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.
Pictured: Paul McCartney walking onstage at Coachella 2021
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”
With two rather selfish and demanding singles under their belt (“Love ME Do”! “Please Please ME“!), the Beatles finally found themselves in a giving mood for their third A-side. I always felt like “From Me to You” sort of flies under the radar, at least from the perspective of a 21st century American Beatles fan. You never hear it on the radio and it doesn’t attract the same appreciation as their other early singles, even though it’s just as catchy and enjoyable, and I never understood why until I started doing research for this write-up. Yes, I do research for these. I fact-check everything. Why is that so hard to believe?
Anyway, “From Me to You” was released just after President Richard Nixon was impeached for Continue reading “#91: From Me to You”
By far the most puzzling inclusion on the Red and Blue albums–seriously, how did this George Harrison-penned b-side make it onto a Beatles best-of?–“Old Brown Shoe” is an all-around enigma. When George was coming into his own as a writer with masterpieces like “Here Comes the Sun” and “Isn’t It a Pity,” he composed this oddball track, even recording a demo on the same day as “Something” and “All Things Must Pass.” And yet, as readers of this countdown know, I have an inherent bias towards George tracks, and so “Old Brown Shoe” has long been one of my random favorites.
This song is full of such bizarre non sequiturs that I don’t really see any issues with these lines. Practically every lyric seems Continue reading “#107: Old Brown Shoe”
Let’s just get out of the way the single biggest reason why I can’t in good conscience rank this song any higher: Continue reading “#108: I Feel Fine”
The one constant in the Beatles’ early years was evolution: in 1962-3, they recorded electrifying pop songs that birthed the Beatlemania movement. They rode that wave in 1964 but upped the ante on their songwriting, raising the bar for all their contemporaries. By 1965, they wore their Bob Dylan influence on their sleeves on the folksy Help! and explored even more styles on the diverse Rubber Soul. Revolver in 1966 took that sense of curiosity and experimentation to another level, and a year later their psychedelic work was unlike anything that had ever hit the mainstream before.
So for their first release of 1968, they pulled off their most unexpected move yet: Continue reading “#109: Lady Madonna”
The Beatles aren’t exactly what I would consider to be a very riff-oriented band. That’s not a knock against them; they came up with some terrific ones during their tenure. But unlike, say, Led Zeppelin or Soundgarden, two other favorites of mine whose songs are usually defined by meaty, repetitive guitar lines, most Beatles tracks succeed as a result of the combined forces of John, Paul, George, and Ringo rather than any one individual element. “Day Tripper” might be the biggest exception to that rule.
Normally I post a witty caption here, but I just got really bummed out imagining how amazing a Soundgarden cover of “Day Tripper” would have been. RIP, Chris Cornell.
Sure, the performance is top-notch on every level, from its chill bass to its Continue reading “#113: Day Tripper”
I’m probably ranking this higher than I should, but what the heck, it’s a catchy song. Originally planned as the Beatles’ third single, “Thank You Girl” was relegated to the b-side once Lennon and McCartney came up with “From Me to You.” A wise choice, but “Thank You Girl” deserves more love. It’s slightly–just slightly but Continue reading “#118: Thank You Girl”