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LP Cover Cavalcade #2

THE GO-GO’S: Beauty And The Beat

The Go-Go’s do not get anywhere near the level of respect they deserve. A self-contained rockin’ pop combo that wrote nearly all of their own material, The Go-Go’s scored hits in the early ’80s, and released three fantastic albums before splintering in the acrimony that claims many a great group. They’ve reunited a few times since then for concerts and additional fine recordings. They should have been a shoo-in for induction into The Rock And Roll Hall Of Fame years ago. They have never even been nominated.

Their debut album Beauty And The Beat was my favorite new album in 1981. Nearly four decades later, I remain as fond of it now as I was then. It is very nearly a perfect album, with the cold-sounding, dispassionate new wave number “Automatic” the only track I don’t like. The rest? “How Much More,” “Lust To Love,” “Skidmarks On My Heart,” “This Town,” “Fading Fast,” “You Can’t Walk In Your Sleep (If You Can’t Sleep),” “Can’t Stop The World,” and “Tonight” are all engaging as hell. The first single “Our Lips Are Sealed” was one of the two best things on the radio in ’81; the other best thing on the radio that year was also by The Go-Go’s, also from Beauty And The Beat, and it was their signature tune “We Got The Beat,” a magnificent single that earns its own entry in my book The Greatest Record Ever Made! (Volume 1). Gotta respect The Go-Go’s.

HERMAN’S HERMITS: Hold On!

Although I did indeed see Herman’s Hermits in their 1966 movie Hold On! when it was still in theaters, let’s forget about that. And believe me, it’s an easy movie to forget. Instead, let’s move ahead by a decade and change, to when I was an 18-year-old college freshman in 1978. That’s when I scored a truly beat-up copy of the Hold On! soundtrack LP, a record that was a lot more interesting than the cinematic trifle that spawned it.

One may be tempted to likewise dismiss the album as a trifle, but it was at least an interesting trifle; I loved some of it, and I wasn’t much put off by the rest. If I could take or leave (mostly leave) “The George And Dragon,” “Leaning On A Lamp Post,” and Shelley Fabares‘ “Make Me Happy” (which skipped on my copy anyway), I had more enthusiasm for “Hold On!,” “Wild Love,” “All The Things I Do For You Baby,” and “Gotta Get Away.” My biggest go-to tracks on Hold On! were “Got A Feeling,” “Where Were You When I Need You” (which I heard and loved here before discovering that it had later been a hit for The Grass Roots), and “A Must To Avoid.” “A Must To Avoid” quickly became my favorite Herman’s Hermits (at least until I heard “No Milk Today”). My local heroes The Flashcubes used to cover “A Must To Avoid” in their live sets, and that was okay by me.

The sharp-eyed among you will notice some scribbling near the photos on my LP cover. The Herman-less Hermits played a bar called The Gin Mill in Liverpool, NY that very same summer of ’78, and you’re damned right I was there. The Hermits put on a swell show, after which I solicited autographs from bassist Karl Green, guitarist Derek Leckenby, and drummer Barry Whitwam, plus guitarist Frank Renshaw, who had replaced Keith Hopwood in Hermitdom. I saw original Herman’s Hermits lead singer Peter Noone on several subsequent occasions, including one show with his fab early ’80s new wave group The Tremblers, but have never had an opportunity to get him to add his signature alongside those of his erstwhile co-workers.
THE KINKS: The Great Lost Kinks Album

About a year before The Who‘s vault-raidin’ 1974 compilation Odds And SodsThe Kinks‘ by-then-former American label Reprise issued The Great Lost Kinks Album, a collection of 1966-1970 recordings that The Kinks would have preferred to leave as lost. Gentlemen, start your lawyers! 

I associate this album with The Vinyl Jungle, a small and short-lived record shop in my college town of Brockport in the fall of ’77. I remember seeing the album for sale at The Vinyl Jungle, but I passed on it and instead bought a Kinks compilation called The Pye History Of British Pop Music. I didn’t get my copy of The Great Lost Kinks Album until many years later, when I was considering (and finally deciding against) writing a book about the 500 definitive albums of the ’70s. This LP wouldn’t have been among the records discussed in That Great Lost Carl Book, but I scooped it up at the same time I was grabbing cheap-cheap-cheap vinyl by Lynyrd SkynyrdFoghatZZ Top, et al. for research. Far out, dude. The Great Lost Kinks Album was of much more interest to me anyway, and I especially fell for “This Man He Weeps Tonight.” All of its once-rare tracks are now readily available, the lawyers all paid and satisfied.

THE RUTLES: The Rutles

My introduction to the fictional Prefab Four The Rutles came when Eric Idle of Monty Python’s Flying Circus hosted Saturday Night Live (then still called NBC’s Saturday Night) in October of 1976, when I was a high school senior. Idle played a clip of his faux Beatles mugging through “I Must Be In Love,” and I was hooked. When The Rutles’ TV special All You Need Is Cash appeared in March of 1978, I was all in. I reveled in the promo clip of “Ouch!” that was shown on Midnight Special the week before All You Need Is Cash, and was one of several floormates crammed into the dorm room across from mine to watch the TV special itself when it aired.

Alas, I was the only one among my group who dug it.

Undeterred, I bought the 45 of “I Must Be In Love”/”Doubleback Alley,” and gratefully accepted a gift of the companion album The Rutles, brought home from England by my sister Denise. Number one, number one…!
VARIOUS ARTISTS: The Motown Sound Vol. 6

My very first Motown record? Could be, though my lovely wife Brenda thinks this was her LP rather than mine. If only we’d kept better track of stuff prior to the matrimonial merging of our collections. Either way, I do remember that we picked it up on a visit to the weekly flea market at Syracuse’s Regional Market, probably in 1979. It would have been around the same time (if not the same weekend) that Brenda snagged her flea-market copy of The Kinks’ Greatest Hits!, and/or when I got my 35-cent copy of The Who’s Meaty Beaty Big And Bouncy. We were frugal shoppers. In spite of many, many cullings of the collection over the years, all three of these LPs still remain in our vinyl library.

And it certainly could have been either one of us who grabbed this Motown sampler. Brenda had grown up listening to soul and R & B on the radio, and this would have been a natural thing to add to her personal stash. I was just beginning to appreciate how great all that stuff was, and would have been drawn to my favorite Supremes song “Stop! In The Name Of Love,” my favorite Four Tops song “It’s The Same Old Song,” and my favorite Stevie Wonder song “Uptight (Everything’s Alright),” and probably to The Miracles‘ “Going To A Go Go.” The rest would have been a history lesson waiting to happen. So: Brenda’s record? My record? 

C’mon.
Our record now.

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Carl’s writin’ a book! The Greatest Record Ever Made! (Volume 1) will contain 155 essays about 155 tracks, each one of ’em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).

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Virtual Ticket Stub Gallery: THE BEATLES LIVE 1976

An early version of this was originally distributed privately to patrons of Boppin’ (Like The Hip Folks Do)This is its first public appearance. For as little as $2 a month, supporters of this blog receive one bonus private post each month. You can get in on this action with PatreonFund me, baby!

Virtual Ticket Stub Gallery is a series of extended reminiscences of my in-concert memories. This is the first (and probably only) fictional entry in this series. The events detailed herein take place in the same make-believe universe as a previous story I wrote about The FlashcubesA Brighter Light In My Mind.

It was John Lennon‘s idea.

Of the four former members of The Beatles, Lennon often seemed the most publicly opposed to the idea of getting the old band back together. Although The Beatles broke up in 1970, it seemed that hardly a day could go by without someone–a fan, a pundit, a reporter, a fellow rock star, even a freaking head of state–asking when this fabbest of fours would regroup. Would you want to go back to high school?, Lennon would reply, apparently dismissive of the very idea of ever wanting to get back to where he once belonged. Paul McCartney would insist that one couldn’t reheat a souffle; George Harrison‘s disdain for the notion rivaled Lennon’s; one suspected that Ringo Starr would have been fine with a reunion if it were to occur, but he warned all and sundry that it would only happen if and when it happened, if it happened at all. So the chances of a Beatles reunion appeared to be somewhere far south of slim, barely north of none.

So everyone–including Paul, George, and Ringo–was flabbergasted in 1976 to hear John effectively saying, Hey, lads! Let’s put on a SHOW!
But that’s pretty much what Lennon did.

John Lennon was 35 years old, and he’d packed a lot into those years. His father had been absent, his parents ultimately estranged, leaving John to be raised by his Aunt Mimi; Lennon remained devoted to his mother, and was devastated by her death in 1958, when Lennon was not yet 18 years old. Lennon was creative, artistic, musical, mercurial, temperamental, a joker, a troublemaker. He was in a rock ‘n’ roll group. The group was a failure that became a greater success than any other group in history. He got a girl named Cynthia pregnant. He married her, and they had a son named Julian. John was as absent a father as his own father had been before him. John fell, hard, for an exotic, artistic woman named Yoko. One marriage ended, another began, standing in the dock at Southampton. His band broke up. He became more politically aware, more engaged on behalf of social justice. His antiwar activities drew the ire of the established, entrenched power structure. He wasn’t paranoid; they really were out to get him. The U.S. Government tried to deport him, and was nearly successful in that effort. He fought back, waging war on the battlefield of public opinion. He and Yoko separated. He had a famed, debauched Lost Weekend, spanning eighteen months from 1973 to early ’75. He reunited with Yoko; the separation didn’t work out. Their son Sean was born on John’s 35th birthday, October 9th of 1975. This time, John would not be an absent father. This time, he would do things right.

Yeah. So how much did you do in your life before you turned 36?

John settled into a delighted domesticity. He took care of Sean, he baked bread, and he was just Daddy. The infant Sean was perhaps too young to be fully aware of his father’s devotion, but awareness and appreciation would come in time. Life, after all, is what happens when you’re busy making other plans.

In 1976, Paul McCartney occasionally dropped by Lennon’s apartment at The Dakota in Manhattan. John kind of wished Paul would call before showing up, but their friendship was old and resilient. Over the years, they had bickered and competed, as friends sometimes do; success and recognition magnify the cracks and faults that would appear anyway, so an argument can often become a lawsuit. Sue me, sue you their younger partner George had quipped. Tempers flared, cooler heads prevailed over time. They were friends. The complicated legal knot that had once been The Beatles would take a long, long time to untangle. The friendship would endure.

John and Paul had played together at an abortive studio jam session in Burbank in March of 1974, during John’s Lost Weekend, along with Stevie WonderHarry Nilsson, saxophonist Bobby Keys, and Paul’s wife, the lovely Linda McCartney. The hazy, drug-fueled session was emblematic of John’s excess at the time. In Paul’s visits to The Dakota, the musical collaborations were no more serious, but far more sedate.

On April 24th, 1976, Paul was with John at The Dakota. They’d had some drinks, played some songs, and were settled in front of the TV to watch a new episode of NBC’s Saturday Night, a late-night ensemble comedy sketch show enjoying great success in its first season. The show was hipper than hip. This should be a hoot.

But the former Beatles were wholly unprepared when the producer of Saturday Night began speaking directly to them, as they watched him on the TV screen.

SNL producer, Lorne Michaels

The public mania for a Beatles reunion had reached peak silliness by ’76. There had been million-dollar offers–multi-million!–just to somehow get John, Paul, George, and Ringo on stage together again before a live audience. The preposterous truckloads of money could be paid to The Beatles themselves, to their favorite charities, to agencies fighting world hunger, even to failed Apple Corps projects The Fool and Magic Alex, for all any of the would-be promoters cared. Just GET BACK, Beatles! LET IT BE! ALL YOU NEED IS LOVE!!
Money was not what The Beatles wanted. They wanted people to stop asking them to reBeatle. You want a new Beatles record? Take a few tracks each off Walls And BridgesVenus And MarsExtra Texture, and Goodnight Vienna, put ’em on a cassette, and PRESTO! Instant Beatles album! You wanna see The Beatles in concert? Take a time machine back to The Star-Club or The Cavern, before all the screaming drowned us out. That time is gone. The Beatles are no more.

Lorne Michaels, the producer of NBC’s Saturday Night, saw the humor in these desperate, clawing, failed attempts to reunite The Beatles. And, where there’s already inherent humor present, well, a comedy sketch just writes itself.

John and Paul stared at the TV screen, their jaws dropping like acid in 1967. Hi. I’m Lorne Michaels, the producer of Saturday Night. Right now, we’re being seen by approximately 22 million viewers, but please allow me, if I may, to address myself to just four very special people: John, Paul, George, and Ringo, The Beatles.
Sitting there in The Dakota, their smiles growing wider, Lennon and McCartney watched with glee as Michaels detailed his mock offer to entice The Beatles to appear on Saturday Night. Michaels said he’d heard that maybe the group simply hadn’t yet been offered enough money to give any serious consideration to a reunion. Well, Michaels assured everyone, money wouldn’t be a problem for NBC. And to prove it, Michaels displayed a check from NBC, made out to The Beatles, in the princely amount of three thousand dollars.

McCartney spit out his beer, laughing. Lennon guffawed loudly, amused and engaged. But then he stopped laughing. And he turned to his old partner Paul and said:

We should do it!
At first, Paul thought John was daft. But he also saw the appeal of this crazy idea. Alas, it was a crazy, impractical idea. John said they should head right to the NBC studio, just the two of them, and accept half of the $3000 offer as a joke. But it was late. They were tired. And the moment passed.

A few days later, John was still capering to himself a bit, thinking of that moment. And he started to wonder: had the moment really passed?

Had it?

Lennon considered. He was determined to be an ever-present part of his new son’s life. He’d put music on hold, and would keep it on hold until he felt Sean was old enough to understand. But Sean was still just a baby, six months old–perhaps this was the right time for John to play one more show before devoting himself exclusively to full-time daddyhood.

John thought back to his last live performance: Madison Square Garden, November 28th, 1974. He’d lost a bet with Elton John, and had to join Elton and his boys in concert. He only did three songs: his own “Whatever Gets You Thru The Night,” The Beatles’ “Lucy In The Sky With Diamonds” (itself a recent hit for Elton), and “I Saw Her Standing There,” a song John introduced on stage as “a number by an old estranged fiance of mine called Paul.” So Lennon’s last concert performance to date had been singing a Paul McCartney song. Heh, Lennon chuckled aloud, That will never do!
He’d been terrified to appear on stage with Elton that night; he’d been away from the spotlight too long, he thought. But it was fun. Exhilarating. Maybe he should consider doing one whole show.

Oh, the hell with it–maybe he should consider doing the one show everyone had been after him to do.

John went to the phone. One by one, he dialed each of his three mates. Paul? George? Ringo? I have an idea….

All three of the others were immediately skeptical, though both Paul and Ringo accepted the idea in short order. George was more resistant. Even when The Beatles were still together, he’d felt like a junior member rather than an equal. And he’d chafed under that feeling of confinement, restriction. He had not missed being a Beatle. He saw no compelling reason to become a Beatle again.

One thinks that should have been the end of this absurd idea of a Beatles reunion. John Lennon certainly wasn’t going to beg George, and nor were the others any more apt to persuade or coax him back into the fold. Nice idea. Let’s forget about it now.

On the other hand, Bob Dylan was perfectly willing to intercede.

For years, no one knew for sure how Dylan even found out about this potential reunion. Decades later, we learned that Yoko Ono had contacted Linda McCartney with the idea, and Linda got in touch with Bashful Bobby Dylan. Yoko was concerned that canceling this reunion would have been a disappointment to John. Her motives were perhaps not 100% altruistic–John had promised to be a stay-at-home father to Sean, and a disappointed John could lead to a wandering John, yet again–but nor were they purely mercenary, either. She wanted John to be able to do this; she wanted John to be happy. On top of all that, Yoko felt that she owed a debt of gratitude to the McCartneys; Paul and Linda had played an understated but undeniable role in getting John and Yoko back together after John’s long Lost Weekend. Furthermore, Yoko knew that Paul also wanted to be a Beatle again, even if just for one night, at least as much as John did. John and Paul were brothers–sometimes bickering, sometime infuriating, but brothers. They needed this…closure.

The idea of enlisting Dylan was simply brilliant. Dylan loved the idea of a Beatles show, so he certainly didn’t mind calling his friend George. George respected Dylan’s opinion, shrugged, and went along with the idea of temporarily–temporarily!–becoming a Beatle again. A reluctant Beatle, sure, but a Beatle nonetheless!

Beatles have people. Lots of people. None of us has ever, or will ever, had any freaking idea of what it’s like to be a member of that exclusive club of four. And part of being a Beatle meant that if you wanted something done, then snap! It was done. Emissaries handled logistics. Snap! Madison Square Garden was booked–quietly–and I still have no idea how they pulled that one off. Snap! Backing musicians were secured; Al Kooper would play keyboards, and the live sound would be further fattened by the addition of The Memphis HornsSnap! And John, Paul, George, and Ringo found themselves at a secure location on Long Island–far from the madding crowd, far from prying eyes and ears–preparing to make music together for the first time in nearly seven years.

For their first day in the ol’ woodshed, The Beatles wanted to start without sidemen, just the four of them, getting reacquainted, learning again how to play with and to each other. There was no agenda that day; just icebreakers, joking, and jamming. Old friends. Guitars. Bass. Piano. Drums. That first day was more party than woodshed, as the once-and-future mates played random favorites as the thought occurred to them, riffing through Arthur AlexanderCarl PerkinsThe Everly BrothersChan RomeroRichie BarrettLittle RichardRay CharlesBuddy HollyJames RayWanda JacksonElvisThe MiraclesThe Impressions, “Knockin’ On Heaven’s Door,” “Without You,” even “(Theme From) The Monkees.” They tried their hands at Beatle numbers, too, from “Love Me Do” to “For You Blue.” Paul earned loud snorts of laughter by singing a bit of John’s “How Do You Sleep?,” while John countered with Paul’s “Let Me Roll It.” (John’s attempt at The Chiffons‘ “He’s So Fine” prompted George to roll his eyes, but John made up for it by duetting with George on a heavenly rendition of “My Sweet Lord.”) The proceedings were chaotic, disorganized, start-and-stop…and wonderful. Old friends.

Business resumed in earnest on the second day, as Kooper arrived; The Memphis Horns arrived on the following day. There would be just over a week of rehearsals before The Beatles’ still-secret gig at Madison Square Garden. They needed to figure some things out in a hurry.

Amazingly, there was actually quite a bit of agreement among The Beatles about what they didn’t want. They didn’t want to be a nostalgia act; they didn’t want to do any kind of chronological representation of The Beatles’ story–they were The Beatles, for cryinoutloud, not bloody Beatlemania. They didn’t want to do a smooth, slick Greatest Hits show. They didn’t want to take anyone back to some imaginary glory days of yesteryear. They wanted to play, in the here and now.

At the same time, they also knew they needed to play Beatle songs. It was a delicate balancing act. If you just give the audience what it wants, you’re a whore; if you don’t give ’em anything they want, you’re a prima donna. The four of them agreed they wouldn’t want to go see, say, Roy Orbison, and not hear “Only The Lonely.” Nor would they care to see (or perform) a show played by the numbers. Balance. They came up with a list of about fifty songs, and started going through them. “Yesterday” didn’t work. Early bubblegum material felt wrong. “Hey Bulldog” was awesome, but fell victim to inevitable cuts in the set list, elimination choices which also claimed “I’ve Just Seen A Face,” “Yer Blues,” “A Hard Day’s Night,” “Sgt. Pepper’s Lonely Hearts Club Band,” “Savoy Truffle,” and an ace cover of Buddy Holly’s “Peggy Sue.” Rehearsals went on. The set list gelled. The band got tighter. All that time spent apart melted away.

They were The Beatles once again.

Word finally leaked out a week before the show, and an official announcement was made: The Beatles would reunite for one single concert. It would be a slight exaggeration to say that the show sold out instantly. It took nearly twenty minutes to sell out. Arrangements were made to also carry a live feed of the concert in movie theaters throughout the country, around the world. A splendid time was guaranteed for all!

On the day of the concert, John was nervous, apprehensive, nauseous. George alternated between wondering if he’d made a mistake agreeing to take part in this circus and…well, looking forward to it. He found his dichotomy of emotion unexpected, but oddly calming. Paul and Ringo took it all in stride. John pulled himself together. Toppermost of the poppermost. It was time.

The massive crowd at Madison Square Garden was giddy, boisterous, and frankly, high as a kite. The lights went out. Gasps. Cheers. Anticipation. Palpable, tangible thrill.

Ladies and gentlemenTHE BEATLES!!
Still in darkness, John counted off, “1-2-3!” The lights came on, brilliant and blinding, dazzling, dizzying, louder and more popular than Jesus. The grinding guitar consumed the arena, as Paul let out a scream and John began to sing:

You say you want a revolution, well you know
We all want to change the world
The Beatles charged through the opening verse and chorus of “Revolution,” Paul and George adding back-up shoo-be-do-wops to the subsequent verses. “Revolution” led into a furious, manic “Helter Skelter,” and The Beatles’ guarantee of a splendid time for all was already achieved.

“While My Guitar Gently Weeps.” “You Won’t See Me.” “No Reply.” The Beatles played an eclectic, electric selection of songs from their catalog of wonder. A new George Harrison song called “Crackerbox Palace” followed, and then flowed into the distinctive riff of “Ticket To Ride.” “Strawberry Fields Forever.” Ringo’s “It Don’t Come Easy.” “Come Together.””Here Comes The Sun.” “Penny Lane.”

There was little between-song patter; there was just an easy-going, amiable on-stage ambiance, incongruously tethered to a lit fuse and an ongoing explosion of buzzing musical delight. John told the fans that they all needed to pay tribute to the rock ‘n’ roll that got them there in the first place, and launched into an impassioned cover of Chuck Berry‘s “Johnny B. Goode.” Those guitars like ringin’ a bell segued into John’s “Whatever Gets You Thru The Night,” then Paul’s “Maybe I’m Amazed,” then “I Am The Walrus.” “Magical Mystery Tour.” “With A Little Help From My Friends.” “Lucy In The Sky With Diamonds.” George introduced “Something” as Frank Sinatra’s favorite Lennon and McCartney song. Thank you, Frank! John whooped out a Thanks, Frankie! in response. “Back In The USSR.” Ringo’s “Photograph.” “We Can Work It Out.” Day Tripper.” George’s “What Is Life.” “Let It Be.” “Don’t Pass Me By.”

It was a long show. These aging rock stars, all in their late thirties by now, should have been dragging, but still seemed energized, ignited, as if they were still that impossibly young bunch of punks tearin’ up the Reeperbahn in Hamburg those many years ago. The guitars gathered more volume, the air became thicker, as every inch of space at MSG gave way to the force and fury of “I Want You (She’s So Heavy).” Paul moved to the piano for a climactic “Hey Jude.” The show concluded with John and Paul singing “I Don’t Want To Spoil The Party,” The Nerk Twins, the British Everly Brothers. And The Beatles said good night.

During all their years of insane, unprecedented, hysterical popularity, The Beatles never performed an encore. No. They did their show, and they got out. So tonight would be history on top of history. The arena thundered with the eager noise of delirious fans wanting more! 

Back on stage, soaking in the applause, beaming with pride and satisfaction (wait–wrong band!), The Beatles were ready to oblige.

Thank you, Beatle people. It says here we passed the audition! “Get Back.” “A Day In The Life.” “Eleanor Rigby.” And finally, Larry Williams‘ “Dizzy Miss Lizzy.” The clock struck eternity. The enchantment ended. This amazing, amazing night was over.

Record labels fell over each other trying to secure the rights to release a live album of The Beatles’ MSG show. Paul, George, and Ringo were each already under contract with competing labels, though John was a free agent. But it didn’t matter; the show was not officially recorded, and would forevermore be only the stuff of memories and bootlegs. Ob-la-di, ob-la-da, life goes on.

The Beatles would never again perform together before a live audience. The four discussed the comic merit of taking NBC’s Saturday Night up on its offer, but ultimately decided it wasn’t something they wanted to do. George Harrison did appear on Saturday Night with guest host Paul Simon; Harrison participated in an opening skit about trying to claim the $3000 the show offered for The Beatles to come on the show, as producer Lorne Michaels deadpanned that he thought it was clear the offer was for four people, not just one. Simon and Harrison then teamed up for lovely renditions of “Here Comes The Sun” and Simon and Garfunkel‘s “Homeward Bound.” John and Paul appeared together on a subsequent episode, carrying out John’s initial joke to demand $1500 for an appearance by two Beatles. The former Fabs played two acoustic sets on the show, without outside accompaniment: Eddie Cochran‘s “Twenty Flight Rock” (the first song Paul played for John when they met in 1957), “Norwegian Wood,”and “Blackbird,” then “In My Life” and “Yesterday.” The two harmonized on each song; notably, it was the first time Lennon had ever sung “Yesterday” in public. Later in the same show, John and Paul plugged in with the NBC house band for a blistering medley of “I Saw Her Standing There” and “Rain.”

And with that, John Lennon once again withdrew from the spotlight, making good on his vow to be Sean’s Daddy, nothing more, nothing less. Paul McCartney, George Harrison, and Ringo Starr returned to their own careers. The three of them performed together at Eric Clapton‘s wedding to George’s ex-wife Patti Boyd on May 19th, 1979.

John came out of retirement in 1980 for Double Fantasy, a new album with Yoko. He did a short small-venue tour in support of the album, and enlisted the members of his son’s favorite group The Flashcubes to play with him. Lennon had struck up a friendship with the ‘Cubes when he arranged for them to play for Sean at a private party on December 8, 1980, the same night police arrested an armed individual loitering outside The Dakota; the unidentified man killed himself while in custody, leaving many to shudder at the thought of what might have happened if the Lennons had returned home earlier. Paul joined Lennon and The Flashcubes on stage at Carnegie Hall for the encore of their final show in March of ’81.

Sadly, a rift developed between Lennon and Harrison. John felt that he’d been deliberately snubbed in George’s autobiography I Me Mine. Relations between the two were strained for quite some time thereafter, though they eventually made amends. Ringo generally remained on good terms with each of the other three, though even our little Richard occasionally grew tired of always being viewed as a Beatle, no matter what.

The Beatles declined an invitation to perform at Live Aid in 1985.  The group’s 1988 induction into The Rock And Roll Hall Of Fame offered the seemingly certain prospect of a Beatles reunion, but Paul did not attend, citing the sticking point of still-lingering business disputes with his former co-workers.

Finally, the morass of The Beatles’ Sargasso Sea of legal complications and intricacies was navigated and left behind by the dawn of the ’90s. John, Paul, George, and Ringo cooperated and fully participated in the making of The Beatles Anthology, a comprehensive video history of the act you knew for all those years. Proposals for a new Beatles album or tour or one-off concert were ruled out immediately, but they performed several songs together on the Anthology video. Although this would be their final full collaboration, all four remained on cordial terms through George’s death in 2001. The others agreed to honor George’s memory by leaving The Beatles in the past. There would be no more public reunions of any kind. In the end, the love you take is equal to the love you make.

As a young band playing bars in Hamburg and Liverpool, The Beatles fantasized of becoming The Toppermost Of The Poppermost. It was a heady, unlikely dream for four ne’er-do-well punks from a rough-and-tumble seaport town. But the dream came true. Decades later, we dream on still.

The dream isn’t over. We do believe in Beatles. And you know that can’t be bad.

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THE BEATLES: LIVE AT MADISON SQUARE GARDEN 1976

Revolution
Helter Skelter
While My Guitar Gently Weeps
You Won’t See Me
No Reply
Crackerbox Palace
Ticket To Ride
Strawberry Fields Forever
It Don’t Come Easy
Come Together
Here Comes The Sun
Penny Lane
Johnny B. Goode
Whatever Gets You Thru The Night
Maybe I’m Amazed
I Am The Walrus
Magical Mystery Tour
With A Little Help From My Friends
Lucy In The Sky With Diamonds
Something
Back In The USSR
Photograph
We Can Work It Out
Day Tripper
What Is Life
Let It Be
Don’t Pass Me By
I Want You (She’s So Heavy)
Hey Jude
I Don’t Want To Spoil The Party

ENCORE:
Get Back
A Day In The Life
Eleanor Rigby

Dizzy Miss Lizzy

Categories
Boppin'

10 Songs

10 Songs is a weekly list of ten songs that happen to be on my mind at the moment. Given my intention to usually write these on Mondays, the lists are often dominated by songs played on the previous night’s edition of This Is Rock ‘n’ Roll Radio with Dana & Carl. The idea was inspired by Don Valentine of the essential blog I Don’t Hear A Single.

THE B-52’s: 52 Girls

When I was in college, there was a girl (whom I’ll call Roxy) from somewhere downstate in the dorm room kitty-corner from mine. Roxy felt her musical taste was jarringly outta step with that of our peers at our school. I felt her pain; I was roughly as much of a musical oddball as she was. Roxy liked punk and its anti-mainstream ilk, and she had no use for the prevailing Deadheadedness that was the preferred soundtrack of our fellow students. We weren’t exactly friends, but I was one of the very few sympathetics she encountered. I was impressed that she had seen Sid Vicious at Max’s Kansas City. And she was one of the first people I met who liked The B-52’s; in our dorm in 1979, before “Rock Lobster” became an alt-pop staple and long before “Love Shack” became a hit, Roxy, my roommate, and I seemed to be the only prospective members of any hypothetical Perry Hall B-52’s Fan Club. 

Even more than “Rock Lobster,” “52 Girls” was my early B-52’s favorite, a chugging milkshake of catchy, spastic pop. Roxy’s frustration with her four-cornered surroundings likely contributed to her decision to hightail it outta there; she didn’t finish the semester, and may have been gone within the first month. The following spring, my roommate and I helped to put on a successful Punk Night at a bar in town. Maybe Roxy shoulda tried to stick it out?

For dramatic purposes, the role of Roxy shall be played by singer and actress Debbie Gibson.

BLUE OYSTER CULT: This Ain’t The Summer Of Love

BOC’s best-known tracks are “Don’t Fear The Reaper” and (later on) “Burnin’ For You,” with maybe an honorable mention for “Godzilla.” My favorite remains “This Ain’t The Summer Of Love,” a lean and efficient LP track from Agents Of Fortune (the album that gave us “Don’t Fear The Reaper”). I learned of the song through my doomed high school pal Tom, prompting me to purchase my own battered, used copy of the album in time for college. During my freshman year, Side One of Agents Of Fortune was as much a go-to slab of vinyl as my Sex Pistols and Monkees records, and “This Ain’t The Summer Of Love” in particular fit well alongside my steady diet of RamonesTelevisionJam, and Dave Clark Five. My friend Ronnie Dark mentioned Agents Of Fortune last week, and that was sufficient motivation for me to play this great track once again.

THE DARLING BUDS: Let’s Go Round There

The Darling Buds’ 1989 debut Pop Said… is the only album I can recall buying just because Rolling Stone magazine told me to. A review of the record in RS name-checked The Ramones, The Buzzcocks, and Blondie in its attempt to describe the group’s sound, and I was sold on it, unheard, right then and there. I think I made the purchase before hearing “Let’s Go Round There” on MTV‘s 120 Minutes, a show I committed to VHS every Sunday night, and it certainly became my favorite Darling Buds track (edging out “The Other Night” and “Hit The Ground”).

THE JACKSON FIVE: I’ll Be There

Simply exquisite. This is such a magnificent pop single, and it rates a chapter in my (theoretically) eventual book The Greatest Record Ever Made! (Volume 1). Enjoying the innocent sound of the young Michael Jackson requires a disconnect with the (credible, I think) accusations of his crimes as an adult. If we can make and maintain that separation of art and artist, The J5’s “I’ll Be There” offers sheer, sweet joy. A friend advised me last week that it’s probably okay to make that separation, especially in this instance of records made decades before MJ’s alleged misdeeds. He’s probably right. Your mileage may vary.

THE KINKS: Dedicated Follower Of Fashion

When I was in the process of becoming a Kinks fan at the age of 16 and 17 (circa late ’76 and into ’77), “Dedicated Follower Of Fashion” was a mystery track. I had seen the title listed in reference works, but it wasn’t a Kinks song I knew, like “Lola” or “You Really Got Me,” “All Day And All Of The Night,” “Tired Of Waiting For You,” “A Well Respected Man,” or even “No More Looking Back” from Schoolboys In Disgrace.  I recall hearing Status Quo‘s “Pictures Of Matchstick Men” on the radio, and wondering (with no real-world justification) if that might be “Dedicated Follower Of Fashion.” I have no memory of where, when, or how I finally heard “Dedicated Follower Of Fashion,” but I do remember that I was initially underwhelmed by it. 

Well, that reaction sure changed over time. In the summer of 1979, the first time I saw the fab local combo The Dead Ducks, my pal Joe Boudreau and I bellowed along with the Oh yes he IS! as the Ducks covered the song. Many, many years later, I have a specific memory of strolling through a shopping mall with my wife and daughter as “Dedicated Follower Of Fashion” came on the sound system. Just as I’d done as a teenager, I began to bellow along, Oh yes he IS! My then-teen daughter was mortified. Hmph. It’s as if she didn’t think her Dad was in fashion.

KISS: Anything For My Baby

“Anything For My Baby” is an LP track from the 1975 KISS album Dressed To Kill, the record that gave the world “Rock And Roll All Nite.” The song was written and sung by Paul Stanley, but for some reason Stanley all but disowns the tune. I’m unashamed in my continuing affection for some of KISS’s work, and “Anything For My Baby” would be a candidate for my all-time KISS Top 10.

THE MONKEES: For Pete’s Sake

From The Monkees’ 1967 album Headquarters, their third LP but the first where they were allowed to be the musicians in the studio. The song was co-written by Peter Tork and Joseph Richards, it was used as the closing theme during the second season of the group’s TV series, and it shoulda been a single. At this year’s GRAMMY telecast, a snippet of “For Pete’s Sake” played when Tork’s face appeared during the memorial segment honoring artists we lost during the previous year. We were born to love another, this is something we all need. Frankly, I’d expected the awards show to use a more familiar Monkees hit, either “I’m A Believer” or “Daydream Believer,” and I’m delighted that the producers made the right choice instead.

THE SOFT BOYS: I Wanna Destroy You

If I had heard The Soft Boys’ 1980 album Underwater Moonlight some time contemporary to its release, it would have been one of my favorite albums of that decade. Instead, I didn’t hear it until its CD reissue on the Matador label in 2001. I did hear the group’s classic Underwater Moonlight track “I Wanna Destroy You” somewhere in between, probably from Dana (who played it again on this week’s show). But my introduction to the song itself predates that spin, and is about as weird as it gets. In the ’90s, former teen pop star Debbie Gibson was said to be involved with the producer of Circle Jerks, the hardcore group perhaps best known for “Golden Shower Of Hits,” their thrashing covers medley of cheeseball blechh like “You’re Having My Baby.” Realizing a match made in Perdition, Gibson sang backup on Circle Jerks’ cover of “I Wanna Destroy You,” and even joined them on stage to perform the song at CBGB’s in 1995. Well, that all sounds ducky so far, right? I’m not sure if it was a one-off where she jumped on stage to join those Jerks in concert, or if it was staged as an MTV event, or what. But I learned about it in a report on MTV News, and I submit that no one else had a weirder introduction to this song than I had.

TIN TIN: Toast And Marmalade For Tea

A throwaway line in my Sunday hype for this week’s TIRnRR inspired a need to include this on the show. Some time back, when Dana and I were attending an acoustic show by The Flashcubes‘ Gary Frenay and Arty Lenin, Gary and Arty performed a cover of “Toast And Marmalade For Tea,” then defied us to name the original artist. In yet another stunning display of the boundless mastery of pop information that drives This Is Rock ‘n’ Roll Radio, we…yeah, we didn’t have a freakin’ clue. Heads will roll, my friends, heads will roll. Oops–eyes will roll. Sorry, I read that wrong. Man, it’s good thing Dana and I have tenure.

The palpable Bee Gees vibe of “Toast And Marmalade For Tea” is partially attributable to the fact that the record was produced by Maurice Gibb, who also plays bass on the track. But I’ve retroactively decided that it wasn’t Tin Tin at all; it was Debbie Gibson, using a time machine to go back and make a record before she was even born, disguising her voice so she sounds like two guys from Australia. Of course.

Toast and marmalade for tea…FROM THE FUTURE!

STEVIE WONDER: I Believe (When I Fall In Love It Will Be Forever)


This song comes from Stevie Wonder’s 1972 album Talking Book. My point of entry for this wonderful number comes via the 2000 film adaptation of Nick Hornby‘s High Fidelity. The song is used so effectively in the movie’s climactic scene, and it’s been lodged in my consciousness ever since. My entry for this song in The Greatest Record Ever Made! (Volume 1) likewise serves as the book’s climactic chapter. I hope you get to read it someday.

By Carl Cafarelli