The Kinks.  I love them.  I love Ray Davies, the writer of this song, “Autumn Almanac,” an absolute stunning piece of musical genius from 1967.  A lot happened in 1967.  It was the year when the Beatles released Sgt. Pepper to critical and international fame, when Jimi Hendrix was revolutionizing the use of the electric guitar, and when the world’s youth was dropping acid and dreaming of the future.  Ray Davies was thinking of the past; of autumn days, his old school notebook, hiking in the woods, and Sunday dinners.  There is no better writer of nostalgic pop then Ray, and this song is his shining anthem to that feeling.  At his creative height, Ray challenged the Beatles in terms of melodic brilliance and was as good as Bob Dylan in creating emotive original lyrics.  He was that good, and “Autumn Almanac” is one of his best songs and greatest examples of his powers.  The song is a stream of consciousness, both lyrically, and melodically, but its not without coherence, form, and beauty.  The song exists at the limit of creativity a person can achieve with an acoustic guitar writing in the pop song format.  I hope you enjoy it.

The Black Keys are guitarist Dan Auerbach and drummer Patrick Carney.  Together they have forged a highly successful blues rock revivalist band that are the darlings of the upper tiers of the indie rock world.  I’ve always like them, but have not extensively combed through their catalog.  Perhaps I’ve finally found a reason to.  The reason comes in the form of their cover of the Beatles “She Said, She Said,” from their debut album The Big Come Up.  The original Beatles song, from Revolver, is about one of John’s most infamous LSD trips.  In 1966, he was tripping in LA with the rest of the Beatles, the Byrds, and Peter Fonda.  Fonda, tweaking out, began to obsessively tell a story about how he nearly died as a boy, and couldn’t stop saying, “I know what its like to be dead.”  John, understandably freaked out by Fonda’s dark ramblings, promptly wrote a song, and changed Fonda into a girl to fit the Beatle songwriting mold.  Though, by 1966, the Beatle mold now included feedback, acid drenched distorted guitars, and glorious swirling psychedelic harmonies.  The song was a progressive leap forward for the Beatles, and for rock and roll as a whole.  36 years later, the Black Keys took that song, a song that was still in mid leap mind you, and gave it a real throwback treatment, turning it into a hip 60s blues club rocker.  I love the Black Keys version, as it gives the song a grungy and gritty makeover and reveals the essence of the song’s fantastic pop melody.  Because it is so fantastic, I’m giving you two versions, the unofficial music video, and a cool live performance.  Check em out.

Welcome to the unassuming beginning of Pink Floyd Week here at williesimpson.com.  My good friend Andrew Lee turned me on to this fantastic early Pink Floyd video of Syd Barrett’s last major contribution to the bands creative identity, “Jugband Blues,” from 1968’s A Saucerful of Secrets.  It makes sense that Barrett, now driving head first down the road of dementia and insanity, would only be able to contribute one song to the last album he would appear on, but its amazing that they took the time to record a promo video with Barrett starring in it.  I mean, at that point, Syd was losing his mind, forced out of the group he essentially founded, was marginalized creatively, yet somehow they all got together to make this thing.  And what a thing it is.  It’s just an awesome example of strait ahead British psychedelia, featuring lyrics that are both deeply personal, and deeply bizarre, and mashing together rock and roll, folk, and marching band orchestration.  It has 3 different keys and 3 different time signatures.  It’s the definition of fractured genius, closing out with the brilliant lines, “and the sea isn’t green, and I love the Queen, and what exactly is a dream, and what exactly is a joke.”  It’s haunting and masterful, and even though Syd was soaked with acid laced insanity, and the other band members were forcing him out, he was still giving Pink Floyd its direction and inspiring its other members to carry on what he started.

You’d suspect on a site like mine, there would be no shortage of Jimi Hendrix material to peruse through, but alas, this is the first one I’ve got.  It’s not for lack of love for the man, as in fact, I possess great quantities of the emotion for the guy.  I sit firmly in the camp of considering him the greatest rock and roll guitarist ever, a controversial position I know, (wink) and one that requires a bit of elucidation.  When Chuck Berry laid down his signature riff for Johnny B. Goode, he showed the world how electric guitar was all that was really needed for rock and roll.  No offense to Jerry Lee Lewis and Little Richard’s patented piano lead attack, but the sound and image of the electric guitar would define the genre of music, truly giving the style its rock more than anything else.  Jimi proved this thesis by taking the electric guitar to its logical end point through his experimental rocking.  It’s not like Jimi was technically the best guitar player ever, he was simply the most innovative, and the most in tune with its possibilities.  His insights transformed him into something the world had never seen before, a sort of improvisational Mozart, creating manic symphonies on the spot, all with just one instrument.  Now, with all that said about Jimi changing the world of music with his electric guitar, I present to you quiet acoustic Jimi on 12 string acoustic…Hah!  Don’t worry, electric monster Jimi is coming tomorrow, but no proper introduction of the man would be complete without a thorough discussion on his pioneering efforts in the field of electricity.  This performance of his original, “Hear My Train A Comin,'” is an awesome stunning and intimate look at the man just playing his guitar in a white room, singing the blues.  It’s among the best moments in music history, and luckily its here for all of us to enjoy, so please do.

They say elephants never forget, and they also say fuck Yoko Ono.  When John Lennon played Madison Square Garden Live in 1972, he played an afternoon show and an evening show.  “Elephant’s Memory,” the backup band for John, claimed that the evening show was far superior, but upon releasing this concert  in 1986, long after John’s death, Yoko decided to use the inferior afternoon show  as the basis for the album and the concert video.  Why?  Nobody knows what Yoko is thinking.  She probably thinks that her performances in the afternoon show were better than her performances in the evening show, which is insane, because nobody could possibly care.  The tapes and video of the evening show are locked away forever, or maybe even destroyed, and we might never get to see them thanks to the brilliant Yoko.  Yoko did the same thing for the Mind Games video where she took a raw 19 hours of footage, shot by college kids who followed John Lennon around for a day, and condensed it to a precious 4 minutes!  In that 19 hours you can supposedly see John Lennon making an appearance at Radio City Music Hall, where the “Sgt. Pepper’s Lonely Hearts Club Band On The Road” was playing.  He apparently got a 20 minute standing ovation that he described as one of the greatest moments of his life, and proceeded to sit down on organ and play with the house band.  Why this footage is not released is beyond me.  I actually rather wish I knew it never existed, then to think Yoko’s got it hidden away somewhere for no one to see.  Blah, that’s the end of my rant.  Enjoy John’s performance of “Come Together,” a song originally written as a way to get people to vote LSD guru Timothy Leary as governor of California.  It’s a little historical tidbit that’s a perfect segue for me to champion my status as finalist in the CBS Best Local NYC Blogger award one last time!  Tomorrow is the last day of voting, and you can STILL vote for me, even if you’ve already voted!  Once a day counts, so click that link and put me over the top! 

The best discoveries are the ones you make by accident.  Just yesterday, my roommate keyed me into letmewatchthis.ch, one of those movie streaming websites of dubious legality.  It’s a pretty cool site with a lot of variety of stuff, but new and old.  On a lark, I typed in “Beatles” in the search box, and I found something I’ve NEVER seen before.  It was a BBC documentary on the making of Sgt. Pepper’s Lonely Hearts Club Band produced in 1992, on the 25th anniversary of its historic 1967 release.  This documentary, presented below in 6 parts, excited the hell out of me because it featured insights and interviews, I’ve NEVER seen before, and as an obsessive Beatle fan, I’ve seen nearly EVERYTHING.  You’ll see incredible interviews with Paul, George, Ringo, George Martin, and even Brian Wilson, which is interesting because this was the record that caused him to have a mental break down. This is fantastic, and well, worth diving into on your July 4th holiday.  Enjoy.

Part 1 – The Beatles had conquered the world, said they were bigger than Jesus, and quit playing live. You get to see the shameful Beatle record burnings, the riot in the Philippines, and the murky underside of Beatlemania. Fun fact I NEVER knew, when George went to India after the Beatles quit touring, Paul actually went to Kenya! Not too many African influences on Sgt. Pepper though…Oh, you also learn how Paul forced the other Beatles to go to work on the new record which gave the other guys a lot of anxiety.

Part 2 – George Martin breaks down the complex insanely awesome production it took to make Strawberry Fields Forever. Plus you get to see the proper Englishman who played the French Horn solo on Penny Lane! Also, Paul gives insight into how he was burned by John when he suggested calling their songwriting team McCartney/Lennon. Hah!

Part 3 – The album concept emerges, the making of the Sgt. Pepper song, and the making of Lucy in the Sky With Diamonds. This documentary is awesome because its punctuated with George Martin and Paul McCartney in the studio playing keyboards and breaking down the music theory behind the songs. Genius stuff. Oh, and John accidentally takes LSD in the studio and nearly jumps off the roof of Abbey Road studios.

Part 4 – We get insight in the fierce yet productive songwriting competition between John and Paul. George Martin incorrectly gives Paul all the credit for “With A Little Help From My Friends,” while Ringo saves himself from getting pelted by tomatoes. Lastly, you get immortally indispensable insight into the creation of “Within You Without You.”

Part 5 – Paul McCartney admits that Pet Sounds is the biggest influence on Sgt. Pepper. Plus we see poor Brian Wilson admit to how Sgt. Pepper blew him away so much that it made him insane. Phil Collins stops by and talks about another room. Also, we get to see the mythic Cork Flakes commercial that inspired John Lennon’s “Good Morning.”

Part 6- We meet Peter Blake, the designer of the cover, we learn how “A Day in the Life” was constructed, and we see George Martin nearly break down observing its gorgeousness. Ringo attributes his great drumming to be surrounded by 3 frustrated drummers who could only play one style really well. Paul gets the last word talking about how critics predicted the demise of the Beatles, secretly knowing that he was sitting on the masterpiece that was Sgt. Pepper’s Lonely Hearts Club Band.

Did you know that when you plug your iPod into your computer, iTunes can arrange your iPod’s mp3s by plays, from most played to least? It’s pretty fascinating to see what you’ve been listening to exclusively, and how many thousands (yes thousands of times) you’ve clicked play on certain songs. Well, I’d thought it’d be interesting to share the top ten most played songs on my iPod in a new awesome mega post. So, without further ado, here is the list, starting with #10!

#10- The Police- Can’t Stand Losing You, 255 plays. My countdown kicks off with the Police’s catchy little reggae punk tune known as “Can’t Stand Losing You.”  From Outlandos d’Amour, this song isn’t skipped much for a bunch of reasons.  First, its supremely catchy, with its syncopated guitars, tight harmonies, and perfect drumming.  Second, Sting’s lyrics are so raw and real, that its one of the greatest breakup songs ever.  I’m just addicted to the way that chorus fades into oblivion.

#9-  The Beatles- Eleanor Rigby, 509 plays. Ahh, the Beatles, of course, you’ll be seeing a few songs by the fab four pepper my top ten I’m not ashamed to say. “Eleanor Rigby,” from Revolver, is just a brilliant song to play on a crowded depressed subway during rush hour.  The song swoops in with George Martin’s brilliant string arrangement, and you look around the train and see “all the lonely people,” wondering “where do they all belong.”  Then you wonder if you yourself is one of those lonely people who is gonna die alone while you are arranging your socks in your dingy apartment. Read more »