synths, the swirling vocals. It completely blew my mind, and I remain in utter awe of it. And ‘Wish You Were Here’ speaks for itself, really… The acoustic guitar that runs throughout the song is beautiful, and I love David Gilmour’s vocals, too. It’s easy to see why it’s perhaps Floyd’s best-known song!

‘Interstellar Overdrive’‘The Gnome’ are both from Pink Floyd’s debut, and the only album with input from Syd Barrett, The Piper at the Gates of Dawn. ‘Interstellar Overdrive’ is an edgy, almost-overwhelming psychedelic cacophony. A favourite of mine since watching a video of Pink Floyd performing it live in 1967 with their notoriously-incredible stage show, I find the combination of experimental guitars, organs and drums captivating! ‘The Gnome’ is perhaps not a Floyd masterpiece. However, I’ve always loved the song, and it never fails to make me smile. My favourite part of the song is Barrett’s lyrics – they’re quite simple, and they almost read like some kind of whimsical fairytale, which I love!

‘Get It While You Can’: Janis Joplin + ‘Piece Of My Heart’ & ‘Turtle Blues’: Big Brother and the Holding Company

Janis_Joplin_cover

Whilst Pearl is not my favourite Janis Joplin album, it was the one that introduced me to her work. And ‘Get It While You Can’ is my favourite song on Pearl. Much like the rest of the album, it features a prominent organ part, which adds an almost psychedelic element to the song. And of course, Janis’s vocals are amazing!

‘Piece Of My Heart’ & ‘Turtle Blues’ are both from my favourite Joplin-fronted album, Cheap Thrills, by Big Brother and the Holding Company. ‘Piece Of My Heart’ not only features yet another amazing Janis vocal performance – but the guitar is great, too! The guitarists in the band – Sam Andrew and James Gurley – were ridiculously good, and I have a huge appreciation of them, as a guitarist myself. ‘Turtle Blues’, too, is one of my favourites. Janis’s vocals again go without saying, and the piano is awesome! One can only imagine what Janis would have gone on to do…

‘Dazed and Confused’, ‘Misty Mountain Hop’ & ‘Tangerine’: Led Zeppelin

Led_Zeppelin_-_Led_Zeppelin_III

For a while, I thought of Led Zeppelin as a bit overrated. Then I heard ‘Dazed and Confused’. I listened attentively to Jimmy Page’s “weeping” guitar; John Paul Jones’s almost-mysterious bass; John Bonham’s thrashing drums; Robert Plant’s vocals, which I consider to be some of his best. And I’ve loved Zeppelin ever since.

I don’t know what it is about ‘Misty Mountain Hop’, but I really like it. I love the keyboard riff that runs throughout the song, and the drums, and the lead guitar, and the vocals, but even then… Maybe it’s the memories – it’s on Led Zeppelin IV, my first Zeppelin album, and it’s also featured in Almost Famous, a film I love. Either way, though, it’s a great song!

And I took my ‘tangerinetrees99’ from ‘Lucy In The Sky With Diamonds’, but you can imagine my pleasure when I discovered that Zeppelin had a song named ‘Tangerine’, a few months ago! I was even more pleased after listening to the song itself (one of the band’s folkier tunes), which I enjoyed. It’s now one of my favourites…

‘All Day And All Of The Night’ & ‘Sunny Afternoon’: The Kinks

Kinks_AllDay

‘All Day And All Of The Night’ was among my top-5 songs of all time for ages, and still remains one of my favourites. The fuzzed guitar riff, Ray Davies’ snarly vocals and Dave Davies’ flashy solo all make for a great rock’n’roll classic! It was perhaps this song that turned me onto the harder rock which I now also enjoy.

‘Sunny Afternoon’ is my current favourite Kinks song. I read someone comparing it to ‘I’m Only Sleeping’, the other day, and I can certainly see the similarities. The lazy vibe, paired with the bassline and another great Ray Davies vocal performances, make for a great song!

‘Suffragette City’: David Bowie

ZiggyStardust

‘Suffragette City’ is my favourite Bowie song right now, and the first one I consciously enjoyed. Throughout last year, the song would often appear on iTunes Radio, and I immediately liked it. The guitar, in particular, is great, and I can’t help but smile whenever I hear it!

‘Gloria’: Patti Smith

PattiSmithHorses

‘Gloria’ begins with understated piano chords, but soon turns into an exciting, protopunk epic – the perfect opening to Smith’s highly acclaimed debut, Horses. Although I only listened to the song for the first time about a month ago, its impact on me is huge. ‘Gloria’ is what hooked me on Horses, and what inspired me to check out the rest of Patti Smith’s work. She has quickly turned into one of my favourite artists – for her unique brand of alternative rock, for her fascinating punk poetry. And as a female musician myself, she is one of my biggest influences, alongside Kim Gordon of Sonic Youth and Courtney Barnett.

‘God’: John Lennon

JLPOBCover

‘God’ is my current favourite John Lennon song. I absolutely adore John’s vocals, and his piano – whilst not overly complicated and intricate – is perfect for the song. Ringo’s drums are great, too. And though I certainly believe in The Beatles, the lyrics are such typical John, and I love them all the same…

‘What Is Life’: George Harrison

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‘What Is Life’ was the first George solo song I ever heard. Way back when I got George and Ringo confused in pictures (!), I absolutely adored the song and would turn the radio up really loud whenever it came on. A couple of years on, I still find that guitar riff utterly irresistible!

‘Our House’ & ‘Helpless’: Crosby, Stills, Nash & Young

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‘Our House’ was my favourite song for the year before I discovered The Beatles. It was always played on the radio, and the melody, in combination with the piano, must have appealed to me. It was only recently that I began to realise how great the song is, and it has since become one of my favourites, again…

‘Helpless’, however, is my current favourite Crosby, Stills, Nash & Young song. Written and sung by Neil Young (who has one of my favourite voices, ever), it’s a wondrously beautiful, yet somewhat sad, ballad. I particularly love the lead guitar and, of course, Neil Young’s vocals.

‘Knockin’ On Heaven’s Door’: Bob Dylan

dylan knockin on heavens door

‘Knockin’ On Heaven’s Door’ is far from my favourite Dylan song. But it has an important place in my musical history, for it was the first song I learnt to play on guitar. Guitar has since become a huge part of my identity. There is little more I enjoy than playing my instruments, and playing has given me a greater understanding and love of the music I’d begun to like beforehand. So thanks, Bob!

And there. Here’s the entire playlist mixtape:

If you were making a mixtape of the songs most important to you, what would you put on it? Be sure to tell me in the comments!

It was 50 years ago today…

In case you didn’t know, I come from a place in Australia called Adelaide. We’re famous for a few things. Iced coffee and FruChoc chocolates, for example. And we were the second place in the world to give women the vote. And we’re the capital city of the only state in Australia that was settled by people who were actually on the right side of the law! From a musical point of view, Adelaide’s played a part in the stories of people like AC/DC, Paul Kelly and The Angels — and more recently Sia, I Killed The Prom Queen and Hilltop Hoods.
But Adelaide has claim to another musical milestone — on this day in 1964, we gave The Beatles the biggest reception they’d ever receive. 350,000 people crowded along the streets of the city, which was about a third of the population at the time. And that’s even with the lack of Ringo, who was still replaced by Jimmy Nichol when The Beatles reached here. And my grandparents are in those photos, somewhere… The Beatles played 4 sold-out concerts at Centennial Hall (which is now the Adelaide Showgrounds, where every Adelaidean goes to the Royal Adelaide Show as a kid), over two days. They paved the way for bands who would come to Adelaide in the time afterwards, like The Stones (who came in early ’65) and The Who (who came in early ’68).
And so it was 51 years ago today that The Beatles came to my hometown, and we earnt ourselves a spot on the Beatley map…

All You Need Is The Beatles

Today is a very exciting day for all Beatlemaniacs who reside in Adelaide – it was 50 years ago today, when The Beatles came to Adelaide (excuse lame Sgt. Pepper pun)! I’ve been in an unusually good mood all day, but sadly, my poor friends (whom I’ve no doubtedly overloaded with squeals of, “If only I were alive 50 years ago,” and, “John was here, 50 years ago,”, etc., etc.,) are not sharing the love. But anyway (their loss), I thought I’d do a special 50th anniversary post, jam-packed with YouTube clips, photos, fun facts and more; enjoy!

As most people know, Adelaide nearly wasn’t on The Beatles’ Australian agenda. A verbal deal had been struck up between Ken Brodziak (an Australian tour promoter) and Brian Epstein in 1963, some time before ‘Please Please Me’ rocketed to Number One in Britain. The promoter – unsuspecting of The Fab Four’s future…

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You Say It’s Your Birthday!

I got a little arty for the occasion!

I drew a picture for the occasion!

Today is the 5th of June, 2015. Precisely one year ago, I was writing my very first blog post and publishing my brand-new blog. And 4,974 views, 79 readers (that’s you!), 67 blog posts and 1 year later, I’m writing a post, too! So happy first birthday, All You Need Is The Beatles. To quote John, ‘another year over, and a new one just begun’.

AYNITB has come a long way since that very first post. (It was titled ‘Welcome To All You Need Is The Beatles!’, and you can read it here.) In the profile I wrote on myself in my post, I said that John Lennon was my favourite Beatle and that Revolver was my favourite Beatles album. That hasn’t changed. And oh, I still like making really bad Beatles puns. You can see them scattered throughout the blog.

But so much has changed in the world of AYNITB, too. You may have noticed that I said something about publishing my poetry and prose on here. Which I don’t do anymore. And now, I write about loads of my other favourite artists, as well. This time last year, I would have barely even heard of a few of the artists that I now know and love. And I hated all modern music, which has changed, too. I started this blog as a place where I could write about The Beatles, and occasionally publish my poetry. It’s sort of turned into a place where I can rant about all my favourite artists, review gigs I’ve been to, write about my own adventures in the world of music and…write about The Beatles!

And these past 12 months have been pretty awesome, and I chronicled some great times on here! I wrote about that time I went to my first Beatles tribute, or that time I saw some members of Australian alternative rock royalty perform The White Album in its entirety, or when I finally got my fancy Blu-Ray of A Hard Day’s Night. More recently, I wrote about playing my first gig, and when I met one of my musical heroes, Courtney Barnett! Writing about music is a wonderful thing. Music is something that brings people together; it creates memories. I think it has magical properties. As one of those people who loves music, to be able to write about it is so much fun!

There’s also some posts which I’m pretty proud of, too. I really enjoy writing my approximately weekly posts, and some of my favourites include the pieces I wrote on John Lennon on his birthday and the anniversary of his death, the post I did recently on my favourite bands from the ’60s and ’70s, and my review of Courtney Barnett’s gig in my hometown. (What are your favourite AYNITB posts? I’d love to know!)

And by the way, thank you! Thank you so much for reading my blog. Thank you for adding your thoughts at the end of my posts; I really enjoy waking up the morning after I’ve updated, and seeing all your thoughts and comments. And thank you for ‘liking’ my posts, and sharing them with your Facebook friends and Twitter followers and whatever other social media you may have. Or for sharing them with your friends and family in real life, if any of you do that… You — as the readers — put the ‘community’ in the All You Need Is The Beatles community. So thank you. I really appreciate it! 🙂

Thank you also to my wonderful family and friends who read this blog. Thank you so much for reading my posts, and for telling me what you think, and for offering me advice and for being really supportive of my blog! You all know who you are. 🙂

I’m super excited about this next year of All You Need Is The Beatles! I’ve still got loads of Beatley posts, and most of my writing will be about them. But I’m going to do all sorts of posts about my other favourite artists, too. And I’ll be doing gig reviews, and music reviews, and (hopefully!) posts about my own gigs and songs, too! But The Beatles will still be the main focus. The blog is called All You Need Is The Beatles, after all! To paraphrase The Who, ‘I’ve got a feeling that 2015/16 is gonna be a good year.’

So here’s to the year that was, the year that is and the many years of blogging to come! And now for a song…

Good day sunshine ’till next post! 🙂

My Favourite Bands from the ’60s (and 70s)

As one might guess, I grew up to a soundtrack of  ’60s and ’70s tunes. And the love of mid-20th-century tunes held by 5-year-old me has well and truly stuck! So today, I’m going to write about my favourite bands from the ’60s and ’70s, and why I like them — so in no particular order…

The Doors

the doors

The Doors are an extremely interesting band. For one, their sound was a little jazzier than their contemporaries. And Ray Manzarek, John Densmore and Robby Krieger were all impeccable musicians. (Especially Ray Manzarek! That man was a genius on the organ!) And of course, Jim Morrison. His voice was incredible, and you really don’t hear anything like it from any other band from the era. And not to even mention his lyricism! His poetry is a huge thing that makes The Doors unique. He touched on themes like love, death, individuality, life and the human race in general, and I really enjoy listening to his writing. The Doors were certainly very unique, in the best possible way!

The Doors are one of two bands on this list that I’ve known for as long as I can remember. One of  my earliest memories involves a very young me being appalled at Jim’s inclusion of the word ‘damn’ in the song ‘LA Woman’, and the album of the same name was in frequent rotation during my early childhood. These days, The Doors are one of my favourite bands!

FAVOURITE ALBUMS: The Doors (1967), Waiting For The Sun (1968) + LA Woman (1971)

Pink Floyd

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Pink Floyd’s ’60s-era work is not their better-known stuff, but it’s really cool. Their first album, The Piper At The Gates of Dawn (1967), was their only album with major input from founding member Syd Barrett, who left in ’68. The album is very psychedelic, as one would expect, and there are some awesome guitars and keyboards and effects! (I especially dig ‘Astronomy Domine’! And ‘The Gnome’.) I also really like Syd Barrett’s lyrics — his writing’s quite direct and the vocab is quite simple, but it really works! A few of them read like fairytales, too, which gives them a certain air of magic.  So the ’60s Pink Floyd are probably my favourite by a smidgeon — but that’s not to say that I don’t like the ’70s Floyd, too! Wish You Were Here, for example, is one of my favourite albums of all time. ‘Welcome To The Machine’ is one of my favourite Floyd songs, and the many parts of ‘Shine On You Crazy Diamond’ are plain awesome, and I think ‘Wish You Were Here’ speaks for itself…

I started to get into Pink Floyd after listening to Wish You Were Here on vinyl last November, and my mind was blown! I’ve been listening to Floyd quite a bit, lately. Really groovy!

FAVOURITE ALBUMS: The Piper at the Gates of Dawn (1967) + Wish You Were Here (1975)

The Velvet Underground

the velvet underground and nico

Laden with biting guitars, avant-garde instrumentation, controversial lyrics and everything else ‘art rock’, The Velvet Underground are a band I love! Though not many people paid attention to their work in the ’60s, their music now receives the recognition it deserves. The early Velvet Underground were very avant garde in their sound — founding member John Cale was a classically-trained violist, and often played it on tracks. Their innovative guitar-ing and drumming (and Lou Reed’s singing) also helped to influence countless punk and indie bands! In my opinion, The Velvet Underground are one of the quintessential ’60s alternative bands.

My mum introduced me to The Velvet Underground. One day mid last year, she played me ‘Sunday Morning’, and I was hooked! Soon after, we got a copy of The Velvet Underground and Nico, and The Velvet Underground quickly became one of my very favourite bands…

FAVOURITE ALBUMS: The Velvet Underground and Nico (1967) + White Light/White Heat (1968)

The Who

the who

At the moment, the band I’ve been listening to the most is probably The Who. One thing I really love about them is how each member was/is extremely good at their role in the band; Roger Daltrey is an amazing singer, Pete Townshend is an amazing guitarist, John Entwistle was an amazing bassist and Keith Moon was an amazing drummer! I also think that Pete is one of the greatest songwriters ever — it’s only after I attempted to play a few songs from Tommy that I realised how complex his stuff is.  And along with The Kinks, The Who created the rock opera. Listening to Tommy and Quadrophenia and following their stories is a wonderful experience! And that’s not even mentioning the fact that their innovative usage of guitar amps, or their live shows…

I first listened to The Who after getting a best-of CD back in December. It was only in March when I really got into them, and since then, I’ve become a huge fan!

FAVOURITE ALBUMS: My Generation (1965), The Who Sell Out (1967), Tommy (1969) + Quadrophenia (1973)

The Rolling Stones

the stones

Though The Stones were probably the first band I was ever aware of, it was really only 6 or so months ago that I really started to get into them. But it’s the Stones from the ’60s that I love. Their very early stuff is biting and fresh and has the blues written all over it. And by the mid ’60s, Brian Jones’s multi-instrumental genius made a number of their songs from good to absolutely wonderful! (Take a listen to the marimba on ‘Under My Thumb’, the sitar on ‘Paint It Black’, the recorder on ‘Ruby Tuesday’, the Mellotron on ‘2000 Light Years From Home’; that’s all Brian!) That stuff is my favourite — hence why I’m one of the few that likes Satanic Majesties! I also really like the stuff from Beggar’s Banquet, and Get Yer Ya Ya’s Out is my favourite live album of all time.

Like The Doors, I’ve known The Stones for as long as I can remember. My dad is a fan, so they’ve always been around the place. I can’t remember a time when I didn’t know the names of Brian Jones, Keith Richards and Mick Jagger. And excepting a brief period in 2013 when I thought that all Beatles fans had to hate The Stones, I’ve had a favourite Stones song since I was 8 or 9. (I think it was ‘Get Off My Cloud’.)

FAVOURITE ALBUMS: The Rolling Stones (1963), Aftermath (1966), Between The Buttons (1967) + Their Satanic Majesties Request (1967)

The Beatles

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As much as I adore the other bands on this list, The Beatles will always remain my favourite. There is something very special about them. Very. How they went from ‘Love Me Do’ to ‘Tomorrow Never Knows’ to ‘Revolution’ to ‘The Long and Winding Road’ (and everything in between)  in EIGHT years is mindblowing. And of course, each Beatle played their instrument really uniquely and it sounded fab! And The Beatles had four lead singers, too, and three songwriters; they each brought a different perspective to their eager listeners, and that set them apart. I also consider The Beatles some of the greatest lyric-writers, especially in the later days. And that’s not even mentioning how they not only influenced music, but how they turned the world on its head; pretty much every rock band since 1964 has been influenced by The Beatles someway or another. Their immense cultural impact changed everything, too. And the fact that nearly everyone knows who they are 53 years later says quite a lot!

The Beatles changed everything for me. I’ve been a fan since February, 2013, when I decided that they were more than just a band that’s on the radio all the time. And ever since that fateful day, my life has never been the same!

FAVOURITE ALBUMS: Everything Rubber Soul onwards!

Special mentions go to Janis Joplin, Jefferson Airplane, Led Zeppelin, Bob Dylan, The 13th Floor Elevators and The Kinks, the songs of whom I’m currently exploring and enjoying but don’t know well enough to write about…

What are your favourite bands from the ’60s and ’70s? Be sure to send me a postcard, drop me a line…

Hope you all have a great day, and good day sunshine ’till next post! 🙂

Dear Sir or Madam, will you read my book?

A very suitable picture for today's post!

A very suitable picture for today’s post!

For pretty much my entire life, I’ve loved books. There is nothing quite like getting engrossed in a good read, in my opinion. And considering I write this blog, I (obviously!) love The Beatles! And one of my favourite Beatley things to do has always been to read Beatley books…

When I first got into The Beatles and knew nothing about their history, it never occurred to me to Google them for some reason. Instead, I collected (and borrowed) a mini-library of Beatley books. And that is how — along with a few documentaries and the internet (once it did finally cross my mind) — I learnt the story of The Beatles.

My Beatley library is relatively large, and grows almost every month! It includes everything from some of the best books I’ve ever read (the books below, plus a few more), and some of the worst (*cough*GeofferyGuiliano*cough*), and everything in between. So today, I thought I’d write a bit about four of my favourites — so here goes…

The John Lennon Letters (ed. Hunter Davies)

$_35

The John Lennon Letters is a must-have title. Released in 2012, the book collects nearly 300 of John’s letters/notes/drawings/cards/etc; the earliest a thank-you card from when he was ten, the latest an autograph from the 8th of December. These writings provide an invaluable insight into John’s life. Ranging from a few of the infamous Melody Maker letters from him and Paul’s 1971 feud, to a beautiful Christmas card he made Cyn in 1958, some song lyrics which he never finished on the back of a postcard, to witty replies to hate mail, the letters are anything from hilarious to heartbreaking to angry to informative and just about anything in between. They portray John as a very intelligent guy, and show what he was like behind the spotlight. Davies adds notes to put them into context and also transcribes them. This was one of the first Beatles books I read, and was how I first learnt about John!

LIFE With The Beatles: Inside Beatlemania (photos by Robert Whitaker, compiled by LIFE magazine)

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This book is somewhat large and awkwardly shaped, but it is beautiful. Robert Whitaker was The Beatles’ official photographer from 1964-1966, and among other things took the infamous Butcher Cover. LIFE compiled pretty much all of his Beatles photos and sorted them into years. And my, was Whitaker a talented photographer! Wherever they were from 1964-1966, Whitaker was there, too, and the results that ensued were amazing. As demonstrated with the Butcher cover, he clearly had a penchant for the experimental, and his photos add a fresh new photographic voice to Beatles lore. With images ranging from John staring into his own reflection at Kenwood, to John, Paul and George’s guitars sitting in Customs in 1966, from Paul + George playing with a birdcage, to The Beatles hanging out with Mick Jagger backstage at one of their Christmas pantomimes, there are some truly special shots in here. Many of the photos have anecdotes from Whitaker next to them. In short, this is a beautiful, beautiful book!

All The Songs: The Story Behind Every Beatles Release (Phillipe Margotine + Jean-Michael Guesdon)

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This book is my Beatley bible. Think of it as all a more informal Mark Lewishon-style book, with prettier formatting, more information on the songwriting side of things + lots of cool photos! Right from the engaging introduction written by Patti Smith (who I’m also a fan of!), the book goes into the genesis, recording, production, technical details and (for some of the songs) related facts for each of the 213 titles in the Beatles’ discography! From this book, you’ll learn who wrote what, who played what, where each song was recorded, how many takes it took, who produced it… You’ll also read on its impressive 671 pages about what each song was written about, or who recorded it first if it was a cover, and often little anecdotes about the song, too! A photo also accompanies each song, and most of them are quite rare. The formatting is beautiful, too, and the book comes with three posters. I learnt so much from this book, and is probably one of the most informative titles in my collection!

The Beatles’ Anthology (The Beatles)

anthology

This is the mother of all Beatles books; their “autobiography”. Part of the Anthology project from the ’90s (which saw an eight-part documentary and three double albums of unreleased material released too), this book is chock full of practically everything a Beatles fan could want! Detailed interviews with Paul, George and Ringo were conducted for the project and it is through their words that the story of The Beatles is told here. John’s perspective is not neglected, either, as the researchers have found hundreds of quotes from the many interviews he gave over the years. George Martin and Neil Aspinall were also interviewed, and many other important figures in Beatles lore (such as Brian Epstein, Mal Evans and Stu Sutcliffe) also have quotes included. The book covers practically everything! Whether you want to know about Hamburg or Pepper, Shea Stadium or the rooftop concert, you’ll find it here. Not to mention that the story comes from the people who were actually involved, making it all the more valuable. Other highlights include pictures from the personal archives of each Beatle, unseen writings, and other things that add to this highly-illustrated book. A most invaluable addition to anyone’s Beatley library!

What books on The Beatles have you read? Have you got a favourite? Be sure to send me a postcard, drop me a line below…

Oh, and happy birthday to Pete Townshend for May 19th! As a huge fan of The Who, he is one of my favourite guitarists, and not to even mention a really awesome songwriter! Happy birthday, Pete.

Hope you have a great day, wherever you are, and good day sunshine until next post! 🙂