I Heard It Through The Wrigley Field Vines

“And I say the Cubs are gonna win the World Series!” Photo from Paul McCartney’s official website.

At the risk of jeopardizing whatever modicum of rock critic credibility I may have acquired over the decades, I have to admit to some major gaps in the truly essential rock icons I’ve seen perform live. The Beatles top that list, both as a band and as solo performers. So even though I didn’t have a ticket to Paul McCartney’s concert at Wrigley Field last night, I traveled from Palatine to the north side of Chicago on the chance that I could at least hear him playing, even though I would be outside the venue.

For those who aren’t familiar with Chicago or major league baseball, Wrigley Field is the home of the Chicago Cubs. It’s an open air stadium (just about the oldest left in the country), and situated in one of Chicago’s most happening neighborhoods. The Cubby Bear and Metro rock clubs are both within walking distance, and there are countless trendy bars and restaurants. As I expected, the entire area was in a festive mood when I hopped off the No. 22 bus at Belmont about 15 minutes before show time. Clark Street was busy with traffic, including some limousines, as well as a number of bicycle-powered rickshaws. One rickshaw sped by with at least six young revelers clinging to it, calling to mind the partying Who townspeople on Christmas morning in How The Grinch Stole Christmas.

One of the restaurant windows sported a handwritten sign that read, “Hey Paul, get your pints and pies in here!” Other businesses had round signs from the Central Lakeview Merchants Association welcoming McCartney to the neighborhood. I passed by a group of young women outside a bar who were greeting anyone who walked by. One of them noticed my Beatles t shirt, slapped me on the back and asked for a high five, but my momentum had already carried me past her. All kinds of people were hanging around outside Wrigley Field but there was plenty of room to wander down Addison, Sheffield, and Clark. Scalpers were hawking tickets, and some deranged homeless guys were lurching through the crowd, yelling, “Who’s got tickets?” About a half hour after the concert was scheduled to start, there was still no sound of Sir Paul emanating from the Friendly Confines. I was beginning to fear my trip would be in vain, and that I wouldn’t be able to hear the concert from outside.

As I wandered down Addison to Sheffield, I could hear the crowd inside cheering and McCartney playing “Hello Goodbye,” and the sound quality was great. What a thrill to hear Paul McCartney performing a Beatles song in person. The people gathered on Sheffield were in high spirits, singing and dancing along with the music, chatting with friends, and sometimes just grinning at what they were experiencing. A dad held hands with his two young daughters while they danced in a circle. McCartney continued with a rousing version of “Junior’s Farm.” I could hear most of his comments between songs, and got chills when he called out, “Here’s one you may remember,” before launching into “All My Loving.” I could see a puzzle piece of the big screen inside the stadium from where I was standing, and from time to time, McCartney’s face appeared on it.

I wasn’t able to catch all of the anecdotes McCartney shared with the audience, but I heard bits about how thrilled he was to be playing at such a historical venue; a tribute to Jimi Hendrix that followed “Let Me Roll It”; and memories of playing guitar with George Harrison back in Liverpool. And the great songs kept coming. “Jet,” “Drive My Car,” “On The Night Before,” “Maybe I’m Amazed,” and “Paperback Writer” were all delivered via McCartney’s high energy performance. “Is that you screaming?” he asked at one point, presumably addressing everyone in attendance. Even the more subtle tunes like “Long And Winding Road,” I Will,” and “Blackbird” drifted over the ivy-covered wall with perfect clarity.

Having a long and winding road myself back to Palatine, I departed Wrigleyville shortly after the one hour mark in McCartney's concert. It was heartbreaking to leave so early, but I had achieved what I had come for. Hearing one of the greatest performers in rock and roll.

Why Did The Chicken Cross Abbey Road?

Go on, then. Make these lads laugh.

I’m usually sympathetic toward cashiers at retail stores and restaurants when they ask for my e-mail address since I once worked at a bookstore where we were practically waterboarded if we didn’t reach our monthly quota of acquiring customer e-mails.

So last summer when the cashier at the Apple Holler Restaurant just over the border in Wisconsin asked for my home address and e-mail, I gave it to her. After all, my wife and I had found the breakfast buffet tasty, the service had been friendly, and there was a good variety of vegetarian choices. Anyway, I now regularly receive e-mails as well as flyers from Apple Holler.

Their most interesting promotion concerns a show called “C’mon, Let’s Twist And Shout - Rockin’ Tribute To The Beatles” that will be performed on selected dates from February 11th through April 25th. According to the flyer, the show consists of memorable songs, intriguing narrative, and comedic sketches. I’ve seen quite a few Beatles tribute bands, including American English, Liverpool Legends (which is managed by George Harrison’s sister, Louise) and Liverpool, the band that performs at Fest For Beatles Fans. I’ve never seen any of them toss in some comedy routines.

The Beatles were very funny, whether it was in their movies or just coping with clueless media types at a press conference. But are the Apple Holler skits about The Beatles themselves, or fans acting crazy? Maybe the tribute band does parodies of Beatles songs, like my comedy group Famous In The Future has done.

I found some info at The Journal Times.com that states “C’mon, Let’s Twist And Shout - Rockin’ Tribute To The Beatles” was created by Apple Holler Entertainment Director Heather Clayton and Joaquin Hernandez, who’s described as a regular Apple Holler performer. Joining Clayton and Hernandez onstage are James Jones, John Clayton, and Elsbeth O’Brien.

I can’t say that I’ll make it back up to Wisconsin to see “C’mon, Let’s Twist And Shout - Rockin’ Tribute To The Beatles” at Apple Holler, but it sounds like a fun idea. I wish Clayton and her crew the best of luck.

Now Is No Time To Say Good Night

Various media sources, including Paste Magazine, WXRT radio in Chicago, and the TwentyFourBit website are reporting that the financially strapped EMI record label is looking to sell its famous Abbey Road recording studio in London. Ironically, on the same day those posts appeared on Facebook, the French garage rock band The Plastiscines posted a video for “Another Kiss,” showing the four gals on a romp through London that includes posing at the same intersection John, Paul, George, and Ringo walked across on the cover of the Abbey Road album.

All of which brought back memories of when my wife Pam and I stopped by Abbey Road as part of our European Trip Of A Lifetime back in 2006. I had been under the impression I’d be able to visit the same rooms where The Beatles and countless other rock bands recorded their music, but was heartbroken to discover the closest I could get was standing outside the iron gates. We took pictures of the Abbey Road building and the outer white walls where fans had posted hand-written tributes to The Beatles. I wanted to pose in the intersection but was leery of the busy traffic. So unlike The Plastiscines, I cowered by the curb like a first-grader waiting for a crossing guard. Pam snapped the above shot of me, glancing at my watch while standing by the gate. The joke was that I was waiting for The Hollies to show up for a recording session.

I still have a cassette recording I made in 1987 of the syndicated Rock Over London radio show where the announcer reflects on the days in the early 1960s when Abbey Road technicians wore white coats, “and when they had tea, they certainly did it in style. Tea was served by a lady who brought it in on a tray with china cups and saucers.” His observations were based on drummer Bobby Elliott’s liner notes for The Hollies’ compilation, All The Hits & More.

One obvious solution to EMI’s woes would be to open Abbey Road to the public, charge admission, and make sure none of the tourists fiddle with the knobs. TwentyFourBit suggests that Paul McCartney or some other rich musician who recorded at Abbey Road buy it. But whether it’s privately owned or transformed into a museum devoted to Beatlemaniacs, there’s no doubt Abbey Road should be preserved as one the most important sites in rock and roll history.

Rocking In A Winter Wonderland

The Fab Four is just one of the numerous Beatles tribute bands performing these days. But vocalist-guitarist Ron McNeil, vocalist-bassist Ardy Sarraf, vocalist-guitarist Michael Amador, and vocalist-drummer Rolo Sandoval have pulled off something their competitors have never attempted. And it’s perfect for the holiday season.

On their 20-song Hark! CD, which combines two earlier releases, A Fab Four Christmas and Have Yourself A FAB-ulous Little Christmas, they reinvent Christmas carols by giving them a distinct Liverpool flavor. For example, “Rudolph The Red-Nosed Reindeer” uses the arrangement from “I Saw Her Standing There,” and “Silent Night” gets the “Norwegian Wood” treatment. These merry mash-ups usually work, thanks to The Fab Four’s ability to sing and play a lot like The Beatles. They incorporate the instruments from the original songs, like when McNeil plays a “Please Please Me” style harmonica on “Joy To The World.”

Some of The Fab Four’s creations are as imaginative as they are ambitious. Who else would think of serving up “God Rest Ye Merry Gentlemen” ala “Within You Without You,” complete with sitars, or mixing the folksy “When I’m Sixty Four” with “Santa Clause Is Coming To Town”? Traditionalists might be uncomfortable with the use of hymns in this context, like when the band sings, “The little Lord Jesus asleep in the - - - Hay!” while setting “Away In A Manger” to the arrangement of “You’ve Got To Hide Your Love Away.” But the tunes are delivered in such good spirits, it’s hard to imagine that any disrespect was intended.

Hark! would be a great soundtrack to any holiday party. With The Fab Four rollicking through “Let It Snow! Let It Snow! Let It Snow!” in the guise of “Eight Days A Week,” it’s impossible not to feel jolly.

Sleightripper, Yeah!

Toward the end of 1978, when Scott McConnell was the morning disk jockey at WXRT in Chicago, he started playing a 45 record called “All Winter Long” by the comedy/rock duo, Willio and Phillio, AKA Will Ryan and Phil Baron. From its opening Ringo Starr styled countdown of “4, 3, 2, 1!” it was an entertaining sleigh ride back to the “Daytripper” era of The Beatles. The song, penned by Ryan, uses a catchy arrangement to point out that people have three seasons to play outside, so winter is the time for snuggling indoors. “I see the springtime in your eyes,” the duo sings in perfect harmony, “and that’s the time I realize I wanna hold you.”

I recently listened to the two songs on the B-side for the first time in ages, and they’re actually pretty good. “Hail To Thee O Christmas Tree” mocks the tradition of cutting down live trees to help celebrate the holiday, using minstrel style vocals that evoke Brave Sir Robin’s entourage in Monty Python And The Holy Grail. I dedicate this ode to my fellow Famous In The Future comedy group member Frank Carr, who calls for a ban on sacrificing live trees every Christmas. “The Christmas Roundelay,” a silly tune done up with an old-fashioned choir, helps make this 45 sound like one of those special records The Beatles used to send out to their fan club members at Christmas time.

According to Wikipedia, Ryan and Baron later moved on to providing the voices for The Adventures Of Teddy Ruxpin television series. Ryan remains an active and highly successful voice over actor to this day.

CD Review: Cheap Trick - The Latest

The first time I saw Cheap Trick was at Harlow’s rock club (or was it Haywires or Pip’s at that point?) on Chicago’s southwest side. Rick Nielsen used his guitar to poke out the ceiling tiles above the stage, and Robin Zander so effectively conveyed the raw emotions of “Oh, Candy” I could've sworn he was crying. That was prior to the release of Cheap Trick’s self-titled debut, and decades later, it’s inspiring to see the band releasing solid albums at a fast enough pace to make a long-time fan’s headphones spin. The Latest followed on the heels of Rockford, and preceded Sgt. Pepper Live.

Primarily written by the band, The Latest finds Cheap Trick concentrating on what it does best; creating irresistibly catchy power pop. Several references to The Beatles foreshadow the decision to take on the entire Sgt. Pepper’s Lonely Hearts Club Band for performances in Las Vegas. “Miracle” sounds like it could have been one of the better ballads from John Lennon’s solo days. The enticing “Miss Tomorrow” sets guitar-driven rock amidst symphonic swirls while the lyrics mash The Beatles with The Rolling Stones: “Love, you said that love is all you need./Cold, you taught The Beatles “Let It Bleed.” The high-speed “California Girl” sounds like a gender reversal of The Beatles’ early cover of Larry Williams’s “Bad Boy,” and describes the title character as a Sexy Sadie.

A rousing take on Slade’s “When The Lights Are Out” kicks off with Bun E. Carlos’s signature drumming, and Cheap Trick also roars through “Everyday You Make Me Crazy,” “Sick Man Of Europe,” and “Alive.” Even the romantic ballads “These Days” and “Times Of Our Lives” sport a full-bodied sound, while the lush psychedelia of “ Closer, The Ballad Of Burt And Linda” once again taps into those Beatles influences. Luckily, this was the latest from Cheap Trick, and not the last.