The Beatles with Maharashi

The Beatles in India

The Beatles with Maharashi

In early 1968, all four members of The Beatles traveled to northern India to attend a Transcendental Meditation training course with Maharishi Mahesh Yogi. While George Harrison, John Lennon, Paul McCartney and Ringo Starr all arrived at the Maharishi’s ashram in Rishikesh in mid-February with optimism and enthusiasm, they departed at different times and with differing opinions of the positivity of the experience. In any case, prolific songwriting took place in India, much of which would be reflected on The Beatles (white album), which was released later in 1968. In that sense, this historic event remains musically significant, no matter the actual merits of the Maharishi or Transcendental Meditation itself.

This trip followed the adventurous and tumultuous year of 1967. That year was the group’s first full year without touring, where they produced and recorded the iconic classic Sgt. Pepper’s Lonely Hearts Club Band, were the centerpiece of a worldwide television special, and starred in their third feature film, Magical Mystery Tour, and its recorded subsequent soundtrack. On the darker side, 1967 saw members of the group heavily experimenting in drug use and losing their long time manager Brian Epstein, which ultimately saw the band to begin fracturing professionally. Before departing for India, in what originally was to be a three month stay, the group recorded a few songs for single release. McCartney’s “Lady Madonna” was chosen as the A-side of the single, beating out Lennon’s “Across the Universe”, a version of which later appeared on  Let It Be. The single’s B-side was Harrison’s “The Inner Light”, which was partially recorded with several Indian classical musicians in Bombay, India in January during the sessions for Harrison’s Wonderwall Music soundtrack album. This is notable as the only Beatles studio recording to be made outside Europe and it set a nice vibe as the members publicly departed for India.

Beatles In India

A year earlier, Harrison’s wife Pattie Boyd came across a newspaper advertisement for Transcendental Meditation classes and she and her husband soon became part of this movement. In the summer of 1967, Harrison had recruited the other members of the Beatles to attend a lecture that the Maharishi gave in London, followed by a 10-day Spiritual Regeneration conference in Wales. McCartney reflected that the group had been “spiritually exhausted” and, while at the conference, the group members committed to giving up drugs. However, their stay at the conference was cut short when news of Epstein’s unexpected death reached the group. Before departing Wales, the Maharishi invited the Beatles to stay at his ashram in Rishikesh in the near future.

The group arrived in India in mid-February 1968, along with their wives (or girlfriend in McCartney’s case), along with numerous assistants, reporters, celebrity meditators and even some contemporary musicians like Donovan and Mike Love from The Beach Boys. They flew into Delhi and then rode by taxi the 150 or so miles to Rishikesh, walking to the ashram by crossing a footbridge over the Ganges River and up a hill to the property.

Located in the “Valley of the Saints” in the foothills of the Himalayas, this 14-acre ashram was built 5 years earlier in 1963 and it was funded through a $100,000 donation from American heiress. While there, life was comparable to that of a summer camp, starting with a communal breakfast followed by morning meditation and the occasional lecture from Maharishi. And at the end of the day, the musicians would often jam.

Beatles In India

Donovan taught John Lennon a guitar finger-picking technique that they later used on the songs “Julia” and “Dear Prudence”, the latter of which was a direct narrative about Mia Farrow’s sister who caused concern by locking herself inside and intensely meditating for weeks on end. Starr completed his first solo composition for the Beatles, “Don’t Pass Me By”, which he had begun writing way back in 1963. McCartney was prolific as usual with songs forming from the parody “Rocky Raccoon”, which he wrote to entertain others at dinner, to “Mother Nature’s Son” which was directly inspired by one of the Maharishi’s lectures, to “Back in the USSR” which he wrote in Love’s presence as an interpretation of the Beach Boys style. In fact, plans were briefly discussed for a possible concert in Delhi to feature the Beatles, the Beach Boys, Donovan, and Paul Horn.

Compared to the regular attendees, the Beatles were given some additional perks such as heated tents and on-demand private lessons from the Maharishi. Still, Ringo Starr and his wife Maureen were never quite comfortable with the retreat as Ringo had food allergies and Maureen had a deathly fear of insects. So, after just 10 days, Starr was the first Beatle to leave on 1 March. McCartney and his girlfriend Jane Asher left a few weeks later in mid-to-late March, causing slight derision by Harrison and Lennon who questioned his commitment. Lennon had wanted to invite his new love interest, Yoko Ono, on the trip but feared a confrontation with his then-wife Cynthia and therefore declined to do so. Nevertheless, the Lennons effectively split up on this trip as John moved into his own room about a week into the retreat.

Beatles In India

In early April, the Maharishi announced plans to move the whole retreat to Kashmir, a higher and cooler altitude as the summer months approached. Lennon and Harrison were planning to follow this course to the end, but changed their plans abruptly on April 12th, following rumors of the Maharishi’s inappropriate sexual behavior towards female students. The night before Lennon and Harrison sat up late discussing the Maharishi and decided to leave first thing in the morning. The final two Beatles and their wives left hurriedly and while waiting for their taxis to take the long drive back to delhi, Lennon wrote “Sexy Sadie”, a direct indictment of the Maharishi.

With the Beatles’ quick departure and implicit denunciation of the Maharishi, his rapid rise to fame abruptly ended. Whether or not the rumors about his misconduct were in fact true, remain in dispute to this day. Harrison later apologized for his and Lennon’s abrupt departure and he would later organize a 1992 benefit concert for the Maharishi-associated Natural Law Party. In 2007 McCartney took his daughter to visit the Maharishi, a year before his death in 2008. After a few years of abandonment, the ashram was opened to the public in 2015 and renamed Beatles Ashram.

Since they permanently gave up touring in 1966, this trip to India would be the last time all four Beatles traveled together outside of the UK. While their cohesion as a group began to deteriorate shortly after until they ultimately broke up two years later, the Beatles made a good faith effort to reach a higher understanding. In all, the group members wrote nearly 50 songs in India, some of which were published after the band’s breakup.


Beatles In India

List of songs written by the Beatles in Rishikesh, India 1968

Released on The Beatles (white album) 11/22/68:

  • “Back in the U.S.S.R.”
  • “Dear Prudence”
  • “Ob-La-Di, Ob-La-Da”
  • “Wild Honey Pie”
  • “The Continuing Story of Bungalow Bill”
  • “I’m So Tired”
  • “Blackbird”
  • “Rocky Raccoon”
  • “Don’t Pass Me By”
  • “Why Don’t We Do It in the Road?”
  • “I Will”
  • “Julia”
  • “Yer Blues”
  • “Mother Nature’s Son”
  • “Everybody’s Got Something to Hide Except Me and My Monkey”
  • “Sexy Sadie”
  • “Long, Long, Long”
  • “Revolution” (1)
  • “Cry Baby Cry”

Released on Abbey Road 9/26/69:

  • “Mean Mr. Mustard”
  • “Polythene Pam”

Released on Anthology 3 compilation 10/28/96:

  • “What’s the New Mary Jane”, recorded during the White Album sessions in 1968
  • “Teddy Boy”, recorded during the Let It Be sessions in 1969

Released on recordings outside the Beatles:

  • “Sour Milk Sea” – written by Harrison, released by Apple Records artist Jackie Lomax as a single 8/26/68
  • “Junk” released on Paul McCartney’s debut solo album McCartney 4/17/70
  • “Look at Me” released on John Lennon’s album John Lennon/Plastic Ono Band 12/11/70
  • “Jealous Guy” (originally titled “Child of Nature”) released on John Lennon’s album Imagine 9/09/71
  • “Circles” released on George Harrison’s album Gone Troppo 11/05/82
  • “Cosmically Conscious” released on Paul McCartney’s album Off the Ground (The Complete Works) 2/02/93

Unreleased (as of 4/03/20)

  • “Dehradun” composed by George Harrison
  • “Spiritual Regeneration/Happy Birthday Mike Love” recorded at Rishikesh by several group members and Donovan 3/15/68

 

The Beach Boys Today

The Beach Boys Today!

Buy The Beach Boys Today!

The Beach Boys TodayThe Beach Boys Today! was the 1965 eighth overall studio album by The Beach Boys. It marked a subtle shift in production technique and lyrical themes for the California based group. These changes were brought together by producer, composer, and vocalist Brian Wilson who had decided to move away from the surfing / cars / girls themes that had brought super-stardom to the group in the early 1960s and moved towards more mature themes with richer accompanying orchestration. This shift did not seem to deter the record’s pop success, as it reached the Top 10 in album charts on both sides of the Atlantic and spawned a trio of hit singles.

The origins of the Beach Boys date back to the late 1950s in when teenage brothers Brian, Dennis Wilson and Carl Wilson began mimicking the harmonies of vocal groups such as the Four Freshmen. Soon the Wilsons’ cousin Mike Love and Brian’s high school friend Al Jardine were writing and seeking a publishing deal under the name “The Pendletones”. In 1961, the band recorded a demo of their first original “Surfin'” and the following year the group signed with Capitol Records under their new name, The Beach Boys. Over the next two and a half years the group released seven studio albums and had seven Top 10 hits in the United States, an incredible streak of productivity and success which left the group exhausted. This stress, along with the difficult decision to dismiss the Brothers’ father Murray Wilson as the group’s manager, ultimately contributed to Brian suffering a panic attack in late 1964.

During the recording sessions for The Beach Boys Today! in January 1965, Wilson announced that he would stop touring with the group and concentrate solely on songwriting and record production. Brian also wanted to start separating the Beach Boys from their surfer image and more towards complex music with the use of richer instrumentation. When released in March 1965, The Beach Boys Today! featured a first side with mainly uptempo songs and a second side with mostly emotional ballads.


The Beach Boys Today! by The Beach Boys
Released: March 8, 1965 (Capitol)
Produced by: Brian Wilson
Recorded: United Western Recorders, Gold Star Studios, & RCA Victor Studios, Hollywood, CA
Side One Side Two
Do You Wanna Dance?
Good to My Baby
Don’t Hurt My Little Sister
When I Grow Up (To Be a Man)
Help Me, Rhonda
Dance, Dance, Dance
Please Let Me Wonder
I’m So Young
Kiss Me, Baby
She Knows Me Too Well
In the Back of My Mind
Bull Session with the ‘Big Daddy
Group Musicians
Brian Wilson – Piano, Organ, Bass, Vocals
Mike Love – Vocals, Percussion
Al Jardine – Guitars, Vocals
Carl Wilson – Guitars, Vocals
Dennis Wilson – Drums, Percussion, Vocals

The album starts immediately with “Do You Wanna Dance?”, a late fifties song by Bobby Freeman, updated with rich production and featuring drummer Dennis Wilson on lead vocals. Despite being released as the B-side of a single, this Beach Boys’ version reached the Top 20 in the United States. “Good to My Baby” follows with an interesting rotating guitar riff and dual lead vocals by Love and Brian Wilson. “Don’t Hurt My Little Sister” is the most complex composition of the early tracks, an upbeat rocker with a bright guitar riff, that dissolves into an air of sadness as the descending chorus pattern progresses. The lyrics are based on Wilson’s complicated feelings for his wife Marilyn and her younger sisters.

“When I Grow Up (To Be a Man)” is a crossroads song lyrically as Brian discusses his anxieties about becoming an adult. Musically this track is rich with melodic harmonies and with the presence of a vibraphone throughout. “Help Me, Rhonda” is the definitive hit from the album as well as the first and only song to reach three minutes in length. With Jardine on lead vocals, this single reached number one in the US, the second chart-topper by the group. On “Dance, Dance, Dance” the group progresses further in the pure rock direction with the strong presence of co-writer Carl Wilson’s guitar and a consistently upward motion overall.

The Beach Boys

The ballad filled second side begins with “Please Let Me Wonder”, with this mellow track featuring a Western-like backing and the usual over-the-top harmonies. The William Tyus cover “I’m So Young” is a doo-wop ballad with Phil Spector-like snare/tambourine hits, as “Kiss Me, Baby” vocals are exquisitely delivered. On “She Knows Me Too Well” Brian Wilson stretches the upper limit of his vocal range in the choruses, while “In the Back of My Mind” is a complete departure from the rest of the song as Dennis Wilson providing solo lead vocals on this melancholy track in 6/8 time.

The Beach Boys Today! was a commercial success as it climbed into the Top 10 on both sides of the Atlantic. Brian Wilson was replaced temporarily by Glen Campbell and then permanently Bruce Johnson for live performances while he delved even deeper into developing new studio methods.

~

Part of Classic Rock Review’s celebration 1965 albums.

1965 Page

Woodstock from behind the stage

Top 9 Rock Festivals of All Time

This week Classic Rock Review joins the celebration of the 45th Anniversary of the historic 1969 Woodstock Music Festival. In conjunction with Top 9 Lists, we present a list of the Top 9 Rock Festivals of all time, along with a bonus list of Top 9 Single Day, Single Location Concerts.

Woodstock from behind the stage

1. Woodstock

August 15-18, 1969
Bethel, New York

This remains the mother of all music festivals, held at a 600-acre dairy farm owned by Max Yasgur. A series of coincidental events unfolded which effected the location and operation of this festival, which grew to become a “free” event for over 400,000 attendees. Regarded as a pivotal moment in popular music history, 32 acts performed during the rainy weekend, starting with Richie Havens, and concluding with a memorable performance by Jimi Hendrix as the crowd dispersed mid-morning on Monday, August 18th. Woodstock was immortalized in a later documentary movie as well as a song by Joni Mitchell, who was one of many major acts that did not attend by later regretted it.

Woodstock Performers: Richie Havens, Sweetwater, Bert Sommer, Tim Hardin, Ravi Shankar, Melanie, Arlo Guthrie, Joan Baez, Quill, Country Joe McDonald, Santana, John Sebastian, Keef Hartley Band, The Incredible String Band, Canned Heat, Mountain, Grateful Dead, Creedence Clearwater Revival, Janis Joplin with The Kozmic Blues Band, Sly and the Family Stone, The Who, Jefferson Airplane, Joe Cocker and The Grease Band, Ten Years After, The Band, Johnny Winter, Blood, Sweat & Tears, Crosby, Stills, & Nash, Paul Butterfield Blues Band, Sha Na Na, Jimi Hendrix and Gypsy Sun Rainbows

Buy Woodstock soundtrack
Buy Woodstock: Three Days of Peace & Music DVD

2. Monterey Pop Festival

June 16-18, 1967
Monterey, California

Jimi Hendrix at MontereyCredited as the event which sparked the “The Summer of Love”, The three-day Monterey International Pop Music Festival had a rather modest attendance but was soon recognized for its importance to the performers and significance to the sixties pop scene. The lineup consisted of a blend of rock and pop acts with memorable performances by The Who and Jimi Hendrix Experience.

Monterey Pop Performers: Jefferson Airplane, The Who, The Jimi Hendrix Experience, Janis Joplin, Otis Redding, Booker T. & the MG’s, Ravi Shankar, The Mamas and the Papas

Buy Monterey Pop Festival Live album

3. Live Aid

July 13, 1985
London and Philadelphia

Live Aid, PhiladelphiaStill the largest benefit concert 30 years on, Live Aid was a also the first live multi-venue event, with over 70,000 at London’s Wembley Stadium and close to 100,000 at JFK Stadium in Philadelphia. Organized by musician Bob Geldof of the Boomtown Rats as relief for the Ethiopian famine, the concert evolved from Band Aid, a multi-artist group who recorded “Do They Know It’s Christmas?” in 1984. Live Aid was also one of the largest worldwide television broadcasts, with an estimated audience of 1.9 billion in about 150 nations. Memorable performances and moments included those by Queen, U2, Dire Straits, a reunited Black Sabbath, and a loose reunion by members Led Zeppelin, the first since their breakup in 1980.

Live Aid Performers: Status Quo, The Style Council, The Boomtown Rats, Adam Ant, Spandau Ballet, Elvis Costello, Nik Kershaw, Sade, Sting, Phil Collins, Branford Marsalis, Howard Jones, Bryan Ferry, David Gilmour, Paul Young, U2, Dire Straits, Queen, David Bowie, Thomas Dolby, The Who, Elton John, Paul McCartney, Band Aid, Joan Baez, The Hooters, Four Tops, Billy Ocean, Black Sabbath, Run–D.M.C., Rick Springfield, REO Speedwagon, Crosby, Stills and Nash, Judas Priest, Bryan Adams, The Beach Boys, George Thorogood and the Destroyers, Simple Minds, The Pretenders, Santana, Ashford & Simpson, Madonna, Tom Petty and the Heartbreakers, Kenny Loggins, The Cars, Neil Young, The Power Station, Thompson Twins, Eric Clapton, Led Zeppelin (announced as “Jimmy Page, Robert Plant, John Paul Jones, Tony Thompson, Paul Martinez, Phil Collins”), Duran Duran, Patti LaBelle, Hall & Oates, Mick Jagger, Eddie Kendricks, David Ruffin, Tina Turner, Bob Dylan, Keith Richards, Ronnie Wood, USA for Africa

Buy Live Aid DVD

4. Isle of Wight Festival

August 26-30, 1970
Isle of Wight, UK

Isle Of Wight Festival, 1970In sheer numbers, the 1970 Isle of Wight Festival may be the largest ever, with estimates of over 600,000, which is an increase of about 50% over Woodstock. Promoted by local brothers Ronnie, Ray and Bill Foulk, the 5-day event caused such logistical problems (all attendees had to be ferried to the small island) that Parliament passed the “Isle of Wight Act” in 1971, preventing gatherings of more than 5,000 people on the island without a special license. Memorable performances included late career appearances by Jimi Hendrix and The Doors, and The Who, who released their entire set on the 1996 album Live at the Isle of Wight Festival 1970.

Isle of Wight 1970 Performers: Judas Jump, Kathy Smith, Rosalie Sorrels, David Bromberg, Redbone, Kris Kristofferson, Mighty Baby, Gary Farr, Supertramp, Howl, Black Widow, The Groundhogs, Terry Reid, Gilberto Gil and Caetano Veloso, Fairfield Parlour, Arrival, Lighthouse, Taste, Rory Gallagher, Chicago, Procol Harum, Voices of East Harlem, Cactus, John Sebastian, Shawn Phillips, Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson, Lake & Palmer, The Doors, The Who, Sly & the Family Stone, Melanie, Good News, Ralph McTell, Heaven, Free, Donovan, Pentangle, The Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen, Richie Havens

Buy Message to Love, The Isle of Wight Festival DVD

5. Ozark Music Festival

July 19-21, 1974
Sedalia, Missouri

Ozark Music Festival stage“No Hassles Guaranteed” was the motto of the Ozark Music Festival, held at the Missouri State Fairgrounds in 1974. While this festival offered an impressive lineup of artists as well as a crowd upwards of 350,000 people, the Missouri Senate later described the festival as a disaster, due to the behaviors and destructive tendencies of the crowd.

Ozark Music Festival Performers: Bachman–Turner Overdrive, Aerosmith, Premiata Forneria Marconi, Blue Öyster Cult, The Eagles, America, Marshall Tucker Band, The Nitty Gritty Dirt Band, Boz Scaggs, Ted Nugent, David Bromberg, Leo Kottke, Cactus, The Earl Scruggs Revue, Lynyrd Skynyrd, Electric Flag, Bob Seger & the Silver Bullet Band, Joe Walsh and Barnstorm, The Souther Hillman Furay Band, The Ozark Mountain Daredevils, Charlie Daniels Band, REO Speedwagon, Spirit

6. US Festival

May 28-30, 1983
Devore, California

Steve Wozniak’s US Festivals were staged on two occasions in September 1982 and May 1983. The second of these was packed with a lineup of top-notch eighties acts who performed in an enormous state-of-the-art temporary amphitheatre at Glen Helen Regional Park.

1983 US Festival Performers: Divinyls, INXS, Wall of Voodoo, Oingo Boingo, The English Beat, A Flock of Seagulls, Stray Cats, Men at Work, The Clash, Quiet Riot, Mötley Crüe, Ozzy Osbourne, Judas Priest, Triumph, Scorpions, Van Halen, Los Lobos, Little Steven & the Disciples of Soul, Berlin, Quarterflash, U2, Missing Persons, The Pretenders, Joe Walsh, Stevie Nicks, David Bowie

7. The Crossroads Guitar Festival

June 4-6, 2004
Dallas, Texas

Crossroads Festival 2004 adStarting in 2004, the Crossroads Guitar Festivals have been held every three years to benefit the Crossroads Centre for drug treatment in Antigua, founded by Eric Clapton. These concerts showcase a variety of guitarists, with the first lineup at the Cotton Bowl stadium in 2004 featuring some legends along with up-and-comers hand-picked by Clapton himself.

2004 Crossroads Guitar Festival Performers: Eric Clapton, Johnny A, Vishwa Mohan Bhatt, Ron Block, Booker T. & the M.G.’s, Doyle Bramhall II, JJ Cale, Larry Carlton, Robert Cray, Sheryl Crow, Bo Diddley, Jerry Douglas, David Honeyboy Edwards, Vince Gill, Buddy Guy, David Hidalgo, Zakir Hussain, Eric Johnson, B.B. King, Sonny Landreth, Jonny Lang, Robert Lockwood, Jr., John Mayer, John McLaughlin, Robert Randolph, Duke Robillard, Carlos Santana, Hubert Sumlin, James Taylor, Dan Tyminski, Steve Vai, Jimmie Vaughan, Joe Walsh, ZZ Top, David Johansen

Buy Eric Clapton: Crossroads Guitar Festival 2004 DVD

8. Live 8

July 2, 2005
Locations world wide

Pink Floyd at Live 8Held 20 years after he organized Live Aid, Bob Geldof’s Live 8 was even more ambitious, being held in nine different locations around the world on the same day. Timed to coincide with the G8 conference in Scotland that year, the goal was to raise money to fight poverty in Africa. The most memorable moment from the concerts was at Hyde Park in London where the classic lineup of Pink Floyd reunited for the first time in over two decades.

Live 8 Performers: U2, Paul McCartney, Annie Lennox, Mariah Carey, R.E.M. The Killers, The Who, UB40, Pink Floyd, Elton John, Bob Geldof, Velvet Revolver, Madonna, Coldplay, Robbie Williams, Will Smith, Alicia Keys, The Black Eyed Peas, Kanye West, Linkin Park, Jay-Z, Rob Thomas, Sarah McLachlan, Stevie Wonder, Maroon 5, Deep Purple, Neil Young, Buck Cherry, Bryan Adams, Mötley Crüe, Brian Wilson, Green Day, a-Ha, Roxy Music, Dido, Peter Gabriel, Snow Patrol, The Corrs, Zola, Lucky Dube, Jungo, Pet Shop Boys, Muse, The Cure

Buy Live 8 DVD

9. Woodstock ’94

August 12-14, 1994
Saugerties, New York

Organized to commemorate the 25th anniversary of the original Woodstock festival, Woodstock ’94 was promoted as “3 More Days of Peace and Music”. in fact, this concert took place near the originally intended location of that first show and other similarities such as common performers, similar crowd size, rain, and mud.

Woodstock ’94 Performers: Blues Traveler, Candlebox, Collective Soul, Jackyl, King’s X, Live, Orleans, Sheryl Crow, Violent Femmes, Joe Cocker, Blind Melon, Cypress Hill, Rollins Band, Melissa Etheridge, Crosby, Stills, & Nash, John Sebastian, Nine Inch Nails, Metallica, Aerosmith, Country Joe McDonald, Sisters of Glory, Arrested Development, Allman Brothers Band, Traffic, Santana, Green Day, Paul Rodgers Rock and Blues Revue, Spin Doctors, Porno For Pyros, Bob Dylan, Red Hot Chili Peppers, Peter Gabriel

Read more on Woodstock ’94 from our recent Comebacks and Reunions special feature


Bonus Top 9 List: Best Single Day, Single Location Shows

The Who at Concert for New York City

1. The Concert for New York City October 20, 2001. New York, NY
2. The Band’s Last Waltz November 25, 1976. San Francisco, CA
3. Atlantic Records 40th Anniversary Celebration May 14, 1988. New York, NY
4. Concert for Bangladesh August 1, 1971. New York, NY
5. Knebworh Festival June 30, 1990. Knebworth, UK
6. Texxas Jam July 1, 1978. Dallas, TX
7. Farm Aid September 22, 1985. Champaign, IL
8. Canada Jam August 26, 1990. Bowmanville, Ontario
9. Altamont Free Concert December 6, 1969. Tracy, CA

~

Ric Albano

Classic Christmas Rock Songs

Classic Rock Christmas Songs

Classic Christmas Rock SongsNearly from its inception, rock and roll and Christmas songs have made for a potent mixture of holiday-flavored punch. This marriage dates back to 1957 with the first Elvis Presley Christmas Album and Bobby Helms’s timeless “Jingle Bell Rock”, a rockabilly Christmas classic which was actually written by an advertising executive and a publicist, joining together the overt commercialism with these early anthems. However, it wasn’t all about dollars and cents, as demonstrated in 1963 when major Christmas initiatives by producer Phil Spector and The Beach Boys were pulled off the shelf after the assassination of President John F. Kennedy.

Below we review our favorite songs during the classic rock era. Please be sure to let us know which ones you like best, including those that we omit.

Christmas by The Who, 1969“Christmas” by The Who, 1969

This is a truly fantastic song from the rock opera Tommy but, as such, this song is only about Christmas for a short period of the song, the rest of the song is spent pondering whether the aforementioned Tommy’s soul can be saved as he is deaf, dumb and blind – lacking the capacity to accept Jesus Christ. This aspect of the song works exceptionally well in the scheme of the album, but not so much in the scheme of it being a Christmas song. That said, no song captures the majesty of children on Christmas day as well as this one.

Happy Xmas by John Lennon, 1971“Happy Christmas (War Is Over)” by John Lennon, 1971

John Lennon’s voice is fantastic and the song itself evokes the kind of melancholy Christmas spirit I find in great Christmas songs. The backing vocals work very well and the bass guitar, sleigh bells, chimes, glockenspiel all play their part as well, a testament to the excellent production by Phil Spector. It does sound a little dated with the overt political correctness and, of course ant-war sentiment. Then there is a bit of irony, foe, although the song advocates “War is Over”, the personal war between Lennon and Paul McCartney was at a fevered pitch with Lennon poaching McCartney’s lead guitarist for this very song just to stick him in the eye a bit. So, in that sense, I guess war was not quite over.

I Believe In Father Christmas, 1975“I Believe In Father Christmas” by Greg Lake, 1975

You really do learn something new every day. In fact while doing research into this song’s origin I discovered that this is actually a Greg Lake solo song and not an Emerson, Lake, and Palmer song which I had always believed because of its inclusion on their 1977 Works compilation album. This new revelation does not diminish my love of the song one iota. The song was written by Lake with lyrics by Peter Sinfield. Lake says the song was written in protest at the commercialization of Christmas, while Sinfield says it is more about a loss of innocence and childhood belief. I tend to believe them both, as I’ve always found the melancholy song to be much too complex to be written about any single subject or incident. Musically and melodically, the song is a masterpiece, with Lake’s finger-picked acoustic ballad complemented by ever-increasing orchestration and choral arrangements. Each verse is more intense than the last and the arrangement elicits all kinds of emotions, far deeper than the typical “feel good” Christmas song.

Father Christmas by The Kinks, 1977“Father Christmas” by The Kinks, 1977

Just listen to the first fifteen seconds of this song and you will see, it’s amazing! Starting with a Christmas-y happy piano melody and sleigh bells before punk-influenced guitar and drums crash in with the impact of a meteor. Lead singer Ray Davies sings as two characters in the song; the first is a department store Santa (“Father Christmas”), the second is a gang of poor kids. Davies makes his vocals more forceful for their demands, “Father Christmas give us some money!” I have long thought Davies is probably the most underrated singer in Rock, and the Kinks may be the most underrated band in rock history. What other band appeared in the British invasion did a few concept albums and then practically invented punk rock!? Dave Davies lead guitar is fantastic, definitely the most entertaining work in any of the Christmas songs on this list. The drums are also a huge high point as they roll franticly between verses. If you needed a definition of it, this IS Christmas Rock!

Peace On Earth / Little Drummer Boy, 1977“Peace On Earth/Little Drummer Boy”
by David Bowie & Bing Crosby, 1977

This partial cover (Bowie’s “Peace On Earth” part was original, while Crosby sang the traditional “Little Drummer Boy”) was actually as about as original a compositions as any Christmas song with a rock theme to it. So why does this song make the cut? Well it is fantastic! It’s DAVID BOWIE and BING CROSBY! It’s a great little song that feels like Christmas. Two totally different artists from different genres and eras coming together to sing a song for a television special, only around Christmas could this happen. Well, in fact it was recorded in London in August of 1977 for an upcoming Christmas special and Crosby passed away in October, before it aired, making it even more special.

A Wonderful Christmas Time, 1979“A Wonderful Christmas Time” by Paul McCartney, 1979

Not to be out done by his former Beatle mate turned musical rival (see above), Paul McCartney launched the post-Wings phase of his solo career with “Wonderful Christmas Time”. A song with an uncanny ability to instantly put one into the Christmas spirit, this synth-driven, new-wave ballad showcased McCartney’s mastery at writing pleasant pop songs in just about any sub-genre. Unfortunately, his “wonderful Christmas” was interrupted soon after the new year of 1980, when he got busted In Japan for marijuana possession and spent ten days in prison before he was released.

Christmas Wrapping, 1981“Christmas Wrapping” by The Waitresses, 1981

“Christmas Wrapping” is a really fun new-wave style song that jives musically by an otherwise obscure group. The song goes through quite a few little progressions – a little guitar rift and some jolly percussion instruments introduce the listener to the song’s primary beat of guitar and drums. Lead singer Patty Donahue flirts with actually rapping through the song which comes out really cool despite my less than enthused relationship to that genre. The interlude of horns really makes this song fun as they bridge the gap between verses.

2000 Miles, 1983“2000 Miles” by The Pretenders, 1983

Not really intended to be so much a Christmas song as a lament about missing someone with the hope they return at Christmas. It was nevertheless released in 1983 in advance of the band’s 1984 album Learning To Crawl because of its holiday season potential. The vivid lyrics which paint the Christmas landscape and activity, along with the masterful delivery by lead vocalist Chrissie Hynde above the simple folk-guitar riff, makes this one for the ages.

Thank God Its Christmas, 1984“Thank God It’s Christmas” by Queen, 1984

This is a Christmas rock song that often gets overlooked but is virtually impossible to ignore due to Freddie Mercury’s singing. Co-written by drummer Roger Taylor, the drums have a smooth grooving feeling, albeit very processed. Mercury’s backing keyboards and occasional Christmas bells give the song that holiday feeling it needs. The addition of the guitar later in the song by the other co-writer, Brian May adds some earthiness, but the song would benefit from more of it. The piece never quite transcends the mellowness or the karaoke-like quality of the song, but is still a Christmas classic.

Do They Know Its Christmas, 1984Do They Know It’s Christmas?” by Band Aid, 1984

Sure, it is outrageously corny, especially when you are watching Boy George and other eighties has-beens singing next to the likes of Bono and Sting. But underneath all the silliness lies a pretty good song, written in a decent style of British pop. This song is the brainchild of Bob Geldof, lead singer of the Boomtown Rats, who co-wrote this song along with Midge Ure, and then they brought together these top-notch English musicians to perform under the name Band Aid as all proceeds went to relief for the Ethiopian famine of 1984-1985. The success of this single eventually lead to the worldwide benefit concert Live Aid, the following summer.

Santa Claus Is Coming to Town, 1985“Santa Claus Is Coming to Town”
by Bruce Springsteen and the E Street Band, 1985

The only true cover of a “traditional” Christmas song on this list, this song was actually recorded in December 1975, but was not released for a solid decade when Bruce Springsteen began putting together his triple live album 1975-1985. It was put out as the B-Side to his single “My Hometown” in 1985 and has since become a holiday staple and rock and pop stations worldwide.

Another Christmas Song, 1989“Another Christmas Song” by Jethro Tull, 1989

We conclude with a beautiful and elegant song put out by Ian Anderson and Jethro Tull during their leaner years, this May be one that many do not know. From the 1989 album Rock Island, this is actually a sequel to “A Christmas Song” put out by Jethro Tull on their 1968 debut album two decades earlier, but is far superior in beauty elegance than the original. With some light flute, drums, and the occasional wood block sound and other percussive effects, the song features Tull’s traditional guitarist Martin Barre who nicely accents the flute line from Anderson in the interweaving musical passages. Lyrically, it describes an old man who is calling his children home to him for Christmas and subtly drawing their attention to other parts of the world and other people;

Everyone is from somewhere, even if you’ve never been there
So take a minute to remember the part of you that might be the old man calling me…”

Through the 1990s and early 2000s, the Christmas rock tradition continued with fine originals such as “Christmas All Over Again” by Tom Petty and the Heartbreakers, a rendition of “Heat Miser” by The Badlees, “Don’t Shoot Me Santa Clause” by The Killers, and Coldplay’s “Christmas Lights”. It is likely this tradition will continue for years to come.

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J.D. Cook and Ric Albano

                

Pet Sounds by The Beach Boys

Pet Sounds by The Beach Boys

Album of the Year, 1966

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Pet Sounds by The Beach BoysTo this day, The Beach Boys remain the most commercially successful American rock band with 36 Top 40 hits. Most of these hits were scored between 1962 and 1965, when the bulk of the band members were still teenagers. In 1966, the band took a radical turn under the leadership of Brian Wilson with the release of the innovative and artistic Pet Sounds. Brian had ceased touring with the band, which left him plenty of time to concentrate on producing what he had declared would be “the greatest album ever made”. He enlisted the help of over 50 session musicians, performing instruments from all across the musical universe. Although a commercial failure as compared to the group’s phenomenal success in recent years, this album would go on through history being critically acclaimed and lauded as one of the greatest albums ever by several rock publications. Although we don’t take a position on “ever” here at Classic Rock Review, we have selected Pet Sounds as our top album for the year 1966.

The eleventh overall album by the Beach Boys, Pet Sounds was truly unique in its approach and production. Much of the album was produced while the band was on tour in Japan using the cream of Los Angeles session musicians known as “The Wrecking Crew” with Brian Wilson in charge of production and musical composition and Tony Asher providing much of the lyrics. When the band returned from the tour, they found a nearly complete album requiring little more than their vocals to finish it off. This caused some friction within the group, especially from lead singer Mike Love who was also the band’s chief lyricist during their early, hit-making years. Love called the project “Brian’s ego music” while other group members worried that they would lose their core audience if they changed their successful musical formula. Founding members Al Jardine and Dennis Wilson also reportedly had problems with the abandonment of “good times and fast cars” in the Beach Boys songs.

The Beach Boys

The true catalyst that set the tone for Pet Sounds was the December 1965 release of The Beatles’ album Rubber Soul. The album was filled with good, all original songs, unlike the standard practice of filling albums with a few commercial hits and much filler. As Brian Wilson recalled of his first impressions of that album;

“I really wasn’t quite ready for the unity. It felt like it all belonged together. Rubber Soul was a collection of songs that somehow went together like no album ever made before…”

Wilson started by contacting Asher, then a young lyricist and copywriter who had been working on advertising jingles, who Wilson had met in a recording studio months earlier. While Wilson articulated the general vibe of each song, Asher interpreted this into actual lyrics. Most of the songs for Pet Sounds were composed over the winter of 1965-1966. Love is co-credited on just a few tracks, notably the opening “Wouldn’t It Be Nice” and “I Know There’s an Answer”, which was originally composed as the LSD-ridden “Hang Onto Your Ego” but was rewritten and retitled at the insistence of Love.

Developing his production methods over several years, Brian Wilson refined and developed many of the techniques innovated by Phil Spector. With the new, state-of-the-art Ampex 8-track recorder, Wilson would first record all the backing tracks, mixing them down to stereo or even mono versions, leaving 6 or 7 tracks open for the Beach Boys complex vocal leads and harmonies. He has since stated that he named the album using Spector’s initials as a tribute. Unlike Spector however, Wilson was almost completely deaf in his right ear, making his accomplishments all the more remarkable.

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Pet Sounds by The Beach Boys
Released: May 16, 1966 (Capitol)
Produced by: Brian Wilson
Recorded: Los Angeles, July 1965 – April 1966
Side One Side Two
Wouldn’t It Be Nice
You Still Believe In Me
That’s Not Me
Don’t Talk (Put Head On My Shoulder)
I’m Waiting For the Day
Let’s Go Away for Awhile
Sloop John B
God Only Knows
I Know There’s An Answer
Here Today
I Just Wasn’t Made for These Times
Pet Sounds
Caroline, No
Band Musicians
Brian Wilson – Organ, Piano, Keyboards, Orchestration, Vocals
Carl Wilson – Guitars, Lead & Backing Vocals
Mike Love – Lead Vocals
Al Jardine – Lead & Backing Vocals
Dennis Wilson – Drums, Vocals

The group’s 1966 hit “Good Vibrations” was originally intended to be on the album (and, in fact, presented to Capitol Records as an example of the album’s sound), but to everyone’s surprise was cut from the running order by Brian Wilson. Released as a single, the song went on to top the charts worldwide as well as win a Grammy for song of the year.

Pet Sounds starts with “Wouldn’t It Be Nice”, which sets the pace for the album with the carnival-like intro, broken by the vocals of Brian Wilson which are upbeat yet melancholy all at once. The song was released as a single and peaked at #8 in the summer of 1966 and contains some signature, complex Beach Boys harmonies making it a sort of bridge from their good times surf music to this new frontier of art rock.

Each of the songs on the album’s first side introduces a new technique by Wilson. “You Still Believe In Me” was the first song for which Asher provided lyrics, derived from a working song by Wilson called “In My Childhood”. It has a Baroque style vibe and an almost teenage-like lover’s lament in the lyric and vocals. “That’s Not Me” is quite psychedelic and with very unique and minimalist instrumentation under a standard vocal line and chorus, with lead vocals by Mike Love and the rest of the Beach Boys playing most of the instruments, an oddity on this album. In contrast, “Don’t Talk (Put Your Head On My Shoulder)” is a beautiful but sad song performed entirely by Brian Wilson and session musicians. These session players included bassist Carol Kaye and drummer Hal Blaine who make a strong impact on the song “I’m Waiting For the Day”, which contains a constant rhythm against the near constant fluctuations in arrangement in this asymmetrical tangent of a song.

The Beach Boys Sloop John B singleThe track “Sloop John B” had been suggested to Wilson by Al Jardine and was recorded during the previous summer of 1965. It was a traditional Caribbean folk song that dates back to the beginning of the 20th century. It is a light and fun song to end the first side with an arrangement that constantly builds with instrumentation, intensity, and vocal layering. Brian Wilson, who was not a big fan of traditional folk music, changed many of the lyrics to the song and actually auditioned each group member for lead vocals, as he wanted it to have a distinctively “rock” sound in the end. Ultimately, he chose himself and Mike Love for this task.

Pet Sounds contains a couple of instrumental tracks, another quality that was not typical for albums in 1966. Both “Let’s Go Away for Awhile” and the title song “Pet Sounds” had originally been recorded as backing tracks for existing songs, but were ultimately chosen to be published without vocals. “Let’s Go Away..” is a calm and grown up piece of 1960’s soft jazz with marimba and acoustic guitar holding the piece together under various orchestral instruments, including violins, piano, saxophones, oboe, vibes, a guitar with a coke bottle on the strings. Originally titled “The Old Man And The Baby”, Brian Wilson once stated that the song was “the most satisfying piece of music I’ve ever made”. “Pet Sounds” is more percussion driven, carving out a strong slice of sixties identity for Wilson and the band. It was originally called “Run James Run” and intended to be used as the theme of a James Bond movie.

The second side of the album starts with the two masterpiece songs on Pet Sounds. With the ethereal vocals of the youngest brother Carl Wilson, “God Only Knows” may be the perfect love song with the edge of excellent instrumentation, arrangement and harmonies later in the song. The song was one of the first commercial songs to use the word ‘God’ in its title, a decision that Wilson and Asher agonized over, fearing it would not get airplay as a result. With French horns in the song’s famous introduction and a harpsichord throughout, the song is distinct and unique and a true classic. “I Know There’s An Answer” is another melodic, well-crafted, and entertaining song which is distinctly more upbeat than its predecessor. It contains distinct and entertaining sprinkles of bass harmonica by Tommy Morgan in the verses and later as a lead solo. Influenced by an LSD trip, the song also features a banjo section and intense vocals during the choruses.

Rounding out the album are three more excellent compositions of differing tone and tempo. “Here Today” sounds like it should have been single material. An upbeat love song with more conventional and conservative arrangements, it is song about love always having the potential for heartbreak never too far away. It contains an orchestral instrumental break influenced by composer J.S. Bach. “I Just Wasn’t Made for These Times” is perhaps the most profound statement made by Brian Wilson on this album. The lyrics are about the loss of innocence in growing up and to a lesser extent, his evolving role in the band and all those who thought he was crazy for doing Pet Sounds. The final track, “Caroline, No” extends this longing for innocence and the static, status quo. The song was apparently dedicated to a high school love interest named Carol and was originally titled “Carol, I Know” but morphed to the other title and was actually released as a Brian Wilson single in early 1966, his first and only “solo” work during the groups Capitol years. The song (and album) ends with the sound of an approaching and passing train and a dog furiously barking at it.

Pet Sounds would be at once the apex of the Beach Boy’s artistic and output and the termination of their hit-making years. Wilson attempted to follow it up in 1967 with a project called Smile but it fell apart due to his mental problems and drug use. In that sense, the other band members may been correct about “not messing with the formula”. But what would the world have missed if they had simply stuck to writing more songs about fast cars, good times, and women?

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1966 Images

Part of Classic Rock Review’s celebration of 1966 Albums.

 

Surf's Up by The Beach Boys

Surf’s Up by The Beach Boys

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Surf's Up by The Beach Boys1971 was an exceptionally great year for rock n roll, and we at Classic Rock Review regret that we can not give a proper review to all the great works from that year in the short time we allotted ourselves. However, there is one that we felt we had to “squeeze in” before we’re done, due to it being probably the most unique and unusual album of that year – Surf’s Up by The Beach Boys. This 17th overall album by the group was also sort of a commercial comeback as it reached the Top 30 on both sides of the Atlantic.

To be honest, this album can be very frustrating. It is a mish-mash that, on the one hand, offers deep, rewarding, quality compositions worthy of the talent in this band. But on the other hand, there are some tacky, directed “social commentary” songs that, in many cases, barely rise to the level of musical Public Service Announcements. However, the album does possess a cohesive mood and tone and it does get more consistent and stronger as it goes along. So, in the end, we decided that the good here outweighs the bad and that the album needed to be reviewed.

Some has stated that Surf’s Up defined the band’s tumultuous career better than any other album, and this very well may well be the case. The Beach Boys rode to fame on selling good times, fast cars, surfing, and girls. In the process, the squeezed every bit of the “endless fun” out of California and over-used the term “surf” (which, including this album and title song, is used in some form in the titles of four different albums and eleven different songs). In the end, this was all a nice fantasy, but eventually you have to grow up and face the realities of life.

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Surf’s Up by The Beach Boys
Released: August 30, 1971 (Brother)
Produced by: The Beach Boys
Recorded: Los Angeles between November, 1966 and June, 1971
Side One Side Two
 Don’t Go Near the Water
 Long Promised Road
 Take a Load Off Your Feet
 Disney Girls (1957)
 Student Demonstration Time
Feel Flows
Lookin’ at Tomorrow
A Day In the Life of a Tree
Til I Die
Surf’s Up
Band Musicians
Brian Wilson – Guitars, Keyboards, Percussion, Vocals
Carl Wilson – Guitars, Keyboards, Vocals
Mike Love – Vocals, Saxophone
Al Jardine – Bass, Vocals
Dennis Wilson – Drums, Vocals

The band’s primary songwriter and musical driving force, Brian Wilson, retired from performing live by 1965 due to psychological and anxiety issues. He instead concentrated on studio production for the band. In 1966 he produced the brilliant Pet Sounds, a great departure from the band’s early work that was universally acclaimed.

Later that year, Wilson brought in Van Dyke Parks to collaborate on a follow-up album titled SMiLE, but due to growing artistic turmoil within the band, Brian’s deteriorating mental state, and a prolonged production problem, Parks abandoned the project in 1967 and the album was never released.

A key song from those sessions called “Surf’s Up” was performed live on piano by Brian Wilson for a CBS News special on “modern” music, which caused much curiosity and speculation by fans and critics about the unreleased “SMiLE” material over the next several years. During this time (1967-1970), The Beach Boys released several more albums, but each decreased in popularity, signaling a rapid decline for the band.

Then in 1971, Jack Reiley was brought in as manager, and he master-minded this new album. It was to be built around the (now mythical) song “Surf’s Up”, along with other abandoned out-takes from previous projects and new, politically-orientated songs. Reiley would also co-write a couple of fine songs with Carl Wilson and even performed the lead vocals on the psychedelic Parks/Brian Wilson song “A Day in the Life of a Tree”, after everyone in the band refused to sing it.

The youngest of the three brothers in the band, Carl Wilson had never previously written anything of significance for The Beach Boys, but his co-written contributions of “Long Promised Road” and “Feel Flows” are two the best songs on this album. Further, with Brian all but absent from the (1971) production of this album, Carl stepped up and assumed many of the producer responsibilities, although production credit was ultimately given to simply “The Beach Boys”.

The album’s sound is further diversified by the large number of other songwriting contributors. Al Jardine wrote some of the new “politically conscious” songs, including the opener “Don’t Go Near the Water”, an ironic message from a band that had been advocating the exact opposite for many years. Mike Love reworked a live standard into “Student Demonstration Time” and, although not quite yet an “official” member of the band, Bruce Johnston wrote and sang lead another on the album’s finer songs, the nostalgiac “Disney Girls (1957)” (Johnston was a long time “stand-in” for Brian Wilson on stage).

However, even though his actual participation was minimal, Brian Wilson managed to contribute the album’s two most significant songs, the two that close out Surf’s Up.

First, there was the newly-penned “Til I Die”, a beautiful but haunting ode to helplessness, which contains the tradition “Beach Boys sound” built around the rich harmonies of Carl, Brian, and Mike Love.

Then, of course, there is the climatic title song written five years earlier. A mini-suite in three distinct parts fused together seamlessly. The original, Brian Wilson produced backing track provides a backdrop for new vocals by Carl during the first part, while Brian’s original vocals are used in the middle part. The song’s concluding section was based on another SMiLE-era track, “Children Are the Father of Man”, and features Jardine on lead vocals and Carl and Brian doing harmonies. As a whole, even though the song distinctly changes and the lyrics are a bit thick, the message is undeniable.

Through the rest of the 1970s and well into the 1980s, Brian Wilson virtually dropped out of the music scene while the rest of the band would tour and play some of their greatest hits from the early 60s in what would become known as the “Endless Summer”. Surf’s Up proved to be their last, best effort as, artistically, the Beach Boys would not quite reach this level again.

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1971 Images

Part of Classic Rock Review’s celebration of 1971 albums.