Author Archives: Roger Catlin

TVD Live: The Flaming Lips at The Anthem, 11/16

Add to the list of necessary roadie skills that of leaf blower.

He’s the guy who scampers on stage at a Flaming Lips concert to inflate a series of transparent plastic bubbles surrounding lead singer Wayne Coyne—or similarly blow-up giant rainbows, or swaying pink robots, as required.

Decades ago, Coyne developed the idea of singer-in-plastic bubble at rock concerts as a method to roll over his blissed-out audience, improving and streamlining the hand-to-hand combat of crowd surfing. When Covid hit, they proved safe barriers; he devised a series of concerts in the band’s hometown of Oklahoma City where not only all the band members were enclosed in their own bubbles, but so were the audience members. Now, the band must have piles of leftover bubbles.

By the end of their fall tour Tuesday at the Anthem in Washington, DC, concert restrictions had eased enough to allow fans to move around without being confined to bubbles (vaccination proof and masks were still part of the protocol, though).

But Coyne sang almost entirely inside a series of bubbles, with new ones constantly subbing in when his got too foggy, too hot, or a little less inflated. At 60, he no longer rolls over the audience. But he did roll out a big bubble full of balloons to the crowd at the show’s end. And he had other distractions: shooting streamers, pointing a spotlight into the crowd, unleashing confetti at various times, and hoisting a site-specific set of letter balloons at the finale.

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Class of 2021 takes a bow at Rock and Roll Hall of Fame Induction Concert

Given the diminishing pool of worthy candidates, it might be a good idea to take a year or two off from the annual Rock and Roll Hall of Fame Induction Ceremony. 

As the event has moved from an intimate, anything-goes party in a New York ballroom to a slick arena cable special, producers have succeeded in making it a pretty good annual celebration anyway, with thoughtful segments that really make the case for new inductees. With the public now allowed as final arbiters on who gets in, the sometimes questionable results have been offset by some well chosen “special” awards to pioneers and influencers who, in the case of Kraftwerk, for instance, should have been inducted long ago.

Saturday’s three hour program on HBO begins with Taylor Swift sauntering out slowly to sing. Immediately you think, oh no, she’s going to take 10 minutes here. She doesn’t, but her performance of Carole King’s “Will You Love Me Tomorrow” hints she doesn’t quite grasp its intent  (the line “I won’t ask again” is spat with girl power defiance that wasn’t in the original).

The dance of these induction shows is balancing the often elderly honorees with hot stars that will get a younger demographic tuned in, so Taylor Swift may have been the right person to pay tribute to King (and the fact Taylor has a new blockbuster album out may have helped her make the flight to Ohio). Certainly she was more suited to the material than Jennifer Hudson, whose salute came through her adaptation of Aretha Franklin’s “Natural Woman” which didn’t seem to channel the Queen of Soul all that much either. The insightful point about Carole King is that her own voice is so personal, warm and direct, it communicates the best. And so it was when King was allowed finally to sit at the piano and show everyone.

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TVD Live: Chuck Prophet and the Mission Express at Jammin’ Java, 11/7

Chuck Prophet is always cheery and maybe a little goofy on stage. But Sunday at Jammin’ Java out in Vienna, VA, he seemed cheerier than usual. “I don’t know if you noticed, but we’ve been gone,” he said by way of explaining the pandemic that wiped out more than a year and a half of touring. “And now we’re back.”

He said so as if to explain “We might be a little rusty. It’s been a while.” But he and the four-piece Mission Express sounded fine indeed. “We’re going to put this little strip mall in Virginia on the map!” Before a sold-out audience at said strip mall, he doffed his mask to begin with the march of “Bobby Fuller Died for Your Sins” and mixed in his well-honed songs from his last handful of albums, including a few from one that came out in 2020, the year time forgot, titled The Land that Time Forgot.

That collection included the dance party of “Marathon,” the reflection into past cultural touchstones in “High as Johnny Thunders,” and the autobiographical tale about growing up in Whittier, CA, and its brooding political shadow, “Nixonland.” But Prophet has such a rich array of surefire live songs that he can mix and mingle in highlights like the participatory “Wish Me Luck” (with a dour intro from Creedence’s “Lodi”), to the enduring “Summertime Thing,” which goes back nearly 20 years to the same album that produced “Run Primo Run,” which he also pulled out.

Prophet has enough songs in his quiver to select ones topical to the moment. While he doesn’t currently have one about the end of Daylight Savings Time, he did have “Castro Halloween,” which lamented “Halloween is gone,” seven days after the holiday. And cowriting “Always a Friend” allowed him to play that blast of an Alejandro Escovedo song.

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TVD Live: The
Magnetic Fields at
City Winery, 11/6

Prolific songwriter Stephin Merritt seems to respond best to creative prompts. Sixty-Nine love songs? Sure. A dozen songs that start with the letter I? Easy. One song representing each year of your 50-year-old life? Okay. All have been projects for his band The Magnetic Fields over the years. The latest was 30 songs each clocking in at 2 minutes, 35 seconds or less, called Quickies.

An accompanying tour for the collection, released in May 2020, did not come so quickly, though, due to the pandemic. A series of City Winery residencies for the band across the country, first planned for March 2020, was delayed at least a couple of times until it finally got running this fall, making its most recent stop at the Washington, DC outlet for a three night stand over the weekend.

It’s a compact crew, especially compared to the last time Merritt was here four years ago, amid a spectacular stage set and larger (but largely unseen) backing band of six doing 50 Song Memoir in order over two nights.

Here, evenly spaced across the stage was Merritt, perched on a stool to the right, alongside cellist Sam Davol (who switched to broken bongo from time to time); Shirley Simms on ukulele, vocals and autoharp, and Claudia Gonson on piano, vocals, and toy tambourine.

It was sparse looking compared to the fussy, colorful, toy-filled stage last time. And were they spaced out because of Covid considerations? (Simms and Davol wore masks, except when she was singing or he sipped tea; the audience, packed as they were, had to have shown vaccination proof or negative test results, and were asked to wear masks when not downing wine—about half did).

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TVD Live: The Jayhawks at The Hamilton, 10/8

One plus of The Jayhawks playing the mid-Atlantic is that their former bandmate, guitarist Stephen McCarthy, often drives up from Richmond, VA to rejoin the Minneapolis band, adding some extra country twang and bringing added authenticity to the classic albums the Long Ryders member made with them, 2006’s Rainy Day Music.

His appearance with the band at the Hamilton in Washington, DC Friday was not such a casual reunion—his addition was vital to fill out the band after Karen Grotberg begged off of dates in DC and Philly over the weekend due to a short medical leave.

Grotberg adds a lot to the band, and has ever since she joined in 1992 with thoughtful keyboards and sweet harmonies with frontman Gary Louris. On the band’s latest album XOXO, meant to showcase songs and vocals from each band member (and not rely so much on Louris), she was standout on a couple of songs.

This time it was drummer Tim O’Regan doing most of the harmonies with Louris as well as a couple of songs where he took lead, “Tampa to Tulsa” and a newer one, “Dogtown Days.” (O’Regan’s family was in the crowd, we were told, and there was a singalong to note his recent birthday.)

But McCarthy helped on harmonies as well, though his focus was that pedal steel and electric guitar twang. Still, there was a rockier sound to the all-boys lineup (rounded out by bassist Marc Perlman, who didn’t sing at all). The combination of guitars led to some dizzying heights as on “Waiting for the Sun,” one of a couple songs pulled from their third album, Hollywood Town Hall, now marking its 30th anniversary.

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TVD Premiere: Bishop Albert Harrison & The Gospel Tones, “Shake Me”

It was the early part of the last century when musicologists like Alan Lomax would travel to the hinterlands to come up with surprising results. That sense of search and discovery still goes on in the 21st century and it was in March 2020 when Bruce Watson of Fat Possum Records and Tim Duffy of the Music Maker Foundation took a trip to the tiny eastern rural town of Fountain, NC to film and record a series of sacred soul musicians—11 groups in eight days in a makeshift storefront studio in a 100 year old building.

It was just in the beginning stages of the pandemic in the US and they were able to record some of the several groups arising from the quartet tradition of a lead singer and a chorus doing call and response. It dates as far back as the 17th century and continues today with the added power of electric instruments.

The trip netted this performance of “Shake Me” by Bishop Albert Harrison & The Gospel Tones, that we are blessed to premiere today at The Vinyl District. The gritty voiced Bishop and his unerring Gospel Tones lock into a groove in “Shake Me” that translates to music lovers everywhere regardless of religion. “Jubilee singing is what I call it,” Harrison says. “We’re singing from our heart. But we come way down from below.”

Harrison has been traveling and singing gospel since the 1980s, but after a hospital stay in 2006 he decided to get serious and start a group, The Gospel Tones. While Harrison makes his home in the experimental planned Black community of Soul City in Warren County, the rest of the group live in Ahoskie, NC, so that’s the group’s home base.

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TVD Live: Jason Isbell and the 400 Unit with Waxahatchee at Wolf Trap, 9/14

Americana kingpin Jason Isbell is always a gracious frontman and performer. But he had to stop his show with his band The 400 Unit a couple of times Tuesday at Wolf Trap in Virginia to take in what he was seeing: a nearly full outdoor amphitheater packed with fans who had been waiting as long as he had to hear songs from his most recent album Reunions, released in May 2020. Sixteen months later he was performing it as he intended before an appreciative crowd under a rising half moon. “Here we all are!” he marveled. “No screens!”

A lot of the new album’s songs were built for playing live and the first couple selections from his set, “Overseas” and “What’ve I Done to Help,” snarled with expressive guitar solos from he and guitarist Sadler Vaden. Both favor a kind of wild, electric slide tonality echoing the best of ’70s inventiveness from Duane Allman to David Lindley. Isbell has attracted wide attention with his songwriting, though, with compositions that are full of the kind of detail and turn of phrase that can stun midway through.

With his wife Amanda Shires back in Nashville recovering from an unnamed malady, it’s tempting to say the band played harder and tilted more toward rock than they might have had she been there with her countrified fiddle and backing vocals. Vaden added Pete Townshend-style windmill slashes to his guitar more than once, which might have triggered drummer Chad Gamble to rumble like Keith Moon, while bassist Jimbo Hart conjured up a bass solo or two in the tradition of John Entwistle. But then again, Isbell can turn on a dime and produce quieter acoustic meditations that are all the more astonishing when they quiet a big outdoor audience that had been rocking along minutes earlier.

To keep things interesting for himself, his band, and maybe audience members who catch more than one show, Isbell switches the setlist around each night. As a result, those who peek at what he’d played in previous shows may be disappointed when he didn’t play them here. But then again, pulling things out of the hat means playing some unexpected selections, from “Alabama Pines” in the first half of the show to “Speed Trap Town” toward the end.

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Willie Nile,
The TVD Interview

Longtime rocker and esteemed songwriter Willie Nile is back on the road, and releasing his 14th studio album this week on River House Records, recorded with his mask-wearing band earlier this year under unusual conditions.

He spoke to us from his pad in Soho about the album, The Day the Earth Stood Still, his series of streamed shows during the lockdown, and the first 45 purchase he ever made.

I understand the title of the new album had to do with the lockdown.

Absolutely. It’s a direct result of the pandemic. It’s about the pandemic. There’s a few songs on there that are pandemic-related. A lot of the events of the past year and a half, 17 months influenced it big time. I live in New York and if you told me two years ago that New York was going to become a ghost town, I would have thought you were nuts. There was no way. But it happened. It’s fascinating. I live in the village and in April, May, you step outside and there’s hardly any people. Just this eerie [scene], haunted buildings, looking down empty streets, a handful of people and very few cars. I found it really interesting and fascinating.

I have a storage space a block from the Holland Tunnel which heads towards Jersey and points South and West. A block away and every rush hour it’s brutal. It can take 45 minutes to go three blocks. And on a Friday night—we’ve done it with the band—we have to leave extra early. So end of last May I coming out of my storage space. Get to the corner of Varick and Spring and there was not a car in sight, literally. I would look uptown and could see a long distance, not one car, not one person. It’s a Friday at six o’clock. You look south, the tunnel and beyond, I took photographs. I stood in the middle of the street, I thought wow. I could have played down in the street and sung Rolling Stones songs.It was really remarkable.

And then walking home through this ghost-like zombie apocalypse. I dug it. It was fascinating. Obviously, scary nightmary stuff. But I thought immediately of The Day the Earth Stood Still, that old sci-fi film from 1951. And a couple weeks later, I was coming down Fifth Avenue in a cab, and seeing places boarded up and no people—all the way down Fifth Avenue. It was fascinating. I wrote the song then. So it’s directly inspired, the title is. And a number of the songs are inspired by the pandemic.

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Showtime Documentary Reminds Us: He’s Rick James

More than 20 years after his hitmaking heyday, Rick James became a household name to a whole new generation in 2004 when Dave Chappelle mocked his brash personality with the catchphrase “I’m Rick James, bitch!”

The singer was still around and trying to catch a break after drug binges, prison, and record company indifference had sidelined his career. So James played into the lampoon when he appeared on the 2004 BET Awards with what was supposed to be a comeback performance, declaring the catchphrase anew as if to make it his own. He’d be dead two months later.

The phrase repeats in the title of the compelling new documentary on the musician’s career, Bitchin’: The Sound and Fury of Rick James, premiering on Showtime tonight, Friday September 3.

It’s surprising that there hasn’t previously been a full film documenting the singer’s remarkable life of ups and downs. Director Sacha Jenkins, who previously directed Wu-Tang Clan: Of Mics and Men, takes on the task with a verve that reflects the artist at hand.

Taking from old interviews and rare live performances, as well as interviews with ex-wives and lovers, his kids, and members of his Stone City Band, it tells a full tale of what was anything but an overnight success story.

Born in Buffalo, James began playing in bands as a teenager. A member of the US Naval Reserves, he fled to Canada when he got called up and fell into a burgeoning Toronto music scene that eventually had him in a band with Neil Young and Bruce Palmer, before they went off to form Buffalo Springfield. Signed to Motown as a rare rock band, we hear the Mynah Birds single (and it’s pretty good) but James was caught for desertion and the band stalled.

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TVD Live: Willie Nile at the Hamilton Live, 8/28

Willie Nile’s pent up energy for getting back on the road was fairly palpable in his show Saturday at the Hamilton in DC.

Originally scheduled for April 2020, it had been postponed by the pandemic to summer that year, then to April this year, to finally this late summer date 16 months later. In the interim, the rocker released two strong albums of new material to play to fit along with favorites from a 40 year career.

Blending the drive and heart of the Stones with a raspy delivery of a Dylan, Nile is a master of combining the simplicity and sheer fun of Chuck Berry with the poetic insight and effective wordplay of the folk scene where he rose. With a veteran three-piece backing, his set careened from carefree, anthemic rockers to declarative stands that are durable enough to endure for future issues than the ones from which they sprang.

The title song for his new The Day the Earth Stood Still, as well as its “Blood On Your Hands” rose from the pandemic’s rise and spectacular initial fumbling by the government. “The Innocent Ones,” about another humanitarian crisis, was dedicated to Afghanistan refugees. From the uprisings for racial and social justice came “The Justice Bell,” inspired by the lifelong civil rights work of Sen. John Lewis.

Nile’s long-awaited DC show came on the day of a march marking not only the anniversary of Martin Luther King Jr.’s “I Have a Dream” speech at the March on Washington for Jobs and Freedom, but to endorse the voting rights act that bears Lewis’ name. Many of the streets adjoining the venue were still closed off from the day’s activity.

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TVD Live: Elizabeth Cook and Waylon Payne at Union Stage, 8/14

Elizabeth Cook could well be the best of the legion of DJs on Sirius XM. Her weekday “Apron Strings” show on the Outlaw Country channel reflects her personality, as she speaks frankly and sometimes brashly about her life, her musician friends, and everyday hard knocks in her engaging twang. She’d bring that same charm to solo appearances with just a guitar accompanying her stories and really well written songs.

Out on tour for the first time since the pandemic shutdowns, she has emerged as a completely different performer. Dressed in kind of a silvery space age Ziggy Stardust jumpsuit and surrounded by a three-piece rock band, she roared through her headlining set at the Union Stage in Washington Saturday—a transformation that surprised at least some in the seated audience.

Cook has dropped the names of rock bands in her sassy songs before going for a full bore sound 0n her 2020 album Aftermath, whose excessive production more aligned with crossover roar of “The Perfect Girls of Pop” of which she refers to on one of its singles. But in front of an electric band of long haired guitarists and a Mohawked drummer—and following a quiet and very well-received acoustic solo set from Waylon Payne—you’d hardly associate her with the honest and vulnerable persona she beams out on satellite radio.

At first playing a powder blue electric mandolin and then a guitar—whose plug fell out at least once; you couldn’t hear much of what she was adding on strings either way—Cook concentrated on her sharp lyrics, which were often muddied inside those hard-charging arrangements.

Cook has crafted some strong anthems, from “Thick Georgia Woman” to kick off the set; the popular “El Camino” mid-show, and the triumphant “Sometimes It Takes Balls to be a Woman” to end her encore. When it came time for a cover, she went not to any of the classic country she plays on the air, but the Velvet Underground. Nice to hear “Sunday Morning” anyway.

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TVD Premiere: Loveland Duren, “Tumbledown Hearts”

PHOTO: JAMIE HARMON | Van Duren emerged from the same burbling Ardent Studios evolutionary pond alongside Jody Stephens and Chris Bell, with whom he played in a Memphis band (and also auditioned for their onetime band Big Star). He recorded a couple of Todd Rundgren-like albums in the late ‘70s and early ‘80s that became collectors items for power pop fanatics, and inspired a couple of smitten Australian fans to to seek him out, a pilgrimage captured in their subsequent 2018 documentary, Waiting: The Van Duren Story.

Not a long-lost songwriter like Sugarman had been in his similar rediscovery documentary, Duren could easily be found right in the same rich musical territory where he was raised: Memphis. After years with his well-considered band Good Question, he has more recently been turning out duet albums with Vicki Loveland, a well-kept Memphis secret of her own.

The third Loveland Duren release, Any Such Thing on Edgewood Recordings, won’t be out until October 1, but The Vinyl District is proud to debut a track from it today, “Tumbledown Hearts.” Like a lot of their music, it’s both catchy and emotional as it addresses real relationships among grown up people.

The two say it’s “really is a song about two people finding a way to celebrate life together in spite of turmoil, misunderstandings, disappointments, and a life lived long enough to know that while rose colored glasses may not be reality, we can sure put them on if we choose to.” Such is life among creative romantics. But, they add, the song is “also about sharing companionship and comfort in an adult world with another battered but hopeful and optimistic soul.”

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Clearing the Smoke
at Dylan’s Streaming ‘Kingdom’

Out of all the musicians knocked off the road by the pandemic, it must have been a real strain on Bob Dylan. A guy who has essentially played one tour after another since 1988, totaling more than 3,000 shows, pausing only a few months during a health scare in 1997, he had seen nothing like this eradication of his touring schedule. 

He filled it initially with his remarkable “Murder Most Foul,” an unexpected, 16-minute rumination about the assassination of JFK that was also his first No. 1 single, 57 years into his recording career. Released March 20, 2020, soon after lockdowns began, it was an anchor for his 39th studio album Rough and Rowdy Ways, released in June 2020.

It took a while, though, for Dylan to catch up to fellow artists using the internet to stream concerts as a way to connect with fans and maybe make up for all that lost touring revenue. Dylan had gotten used to traveling the world and reworking his tunes while dressed in cowboy garb and maintaining his career-long mystery before devoted fans.

His streaming event Shadow Kingdom on Sunday allowed him belatedly to continue that interest. On stages he surrounds himself with old Hollywood klieg lights and smoke to create a kind of atmosphere. In his streaming concert, smoke almost takes over.

The idea is that he’s in an imaginary ’30s cafe — the nonexistent Bon Bon Cafe in Marseilles, France (given “special thanks” in the credits). But with the cowboy hats of the denizens, surrounded by columns of long neck beers and overflowing ashtrays, it’s more like a period cafe in Hollywood, where it was almost certainly created. A slightly different setting for some songs has him on a checkerboard linoleum, adding to the dreamlike Twin Peaks nightclub vibe.

Not a live event, the 50-minute, 12-song presentation is more like an extended black and white video. There are no songs from Rough and Rowdy Ways (whose cover suggested a similar fantasy juke joint), and nothing in fact from the past 30 years of the Dylan songbook.

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TVD Live: ‘Purple Reign: The Prince Tribute Show’ and ‘All Shook Up: A Tribute to the King,’ Las Vegas, 6/26 and 7/3

Rising like a shimmering fever dream in the middle of the desert, Las Vegas has always been about fakery.

Magicians and impersonators continue to be top draws in showrooms, the best of them mystifying the tourist flocks. Casinos are constructed to emulate ersatz pyramids, Roman coliseums, Parisian skylines, and the whole of New York City. Inside them, you are led to believe you might actually win at the tables.

So as Vegas lumbers to reopen with the rest of the country (though its pandemic numbers and deaths are currently worst in the nation) it is the tribute artist fill-ins who largely fill the musical bill in showrooms.

They currently include a fake Rat Pack,  three different fake Motown revues, a generic Queens of Rock show, and a couple of Michael Jackson recreations. There is a rock revue of questionable taste, 27 – A Musical Adventure, impersonating rock stars who died at age 27, from Jimi, Janis, and Jim to Amy Winehouse and Kurt Cobain. There’s an Australian Bee Gees (though the originals were Aussies too, right?) and the long-running smorgasbord of subterfuge, Legends in Concert.

There’s one show dedicated entirely to Elvis and two for Prince. One of the latter is Purple Reign: The Prince Tribute Show which has been performing around Vegas long before its subject died in 2016. Its star Jason Tenner has been putting on the purple costume for 25 years and generally stays in the realm Prince created in his 1984 film—down to giving a big chunk of the hour long show to Morris Day and the Time. Nothing wrong with that. Prince wrote and produced most of that music as well, their appearance and cavorting allows Tenner to go off and do costume changes.

Adding shimmying dancing girls is probably a law for every show on the Vegas strip so a couple of them gyrate here. Add a singer and they become Vanity 6 (paying tribute to yet another singer gone before her time; Vanity died in 2016 at 57).

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McCartney 3,2,1:
Sir Paul Recounts
His Singular Oeuvre

Given the size and power of the Baby Boomers demo, it’s a wonder the whole of TV isn’t back to back classic rock documentaries. But there are actually quite a lot of them.

The most annoying of the lot are like PBS’ new Icon: Music Through the Lens, an exhaustive and exhausting six-hour (!) celebration of the rock photographers who brag about the work they’ve done, repeat the same points over and over (“It’s about capturing a moment”) and use the word “iconic” to mean “a picture I did that I remember.” Perhaps because it’s Brit-centric, none of the images held up as iconic actually are. Like me, you may have never even seen many of them before.

For all their celebration of rock stars, they’ve neglected to license much of their music, so generic music plays underneath the boasts and florid remembrances. One guy who has stayed remarkably humble despite making music that actually is iconic is Paul McCartney, whose television appearances can be wanting. Even so, it looked like his 2018 Carpool Karaoke with James Corden would ever be topped.

But now comes the unexpected delight of Hulu’s new McCartney 3,2,1, a black and white document of the meeting of the former Beatle with famed and supremely bearded producer Rick Rubin to dissect the old songs. Mulling over the Beatles oeuvre on a mixing board so that individual tracks can be isolated is something their producer George Martin did on a public TV series a decade or so back.

But here it’s McCartney himself who takes the sliders in his hands to hear previously unnoticed aspects of songs we all thought we knew front and back. More often it’s Rubin, an admirer of his guest but never fawning, who takes the controls. From the first of six half hour segments, something as seemingly simple as “All My Loving” is shown to have all kinds of complexity beneath, with John Lennon’s frenzied rhythm guitar parts underlying the entire song.

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