There’s a certain joy and comfort in discovering that someone else shares an uncommon habit or preference of yours. When I find a person who also acknowledges that cereal is far superior without milk, I know I’ve found an ally who will pick up a spoon and go to war with me.
Seemingly even rarer than my fellow dry cereal enthusiasts are those who appreciate Continue reading “#79: The Inner Light”
Is this the world’s first emo song? Add in some Cookie Monster screams and apply a bit of black eyeliner to John Lennon and “I Don’t Want to Spoil the Party” becomes the greatest prom anthem of the early 2010s. Well, I guess you may need to de-twang it about 75% first, but the point stands.
Recently, I sang the praises of the unheralded Beatles for Sale album, and a large part of why I love it so much is Continue reading “#80: I Don’t Want to Spoil the Party”
Let’s get one thing out of the way regarding “Twist and Shout”: if those opening moments don’t instantly instill a desire within you to hijack a German parade, I don’t think I want to know you.
If memory serves me, my initial interest in seeing Ferris Bueller’s Day Off was because of the Beatles connection, and it became my second favorite movie of all time and I recreated Ferris’s day off shortly after moving to Chicago, so I owe a lot to “Twist and Shout.” And to think, Continue reading “#81: Twist and Shout”
Back in the earliest days of my Beatles obsession, I had relatively limited access to their music. My parents were never big fans, so the only albums I was able to inherit from them were my dad’s vinyl copies of the Red and Blue compilations. During a record shopping excursion in Philadelphia, I was elated to come across Abbey Road on vinyl for the bargain price of $2.98. It turned out that it skipped at the very end of “She Came in Through the Bathroom Window,” resulting in the final line of that song repeating ad nauseum (“Sunday’s on the phone to Monday, Tuesday’s on the phone to *vrrp* Sunday’s on the phone to Monday, Tuesday’s…”)
In order to get a taste of the rest of the catalog in those pre-YouTube, pre-Spotify days, I turned to 30-second samples on Amazon and Yahoo. Digging through the band’s early albums, the song titles were a lot less attention-grabbing than the ones found on the White Album–from the seemingly nonsensical “Glass Onion” to the curiously misspelled “Yer Blues,” there was Continue reading “#82: Everybody’s Got Something to Hide Except Me and My Monkey”
America fell in love with the Beatles via the purest of requests in December 1963: “I Want to Hold Your Hand.” But just six months later, they made it clear that that was no longer enough to satisfy their insatiable lust.
“I don’t want to kiss or hold your hand,” George Harrison plainly stated as parents undoubtedly rushed to Continue reading “#83: I’m Happy Just to Dance with You”
In the decade after the Beatles broke up, John Lennon gave two extended interviews, one in 1972 and the other shortly before his death in 1980, in which he provided background info and offered commentary on nearly every Lennon/McCartney composition ever released. A recurring theme during these conversations was his desire to distance himself from his former songwriting partner’s contributions, with his hatred for “Maxwell’s Silver Hammer” (Paul “did everything to make it into a single, and it never was and it never could have been”) and writing off “When I’m Sixty-Four” with a curt “I would never even dream of writing a song like that” as two of the more egregious examples. Even when he liked a song of Paul’s, he seemed content in complimenting it and moving on.
One telling remark slipped out, though, when he Continue reading “#84: All My Loving”
It’s funny; for an album as historically dismissed as Beatles for Sale, I haven’t written about any of its tracks in quite some time. It’s been over two years and 89 songs in fact, when “Kansas City/Hey Hey Hey Hey!” popped up at #174. Only four of the album’s 14 songs ranked lower, all of them covers, incidentally enough. That means that Beatles for Sale makes up an impressive 10% of the top 90 songs, a feat topped only by The White Album (which contains more than twice as many songs).
That “I’m a Loser” is the album’s lowest-ranking original is actually a testament to how Continue reading “#85: I’m a Loser”
Sometimes people ask me if I have the full list of my Beatles ranking already planned out or if it’s a work in progress that I’ve been assembling as I write them up. (Yes, people do ask me about the list. Yes, I do have friends. “Hey, we were just talking about the list. Nobody was saying you didn’t have friends, Anthony.” The tone was implied.) Well, if you’re dying to know how the game is played, the art of the trade, and how the sausage gets made, yes, the ranking is fully complete and safe in my possession, despite the efforts of desperate Russian hackers trying to get their hands on it who have dejectedly turned to meddling in American politics instead.
From time to time, I hear a song, wonder where it is on the list, and then react with appalled rage that it’s so low. Surely I made a mistake when I compiled things! How could I have Continue reading “#86: Norwegian Wood (This Bird Has Flown)”
When the inevitable 50th anniversary Let it Be box set is released later this year, there’s one outtake you can safely bet will be omitted. See, it took several attempts before “Get Back” evolved into its final form, and along the way it took…well, let’s go ahead and call it a detour before Paul McCartney becomes a victim of cancel culture.
In the version we all know and love enough to rank at #88, the chorus “Get back to where you once belonged” implies a return to one’s roots–in fact, that was even part of the song’s marketing campaign, suggesting that the Beatles had recorded a “pure spring-time rock number” that was “as live as live can be.” But in an earlier draft, it carried a far more sinister message with Continue reading “#88: Get Back”
Anthony Cusumano 