Things learned from watching The Beatles: Get Back (review)

Music

I’m a little late to the party, but I finally managed to watch The Beatles: Get Back. While it was incredibly interesting, I wonder if many casual fans were deterred by its duration. I’ll provide a little background then highlight the main takeaway points I found from this miniseries. If you have watched this, please let me know your thoughts!

Background

Peter Jackson’s documentary launched at the very end of November last year, in three 2+ hour installments. It covers most of January 1969, when The Beatles, assistants and tech crew assembled in a large recording sounds stage with a documentary film crew in tow. The original plan was to record an album of brand new music, written from scratch and performed live in some form. In the end, sessions were strained before the group love to the new studios in the basement of the Apple Corps (their own record label) offices on Savile Row. The project culminates in a half hour performance on the roof of this building before the police arrive to shut it down.

The music from these sessions was eventually released shortly after The Fab Four had split up. Legendary and infamous American producer Phil Spector was hired to make an album out of the material available, which had been largely worked on by regular Beatles producer George Martin and engineer Glyn Johns prior to the abandonment of the project. The resulting album (Martin later said that he produced it, and “then Spector over produced it” ), now called Let It Be, was released in 1970, seemingly against The Beatles’ wishes. Indeed, Paul McCartney eventually stripped the record of the elements Spector had added – the choir, stings, horns, etc, and re-released the record as Let It Be… Naked in 2003, hoping to finally covey the project’s original direct-to-tape aesthetic.

Parts of the film footage was released in a documentary film of the same name. But 50 years later, after hundreds of hours of footage was discovered intact, Jackson (director of the Epic Lord of the Rings film trilogy and a self proclaimed Beatles super fan) stepped in to create a new documentary which told the full story of this short period in Beatles history. It includes a vast swathe of footage never seen before, including moments when The Beatles did not realise they were being recorded (such as a microphone hidden in a canteen flower pot which picks up John Lennon and Paul McCartney frankly discussing how their own egos getting in the way of their music). Overall, it’s fascinating and many musicians I know have marvelled at being able to see how The Beatles worked out songs such as Get Back and Dig A Pony. Here’s a few other things I observed

Paul doesn’t seem to know what he wants

Most of the Get Back project appears to be McCartney’s idea. He is the driving force behind the ‘live’ aesthetic, either in the form of performing to a live audience or recording without overdubs. However, he also seems a little lost and unsure of what he actually wants to look like. Sometimes it seemed like he was genuinely running out of inspiration (while simultaneously writing some great songs seemingly from scratch), and on other occasions he appears to have ore of a plan than he lets on, but is hesitant to force it onto the rest of the group. Perhaps he feared a mutiny if he pressed his ideas too forcefully. This does indeed happen in Episode 1 when Harrison reaches the end of his patience for having his playing criticised by McCartney (often without him providing a clear idea of what he wants George to play). Seeing McCartney’s indecision, or fear of being too forthright with his ideas, shows us a project that is doomed from the start.

Yet McCartney is not lacking in songwriting inspiration. He brings in Let It Be and The Long And Winding Road to be rehearsed by the band, having apparently written both if these songs almost to completion at home. I was left with the feeling that these were ‘back pocket’ songs; perhaps ones McCartney had considered keeping for a future solo album? However, when it becomes clear that the group don’t have enough material, he puts them forward, and of course, they end up being among the highlights of the subsequent album.

There is small but telling detail which emerges very near the end of Episode 3, after the rooftop concert has been finished and the band are recording the final takes for the album. During a moment listening back to a recent take of The Long and Winding Road, regular producer George Martin mentions McCartney having discussed adding a sting ensemble to fill out the sound on the record. The moment goes by quickly, and McCartney is very noncommittal in his acknowledgement of this statement, but it goes very much against the straight-to-tape aesthetic pursued by none other than McCartney himself. It indicates to me that perhaps his stated intentions and private desires have not always been the same.

Two things saved the session from an even earlier end

The huge soundstage The Beatles start in gives them acoustically-related problems from the outset, and appears to prove a hindrance to their creativity. Speaking from my own experience, it is hard to really dig into new songs, or even your own playing, if you’re struggling to hear everything around you clearly. Their decision to relocate to their just-completed basement studio in the Apple Corps office gives them the opportunity to work on the songs they have started in a more familiar and better sounding environment. You can see in Episode two how much more quickly things come together for the group after the move. But there is anoter factor which helped things along considerably, and arguably saved the project altogether…

The arrival of Billy Preston to the sessions is the real turning point in the Get Back sessions. The Beatles had first met Preston in their early days of performing in Hamburg. Preston was part of Little Richard’s band and was in London performing with Ray Charles when he ran into George Harrison and popped into the sessions to say hello. Once invited to sit in on electric piano and organ, something clearly changes for the better in the atmosphere of the sessions. This happened once before during the recording of their previous album, 1968’s The Beatles (also known as ‘The White Album’ due to it’s blank cover). Harrison has spoken about having fond memories recording While My Guitar Gently Weeps with Eric Clapton providing an (at the time anonymous) guest solo, because the band were all on best behaviour in the presence of a guest and friend. In a similar way, things seems much less acrimonious or stressful once Preston starts adding to the Get Back sessions. It is clear that the group enjoy his contributions. Lennon even suggests recruiting him officially, to which McCartney counters that it is hard enough reaching agreements between the four of them already! The value which The Beatles themselves placed on Preston’s presence is evidenced in the initial release of the song Get Back as a single – it is credited to “The Beatles with Billy Preston”. High praise indeed.

Ringo seems to play no part in the decision making process

The Ge Back sessions are full of decisions, indecisions, wrong decisions and changed decisions. Arguments, conflicts, reflections on their egos and statements of intent. But none of them come from drummer Ringo Starr. Although jokey and stylish as ever, once he sits behind the drum kit, Starr quietly listens as the three remaining members pf the band discuss arrangements or argue. Sometimes suggestions or directions are given to him on how he should play. Interestingly, he is more often than not left to create his parts based on what he hears, showing a high level of trust his band mates place in his abilities.

Yet I still found it striking how – in these sessions at least – it is Starr who is the real ‘quiet one’ of The Beatles.

Several elements precipitated the breakup of The Beatles, but Yoko Ono probably wasn’t one of them

Yoko Ono is a presence throughout this documentary series. But it doesn’t appear disruptive. Sure, during some of the downtime moments, she joins in the free-spirited jams by wailing down a microphone, but most of the time she sits by Lennon, supporting him silently in a way I think he obviously needed at the time. She is seen chatting amiably with the wives and girlfriends of the other members of the band, but nothing we see of her in this series, either voiced aloud or whispered into Lennon’s ear, gives any indication that she was responsible for the tensions the band faced, or their eventual breakup later in the same year.

Those tensions, and those decisions, came from the same place they had since the passing of the band’s manager Brian Epstein a few years before – they came from the four members of The Beatles themselves.

Final thoughts

It was fascinating to see how big the team around The Beatles had become by this point in the life of the band. From the arguments and arrangements to the songwriting and even the business side of The Beatles rearing its head again and again, we are given a clear picture of a small group of people hemmed in by their own success and unsure the best way to continue. Although their main team is comprised of trusted individuals, long term partners and even old friends from their days in Liverpool, the heart of this miniseries is the four members of The Beatles themselves. Many were close – very close. But the only four who really knew what it meant to be a Beatle were John, Paul, George and Ringo. Somehow, it seemed to keep the together, against everything and everyone else. At least, that is, for a time.

Overall, this is a truly fascinating insight into the end of one of the most influential, if not the most influential, musical groups in popular music history. The famous rooftop concert might be one of the less interesting things in this entire series, though this might be because many of us have seen or heard this before (indeed, a few of the live tracks from this concert were used in the final album). It was so much ore enlightening to see the group at work, crafting and recording songs, just like musicians across the world still do today. It is worth watching, but be warned, it’s a long, deep dive…

Happy New Year, everyone. Here are some resolutions for guitarists (reblog for 2022)

Advice & Tips

Hi all and welcome to 2022! You may have noticed that things have been a little quiet on this blog for the last few months. This is for a number of reasons, but don’t panic – I’m fine, just incredibly busy! Expect more posts in this new year, as well as updates on exciting new projects I’ve been working on. In the meantime, here’s a slightly rejigged post on New Year’s resolutions from a few years back. I hope you enjoy it! Until next time...

As a general rule, I don’t believe in New Year’s resolutions. My philosophy is that changes can be made at any time, so why wait until January?

However, there is something about the end of a year which causes us all to reflect on the previous twelve months and start focusing on our plans for the next twelve. For us working musicians, this would usually mean that we have reached the end of one of our peak times, the ‘Christmas Party Season’. For over a decade (pre-pandemic), I ended the year with a NYE gig. However, for obvious reasons, things have been a little quieter by comparison, which gives us time to ponder on the gigs we’ve enjoyed, what we didn’t enjoy, and what we hope to change for the new year.

So, with that in mind, here are a few of my suggestions for guitar-related resolutions for musicians looking to grow as better musicians in the coming year:

Learn a new style

Always wanted to start learning those jazz chord voicings? Perhaps you keep meaning to work on your reggae & ska rhythm playing? Or your country picking? Blues slide? The list goes on…

Take the time to work on these new genres & styles of playing. We are very fortunate to live in a time where we can access a world of free tutorials on the Internet, or videos in YouTube. However, don’t rule out the possibility of taking lessons to focus on specific areas – working one to one with an experienced guitar tutor does wonders for improving your playing!

Mix things up

Learning a style doesn’t mean you have to abandon all you know & travel the world playing strictly Django/gypsy jazz for the rest of your life (though I imagine there are plenty of worse ways to live)!

Have you found that the majority if your playing has been on acoustic guitar? Trying swapping to electric more often (or vice versa). Do you always practise at the same time of day? If possible, can you change to a different time? Your brain operates differently throughout the day – you may well find yourself going down very different musical avenues simply by switching from a morning to an afternoon practice session.

Sometimes learning to play a song you are very familiar with in a new style works brilliantly in helping your playing. Not only do you freshen up material which might be getting a bit stale, but you’ll have a safer means of exploring new options in your guitar playing.

One area of guitar playing I can’t recommend highly enough is solo performance. By this, I don’t mean the lead guitar solo in a song, but playing the melody, harmony, rhythms, etc on one unaccompanied guitar. It’s something a piano player wouldn’t think twice about, but I’m frequently amazed at how many guitarists simply haven’t tried it properly! If you’re unsure about how to start doing this, there are several books, online tutorials (like this blog!), and of course YouTube videos to help inspire you. Which brings us nicely in to…

Widen your horizons

Music is a language. Even when playing on your own, you are creating sounds for yourself to hear, effectively taking to yourself. But there’s only so long you can do that before you end up going round in circles, or going crazy!

Set yourself the following challenge for the year: discover a new artist each month. Learn from what you hear. Take examples of their playing & try to incorporate it into your own. It can only make you a better guitarist! The beauty of this is that you don’t have to focus on other guitar players. In fact, it might be better not to! Many of the jazz & Blues guitarists I admire take inspiration for their improvisational playing from horn players, translating their melodies & ideas into their own instrument. Try it!

It also helps to get out amongst other musicians, jam, join or start a new band, particularly in a new style. It also goes further than this – always wanted to sing while playing? Start! Learning a new instrument? Do it! The best way out of a rut is to climb upwards!

Get your music ‘out there’

…And if you’re meeting new musicians & launching new projects, you’re already doing this. Go to more live gigs and make sure you perform live yourself more often (when you can), especially new and original music. I know all too well how easy it is to get stuck in one ‘world’ for longer than you might like, finding it hard to make the time to do other things, but I promise it’s worth the effort.

Remember to have fun while you’re out there expanding your guitar playing horizons!

To finish off, allow me to wish you all the very best of health & happiness for the New Year! Let’s make 2022 – like every year – a great year for music, for the guitar, and for you!

Please do get in touch to tell me what your own guitar/music new year resolutions are, and stay in touch to let me know how you’re getting on with them! Tim xx

‘Last One Get the Lights’ Album Launch, 12.09.21

Music

Well, we finally got there. After delays and set backs, date changes and continued COVID cases making life difficult for all of us, The Nick Gladdish Band finally reached the day of their album launch gig.

This journey started almost a year ago, with rehearsals for group arrangements and recording taking place in October 2020. If you want to refresh your memory, you can look for previous posts, starting with Back in the studio (part 1) and continuing with Back in the studio (part 2), Back in the studio (part 3) and Back in the studio (part 4).

The launch gig, on the 12th of September 2021, brought a year’s worth of writing, recording, mixing, printing and promotion to a close – at least, until I get to work finalising our next short tour, scheduled for Spring 2022.

Also playing were local singer songwriter Jenny Lascelles, performing a beautiful solo set from the piano, and The Baltics, a new indie group on the Newcastle local live music scene. Both acts were well received and it was great to be at a live show again. Our only other performance since the start of the pandemic was a warm up show in Stockton in August, in support of another talented young band, Gone Tomorrow. Safe to say the next generation of bands looks full of promise…

As for our set, we had a blast! We’d spent the best part of a year waiting to play the new songs live and our hour onstage seemed to fly by in a blur of smiles and camaraderie. Personally, I thought the guys in the band played a blinder. If there were any wrong notes played that night I certainly didn’t hear them.

Nick Gladdish onstage (credit: John Timney).

The album is available in full on Band camp here. We’d love your support!

We’re having something of a break for the rest of the year. Everyone in this band has other projects to focus on, and it gives Nick time to write the songs for the next album (he could release a new album each year if he wanted to – I don’t know how he does it!). In the meantime, stay tuned for news of other fun things happening soon.

The Nick Gladdish Band (L-R): John Timney, Nick Gladdish, Adam Cornell, Tim Higgins & Shannon Powell, after the album launch.

Until next time…