91.3 WYEP celebrates the 40th anniversary of The Beatles, the only double album released by The Beatles. The record, one of the few major albums in rock history that is rarely called by its correct title (mostly called by its nickname The White Album), was released in the U.S. on November 25, 1968.
Listen to our audio features on the White Album at our On Demand audio page. Additional information about the record and its music is below. Also, feel free to share your thoughts about The White Album (via the "Leave a Reply" box at the bottom of this post)!
Local support provided by The Priory and The Grand Hall at The Priory.
Here's a look at the songs on the White Album in the original vinyl record sequence:
1. Back in the U.S.S.R. (written by Lennon-McCartney, primarily Paul) Ringo Starr made an enormous contribution to the success of The Beatles, from his distinctive and tasteful drumming to his quick wit at early press conferences to his superior acting abilities in A Hard Day's Night. However, he was surrounded by such towering talents that he often got the short end of the stick in recognition, certainly from the public but even from his bandmates at times. During the recording of the White Album everything came to a dramatic apex, especially when, as legend has it, Paul McCartney would sometimes re-record Ringo's drums tracks with his own secret sessions behind the drum kits. On the evening of August 22, 1968, Ringo became the first Beatles to quit the band. He stormed out of Abbey Road studios, and promptly left the country to go on holiday. To add insult to injury, the rest of the band recorded "Back in the U.S.S.R." quite well without him, as the Fab Three with Paul on drums, taking a mere two days to complete the track, making Ringo seem indeed superfluous. The song was a Paul composition, a nifty pastiche of Beach Boys and Chuck Berry musical and lyrical ideas. Of course, some anti-rock & roll crusaders took the song as final admission once and for all that the band was an elaborate Iron Curtain plot to destroy a generation of Western youth. The well-known Beatles detractor David Noebel, author of such pamphlets as "Communism, Hypnotism and The Beatles," wrote of "Back in the U.S.S.R.," "obviously the lyrics have left even the Reds speechless." (later covered by Chubby Checker and Billy Joel)
2. Dear Prudence (composed by Lennon-McCartney, primarily John) When The Beatles went on an extended retreat to India for meditation with the Maharishi Mahesh Yogi, John took advantage of the pastoral setting and wrote a particularly productive number of songs. It was quite the scene at the Maharishi's ashram in Rishikesh; not only were The Beatles and their wives in residence, but the singer Donovan as well as actress Mia Farrow. "Dear Prudence" was written about Farrow's younger sister, who was also at the retreat in India. Prudence Farrow became a virtual hermit in almost constant mediatation, and Lennon sang of his and George's efforts to get her to leave her room and join the others in communal gatherings. (later covered by Siouxsie & The Banshees, The Five Stairsteps, and the Jerry Garcia Band)
3. Glass Onion (composed by Lennon-McCartney, primarily John) John Lennon's compositions on the White Album are chock full of the clever and imagistic wordplay that was his hallmark. He also delved into montage, from the song quilt "Happiness Is a Warm Gun" to the sound collage "Revolution 9" to the tour of Beatles songs past, "Glass Onion." As put by a 1968 album review, the "Glass Onion" has "fun with all the Ph. D. candidates doing theses on their lyric content" with "all sorts of references to characters in their earlier works." The song alludes to five previous Beatles songs, including "Strawberry Fields Forever," "I Am the Walrus," "Lady Madonna," "The Fool on the Hill," and "Fixing a Hole."
4. Ob-La-Di, Ob-La-Da (composed by Lennon-McCartney, primarily Paul) Paul McCartney knew a Nigerian-born percussionist in London named Jimmy Scott who frequently used a Yoruba language expression "ob-la-di ob-la-da," or "life goes on." The Beatle plucked the saying for use in a song. From the beginning the song gave The Beatles headaches in the studio trying to record it. The band did numerous takes and retakes of the song, trying to satisfy the increasingly perfectionist McCartney. In the early versions, the song had an acoustic guitar-based arrangement. After one otherwise flawless run-through of the song, Paul realized that he mixed up the lyrics. Instead of singing, "Molly stays at home and does her pretty face" as he had written, he sang "Desmond" instead of Molly. After consideration, he decided to leave the mistake as is to give fans something to ponder. Of course, at this stage of The Beatles' career, listeners didn't need any assistance trying to decode hidden meanings in the band's lyrics. One contemporaneous reviewer, reading a little tenuously into the song's title, wondered if there was significance that the title was an anagram for "diablo," Spanish for "devil." The song used a ska beat, not very common at the time in mainstream pop songs. The beat is a little obscured in The Beatles' recording, but it's emphasized more in other cover versions. After so many attempts to get the sound right for the song, one night John walked into the studio in a fairly altered state of mind and sat down at the piano. Declaring to the others that "this is it!" he smashed the piano keys with a faster, harder, and somewhat more ragged intro to the song. That difference in energy turned out to be just the change that the song needed. (later covered by Marmalade, Youssou N'Dour, and Jimmy Cliff)
5. Wild Honey Pie (composed by Lennon-McCartney, primarily Paul) A bit of a nonsense song which merely repeats "honey pie" several times over some quirky music and concludes with a sung "I love you, honey pie!" Exactly the sort of song that makes one understand why George Martin wanted to trim the White Album to a single disc. (oddly, later covered by The Pixies)
6. The Continuing Story of Bungalow Bill (composed by Lennon-McCartney, primarily John) Written by Lennon in India after observing an American woman and her teenage son go tiger hunting and then returned to the meditation camp to continue their spiritual studies. It was described by one reviewer as "a cunningly simple ditty that flashes with hints of America's burgeoning violence and shrinking mythology." The song also marks the first time that a Beatles' significant other sang a lead vocal, if only for one line (the line "not when he looked so fierce.."). Both Yoko Ono and Ringo's wife Maureen sing on the recording, but only Yoko gets a feature line.
7. While My Guitar Gently Weeps (composed by Harrison) George Harrison's greatest contribution to the White Album, and high up on the list of his crowning achievements on any Beatles album, was his song "While My Guitar Gently Weeps." The history of the track was interesting, beginning with the randomness which informed its very genesis. Inspired by the I Ching, Harrison picked up a book selected arbitrarily, opened up to a random page, and would write a song based on the first words he saw. The phrase was "gently weeps." The song began life as an acoustic guitar number, one which had that same plaintive emotion found in the final version. Originally, the song had an extra verse that George cut before recording the final version ("I look from the wings at the play you are staging/While my guitar gently weeps/As I'm sitting here, doing nothing but aging/Still my guitar gently weeps"). On September 6, 1968, while driving in London, George was telling his buddy Eric Clapton about recording this song and finally asked him to perform on it. While The Beatles had plenty of little known session musicians on their records, they had never had a guest star play on one of their records. However, the public wouldn't be initially aware of this musical cameo, as Clapton was never credited in the album's liner notes. After hearing his performance, Clapton was unsure how it worked with the song, thinking the solo didn't didn't sound "Beatley" enough. So they mixed the guitar part through an electronic device designed for John Lennon to use for his vocals, and the result was deemed quite suitable by all. (later covered by Peter Frampton, Jeff Healey Band, and Marc Ribot)
8. Happiness Is a Warm Gun (composed by Lennon-McCartney, primarily John) On this song, Lennon stitched together three different new song snippets to form the one final composition. There was the "I need a fix" section, the "Mother Superior jumped the gun" piece, and the section which gave the song its title (the "happiness is a warm gun, bang bang, shoot shoot" section). (later covered by Tori Amos, U2, and The Breeders)
1. Martha My Dear (composed by Lennon-McCartney, primarily Paul) Dan Wilson, formerly of the band Semisonic, underscores how a song can be diminished when you know its backstory with McCartney's tune "Martha My Dear." Actually written about McCartney's sheepdog Martha, Wilson says that when he found out that fact, "I was just deflated by the revelation -- I had had my own mental images... and to learn that" it was a dog "was such a letdown." (later covered by Slade)
2. I'm So Tired (composed by Lennon-McCartney, primarily John) John's companion piece to his earlier "I'm Only Sleeping." Following Lennon's "I'm So Tired," one can hear him mumbling, ostensibly saying "Monseiur, monseiur, how 'bout another one?" Listeners had been scouring Beatles' releases to divine special messages and hidden meanings for a long time, and beginning in 1969, the practice evolved into the "Paul is Dead" rumor, that McCartney had died in a car crash and was replaced by a lookalike, illustrated by a string of clues scattered throughout the band's albums. These rumor proponents believed that Lennon's mumbling was a backwards message saying "Paul is a dead man, miss him, miss him."
3. Blackbird (composed by Lennon-McCartney, primarily Paul) A song partially inspired by the civil rights movement in the U.S., but its message was horribly mangled by at least one listener. The mass murderer Charles Manson thought that the White Album was a personal message to him to try to start a race war and the word "rise" was scrawled at one of the murder sites, supposedly because of McCartney's use of "arise" in this song. (later covered by Bobby McFerrin and Sarah McLachlan)
4. Piggies (composed by Harrison) George's writing was often about the mystical and the sublime, he was also sometimes rather cynically worldly in his songs. Like "Taxman" several years before, Harrison mocked establishment types and English society in "Piggies." Originally, George had slightly different lyrics in the line about the piggies clutching forks and knives ("clutching forks and knives to cut their pork chops") but Lennon suggested switching "pork chops" to "bacon" making the metaphorical suggestion of cannibalism more clear.
5. Rocky Raccoon (composed by Lennon-McCartney, primarily Paul) A country-folk storytelling number. The Chicago Tribune's initial review of the album proclaimed it the critic's favorite from the record. (later covered by Richie Havens and Jack Johnson)
6. Don't Pass Me By (composed by Starkey) Up until the White Album, Ringo's songwriting credits included merely one-third of "What Goes On," the lone Lennon-McCartney-Starkey composition in the Beatles' catalogue, and the Magical Mystery Tour instrumental "Flying," attributed to all four band members. But Ringo finally completed a song that he had been working on since the group's early days, "Don't Pass Me By," Ringo's first song recorded with The Beatles. (later covered by The Georgia Satellites)
7. Why Don't We Do It in the Road? (composed by Lennon-McCartney, primarily Paul) The White Album was a sprawling collection of styles, from heavy blues-rock to folk-pop to fiddle-drenched country to old-time music hall. This diversity was a strength to some listeners and a weakness to others, particularly when contrasted to the previous year's masterpiece, Sgt. Pepper's Lonely Hearts Club Band. As Time magazine put it in their review, "skill and sophistication abound, but so does a faltering sense of taste and purpose." Producer George Martin suggested to The Beatles that they cut the number of songs down by half, but the songwriters didn't want to compromise their individual visions. Paul McCartney's contributions to the set were a large part of that sonic diversity, contributing the Beach Boys take-off "Back in the U.S.S.R." as well as the spare "I Will." But while all of Paul's songs are memorable, a number are clearly fluff, or at least ranking in the lower echelons of the Lennon-McCartney catalogue. Just as Lennon was adding to album's the signal-to-noise ratio with his sound effect pastiche "Revolution 9," McCartney was similarly adding empty calories to the album with several non-songs, like the two-line, raunch-rock of "Why Don't We Do It in the Road?" (later covered by Lydia Lunch)
8. I Will (composed by Lennon-McCartney, primarily Paul) "I Will" was a fairly straightforward song, a typical Paul dreamy love song made distinctive by its clip-clop percussion. Some complained that it wasn't even terribly original, sounding rather similar to the band's song "I'll Follow the Sun" from four years previous. Still, it turned out rather popular over the years with other folk-leaning performers, from Art Garfunkel to Hugh Masekela to Ben Taylor to Alison Krauss.
9. Julia (composed by Lennon-McCartney, primarily John) The White Album featured one song that ranked among the most personal of John's career, his ode to his late mother, "Julia." Lennon began the song with a reference to poet Khalil Gibran's 1926 piece "Sand and Foam." Gibran wrote "Half of what I say is meaningless, but I say it so that the other half may reach you." John's version was "Half of what I say is meaningless, but I say it just to reach you, Julia." "Julia" was the only song in the Beatles catalog that Lennon recorded solely by himself without any assistance from his bandmates. (later covered by Ramsey Lewis and Medeski, Scofield, Martin & Wood)
1. Birthday (composed by Lennon-McCartney, primarily Paul) Despite Paul's reputation of tending towards schmaltz and syrupy pop in his songwriting, he always had a passion for Little Richard style belters and full-on rock 'n' roll. On the evening of Sept. 18, 1968, The Beatles took a break from recording and went a couple of blocks away to Paul's house to watch a BBC screening of the 1956 movie The Girl Can't Help It, which featured Little Richard himself, Gene Vincent, Fats Domino, Eddie Cochran, and The Platters. Afterwards, they went back to Abbey Road studios and immediately recorded "Birthday." "Birthday" was a song that Paul essentially wrote in the studio that same day it was recorded. (later covered by Underground Sunshine, in a version which charted in the U.K.)
2. Yer Blues (composed by Lennon-McCartney, primarily John) One of John Lennon's legacies as a songwriter is the absolutely fearless confessional style he evolved, particularly notably in his early solo albums. His songs for the White Album were a key part of this development in his approach. As early as the 1965 single "Help!," Lennon was trying to stretch the boundaries of pop music away from its usual light romantic fare and into expressions of his own insecurities. However, not all of John's musical expressions of misery and woe should be taken at face value. "Yer Blues" is full of heavy emotional imagery, but it was intended as a parody of blues and not a confessional at all. And yet in retrospect, one can't help but compare the lyrics to some of Lennon's early solo work. Just as "Yer Blues" refers to Bob Dylan's "Ballad of a Thin Man" ("feel so suicidal, just like Dylan's Mr. Jones") and proclaims rock & roll as little salvation from life's troubles ("feel so suicidal, even hate my rock and roll"), so too does Lennon's solo song "God" refer to Dylan, using his real last name ("I don't believe in Zimmerman") and proclaims a disbelief in both Elvis and The Beatles as figures of salvation ("I don't believe in Beatles").
3. Mother Nature's Son (composed by Lennon-McCartney, primarily Paul) Paul wrote "Mother Nature's Son" while in India with the rest of the Beatles at a meditation retreat run by the Maharishi Mahesh Yogi. The Maharishi gave a lecture on nature one day that had strong impact on both McCartney and John Lennon. It inspired Paul to write "Mother Nature's Son" and John composed "Child of Nature" which several years later turned into "Jealous Guy." In another sign of growing tensions within the band, there was a moment while recording "Mother Nature's Son" when Paul was working with producer George Martin and several horn players hired for the session. Everybody was having a good time when John and Ringo walked into the room. Suddenly, in the words of a studio engineer present, "you could cut the atmosphere with a knife." The other Beatles stayed for only ten minutes or so, and then the tenseness disappeared as suddenly as it came on. (later covered by Harry Nilsson, John Denver, and Sheryl Crow)
4. Everybody's Got Something to Hide Except Me and My Monkey (composed by Lennon-McCartney, primarily John) A number of Lennon's songs are written about his then-new relationship with Yoko Ono, including "Everybody's Got Something to Hide Except Me and My Monkey." During the sessions for the White Album, Lennon first brought Yoko with him to the studio. Not only was Yoko present but she felt free to offer suggestions and criticisms, ratcheting up the discontent and tensions between The Beatles. (later covered by Fats Domino and The Feelies)
5. Sexy Sadie (composed by Lennon-McCartney, primarily John) Originally titled "Maharishi," the song bitterly detailed how betrayed Lennon felt after the spiritual advisor (Maharishi Mahesh Yogi) was accused of a romantic entanglement with one of his students, leading John and George to leave India and cease studying with the Maharishi. The song was written after the two Beatles had just left the ashram, actually in the car angrily heading away. George convinced John to retitle and slightly rework the song, so it wasn't so directly slanderous.
6. Helter Skelter (composed by Lennon-McCartney, primarily Paul) Called upon its release as "perhaps the most frantic, compelling number the group has ever done." In fact, the song is a result of Paul's one-upmanship. He heard an interview with Pete Townshend of The Who talking about their famously loud, raucous sound, and Paul decided The Beatles needed to record a track as loud and sweaty as any band in the music scene. And rambunctious it was. Ringo's famous concluding yell ("I've got blisters on my fingers!") was the result of intense jamming on the heavy rock number. In fact, one unreleased take of the song is perhaps the most sought-after Beatles recording never to be bootlegged or heard by the public thus far: an epic 27 minute long version of the song. The song was among those that mass murderer Charles Manson interpreted as a personal message to him, assigning the name "Helter Skelter" to the violent race war that he believed it was his mission to start. The lyrics are actually written about a children's playground slide. (later covered by Siouxsie & the Banshees, U2, Pat Benatar, and even Mötley Crüe)
7. Long, Long, Long (composed by Harrison) The Beatles were always open to sonic accidents when recording their music. Sometimes it was a little touch and other times major, but one of these can be heard at the end of another George composition, "Long, Long, Long." A wine bottle left on top of a speaker began to rattle when a certain note was played on the organ. They kept it in the final version of the song to add a mysterious-sounding touch. (later covered by Low and Tanya Donnelly)
1. Revolution 1 (composed by Lennon-McCartney, primarily John) The first song that The Beatles recorded in the studio for the White Album. It eventually became the only song on the album to also be released as a single, albeit with a different arrangement, and it was quite a rocker. The album one, officially titled "Revolution 1," is remembered for being the slower, somewhat bluesy version, compared to the harder-edged single. The Lennon-penned number began life as a chaotic, caterwauling epic, with one take running to more than 10 minutes long, but "Revolution 1," the less-intense album version, was John's original intent. Always looking for a way to make his voice sound different, John tried recording the vocals while lying on the studio floor. Perhaps the vibe was a touch too laid back, though; George and Paul didn't think the song was upbeat enough for the group's next single, so John goosed the tempo and ferocity for the single arrangement.
2. Honey Pie (composed by Lennon-McCartney, primarily Paul) Continuing Paul's forays into the music hall mannerisms he showcased on Sgt. Pepper's "When I'm 64" and in Magical Mystery Tour's "Your Mother Should Know." (later covered by Tuck & Patti and even Barbra Streisand)
3. Savoy Truffle (composed by Harrison) George's songs were finally starting to get their due with the White Album. Rather than his usual allotment of one song per album, this time he was accorded exactly one song per vinyl side. "Savoy Truffle" was inspired by George's close friend Eric Clapton, who had a vicious sweet tooth and simply could not pass up chocolates. George took many of the sweets mentioned in the song (the cream tangerine, ginger sling, and so forth) copied straight off the box of a candy sampler. Included in the lyric was a swipe at the sometimes toxic atmosphere between The Beatles in the studio during the recording of the album. George sings "we all know ob-la-di, bla-da" referencing both Paul's song and the Yoruba language translation of the phrase, "life goes on." Perhaps reminded of the endless takes the band attempted of "Ob-la-di, Ob-la-da" due to Paul's perfectionism, George also sings "But what is sweet now, turns so sour." (later covered by They Might Be Giants and Ella Fitzgerald)
4. Cry Baby Cry (composed by Lennon-McCartney, primarily John) Coming on the heels of the band's disastrous Magical Mystery Tour film, which took a merciless drubbing by the critics, the White Album was the real start of the band's latter-era intractable tension. Ringo quit the band for a couple of days at one point, only to be coaxed back. It wasn't only the band who was affected; during the recording of "Cry Baby Cry," one of the band's talented studio engineers, Geoff Emerick, who had no small contribution to the sound of Revolver and Sgt. Pepper's walked out, unable to deal with the strained atmosphere. Even producer George Martin departed in the middle of recording to go on vacation and left his assistant in charge of recording The Beatles. But despite the unpleasantness, the music was still inspirational. John Lennon wrote a few classics for the White Album, but many of his more run-of-the-mill compositions were still top-notch. One example is "Cry Baby Cry." A critic wrote upon the album's release that "'Cry Baby Cry' demonstrates anew The Beatles' knack for rendering an Alice-in-Wonderland vision in a melancholy modern vein." Interestingly, after "Cry Baby Cry" concludes on the album, but before the next track begins, the "Revolution 9" sound montage, an unrelated Paul McCartney song pops in briefly. This brief snippet of song (which could be called "Can You Take Me Back," from its lyrics) is not included on the album tracklisting, is not part of the album lyrics that were part of the original packaging, and is not among the songs officially published by the band. It's almost like a brief, official bootleg of an otherwise unreleased song by the group. ("Cry Baby Cry" later covered by Richard Barone, Throwing Muses, and interestingly, punk band Samiam)
5. Revolution 9 (composed by Lennon-McCartney, primarily John) Lennon's vision for the song was to have the song "Revolution" segue into a montage of music and sound effects which would sonically depict the revolution sang about in the musical portion. The "Revolution 9" piece was eventually moved away from its parent song, and tucked away at nearly the album's end, but it remained a brutal assault on the ears, resembling not so much a revolution as a waking nightmare. While the other Beatles and producer George Martin were strongly opposed to its inclusion on the final album, John and his then-new girlfriend Yoko Ono were proud of it as avant garde art and successfully fought for it to remain. Despite "Revolution 9" being perhaps the most despised and least-listened to track on any Beatles' album, it does have its fans. The band Phish once covered the entire White Album in concert from start to finish, even doing a surprisingly faithful live rendition of the piece.
6. Good Night (composed by Lennon-McCartney, primarily John) Traditionally, Ringo was given one spotlight lead vocal per album, usually written for him by one of the others. Ringo had often tried his hand at songwriting, but without much success. He liked to joke that whenever he wrote a song, the others would laugh as they pointed out that he had merely copped the melody of another song. On the White Album, John contributed a song to be a Ringo's vocal turn. John had written "Good Night" as a lullaby for his son Julian, and he instructed producer George Martin to score an overly lush Hollywood-style orchestral arrangement for the track. Although it was tucked away at the end of the album after the ominous "Revolution 9," the piece attracted notice with both critics and fans. The Chicago Tribune opined that it "should prove once and for all that the Beatles can do anything." (later covered by The Carpenters, Kenny Loggins, and Manhattan Transfer)
Joan Osborne came back to Pittsburgh after a long absence and hopefully she will return soon to do the songs she didn’t have time to get to in her 16-song, 1-hour and 20-minute set.
The 46-year old singer, by my count, did at least five songs from her latest CD “Little Wild One” which was released in September. The song that seemed to get the loudest applause was “Hallelujah in the City”. She did a nice duet with her opening act, Matt Morris, on “Cathedrals”. Joan’s 7th studio album has a lot of the mid-tempo type songs that she’s known for.
With Joan was a 4-piece band consisting of a drummer, bassist, guitarist and keyboardist (who, like Joan, also played harmonica). There was also lighting that made effective use of the high ceilings in the former church.
Most of Joan’s songs had a beat, although she slowed things down at one point with a Grateful Dead song Joan, of course, did “One of Us” near the end of her set and I can still hear it in my head.
Joan came back on stage for a 3-song encore, which included a song she sang at the Grand Ole Opry that was co-written by Roy Orbison.
Matt Morris, the son of country music’s Gary Morris, is a singer-songwriter who has had his songs recorded by Reba McEntire, Christina Aguilera and Justin Timberlake. He opened the show with a 45-minute, 9-song set that included his own songs as well as a cover of The Beatles “Help!”. It was Matt’s first appearance in Pittsburgh and he commented that he liked the “public radio listening audience.” Matt performed at the Bonnaroo Music and Arts Festival this year and plans to release his first full length CD soon.
Barb S. - Sunday Mix Host
1) What Made Milwaukee Famous / What Doesn’t Kill Us / Barsuk
Hook-laden and sometimes challenging, the sophomore release from the Austin band mixes New Wave and classic pop influences. It gets better upon repeated listening.
2) Paul Weller / 22 Dreams / Yep Roc
Weller’s most diverse solo album to date. A mix of songs and styles that most artists—and labels—wouldn’t dare to release.
3) Sharon Jones & The Dap Kings / 100 Days, 100 Nights / Dap Tone
A great ’70s style soul singer with one of the tightest backing bands around—an unforgettable mix
4) Richard Hawley / Lady’s Bridge / Mute
The Sheffield crooner is back with another can’t-miss collection of velvety ballads
5) Joe Jackson / Rain / Rykodisc
His voice has never sounded better and his trio is sparse but powerful
6) The Last Shadow Puppets / Age of the Understatement / Domino
When the Arctic Monkeys’ Alex Turner and The Rascals’ Miles Kane collaborate everything is cool—down to the CD jacket. Hopefully it will lead people to discover earlier arbiters of cool David Axelrod and Scott Walker whose vibes flow through the disc.
7) Matthew Sweet / Sunshine Lies / Shout Factory
It’s not quite Girlfriend, but it’s pretty damn close
8) Portishead / Third / Mercury
A great return that moves beyond the whole trip-hop trap.
9) Mgmt / Oracular Spectacular / Sony
Psychedelic indie pop that out Flaming Lips the Flaming Lips
10) Jim Noir / Jim Noir / Barsuk
Second album from worshipper of Brian Wilson. More electronic and experimental but just as melodic as his first.
10) Oasis / Dig Out Your Soul / Reprise
Oasis likes The Beatles. Who knew? The influence is there but with a new spin. And there’s even a sitar!
Also deserving attention: Billy Bragg / Mr. Love And Justice; Fleet Foxes / Fleet Foxes; Vampire Weekend / Vampire Weekend; David Ford / Songs For The Road; R.E.M / Accelerate; James / Hey Me; Duffy / Rockferry; Jeremy / Pop Explosion; Band of Horses / Cease to Exist; Glen Campbell / Meet Glen Campbell; Crosby Tyler / 10 Songs of America Today; Old 97s / Blame it On Gravity; Michael Carpenter & The Cuban Heels / EP
Best reissue: The Jesus And Mary Chain / The Power of Negative Thinking: B-Sides and Rarities
Best tribute CD: Beautiful Escape: The Songs of the Posies
Best series: BBC live recordings
A full harvest moon, a full club (with electricity!) and two talented singer-songwriters.
Shawn Mullins made his second appearance in Pittsburgh this year, opening for Dar Williams. Shawn came on stage at 8 pm in blue jeans, white shirt with a tie, sport coat and hat. Still out in support of “honeydew”, which was released in March, he sang a few songs from that CD, including the tragic true tale of “The Ballad of Kathryn Johnston” and the song that was heard in the TV show “Scrubs” “All in My Head”, adding his thanks to WYEP for the airplay. Shawn remembered Rosebud across the river and said “Beautiful Wreck” was inspired by playing in such venues. He reminded us that he was briefly in a group called The Thorns, with Pete Droge and Matthew Sweet (who he noted will be coming to Pittsburgh soon). When Shawn talked about The Thorns CD, I clapped in recognition, not realizing I was the only one who was acknowledging the CD. Shawn looked in my direction and said that his parents bought a copy of the CD and now he knows who bought the other copy. Here's my copy of The Thorns CD, which I got signed by Shawn years ago (and it reminds me I should get Pete and Matthew’s signatures someday too).
While Shawn was in high school, he took one of those career education courses. One day Amy Ray (now of the Indigo Girls) performed for the class, and this apparently helped to inspire Shawn. Amy even wrote Shawn a 10-page letter to encourage him. I love it when singer-songwriters tell stories about their songs, even ones they did not write. Normally I’m not a fan of “covers”, but Shawn’s version of “House of the Rising Sun” (written by a female and sung from that prospective) is a natural fit. Shawn wrapped up his 65-minute acoustic set with his Australian hit “Shimmer” and a medley :) of his hit “Lullaby”.
Shawn Mullins and Dar Williams have been friends for years, so it’s only natural that they are now touring together.
Dar Williams came with her guitar, a percussionist, and a keyboardist to tell us that Pittsburgh is one of her favorite cities. In fact if she had six houses, one would be in Pittsburgh. Dar is an engaging performer who seemed genuinely enthusiastic about her music. Almost bubbling over. Dar mentioned a couple of times she was disappointed that she could not play at WYEP that afternoon (due to the power outage) and that she sent an email to her management company to book another show in Pittsburgh along with a visit to WYEP (she mentioned maybe in January). Dar only played a couple of tracks from her new CD “Promised Land”, including the first release the catchy “It’s Alright”. Requests were shouted from the audience, and Dar obliged her fans a couple of times. Her back-up group gave the songs an even fuller sound from the small stage. Dar’s blend of “folk-pop” was mostly up-tempo during her 95-minute set, except when she sent her band off-stage so she could sing a couple of songs without accompaniment. She also returned to the stage alone to do one song for the encore.
A full moon shined down on the South Side, as we were treated to over 2-1/2 hours of music by 2 amazing singer-songwriters.
Barb S. - Sunday Mix Host
(Clockwise from top: Jeremy, Molly, Dustin, Ken)Their new album, Ice Cream Spiritual, sees the band adding to its high-energy approach with new sounds and multiple-movement song structures. The four members passed the phone as I spoke to them while they travelled to New York for a concert. An excerpt of that discussion after the jump. -Dave, host of WYEP Afterhours: Monday WYEP: You all met at the Maryland Institute - was music at all part of your education or was it a hobby in addition to what you were studying? Dustin (guitar): Well the class we took together - we knew that it was going to be a band thing - we were going to get formed into a band. But we didn't know who was going to be in which band. Of course, we love music. We all listen to music and we're all big fans of music. WYEP: So Ponytail actually came out of a class you signed up for? Dustin: Yeah. WYEP: Wow. What was the syllabus like? Dustin: The syllabus? I can't really remember it from the top of my head, but it was you form a band and you work on one art project. That's pretty much what the whole class was. Every week the professor would show a film. He showed Gimme Shelter, The Piano Teacher. [Asking the others] What were some of the...what were some of the - Unidentified Ponytail Member: -Nashville Dustin: -Nashville was another one. Just like stuff that really kind of...you get a vibe of what music is about. WYEP: That sounds like a really interesting experience. Dustin: Yeah it was really great. WYEP: How many kids were in the class? Dustin: There were probably thirty-five kids. WYEP: Were you randomly assigned or did you play pieces and audition and then the professor put you together? Dustin: Oh no no, there was no audition. It was just the professor pointing at each...he'd be like 'You're a hot girl, and you're a hot girl...' WYEP: [Laughs] Dustin: 'You're a band!' WYEP: It was a first day, just pairing people up and sending them on their way? Dustin: Well the first week he didn't form the bands, he Just kind of explained what the class was about and he let us out early. And then the second week - it's really funny actually - we were all sitting in a circle. It was a large classroom and each student was kind of in the circle and the professor was direct in the middle, [turning] 360s and observing the students. And then he would pick people out. WYEP: So I guess it was in part based on your social interaction and what he saw happening. Dustin: Yeah. He would kind of feel out each person's vibe and then put them together. WYEP: That's a really cool idea. Dustin: I think it's just fun to be in his spot, you know? I'd love to do that. WYEP: Did you start playing shows right out of that class or was it a long time before you got to that point? Dustin: No no, we practiced once a week until the end of the semester which was where all the bands would come together. We had a big party - it was called Parapalooza - and all the bands would play the songs they'd written in the course of the semester. It's just a good time, and we were just practicing up to that point and it was really fun. We wanted to continue. WYEP: What was the initial reaction for Ponytail in Baltimore? Was it intimidating coming through [art crew/performance space] Wham City? Dustin: I was really nervous when we played our first shows, but there wasn't any sort of pressure, I don't think. Everybody was really supportive and we love being supported. WYEP: Were there certain bands that were really helpful as far as when you were starting out and playing your first shows? Dustin: Yeah, yeah. Double Dagger, whose a band from Baltimore invited us to play a show. Dan Deacon has been super helpful. It's great. --- WYEP: How was it starting out in Baltimore? Molly (vocals): Everybody is extremely supportive of each other and really wanted something to happen. And it did. WYEP: How has your family reacted to Ponytail so far? Molly: My family's really into it actually. My family is so so supportive. My sister actually is super into it. She made me a scrap book of all our early reviews. WYEP: That's awesome. Molly: It's really sweet. Even my grandparents came to our show in Phoenix. My grandpa's ninety now. WYEP: Wow... Molly: Yeah! [laughs] WYEP: That's effort. Molly: Yeah - it's pretty amazing. So I'm really lucky. WYEP: Your vocals are not usually word sounds, and you have song titles that are sometimes made up of punctuation. Do you think there's a benefit to be a little harder to understand? Molly: I think we're interested in that - in not being able to fully understand. I don't know if we fully understand, really. [laughs] WYEP: Do your songs change much show to show because of that? Molly: The feeling of doing it, from show to show, changes a lot. The songs themselves have been pretty stagnant, staying the same. But of course they change slightly - I guess I improv some every time. WYEP: Do you consider your music rebellious compared to what else is out there and what you grew up listening to? Molly; There's an element of rebellion, I think. We're reacting to what we're surrounded by and what we grew up with. We're all a little rebellious. Also, at this point, we just really want to make something we're interested in more than just something different. It's not all rebellion, but it is an element. WYEP: How aware of you of Pop culture? Is what's happening in the rest of the world ever a direct source of inspiration for song writing? Molly: Definitely. I think we've been referencing elements of Pop culture since we began. With the Beatles drum line at the beginning of the song - [asking others] which song is it again? It's - Unidentified Ponytail Member: - "Dear God" [Ponytail song "Dear God Plz Make My 2Eyes N2 One"] Molly: "Dear God." Beginning of...no no no, beginning of which Beatles song? Unidentified Ponytail Member: Oh, oh. "The End." [The Abbey Road song] Molly: Yeah! "The End." The beginning of "The End." That was the beginning of the end! [laughs] I think we're definitely interested in referencing Pop culture. We've always been aware of what we might sound like or what we might be taking from and we're sort of excited about that. You can only go so far with it, but we're excited about that. --- WYEP: Ken, you were recently part of a Stereogum feature called Quit Your Day Job. You talked about how you're currently a security guard at the Maryland Institute. Have there been moments where you had to commit to the band, where you realized 'This is definitely what I want to do, I'm going to turn down this other job' or 'I'm going to turn down this grad school opportunity'? Ken (guitar): This week I worked my last shift, I think, as a security guard for that job because we're going to be away for so long. WYEP: Congratulations! Ken: Oh thanks. It's the easiest Job. Ever. It was great for - it was easy to pick up shifts and stuff but it just didn't pay very well. It was good to have that kind of Job, but I don't know if I want to do it during the school year. As far as turning down opportunities, I think you fantasize about stuff - going places and doing things. But the reality of the situation is that we've gotten so many opportunities by doing the band that it's been more like seizing opportunities than missing out on opportunities. Getting to travel and meet lots of people and play great shows - just being humbled by opportunities like recording. People listening to our records is an awesome opportunity in itself. WYEP: You guys definitely do play great shows. It's a really interactive show - I don't think I've seen too many shows where the audience moves as much, if not more, than the band. Are there things that you guys try to create live that make that kind of connection? Ken: The air around a show is always different, and it's unpredictable, but there's always an opportunity for it to get really fun. When it's fun, we feel like we're channeling something, to be honest. I don't know how that sounds, but when I'm playing I just close my eyes and stick my tongue out and play. [laughs] It seems like in some places, kids have definitely been bringing the mosh and kicking up some dust. It's cool. I feel like it comes with the territory of what we play and we're excited so it's a compliment when the audience is excited to. WYEP: It's really rare to have songs that are as high energy and as complex as your songs are, so I don't know if people even know how to react to that. Ken: [laughs] Thanks! We stayed at a house last night. Our friend, his dad [owner of the house], is an audiophile and has a really good sound system. We were like 'Let's listen to one of our songs on it' and we listened to it and afterwards I was like 'That was intense!' So I know how you feel. WYEP: When you recorded Ice Cream Spiritual, was there a lot of overdubbing or was it mostly live, all four in a room? Ken: Mostly live. There were overdubs; they were mainly to add flavors in with panning. There's a few things we probably could have done live, but we wanted to make some spaces and panning and stuff. I don't know if I want to say almost all of it, but every song was recorded live and there were overdubs added on. We met with J. [Robbins, producer] before we recorded and talked a lot, setting up the room in a way that we could really do it live. I think it sounds pretty live. WYEP: It definitely does. Speaking of J., how were you approached to do the Callum benefit? Ken: We got an email about it recently. It was unanimous that we wanted to do it. We love J. and working with him was incredible. It was the least we could do. WYEP: It's been really cool to see people react in such a direct way. Even people who aren't associated with the concerts, who aren't playing on the bills are still linking to the website and still saying 'This is really important, this kid deserves a chance and if you can do anything, try to help out.' Ken: After meeting J...he's Just one of the humblest and hardest working people I've ever met. I think just the person that he is - we all owe J. Robbins. If you ever met him, he's a great guy. --- WYEP: What do you think makes a live show good? When do you know it's been a good concert? Jeremy (drums): I love it when the crowd is having a really good time - it definitely reflects and bounces back to us. But usually, we can kind of create our own space on stage, or if we're on the floor, on the floor. If the connection is good between us, it's usually a good show for me. WYEP: Between the four of you? Jeremy: Yeah, between the four of us. I always feel really good, even if there's three people a show and they don't like us - which luckily hasn't happened - if we all feel good about the way we played. WYEP: When do you know when a song is done, as far as song writing goes? Jeremy: Usually what happens is it takes a while just in practice to flesh out all the ideas and get a basic structure together. And then, once it feels pretty good, we'll kind of play it, try it out live. That's usually a really good indicator if it's working. Actually last night, we tried out something during sound-check that Just felt wayyy off, but felt really good when we were writing it. WYEP: This is probably my last question, and definitely my most important. You guys have had really great spots as far as an opening band for Hella, and Battles, and Don Caballero and High Places. Would you rather open for GWAR or Fleetwood Mac? Jeremy: GWAR or Fleetwood Mac? Oh Fleetwood Mac, for sure! WYEP: What do the other three think? Jeremy: [Poses the question to the other three] Fleetwood Mac. Unanimous. WYEP: Completely unanimous? Jeremy: Yeah. We're huge Fleetwood Mac fans. www.myspace.com/jreamteam