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


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Maybe I should wait until I'm drunk and sappy, but I want to thank deeply and sincerely the people who participated in this thread.  Actually all of them, because even the ones who irritated me earlie

The Background: I don’t remember exactly when or why I decided to do this, but it’s been rumbling around in my head for a while to put the Beatles song into an order of personal preference.  When

1.  In My Life (Rubber Soul, 1965) Beatles version:  Spotify  YouTube There are only two songs I’ve ever heard that I thought were perfect in their composition and recording, by which I mean

2.  Across The Universe (Let It Be, 1970)

Beatles versions - all four official versions linked for comparison

Anthology 2:  Spotify  YouTube

WWF:  Spotify  YouTube

Let It Be:  Spotify  YouTube

Let It Be...Naked:  Spotify  YouTube  (Spotify link is to whole album as I can't find the song)

There’s no reason I should love this song so much.  I can’t connect with the spiritual vibe of “Jai guru deva om” (approximate translation is “Victory to God divine”), and I don’t get some soccer-mom-faux-empowerment feeling from the “nothing’s gonna change my world” part.  And yet, if I could hear the right recording of it, it would probably be my #1 song.  Something in there just scratches my musical itch.  What do I mean by the right recording?  Well, there are four officially released versions, not to mention any bootlegs, and each of them has something that I wish were slightly different in order to make it my “perfect” version.  

I’ll get to the issue of the recordings below, but first here’s what I love most about the song:  John’s vocal, the meter, the phrasing, and the lyrics.  On the not-messed-with recordings, his voice sounds delicate and gentle, intimate and as beautiful as it’s ever sounded.  As for the meter, I love the breathless propulsion and then dramatic slow-down resulting from John’s only singing one note for every syllable in the verses until each time he gets to “universe,” where he gives it a little trill.  And finally, there are the lyics and phrasing.  My favorite non-Beatle songwriter is legit-poet Leonard Cohen, and the lines in this song are to me as stunning a work of poetry as some of Cohen’s best works.  The imagery is stunningly evocative, and the internal rhymes are sublime.  The verses are every bit as masterful when read simply as poetry as when committed to song:

Words are flowing out
Like endless rain into a paper cup
They slither wildly as they slip away across the universe
Pools of sorrow waves of joy
Are drifting through my opened mind
Possessing and caressing me

Images of broken light
Which dance before me like a million eyes
They call me on and on across the universe
Thoughts meander like a
Restless wind inside a letter box
They tumble blindly as they make their way across the universe

Sounds of laughter, shades of life
Are ringing through my opened ears
Inciting and inviting me
Limitless undying love
Which shines around me like a million suns
It calls me on and on across the universe

The lyrics came to John as he was lying in bed with his first wife and irritated with her for some reason, but they quickly turned into a “cosmic song” for him:  “They were purely inspirational and were given to me.  I don't own it, you know; it came through like that. I don't know where it came from, what meter it's in, and I've sat down and looked at it and said, 'Can I write another one with this meter?' Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship; it wrote itself. It drove me out of bed. It's like being possessed; like a psychic or a medium. The thing has to go down. It won't let you sleep, so you have to get up, make it into something, and then you're allowed to sleep.”  John considered these possibly the best lyrics he ever wrote, and this time I agree with John – they’re perfectly breathtaking.

As to those recordings…  The song was originally recorded in early 1968 and intended as a possible single, but it was shelved in favor of “Lady Madonna” and others.  On these first recordings were John on vocal, George on a sitar for the intro and tambura elsewhere, John and Paul on acoustic guitars, and Ringo on svaramandal.  Take two of these recordings was released on Anthology 2 in 1996.

As the band continued to record and re-record the song, Paul decided to step outside the studio and ask a couple of the Apple Scruffs to join the newly harmonized chorus on backing vocals.  Two teenage girls then joined as singers on the chorus, and the group also added the wah-wah guitar part, maracas, and Paul on piano.  The first officially released version was based on this version and released in December 1969 on a charity album for the World Wildlife Fund. But before release, the sounds of birds and children playing were added, and the song was sped up a semitone from D to E flat.

The next version to be released was the Spector-ized version on Let It Be in 1970.  For this version, Spector slowed the song back down, all the way to D flat, stripped out the existing backing vocals, and added a 50-piece orchestra and a choir. 

In 2003, the Let It Be...Naked version was mixed and released, stripping out from the Let It Be version all but John’s vocal and acoustic guitar and George’s tambura. 

Or something like that.  Whew.

What we ended up with, then, were wildly different versions of the same song, all with different tempos and feels.  John loved the Spector version, calling it one of his best songs, and he even went so far as to accuse Paul of having sabotaged the earlier versions (for instance, by bringing in girls from the street to sing backing vocals).  I, as usual, don’t enjoy the Spector-ization at all.  But I also am not a fan of the WWF version due to all the bird noises and faster tempo, which I think makes John vocal sound wrong.  That leaves me with the naked version, which I find too stripped down, and the Anthology version, which ends up as my favorite but I really want that wah-wah guitar and some other elements on there.

Ideally, this is what someone needs to do for me:  take the version recorded for WWF before the birds and #### were added and it was sped up, then also strip out the crappy girls’ voices and add the sitar from Anthology 2.  Or, take the Anthology 2 version and add the backing harmonies from Paul and George, the maracas, the bass, and the wah-wah guitar. Get to it!

Fun fact: In 2008, to celebrate the 40thanniversary of this song and NASA’s 50thanniversary, the song was transmitted into space, toward the star Polaris, 431 light years from Earth, becoming the first song ever intentionally transmitted into deep space.

Mr. krista:

[Regarding naked version.]  “That’s definitely what John Lennon sounds like.  He doesn’t sound like that in the other one.  

[Regarding Let It Be version.] It’s slowed down, so it sounds like a lower key.  There’s all that reverb because that’s how Phil Spector could make it sound dreamy, because he’s a hack.  Listen to all that whoo-ooo-ooo part.  

 “Obviously I really like that song.  The naked version is the best version.  Really not digging Phil Spector version.  Seems like the studio stuff they’d done before was for joyful experimentation or to make a point on the record, and this is just tricks and hacks and Phil Spector’s trying to justify a paycheck.  That orchestration is how you’d orchestrate an Esther Williams dream sequence in a Hollywood production, which is where he’s at. It’s a lovely song.  I like the straight eighth-notes, because it seems breathless since the end of the line is the beginning of the next line.  It’s strange that more people don’t recognize it as one of the best Beatles songs, and that they seemed so unsatisfied even though they recorded it 500 different times.”

Suggested covers – Rufus Wainwright  Fiona Apple  David Bowie
 

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I wanted to post both write-ups BAM! BAM! but am swamped with work today so haven't made it to the next one yet.  I wonder what it could be??  🤔

Now to catch up on the thread, lunch, and that final song.

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2 hours ago, Ted Lange as your Bartender said:

Krista - let me just say that this thread has been an absolute joy and a privilege to be a part of.  I've adored the Beatles since I was 3 years old (shout out to my Dad), and getting to re-live each song one at a time and the re-triggering of memories and feelings associated with each one has been fantastic.  Thank you so much for taking us all on this journey the last few months! 

For the charity:  Sir Paul lost his mom at 14 years of age.  My incredible wife of 20 years lost hers at the age of 12.  And while I haven't yet been successful in convincing my wife to buy a Hofner bass and write universally acclaimed, timeless pop songs, I always try my best to help beat the hell out of the bastard that took her mom away far too early.

National Ovarian Cancer Coalition

 

Beautiful thoughts.  Thanks.  I'll get the donation going later today.  And I'm not giving up on her picking up that Hofner bass.

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8 minutes ago, Leroy Hoard said:

Reverse alpha or reverse chrono would be my choice.

I'm going to put a snippet of each song on a tape loop and then randomly draw 10 of them.

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8 minutes ago, krista4 said:

I wanted to post both write-ups BAM! BAM! but am swamped with work today so haven't made it to the next one yet.  I wonder what it could be??  🤔

I don't remember seeing Real Love ranked yet, so that's my guess.

Here's a cover you can us: Real Love

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10 minutes ago, krista4 said:

2.  Across The Universe (Let It Be, 1970)

Beatles versions - all four official versions linked for comparison

Anthology 2:  Spotify  YouTube

WWF:  Spotify  YouTube

Let It Be:  Spotify  YouTube

Let It Be...Naked:  Spotify  YouTube  (Spotify link is to whole album as I can't find the song)

There’s no reason I should love this song so much.  I can’t connect with the spiritual vibe of “Jai guru deva om” (approximate translation is “Victory to God divine”), and I don’t get some soccer-mom-faux-empowerment feeling from the “nothing’s gonna change my world” part.  And yet, if I could hear the right recording of it, it would probably be my #1 song.  Something in there just scratches my musical itch.  What do I mean by the right recording?  Well, there are four officially released versions, not to mention any bootlegs, and each of them has something that I wish were slightly different in order to make it my “perfect” version.  

I’ll get to the issue of the recordings below, but first here’s what I love most about the song:  John’s vocal, the meter, the phrasing, and the lyrics.  On the not-messed-with recordings, his voice sounds delicate and gentle, intimate and as beautiful as it’s ever sounded.  As for the meter, I love the breathless propulsion and then dramatic slow-down resulting from John’s only singing one note for every syllable in the verses until each time he gets to “universe,” where he gives it a little trill.  And finally, there are the lyics and phrasing.  My favorite non-Beatle songwriter is legit-poet Leonard Cohen, and the lines in this song are to me as stunning a work of poetry as some of Cohen’s best works.  The imagery is stunningly evocative, and the internal rhymes are sublime.  The verses are every bit as masterful when read simply as poetry as when committed to song:

Words are flowing out
Like endless rain into a paper cup
They slither wildly as they slip away across the universe
Pools of sorrow waves of joy
Are drifting through my opened mind
Possessing and caressing me

Images of broken light
Which dance before me like a million eyes
They call me on and on across the universe
Thoughts meander like a
Restless wind inside a letter box
They tumble blindly as they make their way across the universe

Sounds of laughter, shades of life
Are ringing through my opened ears
Inciting and inviting me
Limitless undying love
Which shines around me like a million suns
It calls me on and on across the universe

The lyrics came to John as he was lying in bed with his first wife and irritated with her for some reason, but they quickly turned into a “cosmic song” for him:  “They were purely inspirational and were given to me.  I don't own it, you know; it came through like that. I don't know where it came from, what meter it's in, and I've sat down and looked at it and said, 'Can I write another one with this meter?' Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship; it wrote itself. It drove me out of bed. It's like being possessed; like a psychic or a medium. The thing has to go down. It won't let you sleep, so you have to get up, make it into something, and then you're allowed to sleep.”  John considered these possibly the best lyrics he ever wrote, and this time I agree with John – they’re perfectly breathtaking.

As to those recordings…  The song was originally recorded in early 1968 and intended as a possible single, but it was shelved in favor of “Lady Madonna” and others.  On these first recordings were John on vocal, George on a sitar for the intro and tambura elsewhere, John and Paul on acoustic guitars, and Ringo on svaramandal.  Take two of these recordings was released on Anthology 2 in 1996.

As the band continued to record and re-record the song, Paul decided to step outside the studio and ask a couple of the Apple Scruffs to join the newly harmonized chorus on backing vocals.  Two teenage girls then joined as singers on the chorus, and the group also added the wah-wah guitar part, maracas, and Paul on piano.  The first officially released version was based on this version and released in December 1969 on a charity album for the World Wildlife Fund. But before release, the sounds of birds and children playing were added, and the song was sped up a semitone from D to E flat.

The next version to be released was the Spector-ized version on Let It Be in 1970.  For this version, Spector slowed the song back down, all the way to D flat, stripped out the existing backing vocals, and added a 50-piece orchestra and a choir. 

In 2003, the Let It Be...Naked version was mixed and released, stripping out from the Let It Be version all but John’s vocal and acoustic guitar and George’s tambura. 

Or something like that.  Whew.

What we ended up with, then, were wildly different versions of the same song, all with different tempos and feels.  John loved the Spector version, calling it one of his best songs, and he even went so far as to accuse Paul of having sabotaged the earlier versions (for instance, by bringing in girls from the street to sing backing vocals).  I, as usual, don’t enjoy the Spector-ization at all.  But I also am not a fan of the WWF version due to all the bird noises and faster tempo, which I think makes John vocal sound wrong.  That leaves me with the naked version, which I find too stripped down, and the Anthology version, which ends up as my favorite but I really want that wah-wah guitar and some other elements on there.

Ideally, this is what someone needs to do for me:  take the version recorded for WWF before the birds and #### were added and it was sped up, then also strip out the crappy girls’ voices and add the sitar from Anthology 2.  Or, take the Anthology 2 version and add the backing harmonies from Paul and George, the maracas, the bass, and the wah-wah guitar. Get to it!

Fun fact: In 2008, to celebrate the 40thanniversary of this song and NASA’s 50thanniversary, the song was transmitted into space, toward the star Polaris, 431 light years from Earth, becoming the first song ever intentionally transmitted into deep space.

Mr. krista:

[Regarding naked version.]  “That’s definitely what John Lennon sounds like.  He doesn’t sound like that in the other one.  

[Regarding Let It Be version.] It’s slowed down, so it sounds like a lower key.  There’s all that reverb because that’s how Phil Spector could make it sound dreamy, because he’s a hack.  Listen to all that whoo-ooo-ooo part.  

 “Obviously I really like that song.  The naked version is the best version.  Really not digging Phil Spector version.  Seems like the studio stuff they’d done before was for joyful experimentation or to make a point on the record, and this is just tricks and hacks and Phil Spector’s trying to justify a paycheck.  That orchestration is how you’d orchestrate an Esther Williams dream sequence in a Hollywood production, which is where he’s at. It’s a lovely song.  I like the straight eighth-notes, because it seems breathless since the end of the line is the beginning of the next line.  It’s strange that more people don’t recognize it as one of the best Beatles songs, and that they seemed so unsatisfied even though they recorded it 500 different times.”

Suggested covers – Rufus Wainwright  Fiona Apple  David Bowie
 

Always loved the Apple video cover of it, great combo of visual and sound. I think her boyfriend of that time directed it. And the guy in the hat near the end is John C. Reilly.

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K, ❤️ the write-up for "Across The Universe"! 

I have more to say about it, than even "I'm So Tired". And since I ranked it a mere one spot higher than you, on my list, I will have the honor of doing the highest-ranker-write-up for it. 👍

For now, I will say that I am so happy that you rank it so highly. Not because it matches my list, but because I now know that someone else gets such pleasure... I feel it too! 🤩

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11 minutes ago, Dr. Octopus said:

I don't remember seeing Real Love ranked yet, so that's my guess.

Here's a cover you can us: Real Love

I assumed it was going to be Leave My Kitten Alone

(by the way, how did this song not make it onto any album?  It’s definitely better than at least 10 or 15 of their proper songs.  Certainly not their worst cover)

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22 hours ago, krista4 said:

4.  I've Just Seen A Face (Help!, 1965)

Beatles version:  Spotify  YouTube

At the other end of the spectrum from "For No One," this time Paul describes the breathless feeling of the first inklings of falling in love.  It's a simple song in comparison to many of my other favorites, but it's perfect in the way it propels you through, with that fast tempo and the lyrical cascades expressing the insistent nature of these feelings.  I love the all-acoustic nature (first time recorded for a Beatles song, though later that day "Yesterday" became the second), beginning with those falling, double-tracked triplets that make me feel like I'm actually, y'know, falling.  Then the song moves into a folk, almost-Bluegrass sound, with no bass and with only Ringo joining the guitars by brushing the snare.  

The first verse is sung without Paul's having taken a breath, adding to the urgency and excitement he's expressing; he's able to repeat this on the fourth verse as well.  The choruses feature Paul harmonizing with himself, and his vocals in these sections even outdo what he accomplishes in the verses.  This song ranks high on the "can I sing along to it" scale, as I can sing both of the vocal parts (not at the same time) just as Paul did, albeit not with quite that same skill.  Paul's acoustic accompaniment and George's 12-string work, in particular his solo, are excellent, and Ringo adds the perfect C&W feel with the brushed snares and maracas.

The lyrics are simple on their face, but, when combined with the propulsion of the tempo and the cascades, they perfectly capture that sense of head-over-heels infatuation.  I love the internal rhyme schemes as well, which give more texture to the verses' vocal that doesn't jump around on many notes.  For instance, on these lines, note how the three sets of rhymes often come mid-measure:  "I have never known the like of this I've been alone and I have missed things and kept out of sight but other girls were never quite like this."  

Pure pop/C&W/folk/bluegrass perfection from Paul.

Mr. krista:  “I love that song.  First, the guitar part in the beginning is really fine playing, not pretentious.  Song is so fast, with that anticipatory feeling of falling in love that you really believe him.  Kind of repeats himself, in that feeling of lalala, you know what I’m talking about because I’m a dude whistling to get laid.  Not many love songs invoke that feeling of falling in love, that excitement and anticipation.  Kind of a master song writer thing."

Suggested cover:  Leon Russell intensified bluegrass version.  Brandi Carlile does a decent cover, but only live, with crowd noise that I find too distracting to link any of them.

a brilliant one, that my parents would sing all the time!  my dad loved bluegrass.  and grass.  my dad loved the guitar work in this one and would play it often.

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26 minutes ago, Dr. Octopus said:

I don't remember seeing Real Love ranked yet, so that's my guess.

Here's a cover you can us: Real Love

:hot:   Real Love and Free As A Bird were discussed earlier as to why they wouldn't be in my rankings.  

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1 minute ago, krista4 said:

:hot:   Real Love and Free As A Bird were discussed earlier as to why they wouldn't be in my rankings.  

I read you write-ups so I do remember that. ;)

ETA: for some reason I actually like that Adam Sandler cover and just wanted to link it.

Edited by Dr. Octopus
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20 minutes ago, DA RAIDERS said:

a brilliant one, that my parents would sing all the time!  my dad loved bluegrass.  and grass.  my dad loved the guitar work in this one and would play it often.

Man, it must a been awesome to be at your place as a kid. 

Heck...as anything. 

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Final album stats: Revolver your clear "winner" with both mean and median rankings 14-16 spots better than runner-up Help!

Album					High	Low	Mean	Median
----------------------			----	---	----	------
Please Please Me			35	202	131	147
With the Beatles			12	194	140	149
A Hard Day’s Night			23	161	82	72
Beatles for Sale			56	185	137	149
Help!					4	157	72	64
Rubber Soul				1	158	75	77
Revolver				5	159	58	48
Sgt Pepper’s Lonely Hearts Club Band	6	165	92	89
Magical Mystery Tour			44	197	143	160
The Beatles (aka White Album)		10	204	114	120
Yellow Submarine			31	171	114	127
Abbey Road				3	196	90	88
Let it Be				2	200	108	105
Singles, etc.				9	198	98	99

Standings by mean (average) rank:

Album					High	Low	Mean	Median
----------------------			----	---	----	------
Revolver				5	159	58	48
Help!					4	157	72	64
Rubber Soul				1	158	75	77
A Hard Day’s Night			23	161	82	72
Abbey Road				3	196	90	88
Sgt Pepper’s Lonely Hearts Club Band	6	165	92	89
Singles, etc.				9	198	98	99
Let it Be				2	200	108	105
The Beatles (aka White Album)		10	204	114	120
Yellow Submarine			31	171	114	127
Please Please Me			35	202	131	147
Beatles for Sale			56	185	137	149
With the Beatles			12	194	140	149
Magical Mystery Tour			44	197	143	160

Rubber Soul and Hard Day's Night would flip-flop based on median rank, but nothing else would change.  Abbey Road and Sgt Pepper in a near dead heat.

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I'm glad I didn't tell my daughter about this thread.   She would kill me if she knew krista ranked our song #1and I didnt.  

Edited by Getzlaf15
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1 minute ago, Shaft41 said:

As a fellow "In My Life" #1 person, I feel that this agreement with K4 supercedes every single one of our disagreements.  The universe is in harmony, or some such ####.  

Pools of sorrow, waves of joy.

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1 hour ago, krista4 said:

2.  Across The Universe (Let It Be, 1970)

Beatles versions - all four official versions linked for comparison
 

Hmm. Weird thing. Whenever i listen to Across the Universe, i "hear" a descending modal scale beginning on the word "world" in the chorus. It's what i like most about the song (because John is modes and modes are John) - i hear it descend three times and ascend the 4th. Just listened to all four versions you listed and none of them have it. The WWF version suggests it, but that's the first time i've heard that version so that's not it. There's a descending scale at the end of the Spector, but not in the way i hear it. Must be sumn my head just adds. Same thing happens a lot when i listen to Joni Mitchell records because, in a lot of her songs, she comes up with a melody, finds the harmony, then throws out the melody and sings the harmony. Of course, then a harmony singer listens to it and "hears" Joni's first draft. That's fun, but this is perplexing.

Most importantly, this means we have the same favorite Beatles' song :wub::wub:. My Mary smiles up to me and her breastbone rattles with a purr of peace & pleasure.

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1.  In My Life (Rubber Soul, 1965)

Beatles version:  Spotify  YouTube

There are only two songs I’ve ever heard that I thought were perfect in their composition and recording, by which I mean that I listen to them and can’t think of a single sound that I would add or subtract or change, or tempo or meter change I would make, not even a single pause I’d extend or contract.  One is Big Star’s “The Ballad of El Goodo.”  And then there’s this.

In 1964, a journalist named Kenneth Allsop asked John why he didn’t write more personal songs, such as the poetry John wrote in his book, In His Own Write. Inspired by that question along with his then-current fascination with Bob Dylan, John set out out to write what he considered the first song to be written specifically about his own life, “a journalistic vision of a trip from home to downtown on a bus naming every sight.”   John considered this “remembrance of friends and lovers of the past” his first major piece of work:   “Up till then it had all been sort of glib and throwaway. And that was the first time I consciously put my literary part of myself into the lyric.” 

Though John wrote the lyrics, Paul contributed significantly to the composition of the song by contributing some of the melody, including on the bridges, as well as the three-part harmonies.  Paul later claimed a bit more, making this one of a couple of songs where the two vocally and publicly disagreed on a substantial part of the songwriting credit, but I don’t want to focus on that here.

As it turns out, it’s hard for me to write about perfection.  This isn’t a song I want to break down element by element, because the beauty arises from each element working perfectly with the others. That said, I’ll list a few of the highlights for me:

  • The piano part that I thought for years was a harpsichord.  Actually that effect was purposeful, as George Martin describes it:  “I did it with what I call a 'wound up' piano, which was at double speed – partly because you get a harpsichord sound by shortening the attack of everything, but also because I couldn't play it at real speed anyway. So I played it on piano at exactly half normal speed, and down an octave. When you bring the tape back to normal speed again, it sounds pretty brilliant.”  Fittingly, Martin threw down this bit while John was having a break for tea, likely having left with one of his usual vague but insistent directives such as, “Play it like Bach!” or “Make it sound Elizabethan!”
  • Those harmonies weaving in and out, bringing emphasis to the lines John sings solo.  And John’s vocal, among my favorites from him.
  • That extra beat/pause just before John goes into the falsetto near the end.
  • And John’s falsetto near the end.
  • George’s short but poignant guitar intro.
  • Drums and percussion.  Mr. krista elaborates on this below.  I’ll just mention the little triplets before dropping back into syncopation on the fifth and seventh lines of the verses.   Subtle but sublime.
  • I understand the lyrics are great, but I don’t care.  What I hear is only how they’re sung, which is wistfully but with nearly equal parts sadness and contentment.  I don’t have to listen to the words but from only the vocal sound can picture John thinking both fondly and with melancholy about earlier times, not just sappy nostalgia but a clear-eyed reminiscence along with an equal appreciation for what he has today.

Rather than listening to the parts, though, I prefer just to let this one wash over me as a perfect whole.

Mr. krista:  “You know how I feel about this song.  The measured considered drumming is perfect for a song about someone considering or taking stock of their life, and looking back on choices they’ve made with affection at the remove of a few years.  It’s simply perfect.  A hack would do it too fast.  He wisely doesn’t hit the high hat on each note because it’s in eighth notes, which would sound crazy fast and rushed and not measured.  But there’s nothing keeping time – he uses the snare because he’s a lefty, but the snare is always right there where it needs to be, just like the protagonist, who wanders around and is there.  Everything in the song is about the rest of the song.  It works beautifully.  It’s such a beautiful and simple sentiment that it can be expressed perfectly in that short amount of time.  It’s just…great.”

Suggested covers:  Johnny Cash  And because he credits The Beatles with his entire musical career, Ozzy Osbourne

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52 minutes ago, Man of Constant Sorrow said:

Man, it must a been awesome to be at your place as a kid. 

Heck...as anything. 

it was pretty damn cool!..  i miss the #### out of my dad, and it's been 27 years.  mostly, i wish he could have met my wife and daughter.  thinking about him singing to his granddaughter is making me cry as i write this.

 

@krista4  thank you so much for this thread.

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22 minutes ago, wikkidpissah said:

Hmm. Weird thing. Whenever i listen to Across the Universe, i "hear" a descending modal scale beginning on the word "world" in the chorus. It's what i like most about the song (because John is modes and modes are John) - i hear it descend three times and ascend the 4th. Just listened to all four versions you listed and none of them have it. The WWF version suggests it, but that's the first time i've heard that version so that's not it. There's a descending scale at the end of the Spector, but not in the way i hear it. Must be sumn my head just adds. Same thing happens a lot when i listen to Joni Mitchell records because, in a lot of her songs, she comes up with a melody, finds the harmony, then throws out the melody and sings the harmony. Of course, then a harmony singer listens to it and "hears" Joni's first draft. That's fun, but this is perplexing.

Most importantly, this means we have the same favorite Beatles' song :wub::wub:. My Mary smiles up to me and her breastbone rattles with a purr of peace & pleasure.

There's another version I've read about but not heard that's out there somewhere.  It could have been on that one.

There's also a take that was released on the White Album 50th anniversary edition last year, but I don't think that would be it.

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12 minutes ago, Binky The Doormat said:
21 minutes ago, ScottNorwood said:

🎊🎊🎊🎊🎊🎊🎊🎊🎊🎊🎊

what are these supposed to represent?

I don't know either but just assumed it was something very good.

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3 minutes ago, krista4 said:

There's another version I've read about but not heard that's out there somewhere.  It could have been on that one.

There's also a take that was released on the White Album 50th anniversary edition last year, but I don't think that would be it.

Just found Tape #1 of the Alphabetical Beatles i taped off the radio 30some years which was how i listened to the Fabs for a generation. It's the Spector on that. So, just a trick of my head, more or less. Hmm.

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On 1/29/2019 at 2:26 AM, krista4 said:

I just read to Mr. krista the list of guesses of my #1, and he commented on them and then responded with, "It's [not my #1 song]."  I thought he was joking and laughed until I saw his look of confusion.  Then he said, "Oh yeah, it's [also not my #1 song]."  On third try, he got it right.  *Divorce re-pending.*

Now that # 1 is revealed I'm curious if you remember what Mr. Krista's incorrect guesses were? I wonder if he was at least close.

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1 hour ago, heckmanm said:

Final album stats: Revolver your clear "winner" with both mean and median rankings 14-16 spots better than runner-up Help!


Album					High	Low	Mean	Median
----------------------			----	---	----	------
Please Please Me			35	202	131	147
With the Beatles			12	194	140	149
A Hard Day’s Night			23	161	82	72
Beatles for Sale			56	185	137	149
Help!					4	157	72	64
Rubber Soul				1	158	75	77
Revolver				5	159	58	48
Sgt Pepper’s Lonely Hearts Club Band	6	165	92	89
Magical Mystery Tour			44	197	143	160
The Beatles (aka White Album)		10	204	114	120
Yellow Submarine			31	171	114	127
Abbey Road				3	196	90	88
Let it Be				2	200	108	105
Singles, etc.				9	198	98	99

Standings by mean (average) rank:


Album					High	Low	Mean	Median
----------------------			----	---	----	------
Revolver				5	159	58	48
Help!					4	157	72	64
Rubber Soul				1	158	75	77
A Hard Day’s Night			23	161	82	72
Abbey Road				3	196	90	88
Sgt Pepper’s Lonely Hearts Club Band	6	165	92	89
Singles, etc.				9	198	98	99
Let it Be				2	200	108	105
The Beatles (aka White Album)		10	204	114	120
Yellow Submarine			31	171	114	127
Please Please Me			35	202	131	147
Beatles for Sale			56	185	137	149
With the Beatles			12	194	140	149
Magical Mystery Tour			44	197	143	160

Rubber Soul and Hard Day's Night would flip-flop based on median rank, but nothing else would change.  Abbey Road and Sgt Pepper in a near dead heat.

My apologies to early and late Beatles.

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11 minutes ago, Tom Hagen said:

Now that # 1 is revealed I'm curious if you remember what Mr. Krista's incorrect guesses were? I wonder if he was at least close.

Yeah, they were both top 10.  I think one was "I'm So Tired" and the other was "Across The Universe."

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10 minutes ago, Man of Constant Sorrow said:

Two I'm writing up... 

...thnx for the added pressure! 😥

😁

I'm not sure if you had the highest ranking for "I'm So Tired," are you?  @Sebowski is a big fan.

And actually, if he ever pokes his head in here again, that's Mr. krista's #1.

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Just now, krista4 said:

I'm not sure if you had the highest ranking for "I'm So Tired," are you?  @Sebowski is a big fan.

And actually, if he ever pokes his head in here again, that's Mr. krista's #1.

Oh, you're right; I'm not the highest. 

But, I'm high enough; and no one's gonna stop me! 🧐

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