Showing posts with label Be-atletudes. Show all posts
Showing posts with label Be-atletudes. Show all posts

Monday, 16 March 2015

Blessed Are The Drug Free [Single Edit]


[For the full version of this post (including footnotes) click here]

Rubber Soul was our pot album, and Revolver was acid

If you believe drugs don't do anything good for us do me this favour; go home tonight, take all your albums and burn em, cos the musicians who made all that great music [were] real f**kin high on drugs. S**t, the Beatles were so high they let Ringo sing a couple of tunes.

Great music + They were high = Drugs had a positive effect. Shall I walk you through it again?

Bill Hicks

It is a truth universally acknowledge that the Beatles took a lot of drugs. And the more drugs they took, the more original they became. You can even catalogue their albums by drug

John: Rubber Soul was our pot album, and Revolver was acid

Drugs expanded their consciousness and informed their dress sense

George: In ten minutes I lived a thousand years

Ringo: It brought me closer to nature...and you dress differently, too!

It's believed that drugs did them no lasting harm - no one in the band died* - and to this day McCartney is a low-key poster boy for long term marijuana use. So it's odd to cite the Beatles as proof that recreational drugs are bad news for creativity, songwriting and a lasting career in music.

Drugs helped the Beatles make great music. But how much did it help? Did it ever hinder them? Were the gains outweighed by the downside? Could they (or did they) gain the same benefit from other less chemical means?

Let's look at the evidence in three area - recording, writing and life in general.




Tuning up is a bit of a chore when you're stoned

Paul (MYFN p.192)

The Beatles used drugs far less often in the studio than is commonly believed

Geoff Emerick: The Beatles … rarely imbibed while they were working

Barry Miles: Most of their recording...was assisted by cups of tea, fish and chips or chinese takeaway, and maybe marijuana


Paul: We had a certain attitude towards EMI, that it was a workplace ... most of our best stuff was done under reasonably sane circumstances … you've really got to get the miracle take if you're stoned

Ringo: We found out very early on that if you play it stoned or derelict in any way it was really sh**ty music

When they did get high in the studio the result were generally poor. Lennon took acid during sessions for Getting Better and Ob-La-Di, Ob-La-Da but the only results were a bad trip and slightly better piano intro.

From '67 onwards Emerick posits their drug intake as the reason they were becoming “a bit complacent and lazy” spending “hours in a stoned haze, jamming endlessly... and pointlessly ... it was the first Beatles session I'd ever attended where absolutely nothing was accomplished


Ringo speaking many years later would concur

When we did take too many substances, the music was sh*t, absolute sh*t

The reason such sessions were the exception was because the strung out musicians always had straight engineers and producers in charge

George Martin: There's no doubt that, if I too had been on dope, Pepper would never have been the album it was ... they often got very giggly, and it frequently interfered with our work

[Pot] got in the way of songwriting because it would just cloud your mind up

Paul

So getting high while the tape is rolling is a bad idea. But one of the few times the Beatles wrote while high (in true pot-head style) they spent hours creating a multi-coloured illuminated manuscript for The Word instead of just noting the lyrics down.


Beer and Preludin - that's how we survived

Ringo

Marijuana, alcohol and nicotine may have helped them relax but arguably the most helpful drugs the Beatles took were Benzedrine and Preludin which allowed the boys to cram their '10,000 hours' of practice in Hamburg into an insanely short period of time. Cocaine had a similar (but more limited) impact on Paul.

I did cocaine for about a year around the time of Sgt Pepper ... eventually I just started to think ... this doesn't work. You've got to put too much in to get too little high out it.

Lennon agreed

I had a lot of [cocaine] in my day, but I don't like it. It's a dumb drug. Your whole concentration goes on getting the next fix.


Though Lennon always spoke well of LSD it seems to have had a devastating impact on him

I got a message on acid that you should destroy your ego, and I did … I didn't believe I could do anything. I let Paul do what he wanted

According to Ian MacDonald acid left Lennon “a mental wreck struggling to stitch himself back together” (RITH p.193). On 18 May 1968 he called a business meeting at Apple to announce he was Jesus Christ. The next night he recorded the Two Virgins album with Yoko Ono, Marking the start of their relationship. Lennon became addicted to heroin shortly after, partly in an attempt to wean himself off acid.

Ringo by his own admission “got lost in a haze of alcohol and drugs” and missed most of the 1980's

I’ve got photographs of me playing all over the world but I’ve absolutely no memory of it. I played Washington with the Beach Boys – or so they tell me.

John had a similar but shorter bender, the infamous 'Lost Weekend' (1973-75), Harrison “Snort[ed] mountains of cocaine to keep going” and “absolutely shredded” his voice during the Dark Horse album and tour (1973–74).

Paul's drug busts in the 70's and 80's have caused massive financial losses and cancelled tours and his pot habit has arguably been a factor in the poor quality of his later solo output - “he would go upstairs and smoke a joint...then he'd come down and sit there for hours trying to play the bass” says producer Hugh Padgham.


Did Dylan Thomas write Under Milk Wood on beer?

Remember the way Lennon categorised the albums by drugs? Here's what he actually said in full,

Rubber Soul was our pot album, and Revolver was acid. I mean, we weren't all stoned making Rubber Soul because in those days we couldn't work on pot. We never recorded under acid or anything like that. It's like saying, 'Did Dylan Thomas write Under Milk Wood on beer?' What the f**k does that have to do with it? The beer [and] the drugs are to prevent the rest of the world from crowding in on you. They don't make you write better. I never wrote any better stuff because I was on acid or not on acid.

Crediting any Beatles song to the drugs they took is as almost as ridiculous as crediting Balzac's novels to caffeine. It's is the person who creates the art, not the drugs.


Based on a novel by a man named Lear

The Beatles Bible says “there is little doubt that the Through The Looking Glass imagery was the product of drug intake”. But surely the primary source of Lennon's “Through The Looking Glass imagery” is Through The Looking Glass itself, a book Lennon revered. Likewise, though acid inspired Tomorrow Never Knows, the lyrics came straight from Timothy Leary book The Psychedelic Experience. As his own books prove, Lennon was creating psychedelic prose long before he dropped acid.

The Beatles wrote songs about drugs (Yer Blues, Got To Get You Into My Life, Everybody's Got Something To Hide...) but that's not the same as writing on drugs. Acid trips provided the first two lines for I Am The Walrus but the rest came from Carroll, nursery rhymes and police sirens.


To get really high you have to go it straight

George

The Beatles proved that recreational drugs have some benefits for creativity. But they also have a massive downside on life and mental wellbeing in general, and creativity and productivity in particular. Many, if not all, of the same benefits can be gained through limiting your options, writing to deadlines and reading great literature. As Frank Zappa said

I don't use any [drugs] and I've never encouraged it. The same state of psychedelic happiness can be induced through dancing, listening to music, holding your breath and spinning around, and any number of the old, easy to perform and 100 per cent legal means – all of which I endorse.


For a full list of sources and footnotes, see the expanded version of this post
Read what other artist have to say about the intersection of drugs and creativity here

Other links

Monday, 9 February 2015

Blessed Are The Drug Free (Or Why Bill Hicks Was Totally Wrong) - Extended Edition


Rubber Soul was our pot album, and Revolver was acid

If you believe drugs don't do anything good for us do me this favour; go home tonight, take all your albums and burn em, cos the musicians who made all that great music [were] real f**kin high on drugs. S**t, the Beatles were so high they let Ringo sing a couple of tunes. “We all live in a Yellow Submarine”? You know how f**kin high they were when they wrote that song? They had to pry Ringo off the ceiling with a rake to record that.

Great music + They were high = Drugs had a positive effect. Shall I walk you through it again?

Bill Hicks

It is a truth universally acknowledge that the Beatles took a lot of drugs. And the more drugs they took, the more original they became. You can even catalogue their albums by drug

John: Rubber Soul was our pot album, and Revolver was acid

Paul: For Sgt. Pepper I used to have a bit of coke and then smoke some grass to balance it out (MYFN p.384)

Drugs expanded their consciousness and informed their dress sense


George: In ten minutes I lived a thousand years...the only way I could describe it is like an astronaut on the moon...looking back at the Earth.

Ringo: It brought me closer to nature...my outlook certainly changed – and you dress differently, too!

It's also generally believed that drugs did them no real lasting harm. No one in the band OD'ed, drank themselves to death or even conked out on prescription meds*. To this day McCartney is a low-key poster boy for long term marijuana use.

Paul: Instead of getting totally out of it and falling over, as we would have done on Scotch, we'd [smoke pot and] end up talking very seriously and having a good time till three in the morning.

So it's odd to cite the Beatles as proof of the theory that recreational drugs are bad news for creativity, songwriting and a lasting career in music.

The Beatles made great music. Drugs helped them. But how much did it help? A lot or a little? Did it ever hinder them? And were the gains outweighed by the downside? Could they (or did they) gain the same benefit from other less chemical means?

Let's look at the evidence in three area - recording, writing and life in general.


Tuning up is a bit of a chore when you're stoned

Paul (MYFN p.192)

The Beatles used drugs far less often in the studio than is commonly believed

Geoff Emerick: The Beatles … rarely imbibed while they were working, and I certainly never saw any of them drunk in the studio (HTAE p.220)

Paul: most of our best stuff was done under reasonably sane circumstances...you've really got to get the miracle take if you're stoned. It can be done, just sometimes, but it may be one in a hundred (MYFN p.192-3).

Paul: We had a certain attitude towards EMI, that it was a workplace...you didn't want to mess around. That was our controlling factor. We didn't want to be lying around unable to do anything...Once or twice we'd try a little wine ... but generally you'd f*** up solos and you couldn't be bothered to think of a little complex musical thing that would have sounded great.

Ringo: We took several substances, but not when we were actually playing, because we found out very early on that if you play it stoned or derelict in any way it was really sh**ty music - so we would have the experiences and then bring that into the music later (SOL p.110).





Barry Miles: The Beatles... had a very workmanlike attitude to the studio ... they smoked pot...there were occasions where coke was available in the studio, but they avoided anything that would blur their musical awareness so there was no alcohol to speak of, and no heroin or acid. Most of their recording...was assisted by cups of tea, fish and chips or chinese takeaway, and maybe marijuana (MYFN p.191, 385).

Sometimes, however, they did get high in the studio but the result were generally poor. On Mar 21 1967, during the vocal sessions for Getting Better, Lennon accidentally took acid in the studio and had a bad trip, prompting George Martin to innocently take him up to the roof for some fresh air (MYFN p.191) In 1968, Driven mad by the never-ending Ob-La-Di, Ob-La-Da sessions Lennon left and returned high


“I AM F**KING STONED!!” John Lennon bellowed from the top of the stairs. Swaying slightly, he continued, waving his arms for emphasis. “I am more stoned than you have ever been. In fact, I am more stoned than you will ever be!” … And this,” Lennon added with a snarl, “is how the f**king song should go” (HTAE p.247). He launched into the piano intro with a vengeance providing the high point of an average song.

From '67 onwards Emerick posits their drug intake as the reason they were becoming “a bit complacent and lazy”

The Beatles turned up at the Studio...near midnight and spent... seven hours in a stoned haze, jamming endlessly... and pointlessly ... Lennon had brought a big strobe light in, so at one point they turned out the lights and started running around as if they were in an old film. That lasted for about five minutes, after which everyone started complaining of a headache. All four of them were completely out of it – tripping on acid probably – and it was the first Beatles session I'd ever attended where absolutely nothing was accomplished (HTAE p. 194, 197).

Ringo speaking many years later would concur

It was good to take the day before – then you'd have that creative memory - but you couldn't function while under the influence. When we did take too many substances, the music was sh*t, absolute sh*t (RR p.49) and You can listen to my records go downhill as the amount of medication went up (Express)

High or not, the sessions didn't descend into total chaos because the strung out musicians always had straight engineers and producers to capture the music

George Martin: There's no doubt that, if I too had been on dope, Pepper would never have been the album it was. Perhaps it was the combination of dope and no dope that worked, who knows? The fact remains that they often got very giggly, and it frequently interfered with our work (AYNIE p.206)


You and me chasing paper, getting nowhere

Maybe getting high while the tape is rolling is a bad idea. But what about when you're kicking back waiting for the muse to show up? Well the Beatles rarely wrote while high either.

Paul: we normally didn't smoke [pot] when we were working. It got in the way of songwriting because it would just cloud your mind up (RR p.51).

One time they did smoke pot was when writing The Word, an average (and not very trippy) song. When the time came to note the lyrics down, in true pot-head style they spent hours creating a multi-coloured illuminated manuscript with Paul adding a wash of pink watercolor, a tree and other abstract details.


No one knows where inspiration comes from but if we can work out the chemicals we could literally bottle inspiration. Drugs are a simplistic, lazy way of explaining the magic. Drugs can get us into a state vital for creativity – that of switching off the inner critic. But as any who has completed the FAWM challenge will know, being forced to write quickly will achieve the same results just as effectively.



Beer and Preludin - that's how we survived

Ringo Anthology

What beneficial effects did drugs have on the Beatles as creative people? Marijuana, alcohol and nicotine may have helped them relax but arguably the most helpful drugs the Beatles took were Benzedrine and Preludin, the Hamburg uppers found in cold inhalers and diet pills. These allowed the boys to cram their '10,000 hours' of practice into an insanely short period of time, learning stagecraft, analysing hundreds of great songs and evolving into the 'four-headed monster' able to survive the pressure of Beatlemania. Cocaine had a similar (but more limited) impact on Paul.

I did cocaine for about a year around the time of Sgt Pepper. Coke and maybe some grass to balance it out... eventually I just started to think - I think rightly now - that this doesn't work. You've got to put too much in to get too little high out it. I did it for about a year and I got off it (Uncut).

Lennon agreed

I had a lot of [cocaine] in my day, but I don't like it. It's a dumb drug. Your whole concentration goes on getting the next fix (AWAS).


Though Lennon always spoke well of LSD it seems to have had a devastating impact on him

I got a message on acid that you should destroy your ego, and I did. I was reading that stupid book of Leary's and ... I destroyed my ego and I didn't believe I could do anything. I let Paul do what he wanted and ... I just was nothing, I was s**t (LR).

According to Ian MacDonald acid left Lennon “a mental wreck struggling to stitch himself back together” (RITH p.193). On 18 May 1968 he called a business meeting at Apple to announce he was Jesus Christ. The next day while his wife and son were on holiday he invited Yoko Ono to spend the night at his mansion, recording the Two Virgins album, and beginning their relationship (RITH p.449). Lennon became addicted to heroin from the middle of 1968 to the end of 1969, partly in an attempt to wean himself off acid (BB).


Ringo by his own admission “got lost in a haze of alcohol and drugs” and missed most of the 1980's

I’ve got photographs of me playing all over the world but I’ve absolutely no memory of it. I played Washington with the Beach Boys – or so they tell me. But there’s only a photo to prove it (Express).

John had a similar but shorter bender, the infamous 'Lost Weekend' (1973-75), where he spent his evening in the Troubadour getting into a brawls, heckling comedians and sellotaping tampons to his forehead.

Harrison's self-proclaimed "naughty period” (1973–74) coincided with the breakup of his marriage, the Dark Horse album and tour. “Snorting mountains of cocaine to keep going” the drugs and constant touring “absolutely shredded” his voice (UCR/RS). Ex-wife Pattie Boyd said

That whole period was insane. Friar Park was a madhouse. Our lives were fuelled by alcohol and cocaine, and so it was with everyone who came into our sphere ... George used cocaine excessively and I think it changed him (WT).

Though undoubtedly more benign than other drugs, Paul's pot habit has arguably been a factor in the poor quality of his later solo output. Producer, Hugh Padgham (Press To Play) says

We'd stop for lunch and... he would go upstairs and smoke a joint...then he'd come down and sit there for hours trying to play the bass... the tedium. Oh! (FAB p.404).

In 1972 a drugs bust in Sweden prevented him touring Japan and the US. His Japanese drugs bust in 1980 and subsequent imprisonment also resulted in massive financial losses, cancelling Japanese and planned US tours (FAB p.363).


Did Dylan Thomas write Under Milk Wood on beer?

Remember the way Lennon categorised the albums by drugs? Here's what he actually said in full,

Rubber Soul was our pot album, and Revolver was acid. I mean, we weren't all stoned making Rubber Soul because in those days we couldn't work on pot. We never recorded under acid or anything like that. It's like saying, 'Did Dylan Thomas write Under Milk Wood on beer?' What the f**k does that have to do with it? The beer [and] the drugs are to prevent the rest of the world from crowding in on you. They don't make you write better. I never wrote any better stuff because I was on acid or not on acid (BI).

Crediting any Beatles song to the drugs they took is as almost as ridiculous as crediting Balzac's novels to caffeine or Zappa's albums to nicotine. It's is the person who happens to be a smoker, caffeine addict or crackhead who is really creating the art.

Quincy Jones: A little toke now and then never hurt anyone...but as [Charlie Parker] said, 'if you can’t play it’s not going to help you' (Telegraph).



Based on a novel by a man named Lear

The Beatles Bible asserts “LSD had a profound effect on The Beatles' songwriting and recording” and “there is little doubt that the Through The Looking Glass imagery was the product of drug intake”. But surely the primary source of Lennon's “Through The Looking Glass imagery” is Through The Looking Glass itself, a book Lennon revered. Likewise, though acid inspired Tomorrow Never Knows, the lyrics came straight from Timothy Leary reworking of the Tibetan Book of the Dead***, a book available to straight and high alike. As his childhood writings and published books prove**, influenced by authors like Edward Lear and Lewis Carroll and radio performers like Stanley Unwin and The GoonsLennon was creating psychedelic prose long before he dropped acid. His later output owes more to the BBC than LSD.

The Beatles wrote songs about drugs (Yer Blues, Got To Get You Into My Life, Everybody's Got Something To Hide...) but that's not the same as writing on drugs. If you want to make a case for LSD helping you make music you have to do it from songs (like Ob-La-Di, Ob-La-Da and Getting Better) that were primarily written or recorded under it's influence. Acid trips provided the first two lines for I Am The Walrus but the rest came from Carroll, nursery rhymes and police sirens. A Day In The Life, Strawberry Fields Forever and Yellow Submarine all had similarly mundane origins.


To get really high you have to go it straight

George (RR p.54)****

The Beatles proved that recreational drugs have some benefits for creativity. But they also have a massive downside on life and mental wellbeing in general, and creativity and productivity in particular. Many, if not all, of the same benefits can be gained through limiting your options, writing to deadlines and reading great literature. As Frank Zappa said

I don't use any [drugs] and I've never encouraged it. The same state of psychedelic happiness can be induced through dancing, listening to music, holding your breath and spinning around, and any number of the old, easy to perform and 100 per cent legal means – all of which I endorse (EDQ p.68).




Footnotes

* Manager Brian Epstein died from an overdose of sleeping pills
** Lennon's published books In His Own Write (Mar 64) and A Spaniard In The Works (Jun 65) predate his acid use by 2-3 years.
***Timothy Leary and Richard Alpert: The Psychedelic Experience (1964)
****The full quote is “[Acid] can help you to go from A to B, but when you get to B, you see C. And you see that to get really high you have to go it straight” (RR p.54)

Sources

Bill Hicks - Watch the video here
MYFN - Barry Miles: Many Years From Now
HTAE – Geoff Emerick: Here, There And Everywhere
SOL – George Martin: Summer Of Love
RR – Robert Rodriguez: Revolver: How the Beatles Reimagined Rock 'n' Roll (see also this video for Ringo's quotes on drugs)
Express – Article: Ringo Starr At 70
AYNIE – George Martin: All You Need Is Ears
Anthology – Beatles Anthology Book (via Beatles Bible)
Uncut - Uncut Magazine July 2004 (via Beatles Bible)
AWAS - David Sheff: All We Are Saying (via Beatles Bible)
LR - Jann S. Wenner: Lennon Remembers (via Beatles Bible)
RITH - Ian MacDonald: Revolution In The Head
UCR – Ultimate Classic Rock
RS – Rolling Stone
WP – Wikipedia Dark Horse and I Am The Walrus
WT - Pattie Boyd: Wonderful Today
FAB – Howard Sounes: Fab: An Intimate Life Of Paul McCartney
BI - Beatles Interviews
Telegraph - Quincy Jones Interview
EDQ - Neil Slaven: Electric Don Quixote: The Story of Frank Zappa

Links

Other artists on drugs vs creativity


Tuesday, 6 September 2011

Blessed Are The Mundane


Be regular and orderly in your life ... so that you may be violent and original in your work. 
 - Gustave Flaubert

As well as being singletasking, prolificco-writers, with a fine crop of facial hair, the Beatles were such successful songwriters because they were creatures of habit.

Consider how consistent, even boring, they were in their careers as recording artists. They maintained not only the same line up, but had one manager, one record label and the same two roadies for the entire seven years.

The vast majority of their 211 songs were rehearsed, cut and mixed at EMI studios, Abbey Road under the watchful eye of one producer, George Martin.

And tools of the trade? It's only a slight generalisation* to say Lennon & McCartney recorded most of the songs with 2 basses, 3 electrics and 2 acoustics. Harrison, the biggest gearhead, seemed to average one new guitar per album which still adds up to less instruments than many pros take on tour today. The band shared, swopped and repainted guitars throughout their career. Ringo had five successive kits that were all essentially the same, until he went crazy and added an extra tom tom for Let It Be.

This frugality is mind boggling when compared with Slash's collection of 100 guitars (and rising) and Mike Portnoy's purple, siamese and albino monster kits.

Even the number of wives and houses was far less than the average rock star quota!




It's A Drag Man
All this resulted in a minimum of creative drag when it came to making music. Every new band member takes time to settle in. New producers and studios need time to get comfortable with. Even a new instrument takes time to get used to. And all that time could be better spent writing and recording.

Consider Abbey Road studios. In many ways it was a inhospitable grey place, characterised by harsh lighting, locked fridges and rough toilet paper. But whether George Martin and the team needed a harpsichord or a recording of a blackbird they knew where to find it. They didn't need to stop to figure out how to patch the reverb through the desk. In fact because everyone knew exactly how it all worked they had the ability to devise ways to make things not work properly, inventing ADT, flanging, close miking and the like.

The Beatles were products of their time and that means they had less choices available to them than we do today (as I've written about before). But that just means we need to pay more attention to this.



Don't Let It Be 

Let's look at Let It Be as a case study. It's universally believed to be The Beatles lowest ebb. What was going on? Lennon was going through a divorce. The band were deadlocked over whether Lee Eastman or Allen Klein should represent them. So how did they approach recording a new album?

They decide to film a 'making of' documentary. This involved them rehearsing on a film studio soundstage. Union rules meant they had work normal 'office hours' rather than the night shift they'd become used to, surrounded by a strange film crew rather than the normal handful of insiders. Glyn Johns was giving the job of capturing the album on tape at Apple's 'state of the art' 72 track studio which hadn't even been finished (and proved unusable when it was).

The result was a disaster. The follow up, Abbey Road was a return to form, because in part, it was a return to the usual people, place and methods too.

Balance

It's so tempting to start moving the furniture when you want to create something fresh and it feels like the more change the better. But the Beatles were able to evolve musically at such a phenomenal rate because they left so many other things untouched.




Think about it like this. Your kitchen is a workspace. You like to know where everything is and have everything you use regularly to hand. That's why it drives you (and me) nuts when they keep rearranging the shelves at the supermarket. There are times when we need to rearrange or decorate the kitchen. But they are the days when you order take out Pizza.

Is the point 'never sack the drummer, buy a new guitar or move house?'. No. It's that every change is a withdrawal from the 'bank of creative headspace' and it makes sense to maintain a healthy balance. So if you just fired half the band maybe you shouldn't record your next album in another country on that brand new digital format this time around.

In general aim for as little excitement as possible in your working methods. Your creative process should appear utterly boring to anyone else (unless they are interested in 'creative processes'). If you're doing anything sexier than drinking lots of coffee while you play the same 3 notes over and over again, I'd say you're doing it wrong. 

Blessed are they who can change what they do, because they rarely change how they do it.


*If you'd like my research to be a little more accurate you could always buy me a copy of Beatles Gear by Andy Babiuk or (thanks Roberta!) any other book on my Amazon wish list

Tuesday, 12 October 2010

Blessed Are The Prolific (pt. 2) - Write For Multiple Outlets



(Read part one here)

A second secret to the Lennon & McCartney’s prolific output was that The Beatles had lots of different avenues for their songs on something of a sliding scale of quality, starting with the songs they wrote for themselves.

Singles


Every three months, or so, they would try to write the next single. Their practice, unlike today, was not to write an album’s worth of material and then pick the best tracks for a second life as a single - the two were completely separate. It’s interesting to see the number of times a song in progress would be earmarked as a single before it was even finished. That seems remarkable in this day and age.

Albums


Second they wrote album tracks. Every 6 months they had to come up with a new album. Not that album songs were second rate material. Many tracks went on to be hits singles in the US or elsewhere, or when covered by other artists.


Ringo Songs


Third they wrote songs for Ringo (and George in the early days) to sing. These sometimes were the average songs (McCartney calls them work songs, more graft and craft than inspiration) but often they were specifically written (What Goes On, With A Little Help From My Friends). Ringo’s songs had to have a limited range and be possible to drum and sing at the same time.

Cover Songs


Fourth they wrote songs for other artists. Lots of em. Some were failed Beatles songs (Like Dreamers Do, That Means A Lot) many specially written (I Wanna Be Your Man & Come And Get It, for The Rolling Stones & Badfinger respectively). Some were good songs that didn’t fit the Beatles style.

Incredible as it now may seem Paul tried to give away Yesterday to Marianne Faithfull judging it a stylistic bridge too far for a ‘beat group’.


I Think We're Gonna Need A Bigger Box...


Which leads me to another unintended benefit of writing so broadly. The Beatles had the freedom to write anything they wanted knowing that if they came up with anything beyond the pale they could always give it to another recording artist (Catcall – Chris Barber). But when you spend time writing outside the box what you find is that your own box gets bigger.

If you could write for anyone who is totally out of your genre who would it be? Try writing the next single for Beyonce, Susan Boyle or Bonnie Raitt just for fun. You might find that it’s your biggest hit. 


Blessed are they who let the Beatles teach them how to write songs - read more Be-atletudes here

 


Monday, 11 October 2010

Blessed Are The Prolific (pt. 1)




In a way this goes right to the heart of why Lennon & McCartney were such great songwriters. All other Be-atletudes lead to this. Being a singletasker, having a co-writer and limiting your options all allow you to be prolific and that is the one thing that will turn a good songwriter into a great one.

Here’s a favourite illustration

A ceramics teacher divided his class into two groups. One group would be graded solely on quantity of work – fifty pounds of pottery would be an “A”, forty would be a “B”, and so on. The other group would be graded on quality. Students in that group had to produce only one pot – but it had better be good.
Amazingly, all the highest quality pots were turned out by the quantity group. It seems that while the quantity group kept churning out pots, they were continually learning from their disasters and growing as artists. The quality group sat around theorising about perfection and worrying about it – but they never actually got any better.
Apparently – at least when it comes to pottery- trying and failing, learning from failure, and trying again works a lot better than waiting for perfection. No pot, no matter how misshapen, is really a failure. Each is just another step on the road to an “A”. It is a road littered with imperfect pots. But there is no other road.
John Ortberg: If You Want to Walk on Water, You've Got to Get Out of the Boat (p.148) The story he quotes is from 
David Bayles & Ted Orland: Art & Fear (p.29)
 

 

 200 Songs


Why were Lennon & McCartney so good?

Between 1962 and 1970 Lennon & McCartney wrote close to 200 songs. Almost all were recorded and released. The majority were top 10 hits as singles or album tracks. Whereas most writers today would throw away a song that wasn’t good enough for their next album or didn’t fit stylistically, the boys always had a reason to finish that song. And because of their insane recording schedule they always had to come up with more songs.

Here, There & Everywhere


The norm for today’s artists seems to be that they are either writing OR recording OR touring. Letting the studio or the road disrupt the habit of writing is a problem somewhat unique to SONGwriters.

For example, on the rare occasions that a novelist does go on a promo tour he doesn’t spend 200 nights a year for 2 years reading people his most recent book.

What could be more damaging to fresh creativity than regurgitating your previous efforts night after night without attempting anything new? Yet this is everyday life for many successful recording artists.

Road Songs

 


For a band with a schedule as insane as the Beatles had from 62-66 writing on tour was a necessary evil. From Me To You was written on a tour bus, All My Loving backstage, She Loves You in a hotel room. Can’t Buy Me Love was not only written on tour but recorded in a studio in Paris while they played a residency there!

It's All Too Much




Of course the band stopped touring in ’66 but The Beatles didn’t regard recording as a legitimate reason to take a break from songwriting either (which makes sense as they were always recording). And I’m not referring to the way many successful bands enter the studio with unfinished songs (though they were guilty of that too). I mean continuing to write new songs even as they were laying down songs they’d just finished.

Assistant producer Chris Thomas remembers Harrison playing Something to him on the harpsichord while they were recording Piggies for the White Album. McCartney gave Lennon a preview of MMT’s The Fool On The Hill while writing With A Little Help From My Friends for Sgt Pepper.

When the time came for shooting a video for the Lady Madonna single, instead of miming to the song the band decided to record a completely new song, Hey Bulldog, and let the crew film them doing that instead.

You would think that recording 32 songs for the White Album would have exhausted the supply but by the time it was mixed they already had Polythene Pam, The Long And Winding Road, Let It Be, Something & Maxwell’s Silver Hammer lined up ready to go.

Slow Down

 


With such a workload did they ever just relax and take a holiday?

McCartney wrote most of the lyrics to Yesterday while on holiday in Portugal with Jane Asher (having written the bridge while filming Help!). When the Beatles went off to find the meaning of life in India, Lennon, Harrison & McCartney wrote 23 songs in couple of month.

So I guess the answer is no.

Read Blessed Are The Prolific part two



Monday, 21 June 2010

Blessed Are The Single-Taskers



On 15th Aug 1969, while the Woodstock festival was kicking off in Bethel, New York, George Martin & The Beatles were in London laying down the orchestral overdubs for five of the songs on Abbey Road . For once the Beatles weren’t at the centre of the musical universe. But more remarkable from a songwriter’s perspective this was one of the few times they worked on several songs at once.


Saving the world, one song at a time



Like every other songwriter on the planet Lennon & McCartney always had numerous ideas on the back burner but one thing they habitually did (in terms of recording) was work on every song to completion. They very rarely focused on more than one song at a time.

Just let that sink in for a moment.

Picture just about every band you know. They go into the studio to record an album. First they lay down all the drum tracks. With b-sides involved this may be up to 25 songs. And 25 bass tracks. And so on. Weeks may elapse between laying down each instrument. Once the initial scratch tracks are done the rest of the band may not even be present. And even at the point that the songs are tracked the vocal lines and lyrics may still be unwritten. That’s certainly the case with Aerosmith, Led Zeppelin, U2 and Metallica.

The Beatles however went in and hammered away at a song till it was finished and only when it was in the can did they move on to the next one. The only modern artist I know of with a similar way of working is Prince.

Ever wondered how the Beatles (and Prince) were able to handle such a wide range of styles convincingly?

Because this way of working allows you to totally submerge yourself in the song. It’s just too hard to switch gears between being children’s entertainers one minute (Yellow Submarine) and drug-fuelled visionaries (A Day In The Life) the next.

Rather than getting stuck in a “rhythm guitar overdub” frame of mind this approach allows you to get into a “song XYZ” frame of mind. After all, how unified do an album’s worth of bass lines need to be? Not as unified as all the elements of a song do.

Doing a complete song in a short space of time also gives you a much clearer sense of the song’s merits. How many rhythm tracks have been laboriously polished only to discover that, when the vocal track arrives at the 11th hour, the song sucks?

False Economy


So why don’t more people do it the Abbey Road way? Well, when it takes a whole day to mic up a drum kit, it makes financial sense to record as many drum tracks as you can in one go.

Here’s a bunch of observations on that.

This way of saving money leads to poorer songs. Poorer songs = lower sales. Lower sales = less money. So the strategy is “hey, if we spend less money, we’ll make less money!” Not a great idea!

Creating a perfect drum sound has become a quest for the holy grail requiring a mic for every piece of the kit, a channel for every mic & e.q. & outboard effects for every channel. No wonder it takes so long. Is the amount of time and money spent worth it?


There’s a stunning lack of unified drum sounds even on individual Beatles tracks. But be honest. Have you ever noticed the change in drum sounds on She Loves You  (1:23) and Strawberry Fields Forever (1:00) or the accidental phasing on From Me To You  (0:06)? Or is your focus on the song?

Maybe we would be less anal about drum sounds if we were trying to capture more of the bigger picture all at once. Is the kit fetish a symptom of engineers always having to work with vocal-less tracks. Who knows?

What’s best?


What’s best for the band and the song should never be overruled by what’s most convenient for the studio and the producer.What a band needs most is a large room with some separation, which is most like their normal playing environment.

In the 60’s Abbey Road was a combination of outdated gear and huge rooms that was pretty much at the Beatles’ disposal 24/7. By comparison many modern studios are overstocked broom closets too claustrophobic for any band bigger than the White Stripes.

Space matters more than equipment. Really.


Some Application



If your Abbey Road is a laptop and a few mics there’s little advantage doing any instrument wholesale anyway. So immerse yourself in the song, finish it and move on.

In a ‘real’ studio keep the time from the first count in to the final overdub as short as possible. Even if you go back later and remix or rerecord (as they did with Strawberry Fields, Ob-La-Di & Hold Me Tight) you’ve still wasted less time and focus. If one song at a time sounds too radical, try thinking of your album as a collection of 3 track EPs. Finish each EP totally before moving on.

Try to write something out of your genre. A kid’s song, a thrash metal song, a hymn, a comedy number, an R&B jam. Give yourself to it for a few days. Complete it, mix it and move on. Devoting yourself to a single (left field) project for a few days could produce amazing results and even refresh you as a songwriter.


More Be-atletudes


Blessed are the Co-writers 

Monday, 12 April 2010

Blessed Are The Co-Writers



Asking why Lennon and McCartney were such good writers is really two questions.

Why were they so amazing with the Beatles?
and
Why were they so often less than amazing apart?

People have tried to sidestep the question by pointing out (quite rightly) that mid way through the Beatles lifespan, they were no longer writing together in a face-to-face way. But I don’t think that matters.
The magic ingredient in Paul McCartney’s songwriting was John Lennon. And Lennon’s big secret was Paul McCartney.


First they did write together a lot in the early days. They learned the craft together when each one was probably too green to finish a song on his own. They built up a common vocabulary and understanding of the craft. And making times to sit down together helped to create a disciplined approach.

Secondly, even when not writing ‘together,’ they would often function as ‘song finishers’ on each other songs. This was potentially their greatest co-writing strength. What would We Can Work It Out be without Lennon's bridge? How much more prolific would many songwriters be if a trusted co writer could write that difficult second verse, or come up with a middle eight?

Thirdly, each one functioned as what Stephen King calls the ideal reader. To McCartney Lennon was the peer he most wanted to impress. His feedback was brutally honest and instantly available and, being in the same band, he had a vested interest in McCartney’s songs being of the highest quality.

Fourth, they were rivals. Each one wanted to write the A side of the next single or film title track. McCartney’s rivalry with Brian Wilson was nothing to his battle with John Lennon. They pushed one another to new heights. Each happy for the other to succeed as long as he could then exceed that success.

Fifth, each one functioned as quality control. Final veto on whether a Lennon song was recorded rested with McCartney, the other Beatles & George Martin. Though this safeguard broke down towards the end it probably spared the world Revolution 10, 11 & 12 and a whole toolbox full of Silver Hammers.

Do you have a co-writer?


While it may not be possible for you to find your Lennon, what about finding a number of people that could fulfil these different roles?

Song finisher,
ideal reader,
rival or
quality control?




Monday, 22 March 2010

Blessed Are The Limited



This post comes hot on the heels of watching It Might Get Loud. An 'OK' film rather than a great one, it’s chief effect was to make me realise what a great band Led Zeppelin were. So I dug out a load of Zep to listen to, the chief effect of which was to make me realise what a great band The Beatles were.

Back to the film.

Seeing Jack White make an electric guitar out of a few bits of wood and a coke bottle threw into sharper relief the Edge’s struggle to find the right setting for ‘Pride’ on a pedal board with more effects than the entire Abbey Road studio (circa 1970) and more processing power than Mission Control, Houston (circa 2010).


Right there I got an insight into why the Beatles were able to produce so much, so quickly, and so consistently whereas U2 (and most of their contemporaries) produce so little.

Don’t underestimate the power of limiting your choices.


When you have only 4 tracks, a few instruments, and some reverb you quickly exhaust all the possibilities and you are faced with doing yet another take or just saying ‘let’s move onto the next song.’ Even at their most technically advanced the Beatles had less to play with than I do on the garage band-equipped Mac I’m typing this post on.

I’m convinced that one of the (many) reasons for the Beatles greatness was that they wrote and recorded so many songs. The more you do something, the better you become. Duh!

But here's my point -

The Beatles productivity was inversely proportionate to the number of gadgets they had to dick around with. Spending 2 hours deciding how much decay to put on the guitar echo and 2 days soundchecking a drum kit might mean you take 2 years to record an album. And 2 years in the studio will often need 3 or 4 years on the road to recoup the advance.

Comparisons can be misleading, I know. Bono takes time out to save the world whereas The Beatles practically lived in the studio.

Nevertheless -

In 7 years...

The Beatles recorded over 12 albums worth of material.
U2 recorded 5 albums. (And in the last 7 years they've only recorded 2).

I think there's a lesson to learn.

Do you need to limit your options?

Scratch that. Why don't you try limiting yourself, whether you think you need to or not?

Take a hard look at the following areas.

Time (both recording and mixing).
Number of tracks.
Places to record.
Number of people involved.
Instruments/gadgets/hardware used.