Since the post about the individual tracks that comprise the Rolling Stones’ classic “Gimme Shelter” went over so well, here’s another in a similar vein, a track by track breakdown of “Helter Skelter” by the Beatles. 

This is probably as close as it is possible to be in the recording studio with the Beatles during the White Album sessions in 1968. Record producer Chris Thomas, then a “tea boy”/intern at EMI later said of this session:  “While Paul was doing his vocal, George Harrison had set fire to an ashtray and was running around the studio with it above his head, doing an “Arthur Brown.”

If you’re really bored you can open them all up in different windows and try to sync ‘em up…

First McCartney’s frenzied vocal. Superb! How do you improve on something like this? You don’t because It’s fucking perfection. “It’s coming down fast….!”
 

 
After the jump, hear the guitar, bass and drum tracks!

 
What if Pasolini’s Salo, or the 120 Days of Sodom was performed by The Three Stooges?  Well, it might come out looking something like the work of L.A.-based artist, Paul McCarthy.  Although he probably first captured national attention with MOCA’s infamous Helter Skelter show in ‘92, McCarthy’s been working with “the primal substances of life—blood, pus, urine, feces, sperm, milk, sweat,” ever since the ‘70s.

Below is a more recent work from ‘03, WGG (Wild Gone Girls).  Ubu describes it thusly: “Depicting a sailing party gone wrong, McCarthy questions the effects that violence and mutilation, both real and simulated, have on the viewer in contemporary culture.”  Maybe so.  But strip away the cozy, art-speak contextualizing.  Couldn’t that be said, too, for something like, oh…Wes Craven’s, Last House On The Left from ‘72?  WARNING: McCarthy’s WGG = not for the squeamish!

 
In the NYT: Fairy Tales, But Strictly Adults-Only