Monday, 20 October 2014

The Beatles' Surviving Tv Appearances 1962-2013



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Dear readers, seeing as I'm now knee-deep in Beatles for our planned series of AAA e-books and in line with our recent articles on the surviving TV clips by AAA bands I thought I'd have a rummage through what was left of the fab four. The bad news is that they've been hit by the tape-wipers at the BBC and ITV more than most (for a full list of what The Beatles recorded for the former see Kevin Howlett's book 'The BBC Archives' - hopefully there'll be an equivalent volume on the ITV archives one day) with such gems as Juke Box Jury, an early appearance on the '625 show' and a perhaps less important one on the TV puppet show 'Pops and Lenny' all gone from the archives. The good news is The Beatles still made an awful lot of TV appearances, especially in the first half of their career and most of these are well catered for on DVD (mainly the 'Anthology' documentary series, although the  pioneer - 1984's non-interrupted documentary 'The Early Beatles', which says more in half of one hour than Anthology did in ten) with a smattering only currently available on Youtube (I'm surprised Apple haven't been quicker in taking some of them down, actually, so have a look for them before they're gone!) In fact the Beatles have set a standard of clips here (45) which is unlikely to be beaten across our series (The Beach Boys made 41 and that was in 51 years together, 43 more than the fab four lasted!)

As ever, we've had to make  few qualifications about what we mean by 'existing clips', otherwise this would be a full book in itself. A Beatles TV appearance has to include all four members (so there's no Lennon on 'Not Only But Also' or Ringo on the 'Cilla' show - though the first of these will no doubt make our future 'Lennon' volume). It has to have been made with a broadcast on television in mind (so there's no press interviews, no home movies - though there are loads of them on Youtube if you wish to have a look - and no sign of John Lennon and Bob Dylan being sick in the back of a taxi-cab in 1966, unaware that a passenger is filming their rather queasy looking night out -although we have made honourable exception for the last ever footage taken of the band, which they must surely have known was going to be used in something at some point). We're once again accepting music videos, although there aren't actually that many of them: despite pretty much inventing the idea in 1965 (when there were simply too many demands on The Beatles' time) the mop tops used the method sparingly. As with the last two times we've done this, I'd rather not give you the Yotube links (they'll only get deleted or get me into trouble) but I do have an ever growing Beatles playlist at the Youtube username Alansarchives, so come and give me a follow! Right, with that lot over with, here we go back in 1962...

1) People and Places (TV Appearance 1962)

Granada had no idea they were filming history when they popped into the Cavern Club in August 1962 to catch the sort of things local teenagers were 'into'. They didn't know then that they were filming history, the first moving footage of the band that were about to change their world, as well as the only film of The Beatles at home in their natural habitat or what was either their second or third ever gig with Ringo, who'd joined the band just the week before (George is still sporting the black eye where a Pete Best fan slapped him a few days earlier!) Taped during a quite lunch-time break when fewer fans were around (or troublemakers - you can still someone yell 'where's Pete'?!), it shows a quietly confident band playing one of the two songs they were already renowned for around Liverpool (along with 'Twist and Shout') - a Richie Barrett composition that was one of Lennon's favourites (and was re-recorded to less effect than this by the band for a radio show in 1964). A great confident performance with all the Beatles' heads bopping up and down in rhythm, you wonder why the producer didn't simply scrap the intended programme and show half an hour of this footage. Instead reportedly only a few seconds of it were ever shown, though thank goodness the rest of the footage was kept safe. Anthology episode one screened most of the two minute performance (and boy was that a relief after 45 minutes of talking heads and still pictures), but a slightly longer edit with a concerned Lennon asking if they want to shoot it again is doing the rounds on Youtube

2) The Beatles Come To Town! (News Reel 1963)

The earliest colour footage, meanwhile, comes courtesy of a Pathe Newsreel from shortly after the release of 'She Loves You', which seems amazingly quick for a newsreel to understand just what a big phenomenon this was (to put that in context it's like Pathe filming The Spice Girls a year in and looking pretty silly when the fad finished a month before!) While The Beatles, nominally playing a gig in Manchester although the filming seems to be rather random, don't speak they are their normal charming selves: 'a natural four bubbling over with fun' as they goof around with a giant panda and wave to fans. There is a nice two-song performance of 'She Loves You' and 'Twist and Shout', though, a full year before you can see either of them in colour on the Ed Sullivan show. The film is shown with the 'permission of their generous manager Brian Epstein' by the way - good on you Brian! Oddly none of this footage was ever used in Anthology.

3) On Tour In Dublin (News Reel 1963)

The Beatles only ever played once in Ireland, so for any Irish fans this is a big moment! A clearly jet-lagged Beatles are waylaid outside an airport as they try to get into a car but still manage a bit of banter with a typically hapless local TV presenter (there'll be a lot of these as the list goes on!) For some reason he thinks that George is Irish, which is a source of great hilarity to the others (it turns out his mum has a distant Irish cousin), while an only slightly more serious interview inside later features the band talking about their haircut, the Liverpool sound and how well they get on (a line that ends in a terrific mock-fight!) Lennon is unusually quiet, by the way, with Paul and George doing most of the talking. The best quote is from Paul: 'Well, if we stayed that surprised at everything that happened to us we'd be off our heads all the time, wouldn't we?!' Sadly this clip has never been officially released either and for now remains available solely on Youtube.

4) Late Scene Extra (TV Appearance 1963)

Well, it was inevitable really wasn't it? In 1963 the most famous Liverpudlian outside of The Beatles was Ken Dodd so some bright spark at ITV decided to put them together. The result is rather edgy, with Dodd away in his own world and the Beatles (Lennon especially) keen to bring the programme back to them. The band are oddly serious at times, Lennon recounting how they want to build a 'house on wheels' to take around with them because touring is beginning to get them down. However, while neither sides' humour is a natural fit together, separately there are some fine lines in this often hilarious interview. The famous line is when Ken pretends to become a rock star like The Beatles and asks them for an earthy name ('How about Sod?!' John mischievously replies), as seen in Anthology episode two. However the full clip lasts some ten minutes, includes many more jokes about each other's 'hurr', a Dodd script where John is a 'peasant' George is 'evil' Paul is a 'jester'  and Ringo is a Martian. Unlike half of the world by late 1963, Dodd clearly doesn't know The Beatles that well and gets John and George confused (referring to both of them throughout as 'thingy'). Look out for Ringo taking offence when Ken Dodd asks to join their band and rename it 'Ringo and the Layabouts' (personally I prefer the other suggestion Kenny and the cockroaches!)

5) Ready Steady Go! (TV Appearance 4/10/1963)

The Beatles may be miming and they might have recorded better interviews over the years, but the band's ten minute appearance on ITV's rival to 'Top Of The Pops' is one of my favourite moments on this list. Firstly, the band seem really pleased to be home again after a long time away touring and act as if they're among 'friends', laughing at the antics of Dusty Springfield struggling with a one-off presenter role and regular Keith Fordyce's weird patter. All four Beatles talk in turn and  'Gorgeous George' is in particularly great form ('How did you feel when the door of your airplane suddenly opened?' 'Cold!' 'Is your hair real or is it a wig?' 'It's a real wig!') Next is Ringo's turn ('I wear these rings on my fingers because I can't get them through my nose'), with the fascinating knowledge of the Beatles' shoe sizes: Ringo's a 7, Paul's 8 and 1/2 George 7and 1/2 and John 42 if you're wondering (although I sense the drummer's having us on with that last one!) Paul, meanwhile, talks about sleeping with his eyes open and wishing the crowds wouldn't scream quite so much during their gigs, whilst John gives his silliest reason yet for coming up with the band name ('I just thought of it!') and denies that he's got false teeth (in return he asks to look at Dusty's scabs!) In between The Beatles' old friend and headliner Helen Shapiro then tries to mime to a her new single 'Well, Look Who It Is' while the band tries to make her laugh (except for Ringo, who gets in a sneaky kiss!) Most poignantly though is shots of Paul judging a miming contest of four teeny-boppers dancing to Brenda Lee's 'Jump The Broomstick'. Little does Paul know it but the girl at the end who wins - Melanie Coe - will in two years' time become the runaway whose story in the papers inspires Paul to write the song 'She's Leaving Home', a fact that was only discovered in the 1990s during the researching of Steve Turner's book 'A Hard Day's Write'. Along the way we get mimed performances of 'Twist and Shout' 'I'll Get You' and 'She Loves You, although for once it's the in-between songs bits that are best. Like all the Ready Steady Go footage, this episode was bought up by Dave Clark (of the Dave Clark Five) and rarely gets shown: it's only been out on video once in the late 1980s and wasn't used in Anthology (which was a real shame).

6) Drop In! (Swedish TV Concert 3/11/1963)

Proof that The Beatles really were an international phenomenon, even before America got hold of them, comes when a Swedish interviewer, translating for a local crowd, struggles to get his tonsils around unfamiliar words and phrases like 'Liverpool, England' and 'Ringo Starr'. Playing live without screams for the first time in a while, The Beatles sound a bit rough with some real imbalances in the sound (John is too loud, Paul is too quiet, which rather ruins the harmonies). Still this is one of the earliest live performances of the band we have and it's a good one, too, with the band having fun on the in-between song announcements (in retrospect a clear rehearsal for the forthcoming Royal Variety gig) and gamely part in 'clapping' along to the Swedish show's rather odd theme-tune over the closing credits. The Beatles perform 'She Loves You' 'Twist and Shout' 'I Saw Her Standing There' and 'Long Tall Sally', with extracts from the second and fourth of these included in 'Anthology' episode two.

7) Royal Variety Show (TV Appearance 4/11/1963)

This was the big one. Even Her Majesty turned up, although given the grumpy look on her face she should have given her ticket up to her hipper sister Princess Margaret! At the time there was outrage that a clear flash-in-the-pan should be chosen for such a prestigious event - but the last laugh is one the Beatles, as theirs is the single most talked about performance in 60-off years of the show. Several audio clips and a few TV ones were used in various 'Anthology' releases although for reference the full set list was 'From Me To You' 'Til' There Was You' and 'Twist and Shout'. The joke you might not get is the band's favourite 'American group' who recorded 'Til There Was You' being 'Sophie Tucker' - she was a rather large lady but certainly wasn't a band as Paul mischievously suggests! The show will forever go down in history, though, for one of the greatest jokes in the history of show business: 'Would those of you in the cheaper seats clap your hands? And would the rest of you just rattle your jewellery?!' A nervous Brian Epstein, teased by Lennon that he was going to swear live on stage, is meant to have collapsed with relief that Lennon didn't go any further!

8) Morecambe and Wise Show (TV Appearance 2/12/1963)

The general rule of thumb on the Morecambe and Wise show was that if they liked the guest they would get teased more. The pair of comedians must have really liked The Beatles ('the ones with the short fat hairy heads - get out of that one!') as this show  - early in the careers of both halves  - is full of some great gags including Ringo's re-christening as 'Bongo', Lennon's riposte that 'my dad used to tell me about you' complete with arm gesture that Eric ad libs as 'Only got a little dad have you?' and a terrific finale where the band do the old music hall number 'Moonlight Bay' while Eric dances around in a Beatles wig quoting lines from 'She Loves You' 'Twist and Shout' and, oddly enough, Gerry and the Pacemakers' 'I Like It'. The best extracts from the show were used on both the soundtrack and video of Anthology (Volume One and Episode Two respectively) although the full show has never been released (even on a Morecambe and Wise set, sadly) and runs about 15 minutes in total. Apart from a surprisingly good rendition of 'Moonlight Bay' The Beatles play 'This Boy' 'All My Loving' and 'I Want To Hold Your Hand' , all but the middle of which appeared on 'Anthology One'.

9) It's The Beatles...Live At The Liverpool Empire Theatre (TV Concert 7/12/1963)

How terrific that The Beatles' much anticipated home-coming for Christmas 1963 survived the taper's cull, as its about the closest thing we have to a full Beatles set list without screams in the time before the 'Hollywood Bowl' and 'Shea Stadium' even though little thought has clearly gone into the show (the camera-work is very dodgy, often zooming in from a distance, while the sound is a bit woolly and the captions at the end laughably amateurish. Paperwork referring to a sea of complaints about the show lead to an inquest: it turns out that the director got very little camera-rehearsal and the sheer mount of screams meant no one could hear him when he shouted instructions!)The band are on particular tight form here, with a real swing about the performances that can only come from a band who have been doing these songs for so long they're nearly doing it in their sleep. The band perform 'I Want To Hold Your Hand' 'Money (That's What I Want)' and 'Twist and Shout', with a unique instrumental performance of 'She Loves You' underneath the end credits. This is also the show where John yells at the audience to 'shut up!' during Paul's announcements of the final song. To date none of these clips have ever been seen officially, although weirdly enough it does appear on the official Beatles Apple channel on Youtube, so they clearly own the rights to it - who knows, it might be out on a shiny disc one day soon.

10) Ed Sullivan Show #1 (TV Appearance 9/2/1964)

This is the big one. Hired on the spot unseen and unheard by compere Ed Sullivan after passing through Heathrow Airport the day The Beatles flew back home to hordes of screaming fans, this show went down in history as the moment that American caught Beatlemania. To this day the viewing figures of 73 million people are among the highest ever known (and back then there were less Americans on the planet to watch it) and the date of 9th February 1964 saw the lowest teenage crime rate ever. Ed Sullivan didn't actually like The Beatles much - in fact he doesn't seem to have liked music very much and his awkward stage patter and interaction with The Beatles makes for often uncomfortable viewing (it was revealed after he died that Sullivan was on strong tablets and was usually asleep between takes, with a production assistant hired to give him a prod when needed). The Beatles, however, are unstoppable, performing terrific versions of 'All My Loving' 'Til' There Was You' 'She Loves You' 'I Saw Her Standing There' and 'I Want To Hold Your Hand'. Someone has clearly been having fun with the caption-writer too, adding a 'sorry girls - he's married!' sign under Lennon's name. Huh, as if that's going to deter the groupies... As a bit of trivia, also performing on The Ed Sullivan Show that day was the cast of 'Oliver', including a ridiculously young looking Davy Jones two years before he was a Monkee playing the part of the Artful Dodger (in this context and his later comments that seeing that many people screaming made him want to become a popstar his performance of 'I'd Do Anything' seems entirely apt). Three months after the assassination of JFK, the youngest president ever at that time, and at last the nation's youth had not just one replacement but four - no wonder they screamed! 'All My Loving' and various Ed Sullivan linking pieces made it to 'Anthology' episode three, while the whole uncut show can be bought on DVD.

11) Washington (Concert 11/2/1964)

One of my prize possessions is a bootleg of the entire Washington DC gig, filmed just days after the first 'Ed Sullivan Show' appearance. The show was filmed with Brian Epstein's permission, but on the condition it would be shown on just two days in one particular cinema (he's clearly not thinking big yet) and then junked: thankfully it never was. On the one hand this gig is chaotic: George's microphone doesn't work properly during his big opening number and in order that the large crowds can see everybody lovable Beatles roadie Mal Evans stops the show every three songs for a painfully slow turn of Ringo's drum platform (by hand!) that slows the gig down to a crawl. For all that, this is as good as it gets, with a chance to see The Beatles up close performing not for the cameras (as on the other gig we have complete, 1965's 'Shea Stadium') but for their fans and having a great time while they do it. The full setlist is as follows: 'Roll Over Beethoven' 'From Me To You' 'I Saw Her Standing There' 'This Boy' 'All My Loving' 'I Wanna Be Your Man' 'Please Please Me' 'Til' There Was You' 'She Loves You' 'I Want To Hold Your Hand' 'Twist and Shout' 'Long Tall Sally'. Footage of 'She Loves You' I Saw Her Standing There' and 'Please Please Me' were included in Anthology as part of episode three.

12) Ed Sullivan Show #2 (TV Appearance 16/2/1964)

A week later and word of mouth was so strong that the audience to the show was gate-crashed and pandemonium broke out! This time though the show wasn't held in the usual theatre in New York but in a makeshift one on Miami Beach, as part of the coverage of a much-publicised fight between Cassius Clay (Muhammad Ali) and Sonny Liston (where the boxer and band re-acquainted themselves after a famous publicity shot of Ali holding a frightened looking Ringo aloft had been taken a few months before). Because of the crowd, security was tight and instead of ambling onto the stage The Beatles were told to 'run' to their instruments, which is why they seem to start playing in haste. In truth this second show isn't as good as the first but is still a good 'un with confident performances of 'She Loves You' 'This Boy' 'All My Loving' 'I saw Her Standing There' 'From Me To You' and 'I Want To Hold Your Hand'. None of these clips were used in Anthology, but you can see the whole uncut and increasingly forced show complete on DVD.

13) Ed Sullivan Show #3 (TV Appearance 23/2/1964)

The Beatles were busy the night of show three and didn't appear live but did agree to the use of some film shot earlier in the month. This time the band only did three songs: 'Twist and Shout' 'Please Please Me' and 'I Want To Hold Your Hand' and all in all seem rather muted. That might be because, contrary to the hints given in the introduction, this entire segment was filmed the afternoon of the first Ed Sullivan show when the band don't yet know what superstars they are (by their standards the crowd is rather muted here). The weakest of the four shows, unused on 'Anthology' but the complete show is available on DVD.

14) Big Night Out (TV Appearance 23/2/1964)

Meanwhile, the wonders of pre-recorded television meant that the same night The Beatles could be seen on the latest programme to star brothers Mike and Bernie Winters, both of which appear with Beatle wigs throughout and laugh about the 'other four' holding them back. The Beatles make an explosive entrance through a wall before and have to sit through an insufferably poor sketch about the Winters being given lots of requests to sing Beatles songs before finally getting a chance to do what they came for. The band mime to some unusual songs, some of which were the only time they were ever 'played' on TV: 'Please Mr Postman' 'All My Loving' 'I Wanna Be Your Man' 'Til' There Was You' and 'I Want To Hold Your Hand'. All of these are played under what looks like a 'spoof' of the Ed Sullivan set, although instead of a plain big arrow pointing at the camera this one is painted to look like a Union Jack. Apparently 'Money (That's What I Want)' was taped at the same show but never shown - so they could fit another two minutes of excruciating laughs with Mike and Bernie probably. Throughout the fab four seem strangely happy to be there though: they're clearly still enjoying being in America by this point. A short clip of the opening 'explosion' made it to Anthology but the rest has never been released to date.

15) NME Pollwinners Concert 1964 (26/4/1964)

A scruffy concert by Beatles standards, which starts off with John and Paul singing different verses of 'She Loves You' and goes downhill from there. Perhaps the band were perturbed to be back in their homeland - or perhaps they were nervous of playing alongside some of the other 'big names' on the bill (something the Beatles hardly ever did): Gerry and the Pacemakers, The Rolling Stones and The Who to name just four (why were The Kinks and The Hollies never at these things by the way?!) The Beatles' shortened 15 minute set includes 'She Loves You' 'You Can't Do That' 'Twist and Shout' 'Long Tall Sally' and 'Can't Buy Me Love'. Perhaps because of the rough playing and sound none of these tracks were used in Anthology and to date this concert has never been officially released (unlike the similar poll-winners concert from the following year!)

16) Around The Beatles (TV Special 28/4/1964)

One of the strangest things The Beatles ever did in their television career was this half-concert, half-sketch show for an Easter bank holiday in 1964. The title comes from the fact that The Beatles play in a mock-up 'theatre in the round', of the type used in Tudor England ('The Globe Theatre' is the most famous example). That's quite apt because the opening is a truly strange take-off of Shakespeare's 'A Midsummer's Night Dream' featuring Paul as the hero Pyramus, George (with lamp) as 'Moonshine', Ringo as the 'Lion' and John as the surprisingly fetching  female lead 'Physbe'. For all The Beatles' good intentions and the hysterics coming from the crowd, this scene works better on paper than it ever did on telly and guest star Trevor Peacock is awful in his role as 'Quince'. Fear not, o languid Alan's Album Archives readers though because, verily, this show doth get much better. The 'support acts' are chosen with more care than most Beatles shows and Sounds Incorporated, Cilla and P J Proby are put on strong shows. The Beatles 20-minute mini-concert is the highlight, though, with classic performances of 'Twist and Shout' 'I Wanna Be Your Man' 'Long Tall Sally' 'Roll Over Beethoven' a 'Hits' medley and a brand new song, 'Can't Buy Me Love'. The bigest talking point, though, is what The Beatles do as a closer: a unique cover of Lulu's recent hit single 'Shout!', the only time where all four Beatles swap lines in a single song. The audio of this song was, sensibly, added to Anthology One' although sadly none of the actual video clips were used in the series (again, Dave Clark owns the rights to this set and has only ever let the music-half of it out, once, in the mid 1980s, with the 'Shakespeare' sequence currently only available on Youtube - and goodness knows where they got it from to upload because it hasn't been seen on TV at all since an American repeat broadcast the week after the UK one).

17) The Beatles In Melbourne (News Reel 17/6/1964)

"Well now, isn't this the most exciting evening of your lives?!" Less interesting but still nice to have is a 'mini-concert' taped as part of yet another Pathe News Reel, this time all about the band's adventures down under. This is the famous show when Lennon goes through his 'mock cripple stamp your feet' routine, much to McCartney's incredulity! Unfortunately, this show is incomplete: one of Brian Epstein's little 'deals' meant that the producers could only use six songs even though they filmed the whole show. Luckily an enterprising fan taped the audio of everything, which one kind Youtuber has stuck together in their 'proper' running order, alternating between visuals and sound.  Video clips of 'All My Loving' and 'You Can't Do That' were used in Anthology episode three (yep, they got their dates wrong!), with other clips surviving for 'I Saw Her Standing There' 'She Loves You' 'Can't Buy Me Love' and 'Twist and Shout'. Meanwhile audio exists for 'Til' There Was You' 'Roll Over Beethoven' and 'This Boy'.

18) Live At The Hollywood Bowl (Concert 23/8/1964)

This is, famously, the one Beatles concert you used to be able to buy legally (although it hasn't been seen since 1977 and never did come out on CD). I was always surprised that Apple chose that one to re-release because, while professionally recorded, neither the 1964 or 1965 shows in the arena are amongst the band's best and neither sounded that good (bootleggers, who spend more time on things than record labels, have done a great job at cleaning up the sound, incidentally, and putting the two entire shows back in the right order). The actual footage video of the 1964 shows is similarly rough and wild but still an important historical document, with more shots of the hysterical crowd than most other examples in this list. Sadly the show also seems to be incomplete, but I live in hope that the whole thing might be out on Youtube one day. The songs performed include 'You Can't Do That' 'All My Loving' 'She Loves You' 'The Things We Said Today' 'Roll Over Beethoven' 'Boys' 'A Hard Day's Night' 'Long Tall Sally'. Clips of the second and third of these songs were included on Anthology episode four.

19) Shindig! (TV Appearance ?/1964)

"And now, the entertainment phenomenon of the century!" 'Shindig' was the American equivalent of Britain's 'Ready Steady Go', made with teenagers rather than casual music fans in mind. Perhaps that's why The Beatles decide to go for some of the more recent numbers in their setlist rather than their 'hits', performing fascinating versions of 'Kansas City' (with a great wild guitar solo from George and John having a great time on the backing vocals), a witty 'I'm A Loser' (sung with a grin throughout) and a funky 'Boys'. The middle of these is introduced as a song that 'John and Paul have only just written and has never been heard anywhere before tonight'. Sadly none of this footage has ever been officially shown again and none of it was included in Anthology - shame on you!

20) NME Pollwinners Concert 1965 (11/4/1965)

What a great little line-up there was for the NME Pollwinners of 1965: The Beatles, The Rolling Stones, The Who, The Searchers, The Moody Blues...It's like a 'Who's Who' of Alan's Album Archives! The Beatles' set is particularly interesting, both for the unusual material they didn't often play ('I Feel Fine' 'She's A Woman' 'Baby's In Black' 'Ticket To Ride' and, inevitably, 'Long Tall Sally') and for the fact that it's the last-but-one show The Beatles ever did in their homeland (and the very last is, of course, not for another four years when The Beatles have been playing on the roofs again). Fresh from Shea Stadium, The Beatles turn in a rather out-of-tune gig with yet more sound issues (Ringo sounds like he's playing down a tunnel) and the camera is distressingly far from the action for much of it. But this is still a fun gig, with the only surviving performances of some of these songs and some terrific little moments (such as the grungy finale to 'She's A Woman' which George - absent on the studio take - turns into a 'Cream' style workout and Paul's announcement of 'Baby's In Blackpool'!) 'I Feel Fine' and 'She's A Woman' appeared on episode four of Anthology, while the whole concert - with appearances by the other groups - was made available on one of those semi-official DVDs a few years back.

21) Blackpool Night Out (Concert 1/8/1965)

"And now for Paul McCartney of Liverpool, opportunity knocks!" From here-on in the Beatles' UK TV appearances get less and less. In contrast to the endless plugs for 'With The Beatles' and 'A Hard Day's Night', the band only did one show to promote 'Help!' Blackpool's Night Out seems an odd choice for it too - while admittedly it was a bigger show back then than has been remembered, it was hardly on the level of a 'Royal Variety' or 'Ed Sullivan'. You'll know the show if you've seen any of it though - it's the one where The Beatles play in front of what look like cut-out paper dolls (for reasons best known to Blackpool!) There are some gems in the dialogue tonight: John keeps interrupting Paul's announcements ('Evening Paul!'), Paul gets in a muddle about when 'Ticket To Ride' came out ('The record before...you know!'), Ringo admits to being 'all out of key and nervous' during his own introduction! (he is on both counts, by the way, with some truly awful drumming!) and John declares 'Help!' to be 'our latest release - or electronic noise, depending whose side you're on!' The show's most famous moment, though, is the first ever live performance of 'Yesterday', played by Paul solo against a pre-recorded string part. It's a good, if slightly nervous performance and is good enough to invite Lennon's wicked comment 'Thankyou Ringo - that was wonderful!' The Beatles' segment lasts for only 17 minutes and features rather ramshackle versions of 'I Feel Fine' 'I'm Down!' 'Act Naturally' 'Ticket To Ride' 'Yesterday' 'Help!' All in all, one of the better Beatles TV appearances of 1965. The whole of 'Yesterday' and parts of 'I'm Down!' and 'Ticket To Ride' were featured in Anthology episode four, but the rest of the show hasn't officially been seen since broadcast.

22) Ed Sullivan Show #3 (TV Appearance 14/8/1965)

By 1965 The Beatles were too big even for Ed Sullivan, but Brian Epstein felt some loyalty to the show and promised at least one appearance in 1965. This is it, a show that for some reason was held over till September and was almost as popular as the first three (60% of the eligible American viewers that night watched this show!) By now Ed Sullivan and management are wise to The Beatles' popularity and keep their spot for the end of the show, so that people don't switch off! The Beatles turn in rather raw versions of their biggest songs since the last time they appeared on the show:  'I Feel Fine' 'I'm Down!' 'Act Naturally' 'Help!' 'Ticket To Ride' 'Yesterday' and 'Help!' None of these clips were used in Anthology but the entire show was released along with the other three as the DVD 'The Beatles: The Complete Ed Sullivan Shows'. And a very good watch it is too.

23) Shea Stadium (Concert 15/8/1965)

Little did The Beatles think, when they were playing to a packed house of a hundred at The Cavern Club in 1962, that three years later they'd be playing in a packed baseball stadium to a screaming crowd of 20,000 people (a record that held all the way until 1974 when CSNY beat it at Wembley). Everything about this show is 'big' - the band are so far away from their audience that they're waving their arms and jumping on stage - which looks pretty daft to us seeing the band filmed in close-up but does get across just how massive this gig was. In many ways it's the pinnacle of the band's touring experience - after the fall-out from the 'Beatles bigger than Jesus' thing the following year they were never going to reach these sorts of figures again. As well as the audience there are some great shots of the hysterical audience of teenagers, actually doing pretty well to outwit the security staff and try to get near the stage (shame they got carried off to where they couldn't hear the music, though!) Much fun can be had guessing which girls are going to make a run for it and how far they will get! The Beatles are clearly keen to alter their usual (and by now slightly tired) setlist, with John adding 'Dizzy Miss Lizzy', George adding 'Everybody's Trying To Be My Baby', Ringo adding 'Act Naturally' and Paul his recent B-side 'I'm Down', the set highlight thanks to a ridiculously OTT organ solo that nearly causes the rest of the Beatles to break down from laughter. The complete half-hour setlist was: 'Twist and Shout' 'She's A Woman' 'I Feel Fine' 'Dizzy Miss Lizzy' 'Everybody's Trying To Be My Baby' 'Can't Buy Me Love' 'Baby's In Black' 'Act Naturally' 'A Hard Day's Night' 'Help!' and 'I'm Down!' Anthology episode five opened with a 20 minute discussion of the concert plus five of the songs. However the entire show, put together by the ever resourceful Ed Sullivan as a cinema feature, complete with backstage clips and audience interviews, was screened twice: in America in 1966 and in Britain in 1980, in a whole host of Beatles repeats in the wake of John Lennon's sad death.

24) Top Of The Pops (TV Appearance 1965)

As anyone whose watched any of the recent BBC4 'Top Of The Pops' repeats or compilations will know, the archivists got it wrong: while most things screened on the show post 1977 are of no interest or use whatsoever, most of what went out in the 1960s was fabulous, given the small handful of gems that have survived the cull. Sadly only about a minute's worth of 'Ticket To Ride', one of the bands' two live appearances (the other is 'Paperback Writer') has survived, bizarrely thanks to the fact it also appeared in an episode of Dr Who - episode one of 'The Chase' (ironic because, as all fans of the series will know, Dr Who is the other big BBC programme that was so badly hit by 'wiping'). As fans of the show, The Beatles were naturals to appear in an episode where William Hartnell's first Doctor acquires a 'space-time visualiser' and the original plan, agreed to by Brian Epstein, was to have the band dress up as old men for a 'reunion' concert in 2004. Sadly their commitments that year meant they never had the time so instead they gave permission to a minute's clip of them performing 'Ticket To Ride' - and a fine performance it is too. Apparently 'Yes It Is' was also performed on the show - possibly the only time the Beatles ever played it live - but no video or audio clips have survived, sadly.

25) The Music Of Lennon and McCartney (TV Show 1/11/1965)

I really don't understand the BBC sometimes. There they were dumping 'Juke Box Jury', one of the most watched programmes on their main (or only as it was then) channel and then they keep this odd little programme centring on not The Beatles exactly but lots of bands who'd covered a Beatles song (and even in 1965 there were lots of them - although sadly most of the obvious ones like the Stones and Ella Fitzgerald were too busy to appear!) John and Paul play awkward comperes, not quite sure whether to bathe in all this new-found acceptance or remain their usual irreverent selves and feedback for the show suggests that most viewers were equally confused. Still, it's good fun to see John and Paul doing something a bit different and there are some good jokes in the rather stilted script ('Oh, I thought the Stones wrote that!' giggles Paul as 'I Wanna Be Your Man' plays 'No, we wrote it when we  were only this high!' quips John; 'That's not Peter and Gordon!' says Paul as some ghastly horror plays at the wrong speed  'Oh, I thought you said Pinky and Perky' laughs John). You do, however, worry for John who has to (like most of this programme's guests) walk across a narrow platform balcony without his glasses (you can see the look of concern in Paul's eyes as he walks behind him!) The Beatles themselves appear singing what was then their new single - although interestingly they only perform one side, not 'We Can Work It Out'. The real highlight, though, is a 16-year-old still clearly in awe of her musical surroundings who turns in a rocking version of 'I saw Her Standing There' while navigating the same treacherous balcony (sadly she never did release this cover on record). The full line-up: George Martin and Orchestra 'I Feel Fine', Peter and Gordon 'World Without Love', Lulu 'I Saw Her Standing There', Alan Haven 'A Hard Day's Night', The Beatles 'Day Tripper', Marianne Faithful 'Yesterday', Antonio Vargas 'She Loves You', Dick Rivers 'The Things We said Today' (in French!), Billy J Kramer and Dakotas 'Bad To Me', Esther Phillips 'And I Love...Him!', Cilla Black 'Its For You', The George Martin Orchestra 'Ringo's Theme (This Boy)', Henry Mancini 'If I Fell', Fritz Spiegl 'She Loves You' in the style of Mozart (!) and Peter Sellers 'A Hard Day's Night'. Strangely, none of this 45 minute TV special was used in 'Anthology' and to date it has never been re-broadcast or made available on DVD.

26) Day Tripper (Music Video 1965)

Tired of appearing on dozens of TV channels around the world, The Beatles hit upon a brainwave: why not just perform the song once, in front of the cameras, and then lease this clip all over the world? In one go The Beatles invented the music video and in a way MTV (but don't hold that against them!) For now, though, this revolution in the way music was plugged doesn't seem that spectacular. 'Day Tripper' is simply a straightforward mimed performance against a bland set that could easily have been shot anywhere. Interestingly, George plays off on his own to the left, perched on top of a big rostrum, while John and Paul sing together on the right. This video was later used in episode five of Anthology.

27) We Can Work It Out (Music Video 1965)

Ditto the other side of the single, which was shot a couple of weeks later (suggesting, perhaps, that The Beatles originally intended 'Day Tripper' to be the lone A-side, instead of part of the world's first 'double sided hit single'). This video, played against a similar but not identical set, is most notable for John trying to mime to an organ part that was actually played by Paul on the record. He also gets the giggles when the camera cuts in to him and Paul in close-up, with Lennon 'doing' an 'Eric Morecambe' and breaking the 4th wall to the audience back home! This time George is sitting down at the base of Ringo's rostrum!

28) Live In Munich (Concert 1966)

We're getting to the end of the touring years now and The Beatles are visibly less happy with the whole experience of playing before a screaming crowd. Sadly this German concert isn't that well filmed (was it done by a member of the crowd rather than professionally shot as there's no evidence it was ever shown on TV anywhere?) However it's one of only two shows that were ever filmed on this final Beatles tour and as such is fascinating, albeit offering rather strong proof that the band were right to stop touring when they did. The setlist includes a few surprises as you can see: 'Rock and Roll Music' 'Baby's In Black' 'I Feel Fine' 'Yesterday' (which sounds rather nice played with twin guitars and bass!) 'Nowhere Man' and 'I'm Down!' (in which Macca forgets the opening words and has to be prompted by Lennon, who actually gives him the second verse by mistake - causing them both to giggle when they come to the next bit of the song they've already sung!) A fun show that sadly has never been made available officially, with the exception of a snatch of 'Nowhere Man' which appeared in Anthology episode five.

29) Paperback Writer (Music Video 1966)

Forget Oasis, forget Bruce Springsteen, stuff Madonna and ha ha ha Spice Girls, this video is the height of 'cool'. The Beatles are more prepared for their second music video, filming it outside in London's Chiswick House (a major deal in 1966 before mobile film cameras and electrics and so on!) I had a poster of The Beatles filming this and 'Rain' on my wall for years and it's still the definitive mop top look: long hair, sunglasses and lots of attitude! This clip was premiered on The Ed Sullivan show as a kind of 'apology' from Brian Epstein that he couldn't get time for The Beatles to go there in 1966 along with a special greeting by the band which wasn't shown anywhere else. Both the video and the 'greeting' were featured in Anthology episode five.

30) Rain (Music Video 1966)

Interestingly The Beatles also filmed a video for the single's B-side (did they - or more likely Lennon - intend this as another double A Side? We're on record elsewhere on this site saying that 'Rain' is one of the key Beatle songs of 1966 and an improvement even on this fun, riff-filled A side). This video was shot a few hours earlier the same day in the same location, with lots of shots of a surprisingly sunny English sky (how ironic would that have been if 'rain' had stopped the shooting of 'Rain'?!) and Ringo whalloping a plynth instead of his drums. In case you were wondering, no Lennon doesn't mime his 'backwards' part, which instead plays while the band 'walk out' of the gardens, their back to the camera. This video was also used in Anthology episode five.

31) Nippon Budokan Hall (Concert 1966)

Returning to the last filmed Beatles concert seems like a backwards step - which is why The Beatles stopped touring in the first place. Japan's most famous concert hall (Bob Dylan will make a record there three years later and Neil Young recorded one of his best bootlegged shows there in 1976) plays host to a rather blurry set from a band clearly past their best but gamely carrying on anyway. I'd love to know if the full concert for this exists - to date all we have is a bit of silent 8mm home footage of the band arriving and briefly playing at the show and three clips that were included on Anthology episode five: 'Rock and Roll Music' 'Paperback Writer' and 'Yesterday'. The middle of these three songs is particularly interesting - it was the last Beatles single to be introduced to the set lists before the band gave up touring and is the only video footage of it we've got. The performances, though, aren't great.

32) A Day In The Life (Music Video 1967)

One of the band's more promising ideas for what became 'Sgt Peppers' was to release it as one long video - building on the experience of the last two singles and, hopefully, to be edited together as a TV special one day with the minimal amount of effort required. Sadly that idea was abandoned after 'Strawberry Fields Forever' and 'Penny Lane' were released separately (interesting thought: what happened to the only other song filmed in this period, the highly visual 'When I'm 64'?!) and after 'A Day In The Life' was banned by the BBC this clip was never shown at all, until Anthology episode six (where it's one of the highlights of the entire documentary). The video footage is of the famous day when a 40-piece orchestra walked into 'Abbey Road', improvising their now famous crescendo while wearing a whole lot of 'bald wigs' (McCartney may have 'borrowed' the idea from Brian Wilson, who slightly earlier than this was getting his orchestra to wear fireman's hats for 'Smile'). As well as some typically photogenic Beatles - all with moustaches in this period that need to come back into fashion now - there are a whole hosts of guests and onlookers too (including two Monkees and two Rolling Stones!) The result is a 'trip' and would have caused a sensation had it ever been shown on national television - which might be the main reason behind why it never was. The video ends with a black and white picture of the 'Sgt Peppers' cover which slowly turns into colour over that famous crashing chord.

33) Strawberry Fields Forever (Music Video 1967)

Despite being very much two songs about the band's Liverpool childhoods, the two videos for this double A side feature the band larking around Sevenoaks with Swedish director Peter Goldman (recommended to the band by Hamburg friend Klaus Voormann). The result is a surreal and colourful as the song, full of images straight out of left-field and possibly the only footage we have of Lennon 'tripping' on LSD (his eyes are somewhere else completely!) The most memorable sequences include a reversed film of what was originally Paul leaping out of a tree (only now he seems to be getting 'higher', ho ho), George concocting a home-made harp out of some piano strings and all four Beatles blinking one by one into the camera (although whether to hypnotise us or to reveal they're on some other dimension now is never quite made clear). As a bit of trivia, it was during a break from making these two films that Lennon walked into a local junk shop and bought a Victorian circus poster, the inspiration behind 'Being For The Benefit Of Mr Kite'. Sadly the promo doesn't have the 'false ending' of the single. This video was featured in Anthology episode six.

34) Penny Lane (Music Video 1967)

Like the music, 'Penny Lane' is a little more together - though only just. We see lots of shots of The Beatles going for a walk, talking and - most memorably - riding a fleet of snow white horses (goodness knows how the director persuaded them to do it - at this point Paul was the only Beatle who'd learnt to ride!) However, this amongst the most visual of all Beatle songs, is treated suitably surreal - the band don't often sing the words and when they do they're deliberately askew of where the lines of the song actually are; also there's no fireman with an hour glass, fish and chip shop or a barber shaving another customer for instance. This video was featured in Anthology episode six.

35) One World Telethon (TV Appearance 25/6/1967) 

More trivia for you now - which Beatles clip was seen by the biggest amount of people on first broadcast? Easy! 'Our World' was a night celebrating on the one hand 'peace' (yeah right, tell that to soldiers in Vietnam and Korea!) and on the other hand new technology that meant hat tv stations around the globe could now show the same programme if they wanted to. The satellites were the real stars of the night, enabling viewers in the comfort of their own homes to see ancient tribes in their natural habitat and artwork by some long dead European painters. The Beatles, recognised the world over, were a natural for the British segment, which duly became one of the most revered and celebrated moments of the night. The band were tentatively asked to come up with a song for the event that was simple enough for anyone from any country to understand and, just like the old days, John and Paul tried to compete for the coveted spot. In the end Lennon won easily, the very of-it's-time message of 'All You Need Is Love' eclipsing Macca's contribution (the rather silly 'Altogether Now', later booted off onto the Yellow Submarine film soundtrack). Bedaubed in flowers, with signs demonstrating the title in five languages and with several famous guest stars at their feet (look out for Graham Nash, then still just about a Hollie, and Paul's brother Mike) The Beatles put in a confident display. The 'idea' behind the video was to be 'present when The Beatles record their latest number at Abbey Road' - naturally, though, that would have been too difficult and the band only got one shot, so instead George Martin's opening playback bit is 'false' and only Lennon's lead vocal (which he sings alongside one recorded earlier) is actually live. The Beatles may have written and recorded better songs, but you cannot underestimate the importance of 'Our World' to their TV canon and it's pretty much the last time you see a clip of The Beatles where all four truly believe in what they're doing. This video was featured in Anthology episode seven, although we're still waiting for the whole of the 'Our World' broadcast to be released: it would make for fascinating (if occasionally boring) viewing for anyone interested in what the world was like in the colourful year of 1967.

36) Hello Goodbye (Music Video 1967)

Without much of a message to give, 'Hello Goodbye' fell a bit flat as a follow-up (although the bootlegged backing track is terrific and completely changes the way I used to view this song). This video of the band in their Sgt Pepper costumes simply tries too hard and none of the band seem to be enjoying themselves too much. Even a coda with some dancing girls (and John and Paul linking arms as they do a twirl) can't liven up one of the band's lesser TV ideas. Actually it could have been worse: the finished promo is actually edited together from three separate videos (one of the band in their old grey suits - the last time they wore them incidentally - another in their Sgt Peppers costumes and another surrounded by dancing girls). Interestingly, Lennon doesn't have his glasses on (unlike the last four entries on this list and most of the remaining entries). A worldwide  ban on miming meant a lot of countries didn't show this clip anyway, although wouldn't you know it - The Ed Sullivan Show was the first to screen it. The video, along with Ed Sullivan's linking piece, was featured in Anthology episode seven.

37) Lady Madonna (Music Video 1968)

Sadly the least seen Beatles music video is arguably the most interesting - with no other ideas and a new song of John's the band fancied recording, they simply set a few cameras up in Abbey Road and tries to forget about them, recording as normal. The song they were actually playing was 'Hey Bulldog', a song later released on 'Yellow Submarine' in January 1969 and an enterprising Beatlefan has stuck as much of the song back together as he can based on what words John and Paul are actually singing. For my money it's a better song than 'Lady Madonna' anyway, although either version of the video works quite well as a kind of 'fly on the wall' documentary (the band seem to have enjoyed the experience and it may be this video that let to 'Let It be' the following year). The original 'Lady Madonna' version was featured in Anthology episode seven.

38) Frost On Sunday (TV Appearance 8/9/1968)

Another bit of trivia for you now - did you know that David Frost's TV theme (officially known as 'By George! It's David Frost') was written by none other than George Martin? That might be why Lennon especially takes such a glee in vamping up the signature tune as the 'world's greatest house band' make their only official TV appearance of 1968. This is the only time you can see the whole band perform 'Hey Jude' and is the only time any Beatle ever performed B-side 'Revolution' and so for that reason is rather special. These are good performances too, with live vocals set against pre-recorded backing tapes in both cases and reveal how together The Beatles could sometimes be even this late into their career. Both clips appear in Anthology episode eight.

39) All My Loving (Interview 1968)

Documentary maker Tony Palmer figures that rock music had already been through so many changes that it deserved its own documentary series. Naturally his first port of call were The Beatles, where Lennon was an especially enthusiastic backer of the idea (even loaning Palmer his address book, allegedly). The  Beatles only appear in the 'pilot' named above and only a few old clips appear in the actual series (which was titled 'All You Need Is Love'). Alongside live appearance by The Who, Pink Floyd, Cream and the Jimi Hendrix Experience, The Beatles pop up in various interview clips (most notably John and Paul talking about Apple), although most fans look on this DVD most affectionately for the one and only surviving video interview with George Harrison's mother! Released on DVD both separately and as part of the 'All You Need Is Love' box set.

40) Something (Music Video 1969)

Nothing sums up the split at the heart of The Beatles better than their last music video (of the 1960s anyway - see below!) All four Beatles walk with their girlfriends/wives, but all four are now separate, filmed in their own back gardens rather than together as before. While the idea is fitting (George wrote this song for wife Patti after all), something about this video doesn't quite work: it's a little too static by fab four standards and runs out of ideas long before the end. It's also a shame they couldn't get together one last time. This video was featured in Anthology episode eight.

41) Final Photo Session (Linda McCartney, 22/8/1969)

However the actual last bit of moving footage of The Beatles does feature them all together. Unfortunately it only lasts 90 seconds and was very much a 'secondary project', shot hastily by the now Linda McCartney alongside the last official Beatles photo shoot (rather sweetly, it's not for some big faceless corporation but for the Beatles Book magazine). Linda had a right to feel upset that she wasn't in the video when Yoko was (Lennon's condition of appearing in it at all) but used her time wisely, coming up with a few grainy seconds of The Beatles posing one last time and lots of footage of her hubby sweetly waving to her. Sniff, it's actually all very moving! This footage was also used in Anthology episode eight, although unusually no one comments where it came from!

42) Free As A Bird (Music Video 1995)

That's all for The Beatles' lifetime but there's still a handful of leftovers to go through. The video is moving for anyone who knows enough about The Beatles story to link up all the images and work out what songs each bit links up to (some are weirder than others:  the car crash is from 'A Day In The Life' if you're wondering and even the film-makers didn't understand why Ringo insisted on putting an elephant in one scene!)The highlights are sudden cameos from two blue meanies (added much later as an afterthought to fill up a rather dull sequence) and Pauk's English sheepdog, Martha ('My Dear'). Apparently the original plan was to see the bird in flight, but as no one could agree on what a Beatles bird should look like (what's wrong with a dove, the bird of peace?) they simply showed a 'bird's eye view' of The Beatles' story instead. Apparently George offered to play the part of the ukulele player heard at the end (a part he played on the record too) but go turned down by his own camera crew (the nerve!) The result is, a bit like the song, a little corny and not as engaging as it ought to be, but could have been a lot worse. Naturally, this video features prominently in Anthology where it appears right at the very end of episode eight.

43) Real Love (Music Video 1996)

'Real Love' was directed by Kevin Godley (once of fellow AAA band 10cc) and there's a terrific bootleg clip of Kevin singing the vocal (EMI wouldn't let the full tape out of their sight in case it got bootlegged, so gave him the backing track to work to instead!) The result is a nice video that's slightly more engaging than the first (again, a bit like the songs themselves), with shots of contemporary Beatles as well as a history lesson. There are actually two videos: one (screened in America and not seen since) opens with a 'strawberry' (as in 'Fields Forever'); the other with a white piano (as featured in the Anthology box set but sadly never in the actual series which was off air by the time this single came out). It's nice to see footage of the band working together once more, although it really hits home in this video that Lennon isn't around to take part.

44) Within You, Without You-Tomorrow Never Knows (Music Video 2006)

I'm not sure whether this counts or not - there's technically no new footage here and only two of The Beatles were left to give their blessing to the project. However I've included it here partly because the film-makers sensibly used only mash-up from the 'Love' album that came anywhere close to matching the originals and partly because it so successfully invokes the psychedelic experience (the two songs it combines date from 1966 and 1967). Multiple Georges sing while multiple John, Paul and Ringos play, to a bunch of graphics that looks much like 'Yellow Submarine' would if it was commissioned now (the same goes - if you can stomach it - for the nine minute video of Oasis' 'All Around The World') Sadly a brief screening on a Top Of The Pops compilation was the only place I ever saw it (apart from Youtube) and to date it hasn't been released officially (not even on the 'Love' Cirque De Soliel documentary DVD release and let's face it - there aren't many other reasons worth buying it for!)

45) Words Of Love (Music Video 2013)


Sadly only two Beatles were around in 2013 to promote the 50-years-of-copyright extending 'Live at the BBC Volume Two' and both Paul and Ringo had better things to do. Luckily, though, the wonders of modern technology meant that The Beatles themselves could promote the new release thanks to recycling existing newsclips of The Beatles which showed one and for all how much bigger they were than any modern fad (Justin Bieber will only be counted as popular when he gets half as big a crowd as this turning out for him!) In a sort of real-life version of 'A Hard Dat's Night' The Beatles do a lot of  running/jumping/sitting in cars and areoplanes, while meeting the world celebrities (including the Queen, in a shot not taken from the Royal Variety Show because she's looking too happy!) Throughout the band are in black-and-white but in a clever idea a box of coloured confetti floats out of the back of the Beatle-mobile and gradually turns the screen to colour. It's a clever update on an old idea about The Beatles coming to life again in front of our eyes in a more modern world and would have been a lot more fitting than most of the gimmicks used in 'Anthology'. There's also a clever ending where the camera pulls back to reveal that The Beatles have brought 'words of love' across the whole of the British Isles - which presumably means they didn't travel by the bus or train routes I use! Sadly, though, this song didn't get much of a screening - the UK premiere on BBC One's 'The One Show' was cut short so they could fit in more infantile links from the inane Chris Evans and to date the only place most of the world has seen it has been from Apple's official Youtube video. 

And that's that for another issue of News, Views and Music. Join us for more moptops next week!


A now complete list of Beatles links available at this website:
'Rubber Soul' (1965) http://www.alansalbumarchives.blogspot.co.uk/2014/03/the-beatles-rubber-soul-1965-album.html

'Revolver' (1966)
http://alansalbumarchives.blogspot.co.uk/2008/07/review-6-beatles-revolver-1966.html
'Sgt Pepper's Lonely Heart's Club Band' (1967) http://alansalbumarchives.blogspot.co.uk/2014/09/the-beatles-sgt-peppers-lonely-hearts.html

'Magical Mystery Tour' (1967)
http://alansalbumarchives.blogspot.co.uk/2009/10/news-views-and-music-issue-45-beatles.html

'The Beatles' aka 'The White Album' (1968)
http://alansalbumarchives.blogspot.co.uk/2008/07/review-25-beatles-beatles-aka-white.html
'Yellow Submarine' (1969) http://alansalbumarchives.blogspot.com/2017/01/the-beatles-yellow-submarine-1969.html
The Best Unreleased Beatles Recordings http://alansalbumarchives.blogspot.co.uk/2014/06/what-we-want-to-see-on-beatles.html

A Complete AAA Guide To The Beatles Cartoons http://alansalbumarchives.blogspot.co.uk/2014/10/an-aaa-guide-to-beatles-cartoons.html
The Beatles: Surviving TV Appearances http://alansalbumarchives.blogspot.co.uk/2014/10/the-beatles-surviving-tv-appearances.html
A 'Bite' Of Beatles Label 'Apple' http://alansalbumarchives.blogspot.co.uk/2014/10/a-bite-of-apple.html
The Beatles: Non-Album Songs Part One: 1958-63 http://alansalbumarchives.blogspot.co.uk/2014/11/the-beatles-non-album-songs-part-one.html
 The Beatles: Non-Album Songs Part Two: 1964-67 http://alansalbumarchives.blogspot.co.uk/2014/11/the-beatles-non-album-songs-part-2-1964.html
The Beatles: Non-Album Songs Part Three: 1968-96 http://alansalbumarchives.blogspot.co.uk/2014/11/the-beatles-non-album-songs-part-three.html
The Beatles: Compilations/Live Albums/Rarities Sets Part One: 1962-74 http://alansalbumarchives.blogspot.co.uk/2014/11/the-beatles-compilations-live-sets-and.html
The Beatles: Compilations/Live Albums/Rarities Sets Part Two: 1976-2013 http://alansalbumarchives.blogspot.co.uk/2014/12/the-beatles-compilations-live-albums.html
Beatles Bonuses: The Songs John and Paul Gave Away To The World/To Ringo! http://alansalbumarchives.blogspot.co.uk/2014/12/beatle-bonuses-songs-given-awayringos.html

Essay: The Ways In Which The Beatles Changed The World For The Better https://alansalbumarchives.blogspot.co.uk/2017/11/the-beatles-essay-ways-fab-four-changed.html
Five Landmark Concerts and Three Key Cover Versions https://alansalbumarchives.blogspot.co.uk/2018/01/the-beatles-five-landmark-concerts-and.html

Monday, 13 October 2014

George Harrison "Brainwashed" (2002)


'Unknown Delight - The Alan's Album Archives Guide To The Music Of George Harrison' is available to buy now by clicking here!






George Harrison "Brainwashed" (2001)

Any Road/P2 Vatican Blues (Last Saturday Night)/Pisces Fish/Looking For My Life/Rising Sun/Marwa Blues//Stuck Inside A Cloud/Run So Far/Never Get Over You/Between The Devil and the Deep Blue Sea/Rocking Chair In Hawaii/Brainwashed

"Music is not just music, it is love itself. Music does not just exist, it is existence itself. Music does not just know, it is knowledge itself. Reviews do not just review, it is writing itself. How to know Max The Singing Dog, page 130" (Alan's Album Archives Manual 40th edition printed 3002)

"They brainwash you while you in your childhood and throughout your lives, they brainwash you while you're reading reviews on Alan's Album Archives, They brainwashed Alan's Album Archives into calling this a job, they even got my grandma before she turned into Max The Dog" (Alan's Album Archives Expose: What Really Went On Under Max The Dog's Hat, printed 3502)

Give me plenty of that guitar...

'Brainwashed' will forever be associated with George Harrison's sad death at the age of 59 from throat cancer. Released a year to the day since his sad end, 'Brainwashed' became the second ever posthumous Beatles album (following John Lennon's 1982 album 'Milk and Honey'), by rights it should be the best-selling album in George's back catalogue - released to a big media blitz and co-inciding with a deeply moving tribute concert featuring Paul, Ringo and Eric Clapton, it seemed that George's time had come at last. Those who heard this album before rushing out and buying it though were largely surprised:  while few reviews were bad or even indifferent to this album, it just doesn't seem to be what people were expecting it to be. Naturally, assumed by many fans to be a last will, testament and farewell from a musician and man who gave so much - especially after learning that George had been poorly for a couple of years and with media reports of the feverish work George put into making this album before he died still very recent. However George's more languid pace of work in the second half of his career meant that 'Brainwashed' is actually an album with one of the longest gestation periods of them all in the AAA (some 14 years from 1988 to 2002). By rights it's the album that should have come out after 'Cloud Nine' in 1987 had life, court cases, Beatle reunions and The Travelling Wilburys not got in the way (this is essentially the record George started mentioning as far back as 1989, when it was titled 'Portrait Of A Leg End' and came with a picture of a foot! He later joked in 2000 when pressed about his next LP that it would be called 'The World Is Doomed - Part One'!) Most of the people who bought 'Brainwashed' wanted this to be more than just another very-good-but-not-great George Harrison album; they wanted a record that would help soothe their tears and help them cope with life without George. After all, Harrison wrote about death more than perhaps anyone else in popular music (or at least natural death and what might happen next - I guess a few heavy metal rockers beat him in terms of describing murders and things!) and his 'All Things Must Pass' album - undergoing a renaissance in fortunes thanks to a timely CD re-issue in the Millennium - is one of the greatest song cycles about death and re-birth ever written (starting with the title track). People needed comfort. People needed hope. People needed to know George was at peace. People needed another 'All Things Must Pass'. Instead what they got was an album that finds George more troubled and unsure of himself than perhaps at any other time in his career: 'Wish I could have the answer but don't even have the cure' he sings apologetically at one stage, as if he knows how the impression this album is going to give.

While many of the songs do date from later when George was ill (the title track and 'Marwa Blues' for two), an awful lot of these songs date from the late 1980s and early 1990s when George was feeling a little lost. The surprise hit singles and hit album of 1987 had temporarily made George a superstar again, a situation he had fought tooth and nail to escape the first time and didn't want to return to. While many think of George as the most 'mystical' of The Beatles, he was in many ways also the most grounded  (just listen to 'Taxman'!) and the one most likely to start doubting himself when told over and over again how popular he was. A hit album with The Travelling Wilburys only escalated things (unsure of how it would do Warner Brothers spent a lot of time publicising their first album as well, although second album 'volume three' was a far more understated affair). However, this time George didn't even get to enjoy the riches of his success: a long-standing court case against business partner and longterm friend Denis O'Brien over money that he had been taking from their company Handmade Films was finally settled in George's favour but exhausted him more than he perhaps let on to the media and the betrayal hit him hard. Reports vary, but George's acceptance of 'The Beatles Anthology' (a project he'd been veto-ing on and off since 1972) in the mid-1990s may only have been to recover the losses from this period and Harrison wasn't quite as enthusiastic over the project as Paul and Ringo (although George actually gives better interviews than either).  The awful night at the end of 1999 when intruder Michael Abram broke into the Harrison's Friar Park house and stabbed George, aiming to kill him (he would have succeeded if wife Olivia hadn't hit him over the head with a table-lamp) was a violent end to a rather troubled decade (asked  by the press if he was an intruder, George quipped 'Well, I don't think he was auditioning for the Travelling Wilburys!') Understandably, there are lots of lyrical references to things going wrong, to being in a 'mess', to being hoodwinked, to being 'brainwashed' : 'There's no way out, can only run so far' the album sighs as if trapped in from every side. Had George resurrected 'Not Guilty' (his song of betrayal and bitterness from the 'White Album' and released on 'Anthology Three') a third time I wouldn't have been surprised.

Religion was usually George's escape and source of inspiration in troubled times and there indeed more 'Gods' per line than any Harrison record since 'Extra Texture' (1975). However, this isn't the certain album of a devout believer the way that 'My Sweet Lord' and 'The Lord Loves The One That Loves The Lord' were - many of these songs have the narrator as lost and alone, 'stuck', crying out for direction and purpose and wondering perhaps for the first time if there really is anyone up there ('Vatican P2 Blues' is an attack on the Christian Church rather than religion per se, but it's the first song knocking any form of religion George had made and sounds oddly out of place in the context of all his other songs). Could it be that George also had the stabbing incident in the back of his mind (and, possibly, Lennon's 19 years earlier) when he wrote some of these songs, when - in a mirror of The Bible - he'd chanted and prayed to God to be saved only for his attacker to keep on coming. You would have thought, after all those wonderful sure songs, that George would face death happier than most other people, but till 1999 (shortly before the diagnosis) death was an abstract concept; you can forgive George for being more ruffled about his attitude to the next life when he came so close to ending up there before his time. However that makes for an interesting dialogue in his songs we've never heard before and one that would have been fascinating to hear work itself out across the next couple of albums: was this a temporary blip, forced upon George by circumstances that would have troubled anyone? Or would this have been the start of something deeper and more pressing? Compared back to back with the confident, almost aggressive 'Cloud Nine' or the Travelling Wilburys albums (admittedly made purely for fun rather than deep messages) the difference is one of the biggest across any two AAA albums, a man falling from 'Cloud Nine' to the depths of hell. While 'Brainwashed' noticeably ends in a prayer asking God to 'lead us from this mess' (suggesting that Harrison hasn't lost all his faith just yet), George also seems to point the finger that this mess could all have been solved easily in the first place and for the first time has doubts about a faith he's been promoting in song and in his actions for the better part of 35 years.

Doubt is the album's big theme, but there are others. Remember when we said that George was the most 'mystical' and yet the most 'grounded' of the Beatles? That could apply to any of George's albums (even 'The White Album' damned us to hell with 'Piggies' and saved our souls in 'Long Long Long' a mere 12 songs apart), but especially to this one. 'Duality' is a big theme for George, something which he explores head on in 'Pisces Fish' for the first time. One of several rather good AAA songs covering astrology (Stephen Stills' 'Fishes and Scorpions' and The Beach Boys' 'Funky Pretty' are two others), it deals with the fact that Pisceans tend to be the most varied sign in the zodiac: split between great poets painters and musicians and murderers and politicians, most people who have this sign say they are 'pulled in two', 'one half going where the other half's just been' as George puts in the song (Johnny Cash is the perfect embodiment of a Piscean, singing about murder, taking drugs and genuinely saving people's souls with spirituals his whole life through). First wife Patti Boyd's book (titled 'Wonderful Today' after a song Eric Clapton wrote for her) was published in 2007 six years after George's death (and five after this album) but the book's most illuminating passage sheds a lot of light on this. 'Where is George's hand today?' friends would ask when they popped round to Friar Park. 'Is it in the prayer bag? Or the cocaine bag?' Or, as the song's jolly cover song puts, forever trapped 'Between The Devil and the Deep Blue Sea'. However at least this time the album ends with the best closure possible: George's harsh dismissive political side sits side by side with his loving, giving spiritual one on the title track, which is like a biblical fight between God and the Devil transformed into song, ending in a spiritual prayer. Even without George's death this would have been a key song: for the first time since 'All Things Must Pass' he's found out how to combine the two halves of his soul on the same song - the sky should have been the limit for his writing from here-on in if only that had been meant to be.

One other, lesser theme across this album is one of water. We've already discussed 'The Devil and the Deep Blue Sea'. 'Any Road' adds the fact the narrator has been 'travelling deep beneath the waves' in his quest to get answers. 'Pisces Fish' has George physically in the water as all life carries on past him, the 'river running through my soul'. Even 'Marwa Blue' sounds like a stretch of water somewhere (although its actually the name of a fragrant plant!) What does the water signify then? Is it the 'spiritual path' of enlightenment, a holy river George has been trying to get people to 'jump into' if you will? (It might not be coincidence that the 'fish' sign for Pisces is also that for Christianity - or then again maybe not given the lyrics to 'Vatican Blues'!) Is it a sign of George wanting spiritual via baptism (if so has he been listening to too many Pete Townshend records?!) Or does the water represent the unknowable, the life force that flows within and without us all and takes us to the next level? Or had George recently bought a fish tank and had water on the brain for a while?! Either way, it's there, sort of.

So far we haven't talked much about the recording or the actual 'sound' of this album. George is in good voice throughout - something that isn't always true of his other solo albums. While some tracks give away their disparate production values ('Any Road' was written in 1987 during breaks in the making of the music video for 'This Is Love'; 'Devil' was taped in 1992 and 'Run So Far' started out life as a song gifted to Clapton in 1989 -it's only speculation but I'd hazard a guess that 'Never Get Over You' is 1980s too: its sound very like the slide-guitar-with-harmonised-choir sound of 'Gone Troppo'), most of this album hangs together surprisingly well. George left copious notes for what he wanted on the album and in what order, luckily finishing at least a guide vocal and guitar part for each song he wanted on the record. Dhani and Jeff still had a lot to do though: a lot of overdubbing and instrument adding which they mainly did between themselves (Dhani is a fine guitarist, like his dad) or with a few of George's old friends like drummer Jim Keltner (who'd work with George since 1970), percussionist Ray Cooper (ditto 1973), Herbie Flowers (1979), guitarist Joe Brown (1983), and vocalist Sam Brown (also 1983), resisting the temptation to make this some big grand superstar statement and surrounding George with all the sounds that suited him best (although it's a shame that Bob Dylan and Tom Petty aren't here somewhere). By the way, is it just my ears or can I hear Ringo on the chorus of the title track? If so then he's un-credited - and it seems odd that his name would be left off the long list of people who did appear on the song. I'm convinced that's him though. (If not it seems odd that he isn't here among this cast of friends, especially as one of the last things George did have published before his death was gift the guitar part on Ringo's 'The King Of Broken Hearts' ('Vertical Man' 1998), although then again Ringo's last appearance on a George album was Lennon tribute 'All Those Years Ago' in 1981 (on the album 'Somewhere In England'). The same goes for Eric Clapton, who plays a huge role in forming the 'Concert For George' tribute the same week this album was out (a very successful and moving event it is too - far better than all the Yoko-sponsored Lennon tributes down the years that somehow missed the point). The temptation to embellish 'Brainwashed' with extra bits and pieces it didn't need must have been huge with record company pressure breathing down the necks of Jeff and Dhani, who had to stay professional despite being in mourning. To be honest I was very worried when I heard that this album still had to be 'finished' in George's absence: Jeff Lynne's productions have been a bit hit and miss down the years (even the Travelling Wilburys records are gloss over substance a lot of the time) and Dhani was then an unknown and untested 24-year-old with the weight of expectation of his family as well as Beatle fans around the world weighing on his shoulders. I needn't have worried: the best thing about 'Brainwashed' is that, despite the bitty recording dates and the unfinished state George's legacy was left in, both men did a fabulous song: from the first note to the last 'Brainwashed' sounds utterly like a 'George Harrison' album - maybe even the archetypal George Harrison album in terms of vocals, guitar and textures - and a fitting tribute to their father and friend. You can tell how close the trio must have been in how well everything fits together just the way George 'would' have done it.

However, one factor not quite playing ball was EMI. Back on the label after years at Warner Brothers for what, sadly, turned into a one-off album deal George's old pay-masters seem to have treated this album badly from the start. Even after the album came out, with the packaging that George insisted on, they decided it wasn't selling as many copies as they expected and pulled it from the shops, issuing a 'replacement' cover of a happy smiling George Harrison that didn't fit the album mood at all. The cover that George wanted - a bunch of mannequins sat round a television - is very much in keeping with the album (especially the title track) and a much more interesting idea than any Harrison cover since 'Somewhere In England'. One last case of 'brainwashing' people into buying Beatle product, it shows how much had shifted in the world's perceptions of The Beatles  since their second heyday with 'Anthology' five odd years before (and who hadn't been this badly packaged since the awful compilation albums of the 1970s and 80s). By replacing something that told the 'truth' about modern society (as George saw it - no, heck - scratch that, I caught the end of 'The Voice' last night and it was awful, make that simply 'the truth', television does brainwash people pure and simple) with something 'fake' that meant nothing and simply wanted people to part from their cash under false pretences, EMI unwittingly fell into the trap George pleads with us all to avoid on this record. As the song says, nothing is worse than ignorance. After eleven similarly troubled years with Warner Brothers, George really did deserve better from the label who made billions out of his early work on the last product he could ever have given them.

So, then, 'Brainwashed' is a troubled record from a troubled period. The good news is that, unlike the last times George found himself low and lacking in inspiration ('Dark Horse' 1974 through to 'Thirty Three and A Third' in 1976 and 'Gone Troppo' in 1983), the gap between albums and the sensitive handling of the project after his death by son Dhani and friend Jeff Lynne means that there are less 'filler' songs here: only 'The Devil and the Deep Blue Sea', rescued from a 1998 TV appearance with a typically twinkly artificial piano part from host Jools Holland, sounds like it doesn't deserve a place on the album (what's wrong with reviving 'Horse To The Water' - also taped for a Jools Holland project, this time a various artists album in 2000 that's much better and more suitable than this), everything else is at least trying to offer something new. Indeed, had George lived to complete it (and not fallen ill) While not every song is an out and out classic ('Rocking Chair In Hawaii' is an old song sensibly left off 'Cloud Nine'), there's a lot of thought going into these songs both before and after George died. Few Harrison songs are as instantly powerful as 'Stuck Inside A Cloud', few as joyous as 'Any Road' and few tracks reflect the essence of George quite as successfully as the gorgeous  'Pisces Fish' or the delightful closing title track. Even 'Marwa Blues', a guitar-based instrumental, is one of the most perfect tracks Harrison ever recorded rather than the usual 'filler' of George's instrumentals (like 'Greece' and 'Wilbury Twist'), the one moment on this album that sounds like someone who knows his time is up. Like every George album, there is always something to love and there's more to love here than there's been for a while I actually prefer it, song for song, to the all-singing, all-dancing, high-charting 'Cloud Nine' as 'Brainwashed' contains much more George and far less identikit pop and - thank goodness - the 1980s synthesisers are long gone despite the dating of some of these songs and the fact that many of the same people worked on it. I'm intrigued, actually, where 'Brainwashed' might have sat in George's canon had his untimely death not overshadowed it: my guess is it would have been a fan favourite, selling ok but not well five years on from Anthology and getting respectably if slightly disinterested reviews. 'Brainwashed' deserves to be one of those albums you forget about after buying but re-discover a few years down the line when you 'need' to find it: when you too are as troubled and anguished as the narrator. As an album greeted with the fanfare of 'his last work ever' and 'a worthy tribute' , the unconfident 'Brainwashed' was always going to shrink away from such a spotlight. Hard as they tried to 'brainwash' us into thinking this was George's final, glorious farewell, 'Brainwashed' is another mixed but generally impressive record about life, not death: one that in typical George style is sometimes painful to hear but always told the truth as he saw it whenever and wherever he could. 'Brainwashed' is important for so many other reasons than just being the last words of the 'quiet Beatle': it may well be the record that got closest to the 'real' George in all his self-doubting, mistake-making, contradictory and very human greatness. There'll never be his like again.

Who'd have thought, when George was busy filming his video to 'This Is Love' in 1987, that the song he kept hurriedly writing on scraps of paper wouldn't appear for another 15 years - or that he wouldn't be around to see it? 'Any Road' is a song that had taken almost mythological status amongst fans by that time: he even performed during what turned out to be his last major interview, for VH-1 in 1997, on a ukulele! (Harrison plays it on a banjolele on the album, which as the name suggests is a hybrid between a ukulele and a four-string banjo).  The song may not be the greatest George ever wrote but it serves as a fine upbeat opening and is very much in keeping with all of George's past works - much so than the later songs on this album. Basically, this is a song about fate: even when you're lost and struggling you'll somehow end up where you're supposed to be. George adds in a few lines about 'paying the price with the spin of a wheel and roll of a dice' but this is still the song of a devout believer: every minor key verse comfortably lands on the cushion of a major key chorus that seems to bring realisation and the repeated line 'any road will take you there' flies off into the distance like some beacon of hope. Note too George's hint at 'future lives' in the last verse - that he'll 'just keep travelling round the bend because there is no beginning and is no end', the one reference to death on an album many fans expected to be full of it, actually written when the composer had never been in better health. The lyrics also make for a neat, upbeat contrast to Paul's 'The Long and Winding Road' - that no matter how many wrong paths we walk down in our live any road eventually takes you to enlightenment and learning that's the main concern of life on Earth. Only a slightly too short riff to base the song on and a slightly artificial feel in the performance (the one recording on this album that sounds like overdubs made by people not in the same room at the same time) prevent this one from being a 100% classic - even so, it's rather good.

'P2 Vatican Blues' is a very unusual song. In the past George's targets have included tax collectors, ignorance and the other Beatles - this is the only time he attacks organised religion. Things had moved on so quickly since Lennon had made his misquoted 'Beatles are bigger than Jesus' remark in 1966 that the press barely batted an eye lid, but its fascinating to hear the song of a 35-year-convert to Hinduism and Buddhism taking the Catholic religion he grew up with (while not strong believers Harrison did go to a Liverpool Catholic school) to task, basically for being false. At the time the Catholic church seemed like an easy target: an institution with falling numbers and influence. However events since 2002 have suggested that George was paying close attention to the 'sex' scandals and tales of abuse that have rocked the institution during the past 15 years closer than any of the papers were ('It's quite suspicious, to say the least - even mentioned it to my local priest'). You sense we haven't quite got to the bottom of how wide-ranging the abuse scandals were yet either, what with Pope Benedict's sudden announcement that he was leaving (I like Pope Francis, though, whose done as much as he can to be transparent and heal warring factions and if ever the church is going to rise up again it's via the work he's doing now - and voting 'Revolver' as the Papacy's favourite album does him no harm at all in my eyes!) What in, say, Lennon's hands would have been scathing screaming song of outrageousness is treated with just a wry grin here though: George thinks the church should be inspiring great works of art, like the Michelangelo painting on the Sistine Chapel he wakes up underneath - but instead in his eyes the Church has become a mere spectacle that stands for nothing. George tells us that it's 'all a show', with the puffs of smoke telling the world that a new Pope has been chosen now spectacle rather than just tradition. The repeated chorus line 'last Saturday night' also has the effect of turning this fast-paced blues into a party: something frivolous on the level of a rock concert, where priests breaking the law can repent after such a series of 'hail Marys'. However, clever as much of the result is, there isn't much of a song to go with George's observations - this song kind of slides by without you noticing.

'Pisces Fish', on the other-hand, is gorgeous. A tale of the world carrying on as normal, without the enlightenment George has just been granted, 'Pisces Fish' is one of Harrison's greatest songs about being a 'believer'. The song might cut even deeper than that, though. The reference to mad cow disease ('The farmer stands around complaining that his mad cows are being put to sleep') pins at least this final draft of the song to no earlier than 2000, when George was already very poorly: is this 'Brainwashed's one attempt at a last eulogy? The song is very George, dealing with the two halves of his nature where the religious aspects of life drive him on but he still has a very earthy sense of humour, watching the very human exploits of the people around him and experiencing it himself when his bicycle breaks down. The last verse, especially, feels like an 'ending': 'Sometimes my life feels like fiction, some of the days it's really quite serene, I'm a living proof of life's contradictions, one half going where the other half's just been'. Along the way there's yet another sig at the Catholic Church, with 'smoke signals' from a brewery' announcing the 'latest Pope' and a cast of priests who sound like extras from one of those 1960s series with Derek Nimmo as a slapstick vicar. George's narrator, however, knows that the truth doesn't lie there but in the people themselves who don't 'see' it: 'One unbounded ocean of bliss that's flowing through your parents, sons and daughters', passed on from one generation to the next. As a result 'Pisces Fish' isn't really a full 'end' either, but a recognition that life goes on in some other body next time around. 'Pisces Fish' is still moving, though, in the same way that every actor's final 'goodbye' as the timelord in Dr Who is moving even though we know that the story will carry on in a few months. One of George's most moving songs, this sensitive lyric is accompanied by a sweet melody that seems to be wearily shrugging its shoulders throughout before finally taking the plunge into the next part of the song. Only a vocal that's clearly here merely as a 'guide' one (was this the last song George got ready for the album?) prevents a flood of tears. The quiet highlight of 'Brainwashed', 'Pisces Fish' is the 'real' George - sombre, stately, but with twinges of humour to lighten everything and put a smile on your face.

'Looking For My Life' is the saddest song on the album. Sounding not unlike the great 'Wake Up My Love' from 'Gone Troppo' (Jim Keltner even plays a similar drum lick), this is George the impatient believer wanting a 'sign' and wanting it now. 'Oh Lord, won't you listen to me now?' the song starts, but this time around George 'learns' patience as the song goes on. 'I never knew that things exploded' Harrison sings, shocked at the sudden down turn of events in his life, declaring that for all his songs and experiences he only found out about life 'when I was down upon my knees, looking for my life'. There's a twist in the second verse: the fault is George's, not God's: 'I had no idea I was heading to a state of emergency, I had no fear where I was treading' - but God had different plans and, a humble servant, George feels he should have guessed that instead of becoming 'content'. Chances are George had written this somewhere in the 1990s, a decade of turbulence for him and family as we've seen, but his moving vocal suggests that this recording, at least, was made after his diagnosis when he knew he was dying. George being George he can't resist a joke at his own expense - laughing that he should have known better and to expect the unexpected he adds 'I never got any GCEs'. The really sad thing about this song, though, isn't the words but the melody: crushed by the weight of circumstances it really does sound as if George is 'down upon his knees' and the chorus literally forces his head to the floor, the line 'looking for my life' sung in such a deep descending growl that he has problems getting there. It's as if he's fallen further than even he thought he'd ever fall, way out of his comfort zone, and the fact that the vocal yearns throughout to rise to Heaven throughout makes it even sadder.
'Rising Sun' is happier, but blander. This one of George's 'outward' looking songs (which sounds rather out of place on an album of high autobiography): the world is a messed up place, he sings, 'crippled by boundaries, programmed into guilt, till your nervous system starts to tilt' and a 'room of mirrors' that pretend to 'see' far in the distance but really show nothing. However the 'rising sun' (the traditional symbol of The East, although more normally meaning Japan not George's beloved India) offers answers, the idea that we've all been here before and that there's a 'universe at play - you're a billion years old today!' Although not released as the single, this song appeared heavily in promotion for the record and was one of this album's two selections (along with 'Any Road' and 'Marwa Blues') to appear on the Olivia-sanctioned 'Songs By George Harrison') suggesting that its author was rather proud or fond of it. Certainly 'Rising Sun' has a clever lyric that manages to say quite eloquently what George had been thinking for a while and there simply had to be a song like this on the album - a re-write of a theme George has been using most of his career - but alas this is no 'Living In The Material World', never mind 'Within You, Without You'. There's no real melody to work with here (George speaks rather than sing for most of the recording) and Jeff Lynne succumbs too often to the temptation of making it 'sound' busy: adding the sort of ELO strings that worked on 'When We Was Fab' but detract from this little song that should be small and understated, rather than an epic. The result is a song that's clever but not very emotional and filled with sounds that are off-putting rather than enticing.

The delicious 'Marwa Blues' is all emotion though: a long slow guitar blues using George's favourite slide guitar part, this one scored highly on our 'best ever AAA instrumentals' article (back in News, Views and Music Issue 124) and features a moving series of chords that really do feel like a 'progression' from first to last. There's a superb orchestral arrangement from Marc Mahn (it seems odd that Lynne didn't do this) that provides a delicate orchestral accompaniment that ebbs and flows alongside George's part as if playing a different tune but one that's perfectly in sympathy, caught halfway between 'Something' and 'I Am The Walrus'. We've been rude about Lynne a couple of times on this site already but his keyboard parts are spot on too, adding atmosphere without detracting from the song. No one seems to be quite in agreement what 'Marwa Blues' means as a title, but as a keen gardener I'm willing to bet George at least knew about the Indian flower of the same name; he may also have known that the phrase 'Marwa' means fragrant and full of life - in some readings it even means 'pregnant'! That's an apt name for an instrumental that seems to be teeming with life: a beautiful soundscape where George's slide guitar sounds terribly at home, with this track interestingly pulling at the heart strings more than any of the actual 'songs' on this LP. Unlike many instrumentals, 'Marwa Blues' doesn't need any words though: the emotion, sadness and fragility on the one hand and hope and awe on the other are there for all to hear. 

My favourite song on the album, though, is 'Stuck Inside A Cloud'. Another of George's more timid songs, it depicts just what a sad and lonely time the years before this album were sometimes for him: 'Lost my concentration, I could even lose my touch' he sighs, but no matter how much he talks to himself or 'cries out aloud' he can't get his message through in song or thought. Interestingly the chorus reads differently in the lyric booklet compared to the way George sings it. The song says: 'Only I can hear me and I'm stuck inside a cloud', suggesting isolation, but the way George sings the word 'me' it sounds like 'you' - thus making this another song about God and trying to pass his message on when George seems to be a lone voice in an ugly material world. A gorgeous melody that's awash with synthesisers and really does sound like being 'stuck inside a cloud', a storming guitar solo and George's best vocal on the album make for a highly memorable recording as well as just a song. However it's the last verse, possibly added later, that really hits you: 'Just talking to myself, crying out aloud, knowing as you leave me I also lose my heart'. Even after all his years believing in another life after this one and of recording the ultimate accepting song about death ('All Things Must Pass') George is still afraid of what comes next. An extraordinary, moving song, 'Cloud' is a tremendous achievement and would be a highlight of any Harrison record, never mind the one where he says goodbye. Released as the first single from the album (as a 'download only' gimmick that George would have hated) this song deserved to do better; most fans seem to be oddly negative towards it, perhaps because it doesn't offer that hope and serenity we were expecting from George's last works. However I'd much rather George ended the way he started, by telling it like it is and he was rarely braver than on this moving song. As an interesting footnote I've only just learnt, George was as interested in numerology as Lennon, but instead of '9' his favourite number was '7' and he would often start albums from the 'seventh' track when buying something new. It was Dhani, wanting to keep as close to his father's wishes as he could, asked for this song - also his favourite and one he considered to be the 'heart' of the album - who pushed for this song to be track seven on the album where it works rather well.

From hereon-in 'Brainwashed' dips a little. '(Can Only) Run So Far' (as it's listed in the booklet - the back of the sleeve drops the part in brackets completely) is a song George had already given away once to Eric Clapton for his 'Journeyman' album in 1989. Eric's version is slower and less urgent than George's and the pair duel on the guitar parts rather than Harrison playing solo. The lyrics are identical though: a very Harrison reflection on how you can travel to the ends of the Earth ('You fly out as your smile runs thin') and buck your responsibilities but some day they'll always catch up with you. The song suits George's gravelly voice much better (Eric's features both men singing at once and while compatible harmonically in every other sense their vocals were not designed to go together!) Considering what a sad song it really is (basically, it says we're all doomed for every mistakes we make) the mood is decidedly more upbeat on George's version, more accepting that things will turn out fine in the end. Possibly inspired by the Handmade Films business problems, it might have been written for Denis O'Brien trying to wriggle out of court appearances - or might have been written to gee Harrison up for his own part in the proceedings.

'Never Get Over You' is a love song for Olivia that uses many of the sounds 'associated' with her - the kind of exotic Hawaiian guitar that filled up all of George's albums between 1979 and 1983. In fact so similar is the sound this sounds like a 'Gone Troppo' outtake - the song even has the same dreamy, sleepy feel as much of that 'holiday' album, together with lyrics that sounds like a re-write of 1979's 'Dark Sweet Lady' and a slightly uncomfortabler poppy middle eight straight out of 'Somewhere In England'. George's last love song, it doesn't quite have the majesty or the thoughtfulness of 'Something' or the cuteness of 'I Need You' but it does at least sound warm and content and emotionally honest, which puts it a notch above anything on 'Cloud Nine' for a start. George admits that he isn't the best or warmest of human beings occasionally, but Olivia has a way of defrosting his iciest mood and of 'warming the coldest feet' whenever he goes 'off' one of the projects he's working on. Compared to other songs for Olivia ('My Dark Sweet Lady' especially), this song sounds notably ethereal rather than earth-bound, up in the stars rather than taking place on Earth. Does this song reflect George's hope that the pair will meet again in the 'sky' one day?

'Devil and the Deep Blue Sea' is the joker in the pack. Taped during a Jools Holland appearance in 1992 (the pair's friendship was one of the reason Holland got the interviewing job on 'Anthology'), George instantly sounds ten years younger and the live vocal and lack of overdubs gives a twinkling feel to this inter-war song first recorded by Cab Calloway. A music hall novelty, it fits Jools Holland's plunckity-plunk playing to a tee but is more of a stretch for George despite the chance it gives him to play a ukulele on national television. A rather silly song about being forced between two bad things, it really doesn't fit this album tonally, musically or texturally and might perhaps have been better left as a one-off rarity. However I can see where Jeff and Dhani were going by adding this song: George has a twinkle in the voice that 'Brainwashed' could have done with more of and the theme of the song (the duality, the water themes, the dealing with pressure from both sides so that you don't know whether action or inaction is worse) is spot-on for this troubled album, even if the oompah-ing brass and tickled ivories aren't.

Hidden away near the end, 'Rocking Chair In Hawaii' is a curious song that gets easily overlooked. A sleepy blues that sounds naggingly familiar (although I can't quite place where the sing-songy riff comes from - any ideas?!), it's actually an outtake that dates all the way back to 'All Things Must Pass'. It seems odd that George should revive it now (his peak days for reviving old days was in the late 70s and early 80s) as it's hardly a classic and runs out of ideas long before the three minutes are up (he should have revived the fun 'Window Window' or the sweet 'Cosmic Empire' instead). George presumably 'returned' to this song when he did because he wrote it as an imaginary version of when he got old when he was all of 27 (just as Paul wrote 'When I'm 64' when he was 15), imagining himself in a rocking chair by a river. In a neat mirror of 'Any Road' and 'Pisces Fish', though, he adds that 'you may be going where you've just been', a neat combination of the two songs that might have jogged his memory of this 'lost' song (especially if he really was sitting by a river in a rocking chair as his 'new' title set in his favourite holiday destination 'Hawaii' suggests. However really this isn't so much a song as a chance to sound like a blues guitarist and singer for a few minutes: a sound that doesn't suit George all that well, while the riff that darts in and out of the song doesn't really fit.

Thankfully 'Brainwashed' ends powerfully, George choosing to make his final message to the world an update of 'Living In The Material World', telling us the truth now that there's nobody out there to silence him. Very much like that track (and in keeping with the duality of the album) 'Brainwashed' sounds like its hopping from foot to foot, based on a turbulent minor key verse that never goes where you expect and the serene, gorgeous major key certainty of the 'spiritual' part. I'd love to know whether it was deliberate, but George's song is both very similar and very different to Lennon's 'God' ('Lennon/Plastic Ono Band' 1970), a 'denial' of every single belief system used by the human race as mere fiction: that our leaders, Governments, even 'God' and ultimately even The Beatles are a  'fake' that no longer means everything.  George comes close to saying the same thing in his own clever quick-stepping lyrics, telling us how we're brainwashed from childhood by teachers, by Kings and Queens  and politicians and the military when we're older and that life could be so much more if only we'd look! The only people preventing human beings from fulfilling themselves in the eyes of God are rules and regulations made by other human beings and most of us don't even realise it. George builds up to a froth of indignation that's great to hear after a comparatively laidback album and some of the lines are his cleverest in years, caught midway between a joke and a rant. However the moment where George disagrees with John is by offering an answer and hope. Over a peaceful backing - and one last outing for an Indian instrument (the tabla) Isabela Borzymowska reads out passages from 'How To Know God', a philosophical tome by The Yoga Aphorisms of Patanjaki (thus completing a circle that began with George taking the lyric from 'The Inner Light' from a similar book 35 years earlier).  Refusing to turn his back on the human race, even in death, George screams 'I just won't accept defeat!' and enrols a choir of his friends and family to chant 'God God God' like a mantra, imploring the messiah to rise then and there and save the world from itself. Like 'God' (suggesting George did know the song), George cycles back round the song again, growing up another head of steam until the sing finally crash lands at around the four minute mark. At first we think that's it, that George has left us with those crashing chords and silence. But no, one single organ note shines through, like a tiny light from the darkness that gradually takes over the whole song while George chants about the greatness of God and tries to save our soul one last time. Debate has raged about these words ever since 'Brainwashed' came out and many fans assume that George made them up (it's not in a very well known language. But no: one enterprising fan got in touch with the American Hindu Association and asked for a translation of the closing mantra. The words, it turns out, mean this: Sing the name of the Goddess Parvati, the remover of all afflictions, Sing praises to the Divine, Praise, Praise be to Shiva the Great God' And with that George is finally gone, the organ note not stopping so much as disappearing down a dark hole that swallows it up, perhaps hinting at it reconverging during our next life where if we're lucky we get to hear the 'rest' of the song - and every other 'George' song to come. It's a magical moment on one of George's most important epics and is typically Harrison, making us both happy and sad, outraged and contented, upset and hopeful all at the same time. 'Brainwashed' isn't always a great album and doesn't always offer us what we know George was capable of, but this one song (and 'Stuck Inside A Cloud') pretty much rescue the album singlehandedly, with all the emotional weight we were expecting.


In truth, though, not as much of 'Brainwashed' offers that emotional balance we were expecting. There was a lot riding on this album which it simply couldn't cope with and in many ways George turns in his most 'lightweight' album those two great masterpieces aside (the same is true, of course, for Lennon's lightweight 'Double Fantasy', although he had less idea that his time was coming to an end) Don't come to this record expecting some grand statement on the lines of 'All Things Must Pass' - by George's high standards it's not even that good an LP. However parts of 'Brainwashed' get Harrison's spirit, humour, occasional rage and humanity spot on and for the third of the album that works best ('Cloud' 'Brainwashed' 'Marwa Blues' 'Pisces Fish') 'Brainwashed' is still an essential purchase every Harrison fan should love. It's the rest of the album that's a bit lower in quality than we were expecting (especially after so many years of work spent on it). A successful musical elaboration on this album's main theme of 'a voice crying out in the wilderness', it's a shame for this record's sake that it wasn't finished earlier and that there was never a chance for the follow-up. Removed from it's sad job as George's goodbye it's actually a promising album that's grown up nicely since 'Cloud Nine'; as George's last goodbye, however, it seems fragile and incomplete, a commiseration rather than a celebration of why we loved George quite so much. No matter: despite a late surge of doubt across this album, George still offers the hope that one day we will meet again - and until that day 'Brainwashed' is the next best thing, full of everything George wanted to say by and large told in the right way. 



 A NOW COMPLETE LIST OF GEORGE HARRISON ARTICLES TO READ AT ALAN’S ALBUM ARCHIVES:
'Extra Texture (Read All About It)' (1975) http://alansalbumarchives.blogspot.co.uk/2015/04/george-harrison-extra-texture-read-all.html
'Thirty-Three And A Third' (1976) http://alansalbumarchives.blogspot.co.uk/2015/12/george-harrison-thirty-three-and-third.html

'George Harrison' (1979) http://alansalbumarchives.blogspot.co.uk/2008/07/review-74-george-harrison-1979.html

‘Somewhere In England’ (1981) http://www.alansalbumarchives.blogspot.co.uk/2013/05/george-harrison-somewhere-in-england_20.html
‘Cloud Nine’ (1987) https://alansalbumarchives.blogspot.co.uk/2017/06/george-harrison-cloud-nine-1987.html
'Brainwashed' (2002) http://alansalbumarchives.blogspot.co.uk/2014/10/george-harrison-brainwashed-2002.html
'Hidden Harrison - The Best Unreleased Recordings' http://alansalbumarchives.blogspot.co.uk/2015/07/george-harrison-hidden-harrison-best.html
Live/Compilation/Spin-Off Albums Plus The Occasional Wilbury http://alansalbumarchives.blogspot.co.uk/2015/08/george-harrison-live.html
Non-Album Recordings 1968-2001 http://alansalbumarchives.blogspot.co.uk/2015/08/george-harrison-non-album-recordings.html
Surviving TV Appearances 1971-2001 http://alansalbumarchives.blogspot.co.uk/2015/08/george-harrison-surviving-tv.html

Essay: Why The Quiet Beatle Always Had So Much To Say https://alansalbumarchives.blogspot.co.uk/2018/02/george-harrison-essay-why-quiet-one.html
Five Landmark Concerts and Three Key Cover Songs https://alansalbumarchives.blogspot.co.uk/2018/03/george-harrison-five-landmark-concerts.html