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“You Never Know” – Wilco
(Words/music: Jeff Tweedy, available on Wilco (The Album), Nonesuch 2009)

My feelings about the first line in “You Never Know” mirror my feelings about Wilco (The Album) as a whole.  “Come on children / you’re acting like children” sits frustratingly close to a somewhat satisfying play on words, but the repetition of “children” feels a little lazy.  Tweedy fixes the line the second time around (to “come on kids / you’re acting like children”), but it strikes me as uncharacteristically clumsy.  It’s not enough to derail “You Never Know” nor enough to prevent it from being my current favorite song on that album, but I’m not completely comfortable with it.  Likewise, Wilco (The Album) features a number of fine moments yet it never took hold of me the way that every other Wilco album did this past decade.  I can’t pinpoint the reason why precisely – it’s not bad, but it never really grew on me as a whole.

That being said, “You Never Know” recovers quickly and effortlessly from this lyrical flub.  Behind honky-tonk piano, gently gnarled lead guitar, and fluffy harmonies, “You Never Know” captures the joy of seeing the current Wilco lineup play live.  Wilco throws out the kitchen sink, tossing in different guitar tones (including what must be a George Harrison homage), different keyboard sounds, and different styles of backing vocals (harmonizing, wordless ooohs, etc).  Rather than sound chaotic or troubled, the song stays light and bouncy, making all of these different sounds feel like small sonic celebrations.  This is a departure from the songwriter who once tried to recreate the sound of a migraine on record, and it’s infinitely more enjoyable for the listeners.  By the time the harmonies hit, I’ve taken Tweedy’s advice and don’t let the opening line get in the way of enjoying such a nimble, bouncy tune.

More on Wilco: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: wilco | jeff tweedy | 2009 | 2000s | nonesuch records | george harrison |
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“Something” – Paul McCartney
(Words/music: George Harrison, available on Back in the U.S. – Live 2002, Capitol 2002)

The school where I worked on my masters’ degree had a clock above the library that played a different melody every hour.  The first time I noticed the clock (and the only melody I can remember it playing) it was playing “Something.”  It was a bright, sunny afternoon early in my first semester, and as the notes carried across the campus, everything looked more vibrant.  It fit the scene so perfectly that I didn’t even realize what I was listening to until it was almost over; George Harrison’s simple melody seemed natural coming out of the bells of a clock tower, so I didn’t even realize that it was out of context right away.

It’s this simplicity that Paul McCartney’s ukulele version honors.  During his 2001-2002 world tour, McCartney took a break from his greatest hits revue to perform Harrison’s signature Beatles tune, accompanied by four tiny strings.  Recently, he’s performed the ukulele bit as an introduction, segueing into the traditional Abbey Road arrangement, but on this live album he performs the whole song by himself, including singing the lead guitar part.  Even in this reduced setting, “Something” still captivates, as a 60 year old man and a ukulele alone kept tens of thousands of fans enraptured for three minutes.  It’s appropriate, given that Harrison’s singing about the simple way that love affects us.  It’s also a tribute to the versatility of Harrison’s song that whether in its lush studio arrangement, a clock tower bell system, or a tiny stringed instrument, the beauty radiates through.  Rather than lean on its instrumentation, Harrison’s song relies on its melody and its honesty – in short, he made it simple to make it sound good.

More on Paul McCartney: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: paul mccartney | George Harrison | the beatles | 2002 | 2000s | capital records | live version | cover song |
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“My Sweet Lord (Live at the Concert for George)” - Billy Preston
(Words/music: George Harrison, available on The Concert for George, Warner Brothers 2003)

When I first delved into the story behind George Harrison’s “My Sweet Lord,” I was puzzled by the idea that he originally gave the song to Billy Preston.  I wasn’t surprised about giving it to Preston specifically, as Harrison and Preston collaborated frequently, but rather I was surprised that Harrison would give the song away at all.  In a way, I always heard “My Sweet Lord” as a personal song – one detailing Harrison’s quest for finding enlightenment based on his studies of Hinduism.  Maybe this seemed strange because I only knew Harrison’s version, complete with the “Hare Krishna” mantra from his backing singers.  By comparison, Preston’s gospel call-and-response take on the song on his Encouraging Words album flipped the song around; while Harrison sounded like someone searching for a connection, Preston and his choir reveled in their unity.  Maybe this is why, as someone who doesn’t practice religion yet still has spiritual moments, I’m drawn towards the yearning and searching rather than the “come and join with us” feel in Preston’s arrangement.

At the concert celebrating George Harrison’s life and music, an older Billy Preston sang “My Sweet Lord” with George’s band with the result somewhere between his version and Harrison’s recording.  When the backing vocals chime in, they sing strong and vibrantly, yet Preston’s vocal performance seems more in line with Harrison’s version.  Like the former Beatle, Preston sings the first verse on his own before the choir comes in, and even when the choir comes in, he remains the central figure rather than serving as the leader to set up the choir.  After all, it’s this main vocal line – the one yearning for unity with the higher power – that’s central to the song, with the mantra (whether it’s the Judeo-Christian “hallelujah” or the Hindu prayer) playing the secondary role.  Preston’s original version of the song flips these around, and even if I prefer it the other way, I imagine that speaks to a lot of people.  Still, I identify more with Harrison’s version, reading it as the quest for enlightenment being the important part – it’s not about finding the one right answer, but rather finding your own best path to enlightenment, whether it’s through Christianity, Hinduism, or whatever else.  Perhaps I’m projecting too much of my own beliefs onto the song, but it’s this strand of self-discovery and personal nirvana that’s made an incredibly beautiful song even more beautiful.

TAGGED UNDER: billy preston | 2003 | 2000s | George Harrison | concert for george | Warner Brothers | track comparison | cover song |
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“It Don’t Come Easy” – Ringo Starr
(Words/music: George Harrison and Richard Starkey, available on The Concert for Bangladesh, Apple/EMI 1971)

I had never really thought too much about who wrote “It Don’t Come Easy,” but after researching it today (and giving it another close listen), it doesn’t surprise me that George Harrison had a hand in its composition (and some claim that he wrote the entire thing, giving it to Ringo to help jump start his career).  Everything about the arrangement would make it fit in with All Things Must Pass – a jangly opening guitar riff, the carefully layered arrangement (with my favorite parts being the horns and the backing vocals) all bear Harrison’s signature.  Still, today’s Ringo’s day on Some Songs Considered (and I have a feeling that I’ll write about at least one more Harrison composition in the future, it seems likely with another 350+ entries in front of me).

Perhaps because he didn’t write as many songs, or because he played an instrument many deem “easy” (to which I suggest that anyone who thinks that should sit behind a drum kit and feel overwhelmed by all the different things going on), or simply because his band mates were three of the most influential musicians and songwriters of the popular music era, Ringo becomes at best an afterthought and at worst a punching bag for many.  Still, he deserves to be more than “the drummer,” and occasionally he gets this respect that he deserves.

Two brief stories:

1.  In the late 90s, I subscribed to Modern Drummer magazine (a bit of a misnomer in that it focused about 40% of its attention on drummers of previous eras) in a fleeting attempt to hone my drumming chops.  I know I have a couple years worth of these magazines in my parents’ storage shed somewhere, but one issue sticks out to me.  The editors of the magazine polled their readership and posted the top 20 (or 25, I don’t remember and I can’t find a link to it online, sorry).  One of the best parts of the list was the inclusion of five testimonials from the reader ballots – one sentence quips why these drummers received other drummers’ votes.  Ringo appeared maybe half way through the list (appropriately) and I will never forget the testimonials:  all five of them read the same exact thing: “Ringo is the reason that I play the drums.”  I think many of us take the Beatles for granted (especially people of my generation who have listened to our parents sing their praises our entire lives), but this is a band that meant a tremendous amount to a tremendous amount of people.  I don’t remember the precise reason why I started playing the drums (more on that in another post), but I understand how if I grew up in the late 60s that Ringo’s fun-loving, effervescent personality (and deceptively simple playing) would make the drums attractive.  Who wouldn’t want to be bopping along behind the kit to any of those Beatles’ classics (or, alternately, hasn’t air drummed that part in “Come Together”).

2. Last year, Ringo announced that he would stop signing autographs through the mail. If you think about it, the man must receive an absurd amount of Beatles memorabilia in the mail – I have a hard enough time responding to a couple e-mails a day, let alone signing all of the pictures, portraits, and other assorted personal items people send along.  However, many took this as Ringo devolving into a cranky old man shunning the fans who gave him the wealth and fame he enjoys.  I was disappointed at this reaction – he’s already given up some of the world’s greatest songs, what more does he owe us?  Needless to say, when I heard this story about how he still signs letters for fans (and with an absurd turnaround time), I smiled heartily.  I hope that Ringo always remains the “happy” Beatle.

I picked the live version of “It Don’t Come Easy” for a couple reasons.  First, I think it sounds better played a little faster – it has a little more life and urgency as Ringo tries to keep up with the all-stars George Harrison assembled for his charity concert.  More importantly, however, is the huge applause that the crowd gives Ringo upon the first line; while musicians and critics snub him, fans still love Ringo and I think that gives us all something to think about.  Sure, it’s important to approach everything with a critical eye, but at some point we have to remember why we fell in love with music in the first place.  I don’t even care that Ringo flubs the lyrics in the last verse (I didn’t notice it until it was pointed out to me, in fact), it’s still a great song (regardless of the author) and Ringo serves it well as the everyman singer who’s happy to be performing for all of us.

More on Ringo Starr: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: 1970s | 1971 | concert for bangladesh | defense of Ringo | dubious authorship | george harrison | personal reflection | ringo starr | the beatles | EMI | Apple Records | former beatle |
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“What Is Life” – George Harrison
(Words/music: George Harrison, available on All Things Must Pass, Apple/EMI 1970)

Sure, George Harrison’s All Things Must Pass was a tremendous success, but I’m always fascinated by the amount of attention paid to Harrison’s collaborators and friends than to his own skills as a songwriter.  Far too often, George Harrison’s name comes in tandem with his former band mates or Eric Clapton or even the performers he culled for his massively successful Concert for Bangladesh, but very rarely (or, perhaps more accurately – not enough) will Harrison’s songs receive the respect they deserve.  His compositions for The Beatles include some of their best songs – “Something,” “While My Guitar Gently Weeps,” and “Here Comes the Sun” – but they tend to be afterthoughts behind the Lennon/McCartney compositions.  Perhaps it’s natural that Harrison’s songs fit his personality – in general, Lennon wrote the moody, charismatic songs, McCartney wrote the carefully arranged pop songs, while Harrison wrote the contemplative and spiritual songs (Ringo, who occasionally co-wrote, was far more than the punch line that some try to make him into – but more on him tomorrow).

While “My Sweet Lord” was massively successful as a single (and rightfully so, as it’s one of the most beautiful songs of its era), “What Is Life” reflects more of Harrison’s strengths as a songwriter.  The opening guitar riff rivals any in his catalog, but the song’s true strength lies in the different ways that Harrison plays with the riff.  Each time through this introductory riff, a new element joins his electric guitar; whether it’s an echo in the bass line, a chugging rhythm guitar, or a closely related horn line, the riff’s firmly entrenched in our brains before the verse even begins.  Like “My Sweet Lord,” “What Is Life” draws upon Harrison’s beliefs in Hinduism, specifically in the idea of personal submission to the Higher Power.  While the song fits this idea, it also works well as a simple devotion to love.  By the time the final verse rolls along (including Eric Clapton’s slinky slide guitar lines in the background of that final verse), I can’t help but sing along to the chorus.  It might not get as much radio play as a Lennon solo cut or a Wings track, but “What Is Life” is one I always turn up when I hear it.

PS - I learned today that Olivia Newton-John had a UK top 20 hit with this song.  Thanks, YouTube!

More on George Harrison: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: 1970 | 1970s | classic rock | former beatle | george harrison | track analysis | EMI | Apple Records |
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