Beatles.
UPDATE (7/28): A few weeks ago, my ftp-thing decided to make all of the original files from these two original posts (from May) go away, banished to the land of wind and ghosts. Well, now they're back. They're not exactly new, but they are alive once more. Part two is here.
UPDATE (11/15): Bienvenue à mes visiteurs Français! (registration req., je pense)
It came to mind when thinking about this post that, contrary to logic, the Beatles are probably only important to a lot of younger music fans in an academic sense, i.e. as history. As in, one must like the Beatles, because they're the Beatles. Which is a bit unfortunate. Perhaps more unfortunate is the fact that I'm making such a broad generalization. Either way, let's get down to it. My personal Beatles history began in the spring of 1998, when, as a junior at Indiana University, I took Z320, a 10-or-so student seminar called "The Music of the Beatles." And it was as cool as you'd think it would be. For an entire semester, for two hours on Tuesday and Thursday nights, we would dissect a Beatles album from start to finish, led by a professor from IU's Music School who (duh) wins the Professor of the Year award about every year. His approach is what does it: it's part archival numerology, Mark Lewisohn-style, part biography, Philip Norman-style, part music-theory, George Martin-style, and part rabid fan, RFK 1965-style. After that class, I could never experience the Beatles the same way again, and I'm glad for it.
That said, the best way to show my appreciation is to break the band's recorded output into what Professor Gass (who I steal from just about any time I talk about music) calls "Beatle Moments." The following, then, is a list of (some, but not all of) my favorite moments (not entire songs) from the Beatles' recorded output. You'll catch on. So, here goes, in no particular order:
Count-Offs. A decade before Dee Dee Ramone canonized it, "I Saw Her Standing There" (mp3) left Paul's "One, two three, FAAH!" in, just blowing up little transistor radio speakers everywhere. Then, the same thing happened on Revolver, specifically on "Taxman" (mp3) but with the addition of some chemical inspiration. And then, it's not really a count-off, but the very beginning of "A Hard Day's Night" (mp3) just holds so much promise, looking back.
Sweet and Sour. By the time of Pepper, John and Paul had fully established their light and dark lyrical oppositional forces, and it comes across no better than on the chorus of "Getting Better" (mp3), with John's "It can't get no worse" casting a shadow over Paul's trippy sunniness.
The "I'm Crying" part from "I Am the Walrus." Which is just gorgeous, perhaps the best part of the song, and then leads back into his best Surrealist moment, the guttural, nasty "Yellow matter custard, dripping from a dead dog's eye." Just fooking brilliant (mp3).
The Opening 12 Seconds from "She Loves You." Beginning with a quick bass drum roll, it then leads into what may be the most ebullient couplet ever recorded, with the "yeah! yeah! yeah!" part just summing up the release of a thousand stomachs full of butterflies. Then, the yeah yeah yeahs give way to Ringo's cymbal crash, which, when it settles, exposes the first verse. Perfection. (mp3)
Studio Tricks. This one's fun. Okay, let's start with the guitar solo from "I'm Only Sleeping." It's obviously been reversed, but that's not the whole story. George actually played the actual solo backwards, and then they flipped the tape for the master, making it a forward sounding lead break, but with just enough backwards sound to fit perfectly in one of John's droniest songs. Listen to both of them (album version first, and then the original George take---acquired by just playing the song backwards) (mp3). Then, let's look at the piano solo from "In My Life," quite possibly my favorite Beatles song. It's actually a sped-up George Martin take, played along with Ringo's drums slowed down like 60%. Listen to what the original could have probably sounded like, then the master version (mp3). Next, the story's been told a million times that, for the "Rain" single, John wanted the B-side to be the entire song backwards, because it would have been supremely trippy. Thankfully, the rest of the group talked him into just tacking a backwards version of the first verse at the end of the song. Hear it backwards and forwards (mp3).
Fun with Stereo. I'm probably not in the minority when I say that I prefer the mono recordings of their early stuff (pre-White Album, natch), but that doesn't make it any less fun to play with the split channels and see what's hiding in the mix. I used to do this all the time with the fader knob in my car. But, when you can separate the drums from the rest of the second chorus of "Strawberry Fields Forever" and see how amazing they sound, it's just worth it. And I'm remembering how just scary this song is on headphones, too. Listen to it with mixed channels, and then with just John and Ringo (mp3). Next, let's just separate John from the rest of everything for his first verse on "A Day in the Life" (mp3), because it's just stunning. If you haven't seen how George Martin reacts to it in the Anthology, it says more than I ever could. Finally, the backing vocals on "Paperback Writer," (mp3) when separated out, are just the band saying "Frere Jacques."
The Middle Eight. They essentially invented it, and here are a few of my favorites. First, one of Paul's most overlooked songs, "Things We Said Today" from A Hard Day's Night. The middle eight gets worked back into the rest of the song with some slick wordplay (mp3). Then, John's best one, from "You're Gonna Lose That Girl" (mp3). The "I'll make a point" part is one of my all-time favorite parts from any song, and then the second time around, when George's guitar comes in, it's just magic---like the guitar is doing a "nah-nah-nah-nah-nah" to the guy who, yes, will lose his girl to John. Then, George's best song and best middle eight, from "Something" (mp3). Then, John's waltz-time interruption to Paul's "We Can Work It Out" (mp3), complete with harmonium. Finally, John's dizzying childhood flashback in the middle of "She Said," (mp3) which just collapses (thanks to Ringo) back into the verse.
John's Vocal Thing. More specifically, John's best "ahhhh" moments. I've always loved that music was such a release for John---he'd had far and away the most fucked-up life of any Beatle, and was the least enthused about the fame (some would argue George, and I'd agree sometimes)---and it was always released in these great, somewhat cathartic moments. Here are a few: First, my all-time favorite, and one of my favorite Beatles moments---the "aaaaaahhhh" right before the third chorus of "Ticket to Ride." Just heartbreaking (mp3). Then, there's the one from "Girl" (mp3). Then, there are two that aren't as much "aaaaahhhhh", but still qualify: the "oooohhhooohhoooohhoohhhh" from "Eight Days A Week" (mp3) and the just stunning falsetto ending to "In My Life" (mp3).
Paul's Vocal Thing. My favorite vocal tic from Paul is his propensity to "whoooo!," which falls in line with the fact that he had an unhealthy Wilson Pickett fascination. They tend to be buried in the mix, which makes them all the better---like they're struggling to get out. Here are two: from "Sgt Pepper" (at 19 seconds in) (mp3) and "Me and My Monkey" (14 sec.) (mp3).
Eric Clapton's solo from "While My Guitar Gently Weeps." The beginning of "Classic Rock," right here. Also the starting point for Duane Allman's part on "Layla" (mp3).
Ringo's Stick Work. Massively underappreciated. One of the most efficient, colorful rock drummers of all time. Disliked mostly by those who prefer Peart, Bonham or Moon. Here are two of my favorites, which are also slightly similar. The post-Ronettes open to "What You're Doing" and the proto-Chemical Brothers open to "Tomorrow Never Knows" (mp3), a title that came from Ringo himself.
Paul's Lead Break from "Taxman." A month or so earlier, Roger McGuinn said his opening lead from "Eight Miles High" was inspired by Ravi Shankar and John Coltrane. Paul took the inspiration. The best part is when the verse comes back in, and the guitar fills in behind George. Also only a single channel to highlight the guitar (mp3). And yes, it's Paul, not George.
The "Saving all your money for a rainy day" line from "Ballad of John and Yoko." Because it ends with "Last night the wife said, 'Oh, boy, when you're dead, you won't take nothin' with you but your soul...Think!'" which still gives me goosebumps, even when I type it (mp3).
The First Verse of "Hey Bulldog." Just plain nasty, and legend has it, directed at Paul, who harmonizes (mp3). Also, the best from Yellow Submarine.
Paul's Codas. If anyone could wrap up the nasty breakup with a pretty bow, it's cheesy old Paul. Honestly, I still get teary when I listen to both of these. First, the "one sweet dream" part of "You Never Give Me Your Money" (mp3), which was a precursor to Paul's later Wings errors, but here, just perfect. Then, the best of all: "You and I have memories, longer than the road that stretches out ahead," directed at John, from "Two of Us" (mp3).
Oh, yeah, leave your favorites in the comments. I'm already thinking of so many I missed (the openings to "I Me Mine" and "Helter Skelter," the middle of "Day Tripper," John's opening line from "Mr. Moonlight,"....)
UPDATE (11/15): Bienvenue à mes visiteurs Français! (registration req., je pense)
It came to mind when thinking about this post that, contrary to logic, the Beatles are probably only important to a lot of younger music fans in an academic sense, i.e. as history. As in, one must like the Beatles, because they're the Beatles. Which is a bit unfortunate. Perhaps more unfortunate is the fact that I'm making such a broad generalization. Either way, let's get down to it. My personal Beatles history began in the spring of 1998, when, as a junior at Indiana University, I took Z320, a 10-or-so student seminar called "The Music of the Beatles." And it was as cool as you'd think it would be. For an entire semester, for two hours on Tuesday and Thursday nights, we would dissect a Beatles album from start to finish, led by a professor from IU's Music School who (duh) wins the Professor of the Year award about every year. His approach is what does it: it's part archival numerology, Mark Lewisohn-style, part biography, Philip Norman-style, part music-theory, George Martin-style, and part rabid fan, RFK 1965-style. After that class, I could never experience the Beatles the same way again, and I'm glad for it.
That said, the best way to show my appreciation is to break the band's recorded output into what Professor Gass (who I steal from just about any time I talk about music) calls "Beatle Moments." The following, then, is a list of (some, but not all of) my favorite moments (not entire songs) from the Beatles' recorded output. You'll catch on. So, here goes, in no particular order:
Count-Offs. A decade before Dee Dee Ramone canonized it, "I Saw Her Standing There" (mp3) left Paul's "One, two three, FAAH!" in, just blowing up little transistor radio speakers everywhere. Then, the same thing happened on Revolver, specifically on "Taxman" (mp3) but with the addition of some chemical inspiration. And then, it's not really a count-off, but the very beginning of "A Hard Day's Night" (mp3) just holds so much promise, looking back.
Sweet and Sour. By the time of Pepper, John and Paul had fully established their light and dark lyrical oppositional forces, and it comes across no better than on the chorus of "Getting Better" (mp3), with John's "It can't get no worse" casting a shadow over Paul's trippy sunniness.
The "I'm Crying" part from "I Am the Walrus." Which is just gorgeous, perhaps the best part of the song, and then leads back into his best Surrealist moment, the guttural, nasty "Yellow matter custard, dripping from a dead dog's eye." Just fooking brilliant (mp3).
The Opening 12 Seconds from "She Loves You." Beginning with a quick bass drum roll, it then leads into what may be the most ebullient couplet ever recorded, with the "yeah! yeah! yeah!" part just summing up the release of a thousand stomachs full of butterflies. Then, the yeah yeah yeahs give way to Ringo's cymbal crash, which, when it settles, exposes the first verse. Perfection. (mp3)
Studio Tricks. This one's fun. Okay, let's start with the guitar solo from "I'm Only Sleeping." It's obviously been reversed, but that's not the whole story. George actually played the actual solo backwards, and then they flipped the tape for the master, making it a forward sounding lead break, but with just enough backwards sound to fit perfectly in one of John's droniest songs. Listen to both of them (album version first, and then the original George take---acquired by just playing the song backwards) (mp3). Then, let's look at the piano solo from "In My Life," quite possibly my favorite Beatles song. It's actually a sped-up George Martin take, played along with Ringo's drums slowed down like 60%. Listen to what the original could have probably sounded like, then the master version (mp3). Next, the story's been told a million times that, for the "Rain" single, John wanted the B-side to be the entire song backwards, because it would have been supremely trippy. Thankfully, the rest of the group talked him into just tacking a backwards version of the first verse at the end of the song. Hear it backwards and forwards (mp3).
Fun with Stereo. I'm probably not in the minority when I say that I prefer the mono recordings of their early stuff (pre-White Album, natch), but that doesn't make it any less fun to play with the split channels and see what's hiding in the mix. I used to do this all the time with the fader knob in my car. But, when you can separate the drums from the rest of the second chorus of "Strawberry Fields Forever" and see how amazing they sound, it's just worth it. And I'm remembering how just scary this song is on headphones, too. Listen to it with mixed channels, and then with just John and Ringo (mp3). Next, let's just separate John from the rest of everything for his first verse on "A Day in the Life" (mp3), because it's just stunning. If you haven't seen how George Martin reacts to it in the Anthology, it says more than I ever could. Finally, the backing vocals on "Paperback Writer," (mp3) when separated out, are just the band saying "Frere Jacques."
The Middle Eight. They essentially invented it, and here are a few of my favorites. First, one of Paul's most overlooked songs, "Things We Said Today" from A Hard Day's Night. The middle eight gets worked back into the rest of the song with some slick wordplay (mp3). Then, John's best one, from "You're Gonna Lose That Girl" (mp3). The "I'll make a point" part is one of my all-time favorite parts from any song, and then the second time around, when George's guitar comes in, it's just magic---like the guitar is doing a "nah-nah-nah-nah-nah" to the guy who, yes, will lose his girl to John. Then, George's best song and best middle eight, from "Something" (mp3). Then, John's waltz-time interruption to Paul's "We Can Work It Out" (mp3), complete with harmonium. Finally, John's dizzying childhood flashback in the middle of "She Said," (mp3) which just collapses (thanks to Ringo) back into the verse.
John's Vocal Thing. More specifically, John's best "ahhhh" moments. I've always loved that music was such a release for John---he'd had far and away the most fucked-up life of any Beatle, and was the least enthused about the fame (some would argue George, and I'd agree sometimes)---and it was always released in these great, somewhat cathartic moments. Here are a few: First, my all-time favorite, and one of my favorite Beatles moments---the "aaaaaahhhh" right before the third chorus of "Ticket to Ride." Just heartbreaking (mp3). Then, there's the one from "Girl" (mp3). Then, there are two that aren't as much "aaaaahhhhh", but still qualify: the "oooohhhooohhoooohhoohhhh" from "Eight Days A Week" (mp3) and the just stunning falsetto ending to "In My Life" (mp3).
Paul's Vocal Thing. My favorite vocal tic from Paul is his propensity to "whoooo!," which falls in line with the fact that he had an unhealthy Wilson Pickett fascination. They tend to be buried in the mix, which makes them all the better---like they're struggling to get out. Here are two: from "Sgt Pepper" (at 19 seconds in) (mp3) and "Me and My Monkey" (14 sec.) (mp3).
Eric Clapton's solo from "While My Guitar Gently Weeps." The beginning of "Classic Rock," right here. Also the starting point for Duane Allman's part on "Layla" (mp3).
Ringo's Stick Work. Massively underappreciated. One of the most efficient, colorful rock drummers of all time. Disliked mostly by those who prefer Peart, Bonham or Moon. Here are two of my favorites, which are also slightly similar. The post-Ronettes open to "What You're Doing" and the proto-Chemical Brothers open to "Tomorrow Never Knows" (mp3), a title that came from Ringo himself.
Paul's Lead Break from "Taxman." A month or so earlier, Roger McGuinn said his opening lead from "Eight Miles High" was inspired by Ravi Shankar and John Coltrane. Paul took the inspiration. The best part is when the verse comes back in, and the guitar fills in behind George. Also only a single channel to highlight the guitar (mp3). And yes, it's Paul, not George.
The "Saving all your money for a rainy day" line from "Ballad of John and Yoko." Because it ends with "Last night the wife said, 'Oh, boy, when you're dead, you won't take nothin' with you but your soul...Think!'" which still gives me goosebumps, even when I type it (mp3).
The First Verse of "Hey Bulldog." Just plain nasty, and legend has it, directed at Paul, who harmonizes (mp3). Also, the best from Yellow Submarine.
Paul's Codas. If anyone could wrap up the nasty breakup with a pretty bow, it's cheesy old Paul. Honestly, I still get teary when I listen to both of these. First, the "one sweet dream" part of "You Never Give Me Your Money" (mp3), which was a precursor to Paul's later Wings errors, but here, just perfect. Then, the best of all: "You and I have memories, longer than the road that stretches out ahead," directed at John, from "Two of Us" (mp3).
Oh, yeah, leave your favorites in the comments. I'm already thinking of so many I missed (the openings to "I Me Mine" and "Helter Skelter," the middle of "Day Tripper," John's opening line from "Mr. Moonlight,"....)
posted by marathonpacks at 1:02 PM
85 Comments:
I am going to have to go with the intro to "I've Just Seen A Face"
It starts out almost like Dylan's "Corrina, Corrina" and then goes into a mike nesmith romp. I love the tune.. but I could play the intro over and over again forever
hmm, can't get more than a few seconds of any of these to download?
i love this post. its such a great read.
a must for any beatles fan!
(the studio tricks are amazing as well)
thank you for existing. outrageous post.
PS. I'm jealous of your class.
PPS. Have to throw this out there: Ringo's disbelieving "I've got blisters on my fingers" after 27 minutes of helter skelter always makes me grin.
That was a terrific post! Really enjoyed it, thanks.
Great GREAT post. Thanks a lot for putting in so much time on it. Much appreaciated.
Have you ever caught the massive break in Paul's voice singing the upper harmonies in "If I Fell?" I can't believe they left it in the final version, it's totally glaring.
Thank you for this post! My girlfriend goes to IU (vocal performance major), and she is trying to fit a class on the Beatles in her tight schedule. It sounds great!
I love the part in "This Boy" when it stops and John wails the "cry-y-y-y." And then the song crashes back together.
The bridge in "For No One"; John as the parents in "She's Leaving Home"; the opening guitar bit in "I've Just Seen A Face"; the odd fact that "Carry That Weight" manages to be so cathartic, despite the fact that it comes after so many uber-emotional set-pieces...
this is a wonderful post. thanks.
nice work. three quick favorite moments: all of john's "you've got to hide your love away," a really personal statement and very gut-wrenching, actually; ringo's "good night," which my daugthers can still sing because it was the only lullaby i knew to sing them when they were toddlers; and the organ/guitar mix and "i, me, mine," which never fails to make me swoon.
These additions are great (and are reminding me of how much I missed)! Keep 'em coming!
E$ - fab. thanks for this.
Eric, did you go over all the refs to the "Paul is Dead" elements to the songs in the class? I think many of those are fascinating...i.e. the "I buried Paul" voice at the end of Day in the Life.
The end of "Day in the Life" is actually Ringo saying "Cranberry Sauce" as some sort of studio non-sequitor left in for whatever reason. The "Paul is Dead" thing is (very) interesting in an urban legend sort of way--looking for clues and what-not--and it's great how John inserted the whole "scandal" into "Glass Onion."
I'd heard that (Cranberry Sauce) but it really does sound (to me) much more like "I Buried Paul."
Paul's (I'm guessing) guitar fills on Everybody's Got Something to Hide... I always use that song to defend Paul when people say hes all cheesy stuff, he's got the attitude too.
It is no surprise that I see another fantastic post from marathonpacks. Good job Eric!
I can't add much to the flow of the post and comments other than this..
When I was 7 yrs old, I snuck into my older brother's room and grabbed all of his Beatles 45's. I then subsequently labeled the inside of each one with my initials with a permanent marker..
My brother has never forgotten this...
The Beatles music formed my music tastes and will stay with me to the end...
merz
Amazing post. I'm a huge Beatles fan...down to all the Nagra rolls of Get Back. I got chills several times while reading this. I can never get sick of appreciating Beatles music. There's alway something new to discover. These guys invented nearly everything used today. Well done.
Great post. I love that every time I read, or listen, to someone talking about their favorite Beatles songs, I discover something new to appreciate.
For more Beatles fun, I'm going through every Beatles song from worst to first, with comments, at Heartache With Hard Work.
Oh, and a favorite moment to add: the "she loves you, yeah, yeah, yeah" during the outro to "All You Need is Love." And the horn on "For No One." And the first 13 seconds of "Hey Bulldog." And John's "I'll love her more..." on "When I Get Home." And...well pretty much everything.
i love you?
Excellent post. It's great to see these moments itemized. Thank you very much. I really enjoyed reading this.
awesome post!
You studied The Beatles at the University? I want a green card!
Wonderful post. Just to add a few more moments, I remember John singing "You really got a hold on me" (that's goosebumps), Ringo rocking it in "I wanna be your man", Paul screaming like mad when "Hey Jude" turns into gospel, George's guitar in "Polythene Pam" (well, actually in all of the Abbey Road album)...
Fantastic post. I'm currently finishing up a class on The Beatles at the University of Iowa. Absolutely amazing stuff. I'd say one of my favorite moments is the alarm (I believe Mal Evans') in the middle of "A Day in the Life." Amazes me how it completely fits in with the song and is only in there because they couldn't get it off the tape.
I stumbled upon this page via fluxblog and I was very very entertained by this post... Thank you for taking the time to dissect this. I didn't think there was any way I could possibly appreciate the Beatles more than I did.
the chorus - Penny lane is in my ears and in my eyes followed by the nice trumpets (think they are piccolo trumpets)
A four of fish and finger pies
In summer, meanwhile back
Brilliant, Eric. I'd add George's great shining moment in Here Come The Sun. If it's possible to capture warmth on a record... And as someone else mentioned, John in Hide Your Love Away--such subtle and sensitive phrasing. You have to listen closely to hear the way his voice catches.
How about the intakes of breath in "Girl"?
- the horns after the phrase "got to get you into my life"
- the dischordant piano that keeps going on and on and on in the verses of I Want To Tell You
- the grating drone in the bridge of Getting Better
- the barroom piano two-step in Rocky Raccoon
and finally:
- all the goofiness in You Know My Name (Look Up The Number), such as "Good evening and welcome to slaggers, featuring Dennis Obell... here we go... let's hear it for Dennis... ha-hey" or in the soft shuffle section when Paul's singing "babababababa" and "you know my name...ha! that's right... look up my number" or the cuckoo clock and bird calls that start the 3rd section or "you know me number 1, you know me number 2, etc." with that nice little piano solo leading into the last section filled with weird mumbling. Love it.
very intersting post.
This post is a piece of horse dung! ... Just kidding. Just trying to keep your ego in check. 32 comments? Good lord. Well-deserved.
Very educational. Thank you, sir.
Great piece. I guess 1 favourite among so many would be the traded guitar solos before The End on the 2nd side of Abbey Road. When they crash out just leaving the piano it always makes me gasp. Perhaps another post could be on your least favourite Beatle moments, just to remind ourselves they were only human after all. At least I think they were.
This is just so stunningly generous. Thanks for putting it together. I've been lately going through something of a minor Beatles renaissance (or naissance, really, as I never went through it before), and have been really digging:
--John's vocal entry to "Money"; and, yeah, in a similar vein, "Mr. Moonlight" (which never recovers)
--Paul's chuckling delivery of some part of "Back in the USSR"
--Ringo's part of "You Can't Do That," and also just for being a song a I can't immediately recall forwards and backwards
Can you isolate the backing vocals on "Hello Goodbye?" If so, you'll actually hear the lads singing "Hello goodbye hello go die!"
Excellent post. It's always nice to hear/read from people who trully appreciate these songs/albums. You definitely highlighted some of my favorite moments (and much more eloquently than I would've, I might add). If you haven't listened to the albums on headphones you've really missed out on a lot of them, I think.
Here are a few of my other favorite moments:
--the keyboard bit that goes up unexepectedly high on the "sun, sun, sun, here it comes" part of "Here Comes the Sun"
--the bass on "Baby You're a Rich Man"; I just can't think of another time I've felt so much coming from just one note.
--the sliding guitar parts that come in throughout on "Flying" (hopefully that's not too vague).
one other note: anyone interested in this post who doesn't already know "Beyond the Valley of A Day in the Life" by the Residents should really check it out; it's a magnificent collage of beatles moments
--Jared
Excellent post. I took Gass's Beatles class in the Fall of 2004, just amazing. Definitely the only class I've ever atteneded where numerous people were crying on the last day of class because it was over. I'll never forget Gass's comment in class stating, "If someone says they don't like The Beatles, they're lying." Thanks again for putting this stuff up, it was nice to read through all this again.
A few from the White Album which I have dissected and put back together more times than I can count:
-The horn line that accompanies the later choruses in "Ob-la-di Ob-la-da" is so melodic. The perfect counterpoint to the sung chorus. Truthfully, the style of how this simple song is built up to contain so many creative layers by the end is itself its shining moment. See also "Dear Prudence" for layer upon layer upon layer.
-When Paul goes falsetto and gets that great vibrato on the word "do" in "Why Don't We Do It In the Road" (Paul has lots of great falsettos on the album - see also the coda to "Cry Baby Cry" - 'can you take me baaaack,' and his scattish accompaniment to the solo in "Honey Pie").
-The way the organ and piano clunkily stumble back down to the tonic at the very end of "Rocky Raccoon" before your ears are assaulted by the intro to "Don't Pass Me By."
-"She's well acquainted with the touch of the velvet hand like a lizard on a window pane" - screeching staccato chord behind this line after the piano intro - how can it be so abrupt and work so well?
Thank you for a wonderful post.
Might as well keep the thread going on a terrific post:
George's guitar lines as an echo to each lyric throughout "She Came In Through the Bathroom Window."
Great post.
I'm no Beatles scholar, but I love the guitar part from the start of "And Your Bird Can Sing" (George?). And the middle eight of "Savoy Truffle" with the huge horns.
Great stuff, Marathonpacks.
One correction (in the comments, not the blog): though it is true that John says "Cranberry Sauce," it's at the end of "Strawberry Fields Forever," not "A Day in the Life."
That's another one that's helped by tape speed; if you speed it up about 40%, it's much more clear.
And how about George's brilliant guitar solos? Check out his melodic yet quirky solo in his "Old Brown Shoe." Then, "Fixing a Hole."
Oooh, yeah. Thanks for that, Brooks.
There will hopefully be a sequel on Monday, taking into consideration much of what's been selflessly added here.
The way that "Magical Mystery Tour" drops the tempo about halfway through (1:17) and chugs it's way back up to speed.
The piano outro on the same song and the way Paul's bass goes "bum-bum-bum-bummmm."
The filter/flange they put on the snare and hi-hats on "Blue Jay Way" and the chaotic drum fill that they fade in at 2:11 accompanied by the reverse snare sound (in the right channel).
The bridge on "And your bird can sing."
The counter-harmony during the bridge of "I'm Only Sleeping."
John's tribute to doo-wop on "Happiness is a Warm Gun." "When I hold you in my arms, and I feel my finger on your trigger..."
As far as middle-eight, the most seamlessly integrated comes on "Another Girl" (may not qualify since they do it twice).
The bass drum at the end of the second verse of "Mother Nature's Son."
I could go on...
I'm with the guy who wrote:
The filter/flange they put on the snare and hi-hats on "Blue Jay Way" and the chaotic drum fill that they fade in at 2:11 accompanied by the reverse snare sound (in the right channel).
I like "Blue Jay Way" and "Flying" and anything else that could be released on an indie album today and still sound modern or even experimental.
"She's Leaving Home" and "Fixing a Hole" are tops as well.
Great post!
Veddy veddy kool post (full disclosure: I wrote a "book" - that is, a school exercise book - about the Beatles when I was 11, though I think it was all plagiarized). But I have to cast some doubt on the claim that the Beatles invented "the middle eight." Although I do know the phrase mostly from their context - isn't a middle eight just a bridge, and thus going back to, like, Tin Pan Alley?
The sighs in "Girl" , the part following "and of course Henry the Horse dances the Waltz" in "For The Benefit of Mr Kite", and the whole "Only A Northern Song" which is purely amazing, with lot of unidentified sounds, the tapping and birds singing on "Blackbird", the percussions on "And I love her" (I don't know why, this song makes me happy and rather optimist).. There's so much things to say
I sometime wonder if there is not a Beatles song for each moment of life.
Anyway ,that was a great post !
wonderful job here. very much enjoyed reading this.
Fantastic post. One of my favorite things ever.
Many other moments to list, but I always enjoy listening for John to yell "Oh, fucking hell!" in the background when he flubs a line in "Hey Jude."
Hey, great post. I took that class as well with Glen Glass. That man is my hero!!! Wish I could have taken the intensive version in England over the summer. Anyway...way to push The Beatles. People need to appreciate them on all levels of significance. One of my favorite moments is in Day Tripper...the tambourine build to the crash that starts the 2nd verse...then Paul shouts, "TRIED to please her..." Fantastique!
I'd like to see the DailyCD site have an RSS feed.
But I guess that goes against their business model?
This was one of the all-time great posts of any blog I've seen recently. Thanks for the sound bytes - many of your favorite moments are mine too! Having been in my teens then, and grown up with the whole Beatlemania thing, and studying music from back then too, I'll just add a few:
The backing vocals in "You Won't See Me" -- John's "knew what I was" part, leading up to Paul's same lyric ("knew what I was missing") climax in the melody line. Perfect construction, leading back to verse. Chills!
As others have cited -- that big fat opeing chord in "Hard Day's Night" - a two guitar suspension chord. Believe me, back in 1964, it came like a shot of light -- there was NOTHING like this. Ever.
John's vocal in his song "Julia" written for his mother. The pain, the longing -- the sweet bridge -- and the loving reference to Yoko ("Ocean child calls me" -- that plaintive G9 to it's minor, Gm) No one else could ever sing this one.
The jazzy, tinkling piano during the last seconds in "Flying"!
John's saying "Baby!" right before the downwards piano glissando at the very end of "Lovely Rita" -- and going from the song's key of Bb major to the Ab minor transition only for the vamp out to get there!!
Anthology's vocals only version of "Because". Stunning.
The raw sexuality of John's lead vocal in "Leave My Kitten Alone". It's a wonder that this was never cleared for release until Anthology.
The rollicking, barrelhouse groove ("Out of college, money spent") after the clean, sweet opening part of "You Never Give Me Your Money"
Ringo's drum fills in "Day in The Life" -- they even freaked out Phil Collins, as he said in the "Pepper" documentary
Thanks again. I better stop now...
i love yr fucking passion, i love everyones, even for the canon, but i dont get it, they bore me.
Ringo's drumming is underappreciated because it's mostly Bernard Purdie
http://www.beatlesagain.com/breflib/purdie.html
The myth about Purdie's playing on Beatles tunes has been cleared up before. Both producer George Martin and Beatles expert and insider Mark Lewissohn (who worked with the original masters) have verified the untruths about this. Years after they -- John, Paul and George, and not Ringo but Pete Best -- did some tracks for Tony Sheridan in Europe in June 1961(before the Beatles had "made it big"), Purdie apparently did some drum overdubs for several of these on one of the re-releases of those sessions. Andy White, was the drummer on the first go at "Love Me Do" (See Anthology 1) but that's all.
You've shed some fine light on the technical side of the studio work and the wishes of the "lad's" regarding how they heard the music , not what ended up on vinyl. For that a tip of the hat for your hard work and research! I stole the last few precious moments of my wifes sleep playing the "Let it be" album...surprisingly i woke the beast from her sleep, without any repercussions!
This is great! Some personal favorites:
"For No One" is so perfect. Anyone who thinks Paul was a simpleton needs to listen to this heartfelt track.
John's vocals on "Money" are incredible and absolutely dwarf the original. Paul and George's "that's...what I want" is the icing on the cake.
The point in "Hey Jude" where John starts harmonizing with Paul always gives me goosebumps.
"The Ballad Of John & Yoko" shows Paul and John could still have fun together (they are the only 2 Beatles on the track). John does piano, guitar, and lead vocal. Paul handles bass, drums, and backing vocals.
"The Inner Light" may be the least known Beatle song that was commercially released (it was the b-side to "Lady Madonna") but I just love the Indian music.
George also shines on "If I Needed Someone", a great folk rock song.
John's inclusion of, "Isn't he a bit like you and Me" makes "Nowhere Man" much more sympathetic.
The "Mother Mary" verse is "Let It Be" is much more poignant when you realize Paul's mothers name was Mary. The deaths of both Paul's and John's mothers when they were young was a very binding tie the two had.
This one I just discovered the other day-the percussion by Ringo on "I'm Happy Just To Dance With You" is amazing. The fact that after 40+ years I can still find new things to like may be the greatest compliment that I could give to the Beatles music!!!
I really enjoyed this post and the memories. In addition to the moments you listed, some others of mine that come immediately to my mind:
* Billy Preston's electric piano solo on "Get Back."
* Some of Paul's amazingly lyrical bass lines, for example: "Lovely Rita," "Something," "Lucy in the Sky with Diamonds," "Eight Days a Week."
* The entire song "Help," which in my opinion represents John at his very best.
Some excellent notices by many others...
"I'm Only Sleeping"
During the bridge, Paul's harmony deviates away from John's melody but compliments it perfectly: "Keeping an eye on the world going by my window." Ahhhh! I love that.
"I Am The Walrus"
Those violins. Those violins.
"Long, Long, Long"
The piano part during the interlude. Radiohead has written many songs after this one.
"Lucy In The Sky With Diamonds"
"Everyone smiles as you drift past the flowers, that grow so incredibly high."
"Girl"
The 2nd or 3rd chorus where you hear John slowly & heavily draw in his breath. It's such a great way of furthering his expression of how he feels throughout the song.
"Got To Get You Into My Life"
The way they make it sound like there are two sets of drums on the track.
"Sgt. Pepper"
The false ending in the middle of the song. "Sit back and let the evening go..." followed by 4 brief descending horn notes to make you think the song ends. Then they jump back into it, full band! "Sgt. Pepper's lonely, Sgt. Pepper's lonely..."
"Help"
The incredible theatrics of the first 10 seconds. The music, the melody and the lyrics sound desperate and optimisitc at the same time.
"I Want You (She's So Heavy)"
As the coda progresses, a super-wind sound effect is mixed in, indicating that the guys could play this refrain forever. And then...it just stops.
I don't think you are entirely right when you claim that The Beatles invented the middle eight. Middle eights were pretty much a standard part of all Brill Building songs, and for instance, Neil Sedaka's "Breaking Up Is Hard To Do" features an absolutely brilliant middle eight that is also harmonically contrasting in the way that The Beatles' middle eights at their best tended to be.
Brill Building middle eights never had the kind of completely unprepared and surprising modulations that The Beatles would establish from "From Me To You" onwards though. They were always more prepared and controlled.
Plus The Beatles more or less pioneered the use of middle-eights in songs with a verse-chorus based build, which "Something" is a brilliant example of.
Agreed--I've been emailed several similar sentiments re: middle eight, and it was naught more than a lazy word-choice. They certainly didn't "invent" most of what they did (esp. lots of what's here), they just did things better than they'd been done before. Thanks.
Many fine additions. I am pleased to see that many of you allude to the unintentional magic that happened at times...so damn many times for one group!...w/ the Beatles. Just their harmonizing, timbre of their voices, phrasing, chemistry...all those goose bumps people have mentioned. That isn't to do w/ the efforts of the Beatles really...just our luck that they happened upon each other. A great synthesis of their natural gifts. Truly just a phenomenon not to be repeated. The Clash (sorry if this may not be the right crowd for them) is the ONLY other group I can think of that had this amazing chemistry and, together w/ beatle-like creative ambition, made many astonishing musical moments. This is not to say I put them in the same technical league as the Beatles...but they too were a happening
But to speak to the efforts the Beatles DID make consciously for a moment. They are all great, but Paul's level of musicianship, for me, just cannot be overstated. I would love to hear some mp3 posts isolating his f'ing brilliant bass lines. to name a few:
"Hey Bulldog"...all the way through...kicks ass
"...Guitar gently weeps"...especially under the "I don't know how ow ooows"...a weeping willow in and of itself. That fat tone on the Rickenbacker doesn't hurt either.
"old brown shoe"
...they just keep coming.
Back to their natural gifts...
I agree w/ whoever call "For No one" a perfect song. The chords and arrangement of "If I fell"..pretty great.
Lennon's vocal on "I'm so Tired" is raw and wonderful...one of my favs...
Great organ in "It's all too much!"
OK..I will just keep writing so I better stop. thanks for the time.
I just stumbled across this post, and I am a little giddy with excitement and glee! I've been a die-hard Beatles fan since I was a little girl teaching myself to read from the Sgt. Pepper gatefold (the first album to feature printed lyrics, by the way). I am in such total agreement with many of the moments mentioned here (and I too messed with the stereo tracks as a teenager and listened with absolutely breathless excitement to the "rap" and "philharmonic" versions of Strawberry Fields), and it really renews my sense of wonder and optimism to reflect on the Beatles' achievements as musicians and as pop culture phenomena. Thanks so much for this great post!
Terrific post and comments.
I have many favorite moments, but two very favorites that I haven't seen mentioned yet:
1. There's A Place - a profound display of naked emotion for a 1962 pop song - and the mood is captured naturally and near-perfectly in the vocal performances, as well as the bittersweet juxtaposition of the sunny merseybeat feel of the chugging clean rhythm guitar chords, bass and drums against Lennon's haunting harmonica lines.
It amazes me what level of magic was truly evidenced in this mostly-not-mentioned early album cut.
Also - very exciting imagining them performing this as a live take in the studio. Goosebumps.
2. Ringo's drumming in Hello, Goodbye.
Holy smokes - I pity anyone who fails to recognize Ringo's unique approach to his bandmates' songs.
This just happens to be, for me, the most dramatic and amazingly off-kilter yet perfect support for a relatively smooth, if '67-quirky pop tune.
Many times when listening to this song, I am compelled to rewind and relisten to nothing but the drums - particularly from the part in the verse where the background vocals sing 'i can stay till it's time to go' through the end of the track. Check it out if you've never noticed. It's amazing.
This has been great reading. Thank you!
John's vocal thing:
Don't let me down
at 2:42, 2:53, etc.
You stated: "the Beatles are probably only important to a lot of younger music fans in an academic sense, i.e. as history."
Have you sampled the host of beatles blogs and fan clubs on the internet??? It's bona fide beatlemania, my dear, and they're 15 year-old girls.
How about the one-note organ that fades in during the last verse of "You Won't See Me" - a lovely subtle touch. I always am surprised by it even though I expect it.
Great, great post. Loved it.
Here are a few of my fav. moments, off the top of my head:
1.) The first notes of "Here Comes the Sun" after having listened to all of "I Want You (She's So Heavy)." It's like a sparkling beam of light after going through a mind-warping tunnel. To this day, I still go into a trance when I listen to "I Want You (She's So Heavy)" and I still can't tell exactly when it'll end.
2.) On "P.S. I Love You" during the second chorus-y part when Paul sings "you know I want you to remember..." When he hits that "I want" part I get all tingly. I love it. I don't quite know what happens to his voice there, but I love it.
3.) On "We Can Work it Out" the drums normally go "bum bum" after the lines "only time will tell if I am right or I am wrong," but there's one spot where the drums like, double, and they go "ba dum dum, dum" and I just love it.
4.) The Anthology version of "Something." It's acoustic and it's chilling.
5.) If you listen very carefully in the background of the 4th verse of "I Want to Hold Your Hand," after the second "something" you can hear Paul repeat softly, "sumthin'" and it's fantastic.
I could go on and on and on.
By the way, I'm jealous that your school offered classes on the Beatles. I went to Miami of Ohio and we had no such thing. Although, I would have been the first to sign up if there had been.
I lost you at the word "oeuvre" in your 3rd paragraph.
Having found this link through RecordBrother I thought it might be something different than the usual Beatle stuff one finds all over the internet and in a billion Beatle books.
Sometimes there is the shotgun approach ("Yes, the Beatles early '61 to 'late '63 period is their best!") or the goofy magnifying glass approach ("ooh, the backing vocals on "Paperback Writer " when separated out, are just the band saying "Frere Jacques...and you can hear someone deliver a pizza during the cello solo in Helter Skelter..."
It's just music...the more you analyze it the more you'll turn into a stuffy old professor yourself. Look what digging into the music did for Manson.
you know, paul has a huge ego, alright, we'll give him that.
but the guy doesn't have a chance! he's a walking GOD. with posts like these, with British history textbooks adding sections about The Beatles in rgards to british influence - man. i would think i was freaking Apollo, for all of that.
this is wonderful, as usual.
As usual an awesome post, you surely make your mother proud!
John and Paul's counterpoint vocal in Dr. Robert. "well, well, well you're feeling fine..."
On one hand it's nice to see people talking about the best rock and roll ever written. On the other hand is makes me ill to read your waste of time and energy. You need only to listen to John Lennon's comments to the "gate crasher" in the movie "Imagine" to understand that the words and the music just happen. It is what they write about "now." The music and the extra touches happen "now" during studio time. All this analyzing and deep thinking crap is useless and ultimately pretentious beyond bearing. I can only assume that you and the majority of your readers missed out on the real deal in the sixties and are trying to turn it into some holy, other-worldly experience as if you, all these years later, REALLY know the Beatles. And only you can truly see what they were saying and doing. Horseshit! You are as off the mark with all that stuff as you could be. To sit around and wait for a certain drum roll, or a horn to come in here or there, or to give a rat's ass about a part being played backwards is just so much nothing that I can't imagine when you have time to sit back and enjoy the only purpose of the Beatles music and that is to enjoy it in it's entirety—as in just listen to it. John told that gate crasher that "no, I wasn't written about that, it was just something that rhymed at the time. I put it in because it worked at the time." Believe me fellow Beatle "fans," John and Paul weren't written and Martin wasn’t adding train whistles, and violins so that you could pick it all apart 40 years later and say they were geniuses because “Paul's harmony deviates away from John's melody but compliments it perfectly.” Jesus!
The only pleasure I get from the whole thing is knowing that John is laughing his ass off at you fools making him out to be a God because “you can hear him laugh” during a song or because he wrote, “cuckoo ca-choo.”
I’m sorry you missed the sixties but please give up the high-brow analyzing crap. Take real courses in college to help you prepare for real life, or even a well balanced life. But wasting your time with trying to see something that the creator of that something didn’t intend to be seen, is dumb. Just sit back and enjoy the music and keep the rest to yourself.
Long live the Beatles music, despite your efforts to make it more (or less) than Beatles music.
Just sit back and enjoy the music and keep the rest to yourself.
That made me almost spit out my drink. Now that's what I'm talking about! Thanks for taking the time to craft a rebuttal. But appreciating "moments" like I (and we) do here in these posts is not an exercise in trying to assess the creators' intents, or refigure the legend or whatever. It's far from "high-brow," and I could really give a damn if someone coughs in the background during a take. It's an attempt, clunky as it might be, to try and quantify what the band means to me, regardless of what they think they meant to their fans. There's nothing in here about the Beatles scheming to put one over on their fans (ahem, no Paul is Dead stuff), and the same format could be applied to any number of groups...the Beatles are just the easiest.
Agreed, these are genuine moments of Beatles brilliance. If writing about these is beyond the point, then why even visit sites that write about music at all? Excellent stuff anyway, marathonpacks.
I personally like the descending "Tell me that you've heard every sound there is" from And Your Bird Can Sing, which -- and I do believe this may have been by intention -- seems to cover an entire scale in its harmony part. Also, the "you can stay until its time to GO" backup vocals on Hello Goodbye are pretty great too.
Ringo's drumming on "A Day in the Life is pure genius. All the critics who say he is an average drummer should listen to this song again and focus on the drumming
Speaking of early Beatles, how about the John, Paul, and George's unison falsetto on "If there's anything I can dooo-ooo-oo" from "Tell Me Why"? I just have to smile at the balls it took to do and well it actually works.
great reading for Beatles fans....
I can't believe no one mentioned it but in "I Feel Fine," when Ringo brings the song back from its final "break" with those five snare drum cracks (each of which is followed by exquisitely timed bass drum knock)...one of the most powerful five-second stretches in rock music history!
Also, "I'm Happy Just To Dance With You" is a perfect example of The Fabs' greatness. Apparently written as a filler but it's actually superb pop music. 98 percent of all the bands there's ever been would give their left you-know-what to write a song that good.
Beautiful, beautiful post.
I read it and I knew I was reading something that was written by a true Beatles fan, just like myself.
I'm very glad you added the MP3 files as well, this adds a lot.
I noticed there's a second post so I'm rushing off to read it now.
here is all the beatles audio
http://www.delta.ro/beatles/paudi.html
and is a musicological analysis of all the songs
http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-beatles_canon.shtml
Great site, and a great resource for Beatles fans like me. Speaking of the Beatles, can anybody tell me who I should get in touch with to get permission to add Hey Jude to my forthcoming Beatles tribute CD, RUBBER stamp my SOUL?
The CD will feature mostly original songs about the life and music of the Beatles, but I'm hoping to add songs like this as well:
Hey Jude
Dr. BLT
http://www.drblt.net/music/heyJudeOne.mp3
Here's an original song from the CD:
Bye George:
words and music by Dr. BLT (c)2006
http://www.drblt.net/music/bye_george.mp3
Bruce
aka Dr BLT
King of Blog n Roll
Abbey Road was the very first vinyl album I ever bought without hearing beforehand. On the first play I was so disappointed. I hated it. Today it's my favourite Beatle album. Abbey Road is also the CD that comes with me to play whenever I am checking out a good audio system. Turn the system up loud, and when the guitar soars from the speakers on Sun King, right after the first word 'sun' is sung, my breathing returns to normal again as I am usually holding my breath waiting for it.
Great post! Congratulations!
Hey, Marathonpacks: I'm a French boy, and I say: This post is the BEST BEATLES's post in the world and all the time.
YOU ARE FANTASTIC, FABULOUS, ABSOLUTELY MAGIC, ABSOLUTELY UNREAL...
YOU ARE THE MOST FAMOUS HUMAN IN THE WORLD.
Thanks...my friend.
Apart from all this, what else? the opening, middle and ending of "I'll follow the sun", "but the fool on the hill sees the sun going down", the ending of "yes it is", "baby's in black" and of course, "because" I love you guys, makes me cry every time.
Stephanie, France
French visitors (well most of us) come from here:
http://www.lemonde.fr/web/article/0,1-0@2-3246,36-969978,0.html?xtor=RSS-3208
Excellent post, by the way. Thank you. I also get teary, have goosebumps and feel butterflies filling up my stomach up to my throat when listening to "one sweet dream... Pick up the bags, get in the limousine", and finally "step on the gas and wipe that tear away" (sorry, Paul, can't get rid of it!), with the trembling voice on "'waaaayyy". Words are missing here.
And the bass line from the 2nd verse on "She came in through..." Breathtaking. Not to mention the drum part. I'll stop here.
By the way, the "I buried Paul" / "Cranberry sauce" line comes from "Strawberry fields forever"'s coda, not "A day in the life".
Paul (Sernine)
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