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2022 FBG, 172 to 1 Beatles Countdown 1-25 lists... And 173 to 1 Countdown from 1-64 lists! (2 Viewers)

Getzlaf15 said:
Dear Prudence
2022 Ranking: 34
2022 Lists: 20
2022 Points: 226
Ranked Highest by: Alex(4) @shuke (4) @Westerberg(5) @ProstheticRGK (6) @Pip's Invitation (8) @MAC_32 (9) @prosopis (10) @FairWarning (11) @turnjose7 (15)
2019 Ranking/Lists/Pts: 26/10/149

Getz comments:  15 more points than #35, so we enter a new tier that contains the next five songs separated by 12 points. Slides down eight slots from 2019.


Krista4
My 2019 ranking:  18


2019 write-up:

Dear Prudence (White Album, 1968)

The award for Biggest Jump in the Rankings goes to "Dear Prudence."  This is a song that I used to turn off when it came on; I was convinced that I couldn't stand it.  Would have been in Tier 5 were it not for forcing myself to listen to it over and over, and now it lands in the top 20!  WTG Prudence!

Prudence herself was Mia Farrow's crazy little sister, who was at the Maharishi's ashram at the same time as the lads in 1968.  According to John, Prudence "seemed to go slightly barmy, meditating too long, and couldn't come out of the little hut that we were living in. They selected me and George to try and bring her out because she would trust us. ... She'd been locked in for three weeks and wouldn't come out, trying to reach God quicker than anybody else."  Others described Prudence as being in a near-catatonic state, and the Maharishi provided her a full-time nurse.  While the song didn't lure her out - she didn't hear it until the album was released - Prudence did finally emerge from her state and spend some time with John and George, who told her that the song had been written about her. 

Ringo alert!  This is my highest ranked song with no Ringo, having been recorded while he'd temporarily quit the band.  That's Paul on drums, and, unlike on "Back in the U.S.S.R.," I think Paul acquits himself quite nicely here, especially on the fills and in the last verse when he goes nutso playing every pattern known to man.  Paul also played, in addition to the usual bass, piano and flugelhorn.  Because if you're Paul McCartney and see a flugelhorn lying around, naturally you can play it.  

John puts the finger-picking style he learned at the ashram from Donovan to great use here; I love how the song begins and ends with that delicate circling guitar line over Paul's soft one-note bass and tambourine.  Though it starts quietly and delicately, the song picks up incredible intensity, first by filling out the bass part and adding the drums in the first verse.  Though the second verse tracks the same melody with a continuation of that meandering double-tracked guitar line and John's double-tracked vocals, it adds a delicious descending bass line, then gorgeous high falsetto harmonies, and then George's low guitar chords to continue the build.  It's when Paul's descending bass starts providing those harmonies to John's guitar that this song gets exciting for me.  From that second verse we head into the bridge, which features George adding a more prominent lead vocal part and our first non-John vocals, with swelling harmonies provided by, among others, Mal Evans and Jackie Lomax (recently signed to the Apple label).  Rounding back out of the bridge, the intensity continues to build as George's guitar now distinctly winds around John's vocal, and Paul adds a series of slightly jarring downward arpeggios on piano; then handclaps and loud tambourines and double-tracked guitar and Paul's inexplicable drum solo and whirling high-pitched piano notes and gigantic glissando and things seem slightly out of control until...resolution.  This song has what must be the most satisfying resolution of any in the Beatles catalogue - John extends out the vocal lines while each of the instruments first briefly falls into a standard pattern instead of the preceding madness, and then each fades away, bringing us back to the beginning and leaving us with just John's finger-picking guitar. 

I find everything about this song mesmerizing.

Mr. krista: "I like it a lot.  Surprisingly heavy.  I didn’t think I liked it.  Love the Indian guitar sound with slight distortion coupled with the finger-picked part.  The drums sound kind of blowed out and heavy. You could put a song like that on a Flaming Lips record and it would not be at all out of place."

Suggested cover:  If you're not going to be able to capture it, and you're not, might as well go really different:  Siouxshie and the Banshees

2022 Supplement

Dear Prudence,

You fell just shy of my top 25 in 2022 after a surprise appearance at #18 in 2019.  It’s not you; it’s me.  I still value your contributions, but other songs have really stepped up their game in the ensuing years, some even going so far as to have three-part documentaries made about them.  Ultimately it’s that kind of initiative and determination that I’m looking for in a song.  Hope to see you again in 2025.

Warmest regards,

k4

Guido Merkins

In Rishikesh, there was a young lady who would not come out of her hut because she was always meditating.  Prudence Farrow, Mia Farrow’s sister, was that young lady and John would always try and make her come out.  That experience caused him to write Dear Prudence wanting her to “come out and play.”

The joy of Back in the USSR fades into the dreamier Dear Prudence on the White Album.  Love the lyrics like “the sun is up, the sky is blue, its beautiful and so are you” and “see the sunny skies” and “you’re a part of everything.”  

John used the Donovan fingerpicking style for this song.  Interestingly, Paul played drums on this song and Back in the USSR because Ringo left the group for 3 days.  Paul does an outstanding job on Dear Prudence, especially near the end when we get the drum fills and George playing a counter melody on guitar. 

John always claimed that he wrote the most miserable songs in the world in Rishikesh, and while Yer Blues and Sexy Sadie and Bungalow Bill are not happy songs, Dear Prudence has a childlike quality about it and is a happy song.  It’s one of my favorites on the album.
The nurses where I work know that if they have a two syllable name I will be singing this using their name. They just love it!!      🤪

 
Neither of the last two songs made my top 25 because Beatles. But I love and have personal attachments to both. 

I am relatively new to Beatles fandom, really stemming from Krista's original countdown. (Though I didn't actually read it until the countdown was over. Actually I didn't read the writeups at all)

I told my wife about the countdown since she was a Beatles fan and her first question was where did And Your Bird Can Sing rank? On any given day it might be her number one (in competition with No Reply and In My Life). So she was intrigued since clearly Krista has great taste. Anyway, we used the original thread as a guide to listening through the whole catalog and I was hooked.

As for Hey Bulldog, I probably say "Hey Bulldog" to my Shar Pei/Bulldog mix Eloise at least 10 times per day.


OK this might be my favorite post in the thread now.  Not only because you came to the fandom in part through the original countdown, not only because your taste is apparently the same as Mr. krista's, not only because your wife's seems to be the same as mine ("In My Life" being my #1), but mostly mostly mostly...for Eloise.  :wub:   

 
And Your Bird Can Sing
2022 Ranking: 31
2022 Lists: 17
2022 Points: 235
Ranked Highest by: @heckmanm (2) Worth (3) @krista4 (5) @Alex P Keaton (5) @Oliver Humanzee (7) @Wrighteous Ray(hub) (8) Sharon (9) @landrys hat (9) @Tom Hagen (10) @Encyclopedia Brown (14) 
2019 Ranking/Lists/Pts: 41/8/96

Getz: Every time this song started to fall counting the votes, someone would come in and rank it high.  Four Top 5 and Nine Top 10 votes.  More than doubled votes and points from 2019 and went up ten slots. The last song in the countdown to not get 20 votes.


Krista4
My 2019 ranking:  5


2019 write-up:

And Your Bird Can Sing (Revolver, 1966)

“I don't think that "casual" Beatles' fans appreciate "And Your Bird Can Sing" enough. 

Musically speaking, my own personal crank is turned primarily by a particular kind of combustion (not occurring entirely in rock music, though mostly that is where it happens) that has little to do with the "pop" aspects of music that most folks seem to respond to.  That is to say, I truly don't give a fig about a song's "catchiness", its "tunefulness", or whether or not one can bop one's painfully Caucasoid head along to it while driving.  "Danceability" is hahahaha, whatever chief, people manage to dance to Stravinsky and I look like a raccoon drunk on fermented crabapples when I try to perform a movement more artful than "walk briskly in a straight line".  

That said, "And Your Bird Can Sing" burns in the ways that the best rock music does:  it is funny and spiteful and is built around a seemingly endless, hall-of-fame caliber riff as good as "Black Dog" or "Supernaut".  

And Christ if it isn't "catchy" and "hooky" and "fuzzy" and two minutes of absurdly radio-friendly pop music from one of the best bands on the planet at the height of their powers. 

I mean, The Posies, Guided By Voices, Cheap Trick, Game Theory and that whole LA "Paisley Underground" spent whole decades trying to achieve that kind rock/pop/art synthesis and it has just been hanging out there on side B of Revolver this whole time. 

The hell.  Why aren't all of you "power pop" music aficionados jabbering about this song so ceaselessly that I have to mute you on Twitter?  Why the hell do you all keep jabbering about Weezer?  (I mean, I assume.  That's what you were all jabbering about when I muted you on Twitter.)” 

I've bumped Mr. krista's prior post on this song; between that post and his comments below, he covers much of what I have to say about why I love the song, plus some.  One thing he doesn't mention is that this has one of those blast starts that I've mentioned in several of my top 25 Beatles songs, immediately launching you into the ride, and the ride remains energetic and ebullient throughout.  The vocals, both lead by John and the harmonies from Paul and George, are outstanding.  And as Mr. krista references below, the lyrics are fantastic, with plays on words throughout; in addition to the one he mentions, John also cycles through double meanings on the senses of sight ("you can't see me") and hearing ("you can't hear me") to emphasize the absence of understanding and empathy.

Both "She Said She Said" and "Ticket To Ride" have been mentioned as the most Beatle-y Beatles songs, but I'd like to throw this one in the mix for consideration as well.  I can't wait to hear @fatguyinalittlecoat rock our faces off by simultaneously playing both George's and Paul's guitar parts!

Mr. krista's earlier comments:  "What I love most in rock music is a good riff, though I don’t know how to describe what makes a riff better than other riffs. But that is The Good Riff. [instructs me to use initial caps there] A great riff.  Unlike a lot of riffs, it’s ascending, and it goes over two bars. But it’s fuzzy.  The tempo is really fast.  It’s really tough to play a good riff that fast.  The best metal riffs are slowed down.  It’s very fast but unhurried.  Says a lot about what a great drummer Ringo is.  Everything could go off the rails easily, but he keeps it together. While the riff ascends, Lennon’s vocals go down.  The lyrics are incredibly good – you’ve seen seven wonders but a total inability to empathize (“but you don’t get me”).  Double meaning of “you don’t get me”?  It’s like a really happy ####-you song.  Gleefully being pissed off.  Not explicit but smarter – #### you."

Suggested cover:  Not in the same league (how could it be), but adequate:  The Jam

2022 Supplement:  Hanging tight in the #5 slot for me, and a top 10 finish on Mr. krista’s list as well. 

In a recent interview, Paul said that the guitar solo was Celtic in nature:  "We're Liverpool boys and they say Liverpool is the capital of Ireland, so it's likely the solo is influenced." Now I can hear that every time I listen to this song.

Paul has cited this Byrds-ian, giggly, whistly earlier take of the song as one of his favorites in the Anthology series:  “One of my favorites on the ‘Anthology’ is ‘And Your Bird Can Sing,’ which is a nice song, but this take of it was one we couldn’t use at the time. John and I got a fit of the giggles while we were doing the double-track. You couldn’t have released it at the time, but now you can. Sounds great just hearing us lose it on a take.”  https://www.youtube.com/watch?v=bf22VR71ags  I’m with Paul – love it!

Guido Merkins

One of the most speculated upon songs in the Beatles catalog lyrics wise is And Your Bird Can Sing from Revolver.  John had a very low opinion of the song and never shared what the lyrics are about.  I’ve read speculation as wide ranging as referring to a clock with a windup bird in a cage she gave to John.  Or it was written about Frank Sinatra and had something to do with his penis and being able to have any woman he wanted.  Marianne Faithful thought it was about her and Mick Jagger (bird is British slang for woman).  So who knows what the song is about.

John had a low opinion of this song for some reason, but the bottom line is that this song was extremely influential mostly for the harmonized lead guitar.  Guitar harmony was not used much in 1966, but just a few short years later, metal bands and Southern rock bands built their entire careers around what they first heard on And Your Bird Can Sing.  I also love the way the guitars kind of explode out of the speakers at the very beginning of the song.  A funny story about the guitars is that Joe Walsh, with great effort and lots of time, finally figured out the lead guitar part of And Your Bird Can Sing.  Walsh became Ringo’s brother in law because he married Barbara Bach’s sister and told Ringo how long he had worked to master that solo. Ringo informed him that “George and Paul played that together.”  So Walsh may be the only person in the world who can play that part alone, including George.

And Your Bird Can Sing started off very much influenced by the Byrds.  On Anthology 2 you can hear an early verison that makes this very clear before it went to much more rocking electric sound.
Unlike Krista I very much have pop tastes and lyrics generally play a large part in whether or not I like a song. This song matches clever lyrics with an incredibly catchy groove and is one of my top 10 favorites. 

 
Hey Bulldog
2022 Ranking: 30
2022 Lists: 20
2022 Points: 238
Ranked Highest by: @Getzlaf15 (1) @Shaft41 (3) @otb_lifer (5) @FairWarning (5) @Guido Merkins (6) @Dr. Octopus (8) @DaVinci (11) @heckmanm (12) @Binky The Doormat (14) @Ted Lange as your Bartender (14)
2019 Ranking/Lists/Pts: 38/7/103

Getz: Didn't rank it in 2019. It's been my #1 since the 2019 countdown ended. I love the opening. I love the video. I love all the different sections of it. I love all of it. And I think John's best singing is this song.

Krista4
My 2019 ranking:  31

2019 write-up: 

Hey Bulldog (Yellow Submarine, 1969)

BASS LINE!  That's what it's all about for me.  Mr. krista (bass player) describes it much better than I could, below.  

I've kept this one within shouting distance of "Taxman" through my many re-orderings of the rankings.  I see them similarly in that they rock your face off and have great bass lines, but some questionable lyric choices.  I detail below some of the lyrics I love, but just the overall "Hey Bulldog" part and the barking at the end turn me off a bit.  Obviously, not much, since this still lands in the upper echelon of my rankings.

Just before the group's trip to India, a film crew came to the studio to record a promotional video during which they were to act as if they were recording "Lady Madonna."  But John asserted that they should film the recording of his new song, "Hey Bullfrog," instead.  That's not a typo - the song was originally titled "Hey Bullfrog" until Paul's barking inspired the title change.  The video was then released with the overlay of "Lady Madonna" on sound while the footage is actually showing the recording of "Hey Bulldog," but the fans didn't seem to notice.  Years later, Neil Aspinall edited the video with "Hey Bulldog" being properly played instead; join the cheesy fun of his finished product. 

Geoff Emerick described the vibe in the studio for the recording of this song to be great, as "all four Beatles were in an exceptionally good mood."  The atmosphere was relaxed and fun-loving, which I think shows in the end result of the song itself, especially all the clowning around in the coda.  It's one of the last times that they all worked together seemingly joyously, and it was the last session at which neither Yoko nor Magic Alex attended, which undoubtedly contributed to the positive spirits.  

In addition to the bass, other highlights of this song for me are the screaming guitar solo and John's vocal, especially the escalating, gritty urgency of the "You can talk to me" repeat.   I also love some of the lyrics, and yes, I'm accusing the lyrics to a song called "Hey Bulldog" of being good.  Specifically, I love these lines in the verses:

(Verse one):  Some kind of happiness is

Measured out in miles

(Verse two):  Some kind of innocence is

Measured out in years

(Verse three):  Some kind of solitude is

Measured out in you

Each of those lines is terrific on its own, but combined with each other in a not-quite-repetitious pattern they're brilliant.

Mostly, I just love this song because it rocks in every way.  Every Beatle was at the top of his game for this one.

Mr. krista:  "####!  Listen to the bass line, though.  Paul McCartney’s a mother####er of a bass player, man.  During the verses, the bass line walks all over the place and sounds super busy, but he’s still right there building a pocket with Ringo.  But then during the chorus he hits that riff right on time with everybody else.  No longer playing that contrapuntal thing but just digs in, just a monster.  What a great rock song."

Suggested cover:  I post this more for the introduction to the playing of the song, rather than the cover itself.  It brought something wet I can't quite recognize to my eyes.  Dave Grohl and Jeff Lynne

2022 Supplement:  I get so pumped about Paul’s bassline in this song that I sometimes neglect George’s screaming guitar solo, which is loud and filthy in part due to the use of his new fuzzbox on it.  There’s been some controversy over the years as to whether that could be John or even Paul on the solo instead of George, but it’s generally accepted that it is George, and it’s one of his best.  The song also has the distinction of being one of the only pre-Get Back sessions songs where we can see video of the lads working on the song in the studio, in the link I posted back in 2019.  Hey Bulldog is raucous and aggressive yet fun, and I’m happy it’s been rising higher and higher (Binky:  lower and lower) in the minds of Beatles’ fans over the years.  It barely missed my top 25 again this year.

Guido Merkins

I have been a Beatles fan for 40 years.  The music existed for 15-20 years before I discovered it.  Therefore, the Beatles music has been around for 50-60 years.  You would think with all that time, every single Beatles nugget would have long ago been uncovered, but what is amazing is that there are still songs that are just being kind of discovered by people.  No song has grown more in stature in my lifetime than Hey Bulldog.

Hey Bulldog is one of the Beatles great rockers.  Ringo holding down a serious groove on drums.  Paul with a bass line that will absolutely rip the top of your head off.  George with a guitar solo that absolutely slams.  And John, with a sound that only John Lennon’s voice can make.  The song sounds so immediate, like it was made up on the spot, and that’s almost true.  It was recorded in one session which lasted about 7 hours.  It also has this great thing at the end of the song with John and Paul riffing off of each other, which is funny and sounds totally off the cuff.  In fact, the ONLY time the phrase Hey Bulldog is even mentioned is at the very end of the song.  The lyrics are typical Lennon nonsense, but I’m not sure why the song wasn’t called “You Can Talk to Me.”  Overall, it’s like a really really good novelty track.

So why has it taken so long to discover this gem?  I think it’s mostly because it’s on the Beatles most obscure album Yellow Submarine.  Yellow Submarine only had 4 new Beatles songs upon its release with more than half the album instrumental music by George Martin. 
A couple years back when the Grammys did a salute to the Beatles, Dave Grohl and Jeff Lynne did a good version of it as most of the audience had no idea what song they were doing.  Great moment.
And sometimes lyrics don’t matter at all because Paul is laying down a bass line I could listen to all day long. This is also in my top 25.

 
Unlike Krista I very much have pop tastes and lyrics generally play a large part in whether or not I like a song. This song matches clever lyrics with an incredibly catchy groove and is one of my top 10 favorites. 


I submitted the write-up to Getz a little hinky, but after all the first several paragraphs in quotes, I mentioned that that was the Mr. krista write-up, so the "pop tastes" stuff is his.  :)  

 
I submitted the write-up to Getz a little hinky, but after all the first several paragraphs in quotes, I mentioned that that was the Mr. krista write-up, so the "pop tastes" stuff is his.  :)  
That makes a lot more sense. I probably would have caught that if I had actually read the write up.  ;)
 

 
Wow!  Now that is very cool.

Did you post six today because you were so excited for it?!  Love this song even though it didn't make my 25.  On another day, it might.
That was part of it.  Moved up my flight from the morning to an hour from now and I might not be able to post any tomorrow.   So a little of that also.  

 
On today's date in 1999, Paul was inducted into the Rock and Roll Hall of Fame as a solo artist.  Neil Young did the honors.  :)   With Linda having died less than a year earlier, Paul called Stella up to accompany him, much to her embarrassment, and dedicated the honor to Linda.  Notably, Paul calls out the Hall for not having included George and Ringo as solo artists yet.  George was inducted (posthumously) in 2004 and Ringo in 2015.

Fun fact:  George Martin was also inducted in this date in 1999.

 
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And Your Bird Can Sing
2022 Ranking: 31
2022 Lists: 17
2022 Points: 235
Ranked Highest by: @heckmanm (2) Worth (3) @krista4 (5) @Alex P Keaton (5) @Oliver Humanzee (7) @Wrighteous Ray(hub) (8) Sharon (9) @landrys hat (9) @Tom Hagen (10) @Encyclopedia Brown (14) 
2019 Ranking/Lists/Pts: 41/8/96

Getz: Every time this song started to fall counting the votes, someone would come in and rank it high.  Four Top 5 and Nine Top 10 votes.  More than doubled votes and points from 2019 and went up ten slots. The last song in the countdown to not get 20 votes.


Krista4
My 2019 ranking:  5


2019 write-up:

And Your Bird Can Sing (Revolver, 1966)

“I don't think that "casual" Beatles' fans appreciate "And Your Bird Can Sing" enough. 

Musically speaking, my own personal crank is turned primarily by a particular kind of combustion (not occurring entirely in rock music, though mostly that is where it happens) that has little to do with the "pop" aspects of music that most folks seem to respond to.  That is to say, I truly don't give a fig about a song's "catchiness", its "tunefulness", or whether or not one can bop one's painfully Caucasoid head along to it while driving.  "Danceability" is hahahaha, whatever chief, people manage to dance to Stravinsky and I look like a raccoon drunk on fermented crabapples when I try to perform a movement more artful than "walk briskly in a straight line".  

That said, "And Your Bird Can Sing" burns in the ways that the best rock music does:  it is funny and spiteful and is built around a seemingly endless, hall-of-fame caliber riff as good as "Black Dog" or "Supernaut".  

And Christ if it isn't "catchy" and "hooky" and "fuzzy" and two minutes of absurdly radio-friendly pop music from one of the best bands on the planet at the height of their powers. 

I mean, The Posies, Guided By Voices, Cheap Trick, Game Theory and that whole LA "Paisley Underground" spent whole decades trying to achieve that kind rock/pop/art synthesis and it has just been hanging out there on side B of Revolver this whole time. 

The hell.  Why aren't all of you "power pop" music aficionados jabbering about this song so ceaselessly that I have to mute you on Twitter?  Why the hell do you all keep jabbering about Weezer?  (I mean, I assume.  That's what you were all jabbering about when I muted you on Twitter.)” 

I've bumped Mr. krista's prior post on this song; between that post and his comments below, he covers much of what I have to say about why I love the song, plus some.  One thing he doesn't mention is that this has one of those blast starts that I've mentioned in several of my top 25 Beatles songs, immediately launching you into the ride, and the ride remains energetic and ebullient throughout.  The vocals, both lead by John and the harmonies from Paul and George, are outstanding.  And as Mr. krista references below, the lyrics are fantastic, with plays on words throughout; in addition to the one he mentions, John also cycles through double meanings on the senses of sight ("you can't see me") and hearing ("you can't hear me") to emphasize the absence of understanding and empathy.

Both "She Said She Said" and "Ticket To Ride" have been mentioned as the most Beatle-y Beatles songs, but I'd like to throw this one in the mix for consideration as well.  I can't wait to hear @fatguyinalittlecoat rock our faces off by simultaneously playing both George's and Paul's guitar parts!

Mr. krista's earlier comments:  "What I love most in rock music is a good riff, though I don’t know how to describe what makes a riff better than other riffs. But that is The Good Riff. [instructs me to use initial caps there] A great riff.  Unlike a lot of riffs, it’s ascending, and it goes over two bars. But it’s fuzzy.  The tempo is really fast.  It’s really tough to play a good riff that fast.  The best metal riffs are slowed down.  It’s very fast but unhurried.  Says a lot about what a great drummer Ringo is.  Everything could go off the rails easily, but he keeps it together. While the riff ascends, Lennon’s vocals go down.  The lyrics are incredibly good – you’ve seen seven wonders but a total inability to empathize (“but you don’t get me”).  Double meaning of “you don’t get me”?  It’s like a really happy ####-you song.  Gleefully being pissed off.  Not explicit but smarter – #### you."

Suggested cover:  Not in the same league (how could it be), but adequate:  The Jam

2022 Supplement:  Hanging tight in the #5 slot for me, and a top 10 finish on Mr. krista’s list as well. 

In a recent interview, Paul said that the guitar solo was Celtic in nature:  "We're Liverpool boys and they say Liverpool is the capital of Ireland, so it's likely the solo is influenced." Now I can hear that every time I listen to this song.

Paul has cited this Byrds-ian, giggly, whistly earlier take of the song as one of his favorites in the Anthology series:  “One of my favorites on the ‘Anthology’ is ‘And Your Bird Can Sing,’ which is a nice song, but this take of it was one we couldn’t use at the time. John and I got a fit of the giggles while we were doing the double-track. You couldn’t have released it at the time, but now you can. Sounds great just hearing us lose it on a take.”  https://www.youtube.com/watch?v=bf22VR71ags  I’m with Paul – love it!

Guido Merkins

One of the most speculated upon songs in the Beatles catalog lyrics wise is And Your Bird Can Sing from Revolver.  John had a very low opinion of the song and never shared what the lyrics are about.  I’ve read speculation as wide ranging as referring to a clock with a windup bird in a cage she gave to John.  Or it was written about Frank Sinatra and had something to do with his penis and being able to have any woman he wanted.  Marianne Faithful thought it was about her and Mick Jagger (bird is British slang for woman).  So who knows what the song is about.

John had a low opinion of this song for some reason, but the bottom line is that this song was extremely influential mostly for the harmonized lead guitar.  Guitar harmony was not used much in 1966, but just a few short years later, metal bands and Southern rock bands built their entire careers around what they first heard on And Your Bird Can Sing.  I also love the way the guitars kind of explode out of the speakers at the very beginning of the song.  A funny story about the guitars is that Joe Walsh, with great effort and lots of time, finally figured out the lead guitar part of And Your Bird Can Sing.  Walsh became Ringo’s brother in law because he married Barbara Bach’s sister and told Ringo how long he had worked to master that solo. Ringo informed him that “George and Paul played that together.”  So Walsh may be the only person in the world who can play that part alone, including George.

And Your Bird Can Sing started off very much influenced by the Byrds.  On Anthology 2 you can hear an early verison that makes this very clear before it went to much more rocking electric sound.
This was a song I always enjoyed, but I really didn’t develop deep love for it until the 2019 rankings.  The Joe Walsh story above is amazing.

 
Hey Bulldog
2022 Ranking: 30
2022 Lists: 20
2022 Points: 238
Ranked Highest by: @Getzlaf15 (1) @Shaft41 (3) @otb_lifer (5) @FairWarning (5) @Guido Merkins (6) @Dr. Octopus (8) @DaVinci (11) @heckmanm (12) @Binky The Doormat (14) @Ted Lange as your Bartender (14)
2019 Ranking/Lists/Pts: 38/7/103

Getz: Didn't rank it in 2019. It's been my #1 since the 2019 countdown ended. I love the opening. I love the video. I love all the different sections of it. I love all of it. And I think John's best singing is this song.

Krista4
My 2019 ranking:  31

2019 write-up: 

Hey Bulldog (Yellow Submarine, 1969)

BASS LINE!  That's what it's all about for me.  Mr. krista (bass player) describes it much better than I could, below.  

I've kept this one within shouting distance of "Taxman" through my many re-orderings of the rankings.  I see them similarly in that they rock your face off and have great bass lines, but some questionable lyric choices.  I detail below some of the lyrics I love, but just the overall "Hey Bulldog" part and the barking at the end turn me off a bit.  Obviously, not much, since this still lands in the upper echelon of my rankings.

Just before the group's trip to India, a film crew came to the studio to record a promotional video during which they were to act as if they were recording "Lady Madonna."  But John asserted that they should film the recording of his new song, "Hey Bullfrog," instead.  That's not a typo - the song was originally titled "Hey Bullfrog" until Paul's barking inspired the title change.  The video was then released with the overlay of "Lady Madonna" on sound while the footage is actually showing the recording of "Hey Bulldog," but the fans didn't seem to notice.  Years later, Neil Aspinall edited the video with "Hey Bulldog" being properly played instead; join the cheesy fun of his finished product. 

Geoff Emerick described the vibe in the studio for the recording of this song to be great, as "all four Beatles were in an exceptionally good mood."  The atmosphere was relaxed and fun-loving, which I think shows in the end result of the song itself, especially all the clowning around in the coda.  It's one of the last times that they all worked together seemingly joyously, and it was the last session at which neither Yoko nor Magic Alex attended, which undoubtedly contributed to the positive spirits.  

In addition to the bass, other highlights of this song for me are the screaming guitar solo and John's vocal, especially the escalating, gritty urgency of the "You can talk to me" repeat.   I also love some of the lyrics, and yes, I'm accusing the lyrics to a song called "Hey Bulldog" of being good.  Specifically, I love these lines in the verses:

(Verse one):  Some kind of happiness is

Measured out in miles

(Verse two):  Some kind of innocence is

Measured out in years

(Verse three):  Some kind of solitude is

Measured out in you

Each of those lines is terrific on its own, but combined with each other in a not-quite-repetitious pattern they're brilliant.

Mostly, I just love this song because it rocks in every way.  Every Beatle was at the top of his game for this one.

Mr. krista:  "####!  Listen to the bass line, though.  Paul McCartney’s a mother####er of a bass player, man.  During the verses, the bass line walks all over the place and sounds super busy, but he’s still right there building a pocket with Ringo.  But then during the chorus he hits that riff right on time with everybody else.  No longer playing that contrapuntal thing but just digs in, just a monster.  What a great rock song."

Suggested cover:  I post this more for the introduction to the playing of the song, rather than the cover itself.  It brought something wet I can't quite recognize to my eyes.  Dave Grohl and Jeff Lynne

2022 Supplement:  I get so pumped about Paul’s bassline in this song that I sometimes neglect George’s screaming guitar solo, which is loud and filthy in part due to the use of his new fuzzbox on it.  There’s been some controversy over the years as to whether that could be John or even Paul on the solo instead of George, but it’s generally accepted that it is George, and it’s one of his best.  The song also has the distinction of being one of the only pre-Get Back sessions songs where we can see video of the lads working on the song in the studio, in the link I posted back in 2019.  Hey Bulldog is raucous and aggressive yet fun, and I’m happy it’s been rising higher and higher (Binky:  lower and lower) in the minds of Beatles’ fans over the years.  It barely missed my top 25 again this year.

Guido Merkins

I have been a Beatles fan for 40 years.  The music existed for 15-20 years before I discovered it.  Therefore, the Beatles music has been around for 50-60 years.  You would think with all that time, every single Beatles nugget would have long ago been uncovered, but what is amazing is that there are still songs that are just being kind of discovered by people.  No song has grown more in stature in my lifetime than Hey Bulldog.

Hey Bulldog is one of the Beatles great rockers.  Ringo holding down a serious groove on drums.  Paul with a bass line that will absolutely rip the top of your head off.  George with a guitar solo that absolutely slams.  And John, with a sound that only John Lennon’s voice can make.  The song sounds so immediate, like it was made up on the spot, and that’s almost true.  It was recorded in one session which lasted about 7 hours.  It also has this great thing at the end of the song with John and Paul riffing off of each other, which is funny and sounds totally off the cuff.  In fact, the ONLY time the phrase Hey Bulldog is even mentioned is at the very end of the song.  The lyrics are typical Lennon nonsense, but I’m not sure why the song wasn’t called “You Can Talk to Me.”  Overall, it’s like a really really good novelty track.

So why has it taken so long to discover this gem?  I think it’s mostly because it’s on the Beatles most obscure album Yellow Submarine.  Yellow Submarine only had 4 new Beatles songs upon its release with more than half the album instrumental music by George Martin. 
A couple years back when the Grammys did a salute to the Beatles, Dave Grohl and Jeff Lynne did a good version of it as most of the audience had no idea what song they were doing.  Great moment.
Mrs APK just told a long story about this song, and I wasn’t listening closely.  Something about choosing to perform it in some 7th grade concert.  Then she started singing. (“You can….talk to me…..if you’re lonely you can talk to me…..”)

 
Getzlaf15 said:
Helter Skelter
2022 Ranking: 35
2022 Lists: 20
2022 Points: 211
Ranked Highest by: @otb_lifer (3) @wikkidpissah (3) @jamny (5) @ConstruxBoy (10) @Oliver Humanzee (12) @Pip's Invitation (12) @Alex P Keaton (14) 
2019 Ranking/Lists/Pts: 47/11/80

Getz: First song to get 20 votes.Top song in this tier that never cracked the Top 25 while counting the votes.  Meaning the final 34 all appeared in the Top 25 while processing the votes. Just like all of us had to deal with. LOL. Nice bump up from 2019, 12 slots higher with nine more votes and 131 more points. I had this at #21, after not ranking it in 2019. Fab 3 all had this one. Everyone has had five songs listed now. Also the last song to not get five Top 10 votes.


Krista4
My 2019 ranking:  25


2019 write-up:

Helter Skelter (White Album, 1968)

@wikkidpissah, do you want to comment on this one, since (1) it's in your top three, and (2) you're a better writer than the rest of us combined?  If not (and probably also if so), I'll come back in and do a write-up later.

Mr. krista:  "Everything about it is great.  Everybody calls it proto-heavy-hetal, but there were heavy bands already playing (Blue Cheer, etc.), but there are whole bands that wouldn’t exist without that.  Hüsker Dü owes a huge debt to how terrifyingly noisy that was.  There are thousands of noisy, heavy bands that can just point their origin story to that song.  I think Paul McCartney tried to out-Who the Who, and it turns out they were better than that.  And they were ####ed up as a band, so it’s a chaotic recording.  It’s just a ####### mint jam from a mint band."

Suggested cover:  This seems like a bad idea.

Wikkid’s 2019 post:  To be honest, this is my favorite Beatle song. For all you headbangers who know how glorious it is when music hits that spot where rage turns into triumph, imagine the first time that spot was ever hit by music and you have Helter Skelter. The fact that every scintilla of noise in this thing is as musical and and tactile and sensible to me as Chopin makes it indeed a triumph. I also actually knew the Helter Skelter "ride" in Blackpool from my Irish summers and the first stanza...

When I get to the bottom I go back to the top of the slide

Where I stop and I turn and I go for a ride

Till I get to the bottom and I see you again

....of the song actually meant something to me, because i know the buzz of cheap joy, as well as the smells of rancid chip grease and holiday coach buttsweat, that came with a hazy, July day on a Lancashire boardwalk. nufced.

2022 Supplement:  I hesitate to go after wikkid.  It’s like I’m 1963 Helen Shapiro with the Beatles as my opener.  This song continues to be in my top 25, even moving up several notches this year to #20.  Something I learned from doing my solo Beatles thread was to appreciate Paul as one of the greatest rock-and-roll voices in history.  Not “Yesterday” or “Blackbird” Paul with the pure voice and ridiculous range, but shout-y, scream-y, but-still-staying-melodic Paul.  I hope wikkid can come in and give some more thoughts on this aspect of the song.   I’ll hold off on further thoughts on this song until he’s had his chance.

Guido Merkins

In an interview, Pete Townsend talked about making “the loudest, dirtiest rock and roll record ever” (I Can See for Miles.)  Paul heard that and wanted to make one of those, so what he came up with was Helter Skelter on the White Album.

Helter Skelter’s lyrics use the image of a “helter skelter” which is a fairground slide winding around a tower.  Helter skelter can also refer to chaos.  

The main attraction in Helter Skelter is the volume and loudness of the guitars, bass, drums and vocal.  Paul’s vocal is from some other planet.  Take Little Richard and turn it up to 100, and you get Paul screaming his head off from the bowels of hell.  The guitars are fuzzed and overloaded and totally distorted.  Ringo is absolutely destroying his drum kit.  The thing sounds like it’s gonna fall apart at any minute.  Some people have called this proto metal, but it sounds more to me like proto grunge or thrash.  Whatever you call it, the track is just stunning and shocking in it’s intensity.  On the stereo version, it fades out, then fades back in with Ringo exclaiming “I got blisters on my fingers.”  

One of the holy grail moments in the Beatles career is a 27 minute version of Helter Skelter that was totally out of control and chaotic.  George running around the room with a lit ashtray over his head.  George Martin apparently wasn’t in the studio that night so the inmates were running the asylum.

Unfortunately, some people took the chaos a little too seriously as Charles Manson and his followers believed the Beatles were telling us about a race war that was coming, sending them coded messages and justifying all the horrendous things they did.  A truly innovative and and memorable track got saddled with that tragedy and that is sad.
My rank: 12

I picked this for the Beatles playlist in GP4 because I wanted to F some S up. Still perfect for that purpose even as rock as gotten louder and more abrasive over the years. And yet the melody and rhythm remain impeccable. Since this is perhaps the apex of Beatles Grunge, of course it was on the 90-minute cassette I made in the early '90s. 

 
Getzlaf15 said:
Dear Prudence
2022 Ranking: 34
2022 Lists: 20
2022 Points: 226
Ranked Highest by: Alex(4) @shuke (4) @Westerberg(5) @ProstheticRGK (6) @Pip's Invitation (8) @MAC_32 (9) @prosopis (10) @FairWarning (11) @turnjose7 (15)
2019 Ranking/Lists/Pts: 26/10/149

Getz comments:  15 more points than #35, so we enter a new tier that contains the next five songs separated by 12 points. Slides down eight slots from 2019.


Krista4
My 2019 ranking:  18


2019 write-up:

Dear Prudence (White Album, 1968)

The award for Biggest Jump in the Rankings goes to "Dear Prudence."  This is a song that I used to turn off when it came on; I was convinced that I couldn't stand it.  Would have been in Tier 5 were it not for forcing myself to listen to it over and over, and now it lands in the top 20!  WTG Prudence!

Prudence herself was Mia Farrow's crazy little sister, who was at the Maharishi's ashram at the same time as the lads in 1968.  According to John, Prudence "seemed to go slightly barmy, meditating too long, and couldn't come out of the little hut that we were living in. They selected me and George to try and bring her out because she would trust us. ... She'd been locked in for three weeks and wouldn't come out, trying to reach God quicker than anybody else."  Others described Prudence as being in a near-catatonic state, and the Maharishi provided her a full-time nurse.  While the song didn't lure her out - she didn't hear it until the album was released - Prudence did finally emerge from her state and spend some time with John and George, who told her that the song had been written about her. 

Ringo alert!  This is my highest ranked song with no Ringo, having been recorded while he'd temporarily quit the band.  That's Paul on drums, and, unlike on "Back in the U.S.S.R.," I think Paul acquits himself quite nicely here, especially on the fills and in the last verse when he goes nutso playing every pattern known to man.  Paul also played, in addition to the usual bass, piano and flugelhorn.  Because if you're Paul McCartney and see a flugelhorn lying around, naturally you can play it.  

John puts the finger-picking style he learned at the ashram from Donovan to great use here; I love how the song begins and ends with that delicate circling guitar line over Paul's soft one-note bass and tambourine.  Though it starts quietly and delicately, the song picks up incredible intensity, first by filling out the bass part and adding the drums in the first verse.  Though the second verse tracks the same melody with a continuation of that meandering double-tracked guitar line and John's double-tracked vocals, it adds a delicious descending bass line, then gorgeous high falsetto harmonies, and then George's low guitar chords to continue the build.  It's when Paul's descending bass starts providing those harmonies to John's guitar that this song gets exciting for me.  From that second verse we head into the bridge, which features George adding a more prominent lead vocal part and our first non-John vocals, with swelling harmonies provided by, among others, Mal Evans and Jackie Lomax (recently signed to the Apple label).  Rounding back out of the bridge, the intensity continues to build as George's guitar now distinctly winds around John's vocal, and Paul adds a series of slightly jarring downward arpeggios on piano; then handclaps and loud tambourines and double-tracked guitar and Paul's inexplicable drum solo and whirling high-pitched piano notes and gigantic glissando and things seem slightly out of control until...resolution.  This song has what must be the most satisfying resolution of any in the Beatles catalogue - John extends out the vocal lines while each of the instruments first briefly falls into a standard pattern instead of the preceding madness, and then each fades away, bringing us back to the beginning and leaving us with just John's finger-picking guitar. 

I find everything about this song mesmerizing.

Mr. krista: "I like it a lot.  Surprisingly heavy.  I didn’t think I liked it.  Love the Indian guitar sound with slight distortion coupled with the finger-picked part.  The drums sound kind of blowed out and heavy. You could put a song like that on a Flaming Lips record and it would not be at all out of place."

Suggested cover:  If you're not going to be able to capture it, and you're not, might as well go really different:  Siouxshie and the Banshees

2022 Supplement

Dear Prudence,

You fell just shy of my top 25 in 2022 after a surprise appearance at #18 in 2019.  It’s not you; it’s me.  I still value your contributions, but other songs have really stepped up their game in the ensuing years, some even going so far as to have three-part documentaries made about them.  Ultimately it’s that kind of initiative and determination that I’m looking for in a song.  Hope to see you again in 2025.

Warmest regards,

k4

Guido Merkins

In Rishikesh, there was a young lady who would not come out of her hut because she was always meditating.  Prudence Farrow, Mia Farrow’s sister, was that young lady and John would always try and make her come out.  That experience caused him to write Dear Prudence wanting her to “come out and play.”

The joy of Back in the USSR fades into the dreamier Dear Prudence on the White Album.  Love the lyrics like “the sun is up, the sky is blue, its beautiful and so are you” and “see the sunny skies” and “you’re a part of everything.”  

John used the Donovan fingerpicking style for this song.  Interestingly, Paul played drums on this song and Back in the USSR because Ringo left the group for 3 days.  Paul does an outstanding job on Dear Prudence, especially near the end when we get the drum fills and George playing a counter melody on guitar. 

John always claimed that he wrote the most miserable songs in the world in Rishikesh, and while Yer Blues and Sexy Sadie and Bungalow Bill are not happy songs, Dear Prudence has a childlike quality about it and is a happy song.  It’s one of my favorites on the album.
My rank: 8 (my list is taking a beating today)

"Mellow intensity" is a really hard thing to pull off, but some of my very favorite songs have it, and this is one. It seems blissful and laid-back at first, and grows more urgent as it goes on, exploding at the end with glorious bursts of guitar. 

I saw Dave Mason cover this in 1992 -- he segued into it from his own song, Shouldn't Have Took More Than You Gave, which makes sense, as that is basically a rewrite of Dear Prudence in the first place -- and is another song that masters "mellow intensity." 

It seems like a perfect second song for an album, so that is where I slotted it on my 90-minute cassette. 

 
Getzlaf15 said:
I Am the Walrus
2022 Ranking: 33
2022 Lists: 18
2022 Points: 230
Ranked Highest by: @neal cassady (2) @Man of Constant Sorrow (3) @shuke (5) @simey (6) @prosopis (11) @worrierking (13) @Oliver Humanzee (13) @Anarchy99 (13) @Gr00vus (15)
2019 Ranking/Lists/Pts: 28/9/137

Getz comments:  Like Prudence, I like it, but never overly excited when I hear it.


Krista4
My 2019 ranking:  44

2019 write-up:

I Am The Walrus (Magical Mystery Tour, 1967)

Since I'm being lazy, I've decided to post a guest write-up for this one.  From @simey a page or two back:

"I like this song. It is quite weird, especially lyrically, but there are several things about the song I like. I love the intro, and the orchestra throughout the song.  I also like the nonsensical lyrics.  krista, I'm not sure if I am hearing it right, but after John sings, "see how they smile like pigs in a sty see how they snide," do I hear two pig snorts after that? I know how you feel about pig snorts.  My favorite part of the song comes right before that pig line, when they go Ho Ho Ho Hee Hee Hee Ha Ha Ha. 

John says he wrote the first line after one acid trip, and the second line after another acid trip. He got the idea for writing the whacked out lyrics from getting a letter by boy that said his English teacher was having the class analyze Beatles songs. I reckon John chuckled with the thought of them analyzing the lyrics to this song. This was also the song that started the rumor that Paul was dead."

From me:  I don't mind pig snorts so much in a song that's not named "Piggies."  A little too obvious with that one.

Also from me:  In my write-up I intended to mention that this song probably had the biggest drop of any on my list.  When I started, it was in my top 15 or so, but I realized along the way that, while I loved the song, I found myself tuning it out a lot rather than actively listening.  There isn't that same level of instant excitement for me that a lot of other songs provide.

Mr. krista:  "I like the song. I like the distorted vocals and the obscurant lyrics, referencing Lewis Carroll.  Funny cause the walrus is the bad guy in that poem.  Like the brief bits of noise.  It’s still just a strange song.  There’s something terrifying and jarring about it.  It’s creepy.  It’s a haunted house of a song."

Suggested cover:  I like the uptempo rock version from Oingo Boingo

2022 Supplement:  Although it again didn’t make my top 25, I think this song is a masterpiece.  John pulled from various sources for the lyrics (including, yet again, Lewis Carroll), most of which are intended to be non-sensical, but you can probably find an entire book or numerous essays trying to interpret them. 

This was the first song that the band worked on after the death of Brian Epstein, and the sorrow in the room turned to befuddlement when John first introduced the song, with its largely two-note melody and odd lyrics.  George Martin even spoke up to ask what the hell he was supposed to do with it.  The Beatles dutifully worked on the song despite Martin’s hesitation, but the pallor in the room returned and the band was off its game, with John making numerous mistakes on the Pianet and metronome Ringo somehow unable to keep time until Paul helped him out by standing in front of him with a tambourine.  Geoff Emerick wrote:  “I distinctly remember the look of emptiness on all their faces while they were playing ‘I Am The Walrus.’ It’s one of the saddest memories I have of my time with The Beatles.”

Somehow, in a six-hour recording session, they pulled it all together, laying down 16 takes of the rhythm tracks.  Take 16 of this session, with no orchestration yet and John’s vocals later overdubbed, was released in the Anthology series:  https://www.youtube.com/watch?v=uNXQEqCXII4 

The band seemed to be satisfied with the un-orchestrated version of the song, especially after John added an actual radio sequence from a broadcast of King Lear, but George Martin still hated it.  Martin, with John’s input, wrote an orchestral score for eight violins, six cellos, three horns, and a clarinet.  Martin also brought in 16 members of the Mike Sammes Singers, who were excited to do something outside of their usual pop standards.  In the score, Martin “simply orchestrated the laughs and noises, the whooooooah kind of thing. John was delighted with it.”  Paul agrees:  “John worked with George Martin…and did some very exciting things with The Mike Sammes Singers, the likes of which they’ve never done before or since, like getting them to chant, ‘Everybody’s got one, everybody’s got one…,’ which they loved. It was a session to be remembered. Most of the time they got asked to do ‘Sing Something Simple’ and all the old songs, but John got them doing all sorts of swoops and phonetic noises. It was a fascinating session. That was John’s baby, great one, a really good one."

To me, the orchestration and additional singers form the point where the band turned a very good song into a classic.  The build and fall of the off-kilter, sometimes dissonant strings, along with the multitude of chanting voices and oddball sounds gives the song a disorienting but deep sonic texture.  In fact, it’s so disorienting as to be almost alarming, but that’s all part of the uniquely satisfying experience of listening to this song.

Guido Merkins

John loved to write songs that confused the listeners.  I Am the Walrus is on another level when it comes to that.

John based the melody on a police siren (think of the line “mister city policeman”) to see what I mean.  The lyrics are John returning to Lewis Carroll, except this time, the Walrus and the Carpenter.  Strange images like “Semolina Pilchard climbing up the Eiffel Tower” and “yellow matter custard dripping from a dead dog’s eye” are a couple of the lines that seem to mean something, but are mostly nonsense.

Musically, the song is classic Lennon in that the melody is around a couple of notes, but the chords underneath are all over the place.  There is a section of the song that is a literal performance of King Lear from radio pulled into the track, John was just kind of messing around with the radio dial and happened upon King Lear.  Because this was fed into the mono mix directly, the 2nd half of the song is in fake stereo, not true stereo.

The outro continues the strangeness of the rest of the track with a bunch of nonsense syllables and people saying “got one got one everybody’s got one” or “smoke pot smoke pot everybody smoke pot” depending on what you hear. 

I Am the Walrus was the B side of the Hello Goodbye single.  A #1 hit
This song is cray-cray. And it's one where I distinctly remember the first time I heard it. My mom had the radio on at home and one of Helen Leight's Beatles segments was playing, and this came on. And I was like "WHAT? Eggman? Walrus? Goo goo ga what?" This was definitely not the Beatles that the adult contemporary stations played. I don't think I realized they had "experimental" material until that moment. 

I also distinctly remember the Rutles parody version:

Hey diddle diddle!
Woo!
The piggie's in the middle!
Woo! 


On a more serious note, Jeff Lynne spent a good chunk of his career trying to recreate the orchestration that George Martin did here. 

 
Getzlaf15 said:
Day Tripper
2022 Ranking: 32
2022 Lists: 21
2022 Points: 231
Ranked Highest by: @FairWarning (2) @Getzlaf15 (7) @Man of Constant Sorrow (7) @Encyclopedia Brown (7) OH (dad) (8) Rob (9)  @heckmanm (11) @ProstheticRGK (12) @DocHolliday (12) @Ted Lange as your Bartender (13) 
2019 Ranking/Lists/Pts: 24/10/151

Getz: #13 for me in 2019. Moves into my Top 10 and #7 this time.


Krista4
My 2019 ranking:  42

2019 write-up:

Day Tripper (single, 1965)

This one stayed grouped tightly with "I Feel Fine" during most of my maneuverings, with the two flip-flopping frequently but staying close in ranking.  Until I spontaneously decided to rank "I Feel Fine" lower (for Binky:  "higher"), the two were in pretty much the opposite positions than where they ended up.  I'm still not sure which one I prefer.  I think of them similarly primarily because they both feature outstanding riffs.   When I had "I Feel Fine" in this position, it was because of the downward repeated guitar solos and the drumming, and when this one was higher (Binky:  "lower"), it was because it rocks harder and has a vocal that I prefer, though it's hard to follow the lead since Paul and John trade off and weave in and out of unison and harmonies as well.  

As mentioned in the "We Can Work It Out" write-up, this was the double-a-side to that song, though in the US it did slightly worse in the charts than its sister-a-side.  Paul later indicated the song is about drugs, specifically LSD, though the band downplayed that significantly at the time.  John's comments were at times more mysterious, saying it was about "weekend hippies" that only took day trips, "usually on a ferryboat or something" and at times more blunt:  "It was a drug song."

Mr. krista:  "Yeah, I love that song.  Classic riff.  It’s one of those things you think of if you think of classic rock, if you’re one of the unfortunate type of people who have to think of classic rock, or think of things as classic or not.  I’m not going to keep harping on how good of a drummer Ringo is.  I’m just going to keep saying things like, 'I’m not going to keep harping on how good of a drummer Ringo is.'"

Suggested cover:  I didn't have to look any up for this, since Otis exists.  Love how he seems either not to know or not to care about the lyrics.

2022 Supplement:  I’ve found myself turning to this song less and less over the past few years, and it would likely drop out of my top 50 today, to be replaced by (not at all) new, shiny objects.  My love for the song chiefly surrounds that heavy guitar riff, with its unusual placement front and center at both the beginning and end of the song.  Is it the most well-known riff in a Beatles song?  Perhaps.  Is it the most well-known riff in any song?  Also perhaps.  Recorded in the midst of the pronounced folk influence on most of Rubber Soul, I can see why this fierce, heavy rock song went the single route instead.

A couple of earlier instrumental versions for you to enjoy more of that riff as well as excellent work by John and Ringo:  https://www.youtube.com/watch?v=9OB3zsE4X1Y

And a hilarious attempt by the boys at lip-synching this song:  https://www.youtube.com/watch?v=N_stP3VkAb0

Guido Merkins

A Day Tripper was a person who was committed to tripping but not fully.  Like a weekend alcoholic.  It was written as a 12 bar blues for the verses, which wasn’t super common with the Beatles.  The song also has a line that says “she’s a big teaser”, which was originally “she’s a ##### teaser.”  Obviously they had to change it.

John claimed he wrote the whole thing.  Paul claims they both wrote the song, so I listed it as both.  

The best parts of the song is the riff and the harmony.  I also like the Twist and Shout style ahhhhhhhhh that builds up, but this one is a little different in that they all go up together instead of each of them holding their note.  Also, the guitar solo in the background during that part is very very cool.  One other detail, which was cleaned up with the 2009 remaster, but I kind of miss it, is the guitar line dropping out after the line “tried to please her….”  Not sure if this was on the mono version or not, but it was definitely on the stereo version.  I love mistakes.  You never hear mistakes on songs anymore because they are mostly made by computers, but I love little mistakes.  It makes it human.

There was some debate about which would be the A side Day Tripper or We Can Work It Out, so they made both of them an A side, a first for the Beatles and maybe a first for anybody.  Once again, two songs this strong on one single is crazy.
My rank: 21

GREATEST.

RIFF.

EVAR.

(I even like when the Hollies recorded it and called it Long Cool Woman in a Black Dress.)

 
I was going to post this if no one else did!

They were an INCENDIARY live band -- the entire Beat Club performance that this comes from is on Youtube and I can't recommend it highly enough. Their studio albums were defanged by comparison because sexism. 

ETA: Young and Dumb sounds like an ungodly fusion of Janis Joplin and Black Sabbath. 

 
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And Your Bird Can Sing
2022 Ranking: 31
2022 Lists: 17
2022 Points: 235
Ranked Highest by: @heckmanm (2) Worth (3) @krista4 (5) @Alex P Keaton (5) @Oliver Humanzee (7) @Wrighteous Ray(hub) (8) Sharon (9) @landrys hat (9) @Tom Hagen (10) @Encyclopedia Brown (14) 
2019 Ranking/Lists/Pts: 41/8/96

Getz: Every time this song started to fall counting the votes, someone would come in and rank it high.  Four Top 5 and Nine Top 10 votes.  More than doubled votes and points from 2019 and went up ten slots. The last song in the countdown to not get 20 votes.


Krista4
My 2019 ranking:  5


2019 write-up:

And Your Bird Can Sing (Revolver, 1966)

“I don't think that "casual" Beatles' fans appreciate "And Your Bird Can Sing" enough. 

Musically speaking, my own personal crank is turned primarily by a particular kind of combustion (not occurring entirely in rock music, though mostly that is where it happens) that has little to do with the "pop" aspects of music that most folks seem to respond to.  That is to say, I truly don't give a fig about a song's "catchiness", its "tunefulness", or whether or not one can bop one's painfully Caucasoid head along to it while driving.  "Danceability" is hahahaha, whatever chief, people manage to dance to Stravinsky and I look like a raccoon drunk on fermented crabapples when I try to perform a movement more artful than "walk briskly in a straight line".  

That said, "And Your Bird Can Sing" burns in the ways that the best rock music does:  it is funny and spiteful and is built around a seemingly endless, hall-of-fame caliber riff as good as "Black Dog" or "Supernaut".  

And Christ if it isn't "catchy" and "hooky" and "fuzzy" and two minutes of absurdly radio-friendly pop music from one of the best bands on the planet at the height of their powers. 

I mean, The Posies, Guided By Voices, Cheap Trick, Game Theory and that whole LA "Paisley Underground" spent whole decades trying to achieve that kind rock/pop/art synthesis and it has just been hanging out there on side B of Revolver this whole time. 

The hell.  Why aren't all of you "power pop" music aficionados jabbering about this song so ceaselessly that I have to mute you on Twitter?  Why the hell do you all keep jabbering about Weezer?  (I mean, I assume.  That's what you were all jabbering about when I muted you on Twitter.)” 

I've bumped Mr. krista's prior post on this song; between that post and his comments below, he covers much of what I have to say about why I love the song, plus some.  One thing he doesn't mention is that this has one of those blast starts that I've mentioned in several of my top 25 Beatles songs, immediately launching you into the ride, and the ride remains energetic and ebullient throughout.  The vocals, both lead by John and the harmonies from Paul and George, are outstanding.  And as Mr. krista references below, the lyrics are fantastic, with plays on words throughout; in addition to the one he mentions, John also cycles through double meanings on the senses of sight ("you can't see me") and hearing ("you can't hear me") to emphasize the absence of understanding and empathy.

Both "She Said She Said" and "Ticket To Ride" have been mentioned as the most Beatle-y Beatles songs, but I'd like to throw this one in the mix for consideration as well.  I can't wait to hear @fatguyinalittlecoat rock our faces off by simultaneously playing both George's and Paul's guitar parts!

Mr. krista's earlier comments:  "What I love most in rock music is a good riff, though I don’t know how to describe what makes a riff better than other riffs. But that is The Good Riff. [instructs me to use initial caps there] A great riff.  Unlike a lot of riffs, it’s ascending, and it goes over two bars. But it’s fuzzy.  The tempo is really fast.  It’s really tough to play a good riff that fast.  The best metal riffs are slowed down.  It’s very fast but unhurried.  Says a lot about what a great drummer Ringo is.  Everything could go off the rails easily, but he keeps it together. While the riff ascends, Lennon’s vocals go down.  The lyrics are incredibly good – you’ve seen seven wonders but a total inability to empathize (“but you don’t get me”).  Double meaning of “you don’t get me”?  It’s like a really happy ####-you song.  Gleefully being pissed off.  Not explicit but smarter – #### you."

Suggested cover:  Not in the same league (how could it be), but adequate:  The Jam

2022 Supplement:  Hanging tight in the #5 slot for me, and a top 10 finish on Mr. krista’s list as well. 

In a recent interview, Paul said that the guitar solo was Celtic in nature:  "We're Liverpool boys and they say Liverpool is the capital of Ireland, so it's likely the solo is influenced." Now I can hear that every time I listen to this song.

Paul has cited this Byrds-ian, giggly, whistly earlier take of the song as one of his favorites in the Anthology series:  “One of my favorites on the ‘Anthology’ is ‘And Your Bird Can Sing,’ which is a nice song, but this take of it was one we couldn’t use at the time. John and I got a fit of the giggles while we were doing the double-track. You couldn’t have released it at the time, but now you can. Sounds great just hearing us lose it on a take.”  https://www.youtube.com/watch?v=bf22VR71ags  I’m with Paul – love it!

Guido Merkins

One of the most speculated upon songs in the Beatles catalog lyrics wise is And Your Bird Can Sing from Revolver.  John had a very low opinion of the song and never shared what the lyrics are about.  I’ve read speculation as wide ranging as referring to a clock with a windup bird in a cage she gave to John.  Or it was written about Frank Sinatra and had something to do with his penis and being able to have any woman he wanted.  Marianne Faithful thought it was about her and Mick Jagger (bird is British slang for woman).  So who knows what the song is about.

John had a low opinion of this song for some reason, but the bottom line is that this song was extremely influential mostly for the harmonized lead guitar.  Guitar harmony was not used much in 1966, but just a few short years later, metal bands and Southern rock bands built their entire careers around what they first heard on And Your Bird Can Sing.  I also love the way the guitars kind of explode out of the speakers at the very beginning of the song.  A funny story about the guitars is that Joe Walsh, with great effort and lots of time, finally figured out the lead guitar part of And Your Bird Can Sing.  Walsh became Ringo’s brother in law because he married Barbara Bach’s sister and told Ringo how long he had worked to master that solo. Ringo informed him that “George and Paul played that together.”  So Walsh may be the only person in the world who can play that part alone, including George.

And Your Bird Can Sing started off very much influenced by the Byrds.  On Anthology 2 you can hear an early verison that makes this very clear before it went to much more rocking electric sound.
My rank: 22

The last to appear of the three songs I claimed as "mine" after getting their entire catalog on CD. It's the musical equivalent of a buzzsaw. Makes sense that the best cover is by one of my other favorite bands, The Jam. 

Weezer sucks and I too would block people on Twitter who blathered about them if I bothered with Twitter. 

 
Weezer sucks and I too would block people on Twitter who blathered about them if I bothered with Twitter.
Boo. Their first two albums are excellent. I don't care what any music head says, those are fine albums. Weezer since then has sucked so badly that if anybody blathered incessantly about newer Weezer, I also would block them on Twitter. Their output since 2002 has called those first two albums into question, which is a shame. 

Anything past Maladroit, which was Bafinger-inspired, is a no-go. 

 
Hey Bulldog
2022 Ranking: 30
2022 Lists: 20
2022 Points: 238
Ranked Highest by: @Getzlaf15 (1) @Shaft41 (3) @otb_lifer (5) @FairWarning (5) @Guido Merkins (6) @Dr. Octopus (8) @DaVinci (11) @heckmanm (12) @Binky The Doormat (14) @Ted Lange as your Bartender (14)
2019 Ranking/Lists/Pts: 38/7/103

Getz: Didn't rank it in 2019. It's been my #1 since the 2019 countdown ended. I love the opening. I love the video. I love all the different sections of it. I love all of it. And I think John's best singing is this song.

Krista4
My 2019 ranking:  31

2019 write-up: 

Hey Bulldog (Yellow Submarine, 1969)

BASS LINE!  That's what it's all about for me.  Mr. krista (bass player) describes it much better than I could, below.  

I've kept this one within shouting distance of "Taxman" through my many re-orderings of the rankings.  I see them similarly in that they rock your face off and have great bass lines, but some questionable lyric choices.  I detail below some of the lyrics I love, but just the overall "Hey Bulldog" part and the barking at the end turn me off a bit.  Obviously, not much, since this still lands in the upper echelon of my rankings.

Just before the group's trip to India, a film crew came to the studio to record a promotional video during which they were to act as if they were recording "Lady Madonna."  But John asserted that they should film the recording of his new song, "Hey Bullfrog," instead.  That's not a typo - the song was originally titled "Hey Bullfrog" until Paul's barking inspired the title change.  The video was then released with the overlay of "Lady Madonna" on sound while the footage is actually showing the recording of "Hey Bulldog," but the fans didn't seem to notice.  Years later, Neil Aspinall edited the video with "Hey Bulldog" being properly played instead; join the cheesy fun of his finished product. 

Geoff Emerick described the vibe in the studio for the recording of this song to be great, as "all four Beatles were in an exceptionally good mood."  The atmosphere was relaxed and fun-loving, which I think shows in the end result of the song itself, especially all the clowning around in the coda.  It's one of the last times that they all worked together seemingly joyously, and it was the last session at which neither Yoko nor Magic Alex attended, which undoubtedly contributed to the positive spirits.  

In addition to the bass, other highlights of this song for me are the screaming guitar solo and John's vocal, especially the escalating, gritty urgency of the "You can talk to me" repeat.   I also love some of the lyrics, and yes, I'm accusing the lyrics to a song called "Hey Bulldog" of being good.  Specifically, I love these lines in the verses:

(Verse one):  Some kind of happiness is

Measured out in miles

(Verse two):  Some kind of innocence is

Measured out in years

(Verse three):  Some kind of solitude is

Measured out in you

Each of those lines is terrific on its own, but combined with each other in a not-quite-repetitious pattern they're brilliant.

Mostly, I just love this song because it rocks in every way.  Every Beatle was at the top of his game for this one.

Mr. krista:  "####!  Listen to the bass line, though.  Paul McCartney’s a mother####er of a bass player, man.  During the verses, the bass line walks all over the place and sounds super busy, but he’s still right there building a pocket with Ringo.  But then during the chorus he hits that riff right on time with everybody else.  No longer playing that contrapuntal thing but just digs in, just a monster.  What a great rock song."

Suggested cover:  I post this more for the introduction to the playing of the song, rather than the cover itself.  It brought something wet I can't quite recognize to my eyes.  Dave Grohl and Jeff Lynne

2022 Supplement:  I get so pumped about Paul’s bassline in this song that I sometimes neglect George’s screaming guitar solo, which is loud and filthy in part due to the use of his new fuzzbox on it.  There’s been some controversy over the years as to whether that could be John or even Paul on the solo instead of George, but it’s generally accepted that it is George, and it’s one of his best.  The song also has the distinction of being one of the only pre-Get Back sessions songs where we can see video of the lads working on the song in the studio, in the link I posted back in 2019.  Hey Bulldog is raucous and aggressive yet fun, and I’m happy it’s been rising higher and higher (Binky:  lower and lower) in the minds of Beatles’ fans over the years.  It barely missed my top 25 again this year.

Guido Merkins

I have been a Beatles fan for 40 years.  The music existed for 15-20 years before I discovered it.  Therefore, the Beatles music has been around for 50-60 years.  You would think with all that time, every single Beatles nugget would have long ago been uncovered, but what is amazing is that there are still songs that are just being kind of discovered by people.  No song has grown more in stature in my lifetime than Hey Bulldog.

Hey Bulldog is one of the Beatles great rockers.  Ringo holding down a serious groove on drums.  Paul with a bass line that will absolutely rip the top of your head off.  George with a guitar solo that absolutely slams.  And John, with a sound that only John Lennon’s voice can make.  The song sounds so immediate, like it was made up on the spot, and that’s almost true.  It was recorded in one session which lasted about 7 hours.  It also has this great thing at the end of the song with John and Paul riffing off of each other, which is funny and sounds totally off the cuff.  In fact, the ONLY time the phrase Hey Bulldog is even mentioned is at the very end of the song.  The lyrics are typical Lennon nonsense, but I’m not sure why the song wasn’t called “You Can Talk to Me.”  Overall, it’s like a really really good novelty track.

So why has it taken so long to discover this gem?  I think it’s mostly because it’s on the Beatles most obscure album Yellow Submarine.  Yellow Submarine only had 4 new Beatles songs upon its release with more than half the album instrumental music by George Martin. 
A couple years back when the Grammys did a salute to the Beatles, Dave Grohl and Jeff Lynne did a good version of it as most of the audience had no idea what song they were doing.  Great moment.
So bouncy, so pound-y. And yes, so immediate. Another one that I can't really explain why it isn't in my 36. I'll have to put it in my 64. I think I overlooked it when I was younger because I wanted to get through it so I could get to It's All Too Much. 

 
Boo. Their first two albums are excellent. I don't care what any music head says, those are fine albums. Weezer since then has sucked so badly that if anybody blathered incessantly about newer Weezer, I also would block them on Twitter. Their output since 2002 has called those first two albums into question, which is a shame. 

Anything past Maladroit, which was Bafinger-inspired, is a no-go. 
Even the smallest, most reasonable doses of Rivers Cuomo are too much for me. 

 
Thanks to today's massacre, 60% of my picks are gone.

1.
2. 
3. 
4. 
5. Rain (42)
6. 
7. I Want You (She's So Heavy) (60)
8. Dear Prudence (34)
9.
10. 
11. 
12. Helter Skelter (35)
13. With a Little Help from My Friends (44)
14. I've Got a Feeling (46)
15. 
16. 
17. I Feel Fine (51)
18. She's a Woman (107T)
19. If I Needed Someone (76)
20. Everybody's Got Something to Hide Except Me and My Monkey (96)
21. Day Tripper (32)
22. And Your Bird Can Sing (31)
23. Blackbird (52)
24. I'm Only Sleeping (65)
25. It's All Too Much (118)

 
This has changed a little bit since I posted 11 songs ago....

 

Chalk Rankings Top 10. #30 = 143 pts. each Sponsored by: Homes For Clowns

1 --ManOfSteelhead---2185.5

2 --Krista (Worth)---1897.5

3 --anarchy99---1879

4 --FairWarning---1774

5 --Oliver Humanzee---1759.5

6 --Guido Merkins---1746

7 --Shaft41---1742

8 --Krista (Sharon)---1739.5

9 --Krista (TJ/Michael)---1737

10 --Dwayne Hoover---1710.5

11 --Pip's Invitation---1705.5

 
as has this end...

Top 10 Least Chalk

62 --Gr00vus---898

63 --Wrighteous Ray---844.5

64 --DocHolliday---839

65 --Krista (TJ/Holly)---806

66 --Bobby Layne---782

67 --Krista (TJ/Slug)---773

68 --Oliver Humanzee(Dad)---715

69 --pecorino---702

70 --falguy---669

71 --Just Win Baby---613

When you have a song from your 1-25 list that is posted, I will assign a score to that song and keep a running total on who is "most" and "least" chalky. Song ranked #172 will get one point. Song ranked #1 will get 172 points. All of this is for fun and means nothing

 
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# of Songs to Have Appeared on The Countdown to Date

1 --anarchy99---23

2 --ManOfSteelhead---22

3 --Krista (Sharon)---21

4 --Krista (Worth)---20

5 --Krista (TJ/Michael)---19

6 --Shaft41---18

7 --Man Of Constant Sorrow---18

8 --OTB_Lifer---18

9 --Encyclopedia Brown---17

10 --Krista (Craig)---16

11 --Wrighteous Ray(Hub)---16

12 --FairWarning---16

13 --fatguyinalttlecoat---15

14 --BinkyTheDoormat---15

15 --Krista (Rob)---15

16 --Dwayne Hoover---15

17 --Pip's Invitation---15

18 --Oliver Humanzee---15

19 --Guido Merkins---15

20 --Shaft41(Daughter)---14

21 --zamboni---14

22 --rockaction---14

23 --ConstruxBoy---14

24 --wikkidpissah---14

25 --Wrighteous Ray---13

26 --John Maddens Lunchbox---13

27 --murph---13

28 --PIK 95---13

29 --Krista (TJ/Alex)---13

30 --prosopis---13

31 --Shaft41(Son1)---13

32 --Getzlaf15---13

33 --Mac32---12

34 --DaVinci---12

35 --Neal Cassady---12

36 --Uruk-Hai---12

37 --jamny---12

38 --Eephus---11

39 --Shaft41(Son2)---11

40 --Krista (Doug)---11

41 --ProsteticRKG---11

42 --Alex P Keaton---11

43 --Heckmanm---11

44 --Westerberg---11

45 --WhoKnew---10

46 --AAABatteries---10

47 --jwb---10

48 --shuke---10

49 --Ilov80s---10

50 --Dennis Castro---10

51 --yankee23fan---10

52 --Dr. Octopus---10

53 --landryshat---10

54 --turnjose7---10

55 --ekbeats---9

56 --Krista (TJ/Holly)---9

57 --Lardonastick---9

58 --Simey---9

59 --Dinsy Ejotuz---9

60 --Krista4---9

61 --Ted Lange as your Bartender---9

62 --Gr00vus---8

63 --Krista (TJ/Slug)---7

64 --WorrierKing---7

65 --DocHolliday---7

66 --Tom Hagen---7

67 --Just Win Baby---6

68 --falguy---6

69 --pecorino---6

70 --Bobby Layne---6

71 --Oliver Humanzee(Dad)---6

 
1.--Hey Bulldog(30)

7.--Day Tripper(32)

9.--I Feel Fine(51)

12.--Rain(42)

13.--She Loves You(38)

14.--Things We Said Today(37)

15.--I Should Have Known Better(93)

16.--Mother Nature's Son(104)

17.--I Saw Her Standing There(43)

19.--Hello Goodbye(56)

21.--Helter Skelter(35)

23.--Paperback Writer(47)

24.--Two Of Us(41)

 
Guitar harmony is one of my favorite things in music (Allman Brothers Band are my all-time favorite band), so of course I love And Your Bird Can Sing. Number 17 on my list but probably could have been higher. Why does John suck at rating his own songs? 

Was going to post the Jerry Garcia Band version of Dear Prudence but Shuke beat me to it. Obviously Jerry is never going to make anyone forget John on vocals, but it is still a great version that bumps the song up a little bit for me. 

 
"Hey Bulldog" punches in at #5 for me, slipping in snugly with Rain & Helter Skelter in that top 5 - some real meat on the bones of those 3 songs ... brilliance. 

- John's nasty & ferocious lyrics, set off by those menacing riffs and licks - wanna say this was a genre influencer of the highest order, it's raw - all of it's elements - raw.  would not be outta place on a New York Dolls or Mott the Hoople or Heartbreakers platter ... a unique turn for the lads, it's grimy and gritty and sloppily rollicking.  they ####ed around, had a blast in the studio, and churned out an all-time bone rattler.  

that's entertainment right there. 

SCOREBORED UPDATE:

25. I Should Have Known Better

24. She's Leaving Home

23. Every Little Thing

22. Not A Second Time

21. Blue Jay Way

20. Happy Just To Dance With You

19. And Your Bird Can Sing

18. Being For The Benefit Of Mr. Kite

17. It Won't Be Long

16.

15. The Continuing Story Of Bungalow Bill

14.

13. Hello, Goodbye

12. Lucy In The Sky With Diamonds

11. I'll Be Back

10. 

9. It's All Too Much

8. I Feel Fine 

7. 

6. 

5. Hey Bulldog

4. RAIN

3. Helter Skelter

2. 

1. 

PS - 2 of my top 10 from Yellow Submarine.

:bye:

 
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10 And Your Bird Can Sing (31)

17 If I Needed Someone (76)

18 All You Need is Love (54)

20 Things We Said Today (37)

22 Revolution (36)

23 And I Love Her (45)

24 Hey Bulldog (30)

I was busy when Revolution was posted and didn't have a chance to comment.  Love the lyrics and that at the height of their popularity John wasn't afraid to make a political statement but also that song rocks. The key to writing a good protest song is to make sure it's a good song first.

 
2    And Your Bird Can Sing (31)
3    Two Of Us (41)
11    Day Tripper (32)
12    Hey Bulldog (30)
14    Drive My Car (62)
16    Happiness is a Warm Gun (39)
18    Savoy Truffle (80)
19    I've Got A Feeling (46)
21    Back in the USSR (40)
24    Lucy In The Sky With Diamonds (55)
25    Wait (117)

 

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