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In this thread I rank my favorite Beatles songs: 204-1. (9 Viewers)

krista4 said:
I had a dream last night that I was driving with the Beatles channel on the radio, and I heard a fantastic cover of "You Won't See Me" that I'd forgotten to post in my write-up, and I felt shame.
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What were you wearing and what did you have to eat the meal immediately before the drive?

 
@Spock's wedding song!

51.  Here, There and Everywhere (Revolver, 1966)

Beatles version:  Spotify  YouTube

I've heard and read interviews with Paul in which he says this is the favorite of his songs.  John loved it, too, deeming it one of his favorites of all the Beatles songs.  I've wondered if John's opinion of the song influenced Paul's thinking; when I've read about their friendship, it's seemed to me that Paul was often hoping for John's approval.  Paul has mentioned John's praise of the song as "one of the nicest little moments" they had together.

This is one of those perfect songs that I don't rate more highly simply because love songs are not one of my preferred genres.  Still, Paul's haunting almost-falsetto vocal set against the shimmering backing vocals are irresistible.  Paul has stated that he wanted to sound like Marianne Faithfull with the near-falsetto, and his vocal was recorded at a slower speed then sped up for the recording to give it more of the high-pitched, boyish sound.  While the short introduction and the first verse address the "here," and the second verse contemplates the "there," my favorite part of the song is the "everywhere," which is covered in the bridge.  The second verse glides upward to a new key for the bridge, where the backing vocals also cease and are replaced by a more prominent guitar; it's this wobbly, slightly menacing guitar riff (starting ~1:02) followed by the lead vocal falling back down into the original major key that's my favorite part of the song.

Mr. krista:  "Did you notice that the song is in three different time signatures?  [We listen several more times as we count it out.] I like how it works with the previous song ("Love You To").  It’s like the Eastern and Western counterparts to the same sentiment – live for the day type thing.  I like it more than I thought I did.  It really rewards conscious listening, or whatever I do while I’m playing a baseball game on my phone.  Those really beautiful multi-tracked harmonies and guileless presentation show you how much he loved Pet Sounds.  Both those records probably alienated large chunks of their fanbase."

Suggested cover:  Of course Emmylou

 
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JZilla said:
Was it Nipsey? 

I can imagine the daily obsession - I think I'd lose it!
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I might be losing it.

Shaft - regarding the covers, sometimes it takes me longer to find the cover(s) than doing the write-up.  There are some where I already know which one I want, like the last song I posted, but mostly not.

Dr. Octopus - I listened to that one, unfortunately!

 
krista4 said:
@Spock's wedding song!

50.  Here, There and Everywhere (Revolver, 1966)

Beatles version:  Spotify  YouTube

I've heard and read interviews with Paul in which he says this is the favorite of his songs.  John loved it, too, deeming it one of his favorites of all the Beatles songs.  I've wondered if John's opinion of the song influenced Paul's thinking; when I've read about their friendship, it's seemed to me that Paul was often hoping for John's approval.  Paul has mentioned John's praise of the song as "one of the nicest little moments" they had together.

This is one of those perfect songs that I don't rate more highly simply because love songs are not one of my preferred genres.  Still, Paul's haunting almost-falsetto vocal set against the shimmering backing vocals are irresistible.  Paul has stated that he wanted to sound like Marianne Faithfull with the near-falsetto, and his vocal was recorded at a slower speed then sped up for the recording to give it more of the high-pitched, boyish sound.  While the short introduction and the first verse address the "here," and the second verse contemplates the "there," my favorite part of the song is the "everywhere," which is covered in the bridge.  The second verse glides upward to a new key for the bridge, where the backing vocals also cease and are replaced by a more prominent guitar; it's this wobbly, slightly menacing guitar riff (starting ~1:02) followed by the lead vocal falling back down into the original major key that's my favorite part of the song.

Mr. krista:  "Did you notice that the song is in three different time signatures?  [We listen several more times as we count it out.] I like how it works with the previous song ("Love You To").  It’s like the Eastern and Western counterparts to the same sentiment – live for the day type thing.  I like it more than I thought I did.  It really rewards conscious listening, or whatever I do while I’m playing a baseball game on my phone.  Those really beautiful multi-tracked harmonies and guileless presentation show you how much he loved Pet Sounds.  Both those records probably alienated large chunks of their fanbase."

Suggested cover:  Of course Emmylou
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How apropos that this song slotted in today's rankings. I used the title on my wife's valentine's day card this morning. Today marks our 18th anniversary of dating. Glad it made the top 50.

 
krista4 said:
@Spock's wedding song!

50.  Here, There and Everywhere (Revolver, 1966)

Beatles version:  Spotify  YouTube

I've heard and read interviews with Paul in which he says this is the favorite of his songs.  John loved it, too, deeming it one of his favorites of all the Beatles songs.  I've wondered if John's opinion of the song influenced Paul's thinking; when I've read about their friendship, it's seemed to me that Paul was often hoping for John's approval.  Paul has mentioned John's praise of the song as "one of the nicest little moments" they had together.

This is one of those perfect songs that I don't rate more highly simply because love songs are not one of my preferred genres.  Still, Paul's haunting almost-falsetto vocal set against the shimmering backing vocals are irresistible.  Paul has stated that he wanted to sound like Marianne Faithfull with the near-falsetto, and his vocal was recorded at a slower speed then sped up for the recording to give it more of the high-pitched, boyish sound.  While the short introduction and the first verse address the "here," and the second verse contemplates the "there," my favorite part of the song is the "everywhere," which is covered in the bridge.  The second verse glides upward to a new key for the bridge, where the backing vocals also cease and are replaced by a more prominent guitar; it's this wobbly, slightly menacing guitar riff (starting ~1:02) followed by the lead vocal falling back down into the original major key that's my favorite part of the song.

Mr. krista:  "Did you notice that the song is in three different time signatures?  [We listen several more times as we count it out.] I like how it works with the previous song ("Love You To").  It’s like the Eastern and Western counterparts to the same sentiment – live for the day type thing.  I like it more than I thought I did.  It really rewards conscious listening, or whatever I do while I’m playing a baseball game on my phone.  Those really beautiful multi-tracked harmonies and guileless presentation show you how much he loved Pet Sounds.  Both those records probably alienated large chunks of their fanbase."

Suggested cover:  Of course Emmylou
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This is probably exactly where I'd place this song.  It's weird, this is the kind of Beatles song that is usually right in my wheelhouse.  Simple love song, gorgeous melody and harmonies, a Paul tune, etc, but there's just something missing for me that I'm not sure I can put my finger on that keeps it out of the top with songs like "Blackbird" "Things We Said Today" and "For No One."  Honestly, I wonder if it's the fact that my parents have always liked instrumental muzak, which, especially when I was younger, was as appealing to listen to as Yoko taking a dump, and I feel like a muzak version of "Here, There and Everywhere" came on about every 23 minutes.  It's too 70's AM pop standard Fogelbergy for me.  But still a great song.  

 
50.  I've Got A Feeling (Let It Be, 1970)

Beatles version:  Spotify  YouTube

Love these Paul/John mishmosh songs, linking a song fragment from each of them, and I think this is one of their most successful fusions.  As was often (always?) the case, the Paul portion is generally upbeat, this time reflecting his love for Linda.  Despite this being written at a particularly tough time for John, though - coming on the heels of his drug bust, Yoko's miscarriage, his divorce, and more - I don't hear the usual pessimism or cynicism from John in his portion.  If anything, he sounds more laid-back, maybe detached and resigned to circumstances.  

The best part of this song for me is that, unlike the other similar collaborations, this one doesn't simply go Paul-John-Paul or John-Paul-John, but late in the song merges the two song parts together, one on top of the other.  Interlaying John's mellow sound on top of Paul's more aggressive rock part works beautifully.   The song rocks, thanks to...well, everyone involved.  Paul contributes a passionate rock vocal, though perhaps tending too far into a "cookie monster" feel for my taste, and John and George wail on the guitars after an understated opening riff.  Billy Preston adds another level of groove on the electric piano, and Ringo's fills connect everything together perfectly.  It's great rock, but also playful and fun; the rooftop concert evidences how much they enjoyed this one.

Mr. krista:  "It’s a really good rock song.  It’s like they did The Faces as good or better than The Faces. And I love The Faces."

Suggested covers:  I feel like Eddie Vedder overplays the vocal, but Pearl Jam . Found several live versions by Robyn Hitchcock; this had the best sound quality but not great.

 
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Spock said:
How apropos that this song slotted in today's rankings. I used the title on my wife's valentine's day card this morning. Today marks our 18th anniversary of dating. Glad it made the top 50.
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:heart:   Happy dating anniversary and Valentine's Day to the Spocks!  

Wait, does this mean your first date was on Valentine's Day?  Bold.  

Shaft41 said:
This is probably exactly where I'd place this song.  It's weird, this is the kind of Beatles song that is usually right in my wheelhouse.  Simple love song, gorgeous melody and harmonies, a Paul tune, etc, but there's just something missing for me that I'm not sure I can put my finger on that keeps it out of the top with songs like "Blackbird" "Things We Said Today" and "For No One."  Honestly, I wonder if it's the fact that my parents have always liked instrumental muzak, which, especially when I was younger, was as appealing to listen to as Yoko taking a dump, and I feel like a muzak version of "Here, There and Everywhere" came on about every 23 minutes.  It's too 70's AM pop standard Fogelbergy for me.  But still a great song.  
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I don't think I've heard the muzak version.  it's a testimony to how great the melody is that this works as an instrumental, too.

 
I think I've beat up @Dr. Octopus's list of favorites worse than Binky's, and there's one more to come very soon.   :(  I've always had the impression our tastes were similar, and I guess they still could be since I'm splitting very tiny hairs at this point.

 
I didn't realize today was Valentine's Day until I read Spock's post.  I have to work for 4-5 hours now, but, since I didn't even know it was today and Mr. krista will be at work, I'll be here later this afternoon and this evening pathetically posting songs while eating chips and dip alone.   :bag:  

 
krista4 said:
I didn't realize today was Valentine's Day until I read Spock's post.  I have to work for 4-5 hours now, but, since I didn't even know it was today and Mr. krista will be at work, I'll be here later this afternoon and this evening pathetically posting songs while eating chips and dip alone.   :bag:  
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I'll be asleep before you come back :bag:   :bag:  

 
krista4 said:
Well aren’t we all a bunch of romantics?
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I bought all my wife's stuff on Monday.  We don't really exchange gifts typically. But  I bought her a couple of bottles of wine, some candy, and a coffee mug with hearts and #### on it    invoking a brief cease-fire in the Coffee Mug War (2008-present).

 
krista4 said:
I didn't realize today was Valentine's Day until I read Spock's post.  I have to work for 4-5 hours now, but, since I didn't even know it was today and Mr. krista will be at work, I'll be here later this afternoon and this evening pathetically posting songs while eating chips and dip alone.   :bag:  
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chip poll/thread two doors down on the left.  

 
Leroy Hoard said:
Up to now I had assumed you were a woman.
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I used to be more romantic; not sure what happened.  Just feels like something more for kids or young adults now.  I can’t fathom caring about it.

I do find it sweet when the Spocks celebrate or even hard-hearted old coot Tanner buys his wife some garbage.  What’s the Coffee Mug War?

 
krista4 said:
I used to be more romantic; not sure what happened.  Just feels like something more for kids or young adults now.  I can’t fathom caring about it.

I do find it sweet when the Spocks celebrate or even hard-hearted old coot Tanner buys his wife some garbage.  What’s the Coffee Mug War?
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It's a war about coffee mugs.

HTH

 
I know this will change now they i say this, but Krista's last 25 songs from the mid-70's down,  have almost all been within 3-8 slots (10%) from the composite ranking of the same song.

 
krista4 said:
I didn't realize today was Valentine's Day until I read Spock's post.  I have to work for 4-5 hours now, but, since I didn't even know it was today and Mr. krista will be at work, I'll be here later this afternoon and this evening pathetically posting songs while eating chips and dip alone.   :bag:  
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Finally got the food menu. Thank you.

Still need wardrobe.

 
49.  Don't Let Me Down (single, 1970)

Beatles version:  Spotify  YouTube

Originally submitted during the Get Back sessions but omitted by Phil Spector from Let It Be, this instead became the b-Lside to "Get Back."  This is the last song I'll be ranking that was played at the London rooftop concert, and the penultimate song they ever played live as a band (the last was a final version of "Get Back").  To me the highlight is John's raw and desperate vocal, countered by Billy Preston's soulful electric piano.  His switches between the vulnerability of verses to the passionate intensity of the choruses is sublime.  John explained his screams:  "When you're drowning, you don't say, 'I would be incredibly pleased if someone would have the foresight to notice me drowning and come and help me.'  You just scream."   The rest of the band is exactly on point here, too, from Pauls's superb bass line to George's descending guitar lines during the verses that set up a compelling counter-melody.  Ringo is a standout in keeping up with the frequent tempo changes and odd meters, such as the addition of an extra beat during some measures of the solo parts (e.g., "nobody ever loved me like she does").  The only slight downside of this song is knowing his obsession was with icky Yoko.  Below, Mr. krista explains the interesting composition better than I do.

Mr. krista:  "I like this song.   That is a really strange Beatles tune.  It’s unlike almost everything.  It’s the Bach contrapuntal side.  There’s an ascending and a descending part on each of the lead guitar.  And Billy Preston plays it different on each verse. And in the last one it sounds like the bass is the lead instrument.  Man, they’re a really ####### good band.  It’s a counter-melody played in the same key but in different octaves so everything stands out.  It’s just really good.  It also sounds like John Lennon is giving a command but he’s really vulnerable, like please please really don’t let me down."

Suggested cover:  Ben E. King   It occurred to me the thread needs more mullets:  Hall & Oates

 
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krista4 said:
48.  Don't Let Me Down (single, 1970)

Beatles version:  Spotify  YouTube

Originally submitted during the Get Back sessions but omitted by Phil Spector from Let It Be, this instead became the b-Lside to "Get Back."  This is the last song I'll be ranking that was played at the London rooftop concert, and the penultimate song they ever played live as a band (the last was a final version of "Get Back").  To me the highlight is John's raw and desperate vocal, countered by Billy Preston's soulful electric piano.  His switches between the vulnerability of verses to the passionate intensity of the choruses is sublime.  John explained his screams:  "When you're drowning, you don't say, 'I would be incredibly pleased if someone would have the foresight to notice me drowning and come and help me.'  You just scream."   The rest of the band is exactly on point here, too, from Pauls's superb bass line to George's descending guitar lines during the verses that set up a compelling counter-melody.  Ringo is a standout in keeping up with the frequent tempo changes and odd meters, such as the addition of an extra beat during some measures of the solo parts (e.g., "nobody ever loved me like she does").  The only slight downside of this song is knowing his obsession was with icky Yoko.  Below, Mr. krista explains the interesting composition better than I do.

Mr. krista:  "I like this song.   That is a really strange Beatles tune.  It’s unlike almost everything.  It’s the Bach contrapuntal side.  There’s an ascending and a descending part on each of the lead guitar.  And Billy Preston plays it different on each verse. And in the last one it sounds like the bass is the lead instrument.  Man, they’re a really ####### good band.  It’s a counter-melody played in the same key but in different octaves so everything stands out.  It’s just really good.  It also sounds like John Lennon is giving a command but he’s really vulnerable, like please please really don’t let me down."

Suggested cover:  Ben E. King   It occurred to me the thread needs more mullets:  Hall & Oates
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extra kudos for Hall & Oates

 
krista4 said:
Suggested covers:  I feel like Eddie Vedder overplays the vocal, but Pearl Jam . Found several live versions by Robyn Hitchcock; this had the best sound quality but not great.
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I have a lot of catching up to do in this thread, but when I saw 49 I figured that the Pearl Jam cover would be the one featured. I like it more than you. Maybe one day me and Mrs. Kilgore will run down my favorite Pearl Jam songs.

Great thread by the way. The FFA has a pulse after all.

 
I absolutely love the rooftop performance of “Don’t Let Me Down”. So much passion in it, as they truly knew that was it in ending the era.

ETA: when I was in London a few years ago, I did a rock walking tour and saw the building. Pretty non-descript now, but the aura was still palpable.

 
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Kilgore Trout said:
I have a lot of catching up to do in this thread, but when I saw 49 I figured that the Pearl Jam cover would be the one featured. I like it more than you. Maybe one day me and Mrs. Kilgore will run down my favorite Pearl Jam songs.

Great thread by the way. The FFA has a pulse after all.
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Thanks!  Pearl Jam will be featured in another cover later; it's an obvious one.  I do like this one and think they rocked it very well; just wish he'd dialed back that vocal a little.  I wish Paul had dialed his back slightly in the original, too, so it's not them; it's me.

zamboni said:
I absolutely love the rooftop performance of “Don’t Let Me Down”. So much passion in it, as they truly knew that was it in ending the era.

ETA: when I was in London a few years ago, I did a rock walking tour and saw the building. Pretty non-descript now, but the aura was still palpable.
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I do, too - it's my favorite of the performances from that concert.  Next time I'm in London I should to get the info on these walking tours you and another person or two have mentioned.  Need to go on one!

 
krista4 said:
Thanks!  Pearl Jam will be featured in another cover later; it's an obvious one.  I do like this one and think they rocked it very well; just wish he'd dialed back that vocal a little.  I wish Paul had dialed his back slightly in the original, too, so it's not them; it's me.
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Ha, I almost posted "doesn't Paul overplay his vocals too?". Great song, and you have inspired me to listen to some Beatles this weekend while enjoying a drink or three. And I know the other cover of which you speak. Was great hearing it live at a few Pearl Jam shows.  

 
Nigel Tufnel said:
I’m not going to change my answer but the more I think about it I’m just not sure YG2HYLA has what it takes to be number one. Maybe a little too simple, not big enough. I still like it to finish well though. 
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I just remembered that I’d intended to respond to this.  I try to make rhyme or reason out of my rankings, to give an illusion of consistency, but many of them are just ranked on overall feel.  How excited am I when it comes on?  So there are some songs ranked highly that aren’t terribly complex, that aren’t perfect.

 
Who would write the better “Somehow we got stuck with my wife’s boss’ greyhound for a week, and my dachshund and hound dog are not real sure what is going on song”?

This might be in Ringo’s wheelhouse.

..and yes, it’s a Three Dog Night here. 

 
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krista4 said:
I just remembered that I’d intended to respond to this.  I try to make rhyme or reason out of my rankings, to give an illusion of consistency, but many of them are just ranked on overall feel.  How excited am I when it comes on?  So there are some songs ranked highly that aren’t terribly complex, that aren’t perfect.
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I get that and totally agree. I also think your rankings haven’t shied away from getting rid of a “big” song and I think you’re doing this in such an honest way. There is zero pretense. I hope it wins I’m just second guessing myself. 

 
It's another one off the "guess my #1" list.

48.  With A Little Help From My Friends (Sgt. Pepper's Lonely Hearts Club Band, 1967)

Beatles version:  Spotify  YouTube

As much as I love Ringo, and I even like his singing, we can probably all agree that he doesn't have the greatest voice.  This song was written specifically for him and therefore is perfect for his limited range, with one exception:  that last note, far out of Ringo's range.  The vocal was recorded at the end of a long session, and after finishing the backing tracks, Ringo started up the stairs to leave.  Paul called out to him that they should do the vocals first, and unfortunately for Ringo, who said he was "knackered," the rest of the band agreed.  Knowing how nervous Ringo was about the vocal, the other three, In a sweet show of friendship, gathered round him just behind the microphone, (silently) cheering him on.  But that last note was a challenge, and the other Beatles encouraged him through several takes, with George gently telling him he could do it and John giving more blunt advice to "just throw your head back and let 'er rip!"  After a few tries, Ringo hit it, to much cheering and then a celebratory scotch-and-Coke toast.

Ringo sings this so sweetly, and the song gently glides along with great pleasantness.  I love the call-and-response and as-always beautiful harmonies - especially for some reason love the lines, "What do you see when you turn out the light; I can't tell you but I know it's mine."  I don't know what those lines mean, though I've read Paul say it might have been about self-love, but maybe that open interpretation is why I like the lines.   The most essential, superb part of the song for me, though, is Paul's bass line, which is as smoothly melodic and fluid as any he recorded with the Beatles.  This is a song with a simple structure but elevated to another level for me by its sweetness...and that bass line.

Badfinger alert!  The song was initially titled "Bad Finger Boogie," which is the source of the band's name after changing it from The Iveys.

Fun fact:  originally the second line was "would you stand up and throw tomatoes at me" instead of "walk out on me."  In a rare instance of assertiveness, Ringo put his foot down on this, worried that people would actually throw tomatoes on stage at that line, much as they had thrown jelly beans and other items in earlier shows.

Mr. krista:  "It is so much better than that…[five-minute discussion of how much we hate the Cocker version and how it’s about selfishness] I really like the song so much more than that.  He made a really great song suck."

Suggested cover:  Oh hell no I'm not posting that one.  I'd rather listen to John Belushi's parody. 

 
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  1. simey – Abbey Road medley
  2. Mister CIA – She Said She Said
  3. timschochet – Paperback Writer
  4. pecorino – Hey Jude
  5. Binky the Doormat – In My Life
  6. wikkidpissah – Taxman
  7. Dr. Octopus – Got To Get You Into My Life
  8. Nigel Tufnel – You’ve Got to Hide Your Love Away
  9. Uruk-Hai – Ticket to Ride
  10. Dinsy Ejotuz – Let It Be
  11. Tom Hagen – Eleanor Rigby
  12. Spock – Rain
  13. Leroy Hoard – A Day in the Life
  14. rockaction  - I Want to Hold Your Hand
  15. Ted Lange as Your Bartender – In My Life
  16. shuke – Abbey Road medley
  17. Alex P Keaton – Something
  18. Getzlaf15 – With A Little Help From My Friends
  19. zamboni – While My Guitar Gently Weeps
  20. neal cassady – While My Guitar Gently Weeps
  21. Shaft41 – Hey Bulldog
  22. Ilov80s – Norwegian Wood
  23. Officer Pete Malloy – I Want to Hold Your Hand
  24. Godsbrother – Dear Prudence
  25. ManofSteelhead – Eleanor Rigby
  26. mike9289 – I’m Looking Through You
  27. heckmanm: Eleanor Rigby
  28. Atomic Punk – A Day in the Life
  29. [Mrs. Punk – In My Life]
  30. bananafish – Abbey Road medley
  31. bonzai – Abbey Road medley
  32. fatguy – Here Comes the Sun
  33. ScottNorwood- Yesterday
  34. Sebowski – I’m So Tired
 
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