In those 8 years, lots has happened! I’ve gotten older, my family’s gotten older, my dad died, this whole pandemic thing … On top of all that, I’ve listened to more music! As I pointed out a while back, once I started the project, my list couldn’t change – it was 100 records only, so adding any new albums would disrupt the entire thing. That means I couldn’t write about any stuff I heard since assembling the list.
Plus, there are lots of albums I’ve loved for a long time that are NOT in the top 100. I’ve never gotten a chance to say much about those! Additionally, there are several SONGS I’d like to write about, songs that may or may not come from a write-up-worthy album, so how do I tell you about them??
So here’s the deal. From here on out, 100 Favorite Albums is going to be a lot more free-form. I expect the posts to be much shorter (you’re welcome!!), and I expect them to come more often (sorry.). I’ll put numbers next to the albums, just to keep track, but there’s no ‘order.’ It’s just going to be stuff about music that I like. I’m having too much fun doing this to just suddenly stop because I’ve written about 113 records! And I hope you’ve been having fun, too!
The Only Meaningful Memory, by Eric Riley Moore, available on Kindle or in Paperback.
Did James Nauman murder someone thirty years ago but doesn’t remember it?
Students at North High wouldn’t believe that their chubby, balding, dork of a chemistry teacher, Mr. Nauman, was a skinny, long-haired bass player called Jim Nasty in an underground punk band way back in the 80s. When an out-of-town detective, Joanne Grimes, calls him, James can’t believe something else. He’s a suspect in the decades-old, cold-case murder of a punk rock fangirl named Sherri Statler.
He’s shocked, but he can’t be sure it’s not true – there’s so much from those days he doesn’t remember. Even his wife, Dr. Jane Blanton, isn’t sure – and she knew him back in 1989. That’s when MakeFist Punch was an indie punk band with a silly name on the cusp of success, and Jim Nasty just wanted the booze and drugs to keep flowing. Band leader Mike D was going to change the silly name and make himself a star. But the drummer, Darren Devil, quit and ended it all. Then Jim met troubled med-student Jane, and the couple escaped the band turmoil, married and changed their lives.
By 2018 his past – the loud, sweaty shows, the intra-band squabbles, the long, dark rides on endless highways – is long-forgotten. But until Detective Grimes called, James had never really considered how much of that time he had, indeed, forgotten. As he goes looking for clues to prove his innocence, he realizes just how much his bandmates and wife have kept hidden from him. Now, as the law closes in, and MakeFist Punch warily rehearses for a reunion show, James Nauman isn’t sure he wants to remember any of it.
Revolver 1966, Parlophone. Producer: George Martin. Purchased Vinyl, 1988.
IN A NUTSHELL: Revolver has it all. Every song sounds new, and each has its own style. The band swerves from gentle love songs to caustic rockers; fun kids’ music to heart-wrenching grown-up songs; Byrds-ian folk-rock to experimental drone. And throughout the record, the amazing vocals – harmonies, backup, lead – guitars, drums and bass remain intact. The playground that was the modern 1966 recording studio is added to that genius, giving the record the sound of four expert musicians (and an unmatched producer) in full control of all their powers having the time of their life.
NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
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And now: NUMBER 1!! But first – my favorite Beatles’ ALBUM COVERS, ranked, in order, from #1 to #13.
It pains me to say it, since I love love love the songs so much, but I just find this album cover … amateurish. To me it looks like a rough draft that was accidentally approved.
“What? No – there’s no time. We’re just going to use this one – as it is.”
“But all I’ve really finalized are the intricate strands of hair on the four large faces. The photos are just slapped in, the drawings are just sketches, it’s incomplete … why, I only just gave Ringo and George the photograph eyeballs, and three of them don’t have the photograph lips …”
“Thanks, Klaus. Goodbye.”
One thing that always confused me about the cover was the smaller line drawing between the larger heads of John and Paul. There are four images, four Beatles, one would presume. The bottom two are clearly John and Paul. But the top two … are they supposed to be George and Ringo?
I always thought they looked more like Keith Richards and Mick Jagger:
Starting at the bottom, Paul is gazing up and John appears self-satisfied, and then the “Mick” figure looks distressed. It’s as if he’s hearing the amazing songs on Revolver and thinking, “our songs are shit, aren’t they1?” And the dark-eyed head above “Mick” must be zombie-eyed, drug-hazed Keith, sulking against a balled-up fist, no? For years I thought this was a great knock by one talented songwriting pair on another talented pair. After all, the bands had a well-known (and completely manufactured) rivalry.
But I recently noticed something about “Mick,” something that makes it clear I’ve been wrong. It also indicates that others may have told Klaus that they dug his Glimmer Twins stunt. He made sure that the person’s namesake jewelry are clearly visible on both of “Mick’s” hands.
So I suppose it is The Fab Four after all, even though I’m not convinced the likenesses of Harrison and Starr are all that accurate. I’m especially unconvinced because I’ve seen several thousands of pictures of George and Ringo over the years, and I will bet everything I own that both men, in 1966, had, in fact, no more than two arms each. Yet, this doesn’t appear to be the case on the cover of Revolver.
And there’s one more question I have about the drawings: who the heck is popping out of Paul’s ear, apparently listening with displeasure?
When I tried googling, I came up with a phony April Fool’s column from 15 years ago, which claimed the figure is Paul. But it looks less like Paul than George and Ringo look like George and Ringo, so I don’t buy it. Others on a Beatle Fan site say the figure is artist Voorman. Perhaps? He clearly wasn’t great at drawing good likenesses of others, so one would expect a self-portrait would also be difficult. (Okay, that was a cheap shot. I can’t draw AT ALL – and he’s clearly an actual artist!) I would love to know who that is. If you know, please leave a comment!
But enough of the pictures … let’s get to the sound. Strap in for a long post, as I’ve gotta go pretty deep on Number One! And Number One on Number One is “Taxman.”
The Beatles have always known how to open an album. Please Please Me shot their canon out of a cannon with an urgent count-off. With the Beatles and Beatles For Sale opened with bare voices. A Hard Day’s Night featured the most famous chord ever, and Help!a shouted plea. Rubber Soul began with a classic guitar and bass riff. In 1966, Revolver opens with a cough, a creepy fake count-in and then the real McCoy. “Taxman” is the first Harrison song to open a Beatles album, and it is a song that is equal to the task. The bass riff by McCartney is a rock classic, and Ringo’s drumming (the fill at 0:21) and percussion (tambourine at 0:34, cowbell at 0:49) are excellent. Speaking of bass, check out what Paul does around 0:55 – he’s incredible. He also played the George-esque, raga-inflected guitar solo at 1:13. The harmonies are terrific throughout, as George complains about taxes that, at 95% for the extremely wealthy in 1965 UK, do sound rather high2. At 1:33 a guitar riff mirrors the bass, and it sounds so good! As does the outro solo. What a way to open a record!
And they follow it up with a completely different song, and a completely new pop sound: the string quartet!
Actually, it’s a double string quartet, a string octet, I suppose, and it gives the song a melancholia that perfectly captures the loneliness described in the lyrics. Paul sings lead, and the harmonies of John and George (which have their own Wikipedia section) are brilliant, as is the contrapuntal “look at all the lonely people.” I like a variety of sounds and styles on my albums, which is a big part of why my #1 non-Beatles album is London Calling. After a guitar rocker and a string quartet, it’s hard to predict what might come next.
How about a drowsy ode to … well, sleep, I guess? … that features guitar recordings played backwards?
“I’m Only Sleeping” has a phenomenal sound. From the acoustic chord that opens the tune, a millisecond before John’s lethargic voice, to the splashing thunk of Ringo’s snare and Paul’s relaxed bass line, there’s a thick feeling of doziness about the track. When George’s backwards guitar lines are added throughout, the result is a song that truly sounds like its lyrical content. The precise “ooos” and harmony backing vocals (I love Paul’s “going by my window,” at 1:16) are wonderful, and provide a dreamy sensation. When Paul yawns at 2:00, one wonders if it’s real! But the song is not boring – that’s what’s amazing. It’s an exciting, interesting song about sleeping. Genius.
Yes, yes, it’s certainly ironic that the man who just complained three songs ago about taxes would now be singing about the meaninglessness of money in the context of existence. Hey, people are complex, what can I say? As with “Within You Without You,” on Sgt. Pepper’s, “Love You To” is a song that has grown over the years into one of my favorites. George plays sitar on this song3, including the 30 second opening of the song, and all the other instruments except the tabla and tanpura. The song has a lovely, droning sound, and it’s enhanced by George and Paul’s close harmony, as at 0:53. Revolver is a record of varying sounds, all of them interesting, and it’s hard to imagine – after all this – what could possibly come next.
How about a brilliant love song, destined to become a standard?
“Here, There and Everywhere” is a song I was fascinated by for years. I’ve always loved how clever the lyrics are. Verse one begins with the word “Here,” verse two with “There,” and the bridge prominently features “Everywhere.” That kind of thing tickles my nerd brain. Often overlooked in the song are Ringo’s subtle, orchestral drums. And how about the background harmony!! Holy moley!! George’s guitar chords are lovely, as is his line that mirrors the melody in the “but to love her is to need here” lyrics. At 1:57 listen for the finger snaps that start – the kind of hidden treasure I love discovering! I’m never as big a fan of Beatles’ love songs as I am of rockers, but “Here, There and Everywhere” is an exception. (Even though I’d prefer an oxford comma in the title.)
The band keeps everyone guessing at what’s coming next on Revolver, and I’d guess that in 1966 few expected the band to release a full-on children’s song.
“Yellow Submarine” is a fun one, perfect for Ringo’s singing style. He gamely describes his seafaring experiences on the ship, and the background noises and voices of the crew have made it an ever-popular song. Of course, the band eventually made a cartoon movie out of the song. I don’t have much to say about it. The band and their friends had a lot of fun recording the song, coming up with sound effects and funny voices.
Childhood whimsy is pushed aside for the brash sounds, drug-induced words and changing meter of one of my favorite songs ever (but not my favorite on Revolver!), “She Said She Said.”
Harrison’s guitar sound on the opening riff is distinctive, even disorienting, and then the bass, also by Harrison4, plays a single note while Ringo throws in an incredible fill to open things up. Lennon’s lyrics are famously from an LSD-influenced conversation he had with actor Peter Fonda, and George provides some Paul-esque high harmonies. Check out Ringo’s drums – just in the first 30 seconds! Throughout the song he’s a monster. And what I really love are all the guitars! It sounds like there are a million. There’s some cool finger-picking (or maybe just pick-picking) during the verses, and of course Harrison’s metallic lead, and it’s all supported by a faint organ underneath. As for song structure, they deftly (Thanks, Ringo!!) shift from 4/4 to 3/4 during the “When I was a boy” bridge. This song ended an amazing Side 1 (back in the day), and one would be right to think it unlikely that Side 2 could be quite as good.
But Side 2 may even be better!! John may have lamented Paul’s “Granny” songs, but “Good Day Sunshine” is a classic number no matter how you describe it.
Lyrically, the song perfectly describes that feeling of being happily in love. The John and George harmonies are terrific, including John’s spoken “she feels good,” as is Paul’s piano. George Martin actually plays the piano solo. It’s just a happy little song, and the band does throw in the Beatley vocal outtro. Revolver just keeps getting better and better, more and more interesting.
And we’ve reached what is likely my favorite Beatles’ song of all time, “And Your Bird Can Sing.”
The dual guitar, played by George and Paul, is just amazing. Through the entire song, they create a riff that’s practically a song unto itself. It opens the song, then from 0:37 to 1:20 a descending version is played through the bridge, then the intro returns, and the bridge is played once again. And behind the entire thing, Paul’s bass is ranging far and wide, culminating in the final verse, where he plays a high triplet (1:25). This figure accents the close, three-part harmony in the third verse, the one where “your bird can swing.” The lyrics are apparently about Frank Sinatra, John’s take after reading a glowing article in Esquireon the by-then-out-of-fashion crooner. But we can never be sure because Lennon, the main songwriter, actually hated the song and barely spoke of it, except to say he disliked it. Well, John, I love it. I think you guys created a masterpiece. (If you want some laughs, listen to theBeatles Anthology 2 version, which sounds like a Byrds song, and features old pals John and Paul cracking up so bad they can’t even sing!)
This album would already be my favorite if it ended right there, but five great songs remain! And since we’ve already heard a Paul love ballad, how about we hear a Paul break-up ballad.
It’s a sad song5 about a relationship that’s ended, and it includes what is probably the best use of a French Horn in all of rock. Also of note is McCartney’s bass, which enters after two verses, at about 0:24. It’s lovely, ranging very low (I wonder if it was tuned low?) and includes slides and staccato, really showcasing his all-around ability on the instrument. Only he and Ringo appear on the piece, apart from Alan Civil, the horn player. The entire song is Classic Paul.
So, Revolver must fall off at some point, right? Well, certainly not now, not when we’re about to pay a visit to “Doctor Robert”!
Doctor Robert is clearly an over-prescriber, but that’s precisely why John is singing his praises. He sings the song with a bit of a lag6, but a different energy forms when Paul joins in verse two (0:30). And the harmonies in the “he’s a man you must believe” chorus (0:49) are outstanding! There’s a subtle dueling guitar sound to George and John’s riffing and rhythm throughout the song. I particularly love George’s guitar at about 0:56, heading into the “well, well, well” bridge, a bridge with wonderful three-part vocals. George’s guitar is great, as is his maraca playing! I couldn’t mention “Doctor Robert” without also mentioning Dr. Dave, as this song is a favorite to play in our band, JB & the So-Called Cells. It was in learning to play and sing harmony7 on this song that I first noticed the times (1:39 & 2:04) when John and Paul sing “Doc Robert!”
George Harrison was known as “the quiet Beatle,” and compared to the always-on Paul, the sarcastic John, and the quippy Ringo, he could seem shy and retiring. That persona (which from all accounts is not true) is captured int the fantastic ode to lovable-losers, “I Want to Tell You.”
Look, I’m just saying, not necessarily from personal experience, that if you were a young college-age guy with not-great self-esteem and terminal timidness around women you found attractive, then this song may have connected with you. The song’s great from the beginning, featuring a fade-in and rolling guitar riff, combined with Ringo’s authoritative snare drum. John and Paul’s backing vocals, as usual, are spot on, as is Paul’s bass. George’s voice is affecting, as he draws out the “Tee-ee-lll you …” And the dissonant piano in the second half of the verses is perfect. And how about that fill Ringo plays at 1:11! At the end (2:18), the boys sing a “melisma,” a word I just learned two minutes ago.
I hate to keep typing it, but it just seems like this record can’t get any better, any more diverse, and then an R&B number appears! Paul’s “Got to Get You Into My Life,” which, oddly enough for a song recorded in 1966, was the last U.S. top ten song the band recorded together, hitting #7 in 19768.
The first note I wrote about this song is “Ringo’s hi-hat!” I love that sound against the cool horn fanfare. This is a fun song, and Paul’s bass is terrific. It sounds like a magical, love-at-first sight number, but Paul has actually said the lyrics are an ode to pot! (Oh well – it can mean what you want it to mean!) There’s not much guitar, until George enters at 1:49 with typical George-genius! Paul sings the heck out of the song, really using his best shout-y voice, especially on that outro! By the way, I don’t love a lot of covers of Beatles’ songs, but Earth, Wind and Fire’s version of this song is pretty great (it has more guitar than the original!) and hit #9 in 1978 (and #1 on the Billboard’s Soul Chart).
Okay, okay, for a final song on Revolver, what could The Beatles do to possibly cap off all of that? If you were a music fan in ’66 and just heard all those songs, what would you expect to close the record? Could you even fathom something like “Tomorrow Never Knows”?
Ringo’s snare and tom pattern drives the song forward continuously, as does Paul’s monotone bass. Those seagull sounds are actually a tape loop of Paul laughing, distorted for the record. In fact, there are tape loops all over this song, providing an otherworldly sound that John was looking for. The lyrics are all about meditation and psychedelic drugs and way too much for me to go into here, but the title is never mentioned in the song9. It’s a simple song, structurally, but so much occurs – the violin-like tapes at 0:40, the truck horn at 0:50, the squiggly solo at 0:59, George’s backwards solo at 1:09 … I mean, I can’t keep up. It’s a sonic treat, and shows the band was – (is?) – just light-years ahead of the curve. This song had to be the final song on the album – there’s nothing else they could have done!
I’ve heard people say that this is the last song The Beatles should’ve released, that Revolver was the apex and should’ve ended it all. Many critics and music fans have called it the best album of all time10. (Or thereabouts.) I agree that the band never was better, but I sure don’t think that the remaining albums – Sgt. Pepper’s, White Album, Abbey Road, Let It Be – were extraneous! And aside from all the music I loved on them, it gave them more time to perfect their album covers!
Keep watching this space – I’ll be doing some more music writing soon! Just because The Beatles records are complete doesn’t mean I don’t have more to say!
TRACK LISTING: “Taxman” “Eleanor Rigby” “I’m Only Sleeping” “Love You To” “Here, There and Everywhere” “Yellow Submarine” “She Said, She Said” “Good Day Sunshine” “And Your Bird Can Sing” “For No One” “Doctor Robert” “I Want to Tell You” “Got to Get You Into My Life” “Tomorrow Never Knows”
Abbey Road 1969, Apple Records. Producer: George Martin. Purchased Cassette, 1986.
IN A NUTSHELL: Abbey Road fully encapsulates everything that is wonderful about The Beatles. It also recapitulates their entire career, from doo-wop (“Oh! Darling”) to psychedelia (“I Want You,” “Sun King”) to singer/songwriter balladry (“Here Comes the Sun”). As if to lay to rest any doubts about their talents, the album is chock full of amazing songwriting (from all four members!), incredible vocal harmonies, and even some knockout solos from the boys. It’s the most-perfect final album of any band ever.
NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
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Star Wars11opened in American theaters in May 1977, a week before my tenth birthday, making me a prime member of the film’s target audience. The film had spaceships, lasers, robots, bigfoots, a swashbuckling cowboy and a princess (with no kissing!), plus a teen-ager who learns to fight with a lightsaber. It came at a time when I was young enough that I still played with GI Joes. All those Star Wars action figures were aimed directly at me, and my dad’s wallet.
But my family were targets the marketers could rarely hit. We weren’t destitute by any means, but we were definitely lower-middle class, a family of five living on a machinist’s hourly wages. We were fed and clothed, and had a few “nice things,” like bikes and church outfits and a handheld calculator that cost more than all three bikes together, and that was hidden in my mom’s desk, requiring special permission for my sisters and I to access it. But non-necessary expenditures were rare, and anything that could be found as a “hand-me-down” was. Those GI Joes that I still played with had come from my older cousins.
Also, my parents weren’t movie-people. It cost money to go see a movie. Additionally, they required leaving the house, and possible mingling with people, an experience my dad, in particular, found difficult. My parents never went out on “dates.” They were content to watch movies on TV with annoying commercial interruptions, years after they’d been released in the theaters. Throughout the 70s I only recall them going to three movies in the theater: The Sting, Mel Brooks’ Silent Movie, and one other.
Everyone in my fifth grade class had seen the film, and I mean everyone. John H. claimed to have seen it 30 times, probably an exaggeration, given his well-known penchant for stretching the truth, and, frankly, his family’s well-known limited financial means. However, he could, indeed, draw an astoundingly accurate version of R2-D2 in chalk on the blackboard. And this being decades before the internet, and years before DVDs and even household VHS machines, he’d had to have gone to the theater more than once to draw such a great picture.
I figured there was no way I’d get to see Star Wars until it appeared on TV. I even discussed with my buddy, Bruce F., my only ‘wealthy’ friend with HBO, whether I could come watch it at his house, without commercials, when it finally ran. I thought it was hopeless to ask my parents to take me to an actual movie theater to see it, but I decided to give it a shot.
My dad told me he’d take me13. We went to see it one evening at a theater in downtown Lebanon, PA, and it was amazing. I will never forget the first time I saw Star Wars because 1) it meant so much that my near-hermit, movie-indifferent dad took me; and 2) it was such a cool movie!
I’ve thought a lot about it, and there’s only one other work that I so clearly recall experiencing for the first time, and that’s The Beatles’ Abbey Road. And I didn’t even have all the family baggage surrounding that experience!
It was a summer evening in 1986, and I stopped to shoot hoops in an elementary school playground with a guy named Jeff. He had a boombox in his nearby car and was blasting the tape. Some of the songs I knew, some of them I didn’t, but one trip through the entire album while we played HORSE and one-on-one, and it immediately became my favorite record. The sounds, the melodies, the guitar, the feeling, the ending … it made an impression. Of all the records I love, I can’t recall my first listen as clearly or as deeply as I recall that first Abbey Road.
Abbey Road turned out to be the final album the band ever recorded. After the studio experimentation of Sgt. Pepper’s, the fraught individuality of “The White Album,” the band’s indifference to Yellow Submarine, and the awkward discomfort of filming the recording of Let it Be, (which was recorded earlier, but released after Abbey Road), it was to be a return to the camaraderie, synergy and musical focus that marked their earlier albums. Named for the recording studio in which they worked14, The Beatles’ Abbey Road is as good a final album as any band has ever recorded.
And John Lennon’s “Come Together” is as good an album opener as has ever been recorded.
The bass, the drums the whispered “Shoot me,” with the “me” obscured by echoing handclaps … it’s among the most identifiable 4 seconds in rock music history. The nonsense lyrics are fun to sing, and it’s actually John singing his own harmonies during the verses. The bass line throughout is one of the coolest ever. At 2:31 Paul plays a little curlicue at the end of a line, and you can hear a little bit of studio shouting, if you listen closely. Lennon plays the Billy Preston-like electric piano, and Harrison adds a terrific lead guitar. And the entire time Ringo proves he’s one of the most creative drummers in rock. At 3:13, a lengthy runout begins, and if you listen closely in the left side, you’ll hear Lennon’s great rhythm guitar. It’s a song that’s been played a million times that I never get tired of hearing.
“Come Together” is an obvious group effort, and teamwork is a feeling that permeates Abbey Road. Even on Harrison’s masterpiece “Something,” a certain Beatle-ness is evident that was missing on “The White Album.”
As with “Come Together,” the bass and drums are once again perfect and indelible. Paul’s widely ranging bass and Ringo’s slow tom rolls are perfection, and check out what Ringo does in the bridge (~1:14 on). Harrison’s guitar is also amazing, and his sound and slide work throughout, (on the solo, at 1:43, in particular) became a sort of template (perhaps unfortunately) for 70s lite-rock. As love songs go, the lyrics of “Something”, coupled with George’s voice, are among the best. And let’s not forget the wonderful harmonies throughout!
The collaboration among the band is even clear on songs on which part of the band is absent – for example “Maxwell’s Silver Hammer,” which John considered “Granny music,” and so didn’t play along15.
It is a silly song, with goofy lyrics about a serial killer, but I do like the tuba-ish bass, which is played by Harrison. And it’s got that wonderful guitar throughout the choruses, pure Harrison in sound and style.
Of course, even while the boys sound like they’re playing nice together, there were still some hurt Beatle feelings. For example, John really thought Paul should’ve asked him to sing “Oh! Darling.”
But maybe those hurt feelings are why he played such amazing guitar on the song! It’s Lennon alone playing all those attacking slides in the verses and arpeggiated chords in the choruses. And it was revealed last year that Harrison actually played bass on the song! Just as Paul easily copped the “Harrison sound” in past guitar solos in, for example, “Taxman” and “Ticket to Ride,” Harrison plays a wonderfully McCartney-esque bass line throughout, changing things up every time through. (I particularly love the syncopated ascending run he throws in, about 2:28.) Paul sings the hell out of this doo-wop tune about a gal who left him, and the subtle backing vocals are perfect. Lennon finishes off the song with great harmonics.
With Harrison doing so much on the album – bass, songwriting, guitar – I find him to be the unsung hero of Abbey Road. He even helped Ringo write his second Beatles songwriting credit, “Octopus’s Garden.”
And of course, he played that super lead guitar! Lennon actually plays all the nice fingerpicking rhythm guitar. The bass is A+, of course, and I really love all the backing vocals, particularly during the great guitar solo (1:38), when they sound as though they’re under water! It’s a perfect Ringo song, his voice is great, and though the song is often criticized as just a glorified kids’ song, Harrison actually found the lyrics to be quite spiritual.
Perhaps they are. And maybe there’s something spiritual, in a mantra-way, in the minimalist lyrics of Lennon’s “I Want You (She’s So Heavy)16.”
Much like the way I used to dislike “Within You Without You,” on Sgt. Pepper’s, but found myself growing to love it, this song is now officially one of my favorite Beatles’ songs. There’s so much happening, from an almost jazzy beginning through a slow-building musical fire that’s repeatedly tamped down, to a droning, repetitive, wild outro, it’s a song that simply requires repeated listens. “Fifth Beatle” Billy Preston plays a terrific Hammond organ, and I noted so many times in this song where I went back and re-listened (Paul’s bass, 1:00; Preston, 2:00; harmonies, 2:05; Guitar solo with organ, 2:26; drums everywhere; Guitar 3:37, 4:05, 4:14, 4:19; studio shouting at 4:33) that, really, it would be ridiculous to list them all. Okay, so I just did, but basically I think you should go listen to this song a bunch of times in a row, on headphones. You’ll be happy you did. Listen for the extra hi-hat at 7:16, after which there are two more times through the pattern before the song abruptly cuts out.
More evidence of Harrison’s status as Album Hero on Abbey Road comes in the next song, one of the band’s most popular ever, “Here Comes the Sun.”
First off, that’s a cool video produced for the song last year. From the first notes of Harrison’s acoustic guitar, this song is perfection. Once again, McCartney’s rolling bass provides a great countermelody, and the backing instruments – a whooshing Moog synthesizer, a harmonium, electric guitar – give the song an uplifting sound. The lyrics celebrate, well, being alive, when it gets down right to it. The backing harmonies (by George and Paul – John doesn’t appear at all on the track) are brilliant. Ringo’s drumming is pretty straightforward, even through the 3/4 “it’s all right” sections. Then, from 1:30 to 2:12, during the “sun, sun, sun, here it comes” section,” he goes nuts with some of the coolest tom fills ever. It’s a tremendous song – upbeat, positive, fun to sing along to, interesting musically … I love it.
The rest of the album is unique and wonderful, and – for some people – almost as frustrating as “The White Album.” That album left some folks wondering “what if they’d truly collaborated and then pared the record down to the strongest 15 songs?” The second half of Abbey Road is made up of a medley of songs, and leaves some folks wondering “what if they’d completed all those snippets?” As for me – it’s interesting to think about, but I’m happy with the record as it is. The record builds, and packs an emotional wallop that may not have occurred with 9 more complete songs.
The beautiful “Because” is probably not part of the medley, but it melds so seamlessly with the rest of the songs, I usually think of it as the first bit.
Musicologist Walter Everett, in comparing the song to Beethoven’s “Moonlight Sonata,” notes that both songs “arpeggiate triads and seventh chords in C♯minor in the baritone range of a keyboard instrument at a slow tempo, move through the submediant to ♭II and approach vii dim7/IV via a common tone17.” I think you should just listen to the beauty of the song, the voices, the sparse, hippy-ish lyrics, and not worry about all that. Then listen to this mix of vocals-only from the song, George, John and Paul (low register to high), each recorded three times to create 9 voices. Amazing.
Then comes the medley. NOTE: The Beatles(R) are very diligent in removing unofficial content from YouTube, etc. They only allow what they want floating around out there, which means … the version of The Medley that was on the original album, and the 2009 remix, is no longer available18 on YouTube as a single piece. The only full medley available is the version below, from 2019, when the band (i.e. McCartney) reshuffled things and put “Her Majesty” in between “Mean Mr. Mustard” and “Polythene Pam,” where it had (apparently) originally been before a last-second change (made by McCartney!) before the album release. Also, the arrangements are different, with different vocal tracks, missing orchestral tracks, fewer guitar solos … SO – I’ll have a link to each song, below, but I like to hear the medley as a medley, so I’ll leave this here, too, even though it’s not the way I’ve always heard it. Ugh. Artists. Such prima donnas. (Love you, Paul!!)
Famous for being one of the first rock songs about being screwed by the music industry, “You Never Give Me Your Money” introduces a melody on piano that will return throughout the medley. The song’s various sections are held together by the genius of Ringo. The chiming guitars (1:34) in the “magic feeling” section give me chills every time. I think it’s might be Harrison playing it, and the chiming continues (1:50) when a great guitar solo enters, maybe played by John? Either way, the dueling guitar work is stellar, and when the pair doubles on the solo (along with Paul on bass near the end of the solo, 2:12 – 2:32), with Ringo’s fills, it’s some of the best Beatles stuff on record. Every time I listen, I hear something new. It’s actually a rather sad song, particularly for a Beatles fan, and considering it’s the last album. “Step on the gas and wipe that tear away …”
Next comes “Sun King,” a kind of repeat of “Because,” vocal-wise, with awesome harmonies, this time on nonsense, faux Spanish lyrics. The guitar work of Harrison and Lennon is, once again, really sweet. And Paul plays a slightly distorted bass that sounds cool. And check out Ringo’s bongos! The song transitions quite suddenly with a nice Ringo fill into …
“Mean Mr. Mustard.” For all of Lennon’s complaints about Paul’s “granny music,” this composition of his is not too far from that description! Paul plays a fuzz bass19 and sings harmonies. This song, though short and somewhat insignificant (anyway, it’s my least-favorite part of the medley), really showcases how the voices of John and Paul blend together. It’s about a miser, with a sister named Pam, who turns out to be …
“Polythene Pam.” Those three acoustic chords that open the song are so simple and so grand next to McCartney’s swooping bass. Great harmony vocals, as usual, on a song about a particular woman (who seems much different than her brother). It’s one of Ringo’s most creative, terrific drum tracks, and George’s solo (0:49) adds so much, leading to (“Oh, Look out!) …
“She Came In Through the Bathroom Window.” Actually, George’s guitar seems to continue right through into this song, with the same tone. He’s hero-George again, and his guitar work is my favorite part of this song. His guitar sound, coupled with the vocals is another place on the album where I always get chills. This is another awesome Ringo performance, too, with classic swingin’ Ringo hi-hat and Ringo-y fills, like 1:20 and 1:26. And don’t sleep on John’s 12-string acoustic, in the left channel! The song was written by Paul after an actual Beatle fan actually climbed into his house through his bathroom window.
The medley has about a 2 second break here, as the powerful “Golden Slumbers” is cued up. It’s one of Paul’s best vocal performances, fluctuating between sweet and powerful with ease on lyrics partially adapted from an old poem20. It also has some fine orchestral work (WHICH IS REMOVED FROM THE MEDLEY VERSION, ABOVE!!), arranged by George Martin. His strings never seem overdone, like the ones Phil Spector added to Let It Be, and it’s nice to hear him go out with a bang on Abbey Road, as well.
“Carry That Weight” is kind of the second half of “Golden Slumbers.” John was recuperating from a car crash, and doesn’t appear on either song (except vocals in the chorus), but hero George plays 6-string bass on both. It has a nice reprise of “You Never Give Me Your Money,” and some nice electric guitar from George. It transitions quite suddenly into …
“The End,” is truly a bittersweet song – the final time the band played together, on the final song of the final album, and titled “The End.” And it really delivers a thrilling demonstration of the 4 lads’ musical abilities. It features (0:20) Ringo’s only recorded drum solo (unless you count those 8 bars in “Birthday,” which nobody does) and dueling guitar solos from the other three. The solos start about 0:54, and rotate, 2 bars each, in order – McCartney, Harrison and Lennon. They sound like they’re having so much fun!! I love listening to the distinctive styles of each, with Paul flashily ranging up and down the neck, George playing tricky bends and rockabilly-ish riffs, and Lennon mostly playing simple licks and dirty chords. When the solos end, about 1:30, and Paul’s piano remains, I once again feel the frisson, leading into the famous couplet from Paul: “And in the end the love you take/ Is equal to the love you make.” (I get a little misty typing it.) Somewhat lost in there is the fact that Harrison and Lennon play cool riffs behind the lyrics, and Ringo’s drums are orchestral and brilliant to close things out.
Perfection. And it wouldn’t be perfection without a little mistake: “Her Majesty.” As discussed above, this song was originally excised from the medley, then was mistakenly added to the end of the master tape, so it made it onto the record. It’s Paul on an acoustic, singing to the queen. And it’s really a song for our time, 2020: at 23 seconds long, it’s the perfect song to sing so I’m sure I wash my hands a sufficient length of time!
This was a long post – if you made it to the end, bless you. Leave a comment so I can thank you directly. But I love Abbey Road so much, I could have typed three times as many words. Long, long ago, on a playground far, far away, I had no idea it would still resonate with me as a 53 year old.
TRACK LISTING: “Come Together” “Something” “Maxwell’s Silver Hammer” “Oh! Darling” “Octopus’s Garden” “I Want You (She’s So Heavy)” “Here Comes the Sun” “Because” “You Never Give Me Your Money” “Sun King” “Mean Mr. Mustard” “Polythene Pam” “She Came In Through the Bathroom Window” “Golden Slumbers” “Carry That Weight” “The End” “Her Majesty”
Rubber Soul 1965, Parlophone. Producer: George Martin. Purchased CD, ca. 1991.
IN A NUTSHELL: Rubber Soul is the record in which The Beatles established the template for guitar-based pop rock. In song after amazing song they distill everything wonderful about the guitar-bass-drums format into 2- to 3-minute bits of perfection. Each Beatle gets an opportunity to shine, and the Lennon-McCartney songwriting machine is running at peak efficiency. I can’t believe there are 2 Beatles albums I like better than this one … because Rubber Soul has everything I love!
NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
Sometime around 8th grade I got into Classic Rock, the guitar-based music from the 60s and 70s. I think it was because of a Cheap Trick mirror I won by throwing darts at balloons at the Lebanon Area Fair in the summer of 1980. I’ve written before that the 70s and 80s were a very odd era in music-listening in that What You Liked really mattered to other people. You were judged by your professed musical tastes, and if you were a nerdy, sort-of-out-of-it teen with low self-esteem, it was difficult to be open and honest about your musical tastes for fear of harsh reprisals from tough kids in Iron Maiden concert jerseys, or popular kids who scoffed at everything. Classic Rock was a safe (and enjoyable!) music for which to express my appreciation. And my Classic Rock education taught me that I should be listening to blues-based music.
Songs by The Rolling Stones and Led Zeppelin and Cream and Creedence Clearwater Revival and on and on and on demonstrated the basic model. (Even Steely Dan started with the blues, even though they took a path more toward the head than the groin.) Some of the stuff I liked in high school was very-much-not-blues-based, like Rush and Yes and U2. But these bands were guitar-oriented enough to be Classic Rock staples (even the then-new U2) so liking them wasn’t really going out on too much of a limb. But if I ever heard something new, the first test of whether to admit my fondness to my friends was whether or not I could pick out that familiar 1-4-5, verse-chorus-verse-guitar solo structure that dominated the AOR airwaves. I listened for big guitar riffs, howling vocals, and long, wailing guitar solos, and, very frequently, indirect (or direct) references to sex.
But I retained that early love of melody from my childhood. (I’m sure my fondness for Cheap Trick had as much to do with their melodies as that belt buckle.) There were lots of melodic songs that I liked on the 4 – 8 hours of MTV I watched per day. But being very attuned to others’ opinion of me, I kept it quiet when I liked something that fell outside that Classic Rock paradigm. I didn’t tell many friends about my fondness for Yaz21 or General Public or even R.E.M. The fact that I couldn’t wait to see (and hear) videos from bands like Eurythmics or JoBoxers or Romeo Void was unknown to those around me. (Well, my buddy, Dan, knew, but I tried to make it seem like I was mocking those songs I loved.)
This was also when I really started to get heavily into The Beatles. They were definitely a safe, “Classic Rock” band (and so, so much more). They had, indeed, also mined the blues and blues-based songs, particularly at the beginning of their career, so their music seemed to fall into the “typical” Classic Rock Band format22. But the longer I listened to them, and the less I cared about what others thought of my musical tastes, the more I realized that much of what I loved about the band had more in common with those artists I kept secret than the Classic Rock bands I thought I was “supposed” to like.
I purchased Rubber Soul in 1991, when I was really getting into the “alternative music” scene. I was listening to Belly and The Stone Roses and XTC and Juliana Hatfield and Pixies (and still R.E.M., of course) … When I first put on Rubber Soul to dive into its wonderful depths, it suddenly dawned on me that everything I loved about this “new” music had been done years before by my favorite band! Catchy melodies, concise structures, great – but not overbearing – guitar … it was all waiting for me right there in one album by my favorite band. And there wasn’t one big riff, howling vocal or wailing guitar in the bunch.
Okay, it’s true the album’s opener, “Drive My Car,” has a great riff, but it’s not the dominant feature of the song. It blends with everything else that’s great about the song.
First of all, there’s the most-perfect 5 seconds ever to open an album, Harrison’s guitar riff and McCartney bass line blending perfectly before Ringo’s snare roll gets the first verse underway. Lennon and McCartney sing co-lead on funny lyrics about an ambitious woman. The slide guitar solo, at 1:08, is actually played by Paul, and I love Ringo’s drums coming out of it, at 1:20. His drums and percussion are strong throughout, as he throws in both a syncopated tambourine and the second-best cowbell ever23.
On their previous album, Help!, the band brought folk music sounds into their repertoire, and on Rubber Soul they continue expanding away from bluesy pop. The biggest move coming in the sitar-based gem “Norwegian Wood.”
The sitar sits beautifully between acoustic guitars and McCartney’s rangey bass line. Lennon’s voice is terrific, supported by Paul’s brilliant harmonies in the bridge24. The lyrics tell a humorous story – until the end, when maybe he burns down the house? (Or maybe he lights a joint. I could see the mid-60s Lennon doing either.) The sitar hits a cool, droning tone coming out of the bridge (0:48) and check out the really great bass at 1:03 – you may need headphones to pick it up. Anyway, it’s perhaps the best 2 minutes in pop music. And it’s not even my favorite song on the record.
My favorite may very well be the soulful, moving “You Won’t See Me.”
Paul plays a rolling bass line that is perfectly set against the syncopated piano he also plays. Ringo’s drumming – the snare and tom fills, the tambourine – is perfect, and the “ooh-la-la” backing vocals from John and George are almost as brilliant as their harmonized “you won’t see me” (chorus) and “no I wouldn’t, no I wouldn’t” (1:31). The lyrics are a bit whiney, perhaps, and make me think that certainly Paul must have played some part in this deteriorating relationship, right? But I love the line “Though the days are few/ they’re filled with tears/ And since I lost you/ it feels like years.” But my favorite thing about the song may be the fact that it slows down! (Listen at 0:05 to 0:08 and compare to 1:50.) Ringo is well-known as one of the most reliable time-keepers in rock drumming, but on this song, Paul’s piano was the backing track, and it wasn’t as reliable as Ringo. The rest of the band, including Ringo, played along to the piano. There’s something about that slipping time that adds a feeling to the song.
“Nowhere Man,” I’m not going to lie, is a song I find to be rather ‘meh.’ But the 3-part harmonies are really terrific. The guitar solo, with it’s cool harmonic pitch finale, was played by both John and George (making it a duet, I guess?) George’s guitar is great throughout, actually. And John’s lyrics are the band’s first non-romance/relationship-oriented words. “Think For Yourself” is a Harrison song, with very Harrison lyrics (joining such titles as “Don’t Bother Me,” “You Like Me Too Much” and “Only a Northern Song” in George’s Mt. Rushmore of Crabby Songs). It features Paul on “fuzz bass,” that low, whirring lead-guitar-sounding part. Ringo’s drumming is outstanding,
By 1965, The Beatles were still in their lovable mop-top phase, still a couple albums and years away from their psychedelic hippie phase, yet John presaged those years with the love-fest beauty “The Word.”
It’s got all the classic Beatle stuff going on. The harmonies, the cool bass, and Ringo’s maracas and great fills, for example about 0:22, “so fine, sunshine” and before the second verse, 0:28. I love the guitar riff through the beginning of each verse (0:30, 1:00). It’s one of my favorite Beatles drum songs. I also love the super-high harmony the last two times through chorus. It’s got it all. And it’s followed by one of the band’s most enduring love songs, “Michelle.” Paul sings in French, the harmonies are stunning, the acoustic guitar is charming, and it deserves its status as a Standard.
A lesser-known song that should get more attention is the fun, weird, Ringo-sung “What Goes On.”
This is the only Beatles song ever credited to Lennon/McCartney/Starkey. Much like “Act Naturally,” on Help!, and “Honey Don’t,” on Beatles for Sale, Ringo finds success with a girl-done-me-wrong, country rock number, keeping things swinging on the drums and making the most of his limited vocal range. The rest of the band’s harmonies are fantastic, but what makes this song weird and wonderful are the clipped squawks and squiggles that Harrison lays down in the verses. Listen to the right channel in stereo – it’s so strange! Also cool – at 1:30, after Ringo sings “tell me why,” you can faintly hear John reply “we told you why!” You can also hear a little chatter right around Paul’s super-cool bass at 2:33.
John’s got several great slow songs on Rubber Soul, and one of the most underappreciated is “Girl.” It’s an acoustic ballad about, well, a girl, that John sings beautifully, loudly drawing breaths in the chorus. Paul and George chime in with cheeky (as the Brits might say) “tit tit” backing vocals. Another terrific John ballad25 is the wonderful “In My Life.” The music is great, and Ringo’s drumming is simple yet inventive, as is George’s guitar work. (Listen to the guitar behind George Martin’s harpsichord-like piano solo.) I’ve often thought that if John and Paul lived 200 years ago, Paul would’ve been a musician and John a poet. The lyrics from John are wonderful poetry.
It’s got a great opening acoustic riff, and features Ringo playing a matchbox instead of drums! (The Beatles were big Buddy Holly fans, and I wonder if this choice was at all influenced by Holly’s “Everyday,” in which Cricket drummer Jerry Allison slaps his thighs for percussion.) Paul’s voice has so many facets to it, and I love the version he displays here, with its frustration and hurt. I also dig the two-note organ in the chorus, because it’s played by Ringo, and also George’s riff after the organ. Actually George is great throughout, as is Lennon’s acoustic rhythm guitar. The song’s so good. Have I called a song on this album my favorite yet? If not, this is it26
The catchy “Wait,” which features Harrison on a tone pedal, changing the volume of his guitar, is a cool song with on-the-road lyrics reminiscent of “When I Get Home” and “P.S. I Love You.” Lennon and McCartney share lead vocals, and Ringo again contributes excellent, Ringo-y fills, but Harrison’s guitar steals the show.
George steals the show once again on “If I Needed Someone,” one of my favorite George songs ever.
George’s 12-string Rickenbacker riff establishes an immediate feeling, a sound I recognized in the R.E.M., Ride and XTC I was listening to in 1991. Paul’s bubbling bass line is perfect, as usual, as are Ringo’s drums. But what I really love is the three part harmony that starts in earnest just before the second verse, about 0:17. It’s called a love song from George to girlfriend Patti Boyd27, but its lyrics are rather, well, ambiguous. Explaining to a woman that if she goes to all the trouble to “carve your number on my wall” that in return “maybe you will get a call from me” is hardly Romeo Montague-level courting. “If I had some more time to spend/ then I guess I’d be with you my friend” aren’t exactly the words one whispers into a lover’s ear. But I don’t come for the lyrics, I come for the sound, and this sound is excellent.
The Beatles were always exploring and constantly reinventing what people thought about pop music. They started out playing blues and R&B, but grew into a band that could write and play almost anything. This record demonstrated that all the stuff I’d grown up listening to – from plastic AM pop to leathery Classic Rock, from crystalline MTV fare to the flannel of alternative rock – was right there in one place on Rubber Soul.
TRACK LISTING: “Drive My Car” “Norwegian Wood (This Bird Has Flown)” “You Won’t See Me” “Nowhere Man” “Think For Yourself” “The Word” “Michelle” “What Goes On” “Girl” “I’m Looking Through You” “In My Life” “Wait” “If I Needed Someone” “Run For Your Life”
The Beatles 1968, Apple Records. Producer: George Martin. Gifted Vinyl, 1988.
IN A NUTSHELL: The Beatles, aka “The White Album,” is, for the most part, a bunch of songs by the solo Beatles. It’s an Easter Basket of a record, with some favorite treats, some stuff you just kind of like, and even a (“WTF?”) stick of deodorant. I’ve come to appreciate the hit-or-miss nature of the songs, as they rise and fall in my estimation as I age and change. There seems to be no genre unexplored, and there was certainly nobody to tell them NOT to make such a weird record. And in the end they produced an album like no other.
NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
~ ~ ~ ~ ~
I usually start with a bit of a background story for these posts about these albums. In the spirit of “The White Album,” it feels appropriate to instead start off with a bunch of random, disconnected Beatle memories and thoughts.
When I was a kid, my dad used to tell a story that Ringo Starr had once stopped at our house in rural Pennsylvania, knocked on the door and asked how to get to Pushnik’s, a nearby hotel with a nightclub. (I don’t believe it was true.)
John Lennon seemed very scary to me as a child, as if he had things to say that my parents might not want me to hear. When he was murdered, I was surprised by how many people were saddened, even people who I wouldn’t have expected, like my fat, old YMCA basketball coach. (Who I hadn’t thought about until just now, and I suddenly remembered that time he was alone with me, a 13-year old, and he asked me to take off my shirt and try on my basketball jersey, then he told me to lose some weight. That was pretty creepy, now that I think about it. Even back then if felt creepy.)
In high school, I watched the documentary The Compleat Beatles on the old TV show Night Flight with my buddy Rick, and he said the following two sentences, in order, with no break: “Paul McCartney is the worst, he had no business being in The Beatles. He’s a musical genius, I love him.”
J.B. and the So-Called Cells, my band with Dr. Dave, play many Beatles’ songs, and in my younger years I learned the entire bass line to “Oh! Darling.” This doesn’t sound too difficult at first, but then you realize that McCartney plays it differently every goddamn time through the song! (I no longer remember its many permutations.)
In the September 1976 issue of MAD Magazine, there was a “future Where-Are-They-Now?” piece, imagining celebrities 20 years in the future. It included photos touched up to make people look older, and I still sometimes picture The Beatles as those images. I envision George Harrison as a long-haired, bald Anglican priest quite regularly. (Boy, it would’ve been great for Lennon to reach 1996, right?)
I saw Paul McCartney perform at Fenway Park in 2009. He was 67 years old, played for about 3 hours and he and the band sounded incredible. They played lots of Beatles songs. It was a dream come true.
George Harrison may be the most underrated guitar player ever.
My friend Dave Finney, who is a musician with a a great EP called Recycle My Soul, recently recommended the book Dreaming the Beatles, by Rob Sheffield. It’s an excellent book, and very different from other excellent Beatle books, and I also highly recommend it!
I heard one time that back in the 70s and 80s, Ringo Starr was the third-most-recognizable person on the planet, after the Pope and Muhammed Ali. The Beatles famously met Ali (then Cassius Clay) in Miami on their first trip to America.
At a family wedding in the mid 2000s, my sister-in-law brought a guest who was a music documentary filmmaker and he had the phone number for Paul McCartney in his cell phone. He’d worked on The Beatles Anthology TV series in the 90s. I didn’t ask to see the number to confirm – it seemed rude to ask. And he wasn’t sure it was still a working number, as it had been years since he’d had to call it. But over drinks he told me Paul was friendly and business-like, and that George was very funny. Then he shared a bunch of funny stories about other famous classic rockers he’d worked with on the BBC Classic Albums series.
In the brilliant28 film Fletch, Fletch visits the hospital records room as Dr. Rosenrosen, when he gets asked to assist on an autopsy. After passing out, he is roused and informed that he’s in the records room. He immediately asks for “The Beatles’ White Album.” (And a glass of hot fat and the head of Alfredo Garcia.)
I got “The White Album” on vinyl as a 21st birthday gift from my sister. I excitedly played it, but was not immediately impressed. At the time, I was really only familiar with the songs that had been played on the radio often. Beatles “deep tracks29” weren’t well-known to me, and I didn’t know what songs were on which albums. So upon pulling the discs out of the sleeve (it was a two-LP set) the only songs I really knew well were “Back in the U.S.S.R.,” “While My Guitar Gently Weeps,” “Blackbird,” “Rocky Raccoon,” and “Helter Skelter.” And, of course, “Birthday,” thanks to Farmer Ted. That left 24 songs I didn’t really know.
Those 24 songs, on first listen, didn’t really sound like Beatles songs. I mean, sure, yes, I could make out the distinctive voices of Paul and John and George and Ringo, and the nonpareil melodies and harmonies were evident. But there was a particular “Beatle-esque” quality that seemed to be lacking. And I noticed that it was lacking even in the songs that I did know – apart from maybe “Back in the U.S.S.R.” and “Helter Skelter.”
This blog is not a history of The Beatles – so many folks have done that so well that I’m not even going to try. But lots was happening among the band members in 1968, so suffice it to say that this album lacked that certain Beatle-y something because The Beatles is the album where John, Paul and George – and even Ringo – were basically testing out their solo stuff. Even the photos included in the album were four individual close-ups of the band members, plus a bunch of random solo photos, and NOT shots of jolly mates frolicking in matching suits. And though I was initially unimpressed, over the years this album has rocketed up my Beatle chart. The lack of a unifying spirit to the album has become its main draw to me now. I seem to find something new in the album with every listen. It’s almost like the record has changed with me over the years.
The Beatles is like an Easter basket of candy. There are plenty of Reese’s eggs and Kit-Kats and lots of chocolate, plus a few jelly beans, and then, let’s face it, one or two stale marshmallow peeps. (There’s even an equivalent to finding a stick of deodorant in your basket.) The point is, there are THIRTY mother-effing songs on this record!! And just like candy, everyone has their favorites. I don’t think I can go into detail on each song. Some are going to just get a brief mention. I hope I hit your favorite song! I’ll do my best.
I figure the best way to tackle all these songs is to go through it the way I first heard it: as a double album, four sides. I’ll start right at the beginning: “Back in the U.S.S.R.”
What a great way to kick off an album, with the sound of a jet airplane, a cool guitar squawk, and a some old-fashioned rock-n-roll piano! It’s a Paul-song, with music and lyrics written as a sort of parody of/homage to The Beach Boys30 and Chuck Berry. George and John provide perfect 60s surf harmonies, and George and Paul share lead guitar – George on the first solo (1:23) and Paul on the last verse (2:03). By the way, that’s John Lennon on bass, and Paul himself on drums, as Ringo had briefly quit the band due, in part, to Paul’s criticism of his drumming on the song.
Next up, blending into the diminishing sound of that BOAC jet, is a song that is one of my favorite Beatles’ songs ever31, “Dear Prudence.”
This one’s a John song, a soft, acoustic, finger-picked ballad that builds beautifully into an inspirational, electric epic. It was written to encourage Mia Farrow’s sister, Prudence, to have a little more fun while they were all in India meditating. I love Paul’s repeated lone bass note (0:19) at the beginning, balancing on the perfect dueling guitars of George and John. Although it’s a John song, Paul nearly steals the show with his wonderful bass and – once again – DRUMS! (His fills and rolls, particularly beginning at 2:50, are so Ringo-like that some people still insist Ringo played them.) But forget Paul – put on your headphones and listen to John and George play guitar. They work together brilliantly, curling around each other, John holding down the rhythm, George playing lead … check out 1:25, 1:43, 2:14, 3:30… Just listen to the whole song, it’s amazing. And if flows into another excellent song, Lennon’s “Glass Onion.”
The lyrics cleverly recall many old Beatle songs, spoofing the mystical nonsense that was swirling around the band at this time. It’s a short song with really cool-sounding bass and guitar from Paul and George, and terrific vocals from John. (I love his “oh yeah!” at 1:13). Ringo’s back on drums, too, and while I myself could’ve used a little less of the string section, it’s still a great track.
It’s a slow, bluesy number that opens with Paul’s piano, then George’s mellow vocal begins. It’s a song with a lyrical theme that Harrison would return to throughout his solo career, a wish for the power of love to triumph, and the potential for music to make it happen. (Or not. The interpretation is sort of a glass-half-full/half-empty kind of thing.) McCartney’s harmony vocals are great, and Ringo’s drums are subtly brilliant. But, of course, the star of the show is guest Eric Clapton, who plays lead guitar throughout and really does seem to make it weep33.
Side one finishes off with my favorite song on the album – oh wait, I think I said that already about another song. A John Lennon masterpiece, “Happiness is a Warm Gun.”
It’s got three separate sections (“The Dirty Old Man,” “The Junkie,” and “The Gunman”) that each have different lyrics and different sounds, but that all fit together due to Beatle Magic. George’s guitar sound is phenomenal throughout, as is Paul’s bass and harmonies. And Ringo makes the sections flow together. I love the sound of the band in the “Mother Superior” section (1:14), and the 50s doo-wop vocals after 1:36. Also, Lennon is really a great vocalist – and his final “guu-uu-uun!” (2:22) is thrilling. I just love how weird and cool and different this song is. Well-done, boys.
Side two kicks off with one of those tremendously catchy, timeless songs that Paul seems to write in his sleep – “Martha My Dear.” It’s a Paul solo song, with hired musicians. And as much as I love it, it’s no “I’m So Tired.”
It’s a John song, and I heard this song for the first time in the Beatles documentary The Compleat Beatles34. I wondered then, and I still wonder, why it wasn’t a radio staple. John’s voice is great, swooping between anguish and frustration as insomnia and paranoia get the best of him. Of course Paul’s bass is excellent, as is George’s guitar, particularly in the chorus (0:48, for example). It’s a great example of the band working together.
A great example of a Beatle working solo is everyone’s favorite song – “Blackbird.”
It’s just Paul with an acoustic guitar, tapping his foot, and singing a song about the US Civil Rights movement in the 60s. I don’t know how to play guitar, but I have heard that Paul doesn’t play traditional chord fingerings on the song, and that this makes it a popular song for guitarists moving out of the novice realm to learn and butcher (until they get it right!) It’s a beautiful song, and one that was rightfully left untouched by further studio production. A voice, a guitar and a tapping foot are the perfect arrangement for it.
Another Paul solo song, and one that would have fit nicely on even the earliest of Beatle LPs, is the lovely “I Will.”
Ringo and John help out on percussion, but otherwise it’s just Paul on acoustic guitars, harmony vocals and “vocal bass.” That’s right, he scats the bass part. The lyrics are rather simple, perhaps in the “silly love song” vein that he was pilloried for later (a criticism he mocked with a Number 1 hit.)
Paul wasn’t the only Beatle recording solo songs for The White Album. John contributed the beautiful song “Julia,” written about his mother who died after being hit by a car when John was 17.
It’s just John finger-picking an acoustic guitar and singing along. I’ve always loved this song, but since I met and married a woman named Julia nearly 30 years ago, I’ve grown fonder and fonder of it. And listen to that last chord John plays – it’s really wonderful.
Side three opens with what may be the only truly Lennon/McCartney-penned song on the entire album, “Birthday.” It’s a guitar heavy, blues-based, party romp that leads into a different style of blues, the Lennon-penned “Yer Blues.”
I love the dirty sound of the Harrison and Lennon guitars coupled with McCartney’s heavy bass. And Ringo plays great fills throughout (check out the fill at 3:00). The song is meant to be a spoof of the British blues boom happening around 1968 (Led Zeppelin, Cream, John Mayall, etc), but it sure doesn’t sound like Weird Al. Lennon totally sells his vocals, and the guitars in the faster section (2:30 – 3:17) are terrific.
Side three really has a tremendous run of songs. After those rockin’ numbers, another soft Paul solo song appears, “Mother Nature’s Son.”
It’s an acoustic song on par with “Blackbird,” in my estimation. Paul’s playing is charming, even the little goof at 0:39. It’s a celebration of nature, with some lyrics contributed by John. I think the song would have been even better if George Martin’s backing brass arrangement had been pared down, or deleted. I don’t think it’s necessary, but it’s still a great song.
As is “Everybody’s Got Something to Hide, Except Me and My Monkey,” a Lennon song that almost sounds punk rock!
Have I selected a favorite song on the record yet? If not, this is the one. I love Paul’s ascending-scale bass, I love the keening guitar sound of the riff, I love the busy guitar behind the lyrics. I even love the psychedelic lyrics that don’t fit into the space they’re given. There’s a weird bell that rings through the entire song, too, that I don’t love as much as I love Harrison’s lead guitar. It’s purely strange fun.
But you know what? My actual favorite song – and this time I mean it – is the next one. Lennon’s sharp take-down of phonies, specifically the guru the band sought out in India, “Sexy Sadie.”
There’s so much to write about this song. First off, Paul’s piano intro and Ringo’s drum entrance. Next, John’s voice, which truly captures the disillusionment he obviously felt after investing so much of himself in the teachings of someone by whom he later felt duped. The backing vocals of Harrison and McCartney, the “wah-wah’s” and “see-see’s,” and especially the “Sexy … Sadie” as the chorus begins, about 0:54. George unleashes some great guitar in the second chorus (1:56) to the end. The whole thing is just brilliant.
And this side of The White Album keeps delivering, with the frantic song – sometimes called the first heavy metal song ever – “Helter Skelter.”
It’s a raucous, furious song with lyrics about a British amusement park ride that seems far more tame than the song implies. (Hmm… maybe it’s not about a ride…) Paul screams his lungs out, while Lennon plays bass, driving things forward, and Harrison rips off a series of descending runs and a cool solo at 1:37. Ringo bashes his cymbals throughout (famously causing “blisters on his fingers”) and the band manages to sing cool backing vocals, too. There’s also two false endings, at 3:09 and 3:44. The song sounds like rather mischievous fun, like nothing else. Certainly it sounds nothing like Harrison’s “Long, Long, Long,” which closes Side Three.
Its lyrics could be about a woman, or could be about his spiritual devotion to a higher power. The song makes great use of dynamics, and Ringo’s drumming is perfect for it. The acoustic guitar is simple and lovely. The song’s the perfect way to close out a near-perfect side of music.
It opens with a song that, when I saw its name on the label, I expected to jump around and shake my fist to it. But it turns out that “Revolution 1” is not the “Revolution” I knew and loved through my teenage years. That song was released only as a single. The White Album version is instead a slow doo-wop song with the same lyrics. Great Harrison guitar in both. Which isn’t the case in “Honey Pie,” which has a guitar solo by Lennon. It seems to want to recapture the charm of “When I’m Sixty-Four,” but it doesn’t.
“Savoy Truffle” is another George song, and one that shows that despite his frequently dour appearance, he was really a funny guy. The song – on which he plays a ferocious guitar – is about pal Eric Clapton’s fondness for chocolate. John Lennon also displays a different side than his usual sarcasm on the charming children’s song “Cry Baby Cry.”
The first verse is simply John on acoustic guitar, but Ringo soon joins on drums, and by the second verse Paul is once again shining with an inventive bass line for a simple song. I used to sing this song to my kids at bedtime, and images of “the Dutchess of Kilcardey” and “the local Bird & Bee” were perfect for conjuring dreams. It’s a cool song with great harmonies, and an addendum from Paul (“can you take me back?”) that really wraps it all up.
So, now we get to the stick of deodorant. Just as no one would describe such a practical gift as “a bad piece of candy” even if it’s received in one’s Easter basket, I can’t really call “Revolution 9” a “bad song.”
True, it appears on an album by a band that is well known for recording songs, but is it a song? I suppose if John Lennon says it’s a song, then it’s a song. Wikipedia calls it a “sound collage,” and I think that’s a better term. Whatever you call it, I have never been able to listen to more than about 4 minutes of this longest-ever Beatles recording36. I really tried for this post – but I couldn’t do it.
The album ends with a song that I don’t really love, but is perhaps the perfect way to end this wonderful monstrosity of an album: the Lennon-written, Ringo-sung “Good Night.” It’s a way-too-schmaltzy lullaby, and elicits the final “what the fuck?” from the listener. The band released a beautiful four-part harmony version a few years ago, which is probably a better version, but is not what was really needed after 28 disparate, crazy songs, plus one sound collage.
After all that, I can’t really say anything else besides “Go listen to this record!”
TRACK LISTING: “Back in the U.S.S.R.” “Dear Prudence” “Glass Onion” “Ob-La-Di, Ob-La-Da” “Wild Honey Pie” “The Continuing Story of Bungalow Bill” “While My Guitar Gently Weeps” “Happiness Is a Warm Gun” “Martha My Dear” “I’m So Tired” “Blackbird” “Piggies” “Rocky Raccoon” “Don’t Pass Me By” “Why Don’t We Do It in the Road” “I Will” “Julia” “Birthday” “Yer Blues” “Mother Nature’s Son” “Everybody’s Got Something to Hide Except Me and My Monkey” “Sexy Sadie” “Helter Skelter” “Long, Long, Long” “Revolution 1” “Honey Pie” “Savoy Truffle” “Cry Baby Cry” “Revolution 9” “Good Night”
Help! 1965, Parlophone. Producer: George Martin. Purchased CD, Approx. 1994.
IN A NUTSHELL: Help! is the album where The Beatles started to regularly go beyond the expectations for a pop band. Acoustic numbers, folk-rock, country … all shared space with the usual lovable pop gems. Also, lyrical content matured and introspective themes appeared. The band could’ve just knocked off a few watered-down retreads for this second soundtrack in a row – it certainly would have sold. But the band took the opportunity to elevate their art and make (another) masterpiece.
NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
I’d earned a living as an analytical chemist in pharmaceutical laboratories for more than ten years when a potential employer for a job as a chemist called me for an initial discussion. As part of his screening process, he asked me to describe the difference between an acid and a base. (For you Non-Science-Types, this is about as elementary as one can get in chemistry.) All I could think to say was, “well, I know it has to do with how salts are formed.” (Again for NST’s – this is a ridiculous response.) The guy was stunned. I didn’t get the job. I didn’t even get an interview37. The point is that even topics that I supposedly know a lot about can sometimes leave me in the dark38.
2 When I was little – six and younger – I really enjoyed the TV show The Monkees. As you’re probably aware, the show featured a band, The Monkees, which was assembled by TV producers39 to capitalize on American Beatle-mania40. Actor/musicians Mike Nesmith, Mickey Dolenz, Davy Jones and Peter Tork auditioned for roles on the show and were assigned guitar, drums, cuteness and bass, respectively. (Only Mike and Pete really knew how to play their instruments at first. Davy and Mickey would quickly learn.)
I watched reruns, in the early evenings, with my older sisters. It felt like a “big kid” show. It was about a hip, young band, living together in a crazy house in a neighborhood with other bands, acting zany, charming the ladies, driving a cool Monkee-mobile41 … It was everything a five-year-old in 1972 thought was cool about musicians. And that’s the thing – I liked it for the musicians, not the music. The show had catchy songs, but for years I never really thought of The Monkees as a band with songs. I thought of The Monkees as a TV show with songs.
3 I bought Help! sometime around the time I bought A Hard Day’s Night. Help! is another soundtrack to another Beatles film I only saw once. Just as I never considered The Monkees a band, I never considered The Beatles actors. I watched the films once just to see them, but never felt compelled to do so again. So I purchased Help! solely to dive into the songs, and as I made my way through the songs I was stunned to learn this fact: “I’ve Just Seen a Face” is a Beatles song, NOT a Monkees song!
I was amazed to learn this fact – especially as it came a good decade into my Beatle super-fandom. I was sure I remembered The Monkees cavorting around on the TV screen, with wacky jump-cuts of the band in kooky outfits, or goofing off on the beach, interspersed with exciting footage of Mike playing countrified guitar while Mickey drums and sings, Davy shakes maracas and harmonizes and Peter plucks the bass. I knew I’d heard a DJ intone, “That’s The Monkees, with ‘I’ve Just Seen a Face.'” I went to a record store and looked up Monkees albums to track down their version. (This was in the early internet era.) I asked all my friends. Finally, it hit me: “I’ve Just Seen a Face” was always a Beatles song, only a Beatles song, never a Monkees song. Maybe I’d been thinking of “Papa Gene’s Blues,” which is a Mike Nesmith-penned, country-ish song with quickly-sung lyrics?
I guess my long-held misapprehension could be viewed as either a testament to The Monkees or an insult to The Beatles. But my well-documented confusion is not the point here. The point is that Help! is one more incredible record by an incredible band.
“I’ve Just Seen a Face” is a good place to start when discussing the album Help! It’s a great example of just how different this record sounds from all of the band’s previous output.
It’s a finger-picking, country-tinged shuffle that would have sounded out of place on any of the earlier records. But on Help!, it fits just fine. There are no electric guitars on it, no bass guitar, and Ringo plays brushes and maracas. There is a harmony vocal – but it’s Paul singing harmony with himself. Paul’s love-at-first-sight lyrics include cascading, internal rhymes that are cleverly constructed. (“I have never known the like of this/ I’ve been alone/ And I have missed/ things and kept out of sight/ But other girls were never quite/ like this…”) I probably should’ve known all along this wasn’t The Monkees.
I don’t know if it helps my credibility to say that I’ve always known “You’ve Got to Hide Your Love Away,” another song that sounded nothing like previous Beatles’ efforts, was by the band!
This time it’s John who’s practically solo, playing a 12-string and singing a Bob Dylan-inspired song about the perils of love. It’s a lovely singalong song44, with Ringo adding tambourine and maracas. Flutes show up, as well, some of the first non-rock instrumentation featured on a Beatles record. This is probably as good a time as any to mention the McCartney solo song “Yesterday,” which also features non-rock instruments. It’s hard to really say much about this song. It’s incredible, it’s everywhere, its simple lyrics are universally felt … it may be the most popular song ever written.
The Beatles were really stretching out for this record, a fact that makes a strong statement about the band. After the mega-success of the film and album A Hard Day’s Night, they could have easily just coasted and hacked up a few more sound-clone ditties. Instead, right off the top, they open with a pop song unlike any that had been heard before: “Help!”
For one thing, the lyrics are very raw and honest, even though most pop fans probably didn’t think much about their meaning. But most of all, the contrapuntal melody sung by Paul was a technique unheard of in a 3-minute teeny-bopper record. George plays a cool descending riff (first heard at 0:09). John’s acoustic strumming on the song is really great, and Ringo’s drumming drives it all. I love his use of toms, not to mention his tambourine in the chorus. The vocal harmonies are awesome, including the finale “ooo.”
Ringo’s drumming is great throughout, but let’s not forget his vocals! He gets a lead vocal on the Buck Owens classic “Act Naturally.” He does a great job on humorous lyrics about being a loser in love, and Paul’s harmonies enhance it all. George also gets a couple tracks of his own this time around, including the standout “I Need You.”
The best parts of this song are Paul’s bass and George’s electric guitar, its sound augmented by a volume pedal. Ringo breaks out his cowbell, and actually played acoustic guitar on the track – that is he played percussion on the back of an acoustic while John played a snare drum! Paul’s harmonies are terrific, and George nails his love song lyrics. It’s one of my favorite George songs. One of my least favorite is his other offering on Help!, “You Like Me Too Much,” a song about being a jerk. I think if it had appeared on Please Please Me or Beatles For Sale I may have more tolerance for it. But it’s rather simple, and the “I really do!” in the bridge is almost amateurish. But the chord changes are nice, and George is great, so I won’t say anything more.
Besides “You’ve Got to Hide Your Love Away” and the title track, Lennon also gets introspective on the love song “It’s Only Love.”
Harrison plays a cool electric guitar part throughout – both rhythm and subtle leads – and the acoustic strumming (both George and John are credited on acoustic) is fantastic. Ringo breaks out his trusty tambourine again. Lennon is in fine voice (he even rolls an “r” in the word “bright” for some Lennon-y reason) and it’s a truly lovely song. I also like his “You’re Going to Lose That Girl,” a warning to a friend that turns into a warning about himself! Excellent three-part harmony here, with George and Paul tearing it up, particularly in the bridge! Ringo breaks out bongoes, and I’m starting to realize that this entire album could be capably reproduced by a few folks around a fire with acoustic guitars and bongoes and tambourine. I’m sure it’s been done.
Although, it might be difficult to reproduce my favorite track on Help!, the riff-based classic “Ticket to Ride.”
I love Ringo’s drums throughout this song – the toms, the syncopation. I also really love the droning, buzzing guitar heard throughout45. And Paul’s high harmonies throughout are brilliant, as he helps John on lyrics about a girl that’s going away. The guitar solo, and lead fills, are also played by Paul. It’s a great, electric song.
Another song that wouldn’t be terribly suited to acoustic strumming is the cover “Dizzy Miss Lizzy.” It’s a fine song, I guess, but by Help! I’m rather over hearing John sing a cover song. I’d rather hear Lennon and McCartney team up, like on the lovely, mellow “Tell Me What You See.”
This may actually be my favorite song on the album. (It’s so hard to choose.) Their voices are so perfect together, Ringo’s on claves again, George strokes a guiro, and that electric piano break (1:04, 1:49, and at the very end) from Paul is awesome – as are Ringo’s drums coming out of it. Paul is trying to convince a girl that she should recognize he’s the one for her. Of course, another song on Help!points out that if she doesn’t, well, he has got “Another Girl.” McCartney plays the countrified lead electric guitar throughout, which is stellar! John sings a cool high harmony, and the three part harmony through the bridge is once again amazing.
Help! is really a new direction for The Beatles. But the didn’t totally abandon the driving, pop song gems that they originally rode to success. Check out “The Night Before.”
Ringo’s back on the full kit, slamming that ride cymbal, the vocal oohs and ahhs are primed to make the girls scream, and Paul begs them to treat him right, his memories of last night bringing tears to his eyes! George and Paul play an electric guitar duet, and it’s just like the good old days of 1963.
This album broke the mold for the band. But maybe it set the mold for the bands and artists in the rest of the 1960s. It showed the public that anything was possible in pop music. Why, even a bunch of actors thrown together for a silly TV show could create some amazing stuff; all they had to do was follow the originals. They might even end up fooling some people!
TRACK LISTING: “Help!” “The Night Before” “You’ve Got to Hide Your Love Away” “I Need You” “Another Girl” “You’re Going to Lose That Girl” “Ticket to Ride” “Act Naturally” “It’s Only Love” “You Like Me Too Much” “Tell Me What You See” “I’ve Just Seen a Face” “Yesterday” “Dizzy Miss Lizzy”
A Hard Day’s Night 1964, Parlophone. Producer: George Martin. Purchased CD, Approx. 1994.
IN A NUTSHELL: A Hard Day’s Night demonstrates everything about The Beatles that made them so brilliant in their early recording years. Before they ever added orchestras, psychedelia, and odd instruments, they were cranking out gem after gem. Their voices, songwriting and musicianship were beyond what was expected, especially for a teeny-bopper movie! This album leans heavily on John Lennon’s talents, but each of the four shines throughout, and the songs are excellent even if you haven’t seen the film.
NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
My mom also helped develop my love by playing her Broadway show 8-tracks all the time. From listening to them I expected music to help tell a story. But even though I’m a fan of musicals, from Singin’ in the Rain to Grease to Purple Rain to LA LA Land, a movie doesn’t have to be a musical to have a great soundtrack.
A lesser-known film from the 90s, yet equally terrific and also with a tremendous soundtrack, is the 1996 John Sayles film Lone Star. It’s set on the Texas/Mexico border, and the music sets the tone perfectly. From Texas blues to Tejano to sultry jazz, the songs always set the scene for the action. All of the songs were unfamiliar to me, yet I still left the theater wanting the soundtrack – an impressive feat for a film. In the early web days of the mid 90s, I learned the perils of online shopping due to this soundtrack. I tried to buy it online and instead ended up with some lame country band46 also called “Lonestar.” If you ever get a chance, check out the movie and music sometime!
One of my favorite soundtracks is from a movie that I’ve only seen once, years ago. People find it hard to believe, but I actually bought the soundtrack several years before I ever watched the movie because – to be honest – I’m more interested in the music than the film. This isn’t typically the case with movie soundtracks. But with a band like The Beatles, the typical is atypical. And with an album as great as A Hard Day’s Night, I sometimes forget it’s a soundtrack.
Early in my Beatles-loving career, in high school and college, I dismissed any Beatles songs before about Revolver, in 1966, as moldy oldies, bubble-gummy “yeah yeah yeah” pop that to my (immature) ears sounded about as interesting as the doo-wop songs Sha-Na-Na covered. In the early 90s, I carpooled to work with a woman named Ximena, who’s now one of my oldest friends. She was the one who told me I should listen to A Hard Day’s Night. (We may have played it during our commute, but usually we listened to 80s stuff.) I trusted her musical opinion, so went out and bought it, and I immediately realized these songs were neither moldy nor oldie-sounding. The songs sounded as fresh as any guitar music on the radio, and the album still sounds great today.
What a showcase for the singing of Lennon and McCartney! Both voices are double-tracked, John on the verses (which is where the title is sung, which is odd), McCartney on the choruses (which are the same each time, but don’t include the title, which is odd), and they sound terrific! I love Paul’s cool little bass noodle thing he plays to accompany Ringo’s toms after each verse. It’s hard to hear unless you listen with headphones, but it’s great. George has a nice, fast, 12-string guitar solo that producer George Martin doubles on piano47. And Ringo’s insistent cowbell through the chorus is the first of many percussion implements he’ll use throughout the album.
A Hard Day’s Night is really very much a Lennon album. He wrote most of the songs (of course, all are credited to Lennon/McCartney) and sings most, too. “I Should Have Known Better” is one of the last Beatle songs to feature John playing harmonica48, and also features a nifty chord change going into the chorus. (It’s another song that has the repeated title in the verse instead of the chorus.) George deftly changes chords and strumming patterns throughout the song. It’s not my favorite song, and neither is the Lennon/McCartney song that George gets to sing, “I’m Happy Just to Dance with You.” Although, Ringo is credited with playing an “African Drum49,” whatever that may be, and it sounds really cool. George didn’t get any of his own songs on the record, but he sings this love song just fine.
While John’s often associated with the more rockin’ Lennon/McCartney pieces, he gets sentimental on the lovely “If I Fell.”
I’ve always loved this song about the desire for new love to last. John and Paul’s harmonies are perfect, although on the stereo version of the song, at the end of the second bridge, Paul’s voice cracks (1:45), a charming faux pas, in my opinion. George plays a simple solo, and Ringo does a great, subtle job holding it all down. Paul gets to show off his own love-songwriting chops on the ballad “And I Love Her.” Ringo picks up bongos and a pair of claves this time, and George adds a terrific classical guitar line throughout, and a nice solo.
After all that lovey-doviness, the boys need to pick things up, don’t you think? And they do it in fine fashion with a couple rockers. First comes the awesome three-part harmony of “Tell Me Why.” While John, Paul and George pull off those amazing vocals (about another girl who done John wrong), Ringo is playing cool fills and pushing the band toward the climactic falsetto of “is there anything I can do?” (1:32). Next the absolute classic “Can’t Buy Me Love” rocks even a little harder50. Paul’s bass is bouncy, George plays one of his best early-Beatle guitar solos (at 1:18 you can hear a faint, second solo in the left speaker), and the lyrics are not about a prostitute.
For my money, A Hard Day’s Night really picks up on what used to be known as (in the days when records had two sides) “Side 2.”
Side 2 opens what a slam on Ringo’s snare drum, as “Any Time at All” begins, one of my favorite Beatle guitar songs. I love Harrison’s riffs throughout. And in addition to Ringo concluding each verse with a ‘thwack,’ he also breaks out his trusty cowbell once again. John sings lead again, but Paul adds the second, higher-pitched “Any Time at All.” It’s a fun song, and the next one, “I’ll Cry Instead,” is fun, too, despite its sad-sack lyrics. It’s one of those Country-Western style Beatle songs that Ringo usually sings. (Since Ringo didn’t get a song to sing on A Hard Day’s Night, I wonder why they didn’t give him this one?) George nails the rockabilly guitar, and Paul has a sort-of-not-really bass solo (1:05 & 1:35).
Next comes one of my all-time favorite songs, “Things We Said Today.”
I’ve written many times that lyrics are not usually what draws me to a song, but one of the reasons I love this one is the lyrics. The idea that what we’re saying today, especially as young lovers, will become tomorrow’s happy memories is such a sweet, romantic idea. Paul sings lead, and the harmonies George adds (i.e. “someday when I’m lonely”) are perfect. I really dig Lennon’s acoustic guitar strumming throughout, and how Ringo emphasizes things in the bridge (1:00). It’s a tremendous “Paul song,” one of my favorites.
But A Hard Day’s Night is really mostly John’s. “When I Get Home” is about a man waiting to get home to his girlfriend, and is the only song I know that uses all five syllables of the word “trivialities” in metered, rhyming verse. The intro is pure Ringo. It’s a decent song, but I’m a much bigger fan of John’s “You Can’t Do That.”
In the 90s, when I was carpooling with Ximena, who’d extolled the virtues of A Hard Day’s Night, we worked with an older guy named Paul who’d seen The Beatles live – TWICE! He saw them in San Francisco at The Cow Palace in 1965, and at their LAST CONCERT EVER51, at Candlestick Park. Of course I spent hours talking Beatles with him when I should have been running lab experiments, and he even showed me his Candlestick Park Beatles ticket stub. Anyway, he told me “You Can’t Do That” was always he and his friends’ favorite Beatles song – because of the super-cool guitar riff that Harrison and Lennon play. I love the riff, too. And listen to Paul’s awesome, twirling bass line! (The guitars and bass really come alive on headphones.) I also really dig Ringo’s drums – and his trusty cowbell. The harmonies are sweet (“gree-eeen”) on John’s tough-guy lyrics. But what I really love is the ending, as the band slows things down and then gently slides up to that final note. It’s subtle things like this that set The Beatles apart: a throwaway album track that was cut from the film, yet they can’t help but add some artistry to it.
The album closes with a promise from the band: “I’ll Be Back.”
The harmonies, on rather-stalkerish-but-of-the-era lyrics, are fabulous, Harrison’s acoustic guitar riff is lovely, the syncopated strumming behind the verses is cool, and it’s got a shifting time signature, throwing in a 2/4 measure after the “oh, oh”s (0:40). Then it has a really weird, rather sudden fade out. Not to get too interpretive, but considering the song’s title, it’s almost like they’re saying, “don’t worry, we’ll be back … we wouldn’t leave you hanging like that!”
And return they did, the following year, with another movie, and another soundtrack. There was nothing this band couldn’t do. I don’t know why I didn’t get into this album earlier, since it sort of harkens back to the TV days of my youth. A Hard Day’s Night shows The Beatles were almost as talented as Bugs Bunny! (Almost.)
TRACK LISTING: “A Hard Day’s Night” “I Should Have Known Better” “If I Fell” “I’m Happy Just to Dance with You” “And I Love Her” “Tell Me Why” “Can’t Buy Me Love” “Any Time at All” “I’ll Cry Instead” “Things We Said Today” “When I Get Home” “You Can’t Do That” “I’ll Be Back”
Sgt. Pepper’s Lonely Hearts Club Band 1967, Apple Records. Producer: George Martin. Purchased CD, Approx. 1992.
IN A NUTSHELL: Sgt. Pepper’s Lonely Hearts Club Band is an album that is inescapable in rock, a cultural touchstone truly unlike any other. Its importance as a work of art has probably overshadowed the actual songs on the record, which are diverse and strange and layered with studio effects and tricks. It can be hard to get past the sheer brilliance of the production, but if you can, I think you’ll find that the songs themselves are actually very good, too! Some call it the best ever – but for me it’s middle-of-the-pack Beatles.
NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
~ ~ ~ ~ ~
I will try to write this first section with a minimum of creepiness. I’m nearly 53 years old, so there’s a possibility this story sounds really gross. If it ends up sounding gross I’ll trash the whole thing. But assuming I can make it through, I want to immediately acknowledge three things I intend to discuss: 1) I was once a teenager attracted to teenaged girls; 2) my friends and I had ignorant, immature and inappropriate discussions about teenaged girls; and 3) I can recall both numbers 1 and 2.
But I intend to not be creepy. Let’s give it a try.
I entered high school in the fall of 1981, 14 years old and awkward and chubby and unsure of myself. Upon arrival, I was struck (as were my friends) by the fact that the senior girls around us were unlike any girls with whom we’d ever shared a school. I’m sure freshman girls noticed the same thing about the older boys. There were now students in our midst that looked more like attractive adults than any students we’d ever seen before.
As a younger student, I remember being enamored of some schoolmates. At Ebenezer Elementary School from kindergarten (Angie L.) through fifth grade (Juli Z.). At Cedar Crest Middle School from sixth through eighth grades (Jana C.). These crushes were very sweet, in retrospect, and never reciprocated. They were based mostly on the fact that these girls had cute faces and they laughed at my jokes. If there was any sort of physical attraction beyond a pretty face, I have no memory of it. Getting a laugh was the main thing.
However, at high school there were suddenly girls in the hallways walking to class who looked more like women – attractive women like I’d seen in movies or on TV – than girls. My friends and I had never been around so many people like this. Senior girls became a regular topic of conversation at my lunch table that freshman year. Sharon, Kathy, Pam, Lisa, Kelly … we discussed these popular seniors as if they were Hollywood celebrities. From our vantage as ninth grade nerds trying to get through the day unnoticed and unbeaten, they seemed just as remote.
My freshman year was also the first semester at school for a young, male art teacher. I don’t remember his name, but he had long (for a 1981 teacher) wavy hair and wore preppy clothes, like those woolen ties with a square bottom that I only saw on rich people and, once in a while, Detective Arthur Dietrich. It was also the only semester that art teacher was at the school, as a few months into the school year he was no longer employed there. Word soon got around the students that the reason he was gone was because he’d asked one of those popular senior girls, Kathy, out on a date. Even in 1981 this was frowned upon.
This situation, of course, was THE HOT TOPIC at our lunch table for several days, perhaps a week. We were all newly-arrived 14 year olds with varying levels of dating experience – ranging from “too scared to ever think of asking out a girl” to “have thought about it and rejected the idea as too scary,” plus one guy who claimed to have actually been intimate with several girls, but who everyone knew was a bullshitter. The question we aimed to resolve at these daily summits was this: “Was an opportunity to date Kathy worth giving up a job, and possibly a career, and perhaps even an arrest and criminal record?” In other words, did Mr. Wavy-hair Art Teacher make the right choice in asking Kathy on a date?
After considerable discussion, the consensus among the group of us five or six boys was this: he made the right choice. It was probably worth it.
Of course, now, as an adult with experience and an understanding of power dynamics and the patriarchal system that continues to cause inequities in our society, along with a clear understanding of professional boundaries and criminal law, I recognize that this was a ridiculous position for us to take. Still, in my memory (I’ve retold this story countless times), the Kathy character in this vignette is a goddess, an angel, a pure distillation of feminine beauty such that I, as a youth, believed men should risk everything just for an opportunity to share a slice of pizza with her at Special Pizza City.
My sister, Liz, was also a senior that year, and she was an average kid with lots of friends. She knew, and had classes with, the popular girls, Kathy and Sharon and Pam and all the others. But she and her friends were not part of that crowd. Recently I got to hang out with Liz, and talk turned, as it often does, to our high school years. We looked through her senior yearbook, and I recounted the above story. As we flipped through and looked at all the kids, I noticed something. Kathy didn’t really seem like the unbelievable beauty I’d always remembered. She was a cute kid, but there were lots of cute kids in the book.
Clearly my friends and I were swayed by the idea of Kathy as much as the actual appearance of Kathy. We’d been shaken by our entrance that fall into an arena unlike anything we’d ever experienced. We were overwhelmed by it, and it put us off balance. And all these names of senior girls became images in our heads that didn’t even have a basis in reality. Before I went back and looked at that yearbook, I couldn’t even conjure an image of any of them in my head. I knew that Sharon was tall and blonde and Kathy was shorter with brown hair. The others were only names. “Really?” I thought. “What was all the fuss about?”
It’s really good! There’s no denying that the songs are great. But the production – especially considering the technology available in 1967 – is truly astounding. The band’s instruments don’t take center stage (well, McCartney’s bass often does), but instead the recording studio does. That was a novel idea in 1967, and people were blown away by it. I was blown away by it when I first heard it – a feeling not unlike being a 14-year-old entering high school and seeing attractive young men and women roaming the halls. It’s a feeling that can skew one’s perceptions. Now that I’m older I can reflect on the situation, take a fresh listen, and conclude … “It’s a really good album.” I don’t think it’s the best album ever. It doesn’t even crack my Beatles Top Five. But it’s damned good.
I first heard the opening pair of Sgt. Pepper’s tracks on my oldest sister Anne’s 8-track of 1967-1970, often called “The Blue Album.” It was a 1973 greatest-hits compilation released with 1962-1966, or “The Red Album,” and both were quite popular. I was probably 10, and hearing the audience sounds, I thought the title track was recorded live. I tried to imagine what the band was doing on-stage during the horn interlude, beginning at 0:44 on “Sgt. Pepper’s,” that was making the audience laugh so heartily.
I’ll say up front that one of the reasons the album isn’t higher on my list is because there’s not enough guitar on it. However, the guitar on this song, particularly in the first 0:20, is actually pretty cool. It’s McCartney playing lead, with George adding cool rhythm chords underneath, and on headphones you can hear them dueling throughout the whole song52. It’s a great intro to the concept album53, with great vocals, and it leads into one of my favorite Beatles’ songs ever.
“With a Little Help From my Friends” is a perfect Lennon/McCartney song for Ringo to sing54, and he sings it (as Billy Shears!) perfectly. Paul’s bass is front and center, with its swooping ranginess. The band’s harmonies, and call-and-response vocals, perfectly support Starr’s limited range, and really make the lyrics, about the precious value of friendship, come alive. Harrison gets a few opportunities to throw in some signature guitar riffs, but throughout the album, there are fewer and fewer opportunities for him. After this song, the album becomes very studio-focused.
One song on which Harrison’s guitar gets to shine is the terrific “Getting Better.”
It shines in the way George’s playing always does – with subtlety, and warranting repeated listens to fully appreciate it. His ringing chords throughout the chorus make the song. It’s a Paul song, but John famously contributed the “couldn’t get no worse” lyrics. It’s a fun piece, and my favorite of the three McCartney tracks that have always run together a bit in my mind. “Fixing a Hole,” although a music-hall song instead of a rock song, also features Harrison’s guitar genius, for example, from 0:38 to 1:00 and his solo beginning at 1:16. The lyrics are definitely upbeat-Paul. Which is different from the next song, “She’s Leaving Home,” which features maudlin-Paul lyrics.
“She’s Leaving Home” is a lovely song, but it’s one that I’ve liked less and less over the years. I’ve grown tired of the song’s lush orchestration, which may have been the inspiration for Phil Spector’s overdone Let It Be production. When I first heard the album I was impressed by this style of song coming from a rock band. In the same way, I was very impressed by Lennon’s “Being for the Benefit of Mr. Kite!,” a show-tune style of song about a Victorian acrobat, of sorts, with impressive studio tricks and sounds. I liked the song because it was unexpected and represented what I thought the album represented. It’s sort of how I was impressed by those senior girls when I was a freshman.
The song on Sgt. Pepper’s that is the equivalent of an overlooked student – someone with different hair and different clothes that, back in the day, my friends and I thought was just a weirdo – but who, in viewing a yearbook 40 years later might have caused me to ask “why didn’t I know this cute person?” is Harrison’s “Within You, Without You.”
For many years I’d skip over this song. Then, at some point in the past 20 years or so, I began to allow myself to be enveloped by its strange (to my ears) sounds and insightful lyrics and now it might be my favorite on the record. It’s actually got a great melody that sticks in my head, and the line “life goes on/ within you/ and without you” is a stroke of genius, and a timeless lesson that has helped me greatly in dealing with all the ups and downs of being a human. I no longer skip the song, I look forward to its strangeness.
Which isn’t to say I don’t also love the timelessness of a great Western pop song like McCartney’s “When I’m Sixty-Four,” a song which would have been a hit at any time since about 1840.
This is one of my earliest favorite Beatles’ songs56. I grew up hearing (and enjoying) my mom’s show-tunes and my dad’s brass music, and this song sounds like an incorporation of both of those styles. It’s true that, as John Lennon described it, it is “Granny Music,” and the part of me that loves The New York Dolls and Sonic Youth HATES this song. But it’s so catchy, and has sweet lyrics that get better as I approach 64 years old. And with Paul’s melodic bass once again front-and-center, carrying the piece, it’s hard for me not to love it.
I love all the songs on Sgt. Pepper’s Lonely Hearts Club Band, and by pointing out some that I’m less-enthused about than others, I don’t mean to denigrate the entire album. Whenever the album is in the news, typically on -0 and -5 anniversaries of its release, there are many pieces written that go out of their way to say the album is garbage. I’m all for people expressing dislike for popular artists based on their own tastes (I’ve written before that I just don’t get the appeal of Bob Dylan) but sometimes people just want to stir shit up. I’m not saying I dislike songs like “Lovely Rita” and “Good Morning Good Morning,” they’re just not strong favorites of mine.
“Lovely Rita” has great bass (of course), cool harmony vocals throughout and a catchy piano solo, played by producer George Martin. It’s about a meter maid, a real one57 who gave Paul a parking ticket at Abbey Road Studios. My favorite part is the end, after 2:10, with all its weird sounds and voices. “Good Morning Good Morning” has an awesome guitar solo played by McCartney at 1:17, and strange time signature changes. A brass band backs Lennon on lyrics about a day in the life … It also features cool animal sounds at the end, each animal capable of frightening the preceding one.
It’s a true Lennon/McCartney collaboration, each of them bringing the best of their talents to the song and combining them into a masterpiece. John mostly wrote the beginning and end, and Paul mostly wrote the middle. I haven’t mentioned Ringo much yet, but he really shines on this song, heightening the tension in Lennon’s sections with his fills and rolls. He plays like an orchestral percussionist. The crazy orchestra crescendo after Lennon’s section (1:45) is thrilling, especially as it explodes into Paul’s jaunty wakeup section (2:16). The transition back to John, at 2:49, with its dreamlike sounds, is perfect, and once again Ringo is brilliant on John’s final verse. The crazy orchestral crescendo occurs again58 leading to that epic piano note – four Beatles on four pianos all playing the same chord. Astounding. And be sure to stick around for 5:11, where nonsense gibberish and a pitch only dogs can hear await!
Sgt. Pepper’s Lonely Hearts Club Band is an album unlike any other. It stands out in a line of popular musical development, a touchstone for Western civilization. But don’t let that fact overwhelm you. There are many other pretty faces in the crowd, and just because everyone tells you who the best are, you should decide for yourself which ones are the superstars.
TRACK LISTING: “Sgt. Pepper’s Lonely Hearts Club Band” “With a Little Help from My Friends” “Lucy in the Sky with Diamonds” “Getting Better” “Fixing a Hole” “She’s Leaving Home” “Being for the Benefit of Mr. Kite!” “Within You Without You” “When I’m Sixty-Four” “Lovely Rita” “Good Morning Good Morning” “Sgt. Pepper’s Lonely Hearts Club Band (Reprise)” “A Day in the Life”
Please Please Me 1963, Parlophone. Producer: George Martin. Purchased CD, Approx. 1995.
IN A NUTSHELL: Please Please Me is an album as old as most grandparents, yet it still delivers songs that sound exciting and fresh. The vocals of Lennon and McCartney are particularly fine throughout the album. The terrific guitar and drums from Harrison and Starr are buried a bit, due to the recording technology of the time, but if you listen closely you’ll love what you hear.
NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
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I grew up in the 1970s in a family without much money. We weren’t super-poor, but raising three kids on a machinist’s wages, supplemented by my mom’s work as a lunch lady, meant my parents had to be conscious of every penny. We didn’t dress in the best clothing – we got the Hill’s Department Store versions. We didn’t drive a new car – we tooled around in a peacock blue 1962 Ford Fairlane, complete with tail fins. We didn’t own gadgets or the latest cool stuff – although my dad did get a Texas Instruments calculator around 1977, and it was probably the most expensive item my parents bought that year.
Because money was tight, the most important feature of anything we owned was that it was DURABLE. Sure, my dad could fix almost anything, and my mom repaired, and resized, hand-me-down clothing with ease. But to them there was nothing better than a decades-old product still working like the day it was produced. We owned a television from the 60s, an ice cream maker from the 50s, and a movie projector from the 40s. And our washing machine was like something out of a museum.
It was a wringer washer, and you had to fill it with water using a hose. Then it agitated for a while. When it was done washing you pushed the wet, soapy clothes through THE WRINGER, two rubber rolling-pins that squeezed out the suds and water. Well – some of the suds. You had to next dunk the clothes in tubs of water and push them through the wringer another couple times to get all the soap and water out of the clothes. Then they were ready to be hung to dry on the clothesline. It was a clothes-washing process that was probably easier than it had been in the 1920s, but by 1970s standards it was archaic.
All that filling of tubs and moving clothes by hand and shoving sopping wet fabrics through rubber rollers … it was time-consuming. Sometimes, particularly in the winter, when our unheated garage wasn’t conducive to grappling with soaking clothing, my mom would just take our dirty laundry to the nearby laundromat59. Still, the idea of getting a new washing machine just made no sense. Why save a little time and energy when we had a perfectly good, 30-year-old model out in the garage? If something worked, it worked. If something was good, it was good – no matter how old it was.
The Beatles’ first LP, Please Please Me, is nearly 60 years old and it is still working, and still good, durable enough to satisfy my mom and dad. The idea that an album from 57 years ago is still listenable, let alone recognizable as an excellent rock record, is rather unbelievable. To put it in perspective, this would be the equivalent of the 1977 me, out in the garage helping mom push wet clothes through the wringer, listening to, say, Al Jolson’s 1920 smash “Swanee” and enjoying it just as much as the contemporary Emotions song “Best of My Love.” This scenario is extremely unlikely – and not only because I never helped with the laundry.
I’ve mentioned several times while writing about The Beatles that I’m not going to go into much detail about the band’s story – their history, their cultural impact, etc. Far better writers than me have done far more extensive research, and I recommend you read them. But it is worth noting here that the persistence of Please Please Me as a viable listening product is evidence of how much The Beatles helped change Western music. As I write this, the Number 1 song in America is “Circles,” by Post Malone, and it has noticeable guitar, a bass line, a strong back-beat and melody. It’s not too dissimilar from, say, “Do You Want to Know a Secret.” Sure, it’s more modern and the production is different. But the two songs aren’t nearly as different from one another as “Swanee” and “Best of My Love.”
Clearly this rock/pop music throughline from 1963 to 2020 isn’t entirely and directly related to The Beatles. Still, they released Please Please Me nearly 60 years ago and, while it sounds a bit dated, it remains a collection of songs as listenable and enjoyable today as the day it was released. Perhaps no 57-year-old recording has ever sounded as good the album opener, “I Saw Her Standing There.”
The most astounding thing about this song, and the entire album, is that it was recorded live60. Producer George Martin has said that it was basically a recording of their stage show, “a broadcast, more or less.” Paul’s bass line is front and center, and perfect. George’s guitar sounds best on headphones, where you can clearly hear all his work under the vocals, as at 1:00, and after his solo, at 1:36. Paul sings lyrics that, even though they are sung by an adult, aren’t as cringey as they might seem. The song is in past-tense, so he’s remembering himself as 17 with a girl who “was just 17.” John’s harmonies are terrific, and I love Ringo’s fills to lead the group into each chorus. It remains one of my favorite Beatle songs ever.
“Misery” is a fun pop song, catchy and simple, about the downside of love. There’s a cool opening chord, and the band’s voices sound a bit watery and distant, which somehow adds to the sound, as does George Martin’s plunking on the piano. “Chains” is quite similar, with the same lyrical theme, and John’s harmonica taking the place of piano. The band was wild about 60’s girl-groups, and this song was originally done by The Cookies. Paul’s bass, once again, carries the song – although Harrison’s guitar work is subtly very cool.
Among the band’s many early cover songs, one of my favorites is “Anna,” an old song by Arthur Alexander.
It’s a song that really lends itself to headphones61. Once again, the watery vocal sound (probably due to the recording technology of the era) adds to the power of John’s vocal performance about yet another girl who’s left him. This is a Harrison song – a song on which, as a listener, I just want to focus on his guitar. He plays a weird chord, just before the third beat of every other measure in the verse, and once again sounds cool without dominating. The band’s “Anna” vocals are spooky, and their “ahhh”s behind the chorus and bridge are thrilling. Ringo, also, has some cool fills entering and throughout the bridge.
Ringo really gets to shine on the stomper “Boys,” on which he also sings lead.
This is a wild early-60s song, with Ringo admirably shouting the vocals while he plays fills and keeps a beat. And his drumming behind Harrison’s guitar solo, beginning at 1:05, is outstanding. The Beatles really seem to be having fun singing and playing another girl-group hit, originally done by The Shirelles. And even though Ringo sings about “boys,” the band never worried about the implications. According to Paul, it was just a fun song to play, and a crowd favorite. Please Please Me includes another Shirelles hit, “Baby It’s You.” John’s vocal is warm and inviting on this love song, and really makes the song – along with Paul and George’s backing vocals.
As great as many of the covers sound (except for “A Taste of Honey,” probably my least-favorite Beatles’ track ever, and I’ll just leave it at that), it’s the Beatle originals that make the album such a favorite. The title track, for example, is just so much fun.
“Please Please Me” features great vocal harmonies, John and Paul pleading for a little more from love. The harmonica sound dates the song a bit, but one thing that’s not dated is Ringo’s drumming. His fills between verses and choruses, and during the “Come on, come on” build-up, and in the bridge are outstanding. Ringo didn’t play on all the songs – producer George Martin was unhappy with his playing on “Love Me Do,” so Andy White played62 on this simple ditty. This song is okay, but has a bit too much harmonica for my taste. The vocal harmonies are once again brilliant, however.
White also drummed on “P.S. I Love You,” a nice little cha-cha song, with lyrics in the form of a letter. Paul nails the vocals, as he always does. Both John and Paul nail the vocals on the tricky “There’s a Place,” another love song. It’s got many chord changes, and I love what Harrison does with them, sometimes playing staccato chords, sometimes single notes.
I particularly like Harrison’s guitar in the popular “Do You Want to Know a Secret.”
He plays a nice figure at 0:14 to introduce it, then a cool arpeggiated chord on the “I’m in love with you” in each chorus. The background “Do da do” vocals are catchy and the whole song is fun. John’s voice is great, as it is on the showtune-y “Ask Me Why,” a love song I used to always think was a cover. Ringo does a nice cha-cha63, and Paul and George are great on the “woo-woo”s and “I-I”s throughout. It’s another fine original.
And as great as their originals are, it’s a cover song that became one of their most popular songs some 60 years after its release. “Twist and Shout” was a mid-tempo groove when it was made famous by The Isley Brothers. The Beatles revved it up64, John blew out his voice, and now it’s one of the band’s most-streamed songs.
Ringo’s drums are great, Paul’s bass is great, George’s guitar is great … but Lennon’s screams are what make the song. There’s a massive energy to the song. When the band builds the song on the multi-voiced “Aah,” at 1:25 and the end, it still sounds exciting today, decades later. (This excitement got the song prominently placed in two 80s film classics: Ferris Bueller’s Day Off and Back to School.) It’s nominally a song about a dance, but who really cares about the lyrics? It’s a song that has truly stood the test of time.
Just like that old washing machine my mom had.
TRACK LISTING: “I Saw Her Standing There” “Misery” “Anna (Go to Him)” “Chains” “Boys” “Ask Me Why” “Please Please Me” “Love Me Do” “P.S. I Love You” “Baby It’s You” “Do You Want to Know a Secret” “A Taste of Honey” “There’s a Place” “Twist and Shout”
The band’s catalogue is now so well-known due to streaming services that it’s a bit weird to think that there were “deep tracks” at one point.
Beach Boy Mike Love was with Paul in India when the song was being written, and he claims to have suggested the rundown of U.S.S.R.-type girls, ala The Beach Boys’ classic “California Girls.”
I’ve probably written that about 12 different songs by now, so please don’t hold me to it!
Except for the version my daughter sang to me and my wife at our 50th birthday party!
I gotta go on record, too, to say that I think Prince’s famous solo on the song at the Rock and Roll Hall of Fame is excellent. It’s a different style than Clapton’s, and almost says “enough with the weeping!” but I love it.
The same night Rick bizarrely offered two diametrically opposed opinions of McCartney.
Although John, apparently, loved the song and was quite hurt that Paul hadn’t invited him to help on the recording.
I can hear a TV exec now: “See – Beatle, with an ‘e-a.’ And Monkee, with an ‘e-e.’ The kids love this stuff!”
Other Beatle-inspired TV creations include The Mosquitos, a band that somehow visited Gilligan’s Island, and The Banana Splits, a group of animals that somehow learned to play instruments. And talk and sing.
I have fond memories of Dr. Dave strumming and singing this song at a party, and dozens of folks singing along!
The guy I worked with who saw The Beatles live (twice) said the first time his mom heard “I Feel Fine,” a Beatles single that opens with feedback very similar in sound to this buzz, she pulled off the highway in traffic because she thought her car was breaking!
As I’ve said before, there are great books that go into detail about the Beatles’ recordings. You should read them – especially how the band and George Martin got a bunch of stodgy classical musicians to improvise on this track by giving them just a low note and a high note!
Which was next to a great hill for sledding, so there were a few winter evenings when I couldn’t wait to go to the laundromat with her!
Well, basically. There were a handful of overdubs.
I’m listening to the stereo remaster, by the way.
Myself, I can’t tell much difference between White’s drumming and Ringo’s drumming.