A few regular readers had commented and sent me e-mails saying that the links for the alternate White Album post are dead. I know not everyone was able to get their hands on it, and our friend at the He’s a Whore blog has called it quits.
In light of some of you missing out on the White Album outtakes from two days ago, I thought I would post some audio links to the wonderful novelty album Meet the Beatle Barkers. While not Beatle boots, it is an interesting take on the Beatle novelty album. I know some of you need your nearly-daily Beatle audio fixes. Plus, the cover totally ROCKS! What no Hey Bulldog???
I listened to it once, and saved it to my hard drive in case I ever needed it on a mix compilation or something. Enjoy, and have a great weekend!
(Links to mp3’s are under the cut.)
Here’s some more information on the Meet the Beatle Barkers album. Click here to get the album.
In the shameless pantheon of novelty music, there is one sub-genre so unspeakable that it’s practitioners almost never reveal their actual names. I speak of course of the Singing Animal Song. The Beatles Barkers are no exception. Nowhere on their album (released in the middle of the night in New Zealand) does an actual human being accept musical responsibility. It is credited only to “The Woofers and Tweeters Ensemble,” but even this obfuscates the most important point about this deservedly unappreciated genre – the best Singing Animal Records are those in which there are in fact no animals at all. The Beatle Barkers success (if in fact there is any) is derived from the fact that, unlike other Singing Animal records, the animal noises are in fact samples made by human beings. Animal noises are too important to be trusted to the animals.
Here in its discredited entirety is the Beatles Barkers LP, including the original version of that most rancid song, Ob-La-Di Ob-La-Da. Beatles-ologists know that Paul McCartney originally penned this aural trainwreck for Badfinger, who respectfully passed on it. Badfinger in turn passed the song on to The Woofers and Tweeters Ensemble, who recorded it in early 1968, but did not release it until 15 years later, after New Zealand’s musical statute of limitations had expired.
Source: WFMU.org
