What's new
Fantasy Football - Footballguys Forums

This is a sample guest message. Register a free account today to become a member! Once signed in, you'll be able to participate on this site by adding your own topics and posts, as well as connect with other members through your own private inbox!

2022 FBG, 172 to 1 Beatles Countdown 1-25 lists... And 173 to 1 Countdown from 1-64 lists! (6 Viewers)

Martha My Dear
2022 Ranking: 132T
2022 Lists: 2
2022 Points: 19
Ranked Highest by: @Eephus (16) @MAC_32 (17)
2019 Ranking/Lists/Pts: NR

Getz: 20th song to be NR in 2019.


Krista4
My 2019 ranking:  138

2019 write-up:

Martha My Dear (White Album, 1968)

How to make me love a rock or pop song:  add a cello.  Total sucker for a cello.  This song goes further and not only has multiple cellos, but a tuba and, to top it off, Paul wrote this about his sheepdog.      Starting with all that, this should make my top 100, but while it's charming and elegant and in some parts intricate, it's otherwise not interesting enough to make it that high.  But Paul sure did love that sheepdog. 

Mr. krista is less charitable:  "This might be the longest I’ve listened to this song.  More Paul McCartney Masterpiece Theatre music.  Boring-### drawing room music about British people who can’t express themselves and ####. WTF.  Why is that interesting?  Who the #### cares about any of these people?"

Suggested covers:  Punch Brothers Skip to ~0:53 for the real start of the song.  World Party version is also nice but a bit on-the-nose.

2022 Supplement:  Probably ranked this too highly in 2019, likely due to the sheepdog connection.  It’s a nice enough song but doesn’t grab me in any way.  And now, Paul has set out to ruin even the sheepdog connection, saying in The Lyrics that as the song progresses, the lyrics morph from being about the dog into being about a person, specifically a relative who had come to town to get away from their gossipy kin in Liverpool and wanted to confide in Paul about his/her affair.  Paul says this is where lines like “when you find yourself in the thick of it” came from.

Sigh.  Back to sheepdogs.  Paul had not been able to have a dog as a child because his parents were away at work too much, and he had always desperately wanted one.  He’s admitted he’s a sucker for ads and product placement, and he’d seen a Dulux paint ad on the telly with an Old English sheepdog, which inspired him to get Martha. One nice story Paul has told is how his sheepdog Martha helped bring John even closer.  According to Paul, when John came around and saw him playing with Martha, and how much he adored her, he saw Paul letting his guard down and started letting his guard down, too, and warming to Paul more.

I recommend googling Paul and Martha for a ton of adorable pics.  Here’s one:  https://imgur.com/3oC7Tgo

Fun fact:  Paul actually had another dog, Eddie the Terrier, at the time, but Eddie didn’t get his own song.  That is, until Paul, feeling bad about this, improvises a song called “There You Go, Eddie” during the Get Back sessions:  https://www.youtube.com/watch?v=0UjWk_Slcos You can hear that Paul then works in various other Beatles’ pets, such as Ringo’s dog Tiger and John’s cat Mimi.  This song is delightful!  

2022 Mr. krista Supplement:  As someone who frequently sings to his cats, makes up songs for them, makes up songs by them about other cats, this is top of the game for songs about pets.  I’ve only gotten close to this a few times.  It’s not Paul McCartney’s best song, or even his best song about a dog, but it’s way up there.  Here’s an exercise: Figure out how many of those are about dogs, or pets at all, and rank them.

Guido Merkins

The vast majority of the Beatles songs were written about love, but it usually referred to love on others, either women or friends or wives, but never about animals, that is until 1968’s Martha My Dear on the White Album.

Paul had an English sheepdog he named Martha and when he was trying to learn the piano, he started playing this part that was especially difficult for him at the time and the words Martha My Dear came to him.  The song was about Martha and once you know that, lines like “hold your head up you silly girl, look what you’ve done” make sense.  

To me, the song sounds like the typical McCartney jazzy number (as Lennon would call it, Paul’s “granny ####”, but it’s quite pleasant.  I like how it modulates, which is not something the Beatles did a lot of.  
My rank: 28

It bears little resemblance to my other favorite Beatles songs, but I love it irrationally and put it on my 90-minute cassette, in the coveted first song on side 2 slot. Here is what I said when I hippled Krista's original thread:

"Martha is the frothy song that I mentioned that I love irrationally. As Binky said, it’s all about the melody and the vocal. The way Paul sings “Hold your head up, you silly girl, look what you’ve DONNNNNNE” gets me every time."

Oh, and I love dogs, so that doesn't hurt. 

 
My rank: 28

It bears little resemblance to my other favorite Beatles songs, but I love it irrationally and put it on my 90-minute cassette, in the coveted first song on side 2 slot. Here is what I said when I hippled Krista's original thread:

"Martha is the frothy song that I mentioned that I love irrationally. As Binky said, it’s all about the melody and the vocal. The way Paul sings “Hold your head up, you silly girl, look what you’ve DONNNNNNE” gets me every time."

Oh, and I love dogs, so that doesn't hurt. 


Thoughts on "There You Go, Eddie"?

 
Martha My Dear
2022 Ranking: 132T
2022 Lists: 2
2022 Points: 19
Ranked Highest by: @Eephus (16) @MAC_32 (17)
2019 Ranking/Lists/Pts: NR

Getz: 20th song to be NR in 2019.


Krista4
My 2019 ranking:  138

2019 write-up:

Martha My Dear (White Album, 1968)

How to make me love a rock or pop song:  add a cello.  Total sucker for a cello.  This song goes further and not only has multiple cellos, but a tuba and, to top it off, Paul wrote this about his sheepdog.      Starting with all that, this should make my top 100, but while it's charming and elegant and in some parts intricate, it's otherwise not interesting enough to make it that high.  But Paul sure did love that sheepdog. 

Mr. krista is less charitable:  "This might be the longest I’ve listened to this song.  More Paul McCartney Masterpiece Theatre music.  Boring-### drawing room music about British people who can’t express themselves and ####. WTF.  Why is that interesting?  Who the #### cares about any of these people?"

Suggested covers:  Punch Brothers Skip to ~0:53 for the real start of the song.  World Party version is also nice but a bit on-the-nose.

2022 Supplement:  Probably ranked this too highly in 2019, likely due to the sheepdog connection.  It’s a nice enough song but doesn’t grab me in any way.  And now, Paul has set out to ruin even the sheepdog connection, saying in The Lyrics that as the song progresses, the lyrics morph from being about the dog into being about a person, specifically a relative who had come to town to get away from their gossipy kin in Liverpool and wanted to confide in Paul about his/her affair.  Paul says this is where lines like “when you find yourself in the thick of it” came from.

Sigh.  Back to sheepdogs.  Paul had not been able to have a dog as a child because his parents were away at work too much, and he had always desperately wanted one.  He’s admitted he’s a sucker for ads and product placement, and he’d seen a Dulux paint ad on the telly with an Old English sheepdog, which inspired him to get Martha. One nice story Paul has told is how his sheepdog Martha helped bring John even closer.  According to Paul, when John came around and saw him playing with Martha, and how much he adored her, he saw Paul letting his guard down and started letting his guard down, too, and warming to Paul more.
This is the first song that I thought should have been on my list, I love this song. Until I READ Kristas write up I did not know it was about a dog. Now I LOVE!!! this song. This song is so much better when it is about a dog.

 
Getting Better
2022 Ranking: 130T
2022 Lists: 2
2022 Points: 20
Ranked Highest by: @Anarchy99 (8) @Dinsy Ejotuz (24)
2019 Ranking/Lists/Pts: 138T/1/1

Getz comments:  One Point in 2019!  In before @Leroy Hoard says it's getting better all the time.


Krista4
My 2019 ranking:  83


2019 write-up:

Getting Better (Sgt. Pepper's Lonely Hearts Club Band, 1967)

I'm a fan of these songs where John and Paul contribute distinctive parts that you can identify as being theirs alone.  I'm a fan of the stabby guitars (reminiscent of "She's a Woman" and "Taxman"), the bass that comes in just a little early on every beat, and those slightly off-key harmonies. The best part of this, though, is how the edgy John parts cut through the hopeful Paul parts to showcase the differences in their personalities.  It feels like a true "Beatles" song instead of a Paul or John song.

The Paul part of the song is characteristically optimistic and - Martha the sheepdog alert! - came to him when he was out walking his dog and recalled Jimmy Nicol, their short-term fill-in drummer while Ringo was ill during their 1964 tour.  Any time someone asked Jimmy how it was going, he responded, "Getting better."  As a counterpoint to Paul's optimism, John chimed into the songwriting with the cynical "can't get no worse," and of course the lines about an angry young man who used to beat his women are about John as well.  I can at least admire how willing John was to admit to this, regret it, and vow that he had changed, but that he still had work to do.  In an interview not long before his murder, he described this song:  "It is a diary form of writing. All that 'I used to be cruel to my woman, I beat her and kept her apart from the things that she loved' was me. I used to be cruel to my woman, and physically – any woman. I was a hitter. I couldn't express myself and I hit. I fought men and I hit women. That is why I am always on about peace, you see. It is the most violent people who go for love and peace. Everything's the opposite. But I sincerely believe in love and peace. I am a violent man who has learned not to be violent and regrets his violence. I will have to be a lot older before I can face in public how I treated women as a youngster."    

Nearly tragic story associated with one of the sessions for this song:  John showed up to the session tripping on LSD, and during recording of some backing vocals indicated he wasn't feeling well.  George Martin, perhaps purposefully naive to the drug use going on at the time, thought John might have eaten something bad and took him up to the roof for some air.  A while later, Martin returned to the control room alone, having left John on the roof to look at the stars.  A few seconds later, the rest of the group realized what was going on and made a mad dash to the roof to rescue John, who was tripping on a narrow parapet 30 feet above the street below.  Whew.

Mr. krista:  "I’m not sure I like it, but I do like that it’s a seemingly bouncy, cheerful song that comes from a bunch of instruments playing one note.  It’s all staccato – plank, plank, plank-plank.  You could beat that melody out on a tin can.  How did they figure out it was going to make that kind of song? I like that song a lot more now."

Suggested cover:  Gomez

2022 Supplement:   Paul has also described some of the process for writing this one:  “I often try and get on to optimistic subjects in an effort to cheer myself up and also, realizing that other people are going to hear this, to cheer them up too. And this was one of those. The ‘angry young man’ and all that was John and I filling in the verses about schoolteachers. We shared a lot of feelings against teachers who had punished you too much or who hadn’t understood you or who had just been ******* generally. … I was just sitting there doing ‘Getting better all the time’ and John just said in his laconic way, ‘It couldn’t get no worse,’ and I thought, Oh, brilliant! This is exactly why I love writing with John… It was one of the ways we’d write. I’d have the song quite mapped out and he’d come in with a counter-melody."

 I made a mistake in 2019 regarding one of the elements of the John/LSD story.  He didn’t show up tripping but accidentally mistook the LSD for something else:  "I never took it in the studio. Once I did, actually. I thought I was taking some uppers and I was not in the state of handling it. I took it and I suddenly got so scared on the mike. I said, ‘What is it? I feel ill.’ I thought I felt ill and I thought I was going cracked. I said I must go and get some air. They took me upstairs on the roof, and George Martin was looking at me funny, and then it dawned on me that I must have taken some acid.” 

So sue me.

2002 Mr. krista Supplement:  I like that Paul’s line is “getting better all the time,” and then John is the perfect antidote to his personality “can’t get much worse.”  “I used to be cruel to my woman I beat her and kept her apart from the things that she loved?”  That’s not cruel, that’s kidnapping and human trafficking and stuff.  That’s terrible.  Did everybody just casually treat women like that back then?  I mean, it really couldn’t get much worse.  Low bar to clear, to get better from that mess.

Guido Merkins

One sometimes has to wonder how John Lennon and Paul McCartney became friends.  Obviously, they had a shared love of music which bonded them, but two more different guys you’d never meet.  John was the resident cynic while Paul was the resident optimist.  Now, this is a little too simple to be true as they could both have their moments on the other side, but it’s a stereotype that has an element of truth.

So it is with a song like Getting Better on Sgt Pepper.  Paul loves to tell the story of him playing Getting Better in the studio and John jumping in with “can’t get much worse.”  The phrase “getting better” was apparently something Jimmy Nichol, who filled in for Ringo on drums for part of a 1964 tour, used to say.  The session for this song also was rather infamous for John accidently taking LSD instead of an upper and George Martin bringing him to the roof for some fresh air.  Needless to say, when the other Beatles found out, they rushed to the roof to prevent an accident.

Anyway, the coolest part of the song is the middle, where the song just completely changes over the words (I used to be cruel to my woman. I beat her and kept her apart from the thing that she loved), which was a John self-confessional line.  George’s tamboura was the instrument over that part, which gives it a dark, foreboding atmosphere as opposed to the brightness of the rest of it.The piano in the song is played by George Martin, but it’s him directly plucking the strings…always something different.

I like this song very much.  It was one of the ones that first struck me the first time I heard Pepper, other than the other well known ones that I already knew.

 
So sue me.
Last line of The Man Who Shot Liberty Valance.

Getting Better
2022 Ranking: 130T
2022 Lists: 2
2022 Points: 20
Ranked Highest by: @Anarchy99 (8) @Dinsy Ejotuz (24)
2019 Ranking/Lists/Pts: 138T/1/1

Getz comments:  One Point in 2019!  In before @Leroy Hoard says it's getting better all the time.


Krista4
My 2019 ranking:  83


2019 write-up:

Getting Better (Sgt. Pepper's Lonely Hearts Club Band, 1967)

I'm a fan of these songs where John and Paul contribute distinctive parts that you can identify as being theirs alone.  I'm a fan of the stabby guitars (reminiscent of "She's a Woman" and "Taxman"), the bass that comes in just a little early on every beat, and those slightly off-key harmonies. The best part of this, though, is how the edgy John parts cut through the hopeful Paul parts to showcase the differences in their personalities.  It feels like a true "Beatles" song instead of a Paul or John song.

The Paul part of the song is characteristically optimistic and - Martha the sheepdog alert! - came to him when he was out walking his dog and recalled Jimmy Nicol, their short-term fill-in drummer while Ringo was ill during their 1964 tour.  Any time someone asked Jimmy how it was going, he responded, "Getting better."  As a counterpoint to Paul's optimism, John chimed into the songwriting with the cynical "can't get no worse," and of course the lines about an angry young man who used to beat his women are about John as well.  I can at least admire how willing John was to admit to this, regret it, and vow that he had changed, but that he still had work to do.  In an interview not long before his murder, he described this song:  "It is a diary form of writing. All that 'I used to be cruel to my woman, I beat her and kept her apart from the things that she loved' was me. I used to be cruel to my woman, and physically – any woman. I was a hitter. I couldn't express myself and I hit. I fought men and I hit women. That is why I am always on about peace, you see. It is the most violent people who go for love and peace. Everything's the opposite. But I sincerely believe in love and peace. I am a violent man who has learned not to be violent and regrets his violence. I will have to be a lot older before I can face in public how I treated women as a youngster."    

Nearly tragic story associated with one of the sessions for this song:  John showed up to the session tripping on LSD, and during recording of some backing vocals indicated he wasn't feeling well.  George Martin, perhaps purposefully naive to the drug use going on at the time, thought John might have eaten something bad and took him up to the roof for some air.  A while later, Martin returned to the control room alone, having left John on the roof to look at the stars.  A few seconds later, the rest of the group realized what was going on and made a mad dash to the roof to rescue John, who was tripping on a narrow parapet 30 feet above the street below.  Whew.

Mr. krista:  "I’m not sure I like it, but I do like that it’s a seemingly bouncy, cheerful song that comes from a bunch of instruments playing one note.  It’s all staccato – plank, plank, plank-plank.  You could beat that melody out on a tin can.  How did they figure out it was going to make that kind of song? I like that song a lot more now."

Suggested cover:  Gomez

2022 Supplement:   Paul has also described some of the process for writing this one:  “I often try and get on to optimistic subjects in an effort to cheer myself up and also, realizing that other people are going to hear this, to cheer them up too. And this was one of those. The ‘angry young man’ and all that was John and I filling in the verses about schoolteachers. We shared a lot of feelings against teachers who had punished you too much or who hadn’t understood you or who had just been ******* generally. … I was just sitting there doing ‘Getting better all the time’ and John just said in his laconic way, ‘It couldn’t get no worse,’ and I thought, Oh, brilliant! This is exactly why I love writing with John… It was one of the ways we’d write. I’d have the song quite mapped out and he’d come in with a counter-melody."

 I made a mistake in 2019 regarding one of the elements of the John/LSD story.  He didn’t show up tripping but accidentally mistook the LSD for something else:  "I never took it in the studio. Once I did, actually. I thought I was taking some uppers and I was not in the state of handling it. I took it and I suddenly got so scared on the mike. I said, ‘What is it? I feel ill.’ I thought I felt ill and I thought I was going cracked. I said I must go and get some air. They took me upstairs on the roof, and George Martin was looking at me funny, and then it dawned on me that I must have taken some acid.” 

So sue me.

2002 Mr. krista Supplement:  I like that Paul’s line is “getting better all the time,” and then John is the perfect antidote to his personality “can’t get much worse.”  “I used to be cruel to my woman I beat her and kept her apart from the things that she loved?”  That’s not cruel, that’s kidnapping and human trafficking and stuff.  That’s terrible.  Did everybody just casually treat women like that back then?  I mean, it really couldn’t get much worse.  Low bar to clear, to get better from that mess.

Guido Merkins

One sometimes has to wonder how John Lennon and Paul McCartney became friends.  Obviously, they had a shared love of music which bonded them, but two more different guys you’d never meet.  John was the resident cynic while Paul was the resident optimist.  Now, this is a little too simple to be true as they could both have their moments on the other side, but it’s a stereotype that has an element of truth.

So it is with a song like Getting Better on Sgt Pepper.  Paul loves to tell the story of him playing Getting Better in the studio and John jumping in with “can’t get much worse.”  The phrase “getting better” was apparently something Jimmy Nichol, who filled in for Ringo on drums for part of a 1964 tour, used to say.  The session for this song also was rather infamous for John accidently taking LSD instead of an upper and George Martin bringing him to the roof for some fresh air.  Needless to say, when the other Beatles found out, they rushed to the roof to prevent an accident.

Anyway, the coolest part of the song is the middle, where the song just completely changes over the words (I used to be cruel to my woman. I beat her and kept her apart from the thing that she loved), which was a John self-confessional line.  George’s tamboura was the instrument over that part, which gives it a dark, foreboding atmosphere as opposed to the brightness of the rest of it.The piano in the song is played by George Martin, but it’s him directly plucking the strings…always something different.

I like this song very much.  It was one of the ones that first struck me the first time I heard Pepper, other than the other well known ones that I already knew.
Chirpy Paul at his chirpiest. Being much more of a "can't get much worse"/John kind of personality, i could probably use more of a Faul kind of outlook in my life.

Story time...

The first time John and George took LSD, it was a dinner in the home of their London dentist, John Riley. He put the drug in the sugar cubes they set out with the after dinner coffee. Only told them after they started tripping (great friend, eh?). George felt creeped out bc all their wives were there, so they went to a couple clubs, Pickwick and then Ad Lib. George was having an amazing trip of heightened sensory overload, but John was freaking out. So they all piled into George's Mini, which he drove about 18 miles per hour to Kinfauns, his estate is Esher. There, John imagined he was captaining a submarine. George was in love with everything. Not Patti or anyone in particular, just everything.

In the mid to late 70s lysergic acid diethylamide 25 was a pretty common recreational drug easily obtained. Like everyone my age I had read Go Ask Alice, so I thought I knew what to expect. But I, disappointingly at the time, never experienced full on hallucinations. Oh we would have absurd encounters....like listening to Side 1 of The Dark Side of the Moon for three straight hours, freaking out every. single. time. when the alarm clocks went off when Time came on. Or laughing for thirty minutes nonstop during the 11 o'clock news. Waking up the next day with sore cheeks from smiling nonstop.

But none of the surrealism Lennon and others speak about. For John it was confirmation he wasn't mad - he had been having surrealist thoughts completely sober since he was 13, consciously in touch with what for most of us lies solely in the subconscious. I've often wondered if it was bc back in the early days of its popularity (1965-67) they were taking more than 25 milligrams? Some of my friends would 2, 3, 4 hits (microdots on blotter paper) but I was always content with one. I do remember one friend who took multiple hits during the Blue Oyster Cult show....we had to go back in the arena to find him, unaware he hadn't left his seat yet lol.

Anyway, I was fearful taking LSD too often might fry my brain. So I spaced my trips out by six months or so. Almost always there would be at least one person who was merely drunk or stoned out of their mind bc, ya know, we were being responsible, in case anyone had a bad trip. Funny to think about what we considered logical in your teen years, eh.

The one exception, the trip that cured me for life, was on my 17th birthday. I was driving from my summer gig at Dad's sawmill (new acquisition - he was in wood manufacturing and was dabbling in vertical integration.) It was about a three hour drive to my mom's, my senior year was kicking off the next day, and I stopped in my old hometown to visit some friends. I bought some purple microdot and stupidly took one before my last leg of the trip (1:15 or so.) I made it less than five miles....took an S curve on a dirt road too fast, started sliding sideways, plowed into a dirt embankment and tipped over my GMC 4WD pickup. Some local farmers wandered by 5 or 10 minutes later....probably saw the whole thing, who knows. With the help of 5 or 6 guys, we tipped the truck back over. I drove off without a word lol. To this day I have no idea who helped me.

As "punishment" my parents wouldn't let me file an insurance claim or fix my truck, besides replacing the drivers side mirror. One side was all scrapped up, the other had two huge bubble dents bc I decided to walk up and down the side after climbing out. I finally came clean to my dad about what had really happened 16 years later while having a few with him on his boat. Never did work up enough courage to tell Mom. My siblings retell it often as an example of 1) how crazy Uncle Bobby used to be, and 2) the rules were always different for the youngest. I got away with way too much growing up.

 
 We haven't touched my chalkiest of the chalky Top 25, but here was my breakdown:

  • Please Please Me - 1
  • With The Beatles - 2**
  • A Hard Day's Night - 1
  • Beatles for Sale - 0
  • Help! - 4
  • Rubber Soul - 2
  • Revolver - 1
  • Sgt Pepper’s Lonely Hearts Club Band - 3**
  • Magical Mystery Tour - 2*
  • The Beatles (aka White Album) - 4*
  • Yellow Submarine - 0
  • Abbey Road - 3
  • Let It Be - 2
*6 of my Top 25 were Singles only releases; assigned those to the album they were working on when it was recorded

Surprised Help! ended up with 4 and Revolver only 1, would have guessed those would be reversed.

By year:

  • 1963 - 3
  • 1964 - 1
  • 1965 - 6
  • 1966 - 1
  • 1967 - 5
  • 1968 - 4
  • 1969 - 3
  • 1970 - 2
preludin - 4, pot - 6, acid/heroin - 15

By Composer

  • Another Lennon/McCartney original - 4
  • Lennon - 11
  • McCartney - 7
  • Harrison - 3
  • Starr - 0
_______________

Since I submitted my rankings 5 weeks ago, I decided to do a fresh ranking this week.

Of my Top 25 submitted for this thread, 17 remained. Of those, two remained the same (including #1), four moved up, eleven fell in their ranking. Of the eight which dropped out of the Top 25, six dropped more than 25 spots....four dropped between 50 and 78 slots.

 
Getting Better
2022 Ranking: 130T
2022 Lists: 2
2022 Points: 20
Ranked Highest by: @Anarchy99 (8) @Dinsy Ejotuz (24)
2019 Ranking/Lists/Pts: 138T/1/1

Getz comments:  One Point in 2019!  In before @Leroy Hoard says it's getting better all the time.


Krista4
My 2019 ranking:  83


2019 write-up:

Getting Better (Sgt. Pepper's Lonely Hearts Club Band, 1967)

I'm a fan of these songs where John and Paul contribute distinctive parts that you can identify as being theirs alone.  I'm a fan of the stabby guitars (reminiscent of "She's a Woman" and "Taxman"), the bass that comes in just a little early on every beat, and those slightly off-key harmonies. The best part of this, though, is how the edgy John parts cut through the hopeful Paul parts to showcase the differences in their personalities.  It feels like a true "Beatles" song instead of a Paul or John song.

The Paul part of the song is characteristically optimistic and - Martha the sheepdog alert! - came to him when he was out walking his dog and recalled Jimmy Nicol, their short-term fill-in drummer while Ringo was ill during their 1964 tour.  Any time someone asked Jimmy how it was going, he responded, "Getting better."  As a counterpoint to Paul's optimism, John chimed into the songwriting with the cynical "can't get no worse," and of course the lines about an angry young man who used to beat his women are about John as well.  I can at least admire how willing John was to admit to this, regret it, and vow that he had changed, but that he still had work to do.  In an interview not long before his murder, he described this song:  "It is a diary form of writing. All that 'I used to be cruel to my woman, I beat her and kept her apart from the things that she loved' was me. I used to be cruel to my woman, and physically – any woman. I was a hitter. I couldn't express myself and I hit. I fought men and I hit women. That is why I am always on about peace, you see. It is the most violent people who go for love and peace. Everything's the opposite. But I sincerely believe in love and peace. I am a violent man who has learned not to be violent and regrets his violence. I will have to be a lot older before I can face in public how I treated women as a youngster."    

Nearly tragic story associated with one of the sessions for this song:  John showed up to the session tripping on LSD, and during recording of some backing vocals indicated he wasn't feeling well.  George Martin, perhaps purposefully naive to the drug use going on at the time, thought John might have eaten something bad and took him up to the roof for some air.  A while later, Martin returned to the control room alone, having left John on the roof to look at the stars.  A few seconds later, the rest of the group realized what was going on and made a mad dash to the roof to rescue John, who was tripping on a narrow parapet 30 feet above the street below.  Whew.

Mr. krista:  "I’m not sure I like it, but I do like that it’s a seemingly bouncy, cheerful song that comes from a bunch of instruments playing one note.  It’s all staccato – plank, plank, plank-plank.  You could beat that melody out on a tin can.  How did they figure out it was going to make that kind of song? I like that song a lot more now."

Suggested cover:  Gomez

2022 Supplement:   Paul has also described some of the process for writing this one:  “I often try and get on to optimistic subjects in an effort to cheer myself up and also, realizing that other people are going to hear this, to cheer them up too. And this was one of those. The ‘angry young man’ and all that was John and I filling in the verses about schoolteachers. We shared a lot of feelings against teachers who had punished you too much or who hadn’t understood you or who had just been ******* generally. … I was just sitting there doing ‘Getting better all the time’ and John just said in his laconic way, ‘It couldn’t get no worse,’ and I thought, Oh, brilliant! This is exactly why I love writing with John… It was one of the ways we’d write. I’d have the song quite mapped out and he’d come in with a counter-melody."

 I made a mistake in 2019 regarding one of the elements of the John/LSD story.  He didn’t show up tripping but accidentally mistook the LSD for something else:  "I never took it in the studio. Once I did, actually. I thought I was taking some uppers and I was not in the state of handling it. I took it and I suddenly got so scared on the mike. I said, ‘What is it? I feel ill.’ I thought I felt ill and I thought I was going cracked. I said I must go and get some air. They took me upstairs on the roof, and George Martin was looking at me funny, and then it dawned on me that I must have taken some acid.” 

So sue me.

2002 Mr. krista Supplement:  I like that Paul’s line is “getting better all the time,” and then John is the perfect antidote to his personality “can’t get much worse.”  “I used to be cruel to my woman I beat her and kept her apart from the things that she loved?”  That’s not cruel, that’s kidnapping and human trafficking and stuff.  That’s terrible.  Did everybody just casually treat women like that back then?  I mean, it really couldn’t get much worse.  Low bar to clear, to get better from that mess.

Guido Merkins

One sometimes has to wonder how John Lennon and Paul McCartney became friends.  Obviously, they had a shared love of music which bonded them, but two more different guys you’d never meet.  John was the resident cynic while Paul was the resident optimist.  Now, this is a little too simple to be true as they could both have their moments on the other side, but it’s a stereotype that has an element of truth.

So it is with a song like Getting Better on Sgt Pepper.  Paul loves to tell the story of him playing Getting Better in the studio and John jumping in with “can’t get much worse.”  The phrase “getting better” was apparently something Jimmy Nichol, who filled in for Ringo on drums for part of a 1964 tour, used to say.  The session for this song also was rather infamous for John accidently taking LSD instead of an upper and George Martin bringing him to the roof for some fresh air.  Needless to say, when the other Beatles found out, they rushed to the roof to prevent an accident.

Anyway, the coolest part of the song is the middle, where the song just completely changes over the words (I used to be cruel to my woman. I beat her and kept her apart from the thing that she loved), which was a John self-confessional line.  George’s tamboura was the instrument over that part, which gives it a dark, foreboding atmosphere as opposed to the brightness of the rest of it.The piano in the song is played by George Martin, but it’s him directly plucking the strings…always something different.

I like this song very much.  It was one of the ones that first struck me the first time I heard Pepper, other than the other well known ones that I already knew.
I didn't rank this, but it is one of my favorites from Pepper. The melody is incredible and the staccato approach works much better than you'd think it would. 

Outside of the most fringe hardcore punk and metal scenes, would any band today include lyrics confessing to once beating women (barring the song being a third-person characterization)? Times have definitely changed.  

 
Kansas City/Hey Hey Hey
2022 Ranking: 130T
2022 Lists: 2
2022 Points: 20
Ranked Highest by: @DaVinci (15) Krista (Mom) (17)
2019 Ranking/Lists/Pts: NR

Getz:  Krista’s Mom with her 6th song! Taking a big lead in the Chalk race, which means she has the best chance to finish last when all is done. This song has grown on me since it was first voted on this time. Video is live version.


Krista4
My 2019 ranking:  125

2019 write-up:

Kansas City/Hey-Hey-Hey-Hey (Beatles for Sale, 1964)

For years I assume both of these were covers of Little Richard songs [EDITOR’S NOTE:  in 2019 I had this grouped with “I’m Down”]; turns out only the latter was and that "I'm Down" was the greatest Little Richard song not recorded by Little Richard.  "I'm Down" was recorded the same day as "Yesterday" and "I've Just Seen a Face" - just a demonstration of Paul's incredible range and versatility.  Geoff Emerick described the recording session for the "Kansas City" medley:  "...they really cut loose on it, playing with a confidence and a sheer, innocent joy that was positively infectious.  I knew from that minute onward that it was going to be a great session."  That session, by the way, then turned to Mr. Moonlight, I Feel Fine, I’ll Follow The Sun, Everybody’s Trying To Be My Baby, Rock And Roll Music, and Words Of Love, as well as the finishing touches on Eight Days a Week.  Not a bad workday. 

John gets enormous credit for his "Twist and Shout" shredding vocal, but I'll put these two under appreciated vocals by Paul up against that one.  He even sounds amazing in the live version of "I'm Down" as the finale of the 1965 Shea Stadium concert, though the highlight for me of that video is John and George cracking up over John's Jerry Lee Lewis style keyboard playing, elbows and all.    Unlike John's delicate songs of insecurity, these laments by Paul makes it seem like he's just going to scream his way out of his sadness, and the songs sounds like they're on the verge of blowing apart at any moment, held together only by Ringo's steady beat.  They're both great fun.  The appreciation Paul had for Little Richard was mutual:  "I've never heard that sound from English musicians before.  Honestly, if I hadn't seen them with my own eyes I'd have thought they were a colored group from back home."

Mr. krista:  "Listen to Paul!  Listen to him do it though.  Crushing that ####.  I’d like to hear what story got this out of him.  I’ve heard a lot of versions of Kansas City.  Little Richard, James Brown, etc. but that was great - up there with the best of them.  He murdered it.  I like the call and response and I can’t think of another song that does it like that. Provides rocking upbeat counterpoint to the first of this album that’s been kind of a bummer.  You’re a bummer, Beatles.  Beatles are sad."

2022 Supplement:  Should’ve been ranked higher.  What a stunning vocal.  Paul’s rock-and-roll screams are nearly unmatched.  This was a staple of their Cavern Club shows and brought the house down.  Paul has said about his vocal:  “I could do Little Richard’s voice, which is a wild, hoarse, screaming thing; it’s like an out-of-body experience. You have to leave your current sensibilities and go about a foot above your head to sing it. You have to actually go outside yourself. It’s a funny little trick and when you find it, it’s very interesting.”  Ahhhh, so “it’s very interesting.”  Way to undersell it, Sir Paul. 

On this particular song, Paul told a nice little story about John a few years ago.  John had asked him in the early days how he did the Little Richard screaming voice, and Paul he didn’t know, but he felt like “it just comes out of the top of my head. …  And then we had a session once where we were, the early days, and I'm about to do 'Kansas City,' so I'm on the mic...and I'm going 'Ka...Kansas City, cough...,' and I'm not making it, I'm not getting it at all. So John comes down and he says, 'Remember, it comes out of the top of your head!' I said, okay, "Kansas City.. And that's the take you hear."

Another version of their recording was released in the Anthology series and sounds phenomenal as well (kudos to George on the guitar work):  https://www.youtube.com/watch?v=GZBjghDYAgQ

Guido Merkins

John is well-known for his show-stopping vocal performances on songs like Twist and Shout and Money were he reaches into his soul and finds the teenage rocker inside of him.

Paul also was fully capable of doing that, but the “Paul writes the ballads and John rocks” stereotype prevents people from realizing this.  Kansas City/Hey Hey Hey is one of those.  Paul reaches deep into his Little Richard soul and really lets it rip on this song.  This song was featured in the Beatles pre-fame repertoire and they resurrected it for the Beatles For Sale album.  John, who was largely responsible for stereotyping Paul as lightweight encouraged Paul to really let it rip, and he did.  One take, just like Twist and Shout.  

The instrumental is really good on this song, but just like Twist and Shout, who cares with this vocal.  Paul is having almost an out of body experience as he describes it.  You really have to let yourself go to be able to do this, and Paul does it perfectly.

 
Chalk Rankings Top 10. #130T = 42.5 pts. Sponsored by: Dr Z's incredible poker bad beats
 

1 --Krista (Mom)---150

2 --anarchy99---123.5

3 --Krista (Mom/Hub)---101

4 --DaVinci---91

5 --Eephus---76

6 --Neal Cassady---72.5

7 --Krista (Worth)---65

8 --Krista (TJ/Holly)---60

9 --Krista (Sharon)---57.5

10 --Mac32---52

 
Kansas City/Hey Hey Hey
2022 Ranking: 130T
2022 Lists: 2
2022 Points: 20
Ranked Highest by: @DaVinci (15) Krista (Mom) (17)
2019 Ranking/Lists/Pts: NR

Getz:  Krista’s Mom with her 6th song! Taking a big lead in the Chalk race, which means she has the best chance to finish last when all is done. This song has grown on me since it was first voted on this time. Video is live version.


Krista4
My 2019 ranking:  125

2019 write-up:

Kansas City/Hey-Hey-Hey-Hey (Beatles for Sale, 1964)

For years I assume both of these were covers of Little Richard songs [EDITOR’S NOTE:  in 2019 I had this grouped with “I’m Down”]; turns out only the latter was and that "I'm Down" was the greatest Little Richard song not recorded by Little Richard.  "I'm Down" was recorded the same day as "Yesterday" and "I've Just Seen a Face" - just a demonstration of Paul's incredible range and versatility.  Geoff Emerick described the recording session for the "Kansas City" medley:  "...they really cut loose on it, playing with a confidence and a sheer, innocent joy that was positively infectious.  I knew from that minute onward that it was going to be a great session."  That session, by the way, then turned to Mr. Moonlight, I Feel Fine, I’ll Follow The Sun, Everybody’s Trying To Be My Baby, Rock And Roll Music, and Words Of Love, as well as the finishing touches on Eight Days a Week.  Not a bad workday. 

John gets enormous credit for his "Twist and Shout" shredding vocal, but I'll put these two under appreciated vocals by Paul up against that one.  He even sounds amazing in the live version of "I'm Down" as the finale of the 1965 Shea Stadium concert, though the highlight for me of that video is John and George cracking up over John's Jerry Lee Lewis style keyboard playing, elbows and all.    Unlike John's delicate songs of insecurity, these laments by Paul makes it seem like he's just going to scream his way out of his sadness, and the songs sounds like they're on the verge of blowing apart at any moment, held together only by Ringo's steady beat.  They're both great fun.  The appreciation Paul had for Little Richard was mutual:  "I've never heard that sound from English musicians before.  Honestly, if I hadn't seen them with my own eyes I'd have thought they were a colored group from back home."

Mr. krista:  "Listen to Paul!  Listen to him do it though.  Crushing that ####.  I’d like to hear what story got this out of him.  I’ve heard a lot of versions of Kansas City.  Little Richard, James Brown, etc. but that was great - up there with the best of them.  He murdered it.  I like the call and response and I can’t think of another song that does it like that. Provides rocking upbeat counterpoint to the first of this album that’s been kind of a bummer.  You’re a bummer, Beatles.  Beatles are sad."

2022 Supplement:  Should’ve been ranked higher.  What a stunning vocal.  Paul’s rock-and-roll screams are nearly unmatched.  This was a staple of their Cavern Club shows and brought the house down.  Paul has said about his vocal:  “I could do Little Richard’s voice, which is a wild, hoarse, screaming thing; it’s like an out-of-body experience. You have to leave your current sensibilities and go about a foot above your head to sing it. You have to actually go outside yourself. It’s a funny little trick and when you find it, it’s very interesting.”  Ahhhh, so “it’s very interesting.”  Way to undersell it, Sir Paul. 

On this particular song, Paul told a nice little story about John a few years ago.  John had asked him in the early days how he did the Little Richard screaming voice, and Paul he didn’t know, but he felt like “it just comes out of the top of my head. …  And then we had a session once where we were, the early days, and I'm about to do 'Kansas City,' so I'm on the mic...and I'm going 'Ka...Kansas City, cough...,' and I'm not making it, I'm not getting it at all. So John comes down and he says, 'Remember, it comes out of the top of your head!' I said, okay, "Kansas City.. And that's the take you hear."

Another version of their recording was released in the Anthology series and sounds phenomenal as well (kudos to George on the guitar work):  https://www.youtube.com/watch?v=GZBjghDYAgQ

Guido Merkins

John is well-known for his show-stopping vocal performances on songs like Twist and Shout and Money were he reaches into his soul and finds the teenage rocker inside of him.

Paul also was fully capable of doing that, but the “Paul writes the ballads and John rocks” stereotype prevents people from realizing this.  Kansas City/Hey Hey Hey is one of those.  Paul reaches deep into his Little Richard soul and really lets it rip on this song.  This song was featured in the Beatles pre-fame repertoire and they resurrected it for the Beatles For Sale album.  John, who was largely responsible for stereotyping Paul as lightweight encouraged Paul to really let it rip, and he did.  One take, just like Twist and Shout.  

The instrumental is really good on this song, but just like Twist and Shout, who cares with this vocal.  Paul is having almost an out of body experience as he describes it.  You really have to let yourself go to be able to do this, and Paul does it perfectly.
I said earlier "Til There Was You" was maybe my favorite Beatles cover, with a nearly perfect pure Paul vocal.  This is probably the only other cover that I would consider for my favorite, and it's Paul at the completely opposite end of the vocal spectrum.  This lends credence to my theory that Paul didn't really die and get replaced by a look-alike; there was always Paul and his evil-Days-of-our-Lives-style twin that he pulled out of the loo to sing this, I'm Down, She's a Woman, Helter Skelter and Oh Darling.  

 
Cry Baby Cry
2022 Ranking: 129
2022 Lists: 4
2022 Points: 20
Ranked Highest by: Krista (Worth) (17) @Binky The Doormat (20) @Man of Constant Sorrow (22) @ProstheticRGK (25)
2019 Ranking/Lists/Pts: 117/4/10

Getz: Interesting… Four voters in both 2019 and 2022. 20 points this time…


Krista4
My 2019 ranking:  94


2019 write-up:

Cry Baby Cry (White Album, 1968)

Like "Good Morning Good Morning," this John song might have been inspired in part by an ad, specifically some words he thought he'd caught:  "Cry baby cry; make your mother buy."  This song has a nice spooky feel to it; John's voice has a slight echo that, along with his dry and straightforward delivery, makes it sound chilling to me.  Paul's harmonies near the very end add to the eeriness, George's nifty guitar parts contribute to the tension, and the descending chords on the verses give a nice sense of menace.  The lyrics seem like a nursery rhyme and owe a debt to "Sing a Song of Sixpence" along with Lewis Carroll, and when John sings in a nearly childlike fashion in parts, it just increases how weird this song feels.  The last ~30 seconds, the "can you take me back" part by Paul, were not originally meant to be part of this song, but were from some improvisations during the recording of "I Will."  But that "song" didn't receive any separate mention on the album and by now is just considered part of this one.  In any case, my favorite part is when this song leads into that latter one; they actually seem to be meant to go together as the Paul song has a similar ghostly feel to it.  

Not-so-fun fact:  The song was first rehearsed the same day that "Ob-La-Di" was finished, the tension from all the battles over that song carrying over to the recordings of this one that night, with Geoff Emerick deciding then and there that he wouldn't be finishing this song.  The next day, he quit, and the recording of this song was begun anew.  

Mr. krista:  "It’s a great pop song.  There’s a lot of songs called cry baby or baby cry or baby baby cry cry, and I think I like them all. There’s the Janis Joplin song called Cry Baby… and there’s this…"

Suggested cover:  I guess I'm going to end up with at least three covers listed from Steve Earle, since there's another one later that I know I'll be using.  Oh well; I can't find any others I like better than this.

2022 Supplement:  That 2019 write-up was pretty damn good, hahaha.  I still think this is one of John’s most interesting songs lyrically, balancing the child-like “nursery rhyme” aspects with what seems a deeper meaning, even if John later didn’t remember what it was.  John called this song rubbish, as he did many of his own songs.  When pressed on his favorites, he always seemed to go for the strongly autobiographical songs like “Help!” and “Strawberry Fields Forever,” and I generally agree with John both in his Beatles and post-Beatles work, but I wish he hadn’t sold this one short, as it’s fascinating.

This song was the first John presented at the Esher sessions, which might indicate he thought more highly of it at one time.  Wait, have we talked about the Esher demos?  In May 1968, the Beatles met to start their new album, gathering at George’s home in Esher to complete some rough demos rather than going into Abbey Road to start work.  Aw hell, I’m feeling lazy; if you want to know more, this is a good synopsis: https://www.rollingstone.com/feature/the-beatles-esher-demos-the-lost-basement-tapes-that-became-the-white-album-630425/    And the Esher demo for this song is here:  https://www.youtube.com/watch?v=DCORYtqMr0g

2022 Mr. krista Supplement:  Seems oddly allegorical, but I don’t know from what.  There’s all this king, duchess stuff; seems symbolic but about something extraordinarily specific to him.  Lyrics are complete and doesn’t seem tossed off, like he worked on them.  It feels like if you understand the scenario, you’ll unlock the story.  Made me think of the Wallace Stevens poem, “The Emperor of Ice Cream.”  It seems to be referring to something specific and strange, but it was children playing “funeral,” like they had a doll that was dead.  Stevens describes it specifically, and it even has this childlike rhyme structure, but with complicated messages.  Like, someone says “ice cream” and they instantly abandon this scenario.  That’s like, “There’s no god.  The only emperor is the emperor of ice cream.  There is no higher power.”  And just the mention of ice cream can stop this solemn ceremony.  These lyrics remind me of that, but I don’t know what it is that unlocks it.  But it invites imagining it, that thoughtfulness.  And it’s a cool melody.

Guido Merkins

Cry Baby Cry was written by John in India and first recorded at George Harrison’s house (the Esher Sessions on the 2018 White Album Sessions Box).  The Esher demo was remarkably similar to the finished version.  Apparently John got the title Cry Baby Cry from a commercial.  The lyrics are very much a fairy tale, but the chords suggest something a bit darker and the final verse with mentions of “seances” are in keeping with this .  John wasn’t a big fan of the song.  He called it “rubbish.”

I like the wobble that is on John’s acoustic guitar during the intro.  And John’s vocal is very hypnotizing.  Yet another oddity on the White Album in which the Beatles seemed to throw a bunch of crap against the wall to see what would stick.

Note, this song ends with a brief interlude of Paul singing “Can you take me back”, which I think was just a lick Paul had hanging around. 

 
I Want to Tell You
2022 Ranking: 128
2022 Lists: 3
2022 Points: 21
Ranked Highest by: @Man of Constant Sorrow (11) @Shaft41 (23) @FairWarning (23)
2019 Ranking/Lists/Pts: 95/2/18

Getz:  FairWarning with his first entry. 33 left...


Krista4
My 2019 ranking:  65

2019 write-up:

I Want To Tell You (Revolver, 1966)

The second of three George Revolver songs that will be on this list - go George!  I figure the dissonance in this song might not be for everyone, but...wait for it...I love it!  The off-key vocals and especially those harshly discordant piano parts.  The song starts with a fade-in of George's guitar on some staggered triplets and weird syncopation, and you know immediately this isn't going to sound like anything else the Beatles have put out.  After the guitar fades in, it continues this riff two more times, first adding some piano jabs and snare, then a hissing tambourine, and finally Paul's bass, before finally launching into the vocal.  It's all rather disorienting, as are the unusual 11-meter verses that lead to the awkward but pleasing sound of the last line of each verse.  And of course, each time you think you're getting the groove, that some of the dissonance has been resolved, then BAM! come those jarring discordant piano parts. After a couple of verses of this, you find yourself in the lovely bridge, which sounds a bit more usual with George on a sweet vocal, and even the piano at the end is melodic in leading you back into the verse.  Oh no!  Another verse means...more off-key piano blasts!  A repeat of the bridge, and then you come to the fade-out ending that I love as much as the fade-in, with the Indian-inflected three-part harmonies and George repeating the guitar riff and Paul meandering around on piano and John doing something with a tambourine.  The dark journey of this song was a worthwhile adventure.

George wrote this song to describe "the avalanche of thoughts that are so hard to write down or say or transmit."  Perhaps more than any other Beatles song, this one seems to me to convey its feeling through the music in a way that makes the lyrics superfluous.  I do think the lyrics are fantastic at expressing what George said in that quote (I'll copy the lyrics below this), but even if you stripped the lyrics away, I would fully understand the import of what the music itself is telling me.  All that dissonance, all those parts bouncing off one another - George trying to align his thoughts all comes out in the music.  The piano parts in the verses feel like a huge avalanche exploding down on your head.  Even the voices are allowed to go slightly off-key at times, to show an inability to express exactly what one wants to.  This arrangement of this song to underscore the meaning behind it is simply brilliant.  Like most George songs, I only wish it were longer.

I want to tell you

My head is filled with things to say

When you're here

All those words they seem to slip away

When I get near you

The games begin to drag me down

It's all right

I'll make you maybe next time around

But if I seem to act unkind

It's only me, it's not my mind

That is confusing things

I want to tell you

I feel hung up and I don't know why

I don't mind

I could wait forever, I've got time

Sometimes I wish I knew you well

Then I could speak my mind and tell

Maybe you'd understand

I want to tell you

I feel hung up and I don't know why

I don't mind

I could wait forever, I've got time

I've got time

I've got time

Mr. krista:  "Yeah, that piano is like the Exorcist theme.  Very dissonant.  Also some Eastern influences.  I really like it.  Just a great song.  This hasn’t happened to you.  Probably.  I don’t know if you’ve ever been the only high person in the room. [Narrator:  No.]  Sometimes when you’re high, you have a thought or idea that seems to have importance outside of what it actually is and to other not-high people, the difficulty in communicating that it impossible.  It can be really frustrating or exhilarating, but that’s what that song sounds like.  'You can wait.'  I like that time when you’re not burdened with practicality.  You just feel the rush of coming up with an idea."

Suggested cover:  Melvins

2022 Supplement:  Kinda broke this one down a lot in 2019, eh?  Since I don’t have much more, I’ll mention that this song, like “Love Me To,” was originally named after an apple since, as I described in that write-up, George had difficulty naming his songs.  This song was “Lawton’s Superb,” which is an apple developed in England as a cross between a Cellini and a Cox Orange Pippin.  THE MORE YOU KNOW.  The song then became “I Don’t Know” based on a conversation between George and John, who was once again needling George about his inability to name songs.  Finally, George settled on the obvious and went with “I Want To Tell You.”  I suggest we all call it “Laxton’s Superb” in the future.  

Guido Merkins

Really, there are no bad songs on Revolver.  Perhaps the least known song on the album is the 3rd George Harrison song, a first for Harrison, called I Want to Tell You.

The song features lyrics that talk about the frustration of trying to use words to describe something that is difficult to describe, like George’s experiences with LSD.  Highlighting the frustration that George was feeling, the song itself features dissonance in the chord progression, including a chord that George claimed to have “made up” E7b9.  Whether or not he actually made up the chord, it is an interesting sound and it does add to the feeling of confusion of the song.  Something doesn’t sound quite right.  You can hear the chord on at the beginning of the lines “it’s alright” and “I don’t mind.”

I love the philosophy of the lyrics, especially “if I seem to act unkind, it’s only me it’s not my mind, that is confusing things.”  I also love the guitar riff and the way Paul bends the notes in Indian music style on the word “time” during the harmonies.

 
I dig the piano in this song. In the song where it sounds like piano keys being pounded, it reminds me of when my maternal grandmother wanted an electric keyboard really bad. She was around age 87, and was hellbent on getting one. I asked my mom if Maw Maw told her she wanted a keyboard, and my mom said yes, and that my grandmother was f'ing crazy, and she was going to have her checked for a UTI. Well, Maw Maw didn't have a UTI, she just really wanted the keyboard. Anyway, mom got her one at a pawn shop, and MM pounded on it for a couple of weeks, and then the thrill was gone.  🎹

 
Rock and Roll Music
2022 Ranking: 127
2022 Lists: 2
2022 Points: 22
Ranked Highest by: @ConstruxBoy (9) @DaVinci (21)
2019 Ranking/Lists/Pts: NR

Getz:  Another set of four NR’s coming your way. YT live from Munich 1966


Krista4
My 2019 ranking:  172


2019 write-up:

Rock and Roll Music (Beatles for Sale, 1964)

To me, a much superior Chuck Berry cover to the flat "Roll Over Beethoven," this one was recorded in one freaking take that features the brilliant vocals by John.  The reason it can't be higher is because Chuck freakin' Berry, but the energy of this thrills me when it comes on shuffle.  I love the way each verse seems to build into a frenetic chorus, and OMG Ringo's cymbals on this.  #######' rocks.  

Mr. krista:  "You know how I feel about Chuck Berry and you know how you feel about Beatles rave-ups so you know I think it’s awesome.  Any song with big long five/six note breaks with someone singing over top of it, especially the way Lennon does, does it for me.”

2022 Supplement:  I used up all my hilarious Chuck Berry/John/Yoko on the Mike Douglas Show clips on a “this date in history,” and a lot of my Chuck Berry-influence bits in writing the “Roll Over Beethoven” supplement, so now I’m kinda lost.  Here’s some more from John on his feelings about Chuck Berry, who called him, “one of the all-time great poets; a rock poet, you could call him. He was well advanced of his time, lyric-wise. We all owe a lot to him, including Dylan. I've loved everything he's done, ever. He was in a different class from the other performers. … The lyrics were fantastic, even though we didn't know what he was saying half the time. … In the Fifties, when people were virtually singing about nothing, Chuck Berry was writing social-comment songs, with incredible metre to the lyrics.”

As we know now, the Beatles also played this during the Get Back sessions, as shown in the documentary:  https://www.youtube.com/watch?v=VJEos3ptGXY

Guido Merkins

The Beatles were influenced by many people.  None more so, however, than Chuck Berry.  When you think of the number of Berry numbers they covered in their recording career and in their live performances, it is truly amazing.  Sweet Little Sixteen, Little Queenie, Johnny B Goode, Carol, I’m Talking About You, Memphis, etc.  Not to mention songs like I Saw Her Standing There and Come Together which are heavily influenced by Berry.  They obviously loved him.

Rock and Roll Music is another Chuck Berry cover recorded during the Beatles For Sale album.  Although there is a lot of country/rockabilly on the album, Rock and Roll Music gives it some balance with a little rock.  John delivers another blistering vocal and, once again, the Beatles perform it in one take.  George Martin provides piano.  Interestingly, this song is recorded in a marathon 9 hour session where 7 songs were recorded.  I mean, their entire first album is recorded in one day, so what’s half an album in 9 hours??

 
Chalk Rankings Top 10. #127 = 46 pts. each.  Sponsored by: grandma's blackberry cobbler
 

1 --Krista (Mom)---150

2 --DaVinci---137

3 --anarchy99---123.5

4 --Man Of Constant Sorrow---112

5 --Krista (Worth)---109

6 --Krista (Mom/Hub)---101

7 --BinkyTheDoormat---94.5

8 --Eephus---76

9 --Neal Cassady---72.5

10 --Shaft41---72.5

 
Speaking of which, really no one can help my mom get her account approved here or give her an alias?  She wants to post!

 
On today's date in 1965, the Beatles began filming for the movie Help! in the Bahamas.  They filmed a scene of Ringo listening to conch shells, which didn't make it into the movie (whyyyyy????), and the scene of their swimming fully clothed, apparently because they were high.  Real shocker there.

 
Rock and Roll Music
2022 Ranking: 127
2022 Lists: 2
2022 Points: 22
Ranked Highest by: @ConstruxBoy (9) @DaVinci (21)
2019 Ranking/Lists/Pts: NR

Getz:  Another set of four NR’s coming your way. YT live from Munich 1966


Krista4
My 2019 ranking:  172


2019 write-up:

Rock and Roll Music (Beatles for Sale, 1964)

To me, a much superior Chuck Berry cover to the flat "Roll Over Beethoven," this one was recorded in one freaking take that features the brilliant vocals by John.  The reason it can't be higher is because Chuck freakin' Berry, but the energy of this thrills me when it comes on shuffle.  I love the way each verse seems to build into a frenetic chorus, and OMG Ringo's cymbals on this.  #######' rocks.  

Mr. krista:  "You know how I feel about Chuck Berry and you know how you feel about Beatles rave-ups so you know I think it’s awesome.  Any song with big long five/six note breaks with someone singing over top of it, especially the way Lennon does, does it for me.”

2022 Supplement:  I used up all my hilarious Chuck Berry/John/Yoko on the Mike Douglas Show clips on a “this date in history,” and a lot of my Chuck Berry-influence bits in writing the “Roll Over Beethoven” supplement, so now I’m kinda lost.  Here’s some more from John on his feelings about Chuck Berry, who called him, “one of the all-time great poets; a rock poet, you could call him. He was well advanced of his time, lyric-wise. We all owe a lot to him, including Dylan. I've loved everything he's done, ever. He was in a different class from the other performers. … The lyrics were fantastic, even though we didn't know what he was saying half the time. … In the Fifties, when people were virtually singing about nothing, Chuck Berry was writing social-comment songs, with incredible metre to the lyrics.”

As we know now, the Beatles also played this during the Get Back sessions, as shown in the documentary:  https://www.youtube.com/watch?v=VJEos3ptGXY

Guido Merkins

The Beatles were influenced by many people.  None more so, however, than Chuck Berry.  When you think of the number of Berry numbers they covered in their recording career and in their live performances, it is truly amazing.  Sweet Little Sixteen, Little Queenie, Johnny B Goode, Carol, I’m Talking About You, Memphis, etc.  Not to mention songs like I Saw Her Standing There and Come Together which are heavily influenced by Berry.  They obviously loved him.

Rock and Roll Music is another Chuck Berry cover recorded during the Beatles For Sale album.  Although there is a lot of country/rockabilly on the album, Rock and Roll Music gives it some balance with a little rock.  John delivers another blistering vocal and, once again, the Beatles perform it in one take.  George Martin provides piano.  Interestingly, this song is recorded in a marathon 9 hour session where 7 songs were recorded.  I mean, their entire first album is recorded in one day, so what’s half an album in 9 hours??
Love Chuck of course but I think the Beatles absolutely own this one. 

 
Getzlaf15 said:
Chalk Rankings Top 10. #130T = 42.5 pts. Sponsored by: Dr Z's incredible poker bad beats
 

1 --Krista (Mom)---150

2 --anarchy99---123.5

3 --Krista (Mom/Hub)---101

4 --DaVinci---91

5 --Eephus---76

6 --Neal Cassady---72.5

7 --Krista (Worth)---65

8 --Krista (TJ/Holly)---60

9 --Krista (Sharon)---57.5

10 --Mac32---52
It’s a Krista showcase!

 
Cry Baby Cry
2022 Ranking: 129
2022 Lists: 4
2022 Points: 20
Ranked Highest by: Krista (Worth) (17) @Binky The Doormat (20) @Man of Constant Sorrow (22) @ProstheticRGK (25)
2019 Ranking/Lists/Pts: 117/4/10

Getz: Interesting… Four voters in both 2019 and 2022. 20 points this time…


Krista4
My 2019 ranking:  94


2019 write-up:

Cry Baby Cry (White Album, 1968)

Suggested cover:  I guess I'm going to end up with at least three covers listed from Steve Earle, since there's another one later that I know I'll be using.  Oh well; I can't find any others I like better than this.
I love Steve Earle and that whole scene but that cover is horrible. 

I have always liked this song. Always sounds earnest to me.

 
I am feeling good that I have been keeping up with this thread. I am back to listening to the Beatles channel again as well.  Its funtastick

 

Users who are viewing this thread

Back
Top