Text © Robert Barry Francos / FFanzeen,
2016
Images from the Internet
Going Underground: Paul
McCartney, the Beatles and the UK Counter-culture
Written and directed by Tom
O’Dell
Narrated by Thomas Arnold
Pride Films / Chrome Dreams Media
153
minutes, 2013
There
were many counter-cultures (aka the peace
movement and hippies) in the
1960s, and in fact, more than one in the United States. The one in San
Francisco was different than the one in Los Angeles, and both were dissimilar
to those in New York or Chicago. Up north, Vancouver was the Canadian center
(or in this case centre), but there
was also one in Toronto and Montreal. Every major city had their own, yet
ironically, many people left to find someone else’s, moving across the country
to the other centers, especially SF and NYC.
What
most of the scenes had in common, though, were LSD and the Beatles, especially
after Magical Mystery Tour and Sgt. Pepper’s Lonely Hearts Club Band.
Their effect was so extreme, that I posit that the later album killed rock and
roll as a driving musical force (until the Ramones), and became, rather, secondary
to the emergence of Rock. But I digress...
But
even the Beatles had to be influenced by it somewhere; it certainly didn’t emerge
out of Bluebird Way. This documentary starts in the 1950s, examining the roots
of the counter-culture movement, beginning with the anti-nuclear proliferation (dis)organization,
which was also focused on peace / end of war / end of nuclear armament.
Step-by-step,
and in great detail, as this British film lasts for 2-1/2 hours, posits that jazz
(e.g., Ornette Coleman and Cecil Taylor) and then beat poetry made their way
from the States and were adopted – then adapted – by the British, leading to a
bookstore that would become the locus of the avant-garde music scene. Its name
was Indica, named after a form of cannabis plant. No surprise there, eh wot?
The store was owned, in part, by Peter Asher. In 1966, it would have its own
newspaper / newsletter / fanzine called the International
Times (aka IT, or sometimes it)
Where
the Beatles come into it is essentially through the bastions of rebellion in
England, the Art Schools. Radical art leads to radical thoughts, and
vice-versa. This is not a tradition followed in the West, where art in schools
is somewhere behind Sports, English, and Study Hall. For Paul McCartney, he was
heavily influenced in things underground by his girlfriend’s family. Jane
Asher’s brother was the same Peter who co-founded Indica, and who was also in
the duo Peter and Gordon, whose song “World Without Love” was both written and produced by McCartney.
The
Ashers also introduced Paulie to the music of John Cage, which would later influence
his song, “A Day in the Life.” Further, it was his producer George Martin who would call Paul’s attention to
electronic music and atonal sounds, such as those by Karl Stockhausen (who, is my guess, also had an influential hand in the Velvet Underground’s
sounds, such as with “European Son”).
The
final bit to the puzzle of Paul, who would become a de facto silent partner to the movement, was Timothy Leary and his
introduction of LSD to the world. No, he didn’t invent the stuff, but he
promoted it brilliantly (“turn on, tune in, drop out”). John Lennon, of course,
was also right behind, and with the help of reading Nietzsche, and the addition
of the psychotropic drug, Lennon would write one of the first psychedelic
songs, “Tomorrow Never Knows.” Hooking up with Yoko certainly had its influence, as well, as they posit here.
While
all this was going on in the UK, the documentary wisely points out that they
were not the only ones producing these sounds, as there were also bands like
the Byrds in the States, releasing “Eight Miles High” just three weeks earlier (I would add
the Count IV’s “Psychotic Reaction” and the burgeoning Garage scene). In England, there were also other
simultaneous bands cropping up with the sound at the same time, such AMMmusic, a UK-based improvisational group. Their influence would be strong on the likes
of Syd Barrett and his group Pink Floyd, and the Soft Machine. AMMmusic didn’t last long, but both of these other musical collectives would
become identified with the movement, especially Syd Barret (d. 2006). Even on
this DVD, there are periods where these other bands get more time than the
Beatles around the counter-culture for using sonic techniques, but the Beatles
were on top because they had the most widespread influence.
Over
time, the scene spawned a central hub club in 1966, when the UFO opened (pronounced
You-Foh, not U-F-O; oh, those crazy Brits!), where Pink Floyd (specifically
Barrett) and Soft Machine became the musical figureheads of the movement.
An
interesting argument given is that at first McCartney was shy about being
associated with the UFO and IT, and
would show up in disguise (including as a sheik), but in 1966, started arriving
as himself. What amusingly crossed my mind is perhaps the real Paul was wary,
but after his rumored death in ‘66,
the Paul replacement (whom George would amusingly call Fauxl) was not as leery being associated with it..
Over
a relatively short time, Paul would lose interest and John would stay involved.
This film concludes that it was that
incident that broke up the Beatles, rather than Yoko or business dealings, or
the whole craziness about who would be their manager. To me that seems a
stretch, though it could have been all of
it, rather than just the one thing. Anyway, between police raids and times they
were a-changin’, the scene would peter out eventually, as all scenes must.
I’ve
only touched on what goes on in this documentary, so it’s still worth a view.
The counter-culture in England was definitely different than it was in the
States. One thing that seems clear though, is that just like in North America,
it was run by men (other than Yoko, I don’t remember a single woman even
mentioned here). I remember reading a book about the 1960s Canadian
counter-culture called Underground Times
by Ron Verzuh (1989), and he makes similar claims about gender politics, not
addressed here, but obvious to me seeing who is represented in interviews and discussions.
While
there is less music expressed here in recordings than other Chrome Dream docs
(and none complete, as is usual), there still is plenty. However, this film has
definitely stepped up on getting movers and shakers to the scene, such as a
frail and shell-shocked-looking John “Hoppy” Hopkins (d. 2015, who founded IT and organized UFO), a toothless Mick
Farren (d. 2013; musician and IT
journalist), Robert Wyatt (drummer for Soft Machine), Joe Boyd (founder of
UFO and producer of Pink Floyd), and Eddie Provost (drummer of AMMmusic), among
others. Journalists are kept at a minimum, so most of the stories are first
hand.
The
extras include a seven-minute short about the differences between the
counter-culture scenes in North America (specifically San Francisco) and the UK
titled “Other Side of the Mirror: UK and US Psychedelia,” a list of those
interviewed and their accomplishments, and a link to find out more online.
Honestly,
I did not know a lot of the British counter-culture history, though more
familiar with its North American cousins, so this kept me interested
throughout.
Enjoyed your review and i just ordered the dvd. The only thing that doesn't ring true is the bit about AMM (AMMusic was an lp title of theirs). They made recordings and did gigs well into the 1980s and perhaps even later. Anyway, great review and really enjoy yr blog in general. Thanks for the tip.
ReplyDelete