“We’ve been doing this since 1998 and we’re still trying to get it right,” said Will Lee early in the Monday night Book of Paul show at City Winery, which followed Sunday’s opening night’s Book of John and preceded Tuesday night’s Book of Harrison, Wednesday’s Rubber Soul album in its entirety, and New Year’s Eve’s early show of The Beatles at Shea Stadium and late show of mixed Beatles favorites.
After what, 17 years of doing this?, the Fauxs constantly come up with ways to make it fresh. Then again, as anyone who was with me in streaming Beatles albums over Christmas–when they first became available for streaming, finally!—The Beatles always sound fresh, and there’s always something new to learn from listening for the millionth-plus time.
Jimmy Vivino once likened listening to The Beatles to archaeological science, saying something to the effect that there’s always more to learn, always more “information” becoming available. That explains how Fab Faux somehow keep sounding better and better—that, of course, and the fact that they’re some of the top players in the world, who have studied The Beatles catalog like it was the Dead Sea Scrolls.
A few from a full evening of highlights from Monday’s show:
“Paperback Writer” replicated the Beatles’ great layered harmonies, and after an outstanding guitar break from Vivino in which he even threw in a guitar bit-—maybe even the backward solo from the 1966 two-sided single’s flip “Rain”–Lee asked the sold-out audience, “Don’t you just love the versatility, the dependability?”
Indeed, I was thinking the exact same thing. Every time I see Vivino–and I’ve been seeing him in differnt groupings for decades–I’m even more astounded by his versatility and dependability.
“Blackbird” had Lee and electric guitarist Frank Agnello switching to acoustic guitar, drummer Rich Pagano clicking sticks, and keyboardist Jack Petruzzelli coming out dancing and blowing into a bird whistle–with Pagano also whistling along. And when Agnello sang “We Can Work It Out,” I remembered that it really was a McCartney/Beatles song and not Valerie Simpson’s—since she’s made it her own in closing out Thursday Night’s Open Mic events at the Sugar Bar with her own touching take on it.
For “Yesterday,” Lee and Vivino both played keyboards. Petruzzelli wailed so hard on “Oh! Darling” that everyone in the room was on their feet, same with “Get Back,” so thoroughly researched by the Faux that both the lead guitar and piano parts sounded right off the record player–the only difference being vocalist Vivino’s brief cuts to “All Right Now,” “Satisfaction” and “I Can See for Miles” while Lee traipsed around the room while playing bass, returning to the stage in the nick of time for Vivino to get back to “Get Back.”
Lee, by the way, always astounds with his singing, since you never got to hear much of it when he was on Letterman. But as he related after the show (and Valerie Simpson avouched the next night at the Sugar Bar, where Lee’s Letterman band mate Felicia Collins held court), he sang on tons of jingles back in the day (as did Val), including Stroh’s Beer. And while Vivino acquitted himself very well on McCartney fare, he got the night’s biggest laugh by confessing that he always favored Lennon, who was “much closer to the Italian guys we like—Dion and Elvis Presley.”
Incidentally, though he’s not tributed with his own special night during this run, Ringo has been given the encores, Monday night’s being “With a Little Help From My Friends” and “I Wanna Be Your Man.”
But really, it was the show’s opening song that renewed my appreciation for Paul McCartney, as I’ve never forgotten the thrill of opening the White Album in 1968 and putting on Side One of the first disc and hearing, for the first time, “Back in the U.S.S.R.” Even now I think it’s the most revolutionary song in rock ‘n’ roll history, matched maybe by “God Save the Queen.”
When I got home I went straight to Wikipedia. Sure enough, it said how The Beatles had been “officially derided in the USSR as the ‘belch of Western culture,’” while at the same time “Back in the U.S.S.R.” was seen in the U.S. as pro-Soviet, particularly by anti-communist groups.
“It was a mystical land then,” McCartney said when he arrived in Russia to perform in 2003. “It’s nice to see the reality. I always suspected that people had big hearts. Now I know that’s true.”
Even in the darkest days of The Cold War, that’s how I figured it. Sure enough, in the mid-‘80s I met some Russian TASS correspondents based in New York who have remained lifelong friends.
And no surprise, they loved The Beatles as much as we did.