Recently discovered Beatles-obsessed YouTube channel makes me happy. (See previous post.) Here’s the story behind “Hey Bulldog.”
The Beatles’ “Hey Bulldog” has become a revered rocker in recent years, but that wasn’t always the case.
Although it first surfaced on the fairly unpopular Yellow Submarine LP in 1969, it has since appeared seemingly everywhere – from handpicked compilations of the band’s best rock songs, to the Rock Band video game.
From its fairly simple recording in one day to its rise as a not-so-deep track, this video offers a comprehensive look at the now-classic Lennon tune.
Love it or hate it, every serious music nerd should hear this strange album once. A Wizard, A True Star was released in ’73 when I was 15, and I soon became addicted (which might explain some things), although some of it annoyed me and still does. This mash-up of prog, pop, and blue-eyed soul might be the densest, most overly over-dubbed album in history. There is literally zero space unfilled. Because of that, there is almost always something interesting going on, even if the song itself isn’t good. Side one is a medley of song fragments, sort of like side two of Abbey Road produced by a crazier Brian Wilson with access to synthesisers (unfortunately, there’s not a gapless version on YouTube). The medley sometimes gets cartoonish. A portion of side two is a medley of Motown covers, which has always seemed a bit random to me. That said, there are plenty of addictive hooks throughout. Highlights for me are “International Feel” (and its recapitulation, “Le Feel Internacionale,” which ended side 1), “When the Shit Hits the Fan/Sunset Boulevard,” “Sometimes I don’t Know What to Feel,” and “Just One Victory.” The anthemic quality of “Just One Victory” can get annoying, and it’s too long, but it has some great melodic and harmonic twists and turns.
I think Todd was trying to blow up his status as an AM radio pop artist. The previous year he’d had a commercially successful album, Something/Anything?, which was mostly straight-ahead pop ballads and rockers: it contained “Slut,” often covered by Big Star, as well as the power-pop classic, “Couldn’t I Just Tell You.” Something/Anything also yielded a couple of big AM hits, the piano-driven “I Saw the Light” and “Hello It’s Me,” that made some people see him as kind of a male Carole King. I’m guessing that didn’t sit well with him, so he went all-out weird for A Wizard, A True Star. I’m sure there were hallucinogens involved as well. It didn’t sell nearly as well as its predecessor. Fun fact: the month after this album came out, he produced the New York Dolls’ first album.
So what to make of TR? He was a highly talented multi-intrumentalist and producer, a true master of the studio, and a pioneer of power-pop and prog. When everything clicked, he could be a very good songwriter. But he lacked self-censorship. Something/Anything? is a double ablum with way too much filler. It could have been a much better single album. As for AWizard, A True Star, he really needed to rein in some of the self-indulgent goofiness. He produced all his own albums, even playing all instruments on many tracks. He just occasionally needed someone to say “no.” In that regard, he was like an American version of The Move’s Roy Wood, who had the same issues. That may not have been a coincidence. The Move regularly covered “Open My Eyes,” originally by TR’s 60’s band, The Nazz. And the first time I ever heard The Move’s “Do Ya” was TR covering it live.
A new stage show produced by Beatle expert Mark Lewisohn sheds some light on a story we thought we knew. From The Guardian …
They’ve wrapped up the recording of Abbey Road, which would turn out to be their last studio album, and are awaiting its release in two weeks’ time. Ringo Starr is in hospital, undergoing tests for an intestinal complaint. In his absence, John Lennon, Paul McCartney and George Harrison convene at Apple’s HQ in Savile Row. John has brought a portable tape recorder. He puts it on the table, switches it on and says: “Ringo – you can’t be here, but this is so you can hear what we’re discussing.”
What they talk about is the plan to make another album – and perhaps a single for release in time for Christmas, a commercial strategy going back to the earliest days of Beatlemania. “It’s a revelation,” Lewisohn says. “The books have always told us that they knew Abbey Road was their last album and they wanted to go out on an artistic high. But no – they’re discussing the next album. And you think that John is the one who wanted to break them up but, when you hear this, he isn’t. Doesn’t that rewrite pretty much everything we thought we knew?”
Full article here, including a link to tour dates for a show I would kill to see.
Check out “Twink” miming with The Pretty Things for a bewildered French TV audience. Ever heard of Twink? I hadn’t, so I poked around on Google. Nicknamed after a British hair product, Twink was a mime, drummer, close friend of Syd Barrett, and general scenester of the London psychedelic underground. He played drums with an early version of T. Rex, with Syd Barret occasionally, on one Pretty Things album, and with the Pink Fairies. In the early 70’s, he was in Hawkwind with Lemmy. His band The Rings were on the ground floor of the London punk scene in ’77. Some refer to their lone single, “I Wanna be Free” as England’s first punk record. It’s not very good compared to what was about to come from the Damned, Sex Pistols, Buzzcocks, Clash, and Jam.
What led me to this video was my fondness for The Pretty Things, a very good British r&b band who never made any headway in the U.S. Their guitarist, Dick Taylor, had been in an early version of the Stones. Like the Stones, their forays into psychedelia were not always memorable, as you can hear above. You can hear them at their best here and here. Their raucous version of Roadrunner is my favorite cover of that song.
A freind whose opinion I sometimes trust saw this duo of rock royalty at Music Fest last weekend and liked what he heard. The first song I listened to was pretty bad, but this one has some things going for it: good melodies, harmonies, and chording. It’s too long and proggy in places, and perhaps owes too much to the White Album and Pink Floyd. Whoever made the video has worshipped too long at Terry Gilliam’s altar. It mostly just makes me want to go back and watch the real thing.