This track made one of the bigger-than-expected jumps for me as I listened to the entire Beatles catalog to do this ranking. I realized there are a lot of elements of this song that I really like–there’s a smooth coolness to it that I never fully appreciated in the infancy of my Beatles fandom. Obviously, it’s still only coming in at #112 so it’s not as though I was like, “Holy crap, my entire life up to this point has been a meaningless lie. I can’t fathom why on earth I neglected to give ‘Got to Get You Into My Life’ the credit it deserves. What else have I been wrong about? Maybe Continue reading “#112: Got to Get You Into My Life”
Money can’t buy me love, and fun is the one thing that money can’t buy, but still, nobody wants to give away 95% of their income to the government. But that was the situation for the Beatles in the mid-1960s thanks to Britain’s progressive tax laws, and George Harrison was none too pleased. “You are so happy that you’ve finally started earning money, and then you find out about tax,” he said. One would hope that he was familiar with the concept of taxation before the age of 23, but the point stands.
I can only imagine what listeners must have thought when Continue reading “#127: Taxman”
It’s impossible not to smile when you hear “Good Day Sunshine.” This simple, happy-go-lucky song is probably the least interesting component of Revolver, an album that saw the Beatles tackle new sounds that no mainstream band had ever attempted before. “Good Day Sunshine,” meanwhile, sounds like it could have come out of a 1920s vaudeville show. That’s not a criticism, mind you, and I still rank it over four other songs from that record. But it’s never registered with me as anything more than an enjoyable yet totally lightweight recording.
Then again, Isaac Newton’s discovery of gravity was also considered lightweight. Ah, a science pun! Pip pip ho ho ho!
I think one of the issues is that Continue reading “#128: Good Day Sunshine”
I’m listening to this song right now and I truly have nothing to criticize. Every element of this recording hits the spot. The precisely sharp guitar licks, the understated but psychedelic organ, Ringo’s crashing cymbals, and yes, of course, the harmonies. (Oddly enough, this time around it’s John and George–this is an unusual Beatles song in which Paul sat out.) If push comes to shove, I would nominate this as one of the coolest tracks in their catalog.
Coolness and weirdness are not, however, mutually exclusive and I think I have to be in a certain mood to fully get in the spirit of listening to a song that Continue reading “#145: She Said She Said”
“He wasn’t particularly quiet; he just didn’t demand to be heard.” So said Paul Simon following George Harrison’s passing, and it’s a quote that always stuck with me for close to two decades now.
As a former super-shy kid who admittedly still struggles with that sometimes, it was pretty easy for me to relate to the so-called “quiet Beatle.” George didn’t Continue reading “#149: I Want to Tell You”
“Yellow Submarine” is one of the first Beatles songs everybody hears as a kid, but I can’t say I have any sentimental attachment to it. I mean, I appreciate the kooky visuals and singalong aspect, but it’s Continue reading “#156: Yellow Submarine”
In a catalog filled with tracks like “Lucy in the Sky with Diamonds” and “Tomorrow Never Knows,” it says a lot that “Doctor Robert” is easily the most blatant song about drugs the Beatles ever recorded. I mean, if you’re naive enough, you probably could buy John Lennon’s explanation that Continue reading “#180: Doctor Robert”
When people say that Revolver is the best album of all time, there’s a good chance they’re conveniently overlooking “Love You To,” George Harrison’s first full-fledged dive into exploring Indian music. (He took baby steps with a rudimentary sitar part on “Norwegian Wood” a year earlier.) The most interesting thing about “Love You To” is the realization that Continue reading “#194: Love You To”