Tag Archive: I Am The Walrus


Image based on the top 30 words used in songs based on 1 million recordings.

In this year’s  BBC John Peel lecture, Brian Eno said that one of the failings of modern-day music critics is that they pay too much attention to song lyrics. As part of Roxy Music, Eno played on two of the greatest pop singles of all time – Virginia Plain and Pyjamarama – where the words add to the atmosphere but when considered apart from the music are ,at best, enigmatic, at worst, plain jibberish.

Even when songs do have an obvious meaning or tell a story, they should not be viewed in the same way as poems or works of fiction. This is why the ‘Rock In Translation’ slot of Italy’s Virgin Radio makes for such a torturous listening experience. On this, a woman earnestly reads the translated lyrics to popular tunes as though she were helping to impart some meaningful insight into the human condition. Lines in the vein of “come on baby rock me all night long” are rendered into Italian as though they were some kind of profound comments on the nature of loving relationships. Continue reading

DIFFERENT EVERY TIME – The Authorised Biography of Robert Wyatt – by Marcus O’Dair (Serpent’s Tail, 2014)

a wyatt bookI look for two things in a biography. Firstly, I like to learn something new and/or surprising about the subject; secondly, I want what I already know (or think I know) to be presented in a way that shares my enthusiasm. Marcus O’Dair‘s marvellous book scores top marks on both counts.

Based on extensive interviews with Robert Wyatt and most of the key people he’s worked with over the years, it is meticulously researched but never stuffy or overly academic.

The author (who is also a lecturer, broadcaster and musician) gives well-informed opinions but never seeks to force his point of view on the reader.

Robert’s story comes two parts – divided by the accident in 1973 that confined him to a wheelchair at the age of 28. Continue reading

Part of an irregular series of bite-sized posts about 7″ singles I own – shameless nostalgia from the days of vinyl. (Search ‘Backtracking’ to collect the set!)

THE BEATLES – Hello Goodbye b/w I Am The Walrus (Parlophone Records, 1967)

500px-i_am_the_walrusAt the impressionable age of 9, The Beatles filled my musical world. John, Paul, George and Ringo seemed like exotic family members I never got to meet but were ever-present.

Up to the time of Magical Mystery Tour their songs had always been accessible and hummable. When you heard them they made you feel good in a pure, uncomplicated way.

Nothing about them was in any way threatening which is probably why Mom and Dad so easily embraced them as a positive influence. The brisk, easy-going charm of Hello Goodbye typified the freshness and immediacy of their melodies.

All this explains why the b-side to this single came as such a shock. Continue reading

When Don Van Vliet , aka Captain Beefheart, passed away last December, The Wire magazine ran a feature of personal tributes.

The one that most mirrored my own experiences was  by Mike Barnes who described his first encounter with the album Lick My Decals Off Baby. He recalled that his first reactions to this record were of confusion and even repulsion. At the same time there was something strangely fascinating about this music that drew him back and eventually this resulted in a kind of the epiphany : “the clouds suddenly parted and the sun streamed in, illuminating fantastic musical shapes I never thought could exist”.  Barnes ended the piece by saying that because of this revelatory experience “no music since has ever proved such an insurmountable obstacle”.

The first record I remember being repulsed/fascinated by was The Beatles’ I Am The Walrus, a song that now sounds relatively conventional.  However, this experience was nothing compared with the shock of first hearing what most (including me) regard as Beefheart’s masterpiece ‘Trout Mask Replica’. Like Barnes, the initial disorientation gradually gave way to a sense of  awe. Over four decades on it still sounds as radical as when it was released in 1969.

Barnes’ piece led me to his biography of Beefheart, a book I was vaguely aware of but had never seriously considered reading. I doubted that anyone could ‘explain’ what type of brain lay behind the music and I was right.

While Barnes book is a thoroughgoing, and occasionally illuminating, piece of journalism, the author himself is forced to admit that a work like Trout Mask  “resists demystification”. Continue reading