Why Don't We Do It In Abbey Road?
Various

Collection of Beatle-inspired songs by Liverpool Convention bands.

During Beatle Week this August we were told that the impossible had been achieved. No, Neil B had not announced a bout of celibacy, nor had each tribute band signed a contract promising not to play 'Hey Jude' as the encore (unfortunately), instead we were told that…for the sum of (all together now… "£12.50") we could finally get our hands on 'Why Don't We Do It In Abbey Road', the album recorded over a period of fifty years* by sixteen of our fave 'vention bands.

The more cynical amongst us had begun to wonder whether or not this CD was one of Bill Heckle's fantasies (for more on Bill Heckle's fantasies visit www.synchronised-swimming-adelphi.com). For years we had heard tales of bands recording original material in the famous studios (hence the album title; which is not to be confused with another of Bill Heckle fantasies), but year after year there was nothing to show for it…until now! I immediately rushed down to the Adelphi foyer ("where?") with my £12.50 ("how much?") to buy it; but, this being Beatle Week, had to wait six days to hear it (doh!). I'm pleased to say it was not only worth the week's wait, but also the fifty* years since first hearing about the album concept.

The opening track is In Spite of All The Danger (no relation) by the wonderful Overtures. It's a great, mellow song with a 'Hard -Day's- Night- ballad' feel to it. I think it was perhaps the wrong choice for the start of the album, due to the fact that one of the more up beat tracks (EG. This Is Knowing) might have given the album a more energetic start. I'd have saved In Spite of All The Danger for about track three or four, when things settle down a little. But hey… I was looking forward to hearing Fab Faux's song (Somehow) due to the fact that I knew they were a band made up of session musicians…would their songwriting match their musical ability?…yes! Some lovely harmonies and guitar playing but did they use all twelve guitars? Hmmm… I could imagine Robbie Williams covering this, and it seems to be more Badfinger than Beatles, which is a nice detour.

Liverpool's 'Humans' is one of the album's dark horses. Several people, including myself, feel that it could easily be the song John Lennon never recorded. Some may say it's a little Rutles-esque, but at least they've done something original with it too (unlike some…mentioning no names…track five…ahem...). Olle does a great vocal performance, which really compliments the satirical Lennon-esque lyrics. The same can be said for Jon Keats and the Instant Karma boys (Ain't That The Game), who perfectly contrast the song's aggressive opening with the mellow middle eight; a typical Lennon trait. It's also easy to imagine Lennon when Jon delivers the quip 'well go ahead and laugh then'. My only complaint is that the vocal could have done with being a little more 'up-front' in places (the lyrics are sometimes clouded by the drums/ guitar). In the sleeve notes we are told that the production was based upon that of the Double Fantasy era. That is apparent through the use of delay on the vocal (particularly when used liberally towards the end of the track…the 'love is the game' section), however if you compare it to the following track (Hare Georgeson's Dark Before The Dawn), you will immediately hear the difference in vocal clarity. I realise that they are different types of song, however I believe the same is true if you compare it to any Lennon song on Double Fantasy… Sorry Will - a great job otherwise!

Regular readers will know that I was looking forward to hearing Los Beat 3's Is This Love (apologies for thinking it was called Is It Love), having been there for the recording session last summer. I got shivers down my spine again on hearing the finished recording and am sure you will agree it's another of the album's dark horses. Everything about it is interesting and refreshing; the structure, descending bassline (after the first 'lo-o-ove' - listen carefully!), beautiful backing harmonies and Carlos' delivery of 'is this love' during the key change at the end. Fantastic - a track I'll never tire from hearing. The same goes for Banned on The Run's Let It Grow, which would have been right at home on Macca's Flaming Pie LP. A round of applause to Marcus for the 'erratic yet tasteful' guitar solo too! In terms of originality, I would cite Lenny Pane's Beautiful Woods as being the best example. There are so many twists and turns in this song that it is almost the musical equivalent of being lost in the (beautiful) woods (sorry, that sounded a bit Alan Partridge didn't it?!). A great job guys - well thought out and very interesting.

Clube Big Beatles' Sailing took me a while longer to fully appreciate, but again full marks to the boys from Brazil for originality. Judging by the votes on the TWIL poll, it's another 'surprise' hit too! I may have criticised The Beats (and to a lesser extent Tunel Do Tempo) for being un-original and too 'Rutles', however, I cannot fault either in terms of musical performance. Patricio's fifties-style guitar solo is played flawlessly, with a nice, authentic tone on their song, You Can. The drumming is also pure Ringo (or Barry Wom!). It is nice to hear the influence of George Harrison's guitar playing on several of the tracks, particularly The Beatals' 'Elvis Costello-y' Is It Over, which features a superb slide solo worthy of the Quiet one himself. The same goes for Sergeant Pepper's Two Wars. A very fitting tribute to Mr. Harrison I'm sure you'll agree.

My only other comment would be about the CD booklet. It would have been nice to see photos of each band recording their track (like "Robert Redford" on the back of the CD…), and also the details of who wrote each track, but that's just a minor quibble… I really hope that Cavern City Tours will use issue a follow-up CD ('Why Don't We Get Back To Abbey Road'!?) in the future (2014 if we're lucky!). Maybe by that time I will have tired from listening to this one! Well done to all involved - you surpassed all our expectations!

* well five actually, but it seemed like fifty!

Zara Jones