Call for Book Reviewers and Bloggers

Bookmark and Share
Text:AAA
Monday, Oct 20, 2008

“If they had wanted to, they could have found plenty of double meanings in our early work. How about ‘I’ll Keep You Satisfied’ or ‘Please Please Me’? Everything has a double meaning if you look for it long enough.”
—Paul McCartney



It’s amusing to consider the harmless sources of inspiration behind “Please Please Me”. As John Lennon was writing what would become the Beatles’ second single, he was working off a Bing Crosby tune from the early 1930s and imagining soulful crooner Roy Orbison on vocals. As a result, “Please Please Me” was a more downcast and sonically tempered song in its earliest forms. Not ideal material for the follow-up to “Love Me Do”. George Martin was pushing for the Beatles’ cover of “How Do You Do It”, written by Mitch Murray, to claim that designation. But to their credit, the young foursome wanted their own songs to be released. Martin later relented and, after treating it to a dramatic studio revamp, which included a harmonica section, beefed-up vocals, and a faster tempo, the Beatles issued “Please Please Me” as their second single. Far from John’s formerly heartsick, bluesy conception, it emerged as an invigorating and sexually charged rush of a pop song.


I haven’t read anywhere that John greatly adjusted the lyric of “Please Please Me” between its initial and final versions. This is noteworthy because it’s hard to imagine that the song could come off as so subversively salacious (by 1963 standards, anyway) in its early Orbison-styled form. Without the fleet pace and bracing harmonica parts, what would have created the brisk energy that vigorously animates the song’s sexual subtext? Without the call-and-response “come ons” and their tone of escalating frustration, how might John have sounded so desperate for fleshy satisfaction? Overall, the studio changes would seem to have transformed “Please Please Me” into a song whose needs were urgently of the moment.


The lyric of course remains the primary reason that, for instance, Robert Christgau once described “Please Please Me” as about oral sex. The chorus speaks for itself: “Please please me oh yeah/ Like I please you”. To “please” someone strongly suggests an action taking place. In this case, an action has been performed and the performer is seeking reciprocation. The same is true of “You don’t need me to show the way love” or “I do all the pleasin’ with you”. These lines again indicate physical activity much more than any sort of non-carnal exchange of affection. The rousing “come ons”, echoed back and forth between John and the supporting vocals of Paul and George, also factor in heavily. They prompt the question: would John really be shouting “come on” in an effort to elicit greater emotional attention from his significant other? It sounds strange to ask “Oh, come on, why won’t you love me more?” The pettiness implied in that phrase better suits a request for a sexual favor. And, finally, it doesn’t require much gutter imagination to interpret the line “Why do you make me blue?” in a bawdy manner.


In the end, “Please Please Me” is entertaining as a call for equality between-the-sheets but more gratifying as a pure pop pleasure. It’s just over two minutes of impassioned vocals, meaty guitarwork, shifty percussion, and snappy momentum, with a bit of scandal to boot.


Tagged as: the beatles
Bookmark and Share
Text:AAA
Monday, Oct 13, 2008
Ghost House - "Samuel L. Jackson"

This is almost a summer song slush fund.  Despite hailing from Chicago, Ghost House molts more in a single song than most rappers do in a career. Spank Rock, OutKast, and codeine sippers of world all scramble on the angles of this electro-infused monument to being a “bad ass mutha fuckah”. Granted, that’s hardly new territory in the genre ego built, but the Ghost House crew have some humility in their hubris, which makes the self-inflation part of the song’s sky high energy and not just bragadacio baggage. 


The opening keyboard riff, wiry and alien, sounds like a totally warped and reinvented take of the keyboard wash in Justin Timberlake’s “My Love”. I’m no Timberlake fan, but I’ll take every version of that space age stutter that I can get. The verbal flow gets skipped like a stone and shifted into frenzied knots just before drifting into the slow-mo sludge hook. “Samuel L. Jackson” unpretentiously swarms you with switched up rhythms, sexy come on’s and a sound grafted from the best of the cutting edges.


Bookmark and Share
Text:AAA
Saturday, Oct 11, 2008

What happens when a four-piece girl group discovers Rainer Maria and ‘50s Motown vocal harmonies? They form a group called Vancougar, featuring members of Cinch and Pink Mountaintops. These Canadian belles have honed their own brand of power pop that will gladly fit among the other Canadian imports into the U.S. scene over the past several years.


“Obvious” is their most direct statement off their sophomore release on Mint Records, Canadian Tuxedo; it kicks off with a driving fuzz bass line, but don’t be fooled. As soon as the vocals kick in it becomes a simple melodic chant based around the lyric “It’s so obvious to me / We were meant to be in love.” Sound cheesy? Well, it kind of is. Cheesy in the way your grandpa tells a story about the five feet of snow he had to walk to school in—might be false, but it still sounds awesome.


Tagged as: vancougar
Bookmark and Share
Text:AAA
Friday, Oct 10, 2008

“Ask Me Why” was one of four songs that the Beatles played at Abbey Road Studios during their first recording session on June 6, 1962. Afterward, George Martin judged that this abundantly tender song wasn’t best suited for the Beatles’ debut single. That distinction would fall on “Love Me Do”, which is more instantly appealing and pop-wise than “Ask Me Why”. Conversely, the latter is a contained and low-impact affair that draws strength from the intricacy of its vocal arrangements.


On first contact, “Ask Me Why” comes off as little more than an earnest and submissive proclamation of love. Backed by an unassuming interaction of light guitar jangles, ticking percussion, and a lead guitar part lifted from a Miracles song, John Lennon, on vocals, anxiously plays the fool for his dearest: “Now you’re mine / My happiness still makes me cry.” Why the tears, John? “It’s not because I’m sad / But you’re the only love that I’ve ever had.” Evidently, he’s fallen hard for this girl. The one line that doesn’t seem vividly in sync with the lyric’s feverish tone is the opener—“I love you / ‘Cause you tell me things I want to know”—which, far from being an indifferent sentiment, is just clumsily romantic. Otherwise, it’s all over-the-moon devotion. As if to reinforce the song’s intent, John and Paul even wrote its second half as a mere reprise of the first, only without one of the verses and plus an additional chorus.


What elevates the lyric above maudlin fluff is the vibrancy of its actual expression, mainly undertaken by John and Paul. Indeed, the technical prowess and invention of its vocal patterns, which also borrowed from the work of Smokey Robinson and the Miracles, keep “Ask Me Why” crisp and pleasantly buoyant.


It breaks down this way: The opening verse begins (I believe) with John, Paul, and George all in unison: “I love youuuu.” I’m not sure who sings exactly what, but at the end of “you”, both a straight “uuuu” and a “wu-wu-wu” are held out concurrently. Then, after John performs the verse’s next line by himself and a similar unison part follows, he does a different and longer section (“That I-I-I-I…”), flanked by “oooos” from Paul and George. Within just that half-minute, the vocals have already nimbly shifted here and there. Next comes another verse, succeeded by an exquisitely subtle bridge. On the first line—“I can’t believe”—John’s part is either doubled or Paul sings unison and blends in seamlessly. From there to the end of the bridge, the pair fade in and out of harmony, with Paul performing a series of “spot” harmonies: first on “it’s happened to me”, then on “of anymore”, and finally on “misery” (the latter two are in succession but Paul seems to alter his vocal between them, which makes for distinct parts). As I learned from a very helpful comment on a previous post, the “spot” harmony was a significant innovation that the Beatles brought to pop music. Lastly, the chorus features a unison vocal on “Ask me why” and, again, a couple of lines from John paired with backup “oooos”.


Beyond the draw of its changing patterns, what’s so rewarding and almost endearing about the vocal proficiency of “Ask Me Why” is how it exists in such small moments. Looking at the bigger picture, isn’t it remarkable to consider that part of the Beatles’ historic stamp on the pop world could unveil itself in the singing of just one word, like “misery”?


Tagged as: the beatles
Bookmark and Share
Text:AAA
Friday, Oct 10, 2008
The Chemical Brothers come back with their best music video and song in years ... so why is it hard to care?

It’s here! It’s finally here!


That’s right: it’s the first jaw-droppingly fantastic music video from the Chemical Brothers that we’ve seen in some time!


Forgive the exclamation marks, but there’s a reason for such enthusiasm.  You see, from very early on, the Chemical Brothers were a powerhouse, spearheading the Big Beat electronica movement in the late 90s that wound up being shared with the likes of Daft Punk and Fatboy Slim, eventually opening doors for even crazier acts like Basement Jaxx to walk through.  Well, part of the charm of the Chemical Brothers has always been their visual element, as this is a band that constantly and reliably delivers excellent, fantastically entertaining music videos through and through.  When Astralwerks released the duo’s “Singles” collection a few years back, the accompanying DVD provided highlight upon highlight, as some of the greatest auteurs to ever control the medium had all had their hand in at least one Chem Bros. clip: Spike Jonze (“Electrobank”), Michel Gondry (“Star Guitar” and the incredible “Let Forever Be”), Chris Milk (“The Golden Path”), and many more.


Yet the Brothers have lapsed as of late, as the videos and singles from album Push the Button failed to make much of an impact, which turned out to be doubly true for their last effort, We Are the Night, as both “Do It” and the regrettable “Salmon Dance” showed that the duo were slowly, painfully running out of steam. 


So it’s nothing but a joy to find the Dom & Nic-helmed clip for “Midnight Madness”, the single from the Chem’s latest compilation Brotherhood, to be exactly what we’ve been waiting for.  Riding one of the must fluid and lucid beats the guys have come up with in years, the video—one of the rare ones to not have an image of the Bros. anywhere in it—features a glitter-suited demon creature coming out at night in some alley, gleefully engaging in jaw-dropping breakdance moves in a frentic display of body kineticism.  The clip is a mixture of well-done computer graphics and live dancing that work quite well in tandem.  It really has to be seen to be believed.


Yeah, maybe the Brothers are finally back on track ...


Now on PopMatters
PM Picks
Announcements
Win a 15-CD Pack of Brazilian Music CDs from Six Degrees Records! in PopMatters Contests on LockerDome

© 1999-2014 PopMatters.com. All rights reserved.
PopMatters.com™ and PopMatters™ are trademarks
of PopMatters Media, Inc.

PopMatters is wholly independently owned and operated.