This clip is another example of Mike Douglas’s magic. John Lennon meets Chuck Berry for the first time and they do a kind of weak Memphis Tennessee because Lennon seems to be insisting on sharing vocals.
On Johnny B. Goode balance is restored.
I’m a fan of Yoko’s, but her mike seems to be cut in the Johnny B. Goode mix. It’s just weird during Memphis Tennessee.
Wesley Morris wrote about this version in the Times today, while making a bigger point.
I’ve always thought the Harold Melvin and the Bluenotes version was great, but even if you agree with that you’ll want to watch Patti LaBelle sing it.
Came across this spreadsheet compiled by the NY Times’ Nitsu Abebe collecting cover songs by indie bands in the 80s-90s covering other indie bands. It reminded me of this ol’ fave:
Which I didn’t know about back in the day when I used to listen to this:
Nirvana’s genius turn, taken by this loud trio, and turned into something else. No words, for one. And relatively quiet for what they do. You could criticize them for that, but they get loud other times.
Lovely.
I wrote about these guys a few years ago, posting one of their new wavey songs with an excellent video. That was then.
After they made that good song their drummer left, and rather than replace him they remade themselves as a bizarrely earnest harmony band. They stand on the stage, no matter how big, closely together so they can hear their partners and make incredibly lovely harmonies.
They played tonight in the park by our house, and we were jazzed. This is music that is far from rock, but also music that has no genre. I think sometimes they sound like Mumford and Sons, revivalists with big ideas, but they resist that. They aren’t old style. They’re still new-wavey, only they eschew the drum kit (they have a kick drum) and they love their voices, which they surely should.
Moyer will roll over tonight. Good for him.
So, YouTube fed me this one I didn’t know. I like this band.
