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krista4

In this thread I rank my favorite post-Beatles Beatles songs: 290-1.

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1 hour ago, krista4 said:

171.  Steel And Glass (Walls And Bridges, 1974)  Spotify  YouTube

(John #36)

This is one of two John “attack” songs we’ll be addressing shortly, this one having been interpreted as an attack on the Beatles’s former manager, Allen Klein.  John never admitted it was about Klein, but did clarify that it wasn’t about Paul or about Eartha Kitt.  Glad he clarified that last bit.  Anyway, the song is musically good and interesting, but I get a bit tired of the John vitriol, and this doesn’t have quite enough to overcome my weariness and move it higher.  I like the fade-in, John’s soaring vocal, and especially the strings, which give a nice sense of menace.  John reused the violin and horn licks from another (very direct) attack song, “How Do You Sleep?”, in this song.

sounds vaguely familiar ...but I don't think I've ever heard it

I am really digging it - changed from like to love

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1 hour ago, krista4 said:

171.  Steel And Glass (Walls And Bridges, 1974)  Spotify  YouTube

(John #36)

This is one of two John “attack” songs we’ll be addressing shortly, this one having been interpreted as an attack on the Beatles’s former manager, Allen Klein.  John never admitted it was about Klein, but did clarify that it wasn’t about Paul or about Eartha Kitt.  Glad he clarified that last bit.  Anyway, the song is musically good and interesting, but I get a bit tired of the John vitriol, and this doesn’t have quite enough to overcome my weariness and move it higher.  I like the fade-in, John’s soaring vocal, and especially the strings, which give a nice sense of menace.  John reused the violin and horn licks from another (very direct) attack song, “How Do You Sleep?”, in this song.

He's lying! It's totally about Eartha Kitt! 😆

The strings remind me of Paul Buckmaster's work on the Stones' Sticky Fingers album. Great stuff.

I also like the guitar lick or whatever it is that comes in around 1:50. 

It's clearly an attack song but it's not so obvious as to overwhelm the composition. 

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50 minutes ago, Binky The Doormat said:

sounds vaguely familiar ...but I don't think I've ever heard it

I am really digging it - changed from like to love

:thumbup:  Glad it grabbed you.

44 minutes ago, Pip's Invitation said:

He's lying! It's totally about Eartha Kitt! 😆

The strings remind me of Paul Buckmaster's work on the Stones' Sticky Fingers album. Great stuff.

I also like the guitar lick or whatever it is that comes in around 1:50. 

It's clearly an attack song but it's not so obvious as to overwhelm the composition. 

Agree on this.

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170.  Six O’Clock (Ringo, 1973)  Spotify  YouTube

(Ringo #9)

I hate not having a song I know someone else loves higher.  In this case, I believe that @Dr. Octopus said this was his favorite Ringo song, but hey, #9 Ringo isn’t bad either, right?

This song was written by Paul for Ringo’s album, Ringo.  John and George had already contributed songs to the album, and Ringo rang up Paul to make sure he didn’t want to be left out.  I think it’s a beautifully written song, but I really want to hear Paul sing it!  I know Ringo’s vocal can be a problem for some, and it usually doesn’t bother me that much, but it does moreso on this song, especially in the “I don’t treat you like I’d like to treat you” part.  Paul and Linda also contributed backing vocals, and Paul played piano and did the string arrangements, the later of which I think are a highlight of the song.  That’s Klaus Voormann on bass instead of Paul.  Even though I’d prefer a different vocal, I still love this charming ballad.

Fun fact:  when asked by the press why he had written this song for Ringo, Paul said he would do that for any friend, so Rod Stewart called and demanded a song.  Paul obliged, which resulted in Stewart’s song, “Mine For Me.”

 

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2 hours ago, krista4 said:

170.  Six O’Clock (Ringo, 1973)  Spotify  YouTube

(Ringo #9)

I hate not having a song I know someone else loves higher.  In this case, I believe that @Dr. Octopus said this was his favorite Ringo song, but hey, #9 Ringo isn’t bad either, right?

This song was written by Paul for Ringo’s album, Ringo.  John and George had already contributed songs to the album, and Ringo rang up Paul to make sure he didn’t want to be left out.  I think it’s a beautifully written song, but I really want to hear Paul sing it!  I know Ringo’s vocal can be a problem for some, and it usually doesn’t bother me that much, but it does moreso on this song, especially in the “I don’t treat you like I’d like to treat you” part.  Paul and Linda also contributed backing vocals, and Paul played piano and did the string arrangements, the later of which I think are a highlight of the song.  That’s Klaus Voormann on bass instead of Paul.  Even though I’d prefer a different vocal, I still love this charming ballad.

Fun fact:  when asked by the press why he had written this song for Ringo, Paul said he would do that for any friend, so Rod Stewart called and demanded a song.  Paul obliged, which resulted in Stewart’s song, “Mine For Me.”

x2. Good song even with Ringo. Never paid attention to this one (that's the cool thing about these threads). 

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8 hours ago, krista4 said:

170.  Six O’Clock (Ringo, 1973)  Spotify  YouTube

(Ringo #9)

I hate not having a song I know someone else loves higher.  In this case, I believe that @Dr. Octopus said this was his favorite Ringo song, but hey, #9 Ringo isn’t bad either, right?

This song was written by Paul for Ringo’s album, Ringo.  John and George had already contributed songs to the album, and Ringo rang up Paul to make sure he didn’t want to be left out.  I think it’s a beautifully written song, but I really want to hear Paul sing it!  I know Ringo’s vocal can be a problem for some, and it usually doesn’t bother me that much, but it does moreso on this song, especially in the “I don’t treat you like I’d like to treat you” part.  Paul and Linda also contributed backing vocals, and Paul played piano and did the string arrangements, the later of which I think are a highlight of the song.  That’s Klaus Voormann on bass instead of Paul.  Even though I’d prefer a different vocal, I still love this charming ballad.

Fun fact:  when asked by the press why he had written this song for Ringo, Paul said he would do that for any friend, so Rod Stewart called and demanded a song.  Paul obliged, which resulted in Stewart’s song, “Mine For Me.”

 

It is my favorite Ringo song, but I’ve also said, like you, I’d love to see Paul take the lead on it.

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I was going to move some stuff around to avoid controversy/another song someone liked better than I do, but this is my list, damn it!  Let's go!

 

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---INTERLUDE – Imagine (1971)---

Imagine was released to extensive (though not unanimous) critical acclaim and public acceptance, reaching #1 on the US charts and selling over two million copies in the US alone.  Its single, “Imagine,” reached “only” #3 in the US, which might be surprising given that it seems now to be John’s most beloved song.  While generally very well received by critics, one of the mediocre reviews came from Rolling Stone, although the magazine later named this as the 80th best album of all time.  That’s all you need to know about Rolling Stone.

As with Plastic Ono Band, John enlisted Phil Spector to co-produce this record along with him and Yoko, with this one sounding much more like a Spector album versus the very sparse sound of the prior effort.  John also created a bigger sound to this album by including a huge band, as compared to the three-person affair of Plastic Ono Band.  In addition to the usual (Keltner, Voormann, Hopkins), this record also features George on guitar, Alan White on drums, King Curtis on sax, two of the members of Badfinger on acoustic guitars, a string section, and a wide variety of other guitarists, percussionists, etc.  The expansion of the sound into a more “traditional” direction undoubtedly made it more commercially appealing, as did the range of styles from guitar-driven rock to lovely ballads, as opposed to the range in Plastic Ono Band from stark screaming to starker screamier.

Another factor in its commercial success was likely the toning down of some of the political statements he had made in songs such as “Power To The People” and would later enhance in Some Time In New York City.  The lyrical content of these songs still touches on the political, though in a gentler way, and likewise the songs working through his emotional scarring were tied up in prettier pop packages, such as “Jealous Guy” and “Oh My Love.”  Unlike Plastic Ono Band, where finding a “single” was a near-impossibility (“Love” might have worked, but John inexplicably chose “Mother,” which predictably bombed), many of these songs have radio friendliness.  Much of this might have been attributed to a desire to be more commercial (as much as John loved Ringo, Ringo’s much greater solo success was nagging at him), as well as the fact that he was just in a better place; Voormann described the recording sessions as having been happy and relaxed, in stark contrast to pure anguish John had been exhibiting during the Plastic Ono Band sessions.  Along with the anti-Nixon rant on “Gimme Some Truth,” one significant exception to this gentler feel is “How Do You Sleep?”, the scathing, vicious attack on Paul in response to Paul’s more subtle John attacks on his album, Ram.  Whatever the reason for the change, John later expressed regret at having made a record that was more accessible, ranting, for example, that “Imagine” itself was "an anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic song, but because it's sugar-coated, it's accepted."  This could reflect John’s usual derision at his own work more than genuine regret over the commercial direction he took.

The cover art is a Polaroid photo of John long rumored to be taken by Andy Warhol, but actually  by Yoko, overlaid with cloud images that are a theme within John and Yoko’s imagery and lyrics.  Also included in the original album packaging was a postcard of John holding a pig, meant as another dig at Paul and the cover of the Ram album, though in later versions this postcard was replaced by something neutral. 

Track listing:

  1. Imagine
  2. Crippled Inside
  3. Jealous Guy
  4. It’s So Hard
  5. I Don’t Want To Be A Soldier, Mama, I Don’t Wanna Die
  6. Gimme Some Truth
  7. Oh My Love
  8. How Do You Sleep?
  9. How?
  10. Oh Yoko!
Edited by krista4
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And here we go.

169.  How Do You Sleep?  (Imagine, 1971)  Spotify  YouTube

(John #35)

Twice today I’ve felt kinda bad about ranking something lower (Binky, higher) than another poster whom I like.  I think that @Raging weasel indicated that this was his favorite John song!  I get it, since it’s a great song.  At this point the differences are minor, but this falls a little lower on my John scale simply because, as I mentioned, I tire of John’s vitriol, and in this instance I don’t admire that he is so lacking in subtlety.  It's a direct, personal attack on Paul that is not interesting in its lyrical content.  As a response to Paul’s “Too Many People,” it falls materially short of the quality and cleverness of that song.  It’s just too much for me.  And I understand that it was toned down by suggestion of Ringo and George from how much worse it was to begin with!  Ringo famously said, “That’s enough, John” when both he and George were mildly horrified by the lyrical content.  Allen Klein also convinced John to remove a line suggesting that Paul hadn’t composed “Yesterday”:  “You probably stole that ##### anyway.”  As you know from the Beatles thread, I’m an unabashed (OK, maybe slightly abashed) John fan, and he is way better than this.  His lyrics usually have no peer, but he went for the “easy” here.  Not clever or funny, just childish in their pointedness and viciousness.

To put a finer point on it (“say I’m the only bee in your bonnet”), these are the full lyrics:

So Sgt. Pepper took you by surprise
You better see right through that mother's eyes
Those freaks was right when they said you was dead
The one mistake you made was in your head

Ah, how do you sleep?
Ah, how do you sleep at night?

You live with straights who tell you you was king

Jump when your momma tell you anything
The only thing you done was yesterday
And since you're gone you're just another day

Ah, how do you sleep?
Ah, how do you sleep at night?

Ah, how do you sleep?
Ah, how do you sleep at night?

A pretty face may last a year or two
But pretty soon they'll see what you can do
The sound you make is muzak to my ears
You must have learned something in all those years

Ah, how do you sleep?
Ah, how do you sleep at night?

&

Despite all my criticism above, this still ranks fairly high for me on the John scale due to the musical quality of it.  The piano by Nicky Hopkins and especially the slide guitar work by George are fantastic.  The deep groove is nice.  As I mentioned, John ripped off his own string parts from this song for “Steel And Glass,” so I suppose he liked those as well as I do, too.  But man, I hate the puerile snark in those lyrics so much that as write this, I wish I’d ranked it lower.

 

 

Edited by krista4
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ANNOUNCE ANNOUNCE ANNOUNCE

I don't entirely know what happened that let "Wrack My Brain" sneak into my Ringo songs, but as I said the "not on Spotify" songs had a tendency to do that.  It was undoubtedly on an early cut but slipped through by not being on a Spotify relisten, and I really don't want it in my top ten Ringos!  I am ***OFFICIALLY*** replacing that song with this one as my Ringo #10:

Have You Seen My Baby (Ringo, 1973)  Spotify  YouTube

This might disappoint @falguy, who had it chosen for my #1 Ringo based on this being his #1 Ringo, but at least it's on the list now.  Please enjoy this much more listenable Ringo.

Oh!  I forgot a write-up.  My write-up is that this is a better song than "Wrack My Brain."'  Thx.

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1 minute ago, krista4 said:

ANNOUNCE ANNOUNCE ANNOUNCE

I don't entirely know what happened that let "Wrack My Brain" sneak into my Ringo songs, but as I said the "not on Spotify" songs had a tendency to do that.  It was undoubtedly on an early cut but slipped through by not being on a Spotify relisten, and I really don't want it in my top ten Ringos!  I am ***OFFICIALLY*** replacing that song with this one as my Ringo #10:

Have You Seen My Baby (Ringo, 1973)  Spotify  YouTube

This might disappoint @falguy, who had it chosen for my #1 Ringo based on this being his #1 Ringo, but at least it's on the list now.  Please enjoy this much more listenable Ringo.

Oh!  I forgot a write-up.  My write-up is that this is a better song than "Wrack My Brain."'  Thx.

:kicksrock:

Not surprising. Took a shot in the dark when I was in a drunken haze. It's ***OFFICIALLY*** in your top 10 tho so ill :banned:To that. (I have low standards for myself)

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Lots of driving this weekend and this thread has me listening to the Beatles channel on Siriusxm. I feel like I am doing extra credit.

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3 minutes ago, prosopis said:

Lots of driving this weekend and this thread has me listening to the Beatles channel on Siriusxm. I feel like I am doing extra credit.

I had a lot of driving this weekend, too (4+ hours each way to the Oregon coast), and I noticed that the Beatles channel has been playing a lot more solo or post-Beatles stuff than usual, at least as far as I can tell.  Probably a result of this thread.  ;)  

Did you hear anything you loved that was new to you?

Edited by krista4
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While generally very well received by critics, one of the mediocre reviews came from Rolling Stone, although the magazine later named this as the 80th best album of all time.  That’s all you need to know about Rolling Stone.

I don't have a problem with reassessing a song/album many years after the fact. Some songs/albums age well, others age poorly. My problem with Rolling Stone is that the rationales for their original assessments and/or reassessments are often dumb. 

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Alan White on drums

Ya know he went on to play in your favorite band, Yes. 

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6 minutes ago, Pip's Invitation said:

I don't have a problem with reassessing a song/album many years after the fact. Some songs/albums age well, others age poorly. My problem with Rolling Stone is that the rationales for their original assessments and/or reassessments are often dumb. 

Well, yeah.

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7 minutes ago, Pip's Invitation said:

Ya know he went on to play in your favorite band, Yes. 

Well, yeah.

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168.  Ballroom Dancing (Tug Of War, 1982)  Spotify  YouTube

(Paul #78)

This is a clever little number about Paul’s childhood memories.  He starts with lyrics about the types of games he would play as a kid, with the verses being what he has called all his childhood memories distilled into one song.  Then he moves into memories from being a teenager, “when George Harrison and I used to go to the local dance and neither of us would ever dare to ask a girl to dance until the last waltz. It was then that we thought, ‘Oh God, we’ve wasted all our money when all we came here for was to touch a girl. We’ve got to do it. Okay, let’s waltz, come on.’ We were always too shy but we’d always try and grab someone for that last dance. But most times we’d get refused. We never really got into ballroom dancing but that was where you went if you wanted to dance. We’d go to The Locarno or The Grafton, all the big ballrooms. And with The Beatles, the ballroom circuit was a big circuit. We did a lot of ballrooms in our early career before we gravitated to the theatres.”

It's a bouncy, somewhat zany song with some excellent lyrics; I laugh at them throughout, but my favorite is “ballroom dancing made a man of me.”  Paul’s in great voice and plays almost all the instruments here (other than a couple of guitar parts. the clarinet, and the horns); I love the jumping bass part in particular.  For a song that sounds a little like granny music on its face, it’s actually quite sophisticated and complex with all of the musical overdubs, plus a clarinet glissando by the guy who was first clarinet for the Royal Philharmonic for nearly 20 years.  The middle section is fantastic, from the horns to the guitars and the piano to…Peter Marshall!  The announcer you hear in the song is the former host of The Hollywood Squares and other shows.   This song manages to be joyous and fun without being silly, all the while telling a true story of Paul’s past.  Expertly crafted in every way.

Edited by krista4
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I think I need an "off" day tomorrow to re-evaluate.  I was written up through tomorrow, but need more thought into some songs that I think might have slipped through the cracks and should be lower (Binky, higher) before I post more.  Plus I've done no re-evaluating for a week since I've been on vacation!  You know I need more ranking and re-ranking and re-re-ranking.

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10 hours ago, krista4 said:

I had a lot of driving this weekend, too (4+ hours each way to the Oregon coast), and I noticed that the Beatles channel has been playing a lot more solo or post-Beatles stuff than usual, at least as far as I can tell.  Probably a result of this thread.  ;)  

Did you hear anything you loved that was new to you?

Heard some stuff from John and George that I liked, nothing that I really loved yet. 

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12 hours ago, krista4 said:

I had a lot of driving this weekend, too (4+ hours each way to the Oregon coast), and I noticed that the Beatles channel has been playing a lot more solo or post-Beatles stuff than usual, at least as far as I can tell.  Probably a result of this thread.  ;)  

Did you hear anything you loved that was new to you?

From this thread, I really dug the Run Devil Run album, and now have that on my used record store hunt list. 

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Man, a bunch of great stuff as usual this weekend.  Thanks for the birthday shoutout, Krista.  I actually was familiar with most of the songs this weekend for a change.  A few thoughts, as if anyone cares:

- While I agree that "Six O'Clock" would be nifty with Paul singing, I kind of like Ringo on it.  It's a sweet enough song that his earnest dorkitude makes it work.  

- Musically, I enjoy much of "How Do You Sleep" and "Steel and Glass", which makes sense since they are 56% the exact same song.  While I agree wholeheartedly with Krista that the vitriol is a turn-off (honestly, it's my biggest John turnoff in general with his solo work), I think the lack of imagination and basically just copying his last attack screed for a new one is just painfully lazy.  

- "Ballroom Dancing" is awesome.  I'm a 80's pop music guy and this would have been a nicer addition to my Top 40 radio listening experience than the 23,698th playing of Toni Basil.  

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4 hours ago, Raging weasel said:

@krista4, How Do You Sleep? Was my pick as your fav- off by a mile on that guess. My fav is I'm Losing You 

Ok, that makes me feel better.  :) 

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13 hours ago, krista4 said:

And here we go.

169.  How Do You Sleep?  (Imagine, 1971)  Spotify  YouTube

(John #35)

Twice today I’ve felt kinda bad about ranking something lower (Binky, higher) than another poster whom I like.  I think that @Raging weasel indicated that this was his favorite John song!  I get it, since it’s a great song.  At this point the differences are minor, but this falls a little lower on my John scale simply because, as I mentioned, I tire of John’s vitriol, and in this instance I don’t admire that he is so lacking in subtlety.  It's a direct, personal attack on Paul that is not interesting in its lyrical content.  As a response to Paul’s “Too Many People,” it falls materially short of the quality and cleverness of that song.  It’s just too much for me.  And I understand that it was toned down by suggestion of Ringo and George from how much worse it was to begin with!  Ringo famously said, “That’s enough, John” when both he and George were mildly horrified by the lyrical content.  Allen Klein also convinced John to remove a line suggesting that Paul hadn’t composed “Yesterday”:  “You probably stole that ##### anyway.”  As you know from the Beatles thread, I’m an unabashed (OK, maybe slightly abashed) John fan, and he is way better than this.  His lyrics usually have no peer, but he went for the “easy” here.  Not clever or funny, just childish in their pointedness and viciousness.

To put a finer point on it (“say I’m the only bee in your bonnet”), these are the full lyrics:

So Sgt. Pepper took you by surprise
You better see right through that mother's eyes
Those freaks was right when they said you was dead
The one mistake you made was in your head

Ah, how do you sleep?
Ah, how do you sleep at night?

You live with straights who tell you you was king

Jump when your momma tell you anything
The only thing you done was yesterday
And since you're gone you're just another day

Ah, how do you sleep?
Ah, how do you sleep at night?

Ah, how do you sleep?
Ah, how do you sleep at night?

A pretty face may last a year or two
But pretty soon they'll see what you can do
The sound you make is muzak to my ears
You must have learned something in all those years

Ah, how do you sleep?
Ah, how do you sleep at night?

&

Despite all my criticism above, this still ranks fairly high for me on the John scale due to the musical quality of it.  The piano by Nicky Hopkins and especially the slide guitar work by George are fantastic.  The deep groove is nice.  As I mentioned, John ripped off his own string parts from this song for “Steel And Glass,” so I suppose he liked those as well as I do, too.  But man, I hate the puerile snark in those lyrics so much that as write this, I wish I’d ranked it lower.

 

 

I, of course, havent the same level of genius as John Lennon, but i have the same kind. The kind that is curious about the soul, wants to cure things and be tender but is reminded minute-by-minute of what mewling pissants everybody else is and how delicious it is to lord it over and dish out quality cruelty.

NOTHING gets under our skin more than all the pedestrian others who litter our worlds with fawning obsequy ("you're so brilliant, otherworldy, masterful") even hinting at contesting or surpassing us in any way. How can people say "I'm nowhere near as smart as you" 1000 times but then always deem it perfectly reasonable to argue every point on the same footing?! THAT's what brings the Nero out in every one of our kind and make us go the extra length to make of you the tiki torch at our next picnic

Both Paul & Ringo had great genius without being great geniuses. Rather throwaway, uncomplicated blokes, to be honest. Nice guys. John strives to be a good person, caring & generous, but neither nice or kind lives inside him. He suffers beauty the same way as he does pain, as he does everything.

So how dare they presume, how dare they surpass. K4 nails it that the accessibility, if not commerciality, of Imagine is a direct response to Richard Frikkin Starkey having solo hits before him! And Paul.......la dee da, okeydokey Paul......decides to throw him a little shade?!. Well, how bout some nuclear winter, honeypie?!?!?! How do you sleep?!

Genius suffers more, but never suffers better. Took me 60 years to learn that. Rage is but a flash - a burp of the mind, a fart of the heart - but the resentment it courts for company is a cancer. Have a nice day.

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5 hours ago, wikkidpissah said:

Genius suffers more, but never suffers better. 

This is a brilliant observation.  That sentence was not intended as fawning obsequy.

I wonder about your thoughts on John's relationship with George, whom you didn't mention in the narrative above.  In my opinion, George had the complexity of John, but not of the same variety.  It doesn't seem, though, that John evidenced any greater respect for George than he did the others.  For all the talk of George's issues with Paul, his relationship with John seemed equally bad or worse.  John always seemed less willing to help George out than the others, whether on songs or on projects, whether with the Beatles or thereafter.  But perhaps that was an element of respect, tied up with envy?  Just curious your thoughts, since George was the "most successful" of the Beatles commercially and critically for the first few post-Beatles years.

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SIDEBAR:

How old were you when you had the epiphany (or someone else pointed out the obvious) the band’s name was a pun?

I was 37. Not proud of that, either.

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2 hours ago, krista4 said:

This is a brilliant observation.  That sentence was not intended as fawning obsequy.

I wonder about your thoughts on John's relationship with George, whom you didn't mention in the narrative above.  In my opinion, George had the complexity of John, but not of the same variety.  It doesn't seem, though, that John evidenced any greater respect for George than he did the others.  For all the talk of George's issues with Paul, his relationship with John seemed equally bad or worse.  John always seemed less willing to help George out than the others, whether on songs or on projects, whether with the Beatles or thereafter.  But perhaps that was an element of respect, tied up with envy?  Just curious your thoughts, since George was the "most successful" of the Beatles commercially and critically for the first few post-Beatles years.

To my experience, those of a savage genius live in dread of being found out. Not that they've any doubt of their capacity - they thrill to be tested by any challenge, at which they're nearly sure to prevail or at least warp reality to the point that it seems that way. They worry for their humanity to be revealed as fraudulent, for they are equally soft-hearted and sociopathic. Contradictory, i know, but genius is not here to be understood.

That makes a George a problem. Georges watch, measure, fit themselves to what they can and, with no genius to protect, scoff at what they cant. A Liverpudlian George is even more dangerous, because they almost invented sardonic and are always ready to sting, even at the risk of incurring godly wrath. Both Johns and Georges respect & revere the truth, however, so they'd want to get along, but they won't even try to trust the other and usually agree that one won't expose the other if the other won't torment the one.

In short, John is Maya. George doesnt say "Avoid the Maya" because Maya is fun, weird, powerful. He rather says, "Beware".

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2 hours ago, wikkidpissah said:

To my experience, those of a savage genius live in dread of being found out. Not that they've any doubt of their capacity - they thrill to be tested by any challenge, at which they're nearly sure to prevail or at least warp reality to the point that it seems that way. They worry for their humanity to be revealed as fraudulent, for they are equally soft-hearted and sociopathic. Contradictory, i know, but genius is not here to be understood.

That makes a George a problem. Georges watch, measure, fit themselves to what they can and, with no genius to protect, scoff at what they cant. A Liverpudlian George is even more dangerous, because they almost invented sardonic and are always ready to sting, even at the risk of incurring godly wrath. Both Johns and Georges respect & revere the truth, however, so they'd want to get along, but they won't even try to trust the other and usually agree that one won't expose the other if the other won't torment the one.

In short, John is Maya. George doesnt say "Avoid the Maya" because Maya is fun, weird, powerful. He rather says, "Beware".

Somehow, this all makes perfect sense to me. 

Mostly unrelated, but I didn't realize being sardonic was such a Liverpudlian quality, but it describes George perfectly.  I can figure out how Ringo ended up without that quality (but my typing it would seem insulting to Ringo), but I wonder how Paul avoided it?

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I'll be back tomorrow, even though I have no write-ups prepared for any songs.  :(  The ones I'd had written up for today have all now been moved higher in the rankings, so nothing is pre-prepared outside of album write-ups.  And having had the temerity to take 2.5 days off work, my workday today was so tiring I'm not interested in writing tonight.

I will start tomorrow with a write-up for an album for which I have no songs on my countdown.  Hmmmm.  Then two John songs will follow.

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4 hours ago, BobbyLayne said:

SIDEBAR:

How old were you when you had the epiphany (or someone else pointed out the obvious) the band’s name was a pun?

I was 37. Not proud of that, either.

Sorry, realized I missed this and didn't respond.  My answer is I have no idea!  :lol: 

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These are some lyrics!!!

Don't get too tired for love
Don't let it end
Don't say goodnight to love
It may never be the same again

Don't say it
Don't say it
Say anything but don't say goodnight tonight

Don't say it
Don't say it
Say anything but don't say goodnight tonight

Don't say it
Don't say it
You can say anything but don't say goodnight tonight

Don't say it
Don't say it
Say anything but don't say goodnight tonight

Don't say it
Don't say it
Say anything but don't say goodnight tonight

Don't get too tired for love
Don't let it end
Don't say goodnight to love
It's a feeling that may never end

Don't say it
Don't say it
Say anything but don't say goodnight tonight

Don't say it
Don't say it
Say anything but don't say goodnight tonight

Don't say it
Don't say it
You can say anything but don't say goodnight tonight

&

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5 hours ago, wikkidpissah said:

To my experience, those of a savage genius live in dread of being found out. Not that they've any doubt of their capacity - they thrill to be tested by any challenge, at which they're nearly sure to prevail or at least warp reality to the point that it seems that way. They worry for their humanity to be revealed as fraudulent, for they are equally soft-hearted and sociopathic. Contradictory, i know, but genius is not here to be understood.

That makes a George a problem. Georges watch, measure, fit themselves to what they can and, with no genius to protect, scoff at what they cant. A Liverpudlian George is even more dangerous, because they almost invented sardonic and are always ready to sting, even at the risk of incurring godly wrath. Both Johns and Georges respect & revere the truth, however, so they'd want to get along, but they won't even try to trust the other and usually agree that one won't expose the other if the other won't torment the one.

In short, John is Maya. George doesnt say "Avoid the Maya" because Maya is fun, weird, powerful. He rather says, "Beware".

I think I'm a George. 😮

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8 minutes ago, Pip's Invitation said:

I think I'm a George. 😮

I’m a John, minus the genius.

I think Shaft is a Paul.

Now I go no further in the twisted “Which ####ed  up Beatle are you” not-a-Buzzfeed quiz lest I offend anyone.

 

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Just now, krista4 said:

I’m a John, minus the genius.

I think Shaft is a Paul.

Now I go no further in the twisted “Which ####ed  up Beatle are you” not-a-Buzzfeed quiz lest I offend anyone.

 

Who's the Ringo in the thread? Binky? 

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14 minutes ago, Pip's Invitation said:

Who's the Ringo in the thread? Binky? 

Nah, Binky is too sometimes angry to be a Ringo.  I don’t know if we have one.  Closest might be simey for just being so kind?  There are others who are just very nice, too, but I worry it could seem insulting to be “the Ringo” even though I consider it a compliment!  :lol: 
 

ETA:  You know, it’s simey.  She’s kind and full of peace and love, but like Ringo, her best work isn’t flashy but consists of holding all this #### together.  Like Ringo was the heart of the Beatles, she’s the heart of any music thread.

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4 hours ago, krista4 said:

Somehow, this all makes perfect sense to me. 

Mostly unrelated, but I didn't realize being sardonic was such a Liverpudlian quality, but it describes George perfectly.  I can figure out how Ringo ended up without that quality (but my typing it would seem insulting to Ringo), but I wonder how Paul avoided it?

because he's adorable. his face is cute, his music is cute, his manner is cute, his outlook is cute. without the odd Blessed Child, a life awash with disappointment hasnt enough charm to be a bother

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10 hours ago, krista4 said:

I’m a John, minus the genius.

I think Shaft is a Paul.

Now I go no further in the twisted “Which ####ed  up Beatle are you” not-a-Buzzfeed quiz lest I offend anyone.

 

I've never thought of myself as a Paul, but I know for sure I'm not a John or a George.  I'm not sure I have the interest in creativity to be a Paul.  I've always probably thought of myself as more of a Pete.  

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1 hour ago, Shaft41 said:

I've never thought of myself as a Paul, but I know for sure I'm not a John or a George.  I'm not sure I have the interest in creativity to be a Paul.  I've always probably thought of myself as more of a Pete.  

I'd like to point out that I said you were a Paul before wikkid's post about all of Paul being "cute."  ;) 

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---MINI-LUDE – Thrillington (1977)---

Before I post another song from Ram, I wanted to mention this unusual project, which was an orchestral version of the entire Ram album.  It had been recorded in 1971 a month after the release of Ram, but wasn’t put out until 1977, under the name Percy “Thrills” Thrillington.  Thrillington was allegedly an “Irish bandleader” who was also an sprightly socialite whose activities began to be eagerly reported in the UK press (as well as in Rolling Stone).  After a dozen years of keeping mum about the project, Paul admitted in 1989 that he was Thrillington, which of course anyone with brain cells already suspected, and that he had planted the spottings of the “socialite” in the various publications.  At the same time, he also owned up to being “Clint Harrigan,” who wrote the liner notes for this album and Wild Life, as previously discussed.  When Thrillington was re-issued in 2012, Paul set up a Twitter account where he again pretended to be Thrillington.  Paul really can be one weird dude.

One interesting aspect of the record is that Paul used the same orchestral arranger for it who had done the arrangement of “The Long And Winding Road” that Paul absolutely despised.  I don’t much care for this album despite being a huge fan of Ram and generally being instrumental friendly, but I thought I should point it out in case anyone who hasn’t heard it wanted to check it out.  My notes for various songs include “plodding AF,” “granny music,” “boring and dissonant,” etc. – in general it was too granny loungey for me. 

I’m either entranced or disturbed by the ram violinist on the cover.

 

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1 hour ago, krista4 said:

---MINI-LUDE – Thrillington (1977)---

Paul really can be one weird dude.

 

Gosh.  My comparison just gets more and more flattering.  

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On 9/17/2020 at 5:16 PM, krista4 said:

201.  Old Dirt Road (Walls And Bridges, 1974)  Spotify  YouTube

(John #41)

With John having pulled back from the debauchery of the Lost Weekend, he and Harry Nilsson had returned to NY to complete Nilsson’s ##### Cats album as well as to begin recording of John’s Walls And Bridges.  While writing this song, John asked Nilsson for “an Americanism.”  Nilsson came up with “trying to shovel smoke with a pitchfork in the wind,” and a shared songwriting credit was born.  In addition to “co-writing,” Nilsson provided backing vocals on this track.  This mellow number is perfectly lovely in every way, but the highlights for me are the electric guitar work and, even more so, the beautiful piano parts from Nicky Hopkins.

I get a little "I'm So Tired" vibe in the bit around 1:30

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167.  Ram On/Ram On (Reprise) (Ram, 1971)  Side One:  Spotify  YouTube  Side Two (Reprise):  Spotify  YouTube

(Paul #77)

Paul once again ties together an album by reprising an established theme from a prior track, with an initial "Ram On" contained on Side One, and a 56-second Reprise tying Side Two of the album to the first.  The two sections were part of the same recording, with the last portion simply lopped off to become the Reprise, so I'm taking them as one.

This was a particularly difficult song for me to place; at times it didn't even make my top 100 Paul due to being...well, not really a song so much as a collection of ideas mushed together into a fragment of a song.  It ends up fairly high on my list, though, because the various ideas so mushed tend to be interesting ones.  This song was unusual on Ram in that all instruments were played by Paul, with the only other contributor being Linda on backing vocals, which she pulled off quite well on this track.

The core of the "song" is Paul strumming a ukelele in a little folksy melody; Paul has said that during this time he would just carry a uke around with him wherever he went, much to the befuddlement of NY taxi drivers who had some weirdo with a uke in the back seat of their cars.  (Yes, that was spotlighting.)  In this instance, Paul was in the studio simply rocking side to side while playing the uke and singing the repeating "ram on" vocal, and an on-the-ball engineer set up a mic on the uke, one by Paul's face, and two by his feet, capturing the foot tapping from Paul that you hear on the track, too.  Paul repeats that basic vocal for three verses, but in each verse, differing flourishes are added to the backing vocals, so that even though each verse is repetitive, they all sound different, and the minor to major chord changes back and forth add to the interest.  I'm a fan of the second verse's especially ethereal feel.  Between the second and third verses is a section with the same basic pattern, but with lyrics replaced by mouth noises; I dig that, too.  The Side One portion ends with Paul whistling the melody, which is then picked up again as the beginning of the Reprise on Side Two.  The Reprise then contains one repeat of the verse before changing into Paul singing what became the first lines of #212 selection "Big Barn Bed" on the Red Rose Speedway album two years later.  To all of this was added some reverbed percussion and electric piano, plus an intro that came from a different session, comprising a nice piano arpeggio section and some chatter.  The end result was a somewhat hauntingly beautiful, compelling track (or tracks).  Do I know what the lyrics are about?  No.  Do I care?  Also no.

I'd be remiss if I didn't note that the words "ram on" could be a reference to the pseudonym Paul used in the Beatles days, "Paul Ramon," which The Ramones adopted for their band name.  Paul sure does love his pseudonyms.

 

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I realize both Spotify links go to the same place.  I'm tired of messing with it.

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22 minutes ago, Shaft41 said:

Gosh.  My comparison just gets more and more flattering.  

How many pseudonyms do you have, Shaft, if that is your real name?

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15 minutes ago, heckmanm said:

I get a little "I'm So Tired" vibe in the bit around 1:30

I hadn't noticed it, but it's there!  Nice catch.  Also gave me another chance to listen to this excellent song.

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13 hours ago, krista4 said:

Nah, Binky is too sometimes angry to be a Ringo.  I don’t know if we have one.  Closest might be simey for just being so kind?  There are others who are just very nice, too, but I worry it could seem insulting to be “the Ringo” even though I consider it a compliment!  :lol: 

Ringo?  RINGO?!?!  :oldunsure:    Well, he does have the coolest name of the four, and he plays the drums, and he is groovy and doesn't eat animals... I'll be the Ringo.  :hifive:  ☮️  ♥️

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1 hour ago, krista4 said:

How many pseudonyms do you have, Shaft, if that is your real name?

You got me.  Shaft is a pseudonym, as my actual name is, oddly enough, Dr. Winston O'Boogie.  

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