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Rating: On DeBaser there are many reviews of the Beatles, but most of them concern the usual darn albums. I believe it is much more useful to talk about these unofficial recordings and leave the usual "Pepper" or "Revolver" alone. The "White Album," although unanimously considered a great record, in my opinion, is an absolute masterpiece, far more ingenious and mature than the previous "Sgt. Pepper's Lonely Hearts Club Band," both in sound and composition. This compilation, released with different covers and titles, shows the birth of this relatively obscure rock gem.
1968. We find ourselves in India. The Beatles, in the company of their respective wives, Mike Love, singer-songwriter Donovan, and other VIPs, are dealing with the guru Maharishi, who will soon be considered an imposter due to a presumed attempt of rape on Mia Farrow's sister. Lennon, annoyed by insomnia and insects, Starr, tired of meditation and the "disciple" lifestyle, McCartney, doubtful (though never showing it) of this mystical-religious experience, and Harrison, always trusting in the teachings of Eastern life, begin to doubt the actual spiritual powers of the guru. The news of the alleged rape worsens the situation. The illusion of flower power and love preached in 1967 comes to an end: Lennon, becoming increasingly cynical and dissatisfied, leaves Chyntia Powell and gets together with Yoko Ono, moving from LSD to heroin. Irony, cynicism, and realism are the ingredients that would bring the historic "White Album" to life.
The individual demos, recorded mainly during the stay at Kinfauns, present a sparse and essential arrangement: acoustic guitars and faded voices are enough to give an idea of what would come. "Cry Baby Cry" (at least in my tracklist) is the first of the complete tracks: the voice is cutting, mean, but tired, resigned; the words don't match the music, but no one notices. "I'm So Tired" and "The Continuing Story Of Bungalow Bill", splendidly lazy, are perfect in their simplicity. "Everybody's Got Something To Hide...", "Yer Blues", and "Revolution", on the other hand, are just born, but the melodies are not quite those that will be published a few months later. Harrison, the only one fully convinced of this journey, gives us a splendid, delicate version of "While My Guitar Gently Wheeps", more beautiful and moving than the electric version on the definitive album. "Piggies" is perfect. "Blackbird", "Julia", and the initial part of "Mother Nature's Son" are practically identical to the later ones. McCartney, having learned the finger-picking technique from Donovan, besides the songs already mentioned, composes a splendid "Ob-La-Di Ob-La-Da" (seems like an oxymoron) in acoustic version. Interesting are "Back In The Ussr" and the sparse "Helter Skelter" (probably recorded upon returning to England).
"Dear Prudence" is certainly the most important piece: dedicated to Prudence Farrow, Lennon vents all his resentment towards everything he had believed in. However, the veiled irony becomes more explicit and aggressive in the fantastic "Sexy Sadie" (not coincidentally once called "Maharishi"). Every word, every note is measured, Lennon becomes more mature, McCartney retreats into his world of hypocrisy, Harrison lives the most significant experience of his life, and Starr gets tired of his marginal role. This mixture of resentments and conflicts will lead to the memorable (and not) project of "Let It Be".
It may not be a "must" in your record collection, but it is still an interesting curiosity for fans of the genre.
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