October 9, 1940 is special to John Lennon fans since that’s his birthdate, while December 8, 1980 is the saddest, since that’s the day he was shot dead by a crazed fan.
In between those years are a treasure trove of memories which Lennon’s worldwide followers remember by heart—especially the music he made with The Beatles and, later on, as a solo artist.
My love and admiration of the singer-songwriter from Liverpool, England—one of the greatest of all time—was rekindled while watching Javier Parisi’s John Lennon tribute show recently at Hard Rock Café Manila.
Parisi, an Argentinian musician, had his Lennon act down pat—moptop hair, granny shades, army jacket, Rickenbacker guitar, mannerisms and, to stunning effect, a deadringer face and vocals.
For a couple of hours, Lennon came back to life. But this was not a mere impersonation. To the keen observer, Parisi’s repertoire represented significant points in Lennon’s career with the world’s biggest band in the 1960s, as well as his efforts to find himself after the Beatles breakup and move forward from 1970 until his death in 1980.
Parisi, backed by a Filipino band, including a woman guitarist, channeled Lennon with surprising tracks in nonlinear fashion.
Backed by a Filipino band, including a woman guitarist, Parisi channeled Lennon with some surprising tracks in nonlinear fashion. (Photo by Pocholo Concepcion)
Fans in the audience—including historian Xiao Chua and jazz and art enthusiast Serafin Pua, who wore a Cavern Liverpool T-shirt—were over the moon while tripping back on the wordplay in Come Together, the emotional plea in Don’t Let Me Down, down-and-out fatigue in A Hard Day’s Night, the return to rock-and-roll roots in Starting Over, vulnerability in Jealous Guy and Help, the cosmic vibe in Across the Universe, bittersweet memory in In My Life, mind-bending harmonies in Because, childlike innocence in Strawberry Fields Forever, the pacifist stance in All You Need is Love, and amusing exasperation in The Ballad of John and Yoko.
In hindsight, there was a connection to romantic yearnings in the sequencing of Girl, Woman, and This Boy.
Parisi saved the best for last, enunciating Lennon’s utopian dream in Imagine, political skepticism in Revolution, bluesy depression in I’m Losing You, and Ben E. King’s Stand by Me—before ending with four Beatlemania staples (Love Me Do, She Loves You, I Wanna Hold Your Hand, and I Saw Her Standing There).
The result was not just a dose of nostalgia, but a journey back through the mind and soul of a conflicted genius.
Shoutout to promoter Jesse Gonzales Cambosa, who’s been bringing in music acts for baby boomers and new wavers.
