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Don’t Let Me Down(Load)
Pop…reech…whisper…sssssssss…sssssssss “Hey…hey…hey…hey” BANG!! “Jude, don’t screw it up. Buy a sad song…” Some of you may not even know where I’m going with this clumsy name book introduction. But many people know exactly what these sounds of yesterday are. So before I go any further, let’s take our digital generation readers through what exactly happened in the first 20 words of this article.
Long Island, NY 1982:
I was sitting Indian-style in my parents’ living room, sifting through a Coke carton with a bunch of “Beatlely” goodies on it. I’m talking about records. Not about a Guinness book entry or a filed tax document, but about vinyl LP recordings. It’s a long game. George Harrison called them “33 and a 1/3” and Aerosmith praised them as their “big 10” record… ie. It was grooved, matte and black. Each one was given a perfect bull’s-eye where the paper label was glued to the varnish. This disc of mine had an orange label with brown bold text that read “Capitolium”. This color combination referred to the printing of Beatles recordings in Capitol’s later years. I was part of the first post-Beatles generation, and by the mid-to-late 1970s Capitol’s pressings of Beatles records were already in the double digits when it came to lot numbers. I’ve only had two Fab albums that were certified “first pressing”. These beauties featured Capitol’s trademark jet black background, silver text and a magical rainbow color circle around the outer perimeter of the label. You’d think these gems were under lock and key.
No way. They were under something… my butt. As a child, I had the odd habit of sitting next to a stack of unused records while listening to one. This particular record, which I pulled from the inner sleeve of the album jacket, was called Hey Jude. I handled it the way we all handled documents back then. It hung between my palms; as one would say “about this size” while using one’s hand as a visual aid. I walked the record over to the phonograph turntable and placed it on the rubber pancake…B-side up. As the cylindrical wheel rotated at 33.33333 revolutions per minute, I lowered the needle arm into the starting groove and settled back to the comforting sounds: Pop…crunch…whisper…sssssss…hiss… hiss “Hey.. .hey…hey…hey”. Oops, the album has already jumped. It was time to get up and hit the player’s deck.
“Jude, don’t screw it up. Take a sad song and make it better.” We are here.
What you have just read was a daily activity in the early days of this Beatles fanatic. That was 1982. For now, let’s jump ahead 28 years and delve into an unannounced rock history lesson. You younger Beatles fans may still be sifting through the dated words above that I have vivid memories of and wondering this or that. Although the biggest question mark you raised is “What the hell is a Hey Jude album?” Yes, I grew up in the great age of records, intense album covers with Zelda-esque hidden messages and Stereo Hi-Fidelity. At the same time, unfortunately, I also grew up in an era where there was a big continental divide between Parlophone in the UK and Capitol in the US. However alien the Hey Jude album may seem to you, it is as bizarre as Beatles For Sale was to me. Let’s face it, we are all creatures of habit and we are comforted by what we grew up with. My mom’s meatloaf was terrible compared to my wife’s classic American dish, but I still miss it. It also means that the comfort of the A Hard Day’s Night album was full of instrumental tracks, “Help!” I opened with a James Bond intro, and “Revolverem” contained 3 songs out of 14 tracks. The latter is the product of the release of “Yesterday….and Today” 2 months ago, so that the money-hungry Capitol could quickly sell 27 minutes of “new” music to the unsuspecting American audience.
But when I was 8 years old, I didn’t know and didn’t care that the 1970 album “Hey Jude” was composed of songs from 1964, 1965, 1966, 1968, and 1969 by money-grabber Allen Klein; blasphemy to any Beatles purist. All I knew was that this album was JACKED with great music. How can anyone not get excited when they see the album launch? While it didn’t matter to me then, it sure does now. I can’t stand growing up on albums that the Beatles themselves had no idea about the album titles or the songs. The American albums I loved so much were a complete mystery to my heroes and they hated them. Hear John Lennon perform “Baby’s In Black” at the first Shea Stadium show. He continues to mistakenly say, with obvious passive aggression, that “from the Beatles Six or something… I don’t know. I don’t get it.” Of course “we all” know it was released on “Beatles ’65”, even if John doesn’t. The Beatles hated not being able to control their American releases. János was particularly disturbed by this.
“We used to say, ‘Why can’t we do 14?’ [songs] out in America, you know? “Because we sequence the albums the way we thought they should sound, and we put a lot of work into the sequence as well. And we almost didn’t even care what happened in America, because it was always different, they didn’t let us release 14, they said there was some rule or something against it. Well, whatever it was, you know? So we almost didn’t care what was going on with the albums in America until we started coming more and we realized… in the beginning they had skips and mumbles that made us really, really want to.
This was the change or cut some might say Capitol Records made with British Beatles albums for the American market. It was only after the release of compact discs that American fans managed to set the record. In 1987, the entire British, and only the British, catalog was released on the new digital media, which changed the way we listen to music. This included the 12 studio albums, As God Intended For Them, and two collections of A and B sides. For budding fans of the mid-80s, it was almost a guarantee that they would get off on the right foot. However, for me and many others, we were stuck as countless zombies sifting through the ruins of Capitol Records’ greed. Where was the second album? What happened to The Beatles? And why the hell was “Drive My Car” on Rubber Soul? What did they do? It’s like they took the entire pre-1967 library, threw it up in the air, and let the songs fall where they might. Little did most of us know about it, but Parlophone did us all a favor and FINALLY put “Yank” on the path it truly was and always should have been. Yes, this new technology that ran too much vinyl out of town provided the ultimate Beatles history lesson. So here we are, some 23 years after those iridescent 120mm discs of reflective plastic absorbed the entire Beatles catalog and belched back to us in their intended and proper order. Apart from now, they themselves have been completely eradicated by the latest “electronic noise”, digital music and its many ways of transmission. What I once held in a 4 soda pop carton can now be stored in a space half the size of a Pop-Tart. While the advancement of technology is frustrating for those who get used to a certain way, it does something as significant as a last-century act like the Beatles. Introducing them to the next generation of fans using their medium of choice.
Among these fans, you can choose the iPod; a music device that allowed them to put 3,500 songs in their pocket. On November 16, 2010, Apple Computers announced with its game-changing iPod that it would finally release the entire Beatles catalog for download from the iTunes store. It’s time to “Meet the Beatles” again. There is no doubt that this move will positively increase the iconic group’s young fan base and ensure that the Beatles remain in the public eye. Unfortunately, this is where I feel the positives end. My biggest concern is the potential for fans to lose their understanding and appreciate a band’s entire albums as complete works of art. As we all know, the magic of iTunes consists of signing in and sorting songs by title and similarity. Someone hears Come Together on the radio, logs into iTunes and downloads it. The trade off of this type of music is that the other 16 songs that make up the incomparable “Abbey Road” are left 99 percent behind. When I was a kid, if I wanted Come Together, I had to bring something with me, namely Mr Mustard and his lesbian sister Pam. Although I may have been raised on “wrong” records, these were still albums, albeit haphazardly put together. And while the waning Compact Disc era rightfully presented the Beatles’ music in a neat, tidy set of songs; this latest technology could smash those 23 years of Beatle album justice for the next generation. Although the Beatles have fallen on the iTunes gravy train, there are some big names who still reject it. Most people share and stand up to my concern mentioned above. Take the classic Australian rock band AC/DC. When asked why? Here’s what lead guitarist and founding member Angus Young had to say.
“We don’t make singles, we make albums,” says Angus. “If we were on iTunes, we would know that a certain percentage of people would only download two or three songs from the album – and we don’t think that represents us musically.”
Garth Brooks, even country music sellers are concerned about the album’s integrity. “Until we get variable pricing, until we get an album, iTunes is not a real retailer for my stuff and you’re not going to see my stuff…” Brooks said.
So where does that leave us Beatle fans now that the mighty have fallen? I myself accept the partnership that Apple and, well, Apple have agreed upon. I think that such a step is almost inevitable, and in some cases even career suicide. However, no amount of payola can excuse the album’s importance. This needs to be cultivated and hammered into the home of the iTunes salons. It will be up to long-time fans like me, my mentor brother and my best friend to not only nurture and nurture these fresh Beatle saplings, but to see them blossom into full bloom when armed with the full understanding that the tree is indeed consists of a single stem. The promise of this vibrant plumage lies solely in appreciating entire albums at work, not in the elaborate compilation of “playlists” when picking low-hanging fruit from the Apple supermarket. Capitol has already done this to us by cramming singles and misguided compilations down our throats, and we all know how bare that left in the pure Beatles Album orchard. Unlike Capitol listeners, iTunes users have a choice. Unfortunately, the luxury of this choice can be the ruin of the sacred album.
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