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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)

Possible that I'll have gone from the bottom ten of the list, to the top ten of the list (I've had 10 of last 17 posted), and then maybe wind up in bottom 10 again when this is done.

1.--Hey Bulldog(30)

5.--Get Back(26)

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)

20.--We Can Work it Out(29)

21.--Helter Skelter(35)

23.--Paperback Writer(47)

24.--Two Of Us(41)

 
falguy said:
Given that this is my #3 (Binky: 169) it should be no surprise that I love pretty much everything about this song.   Ringos's drums , guitar and keyboard solos, Pauls' vocal. Just a great tune start to finish.  I don't think this would ever leave my top 5
Click to expand...
The most influential song of the entire countdown gets posted six hours ago and this is the only comment about it. How sad.

 
Getzlaf15 said:
The most influential song of the entire countdown gets posted six hours ago and this is the only comment about it. How sad.
Click to expand...
I didn't comment on the song, because it isn't one of my favorites. I don't hate it, but I also don't love it. I figured the lovers of it can comment on it.

 
Don’t Let Me Down
2022 Ranking: 25
2022 Lists: 23
2022 Points: 270
Ranked Highest by: @shuke (3) @Westerberg (4) @zamboni (6) @heckmanm (10) @ProstheticRGK (10) @Oliver Humanzee (11) @Wrighteous Ray (12) @Gr00vus (13) @prosopis (14) @falguy (15)
2019 Ranking/Lists/Pts: 43/6/89

Getz: Get Back influence strikes again and we get 19 more votes and 181 more points than in 2019, and into The Top 25, moving up 18 slots.

Krista4
My 2019 ranking:  49

2019 write-up:

Don't Let Me Down (single, 1970)

Originally submitted during the Get Back sessions but omitted by Phil Spector from Let It Be, this instead became the b-side 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 Paul'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

2022 Supplement:  Welcome to my top 25, “Don’t Let Me Down”!  This song took a significant upward (Binky, downward) movement in my rankings this year.  Yes yes, in part that’s due to watching the Get Back documentary, but it’s also a song I knew I had misranked in 2019, when it should have been mid-30s.  This year it weighs in at #19 on the basis of John’s vocal and Billy Preston’s electric piano. 

John’s performance here is one of his best, alternating between soft pleas and shouted desperation.  He wrote the song just after Yoko had experienced a miscarriage, heightening his feelings for and devotion to her.  Paul has characterized this song as a genuine cry for help:  “John was with Yoko and had escalated to heroin and all the accompanying paranoias and he was putting himself out on a limb. I think that as much as it excited and amused him, at the same time it secretly terrified him. … It was saying to Yoko, 'I'm really stepping out of line on this one. I'm really letting my vulnerability be seen, so you must not let me down’.”

Interesting to see from the documentary that they worked on some cheesy echoing harmonies from Paul and George but dropped them:  https://www.youtube.com/watch?v=Yaf4K_9fmeI In that clip, the idea of a keyboard part was first floated, with John suggesting Nicky Hopkins.  Later in the documentary, you see how integral Billy Preston became to the success of this song, not just for the piano part itself, but for the energy in the room.  In this clip, they’re all smiles again as the song develops:  https://www.youtube.com/watch?v=385eTo76OzA   I can’t get enough of stuff like this.  Peter Jackson, please give me more!  

John’s original demo of this song is particularly sweet (“That’ll do”): https://www.youtube.com/watch?v=pMXZFIWBAQs

Guido Merkins

One of the great mysteries to me is this….why was Don’t Let Me Down not put on the Let It Be album?  The rooftop performance of Don’t Let Me Down was one of the best songs they did on the roof.  Let It Be Naked fixed this mistake and put the rooftop performance on the album, editing together two versions to fix Lennon’s vocal gaffe on the 2nd verse.

The coolest thing about Don’t Let Me Down is the vocal by Lennon.  Urgent on the chorus, sweeter on the verses, and outright  sentimental in the middle (I’m in love for the first time…)  Also, the countermelody during the middle between John’s vocal and Paul’s bass and George’s guitar is a cool moment.  There is also a very cool electric piano played by Billy Preston.

Don’t Let Me Down was released as the B side of the Get Back single, which was #1.  Another brilliant B side that easily could have been an A side.

 
Getzlaf15 said:
Don’t Let Me Down
2022 Ranking: 25
2022 Lists: 23
2022 Points: 270
Ranked Highest by: @shuke (3) @Westerberg (4) @zamboni (6) @heckmanm (10) @ProstheticRGK (10) @Oliver Humanzee (11) @Wrighteous Ray (12) @Gr00vus (13) @prosopis (14) @falguy (15)
2019 Ranking/Lists/Pts: 43/6/89

Getz: Get Back influence strikes again and we get 19 more votes and 181 more points than in 2019, and into The Top 25, moving up 18 slots.

Krista4
My 2019 ranking:  49

2019 write-up:

Don't Let Me Down (single, 1970)

Originally submitted during the Get Back sessions but omitted by Phil Spector from Let It Be, this instead became the b-side 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 Paul'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

2022 Supplement:  Welcome to my top 25, “Don’t Let Me Down”!  This song took a significant upward (Binky, downward) movement in my rankings this year.  Yes yes, in part that’s due to watching the Get Back documentary, but it’s also a song I knew I had misranked in 2019, when it should have been mid-30s.  This year it weighs in at #19 on the basis of John’s vocal and Billy Preston’s electric piano. 

John’s performance here is one of his best, alternating between soft pleas and shouted desperation.  He wrote the song just after Yoko had experienced a miscarriage, heightening his feelings for and devotion to her.  Paul has characterized this song as a genuine cry for help:  “John was with Yoko and had escalated to heroin and all the accompanying paranoias and he was putting himself out on a limb. I think that as much as it excited and amused him, at the same time it secretly terrified him. … It was saying to Yoko, 'I'm really stepping out of line on this one. I'm really letting my vulnerability be seen, so you must not let me down’.”

Interesting to see from the documentary that they worked on some cheesy echoing harmonies from Paul and George but dropped them:  https://www.youtube.com/watch?v=Yaf4K_9fmeI In that clip, the idea of a keyboard part was first floated, with John suggesting Nicky Hopkins.  Later in the documentary, you see how integral Billy Preston became to the success of this song, not just for the piano part itself, but for the energy in the room.  In this clip, they’re all smiles again as the song develops:  https://www.youtube.com/watch?v=385eTo76OzA   I can’t get enough of stuff like this.  Peter Jackson, please give me more!  

John’s original demo of this song is particularly sweet (“That’ll do”): https://www.youtube.com/watch?v=pMXZFIWBAQs

Guido Merkins

One of the great mysteries to me is this….why was Don’t Let Me Down not put on the Let It Be album?  The rooftop performance of Don’t Let Me Down was one of the best songs they did on the roof.  Let It Be Naked fixed this mistake and put the rooftop performance on the album, editing together two versions to fix Lennon’s vocal gaffe on the 2nd verse.

The coolest thing about Don’t Let Me Down is the vocal by Lennon.  Urgent on the chorus, sweeter on the verses, and outright  sentimental in the middle (I’m in love for the first time…)  Also, the countermelody during the middle between John’s vocal and Paul’s bass and George’s guitar is a cool moment.  There is also a very cool electric piano played by Billy Preston.

Don’t Let Me Down was released as the B side of the Get Back single, which was #1.  Another brilliant B side that easily could have been an A side.
Click to expand...
I don’t have anything to add to these awesome write ups. Perfectly captures the feelings John emotes. I love the heartfelt desperation. 

This and Get Back both get a deserved bounce from Peter Jackson’s retelling of the MLH footage. I like Get Back as a song, it’s got a pleasant catchy bounce, has a very Paul feel. His ability to craft pleasant melodies is unmatched. Sometimes they seem to stir less within me than John or George compositions typically do,  but they’re all great fun, just for different reasons. 

 
Getzlaf15 said:
This was one of my favorite moments of Get Back. The addition of Preston was perfect
Click to expand...
John, Paul, and George (pants and possibly shirt) all happen to be wearing green 🍀  Paul is a nail biter. I love Billy's smile.

 
Last edited by a moderator:
Getzlaf15 said:
I'm going to throw down a few dollars on this one for sure.  

One other had top 13 left.  One had top 12 left.  And AAA with 11.  
Click to expand...
Could be. I suspect, though, that at least three of my top ten are over-ranked. And I'm pretty sure my #1 is not shared by many, could fall outside the top 10 itself.

 
simey said:
This song wasn't in my Top 25 favorites, but it could have switched places with some in my rankings. I do love the song, and I especially love John's scratchy vocals. Billy Preston's piano fits the feel of the song very well.
Click to expand...
I never really liked Don't Get Me Down. Feels like it doesn't go anywhere. It's moved up, though, having seen it evolve during the Get Back sessions which I found enthralling. So now I'm merely indifferent on it, rather than actively disliking it. Still probably not in my top 100.

 
pecorino said:
I never really liked Don't Get Me Down. Feels like it doesn't go anywhere. It's moved up, though, having seen it evolve during the Get Back sessions which I found enthralling. So now I'm merely indifferent on it, rather than actively disliking it. Still probably not in my top 100.
Click to expand...
I understand. I love slow burners, especially with great vocals. Actually this song is a slow cooker since Billy is cooking on that electric piano.

 
That's 3 in a row for me.

I think the Get Back movie affected this song's rating for me. It's still a great song imo but one i suspect will slide. It's a song that sticks in my head for hours tho, So I'll be thinking about this one for the rest of the night. Especially the keyboards.

 
Getzlaf15 said:
Don’t Let Me Down
2022 Ranking: 25
2022 Lists: 23
2022 Points: 270
Ranked Highest by: @shuke (3) @Westerberg (4) @zamboni (6) @heckmanm (10) @ProstheticRGK (10) @Oliver Humanzee (11) @Wrighteous Ray (12) @Gr00vus (13) @prosopis (14) @falguy (15)
2019 Ranking/Lists/Pts: 43/6/89

Getz: Get Back influence strikes again and we get 19 more votes and 181 more points than in 2019, and into The Top 25, moving up 18 slots.

Krista4
My 2019 ranking:  49

2019 write-up:

Don't Let Me Down (single, 1970)

Originally submitted during the Get Back sessions but omitted by Phil Spector from Let It Be, this instead became the b-side 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 Paul'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

2022 Supplement:  Welcome to my top 25, “Don’t Let Me Down”!  This song took a significant upward (Binky, downward) movement in my rankings this year.  Yes yes, in part that’s due to watching the Get Back documentary, but it’s also a song I knew I had misranked in 2019, when it should have been mid-30s.  This year it weighs in at #19 on the basis of John’s vocal and Billy Preston’s electric piano. 

John’s performance here is one of his best, alternating between soft pleas and shouted desperation.  He wrote the song just after Yoko had experienced a miscarriage, heightening his feelings for and devotion to her.  Paul has characterized this song as a genuine cry for help:  “John was with Yoko and had escalated to heroin and all the accompanying paranoias and he was putting himself out on a limb. I think that as much as it excited and amused him, at the same time it secretly terrified him. … It was saying to Yoko, 'I'm really stepping out of line on this one. I'm really letting my vulnerability be seen, so you must not let me down’.”

Interesting to see from the documentary that they worked on some cheesy echoing harmonies from Paul and George but dropped them:  https://www.youtube.com/watch?v=Yaf4K_9fmeI In that clip, the idea of a keyboard part was first floated, with John suggesting Nicky Hopkins.  Later in the documentary, you see how integral Billy Preston became to the success of this song, not just for the piano part itself, but for the energy in the room.  In this clip, they’re all smiles again as the song develops:  https://www.youtube.com/watch?v=385eTo76OzA   I can’t get enough of stuff like this.  Peter Jackson, please give me more!  

John’s original demo of this song is particularly sweet (“That’ll do”): https://www.youtube.com/watch?v=pMXZFIWBAQs

Guido Merkins

One of the great mysteries to me is this….why was Don’t Let Me Down not put on the Let It Be album?  The rooftop performance of Don’t Let Me Down was one of the best songs they did on the roof.  Let It Be Naked fixed this mistake and put the rooftop performance on the album, editing together two versions to fix Lennon’s vocal gaffe on the 2nd verse.

The coolest thing about Don’t Let Me Down is the vocal by Lennon.  Urgent on the chorus, sweeter on the verses, and outright  sentimental in the middle (I’m in love for the first time…)  Also, the countermelody during the middle between John’s vocal and Paul’s bass and George’s guitar is a cool moment.  There is also a very cool electric piano played by Billy Preston.

Don’t Let Me Down was released as the B side of the Get Back single, which was #1.  Another brilliant B side that easily could have been an A side.
Click to expand...
3 years later and I still don't know enough about music to understand Mr. Krista's original write up except the part about John's vocal being deceptively vulnerable which is what I love about it.  This is my #19 on that vocal alone.   

 
Penny Lane
2022 Ranking: 24
2022 Lists: 26
2022 Points: 280
Ranked Highest by: @Dennis Castro (2) @Yankee23Fan (7) @FairWarning (7) Son2 (8) @AAABatteries (9) @Uruk-Hai (11) @whoknew(11) @worrierking (14) @DaVinci (14) @Dinsy Ejotuz (15) @Just Win Baby (15)
2019 Ranking/Lists/Pts: 14/18/247

Getz:  2019 - Two 3rds and a 5th vote.  2022 - One 2nd vote. That’s quite a hit from 2019. 26 voters in 2022, is more than six songs yet to show up. Five had this at #11 and four had it at #15 and #25. 12 more votes in 2022, but only 33 more points.

Krista4
My 2019 ranking:  86

2019 write-up:

Penny Lane (single, 1967)

From the beginning, I knew that this would be one of two absolutely beloved songs that I don't dig as much as other people do (little did I know The Fool on the Hill was a third), and that it would rank on my list much lower than it would be on any list of "best" Beatles songs.  Of course I love the song, or it wouldn't be this high, but it clearly doesn't connect with me the way it does for most other people.  The best explanation I have is that, as I think I mentioned earlier in the thread, I mostly don't get nostalgia as a concept.  And if I look at this in comparison to the "nostalgia" of the other a-side of the same single, "Strawberry Fields Forever," I prefer the slight angst of the latter to the idyllic descriptions of this one.  It's sweet and lovely, but I must like the edgier parts of life.

There's a lot I love about this song, though.  It is perfectly polished and clean, and it lilts in a way that puts a smile on my face.  Love that piccolo trumpet.  If some of John's lyrics can read like poetry, I think this song shows that Paul can do the same; I especially love the opening line:  Penny Lane there is a barber showing photographs, of every head he's had the pleasure to know.  That's lovely imagery.  And I'm very taken with the rises and falls and especially the way the refrains rise back into the verses.  I even enjoy the modulation near the end, which is a device I'm not usually keen on.  There's nothing I would change about this song; as it is it's a perfect love letter to where they grew up.  Most days, though, there are just ~85 songs I'd rather listen to. 

I'm sure others here could do a better job of detailing what's great about the song.  So instead of saying, "top 10 for me!!!111" let us know what you love about it, too.   

Mr. krista:  "You could take all the songs from the last four records and make a nifty musical, and I won’t give a #### about any of them."  [NOTE:  I don't remember what he was talking about here.]

Suggested cover:  Elvis Costello

2022 Supplement:  While one of Paul’s most beloved songs still didn’t make it to my top 25 again this year, I continue to appreciate it more as the years go by.  I’m talking, of course, of “Let It Be.”  This one?   [whispers] I still don’t like this one as much as the rest of you do.  Paul does, though!  His favorite line is the one I called out as mine, too, because he imagines the barbershop as being like a gallery displaying an exhibition of paintings in its window, and you can go in and say, “I want the Tony Curtis” or whatever.  Reminds me of when Mr. krista told a barber in Nicaragua he wanted “The Clooney.”  That didn’t turn out so well.

Well…moving on!

Guido Merkins

 Penny Lane is a district in Liverpool that Paul spent time in as a child.  Ironically, it was John who first mentioned Penny Lane in a early draft of what would become "In My Life", but he didn't like it.  Listing a bunch of places and trying to tell stories about it wasn't in John's wheelhouse, BUT it was in Paul's.  

Unlike Strawberry Fields Forever, there aren't a bunch of outtakes and demos of Penny Lane.  Why?  because Paul was musically more literate and more aware of what he wanted in a song that he wrote.  This is probably why both John and George reported that Paul never wanted input on his songs.  Paul usually knew what he wanted.  Paul started with the song on piano and layered everything else on top.  He wanted a very clean recording, so they recorded everything on a separate track.  Paul heard Brandenburg Concerto and heard a piccolo trumpet and wanted to use it for Penny Lane.  They did and it's the most distinguishing characteristic of the final recording.  Penny Lane is told about various places and characters that Paul remembers from his childhood.  The "pretty nurses", "firemen", "barber", etc.  Like John, however, Paul also tells his story in a slightly surreal and vivid way. The barber with "every head he's had the pleasure to know" or the pretty nurses who "feels as if she's in a play". The banker "never wears a mac in the pouring rain".  And all of it is "very strange". Even a little smut with the phrase "finger pie."

Notice, Paul knew exactly what he wanted, unlike John with Strawberry Fields Forever.  Second, the melody is rangy and bounces along on more than just a few notes.  Third the chord progression is a bit more standard than John.  It almost sounds like a standard from the Great American Songbook.  Fourth, Paul writes from his experience, but it's not about himself directly.  He is story telling his own experiences in Penny Lane, what he saw and what he heard.  In this case, you don't learn about what Paul actually thought about his childhood, just that he remembers this stuff.

Strawberry Fields Forever along with Penny Lane are, IMO, the greatest single the Beatles every released (and maybe the greatest anyone’s ever released) so it went straight to #1 in the UK, right?  Nope, the first single since Love Me Do to not reach #1.  Englebert Humperdink’s Release Me, of all things, kept this unbelievable single at #2.  Strange but true facts.

 
That desperation from John in "Don't Let Me Down"....he really meant it y'all.  He had been let down by his mom, his dad, and then his mom again...Yoko was his mother figure again and he needed her to remain that.

 
Not sure of our cadence now so I'll post at this point.

1.

2.

3.

4.

5.  And Your Bird Can Sing (31)

6.  Rain (42)

7.

8.

9.

10.

11.

12.  For No One (53)

13.  All My Loving (48)

14.

15.  Two of Us (41)

16.  She Loves You (38)

17.  Nowhere Man (28)

18.

19.  Don’t Let Me Down (25)

20.  Helter Skelter (35)

21.  And I Love Her (45)

22.

23.

24.  I’ve Got A Feeling (46)

25.

 
krista4 said:
At this point I think Getz might be dragging out in order to meet the timing of the LZ thread.  :lol:
Click to expand...
We will easily finish before that one does.  I have an immense amount of respect for the time and effort all you put into making your lists and all the posts made in here to make this so great and fun.

 
krista4 said:
That desperation from John in "Don't Let Me Down"....he really meant it y'all.  He had been let down by his mom, his dad, and then his mom again...Yoko was his mother figure again and he needed her to remain that.
Click to expand...
So how do we explain the May Pang tangent he took a few years later?

 
Getzlaf15 said:
The most influential song of the entire countdown gets posted six hours ago and this is the only comment about it. How sad.
Click to expand...
It was St Paddy's Day. I said a lot throughout the day, but coherently applying text and thoughts to those words ceased being a thing sometime before this song was posted.

 
1 

2

3

4 I Feel Fine

5

6

7

8 She's Leaving Home

9

10 We Can Work It Out

11 Penny Lane

12

13 Boys

14 Fixing A Hole

15 Got To Get You Into My Life

16 She Loves You

17 All My Loving

18 Two Of Us

19 Do You Want To Know A Secret

20

21 Hey Bulldog

22 Don't Let Me Down

23 No Reply

24 I'm Looking Through You

25 Day Tripper

 
krista4 said:
That desperation from John in "Don't Let Me Down"....he really meant it y'all.  He had been let down by his mom, his dad, and then his mom again...
Click to expand...


... and he, in turn, let down Cyn & Julian in a very big way. 

as i said last month, there's a ton of juggling one has to do with hero worship, especially when one's musical hero is about as perfectly imperfect as can be. 

your points about the song are spot on ... i think we can toss Mr. Epstein & Macca into that hopper of "let down" figures. 

 
If there was a Beatles song that I would play for someone not familiar with them, it’s Penny Lane.   It has the poppiness of their early stuff, with the production of the later.

 
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