Archive for October, 2007

Band of the Week – Weezer

October 24th, 2007 | Uncategorized | 0 Comments

So this weeks band isnt the weathermaking challenge (sorry guys, eventually though, I promise!). It’s a band that we all know in one way or another. It’s a band that’s been there for me in good times. In bad times. In worse times. At any times. The band of the week is responsible for my current msn name:

WEEZER!!!

Why Weezer? Why not? They’ve actually been making some news lately because they’re either done or almost done their next album which might suck but it also might not…or maybe it will have just enough hooks and intelligent lyrics to bother checking out (ahem, Make Believe, ahem).

Who knows though, everyone thought Dylan was a poop who was just gonna make country albums after Blonde on Blonde-before Blood on the Tracks. Not to mention his comeback with Time out of Mind which NO-ONE could have expected. Can Rivers Cuomo come back in such grande style? I doubt it but whatever, maybe.

Also, Sony is going to release a collection of home demos that Rivers has made over the last couple years which I will definitly check out. AND if that wasn’t enough, I think Rivers is writing a book or two…which I might be interested in also…

ANYWAYS: Weezer. Great band. Made two amazing albums back in the 90′s. Made a 3 take-it-or-leave-it-or-hate-it albums since.

I first heard Weezer from that amazing video for Buddy Holly that they did with Spike Jonze back in the day (http://www.youtube.com/watch?v=FiIC5qcXeNU). I loved the song and the video is absolutely classic. If you’ve never seen it click that damn link right now.

So after digging Buddy Holly and maybe another song or two off the Blue Album, my musics tastes changed and I thought Weezer was overrated. The kids at my camp who covered Say it Aint So all the time contributed to this. It was only when I discovered Pinkerton that I realized how incredible Weezer really is.

Firstly, The Blue Album is decievingly amazing. With classics like Buddy Holly and Say it Aint So, it deserves a special place in our hearts no doubt, but it’s songs like In The Garage, In Dreams and No One Else that really display Cuomo’s fantastic songwriting chops. In The Garage’s portrait of teenage punks in a lame garage band in gorgeous in the most suburban way possible. In Dreams’ epic buildup towards the end conveys the enormity of the hopes and dreams of adolescense in all it’s pubescent glory. No One Else’s chorus of “I want a girl who will laugh for no one else” lets us into Rivers’ possesive psyche but his need to be loved and feel special is perfectly understandable.

Pinkerton is the band’s real masterpeice though. It’s heavier, heartier and just plain better. Sure, the subject is girls and such but it’s handled really well. Either Rivers is tired of meaningless sex (Tired of Sex), no sex at all (The Good Life) or he’s trying desperately to get with some girl (Getchoo) that he’s in love with (No Other One, Falling for You) but who’s going to hurt him (Why Bother) and lives in Japan (Across the Sea) and also happens to be a lesbian (Pink Triangle). How can anyone not relate to that?

Of course, in the end, he just blames himself for fucking everything up, as always, in the beautiful closer: Butterfly.

Rivers sounds angry and regretful. He screams, he croons, he lullabies and everything feels real, not forced or plastic like some of his singing on Make Believe and other albums. His melodies exorcize his pain in brilliant fashion, producing an excess of catchy choruses and emotional hooks.

His lyrics are often surprisingly clever and inventive, twisting lines and rhymes to produce great contrasts and paradoxes. One great example of this is the chorus of Pink Triangle in which Rivers sings “I’m dumb, she’s a lesbian/I thought I had found the one/ we were good as married in my mind/but married in my minds no good”. Lines like “I could never touch you/I think that would be wrong/I’ve got your letter/you’ve got my song” are achingly sad and beautiful as Rivers has to accept the sad reality of his situation. In “Why Bother” he sings “why bother?/ gonna hurt me/ gonna kill when you desert me/this happened to me twice before/ it wont happen to me anymore”. His reference to it happening to him “twice before” is unusual, because the listener has to imagine these events in Rivers’ life, which he has never mentioned before.

References like these make the songs seem more like musical diary entries than pop songs, this is something many Weezer fans (myself included) find endearing. Do any girls dream about getting with geeky little Rivers? I suppose there must be a couple out there. I hope so. Then maybe there’s hope for all us lame sensitive male songwriters who aren’t just strumming an acoustic hoping to get some (erm, Blunt, herm, Jack Johnson, cough, Harper).

Band of the Week – Still Life Still

October 15th, 2007 | Uncategorized | 0 Comments

This week the band is a local band that I’ve known for a long time. I’m friends with them and I try and see them every opportunity I get. Of course this band is none other than Toronto’s own Weathe-

STILL LIFE STILL!!!

:p

Still Life Still is made up of some folks I know only as Brendan, Eric, Aaron, Kyle and Derek. They despise all last names…but not really. They’ve been playing around Toronto for years, though the lineup has recently undergone some changes. I saw them one night when The Fancy Claps were on the same bill. I was just about ready to head home but I decided I had to give this band it’s chance before I went off. Best decision ever. They totally blew me away. They sounded like their own Broken Social Scene. Very similar, yet different. The guitars have generous amounts of echo applied and though the amount of members is very reasonable (5 at the moment), they fill up alot of space with wooshy synths, shaking devices and other cool stuff.

While their older material is very danceable and more accesible, their newer material is more experimental and intriguing. They’ve never released anything they’ve deemed an album or ep or such, they just record and post stuff on myspace despite the fact that they’ve actually recorded quite a bit of quality material.

Their current myspace songs include the high-pitched-synth-riff based “Knives in Cartoons”; “Can’t Decide on Birth”, which would sound like Stars if it weren’t so complex; the single-worthy “Dansecave” with lyrics like “I don’t wanna be like them/ when we don’t fuck just like them” and the sparse, drunken “Sizzors Losing Weight”. Lyricist Brendan writes beautifully about life as we live it, taking verbal snapshots of this world, this city and it’s nauseaus inhabitants in a way remiscent of Bright Eyes.

Still Life Still is playing The Drake Hotel with Boxes and Bags on October 29th. Be there, I know I will be.

check out their myspace: http://www.myspace.com/stilllifestill

THE NEW RADIOHEAD ALBUM SUCKS!!!

October 11th, 2007 | Uncategorized | 3 Comments

JUST KIDDING!!!

It obviously fucking rocks. No doubt I’ll only have to listen to it a million more times before I fully appreciate it but obviously it’s really really really good. My favorite msn name response to it (and there are several) was “Radiohead please stop being so good-it’s unfair to other bands”. Anyways, here’s my review of the album.

Album opens up with beat-based “15 Steps”. York’s falsetto is fully intact and melodically Michael Flatleys all over before it’s invaded by a haunted house-full of weird and wonderful sounds. Typically a-typical Radiohead and it’s great as the momentum builds up and the kaliedascope of weird sounds culminates in an ending to a great opener. Next song.

Bodysnatchers rides on the momentum build up by the first track and then runs with it. Yorks vocals take a backseat to fuzzy guitars and eerie keyboards which zip across the sonic landscape, riffing it up like a swarm of locusts. Again everything builds up until York takes it out screaming “I SEE IT COMIN’, I SEE IT COMIN’”

Nude is the comedown after the rush of the first two tracks. York’s auditorium-verb vocals are as ghostly as ever, singing “now that you’ve found it/it’s gone/now that you feel it/you don’t”. The cavernous strings that shine in like sunlight are so perfect it’s crazy. York then proceeds to ride the song to it’s gorgeous conclusion with some lovely “ooooooo”ing.

Weird Fishes/Arpeggi starts with a great drum beat and some lovely guitar before York gets in on the action. Again we see Radiohead’s incredible talent of building a song up slowly but super-steadily. And what’s more incredible is that it seems as though York’s vocals lead the way and everything just follows them.

Radiohead’s song construction is fantastic. Every song seems to build up to a point, then has it’s breakdown, then rides out a stunning climax. The mathematics of it are an absolute wonder to any composer.

All I Need is based around some very low keyboards giving York’s higher range vocals plenty of space-you can actually hear the vocals now without any effort. The lyrics metaphor it up as York lays it on thick with lines “I am all the days that you choose to ignore” and “I’m just an insect trying to get out of your eye”. Charming, no doubt the girl for whom it was written was thrilled (eerrrrrr….).

In Faust Arp a string crew (heavy on the chellos) chases Thom York’s vocals around. At 2 minutes it feels really short, still a nice little song.

Reckoner works around some shaking and banging things. York’s vocals dance around the soundscape before the shakers depart because it’s the strings’ turn to back up the man of the hour. York as always sounds fantastic. That’s kind of a waste of space in a Radiohead review though I suppose. At the end of the songs the strings and the shakers team up and all is groovy. Again, York leads the song out with some “awwwww”ing. This is probably one of the lesser songs on the album.

In House of Cards York sings “I don’t wanna be you’re friend/I just wanna be your lover”. Johnny’s guitar picks out “do do, do, do do” lazily while treble-heavy violins fill out the speakers. “Forget about your house of cards/ and I’ll do mine”, York repeats as a chorus. This song has a beautiful lazy feel to it. It’s probably the most chilled out Radiohead song ever. Almost like a Feel Good Lost-Broken Social Scene song but with Thom York singing over it and creepy strings in the background.

Jigsaw Falling into Place is a bit more of a rocker but nothing on this album approaches anything on the level of “Electioneering”. Thom’s ghostly vocals fill out the background before being replaced by a synth or something…it’s cool though. The changes in this song are often very awesome with crashes coming down at every one- just like a normal rock band!

The closer, Videotape, is a piano based ballad. The line that caught me was “You are my center when I spin away/out of control on videotape/on vide-o-tape…” The song fades away as the piano hits those same 3 notes, do, do do, do..do, do do, do…do, do do, do…A fittingly somber end to another great Radiohead album.

So of course, is it Radiohead’s best? Another classic? Greatest album of the year? The decade? Our time? Who know. We’re all going to listen to it a million more times before we decide where it stands. It’s definitly no stinker though. We all just have to take the time now to determine exactly how great it is. Better get going.

Band of the Week – Young Galaxy

October 10th, 2007 | Uncategorized | 0 Comments

This is a band I’ve known about for a while but never really gotten into until this week. The band of the week is none other than…

YOUNG GALAXY!!!

You may have heard of this Arts and Crafts band. When they released their eponymous album, it was a free listen on myspace and it was hyped up just a little. I checked it out back then on myspace but didn’t really care for it. Felt it was just more of the same and the songs didn’t really catch on with me.

At some point I was on the arts and crafts myspace page and I was watching the videos. I checked out Young Galaxy’s “The Alchemy Between Us” and was very much impressed. A fantastic single with a great sound, progression, lyrics, etc. The whole shebang. My curiosity got the best of me eventually and I checked out the album despite nearly unanimous mediocre reviews. Sometimes, critics are stupid.Maybe they just given them the required time but the album is anything but bad.

Young Galaxy are often compared to Luna and Slowdive, some groovy Shoegaze-ish bands from back in the day (check out slowdive if you can, awesome bands, thank for that rec, vic). The sound is big and spacious. Some would say “space-y”. It’s not big in the U2 or Arcade Fire way, it’s the big that flows out from your speakers and fills the room. Atmospheric may be the correct word actually. The album is one to lie in bed and listen to, maybe late on a starry night or early on a spring morning. Hazy textures and airy sounds float ethereally in slow songs. Faster, poppier songs have hooks not unlike those on a Stars album (not surprising, as bandleader Stephen Ramsay was their touring guitarist for some time).

Lyrics range from bad to brilliant. The first song on the album, “Swing Your Heartache” does not benefit at all from the pseudo-intellectual paradoxes Ramsay reads off somewhere around the middle eight. Lines like “the only way to learn you’re not afraid to die/could very well involve risking your life/despite the contradictions that these words imply you’ve got to live on/live on” might make you want groan and shut off the damn album. However, “Lazy Religion” Ramsay’s commentary on religion (“I don’t mind/take what you want/it’s a lazy religion”), comes off as truthful and unpretensious. He sings it as though he could honestly care less, because that’s just the way things are. “Searchlights” images of innocence make me smile. When Ramsay says “I remember the feeling of your hands up under my jacket/it got cold out here at times” it’s just beautiful.

The highs on the album like the Stars-esque “Searchlight”, the surging “No Matter How Hard You Try”, the beautiful “Outside the City”, the uplifting “Come and See” and the Slowdive-prime beauty of “The Alchemy Between Us” more than make up for take-it-or-leave it slower tracks like “The Sun is Coming Up and My Plane’s Going Down” and the shitty spoken word part in “Swing Your Heartache”.

Check out the video for The Alchemy Between Us here: http://www.youtube.com/watch?v=J8K24v72Mw0

Check out the album if you can. It’s really great. Recomended for fans of Stars, Slowdive and Arts and Crafts.

http://www.myspace.com/younggalaxy
For more info on Montreal concerts, visit Quality Plus Tickets.

Pussy Cats

October 7th, 2007 | Uncategorized | 0 Comments

No, this is not about actual feline animals. This is about the 1974 Harry Nilsson album Pussy Cats. I just got a hold of it and it’s awesome. Most awesome thing about it? Unfortunately for the talented Nilsson (he did the theme to 1969′s Best Picture Academy Award winning classic Midnight Cowboy), the most interesting thing about the album is it’s producer: one John Lennon. Uuuuuch, yes I know, my obsession with the Beatles is an unhealthy one but they seriously are the greatest.

In 1974 Lennon went on his infamous “lost weekend”. He said “So long Yoko” and went and partied his ass off with some friends in LA. Lennon loved Nilsson and knew he could do him no greater favour than to produce an album for him. They checked into the studio with their crew and their crew’s beer and booze and set about laying down some tracks.

I noticed immediately about this album: this is the sound of guys having a fucking awesome time. The Beatles loved to experiment in the studio and find new sounds and make everything interesting. That spirit lives on in this album as well.

It reminds me alot of The White Album. The cool thing about that album is that… it is what it is. It’s a double album and the Beatles just went all out. Blues jam? Fuck yeah! Obla-di-Obla-Da? Sure!

Pussy Cats has the same spirit. Stringsy Jimmy Cliff song here, lounge piano serenades there, wonky Dylan cover somewhere, etc. It’s just that same “all out” spirit, and when Lennon’s steering the ship high on who-knows-what, drunk off his ass and loving every second of it: you know it’s gonna be a fun ride:)

If you’re a Lennon fan you have to check out this album. It just feels like him. It smells like him. It tastes like him.

Also interesting: The Walkmen loved this album so much they did a complete remake of it which was released sometime last year or something. I haven’t heard but if I can, maybe I’ll check it out, let you know how it is.

BLACK KIDS – The type of thing bloggers live for

October 5th, 2007 | Uncategorized | 0 Comments

So I go on Pitchfork today and I see at the top of the review mathinger is

“BLACK KIDS

Wizard of Ahhhs EP”

and below it is

“Best New Music”

“Hmm….” I say. I click. 8.4 score. I read on. It says they have no label and they just impressed all these big magazines and shit with a kick-ass show and some songs they recorded and put on their myspace. So I go to their myspace site (http://www.myspace.com/blackkidsrock) and immediately I decide: I like these guys. Everything else I’d read up until then wouldn’t matter to me in the least if the music weren’t good: but it is. These young punks have garnered the attention of Pitchfork and been awarded that little “Best New Music” tag without a record label, a big hype, not even a pimped out myspace site. They’ve only got 31698 hits! That’s chickenshit compared to like any other band getting 5.3′s on Pitchfork (deservedly).

So what are they like? Ummm, kinda hard to say…Imagine like a dark club and this band comes on with some guitars, drums, a synth and some chick. They start playing and…yeah, you can totally dig this. It’s got cute pop hooks and the lyrics are cool, just about being a person, wanting to fuck around and being fucked around. You can tell these kids have an awesome record collection because you can hear echoes of Motown, Phil Spectre pop, dance music, and all these awesome new indie bands you’re diggin as well. And what’s coolest about it is that these guys don’t have any image or pretense: they’re just kids making really good music.

If you’re looking to buy their EP, good luck with that. I Suppose you can one at a show…if you’re in the florida area…every song on it is on their myspace though so check it out. I’ve now listened to them all and I agree with the fork, they’re tres groovy.

These are the stories people like me (music lovers, players, writers, bloggers, etc.) live for these days. Some nobodies suddenly have a place on everyones Ipods just because they heard about them from a friend of a friend of a friend of a friend. That or Pitchfork/the internet. Some people say the music industry is dead. It’s not. It’s just completely different now. And I think it’s a great thing. Just look at a scenario like this. Band makes groovy music. People hear it online. People dig it. Band becomes famous. Why shouldn’t it be that simple?

The band is called BLACK KIDS, their myspace is http://www.myspace.com/blackkidsrock.

The Grubby Music Blog – The Beatles entry 4: John Lennon

October 3rd, 2007 | Uncategorized | 0 Comments

Lately I’ve been noticing more and more of John’s amazingness. Why is it this Beatle is often placed in such higher respects than Harrison and McCartney (let alone Ringo!)? There’s something very mysterious, spiritual, elusive and transcendental about John. His story has no doubt intrigued the most amount of people, his books have sold the most. How many other pop stars are assasinated?

When John started writing for the Beatles, his writing did not immediately show that he was destined to be shpeiling some of the most poetic and fundmental statements in history in the form of the pop song. The Beatles early songs already clearly show their musical genius but lyrically, they are just worded well; the subject is always just women and loving them, being heatbroken by them, etc. what people wanted to hear songs about back in the day. The songs about romance are often brilliant and are often more revealing of the characters of the songwriter than people are aware. They’re not revolutionary but people could get a sense of John as a bit of a jealous guy (a future song title of his) from songs like “You Can’t Do That” and “Run For Your Life”, a sensitive guy who’s been hurt in songs like “If I Fell”, “You’ve Got To Hide Your Love Away” and “Ticket to Ride” and a sort of loser who’s always losing his girl to some other jackass in songs like “This Boy”, “You’re Gonna Lose That Girl” and “I’m A Loser”.

Everyone knows that the Beatles broke free of that and started writing about more complex topics. John often wrote introspective songs, songs about life and the nature of the universe, politics and society and those he loved. He was the first Beatle to break the mold when he wrote Nowhere Man, no doubt one of the Beatles’ greatest songs (that list of greatest songs is reaaaaallly long though). He claims to have just been sitting around, trying to write a song, getting a little frustrated and then he went and sat down on the couch, having given up. Suddenly he realized that he was a sort of “Nowhere man” just sitting in his “nowhere land”. Hey, maybe that could make a good song?

The rest of Rubber Soul is about girls, but the songs are far more complex than before.

Drive My Car is about a bitch who’s all stuck up.

Norwegian Wood is a one night stand.

You Won’t See Me is also about a bitch who’s mindfucking Paul.

Think For Yourself is about a mindless comformist ditz…who’s also a bitch.

The Word is about how awesome love is but the revealing line is “in the begining I misunderstood/But now I’ve got it, the word is good”.

Michelle is about trying to truly express one’s feelings of love and resorting to french.

What Goes On is about trying to understand why women act as ridiculous as they do.

Girl (a Lennon classic) is about loving a girl hopelessly, painfully and just being emotionally fucked. “When I think of all the times I’ve tried so hard to leave her/she will turn to me and start to cry/and she promises the earth to me and I believe her/after all this time I don’t know why” and “was she told when she was young that pain would lead to pleasure?” reveal how incredible Lennon has become with wielding his words even at this point which is still relatively early in the Beatles’ carreer.

I’m Looking Through You is about realizing someone isn’t who you thought they were.

In My Life is another big one for Lennon. About life and losing people in the rush of it all; about those memories that stay with you forever, haunting you, cheering you. At the end of the day though, his love for this person makes everything else pale in comparison. Though he’ll never lose affection for the people and memories of his past, he can look forward because his new love means more to him than anything he’s ever felt.

Wait is about hoping the one you love will wait for you until you get back from..wherever you are, maybe not being sure if they still want you and understanding why they might not, if they dont.

If I Needed Someone is about not wanting to be emotionally involved at the moment but letting someone know that if you did, they’d be first on the list.

Run For Your Life is John telling you not to cheat on him…because he’ll kill you.

As you can see, The Beatles no longer just want to hold your hand. They’ve grown up a bit and are thinking in more complex terms.

Why the change? People attribute it to many things. Some would say that the Beatles were just getting older and more mature and it was reflected in their songwriting. Makes sense. Another theory is that they were inspired by Bob Dylan’s more complex songs…that or his weed…or both. Acid also was one of the pushers. You don’t write lyrics like “I am he as you are he as you are me as we are all together” if you’re not trippin’ balls.

Another interesting thing I heard was that it was all Yoko Ono.

Yoko Ono? The dreaded Yoko Ono who fucked John’s head up and broke up the beatles and sings like nails on a chalkboard? Yes, the same Yoko Ono.

She hooked up with John somewhere around ’64, ’65, so the time period fits: that’s when the Beatles started getting more sophisticated. She was also an artist, an extremely iconoclastic and uncompromising artist. John loved this about her. He loooooved it, and I can understand that. Sure, maybe she wasn’t the prettiest by conventional standards but does John really need to prove to people he can get a hot girl at the point, he’s a fucking Beatle, he could get just about any girl in the world at this point. I dig artsy girls too.

As this one guy was telling me, Yoko pushed John to experiment more, to write songs that were more art than pop. Makes sense. John wanted Yoko to respect him and he wanted to respect himself. He wasn’t the type of guy who wanted to be singing “I wanna hold your hand” his whole life (as great as the song is), he wanted to sing “Revolution”, “Strawberry Fields” and “Imagine”. Yoko helped him to realize this in himself. It makes sense.

Is it correct? Maybe, maybe not. What makes the most sense is that it’s really a combination of all the things above. The fact is, Johns writing by the time of Revolver had become superhuman. It’s almost as if Acid gave him magical word powers or something. The things that he writes are beyond brilliant.

His major accomplishments on that album are “She Said, She Said”, “And Your Bird Can Sing” and “Tomorow Never Knows”.

She Said, She Said is reportedly about a conversation John had with Easy Rider star Peter Fonda. Fonda was supposedly telling John how he’d discovered how it felt to be dead, to be born, other groovy stuff. The revealing line in this song is “When I was a boy/everything was right”, telling us how he doesn’t dig all this complicated acid bullshit, he misses how simple everything was when he was a child. A theme he returns to in Strawberry Fields.

In And Your Bird Can Sing he shpeils philosophical, saying “when your prized possesions start to bring you down/you may be awoken”. This is reflective of The Beatles’ interest in Eastern spirituality and philosophy in which it is advised not to become attached to our possesions let alone have any.

In Tomorow Never Knows he quotes the Tibetan Book of the Dead. Basically, he’s giving you advice on how to handle your next trip. Relax and float downstream, it is shining, it is shining…

On Sgt. Peppers, he writes A Day in the Life, possibly the greatest song ever written. All he’s doing is reading the news: there was a car crash, he saw a movie, they found out how many holes there are in the Albert Hall
, ynow… the usual stuff, but fuck! They make it so damn ominous.

The brilliance of this is subtle but it’s definitly there. Every day of our lives is exactly that: A day of ours lives. A million things happen to a million people in a million places. People die, people are born, wars are started, holes are counted-it’s all just another day. So what? That’s life.

But that’s everything also, thats not nothing. Our lives are made up of just such days. It’s the most important thing there is. It’s just a day in the life but it is A DAY IN THE LIFE. It’s all there is=it’s everything. Do you get it? Sounds stupid but it’s true. The Beatles got it.

“Let me take you down cuz I’m going to
Strawberry Fields
Nothing is Real
and there’s nothing to get hung about
Strawberry Fields forever

Living is easy with eyes closed
misunderstanding all you see
it’s getting hard to be someone but it all works out
it doesnt matter much to me

Noone I think is in my tree
I mean it must be high or low
that is you cant ynow tune in but its alright
that is i think its not too bad

Always know sometimes think its me
but you know i know when its a dream
i think i know i mean, er yes, but its all wrong
that is i think i disagree”

I don’t even know what to say about lyrics like those. They’re not all supposed to make sense, you make sense out of them. But how can you not be given goosebumps by something lines like “it’s getting hard to be someone but it all works out/it doesnt matter much to me”? It’s an amazing song because it really doesn’t say one thing definitly. It’s just sort of like a stroll through thoughts. “I think I know, I mean, er yes, but it’s all wrong….that is I think I disagree”. It’s not easy to truly write honestly, you’ve got all kinds of egotistic bullshit stopping you, you don’t even realize. John had at this point achieved the ability to write completely honestly and well. His words never seem cheap or tossed off, instead, each seems like exactly what it should be, exactly where it should be.

“nothing you can make that cant be madenooone you can save that cant be savednothing you can do but you can learn how to be you in time

its easy
all you need is love”

It’s not fucking hippie jargon. Think about it. Life is really pretty pointless, we get so caught up in our own bullshit, we forget that it all means nothing in the grande scheme of it all. You should just learn how to live happily and let others live happily, don’t get so caught up in shit. Love is all you need.

By the time the White Album was made, John could take a shit and it would still blow your mind to peices. Go back and really listen to songs like Because (Abbey Road), Across the Universe (Let it Be), Instant Karma (John Lennon single), Real Love (Anthology), Gimme Some Truth, How and Oh My Love (Imagine), Remember and Isolation (Plastic Ono Band), and Watching the Wheels (Double Fantasy). Lennon isn’t idolized for nothing. The man lived a big life. He accomplished a great deal and he will accomplish a great deal more in the future. He inspires all kinds of people every day. He was one of the greatest artists of the last century and a huge force in this world. He’s changed my life for sure. If you haven’t heard these songs or listened to them in the way I have, maybe you should give them that chance. They might just change your own life.