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The Beatles Anthology 3 – Disc One

I enjoy every era of The Beatles career but my very favorite Beatles album is The White and that may be why my favorite disc of The Beatles Anthology series is disc one of Anthology 3. Many of the songs on disc one of Anthology 3 are from The White Album.

This article takes a track by track look at each of the 27 tracks on disc one.

1. “A Beginning” – This orchestral piece composed by The Beatles producer George Martin was originally meant as an intro for the Ringo sung (and Ringo written) “Don’t Pass Me By” on The White Album. I’m not a huge fan of this track but it works reasonably well as an introduction to Anthology 3.

2. “Happiness Is a Warm Gun” – This is a very basic demo version of one of my favorite songs on The White Album. It’s fascinating to me to hear such a stripped down basic early version of this song. It’s interesting to me as a way of looking into John Lennon’s creative process.

3. “Helter Skelter” – A very different version from the one well known on The White Album. Very slow like a death march. In some ways I think it’s even more intense than the final version. Although I do think they made the right choice in going with the faster version.

4. “Mean Mr. Mustard” – A very cool home demo made by John Lennon. As it’s such a simple song anyway this is pretty close to the final version. Note “sister Shelley.”

5. “Polythene Pam” – Another home demo. I like hearing these early simple versions of these songs.

6. “Glass Onion” – Includes some bizarre gibberish from John Lennon.

7. “Junk” – This song wasn’t ever released as a Beatles song. It wasn’t released until Paul McCartney put it on his debut solo album in 1970. I like this version of this song a lot. It has a simple beauty.

8. “Piggies” – Pork Chops!

9. “Honey Pie” – The Beatles take on music hall style music.

10. “Don’t Pass Me By” – Definitely not one of The Beatles best moments but it’s enjoyable enough. Even on The Beatles not so great songs there’s usually some cool bits hidden in there. I like the drumming on this one.

11. “Ob-La-Di Ob-La-Da” – This has a strange sort of sound in comparison to the version people are most familiar with from The White Album. It’s hard to pinpoint what exactly makes it sound strange. I always notice the missing “ring” & “foot” backing vocals.

12. “Good Night” – Another not so great moment. Sorry Ringo! Although I think this one is more John Lennon’s fault (he wrote it.) This is one of the few Beatles songs that has never really grown on me.

13. “Cry Baby Cry” – Excellent. Not as good as the version on The White Album but still very good and there’s some neat bass sounds on this one we don’t hear on the final version.

14. “Blackbird” – Great song of course.

15. “Sexy Sadie” – I like this version a lot. It may be on par with The White Album version.

16. “While My Guitar Gently Weeps” – This is one of the highlights of Anthology 3. While I definitely prefer the heavier version on The White Album what I like about this is getting to hear such a different vision of this song.

17. “Hey Jude” – Cool version. I kind of like that the “nanana” doesn’t go on forever like on the official version.

18. “Not Guilty” – This song wasn’t released on a Beatles album. In fact it wasn’t released at all until George Harrison put it on his self titled album in 1979. I dig the guitar sounds on the outro a lot.

19. “Mother Nature’s Son” – Nice.

20. “Glass Onion” – Cool version of a great song.

21. “Rocky Raccoon” – I’ve always enjoyed this alternate version of this fun song. The flubbed lyrics make it all that much more enjoyable.

22. “What’s The New Mary Jane” – This song is absolutely insane which is why I love it. It was never released officially until Anthology 3.

23. “Step Inside Love/Los Paranoias” – “Step Inside Love” is a song that McCartney wrote for another singer (Cilla Black.) It’s very groovy to hear McCartney sing this song and I’ve always got a kick out of the silliness that is “Los Paranoias.”

24. “I’m So Tired” – Another one of my favorites on The White Album (I have a lot of favorites.)

25. “I Will” – Yup, here’s another one.

26. “Why Don’t We Do It In The Road” – I love hearing McCartney go crazy with the vocals. This may be the best example of him going all over the place vocally.

27. “Julia” – A beautiful song and a great way to close out disc one just as it closes out disc one of The White Album.

About the Author

Marvin J. Markus recommends reading more about The Beatles at the daily music trivia music blog. He also recommends that you buy your acoustic guitars online.

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Introducing Eric Margan And The Red Lions: Debut Release Midnight Book

New York-based indie-chamber rock musicians, Eric Margan & the Red Lions, present their debut release Midnight Book (March 17, 2009/Self-Released). Drawing from years of classical training and a personal devotion to modern jazz and Classic Rock, the talented songwriter/multi-instrumentalist/front man, Eric Margan, makes an original and sophisticated entrance with an impressive collection of 12 incredible tracks in Midnight Book.

The debut album for 22-year-old Margan resonates as a somber, theatrical novel – complete with love, tragedy, heartbreak, and revival. Midnight Book, as the title might imply, is best experienced from “cover to cover.” Midnight Book delivers stellar and distinctive compositions, augmented by ensnaring and intriguing lyrical poetry, leading the listener into an introspective musical journey.

The album opens with “An Ocean Blue”, a swirling, seductive tapestry of orchestral grandeur, seemingly emerging from the darkest depths of the piano and sets the stage for a colossal, metaphor-laden song cycle. As the pages of Midnight Book turn, the love story that began so triumphantly begins to unravel in Margan’s “A Speckled Mind.” It is here that Margan displays the delicate touch of an impressionist painter, through the juxtaposition of orchestral strings combined with a powerful yet poignant drum and bass polyrhythm.

The album’s standout “Old Man River” is the turning point in the story, full of grandiose and massively cinematic crescendo. Margan’s colorful plot thickens to a soaring climax, telling a story of an estranged marriage – complete with twists, turns, murder and revenge.

Margan appropriately concludes his heavy narrative with the relatively bare instrumentation of strings, piano, voice and guitar. The last notes are imminent, chords that are prepared to leave their final impression – but not without a last fighting chance.

Born and raised in Columbia County of Upstate New York, Eric Margan’s musical endeavors started at just nine years old when he began studying flute. It was when he turned 14 that the hobby had become a potential career. He began treading new waters with the formation of his first band – a three-piece rock group in which he was a co-songwriter, bassist, and singer. Margan furthered his bass skills by participating in various jazz ensembles and combos throughout his high school years. Furthering his music studies, he brought together his classical training with his passion for modern rock and live performance with the addition of the talented musicians that make up the Red Lions.

A stellar line-up of musicians was assembled to augment Margan’s music on stage, including drummer Jim Bertini, bassists Scott Kellerhouse and Vince Chiarito, keyboardist Zachary Seman and guitarist/flutist/vocalist Johanna Warren. Live performances and Midnight Book also feature various string, woodwind and brass players.

Eric Margan and the Red Lions are rapidly earning the respect and admiration of fans and bands alike, from opening for such acts as the Benevento Russo Duo and L.A.-based Bittersweet, to recording sessions with Pete Seeger and Richie Havens, as well as playing a multitude of shows in the Northeastern United States.

What critics have been saying about Eric Margan and the Red Lions:

“There are a number of acts that are currently creating music right now that I would call good, but I would have to downgrade them to “passable” just so I could get the proper amount of distance to the “great” that I would assess to Eric Margan & The Red Lions. “Midnight Book” should be seen as a “must-have” album…”-NeuFutur Magazine

“Elegant, sophisticated and refreshingly open-hearted, singer-guitarist Margan pens wonderfully literate and melodically inventive songs that he has orchestrated for a most unusual but oh-so effective ensemble of musicians featuring drums, bass, keyboards, violin, cello, clarinet and flute. This is Chamber music for the 21st Century, and it simply sparkles.”
-Greg Haymes, The Times Union

“Eric Margan’s songs and aesthetic are from another time: His musical influences seem drawn entirely from before he was born. His jazz-leaning, ornate, orchestral pop is unlike anything that’s come out of the Capital Region in as long as we can remember, and the band’s busy gig schedule has amassed them a devoted, even defensive, fan base. Trust us: This band will be going places.”
-John Brodeur, Metroland

Eric Margan and the Red Lions will begin touring this spring in support of Midnight Book. The confirmed list of shows is as follows:

February 13, The College of Saint Rose, Albany, NY
February 21, (PRE-CD RELEASE SHOW) The Bowery Poetry Club, New York, NY
March 5, Muddy Cup, Albany, NY
March 13, (CD RELEASE SHOW) Valentines, Albany, NY
March 17, Banjo Jims, New York, NY
March 18-22, SXSW Music Festival, Austin, TX
March 30, The Living Room, New York, NY
April 3, Valentines Upstairs, Albany, NY
April 4, Bard College, Annadale-on-Hudson, NY

More dates will be released at http://www.ericmargan.com

http://www.ericmargan.com/I’ll Never Know.mp3

About the Author

MusicDish, LLC

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20 Swing Tunes That Every Parking Lot Picker Should Know $0 This series of CDs teaches essential swing guitar repertoire to bluegrass flatpickers. Steve’s unique method features three levels: a beginner’s version in which he teaches the basic melody; an intermediate arrangement that will give players a solid musical grounding; and finally, a full-blown solo that will challenge any aspiring swing guitarist. Backup tracks make for productive and exciting practice sessions. Tunes: After You’ve Gone • Back Home Again in Indiana • Blue Moon • Danny Boy • Georgia on My Mind • Honeysuckle Rose • I Got Rhythm • Kansas City Kitty • Lady Be Good • Limehouse Blues • Little Rock Getaway • Minor Swing • Miss Molly • Panhandle Rag • It’s Only a Paper Moon • Remington’s Ride • Over the Rainbow • Sugar Foot Rag • Summertime • The Sunny Side of the Street.160-PAGE BOOK WITH 6 CDs • INCLUDES MUSIC + TAB • LEVEL ALL

2003 Billboard Music Yearbook $0 Clay Aiken and Ruben Studdard. Elvis Presley. 50 Cent. Toby Keith. Uncle Kracker. Audioslave. Linkin Park. Staind. Just a small sampling of the names you’ll find in Joel Whitburn’s 2003 Billboard Music Yearbook – the only annual recap of all the artists and all the action on Billboard’s major music charts! Eleven complete music sections: The Billboard Hot 100 • Bubbling Under the Hot 100 • Hot Country Singles & Tracks • Hot R&B/Hip-Hop Singles & Tracks • Adult Contemporary • Hot Dance Club Play • Mainstream Rock Tracks • Modern Rock Tracks • The Billboard 200 (Albums) • Top Country Albums • Top R&B/Hip-Hop Albums • plus a complete pop and country annual ranking section!

25 Years $149.98 Celebrating a quarter century of Sting: The Solo Artist, the three-CD/one-DVD 2011 box set 25 Years is a handsome retrospective bound in a hardcover book. Some box sets are heavy on rarities, all the better to hook the hardcore, some are designed to be comprehensive but 25 Years follows a different route, choosing to offer a leisurely journey through the past, stopping at all the familiar points on a well-worn path. Not counting the DVD, which contains the final show from Sting? s 2005 Broken Music tour and is heavy on Police material (eight of the ten tracks!), there is nothing unreleased nor is there anything unexpected; some charting singles are missing but they? re the ones that reached the lower rungs of the pop charts or only popped up on rock radio (? Down So Long,? ? Epilogue (Nothing ? Bout Me),? ? Let Your Soul Be Your Pilot? ), and the various stray songs and B-sides weren? t even in the running for inclusion. What Sting, who selected this sequence himself, has chosen to present are the hits — from ? If You Love Somebody Set Them Free? to ? Desert Rose? — supported by album tracks that are concert or fan staples. Not much of a surprise, yet the 45 songs, along with the photo, sketch, and lyric-laden book, do an excellent job of summarizing the spirit of Sting? s years after the Police. If you? re a fan, it? s a classy slice of nostalgia. ~ Stephen Thomas Erlewine, Rovi

55 Cadillac $16.99 Andrew W.K. has done a lot of unusual things in his career — not everyone can have a Cartoon Network show and be a member of Current 93 (not to mention run a club, release an album of J-pop covers, and publish a book of advice) at the same time. Still, 55 Cadillac may be one of the most unique additions to his body of work: it’s a collection of “spontaneous solo piano improvisations” — or “SSPIs” as W.K. calls them — inspired by his car. It’s also, like most of his projects, kind of ridiculous and kind of amazing. He’s completely committed to the concept, and he has the skills to pull it off. After all, W.K. is a classically trained pianist who began taking lessons at age four, and his keyboard chops added fizz to I Get Wet and Close Calls with Brick Walls and majestic heft to The Wolf. That prowess is the focus of this album; on his Steinway & Son Model D concert grand piano, Andrew W.K. weaves classical, jazz, rock, and experimental elements together with an accomplished ebb and flow from piece to piece and within each track. The fantastically named “Begin the Engine” (why merely start an engine when you can begin it?) is overtly classical-influenced, kicking off with the sound of crickets and a motor roaring to life before W.K.’s dazzling arpeggios and otherwise deft playing take over for nearly nine minutes. Shorter tracks like “Seeing the Car,” which tosses hints of ’50s-style rock into the mix, and the lunging, jazzy “Central Park Cruiser” are more immediate and nearly as impressive. Only a couple of moments on 55 Cadillac sound anything like Andrew W.K.’s previous albums: “Night Driver” ranges from atonal boogie-woogie to W.K. tapping on the piano’s edge (which might be the piano equivalent of a drum solo) and has an anthemic quality that’s fully realized by “Cadillac,” which boasts drums and laser-guided guitars that bring the album to a satisfyingly over the top close. Fans of his louder music might not play this often, but 55 Cadillac i…

Absolute Greatest [Casebound Book Version] $52.99 The latest in a long line of Queen compilations stretching back to 1981’s Greatest Hits, 2009’s Absolute Greatest runs a generous 20 tracks yet still manages to miss several classic Queen songs, such as “Fat Bottomed Girls,” “Bicycle Race,” “Good Old-Fashioned Lover Boy,” “Flash’s Theme,” and “Tie Your Mother Down.” In their place are several latter-day singles that were hits in Europe but not America (“The Show Must Go On,” “Who Wants to Live Forever,” “These Are the Days of Our Lives”), so it makes sense that this compilation in its various formats — a single-disc set, a double-disc where the second CD contains commentary by Brian May and Roger Taylor, one with a hardcover book, one with LPs — appeared in the U.K. and Europe first, because it was tailored for this market. And, overall, it’s a nicely balanced collection of 20 highlights, delivering all the usual suspects — “We Will Rock You,” “We Are the Champions,” “Another One Bites the Dust,” “Crazy Little Thing Called Love,” “You’re My Best Friend,” “Killer Queen,” “Bohemian Rhapsody” — plus good latter-day hits, making it a solid overview but not a definitive one. [A hardcover book version was also released.] ~ Stephen Thomas Erlewine, Rovi

Ace of Spades [DVD] $11.98 Mot? rhead is a truly original and influential band, and this fact is slowly but surely sinking in deeper within the music world. This British group, led by the legendary, incomparable vocalist/bassist Lemmy, invented speed metal and predated punk by nearly two years. Over its 30-year history, with Lemmy’s feral growl front and center, no other band has been as widely respected by both metalheads and punks as Mot? rhead. In 2004, Eagle Vision’s Classic Albums documentary series honored Mot? rhead’s 1980 landmark Ace of Spades. This album featured the classic lineup of Lemmy, guitarist “Fast” Eddie Clarke, and drummer Phil “Philthy Animal” Taylor. All three provide recollections in new, often hilarious interviews. To be accurate, the Ace of Spades DVD expands into more of a general documentary about Mot? rhead and its early days than just strictly the making of the album. Although the process of recording Ace of Spades with producer Vic Maile is discussed, Mot? rhead’s raw, immediate style doesn’t lend itself to detailed in-the-studio dissection as much as, say, Classic Albums’ look at Pink Floyd’s The Dark Side of the Moon. The interviews address a variety of subjects, including touring (and the subsequent fighting and miscellaneous debauchery), Lemmy’s stint as a member of the space rock band Hawkwind, and Mot? rhead testimonials from Metallica’s Lars Ulrich and Guns N’ Roses and Velvet Revolver’s Slash. Most people would probably judge a book by its cover and assume Lemmy is not as smart and witty as he really is. His funny give-and-take with Taylor during their joint interview is one of the highlights. A generous supply of DVD bonuses includes new performances of “(We Are) The Road Crew” and “The Chase Is Better Than the Catch” (with Lemmy and Taylor in one studio and Clarke visually “beamed in” from another). ~ Bret Adams, Rovi

All I Ever Wanted: Live from Walt Disney Concert Hall $22.99 While most bands usually wait until they have a few albums under their belt, the Airborne Toxic Event pulled the trigger early with All I Ever Wanted: Live from Walt Disney Hall. Recorded live with the Calder Quartet, the album takes the bands radio ready friendly pop to new levels, with the strings adding a grandness to the arrangements that isn? t present on their self-titled debut. While it? s no surprise that the live album contains almost all of their debut album (excluding “Papillon”), Jollett and company fill out the live set with some interesting covers. The band gives a nod to some of their influences with string heavy renditions of Q Lazzarus? ? Goodbye Horses,? the Magnetic Fields? ? The Book of Love? and the Ramones? ? Do You Remember Rock ? N? Roll Radio?? With a set of quality covers and new arrangements of the bands (relatively) old songs, All I Ever Wanted is sure to find a welcome audience with fans. ~ Gregory Heaney, Rovi