I just want to take this oppurtunity to thank Chris Khan (of becauseimchriskhan.blogspot.com) for photoshopping Miley into the picture with Paul, but also for being a good friend, and listening to my many rants and stories that I now hope to share here, not to mention for just being a generally supportive person.
So, thanks Chris!
Sunday, March 22, 2009
Friday, March 20, 2009
Just Loving Lovato
Demi Lovato has only been super famous for less than a year, since last summer's "Camp Rock," but already she has made such a career for herself. She is starring in "Sonny With A Chance," a her first full-length sitcom, has recorded an album ("Don't Forget," which will see a deluxe editon on the 31st), is doing many concert dates globally, and is planning if not already begun to work on album number 2.
I hope to do a more in depth post on Demi after I purchase "Don't Forget" deluxe in a couple of weeks, but for the time being, I thought I'd just do a more general survey of her short career. Her first gig was "Barney," where she, along with best friend and fellow Disney star Selena Gomez, was one of the children who Barney the Dinosaur would play with a teach life lessons. I only saw her on the show in repeats when my sister was a bit younger (and didn't have a clue who Demi was yet.) My formal introduction came from the same place it did for many, "Camp Rock."
It was already September or October when I first saw the movie, and I was wholly impressed with Demi's voice (her acting wasn't half bad either). "This Is Me" is a great song in general, with her and Joe Jonas singing over each other and such, but just on her own, it really shows her impressive range.
Her new show, "Sonny With A Chance," is a comedy about a girl named Sonny (Lovato) who joins the cast of a popular sketch show called So Random!. Lovato herself compares the premise to that of "Thirty Rock." The plots focus on relations between castmates, as well as between the cast of So Random! and the cast of their rival show, a moody teen drama called Mackenzie Falls. The show has been generally well-recieved. I find it a bit campier than other shows like "Wizards" or "Hannah Montana," but in of itself it is an entertaining show.
Aside from her album, Demi has done other musical releases. She has five "Camp Rock" songs:
I hope to do a more in depth post on Demi after I purchase "Don't Forget" deluxe in a couple of weeks, but for the time being, I thought I'd just do a more general survey of her short career. Her first gig was "Barney," where she, along with best friend and fellow Disney star Selena Gomez, was one of the children who Barney the Dinosaur would play with a teach life lessons. I only saw her on the show in repeats when my sister was a bit younger (and didn't have a clue who Demi was yet.) My formal introduction came from the same place it did for many, "Camp Rock."
It was already September or October when I first saw the movie, and I was wholly impressed with Demi's voice (her acting wasn't half bad either). "This Is Me" is a great song in general, with her and Joe Jonas singing over each other and such, but just on her own, it really shows her impressive range.
Her new show, "Sonny With A Chance," is a comedy about a girl named Sonny (Lovato) who joins the cast of a popular sketch show called So Random!. Lovato herself compares the premise to that of "Thirty Rock." The plots focus on relations between castmates, as well as between the cast of So Random! and the cast of their rival show, a moody teen drama called Mackenzie Falls. The show has been generally well-recieved. I find it a bit campier than other shows like "Wizards" or "Hannah Montana," but in of itself it is an entertaining show.
Aside from her album, Demi has done other musical releases. She has five "Camp Rock" songs:
- "We Rock" - with the full cast
- "Our Time Is Here" - with Meaghan Jette Martin & Aaryn Doyle
- "This Is Me" - with Joe Jonas
- "Who Will I Be?"
- "This Is Me (Acoustic)" - a solo version released only as a single
Demi is also on The Jonas Brother live album, on a concert performance of "This Is Me." (Maybe next year Demi will be the one with a "3D" concert film!)
There are also two songs she has done for compilation albums:
- "That's How You Know" - a cover of the song from "Enchanted" on "Disneymania 6"
- "Wonderful Christmastime" - a cover of Paul McCartney's Christmas song on Hollywood Records "All Wrapped Up" (a Target exclusive)
There is the song "Moves Me," that Demi did for a DVD called "Be Like A Pop Star With Demi Lovato." She was much younger when she recorded this number, which accompanies dance moves. It is sold on iTunes with the regular version, as well as extranous 'Karoke' and 'Instrumental' versions. Demi came a long way from this bland number. Her song "La La Land" was remixed (the "Caramel Pod D Remix") for the Japanese version of "Don't Forget."
All the above items are officially available (many on iTunes), but she also has a Demo album, only available as a bootleg (although with songs this good, maybe she'll get around to releasing them.) The demo has 10 songs, some only in fragments. Some cuts may be older than others, as some embrace a darker rock vibe, probably what she was refering to when she said her songs were too dark, and she needed the Jonas Brothers to lighten her material a bit. Others a cheesy bubblegum tracks, not dissimilar to "Moves Me"
- Stronger - The lyrics are "heavy," but the arrangement itself it quiet. Demi gives it both her breathy whisper like vocals as well as a few loud and forceful bits
- Shadow - again the lyrics are cool, but this one has more of a rock vibe.
- Open - The last two are from happier perspectives, but this one is about being in a bad / somewhat abusive relationship.
- Trash - in this song, Demi sings as a girl whose learns her boyfriend left her for another. She never uses the title, but that is what the character of the song must feel like.
- Ride - a forty second fragment about "strawberry bubble bath" or something, with really cheesy music. Not the stuff that Demi does now.
- Mirror - a fragment with okay vocals (she's trying a bit to hard, or the pitch is off) and basic and trite music.
- Not Yet - she sound like she's very young on this fragment, with piano (is it her playing?) accompaniment.
- I Can Only Imagine - a snippet of Demi singing this song
- Have Yourself a Merry Little Christmas
- The Christmas Song - two Christmas numbers with little arrangment (again, is Demi playing?) and two oppurtunities for Demi to stretch her voice over well known numbers.
(Demi may well have other remixes, by the way, but I don't keep up with them.)
Demi has many upcoming projects, like the "coming soon" Disney TV Movie "Princess Protection Program," which will also star Selena Gomez, many more concert dates, a new album, and a sequel to "Camp Rock" (which Lovato has been saying she hopes to get a funnier role from, I guess since she has been enjoying working on a sitcom so much.) She is on a success-laden path, and seems ready to take it on.Thursday, March 19, 2009
You Say You Want A Revolution...
Well, you want a Revolution? There are quite a few to pick from!
The Beatles have been in headlines recently after the discovery of the complete Take 20 (RM 1) of "Revolution 1." This track, nearly eleven minutes long, is the missing link between "Revolution 1" and "Revolution 9." It had been unbootlegged until late last year. Rumor has it that it leaked whilst tapes being used to remaster the "White Album" were being moved about. Only two tapes of this recording were in the vaults, so it had long been sought after, but impossible to find.
But it is not the earliest version we have available. There is John's Esher demo, which has been bootlegged, part of a collection of homemade recordings the Beatles made in anticipation of the "White Album" (with titles appearing in final form on said album, plus "Abbey Road," and two George songs only first relased in his solo years in the seventies and eighties!) This version of "Revolution" is John's original, slow arrangement, but it is not as slow as the album version. Instead, it has a very upbeat, singalong feel, more akin to, say, "Give Peace A Chance." John's guitar is the only instrument, the song otherwise carried by his lead vocals, some backing vocals, and handclaps. It has a very bare, live feel (like many Esher demos) and has a sound that almost seems like a sixties cliche, the type of hipy peace numbers. Except that John has more bite.
John was happy with keeping a slower arrangement for "Revolution," and kept it slow when the Beatles brought it to the studio, their first session for the "White Album." The Beatles recorded what would be retitled "Revolution 1," but John's original idea was to give it a very experimental coda, with tape loops and the like (John had recorded the infamous "Two Virgins" only a week or so prior.) After twenty takes, the Beatles ended up with the now popular "Revolution 1" Take 20 RM 1 (which means Mono Remix number 1). The cut runs for about 10:46. At first, it sounds just like the album version (minus many overdubs). But as it runs past the album version, things get a little crazy. John's "Alright" 's start to have effects on them, and a tape loop of noise keeps going through the sound image. Behind John, backing vocals saying "Mama, Dada" can be heard, something not in the final version. Finally, the song wraps up with a recording we all know from "Revolution 9," of Yoko talking with John and wierd radio noises and some tinkering on a piano. The song ends there, with John and Yoko heard commenting on it before the tape cuts. The song would be edited later on, and the last half taken out. John's experimental coda would become its' own entity, "Revolution 9."
We also have bootleg recordings of the Beatles overdubbing Take 20, adding electric guitar, organ, more drums, and such. The tapes we have are from Yoko, who was recording a sort of audio diary. She delves into many topics, from her sex life with John, to her relationsip with the band, and she seems to be in a very stream of conscious sort of recitation of emotions and events. Behind her, the Beatles can be heard working on overdubs and jamming, making for a great background atmosphere (although I imagine everyone, including myself, is not listening just for Yoko's part). The jams are pretty light, with a nice organ giving an almost ethereal feel. With Yoko talking over it, it feels less like a recording session, and more like the soundtrack to some strange psychedelic movie.
"Revolution 1" was finished first, and made part of the "White Album"s tracklisting, but the other Beatles wanted John to make it into a faster number, and so the electric single version was recorded, and wound up being the first released. With the heavy guitars, and John's primal scream, this version took on a more forceful stance, a complete turn around from the lazy Sunday performance of "Revolution 1." Session man Nicky Hopkins played keyboard, one of the few times the band would be augmented by an outside musician. It was the B-side of "Hey Jude," and both the A & B recieved much airplay (though Paul would be the one to have a #1, fueling a little jealousy in John, already none to happy to have had his two songs, "Across The Universe" and "Hey Bulldog" left out of the Beatles ealry 1968 single, Paul's "Lady Madonna," and also not thrilled to have "I Am The Walrus" relegated to the B-side to give Paul's "Hello Goodbye" top billing.)
After their last concert at Candlestick Park in 1966, the Beatles had not appeared together on stage. In 1967, they gave only one live performance, "All You Need Is Love," for the TV broadcast. In 1968, they would again go on TV live, sort of. For a special segment on the David Frost Show, the Beatles would do "Revolution." It would not be a new recording, but rather new vocals on top of the backing track from the single. Paul would do the opening scream, and while John sings the lead, Paul and George would throw in some "sho-be-do-wa's" from "Revolution 1," reconciling the two versions.
I had first heard "Revolution" in the car with my Mother, not long after the Beatles "1" CD came out. It was one of the first songs I heard by them not on the CD, and I was intrigued by it (and wholly confused when "Revolution 1" would come on, and I would wonder where the riff went!)
"Revolution" was the birth of John making his lyrics politically aware. It says very little specifically (save for Chairman Mao) but it has the sort of urgency that pervaded the late sixties, and the agression foreshadowing the political activism John would be a part of in the seventies. John still wasn't sure where he stood, not sure whether to say "in" or "out" after "You say you want destuction/ well don't you know that you can count me...", (saying both in "Revolution 1".) But he knew he had to say something. And so he did.
The Beatles have been in headlines recently after the discovery of the complete Take 20 (RM 1) of "Revolution 1." This track, nearly eleven minutes long, is the missing link between "Revolution 1" and "Revolution 9." It had been unbootlegged until late last year. Rumor has it that it leaked whilst tapes being used to remaster the "White Album" were being moved about. Only two tapes of this recording were in the vaults, so it had long been sought after, but impossible to find.
But it is not the earliest version we have available. There is John's Esher demo, which has been bootlegged, part of a collection of homemade recordings the Beatles made in anticipation of the "White Album" (with titles appearing in final form on said album, plus "Abbey Road," and two George songs only first relased in his solo years in the seventies and eighties!) This version of "Revolution" is John's original, slow arrangement, but it is not as slow as the album version. Instead, it has a very upbeat, singalong feel, more akin to, say, "Give Peace A Chance." John's guitar is the only instrument, the song otherwise carried by his lead vocals, some backing vocals, and handclaps. It has a very bare, live feel (like many Esher demos) and has a sound that almost seems like a sixties cliche, the type of hipy peace numbers. Except that John has more bite.
John was happy with keeping a slower arrangement for "Revolution," and kept it slow when the Beatles brought it to the studio, their first session for the "White Album." The Beatles recorded what would be retitled "Revolution 1," but John's original idea was to give it a very experimental coda, with tape loops and the like (John had recorded the infamous "Two Virgins" only a week or so prior.) After twenty takes, the Beatles ended up with the now popular "Revolution 1" Take 20 RM 1 (which means Mono Remix number 1). The cut runs for about 10:46. At first, it sounds just like the album version (minus many overdubs). But as it runs past the album version, things get a little crazy. John's "Alright" 's start to have effects on them, and a tape loop of noise keeps going through the sound image. Behind John, backing vocals saying "Mama, Dada" can be heard, something not in the final version. Finally, the song wraps up with a recording we all know from "Revolution 9," of Yoko talking with John and wierd radio noises and some tinkering on a piano. The song ends there, with John and Yoko heard commenting on it before the tape cuts. The song would be edited later on, and the last half taken out. John's experimental coda would become its' own entity, "Revolution 9."
We also have bootleg recordings of the Beatles overdubbing Take 20, adding electric guitar, organ, more drums, and such. The tapes we have are from Yoko, who was recording a sort of audio diary. She delves into many topics, from her sex life with John, to her relationsip with the band, and she seems to be in a very stream of conscious sort of recitation of emotions and events. Behind her, the Beatles can be heard working on overdubs and jamming, making for a great background atmosphere (although I imagine everyone, including myself, is not listening just for Yoko's part). The jams are pretty light, with a nice organ giving an almost ethereal feel. With Yoko talking over it, it feels less like a recording session, and more like the soundtrack to some strange psychedelic movie.
"Revolution 1" was finished first, and made part of the "White Album"s tracklisting, but the other Beatles wanted John to make it into a faster number, and so the electric single version was recorded, and wound up being the first released. With the heavy guitars, and John's primal scream, this version took on a more forceful stance, a complete turn around from the lazy Sunday performance of "Revolution 1." Session man Nicky Hopkins played keyboard, one of the few times the band would be augmented by an outside musician. It was the B-side of "Hey Jude," and both the A & B recieved much airplay (though Paul would be the one to have a #1, fueling a little jealousy in John, already none to happy to have had his two songs, "Across The Universe" and "Hey Bulldog" left out of the Beatles ealry 1968 single, Paul's "Lady Madonna," and also not thrilled to have "I Am The Walrus" relegated to the B-side to give Paul's "Hello Goodbye" top billing.)
After their last concert at Candlestick Park in 1966, the Beatles had not appeared together on stage. In 1967, they gave only one live performance, "All You Need Is Love," for the TV broadcast. In 1968, they would again go on TV live, sort of. For a special segment on the David Frost Show, the Beatles would do "Revolution." It would not be a new recording, but rather new vocals on top of the backing track from the single. Paul would do the opening scream, and while John sings the lead, Paul and George would throw in some "sho-be-do-wa's" from "Revolution 1," reconciling the two versions.
I had first heard "Revolution" in the car with my Mother, not long after the Beatles "1" CD came out. It was one of the first songs I heard by them not on the CD, and I was intrigued by it (and wholly confused when "Revolution 1" would come on, and I would wonder where the riff went!)
"Revolution" was the birth of John making his lyrics politically aware. It says very little specifically (save for Chairman Mao) but it has the sort of urgency that pervaded the late sixties, and the agression foreshadowing the political activism John would be a part of in the seventies. John still wasn't sure where he stood, not sure whether to say "in" or "out" after "You say you want destuction/ well don't you know that you can count me...", (saying both in "Revolution 1".) But he knew he had to say something. And so he did.
Wednesday, March 18, 2009
Live Peace In Toronto 1969
"Live Peace In Toronto" is a concert album capturing John Lennon's first proper concert without the Beatles (only a few more would follow in his lifetime.) The band features John on rhythm guitar and vocals, Yoko on vocals, then unknown drummer Alan White (later to join Yes), who was lucky enough to be hanging around at Apple Studios when John needed a drummer, Klaus Voormann, "Revolver" designer and soon to be popular session bassist with Apple artists, and Eric Clapton, who only recieved John's offers to join the show a day before they were set to fly to Toronto, on lead guitar.
Like many obscure John Lennon albums, it was while reading Wikipedia that I first stumbled upon "Live Peace." The tracklisting, consisting of cover tunes done with The Beatles, originals, and some Yoko numbers, both felt comforting (for the Lennon stuff) and intimidating (I had heard little of Yoko, so was skeptical about a 12 minute song by her!) Sitting in my school's library, I should have been doing work, but I read on about the album. I had never seen it in stores, and feared finding it would be hard. But a week or two later, on my 15th birthday, I headed down to Virgin Records at Union Square, where I would meet my uncle, who promised to treat me to a CD or 2. Just for kicks, I checked the Lennon section, and there to my astonishment was the album!
It was a brand new 2006 edition, just hitting shelves (as I later learned). The coolest part about this was that inside, a calendar is included. In '69, it was a '69 calendar. In '95, when the original CD edition came out, it was a '95 calendar. And now I had one with an '06 calendar, a gret way to remember the year I got it. Also great about this edition was that it was an audiophile version, a great quality remaster, printed on a gold disc. It was such an impressive presentation.
Afterwards, the rest of my family came, along with my best friend, and we had sushi, spent some time in Manhattan after that, before heading home. As soon as I got in, I pulled out my Walkman (it would be another year before I'd get an iPod) and I put in the CD. I instantly fell in love.
The disc opens with "Blue Suede Shoes." On the original vinyl, the first minute of this cut was a separate track, "Band Introduction." For this first minute or so, John and the band are just tuning, shouting off mike a bit, and cranking up the amps. This was not the first live album I had (I had gotten "The Concert For Bangla Desh," and McCartney's "Unplugged" a few months earlier.) But I had never heard guitars sound so raw and (thanks to the remastering) crisp.
After an few words from John (warning the crowd that they've "never played together before") they jump into "Blue Suede Shoes." John was very nervous to perform, and as they roll through the first number, he trips a bit on the words. But the playing is fast and rocking, with Clapton ripping a solo or two.
They continue doing oldies with a number the Beatles had done, "Money." This one they do in a heavy fashion. The last cover tune they do is "Dizzy Miss Lizzy." John sound a bit more confident a sure on this one. Yoko joins in too, wailing a bit during the bridge. Lennon's boost in confidence comes in part from the fact that Yoko emerges from her white sack (part of a performance art piece), and can help John with the lyrics (a little late, however.)
"Yer Blues" is the first original number, and also possibly the least interesting. Things seem off right away when the band has trouble starting the song. John, with Clapton, had done this song in '68 for The Rolling Stones "Rock & Roll Circus," and had given a top notch version, with no small thanks to the drumming of Mitch Mitchell. Here in Toronto, however, they have trouble pulling it off, and the solo comes off lame, and the ending is not to satisfying either, as they just sort of give up.
Coming off a poor performance, John introduces to the world "Cold Turkey," before even doing the studio version (which would also feature Clapton and Voormann, while White would be replaced by Ringo). They take it at a slower pace, and though John skips around the lyrics a bit, they still pull off a convincing take (I've always thought the single version was a bit trite, and too produced to really convince me that John's screams were not just part of a track, but real pain being expressed.) John sings one last number, "Give Peace A Chance," which he knows before hand that he'll flub during the verses. But the lyrics don't matter, so much as the interesting sound the song takes on when played by a band on electric instruments. Everyone on stage sings along, and it ends on an optimistic note.
Sitting in my room, I feared that with John's portion of the album over, I would now have to suffer Yoko's half. John's introduction of her, saying "now Yoko's gonna do her thing, all over you" I braced myself. Then they started "Don't Worry Kyoko." John's played the bare riff, the other members all silent, and my fears immediately washed away. The rest of the group joined in, with Eric giving some cool phrases on guitar. Yoko started her singing, and I was forever to be a fan of her work. She exuded so much power and control and unrestrained ferocity in her singing, as she sang a song aimed at her daughter Kyoko, whom she would not see for thirty years since being with her earlier in '69.
I was sorry the song had to end, but still had the last track "John John (Let's Hope For Peace." I had already read warnings of the song, described to me as wailing feedback behind a wailing Yoko. I would later hear an a cappella version of this song, which Yoko did on the "Wedding Album," but that could not hold a candle to this later developed version. Yoko, showing off her vocal skills undoubtedly gained from her early years learning opera in Japan (as was the norm for the girls of aristocracy), first just makes vocal sounds, before wailing the title of the song many times, stretching the words, screaming them with emotion. John and Eric use their guitars to achieve feedback. Voormann does the same. White occasionally plays a fill, just to acentuate Yoko. The song ends when Yoko finishes her singing, and, along with the rest of the band, walks off the stage. The guitars are all left on, leaning on the amps, still emitting feedback after the stage has cleared. The applause roars, either cheering for the song, or just happy that Yoko is gone. Mal Evans comes on stage to shut the amps off, and we hear an announcer once more credit The Plastic Ono Band, as they finish a great performance.
The album was a big change after Lennon and Ono's 3 experimental fares, and is much more accessible. It is heavy and rocking, but, despite lyrics about about being "lonely" and wanting "to die," Lennon's half manages to keep upbeat, while Yoko's half is a whirlwind of emotion, exhausting but rewarding to listen to. It is one of my favorite albums, almost 3 years since I first heard it on a great birthday, and I recomend it highly.
Also of interest is the film "Sweet Toronto," by D.A. Pennebaker, which captures the entire show, along with other performances of the night by Little Richard and Bo Diddley. You can look it up on Youtube, and it is a great way to test whether or not the album would be your cup of tea.
Like many obscure John Lennon albums, it was while reading Wikipedia that I first stumbled upon "Live Peace." The tracklisting, consisting of cover tunes done with The Beatles, originals, and some Yoko numbers, both felt comforting (for the Lennon stuff) and intimidating (I had heard little of Yoko, so was skeptical about a 12 minute song by her!) Sitting in my school's library, I should have been doing work, but I read on about the album. I had never seen it in stores, and feared finding it would be hard. But a week or two later, on my 15th birthday, I headed down to Virgin Records at Union Square, where I would meet my uncle, who promised to treat me to a CD or 2. Just for kicks, I checked the Lennon section, and there to my astonishment was the album!
It was a brand new 2006 edition, just hitting shelves (as I later learned). The coolest part about this was that inside, a calendar is included. In '69, it was a '69 calendar. In '95, when the original CD edition came out, it was a '95 calendar. And now I had one with an '06 calendar, a gret way to remember the year I got it. Also great about this edition was that it was an audiophile version, a great quality remaster, printed on a gold disc. It was such an impressive presentation.
Afterwards, the rest of my family came, along with my best friend, and we had sushi, spent some time in Manhattan after that, before heading home. As soon as I got in, I pulled out my Walkman (it would be another year before I'd get an iPod) and I put in the CD. I instantly fell in love.
The disc opens with "Blue Suede Shoes." On the original vinyl, the first minute of this cut was a separate track, "Band Introduction." For this first minute or so, John and the band are just tuning, shouting off mike a bit, and cranking up the amps. This was not the first live album I had (I had gotten "The Concert For Bangla Desh," and McCartney's "Unplugged" a few months earlier.) But I had never heard guitars sound so raw and (thanks to the remastering) crisp.
After an few words from John (warning the crowd that they've "never played together before") they jump into "Blue Suede Shoes." John was very nervous to perform, and as they roll through the first number, he trips a bit on the words. But the playing is fast and rocking, with Clapton ripping a solo or two.
They continue doing oldies with a number the Beatles had done, "Money." This one they do in a heavy fashion. The last cover tune they do is "Dizzy Miss Lizzy." John sound a bit more confident a sure on this one. Yoko joins in too, wailing a bit during the bridge. Lennon's boost in confidence comes in part from the fact that Yoko emerges from her white sack (part of a performance art piece), and can help John with the lyrics (a little late, however.)
"Yer Blues" is the first original number, and also possibly the least interesting. Things seem off right away when the band has trouble starting the song. John, with Clapton, had done this song in '68 for The Rolling Stones "Rock & Roll Circus," and had given a top notch version, with no small thanks to the drumming of Mitch Mitchell. Here in Toronto, however, they have trouble pulling it off, and the solo comes off lame, and the ending is not to satisfying either, as they just sort of give up.
Coming off a poor performance, John introduces to the world "Cold Turkey," before even doing the studio version (which would also feature Clapton and Voormann, while White would be replaced by Ringo). They take it at a slower pace, and though John skips around the lyrics a bit, they still pull off a convincing take (I've always thought the single version was a bit trite, and too produced to really convince me that John's screams were not just part of a track, but real pain being expressed.) John sings one last number, "Give Peace A Chance," which he knows before hand that he'll flub during the verses. But the lyrics don't matter, so much as the interesting sound the song takes on when played by a band on electric instruments. Everyone on stage sings along, and it ends on an optimistic note.
Sitting in my room, I feared that with John's portion of the album over, I would now have to suffer Yoko's half. John's introduction of her, saying "now Yoko's gonna do her thing, all over you" I braced myself. Then they started "Don't Worry Kyoko." John's played the bare riff, the other members all silent, and my fears immediately washed away. The rest of the group joined in, with Eric giving some cool phrases on guitar. Yoko started her singing, and I was forever to be a fan of her work. She exuded so much power and control and unrestrained ferocity in her singing, as she sang a song aimed at her daughter Kyoko, whom she would not see for thirty years since being with her earlier in '69.
I was sorry the song had to end, but still had the last track "John John (Let's Hope For Peace." I had already read warnings of the song, described to me as wailing feedback behind a wailing Yoko. I would later hear an a cappella version of this song, which Yoko did on the "Wedding Album," but that could not hold a candle to this later developed version. Yoko, showing off her vocal skills undoubtedly gained from her early years learning opera in Japan (as was the norm for the girls of aristocracy), first just makes vocal sounds, before wailing the title of the song many times, stretching the words, screaming them with emotion. John and Eric use their guitars to achieve feedback. Voormann does the same. White occasionally plays a fill, just to acentuate Yoko. The song ends when Yoko finishes her singing, and, along with the rest of the band, walks off the stage. The guitars are all left on, leaning on the amps, still emitting feedback after the stage has cleared. The applause roars, either cheering for the song, or just happy that Yoko is gone. Mal Evans comes on stage to shut the amps off, and we hear an announcer once more credit The Plastic Ono Band, as they finish a great performance.
The album was a big change after Lennon and Ono's 3 experimental fares, and is much more accessible. It is heavy and rocking, but, despite lyrics about about being "lonely" and wanting "to die," Lennon's half manages to keep upbeat, while Yoko's half is a whirlwind of emotion, exhausting but rewarding to listen to. It is one of my favorite albums, almost 3 years since I first heard it on a great birthday, and I recomend it highly.
Also of interest is the film "Sweet Toronto," by D.A. Pennebaker, which captures the entire show, along with other performances of the night by Little Richard and Bo Diddley. You can look it up on Youtube, and it is a great way to test whether or not the album would be your cup of tea.
Tuesday, March 17, 2009
An Introduction
I've always been a sort of walking encyclopedia on my favorite celebs. I could rattle off discographies, and I could name some news headlines on them at the drop of a hat. These things, these facts, are all things that I've read (be it the web, the paper, a book.) But after I'd recite my knowledge, I would always add something no book or magazine publishes: my opinion.
So, as recently as yesterday, while sharing with my friend some of the headlines I found on google news, I thought what it would be like if I wasn't just telling my friend these news bites, with my own editorial comments thrown in, but if I could bring this to a larger audience.
My experience with writing goes far back. I've always been very enthusiatic about reading and writing, and love writing papers for school. I have a good handle on analytical writing, but also on informing and sharing my two cents on a given subject. So I think it only makes sense to couple that talent and passion with my love of certain celebrities.
With that, I think it best to turn now to the specific content of this blog. I will be doing album reviews, on both current releases and back-catalogue, put up links to interesting news stories, and share my opinions, as well as trying to see past the media sensationalism to get to the heart of the news story. I will also add my own personal anecdotes here and there.
Some of the Celebs that I will more or less exclusively focus on are John Lennon, Paul McCartney, George Harrison, Ringo Starr (the four collectively known as the Beatles ;] ), Yoko Ono, Cream (Eric Clapton, Ginger Baker, & Jack Bruce), Led Zeppelin (Robert Plant, Jimmy Page, John Paul Jones, and John Bonham).
Those Celebs, though favorites of mine, don't make the news that much anymore, and while they will provide great subject matter for album reviews, most of the news I will look at will be on the up and coming careers of these Celebs: Miley Cyrus, Emily Osment, Demi Lovato, Selena Gomez, Miranda Cosgrove, Jennette McCurdy, and, as I will get to at the end of this post, Jamie Lynn Spears.
Quite a jump from the first group to the second, I know, but I like to think of my taste as "varied," and "contradictory."
So end my introduction. But now on to sort of a mini-first post, since I've relatively little to say on this developing story:
Jamie Lynn Spears has been keeping out of sight ever since the pregnancy controversy abruptly ended her career on Nickelodeon (although thankfully, rather than immediately canceling her show, "Zoey 101," leaving the characters and fans in a frustrating unfinished storyline, the company had the show written into an ending, putting together an entire half a season after new of Jamie Lynn's pregnancy had surfaced.)
Now, however, Spears is making headlines again, as she is apparently recording a country album. Little is known, other than that she has been working on this since last fall, and has done some demo tracks in Nashville. She doesn't appear to be on a label yet, either. With all of the young female celebs I follow, though I optimistically hope they all make it, I try to see which will actually become timelessly famous. I had counted Spears out of the running for long term fame, but like her sister (whose rather suggestive "If You Seek Amy" is currently all the rage), she keeps coming back, and hopefully she'll be as successful as her sister.
At this point, Jamie Lynn has only released one song, "Follow Me." The song, which Britney co-wrote, is played during the opening sequence of the show "Zoey 101" in edited form. The full version is hard to get, since the "Zoey 101" soundtrack carries an instrumental version only (I speculate that Jamie Lynn, at the time, did not want to be associated with music, to seperate herself from Britney). The only place the full song can be heard is during un-cut opening sequences of the show, rarely done on TV, but available on the "Zoey 101" DVD packages.
The song itself is pretty cool (with a pretty heavy bass practically upfront before the arrangement fills in). Jamie Lynn has a nice voice, though she can only do so much with it in the 1:52 the song runs. The songs message is something too, with the line "believe in yourself/don't follow me" issuing the type of thought that all celebrities try to get out, that despite everything they do (and with today's media, we know almost everything they do), you have to make your own choices, not their's. Ironic, too.
As a side note, "Zoey 101" is up for its' last KCA (Kids Choice Award.) Though I doubt it will win (competition includes "iCarly" & "Hannah Montana"), if it does, who will accept the blimp?
Well, I hope you enjoy my blog. Many more posts to come!
So, as recently as yesterday, while sharing with my friend some of the headlines I found on google news, I thought what it would be like if I wasn't just telling my friend these news bites, with my own editorial comments thrown in, but if I could bring this to a larger audience.
My experience with writing goes far back. I've always been very enthusiatic about reading and writing, and love writing papers for school. I have a good handle on analytical writing, but also on informing and sharing my two cents on a given subject. So I think it only makes sense to couple that talent and passion with my love of certain celebrities.
With that, I think it best to turn now to the specific content of this blog. I will be doing album reviews, on both current releases and back-catalogue, put up links to interesting news stories, and share my opinions, as well as trying to see past the media sensationalism to get to the heart of the news story. I will also add my own personal anecdotes here and there.
Some of the Celebs that I will more or less exclusively focus on are John Lennon, Paul McCartney, George Harrison, Ringo Starr (the four collectively known as the Beatles ;] ), Yoko Ono, Cream (Eric Clapton, Ginger Baker, & Jack Bruce), Led Zeppelin (Robert Plant, Jimmy Page, John Paul Jones, and John Bonham).
Those Celebs, though favorites of mine, don't make the news that much anymore, and while they will provide great subject matter for album reviews, most of the news I will look at will be on the up and coming careers of these Celebs: Miley Cyrus, Emily Osment, Demi Lovato, Selena Gomez, Miranda Cosgrove, Jennette McCurdy, and, as I will get to at the end of this post, Jamie Lynn Spears.
Quite a jump from the first group to the second, I know, but I like to think of my taste as "varied," and "contradictory."
So end my introduction. But now on to sort of a mini-first post, since I've relatively little to say on this developing story:
Jamie Lynn Spears has been keeping out of sight ever since the pregnancy controversy abruptly ended her career on Nickelodeon (although thankfully, rather than immediately canceling her show, "Zoey 101," leaving the characters and fans in a frustrating unfinished storyline, the company had the show written into an ending, putting together an entire half a season after new of Jamie Lynn's pregnancy had surfaced.)
Now, however, Spears is making headlines again, as she is apparently recording a country album. Little is known, other than that she has been working on this since last fall, and has done some demo tracks in Nashville. She doesn't appear to be on a label yet, either. With all of the young female celebs I follow, though I optimistically hope they all make it, I try to see which will actually become timelessly famous. I had counted Spears out of the running for long term fame, but like her sister (whose rather suggestive "If You Seek Amy" is currently all the rage), she keeps coming back, and hopefully she'll be as successful as her sister.
At this point, Jamie Lynn has only released one song, "Follow Me." The song, which Britney co-wrote, is played during the opening sequence of the show "Zoey 101" in edited form. The full version is hard to get, since the "Zoey 101" soundtrack carries an instrumental version only (I speculate that Jamie Lynn, at the time, did not want to be associated with music, to seperate herself from Britney). The only place the full song can be heard is during un-cut opening sequences of the show, rarely done on TV, but available on the "Zoey 101" DVD packages.
The song itself is pretty cool (with a pretty heavy bass practically upfront before the arrangement fills in). Jamie Lynn has a nice voice, though she can only do so much with it in the 1:52 the song runs. The songs message is something too, with the line "believe in yourself/don't follow me" issuing the type of thought that all celebrities try to get out, that despite everything they do (and with today's media, we know almost everything they do), you have to make your own choices, not their's. Ironic, too.
As a side note, "Zoey 101" is up for its' last KCA (Kids Choice Award.) Though I doubt it will win (competition includes "iCarly" & "Hannah Montana"), if it does, who will accept the blimp?
Well, I hope you enjoy my blog. Many more posts to come!
Subscribe to:
Posts (Atom)
