Zegras11
Footballguy
All I’ve Got To Do
2022 Ranking: 114
2022 Lists: 2
2022 Points: 28
Ranked Highest by: Krista(TJ/Michael) (5) @rockaction (19)
2019 Ranking/Lists/Pts: 90/1/20
Getz: Still stuck at 26 voters without a song posted yet. Susanna Hoffs video below!!
Krista4
My 2019 ranking: 135
2019 write-up:
All I've Got To Do (With the Beatles, 1963)
I suspect I have this higher than many would, but it's another song with a standout soulful vocal. John once again was trying to mimic a Smokey Robinson song, and I think this one was more successful, especially the opening and the "mmm, mmm, mmm"s at the end.
I read half the Geoff Emerick book on the way home yesterday, and he spoke a lot about how unconfident John often was with his vocal performances. Personally I prefer his voice to Paul's, but John was an insecure dude in many ways, so I guess it's not surprising that he felt this way. In any case, his vocal on this song seems to evoke his overall insecurity, which I think is intentional and incredible. When he sings, for instance, the first verse:
Whenever I want you around yeah
All I gotta do
Is call you on the phone
And you'll come running home
Yeah that's all I gotta do
It sounds on the vocal more like a pleading than statements made in confidence. The same goes for the second verse, where I don't believe him that he can kiss [you] by whispering the right words in [your] ear - again, it sounds tentative and soft, as if he's trying to convince himself, complete with the stuttering "I"s. Contrast that with his vocal on the bridges, where he gains energy and confidence to make the firm statement "you just gotta call on me," joined by Paul in strong harmony in order to solidify the point. The vocal is a jumble of emotions and once of John's best, in my opinion.
Ringo's offbeat drum patterns on this one are terrific as well at setting the mood of erratic emotions.
Guess I caught Mr. krista with this one while he was tired: "Shows off John's vocals well."
Suggested cover: To keep you guys interested, Susannah Hoffs (also she does a great job with it)
2022 Supplement: One of two songs I’ll identify as being those that would jump the most if I did a full re-ranking. The other one is “Dig A Pony,” which we might or might not have covered yet. THIS WAS #28 ON MY RE-RANKING THIS YEAR. Unlike Pony, which I always loved, this is the one that’s grown on me the most in the past three years. I did rave about John’s vocal in 2019, and that’s still what really pulls me in. I also love the way it moves into humming and fades out with that; after being such an urgent song, the juxtaposition to suddenly turning mellow and wistful appeals to me. This is yet another song in which we can hear the strong influences of Smokey Robinson and Arthur Alexander.
This song, entirely a John composition, was introduced to the group by him on the day the Beatles recorded it. They performed 15 takes of the song that day, decided the last one was good enough, then never played the song again in studio (as far as anyone knows) nor did it ever make it into their live shows. What a shame.
2022 Mr. krista Supplement: Ringo’s drumming is like a proto-“In My Life.” Hitting the high hat once per measure with a bunch of big open spaces between notes. I keep forgetting about this song, and it’s great. It fades out; not a lot of Beatles songs faded out like that. I don’t know, it’s a good song. Mint, mint jam.
Guido Merkins
The Beatles loved chords. A Hard Day’s Night has one of the most famous chords in history. Not as well-known, but still cool is 1964’s All I’ve Got to Do which is an Eaug11 chord or something like that. I saw a video with the chord played and it sounded right.
All I’ve Got to Do has a moodiness and a sophistication that shows the Beatles growing songwriting. Also they were discovering stuff like start-stop, which they employed heavily on this song. Ringo’s drum beat seems like the template for In My Life, later. It’s interesting because of the way Ringo employs the hi-hat, only hitting it on the 1 and not on all 4 beats as a drummer would usually do. Absolutely less is more.
As usual the harmonies are spot on and I love the outro with Lennon humming on the way out. It adds to the moodiness of the track, IMO, almost like he couldn’t be bothered to sing anymore.
2022 Ranking: 114
2022 Lists: 2
2022 Points: 28
Ranked Highest by: Krista(TJ/Michael) (5) @rockaction (19)
2019 Ranking/Lists/Pts: 90/1/20
Getz: Still stuck at 26 voters without a song posted yet. Susanna Hoffs video below!!
Krista4
My 2019 ranking: 135
2019 write-up:
All I've Got To Do (With the Beatles, 1963)
I suspect I have this higher than many would, but it's another song with a standout soulful vocal. John once again was trying to mimic a Smokey Robinson song, and I think this one was more successful, especially the opening and the "mmm, mmm, mmm"s at the end.
I read half the Geoff Emerick book on the way home yesterday, and he spoke a lot about how unconfident John often was with his vocal performances. Personally I prefer his voice to Paul's, but John was an insecure dude in many ways, so I guess it's not surprising that he felt this way. In any case, his vocal on this song seems to evoke his overall insecurity, which I think is intentional and incredible. When he sings, for instance, the first verse:
Whenever I want you around yeah
All I gotta do
Is call you on the phone
And you'll come running home
Yeah that's all I gotta do
It sounds on the vocal more like a pleading than statements made in confidence. The same goes for the second verse, where I don't believe him that he can kiss [you] by whispering the right words in [your] ear - again, it sounds tentative and soft, as if he's trying to convince himself, complete with the stuttering "I"s. Contrast that with his vocal on the bridges, where he gains energy and confidence to make the firm statement "you just gotta call on me," joined by Paul in strong harmony in order to solidify the point. The vocal is a jumble of emotions and once of John's best, in my opinion.
Ringo's offbeat drum patterns on this one are terrific as well at setting the mood of erratic emotions.
Guess I caught Mr. krista with this one while he was tired: "Shows off John's vocals well."
Suggested cover: To keep you guys interested, Susannah Hoffs (also she does a great job with it)
2022 Supplement: One of two songs I’ll identify as being those that would jump the most if I did a full re-ranking. The other one is “Dig A Pony,” which we might or might not have covered yet. THIS WAS #28 ON MY RE-RANKING THIS YEAR. Unlike Pony, which I always loved, this is the one that’s grown on me the most in the past three years. I did rave about John’s vocal in 2019, and that’s still what really pulls me in. I also love the way it moves into humming and fades out with that; after being such an urgent song, the juxtaposition to suddenly turning mellow and wistful appeals to me. This is yet another song in which we can hear the strong influences of Smokey Robinson and Arthur Alexander.
This song, entirely a John composition, was introduced to the group by him on the day the Beatles recorded it. They performed 15 takes of the song that day, decided the last one was good enough, then never played the song again in studio (as far as anyone knows) nor did it ever make it into their live shows. What a shame.
2022 Mr. krista Supplement: Ringo’s drumming is like a proto-“In My Life.” Hitting the high hat once per measure with a bunch of big open spaces between notes. I keep forgetting about this song, and it’s great. It fades out; not a lot of Beatles songs faded out like that. I don’t know, it’s a good song. Mint, mint jam.
Guido Merkins
The Beatles loved chords. A Hard Day’s Night has one of the most famous chords in history. Not as well-known, but still cool is 1964’s All I’ve Got to Do which is an Eaug11 chord or something like that. I saw a video with the chord played and it sounded right.
All I’ve Got to Do has a moodiness and a sophistication that shows the Beatles growing songwriting. Also they were discovering stuff like start-stop, which they employed heavily on this song. Ringo’s drum beat seems like the template for In My Life, later. It’s interesting because of the way Ringo employs the hi-hat, only hitting it on the 1 and not on all 4 beats as a drummer would usually do. Absolutely less is more.
As usual the harmonies are spot on and I love the outro with Lennon humming on the way out. It adds to the moodiness of the track, IMO, almost like he couldn’t be bothered to sing anymore.
I don't know if that is interesting or sad. My dad is in his 80s. He is almost 5 years older than mom. When I was growing up he played country, country rock, righteous brothers, ray charles, chuck berry, percy sledge, roberta flack, etc. He likes love song radio channels. He is Delilah's #1 fan. He likes the Bee Gees too. Whenever they have some family get together at their house and their echo is playing Bee Gees' songs, everyone thinks I'm the one that tells Alexa to play their songs, but he is the one who does it.
game (the VA gifted me some tix.) We’ve got 20 minutes until tip-off - I’m a football guy, he’s a rec league hockey player - so I’m rattling off advanced stats from basketball-reference.com…his eyes are glassing over.
