The Beatles – The Beatles (The White Album)
We’ve finally arrived at the Big Anniversary of the Beatles’ sprawling, self-titled 1968 double album. It’s the first Beatles album to be covered in this unabashed fanboy’s blog which I started at the beginning of the year. Many of us have already greedily consumed the 50th anniversary release of the album, complete with the Esher Demos, session goodies, the famous individual portraits and lyrics poster, and a hardcover book. Some have already published nice reviews in the blogosphere and elsewhere. Somehow today feels a bit anticlimactic, though I’ll probably give it a spin before stuffing my face with turkey later in the day.
It’s not that the anniversary hasn’t re-sparked my enthusiasm for the White Album, released this day in 1968. It has. It isn’t that I’m not thrilled with everything to do with the deluxe edition which I’ve been poring over these past couple of weeks. I am. But if you’ll excuse a bit of hyperbole, when I think about it, this entire year has been about the White Album as pertains to my perception of the Beatles, the music scene in general, and to some extent the year 1968 itself.
Looking back over the first eleven months of my blog, this record looms throughout. The seed is probably found as far back as August of 1967 with the death of Brian Epstein. The Magical Mystery Tour project in the immediate aftermath of his passing may have been their first attempt to carry on managing themselves, but with the White Album we see the fissures within the group and their individual future directions in full light. Many of these songs were written in February during the Rishikesh retreat, and most of the band’s activities the rest of the year from that trip-onward led to this album or were an offshoot of it.
We had the single, Lady Madonna/The Inner Light, released in March. In May, the establishment of Apple Corps, Ltd. was announced. This was to be the band’s business and musical apparatus, as well as a vehicle for them as individual artists – and isn’t that really what the White Album is, some group work but a lot of individual effort? May was also the month sessions for the album began in earnest. With the release of the stunning Hey Jude/Revolution single in August, they showed the world that the Beatles were still the Beatles despite the turmoil they always seemed to find themselves in. Although those tracks were not included on the album, they are White Album session tracks.
Group and individual burnout is evident on this album. Even Ringo walked out during his well-documented “I thought it was YOU three?” moment. John’s behavior became predictably unpredictable, and the sad state of affairs (no pun intended, but yeah) surrounding his marriage to Cynthia finally came to an end as he officially transitioned to Yoko. They immediately created their first vinyl baby, Unfinished Music No. 1: Two Virgins, under the Apple umbrella, and she would be a permanent fixture within the group dynamic from that point on.
George finally found his own creative outlet with Wonderwall Music (the inaugural release on the Apple label), the score to the Wonderwall movie which included Indian musicians who also performed on the Inner Light, as well as his buddy Eric Clapton, who participated on both the movie score and the White Album. All of these factors – from India to Apple, from recording the demos at George’s house in Esher to the singles releases, from the “Mad Day Out” photo session in July to the individual side projects and contentious group studio sessions – all of them are woven into the double album we’re celebrating today, and all were played out over the course of the year leading up to its release.
Some random personal thoughts about the record:
- In 2018, if there’s any one member of the band I associate with the album more than the others, it’s George. I freely admit this is due in large part to Hari gradually becoming my “favorite” Beatle over the years. The White Album was perhaps his final chance to exert serious influence on the direction the Beatles would take, both musically and spiritually. His creative input could no longer be ignored by John and Paul if he was going to remain in the group long-term. It may not have gone as he had hoped, but his spirit is everywhere in these songs, including the ones which didn’t make the final cut. As he mentioned in interviews, he tried to enter the studio the following January for the Get Back sessions with a positive mindset, but it was too late. The Beatles were, for all intents and purposes, done, despite there being two albums yet to record. Amazingly to me, George was only 25 when the White Album was released.
- As a child, even though I always loved most of its tracks, the White Album kind of creeped me out. First, the “Paul is dead ‘clues'” in the grooves and album artwork were both fascinating and, to 9 or 10-year-old me, frightening. My brother Paul would spin the vinyl backwards for me to hear voices supposedly saying “Paul is a dead man. Miss him, miss him,” and “Turn me on, dead man.” In that dimly lit basement I was glad not to be alone when listening. To this day, Revolution 9 still gives me the heebie jeebies, and Good Night which follows sounds more funereal than lullaby because of it. Then there was the unfortunate, unintended connection to the Manson murders. Even that shoddy collage of photos which makes up the poster insert was at best confusing to me. But it’s So White Album, no?
- Their individual appearances fascinated me, as they did many others. Overnight they transformed from the psychedelic, flower power Sgt. Pepper look to their disheveled appearances of ’68. John looked tired and bitter, and it wasn’t until my teen years that I understood why that was.
- Yoko. Yoko, Yoko, Yoko. Yoko Ono… Because I was born the year after the Beatles broke up, as a younger person I always accepted everything I saw, heard, and read as just part of the narrative of the group. But wow, what an unforeseen shock her emergence in all their lives must have been! Whether he’s simply taking the high road or being sincere, Paul made peace with Yoko in recent years as well as declared his perhaps overdue respect for John for making his stand with her. I believe Paul is sincere. It’s past time to remove those “I still blame Yoko” bumper stickers, folks. There were plenty of other factors contributing to the split.
- And lastly, as for the great debate about whether or not it should’ve been condensed down to a single LP, my answer is a resounding HELL NO! It’s great just the way it is, but if anything could’ve improved it, it wouldn’t have been making it a single album or two separate releases (the White and Whiter Album as Ringo quipped in the Anthology). In my mind, this could easily have been a triple album. I think it’s a crime that George’s Sour Milk Sea wasn’t properly recorded and included (nothing against Jackie Lomax’s version). The same goes for Not Guilty. Sprinkle those tracks, plus Hey Jude, Revolution, and Circles throughout Sides 1-5, and make Side 6 all about John and Yoko’s madness with What’s the New Mary Jane and Revolution 9, and presto!, The Grand and Mega-Blindingly White Album! It was all free-form craziness anyway, and we’d be celebrating it the same as we are today. That still would’ve left Lady Madonna/The Inner Light as the non-album single between Magical Mystery Tour and the White Album.
But I’ll defer to Sir Paul for the final word on the matter:
- Back in the U.S.S.R.
- Dear Prudence
- Glass Onion
- Ob-La-Di, Ob-La-Da
- Wild Honey Pie
- The Continuing Story of Bungalow Bill
- While My Guitar Gently Weeps
- Happiness is a Warm Gun
- Martha My Dear
- I’m So Tired
- Rocky Raccoon
- Don’t Pass Me By
- Why Don’t We Do It in the Road?
- I Will
- Yer Blues
- Mother Nature’s Son
- Everybody’s Got Something to Hide (Except Me and My Monkey)
- Sexie Sadie
- Helter Skelter
- Long, Long, Long
- Revolution 1
- Honey Pie
- Savoy Truffle
- Cry Baby Cry
- Revolution 9
- Good Night