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In this thread I rank my favorite Beatles songs: 204-1. (1 Viewer)

zamboni said:
As long as we are in a SiriusXM interlude, I also just re-upped for $5/month after letting it expire about a year or so ago. Good thing is that you can just use the app or through Car Play without the old annoying wires. 

Love the Beatles channel, but can see myself getting tired again of the same old, same old songs on all the other channels. Big fan of Deep Tracks though.
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Do you have to have a sirius antenna in your car to get it?

 
Shaft41 said:
Also, I woke up this morning with "Run For Your Life" in my head, even though I haven't listened to it in awhile. I assume this means I'm homicidal?
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I started to feel bad after krista's ranking and write up about having it in my top 10 - but I'm sticking with it being somewhat "tongue in cheek" and a "revenge fantasy" all rolled up into one because it just rocks so hard and it's so out of character for the charming lads from Liverpool in their matching suits and bowl haircuts.

 
30.  A Hard Day's Night (A Hard Day's Night, 1964)

Beatles version:  Spotify  YouTube

John and rock music don't start off any better in the rankings today than they did yesterday.  I was hoping Mr. krista would take this as one of his two guest write-ups, because he loves this song even more than I do.  Alas, he decided to challenge himself instead.  When I asked him why he has this one so high on his list, he said only, "That chord."  Is this the second most iconic and well-loved chord in the Beatles catalog?  You know which one is first.  

The title comes from a Ringo-ism, of course:  "I used to, while I was saying one thing, have another thing come into my brain and move down fast.  Once when we were working all day and then into the night, I came out thinking it was still day and said, 'It's been a hard day,' and looked around and noticing it was dark, I said '...'s night!"  Each Beatle tells the story a little differently, but all agree that it was a brilliant Ringo-ism.  Once it was selected as the title of their next film, John set about to write a song around it, which he completed in the space of that same evening.

A few days later, the Beatles went into the studio to record the song, which they accomplished in only three hours of session time, but not without some issues.  First, they had to deal with an unwelcome guest in that Richard Lester, the director of the film, showed up and tried to direct the recording as well.  While the group mostly ignored his constant, odd suggestions ("Tell them I need it more cinematic!"), he was responsible for the fade-out after requesting a "dreamy" segue into the movie's first scene.  That fade-out riff, alternately major and minor chords, is a perfect counterpoint to the blast start of the song.  Another issue during the recording was that George had a lot of trouble with the guitar solo, and who could blame him since he was expected to play it immediately after being introduced to it.  Eventually the solution was found:  George would play the guitar solo at half tempo while George Martin simultaneously paralleled the notes on an upright piano.  Despite his initial troubles with the solo, George's work on the song turned out beautifully, especially the jangly parts during the fade-out.

Back to That Chord.  George Martin always wanted something to hook you in immediately at the beginning of an album, such as the count-ins on the first songs of Please Please Me and Revolver, and this album was no different:  "In those days, the beginnings and endings of songs were things I tended to organize.  We needed something striking, to be a sudden jerk into the song.  It was by chance that John struck the right one.  We knew it when we heard it."  Music nerds can join plenty of debates about exactly what that chord is, though it's never been settled.  To me the technical specifications of the chord are unimportant; all I care about is that it brilliantly bursts the song open as a harbinger of all that's to come.

The vocals on the song might seem simple on the surface, but I love the rise and fall, with Paul chipping in high harmonies on the verses and then taking over the lead on the bridge since he could hit the high notes that John couldn't reach.  The change into the minor chord on that bridge helps Paul's vocal attain an aggressiveness that matches John's vocal on the verses.  And lest I forget Ringo, he seems to attack the drums with an especially high level of excitement on this track, and the open hi-hat work keeps everything fiercely rocking.  

This song is so great I didn't even have to mention all the cowbell!

But by the way, there's cowbell.

Mr. krista:  "Cowbell on the bridge.  That’s a universal indication of party down, but this time it’s a universal indication to get back to work.  Dig that ditch, dig it out.  Great bridge. "Hard day’s night" is like a line in a Wallace Stevens poem.  Like, 'It was evening all afternoon.'"

Suggested cover:  There are few guarantees in life, but here's one:  if Otis has recorded a cover, that's the one I'm going to post.

 
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krista4 said:
30.  A Hard Day's Night (A Hard Day's Night, 1964)

Beatles version:  Spotify  YouTube

John and rock music don't start off any better in the rankings today than they did yesterday.  I was hoping Mr. krista would take this as one of his two guest write-ups, because he loves this song even more than I do.  Alas, he decided to challenge himself instead.  When I asked him why he has this one so high on his list, he said only, "That chord."  Is this the second most iconic and well-loved chord in the Beatles catalog?  You know which one is first.  
Click to expand...
That chord. Oh my.  

Outside there's a boxcar waiting...  

 
Dr. Octopus said:
I started to feel bad after krista's ranking and write up about having it in my top 10 - but I'm sticking with it being somewhat "tongue in cheek" and a "revenge fantasy" all rolled up into one because it just rocks so hard and it's so out of character for the charming lads from Liverpool in their matching suits and bowl haircuts.
Click to expand...
I kept it in my top 20 despite the reservations that come with willfully admitting you like a song with those lyrics in this day and age.  And, after all, he stole the line from Elvis anyway.  

 
Since we're going to have more songs reaching my top 10 soon, I figured I'd start keeping track here of who gets which song correct and the points leaders.  Currently, the only song that's clinched a spot is "A Day In The Life."  Let me know if it was on your list and I missed it.

Points leaders (one point each for "A Day In The Life") - top 10 contest

Shaft 41

Bonzai

Ted Lange 

Atomic Punk

bananafish

heckmamn

fatguy

ilov80s

ManofSteelhead

Getzlaf

ScottNorwood

rockaction

simey

Dr. Octopus

tim

Spock

Tom Hagen

mike9289

Binky

pecorino

 
krista4 said:
30.  A Hard Day's Night (A Hard Day's Night, 1964)

Beatles version:  Spotify  YouTube

John and rock music don't start off any better in the rankings today than they did yesterday.  I was hoping Mr. krista would take this as one of his two guest write-ups, because he loves this song even more than I do.  Alas, he decided to challenge himself instead.  When I asked him why he has this one so high on his list, he said only, "That chord."  Is this the second most iconic and well-loved chord in the Beatles catalog?  You know which one is first.  

The title comes from a Ringo-ism, of course:  "I used to, while I was saying one thing, have another thing come into my brain and move down fast.  Once when we were working all day and then into the night, I came out thinking it was still day and said, 'It's been a hard day,' and looked around and noticing it was dark, I said '...'s night!"  Each Beatle tells the story a little differently, but all agree that it was a brilliant Ringo-ism.  Once it was selected as the title of their next film, John set about to write a song around it, which he completed in the space of that same evening.
Click to expand...
If Yogi Berra had been a drummer, a band could have had hits like "Take the Fork in the Road", "Deja Vu (All Over Again)" "It Gets Late Early" "Nickel Ain't Worth a Dime" "Pair 'Em in Threes", "If the World Were Perfect (It Wouldn't Be)" and, of course "Aint' Over Til It's Over".

 
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krista4 said:
30.  A Hard Day's Night (A Hard Day's Night, 1964)

Beatles version:  Spotify  YouTube

John and rock music don't start off any better in the rankings today than they did yesterday.  I was hoping Mr. krista would take this as one of his two guest write-ups, because he loves this song even more than I do.  Alas, he decided to challenge himself instead.  When I asked him why he has this one so high on his list, he said only, "That chord."  Is this the second most iconic and well-loved chord in the Beatles catalog?  You know which one is first.  

The title comes from a Ringo-ism, of course:  "I used to, while I was saying one thing, have another thing come into my brain and move down fast.  Once when we were working all day and then into the night, I came out thinking it was still day and said, 'It's been a hard day,' and looked around and noticing it was dark, I said '...'s night!"  Each Beatle tells the story a little differently, but all agree that it was a brilliant Ringo-ism.  Once it was selected as the title of their next film, John set about to write a song around it, which he completed in the space of that same evening.

A few days later, the Beatles went into the studio to record the song, which they accomplished in only three hours of session time, but not without some issues.  First, they had to deal with an unwelcome guest in that Richard Lester, the director of the film, showed up and tried to direct the recording as well.  While the group mostly ignored his constant, odd suggestions ("Tell them I need it more cinematic!"), he was responsible for the fade-out after requesting a "dreamy" segue into the movie's first scene.  That fade-out riff, alternately major and minor chords, is a perfect counterpoint to the blast start of the song.  Another issue during the recording was that George had a lot of trouble with the guitar solo, and who could blame him since he was expected to play it immediately after being introduced to it.  Eventually the solution was found:  George would play the guitar solo at half tempo while George Martin simultaneously paralleled the notes on an upright piano.  Despite his initial troubles with the solo, George's work on the song turned out beautifully, especially the jangly parts during the fade-out.

Back to That Chord.  George Martin always wanted something to hook you in immediately at the beginning of an album, such as the count-ins on the first songs of Please Please Me and Revolver, and this album was no different:  "In those days, the beginnings and endings of songs were things I tended to organize.  We needed something striking, to be a sudden jerk into the song.  It was by chance that John struck the right one.  We knew it when we heard it."  Music nerds can join plenty of debates about exactly what that chord is, though it's never been settled.  To me the technical specifications of the chord are unimportant; all I care about is that it brilliantly bursts the song open as a harbinger of all that's to come.

The vocals on the song might seem simple on the surface, but I love the rise and fall, with Paul chipping in high harmonies on the verses and then taking over the lead on the bridge since he could hit the high notes that John couldn't reach.  The change into the minor chord on that bridge helps Paul's vocal attain an aggressiveness that matches John's vocal on the verses.  And lest I forget Ringo, he seems to attack the drums with an especially high level of excitement on this track, and the open hi-hat work keeps everything fiercely rocking.  

This song is so great I didn't even have to mention all the cowbell!

But by the way, there's cowbell.

Mr. krista:  "Cowbell on the bridge.  That’s a universal indication of party down, but this time it’s a universal indication to get back to work.  Dig that ditch, dig it out.  Great bridge. "Hard day’s night" is like a line in a Wallace Stevens poem.  Like, 'It was evening all afternoon.'"

Suggested cover:  There are few guarantees in life, but here's one:  if Otis has recorded a cover, that's the one I'm going to post.
Click to expand...
 a couple years before my local OTB closed down an older black man walks through the entrance where I am in the process of buying my Daily Racing Form. As soon as he gets through the door he breaks into a perfect acapella version of this song. We stood stunned, mainly because we were not used to being entertained by anything not on a tv monitor. I don't know how he did betting, but he definitely won the day.

 
krista4 said:
30.  A Hard Day's Night (A Hard Day's Night, 1964)

Beatles version:  Spotify  YouTube

John and rock music don't start off any better in the rankings today than they did yesterday.  I was hoping Mr. krista would take this as one of his two guest write-ups, because he loves this song even more than I do.  Alas, he decided to challenge himself instead.  When I asked him why he has this one so high on his list, he said only, "That chord."  Is this the second most iconic and well-loved chord in the Beatles catalog?  You know which one is first.  

The title comes from a Ringo-ism, of course:  "I used to, while I was saying one thing, have another thing come into my brain and move down fast.  Once when we were working all day and then into the night, I came out thinking it was still day and said, 'It's been a hard day,' and looked around and noticing it was dark, I said '...'s night!"  Each Beatle tells the story a little differently, but all agree that it was a brilliant Ringo-ism.  Once it was selected as the title of their next film, John set about to write a song around it, which he completed in the space of that same evening.

A few days later, the Beatles went into the studio to record the song, which they accomplished in only three hours of session time, but not without some issues.  First, they had to deal with an unwelcome guest in that Richard Lester, the director of the film, showed up and tried to direct the recording as well.  While the group mostly ignored his constant, odd suggestions ("Tell them I need it more cinematic!"), he was responsible for the fade-out after requesting a "dreamy" segue into the movie's first scene.  That fade-out riff, alternately major and minor chords, is a perfect counterpoint to the blast start of the song.  Another issue during the recording was that George had a lot of trouble with the guitar solo, and who could blame him since he was expected to play it immediately after being introduced to it.  Eventually the solution was found:  George would play the guitar solo at half tempo while George Martin simultaneously paralleled the notes on an upright piano.  Despite his initial troubles with the solo, George's work on the song turned out beautifully, especially the jangly parts during the fade-out.

Back to That Chord.  George Martin always wanted something to hook you in immediately at the beginning of an album, such as the count-ins on the first songs of Please Please Me and Revolver, and this album was no different:  "In those days, the beginnings and endings of songs were things I tended to organize.  We needed something striking, to be a sudden jerk into the song.  It was by chance that John struck the right one.  We knew it when we heard it."  Music nerds can join plenty of debates about exactly what that chord is, though it's never been settled.  To me the technical specifications of the chord are unimportant; all I care about is that it brilliantly bursts the song open as a harbinger of all that's to come.

The vocals on the song might seem simple on the surface, but I love the rise and fall, with Paul chipping in high harmonies on the verses and then taking over the lead on the bridge since he could hit the high notes that John couldn't reach.  The change into the minor chord on that bridge helps Paul's vocal attain an aggressiveness that matches John's vocal on the verses.  And lest I forget Ringo, he seems to attack the drums with an especially high level of excitement on this track, and the open hi-hat work keeps everything fiercely rocking.  

This song is so great I didn't even have to mention all the cowbell!

But by the way, there's cowbell.

Mr. krista:  "Cowbell on the bridge.  That’s a universal indication of party down, but this time it’s a universal indication to get back to work.  Dig that ditch, dig it out.  Great bridge. "Hard day’s night" is like a line in a Wallace Stevens poem.  Like, 'It was evening all afternoon.'"

Suggested cover:  There are few guarantees in life, but here's one:  if Otis has recorded a cover, that's the one I'm going to post.
Click to expand...
#26 on the canon.

Crushing the writeups - I think I knew about this Ringoism thing but one of the benefits of middle age is it's easy to pretend I've never heard something before. I do this with my kids a lot. "Australia once lost it's Prime Minister? Are you serious? That's  ####### bonkers." "You can’t hum while holding your nose closed...are you sure? Let me try. Hey you're right." "Huh. I did not know that the French call it English kissing." Half the time, I never knew it, and the other half of the time, my memory is so shot I've genuinely forgot. Just another great thing about getting older. Getting so much better all the time!

(my list is the canon)

 
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29.  I'm Only Sleeping (Revolver, 1966)

Beatles version:  Spotify  YouTube

Sleepy lead vocal.  Sleepy guitar. Sleepy backing vocals. Even a sleepy bass fill.  Anyone who's read part of the GMTAN might know that I've had chronic insomnia my whole life, and it colors a lot of my days.  I think that's part of the reason that two "sleep" songs (the other being "I"m So Tired") reach my top 30.  Of course, this one was inspired by John's having exactly the opposite experience than I do, which is that he was an A-1, top-of-the-charts, champion sleeper.  Paul often had to wake him up for their afternoon writing sessions, and in the same article that caused the "more famous than Jesus" uproar, John also reacted to the statement that could sleep indefinitely and was "probably the laziest person in England":  "Physically lazy," John said. 'I don't mind writing or reading or watching or speaking, but sex is the only physical thing I can be bothered with any more."

I love that this song perfectly sets this dreamy, soporific mood.  I get pulled into the intimacy of the song by the vocal but then lulled into its lethargy from everything surrounding it.  Setting aside the obviously languorous vocals, every aspect of the song also seems perfectly calculated to achieve this mood.  The guitar solo offers a hazy, distorted vibe from the effects described in the next paragraph.  The ethereal harmonies seem to emphasize the dreamiest lyrics -  "float upstre-eam," "sleeeee-ping."   Ringo plays as if he's simultaneously finishing a chess game with Mal Evans.  The drowsy bass part sounds like Paul was just awakened from a nap.  He and John seemingly drift in and out of consciousness with the rises and falls of the melody, sudden urgency followed by deep pauses, which is also punctuated by little guitar riffs I love from George (an example is at 0:45-0:47).  Even the vocal parts that seem like they're going to crescendo and crash into the line, "I'm only sleeping" instead pull the chords back down into a comfortable yawn.  In all, the song makes sleep sound full and luxurious, which it would be to me.   

Speaking of a hard day's night, Geoff Emerick describes the recording of this song as being particularly tedious, since George was dead set on having a backwards guitar solo on it.  This groundbreaking idea came from a mistake, when someone accidentally threaded a practice tape backwards, and Paul excitedly asked, "My God, that is fantastic! Can we do that for real?"  But George didn't just want to play it and have it run backwards; he had a specific notation of how he wanted it to sound when reversed, which involved George Martin then taking the forward notation and reversing it so that George could get the sound he wanted.  Actually they recorded not just one backwards part, but two:  one with fuzz guitar and one in normal sound, to be superimposed upon each other.  For six hours, George played the same eight-bar solo, so many times that the assistant engineer's arms were sore for days from turned the heavy tapes over and over.  

In addition to setting to tape the first backward recorded guitar solo ever to be released, the lads continued to experiment with other devices on this track, including varispeed.  In this case, the rhythm tracks were slowed down in the final mix, while the vocal tracks were sped up, leading not just to a deeper, more somnolent sound on the backing, but actually changing the key of the song, resulting in that strange E-flat-minor. 

Fun fact:  you can hear Paul yawn ~2:01.

Mr. krista:  "Song kills it.  I think part of the dreamy quality is that they played it at twice the tempo and then slowed it down, and then that’s what the vocals are recorded over. Then the slightly noodly solos played backwards…  All these disparate-seeming elements fit together seamlessly.  Even listening intently like we are now, nothing seems jarring.  Everything has a purpose."

Suggested cover:  Haven't found one I consider great, so I'll offer this live version from Jeff Tweedy simply because it was recorded at one of the best small concert venues in the US, Lounge Ax in Chicago (RIP).

 
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krista4 said:
29.  I'm Only Sleeping (Revolver, 1966)

Beatles version:  Spotify  YouTube
Click to expand...
One great thing about this about this thread is rediscovering songs that you always liked but never really listened to absent any album or compilation context. 

This song rules. I love the write-up because I can hear what you and Mr. krista are talking about. I find it fascinating they halved the tempo and did backwards guitar solos. Sounds boss hoss, all around.  

 
28.  Two Of Us (Let It Be, 1970)

Beatles version:  Spotify  YouTube

When I was a kid, we drove everywhere on family vacations, not because we couldn't fly, but because my Dad really loved driving.  The first time I was on a plane was when we went to Hawaii and had no choice, and there I learned of a supplemental reason for always driving - my Dad got horrible air-sickness on any type of plane.  Luckily I didn't inherit that from him, but I did inherit the love of driving.  There are few things better to me than a long drive with the stereo cranked up.  From this, I also developed a particular fondness for songs that feel perfect for motoring along, singing at the top of your lungs.  My favorite Beatles song to drive to lands at #28 largely as a result of perfectly fitting these needs.

I mean, it's a great song anyway, but we can't pretend it's one of the Beatles "best" on a musical or technical level.  It's just a ####### fun song with great harmonies singable by anyone, joyful little guitar riffs, a catchy bridge, whistling(!), and a perfectly suitable tempo for driving.  There are few songs I have more fun with than this warm, charming ditty.  George playing a bass-like sound on his Telecaster during the bridge, and most of all the expectant pauses leading to those guitar riffs that start each verse, are the highlights for me.  Roll your window down, throw your head back, and sing!  (But don't throw your head back for too long, since you're driving.)

Paul wrote the song about his and Linda's predilection for driving around and getting purposefully lost; in fact, it was on one of these "lost" days in the country that he composed it.  While it's not about his relationship with John, when you hear the sunny harmonies and ebullience with which they sing together, it's not hard to think that John and Paul might have been singing about each other during the recording, too.

Mr. krista:  "I like it a lot.  It’s nice hearing all the harmonies.  You could really hear George singing in that.  I like how chord-y it is.  If there were some distortion it’d be a poppy-punk type song."

Suggested cover:  Aimee Mann & Michael Penn

 
With that, we have our second song placed in my top 10 – “Across The Universe.”  Apparently a dark horse choice, it was chosen by only five people. My top 10 does contain a couple of 12 seed over 5 seed upsets:  you know they’re coming, but you just didn’t know which one.

Current Leaders (two correct)

ManofSteelhead

ScottNorwood

simey

pecorino

A Day In The Life

Shaft 41

Bonzai

Ted Lange 

Atomic Punk

Bananafish

Heckmamn

fatguy

ilov80s

ManofSteelhead

Getzlaf

ScottNorwood

Rockaction

Simey

Dr. Octopus

Tim

Spock

Tom Hagen

mike9289

Binky

pecorino

Across The Universe

ManofSteelhead

ScottNorwood

Mister CIA

simey

pecorino

 
krista4 said:
28.  Two Of Us (Let It Be, 1970)

Beatles version:  Spotify  YouTube

When I was a kid, we drove everywhere on family vacations, not because we couldn't fly, but because my Dad really loved driving.  The first time I was on a plane was when we went to Hawaii and had no choice, and there I learned of a supplemental reason for always driving - my Dad got horrible air-sickness on any type of plane.  Luckily I didn't inherit that from him, but I did inherit the love of driving.  There are few things better to me than a long drive with the stereo cranked up.  From this, I also developed a particular fondness for songs that feel perfect for motoring along, singing at the top of your lungs.  My favorite Beatles song to drive to lands at #28 largely as a result of perfectly fitting these needs.

I mean, it's a great song anyway, but we can't pretend it's one of the Beatles "best" on a musical or technical level.  It's just a ####### fun song with great harmonies singable by anyone, joyful little guitar riffs, a catchy bridge, whistling(!), and a perfectly suitable tempo for driving.  There are few songs I have more fun with than this warm, charming ditty.  George playing a bass-like sound on his Telecaster during the bridge, and most of all the expectant pauses leading to those guitar riffs that start each verse, are the highlights for me.  Roll your window down, throw your head back, and sing!  (But don't throw your head back for too long, since you're driving.)

Paul wrote the song about his and Linda's predilection for driving around and getting purposefully lost; in fact, it was on one of these "lost" days in the country that he composed it.  While it's not about his relationship with John, when you hear the sunny harmonies and ebullience with which they sing together, it's not hard to think that John and Paul might have been singing about each other during the recording, too.

Mr. krista:  "I like it a lot.  It’s nice hearing all the harmonies.  You could really hear George singing in that.  I like how chord-y it is.  If there were some distortion it’d be a poppy-punk type song."

Suggested cover:  Aimee Mann & Michael Penn
Click to expand...
This was a song that was a near-miss into my top 25.  Definitely my 2nd favorite song on "Let It Be", just edging out "One After 909".  Love the harmonies, but, as I've said about a few other tunes, I moreso love the fact that it sounds like John and Paul sitting there, grooving together, no tension, just getting back to the way things used to be.  

 
Apropos of nothing, and maybe self-indulgent, but I'm really enjoying spinning Revolver right now. It's a better album than I remember. Cool beans, man, cool beans.  

 
Guest write-up by Oliver Humanzee:

1.  27.  She Said She Said (Revolver, 1966)

Beatles version:  Spotify  YouTube

I have no idea why this is Krista's favorite Beatles song of all time.  Personally, I wouldn't place it higher than 27 or so, but, as you've all seen by now, Krista isn't terribly bright.  Nonetheless, I am honored to be asked to compose this final write up.  And by "compose" I mean "copy and paste huge swaths of text from Wikipedia".  

So with little guidance and a daunting task ahead, I shall commence randomly listing things that occur to me about this song:

  • Ringo's drumming starts out with one of those backwards-### fills that begins with the kick-crash.
     
  • Song is in 4/4, 3/4, half-time 3/4 and half-time-double--time 4/4 during the fade-out because this is what happens when some geniuses enthusiastically take acid.
     
  • Krista just said aloud "I've been spelling 'languorous' wrong this whole time," which could have been a missing "She Said She Said" lyric.
     
  • The line "I know what it's like to be dead" came directly from 60's-Gump Peter Fonda who ghoulishly followed the profoundly acid-soaked Beatles around a party in California while showing off his bullet wound.  Pretty on-brand for Fonda, who would go on to bore the hell out of thousands of people on acid with the release of Easy Rider a couple of years later.  
     
  • The song is in B-sharp Mixolydian mode with John's Hammond organ providing the single-chord tonic and simply fading in and shut up nobody cares nerd.
     
  • George Harrison played the bass part because Paul didn't wanna take acid, apparently.  Paul would've murdered that bassline.  
     
  • Harrison's raga exploration, the LSD influence, the odd time shifts, and lyrics that are both surreally cold and uncomfortably personal make this a dense, information-rich composition, any single component of which has been conspicuously seized upon by paisley-clad opportunists making a few bucks of off "psychedelia" while turning what were unique structural elements to "She Said She Said" into something that could easily be mistaken for a collection of trivial "far-out, man" signifiers.  I know, I know.  Every art is eventually co-opted.  So let us smash the capitalist impulse into dust comrades, and wrest from the plutocrats our senses of wonder.  Let us reclaim truly weird and personal music from the Mamas and the Zappas and the like.  Because when we were boys, everything was right.
     
  • Mrs. Humanzee will now attempt to teach ten thousand stars how not to dance.
Mrs. Humanzee:  "RINGO!!!!!!"

Suggested cover:  [Intentionally omitted.]

 
UPSET ALERT!  Tear up your bracket sheets, because 15-seed “For No One” (chosen by only two people) joins eight-time-selected “And Your Bird Can Sing” to join my top 10!

In perhaps an even bigger upset, we find that Revolver ends its powerhouse run with only two songs in my top 25, while mid-major Help! Is hanging tough with five songs still alive.

Current Leaders in no particular order (three correct)

ScottNorwood

simey

pecorino

tim

A Day In The Life

Shaft 41

Bonzai

Ted Lange 

Atomic Punk

bananafish

Heckmanm

fatguy

ilov80s

ManofSteelhead

Getzlaf

ScottNorwood

rockaction

simey

Dr. Octopus

tim

Spock

Tom Hagen

mike9289

Binky

pecorino

Across The Universe

ManofSteelhead

ScottNorwood

Mister CIA

simey

pecorino

And Your Bird Can Sing

Bonzai

ScottNorwood

Mister CIA

Simey

tim

Tom Hagen

Alex P Keaton

pecorino

For No One

Shaft41

tim

 
Last edited by a moderator:
The last pick took another off the #1 guesses:

  1. simey – Abbey Road medley
  2. Mister CIA – She Said She Said
  3. timschochet – Paperback Writer
  4. pecorino – Hey Jude
  5. Binky the Doormat – In My Life
  6. wikkidpissah – Taxman
  7. Dr. Octopus – Got To Get You Into My Life
  8. Nigel Tufnel – You’ve Got to Hide Your Love Away
  9. Uruk-Hai – Ticket to Ride
  10. Dinsy Ejotuz – Let It Be
  11. Tom Hagen – Eleanor Rigby
  12. Spock – Rain
  13. Leroy Hoard – A Day in the Life
  14. rockaction  - I Want to Hold Your Hand
  15. Ted Lange as Your Bartender – In My Life
  16. shuke – Abbey Road medley
  17. Alex P Keaton – Something
  18. Getzlaf15 – With A Little Help From My Friends
  19. zamboni – While My Guitar Gently Weeps
  20. neal cassady – While My Guitar Gently Weeps
  21. Shaft41 – Hey Bulldog
  22. Ilov80s – Norwegian Wood
  23. Officer Pete Malloy – I Want to Hold Your Hand
  24. Godsbrother – Dear Prudence
  25. ManofSteelhead – Eleanor Rigby
  26. mike9289 – I’m Looking Through You
  27. heckmanm: Eleanor Rigby
  28. Atomic Punk – A Day in the Life
  29. [Mrs. Punk – In My Life]
  30. bananafish – Abbey Road medley
  31. bonzai – Abbey Road medley
  32. fatguy – Here Comes the Sun
  33. ScottNorwood- Yesterday
  34. Sebowski – I’m So Tired
 
Mr. krista's original comments on "She Said She Said" from last summer's listening sessions expanded upon Ringo's drumwork:  "This is a ####### jam.  Super-awesome guitar.  Someone decided they were going to start recording Ringo’s drums well. The kick drum in particular sounds awesome, like what it should sound like.  I know I’ve heard these beats in other songs, like a Beastie Boys song. Because they got clean sound, and Ringo is a ####### metronome, that people could use that sound out of the context of that song and manipulate it, because it’s so clean, and on time and steady, so you can rap over it.  You can mix it to sound great.  And I can’t imagine that song without those fills."

 
krista4 said:
Since we're going to have more songs reaching my top 10 soon, I figured I'd start keeping track here of who gets which song correct and the points leaders.  Currently, the only song that's clinched a spot is "A Day In The Life."  Let me know if it was on your list and I missed it.

Points leaders (one point each for "A Day In The Life") - top 10 contest

Shaft 41

Bonzai

Ted Lange 

Atomic Punk

bananafish

heckmamn

fatguy

ilov80s

ManofSteelhead

Getzlaf

ScottNorwood

rockaction

simey

Dr. Octopus

tim

Spock

Tom Hagen

mike9289

Binky

pecorino
Click to expand...
HA!!!   NOT LAST!!

IN. YOUR. FACE. PECORINO!!

 
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