Beatlesque: The Second Coming

***THIS POST IS PART OF MY BEATLESQUE SERIES, IN WHICH I DISCUSS MUSIC THAT WEARS IT'S BEATLES INFLUENCE SO WELL YOU COULD ALMOST MISTAKE IT FOR THE LADS THEMSELVES***

In 1976, an album was released by Capitol records. There were no liner notes or songwriting credits. It simply said Klaatu. Soon after, a Rhode Island journalist speculated that this mysterious album was actually the Beatles reunited. The rumour spread and album sales soared. Capitol kept mum (wouldn't you?).

But it was all conjecture, and eventually Klaatu revealed themselves to be a group of Canadian studio musicians. Album sales... well, reflected this revelation accordingly. And once again the world was left to console itself with some sweet Beatlesque music, in the absence of the genuine article.

Klaatu is an important entry in this series because it proves my underlying thesis. There IS music out there so Beatlesque that it can fool the average listener. If you want to believe it's the lads, your ears won't tell you otherwise. But upon further inspection, there's only one song on 3:47 EST (the album's official title) that qualifies as truly Beatlesque. Without it, it's hard to imagine the "Klaatu are The Beatles" rumour getting started in the first place.

Track Title: Sub-Rosa Subway
Could Have Been On: Magical Mystery Tour/Yellow Submarine Soundtrack


First, there's the one-two punch of that jaunty piano accompanied by a bouncing bass line. And then come the vocals, a dead-ringer for McCartney. It doesn't take much imagination to picture him singing this buoyant melody, eye-brows raised, head bobbing. The mix of straight-up rock with layers of horns, strings and sound effects would fit right in on Magical Mystery Tour. The drums are booming and uncomplicated, very much Ringo's style around that time. It's got a lot punch, but there's also some nice subtle interplay between the guitar and bass. Even at their most bombastic, The Beatles never lost a sense of craftsmanship. The lively swell of instruments gradually fades in a coda very similar to the one on Harrison's epic "All Too Much."

The rest of the album, which is good in it's own right, never achieves the same effect despite scattered Beatlesque moments. "Calling Occupants of Interplanetary Craft" comes close, but it's a little too synth-heavy to make the cut. The breathy vocals don't help either. It's a great track though, and The Carpenters had a moderate hit with a highly faithful cover in 1977.