I haven't checked in for longer than usual. It isn't that it hasn't been an eventful week - shit, in fact, it's just the opposite. This has been a fairly intense week for your Scotto and I'm not entirely sure how much of it I am able to get into words here. It's, uh, complicated. And yet, quite straightforward.
For instance, I've been busy re-writing my play from scratch. There are some new jokes in it, some bad ones excised. I was very worried at the start, because after I wrote down the title I stared at the blinking cursor and thought "Oh fuck... what now?!" How is it possible to get writer's block doing something you've already written, right? (Twice.) And then after pacing around the room a bit I remembered who I am and what I do and I started typing. By the end of the night I had the entire first part, with Perry, typed. I took a break for convenience sake and am going to finally return to it tonight. Why wasn't I working on it all week? I guess you could say I've been distracted.
Not surprisingly, I've been thinking quite a bit in Beatles lyrics lately. Of course, even this gives me a pretty large vocabulary.
I have to admit it's getting better, getting better all the time.
I get by with a little help from my friends.
Don't let me down.
That sorta thing. Of course this is very well directly related to last night, which was Beatles night at the ESC's Lost Lounge. And you're sorry you missed it. For one thing, it was for a great cause, for another it was a great time with some incredible performances (and some not so, but anyway.)
I got there just in time to grab a seat with Joe and Viki and catch the first act and watch them be nervous even though both are consummate performers. The first guy reminded me a bit of Joe, actually, if he were a bit younger and plenty less experienced. Just a nice kid with an acoustic guitar. The second guy reminded me of a mad scientist with a velvet blazer, emo-slice and a backing band. He sat at this console of effects while a bassist, acoustic guitarist and drummer played the standard instrumentation. I missed most of their set because I was out getting a drink (lots of girls ordering cocktails prevented me from completing the simple task of getting a beer in good time.) I did catch the tail-end of their Let it Be, Come Together, and a Day in the Life, which was replete with audio wizardry.
This made Joe tug his collar a bit, because he was intending to play the same song during his set, but of course it was going to sound very different. I much preferred his version not only because I know him but because the Sgt. Pepper recording was so lush and immense that to recreate it is, I'm afraid to say, to dismantle it a bit. I mean shit, if you can't have that giant ending chord, why bother? So Joe played it straight on his acoustic and it sounded haunting and sparse and quite wonderful.
Prior to performing it, he made a slight reference to a quick conversation we'd had during the prior set, where we discussed the probability of overlap. Of course certain songs were going to prove more common - a few Day in the Lifes, one and a half Eleanor Rigbys, a couple Oh Darlings, multiple I Wanna Hold your Hands, etc. I theorized that, given the amount of material the Beatles had released - about 12 albums (14 songs each, plus 16 for the White Album and a few for Abbey Road) and roughly as many singles and b-sides. The larger portion of all this material was viable for performance, as the Beatles recorded very little forgettable or useless material... depending on your outlook - maybe toss out most of the covers they did on the early albums, half of the White Album, most of the Magical Mystery Tour stuff and that still leaves a lot for 8 acts to distribute without overlap, but still. Different acts would do Come Together differently, and for some reason nobody wanted to play Everybody's Got Something To Hide Except For Me And My Monkey.
Joe's set was pretty well chosen, actually, and fairly excellently performed. He wasn't going to be as spectacular as the full bands that came on later, but when you consider a guy on a chair with an acoustic guitar, you got the maximizing of that potential. He started with A Hard Day's Night, which he rocked out on and really unleashed some of the most powerful vocals he's ever shown. That's a trick he ought to keep in his pocket for his next ep. He then did his version of a Day in the Life (again, showing great vocal range) and a slowed-down version of I Wanna Hold Your Hand a la the film Across the Universe. He finished his act up with a couple of White Album numbers - not my favourites but really good stuff that could fit well into his repertoire that others weren't going to do. Rocky Raccoon, a sorta campfire-storytelling style ditty which he gave a harmonica part, and Ob-La-Di Ob-La-Da.
When Joe and I had had a conversation several weeks ago on the matter, I laughed and said some people considered that the worst song they'd ever recorded. This fact, of course, Joe noted before going on with it, meaning he mentioned me twice in vague references; go me! Anyway, he did it and got the crowd to sing along as best he could. The theme of the night was the difficulty of getting the audience to participate, and the audience's occasional ineptitude at doing so, but we tried our best gosh darnit to sing along, "La-la how de life goes on!"
Viki's set seemed largely inspired by Across the Universe, as I think all of them were at least in that movie, and she name-dropped it before doing Happiness is a Warm Gun, which she did with heroin reference ("I need a fix") and the lascivious "My finger on your trigger" switched to the even-less family friendly "Your finger on my trigger" (I calls 'em as I sees em) intact. She also did "It Won't Be Long," (more hilariously inept audience participation, as everyone struggled to shout "Yeah!" on cue, or maybe I was the only one who was off, but I was far enough off for everyone) "Oh Darlin'" and she called Joe back up to do a duet of "Hold Me Tight" although since he wasn't mic'd, I guess it was more of a moral and visual duet.
The next act was One After 909, so-named because they only wanted to play songs off Let it Be, which was a bold choice. Let it Be is not a weak album, but is not generally thought of as particularly great either, at least as far as its material. Still, I think on the whole it rocked harder than most of the stuff they'd done since Sgt. Pepper and these guys did rock out. The one non-Let it Be tune they did play was Help. They opened with Two of Us, and also did Get Back, the song they named themselves after, and Don't Let Me Down, which oddly enough kinda let me down because the vocalist opted for a more melodic approach, which kills the purpose of the song - the vocals are supposed to be fuckin' raw, like a man on the brink of his own destruction if this woman
does let him down. The last tune they did was I've Got a Feeling, which I heard for the first time just a week or so ago, and have been listening to fairly frequently (as I often do with new additions.) I was very pleased when they did a real raucous version of this comparatively obscure number, the last of the true "Lennon-McCartneys."
As you may have noticed, I know a great deal about the Beatles and have a ton to say on the matter. When a later act played an instrumental version of Within You Without You, I was the only one in our little group to identify it. That said, I don't know everything there is... just most of it. Not that this comes up later.
The next act forgot the lyrics to Eleanor Rigby, which irked us somewhat, particularly Joe who'd put a lot of work into learning songs. They were the family members of the woman who books the show (and for whose mother the benefit was held) but I kinda thought they halfwayed it, especially since the next band up was the Electic Revival, whose praises Joe was singing to me, and rightly so. Their lead singer, who partially served as MC, reminded me a bit of Rosser mixed with Jeff Dye, a comic who made it near the finals of Last Comic Standing. I can't remember their entire set, but they did a rendition of Eleanor Rigby (which not only sounded excellent but featured all the proper words) a slowed-down version of I've Just Seen a Face (which they described as "One of the greatest love songs ever, too bad they played it fast" and "this was the only time we've ever slowed something down.") They then proceeded to rock a sped-up version of Come Together, which is no mean feat. That is a hard song to effectively re-create, and it rarely sounds right (although I'm really partial to Aerosmith's version.) Speeding it up is key, because in its original form the tempo is weird such that it doesn't help vocalists who don't have Lennon's unique tone. The earlier version that night was pretty messy and that guy forgot the lyrics. I don't blame him because it's one of the few Beatles songs I listen to regularly that I can't quite get, (ask me to do I Am The Walrus sometime.) but if you're going to perform something, again I say, have the decency to rehearse and learn it. Which they did, and not only nailed every syllable and note, they did so with a killer attitude. Amongst all the acts, theirs was the one to beat. So to speak.
As the night kinda fell apart with tired people departing - including Joe and Viki and co - and awkward disjointed raffle attempts, the last act took the stage, The Britles: an authentic Beatles tribute band - with suits and semi-lookalikes (three of them were kinda old, George was about 5'2 and Paul looked like a tall, thin Paul Dano or Patrick Fugit) and authentic instruments (particularly Paul's Hoffner bass) and suits. They roared through a ton of Beatlemania-era hits including but not limited to She Loves You, Please Please Me, A Hard Day's Night, Ticket to Ride, I Feel Fine (disappointing to me: no attempt at the feedback
fwwwannggggg which makes that song so cool) as well as slightly more obscure numbers like I'm Happy Just to Dance With You, You're Going to Lose That Girl, 'Til There Was You, and others. They also played one song from Revolver, And your Bird Can Sing (another tune I'd only recently discovered) but mostly kept it to Please Please Me-Help era stuff. They played long and faithfully, trying to match the vocals and while you can't do that (or at least, it's really fuckin' hard) they did well and played their hearts out. I was glad I stayed.
A brief tally of songs I'm a little surprised nobody played: Hey Jude, Yesterday, Strawberry Fields Forever, Penny Lane, Something, While My Guitar Gently Weeps, Lucy in the Sky with Diamonds, It's Getting Better, and any track of Rubber Soul, the only completely overlooked album in the entire night, despite boasting good tracks like Norwegian Wood, Nowhere Man, I'm Looking Through You, The Word, In My Life, Drive My Car and You Won't See Me. I guess the trick with that album is that it's kind of a bummer, and while it's more philosophical and thoughtful than their previous stuff, it's not really cheerful, or even particularly overwrought with emotion. (Correction: Rubber Soul was not totally forgotten, Cecil Eugene the first kid up, did a version of Girl. So what I just said was basically wrong, but I still listed a ton of good songs.) But yeah, Rubber Soul is a tricky album (as is Revolver) because of how tightly it mixes art and pop, whereas the combo is more accessible on later albums like Sgt. Pepper.
Hey Jude, in particular, would have brought the house down, no matter who did it. Of course, it's 7 minutes long, so there you go.
The night ended with me waiting for a cab with a stoner named James who offered me a toke or two. His came pretty quickly, mine took about 40 minutes. Pretty expensive too. It was about 2:30 when I got in the door, or later. By the time I even left the place, all the musicians were gone.
Today I mostly relaxed. I bought a copy of Forgetting Sarah Marshall, which is a great comedy (or at least that's how I remember it from April.) I read a review in Metro when the DVD came out, where it sounded like the reviewer knew he was the only one who didn't enjoy it. It admitted the movie was funny but was littered with backhanded modifiers like "If you like that kind of thing" and remarks about its length (disregarding the fact that this is the new standard for comedy.) It was actually kinda sad and I almost would've rather the guy went full bore and admittedhe hated it, even though it paints him as a joyless zombie to do so.
But anyway.
That was only the last day or so, and this does not even touch on why I am feeling what I'm feeling or what I've been focussed on.
That story's still kinda in progress and I don't have any idea how it's going to work out. Could be good.
But it's a long, strange story I still can't get into. And I've gotta get writing.
Keep on rockin'
-Scotto