I’m Siriusly Excited About The Beatles XM Station

beatles radio

The Beatles, perhaps waiting to hear one of their songs on the radio!

As has become a pattern for me, I tend to blog whenever there is some newsworthy event happening in the Beatleverse, and this happens to be one of those times. These events often revolve around Beatles music entering the public consciousness in a new way, such as through iTunes, Spotify, and now, their own Sirius XM Station, channel 18. I had no idea that this was even happening until a few days before the station went live, and my initial reactions to this announcement ranged from “It’s about time” to “Finally!” Nothing against Pearl Jam, but if they have their own radio station, the Beatles deserve their own station as well. I’m also aware that those in charge of the Beatles brand and catalog (namely Paul, Ringo, Yoko, and Olivia Harrison, among others) are notoriously stringent about licensing the Beatles name. In recent years, I think these restrictions have loosened. Though I hope the Beatles don’t start advertising “sausages and diapers,” as George feared they would, I greatly appreciate that they’re latching on to new technological and musical developments and remaining relevant to modern music listeners.

Upon my first listen, the station reminded me a lot of me putting my iTunes library on shuffle and listening only to Beatles or solo Beatles music, as I did quite frequently early on in my Beatles fandom. Listening to the Beatles station has made me nostalgic for what now seem like simpler times when I was 14 and 15, when I dove headfirst into my obsession with all things Beatles and cared little about embracing the rest of the musical world. I’ve also been on a couple of long car trips in the past few weeks and the Beatles Sirius station has kept me entertained for hours each time. Many times while listening to the station, I’ve been delighted to come across Beatles songs that I’d forgotten about or hadn’t listened to for months. These include the underrated gems “For No One” on Revolver and  “I Don’t Want To Spoil The Party” from Beatles For Sale. I’ve also greatly appreciated the commentary from friends and musicians close to the Beatles such as Peter Asher, as well as the “ear trivia” of playing a second of a Beatles song and revealing the song’s name later.

My one gripe with this development is that, somehow even on a Beatles-centric station that revolves completely around their music, George’s solo catalog is still vastly untapped. The station seems to roughly adhere to a format of “three Beatles songs, followed by one Paul McCartney and Wings song, and maybe a John or Ringo song occasionally,” which is fine. However, having now listened to several cumulative hours of the station over the past couple of weeks, I can count on one hand the number of George solo songs I’ve heard.

This is quite disappointing to someone who is as big a fan of George as I am and who knows the wealth of good material that he produced after the Beatles broke up. Songs like “Faster” from his album George Harrison, “Fish on the Sand” from Cloud Nine, or “Life Itself” from Somewhere in England are all exquisite songs that get zero radio airplay on this station, along with many other fantastic compositions. I hope that perhaps I just haven’t been listening at the right times and that George’s solo career actually has been greatly appreciated on this station in my absence. If not, I sincerely hope that the station begins playing more of his solo songs.

Other than this, I am absolutely thrilled that the Beatles are being celebrated 24/7 (or as the station cheekily notes, 24/8, referring to “Eight Days A Week”) on Sirius XM. They, perhaps more so than any other artist with their own radio station, have a large enough catalog of Beatles, solo Beatles, and Beatles influence songs to support a long stretch of engaging radio programming. What’s more, the whole vibe of the station feels like more than just another radio station. It really celebrates the Beatles’ musical achievements and the massive impact they had on their fans, as evidenced by soundbites from celebrity fans or screaming admirers from their heyday. I hope that it maintains its current charm and continues to celebrate both the sung and the unsung heroes of the Beatles’ success.

Advertisements

What Makes a Song Good?

george_on_bed_with_guitar-550x369

George clearly contemplating the writing process, with guitar in tow

Today I’d like to discuss a topic that’s been coming to my mind recently as I’ve listened to Beatles songs and other songs alike, and that is, how do we as music listeners actually decide why a song is good or bad? The most important thing to remember here is that there really is no objective measurement of “goodness” or “badness” of a song. You can pretty much conclusively determine if someone is a skilled or unskilled piano player, but it’s a bit more murky to extend that level of objective analysis to judging the quality of an entire song. Of course, there are certainly songs I think are better than others, so here are a few points of comparison between songs and some examples to support that, both from the Beatles and from other artists I admire.

One point that’s recently been floating around in my mind is the idea of “good” songs balancing vocal and instrumental melodies. That is, the melody of the instruments is as important to the beauty and structure of the song as the melody of the vocals. This is assuming we’re discussing traditionally structured “pop” songs here, not 11-minute long instrumental jams. I hate to sound like a grump, but I find that so many modern pop songs have little instrumental substance and it’s all about highlighting the singer and their impressive growl or sky-high vocal riffs. There’s something about a song that has, say, an interesting opening guitar riff, melodic vocals, and other scattered instrumental breaks that just feels more complete to me. Songs like this also communicate that the quality of the song is what is most important, not the singer’s vocal talent. There’s a distinct, noticeable difference to me between a song that exists to celebrate beautiful, thoughtful music and a song that exists for a singer to show off how high they can belt.

Both categorizations have their place in the music industry, but the Beatles were musicians first and foremost and wrote songs that nearly always fall into the former category. Take “Eleanor Rigby,” for example. The staccato strings are really the iconic part of this song, not the Beatles singing. They sound great, obviously, but this song is a fraction of its final self without George Martin’s incredible string arrangement. Luckily Beatles fans are blessed with an officially-released instrumental version of this on the Anthology 2 album, and this may be the finest example of a Beatles song in which I actually prefer the solo orchestration to the complete song. There’s just so many interesting things to notice when you listen to only the string part, so many percussive strokes and instrumental counterparts, and it conveys the message of the song’s lyrics almost as well as the singing itself. But the complete song itself is what I highlight as a perfect example of a song that values its instrumentation just as much as its vocals.

In case that all weren’t enough to celebrate, it’s just over 2 minutes long and it feels perfectly complete. The song doesn’t thematically or instrumentally need to be any longer. There are no wasted notes here; they all contribute to the moving final product. The song’s inherent structure is so well-thought-out that it carries the beauty of the song all by itself. The more I listen to “Eleanor Rigby,” honestly, the more I marvel at it. It’s quickly moving up my list of favorite Beatles songs.

Another Beatles song that demonstrates their mastery of vocal and instrumental balance is “Here Comes The Sun.” This song features such a delicate, airy acoustic guitar part that I do wish there were an official version of just the instrumental parts without any of the Beatles’ vocals. It also features a lovely string arrangement, but rather than that being the star of this song, the interplay between the strings and the guitar combine to support the beautiful vocal part. “Here Comes The Sun” is absolutely a George Harrison masterpiece that is quickly becoming my new favorite Beatles song, mostly because the guitar is soothing and relaxing. I once heard a rare version of this song that features an additional overdubbed guitar solo, but I felt that it overpowered the rest of the song and did not mesh with the existing acoustic part. “Here Comes The Sun” is simply perfect and musically balanced the way it is.

In general, I feel that with songs I really admire, I could take out the vocals entirely and listen to only the instrumental backing and I’d love the song just as much. One example of a non-Beatles song that perfectly fits this description is “Sultans of Swing” by Dire Straits. The separated, choppy, yet beautifully melodic guitar part always hooks me from the second that the song comes on the radio. I really do feel that this song would function almost as well as a wholly instrumental song. I say “almost” because I do also feel that part of the reason the guitar here is so enchanting is because of how it counters the vocals by providing continual instrumental breaks throughout the song. These “breaks” wouldn’t exactly be breaks if they were not broken up by an intervening vocal part, now would they. This song, unlike the previous two, does not feature any sort of orchestration. Its notable instrumental part is almost strictly guitar, but the guitar here has a life of its own and  beautifully carries the melodic weight of the song so that no additional instrumentation is necessary for the song to feel complete.

Slightly unrelated, but this song also directly connects to the Beatles by featuring a lyrical reference to “guitar George” who “knows all the chords” and “doesn’t want to make them cry or sing.” There’s a chance this isn’t intentionally referring to “While My Guitar Gently Weeps,” but it seems more likely than not. After all that, I’m actually not 100% positive that this is a Beatles reference, but given that George Harrison is by far the most famous rock guitarist named George that I can think of, I’ll stick with this theory until proven wrong. Perhaps the guitar part throughout this song is meant as an ode to George’s carefully crafted Beatles guitar parts, which would certainly  explain why I love the song.

Much of the Beatles’ legend rests on their reinvention of the very idea of successful pop songs, and as this blog continually states, I do believe that they are still the masters of crafting songs with incredible attention to vocal and instrumental balance. However, they also epitomize the magical formula that I find takes a song from average to excellent, and that is a balance between highlighting vocals and highlighting instrumentals. It doesn’t necessarily have to be split 50/50, but I do feel that songs with a celebrated instrumental part, like the songs all mentioned above, possess more overall beauty than songs without.

I could go on and on about Beatles songs that feature a beautiful balance between vocals and instrumentals, and how this is also present in wonderful songs by other artists, but I’ll save that for another post. Until then, continue braving the long, cold, lonely winter and finding sunshine in your favorite songs.

George Martin, The Real 5th Beatle

george martin

The man who made the Beatles into rock pioneers.

Hello followers and readers of Beatle Me Do! I have returned from a hiatus for which I greatly apologize, but I have a few ideas for fun posts that I will be publishing throughout the summer! In the meantime, I have decided to dedicate a post to the late Beatles producer, George Martin, who died on March 8 of this year at age 90. Before becoming a music producer with the Beatles, Martin primarily produced comedy albums. However, he is most well known for signing the Beatles to a record contract in 1962 and producing every single Beatles album except for Let It Be, which was (some say) infamously produced by Phil Spector.

The debate over who is “the fifth Beatle” has gone on for decades and is practically a cliche by now. Some Beatles fans support awarding this illustrious title to members of the Beatles camp such as their manager, Brian Epstein, or their first drummer, Pete Best. However, if there really is such a thing as “the fifth Beatle,” I strongly believe that George Martin deserves that title.

His work in the studio with the Beatles helped transform their songs from acoustic demos into sonic masterpieces. He was a major player in the Beatles’ studio experimentation starting in around 1965 and strongly supported their use of the studio itself as an instrument. When the Beatles were on top of the charts and the musical world, George Martin was the man behind the curtain, the wizard of Oz who literally orchestrated their success. His death marks the passing of a figure essential to the Beatles’ musical innovation.

I’d like to touch on a few Beatles songs on which Martin had a particularly noticeable influence. First up is the acoustic version of While My Guitar Gently Weeps from the Beatles Cirque de Soleil show, Love. This show features some remixes of Beatles songs, but these remixes are composed only by compiling bits and pieces from different Beatles songs. This particular version of While My Guitar Gently Weeps originates from a demo version from the Beatles Anthology 3. It features a George Martin-composed orchestration that was the only original music composed for the Love album. I absolutely love this version of While My Guitar Gently Weeps; it’s a beautiful song made even more poignant and striking by the orchestra. Seeing the Love show is definitely on my Beatles-related bucket list!

Next, I’m going back to one of Martin’s first orchestral contributions to Beatles music, the famed song Yesterday, which features only Paul McCartney, an acoustic guitar, and a beautiful Martin-composed string quartet. Supposedly Paul was a bit skeptical about the idea of putting a string quartet on a song released by a rock band, but was convinced otherwise after Martin explained exactly how he planned to arrange it based on the chords of the song. This song is now legendary among the many iconic tracks in the Beatles’ catalog, thanks not only to the beauty of its melody and lyrics but also to the perfect melancholy accompaniment that the strings provide.

Another song which has an unmistakable George Martin touch is In My Life, on which he plays the sped-up piano break at the end of the song. I believe this is one of, if not the only, Beatles songs to feature a piano solo, or if not it was definitely the first to do so. It’s songs like this that truly embody the spirit of Rubber Soul, an album which challenged the definition of rock and roll and began pushing the boundaries of musical experimentation in rock music.

Eleanor Rigby is one of those Beatles songs that features an orchestra arrangement so strikingly iconic that I could listen to just the instrumentals and enjoy the song just as much. This is all thanks to George Martin, who insisted on creating a relentlessly staccato string arrangement that I regard as an absolute masterpiece. You can listen to the instrumental version of Eleanor Rigby, a track on the Beatles Anthology 2 album, here. Every time I listen to this track and try not to let my inner sing-along drown out what I’m actually hearing, I notice new little intricacies of the arrangement. It’s songs like this that absolutely astound me as to their fearless musicality and give me a true appreciation for the power of orchestral music. This song is just perfect.

Finally, what better way to close out this George Martin tribute post than with the behemoth of all classical arrangements in rock songs, the string section in A Day In The Life. This song is often ranked as the #1 best Beatles song, and while it’s not my #1 personal favorite, it is without a doubt an absolute, indisputable masterpiece. This is largely due to the enormous, chaotic, vaguely conducted orchestra part that builds and builds and always makes me feel like a car is about to hit me. Martin’s touch on this song is evident in its sonic power to completely overwhelm your senses and leave you breathless at its conclusion. What a song to close out Sgt. Pepper’s Lonely Hearts Club Band. What. A. Song. Period.

Rest in peace, George Martin. I know this tribute is a few months late, but I tried to make a post that pays the proper respect to a man who was literally  and figuratively instrumental in crafting many of my favorite songs of all time. He was among the giants of the musical world, and he will certainly be missed.

 

Beatles, “Blackbird,” and Break-Up Rumors

Today I’d mostly like to discuss Dave Grohl’s recent performance of the Beatles’ famed “Blackbird” at the Oscars. I knew about a few of the scheduled Oscar performances before the date of the program, but for some reason I hadn’t heard about this one and it took me completely by surprise. When I heard those iconic opening chords and saw Dave Grohl alone on the stage with a guitar, I knew it would be a good tribute, and I was not disappointed. From spearheading production of the Sound City documentary from a few years ago, to recording “Cut Me Some Slack” with Paul McCartney, to performing on the Beatles 50th Anniversary Special, Dave Grohl has certainly earned my respect and admiration for his Beatles and classic rock-related ventures. He is one cool dude. In case you missed his feature on the Oscars, here it is for you!

One brief un-Beatles related tangent… This performance, along with some ambiguous comments by members of Foo Fighters, recently led to a rumor that Foo Fighters were breaking up, once and for all. Apparently these rumors have surfaced before, but supposedly this time Dave was striking out on his own to “do his own thing musically” and get away from the band.

So how did Foo Fighters respond to this rumor? Not with a concisely-stated tweet or Facebook post, but with this masterful 7 minute-long video. You really have to watch it yourself to get its full effect.

In conclusion, anything Beatles-related that Dave Grohl does is bound to be wonderful, and the members of Foo Fighters are complete bosses. Also in case you’re just not patient enough to watch the entire video and have not heard the news, Foo Fighters is NOT breaking up. Spoiler alert.

Anyway, going back to the original topic, I just love how Beatles music is now used to pay tribute to people that have nothing to do with the 60s or rock music in general. Their songs have become universal anthems for just about any subject or person because they were written with a timeless, relatable appeal. Not just Blackbird, but songs like Hey Jude, Yesterday, Let It Be, In My Life, and many others have been covered so often by other artists that I bet there are some people today who don’t know that those songs are originally by the Beatles. In those cases, I’d rather that they know the song’s origins, but as long as Beatles songs are still relevant in some form in this generation, their music is living on and speaking to people. That’s about all I can ask.

You didn't seriously think I'd forget his birthday, now did you?

You didn’t seriously think I’d forget his birthday, now did you?

Finally, happy belated birthday to George Harrison, who after all this time is still definitely my favorite Beatle and one of my musical and personal inspirations. I’ve devoted many a post to him on this blog, but for now I’ll just say that his music is thoughtful, creative, and truly beautiful, just like him. I wish his solo songs were more well known by the general population, but with recent releases like the “George Fest” DVD and the masterful Scorcese documentary from a few years ago, he seems to be gaining more acclaim, slowly but surely. Let’s continue that upwards trend, to 2020 and beyond!

As is the nature of the Beatles in the 21st century, something new Beatles-related is bound to come up soon, but for now I’m signing off. Enjoy your days, and may they all be Good Days (of) Sunshine. 🙂

Some things I’ve been meaning to blog about

"On my honor, I will try, to blog once a week"

“On my honor, I will try, to blog once a week”

Hello everyone! I know I’ve been gone for a while, so today I’d like to chat about some things I’ve been wanting to discuss. It’s been a pretty busy month, what with senior year and college applications and such, but it’s also been fun and exciting in the Beatle world and the rest of the world!

First, last month, Conan O’Brian had a special “George Harrison Week” on his show in honor of the release of George’s early Apple solo albums in a box set. The performers included Norah Jones (Ravi Shankar’s daughter, in case you wanted to know the George connection), Paul Simon (George performed with him on SNL in 1976), Dhani Harrison (his son), and Beck (no idea what the George connection is here). I watched all of the performances, and of course, seeing people keeping his music alive made my little George heart very happy. My personal favorite was Dhani Harrison, simply because I love him and he, in addition to sounding a lot like George, is VERY musically talented.

There was also a George tribute concert in LA that same week called “George Fest,” which I really wish I could have seen. As I learned at the Fab Faux concert last year, George’s music sounds amazing live. Still, I’ve been pretty lucky with Beatle-related tribute concerts, so I’m not really THAT mad… 🙂

John Lennon’s birthday was two weeks ago, so clearly that passed already, but I’d like to do a belated-John’s birthday shout out. His music is really just as powerful today as I’m sure it was when it first came out 30-something years ago. If there’s one Beatle who has inspired multiple generations of songwriters to express themselves in their music, it’s probably him.
For some reason, John seems to have retained the image of the “cool” Beatle in this day and age. I wonder where that came from. Maybe it’s from his effortlessly cool look during the Rain and Paperback Writer video shoots…

I wish I looked that cool in sunglasses...

I wish I looked that cool in sunglasses…

John is definitely one cool dude. I hope he had a happy birthday wherever he is now. And depending on your beliefs, THAT, my friends, is up to you to decide… Because as John once said, “It’s up to you, yeah you, cause we all shine on, like the moon and the stars and the sun.” 🙂 Bonus points if you know what John solo song those lyrics are from!

Finally, I think my dad and I are officially Fab Faux groupies, because we were fortunate enough to see them for a third time in NYC last week. The theme was “Lennon vs. McCartney: A Heavyweight Battle” or something like that. It was basically just an excuse to play alternating John and Paul songs for a solid 2.5 hours, which is exactly what I was hoping for! As always, the Fab Faux did a fantastic job. As far as musicianship is concerned, they’re definitely the best band out there at playing Beatles songs. They always add the most special elements to Beatles songs, like a sitar on Norwegian Wood or a piccolo trumpet on Penny Lane, to really make the song perfect.

What I enjoyed about this show in particular is that they played a number of solo Lennon and McCartney songs in addition to their Beatles catalog. Having gone to more than a few Beatle tribute shows by now, I’m used to hearing the Beatle stuff played a lot. It never gets old, of course, but hearing their solo songs played live is a special treat. I think my favorite moment of the show, if it’s even possible to choose, was when they played “Jet,” from the Band On The Run album. I hadn’t heard that song in a while, but as soon as they started playing it I got really excited! It’s a fantastic song! The Fab Faux are the best, plain and simple. (sorry Fab Four, I love you guys too!)

Whew, that was certainly a large explosion of Beatleness. I should never stop blogging for a month, because then I’ll have far too much to say at once to cram into one post. And that wasn’t even all I had wanted to say! My friend and I saw a Foster the People concert last night, which was absolutely unbelievable, but I’ll save that for a separate post. They’re definitely worth an entire post.

I’m sure I’ll still be busy in the coming weeks, but I promise to blog again ASAP! Have a fantastic week!

Top 10 Beatles songs to listen to in the car

I got the idea for this post while listening to Breakfast with the Beatles in the car this morning, and I thought it might be helpful if any readers are looking to make a Beatles driving playlist. The songs here don’t necessarily have to do with driving subject-wise, but I think that the vibes of all these songs are conducive to driving (or passenging). Feel free to disagree or come up with your own list. Here we go!

10. I Want To Hold Your Hand

I’m not going to say a ton about each song on this list, but the opening riff to this is just so good. It’s a great song to sing along to and it’s always a crowd pleaser. If it comes on the radio, crank it up and enjoy!

9. If I Needed Someone

Again, it’s really the riff here that makes this a “car song” for me. The relaxing, slightly lazy pace makes it perfect for any drive, any time. This is one I would listen to with the windows open, unless it’s snowing. Then, definitely close the windows. 🙂

8. A Hard Day’s Night

This is a great car song mostly because the opening chord is so instantly recognizable. It’s nice to know exactly what song is playing in the car without having to take your eyes off the road (or if you’re passenging, your phone, most likely), so this song is a great candidate for any Beatlemaniac’s car playlist.

7. I Am The Walrus

I’m going to assume that no one driving will be tripping on LSD (which would be very dangerous indeed), so I don’t think listening to this in the car will blow your mind TOO much… Anyway, I’m not exactly sure why I chose this song for this list. Once again, the opening is very famous, but aside from that, I just like it a lot. Not that I ever really do this, but if I were driving around with friends late at night and the car windows were open, this is the song I would want to bother the neighborhood with.

6. Day Tripper

For anyone who thinks this song is literally about taking day trips to the countryside, you’re wrong. It’s slightly more metaphorical (and naughtier) than that. But anyway, this riff combined with the awesome harmonies and the chorus makes it a fantastic song to listen to in the car. As I’ve said before, this is definitely one of my top 5 favorite Beatles songs. For a brief time, you can at least imagine that it’s about day trips. 🙂

5. Help!

Once again, the instantly recognizable opening makes it a good car song. I also think that the layered, call and-response harmonies throughout have a sort of Beach Boys-ish vibe that makes me think of driving cars in California. (again, I am clearly not a Californian…)

4. Get Back

This song is literally about going back to somewhere, and it mentions California and Arizona (two states 3,000 miles from me), so I thought it would be a good addition to this list. I think I’ve said this before, but I really like the drums on this song for some reason. Even after everything they had already accomplished musically in such a short time, the Beatles still found ways to innovate on this album.

3. One After 909

This isn’t a hugely popular Beatles song, but it REALLY makes me think of cruising along a highway on a nice day. I love the keyboards and guitar on this track. A relatively unknown Beatley tidbit is that this was actually one of the first songs the Beatles wrote, way back in the late 1950s. There’s a couple of versions of this on Anthology 1, but I definitely prefer this faster Let It Be version to any of the earlier ones.

2. Back in the USSR

This is a classic, and the plane sound effect at the beginning gets me every time. Again, I love listening to this in the car because it’s so upbeat and has a fantastic guitar solo. Many of you may know that Ringo quit the band for a bit while they were making the White Album, so who do you suppose plays drums on this song? That’s right, it’s the multi-instrumentally talented Paul!

Annnnd…

1. Drive My Car

So it might be a bit of a cop-out to have this as #1, but I honestly could not think of a better choice. The “driving cars” in this song may be metaphorical (I bet you can guess what it refers to…), but it’s still a great song to listen to in the car! And come on, who doesn’t love the “Beep beep, beep beep, yeah!” part? Just don’t honk the horn along with that part, as you may get some Looks of Doom from neighboring drivers. 🙂

So, that’s it for this list. On my list of “future posts,” in case you’re interested: Top 10 non-Beatles songs to listen to in the car, reviews of Phillip Phillips’ “Behind the Light” and U2’s “Songs of Innocence,” my thoughts on Conan’s George Harrison Week, and much more. Stay tuned folks!

1964 The Tribute!

Clever take-off of the Rubber Soul album cover!

Clever take-off of the Rubber Soul album cover!

So last Friday I was fortunate enough to see yet another Beatle tribute band, 1964 the Tribute, in concert with my friend. It was sort of a spontaneous decision, but I’m glad we went because it was a really fun outing!

These guys have been around for a while. They formed sometime in the 1980s, presumably with rotating members since then. Unlike some others I’ve seen, this band specializes in the material from the Beatles’ touring years (1963-1966). As such, they don’t play any of the Sgt. Pepper or Abbey Road-era stuff. However, that didn’t really bother me because they played obscure early stuff that I loved, like George’s “Don’t Bother Me” from With The Beatles and “It’s Only Love” from Help. I also loved the encore medley they did with all early Beatle covers like “Money,” “Long Tall Sally,” “Rock and Roll Music,” and “Matchbox”.

Musically, I thought they sounded great. The instruments were all Beatle-accurate, and they had a lefty Paul, which is a major sticking point with me and Beatle tribute bands. It may seem nit-picky, but for me, if the Paul guy isn’t left-handed, it just doesn’t look right and throws my impression off.

So how do these guys compare to the likes of The Fab Four or The Fab Faux in terms of Beatle-tribute excellence? Well, I personally preferred the guys, looks-wise, in The Fab Four. I thought the John in 1964 The Tribute was actually the best I’ve seen; he was amazing and sounded and looked a lot like John. Honestly though, I liked the Paul, Ringo, and especially George in The Fab Four better in just about every aspect. I also don’t think 1964 was quite as instrumentally perfect as either of the other two bands.

However, this is not to say that these guys weren’t good; in reality, it’s the opposite. One thing I loved about 1964 was how funny they were, definitely the funniest Beatle tribute band I’ve seen. Some of their jokes were a little far-fetched for the actual Beatles (would George really insult John’s guitar playing on stage and promote his own? I don’t think so), but overall they were edgy and really entertaining. One hilarious moment came when “George” was talking about some guitar thing that he gave to Eric Clapton, and “John” quipped, “Is that all you gave him?”
Yes, I, George’s biggest fan, laughed at this joke. It was genuinely funny. I guess George-Eric-Pattie wife swapping jokes are still in style…? 🙂

Do other Beatle tribute bands offer a more comprehensive look at the Beatles than 1964? Yes; I think for pure accuracy and entertainment value, The Fab Four are still my #1 choice. However, would I recommend 1964 The Tribute to Beatle fans? Absolutely; they definitely do the Beatles’ music and legacy justice. I really enjoyed seeing them and if they come to a nearby theater soon, I would love to see them again.

That’s all for now. I hope you enjoy the start of September and thank you to anyone who regularly or occasionally reads this! I’m glad you find my endless Beatley/musical rants entertaining!