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In this thread I rank my favorite post-Beatles Beatles songs: 291-1. (4 Viewers)

jwb said:
I don't fault anyone for liking those parts (I mean, it made the record.) I'm just not one of them.

In Blinded by the Light, I hang in there because it does get good again. 
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:kicksrock:   Worst cat fight ever.

Mostly I wanted to post that because someone nearly always does if two female posters disagree, and it's never not funny.

 
krista4 said:
Good morning!

82.  What’s That You’re Doing (Tug Of War, 1982)  Spotify  YouTube

(Paul #37)

I’m going to let you all in on a little secret:  this isn’t that great a song.  Maybe I didn’t need to tell you that.  But since this is my “favorites” list, and Stevie Wonder is second only to the Beatles as my favorite artist,* it gets an otherwise unjustified position on my list.  The good part of this song is Stevie.  The bad part is Paul.  I don’t know what happened here and why Paul used the vocal style that he did, but it. does. not. work. 

The song came about when Stevie simply began grooving during a session.  Because Paul perceived that the keyboard part Stevie was improvising was its own bass line, Paul jumped in on drums instead of bass, to avoid stepping all over what Stevie was doing.  Even that proved too much for Stevie, who directed Paul to cut back, and later Paul replaced his drum line in the overdubs, along with adding guitar and a terrific bass part as well as Andy MacKay on lyricon.  As I said, Stevie pulls this song out for me, from his spoken word intro to his vocal performance throughout, but it doesn’t hit that deep funk groove I would have loved.  And Paul’s vocal…why?

OH described the issues better than I do...well, maybe:  “One thing you notice about fake white guy electronic funk of the era is the riff is too short and it’s in 4/4 time with the drums.  [makes sounds]  Say a Parliament riff or a DC gogo band riff is in 7/8 or 6/7 time, the guitar/bass/horns riff in 7/8 and the drums in 4/4 or 8/8 time, and the riffs are way longer.  [makes sounds]  A riff where the 8 and the 1 are the same.  Where the drummer is playing the 1 there is a silent 8 from the riff.  [makes sounds]  Like a circular thing.  That’s how you get a really deep groove.  Which that song doesn’t have despite the length.  That’s why Funkadelic or Parliament songs weren’t as long, but the groove was deep.  That song took a bunch of funk signifiers without making funk.  Stevie Wonder killed it on the vocals, though.”

This is another song where I find the “Twin Freaks” version worth a listen as well.

*And also because it is not “Ebony and Ivory.”

UP NEXT:  the green, green grass of home...
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This is so '80s. But this is how radio-friendly funk sounded in that brief period after the death of disco but before Thriller changed everything. I could not nearly have begun to explain it like he did, but I get exactly what OH is saying. The groove should sustain and it doesn't. It's like little computer blips arranged rhythmically. I do enjoy the spacey part around 4:00, though. And Stevie's vocal and keys, of course. 

"We love you, yeah, yeah, yeah" -- not sure if I should smile or cringe. 

 
krista4 said:
81.  Paul McCartney and Wings -  Junior’s Farm (single, 1974)  Spotify  YouTube

(Paul #36)

This is one I’ve always felt like I should love more than I do.  Jimmy McCulloch’s blistering solos are certainly a highlight and established the new guy in the band as a force.  But I find the choruses a bit plodding, and the “song written around one note” style had been employed better by Paul in other instances. 

As previously mentioned, the song is about the farm of songwriter/musician Curly Putman, Jr. (writer of such songs as "Green Green Grass Of Home" and "D.I.V.O.R.C.E."), where the band stayed at during their Nashville sessions.  By all accounts, the band had a great time at the farm – riding horses, having cocktail parties, and generally relaxing except for Paul’s dedication to continuous songwriting.  Paul repurposed some musical ideas he’d recorded the prior year, gave the song a title inspired by Dylan’s “Maggie’s Farm,” and wrote some nonsense lyrics around it.  In addition to the standout performance by McCulloch, I enjoy the flanging on the vocal the most.  This song reached #3 on the US charts.  It’s a nice rocker with a solid structure but leaves me wanting just a little bit more.

UP NEXT:  another reject from the Let It Be sessions
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This may be a function of first being exposed to this song in college (for some reason, the Philly stations I listened to didn't play it) after hearing nothing but overproduced dreck from Paul for 7 years, but I LOVE this one. The guitars are majestic and the momentum the song builds is incredible. Killer riffs + killer melody = Pip is in heaven. It sounds like it would work gloriously live, so I'm befuddled why it wasn't in the Wings over America/Rockshow setlist. I don't see anything wrong with the "Blinded by the Light part." Top 10 Paul for me. 

 
krista4 said:
80.  Every Night (McCartney, 1970)  Spotify  YouTube

(Paul #35)

Hey look!  Over there!  No, over here!  It’s another fantastic Paul melody!  Paul wrote this one in Greece in 1968 and can be heard playing an early version of it during the Let It Be sessions, but it’s unclear how far the band ever got in considering it for the album.  Paul himself didn’t seem to think much of the song at first, but pulled it to play with Wings on some of the "Wing Over The World" tour dates, and then beginning in the 1990s started performing it with some frequency on tour, continuing into the 2010 tour.  It’s a lovely little thing, with some beautiful harmonies to compliment that lilting melody.  Being in the DIY vein of McCartney (and McCartney II and the upcoming McCartney III!!!)  (!!!), it features Paul on all the instruments, which leads to my only minor quibble with the song.  I fear pointing it out, because once you notice it, you can’t listen to it the same again.*  I love this sweet little song regardless of that.  To me it represents the first in a long line of nice “domestic bliss” songs from Paul during his time with Linda. 

*OK, it’s the drums.  Terribly basic drum part way too high in the mix.

UP NEXT:  Potentially a RINGO SHOWCASE!?
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Oh damn, those are some loud drums (and I, who have no musical talent whatsoever, probably could have played that part). 

The acoustic guitar parts and vocals are the real story here, though. It's down-home in the good way, not the affectation way. 

 
Pip's Invitation said:
Oh damn, those are some loud drums (and I, who have no musical talent whatsoever, probably could have played that part). 

The acoustic guitar parts and vocals are the real story here, though. It's down-home in the good way, not the affectation way. 
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I agree regarding the rest.  It's a shame those drums are so distracting!  

 
Pip's Invitation said:
This is so '80s. But this is how radio-friendly funk sounded in that brief period after the death of disco but before Thriller changed everything. I could not nearly have begun to explain it like he did, but I get exactly what OH is saying. The groove should sustain and it doesn't. It's like little computer blips arranged rhythmically. I do enjoy the spacey part around 4:00, though. And Stevie's vocal and keys, of course. 

"We love you, yeah, yeah, yeah" -- not sure if I should smile or cringe. 
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The votes are in and the answer is...cringe!

 
krista4 said:
Good morning!

82.  What’s That You’re Doing (Tug Of War, 1982)  Spotify  YouTube

(Paul #37)

I’m going to let you all in on a little secret:  this isn’t that great a song.  Maybe I didn’t need to tell you that.  But since this is my “favorites” list, and Stevie Wonder is second only to the Beatles as my favorite artist,* it gets an otherwise unjustified position on my list.  The good part of this song is Stevie.  The bad part is Paul.  I don’t know what happened here and why Paul used the vocal style that he did, but it. does. not. work. 

The song came about when Stevie simply began grooving during a session.  Because Paul perceived that the keyboard part Stevie was improvising was its own bass line, Paul jumped in on drums instead of bass, to avoid stepping all over what Stevie was doing.  Even that proved too much for Stevie, who directed Paul to cut back, and later Paul replaced his drum line in the overdubs, along with adding guitar and a terrific bass part as well as Andy MacKay on lyricon.  As I said, Stevie pulls this song out for me, from his spoken word intro to his vocal performance throughout, but it doesn’t hit that deep funk groove I would have loved.  And Paul’s vocal…why?

OH described the issues better than I do...well, maybe:  “One thing you notice about fake white guy electronic funk of the era is the riff is too short and it’s in 4/4 time with the drums.  [makes sounds]  Say a Parliament riff or a DC gogo band riff is in 7/8 or 6/7 time, the guitar/bass/horns riff in 7/8 and the drums in 4/4 or 8/8 time, and the riffs are way longer.  [makes sounds]  A riff where the 8 and the 1 are the same.  Where the drummer is playing the 1 there is a silent 8 from the riff.  [makes sounds]  Like a circular thing.  That’s how you get a really deep groove.  Which that song doesn’t have despite the length.  That’s why Funkadelic or Parliament songs weren’t as long, but the groove was deep.  That song took a bunch of funk signifiers without making funk.  Stevie Wonder killed it on the vocals, though.”

This is another song where I find the “Twin Freaks” version worth a listen as well.

*And also because it is not “Ebony and Ivory.”

UP NEXT:  the green, green grass of home...
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This sounds like two old white dudes trying to be funky. Which is hard for Stevie Wonder to pull off. I can not condone this, Stevie should know better.

 
krista4 said:
Still a valid point to say top 10 for you!  I was just curious, particularly for you since you've listened to so much.
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Also, remember the prior conversation about songs that made an impact right away? I still remember exactly where I was when I heard JF for the first time. (Even though it was 15+ years old at that point.)

 
krista4 said:
Pip's Invitation said:
Also, remember the prior conversation about songs that made an impact right away? I still remember exactly where I was when I heard JF for the first time. (Even though it was 15+ years old at that point.)
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Wow, that is definitely making a statement!  Very cool.

I don't think I can say that about any of these songs.  :bag:   
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Also, my first song up tomorrow might be one of those that you guys love due to place/time/nostalgia, while I don't remember it from the time it came out at all.  

 
krista4 said:
Wow, that is definitely making a statement!  Very cool.

I don't think I can say that about any of these songs.  :bag:   
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It helped that I remembered the reaction of someone I was with -- the editor-in-chief of the school paper that I worked on, who up to that point I had never seen express any real interest in music. When JF came on, she got all excited, so that made me pay attention. And then I was like, damn, this IS exciting! 

 
krista4 said:
Singalong Junk:  "This is probably going to be 'Junk' with more vocals."  [k4:  No, less vocals.  We’re supposed to sing along.]  "Well, I’m not doing that."
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🤣   Not sure how I even saw this.....like most people, I'm only reading one out of every 27 posts at this point.    [NOTE:  krista, this is a joke, just in case you think it is serious in your heightened state of annoyance!]    "Well, I'm not doing that."   Hahahahaha.   I actually laughed out loud at that.

 
Pip's Invitation said:
This is so '80s. But this is how radio-friendly funk sounded in that brief period after the death of disco but before Thriller changed everything. I could not nearly have begun to explain it like he did, but I get exactly what OH is saying. The groove should sustain and it doesn't. It's like little computer blips arranged rhythmically. I do enjoy the spacey part around 4:00, though. And Stevie's vocal and keys, of course. 

"We love you, yeah, yeah, yeah" -- not sure if I should smile or cringe. 
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Kind of amazing (disappointing) that two musical geniuses come up with this song and Ebony and Ivory.

 
You cool kids aren't going to bring me down with your naysaying of "What's That You're Doing".  I don't care if I'm eating my sunbutter sandwich all alone at my faraway lunch table.  I'm middle-aged.  I'm white.  I wouldn't know funk if it bit me on the ###.  But, dagnabbit, I think this song is funky and I'm darn well going to funkin' enjoy it.  

 
Shaft41 said:
You cool kids aren't going to bring me down with your naysaying of "What's That You're Doing".  I don't care if I'm eating my sunbutter sandwich all alone at my faraway lunch table.  I'm middle-aged.  I'm white.  I wouldn't know funk if it bit me on the ###.  But, dagnabbit, I think this song is funky and I'm darn well going to funkin' enjoy it.  
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I still like it, too.  :shrug:   I'm not going to eat a sunbutter sandwich, though.

 
79.  All Those Years Ago (Somewhere In England, 1981)  Spotify  YouTube

(George #25)

This ranking really is all about nostalgia and a love for the Beatles more than significant love for the song.  I expect most of you know the background on it, but for those of us who were under a rock in 1981 (I was listening to Styx and Journey)…  George originally wrote this song for Ringo, but Ringo didn’t believe he did it justice vocally (pipe down, @prosopis!) and decided not to pursue it for his album.  After John was murdered, George rewrote the lyrics as a tribute to John and called in both Ringo (on drums) and Paul (on backing vocals along with Linda and Denny Laine) to work on it.  The song reached #2 on the US charts, and the notion of the three surviving Beatles coming together* to record in honor of John is enough for me to give it a good ranking.  It’s otherwise a “good enough” but not great composition, of which the highlight for me is not any Beatle but instead Herbie Flowers on bass. 

I have mixed feelings about the lyrics to this song.  The “tribute” parts, such as where George references John’s songs, touch that tiny still-warm piece of my heart.  But overall, the lyrics are quite bitter!  And they also seem to be about George just as much as they are about John, setting up warring factions of “I” and “you” (George and John) on the one side preaching “love” and “how much to give” against “they” (most everyone else) who have “forgotten all about God.”  The use of “I” in the first lines of the verses and the focus on God, which wasn’t exactly a big thing for John, make this song sound more about George railing against his usual targets than a tribute to John.  For a song that people seem to love for its nostalgia, it’s not really so nostalgic as much as a protest against the current state of affairs and the perceived future, with a little reference to John thrown in – which is OK since George could damn well sing about whatever he wants, but it makes me confused.

*They were never all three together in the recording of the song, so I mean this metaphorically.  And yes, I purposefully referenced a John song, because I’m clever like that.

VERDICT:  Not a RINGO SHOWCASE!

UP NEXT:  Potentially a RINGO SHOWCASE!?

 
Shaft41 said:
You cool kids aren't going to bring me down with your naysaying of "What's That You're Doing".  I don't care if I'm eating my sunbutter sandwich all alone at my faraway lunch table.  I'm middle-aged.  I'm white.  I wouldn't know funk if it bit me on the ###.  But, dagnabbit, I think this song is funky and I'm darn well going to funkin' enjoy it.  
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There are people in this thread who have met me. I feel comfortable in saying "cool" is not a term they'd use to describe my pasty-white ###.

That said, I do know a little about funk. What Oliver Humanzee said was right: the rhythm and beat is cut too short to plow the groove. 

(same happens with Queen chopping the bass line in half from Chic's "Good Times"  on "Another One Bites The Dust"; the guitar line & studio tricks make up for some of their thievery and turn it into a much more exciting record)

I blame Stevie for this, though it's Paul's parts that are the weakest on it.

 
Uruk-Hai said:
There are people in this thread who have met me. I feel comfortable in saying "cool" is not a term they'd use to describe my pasty-white ###.

That said, I do know a little about funk. What Oliver Humanzee said was right: the rhythm and beat is cut too short to plow the groove. 

(same happens with Queen chopping the bass line in half from Chic's "Good Times"  on "Another One Bites The Dust"; the guitar line & studio tricks make up for some of their thievery and turn it into a much more exciting record)

I blame Stevie for this, though it's Paul's parts that are the weakest on it.
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Stevie and Paul didn't really have good recording sessions together, despite the whole "together in perfect harmony" bit.  Stevie was constantly hours late, which doesn't really suit the style of someone like Paul, and I think there was tension in terms of Stevie having a vision (no pun intended) for this song that wasn't being accomplished during the recording.  He didn't like what Paul was doing on drums, or on anything really, so I think that's why Paul just said "#### it" and then did a bunch of overdubbing later.  I just don't understand why he used that "easy listening" voice instead of one of the many other vocal options he has available to him (though I would not suggest the Rocky Raccoon voice).  

Welcome back in, by the way.  I'd wondered what you'd say about this song.  I hope you'll have some time to stick around more.

 
krista4 said:
80.  Every Night (McCartney, 1970)  Spotify  YouTube

(Paul #35)

Hey look!  Over there!  No, over here!  It’s another fantastic Paul melody!  Paul wrote this one in Greece in 1968 and can be heard playing an early version of it during the Let It Be sessions, but it’s unclear how far the band ever got in considering it for the album.  Paul himself didn’t seem to think much of the song at first, but pulled it to play with Wings on some of the "Wing Over The World" tour dates, and then beginning in the 1990s started performing it with some frequency on tour, continuing into the 2010 tour.  It’s a lovely little thing, with some beautiful harmonies to complement that lilting melody.  Being in the DIY vein of McCartney (and McCartney II and the upcoming McCartney III!!!)  (!!!), it features Paul on all the instruments, which leads to my only minor quibble with the song.  I fear pointing it out, because once you notice it, you can’t listen to it the same again.*  I love this sweet little song regardless of that.  To me it represents the first in a long line of nice “domestic bliss” songs from Paul during his time with Linda. 

*OK, it’s the drums.  Terribly basic drum part way too high in the mix.

UP NEXT:  Potentially a RINGO SHOWCASE!?
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top five Paul for me. might be for you, too if you could hear my singalong junk. most people dont know i can sing because my lack of range keeps me from keeping up with all the notes, so i just dont. there are just some songs - REM's "Losing My Religion" & Eagles "Lyin Eyes" come to mind - that, when they come on the radio, call a natural harmony out of me. useless to resist. it usually results in a great pleasure for me - my carmate staring at me with confused songlust. male or female - it's great. i dutifully shrug and change the station. "Every Night" is one of those.

 
78.  Take It Away (Tug Of War, 1982)  Spotify  YouTube

(Paul #34)

This song reminds me a lot of “Goodnight Tonight.”  Infectious earworm?  Check.  Excellent bass line that acts as a melody?  Check.  Better-than-average Linda backing vocals?  Check.  Top ten US hit?  Check.  Wacky music video (by the way, I must note Linda's complete lack of musicality or rhythm when she's "playing" tambourine near the beginning :lol:  )?  Check.  Could be dated to the very minute it was made?  Check.  Guilty pleasure?  Check.  So why do I have it a bit higher than “Goodnight Tonight”?

:shrug:  

I guess an argument could be made as follows:

86 Paul on drums, sub Ringo – advantage “Take It Away”

86 “pew-pew-pew sounds,” sub George Martin on electric piano and contributing a polished arrangement – advantage “Take It Away”

but

86 Denny Laine and Lawrence Juber on guitar, sub horns – advantage “Goodnight Tonight”

All that being said, the reason it’s ranked higher isn’t any of that…it’s just that I like it a little better.  I sing along at the top of my lungs and dance around more.  And that’s that.

VERDICT:  Not a RINGO SHOWCASE!

UP NEXT:  Potentially a RINGO SHOWCASE!?

 
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krista4 said:
79.  All Those Years Ago (Somewhere In England, 1981)  Spotify  YouTube

(George #25)

This ranking really is all about nostalgia and a love for the Beatles more than significant love for the song.  I expect most of you know the background on it, but for those of us who were under a rock in 1981 (I was listening to Styx and Journey)…  George originally wrote this song for Ringo, but Ringo didn’t believe he did it justice vocally (pipe down, @prosopis!) and decided not to pursue it for his album.  After John was murdered, George rewrote the lyrics as a tribute to John and called in both Ringo (on drums) and Paul (on backing vocals along with Linda and Denny Laine) to work on it.  The song reached #2 on the US charts, and the notion of the three surviving Beatles coming together* to record in honor of John is enough for me to give it a good ranking.  It’s otherwise a “good enough” but not great composition, of which the highlight for me is not any Beatle but instead Herbie Flowers on bass. 

I have mixed feelings about the lyrics to this song.  The “tribute” parts, such as where George references John’s songs, touch that tiny still-warm piece of my heart.  But overall, the lyrics are quite bitter!  And they also seem to be about George just as much as they are about John, setting up warring factions of “I” and “you” (George and John) on the one side preaching “love” and “how much to give” against “they” (most everyone else) who have “forgotten all about God.”  The use of “I” in the first lines of the verses and the focus on God, which wasn’t exactly a big thing for John, make this song sound more about George railing against his usual targets than a tribute to John.  For a song that people seem to love for its nostalgia, it’s not really so nostalgic as much as a protest against the current state of affairs and the perceived future, with a little reference to John thrown in – which is OK since George could damn well sing about whatever he wants, but it makes me confused.

*They were never all three together in the recording of the song, so I mean this metaphorically.  And yes, I purposefully referenced a John song, because I’m clever like that.

VERDICT:  Not a RINGO SHOWCASE!

UP NEXT:  Potentially a RINGO SHOWCASE!?
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Now, granted, I was eight when this song came out, and I liked the Beatles, but didn't really know a whole lot about them, except the most rudimentary stuff like how could that hussy Yoko break them up, but I loved this song at the time, and frankly, still do.  So, when I found out years later that it was a John tribute, I understood because of the timing, but was thoroughly confused by the lyrical content.  Still to this day, I jam out when it comes on, but I listen intently, thinking I must have missed or misheard a lyric because I'm just not finding much that seems Johnny-centric.  Still a fine tune though.  

 
krista4 said:
78.  Take It Away (Tug Of War, 1982)  Spotify  YouTube

(Paul #34)

This song reminds me a lot of “Goodnight Tonight.”  Infectious earworm?  Check.  Excellent bass line that acts as a melody?  Check.  Better-than-average Linda backing vocals?  Check.  Top ten US hit?  Check.  Wacky music video (by the way, I must note Linda's complete lack of musicality or rhythm when she's "playing" tambourine near the beginning :lol:  )?  Check.  Could be dated to the very minute it was made?  Check.  Guilty pleasure?  Check.  So why do I have it a bit higher than “Goodnight Tonight”?

:shrug:  

I guess an argument could be made as follows:

86 Paul on drums, sub Ringo – advantage “Take It Away”

86 “pew-pew-pew sounds,” sub George Martin on electric piano and contributing a polished arrangement – advantage “Take It Away”

but

86 Denny Laine and Lawrence Juber on guitar, sub horns – advantage “Goodnight Tonight”

All that being said, the reason it’s ranked higher isn’t any of that…it’s just that I like it a little better.  I sing along at the top of my lungs and dance around more.  And that’s that.

VERDICT:  Not a RINGO SHOWCASE!

UP NEXT:  Potentially a RINGO SHOWCASE!?
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Probably top 10 for me if I were daft enough to attempt rankings like this.  But I knew the horn section would not engender love in the K4 camp.  Great analysis though.  I still say there is no guilt in pleasure, only pleasure.  

 
Shaft41 said:
Now, granted, I was eight when this song came out, and I liked the Beatles, but didn't really know a whole lot about them, except the most rudimentary stuff like how could that hussy Yoko break them up, but I loved this song at the time, and frankly, still do.  So, when I found out years later that it was a John tribute, I understood because of the timing, but was thoroughly confused by the lyrical content.  Still to this day, I jam out when it comes on, but I listen intently, thinking I must have missed or misheard a lyric because I'm just not finding much that seems Johnny-centric.  Still a fine tune though.  
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I’m a few years older but pretty much same thing for me. I always thought it was a look back at the past (Beatles) but didn’t necessarily make the connection to Lennon’s death. I did have this record on Vinyl when I was a kid - likely from my Uncle John (R.I.P). I honestly didn’t listen to the full record much but liked it.

 
Shaft41 said:
Probably top 10 for me if I were daft enough to attempt rankings like this.  But I knew the horn section would not engender love in the K4 camp.  Great analysis though.  I still say there is no guilt in pleasure, only pleasure.  
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So, the difference between a top 10 ranking and #34 ranking, in the context of Paul's hundreds and hundreds and hundreds (x infinity) of songs, means you love it but I don't?  :lol:   You people are cray.

 
krista4 said:
So, the difference between a top 10 ranking and #34 ranking, in the context of Paul's hundreds and hundreds and hundreds (x infinity) of songs, means you love it but I don't?  :lol:   You people are cray.
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Exactly.  Now, I you looked at my #10 vs #34 Paul rankings, that would mean something.   That’s like the difference between the Beatles vs Matchbox 20 for me.

 
77.  Living In The Material World (Living In The Material World, 1973)  Spotify  YouTube

(George #24)

George wrote this song in 1971 as he was struggling with his place in the world as a former Beatle with access to all material comforts versus his desire for a spiritual journey and a world where faith would take precedence.  I love the structure of this song, with the big rock-band sound of the “material world” parts – including both Ringo and Keltner drums, horns, strong piano part, etc. in an almost-Spector-like feel – contrasting with the quiet, Indian feel to the “spiritual world” bridges, where I particularly love the use of tabla played by Zakir Hussein.  Every time he sings “spiritual sky,” I flash to this, though.  The end that sounds like stripper music is a bit distracting, but otherwise this is a fun ride.

VERDICT:  Not a RINGO SHOWCASE!  Well, we’ll keep trying for one.

UP NEXT:  One of George’s favorites?

 
krista4 said:
Do you have something in the "number" column?  ;)   (I haven't been able to fill out anything on my Morton sheet for a long time.)
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😁

Well, yes I do indeed have something in the number column....and it's a very, very low number.  As is the number next to Every Night (sometimes there's a benefit to only hearing melody and vocals as I never even noticed a drum on that song before).

Every Night: #8 McCartney album has one more song ranked higher (total chalk).  Lovely song made better by understanding the background that created it.

Take It Away: #4 !!!!  That Tug of War album has one more song in the top 20 (chalk to you, but looking forward to the reaction from others as I'd assume it is still to come, but maybe not)

 
Morton Muffley said:
😁

Well, yes I do indeed have something in the number column....and it's a very, very low number.  As is the number next to Every Night (sometimes there's a benefit to only hearing melody and vocals as I never even noticed a drum on that song before).

Every Night: #8 McCartney album has one more song ranked higher (total chalk).  Lovely song made better by understanding the background that created it.

Take It Away: #4 !!!!  That Tug of War album has one more song in the top 20 (chalk to you, but looking forward to the reaction from others as I'd assume it is still to come, but maybe not)
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Cool.  I'm glad we're getting some "hits" on these!

There must have been others between "Soily" and now, right?

ETA:  I can't figure out what the "chalk" selection left on Tug Of War would be.

 
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