Monthly Archives: June 2015

My iPod #520: The Beatles – Hey Bulldog

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If the terms ‘overlooked’ or ‘underrated’ had to be applied to only one Beatles song for some unexplainable reason, I would think that we would all happily agree on “Hey Bulldog” being a strong contender. The most passionate of Beatles fans will already know of the song’s impressive strengths, but it is one that really doesn’t get that worldwide recognition that a lot of other Beatles songs claim. I may as well try and attempt to tell you why it should.

The song was recorded during somewhat of a blank period in The Beatles timeline. After what was arguably their most successful year in 1967, recording Sgt. Pepper and Magical Mystery Tour, the group began work again in early 1968 – not with any intent of making another LP, but to lay down some tracks that could be possibly be the next single. “Lady Madonna” ended up being that track with Harrison’s composition “The Inner Light” as the B-Side; “Hey Bulldog” was left on the shelf until it was chosen to be released on the Yellow Submarine soundtrack album almost a year later.

Led by a funky piano riff, a powerful drum performance by Ringo Starr and Paul McCartney’s bass which seems to have a life of its own, “Hey Bulldog” is a groovy number about someone who feels unappreciated/depressed. Well, that’s how I feel anyway. The random situations and silly phrases that appear in the lyrics may make you think I am looking to deep into it.

The song was noted by the engineer Geoff Emerick as being the last one in which all four members approached recording with a real enthusiasm; you can really tell when listening to it and watching the making of it in the video above. Lennon and McCartney’s spontaneous exchange at the tail-end never fails to raise a smile, and Ringo’s cheeky ‘yeah?’ after the lyric ‘big man’ is sang is priceless.

There are many highlights here; I could go on forever about them, but you should hear the song for yourself.

My iPod #519: The Beatles – Here, There and Everywhere

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Speaking of The Beach Boys and Pet Sounds, “Here, There and Everywhere” was a track by The Beatles that was very much influenced by the sound the former were able to achieve on that album. Left in amazement by the song “God Only Knows“, Paul McCartney was inspired to write something that was able to match the emotional impact and lightness in execution, resulting in a song that would be placed fifth in the tracklisting of Revolver, released in the summer of 1966.

In contrast to the rich and plentiful instrumentation that is present throughout Pet Sounds, “Here, There and Everywhere” incorporates a more minimalistic approach. Apart from the usual band setup are only percussive finger-clicks and smooth ‘oohing’ backing vocals that add to the song’s close and intimate feel.

Paul sings about wanting his partner to be wherever he is, appreciating the small things she does that seem to make his life that bit much better. He promises that he will always stand by her side in return. The track is a tender love song, able to depict that perfect moment one feels when they have found their perfect match.

My iPod #518: The Beach Boys – Here Today

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“Here Today” comes from the wonderful album Pet Sounds, released by The Beach Boys in 1966. Regarded as a timeless classic, the album was seen as a prime example of just how far pop music could be taken during the 60s in terms of its lyrical content and musical arrangement. It was the one where everybody realised that Brian Wilson was practically a compositional genius if they hadn’t done so already, and also influenced many albums to come in the future.

The last song started during the album’s recording, “Here Today” is something of a warning about the unpredictability of love; being in a new relationship may be all fine and dandy initially, but there’s always the chance that it can quickly end in heartbreak and sorrow. Mike Love takes duty of  lead vocal on the track, and does a fine job of it.

Like the rest of the songs on the album “Here Today” utilises a range of instruments to build a lush and ornate sonic landscape, with a piano, Hammond organ, and a variety of horns thrown into the track’s lavish mix. Of course the iconic backing harmonic vocals of the boys play a huge part too, I particularly like those that occur during the choruses. The ascending melodic scales provided by them played simultaneously with the downward melody on the horns makes for an enjoyable listen, but those make up only a few seconds of three minutes of beautifully constructed music.

My iPod #517: The Explosion – Here I Am

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“Here I Am” was the first single by American punk rock band The Explosion, and appeared as the third track on their second album Black Tape. Like the majority of tracks on that album it focuses on a theme of greed and corruption in our society, and here it is the police who are the subject matter. Though the narrator wonders on ‘the golden age’ of yesterday when things weren’t so bad, he soon realises that those times are gone and that the present is what he should really be focusing on.

Being a punk rock song there is nothing but guitars, bass and drums delivered to you, but it’s quite different in that the music is very melodic and addictive to listen to. The lead guitar riff catches your attention straight away – it is buried in the mix a bit on the album version but it is at the forefront of the mix in the video – and lead singer Matt Hock’s raspy vocals are a perfect fit to the song’s elating instrumentation.

This song sound familiar to you? Did you own Tony Hawk’s Underground 2, Burnout 3: Takedown, and Pixar’s Cars on the PlayStation 2? There’s your answer.

My iPod #516: The Beatles – Here Comes the Sun

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Skiving from a tedious Apple meeting on a sunny day in April, George decided to chill at good friend Eric Clapton’s house. The joy of being there and not at work inspired him to pick up an acoustic guitar and write “Here Comes the Sun”, a song that would become one of his, and the group’s, most beloved songs. Only he, Paul, and Ringo play on the song as John was in the hospital recovering from a motorcycle accident, but every Beatles fan will know that not all of them were needed to make sweet music.

As the listener ponders on what they’ve heard during the abrupt ending to “I Want You (She’s So Heavy)“, George’s acoustic guitar peeks into the soundscape like a beam of light amidst the darkness and begins to deliver the song’s delightful introductory riff before being further joined by a soothing Moog synthesizer and orchestra when Harrison starts his vocal take. It is not long after that that Paul and Ringo give the track its driving rhythm and provide a solid backbone to the track’s cheerfulness and optimism. Filled to the brim with sweet melodies provided by almost instrument bar drums, “Here Comes the Sun” is a perfect example of a three-minute wonder. A great pop rock song if ever there was one.

It took much longer than it should have, but it was during the making of Abbey Road that John Lennon and Paul McCartney finally realised that George Harrison was not as below them in terms of songwriting as they had regarded him to be during the years they were together. At long last. The damage had already been done by that point, though it was fitting that on their last recorded material, George really showed what he was about.