I am looking forward to hearing ColdPlay's new abum.I saw an interview with them a few weeks ago and they were really excited about Brian Eno producing their album. I don't know much about producing but over the years I have really enjoyed reading about George Martin's work with the Beatles. Sorry I did not mean to butt in here as you were asking Michigan a question.I personally have not heard the Mudcrutch album yet but I have heard great reviews on itfrom our local media here.Bryce wrote:Now the producer in the music world, on the other hand, is a role I absolutely, positively detest and cannot defend whatsoever. My only nitpick, as a once-upon-a-time on-again off-again studio engineer, is that folks far too often give a producer credit - good and bad - for an engineer's work. My resentment towards a producer's role in music has only grown in the last few years, what with all of the green kids coming out of diploma mills thinking they can engineer an album whilst calling themselves a producer, and also because of the growing popularity of (perhaps resurgence?) of songwriters-cum-producers that care not for a band's talent nor original works, only their image.
What do you think of Mudcrutch, Michigan?
What are you listening to?
As a former radio “producer” (radio drama, back in the day), I completely agree. “Producer” is one of those ambiguous terms that can mean almost anything, (or in the case of radio, everything. I “rode” a 32-track board).
“Executive Producer” is even better...
I still maintain that, while Lynne didn’t engineer Harrison’s later albums, his “production” (influence?) is very evident. How else do they sound so much like ELO (which, of course, Lynne, also produced)? Eno is another great example of a producer. His work with Talking Heads, Bowie and U2 has his stamp all over it, and even his one track with Elvis Costello sounds more like Eno then Elvis. George Martin is almost in a class by himself, and is my definition of Music Producer. Early on, it was Martin who changed the tempo of Please Please Me, turning it into the first number 1 for the Boys, and later, he was the one who had to figure out how to create the sounds in Lennon’s head. (He also played the organ on The Beatles worst song, Mr. Moonlight.) I’m absolutely sure that The Beatles would have been successful without George Martin, but nowhere near the level they attained.
Mudcrutch, by the way, is one of the best albums of the year. (Carol, “Mudcrutch” actually performed at the show I saw, so hopefully they will “show up” at your concert, too!):D
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Kevin
“Executive Producer” is even better...
I still maintain that, while Lynne didn’t engineer Harrison’s later albums, his “production” (influence?) is very evident. How else do they sound so much like ELO (which, of course, Lynne, also produced)? Eno is another great example of a producer. His work with Talking Heads, Bowie and U2 has his stamp all over it, and even his one track with Elvis Costello sounds more like Eno then Elvis. George Martin is almost in a class by himself, and is my definition of Music Producer. Early on, it was Martin who changed the tempo of Please Please Me, turning it into the first number 1 for the Boys, and later, he was the one who had to figure out how to create the sounds in Lennon’s head. (He also played the organ on The Beatles worst song, Mr. Moonlight.) I’m absolutely sure that The Beatles would have been successful without George Martin, but nowhere near the level they attained.
Mudcrutch, by the way, is one of the best albums of the year. (Carol, “Mudcrutch” actually performed at the show I saw, so hopefully they will “show up” at your concert, too!):D
---
Kevin
"Let's be independent together." Dr. Hermey DDS
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movieman1957
- Administrator
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- Joined: April 15th, 2007, 3:50 pm
- Location: MD
If either of you haven't readit you might check out Geoff Emerick's book "Here, There and Everywhere." An interesting read from an engineer.
I'm in no position to compare Martin to other producers as I know little about others but considering the equipment they had to work with they got some amazing sounds and music out of it.
I'm in no position to compare Martin to other producers as I know little about others but considering the equipment they had to work with they got some amazing sounds and music out of it.
Chris
"Time flies like an arrow, fruit flies like a banana."
"Time flies like an arrow, fruit flies like a banana."
Chris,
I agree that Emerick’s book is a good insight to the actual creation of the music, as opposed to the dynamics and politics of the band. I also liked Mark Lewisohn’s book on the recording sessions. I have tons of “beatlegs", and it’s fun listening to them and reading who was doing what, etc.
Back in the early 80’s i actually had the opportunity to visit EMI studios and saw “The Beatles at Abbey Road” show. The studio itself wasn’t much, but they had many of the band’s original instruments and played a bunch of studio outtakes, etc. They had a bank of four-track machines (maybe 8-track, I’m unsure) all lined together, I guess so they could bounce tracks early on. For a Beatle fan it was certainly amazing (and yes, I did walk across the famous street, sans shoes. Alas, no V W’s anywhere in site...)
I agree that Emerick’s book is a good insight to the actual creation of the music, as opposed to the dynamics and politics of the band. I also liked Mark Lewisohn’s book on the recording sessions. I have tons of “beatlegs", and it’s fun listening to them and reading who was doing what, etc.
Back in the early 80’s i actually had the opportunity to visit EMI studios and saw “The Beatles at Abbey Road” show. The studio itself wasn’t much, but they had many of the band’s original instruments and played a bunch of studio outtakes, etc. They had a bank of four-track machines (maybe 8-track, I’m unsure) all lined together, I guess so they could bounce tracks early on. For a Beatle fan it was certainly amazing (and yes, I did walk across the famous street, sans shoes. Alas, no V W’s anywhere in site...)
"Let's be independent together." Dr. Hermey DDS
Bryce,
I’m embarrassed to say I can’t remember what boards we used. We recorded many of the voice actors at RCA in New York, and, of course, there, I got nowhere near the board. The rates included the engineer, and since we were recording actors, we only ever recorded to two-track. I had to listen more for plosives and, of course, the performance. Later, we’d “produce” the piece, adding sound effects, music, ambiance, etc. I also did a lot of foley work--once having to simulate getting hit by a “wet fish”, which we finally got by slapping my bare back with a damp (but not soaked!) towel. My wife had no problem doing that. (Oh well, anything for art.) We’d (my wife and I had the production company) would then mix either at the studio of a local collage or at the public radio station (I worked there, part time). Couldn’t afford our own studio (hell, it cost us to produce a lot of the dramas, which is why we stopped), so I ran a few different boards. (One, so ancient, had dials for fadders---ah, those were the days...)
Most things were done analog (this is the mid-80’s, of course), but we did actually rent the first DAT machine in the US. (which wasn’t cheap!) We produced a piece on Fox Hunting (where they didn’t harm the fox). My wife rode in the hunt, the DAT machine in a bag at her side, and the microphone affixed to her helmet! Not only was it funny, but the sound was awesome!
Phil Spector is, in my opinion, one of the worst producers ever. His “wall of sound” is nothing but a cacophony. Too many great songs to dismiss him entirely (The Ronettes are one of my favorite groups), but I wish they were recorded by anyone else. Harrison’s All Things Pass survived, and who knows what input he had on Lennon’s Plastic Ono Band album (I suspect not much), but his terrible “sound” is certainly present in Lennon’s (marginal, at best) Rock and Roll Music album.
Have you seen The Future is Written, yet? I haven’t, but will probably pick up the DVD this weekend. I do have the soundtrack album, and Strummer was not only a great singer/songwriter, but his taste in music was vast. I highly recommend the album. The Clash was one of the few bands I actually “followed” when they toured here in ‘81. I saw them any number of times, but the performance at Bonds in NY was the best. (Saw The Ramones a few times at CBGB’s, too. Even if you water-boarded me, I couldn’t pick between the two...)
Have you heard the new Mick Jones/Tony James band Carbon/Silicon? Their album, The Last Post is quite good. I wasn’t a huge fan of BAD (I didn’t hate, ‘em, just didn’t love ‘em), and this is Jones more like his Clash days.
---
Kevin
I’m embarrassed to say I can’t remember what boards we used. We recorded many of the voice actors at RCA in New York, and, of course, there, I got nowhere near the board. The rates included the engineer, and since we were recording actors, we only ever recorded to two-track. I had to listen more for plosives and, of course, the performance. Later, we’d “produce” the piece, adding sound effects, music, ambiance, etc. I also did a lot of foley work--once having to simulate getting hit by a “wet fish”, which we finally got by slapping my bare back with a damp (but not soaked!) towel. My wife had no problem doing that. (Oh well, anything for art.) We’d (my wife and I had the production company) would then mix either at the studio of a local collage or at the public radio station (I worked there, part time). Couldn’t afford our own studio (hell, it cost us to produce a lot of the dramas, which is why we stopped), so I ran a few different boards. (One, so ancient, had dials for fadders---ah, those were the days...)
Most things were done analog (this is the mid-80’s, of course), but we did actually rent the first DAT machine in the US. (which wasn’t cheap!) We produced a piece on Fox Hunting (where they didn’t harm the fox). My wife rode in the hunt, the DAT machine in a bag at her side, and the microphone affixed to her helmet! Not only was it funny, but the sound was awesome!
Phil Spector is, in my opinion, one of the worst producers ever. His “wall of sound” is nothing but a cacophony. Too many great songs to dismiss him entirely (The Ronettes are one of my favorite groups), but I wish they were recorded by anyone else. Harrison’s All Things Pass survived, and who knows what input he had on Lennon’s Plastic Ono Band album (I suspect not much), but his terrible “sound” is certainly present in Lennon’s (marginal, at best) Rock and Roll Music album.
Have you seen The Future is Written, yet? I haven’t, but will probably pick up the DVD this weekend. I do have the soundtrack album, and Strummer was not only a great singer/songwriter, but his taste in music was vast. I highly recommend the album. The Clash was one of the few bands I actually “followed” when they toured here in ‘81. I saw them any number of times, but the performance at Bonds in NY was the best. (Saw The Ramones a few times at CBGB’s, too. Even if you water-boarded me, I couldn’t pick between the two...)
Have you heard the new Mick Jones/Tony James band Carbon/Silicon? Their album, The Last Post is quite good. I wasn’t a huge fan of BAD (I didn’t hate, ‘em, just didn’t love ‘em), and this is Jones more like his Clash days.
---
Kevin
"Let's be independent together." Dr. Hermey DDS
OK, you two. Phil Spector. Breathe deeply, genuflect, pause.
I'll admit it...you have a (very good) point. He was not a producer; he was an artist. The stuff he did shortly before, during, and shortly after Philles were works of (his) art. He wasn't dealing with bands. He'd take a voice and create an oratorio. Darlene Love, Tina Turner (ain't no Ike in River Deep, Mountain High), Veronica, even the Righteous Brothers (his records with them focused on Medley or Hatfield, rarely the two of them in any substantive sense). Be My Baby is Pop Paradise, my favorite single side of a 45 ever. If anyone else would have recorded them, do you really think that nirvana would have been reached. Nope -- that was Spector.
But when he moved to (relative) cohesive groups -- or, at least, groups with an independent identity -- such as The BEATLES or The RAMONES, it just didn't work. Let me believe that time had just passed him by.
The CLASH and Joe Strummer: I'll never forget one night at a (female) friend's house in 1981 or '82, a tad tipsy, where we nearly came to (good-natured) blows over the "Only Band That Matters". She was defending them as "The Only Band That Matters" and lambasting me because I was espousing the virtues of...Brian Eno. But I do enjoy my VHS of Mr. Strummer with The POGUES.
Johnny Ramone (for a right-winger) rawks! (Or, I suppose, for both Johnny and Joe, that should be "rawked".)
I'll admit it...you have a (very good) point. He was not a producer; he was an artist. The stuff he did shortly before, during, and shortly after Philles were works of (his) art. He wasn't dealing with bands. He'd take a voice and create an oratorio. Darlene Love, Tina Turner (ain't no Ike in River Deep, Mountain High), Veronica, even the Righteous Brothers (his records with them focused on Medley or Hatfield, rarely the two of them in any substantive sense). Be My Baby is Pop Paradise, my favorite single side of a 45 ever. If anyone else would have recorded them, do you really think that nirvana would have been reached. Nope -- that was Spector.
But when he moved to (relative) cohesive groups -- or, at least, groups with an independent identity -- such as The BEATLES or The RAMONES, it just didn't work. Let me believe that time had just passed him by.
The CLASH and Joe Strummer: I'll never forget one night at a (female) friend's house in 1981 or '82, a tad tipsy, where we nearly came to (good-natured) blows over the "Only Band That Matters". She was defending them as "The Only Band That Matters" and lambasting me because I was espousing the virtues of...Brian Eno. But I do enjoy my VHS of Mr. Strummer with The POGUES.
Johnny Ramone (for a right-winger) rawks! (Or, I suppose, for both Johnny and Joe, that should be "rawked".)
Everyday people...that's what's wrong with the world. -- Morgan Morgan
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
ChiO,
I heartily agree about the brilliance of Be My Baby. But (you knew there had to be a but), I still think Spector’s production is overbearing, even on this gem. His “Wall of Sound” approach simply has all of the instruments on one plane. You can’t distinguish any of the instruments (except the drum, of course), and what’s with all the reverb? It sounds like the instruments are recorded down the hall in the bathroom. Fortunately Phil had the right idea to keep Ronnie’s vocal up front, but the Ronettes themselves, they are trapped in that bathroom with that drum. (These comments can be applied to virtually all of Spector’s 60’s tunes, with the notable exception of The Righteous Brothers Unchained Melody, where Spector expertly builds a tension that is unequaled. Too bad the song got ruined in the abysmal Ghost.)
I have no idea if Spector discovered any of his acts and who selected and/or arranged the songs, and if that was him, that’s good enough for me. But I still think, given the same arrangements and performers, The Ronettes et al would have sounded better if they’d been recorded at Atlantic or later Stax, maybe even VeeJay.
On the commentary track to the Ramones Rock and Roll High School, director Allan Arkush relates the story that he needed the band to change the key for the song so that PJ Soles could sing it. All this required was for Johnny to slide his fingers up two frets (when I was in a band, nearly every Ramones song was played A/D/E with an occasional B). Poor Johnny just couldn’t do it, so, when lunch was called, members of the crew picked up the instruments and recorded the track. Now that’s rock ‘n roll!
-----
Kevin
I heartily agree about the brilliance of Be My Baby. But (you knew there had to be a but), I still think Spector’s production is overbearing, even on this gem. His “Wall of Sound” approach simply has all of the instruments on one plane. You can’t distinguish any of the instruments (except the drum, of course), and what’s with all the reverb? It sounds like the instruments are recorded down the hall in the bathroom. Fortunately Phil had the right idea to keep Ronnie’s vocal up front, but the Ronettes themselves, they are trapped in that bathroom with that drum. (These comments can be applied to virtually all of Spector’s 60’s tunes, with the notable exception of The Righteous Brothers Unchained Melody, where Spector expertly builds a tension that is unequaled. Too bad the song got ruined in the abysmal Ghost.)
I have no idea if Spector discovered any of his acts and who selected and/or arranged the songs, and if that was him, that’s good enough for me. But I still think, given the same arrangements and performers, The Ronettes et al would have sounded better if they’d been recorded at Atlantic or later Stax, maybe even VeeJay.
On the commentary track to the Ramones Rock and Roll High School, director Allan Arkush relates the story that he needed the band to change the key for the song so that PJ Soles could sing it. All this required was for Johnny to slide his fingers up two frets (when I was in a band, nearly every Ramones song was played A/D/E with an occasional B). Poor Johnny just couldn’t do it, so, when lunch was called, members of the crew picked up the instruments and recorded the track. Now that’s rock ‘n roll!
-----
Kevin
"Let's be independent together." Dr. Hermey DDS
and what’s with all the reverb?
I know nothing about engineering. Spector said, back in his olden days, that he wanted to make hits; therefore, since teenagers then heard most music on car radios, his concern was solely how a recording sounded on a car radio. Does that statement explain it?
If reverb is bad, are you going to take on Sam Phillips next?
Too bad the song got ruined in the abysmal Ghost.
Amen to that, brother. But Just Once in My Life is my favorite.
The Ronettes et al would have sounded better if they’d been recorded at Atlantic or later Stax, maybe even VeeJay.
You just named my three favorite labels, but...admit it...none of the session players at those labels had anyone to play the tambourine like over at Philles.
All this required was for Johnny to slide his fingers up two frets.... Poor Johnny just couldn’t do it
You say that as if it were a bad thing. That's why he's a Rock'n'Roll genius!!!!
I know nothing about engineering. Spector said, back in his olden days, that he wanted to make hits; therefore, since teenagers then heard most music on car radios, his concern was solely how a recording sounded on a car radio. Does that statement explain it?
If reverb is bad, are you going to take on Sam Phillips next?
Too bad the song got ruined in the abysmal Ghost.
Amen to that, brother. But Just Once in My Life is my favorite.
The Ronettes et al would have sounded better if they’d been recorded at Atlantic or later Stax, maybe even VeeJay.
You just named my three favorite labels, but...admit it...none of the session players at those labels had anyone to play the tambourine like over at Philles.
All this required was for Johnny to slide his fingers up two frets.... Poor Johnny just couldn’t do it
You say that as if it were a bad thing. That's why he's a Rock'n'Roll genius!!!!
Everyday people...that's what's wrong with the world. -- Morgan Morgan
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
I take your point (or Spector’s) that his production style probably does sound better coming from a single dashboard speaker (those were the days). 
I didn’t mean to imply that reverb is bad at all. Just that Spector cranked it to number 11. When I pluck my D-chord on the ol’s Gibson, I turn up the reverb, too. And the distortion. Makes me feel like Hendrix...if he played a distorted D chord in the bathroom.
I honestly didn’t mean to disparage Johnny. I honestly meant that he is the personification of Rock n Roll. Wouldn’t want him any other way.
I didn’t mean to imply that reverb is bad at all. Just that Spector cranked it to number 11. When I pluck my D-chord on the ol’s Gibson, I turn up the reverb, too. And the distortion. Makes me feel like Hendrix...if he played a distorted D chord in the bathroom.
I honestly didn’t mean to disparage Johnny. I honestly meant that he is the personification of Rock n Roll. Wouldn’t want him any other way.
"Let's be independent together." Dr. Hermey DDS
For some reason I had a penchant to go Back to Mono:
Phil Spector Back to Mono---despite the production (
) a pretty impressive collection. The parts are greater than the sum, though.
George Harrison--All Things Must Pass (Pulled out the lp’s and they sound better than either edition of the CD’s [although the bonus album is still somewhat of a snore])
John Lennon--Plastic Ono Band (THE album that got me through my teens. John just “got it”. Man, the music he woulda’ been making now...)
John Lennon--Rock ‘n Roll Music (For a bunch of drunk guys, you’d think the album would be more fun. The bootlegs have much better material...but that’s not saying much.)
The Ramones--End of the Century (One of the Ramones “lesser” albums still contains many quintessential Ramones moments, although Baby, I Love You isn’t one of them.)
And then I really went Back to MONO
The Beatles--Rubber Soul (It took ‘em long enough to release The Beatle albums in the form those of us in the US knew ‘em. Eleven songs and in mono! Finally, we can once again hear the “false start” in I’m Looking Through You!)
The Kinks--The Kinks Are the Village Green Preservation Society (One of my favorite albums from the Kinks, includes the bonus cut--in mono, Days. Brilliant)
The Beatles--Sgt Pepper (George Martin and the boys took a week to do the mono mix and let Martin do the stereo mix alone in a few hours. Mono you get louder guitars, more effects, a faster version of She’s Leaving Home and a rocking Good Morning, Good Morning. Good? Nah, GREAT!)
The Velver Underground--The Velvet Underground and Nico (Deluxe Edition)--Being so used to the stereo mix, the mono mix is like hearing an entirely different album. What’s not to love?
Pink Floyd--The Piper at the Gates of Dawn--Again, more time was spent in the mono mix that it sounds superior to the stereo.
And some of the rest....
Frank Zappa--The Best Band You Never Heard in Your Life (An appropriately named album. i saw Zappa a number of times, but this is the tightest lineup, and that’s saying a lot. Great covers, including Zeppelin and Hendrix, as well as a “tribute’ to Johnny Cash. Zappa’s best live album--again, saying a lot.)
The Residents--The King and I (Elvis never sounded better! Okay, at least he never had so much fun, at least when unarmed.)
The Boomtown Rats--mondo bongo (The Elephant’s Graveyard makes me boogie, even at my age)
Amy Winehouse--Frank (Despite all of her problems, she can sing a song.)
B-52’s--Funplex (Held off getting this album because I had my doubts. What was I thinking? A bit naughty, a bit political, and a whole lotta fun! The 52’s still have it in droves and Kate Pierson is one of my favorite singers!
Ryan Adams--heartbreaker (Come Pick Me Up is the highlight, but the entire album is one of his best. I love the opening “argument” about Morrissey’s Viva Hate)
Phil Spector Back to Mono---despite the production (
) a pretty impressive collection. The parts are greater than the sum, though. George Harrison--All Things Must Pass (Pulled out the lp’s and they sound better than either edition of the CD’s [although the bonus album is still somewhat of a snore])
John Lennon--Plastic Ono Band (THE album that got me through my teens. John just “got it”. Man, the music he woulda’ been making now...)
John Lennon--Rock ‘n Roll Music (For a bunch of drunk guys, you’d think the album would be more fun. The bootlegs have much better material...but that’s not saying much.)
The Ramones--End of the Century (One of the Ramones “lesser” albums still contains many quintessential Ramones moments, although Baby, I Love You isn’t one of them.)
And then I really went Back to MONO
The Beatles--Rubber Soul (It took ‘em long enough to release The Beatle albums in the form those of us in the US knew ‘em. Eleven songs and in mono! Finally, we can once again hear the “false start” in I’m Looking Through You!)
The Kinks--The Kinks Are the Village Green Preservation Society (One of my favorite albums from the Kinks, includes the bonus cut--in mono, Days. Brilliant)
The Beatles--Sgt Pepper (George Martin and the boys took a week to do the mono mix and let Martin do the stereo mix alone in a few hours. Mono you get louder guitars, more effects, a faster version of She’s Leaving Home and a rocking Good Morning, Good Morning. Good? Nah, GREAT!)
The Velver Underground--The Velvet Underground and Nico (Deluxe Edition)--Being so used to the stereo mix, the mono mix is like hearing an entirely different album. What’s not to love?
Pink Floyd--The Piper at the Gates of Dawn--Again, more time was spent in the mono mix that it sounds superior to the stereo.
And some of the rest....
Frank Zappa--The Best Band You Never Heard in Your Life (An appropriately named album. i saw Zappa a number of times, but this is the tightest lineup, and that’s saying a lot. Great covers, including Zeppelin and Hendrix, as well as a “tribute’ to Johnny Cash. Zappa’s best live album--again, saying a lot.)
The Residents--The King and I (Elvis never sounded better! Okay, at least he never had so much fun, at least when unarmed.)
The Boomtown Rats--mondo bongo (The Elephant’s Graveyard makes me boogie, even at my age)
Amy Winehouse--Frank (Despite all of her problems, she can sing a song.)
B-52’s--Funplex (Held off getting this album because I had my doubts. What was I thinking? A bit naughty, a bit political, and a whole lotta fun! The 52’s still have it in droves and Kate Pierson is one of my favorite singers!
Ryan Adams--heartbreaker (Come Pick Me Up is the highlight, but the entire album is one of his best. I love the opening “argument” about Morrissey’s Viva Hate)
"Let's be independent together." Dr. Hermey DDS
-
movieman1957
- Administrator
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- Joined: April 15th, 2007, 3:50 pm
- Location: MD
I have the Beatles recordings you mention but it never crossed my mind when I was younger to try the mono mixes. (It didn't because I didn't have the money.)
Interesting you mentioned Lennon's album. What was its major appeal for you? I have it but but don't enjoy it as much anymore. The sound certainly fit the mood. I thought as his home life became more stable his music was less interesting. Not that there weren't some good things but that edge that still creeped its way into "Walls and Bridges" was gone later.
Interesting you mentioned Lennon's album. What was its major appeal for you? I have it but but don't enjoy it as much anymore. The sound certainly fit the mood. I thought as his home life became more stable his music was less interesting. Not that there weren't some good things but that edge that still creeped its way into "Walls and Bridges" was gone later.
Chris
"Time flies like an arrow, fruit flies like a banana."
"Time flies like an arrow, fruit flies like a banana."
Hi Chris,
As I’m sure you know, Lennon’s Plastic Ono Band was his first solo “musical” album (after the three avant-garde albums he did with Yoko), and he recorded it while going through Primal Scream therapy, and it shows. For me the album is an amazing combination of outright rage (Mother/I Found out/Well Well Well) and thoughtful introspection (Hold On/Isolation/Look at Me). While Lennon wasn’t really “working class” (according to many sources, living with Auntie Mimi was more middle class), Working Class Hero is still heartbreakingly autobiographical, and talk about a quiet fury. And what can one say about God?
I got the album when I was eleven or twelve, and didn’t really understand it. But boy, when puberty hit, all that pent up rage he was singing about was just the ticket. A hero railing against parents, school, authority, hypocrisy, what’s not to love?
Imagine is another brilliant album, Mind Games has its moments but is rather boring. Rock n Roll Music is a wasted opportunity. Walls and Bridges is uneven, but there are some amazing songs. (Scared is one of my favorites.) I used to think his “worst” album was Sometime in New York City, but I recently saw the film The U.S. Vs. John Lennon, and I realized that the album really captures a moment in time (hence the newspaper cover). The film by the way, is a “must see” for Lennon fans, or anyone who disputes political conspiracy theories. Scary as all get out, and far too relevant today. And can anyone tell me why we give convicted felon G. Gordon Liddy the time of day? The guy’s a psycho who brags about eating rats and holding his hand over flames. Yea, lets listen to him...
I actually found Lennon’s last albums some of his best, and quite enlightening. He seemed to have calmed down and wrote some very interesting melodies and his words have his humor, but not quite as acerbic as he used to be. Milk and Honey’s Nobody Told Me still makes me smile (“Strange days indeed. Most peculiar, mama...”) Yoko’s songs are actually pretty good, too.
As I’m sure you know, Lennon’s Plastic Ono Band was his first solo “musical” album (after the three avant-garde albums he did with Yoko), and he recorded it while going through Primal Scream therapy, and it shows. For me the album is an amazing combination of outright rage (Mother/I Found out/Well Well Well) and thoughtful introspection (Hold On/Isolation/Look at Me). While Lennon wasn’t really “working class” (according to many sources, living with Auntie Mimi was more middle class), Working Class Hero is still heartbreakingly autobiographical, and talk about a quiet fury. And what can one say about God?
I got the album when I was eleven or twelve, and didn’t really understand it. But boy, when puberty hit, all that pent up rage he was singing about was just the ticket. A hero railing against parents, school, authority, hypocrisy, what’s not to love?
Imagine is another brilliant album, Mind Games has its moments but is rather boring. Rock n Roll Music is a wasted opportunity. Walls and Bridges is uneven, but there are some amazing songs. (Scared is one of my favorites.) I used to think his “worst” album was Sometime in New York City, but I recently saw the film The U.S. Vs. John Lennon, and I realized that the album really captures a moment in time (hence the newspaper cover). The film by the way, is a “must see” for Lennon fans, or anyone who disputes political conspiracy theories. Scary as all get out, and far too relevant today. And can anyone tell me why we give convicted felon G. Gordon Liddy the time of day? The guy’s a psycho who brags about eating rats and holding his hand over flames. Yea, lets listen to him...
I actually found Lennon’s last albums some of his best, and quite enlightening. He seemed to have calmed down and wrote some very interesting melodies and his words have his humor, but not quite as acerbic as he used to be. Milk and Honey’s Nobody Told Me still makes me smile (“Strange days indeed. Most peculiar, mama...”) Yoko’s songs are actually pretty good, too.
"Let's be independent together." Dr. Hermey DDS