Tucked away in the Blu-Ray/DVD Deluxe Edition of Martin Scorcese’s Living In The Material World, a biopic on Beatle George Harrison, is a 10-track CD made up of acoustic renderings and some early takes of Harrison songs, some of which run through the feature film.
The collection has also been released as a single CD or on vinyl, and is appropriately titled Early Takes Volume 1. The 1 teases at possible subsequent releases in what is presumed to be a series. That’s not guaranteed but has been indicated by Harrison’s widow, Olivia.
This set is nothing short of wonderful. A nice glimpse into George’s world, where he is in the early stages of getting songs down on tape, either purely with acoustic guitar and vocal or with a small backing band. Some of these tunes are so familiar to the Harrison fan that the many instrumental parts we’re all familiar with on songs such as My Sweet Lord, Awaiting On You All and All Things Must Pass, for instance, run through your mind in the background even while listening to the demo versions.
But it’s nice to hear the songs in their raw state. The listener gets a greater appreciation for the singer and the song. And in some cases those bombastic Phil Spector-produced tracks are improved upon in a more primal form.
There are some delightful covers as well, one of Bob Dylan’s Mama You’ve Been On My Mind and the classic early ’60s Everly Brothers ballad Let It Be Me. On Let It Be Me, Harrison delivers simple acoustic guitar accompaniment to his lead and harmony vocal tracks. One of the few times, if ever, Harrison sang a harmony part to himself on tape. The effect is beautiful on this gorgeous melody.
The only other listed musician on the album in Jonathan Clyde on mouth harp for the bluesy Harrison original Woman Don’t You Cry For Me from his solo album 33 1/3. Continue reading Early gems from the quiet Beatle
I came across it in my local library and immediately scooped it up. I’m glad I did. Let It Be Roberta – Roberta Flack Sings The Beatles is a wonderfully inventive, imaginative approach to classic tunes many of us have grown up with. And why wouldn’t it be? This is what Flack does – brings her own special style and creativity to songwriters’ material.
1. El Camino, The Black Keys: No they haven’t lost their way. No, this isn’t a step back or a step to the side. This is infectious, rocking and raw, though not as raw as their early releases, tuneful and driving. They keep moving forward.
true. Spare instrumentation expertly chosen, and a clear, full production by Jay Joyce. Harris, whose voice — gorgeous and penetrating — is one of the best in not only country but contemporary music today, has consistently released quality albums, but this is the best of recent vintage.
When I noticed Lofgren would be playing at the Ridgefield Playhouse in late June, I quickly scooped up tickets for a venue I like a lot and an artist I had never seen in a solo atmosphere. Although an ardent fan, I didn’t know what to expect from a solo show. I figured a couple of acoustic guitars and Lofgren weaving through his most memorable compositions with perhaps help from one of his brothers. It was anything but.
I already owned quite a bit of vinyl and most of her CD releases that have slowly become available during the digital age. I figured I had almost everything on it.
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8. Chamber Music Society, Esperanza Spalding: One of the most unusual and ultimately satisfying collection of songs from a performer/composer who continually surprises and delivers.