The Cavern
Rock & Words
GET BACK Beatlemanía (Concert, 2008)
Febrero 14th, 2008
Teatro Diana, Guadalajara.
The lines are long and wrap around the corner, just like they did almost 50 years ago at Liverpool's Cavern Club. Luckily, I arrived on time and it didn't take long to get into the Diana, which is expected to be packed for tonight's nostalgic show.
The first thing that strikes me is the tremendous range of ages of the people coming in. From very young children, pubescent teenagers in their Beatles t-shirts, eager twenty-somethings, thirty-somethings with their partners, executives with a few gray hairs, hippie-ish fifty-somethings with white ponytails and Lennon t-shirts, to quite a few older people, some rather dressed up.
In the background, an old recording of Little Richard plays as the room fills up, and on the stage curtains a light draws the band's logo with the same linotype that the Liverpool band used decades ago.
Second call. The hall is almost full, and applause erupts, demanding the start of the long-awaited performance. Expectations are high after reading the reviews and comments about the show. Third call. The lights dim to a unanimous gasp, and Beatlemania begins.
Before the curtain suddenly rises, the familiar C-C-D chords of the opening of "I Wanna Hold Your Hand" begin. Screams from young girls fill the air, and the overall effect is like stepping back 45 years to see the Beatles on The Ed Sullivan Show. As the curtain opens, the four are wearing the typical Mao-collar suits that characterized them in the early 1960s, a bit tight. Paul is still left-handed. George starts with a black Richenbacker guitar, the one he loved to use in their early shows, but it's clear from the start that it needs more volume. John sings while George provides backing vocals. Their hairstyles are identical, with the signature fringes. Applause. We've traveled back in time.
Ringo makes that apocalyptic entrance with rapid drum rolls and launches into the unmistakable "She Loves You," one of my favorites from their early days. I barely notice he has a huge nose, but also that the drum sound is a faithful replica of the recordings, and with modern sound systems, they sound amazing. John and Paul's vocal harmonies are spot on, with slick, overlapping voices that sound like three. George joins Paul on the microphone during the choruses, and they both send the crowd into a frenzy when they headbang. People chant the "Yeah Yeah Yeah..." In fact, everyone sings the whole song, but the theater really rumbles during the catchy chorus.
Paul greets everyone. “Happy Valentine’s,” he says shyly, “We’re going to play an American Rock & Roll.” And George launches into the wild intro of “Roll Over Beethoven” while also taking on the lead vocals. The physical resemblance between them is striking, a wonderful optical and auditory illusion. He sings beautifully, with those Harrison-esque inflections so typical of him, almost dragging his voice. The guitar solo is also identical, fast and precise, and best of all, it’s already got volume.
Paul starts "All My Loving." Ringo is relentless on the drums, bobbing his head like an idiot while grinning from ear to ear… Isn't he adorable? The others also have very specific body language. Paul holds his Hoffner Violin bass at a sharp angle, resting his left hand on one of the finger holes and emphasizing the notes with his right. He stands very upright with his feet together and smiles as he sings. John plays his guitar perpendicular to him, his legs slightly apart and bent, in a characteristic position from his live performances with the Beatles. George, for his part, plays leaning on one foot, with the guitar almost at his chest, and dancing around the area between Paul and John. Incidentally, the microphone setup is also the same: John alone on one mic, and Paul and George sharing the other most of the time.
John introduces the next song: “Thank you. The next song is from our first movie, the one in which we were running everywhere.” George plays that unmistakable G7 chord that opens “A Hard Day’s Night,” and John takes the microphone. Paul seems the most enthusiastic and flirts with the audience. The sound and modulation of the instruments are the same. It’s impressive how they’ve equalized the sound so that it sounds practically the same as it did 45 years ago, but much more powerful and with enormous clarity in each instrument. George finishes with the diminished arpeggio.
Paul announces: “The next song is also from the movie, the one from 1964.” Pure British accent. “John is going to play the harmonica, just like Bob Dylan, but better.” The girls scream as Lennon picks up an acoustic guitar and begins the harmonica riff of “I Should Have Known Better,” another favorite of mine from that album. He has that slightly nasal voice, and his performance sounds much better than at the beginning, with a warmer, more similar voice.
George takes the mic and invites everyone to dance. If the others don't understand, he asks us to invite the neighbors to sway in their seats and immediately launches into "I'm Happy Just To Dance With You." John and Paul's backing vocals sound great. They've managed to break down the vocal harmonies to deliver them identically in every song.
John picks up the acoustic guitar again. They can't seem to agree on the intro, and Ringo makes a false start. On the second try, Ringo's snare drum roll comes out right, but John, who's the lead singer, is already laughing his head off at the mistake and misses a couple of beats before he manages to get back on track. I'm not sure if this was intentional or not, but it certainly gets the audience in high spirits. Despite the awkward start, they achieve a good effect with "Any Time At All," even though John's raspy voice isn't his strong suit.
To continue, Paul says, “On the next song we will need your help. Please clap your hands to the rhythm. Your hands or your feet, whatever…” They begin “Can’t Buy Me Love.” Midway through the song, a buzzing sound occurs, and Paul loses his way a bit with the lead vocals, but he manages to recover, and after George’s brilliant guitar solo, the audio problems are resolved. Ringo sounds phenomenal, keeping the beat with his foot stomping. At the end, a guy shouts “I love you,” provoking general laughter.
They continue with "I'll Be Back." The vocal harmonies continue to amaze me; they're beautiful and precise. John's voice keeps improving, and now he's really nailing the husky parts, perhaps for the only time during the concert. I love the song's shift from major to minor keys.
George wins over the audience with the opening of "Do You Want To Know A Secret," delivering a very successful vocal performance. Afterward, Lennon introduces a song, joking, "From our latest movie, the one in color, just consider that we are in 1965." They begin with "Help!" Paul is a little off-key at first, but recovers. The backing vocals are now perfect and fresh, and we are witnessing one of John's best moments at the microphone, but he forgets a bit of the lyrics and lets the audience guide him.
Lennon himself begins strumming the characteristic riff of "Norwegian Woods." George doesn't use a sitar during his guitar changes, but the effect he creates is very similar. John sounds exaggeratedly nasal on this track, but the overall effect they all achieve with their performance is incredible, creating a simply beautiful atmosphere. Ringo plays the tambourines and keeps time with the bass drum throughout the song. It's definitely the one that sounds most different so far, but I must say it's not in a bad way.
George introduces another song and clarifies that it's from '64. He sings "Don't Bother Me," from the Beatles' second LP. Ringo still sounds great. Actually, he sounds the same as always, only technology has improved considerably in the last 40 years, and now, with the same arrangements, he can stand out even more as the best musician in the band, his talent always growing with the arrangements as they progress through time.
Paul asks, “How Do You Feel?” He jokes around with the audience for a moment, and then they launch into “I Feel Fine,” with that riff and intro I love, George making his guitar buzz through the amplifiers. John takes the lead vocals. Paul and George provide perfect backing vocals. The guitars intertwine during the lead guitar solo, achieving an effect quite faithful to the original (which I was unaware of).
Paul introduces the guy in the back. Ringo waves and launches into "I Wanna Be Your Man." To my surprise, the voice of that big-nosed guy holding the drumsticks backwards and headbanging like an idiot, his mane of hair shaking like crazy, is perfectly deep and reminiscent of Starresque. In other words, he sounds and looks just like Ringo. I insist, when he doesn't go unnoticed, he steals the show. George's guitar riffs add power to the song, but the resemblance to Ringo's slightly off-key voice is uncanny.
George starts one of the best riffs he's ever created with the Beatles. Day Tripper. Paul screams the song exactly as written, and it's perhaps the only one of McCartney's screams that comes out identically, with the same power and fury. The backing vocals are once again delightful, and then comes that vocal scale I love so much, which seems like too much for just three guys, until only the initial riff remains and the song ignites again, culminating in Paul's falsetto, which sounds spectacular. Of them all, Ringo continues to sound the most spectacular, and I insist, just as good, but much clearer than on the 60s recordings.
They start with Twist & Shout, but modify the song and go straight to the "Ahhhh Ahhh Ahhhhhhhhhhhhhhhhhhh," perfectly pacing the vocals. John's voice sounds raspy and angry. They cut the song too short, barely doing a "Shake it, shake it, shake it baby now," and everyone says goodbye in a caravan like something out of The Ed Sullivan Show, but Paul asks the audience to stay put and announces they'll be back after a short break.
If the show ended here, it would have been worth it. The guys sound fresh, energetic, and precise… The Beatles in their early days weren't my favorite band, but up to this point, after an hour and ten minutes of concert, they've been totally worth it.
After about twenty minutes of waiting, we jumped from the innocent early sixties to the crest of the psychedelic wave. The four of them came out in the bright, outlandish outfits that characterized them during the Sgt. Pepper's era, complete with mustaches, and Paul even brought the red Fender bass he used back then. They started with Sgt. Pepper's, performing all their parts, but with the orchestral parts pre-recorded. Paul could have screamed a bit more; perhaps his voice got a little cold during the break. The song itself wasn't bad, and they finished by segueing into "With a Little Help from My Friends." John played this song on the piano they'd placed on the right side of the stage, but the orchestral parts were still pre-recorded. Ringo was obviously the lead vocalist, and the resemblance of his voice to the original was astonishing. I loved the "Do you need anybody?" part.
After the song ends, the opening notes of the Marseillaise begin, followed by "All You Need Is Love." John's piano now has a harpsichord effect, and the vocals sound precise. The more nasal tone of this song and the microphone delay greatly enhance John's voice. This type of song suits him much better and sounds more authentic than shouted versions. The coda is fantastic, even though much of it is pre-recorded, and Paul clowns around at the end, just like in the original version. They finish with the Marseillaise again to avoid blurring the song, and McCartney thanks the audience for the ovation.
George starts with Taxman. I maintain that of all the singers, his voice is the closest to that of the LPs. The vocal harmonies, including the falsetto parts, sound perfect, as does the dense guitar solo, another of my Harrison favorites. Vocally, he's stealing the show.
The concert keeps getting better and better. We're no longer in the rock 'n' roll era; this is the Beatles' most transcendent period, with songs that have become transgenerational anthems. Such is the case with "Strawberry Fields," which receives a unanimous ovation when the audience recognizes the first notes of the organ played by John. His voice sounds less expressive, but Ringo is fantastic; if Harrison steals the show vocally, Starr does so musically. Even though there are pre-recorded tracks, Paul's bass is EQ'd in such a way that he can create cello and double bass effects. Truly impressive. The microphone echoes have ended up helping John quite a bit, as he sounded tired at times after straining his voice with the more shouted songs from a few moments ago.
The stage lights dim and the opening chords of "Eleanor Rigby" begin. Just as I'm about to faint, I realize they're not going to sing it. It's simply a screen to allow for another costume change, this time much quicker than the last, as Paul, George, and Ringo return to the stage before they're even halfway through the instrumental section of "Eleanor Rigby." Lennon is missing. Without him, they begin to perform "Got To Get You Into My Life," which doesn't sound bad, and in fact, you can't even notice the gap left by the other guitar. Harrison is wearing jeans and a denim jacket, very similar to what he wears on the cover of Abbey Road. His hair has grown, although it's not as long as in that famous photograph on the pedestrian crossing. Paul has returned with his Hofner Violin and is wearing black trousers and a vest over a white t-shirt. He reminds me more of the White Album recording sessions. Ringo… Ringo is Ringo. He comes out wearing a green blazer over a purple shirt and a yellow tie. And it reminds me of… errr… his caricature in Yellow Submarine?
When the song ends, Paul immediately launches into the bass slide of "Come Together." The crowd applauds, and from behind the curtain appears Lennon, dressed entirely in white with a huge, shoulder-length mane of hair, voluminous and noticeably greasy from a distance, just like in '69, but without the beard. His voice this time is completely nasal, identical to John's at this time. George's guitar has a bit more distortion than the original version, but it manages to give the song more power. The drumming remains memorable, one of Ringo's best performances!
They continue with "Get Back," even repeating the dialogue heard earlier in the recording of "Let It Be," supposedly on the rooftop of Abbey Road. "Ahh, I want a bass like Paul's." He sounds almost identical in the song, singing in a high register, but not shouting. John plays the guitar solos while George provides accompaniment. They play a false ending and wait for the audience's applause before suddenly restarting the song for the true ending.
Harrison announces that we've traveled back to 1969, and that the first man has just landed on the moon. Ringo starts the drum roll and they launch into Something! Beautiful. No more words needed. The delay helps everyone with their vocals, and they achieve one of the most moving moments of the evening. The audience rises to their feet and gives George a standing ovation; he looks shy and barely manages a "Thanks!"
John returns to the piano and they play "I'm the Walrus." Another favorite of mine. Frankly, I didn't think they were going to attempt this song, but since they have the help of technology, why not take a chance? The crowd chants "whooooo" during every chorus. The coda is hard to describe. I don't know, it sounds very heavy, lysergic, and powerful. I would have liked to see a better light show, something more psychedelic, but the lighting remains minimalist. Even so, the performance was magnificent. At the end, they play a fragment of "Flying," another song I wasn't expecting, but it's a pleasant surprise to hear the four vocal harmonies intertwining and interweaving over that hazy keyboard.
John now takes up the bass and Paul moves to the keyboard to begin the opening chords of "Lady Madonna." Paul doesn't shout the song, and therefore much of the effect is lost. John and George provide the backing vocals, which have always sounded to me like clucking chickens, but I find them quite amusing. This is no exception. If McCartney needed more punch, more intensity.
Lennon now picks up his acoustic guitar. Paul jokes, asking what we want to hear. Obviously, everyone shouts out their favorite song, and Paul jokingly asks each person in the front row, one by one, asking us to be patient because they'll try to please everyone. "Will you play 'Helter Skelter' for me?" Paul continues chatting with the crowd and says we can help him with the chorus. "The lyrics are 'Na Na Na,' and then it follows a 'Nanananá,' can you do it for me?" And he launches into the much-anticipated 'Hey Jude' amidst a roar of jubilation from the audience. This time, his sweet, soft voice suits him perfectly. George plays bass on this song and helps John with the backing vocals while the entire theater joins in, creating another moving effect, especially in the coda, where it seems like everyone is singing along.
After the enormous climax, George launches into the powerful intro of "Revolution." John's voice lacks punch; he doesn't even dare to do the opening scream. At times, his aggressive, raspy voice is there, but it fades away again. This is another one of my favorites. Harrison replaces the keyboard solo with a guitar solo that works well. I find it odd that they didn't sequence that part, but oh well, it didn't sound bad.
McCartney thanks the audience, they put down all their instruments, and leave the stage. The crowd chants for more, but the lights don't come on. Nobody moves. Hey! There they are again. George announces: “This song is from a guitar hero.” It has to be While My Guitar, it has to be… “Somebody has the White Album?” Sure enough, they launch into the song's melancholic tones, and George has the chance to shine again with both his vocals and guitar. He perfectly captures Clapton's arrangements. They should have invited Eric to the concert, shouldn't they? His solo is orgasmic; there's no other way to describe it. He sounds like a powerful, harmonious machine. So far, it's the best song of the night, and George receives another standing ovation at the end.
John picks up the bass and Paul settles back at the keyboard. I guess it's Let It Be. It is! Beautiful. Everyone sings the choruses. George's guitar solo is once again masterful and crystal clear. It might be my favorite Harrison solo… When it ends, the four of them hug in the center of the stage and form a procession to say goodbye.
The crowd compels them to return after a few moments. Paul, always the most charming with the audience, says "Happy Valentine's," and John jokes, "Where are you, Yoko?" before launching into "The Ballad of John and Yoko." It's not one of my favorite songs, and the piano is missing, but musically it sounds good. John's voice suits him, although he does look a bit tired. My respects. Paul leaves, bass and all, and the crowd continues to chant for the Fab Four's return… This time without success. The lights come up, and the recording of 50s rock and roll begins again. We start to leave the theater with the feeling that we've seen and heard something unimaginable.
This Beatles concert is certainly impossible, but GetBack! has made it a reality with their elaborate show. They claim to be the best Beatles impersonators, and the truth is that the optical, musical, and emotional illusion often succeeds in deceiving the audience.
They're not the Beatles, but it's the closest we'll ever get to seeing them. Their concerts were never particularly outstanding due to the technology of the time and because, at the height of their creative powers, they had completely abandoned live performances. So, seeing a rendition of "I'm The Walrus" is truly unique. What's more, the guys bear an incredible resemblance. I don't know if it was an audition or something, but their facial features and voices are remarkably similar, and they've clearly mastered each other's body language and personalities. Add to that the fact that musically, they play their instruments live almost exactly as they do on the records, and you have a unique result. They're not the Beatles, and seeing imitators will never be the same. There were flaws, and there were songs where the voices did sound a bit different, especially, as I've been saying, the songs that required more power from John and Paul. Even so, it's honestly worth letting yourself be fooled for a few moments, believing you're witnessing the magic of one of the greatest bands that ever existed.
Get Back! Get Back to where you once belonged…
By Corvan
Jan/18/2008
