Maybe it's meant to be separate. Just like what you dream (john) is separate from what is real life (paul).GV takes shifts but thematically it’s much more unified. It feels like one song to me much more than A Day in the Life which has what I assume is the effect of a collage. I never feel the two parts of A Day in the Life ever meet where I feel they do in Good Vibrations. In both cases it’s what makes them great.
Yeah we have to think it was intentionally disconnected.Maybe it's meant to be separate. Just like what you dream (john) is separate from what is real life (paul).
5. And Your Bird Can Sing (Revolver, 1966)I don't think that "casual" Beatles' fans appreciate "And Your Bird Can Sing" enough.
Musically speaking, my own personal crank is turned primarily by a particular kind of combustion (not occurring entirely in rock music, though mostly that is where it happens) that has little to do with the "pop" aspects of music that most folks seem to respond to. That is to say, I truly don't give a fig about a song's "catchiness", its "tunefulness", or whether or not one can bop one's painfully Caucasoid head along to it while driving. "Danceability" is hahahah whatever chief people manage to dance to Stravinsky and I look like a raccoon drunk on fermented crabapples when I try to perform a movement more artful than "walk briskly in a straight line".
That said, "And Your Bird Can Sing" burns in the ways that the best rock music does: it is funny and spiteful and is built around a seemingly endless, hall-of-fame caliber riff as good as "Black Dog" or "Supernaut".
And Christ if it isn't "catchy" and "hooky" and "fuzzy" and two minutes of absurdly radio-friendly pop music from one of the best bands on the planet at the height of their powers.
I mean, The Posies, Guided By Voices, Cheap Trick, Game Theory and that whole LA "Paisley Underground" spent whole decades trying to achieve that kind rock/pop/art synthesis and it has just been hanging out there on side B of Revolver this whole time.
The hell. Why aren't all of you "power pop" music aficionados jabbering about this song so ceaselessly that I have to mute you on Twitter? Why the hell do you all keep jabbering about Weezer? (I mean, I assume. That's what you were all jabbering about when I muted you on Twitter.)
Great choice as a top 5 song. Maybe it’s becoming less underrated? And, yes, that locks down our bet. Very generous of wikkid to offer the field on his bet. Just saved me a hundred bucks. Did I mention that I’m thrilled to see this as #5 (and not #1)?Sorry, wikkid. :(
You're welcome! I felt bad as soon as I saw that.Great choice as a top 5 song. Maybe it’s becoming less underrated? And, yes, that locks down our bet. Very generous of wikkid to offer the field on his bet. Just saved me a hundred bucks. Did I mention that I’m thrilled to see this as #5 (and not #1)?
Somehow in my childhood, despite being raised by a mother who LOVES music AND the Beatles, a woman who was in college when Revolver was released.......I didn't hear the whole album until college (at the earliest). As such, I've underappreciated it until recent years. My mom still doesn't really know many songs on this album.....so anyway, it's taken me a long time to hear the album enough times that I've developed my own attachment to it.5. And Your Bird Can Sing (Revolver, 1966)
Beatles version: Spotify YouTube
I've bumped Mr. krista's prior post on this song; between that post and his comments below, he covers much of what I have to say about why I love the song, plus some. One thing he doesn't mention is that this has one of those blast starts that I've mentioned in several of my top 25 Beatles songs, immediately launching you into the ride, and the ride remains energetic and ebullient throughout. The vocals, both lead by John and the harmonies from Paul and George, are outstanding. And as Mr. krista references below, the lyrics are fantastic, with plays on words throughout; in addition to the one he mentions, John also cycles through double meanings on the senses of sight ("you can't see me") and hearing ("you can't hear me") to emphasize the absence of understanding and empathy.
Both "She Said She Said" and "Ticket To Ride" have been mentioned as the most Beatle-y Beatles songs, but I'd like to throw this one in the mix for consideration as well. I can't wait to hear @fatguyinalittlecoat rock our faces off by simultaneously playing both George's and Paul's guitar parts!
Mr. krista's earlier comments: "What I love most in rock music is a good riff, though I don’t know how to describe what makes a riff better than other riffs. But that is The Good Riff. [instructs me to use initial caps there] A great riff. Unlike a lot of riffs, it’s ascending, and it goes over two bars. But it’s fuzzy. The tempo is really fast. It’s really tough to play a good riff that fast. The best metal riffs are slowed down. It’s very fast but unhurried. Says a lot about what a great drummer Ringo is. Everything could go off the rails easily, but he keeps it together. While the riff ascends, Lennon’s vocals go down. The lyrics are incredibly good – you’ve seen seven wonders but a total inability to empathize (“but you don’t get me”). Double meaning of “you don’t get me”? It’s like a really happy ####-you song. Gleefully being pissed off. Not explicit but smarter – #### you."
Suggested cover: Not in the same league (but how could it be), but adequate: The Jam
Great post. Excellent point on that last part.Somehow in my childhood, despite being raised by a mother who LOVES music AND the Beatles, a woman who was in college when Revolver was released.......I didn't hear the whole album until college (at the earliest). As such, I've underappreciated it until recent years. My mom still doesn't really know many songs on this album.....so anyway, it's taken me a long time to hear the album enough times that I've developed my own attachment to it.
That said, this was the one song on the album that I immediately loved the first time I heard it. You and Mr k have already explained why it is amazing......including the way it just hits you right out of the gate. I also have a soft spot for songs that are directed toward & written as a personal message for individual people the writer knew. (Example: Dylan and Positively 4th Street) When listening to those types of songs I often think....what is it like to hear a popular song that is basically written about you.....that says essentially "you suck ballz" or "go #### yourself"? And to do that, as a writer and musician, in a way where the song is still amazing for any random person to listen and enjoy it? Unreal.
Most of my childhood exposure to the Beatles was the red and blue compilation albums. Other than an overzealous friend who insisted everything John did on the White album was gold, I really didn't get the Beatles album experience until well into adulthood. But yes, when I finally got around to Revolver, it was a revelation (and the red album only had two tracks on it from Revolver, one of those being Yellow Submarine). And another aside, some record exec in America listened to this album when it came out and decided to omit And Your Bird Can Sing from it. I hope he lost his job, or at least got his hearing fixed.Somehow in my childhood, despite being raised by a mother who LOVES music AND the Beatles, a woman who was in college when Revolver was released.......I didn't hear the whole album until college (at the earliest). As such, I've underappreciated it until recent years. My mom still doesn't really know many songs on this album.....so anyway, it's taken me a long time to hear the album enough times that I've developed my own attachment to it.
Have to come in with another Anthology cut for this. They lose it pretty quick in this and it delolves into hysterics but I really enjoy how much they seem to be enjoying themselves. George was quoted as saying how much he enjoyed the Revolver sessions and you can hear that that’s the case (or it’s because of the pot, either way...)5. And Your Bird Can Sing (Revolver, 1966)
Beatles version: Spotify YouTube
I've bumped Mr. krista's prior post on this song; between that post and his comments below, he covers much of what I have to say about why I love the song, plus some. One thing he doesn't mention is that this has one of those blast starts that I've mentioned in several of my top 25 Beatles songs, immediately launching you into the ride, and the ride remains energetic and ebullient throughout. The vocals, both lead by John and the harmonies from Paul and George, are outstanding. And as Mr. krista references below, the lyrics are fantastic, with plays on words throughout; in addition to the one he mentions, John also cycles through double meanings on the senses of sight ("you can't see me") and hearing ("you can't hear me") to emphasize the absence of understanding and empathy.
Both "She Said She Said" and "Ticket To Ride" have been mentioned as the most Beatle-y Beatles songs, but I'd like to throw this one in the mix for consideration as well. I can't wait to hear @fatguyinalittlecoat rock our faces off by simultaneously playing both George's and Paul's guitar parts!
Mr. krista's earlier comments: "What I love most in rock music is a good riff, though I don’t know how to describe what makes a riff better than other riffs. But that is The Good Riff. [instructs me to use initial caps there] A great riff. Unlike a lot of riffs, it’s ascending, and it goes over two bars. But it’s fuzzy. The tempo is really fast. It’s really tough to play a good riff that fast. The best metal riffs are slowed down. It’s very fast but unhurried. Says a lot about what a great drummer Ringo is. Everything could go off the rails easily, but he keeps it together. While the riff ascends, Lennon’s vocals go down. The lyrics are incredibly good – you’ve seen seven wonders but a total inability to empathize (“but you don’t get me”). Double meaning of “you don’t get me”? It’s like a really happy ####-you song. Gleefully being pissed off. Not explicit but smarter – #### you."
Suggested cover: Not in the same league (how could it be), but adequate: The Jam
Sorry, wikkid. :(
pecorino & i discussed it yesterday and we would like the bet to be paid to a charity of krista's choice.Great choice as a top 5 song. Maybe it’s becoming less underrated? And, yes, that locks down our bet. Very generous of wikkid to offer the field on his bet. Just saved me a hundred bucks. Did I mention that I’m thrilled to see this as #5 (and not #1)?
Aw, that is so kind of you guys. Let's send it to the Boys & Girls Club, either the national org or one near you. My dad was pretty much solely responsible for getting one built in the town where I grew up, doing all the organization and fundraising, and as a result the club was named after him. I served on the board of the Memphis chapter for a bit while I lived there, too. Great organization that, in addition to all the good works they do, fundraises and spends wisely.pecorino & i discussed it yesterday and we would like the bet to be paid to a charity of krista's choice.
ETA: congrats, pec
write ups?But not with me, for saying it first?
ETA: DOES NO ONE READ MY WRITE-UPS?
Agreed. Way earlier in the thread we were discussing best harmonies by the Beatles. I considered Nowhere Man a slight notch above all the other great harmonies, but to me “Norwegian Wood” are right there, too.The harmonies in this song are sublime. Like, they've become the dictionary definition of vocal harmony in a song to me.
delightfulHave to come in with another Anthology cut for this. They lose it pretty quick in this and it delolves into hysterics but I really enjoy how much they seem to be enjoying themselves. George was quoted as saying how much he enjoyed the Revolver sessions and you can hear that that’s the case (or it’s because of the pot, either way...)
I'm using this as my excuse for my lack of familiarity with the song prior to this thread.Most of my childhood exposure to the Beatles was the red and blue compilation albums. Other than an overzealous friend who insisted everything John did on the White album was gold, I really didn't get the Beatles album experience until well into adulthood. But yes, when I finally got around to Revolver, it was a revelation (and the red album only had two tracks on it from Revolver, one of those being Yellow Submarine). And another aside, some record exec in America listened to this album when it came out and decided to omit And Your Bird Can Sing from it. I hope he lost his job, or at least got his hearing fixed.
Because is another song where the vocals are recorded perfectly. They cheated by triple tracking John, Paul, and George to get 9 voices.Agreed. Way earlier in the thread we were discussing best harmonies by the Beatles. I considered Nowhere Man a slight notch above all the other great harmonies, but to me “Norwegian Wood” are right there, too.
Rocky Road (Raccoon) without pistachios?She is actually doing it. The absolute madwoman is going to finish this.
Has to be the greatest achievement in FFA history no?She is actually doing it. The absolute madwoman is going to finish this.
Why limit it to the FFA?Has to be the greatest achievement in FFA history no?
Pin it.She is actually doing it. The absolute madwoman is going to finish this.
Moon landing? Antibiotics? Printing Press?Why limit it to the FFA?
Those probably didn't cause as much collective mental anguish.Moon landing? Antibiotics? Printing Press?
Moon landing? Didn't happen Antibiotics? Are just creating a breed of super bacteria that will wipe out all human life Printing Press? Useless now that we have the internet
$100 has been donated to the Human Fu........i mean, the Greater Memphis chapter of the Boys & Girls Club. I should know better than to play with my Revolver when i don't have to....Aw, that is so kind of you guys. Let's send it to the Boys & Girls Club, either the national org or one near you. My dad was pretty much solely responsible for getting one built in the town where I grew up, doing all the organization and fundraising, and as a result the club was named after him. I served on the board of the Memphis chapter for a bit while I lived there, too. Great organization that, in addition to all the good works they do, fundraises and spends wisely.
I like the Junior Parker version but SRV did what I think is the best cover of this song using the guitar in a way only he could.
This probably sounds weird, but it is one of those random things I associate a song with, and I always think of it whenever the climax builds up to the final chord. One time in college, a bunch of us were hanging out late at night, and A Day In A Life was on. The climax with the orchestra had started, and I looked over to the hallway, and one of my friends was standing there in the entrance. All you could see was the silhouette of his body. He is really tall. His legs were standing perfectly straight, and I could see his body slowly swaying back and forth to the climax playing, and when the final chord was hit, he slumped over with his long hair hanging, and his arms dangling. He stood that way for about 7 seconds or so, and then he raised back up. I remember weird stuff. Does that mean I'm weird?The more we listened to it and once I started taking piano lessons, the more I was in awe of the final chord. I remember my brother and I would take out our Casio watches and start timing the instant they hit that final chord. We would slowly turn the sound up on the stereo incrementally as the chord continued so we could still make it out, so we could time how long you could actually keep hearing it. We would then inevitably then argue over how long it actually could be heard once we got the stereo up to full volume, futilely trying to make out the last vestiges of that wondrous sound.
Holy cow, this is beautiful. I love that this thread, along with the appreciation for the music itself, is also giving me a new paradigm into which to think about music, and not just the Beatles. When I told my wife and daughter what you said about her finding the hinges in "Let It Be", we had a great discussion of what that exactly meant, and your comments put the biggest smile on her face. I've been meaning to tell you that. I thank all of you for encouraging her in a time where that doesn't always happen.One last word about A Day in the Life.
Ever since hearing @Shaft41's daughter's remarkable cover of Let It Be and commenting that an old musician friend said the key to a good cover was finding the hinges in a song, i've been thinking about that word. That's what makes A Day in the Life so momentous - it's the hinge upon which the world of modern music turns.
Up to that point it was all about influences. Blues, Woody Guthrie, Satchmo, Elvis, skiffle, Berry, R&B, Li'l Richard, Dylan, folk, Bo Diddley, Buddy Holly, whatever. The village that the Lonely Hearts Club played to & about was all we lonely people and where music do come from. Day in the Life capped it by being first aspirational, then conversational, then invitational. "We can be this common and we can be this grand and it will all add up to something mad & wonderful, you'll see. Pick up your voice and join in!" And that note, that daring and daring note, said "next?" and music was ours. After all the influences, what we were finally making was us, ours. I can make anything sound like The Wizard of Oz - that's pretty much all i can do. But i think that's it. Dunnnnnnnnnnnnhhhhhhhhhhhhhhhhhhhhhhhhhh hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
I'll take "Sounds That Can Never Be Unheard for $2,000, Alex."Dunnnnnnnnnnnnhhhhhhhhhhhhhhhhhhhhhhhhhh hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh(squeak squeak)hhhhhhhhhhhhhhhhhhhh
love them, and they have been mentioned.While we are talking about that last note of A Day in the Life, I think it's appropriate for me to mention these guys for the first time in the thread.
The Rutles