The backing track is clompy, and we don’t need to hear all the you-you-you-you’s anymore. This song is a key early step in the very public therapy he embarked on, culminating in the simple and wrenching “My Mummy’s Dead” on the still-searing Plastic Ono Band LP. After the first visit to Parlophone, McCartney and Lennon went back to Liverpool and did what needed to be done. A secret weapon: Lester’s crisp quasi-documentary photography, which captured the chaos of young girls chasing the band in all its kinetic, feral glory. what is the weirdest beatles song, you know weird, creepy lol. And the only way to do that, given the weight of the Beatles’ presence, is to take a look at everything the band put on record over its eight-year recording career. It all gets a bit tedious after about 2 seconds, when the novelty of listening to Lennon and McCartney seemingly have a competition to see who can sound the most hoarse wears off. Pepper’s was released. This may be the most innovative and creative piece of recording during the entire decade of the 1960s, which is saying something. Yes, we should all be empathetic for what Braunwyn is going through, but it’s no reason that Gina should give her a pass. Muse once decided they were a dubstep band for a song and that was atrocious as well! And an honorable mention for “Everybody’s Got Something To Hide (Except Me and My Monkey). McCartney and Lennon were tossing half-baked, substandard throwaways onto the band’s later releases. But Lennon helped him get the lyrics right. There’s something real and raw in this, even if in the end it’s slightly received, by which I mean, he’d heard one should write a song about an unapproachable and haughty woman, rather than having actually experienced one. Eric Clapton wrote the song "Layla" for Pattie Boyd. (The two rhythms guitars are whatever the aural equivalent of mesmerizing is.) Do you have no good taste? The release of With the Beatles was where things in England began to get weird. Another sui generis single that outpaced the previous sui generis single and pointed the way to ever more maturity and depth. A terrible puppet show-esque sing along that was seemingly aimed at infants who sometimes eat glue. Lennon would tame and focus these feelings to much better effect a few years later on Plastic Ono Band. Within You Without You…you apparently just haven’t been there. “If I ever needed someone / You’re the one that I’d be thinking of” is a remarkably diffident opening line for a love song. Finally, liking the beginning of one take and the end of a second, he had the engineer tie the two together — which sounds easy, but variations in the speed and pitch of the two takes made it anything but. For those who don’t know what that august aggregation was, it was a conceptual musical-comedy group (which has a cameo in the Magical Mystery Tour movie) that regularly did much funnier tracks than this. True, there are a few uncontested inclusions as well. Here, Lennon, playing a bit with Dylanesque vocal stylings, produces another passionate pop song about self-doubt. mine has to be either blue jay way, or love you to. Some people like this song for the guitar attack, and the full-throated vocal attack as well. The song later turned up on the Yellow Submarine soundtrack album. Love the segue to “While My Guitar,” though. Brooke Smith Answers Every Question We Have About, “I know I’ll forever be the girl in the pit. This apocalyptic plea for mutual oral gratification is set to an appropriately orgiastic arrangement; so strained with desire is the singer that he can’t even sing the words correctly. It’s insular and doesn’t mean anything, which means it doesn’t really resonate. (Because of McCartney, there were fewer No. (They were in fact supposed to play live, but in the end the group created a typically ornate backing track in the studio to sing in front of.) In other words, the melody itself tells a story. At first it was unclear what, exactly, the Abbey Road medley is supposed to be. McCartney is barely even processing what he is saying. In continental fashion, the family invited McCartney to live with them. Why does the movement have “broken wings”? A beautiful McCartney song that much more could have been made of. The weirdest thing about the song is how the title words come on a low note that Lennon doesn’t quite hit, a rarity for a band with such vocal precision from the start. I use the songs on those releases to create this ranking, with some ephemera (like the German versions of “She Loves You” and “I Want to Hold Your Hand,” or George Martin’s Yellow Submarine orchestrations) ignored, with a few other interesting tracks that have dribbled out over the decades added in. When I talk to people and they say which Beatles songs they don’t like it’s almost always their cover songs or George’s Indian music songs and revolution number 9 gets a mention but never any of those others. Still, this is a clichéd and received idea. The film featured the members of the Beatles on what was supposed to be a surreal version of the British tradition of the touristy bus trip, and was shown in a high-profile forum: The traditional BBC day-after-Christmas special (Boxing Day, there). Pepper’s — supposed to be a suite of songs by the psychedelically uniformed and happily oompah-ing Lonely Hearts Club Band — is another question. And now the girls …”). How about “Long Long Long”? Either that or you were just aching for a fight. He’s got a million of ’em. The title came from McCartney’s chauffeur. Have you never heard deep singers before? But the conceit didn’t extend past the second song. Of the myriad call-and-response numbers McCartney threw together, this is one of the most lethal. But at best it’s a goof, and none of it means anything. Lennon went into his subconscious; McCartney stayed out, and looked around him, attentively, focusing his whimsy for once and capturing moment after moment of surreal small-town life. (“Baby, you’re a rich fag Jew,” he’d sing.) On the second album, McCartney is stretching himself in the smiling rising melody — engineers marveled at the band’s vocal precision in the studio — and a loping bass line that won’t stop. Admittedly, the only reason Ringo did get that chance was because quality control on ‘The White Album’ was so staggeringly low that had he handed in a song that consisted of nothing but the noise of him scraping a rake across a rusty garden gate, then that also probably would have been accepted! The same cannot be said for ‘Octopus’s Garden’, The Beatles’s second attempt at appealing to the all important under fives demographic. The song ended up being the (highly) inferior B side of “The Long and Winding Road,” the group’s last single before they broke up. Agree. This is Lennon’s greatest plain pop ballad, the one that can stand beside McCartney’s best. You don’t have to love t, but you don’t have to be so cruel about it! The first use of a sitar in a Beatles record. The Help! The verses are not too memorable, and the “peasant” rhyme is dreadful, but there’s a wonderful slide into the chorus. The line about pain leading to pleasure takes this to the next level, as does his sharp intakes of breath. He was the era’s most successful songwriter, and, in fact, is probably the most successful songwriter of all time. But Pepper’s doesn’t make sense if it’s not put in context. welllll…that was hilarious….would you like to go out sometime? If someone has a contemporaneous TV interview in which McCartney explains the civil-rights connection to this song, I’ll take it back, but I think it’s bullshit. The hullabaloo obscured more than a couple of bad reviews, which noticed that it’s a weak album when it comes to songs. A beloved track — the B side of “I Want to Hold Your Hand” — done with an understated complexity and boasting some precise harmonies and a wailing lead vocal from Lennon. This first turned up on an American release, Beatles VI. No one else in the band could play those drums and probably no one else in the world was a better fit. Until “Please Please Me,” Lennon and McCartney’s songwriting forays were Buddy Holly– and Everly Brothers–style works, with simple romantic plaints, plainly sung, and resonant harmonies they tried hard to re-create. Pepper’s band for this, their most celebrated (and technically advanced) album. But something in him was wounded by the group’s experience more than anyone else, even Harrison, and the period from 1967 to 1970 seems to have been an extremely painful one for him. Grainger. The trouble with too many of his compositions is that they turn in on themselves; they have no meaning outside of the actual song, and neither do the funny guitar noises he comes up with here. They aren’t greats but they aren’t the Beatles worst. As Lennon himself put it, this is what you get when you’re stoned all the time and don’t give a shit. Once again, individual tastes. I’m a retired recording studio owner/producer/very amateur (wannabe, wishiwas, nevergonnabe) musician. (Indeed, Harrison has three songs on the album.) After the Beatles, McCartney ducked into an iconoclastic solo career that ultimately grew into a genial ’70s superduperstardom; with guidance from Lee Eastman, he became as rich as you can imagine.