Scorsese biography of George Harrison to air on HBO in October

For fans of the Beatles, there was good news recently when it was announced that a documentary produced by Martin Scorsese about ex-Beatle George Harrison will air on HBO in October.

Scorsese is one of the best filmmakers of his generation and has a successful track record when it comes to documentaries involving rock and roll figures. He directed The Last Waltz that recorded the farewell performance of the Band (though they resurfaced in various forms after that). He was also involved in a well-received documentary about Bob Dylan in 2005 titled No Direction Home: Bob Dylan.

As for Harrison, the 'quiet Beatle' may finally get the attention he deserved during his life. The other three Beatles had more extroverted personalities and that guaranteed he would be lost in the shuffle somewhat.

However, one of the most interesting aspects of the Beatles' story was how Harrison began to flower as their career progressed. Early on, he seemed almost content to stand in the background. Slowly, he began to help shape their sound by introducing instruments like the sitar.

By the time the band was nearing its break up, he was writing songs that were as good as John Lennon's and Paul McCartney's. On the Abbey Road album, how many of their songs measure up to Harrison's 'Here Comes the Sun' or 'Something'? Not many. Certainly, Lennon's 'Come Together,' but Harrison's songs hold up better than just about any other song on the album.

Hopefully, this documentary will give Harrison the treatment he deserves.

Is 'Revolver' The Beatles best album?

Perhaps the most intriguing characteristic of the Beatles entire body of work is how rapidly they grew as artists in a relatively short amount of time. From when they began recording in 1962 through early 1965, almost all their songs dealt with love. Boy and girl meet. Boy loves girl. Girl loves boy. Boy loses girl. Boy gets girl back. Boy wishes he had a different girl. All the songs were simple variations of the same theme.

By early 1965, subtle influences began changing the band. Lyrically, John Lennon, George Harrison, and to a lesser extent Paul McCartney, each began following Bob Dylan's lead and started exploring deeper subject matter. Songs that followed like "Norwegian Wood (This Bird Has Flown)," "Nowhere Man," and "In My Life" still dealt with relationships. However, their lyrics now probed the subject matter in ways that more accurately reflected the complexity of those relationships. Simple love songs were now gone for good. Those three songs appeared on their late 1965 album Rubber Soul, which acted as the vessel that delivered the Beatles into the most creative phase of their career.

In 1966, the Beatles remained the unquestioned leaders of rock and roll. With their album Revolver, they decided to use that power to break the conventional boundaries of the current musical scene. As the subject matter of the album's songs reveals, band members sometime had different ideas about what it meant to break boundaries.

For Lennon, his excursion to new places led him into citizenship in Alice's Wonderland. Surrealism saturated his songs in such a complete way that the songs retain their original freshness and vitality more than 40 years later. Whether it was his boredom with making albums or his tendency to sometimes incorporate drugs into the creative process, Lennon's work on this album repeatedly travels into the cosmos in ways that are often bewildering. To the casual listener, a common response to these songs might be, "What the heck is this?"

Nowhere is this more obvious than on "Tomorrow Never Knows." With lyrics taken almost directly from the book The Psychedelic Experience, the song's musical arrangement mostly features guitars that were recorded and then played backward, accompanied by thumping that sounds like tribal drum beats. The result sounds like waves of electronic sound pounding a beach, while accompanied by Lennon's vocals that resemble a spiritual chant.

"I'm Only Sleeping" is an ode to dreaming the day away in bed, and "Dr. Robert" is a tribute of sorts to various Dr. Feelgoods who fulfilled the special needs of cultural icons. Though neither song is drenched in psychedelics like "Tomorrow Never Knows," they both represent a clear departure from Lennon's early songwriting. In both songs, it is like the listener can pull back his skull and peer deeply into his subconscious and ego. "And Your Bird Can Sing" is less successful than the other songs, but the surrealistic lyrics are a direct nod to the work of Dylan in the mid-1960s.

For McCartney, breaking boundaries did not necessarily include experimental studio wizardry. At that time, rock and roll still maintained second class status in the musical establishment's eyes. The establishment often maintained an attitude of unbridled condescension toward rock and roll. Cleverly, McCartney began integrating elements of the 'old world' and showed they could be used in a rock and roll context.

The previous year, McCartney began this musical migration when his song "Yesterday" included only him on acoustic guitar and a stringed quartet. No other Beatle played on it, and in a sense, it was the first Beatles solo recording. The song is one of the most recorded and commercially successful songs of all time. However, the song's big breakthrough was that McCartney showed how to use a classical musical approach in a rock and roll context.

On Revolver, he did it again. On "Eleanor Rigby" he was again accompanied by a classical group, which spun a somber musical arrangement around lyrics bemoaning the growing isolation of people. The result is chilling. Forty years after the fact, this may seem like a minor achievement, but this type of musical fusion was highly unusual for that time.

Other songs of his on the album are less adventurous but no less successful. "Good Day Sunshine" embraces the pleasure of spending a beautiful day sitting under a tree with your woman. The title of "Got To Get You Into My Life" is pretty self explanatory, but the chewy horn section that propels the song is outstanding. "Here, There and Everywhere" may be the prettiest ballad McCartney has ever written.

Though George Harrison often stood in the shadows of his two more heralded band mates, he continued to mold the band's sound on this album. The previous year he introduced the sitar to his band members, and it was included on the song "Norwegian Wood." Primarily associated with Indian music, the instrument was largely unknown to American and European audiences when the Beatles used it. The instrument made another appearance on this album on Harrison’s "Love You To."

Harrison's "Taxman" became one of his most well-known songs in which he lamented the impact that England's severe tax code had on his bank account. Ah, the problems of wealth. "I Want To Tell You" is a steady and straightforward rocker that delves into relationship problems.

The only top 10 hit from the album was the Lennon/McCartney composition "Yellow Submarine" with Ringo Starr on lead vocals. The song would be the springboard for an animated film three years later. The song is pretty silly in some respects, but it has the charm of a nursery rhyme.

The Beatles body of work is eclectic, and its impact on the world can not be overstated. Whatever musical limitations each member had, the four of them made up for it by perfectly complementing each other. Plus, they had the good sense to break up before they had a chance to fail. The audience was spared seeing them decline over time like the Rolling Stones and the Who did. This was one of the few times when the sum of all the parts added up to a whole.

The Beatles 'Sgt. Pepper's Lonely Hearts Club Band' is an overrated album

Let me begin by writing that I believe The Beatles' Sgt. Pepper's Lonely Hearts Club Band is an excellent album. If I have a long drive facing me, I have no problem sticking it in the CD player as I hit the road. However, sometimes the legend of an album can overwhelm its actual quality.

This album is more important for its cultural impact than its alleged greatness. Released in the summer of 1967, it was the next step in the maturation of the band. The Beatles were striving to be artists that expanded what rock and roll could be. They were tired of being the objects of screams at concerts.

They had already abandoned tours because their 1966 concert tour was the last they ever did. Artistically, they were growing as the remarkable Revolver album showed that same year. If 'Tomorrow Never Knows' is not their greatest song, then it is definitely in the top five. It was the triumphant finale to Revolver.

After that, they entered the studio to begin recording what would become Sgt. Pepper's Lonely Hearts Club Band. However, they spent such a long time in the studio that there became a need to release a single to maintain their visibility. They released what could easily be considered the greatest two-sided single of all time. 'Penny Lane' backed with 'Strawberry Fields Forever' presented John Lennon and Paul McCartney at their absolute best. 'Penny Lane' was Paul's and it was shimmering. It's a wonderful example of what a pop single should be. John's 'Strawberry Fields Forever' seems like a logical extension of his 'Tomorrow Never Knows.' Dreamlike in its presentation, it succeeds more as an image than a typical pop song.

However, by choosing these two songs for the single, it cost them the opportunity to make their greatest album. Sgt. Pepper's... has some truly great songs: 'With a Little Help from My Friends,' 'Lucy in the Sky with Diamonds,' 'A Day in the Life' and the title song are all top flight. The problem is that some of the deep album cuts are not quite up to snuff.

'She's Leaving Home' sounds like a remake of 'Eleanor Rigby' from the year before but less successful. 'For the Benefit of Mr. Kite' has lyrics literally taken from a carnival poster. 'Within You Without You' was one of George Harrison's less successful attempts to incorporate Indian music into The Beatles' sound. 'When I'm Sixty-four' is cute but inconsequential.

Drop two of those songs and replace them with 'Penny Lane' and 'Strawberry Fields Forever' and Sgt. Pepper's... becomes a monster. There would be no doubting that it deserved the mythic status it has received. The bottom line is that this album is revered because the album is the result of great timing. The so-called 'Summer of Love' was unfolding in 1967, and the people wanted something to rally around. Since The Beatles were not touring anymore, this album became the object of their desire.

In reviewing The Beatles body of work, I consider this their fourth best album. It ranks behind The Beatles (The White Album), Revolver, and Abbey Road. It's true. Each of these three albums is more diverse than Sgt. Pepper's..., and Harrison's blooming songwriting talents almost put him on equal status with Lennon and McCartney.

Like I wrote at the beginning, Sgt. Pepper's... is an excellent album. However, does it deserve to be ranked ahead of the other three albums I just listed? An objective mind would reply: 'No.'

'All Things Must Pass' gave George Harrison the spotlight alone

In 1969, George Harrison had to have been one of the most frustrated musicians in the world. He had the good fortune of being in The Beatles. However, he had the misfortune of being a good songwriter in a band with two great ones (John Lennon and Paul McCartney). By the end of the 1960s, Harrison had a large stack of songs he had written but knew most would not see the light of day with The Beatles.

In April 1970, the band officially broke up (though the real break up happened late in '69). Despite being overshadowed by his former bandmates, Harrison had a distinct advantage over Lennon and McCartney as their solo careers began. He had a pile of songs ready to go, and he immediately went to work. Working with producer Phil Spector, Harrison created one of the first triple albums of the modern rock era. Though one of the records was just a jam session, the other discs were crammed with great music.

Titled All Things Must Pass, the album's name seemed to put The Beatles passing in a proper philosophical and spiritual perspective. It served well as the title song of the album, but it had actually been written while The Beatles were still together and was among the songs rehearsed for the Let It Be album.

Of course, the big hit from this set was 'My Sweet Lord.' It went to number one, meaning Harrison had a chart topping single before Lennon and McCartney did. A second single, the excellent 'What Is Life' also made the top ten.

The standout song of this set is likely 'Isn't It A Pity.' It's a seven-minute song, and its arrangement is reminiscent of 'Hey Jude.' The song begins softly, builds to a crescendo, and has a long, slow fade out. In the song, Harrison lamented how people break each others hearts and cause so much pain when it comes to love. That theme is as relevant today as it was 40 years ago.

Unfortunately, this album was the high point of Harrison's solo career. Though he had other successful albums, All Things Must Pass was the top when it comes to creativity. Though he became uneven as an artist, he left a musical legacy that dwarfs most musicians.

'Layla and other assorted love songs' by Derek and the Dominos is brutal and beautiful

Many times, it seems that artists produce great work during times of deep personal turmoil. In a sense, the turmoil overtakes them and helps push the work to places so creatively honest that it is unlikely the artist could have produced it under normal circumstances. The anguish takes the artist to his very core in which he bares his soul for all to see. The anguish that drives this record is heartbreak.

Most people know the 'Derek' in this band is guitar legend Eric Clapton. At this point in his life, Clapton was a full-fledged rock and roll 'god.' He spent most of the 1960s bouncing from band to band, going from the Yardbirds to John Mayall's Bluesbreakers to Cream to Blind Faith in only a few years. His legend grew with each stop, but he was uneasy in the spotlight. With the Dominos, he sought to play the music he loved with the mask of anonymity.

When Clapton started making this record, his heart was reeling. He had fallen in love with his good friend George Harrison's wife, Patti. When she returned to her husband, he was devastated and the hopeless despair that gripped his heart fueled most of this record. Though he and Patti would eventually marry, on this record he sought solace back in the arms of his beloved blues music and the horrors of heroin.

Backed by members of the Delaney and Bonnie touring band, Clapton leads the listener on a first hand tour of the pain of unrequited love. The song titles tell it all. Songs like: 'Why Does Love Got to be So Sad,' 'Nobody Knows You When You Are Down and Out,' 'Have You Ever Loved a Woman,' and 'Thorn Tree in the Garden' reverberate with mournful angst. Duane Allman of the Allman Brothers sat in on many of the recording sessions. His artful slide guitar work pushed Clapton to new heights. The word 'legend' is thrown around much too lightly. However, Clapton and Allman are legends, and they pushed each other to rarefied places on these songs.

The most well known song from this set is obviously 'Layla.' Clapton specifically wrote this song about his relationship with Patti Harrison. Rock critic Dave Marsh said this is one of the few songs where a singer or writer reached so deeply into himself that the effect of hearing him is akin to witnessing a murder or suicide. He is right. During this song, Clapton is teetering on the cliff's edge and is not sure whether to jump or not.

From the opening burst of guitars by Clapton and Allman, the song careens through each verse with vocals that define terror. By the final verse, the singer reaches his breaking point: "Let's make the best of the situation/Before I finally go insane/Please don't say we'll never find a way/Or tell me all my love's in vain."

Then come the final guitar solos where Clapton and Allman duel each other by pushing their slide guitar talents higher and higher. Then the guitars grow quiet, and Jim Gordon's piano work pushes the song to its gentle conclusion with guitars gently weeping in the background.

If it is possible for an album to have an aura around it, this one does. It is dark, brooding, and exhausting.

Though he has made good music throughout his career, nothing else Clapton has produced comes close to this. In a way, I am glad because it probably means tranquility has come into his heart. This record is hard to listen to, but at the same time, the listener knows it would be wrong not to listen. When somebody opens his heart to you like this, it would be a sin not to listen.

It was 38-years ago today...almost

When we are younger it seems like we have all the time in the world, but as we get older, we understand that time flies by.

I was reminded of how fast time moves a few days ago when I realized it was the 38th anniversary of when the Beatles officially disbanded.

Paul McCartney announced on April 10, 1970, that he was done with the group, and it was one of those moments that truly ended an era. Of course, McCartney's announcement was only a formality.

Those familiar with the band's history knows that John Lennon had told McCartney several months earlier that he wanted out of the group. In fact, McCartney worked the hardest to keep the band together.

It was only when he became fed up with the lack of interest of the other three that he shocked the world with his announcement.

Of course, the Beatles are still a bit of a lightning rod to some people. While there can be no denying they were musical revolutionaries, some point their fingers at the band as having been a corruptive influence on youth culture.

Their hairstyles caused countless young men to abandon their crew cuts and begin growing their hair long. While there is nothing wrong with that, their appearance on American shores in February 1964 seemed to snap the nation's youth out of a trance.

Remember, this was only about 10 weeks after President Kennedy's assassination, and the country was still coping with that loss. The country needed something to get excited about and the Beatles were just that for a lot of the youth.

Of course, some who criticized the group did have good points. The Beatles all used drugs and were correctly criticized for it. Because of their status as role models, their use influenced others to give drugs a try.

In fact, society in general got a lot more permissive during that time, and we are still seeing today some of the bitter fruits from that era.

However, I believe some of the criticism given to the band was too extreme.

Could the Beatles have been better role models? Of course. But the same could be said about every one of us. We are all lucky that our mistakes and indiscretions have never been on a world stage for all to see.

I tend to agree with George Harrison's assessment of the criticism the band received. In the documentary The Beatles Anthology, he said the world used the Beatles as an excuse to go crazy and then blamed them when they didn't like the result.

He's right. There is something about our human nature that doesn't like to take responsibility for our actions. We want to blame others for the decisions we make.

In the Beatles' case, they were the most famous representatives of their generation and became the natural targets of blame when the so-called bliss of the Summer of Love began creating a lot of casualties.

Harrison saw these casualties first hand. In 1967, he traveled to San Francisco, which was the self-proclaimed capital of the counterculture.

As he stated in that documentary, he had expected to find an enlightened place. However, he said he found a lot of drop-out kids who were over indulging in drugs.

He said what he found there was like visiting a "bowery."

Those don't sound like the words of somebody who was trying to lead the youth of America astray.

Those words sound like somebody who was trying to be a good role model.

Martin Scorsese to direct George Harrison documentary

For fans of The Beatles, there was good news recently when it was announced that Martin Scorsese will direct a documentary about the life of George Harrison.

Scorsese is one of the best directors of his generation and has a successful track record when it comes to documentaries involving rock and roll figures. He directed "The Last Waltz," which recorded the farewell performance of The Band (though they resurfaced in various forms after that). He also directed a well-received documentary about Bob Dylan in 2005 titled "No Direction Home: Bob Dylan."

As for Harrison, the "quiet Beatle" may finally get the attention he deserved during his life. The other three Beatles had more extroverted personalities and that guaranteed he would be lost in the shuffle somewhat.

However, one of the most interesting aspects of The Beatles' story was how Harrison began to flower as their career progressed. Early on, he seemed almost content to stand in the background. Slowly, he began to help shape their sound by introducing instruments like the sitar.

By the time the band was nearing its break up, he was writing songs that were as good as John Lennon's and Paul McCartney's. On the "Abbey Road" album, how many of their songs measure up to Harrison's "Here Comes the Sun" or "Something"? Not many. Certainly, Lennon's "Come Together," but Harrison's songs hold up better than just about any other song on the album.

Hopefully, this documentary will give Harrison the treatment he deserves.