Firefall | Colorado to Liverpool: A Tribute to The Beatles (Winged Horse)

cd_firefall.jpgPutting emotion in your vocals is great, but do you think that by closing your eyes and belting out the words to "Girl," you’ll do any justice to Paul’s original, youthful melancholy?

 

 

 

 

 

Dear Firefall,

No no no. I know you had some mild success over 30 years ago, but leave it in the past. Sure, you love The Beatles; most do. And yes, the decision to go acoustic for your Beatles cover—I’m sorry—tribute album makes your attempt to reclaim fame less embarrassing than any concerts where middle-aged barely-weres try their best to rock out in full-on electric style, but please. Please only play these songs at home.

If you need the cash, maybe a coffee shop or casino will pay you to play these tunes, but don’t sell the album. Do you think the income will pay for the royalties? You did tell Paul and Yoko about this, right?

That brings up another point: You didn’t write these songs, Firefall, so stop singing them like you did. Putting emotion in your vocals is great, but do you think that by closing your eyes and belting out the words to "Girl," you’ll do any justice to Paul’s original, youthful melancholy? And do you think that by over-articulating the verses on "Eleanor Rigby," you add some deeper meaning to a 40-year-old song? I guess everyone experiences and interpret things differently, but removing the drums and husking-up the vocals doesn’t make a cover version a re-imagining. If you want to show that you’re still capable of making music, maybe you should write your own songs.

But it’s not just that you’re doing a Beatles cover album, it’s the way you chose what Beatles songs to cover. You picked the obvious "Norwegian Wood" and "Here Comes the Sun," but then you throw in early classics like "No Reply" and then go to the experimental stuff with "Within You Without You." Are you hoping to set yourself apart from the hundreds, maybe thousands, of bands who have released Beatles covers? If so, why only pepper in the experimental stuff? You play it so safe with the old pop songs, add predictable folk elements to the originally acoustic songs and completely go insane on the rest. The most obvious example is the swamp-rock mess that was once "Come Together."

Actually, "Come Together" pales in comparison to your "Within You Without You" cover. You’ve taken one of the first grand experiments in studio technology and eastern instrumentation in rock and made it sound like an open-mic performance by someone with a brand new Casio and a large collection of wind chimes and rain sticks.

I hope you had fun making this album, because someone should get some enjoyment out of it.

Thank you.

P.S. If you’re calling this an acoustic album, you may want to cut the electric guitar solo in "Eleanor Rigby." D- | Gabe Bullard

RIYL: Firefall, The Beatles

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