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Steve Lambley - And the Band Begins to Play. Part Nine: The Definitive Guide to the Beatles White Album

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Steve Lambley And the Band Begins to Play. Part Nine: The Definitive Guide to the Beatles White Album
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And the Band Begins to Play. Part Nine: The Definitive Guide to the Beatles White Album: summary, description and annotation

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And the Band Begins to Play is an in-depth, 12-volume guide to every song recorded by the Beatles. Part Nine examines the White Album and associated singles.

Going further than the usual song-by-song, album-by-album guide, it is a record of every moment that the Beatles came together to record, from the first EMI session in 1962 to their acrimonious break-up in 1970. In short, this 12-volume set is the blueprint to every single recording made by the Beatles: 12 albums and 22 singles which make a portfolio of 208 songs that undeniably changed the shape of modern music forever.

From 'Love Me Do' to 'Let It Be', Steve Lambley provides full analysis of every track not only for its lyrical meaning, its position in the Beatles catalogue and the impact it made on the charts, but also from the point of the science of the songs. Thanks to the author's astute understanding of just how music works, as well as the recording processes of the day, this book includes a level of a musical analysis rare to career-spanning tomes today.

The book includes a detailed description of the recording process of every track, with a breakdown of the instrumentation and details of overdubs. What's more, And the Band Begins to Play explains the wealth of production innovations and recording techniques used by the group which continues to inform popular music today.

The story of the group's music also tells the story of the group itself. The book therefore takes the reader by the hand on a magical tour through the conquering of America, the band's film, TV and radio appearances, the bigger than Jesus storm, the death of Brian Epstein, the Maharishi experience, the rise and fall of the original Apple business, and much more.

The appendices include detailed listings covering all the Beatles' recordings, including:

- the original source of every quote used in the book

- a complete UK and US discography

- a chronology of all songs

- the dates and take numbers of all recordings

Unquestionably, the Beatles remain the key band of the rock era. And the Band Begins to Play tells the story of their unique musical legacy.

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AND THE BANDBEGINS TO PLAY
Part Nine The Definitive Guide to the Beatles WHITE ALBUM

by

SteveLambley

Published bySLIDE Books

Version 4.0

Steve Lambley2020

All song lyricsremain the copyright of their respective owners, and are quoted forthe purposes of scholarship, under fair dealing and fair usagelaws. No infringement is intended.

No part of thisbook may be reproduced in any form without written permission fromthe copyright holder.

SmashwordsEdition, Licence Notes

This ebook islicensed for your personal enjoyment only. This ebook may not bere-sold or given away to other people. If you would like to sharethis book with another person, please purchase an additional copyfor each recipient. If youre reading this book and did notpurchase it, or it was not purchased for your use only, then pleasereturn to Smashwords.com and purchase your own copy. Thank you forrespecting the hard work of this author.

Table of Contents
Single release
Parlophone R 5675 Released 15 March 1968

Lady Madonna

[Lennon-McCartney]
Recorded 3, 6 February
Mixed 15 February (mono), 2 December 1969 (stereo)

Paul leadvocals, piano, bass, possibly tambourine
John harmony and backing vocals, lead guitar
George harmony and backing vocals, lead guitar
Ringo drums
Session musicians two baritone saxophones, two tenorsaxophones

With LadyMadonna, the Beatles revisited ground they had not covered sincemid-1966. The release of an out-and-out R&B style single showeda desire to return to their roots, although Ringo commented at thetime, Its not a backwards step, its just another type of songfrom the Beatles. In fact, the record was a temporary, butunderstandable skip away from both the psychedelia of Pepperand the relative simplicity of the previous two singles, with theblues influence evident for the first time since Revolver.Hunter Davies went so far as to describe the song as mock-rock, asatirical look back at the Beatles music of 1963.

Thisexamination of popular musics recent past was reinforced by therelease in early 1968 of songs such as Don Partridges skifflethrow-back Rosie, and by the subsequent re-release of BillHaleys Rock Around The Clock and Buddy Hollys Peggy Sue/RaveOn, both of which charted in April 1968. That summer, the RollingStones released their back-to-roots Jumping Jack Flash, electingnot to stray far from the style for the rest of their career. Whilethe Beach Boys August number one single reflected Well, Ive beenthinking bout all the places weve surfed and danced and all thefaces weve missed, so lets get back together and Do ItAgain.

As for LadyMadonna, the tenor of the distinctive introduction was apparentlypartly inspired by the Rolling Stones hit from the previous year,Lets Spend The Night Together, but more so by a 1956 hit fromthe Humphrey Lyttelton Band called Bad Penny Blues (which wasalso released on Parlophone, although not produced by GeorgeMartin). Paul had also seen Fats Domino in concert in New Orleans,which also helped in the early stages to form the tone of the song.(Fats Domino immediately recognised Pauls tribute and recorded hisown version of Lady Madonna, which was released on his 1968 albumFats Is Back.) The Beatles were continuing to move towards apiano-based sound, with the guitar licks of I Feel Fine and DayTripper giving way to Hey Bulldog and Hey Jude. While PaulsLady Madonna riff does not have the beautiful simplicity and rawpower of, for example, the symmetrical introduction to HeyBulldog, it is stark, instant and captivating.

LadyMadonna was me sitting down at the piano trying to write a - photo 1

LadyMadonna was me sitting down at the piano trying to write a bluesyboogie-woogie thing. I got my left hand doing an arpeggio thingwith the chord, an ascending boogie-woogie left hand, then adescending right hand. I always liked that, the juxtaposition of aline going down meeting a line going up. That was basically what itwas. It reminded me of Fats Domino for some reason, so I startedsinging a Fats Domino impression. It took my voice to a very oddplace.

The song alsohas a second, simpler, but equally chromatic riff a walkingbluesy Hey Bulldog-style motif in counterpoint, in which both theguitars and saxophones rejoice.

The richsequence of flattened thirds sixths and sevenths also picked onby the - photo 2

The richsequence of flattened thirds, sixths and sevenths, also picked onby the bass in its march up and down the scales, combined with themarvellously syncopated rhythm, produce a single of great characterand charm. This sequence, a repeated AD (IIV) until the finalFGA (bVIbVIII), underpins the whole song. The middle eightmoves into the key of C, flirting with DmG (iiV), beforeresolving beautifully with the fabulous CBm7E7sus4E7(Ivii7III7sus4III7; in A: bIIIii7V7sus4V7), this fleetingappearance of the dominant, E, making us realise we have beenmissing it all along.

The semitoneslide from C to Bm before the resolution involving two - photo 3

The semitoneslide from C to Bm before the resolution involving two fifthdescents, to E7 and to A, with the internal E7 sus4E7 move itselfincluding a semitone slide from A to G#, is quite simplymasterful.

Also notablein the bridge is the relentless descent of the bass line steppingdown a fearless twelve notes from D through to G, with just asingle registral break after the first bar.

The songsstructure and direction although in many ways following on fromHello - photo 4

The songsstructure and direction, although in many ways following on fromHello, Goodbye, give it its own unique character. The ascendingriff, reinforced by the bass, gives an optimistic glow to theverse. This is reversed when realism is injected, setting off anunremitting downward climb from bass and piano, as the days arereeled off, cataloguing week after week of getting by and makingdo. Pauls days-of-the-week lyric looks back to the Wednesdaymorning of Shes Leaving Home, and forward to the Sundays onthe phone to Monday of She Came In Through The Bathroom Window(which again uses the Dm chord to pivot from A to C for thebridge). The songs form a neat trilogy of the diaries of threeentirely different women.

John toldPlayboy that he felt he may have had a hand at helping Paulto write the song, but in any case did not rate the lyric veryhighly. However, on the evidence of the lyrics structure andcontent, we can guess that Johns help on this song was minimal.Paul, adept at constructing scenarios with a strong cast andmemorable plot, conjures up the life of a woman, or womankind as hesees it, in a series of dazzling images and similes. Her string ofchildren, all ages and all types, have one thing in common theneed of their mother.

Theinspiration for the title of the song is said to come from aphotograph in National Geographic of a Malaysian woman,captioned Mountain Madonna: with one child at her breast andanother laughing into her face, sees her quality of lifethreatened. But Pauls view of women, as Barry Miles points out inPauls official Beatlesong biography, Many Years From Now,stems from his post-war northern working-class roots. Thematriarchal society that typified the north-west of England inparticular at that time bred strong, dedicated, no-nonsense wivesand mothers with an uncomplicated attitude to life and sex and thewhole damn thing.

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