Spooky Songs: The Beatles, “Long, Long, Long”
Wednesday, September 24th, 2008 by Matthew Bolin
1968’s The Beatles, aka “The White Album,” is the Beatles at their most frightening: the sound of drugs, of implosion, of tension and competition. Added to that are the numerous songs which present the band at their most menacing, loaded with echo and reverb; sound collages and mumbles; the sudden bursts of vocals from Yoko Ono on “The Continuing Adventures of Bungalow Bill” and “Birthday.” A primary example is the slash and burn of “Helter Skelter,” which leaves the listener on edge as it fades out and back in, then starts to fade out again, but rushes back with a final crash, followed by the most punk moment in the history of the band: Ringo’s scream of “I’ve got blisters on my fingers!” and a final guitar slash. This song is scary enough as it is — made even more so by the claim from Charles Manson that it contained secret messages that led him to order the Tate-La Bianca murders.
Then there’s “Revolution 9,” which really isn’t a song — it’s an experimental art piece — but is spooky enough as it is, with the seemingly endless swirl of moans, crowd noises, backwards tracks, and the monotonous repetition of “number nine.” Add the rumors that it contains a secret message — that if played backwards, the “number nine” becomes “turn me on, dead man” — and you’ve got more possible chills. (As for the “dead man” rumor: yeah, it sounds a bit like that, if that was specifically what you were listening for when you played it. Otherwise, nuh-uh.)
But the track that really gets me on “the White Album” is what follows “Helter Skelter”: a track by my favorite Beatle, George Harrison. “Long, Long, Long” is, for some critics, Harrison’s high point with the group: a languid, swirling love song — possibly to God. Both the composition and arrangement are effective at keeping the listener on edge: it opens with an acoustic guitar amped to sound almost sitar-like, and doubled with a Hammond organ playing slow, Gothic triplets through a Leslie speaker to give it a swirling effect. George starts singing, double-tracked with himself — almost in a whisper, and a little behind the chord, as if he’s caught up in prayer. Then….THWACK, Ringo’s drums come in, puncturing the quiet with rolls drenched in echo. The basic structure of the song plays out a second time, then producer Chris Thomas joins in with a piano in the more forceful bridge, as at least three Georges sing in unison, almost screaming the “Oh!”’s at the end of this portion, then switch back to the creepy placidity of the verses one final time. (more…)



A word of note to anyone who is not a music nerd accidentally finding themselves at this site: a cover song is when an artist records another artist’s song, hence covering it. The term ‘remake’ fits as well. The term ’smart-ass’, at least relative to this article, refers to those who decide to go all hipster and record something that bears no relevance, charm or wit toward their own sensibility. I’m thinking of Madonna’s cover of “American Pie” or that godawful A Perfect Circle CD where the songs weren’t just reworked, they were worked over, until all that was left was roadkill disguised as tribute. Then there’s the Bluegrass Tribute to Pink Floyd’s The Wall. More notoriously, I’m thinking of the late-’50s pop songs from black artists covered by teen idol white artists because, you know, if it comes from a white guy in a sweater, the subtext can’t be about sex. Right? Pat Boone? Tutti Frutti?
On March 8, 2008, the Rutland Times reported the breathtaking news that the world and elsewhere would soon be privy to something quite remarkable: “



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