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

Getzlaf15 said:
Twist & Shout - Performed Live On The Ed Sullivan Show 2/23/64
2022 Ranking: 57
2022 Lists: 12
2022 Points: 135
Ranked Highest by: Krista(TJ/Holly) (2) @John Maddens Lunchbox(4) @MAC_32 (5) @lardonastick(6) Krista(rob) 8 @Alex P Keaton (15) @Dwayne Hoover (22) @ManOfSteelhead (24) @wikkidpissah (24) @Dennis Castro (25)
2019 Ranking/Lists/Pts: 59T/5/51

Getz:  Just about the same rank as 2019. First song to have three Top 5 votes and five Top 10 votes.

Krista4
My 2019 ranking:  78

2019 write-up:

Twist and Shout (Please Please Me, 1963)

It's our last cover song!  I've probably unfairly given the covers short shrift in comparison to the other songs; I love a lot of them, but it's hard to say I love them more than Beatles originals.  Though the Beatles version of this one is based on the Isley Brothers record, the original recording of the song was actually by a band called the Top Notes.  

John's vocal on this has become legendary not just because of the quality on the record, but due to the fact that it was the last of ten songs recorded in a marathon 12+-hour in the same day!  It's nearly impossible to imagine that at this point, but the entire Please Please Me record, minus the four songs that had come out as singles, was put to tape on the same day in February 1963.  "Twist and Shout" was left as the last song to be recorded, because, according to George Martin, he knew that the larynx-shredding vocals would torture John's voice such that he'd be destroyed for anything else.  By the time they came to the song, John was sick and his vocal cords were a mess.  He sucked on some lozenges and gargled warm milk, stripped off his shirt, and hoped that the performance would be acceptable, because doing it a second time seemed impossible (in fact a second take was made, but the first one is what is on the record).  What we hear is exactly how the Beatles recorded it, with no overdubs or other editing.  It's essentially a live performance, and it's ####### extraordinary.  John's delivery is full of raucous energy and passion and sex, and the other Beatles clearly find it exhilarating as they continually raise their energy to match John's, culminating in Paul's "Hey!' and John's howling and Ringo's.

Mr. krista: "They took a rave-up and raved it the #### up. Til Lennon’s eyeballs were bleeding. Yeah, monster rock song.  One of the great rock vocal performances on record. And one of those moments where you can tell he loses himself and sings with abandon.  Mostly that kind of combustion is what I think rock bands try to achieve.  Oh, yeah, that’s worth a 700-mile drive with no sleep with no one listening except your sound guy, but that’s why you do that.  They burned the way rock bands do."

2022 Supplement:  This is a song I suspect would do even better if we did a top 64 or whatever, as I think many of us might have considered it but couldn’t spare a top 25 for a cover.  Like “Long Tall Sally,” this song was a favorite for years at the Beatles’ live performances, having first started to perform it in Hamburg in 1962 and continuing to include it in their shows through their August 1965 concert in San Francisco.  At first, they used it as a raucous closer, including during their (in)famous performance at the Royal Family’s annual variety show in 1963, when John introduced the song:  "For our last number, I'd like to ask your help. The people in the cheaper seats, clap your hands. And the rest of you, if you’d just rattle your jewelry.”  Apparently the Queen enjoyed the joke! https://www.townandcountrymag.com/leisure/arts-and-culture/a10284914/beatles-royal-variety-performance/  Later the song was shortened and made their opener, giving John’s voice a little break, but it continued to be a crowd favorite anywhere they went.  There are approximately eleventy squillion live versions of this available, so I hope Getz chooses the best one.  No pressure, buddy!

Guido Merkins

The Beatles are mostly known for songwriting.  Lennon/McCartney being the most successful songwriting team in the rock and roll era.  Harrison also grew into a top notch talent as well in that area.

So it is surprising that the Beatles are known for several of the best covers of all time.  Perhaps the best (I say perhaps to be kind, it’s the best) is an Isley Brothers song called Twist and Shout.  Twist and Shout was the Beatles show stopper for years sung by John Lennon in their Hamburg days.  But the true legend of the song starts and ends in 1963 during the one day recording of their debut album Please Please Me.

It was the end of the day and they needed another song.  Twist and Shout was suggested.  John had a cold so he struggled with his voice all day taking cough drops.  They knew they had one shot at it because the way John sang that song, plus the cold, meant his voice would probably be gone after.  So, John had a gargle with milk and off he went to sing.

The sound that remains on that record is nothing less than one of the most dazzling vocal performances of the rock and roll era.   John absolutely lets it rip and delivers a performance that feels like the earth moves.  John isn’t alone in that the other Beatles deliver a performance that barely manages to match the energy of John’s frantic vocal.  

I love the scream that Paul does out of the first vocal buildup.  I also love the audible exhale from John at the end of the song as it fades away.  

This is a top 5 vocal performance in the history of rock and roll.  For sheer power, guts, and soul it has few peers.
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Twist and Shout

64 List Rank: 44

64 List Voters/Points: 12/436

64 List Top 5: 0

64 List Top 10: 2 (6, 10)

64 List 1-25 votes: 5 (13, 17, 24)

64 List 26-64 votes: 7

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

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

Krista4
My 2019 ranking:  18

2019 write-up:

Dear Prudence (White Album, 1968)

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

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

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

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

I find everything about this song mesmerizing.

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

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

2022 Supplement: 

Dear Prudence,

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

Warmest regards,

k4

Guido Merkins

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

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

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

John always claimed that he wrote the most miserable songs in the world in Rishikesh, and while Yer Blues and Sexy Sadie and Bungalow Bill are not happy songs, Dear Prudence has a childlike quality about it and is a happy song.  It’s one of my favorites on the album.
Click to expand...
Dear Prudence

64 List Rank: 43

64 List Voters/Points: 13/436

64 List Top 5: 1 @shuke (4)

64 List Top 10: 2 (8)

64 List 1-25 votes: 6 (15, 17, 18, 25)

64 List 26-64 votes: 7

 
Getzlaf15 said:
I Feel Fine
2022 Ranking: 51
2022 Lists: 15
2022 Points: 153
Ranked Highest by: @Uruk-Hai (4) @DaVinci (6) @Getzlaf15 (9) @Ted Lange as your Bartender (11) @Pip's Invitation (17) @Encyclopedia Brown (18) @Just Win Baby (20) @Anarchy99 (21) @Dennis Castro (22) @whoknew (22) @Dinsy Ejotuz (22) @Eephus (22) Krista(Sharon) (24)
2019 Ranking/Lists/Pts: 50/4/73

Getz comments:  I didn’t rank this in 2019 and have it at #9 this time. Love the opening. The harmonies.  All of it.

Krista4
My 2019 ranking:  46

2019 write-up:

I Feel Fine (single, 1964)

The feedback at the beginning is legendary (one of the first times on a record), but it came about by accident.  During the recording of "Eight Days A Week," John had set his semi-acoustic Gibson with a pick-up against the amp without turning the pick-up down.  When Paul played a bass note, this feedback sound came out, which they all loved and decided to use on this record.  John added it to the riff that he'd also come up with during the session, a riff that was inspired by Bobby Parker's "Watch Your Step," and the song was born.  Obviously the feedback and the guitar riffs are the highlights - my favorite part is the descending repeated riff in the instrumental section starting ~1:15.   But don't focus on the riffs at the expense of Ringo's masterful Latin-style drumming, including those doubles and triplets on the ride, and that fill that follows the guitar solo.  Paul called this their "What'd I Say" style of "Latin R&B" drumming, patterned after Milt Turner's work with Ray Charles.

Mr. krista:  "It’s one of the first great Beatles songs. That riff in the beginning. They’re really riff monsters.  You don’t really think of them that way – you think of them as jangly.  But…they could riff.  It’s pretty amazing.  It’s a jam for sure.  Fo sho jam. Pret-ty pret-ty mint."

Suggested cover:  New record for number of terrible covers I listened to, with an alarming number of them on ukulele.  There might be a good country song in there, but no one seems to have found it yet.

2022 Supplement:  I don’t know how I neglected to include one of my favorite Beatles videos in my initial write-up.  Yes, of course I’m speaking of the promo with Ringo riding a stationary bike:  https://www.youtube.com/watch?v=WrAV5EVI4tU

And if that’s not enough for you, please enjoy this other promo where they are merely eating fish and chips:  https://www.youtube.com/watch?v=q-hPXwVheHU

Oh, by the way, still a mint jam.

Guido Merkins

The Beatles had many influences, a lot of them off the beaten path.  One such is an  R&B singer named Bobby Parker.  They used to play a song of his called Watch Your Step in their live sets in Hamburg in the early 60s.  Influenced by that distinctive riff, John wrote a song called I Feel Fine (the riff is similar, but I Feel Fine is longer and slightly different, but definitely influenced). 

The main part of the song is the distinctive riff and Ringo’s drum beat over the verses (sounds like Ray Charles What I Say), which is kind of Latin flavored.  The beat on the chorus is more of a traditional 4/4 rock beat.  Ringo switching back and forth so effortlessly, that’s why he is Ringo and I’m not.

But the part of the song which gets the most discussion is the opening of the song with that buzzing noise.  In 1964, most people had no idea exactly what it was.  Somebody said it was the sound of a buzzing bee amplified.  What it was is something called feedback.  Apparently, John leaned his guitar against his amp without turning down the volume. Paul plucked the A string on his bass, which caused the strings on John’s guitar to vibrate which caused the feedback. John loved the sound and wanted to use it for something. When recording I Feel Fine, they recorded it and stuck it to the front of the record.

John claimed it was the first feedback ever on any record.  Not sure that’s true, but it was one of the first on a record.  The Kinks, for example, has used it in concert, but not on a record.  

Great, funky track and another #1
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I Feel Fine

64 List Rank: 42

64 List Voters/Points: 16/456

64 List Top 5: 1 @Uruk-Hai (4)

64 List Top 10: 3 (8, 10)

64 List 1-25 votes: 4 (17)

64 List 26-64 votes: 12

I had this #10

 
Getzlaf15 said:
Come Together
2022 Ranking: 20
2022 Lists: 21
2022 Points: 306
Ranked Highest by: @jamny (2) @prosopis (5) @Yankee23Fan (6) @Gr00vus (8) @BobbyLayne (9) OH Dad (10) @Pip's Invitation (10) @falguy (10) Doug (10) @lardonastick (11) Slug (12) @DaVinci (13) @Man of Constant Sorrow (13) Alex (13) @wikkidpissah(13) @jwb (14) @worrierking (15) @heckmanm (15) @ConstruxBoy (15)
2019 Ranking/Lists/Pts: 35/8/106

Getz: And yet another song with a really strong showing compared to 2019. 19 of the 21 votes in 2022, were under #16. 
13 more lists and 200 more points that 2019.
Also the top of a 5-song tier as the next song has 49 more points with a 355 total.

Krista4
My 2019 ranking:  98

2019 write-up:

Come Together (Abbey Road, 1969)

I might manage to piss off everyone in one feel swoop with this one!  I know many people would have it very high, top 10 even, and then the likes of @Mister CIA, @shuke, @Dinsy Ejotuz, and @Shaft41 might have it much lower.

It's middle-ish to me because there are some aspects of it that are outstanding, but overall I find my mind wandering a little by the end.  On the negative side, the lyrics...I"m OK with non-sensical lyrics as evidenced by some future rankings, but if I'm going to be listening to gibberish I'd rather be sitting on a cornflake.  Plus, some of the lyrics were stolen from Chuck Berry, which led to an out-of-court settlement by which John agreed to record three songs for Berry's publisher.  I also am not a fan of John's vocal on this.  Like, at all.  And I think if you're going to make this song, go all-in and make it more menacing than it sounds.  The song makes me a little sad for showing some of the splits in the group, too - Paul has expressed how much he would have loved to sing harmonies on it, but he was too embarrassed and maybe a bit angry to ask.  Likewise, John shut Paul out of the piano part, which Paul actually composed and would have done masterfully (not that there was anything wrong with John's version).

On the plus side, and this is why it gets to be so high, it's a great funky rock song with George's stunning guitar work, Paul's fantastic bass riff and, far more important than anything else in the song, those drums.  I heard an interview once with Stewart Copeland, about a tribute to Ringo put on at the Rock & Roll Hall of Fame at which Copeland participated.  He said that they producers of the tribute asked the drummers participating which was their favorite song for Ringo's drumming, and that they all had the same answer:  "Come Together."  Copeland then waxed poetic for a while about how ground-breaking and amazing this piece was in that respect, and when I listen to it, I feel the same way.  I basically hear nothing but the drumming on this song; I'm simply fascinated with it.

The song was originally composed at the request of Timothy Leary, who had attended John and Yoko's second "bed-in" (even joining in on the singing of "Give Peace a Chance") and asked John if he could help with a campaign song for Leary's candidacy against incumbent Ronald Reagan for governor of California, a campaign the slogan of which was "Come together, join the party."  Leary used an early rough demo of the song in alternative radio campaign ads for a short time - a demo that bears no resemblance to the finished product - before his arrest for marijuana possession derailed his candidacy (isn't that quaint?), since he was kept in jail until the election was over.  The final version also doesn't bear so much resemblance to the version John brought into the studio for the band, as, among other things, it was later slowed down considerably to make it "swampy," at the suggestion of Paul.

Mr. krista:  "The organ is awesome, and of course it takes a genius like Ringo Starr to write that drum fill.  It’s so inventive.  Only someone who’s forced to play and therefore think backwards could come up with that.  A right-handed drummer just doesn’t play like that.  It’s not supposed to be music.  Ringo taking everybody to drum school.  If you don't like Ringo, why don't you just throw yourself in a volcano.  Or shoot yourself directly into the center of the Earth."

Suggested covers:  I'm not posting "that one cover" despite its being a favorite of others.  I like a cover either to take the best parts of a song (in this case the rhythm section) and expand around them, or do more of a reimagining of it.  That cover does neither.   Here are several I'd suggest instead:  Cassandra Wilson   The Meters   The Brothers Johnson   Arctic Monkeys   Ike & Tina   Michael Jackson  Nevermind, I could go on...

2022 Supplement:  Meh.  To me the only terribly interesting part of this song remains the fact that is is A RINGO SHOWCASE!  Otherwise, meh.  I know most will disagree, though.  I also blame this song for leading directly to John’s most dreadful post-Beatles album, Rock ‘n’ Roll.  As I described in my solo Beatles thread:

“To talk about this album, we first have to turn back to a Beatles song (yay!), “Come Together.”  While the title of the song came from Timothy Leary’s political slogan in his quest to become California governor, unfortunately the music and lyrics borrowed heavily from Chuck Berry, including a near word-for-word lifting of a line from Berry’s “You Can’t Catch Me”:  “Here come a flat-top, he was movin' up with me.”  In the recording sessions for “Come Together,” at Paul’s urging the song’s arrangement was altered and the tempo slowed to try to make it more distinguishable, but the similarities didn’t escape the notice of Morris Levy, the owner of Big Seven Music (which in turn owned Berry’s catalog), who brought suit against John to claim a portion of the royalties for the song.

To his credit, John didn’t fight the notion that he had “lifted” this and quickly settled with Levy not for royalties but with an obligation to record and release three other songs from the Big Seven catalog on his next album.  It was a good deal for John as he had been planning an “oldies” record anyway, to be produced by Phil Spector.  Unfortunately, the sessions for the planned album went horribly, as they began in 1973 during a period where John was particularly out of control in his alcohol consumption.  When you add the specter of Spector – who has plenty of his own madness to go around – into this mix, the whole endeavor ended in gunshots.  Ok, not as dramatic as it might sound, but at one point Spector pulled a gun on longtime Beatle-mate Mal Evans and ended up shooting a hole into the studio ceiling.  Not long thereafter, Spector left John a message saying he was terminating the project because the studio had burned down.  This hadn’t actually happened, and then Spector left John another message saying he had the Watergate Tapes - what he actually did have were the master tapes for the record, which he then held hostage until Capital Records paid him a $90k bounty for their return.

So this project lay dead in the water for a year while John focused instead on Walls and Bridges, but oops!  The agreement with Big Seven Music/Morris Levy was that John was to release the requisite three songs on his next album.  John met with Levy to assure him he would turn back to the recordings that would fulfill this obligation.  John had already recorded the three Big Seven songs in his Spector sessions, but when he got the tapes back, he found that they were, unsurprisingly, ####e and not worthy of release.  John then knocked out new recording sessions in a week or so and presented Levy with a reel of the initial mixes to show that he was working in good faith through the recordings.

Oops again!  Levy somehow claimed the presentation by John of these rough mixes became an oral agreement that Levy could release them.  Levy took these mixes, unfinished and not intended to be heard, and prepared to release them on a mail-order basis as an album named Roots.  Knowing that this was about to happen, instead of putting all the planned finishing touches on the songs that would become Rock ‘n’ Roll, Capitol rushed the release so as not to lose too many sales to Roots, even dropping the price by a dollar to be within a dollar of the bargain-basement price that Levy planned for Roots.  More lawsuits and countersuits followed, with Levy eventually ordered to pay damages to John and the record companies.”

Guido Merkins

Timothy Leary was going to run for office, so he had a campaign slogan with the words “Come Together….” in it.  He asked John to write a song with that phrase.  John did, but said “it was a good track, I’m not giving it away.”  So that’s how Come Together came to be.

Chuck Berry had a song called You Can’t Catch Me with the line “here comes old flattop” which John borrowed for the song.  Apparently an early version of the song was very much like the Chuck Berry song, until Paul suggested a slower, swampier arrangement.  John got sued anyway and had to record songs to compensate the publisher, which he did on the Rock and Roll album, which John very much resented.

As far as the song itself, it is the funkiest Beatles track on record, IMO.  Paul’s swampy bass, Ringo’s highly original drumming, great lead guitar by George, and John’s great vocal and nonsense lyrics.  People who claim to not like the Beatles love this song.  I’ve met very few people who don’t like this song.  It was on Abbey Road and the B side of the Something single.  

Lots of people have covered this song……Aerosmith, Michael Jackson, and Ike and Tina Turner.  It is notable that John performed this song live in New York in 1972 with the words “we’ll go back in the past just once.”  This was one of John’s favorites, I think.
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Come Together

64 List Rank: 41

64 List Voters/Points: 13/462

64 List Top 5: 0

64 List Top 10: 2 (10, 10)

64 List 1-25 votes: 6 (11, 15, 16, 25)

64 List 26-64 votes: 7

I had this #63

 
Getzlaf15 said:
She Loves You (Live at Royal Hall)
2022 Ranking: 38
2022 Lists: 17
2022 Points: 205
Ranked Highest by: @rockaction (3) @Ilov80s (5) @jwb (5) @PIK95 (6) @Alex P Keaton (7) @Dr. Octopus (11) @Getzlaf15 (13) @BobbyLayne (14) @Eephus (15) @Uruk-Hai (16) @krista4 (16)
2019 Ranking/Lists/Pts: 30/10/125

Getz: I love the early Beatles. Moved this up from 23 to 13 this time. Fab 3 all had this one.

Krista4
My 2019 ranking:  22

2019 write-up:

She Loves You (single, 1963)

BAM!  BAM BAM!  I love the way this song absolutely explodes out of the gate, as if we'd been launched somehow magically into the middle of it.  Speaking of exploding, if "I Want To Hold Your Hand" changed everything for the Beatles in the US, this one had the same effect in the UK, becoming the band's first million-seller.  No less than the Prince of Darkness himself credits it with igniting his love of music and establishing what he would do with his life.  I recall hearing an interview in which Ozzy describes the first time he heard as having gone to bed in one world, and waking up in an entirely different world.  When we talk about the influence the Beatles had over other musicians, we can't forget the impacts that those musicians then had on others to come.  If the Beatles changed Ozzy's whole world and gave him the impetus to enter music, then they're also responsible for everyone that Black Sabbath then in turn drove to do the same.

Influenced by the Bobby Rydell song, "Forget Him," Paul came to John with the idea of having a third-person song, but once the idea took hold, this was a true collaboration between the two of them.  The "yeah yeah yeah"s were a source of controversy within the control room and within Paul's own household!  Norman Smith said that he saw the lyric sheets and all those "yeah yeah"s and thought, "I am not going to like this one."  Paul's dad was also upset at the use of too many "Americanisms" -  why not say a proper English “Yes, yes, yes” instead?  I guess we shouldn't even get into the "wooo"s.

So many aspects of this song deserve mention - not just that blast start, but the weaving in and out of those harmonies above the frequent chord changes, and the beautiful melody underlying all that exuberance.  Ringo's tom-tom work, the syncopation at the end of certain measures of the verses, and that triplet on the snare just after the "yeah."  George's little guitar fills punctuated under the vocal.  The drop-down to the emphatic "love like that" that precedes the (very first?) "Beatles break," and then those glorious final harmonies and euphoric repeat of the "yeah yeah yeah"s.  That chord...wait, another chord discussion?  Yes!  I'm talking of the final chord, which was an odd major sixth chord with George playing the sixth and John and Paul playing a third and fifth, of a type used in old-fashioned songs like those of Glenn Miller.  George came up with the idea, but surprisingly George Martin argued against it as being too jazzy and corny.  The band won out, though, and that chord stands out now as one of the most interesting and innovative parts of the song.  

The manic, powerhouse sound might have been inspired in part by the energy and excitement surrounding the recording of the song, which sounded like a riot.  I don't just mean "fun," but like nearly an actual riot.  Although the Beatles booked their studio time under the name, "The Dakotas," somehow the fans always knew when the band was going to be there and would start showing up hours in advance.  On this day, the band had a photo session in the alleyway a few hours before the session, so the fans started gathering in even larger numbers.  As the group started to tune up, though, Neil and Mal (the roadies) left the studio, only to return minutes later shouting, "FANS!!!"  John asked what they were bloody well talking about, but before they could answer, the door flew open and a particularly determined teenage girl flew in and headed for Ringo.  While Neil managed to tackle her, at the same time the rest of the swarm of fans broke through security and raced around the EMI studios madly searching for the Fab Four.  In the chaos, Geoff Emerick poked his head out the studio door:  "It was an unbelievable sight, straight out of the Keystone Kops:  scores of hysterical, screaming girls racing down the corridors, being chased by a handful of out-of-breath, beleaguered London bobbies.  Every time one would catch up with a fan, another two or three girls would appear, racing past, screeching at the top of their lungs. ... Doors were opening and slamming shut with alarming regularity, terrified staffers were having their hair pulled (just in case they happened to be a Beatle in disguise), and everyone in sight was running at top speed. ... Ringo, still on his drum stool, seemed a bit shaken, but John, Paul, and George soon began taking the piss, racing around the room, giggling and screeching in imitation of the poor fan who had launched herself at him."     

Mr. krista:  "It rocks really hard.  They were such a tight band.  [Narrator:  That’s all you got?]  I think a lot has been said about that song. Ringo’s drumming is great; he makes really great choices.  Like it almost goes into half-time but it doesn’t; creates just enough space to make it interesting.  They were all really good musicians, but it’s kind of amazing how much better they got, too."

Suggested cover:  Despite being convinced there was no way anyone could cover the energy and excitement of this song, I screened several dozen covers.  I was right to begin with.  However, I did find these comedic readings by Peter Sellers, which I'm assured by the title of the YouTube listing are "very funny."

2022 Supplement:  Just before a show on their 1963 tour, John and Paul sat in their hotel room, facing each other on twin beds, and composed one of the best-selling songs of all time, basing it on an idea Paul had come up with on their tour bus.  Paul credits the L.P. Hartley novel The Go-Between, as well as the Bobby Rydell song mentioned above, with being a possible inspiration for the “go-between” in this song – that is, the unusual decision to make this a third-person account of love rather than a more traditional first-person narrative.  The “controversial” yeah-yeah-yeahs were originally written to be in a call-and-response form, but that idea was lost along the way (and in my opinion the song is better for it). 

The Beatles performed nearly 300 shows in Hamburg over the course of 1960-62, and they wanted to reach their fans there.  They were (incorrectly) advised that, to reach true popularity in Germany, they would need to record a record entirely in German.  A compromise was reached, and the band dutifully recorded fresh versions of “She Loves You” and “I Want To Hold Your Hand” in German.  Just another “day at the office” for them sounds amazing to me:  https://www.youtube.com/watch?v=YmjnK4zTBhM

Guido Merkins

Bubblegum my ###.  She Loves You comes out of the station like a freight train.  Ringo’s tom roll, then punctuating the yeah, yeah, yeahs with pistol shots on the snare before it settles into the swinging groove of the verses.  George’s little guitar licks throughout.  The syncopation right before “....and you know that can’t be bad.”  The Little Richard “wooooooo”.  Top it off with that major 6th chord at the end, which would sound so corny and cliched in the 1940s, but here sounds strange and perfect in the context of everything we’ve just heard.

The energy of this record is just really hard to beat.  There is a reason.  Apparently, the day they recorded this, there was a breach at EMI and a bunch of Beatles fans got in the building and started wandering around looking for the Beatles. Geoff Emerick describes the scene as “chaotic” and when security finally got the people cleared out, there was an energy in the air that made its way onto the record.  

John and Paul wrote the song at Paul’s house and after hearing it, Paul Dad, Jim asked if they couldn’t change it to “Yes, Yes, Yes” because “Yeah, Yeah, Yeah” was so “American.”  Thank God they told him no.

She Loves You wasn’t the Beatles first hit, but it was the hit that sent them into the stratosphere.  Yeah, I Want to Hold Your Hand was the first big one in America, but She Loves You kicked off Beatlemania everywhere else.  The Americans were just late to catch up with everyone else. She Loves You made the Beatles international superstars.  It was said that the Beatles got “better” and maybe overall they did, but as a statement of pure rock and roll, it doesn’t get much “better” than She Loves You.  All you can do is just elaborate.
Click to expand...
She Loves You

64 List Rank: 40

64 List Voters/Points: 15/466

64 List Top 5: 0

64 List Top 10: 1 (9)

64 List 1-25 votes: 6 (16, 16, 18, 23, 24)

64 List 26-64 votes: 9

I had this #9

 
I have 34 of last 39.

1---Hey Bulldog---

2---Get Back---

3---Eleanor Rigby---

4---Help!---

5---A Hard Days Night---

6---Two Of Us---

7---I Want To Hold Your Hand---46

8---Day Tripper---

9---She Loves You---40

10---I Feel Fine---42

11---Let It Be---

12---While My Guitar Gently Weeps---

13---Ticket To Ride---

14---Rain---

15---I Saw Her Standing There---

16---Hey Jude---

17---Paperback Writer---

18---Mother Nature's Son---95

19---Hello Goodbye---69

20---Here Comes The Sun---

21---Norwegian Wood---

22---Things We Said Today---

23---All You Need Is Love---75

24---A Day in the Life---

25---The Night Before---85

26---With A Little Help From My Friends---55

27---Abbey Road Medley---

28---In My Life---

29---Can't Buy Me Love---53

30---The Fool on the Hill---88

31---I Should Have Known Better---77

32---I've Just Seen a Face---

33---We Can Work it Out---

34---Ob-La-Di Ob-La-Da---76

35---Penny Lane---

36---Nowhere Man---

37---Magical Mystery Tour---93

38---Sgt. Pepper's Lonely Hearts Club Band---60

39---Yellow Submarine---157

40---Eight Days A Week---56

41---Strawberry Fields Forever---

42---Please Please Me---91

43---If I Fell---69

44---All My Loving---54

45---Lady Madonna---65

46---You Won't See Me---79

47---No Reply---84

48---Boys---90

49---The Ballad of John and Yoko---61

50---Blackbird---

51---Don't Let Me Down---

52---She Said She Said---47

53---Taxman---

54---Helter Skelter---

55---You've Got To Hide Your Love Away---

56---And Your Bird Can Sing---

57---Yesterday---

58---I am The Walrus---

59---Something---

60---Here, There and everywhere---59

61---You Can't Do That---126

62---You're Going To Lose That Girl---97

63---Come Together---41

64---The Long and Winding Road---58

 
Getzlaf15 said:
what happened?

Getz in Vegas trying to bet people $100: How old do you think I am?  I'll bet you $100 you can't guess within 5 years:
98% of those asked: You're 47.
Getz: Sorry, I'm 62.  Still have that baby (binky clown) face.
Click to expand...


love it big boy ...appreciate the kid pic ...so that really wasn't in the 50s???

 
1    
2    
3    
4    
5    
6    The Long And Winding Road
7    
8    Can't Buy Me Love
9    
10    Come Together
11    
12    
13    
14    When I'm Sixty-Four
15    
16    
17    
18    
19    
20    I Want To Hold Your Hand
21    Tell Me What You See
22    
23    
24    
25    
26    For No One
27    
28    
29    
30    
31    I'll Follow The Sun
32    All You Need Is Love
33    She Loves You
34    
35    Twist And Shout
36    Lucy In The Sky With Diamonds
37    
38    Eight Days A Week
39    Back In The U.S.S.R.
40    And I Love Her
41    Hello, Goodbye
42    She's Leaving Home
43    All My Loving
44    The Fool On The Hill
45    Here, There And Everywhere
46    
47    If I Needed Someone
48    
49    
50    I Feel Fine
51    
52    The Ballad Of John And Yoko
53    Drive My Car
54    Lady Madonna
55    Oh! Darling
56    
57    Dear Prudence
58    Ob-La-Di, Ob-La-Da
59    I Will
60    Getting Better
61    Yellow Submarine
62    Please Please Me
63    Sgt Pepper's Lonely Hearts Club Band
64    With A Little Help From My Friends

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

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

Krista4
My 2019 ranking:  44

2019 write-up:

I Am The Walrus (Magical Mystery Tour, 1967)

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

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

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

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

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

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

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

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

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

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

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

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

Guido Merkins

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

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

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

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

I Am the Walrus was the B side of the Hello Goodbye single.  A #1 hit
Click to expand...
I am The Walrus

64 List Rank: 39

64 List Voters/Points: 17/473

64 List Top 5: 1 @shuke (5)

64 List Top 10: 2 (6)

64 List 1-25 votes: 4 (13, 23) 26/26

64 List 26-64 votes: 13

Only six didn't vote for this....   I had it #58

 
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Getzlaf15 said:
Blackbird
2022 Ranking: 52
2022 Lists: 16
2022 Points: 150
Ranked Highest by: @Oliver Humanzee(dad)(4) @wikkidpissah (9) @Wrighteous Ray (10) @Eephus (12) @Gr00vus (16) @fatguyinalittlecoat (17) @zamboni (18) @lardonastick (20) @prosopis (21) @ManOfSteelhead (22) @BobbyLayne (22) @Pip's Invitation (23) @Ted Lange as your Bartender (23)
2019 Ranking/Lists/Pts: 17/19/178

Getz: Dropped 35 slots!! To get three less votes and 28 less points with 36 more voters in 2022, to me, is quite stunning. And only five of the 16 votes this time ranked it lower than #16. What the hell happened here? During the entire vote counting process, it was only under #50 after the first vote cast and then dropped all the way to #82 at one point. 6-7 of the voters in 2022 didn't vote in 2019.

After digging a little further, I think a good portion of the fall is due to the Get back influence on the list.

Krista4
My 2019 ranking:  39

2019 write-up:

Blackbird (White Album, 1968)

I always intended to rank these two together [EDITOR’S NOTE – I grouped this with “Mother Nature’s Son” in 2019]  and do the write-ups together, because I think they're the same song.  Ok, one has tweety-bird sounds and the other doesn't, but otherwise they're similar.  They're both Paul songs on which no other Beatles perform. They're both acoustic guitar driven with Paul's finger-picking style.  They both feature pure, peaceful Paul vocals.  They were both composed just after the India trip and included on the White Album.  They both have simple but stunningly beautiful melodies and redolent lyrics.  They both have "nature" overtones, though Paul years later asserted that "Blackbird" was about the US civil rights movement.  In both you can hear Paul's feet tapping.  The chord progressions even sound the same to me, though I'm too lazy to look it up right now.  Some differences exist, though, such as the small tempo changes in "Blackbird" that aren't in the comparatively simple "Mother Nature's Son," and the absence of stupid bird noises in "Mother Nature's Son." Also, not every human with a guitar plays "Mother Nature's Son."

I love both of these songs as gorgeous, near-perfect creations, the only downside of them being that they seem like Paul solo works instead of Beatles songs, primarily because they were. Actually I enjoy "Mother Nature's Son" even more than "Blackbird," finding its melody and lyrics slightly more enchanting, and that four-note guitar run at the end of the second line of the second and third verses does it for me.  I prefer it, that is, until we get to the end.  That last line, where Paul sings, "Mother Nature's soooon" as if he were ending a Broadway show, jazz hands and all, drives me batty and makes me rank it just behind "Blackbird."

Fun fact:  the recording engineer accidentally used the sound of a thrush instead of a blackbird in the initial mix of "Blackbird."  Luckily someone else caught it and corrected the error.  How embarrassing would it have been to have a thrush when everyone knows that's not a blackbird?  Whew!

Mr. krista (Blackbird):  "The chords are so pleasing; no wonder everyone with an acoustic guitar learns this song.  It’s perfect the way it is.  That line - into the light of the dark black night - is so evocative.  Those are some of Paul McCartney’s best lyrics and writing and it bothers me that Paul McCartney, who is clearly a fantastic writer, feels that Western trap that everything has to be symbolic, that everything has to represent some larger concept. That a thing can’t just be what it is and beautiful on its own account.  But this is some of his best songwriting.  The Tweety Bird noises don’t help it, though."

Suggested cover (Blackbird):  Well, duh......It's FatGuy!!.

2022 Supplement:  I think my 2019 incorrectly implied that Paul’s assertion that this song was about the Civil Rights Movement was a later-added retelling of the impetus for it.  I believe Paul, especially given how assertive the Beatles were in insisting that their shows be open to all in places like Florida where they were going to be segregated.  The band was extremely cognizant of what was going on in the US at the time.  They were also well aware of the history of their own town of Liverpool, which had been a slave port and later had the first Caribbean community in England, which meant that they, according to Paul, “met a lot of Black guys, particularly in the music world.”  And of course they also admired, covered, and patterned original songs after much of what they heard from Black musicians in the US.  This song was written not only for the little girls in Little Rock who were integrating schools there, but it came about shortly after the assassination of Martin Luther King. Jr.  Paul has tied the imagery of “sunken eyes” and “broken wings” specifically to that event.

I probably should have made room for this in my top 25, in 2019 and now. 

I recently came across this rehearsal footage for the first time!  https://www.youtube.com/watch?v=q1LletEaBD0

Guido Merkins

1968 was a rough year in the United States.  Forced integration in Little Rock reached the ears of Paul McCartney and he decided to write a song giving encouragement to those little girls walking into school in Little Rock.  So he wrote a song called Blackbird, which was a message for the civil rights struggle.

Paul claimed that he modeled Blackbird from a piece by Bach called Bouree in E minor that he and George had learned on guitar years before.  I’ve listened to the piece, but it doesn’t sound that much like Blackbird.  I think it’s more likely he was influenced by the method of playing the guitar than the melody itself.  The Donovan picking style is in full display for this song. This is a solo performance by Paul McCartney with only his acoustic guitar and his foot tapping being heard on the final recording.  EMI engineers found the sound of birds chirping and put them on the final mix which, apparently, are actual blackbirds.  Not sure how true this is, but I read it from Mark Lewison in The Complete Beatles Recording Sessions.

Love the song.  My favorite part is the descending “blackbird cry….” part.  Just sends chills up my spine. This is one of the songs that Paul played even into his Wings years as it’s part of the acoustic set on Wings Over America, which is funny since Bluebird from Band on the Run, I’ve always thought was an inferior(but still excellent) Blackbird, but he features both on that tour. 
Click to expand...
Blackbird

64 List Rank: 38

64 List Voters/Points: 18/474

64 List Top 5: 0

64 List Top 10: 0

64 List 1-25 votes: 6 (17, 19, 20, 22, 23, 25)

64 List 26-64 votes: 12
 

I had this #50.  Only five did not vote for it.  1-64 did it well...., but no Top 10's.

 
Getzlaf15 said:
Blackbird

64 List Rank: 38

64 List Voters/Points: 18/474

64 List Top 5: 0

64 List Top 10: 0

64 List 1-25 votes: 6 (17, 19, 20, 22, 23, 25)

64 List 26-64 votes: 12
 

I had this #50.  Only five did not vote for it.  1-64 did it well...., but no Top 10's.
Click to expand...


There she is!  Did get a nice 64 bump, though I might have expected even more.  No top 10s killed it.

 
Getzlaf15 said:
Revolution
2022 Ranking: 36
2022 Lists: 16
2022 Points: 211
Ranked Highest by: @jamny (1) Doug (3)  Son2 (3) @lardonastick (8) @Dwayne Hoover (8) @ConstruxBoy (8) @DaVinci (10) @rockaction (10) @prosopis (13) 
2019 Ranking/Lists/Pts: 39/11/100

Getz: Strong showing for this rocker. Lot of bottom chalkers on this one.

Krista4
My 2019 ranking:  34

2019 write-up:

Revolution (single, 1968)

At this point I could randomly choose anything from 13-34 and be happy with it making my top 25, so please consider all of the songs I list from 1-34 as being in my top 25, just as I consider all of my 1-12 to be in my top 10.  Getzlaf will be by to explain the math there.

As discussed above, this was the b-side to "Hey Jude," much to John's dismay.  He lobbied hard first for Revolution 1 to be the next single, but was vetoed by Paul and George Martin, who told him it was too slow.  Convinced that this could be a single, he reworked the song into this faster, more biting version, but unfortunately for him, before they were done Paul brought in "Hey Jude," which everyone agreed would be more commercially appealing.  It appears, since this is at #34 and "Hey Jude" hasn't yet been ranked, that I consider this the greatest single of all time, surpassing Strawberry Fields/Penny Lame and We Can Work It Out/Day Tripper.  Hmph.

As touched on above, John wanted to try a song that commented upon the Vietnam War and other concepts of revolution.  He'd been restrained by Brian Epstein from doing so, but after Epstein's death he felt free to share more of his political thoughts with the world.  As mentioned above, while on "Revolution 1" John expressed ambivalence with "Count me out...in," by the time of the single version he clearly indicated in the lyrics that he should be counted out:   "Count me out if it's for violence. Don't expect me on the barricades unless it's with flowers. ... I want to see the plan. Waving Chairman Mao badges or being a Marxist or a thisist or a thatist is going to get you shot, locked up.  If that's what you want, you subconsciously want to be a martyr.  As for as overthrowing something in the name of Marxism or Christianity, I want to know what you're going to do after you've knocked it all down. If you want to change the system, change the system.  It's no good shooting people."  So while the song is entitled "Revolution," it's actually an anti-revolution song - or at least a critique of the actions of revolution thought perhaps not the ideas - and it was met with scorn and severe attacks from some on the Left.*   

I don't really have to say what I love about this song, right?  It's obvious to everyone?  Fuzzy guitars!!!  Filthy, filthy, filthy.  But so unheard of at the time that many record buyers tried to exchange their singles because they thought the "Revolution" side was damaged.  John hammered Geoff Emerick on this notion of wanting the guitar to be biting and dirty.  During the sessions for the White Album, John wanted everything to be louder and louder, winding his guitar amp to its loudest position and becoming angry when anyone told him that at some point the volume caused the sound to become a mess.  In response to John's demand to make his guitar dirtier on this song, Emerick overloaded two preamps for the two guitars and patched them together into each other, then moved the knobs ever-so-gently as they played to try to find the maximum overload the sound board could take without bursting into flames.  The entire song has that feel, of being on the precipice of burning up, from John's shriek at the beginning continuing through to the crescendo of "All right"s at the end and finally Ringo's amped-up snare fill over the searing guitars fading in and out...a listener must have found himself exhausted upon first hearing this song.  It was the heaviest song the Beatles had recorded to this point, perhaps only to be outdone by "Helter Skelter" a few months later.  

Mr. krista:  "I love that absolutely filthy guitar sound.  All the instruments are completely distorted, just totally blowed. His voice is that muffled, singing through a megaphone type thing.  Another ironic song called Revolution but the lyrics are endorsing the status quo.  I think charitably you could say he’s advocating more nuanced thinking.  But you don’t have to go revolution, do you?  I think he took some #### from the left for that."

Suggested cover:  See above.

*Some more Lennon quotes I found interesting regarding the meaning of this song, left here just so as not to muck up the whole write-up above with quotes.  Keep in mind, though, that all of these quotes are well after the recording, and Paul has indicated that he thinks John ascribed more meaning to the lyrics later than he actually had at the time:

"What I said in 'Revolution' is 'change your head.'  These people that are trying to change the world can't even get it all together.  They're attacking and biting each others' faces, and all the time they're all pushing the same way.  And if they keep going on like that it's going to kill it before it's even moved.  It's silly to ##### about each other and be trivial.  They've got to think in terms of at least the world or the universe, and stop thinking in terms of factories and one country.  ...  If they'd just realize the Establishment can't last forever.  The only reason it has lasted forever is that the only way people have ever tried to change it is by revolution. And the idea is just to move in on the scene, so they can take over the universities, do all the things that are practically feasible at the time.  But not try and take over the state, or smash the state, or slow down the works.  All they've got to do is get through and change it, because they will be it."

"These left-wing people talk about giving the power to the people.  That's nonsense – the people have the power.  All we're trying to do is make people aware that they have the power themselves, and the violent way of revolution doesn't justify the ends."

"If you want peace, you won't get it with violence.  Please tell me one militant revolution that worked.  Sure, a few of them took over, but what happened?  Status quo.  And if they smash it down, who do they think is going to build it up again?  And then when they've built it up again, who do they think is going to run it?  And how are they going to run it?  They don't look further than their noses."

2022 Supplement:  “Revolution” was the first song the band worked on for the White Album, and as discussed above, John wanted a shower version for the single release but was overruled.  As a result, the song ended up in three versions, with the notorious “Revolution 9” arising out of ideas from the six minutes of the original “Revolution” recording that were spliced off the end.  Despite John’s slower pace in “Revolution 1,” his original Esher demo was at a tempo much closer to that of the eventual single version:  https://www.youtube.com/watch?v=OKh6XiFF1J8  Unlike the final single version, in the absence of the huge fuzzy guitar sound this sounds like an upbeat hippie singalong.  To me it’s one of the most pleasing and fully formed demos in the Esher series.

Guido Merkins

John had a song called Revolution for the White Album and he wanted to release it as a statement on how the Beatles felt about revolution.  The other Beatles liked the song, but they thought that if they sped it up, it would be single material.  John didn’t like that, but he complied and so the version on the White Album became Revolution 1 and the single version became Revolution.

There are several differences.  First, the single version was sped up. Second, the single version had an absolute wall of really distorted guitars.  Third, on Revolution John was definitely out on destruction, whereas on Revolution 1, he couldn’t make up his mind whether he was out or in.

Revolution is musically an extremely heavy record and Lennon snarls the lyrics which gives it a bite that the slower version doesn’t have.  So, I disagree with John’s opinion as the sound of the record gives his opinion more forcefully.  The dirty guitar sound was achieved by direct injection of the guitars directly into the recording console.  EMI management would not have been happy if they had known the abuse Geoff Emerick was inflicting on the equipment, but that sound makes it totally worth it.

The message of Revolution was not well accepted by the counterculture at the time who most definitely wanted violent revolution to achieve their goals.  Lennon’s pacifist message was out of step with the times, for sure.

If you go to youtube and watch the promotional video for Revolution, my favorite part is right at the beginning when John starts to sing.  George looks right at Paul and says “John’s mic is ####!!!”  I laugh every time I see it!!!!!!
Click to expand...
Revolution

64 List Rank: 37

64 List Voters/Points: 15/476

64 List Top 5: 0

64 List Top 10: 2 (7, 😎

64 List 1-25 votes: 4 (23, 23)

64 List 26-64 votes: 11

was in the Top 10 for quite awhile, then faded at the end.  39/36/37 on the 2019/2022/Top64 lists

 
Getzlaf15 said:
Paperback Writer
2022 Ranking: 47
2022 Lists: 13
2022 Points: 161
Ranked Highest by: @Encyclopedia Brown(1) Krista(Rob) (2) @Anarchy99 (7) @Dinsy Ejotuz (9) @FairWarning (9) @Eephus (11) @Yankee23Fan (14)
2019 Ranking/Lists/Pts: 18/14/178

Getz: Song with probably the second largest hit from 2019. One less vote and 17 fewer points dropped it 29 slots from 2019. Maybe the Krista effect on this one?
It did get a #1, #2 and five Top 10 votes.
Three votes on the last six ballots rallied this from around #58. And it was behind the “Dot” song until @prosopis gave it a #16 and 10 points with his third to last ballot that came in.  This was the song I mentioned that was around #85 when 25 votes have been counted.  I had it at #23, down 5 spots from 2019.

Krista4
My 2019 ranking:  66

2019 write-up:

Paperback Writer (single, 1966)

Might be surprising not to see this one higher, because it's a helluva jam, with memorable guitar licks, amazing bass line, and Ringo wailing fantastically on the drums.  The vocals are particularly tight and beautiful.  But...that title...those lyrics...they're just so...dumb.  The premise of the song is clever enough, written as a letter a la their previous work on "P.S. I Love You."  It's just the notion of the "paperback writer" that gets on my ever-loving nerves.  Unfortunately, the beautiful harmonies are used to sing this title over and over, and so I'll be rocking along to the song realizing the lyrics are going nowhere but thinking that's OK, and then I'm hit with that "paperback wri-i-terrrr" and I cringe.  It's just a personal quirk that no one could have predicted since this song is otherwise up my alley.  Gonna be a curveball thrown now and then.  Obviously still a big fan of the song outside of that part.    

Mr. krista:  "I think it’s a great rock song, that would work better as an instrumental because the lyrics are distractingly dumb.  Who writes a song about being a writer and makes it a giant run-on sentence?  It could just as easily be about a sanitation worker.  [singing] San-ita-tion wor-ker.  But it really rocks and the bass line is incredible.  It’s so propulsive I can’t help but really like it.  A song like that is really hard to keep time to, and Ringo crushes it."

Suggested cover:  The B-52s

2022 Supplement:  Paul had been challenged by his Auntie Lil to write about something other than love:  "Years ago my Auntie Lil said to me, 'Why can't you ever write about a horse or the summit conference or something interesting? So I thought, 'All right, Auntie Lil. I'll show you’."   Paul had always been a reader, kicking around the local bookstore in Liverpool, Philip Son & Nephew (what an awesome name, by the way), as often as he had the guitar and record shops.  Now as the band had become famous, he got the opportunity to spend more time with some of the writers that he was reading, such as Kingsley Amis, Harold Pinter, and John Mortimer.  From there, he got the idea of composing a song about an aspiring writer who is trying to sell himself to a publishing company, name-checking one of their other favorite writers, Edward Lear.  He patterned the harmonies after, as usual, the Everly Brothers, but this time he added a dollop of what he’d been hearing from the Beach Boys as well.  And he plugged in his brand-new Epiphone Casino, which he still uses on stage to this day, turned it up loud, and came up with that riff, which he calls “quite a nice, easy riff” that doesn’t move too far from its anchor, due to his professed lack of musical proficiency.

Yes, that’s right.  He said that in most of his compositions, there’s a “trick” or a holding position because “I’m not massively proficient.”  Paul McCartney.  Not proficient. 

Sheesh.

Anyway, love the riff and most elements of this song, but the meandering still causes it not to click with me as much as most do.  Or maybe it’s because Paul just isn’t good enough.

Guido Merkins

George Martin was an outstanding producer and he and EMI staff did a great job with the Beatles. However, in the 1960’s there was a bit of technology gap between the UK and the US in record making.  One such thing the American record companies did a better job at because of better technology was the recording of bass guitar.  

For those that don’t know, bass can be a trickly thing to record when making records because too much bass can cause the stylus to jump out of the groove.  The Beatles were listening to a lot of Motown records (so was everyone else) and they loved that deep, groovy bass they heard on those records (James Jamerson is a whole thread unto himself, but he was the primary bassist during the golden era of Motown.)  The Beatles wanted that sound on their records, but EMI couldn’t give it to them, that is until 1965 on Rubber Soul where there is a noticeable difference in the bass sound.  Paul was still playing his Hofner for those sessions.  By 1966, Paul wanted a whole different sound, so he switched to a Rickenbacker bass and started playing in a different more melodic style, creating counter melodies on the bass.  This is first heard in all its glory on Paperback Writer.

Paperback Writer was written on mostly one chord, showing some of the Indian influence they had at the time with a loud, fuzzy guitar (Paul playing lead) and that unbelievable bass guitar.  The lyrics were in the form of a letter that a writer might write to a publisher.  The bass sound was made by using a loudspeaker as a microphone and placing it directly in front of the bass amp.  By this time they had figured out how to get that heavy bass without the issue of the stylus jumping out of the groove, so they did that.  Also interesting about the recording were the background vocals, no doubt inspired by the Beach Boys and George and John singing Frere Jacque.

Also interesting for this song is that the Beatles didn’t want to appear on TV to promote the song so they created a short promotional film for Paperback Writer and the flip side Rain.  Paul can be clearly seen with a chipped tooth, the result of a moped accident in which Paul was killed and replaced with a lookalike…..just kidding.  But this video was seen as a clue as to Paul’s “death” later on
Click to expand...
Paperback Writer

64 List Rank: 36

64 List Voters/Points: 17/490

64 List Top 5: 0

64 List Top 10: 0

64 List 1-25 votes: 2 (16, 17)

64 List 26-64 votes: 15

I had this #17.   This is the song with the most #26-64 votes with 15.

 
krista4 said:
I guess we have a consensus on this one!
Click to expand...
138T - 130T - 136 - Getting Better
105 - 101 - 110 - Being of the Benefit for Mr Kite
92T - 99 - 99 - It Won't Be Long
88 - 94 - 93 - Magical Mystery Tour
54 - 64 - 60 - Sgt. Pepper's Lonely Hearts Club Band
55T - 58 - 56 - Eight Days A Week
51 - 49 - 53 - Can't Buy Me Love

About 8 more coming up

 
More gone from the list...

6     I Am The Walrus     
33   Dear Prudence
37   Revolution
50   Blackbird
53   I Feel Fine
55   She Loves You

 
Getzlaf15 said:
I’ve Got a Feeling
2022 Ranking: 46
2022 Lists: 15
2022 Points: 171
Ranked Highest by: @prosopis (1) @Dr. Octopus (6) @ProstheticRGK (9) @Murph (11) @ConstruxBoy (12) @Westerberg (13) @Man of Constant Sorrow (14) @Pip's Invitation (14) @Wrighteous Ray (14)
2019 Ranking/Lists/Pts: 40/6/99

Getz comments:  Moves up six slots from 2019, with a solid, 72 more points. Thought it would do better being on Get Back.

Krista4
My 2019 ranking:  50

2019 write-up:

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

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.

2022 Supplement:  This song snuck into my top 25 at the last minute, when I pulled a switcheroo between this and “I’m Looking Through You” for the coveted #24 spot.  It’s undoubtedly a result of the Get Back documentary and a warm and fuzzy feeling of goodwill between John and Paul that this song conjures for me.  The song arose at a particularly difficult time for John – the breakdown of his marriage, the heroin addiction, and the deterioration of the band.  Paul says all of that is encapsulated in some of the lyrics, such as “everybody pulled their socks up”:  “Those lines refer in some way to…the state of the Beatles.”

Paul has described this song as “a shotgun wedding” between the two songs that each of them had already written (John’s was called “Everyone Had A Bad Year”), and working to put them together evidenced the magical interplay that they had as a songwriting duo.  He describes songwriting together as much easier and their ability to interact and grow and learn from each other as miraculous.  To this day, Paul says he has John whispering in his ear:  “I’m often second-guessing what John would have thoughts – ‘This is too soppy’ – or what he would have said differently, so I sometimes change it.”  

Enjoy more from Get Back:  https://www.youtube.com/watch?v=3S4PYfwuMQs

Guido Merkins

By 1969, John and Paul were not working together very much.  They were trying to recapture something in the Get Back sessions (which would become Let It Be), so that album had a lot more collaboration.  

Enter I’ve Got a Feeling, two unfinished songs by John and Paul that they put together.  Paul singing “i’ve got a feeling”, John singing “everybody had a hard year.”  As usual, together they created a better song than each of the individual pieces.

Paul with the really intense, bluesy vocal on his part, John with the more laid back vocal of the bridge.  Great lead licks by George throughout.  Ringo, as usual, holding it down on the drums. And Billy Preston killing it on the electric piano.

My favorite part is the end where both John and Paul sing their parts together and they fit like a jigsaw puzzle.  The version that appears on the Let It Be album was recorded on the roof, live.  A fantastic performance and proof that the Beatles ALWAYS could do it live, despite what Mick or anybody else said.
Click to expand...
I've Got a Feeling

64 List Rank: 35

64 List Voters/Points: 15/496

64 List Top 5: 0

64 List Top 10: 0

64 List 1-25 votes: 7 (14, 17, 19, 19, 20, 24, 24)

64 List 26-64 votes: 8

Another song that did 64 well with no Top 10 votes.

 
Getzlaf15 said:
I Saw Her Standing There - 1963
2022 Ranking: 43
2022 Lists: 17
2022 Points: 181
Ranked Highest by: Worth(2) @ManOfSteelhead (5) Son1 (6) @John Maddens Lunchbox(9) @worrierking (12) @AAABatteries (12) @DocHolliday (13) 
2019 Ranking/Lists/Pts: 25/13/150

Getz:  Moved this classic up (binky down) 5 slots from 22 to 17. It still fell 18 slots from 2019. Worrierking finally shows up with his second song.

Krista4
My 2019 ranking:  41

2019 write-up:

I Saw Her Standing There (Please Please Me, 1963)

Would rank higher if not for slight creepiness of 20- to 23-year-olds singing about a 17-year-old.  It's not "Ringo in his 30s singing You're Sixteen" creepy, but a tiny bit uncomfortable.  If only they could have made her 18...but I guess that's not enough syllables.  

Helluva way to announce themselves to the world, with this track being the opening track on their first album!  Paul's count-in sparks the energy immediately, and every member of the band here is in fantastic form, from Paul's bass to George's exceptional guitar solo to Ringo's Ringoness to John's especially fine rhythm guitar.  The song features those "oooo"s complete with the headshakes that would later drive the girls wild, and the energy on the bridge veers into a sweet gushiness by the end line "held her hand in mi-i-i-ine!" driving into that falsetto.   The song might not have been the most original in some other ways:  Paul later claimed he'd played a note-by-note replica of the bass line in Chuck Berry's "I'm Talking About You," and a couple of the melody lines are nearly identical to "When The Saints Going Marching In" (compare "how could I dance with another since I saw her standing there" to "I want to be in that number when the saints go marching in").  But the charming youthful exuberance that's supplemented by solid adult performances by every Beatle make this one of my favorite rock songs ever recorded.

Mr. krista:  "I like the song a lot, because that George Harrison guitar solo is so killer but he’s so reserved during the verses.  He’s mostly just rhythm but then just rips this rockabilly solo so much better than any rockabilly musician not named Carl Perkins. It just rips, and even with that standard beat, Ringo manages to be inventive.  I like that Paul is doing the Little Richard 'oooo' while the others are doing the British 'oh.'  You might need umlauts to type that."

Suggested covers:  These guys know how to do a good "ooo," too. Little Richard  Jerry Lee Lewis (with Little Richard)  

2022 Supplement:  Meh, I remember being convinced by some of you in 2019 that there wasn’t anything creepy about that lyric, and so I’ll cede that point.  Given the competition, it still ended up around the same spot in my rankings this year anyway, which I’ve learned means that, according to @AAABatteries, I hate the Beatles.  My #20-40ish are somewhat interchangeable on any given day.  On the days this one is in my top 25, it’s largely due to its incredible energy, as well as George’s guitar work and Paul’s count-in, which blasts my brain every time leading into such an electrifying song.  This earlier take of the song, with no count-in, lacks a little energy at first but then starts ramping up especially around the guitar solo:  https://www.youtube.com/watch?v=C0v7AH0XK38  Go George go!!!

For his part, Paul has identified this as one of his very best works over the years.  He recalls writing it at Forthlin Road in 1962 (actual pic of the song being written - https://imgur.com/uZglCaN and that, while he doesn’t know exactly where it dredged from, like many of his songs he took snippets of ideas from other media, including the meter of a poem by Marriott Edgar, rhyming couplets of Shakespeare’s sonnets, and the musical influences of Hoagy Carmichael, George Gershwin, Johnny Mercer, and traditional Irish songwriting.  Looking back at it now, Paul sees a kind of teenage naivete and innocence that couldn’t be invented but came naturally at the time.  

Guido Merkins

One Two Three FAHHH!!!!  Maybe the best count-in in the history of pop music, the Beatles announced their presence forcefully on their very first album with I Saw Her Standing There.  I Saw Her Standing There was mostly a Paul song.  John helped him a bit with the lyrics, most notably with the first line which was “she was just 17, never been a beauty queen.”  John thought that was terrible and suggested “....you know what I mean”, which is great because you really don’t know what he means, but it allows the listener to fill in the blank with all kinds of stuff that’s probably better than what he actually meant.

The song is basically a Chuck Berry type song and a great song to open an album with getting it off to a rocking start.  I Saw Her Standing There is another song that I couldn’t believe wasn’t on the Red Album when I first heard it at the age of 12.  It’s one of the Beatles most well-known tracks.  If the Beatles had been one or two hit wonder with I Saw Her Standing There, they would still be remembered fondly.  But as we know, they went well beyond those early hits.

As I said, the song is a Chuck Berry song, but with the Beatles harmonies and Ringo banging away, but to me, the best part of the song is the guitar solo.  I think it’s just an absolute classic.  Not sounding like Chuck Berry or anybody else, George takes all of those influences and it just comes out totally Harrison.  
Click to expand...
I Saw Her Standing There

64 List Rank: 34

64 List Voters/Points: 16/497

64 List Top 5: 1 @ManOfSteelhead (5)

64 List Top 10: 1

64 List 1-25 votes: 6 (12, 15, 15, 17, 23)

64 List 26-64 votes: 10

I had this #15

 
Getzlaf15 said:
The Beatles Things We Said Today (Live At Hollywood Bowl 1964)
2022 Ranking: 37
2022 Lists: 16
2022 Points: 208
Ranked Highest by: Sharon (1) @Shaft41 (2) @Man of Constant Sorrow (6) Craig (7) Holly (8) @FairWarning (8) @Guido Merkins (12) @ManOfSteelhead (13) @Binky The Doormat (13) 
2019 Ranking/Lists/Pts: 37/7/105

Getz:  A RingoBingo as it stays at #37. I have this at #14 after not ranking it in 2019. Another song that has grown on me big time since then.  Yikes, I've had 5 posted in the last 7.

Krista4
My 2019 ranking:  60

2019 Supplement:

Things We Said Today (A Hard Day's Night, 1964)

From that first triple-strum on John's guitar, this song anticipates pulling you into its melancholy, slightly eerie mood.  That state of mind is enhanced by the slightly flat harmonies and yearning lyrics; here Paul is describing what he called "future nostalgia," picturing a time in the future when he and Jane Asher - or any couple, actually - would look back at the feelings they're experiencing right now.  Although I've stated my position as firmly anti-nostalgia, this wistful future nostalgia has a depth and complexity that charms me.  Just as the song lulls you into this tranquil, pensive state, though, it changes from the minor key into a major key for that bridge, suddenly imbuing the song with an optimism and urgency not present in the verses.  Just when it builds to a turbulence that sounds on the verge of breaking, the song dramatically shifts back into the minor key for another calming verse.  After a repeat of the bridge and verse, it then trails off into the ether...  That song structure is familiar, but those changes and chords are not, and they're brilliant.  And Paul gives a typically outstanding vocal performance as well, with some guitar support from John that, while not complex, is fundamental to the structure of the song.

We've discussed some other songs with these major-minor switches, usually from an optimistic Paul "major" section to a downbeat John "minor" section.  In this case, Paul manages all of it himself, taking us through his emotions in a way that to me is preferable to some of his "made-up people" songs.  It's dazzling.

Mr. krista:  "It’s dreamy.  I liked the dark, folky-sounding, creepy Peter Paul & Mary thing. Isn't this The Hollies's 'Bus Stop'?  [plays song]  Yeah."  [Editor's note:  "Bus Stop" was released after this song.]

Suggested cover:  I screened covers from everyone from Iggy Pop to Dwight Yoakam to Heart to Nanci Griffith and more, and I didn't like any of them.

2022 Supplement:  This one moved much higher for me this year, narrowly missing the top 25.  As I discussed in 2019, I can’t get over those minor-major changes, which, along with John’s acoustic guitar work, are the heart of the song’s success to me.  The lyrics are also especially complex for their earlier works.  I’d put this in the highest echelon of Paul’s work with the band.

Paul wrote this song on a boat in the Virgin Islands, where he was on holiday with Jane Asher, Ringo, and Maureen.  Shades of Paul’s future, when he recorded most of the Wings’ album London Town on a boat in the Caribbean!  In this case, as much as he loved being on the boat with the others,* he also liked to lock himself alone in his cabin and strum out new ideas on his Epiphone acoustic.  When he finished this one, he showed it off to the others, but the problem was he hadn’t written it down.  You see, Paul never wrote down music, because he couldn’t.  He hadn’t studied it that way.  So, like the rest of his songs, he had to play them over and over to get them stuck in his head.  At the time he found it frustrating, but years later he decided to appreciate that this came from his Celtic, bardic tradition:  “The people I came from trained themselves to rely on their memories.” 

*Other than the sunburn.  Paul has said the only problem with this trip was that, growing up working class, he hadn’t been aware of the existence of sunblock.

Guido Merkins

The first time I really heard the Beatles story was a documentary called The Compleat Beatles, which was released in the early 80s.  I watched it dozens of times on cable TV.  One of the songs that struck me during that was a song they played a small part of called Things We Said Today.  So I sought the song out and found it on one of my Mom’s scratchy Capitol albums and immediately fell in love with it.

The thing I was most attracted to is the strummed riff at the intro and after the first verse and at the end.  Great lyrics which somehow talk about the future and how you’re gonna reflect on the past, which switches between 1st and 3rd person.  The song was written about Jane Asher (a positive song, not an argument.)  The song also is kind of A major and A minor, like I’ll Be Back.  The Bb chord on the word far (wishing you weren’t so far away) is also cool and unusual. 

One of Paul’s best songs.  
Click to expand...
Things We Said Today

64 List Rank: 33

64 List Voters/Points: 17/512

64 List Top 5: 1 @Shaft41 (2)

64 List Top 10: 2 (8)

64 List 1-25 votes: 6 (12, 20, 21, 22)

64 List 26-64 votes: 11

I had this #22.

37 - 37 - 33 - Things We Said Today

 
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