1001 Albums: Gris-Gris

#122

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Artist: Dr John

Album: Gris-Gris

Year: 1968

Length: 33:12

Genre: New Orleans RnB / Psychedelic Rock

“Walk thru the fire
Fly thru the smoke
See my enemy
At the end of dey rope

Walk on pins and needles
See what they can do
Walk on guilded splinters
King of the Zulu”

It’s been awhile, I advanced by about five more album and never got around to actually sitting and writing these posts… oops. To be fair I’ve had a lot going on in my life, from financial woes to apartment hunting, I’ve had a lot on my plate and this sort of fell to the bottom of my list of priorities.

I also turned 26 last week. Another birthday comes and goes. I’m not crazy about my own birthday, especially since I’m past the age that birthdays feel important. For the past bunch of years my birthdays haven’t been so great and I sort of accepted that this is what my birthdays have now become (and I assume anyone hitting this age feels the same way for the most part (unless you’re one of those people who has like 20 friends who throw you surprise parties and go all out, but you are seriously an exception to the rule)). I found myself looking back in my past year and got really introspective about it. I went through a lot within my 25 years old year and it was possibly my worst year I’ve ever had in my life, for many many reasons. I won’t go into any details, they aren’t important, but the way I see it, that’s life and everyone will experience that one bad year. I don’t feel hopeful (I’ve realised it’s a useless emotion) but I do feel that there will be a calm after the storm. Life has a weird way of balancing itself out, so I do feel things will turn around as the year goes by until my next birthday, which will probably be just as uneventful as always. Joy.

If you found the vibe of my last paragraph to be a bit of a downer than I’m sorry but this album would probably not be for you. This album from start to finish feels bleak and dark, but not in a sad kind of way but in a voodoo kind of way. There’s definitely some creepiness factor playing here and I find it adds so much to the music since it’s giving an already exhausted genre it’s own unique flavour. Unlike most of the psychedelic albums I’ve listened to, Dr. John approaches the genre with his own voice and style and it feels absolutely fresh. It helps that he mixed New Orleans RnB into it to give it that little flavour, but it is very much a psychedelic album as a whole and like I said, the vibe of the whole album is really what sells it for me. If you’re not into that type of grungy villain pub. deep in the woods, wrong part of town, Tom Waits type vibe, than I can see this not being for you at all.

In all fairness, I didn’t really know what to make of this album the first time I heard it (I had already heard Guilded Splinters in my famous psychedelic music class but never really cared much for it). It was only on my second listening that I really discovered how great it actually is (for what it’s trying to do). It really succeeds in giving the listener something they’ve never heard before. It’s odd in the best way possible and absurd in many ways, half of the lyrics just sound like complete gibberish, but I’m sure mean something… maybe… either way that’s besides the point because you don’t listen to this type of music to go in depth of the lyrics, you listen to it to get lost in the experience. And if you give this album a chance you definitely get lost to the vibe of the whole thing.

It should be noted that Dr. John is not a real person and is actually a persona created by the artist Malcolm Rebennack. The creation of the character was heavily influenced by a medicinal and spiritual healer who had the same name as the titular character. Heavily inspired by voodoo, Malcolm wondered what a stage show would look like from a character based off these two ideas and hence Dr. John the Night Tripper was born. I think that was a smart idea because it’s really what holds the whole album together, this persona singing and performing his way through each song. Malcolm originally wanted to find someone else to play the character, but was told by his producer just to do it himself. Good thing he did because his unique deep raspy voice is what turns the album form great to relatively iconic (He may not be well known for the average listener but people who are deep into the genre definitely know who this is (To my knowledge at least… I could be wrong)).

I really do think this album is worth a check out if you haven’t heard it before. Might not be your thing but hey! At least you tried something new and that’s pretty cool… right?

 

Song of Choice: Croker Courtbullion

-Bosco

 

 

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1001 Albums: The United States of America

#121

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Artist: The United States of America

Album: The United States of America

Year: 1968

Length: 37:07

Genre: Art Rock / Psychedelic Rock

“We shall shortly institute
A syncopation of fear
While it’s painful, it will suit
Many customers whose appetites are queer

Or for those who wish to pay
There are children you can bleed
In a most peculiar way
We can give you all the instruments you’ll need

And the price is right
The cost of one admission is your mind”

I am back from another long hiatus. This seems to happen to me quite often, but can you blame me? I’m an adult with a busy schedule and sometime other things take priority in my life over writing this blog. Shame though, because I listened to this album three weeks ago and barely remember it coming to sit down and write about it. I mean, I could have always listened to it again but I already listened to it three times and I felt any more would just be overkill at this point. Plus, I’m about 5 albums ahead, I decided to just keep listening because… you know, fuck it, why not. Might as well crank this one out and just move on with it.

It’s a short lived band that only had one album and the band broke up immediately after because they all couldn’t get along. Seems to be pretty common amongst bands. I always wonder… how did they get together in the first place when there were so many tensions in the band? Were they great friends first and the battles commenced once production started? Were they individuals who all saw the talent within each other but didn’t realise they’d butt heads so much once they began? It’s such an interesting phenomenon to see groups that do work together but then you realise how much shit was happening behind the scenes. At least this one disbanded immediately, some groups stay together for years and years. I guess props to them for sticking it out so long for the sake of the music (and the fans I guess). It just seems no one could agree on which direction to take the band as individual members tried to pull it this way and that and others got fed up of certain members getting more attention than others… ego, that’s what’ll do it. Either way, they produced one album that basically sold poorly and disappeared from existence, yet somehow managed to keep a legacy and high critical acclaim. Is it really the gem it’s made out to be? (I’m honestly not the right person to answer this question but whatever, I’ll do what I do best… be irrelevant).

Originally I thought this band had a stupid name with a stupid album cover. Like come on, United States of America? Really? Either you are way beyond patriotic or you have a severe lack of originality. Like what are you supposed to evoke with this type of band name? Very American music? Didn’t sound that way, except for maybe excerpts here and there, but those were few and far between. That album cover too… just a circle with the bandmates… cool, a lot of thought went into that one. I especially like how the bassist looks like Rainn Wilson, that gave me a good laugh for five minutes. I’m being hyperbolic of course, I don’t find it that dumb, plus my friend Graham convinced me that it’s a pretty cool cover since we rarely get to see the band working behind the scenes. So basically this entire paragraph I just wrote is entirely useless and should be ignored.

I’ll be honest, I don’t have much to say about this album and I’m looking for anyway to fill up space. I mean, it’s an experimental art rock, psychedelic album. I’ve been over saturated with them and this is not much of an exception to what I’ve been hearing. To be fair, their sound is definitely unique to them and they were trying new things with the genre. The use of synthesizers makes a big debut in music here and they seemingly are one of the first bands to experiment with it’s sounds as a prominent feature in the music. Lacking is a guitarist, which I think is pretty cool. I would have never known if I hadn’t read about that. Guitars are a main focus in psychedelic rock and it’s complete absent here, so I have to give the band credit for experimenting with new things and creating an original piece of work. It’s evident there’s a lot of talent thrown into this album and it pays off in the end… if you like this sort of thing.

In a lot of ways I can see this as a hidden gem in music history but at the same time I can see people being turned off by it. Not everyone is into the sounds of art rock and experimentation and it does take a certain level of music appreciation to really appreciate what’s being done here. Personally, not my thing and would probably skip in the future but I wouldn’t pass it up as a recommendation for lovers of the genre. It would definitely be a new discovery beyond the usual psych stuff and a fun little obscure piece of music to keep in your back pocket to pull out when you want to sound pretentious.

At one point the band says “We’ll have a good time” and I ask myself the question, Did I have a good time?

…I guess.

Song of choice: Where is Yesterday

-Bosco

 

 

1001 Albums: Triangle

#84

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Artist: Beau Brummels

Album: Triangle

Year: 1967

Length: 28:50

Genre: Psychedelic Pop

“Painting the faces
Where no faces are
They are bizarre and
Lovely to see
Selling to emperors
Kings and queens
Each of his dreams”

 

WOOHOO, I’m in 1967 finally. Thought I’d never get out of 66, but honestly I feel like I’ll never get out of the 60s in general. I keep checking the list and it feels like the end is never coming closer. Baby steps I guess.

The play-by-play review was so successful for me in my last post I decided to do it again for this one. I think I may have heard the Beau Brummels before (in my psychedelic music class of course, where else?) but I have no idea what the song was and for the life of me can’t remember it at all, so I’m basically going in blind with these guys. I feel like with the 50s and all the jazz, I’m now on a psychedelic music bend. So much psychedelic music one after the other. It’s cool shit but man… it’ll make a man go insane. I don’t know how many trips I can really go on at this point.

Ok, I’m two songs in now and so far I’m not super crazy about these guys but there’s no denying they definitely have musical skill. their songs sound very well crafted and there’s this nice parisian thing going on in the second song that’s really captivating me. The vocalist sounds a lot like Bob Dylan, he seems to be channelling his inner Dylan, especially on the first song. Every time he says How Do You Feel, it gives me flashbacks of Dylan singing How Does It Feel on Like a Rolling Stone.

Third song already… these songs are much shorter than I expected. I feel I barely have time to get into one and the next one is starting. Is that a good thing or bad thing? I don’t know. What I do know is that apparently the band tried to deviate away from the formulaic pop music their record contract was trying to get them to do and took the time to really make something new and different for themselves. Once again, I haven’t heard their previous stuff, but they’re definitely doing a good job at being different. One critic called this the bridge between pop and psychedlic music, the album that merged the gap… I guess? I guess I can see that… but… I don’t know? I’ve been listening to so much psychedelic music these days it’s hard for me to really tell. I guess they can make a good argument for it. Don’t know what that argument is… but I’m sure it’s a good one.

Geez, again, the song just seems to end… come on at least give it a solid ending instead of just fading out halfway though the chorus. At least I’m met with an upbeat tune, The Keeper Of Time. This is a pretty fun tune, I’m enjoying it. I have to say, despite all the psychedelic music I’ve been listening to, this album does manage to set itself apart as it’s own thing, which is a nice achievement.

Song ended suddenly again… I guess I’ll have that to look forward to the entire fucking album. Oh well, I could sit and enjoy a song but it seems right as I do it fades out and the next one starts, so what’s the point? Ok you can still enjoy them. It’s like songs on the go almost. Tunes you can listen to in short amounts of time, which is a good thing for speedy listening. It helps that they are really solid songs too.

The next song seems to incorporate a staple of psych music by including sound effects. In this case it’s the annoying sound of what sounds like a coin being flipped. I mean, that’s great… if you’re a banker… but jesus is it ever loud and echo in your ears. thankfully it doesn’t last long and let’s the song do it’s thing for the rest of the time.The song is also called Nine Pound Hammer… so maybe it’s the clanking of an anvil… I guess it has a purpose…. sure… why not? That beat is pretty infectious though, with an egg shaker shaking away like nobody’s business, really got my booty shaking.

Magic Hollow was apparently a big deal for the band. Was their sort of hit single and has managed to appear on numerous lists such as 100 greatest psychedelic classics. It’s a bit of a downer as a song, with sad strings and melancholic vocals. There’s an air of fantasy to it, almost like walking through an enchanted wood… but once again that fits the name of the title and is probably what they were going for. They really do seem to be exploring this idea of the fantastic and enchanted throughout the album. In a lot of ways it does feel like it could be the soundtrack to some sort of fantasy mini series and if not certain songs can definitely easily appear on one. It’s cool that they set out to create that sort of vibe, which is one I feel hasn’t been explored just yet on any of the albums I’ve listened to, and believe me there has been many, many concepts explored so far. The Fantasy genre always seems to get the short end of the stick as kid’s stuff that shouldn’t be taken seriously. But done well, like here, it can actually create something quite inspirational.

Album is almost done, I guess this is where I give my final thoughts. Not bad as a whole, not my thing but I can see psych music lovers enjoying this one. Has a nice mix of upbeat tunes and more atmospheric ones. It was annoying to have a lot of the tunes just kind of… end suddenly but doesn’t really take away from the pretty solid song writing all around. Not my favourite but a good listen nonetheless.

Song of Choice: The Keeper of  Time

-Bosco

 

 

 

1001 Albums: Pet Sounds

#61

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Artist: The Beach Boys

Album: Pet Sounds

Year: 1966

Length: 35:57

Genre: Pop Rock/Progressive Pop/Psychedelic

“Maybe if we think and wish and hope and pray it might come true
Baby then there wouldn’t be a single thing we couldn’t do
We could be married
And then we’d be happy

Wouldn’t it be nice

You know it seems the more we talk about it
It only makes it worse to live without it
But lets talk about it
Wouldn’t it be nice”

 

From one giant album to another. How perfectly timed that Pet Sounds was placed directly after Revolver on this list. Was it pure coincidence or strategically placed by some madman? We will never know. I’ll let the conspiracy theorists figure that one out.

I was happy that this one followed The Beatles because I was looking to hear something that actually deserved all or most of the praise it got. It’s funny, fans seem to really be butting heads over which was the best. Was it The Beatles’ Revolver or The Beach Boys’ Pet Sounds? No one can seem to agree and it’s the never ending battle between Beach Boys and Beatles. It doesn’t help that the two were constantly trying to one up each other, producing albums that were better and better, blurring the lines of who was actually better in the end. Historically we all know The Beatles were able to handle the pressure much better than Brian Wilson could. They did have their internal conflict and eventual break-up, but that’s no where near the sheer insanity that became of Brian Wilson, who suffered his incredibly famous meltdown during the Smiley Smile sessions. He was one hell of a madman whose pursuit of musical integrity caused him to go clinically insane. Poor guy.

But before getting to that point, Brian Wilson produced what is also considered one of the greatest rock albums of all time: Pet Sounds. You may have noticed that I stopped referring to them as The Beach Boys and am only mentioning Brian Wilson. Simple reason. After getting his first of many nervous breakdowns, Brian Wilson took on the role as leader and primary songwriter and started creating the albums practically by himself, with the rest of the band just being guided to follow his vision. Here he took on more of a dictatorial role, making sure his vision and only his vision were followed. Although Smiley Smile is the clear work of someone whose gone completely insane, Pet Sounds seems to be where his insanity matched his artistic integrity.

It’s worth noting that if you’re a big fan of their earlier work then you are going to be in for one hell of a shock with this album. It’s completely unlike any of their other work. Continuing the path they started with The Beach Boys Today! Brian Wilson distanced himself even further from the surf rock, beach themed music that originally made them famous and decided to delve deeper into an art rock sound, practically setting a standard (Alongside The Beatles) in the music industry and even grabbing a little taste of Psychedelia mixed into it. He definitely went all out with this album, including odd arrangements that had never been heard before and a whole array of instruments including flutes, harpsichords, organs and some unusual choices of dog barks, Coca-cola cans and Bicycle bells. This is also the first instance of the electro-theremin being included on a rock album, an instrument he would perfect in subsequent releases.

Brian Wilson took a page out of the Phil Spector handbook and used the Wall Of Sound technique here. I’m proud to say I recognised it almost immediately and got really excited about it. I won’t go on to explain what it is because I already did a good job at doing it in my Phil Spector review (which did you know that Christmas album was Brian Wilson’s favourite?). So I won’t bore you with the details, unless of course you really want to know, then just go check out The Christmas Album. I’m not giving you the link, don’t be lazy. Brian Wilson really seemed to master the technique in this album, with every instrument blending together seamlessly to the point that it just creates a sound that you can lose yourself into without being distracted.

Ok, Ok, I understand, I’m kind of just listing a sort of generic check-list of what makes the album so great. Everything I’ve said has already been said to death by hundreds of people already. Absolutely nothing new that you probably haven’t heard already. That was one of the things I struggled with when writing this post. I didn’t really know what to say that hadn’t already been said before. I mean, it’s one of the most talked about albums out there. It’s almost impossible to really give a fresh perspective on it all when everything that can be said about it has already been said. Almost makes it useless to even attempt writing about it to begin with. Knowing this it makes it kind of surprising that it almost fell into the cracks of musical history as it was practically overshadowed by the release of Revolver. I’m glad people took a second look at it before discarding it.

Ok, so what do I really think about Pet Sounds? My Revolver post kind of went on trying to understanding why it was considered the greatest album of all time it only makes sense that I’d start questioning this one too right? RIGHT?!

Well, yes and no. No because I didn’t want to make a repeat of my last post and yes because it makes for an interesting viewpoint. So what did I take away from this grand spectacle?

Well, Brian Wilson created this as a response to Rubber Soul, trying to top it. On that account I say he succeeded with flying colours. I would even go as far to say he created an album that’s tremendously better than Revolver. But I may be a little biased on that point since I do like The Beach Boys way more than The Beatles. I remember the first time I listened to this album, I was completely blown away by its production and left feeling incredibly satisfied musically. This being my third time listening to it, I did feel the magic wore off a bit. I do miss the days of faster Beach Boys music as this does feel like it can drag on a little a times. But when it hits, it hits hard. Right from the beginning when you hear the classic notes of Wouldn’t It Be Nice, you;re set into the right mood and ready for the experience. Also, I just really love that song. It has been perpetually stuck in my head since I first heard it at the age of 12. I don’t think I will ever not love that song and the day I don’t will be a very sad day. Throw in a classic like Sloop John B and you know you’re in for something great.

Brian Wilson also seems to have done something truly spectacular with the harmonies here. They have already proven on previous records that they’re masters of the harmony, but here he manages to create something that is truly chilling and haunting. Accompanied with the music, the blend of vocals creates an atmospheric harmony that transcends your ears into levels I didn’t even know existed. I couldn’t believe what i was listening but it truly was something magical.

Ok, so I know the album itself can feel a little repetitive musically. The whole album does have a very uniform sound to it and it all feels like each individual song is really part of a whole in the grander scheme of it all. That’s because this was a concept album, not lyrically or thematically (Although themes do recur throughout) but musically. Brian Wilson set out to create an album that had no filler songs. An album where each song could stand on their own yet come together to create a full entity. That’s really what Pet Sounds is all about at the end of the day. Songs that work like puzzle pieces to create a full image. You can’t have the whole if you’re missing just one and I feel that none of these songs can really be removed from the album. It’s as cohesive as it can get and I think Brian Wilson succeeded in reaching his goal.

The album is definitely not for everyone, especially if you’re going in expecting classic Beach Boys. I know for myself, I did find myself not really getting into some of the slower songs but they never really hit a low point for me. The highs are super high and the lows are still pretty high, which is as good as any album can get really. It’s really an album I’d put on if I was in the mood to just get lost to the music. it’s an experience all right and it’s one that’s definitely worth the ride, even if you’re not into that sort of the thing.

 

Song of Choice: Wouldn’t It Be Nice

-Bosco

 

1001 Albums: Revolver

#60

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Artist: The Beatles

Album: Revolver

Year: 1966

Length: 34:43

Genre: Pop Rock/Psychedelic Rock

“We all live in a yellow submarine
Yellow submarine, yellow submarine
We all live in a yellow submarine
Yellow submarine, yellow submarine
We all live in a yellow submarine
Yellow submarine, yellow submarine
We all live in a yellow submarine
Yellow submarine, yellow submarine
We all live in a yellow submarine
Yellow submarine, yellow submarine
We all live in a yellow submarine
Yellow submarine, yellow submarine
We all live in a yellow submarine
Yellow submarine, yellow submarine
We all live in a yellow submarine
Yellow submarine, yellow submarine”

Oh Boy!… The Beatles… Again… I’m so excited…

As you can tell from my blatant sarcasm, I’m still not sold on The Beatles. As usual, I don’t hate them, I don’t even dislike them, I actually do enjoy them, I’m just not crazy about them. I guess you can say the ever popular comeback to this, I just don’t get it. It’s true. I don’t. I thought I was starting to get it when Rubber Soul went by, but then Revolver hit and I have no idea what to think any more.

I can already hear you saying: “But Revolver is the greatest Beatles album, even the greatest album of all time period. How did this one not turn you? HOW COULD YOU LIKE MUSIC IF YOU CAN’T EVEN SAY THE BEATLES ARE YOUR FAVOURITE BAND?”

You think I’m exaggerating, but someone actually told me that last one and yes, they even yelled it rather angrily at me.

I guess they bring up a fair point. The Beatles and especially this album, are widely considered to be the greatest music of all time. It’s become almost common sense at this point. There’s absolutely no way I can listen to Revolver and say that it’s bad because it’s been called the greatest album of all time by literally almost everyone.

So what does that say about me?

Well, a lot of factors go into how I felt about this album. It was over-sold being the main one. Everyone’s been in that position where someone praised something to the high heavens to them and told them they must enjoy and love it now like everyone else because it’s sooooooo amazingly amazingly amazing, only to finally experience it and go… that was it? That was the amazingly amazingly amazing thing I was supposed to find so amazingly amazingly amazing?

Don’t get me wrong, like I said above, I do enjoy a good Beatles tune. I liked Rubber Soul and was ready to be wowed by this one. But instead I found myself with mixed feelings. I din’t really know how to feel about it. If anything the whole thing left me more confused than anything. I couldn’t wrap my head around it. I didn’t get it. Who knows, maybe one day It’ll finally hit me and I will have the revelation of a lifetime and I’ll finally understand it all. A Beatles tune will pop up on the radio and in that moment it will all come rushing into me and I’ll snap fingers and go EUREKA! But until then, I’ll still be confused.

I actually wonder what it is that people who love The Beatles think. So far, in my search of understanding, I’ve come across two types of answers to my question of why are The Beatles the best?

The first is the ever useful: ” Because it’s The Beatles duuuuuh”. Unfortunately, that’s doesn’t give me much insight into… well, anything. Other than being completely useless as a statement it also proves that this particular person is probably just jumping on The Beatles bandwagon and doesn’t want to be judged for saying anything other than their the best.

The second, much better, response I usually get is usually a in-depth look at their collection of greatest hits. This makes more sense and I definitely get some good insight into how The Beatles were incredibly influential and the impact they made on rock, pop, psychedelic and just music in general. When I have this kind of in-depth conversation with someone, I usually tend to agree with them. But it’s easy to when all your examples are some of their greatest songs. Like any fanbase, it’s easy to show off their strengths when you pick and choose which songs to talk about. You’ll obviously pick the best of the bunch and leave the weaker ones to rot in the basket. It makes sense, you want people to be on your side, not convince them you’re wrong. That being said, I will say it is hard to find a really shitty and awful Beatles song because they were very talented blokes and actually made the effort to write decent music.

So what do I think of Revolver?

Well, it’s ok in my opinion. There’s a lot that’s there to really strengthen the idea that The Beatles are the best, but for the most part the album ranges from Spectacualrly Good to Mildly Mediocre. That’s still very good for an album to achieve especially since every album always has that one song that it could have done without (this one included) but in their case they managed to never go under the belt and write something awful, which that deserves mad respect.

The Beatles were definitely evolving and trying out new things with this one. Things that were unheard of in rock… ever. From playing tracks backwards, to incorporating an octet of strings, to using sound effects, perfecting their harmonies, creating memorable melodies and just all-around creating both a rocking  and mellow vibe at the same time. This marked the beginning of Psychedelic Music in popular culture and opened the door for bands of the genre to really go all out. Only The Beatles could have paved the way for such a mind-bending genre and if it weren’t for them opening the door to the mainstream, Psychedelic Rock might have easily stayed in the counter-culture. But that’s pure speculation.

I know it sounds like I contradicted myself there, but where I got confused wasn’t the musical expertise on the album, but was the songs themselves. It’s hard not to listen to the beautiful strings of Eleanor Rigby, that support the themes of loneliness, and not react emotionally in some way. It’s a really sad song that gets to your heart strings and really tugs at them as if they were being played by the violinist instead. George Harrison’s Sitar work was incredible on Love You To and it’s nice to see them incorporating their hindi influences from their escapades in India. Even songs like I’m Only Sleeping (despite it’s almost grating vocals), Here, There and Everywhere and For No One manage to evoke some decent feelings (whether it’s eerie, mellow, transcendental or even cheery) and shows of their musical expertise. I even found myself really enjoying She Said She Said, which despite the dark lyrics almost felt like an ode to their older pop style. Funny coming from me after disliking that pop sound so much, maybe it was due to the mix of the lyrics or maybe I’m just full of shit (Hey, I’m only human, we’re all full of shit at some point).

But then, there’s the other songs. The album opens with Taxman, which to this day I still have no idea whether to call this a great Beatles song or an odd miss on their part. It was an odd way to start the album (except maybe the obvious countdown at the beginning) and almost felt like it should belong on another one of their albums. And then there’s the lyrically lame Good Day Sunshine and the rather mediocre Doctor Robert, which I feel both do nothing to really show off the progress they’ve made as musicians. Almost like music they could do in their sleep, as if they were on auto-pilot when writing it. Even Got To Get You Into My Life feels a little forgettable as far as The Beatles go. And then, close to halfway through the album we’re met with Yellow Submarine.

I want someone to tell me with a straight face that this song is the epitomy of amazingness. I want someone to seriously tell me this is a fantastically great song. This song is awful. Let me rephrase that. This song would be great, if this was a an album for children. It’s not. It’s an album with adult themes and dark, melancholic vibes. This song does not fit at all. Other than the fact that it just sounds incredibly stupid, especially when compared to the rest of the songs on the album, it’s also laughably dull. Even the vocals sound completely bored of the song, as if the spirit of Ben Stein overtook them when recording it. Everytime the chorus hits they sound so enthused to be singing it that the monotone delivery really packs a punch. This is a song that we used to sing all the time as kids and when we did it was always to mockingly imitate that damn chorus line. At least it managed to make us laugh. But of all The Beatles albums it could have been on, it was on this one to my astonishing surprise. Did they put this on as a joke? Or were they just incredibly high when making this album.

I honestly wouldn’t be surprised if they were. They became notorious for their LSD taking and were definitely on some sort of substance while recording in the studio. That’s what this album feels like most of the time, some weird LSD trip, as if they were able to capture what they saw into their music (which that in itself is an amazing feat). And this all culminates into the final song of the album: Tomorrow Never Knows. A song so absurd, so trippy, so deep into psychedelia that I honestly can’t tell if they just lost their minds and created noise or this is a fucking masterpiece. It’s so easy to get lost into the song and depending on your mood it’ll either be in a good way or bad way. Either way, it’s one hell of a song to end the album with.

So, what can I conclude from all this? Is this really the greatest album of all time? Maybe… who am I or anyone to say, really? Objectively they were doing a lot of new and interesting things musically that really set a whole new standard of what rock and pop should be. It impacted the musical world so hard that most artists look back to this as the one that really started it all for them. But then again, considering something great is a very subjective thing. What a lot of people might have loved about this album, I might have disliked and vice verse (me liking, you disliking). I really feel The Beatles were a product of their time. A vessel into music history. A portrait of what it was like for music in the 60s. I don’t think it stands the test of time as well as some say, but it definitely gives good insight as to what was going on at the time. There’s no doubt that they were trailblazers, setting stones, paving ground, opening doors for everyone to come and that in itself deserves all the respect that it gets. But is that factor alone enough to call something the greatest? Chuck Berry redefined guitar playing in rock n’ roll (The Beatles and The Stones were both heavily influenced by him), but people rarely cite his work as the best. Heck, classical composers like Mozart and Beethoven really set a standard for music and melodies, but people more readily talk about modern musicians than the classical ones.

But who am I to judge, I’m only one person with one set of opinions. I can only add to the conversation, not sway it.

 

Song of Choice: Eleanor Rigby

-Bosco