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Post by Mighty Jack on Oct 13, 2009 1:46:53 GMT -5
It has been an all Beatles banquet in my universe since 9/9/09 – I thought it might be fun to try and come up with a list of my favorite songs (excising the covers) Why not a top 100? That would be too hard (to write), as well as too easy on me. 50 made me sweat a little and contemplate the variables. Why 51? Because I’m a forgetful cuss, as you will soon read. Feel free to add your thoughts, swear at me for my idiocy or simply contribute or your own top 10-20s etc if you wish. The first 11: 51. Here, There and EverywhereTo quote its Wiki: “The song is known for its bittersweet tune, harmonic scheme, and subtle arrangement. The cheerful melody of the verses is counteracted by the more haunting minor modes of the bridge”. Not only that but John said it was his favorite song on Revolver. 50. No ReplyNice lyrical content, an interesting verse/bridge structure. There no real chorus, only the refrain “No Reply” – Though Beatles For Sale had its rough spots, this got the LP off to a grand start, 49. Baby You’re A Rich ManA John/Paul mash up – Lennon had the verses for a tune titled “One of the Beautiful People”, while Paul was carrying around a chorus in need of a home. Like peanut butter and chocolate they combined to make one tasty treat. Cool bass and a nice musical mix, including that unusual sounding clavioline. 48. I Feel FineIt opens with Paul’s high ”A” harmonic which gives way to the first recorded bit of feedback on a rock record (accomplished with Lennon’s semi-acoustic Gibson) – John’s guitar riff was inspired by Bobby Parker’s “Watch Your Step” and George picks away on it with his Gretsch Tennessean making it one of many Beatles numbers highlighted by a cool riff. 47. She Said, She SaidStrangely, it was George and John who often worked together closely on Revolver. Lennon had some song fragments and Harrison put the puzzle pieces together to create this acid trip rocker. Paul didn’t appear on the recording at all, that’s Harrison playing bass. I like the off tempo chorus, it threw me off my guard and surprised me. 46. Run For Your LifeJohn often told people that he hated this song, to which most replied with a… “I LOVE that track!” (It was George’s fav number on Rubber Soul) I dig it too; it’s a catchy folk rocker with dark lyrics that would fit snuggly on a mix tape comprised of this, “Delia’s Gone”, “Hey Joe” and for the female perspective, the Dixie Chicks "Earl" song. 45. While My Guitar Gently WeepsSo I did my list and had it all set and ready to go… when I realized that I never wrote anything about this George Harrison number. A quick search showed that I’d forgotten to add it though I fully intended too. Instead of a rewrite, I made this a top #51. Which was better than cutting a track. I love this song as it is on The White Album, but it becomes even more powerful and haunting with George Martin’s orchestration on the Love CD. On a personal note: This version of the song always calls to mind a certain woman I knew and sense of melancholy. I remember sitting -with my guitar- on the floor of her dark, candlelit bedroom, and watching her slowly sway with eyes closed as this song played. The music became a poignant soundtrack to our ill-fated relationship… I marvel at how music can transcend its origins, and speak on different levels to different listeners across the globe. 44. We Can Work It OutPaul and John work together to make one classic number. Illustrates the 2 sides of each personality at the time. Cynical John’s bridge (Life is very hard) and optimistic Paul (We can work it out), nice use of harmonium, the waltz tempo was suggested by Harrison. 43. RevolutionThere are so many versions of this political song - John preferred the slow, but I like this roaring rock take. My favorite is the semi-live version you can see & hear on the Anthology DVD, I like the extra backing vox and Paul joining John on that opening scream. Revolution done, almost live!42. Dr. RobertOne of the rare times I didn’t care for Paul’s bass work (I think the song actually would have suited John Entwistles rapid style finger picking better) but the rest of the number is top notch and Paul did have a hand in helping John finish writing it. Biting lyrics and country groove on the lead guitar all make for a winning track. 41. I Should Have Known BetterThis simple song is straightforward fun. It’s not a work of art but every time it comes on and I hear that distinct harmonica, I start rocking in my chair. Plus it fit so beautifully in the train sequence in the movie “A Hard Days Night”. George introduces his new Rickenbacker 360/12 12-string guitar on this recording.
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Post by Captain Hygiene on Oct 13, 2009 8:23:31 GMT -5
Awesome, I'll look forward to reading this, and I've already learned more than I ever knew about "She Said She Said" (and Revolver, for that matter). I'd put together a list, but it would probably just be the tracklists from Abbey Road, Magical Mystery Tour, and 3/4 of The White Album. ;D
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Post by quinnmartin on Oct 13, 2009 13:35:44 GMT -5
Nice work. I didn't know that was George on bass on "She Said She Said". The guitar tone on that song is just unbelievable.
Regarding "Run For Your Life", I don't think it's neccessarily a bad song, but it does seem very out of place on the UK version of Rubber Soul. There's a sophistication that record has, and it's jarring to hear the final track be a straight-forward folk rocker that sounds like it's an outtake from Beatles for Sale.
To my ears, it sounds like a tossed of "Ringo" tune like "What Goes On". Especially when it follows the sublime "If I Needed Someone".
But I would expect it to fit in much better on the US version, so I can see where you're coming from.
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Post by quinnmartin on Oct 13, 2009 16:34:53 GMT -5
I don't have a top 51, but here's a Top 9 Favourite "Original" Beatles songs...
9. Tomorrow Never Knows (Revolver) Very simple song (most of it is one chord, I believe), with a very complex track. Uses a series of tape loops recorded at home by McCartney, and John's vocals are run through a Leslie speaker cab.
8. Norwegian Wood (Rubber Soul) Lennon in his Dylan phase, with a great melody and a cool sitar riff.
7. Paperback Writer (single) The A-side of IMO the greatest 45 ever released. Recorded during the Revolver sessions. Features a killer guitar riff and an acapella vocal intro. There's a great clip of them performing this live in Japan near the end of their touring days in one of the Anthology episodes. It's pretty brutal.
6. She Said She Said (Revolver) Legend has it that this was based on a conversation Lennon had with Peter Fonda. Whipped up at the last minute, when they found they were a song short at the end of the Revolver sessions. The intro is one of my favorites, and the guitars sound amazing throughout.
5. A Day in the Life (Sgt. Peppers) Everyone knows this one. The cold slap of real life at the end of the escapist Sgt Pepper's LP. Essentially two songs stuck together, the main verses/refrain are John's and the middle-8th is Paul's.
4. Strawberry Fields Forever (single) One side of a double A-side 45 released to tide the fans over until Sgt. Peppers was complete. Probably the best song John ever wrote, IMO.
3. She Loves You (single) An explosion of energy. Supposedly was recorded after a group of fans broke into EMI studios and ran through the halls in search of the band. Classic ending on a major 6th chord.
2. Rain (single) The b-side of "Paperback Writer". The rhythm track is exceptional, with Paul laying down what's essentially a "lead" bassline and Ringo giving the performance of his career.
1. Penny Lane (single) The flip-side of "Strawberry Fields Forever". Just a perfect pop song, highlighted by the gorgeous vocals on the last chorus. Paul's never been one for great lyrics, but these are a perfectly sureal slice of everyday life that Ray Davies himself would be proud of.
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Post by Captain Hygiene on Oct 13, 2009 19:12:47 GMT -5
I think the Strawberry Fields/Penny Lane is the best single - incredible to see how different the two takes on childhood memories are. I think Sgt. Pepper was really crippled by not including these two songs. The Paperback Writer/Rain single, is just a bit behind it, in my opinion.
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Post by quinnmartin on Oct 13, 2009 21:20:01 GMT -5
I think the Strawberry Fields/Penny Lane is the best single - incredible to see how different the two takes on childhood memories are. I think Sgt. Pepper was really crippled by not including these two songs. The Paperback Writer/Rain single, is just a bit behind it, in my opinion. I'd put "Strawberry Fields"/"Penny Lane" 2nd in terms of their singles, but I agree that it's very close. Those two are clearly my two favorite. What songs would you take off Pepper if you included those? On my "alt-Sgt Peppers" iPod playlist, I replace "Mr Kite" and "When I'm 64" with those two. Though the fact that those two songs exist as individual entities, instead of an album track like "A Day in the Life", does make them a bit more special I think. Plus, they're so great, that it's a bit jarring to hear them in the context of the rest of the record. It almost diminishes the rest of the tracks. "A Day in the Life" is also head and shoulders above the rest of the songs on Pepper, but it works because it's the last track, after the "finale" that is the "Sgt. Pepper's (Reprise)" and kind of exists as a unique entity. Kind of like an encore in a live show.
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Post by Mr. Atari on Oct 13, 2009 22:32:35 GMT -5
Great. Another fun idea from MJ that I want to steal. I love these threads because you put so much time and thought into them.
So far, I'm intrigued by the fact that the songs mentioned (also by quinn) from Revolver and Rubber Soul are my least favorite from those albums. Now I have to go back and see what I'd put in my top 20 list.
Well done.
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Post by Mighty Jack on Oct 14, 2009 0:51:57 GMT -5
Thanks everyone, appreciate the comments. 40. It’s All Too MuchHarrison’s own “Tomorrow Never Knows” – though not as apocalyptic in scope, there is this epic feel to it with buzzing feedback, soaring trumpets and Ringo’s big beat at its heart. John and George both played lead guitar and that’s Harrison on the Hammond organ. 39. I’ll Get YouA surprising entry? One guy on a Beatles forum gave me such a hard time for liking this number. He pointed out every detailed flaw and weak point. What can I say? I love the catchy melody, the harmonica and chorus. I like listening to it and that’s all that matters. This was originally going to be an A side, but when they wrote “She Loves You” it was tossed to the B. It features most of the classic instruments, John’s 1958 Rickenbacker 358 guitar, the Hohner harmonica, Paul’s Hofner. George would play a variety of guitars and here he was using his Gretsch 6122 "Country Gentleman”. Mostly a Lennon, with McCartney writing the bridge. The chord change from G to E9 on that bridge was inspired by Joan Baez' version of "All My Trials." 38. Dear PrudenceMight be considered another surprise entry but I love this track. The voice, melody & guitar work – all linger long after its over. The song features drop D tuning (used by hard rockers for that cool 'power chord' sound); Ringo had briefly quit the group so that’s Paul playing drums (as he would do on Back in the USSR) Mia Farrow’s sister Prudence in India - she was the inspiration for the song37. From Me To YouThis and “Please, Please Me” on a Vee-Jay single were my first experiences with the Beatles. This simple blues flavored rocker will always be special to me. A true collaboration, it was the last record to be credited to “McCartney/Lennon” (thereafter John’s name would always come first). Paul was a master of writing bridges and he shows off this special talent nicely on this piece. 36. If I FellJohn shows his sensitive side and the need to be loved unconditionally (without the pain of loss or betrayal). I like the pretty harmonies and the stair step chord progression. This was Kurt Cobain’s fav Beatles song. To quote its Wiki… The song is notable for its unusual structure, which includes an unrepeated introductory section (introduced as an afterthought as of take 11) followed by sequential verse sections, each having a slightly expanded form, but with no obvious chorus or bridge section. The song also features a two-part harmony, sung by Lennon and McCartney together into a single microphone at their suggestion, and intricate chord changes. The key changes from D flat major to D major between the introduction (a series of descending barre chords) and the main song, which uses mainly open chords, including an unusual D ninth.35. GirlSmooth folk ballad, shows off lyrical growth and variety - but the guys also keep it light with that sharp intake of breath (something which made them giggle when they wrote and recorded it). Solid acoustic guitar work offers up a Greek flavor. This was the last song recorded for the Rubber Soul album - though it was John’s idea, both he and Paul collaborated closely on the piece. 34. I’m Looking Through YouPaul did 2 versions of this song. The one that was used on Rubber Soul is more straight ahead, up-tempo folk rocker than its groovy mod counterpart (found on Anthology). But both are highlighted by a catchy melody sung nicely by Macca. Also: Paul didn’t use his classic Hofner bass, but rather did this recording with a 1964 Rickenbacker 4001s. This was one of 3 songs about girlfriend Jane Asher (along with We Can Work It Out and You Wont See me). He wrote it at her parent’s house! Those ‘knee slaps’ are actually Ringo tapping on a box of matches. Ringo also plays the organ - 2 chords at the end of every verse. 33. I’m A LoserAnother folksy tune. John wrote on a plane during the Beatles summer 1964 tour – I like how John starts off high then sings down to the lower registers (a low G note that Lennon would frequent on other numbers). A good one lyrically, though it concerns lost love, strangely, Lennon said that the song reflected on a wider scale, how he often felt like a loser in life 32. Helter SkelterIt’s loud and nasty, a heavy punch in the teeth that boils with unbridled energy, Paul shouts out his lines with abandon while the guitars scream and surge. Ringo plays so hard his fingers blister (in a famous declaration at the end). This is one of those songs that knocks me on my butt and leaves me drained at the end, There are several version of the song. One, a slower version lasting just over 27 minutes, the other ran 12 minutes (featured on Anthology, but cut to 5 min) A real life Helter Skelter in England31. Hey BulldogWhat a blast! Originally titled Bullfrog, this was one of Lennon’s off the cuff -need a song quick- masterpieces. No, Bulldog isn’t fancy, it’s just a straight out, butt kicking rocker. The steady bass/guitar and piano plugging away, later John and Paul goof off at the end. Though sources contradict themselves, many say that John played the lead guitar. As to Run For Your Life – I can understand why John didn’t care for it, for one he lifted a line from an Elvis song – for another, the subject matter… heck if I’d written it I’d be uncomfortable too. Johnny Cash could get away with singing about Jesus on one track, then killing an unfaithful lover on the next, but it does feel odd coming from someone who wrote so intimately. Mark Hudson at the Beatlesfest I went to in Nashville talked about how John would allow him one Beatles question a day when they worked together - and that was one of them, what song didn’t you like? He also reacted with a… “Oh no, but that’s one of my favorites!” Ha, Ha,
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Post by Captain Hygiene on Oct 14, 2009 8:27:55 GMT -5
What songs would you take off Pepper if you included those? On my "alt-Sgt Peppers" iPod playlist, I replace "Mr Kite" and "When I'm 64" with those two. I'm pretty sure that "When I'm 64" and "Lovely Rita" would have been bumped, and I think that works pretty well. George's droning "Within You Without You" segues pretty well into the darker "Strawberry Fields," which pretty much has to precede the lighter, lush "Penny Lane" in my mind. "When I'm 64" is one of the few tracks that really fits in well with the album's vague theme, but at the same time it's really only notable as a pretty simplistic excursion into an older style. While I like the McCartney songs that do this, this one isn't one of my favorites ("Honey Pie" is). The only other reason to keep it is because of the hilarious change of style from "Within You Without You". "Lovely Rita" is the most throwaway track on here in my opinion - while I like it a lot, it doesn't do a whole lot for the album other than provide some laughs. At least "Mr. Kite" has the bizarro carnival orchestration to make it stand out. Very suprised to see "It's All Too Much". Surprised that it's so low? Me too
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Post by quinnmartin on Oct 14, 2009 8:33:08 GMT -5
Nice to see "Hey Bulldog" on there. Though I'd probably have it a bit higher. Very suprised to see "It's All Too Much".
And I agree 100% on "I'll Get You". Flawed, sure, but still a great song.
"Dear Prudence" a suprise at #38? That seems low to me, actually.
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Post by Mighty Jack on Oct 14, 2009 23:10:34 GMT -5
I hate Paul's vaudeville stuff (especially Honey Pie, lol) so "When I'm 64" would be an easy throw away - but what would I ditch apart from that? I'm not fond of Kite, but it does fit the tone of the album. I guess the better question is what would have been the alternative single? Martin wasn't happy to have left them (Lane/Fields) off the LP but Epstein wanted to release something soon and that's what he had that was good. Considering Lady Madonna had the same vibe, might Martin have tried a Lovey Rita/64 single once the album was complete? And yes, now that I look at it, Prudence should be higher. My Favorite BootlegBad To MeI’ve heard covers by Billy Kramer and craggy voiced Graham Parker, but none of those fuller studio productions surpass John’s simple, raw acetate. Likely recorded as a template for Kramer, it’s just a man and his guitar, double tracked (or is that Paul & George singing BG? I swear I can hear Harrison's distinct voice). “Bad to Me” is a pop trifle -and yet- with the tone of his voice, the way his fingers pick away deftly on the lead notes, I’ve found that I really enjoy this sweet nothing. After Anthology was released, George joked about how there was nothing good left in the vaults, Paul agreed. But I’ve heard several decent boots that were left off, and this heads the pack. now back to the list...30. JuliaAchingly beautiful number is sparse and delicate; John’s tender vocals bleed with quiet emotion. A song about his mother – with elements of Yoko (Ocean child). Inspired lyrically by poet Khalil Gibran, with a picking style showed to him by Donovan (a style known as ‘Travis Picking’, named after legendary somgwriter Merle “Sixteen Tons” Travis). This was the first time John went solo on a Beatles record. 29. Paperback WriterGreat bass and guitar riff – this is primarily Paul’s baby and is one of the bands first steps away from traditional love songs. To quote some interesting recording history… "Paperback Writer" is marked by the boosted bass guitar sound throughout, partly in response to John Lennon demanding to know why the bass on a certain Wilson Pickett record far exceeded the bass on any Beatles records. This changed with the "Paperback Writer" single.
"'Paperback Writer' was the first time the bass sound had been heard in all its excitement," said Beatles' engineer Geoff Emerick in Mark Lewisohn's book The Complete Beatles Recording Sessions. "To get the loud bass sound, Paul played a different bass, a Rickenbacker. Then we boosted it further by using a loudspeaker as a microphone. We positioned it directly in front of the bass speaker and the moving diaphragm of the second speaker made the electric current."[28. In My LifeAn intelligent and sophisticated love song. I always enjoyed the music but it was the lyrics that made this a favorite. Reflecting on life and those who have come and gone (the line about friends dead & living is said to be about Liverpool pals, Stuart Sutcliffe & Pete Shotten). Paul and John don’t agree on who wrote what (as they would also do with Eleanor Rigby), while I hear echoes of McCartney, this has a strong Lennon vibe and I gotta think IML was mostly his work. 27. Penny LaneAt first blush it seems one of Paul’s sugary poppers that don’t always click with me - and yet, this works because of the expert musicianship and Martin’s intelligent production. Lyrically it tells a lively story and as a whole it is so far above everything else he wrote during the Sgt. Pepper’s sessions (For me - Fixing a Hole & Getting Better are mere filler compared to it. When I’m 64 a goofy embarrassment and the lyrically strong She’s Leaving Home is undone by that sappy, soapy string section) It’s too bad that his best work was kept off that album (which is one of several reasons I prefer the Magical Mystery Tour LP as a whole – true album or not). After release of the song, street signs on Penny Lane suddenly started to disappear!26. Norwegian WoodThis is another fun one to play, what with its traveling bass notes anchored by a single chord at the verse, branching out with a few additions at the chorus. Bolstered by John’s folksy vocal and George adding a sitar for the first time. Its lyrical imagery is provocative. Paul wrote the music for the bridge and contributed the “So I lit a fire” line, he also says he came up with the title. Some suggest it was a play on the words, “knowing she would”. Interesting, considering that Lennon is hinting at an affair within the song - But that could also be one of those ‘Beatles fan speculations’ (ala the Paul is dead stuff) 25. Abbey Road MelodyA cheat? If you wish, but I’m sticking with it. Paul’s project starts with “You Never Give Me Your Money” and runs for 16 minutes. The whole is greater than it’s parts – each minor number stitched together to make one grand rock opera. On display is some of the bands best musicianship and vocals – Ringo actually does a drum solo and Paul, George and John trade sharp lead guitar riffs as we reach “The End” -I love at the end of the Abbey Road documentary, the last thing we hear as the “The End” closes is Paul saying in a jokey dramatic manner… “Keep that one, mark it, Fab!” ha, ha, ha – Amen brother McCartney. 24. TaxmanJohn gave a helping hand on writing this classic George Harrison rocker (he advised dropping some lines and contributed the lyric, "Now my advice for those who die / Declare the pennies on your eyes." – he also got Harrison to change the “anybody got a bit o’ money” bit with “Ha Ha Mr Wilson, Ha, Ha Mr. Heath” instead), though strangely the only instrument Lennon plays on the recording is the tambourine (and vocals). George provided lead and rhythm guitars, Paul did the bass (I criticized his play on Dr. Robert - here he shows he is adept at that flash style picking) and laid down a sweet guitar solo for George, who struggled come up with something he liked on his own. Nice acerbic lyrics that show the band continuing its expansion beyond love and relationships. 23. I Want To Hold Your HandAs the years passed Beatle songs took on a distinct flavor - this was a Paul, the other clearly a Lennon. But IWTHYH was simply… a Beatles song. Pure in its enthusiastic vibe, it’s infused with youthful buoyancy and charm. Hook laden from start to finish, this is the fab four, the mop tops, screaming Beatlemania at its peak. Written in Jane Asher’s house, Lennon and McCartney agree that they worked eyeball to eyeball on this number. This was their first song using a 4-track recorder. It was nominated for a record of the year Grammy but lost to “Girl From Ipanima” The Famous painting by Julian22. Lucy in the Sky With DiamondsSpeaking of Sgt Peppers – true confession time. I know it’s a landmark and I celebrate and appreciate it on that level. But based purely on the songs themselves… there are only 2 tracks I absolutely treasure, and this is the first (An aside: I also like “Good Morning, Good Morning” though I am not fond of the heavy horn section. “Lovely Rita” is fun but the remaining numbers are mostly okay). I’m a big fan of Lennon’s psychedelic styling. Musically - Lucy has a straightforward chorus, but the verses are special, sharply written & played. The production is superb and those lyrics are among my favorites. John has a way of guiding me through his surreal wonderland the way a great author can draw me into the characters & situations of a novel. The vivid imagery fascinated me from the first time I heard it and continues to do so to this day. The real life Lucy, who recently passed away21. Here Comes the SunThis is another brilliant number from George on Abbey Road. In truth -for the first time- his pieces were my favorites on a Beatles album. Placing capo on the 7th fret, the gentle acoustic guitars open up the tune, which builds with multiple vocals and instruments as it goes – though it never loses its warmth and becomes bombastic. John was absent on the recording because he was recovering from a recent car crash.
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Post by quinnmartin on Oct 15, 2009 8:29:29 GMT -5
I hate Paul's vaudeville stuff (especially Honey Pie, lol) so "When I'm 64" would be an easy throw away - but what would I ditch apart from that? I'm not fond of Kite, but it does fit the tone of the album. I guess the better question is what would have been the alternative single? Martin wasn't happy to have left them (Lane/Fields) off the LP but Epstein wanted to release something soon and that's what he had that was good. Considering Lady Madonna had the same vibe, might Martin have tried a Lovey Rita/64 single once the album was complete? I think the single had to be Lane/Fields. They only had the three songs at that point ("When I'm 64" was done as well). So the only options would have been to for the band to put their foot down and not release a single at all, or to stick Lane and Fields on the LP even though they'd already been released as a single. I don't know the band actually could have prevented EMI from issuing a single, though. And while from a historical perspective, it would have made the record stronger in terms of songwriting to have those to tracks on it, I think it would have diminished the impact of "Sgt. Peppers" the LP being a single entity, instead of just a collection of tracks, if two of the songs on it were already familiar hit songs. It probably worked out for the best anyway. We got a landmark single in Lane/Fields, and the greatness of Sgt. Peppers was more to do with the sonic's than the songwriting, so "lesser" songs like "Rita" and "Kite" work just fine within the context of the album. I think the best Sgt. Peppers LP would have been... Side A: 1. Sgt. Peppers 2. With a Little Help 3. Lucy 4. Getting Better 5. Fixing a Hole 6. She's Leaving Home Side B: 1. Strawberry Fields 2. Penny Lane 3. Lovey Rita 4. Good Morning 5. Sgt. Peppers Reprise 6. A Day in the Life That would be their best LP, IMO. Though it couldn't compete with a Revolver that included "Paperback Writer" & "Rain". To me the fact that they made two great records in a row - Revolver and Sgt Peppers - with those 4 songs left off tells you all you need to know about how great the Bealtes were. Even most great bands never record a single track a good as those 4. But they probably couldn't have released it without a single George song, so it wouldn't work. I like "Within You, Without You", but it does interrupt the flow of the record and doesn't really belong. Would have been better on Magical Mystery Tour, replacing "Flying". "64" and "Kite" could have been releaed on Yellow Sub.
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Post by quinnmartin on Oct 15, 2009 10:19:53 GMT -5
27. Penny LaneAt first blush it seems one of Paul’s sugary poppers that don’t always click with me - and yet, this works because of the expert musicianship and Martin’s intelligent production. Lyrically it tells a lively story and as a whole it is so far above everything else he wrote during the Sgt. Pepper’s sessions (For me - Fixing a Hole & Getting Better are mere filler compared to it. When I’m 64 a goofy embarrassment and the lyrically strong She’s Leaving Home is undone by that sappy, soapy string section) It’s too bad that his best work was kept off that album (which is one of several reasons I prefer the Magical Mystery Tour LP as a whole – true album or not). I do agree with you that Penny Lane is far superior to any of his songs on the LP, but "Fixing a Hole" is an amazing track IMO. Much deeper lyrics than Paul usually offered up, a strong vocal melody, and that lead guitar tone is SO good. I'd take that one over "Lucy" anyday of the week, but I'm sure I'm in the minority on that one.
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Post by Captain Hygiene on Oct 15, 2009 21:41:28 GMT -5
So how many songs did the Beatles release, anyway? I'm just curious what percentage this 51 is - seems like they must have had quite a few songs, seeing how many albums the group released.
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Post by quinnmartin on Oct 15, 2009 22:02:37 GMT -5
So how many songs did the Beatles release, anyway? I'm just curious what percentage this 51 is - seems like they must have had quite a few songs, seeing how many albums the group released. By my quick count from my iTunes, about 230+, if you count all the individual tracks on side 2 of Abbey Road as seperate songs. Of those 230, about 25 were cover songs.
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