Published on Jan 24, 2006
The Beatles — better known as “The White
Album” — was my first Beatles album, and it certainly seemed at
the time to be a huge waste of $30. I have vivid memories of
sitting in my room, just thinking over and over again “What the
hell is this crap? Weren’t the Beatles supposed to be the greatest
band ever?” So, it languished in my collection for years, and my
feelings towards it did not change.
But I just recently finished the new Beatles
biography by Bob Spitz, and so my interest in the group was
rekindled. Of course, I was drawn to the controversial White
Album like a moth to a flame. So I gave the record another
listen — and this time, I liked it!
A double album always has filler on it, without
exception. The success of the album in turn rests largely on how
good the filler material is. Up to this point, I considered most of
The White Album to be eccentric, uninspired, and messy. What
really allowed my view to change was having listened to the
Beatles’ solo careers. The strengths of each individual member of
the Beatles are on display on The White Album, which gives
the album its scattershot reputation.
One can argue the overall merits of the album;
however, there is no question The White Album contains some
of the band’s best work. McCartney’s gentle, folksy “Blackbird”
remains one of his best songs. “While My Guitar Gently Weeps” has
grown in status over the years, and rightly so. In my eyes, this
was George Harrison’s first knockout track, helped in no small part
by Eric Clapton’s brilliant guitar performance. “Dear Prudence” has
always been an underrated classic; Lennon could write a damn good
ballad when he put his mind to it. Along those same lines, the
soothing “Julia” is really touching, showcasing John’s talents for
lyrics. When it came down to expressing pure feeling, few could do
it better than Lennon.
It really boggles the mind to think that when the
Beatles were slumming it, they still churned out material better
than almost anyone out there. Take a song like “Martha My Dear” —
it’s inconsequential in every way, but that doesn’t matter. It’s
great pop, highlighting McCartney’s vocal prowess. “Back In The
U.S.S.R.” hits the Beach Boys style right on the head, musically
and lyrically (essentially becoming a parody of “California
Girls”). Hell, the boys even managed to essentially inspire the
punk genre with “Helter Skelter.” Is there any line more immortal
than Ringo’s closing “I’ve got blisters on my fingers!”? George
Harrison’s “Piggies” goes Animals on the listener,
expressing the same sentiments.
It is the experimental material on The White
Album that is hit or miss. Some of it is carried out
competently, like the country stylings of “Rocky Raccoon” or the
big band send off of “Good Night.” You can’t help but bop along to
“Ob-La-Di, Ob-La-Da,” one of McCartney’s more inspired efforts.
Unfortunately, the Beatles also managed to write some truly insipid
material. “Wild Honey Pie” could literally be construed as the band
giving the finger to the fans, it’s that pointless. And, of course,
where would a review of The White Album be without mention
of “Revolution #9.” Anyone who defends this track as having any
merit whatsoever desperately needs a CAT scan. It’s experimental,
you say? Well, that doesn’t mean it isn’t terrible. Thanks,
Yoko.
And while I enjoy the music to “Why Don’t We Do It In
The Road” and “Everybody’s Got Something To Hide Except Me And My
Monkey,” there’s just no way not to call the boys out on the
lyrics. As Chris Thelen so eloquently put
it, “What the hell was this about?”
The true problem facing The White Album is the
one everyone mentions; the wealth of material. There’s no doubt
some of the songs are useless, and should never have seen the light
of day. By the same token, the great moments just about equal the
worst in number, and the quality of the filler material is
impressively high. It took a long time, but I finally came around
to The White Album.