Nick Lowe – Cruel To Be Kind

May the 4th be with you…

A great little pop/rock song. The song was on the album Labor of Lust and the album peaked at #31 in the Billboard Album Charts in 1979. Rockpile recorded this album and at the same time recorded Edmunds solo album Repeat When Necessary.

12 was popular with this song…The song peaked at #12 in many charts… Billboard 100, Canada RPM, New Zealand, and the UK… In Ireland, it only reached #19.

Nick Lowe said about the song: “I wrote that when I was with a band, Brinsley Schwarz, that I was with from the early ’70s to about the mid-’70s. … We recorded it on a demo, it never came out, and when I signed to Columbia Records the A&R man [Gregg Geller] there at the time suggested I record it again. And I didn’t think it would do anything, but he kind of bullied me into it.”

The video featured Nick’s wife Carlene Carter who had just got married Nick shortly before and included some real footage of the ceremony in the video. Rockpile guitarist Dave Edmunds plays the chauffeur in the video. Drummer Terry Williams was the photographer. Guitarist Billy Bremner also got a role, playing the guy who serves the cake.

This would be Nick’s only top forty hit in Billboard.

 

From Songfacts

This song reflects on a lover’s rather antagonistic attitude. Nick Lowe co-wrote the song with his Brinsley Schwarz bandmate, Ian Gomm, for the Brinsley Schwarz album, It’s All Over Now, though said album was never officially released. In 1979, Lowe re-recorded the song for his second solo album, Labour of Lust.

Lowe and Gomm were hoping the song would be a pop hit for Brinsley Schwarz, and crafted it for mass consumption. Lowe only grudgingly recorded it, and he considered it an aberration – a pop sell-out song. When he performed the song on The David Letterman Show, he called it “wimpy” and had little interest in discussing it.

Lowe cribbed the phrase “cruel to be kind” from Shakespeare, who used it in Hamlet:

I must be cruel only to be kind
Thus bad begins and worse remains behind

Lowe revealed the musical influence behind this song to The A.V. Club: “I wrote with ‘The Love I Lost’ by Harold Melvin & the Blue Notes in mind.”

This was Lowe’s highest charting hit in the US, where it peaked at #12 (coincidentally, it also peaked at #12 in the UK, Canada and New Zealand). Lowe spoke to The A.V. Club about his chart success: “I remember coming to Los Angeles when it was a hit, and did that thing where you change the radio station, and it was on about two or three at the same time. You could hear it starting on one station and finishing on another. Amazing.”

The official video is a comedic reenactment of Lowe’s marriage to Carlene Carter, who plays herself in the clip.

The couple was married on August 18, 1979 after Lowe had just finished a tour with his band Rockpile. Figuring he could kill two birds with one stone, Lowe made the wedding the theme of the video, and used some actual footage of the event, turning his wedding day into a video shoot (although aren’t they all, sort of?). The day before, director Chuck Statler shot staged footage of Lowe preparing for the nuptials and Rockpile performing the song outside of the Tropicana Hotel in Los Angeles, where the reception was held.

The wedding took place at Carlene’s house in Hollywood. Guests at the wedding show up in the clip – you can spot Carter’s stepsister Rosanne Cash sitting on the couch.

Carter and Lowe toured together in 1982, opening for The Cars, with both singers sharing the same band. The couple divorced in 1990.

“We were having great fun,” Edmunds said in his Songfacts interview. “In that band, the four years we were together, we never had any falling out – it was a little club of our own.”

The drum kit in the video says “The Textones.” That’s because Rockpile didn’t have a drum kit handy, so they borrowed one from a local band. Kathy Valentine, who would later join The Go-Go’s, was a member of this band.

In 1982, Enjoh Santyuutei released a Japanese cover version of this song and in 2010, Stavros Michalakakos recorded it in Greek.

The video was one of 206 that aired on MTV’s first day of broadcasting: August 1, 1981.

Cruel To Be Kind

Oh I can’t take another heartache
Though you say you’re my friend, I’m at my wit’s end
You say your love is bonafide, but that don’t coincide
With the things that you do
And when I ask you to be nice, you say

You’ve gotta be cruel to be kind, in the right measure
Cruel to be kind, it’s a very good sign
Cruel to be kind, means that I love you, baby
(You’ve gotta be cruel)
You gotta be cruel to be kind

Well I do my best to understand dear
But you still mystify and I want to know why
I pick myself up off the ground
To have you knock me back down, again and again
And when I ask you to explain, you say

You’ve gotta be cruel to be kind, in the right measure
Cruel to be kind, it’s a very good sign
Cruel to be kind, means that I love you, baby
(You’ve gotta be cruel)
You gotta be cruel to be kind

Well I do my best to understand dear
But you still mystify and I want to know why
I pick myself up off the ground
To have you knock me back down, again and again
And when I ask you to explain, you say

You’ve gotta be cruel to be kind, in the right measure
Cruel to be kind, it’s a very good sign
Cruel to be kind, means that I love you baby
(You’ve gotta be cruel)
You gotta be cruel to be kind

(Cruel to be kind), oh in the right measure
(Cruel to be kind), it’s a very very very good sign
(Cruel to be kind), it means that I love you, baby
(You’ve gotta be cruel)
You gotta be cruel to be kind

(Cruel to be kind), oh in the right measure
(Cruel to be kind), yes it’s a very very very good sign
(Cruel to be kind), it means that I love you, baby
(You’ve gotta be cruel)
You gotta be cruel to be kind

(Cruel to be kind), oh in the right measure
(Cruel to be kind), yes it’s a very very very good sign
(Cruel to be kind), it means that I love you

Dwight Yoakam – Ain’t That Lonely Yet

I was forced to listen to country music at work around this time…but this one and other songs off of the album Time I really liked. It crossed over to pop/rock stations also. I always liked bitter breakup songs like this one.

It peaked at #2 in the Hot Country Songs Chart in 1993… It also peaked at #2 on the “US Bubbling Under Hot 100 Singles” Charts (way too many charts) and #3 on the Canada Country Tracks.

The song was written by James House and Kostas Lazarides.

 

From Songfacts

This tale of a girl trying in vain to win back her ex was written by Greek-born songwriter, Kostas (Patti Loveless’ “I Can Love You Better”) and country artist James House (Martina McBride’s “A Broken Wing”).

House told American Songwriter the story of the song.

“We had already been working on another song idea for a couple of hours but it had gotten stale so we decided to take a break,” he said. “We started talking and Kostas asked me if I was going to get back together with my estranged girlfriend and I said, ‘I ain’t that lonely yet,’ and we looked at each other and said, ‘let’s write that’.”

“I grabbed my guitar and started singing the verse melody and Kostas was furiously writing lyrics,” House continued. “After 10 or 15 minutes he sang the first verse to the melody I was playing. The chorus fell out of him as we were jamming it out. I knew it was a special song when Kostas looked up with a smile and sang the lyric about the spider in my bed. You know you’re onto something when the lyrics are coming as fast as you can write them, I think there were four or five more verses that we didn’t use.”

The song was recorded by Dwight Yoakam and released as the lead-off single to his This Time album. 

“Kostas was writing with Dwight a couple of weeks later and played him the cassette work demo we did,” House recalled. “If I remember right it was recorded fairly soon and released within a couple of months.”

The song earned Yoakam his first Grammy award, which he won for Best Male Country Vocal Performance.

Ain’t That Lonely Yet

You keep calling me on the telephone
You say you’re all alone
Well that’s real sad

And you keep leavin’
Notes stuck on my door
Guess you’re hungry for some more
Girl that’s too bad

‘Cause I ain’t that lonely yet
No I ain’t that lonely yet
After what you put me through
I ain’t that lonely yet

Once there was this spider in my bed
I got caught up in her web
Of love and lies

She spun her chains around my heart and soul
Never to let go
Oh but I survived

‘Cause I ain’t that lonely yet
No I ain’t that lonely yet
After what you put me through
I ain’t that lonely yet

There’s nothing left that you can do
To try and bring me ’round
‘Cause everything you do
Just brings me down

‘Cause I ain’t that lonely yet
No I ain’t that lonely yet
After what you put me through
I ain’t that lonely yet

‘Cause I ain’t that lonely yet
No I ain’t that lonely yet
After what you put me through
No I ain’t that lonely yet

‘Cause I ain’t that lonely yet
No I ain’t that lonely yet
After what you put me through
No I ain’t that lonely yet
‘Cause I ain’t that lonely yet
No I ain’t that lonely yet

Dobie Gray – Drift Away

That guitar intro and tone hooked me into this song. Gray said in an interview that the song’s hook of “Gimme the beat boys and free my soul” has been misheard and incorrectly sung as “Gimme the Beach Boys,” “Gimme the wheat boys” (proposed for a cereal commercial), “Gimme the peat moss,” and “Gimme the meatballs.”

The song was recorded at Quad Studio in Nashville. Drift Away was written by producer/songwriter Mentor Williams in 1973. Mentor is the brother of Paul Williams.

The Rolling Stones recorded a version of Drift Away for their “It’s Only Rock and Roll” album in November of 1973 but it didn’t make the album and has never been released except on bootlegs.

Drift Away peaked at #5 in the Billboard 100 in 1973.

From Songfacts

This was originally sung by John Henry Kurtz, an actor whose 1972 Reunion album also featured Kenny Loggins and a cover of Loggins’ “Danny’s Song.” 

Virtuoso guitarist and session man Reggie Young Jr. played on this track, which is known for its distinctive intro. His son, Reggie Young III, told us that his father had to re-learn the signature guitar lines for a live radio broadcast around 1993, when Lonnie Mack did a special out of Nashville and invited several people to perform as guests. Said Young, “Dobie Gray asked my father to join him in playing ‘Drift Away’ live. This was the first time since 1973 that they had played the song together. In the ’80s my father was showing another guitar player how to play the intro to ‘Drift Away,’ but the other guy said he thought that my father was playing it wrong. In fact he was playing in the wrong key. Also, when this was re-recorded in 1997 for Gray’s CD Diamond Cuts, he declined, as he didn’t think he could do it any better than he did on the original.”

In 2002, Gray recorded this as a duet with Uncle Kracker. When this track reached the Billboard top 10 in 2003, 30 years later, Gray broke the record for the biggest gap between top US top 10 appearances.

His record of 30 years, two months and one week was broken in 2018 by Andy Williams. The late crooner had a gap of 47 years, eight months and three months between his two visits to the upper reaches of the chart with “It’s the Most Wonderful Time of the Year” in 2018 and “(Where Do I Begin) Love Story” in 1971.

This song was not only a commercial breakthrough for Mentor Williams but also a breakthrough as a recording project. He explained to American Songwriter MagazineMarch/April 1988: “I think one of the hardest things for me to learn about songwriting was to really expose my feelings and weaknesses and to write personal, emotional things. As soon as I started doing that, I realized other people were relating to my songs. You can study how to write and spend a lot of time writing, but without this emotional content in a song, it’s just not there. ‘Drift Away’ was a big breakthrough for me. It was a song where it suddenly was okay for me to write about being hurt and let people know that I had been hurt and I wasn’t afraid to expose my feelings.”

The updated version with Uncle Kracker holds the record for the longest run atop the Adult Contemporary chart, having reigned for 28 weeks in 2003-04.

This has been featured in several movies, including the 1988 comedy Heartbreak Hotel (starring David Keith as Elvis Presley), the 2003 drama Wonderland (starring Val Kilmer), and 2006 sports biopic Invincible (starring Mark Wahlberg). It was also used on The Office (US), in the 2007 episode “Product Recall.”

Drift Away

Day after day I’m more confused
So I look for the light in the pouring rain
You know that’s a game that I hate to lose
I’m feelin’ the strain, ain’t it a shame

Oh, give me the beat boys, and free my soul
I want to get lost in your rock and roll and drift away

Beginning to think that I’m wastin’ time
I don’t understand the things I do
The world outside looks so unkind
I’m countin’ on you to carry me through

And when my mind is free
You know a melody can move me
And when I’m feelin’ blue
The guitar’s comin’ through to soothe me
Thanks for the joy that you’ve given me
I want you to know I believe in your song
Rhythm and rhyme and harmony
You help me along makin’ me strong

CSN – Southern Cross

Great song by Crosby, Stills, and Nash. It peaked at #18 in 1982 in the Billboard 100. The song was on the album Daylight Again that peaked at #8 in 1982. I like some of their catalog…mostly the radio songs. I did see them live in 1987 and you had to appreciate their voices live.

This was written by Stephen Stills, Richard Curtis, and Michael Curtis. Stills said: “The Curtis Brothers brought a wonderful song called ‘Seven League Boots,’ but it drifted around too much. I rewrote a new set of words and added a different chorus, a story about a long boat trip I took after my divorce. It’s about using the power of the universe to heal your wounds. Once again, I was given somebody’s gem and cut and polished it.”

From Songfacts

The “Southern Cross” is a constellation also known as the Crux Constellation that can be viewed from most of the Southern hemisphere. The 4 brightest stars within the constellation form a cross pattern. Sailors have relied on the “Southern Cross” to help in navigating their boats. The national flags of Australia and New Zealand have versions of the Southern Cross on them.

Jimmy Buffett covered this on his 1999 album Buffett Live: Tuesdays, Thursdays, Saturdays

There is a vocal mistake in the line “But it’s as big as the promise, the promise of a coming day.” One of the vocalists says “coming” on the first “promise.” >>

Since this song is based on a song called “Seven League Boots,” it bears mentioning that seven-league boots are a common magical artifact which crops up repeatedly in many European folk and fairy tales. They’re a pair of boots which allow the wearer to take strides that are seven leagues (21 miles, 33.8 kilometers) long. The same concept of footwear that greatly increases one’s traveling speed or stride is adapted into many role-playing and video games.

This same year that “Southern Cross” came out also saw David Crosby arrested on drug-related charges. He would be in and out of court on them numerous times until he finally turned himself in for an 8-month sentence.

The video for this song, with a ship a-sail, saw heavy rotation in the early MTV years, providing a soft rock respite from the European pop acts that dominated the network at the time.

The cover art for the Daylight Again album features an enigmatic domed structure on a rocky hilltop, flanked by three glowing blue flying saucers. The US was in the midst of a resurgence in UFO popularity in the late-’70s and early-’80s, bolstered by the writings of Chariots of the Gods author Erich von Daniken and renewed interest in Area 51.

Southern Cross

Got out of town on a boat goin’ to Southern Islands
Sailing a reach before a followin’ sea
She was makin’ for the trades on the outside
And the downhill run to Papeete

Off the wind on this heading lie the Marquesas
We got eighty feet of the waterline nicely making way
In a noisy bar in Avalon I tried to call you
But on a midnight watch I realized why twice you ran away

Think about
Think about how many times I have fallen
Spirits are using me, larger voices callin’
What Heaven brought you and me cannot be forgotten

Around the world (I have been around the world)
Lookin’ (lookin’ for that woman girl)
Who knows she knows (who knows love can endure)
And you know it will

When you see the Southern Cross for the first time
You understand now why you came this way
‘Cause the truth you might be runnin’ from is so small
But it’s as big as the promise, the promise of a comin’ day

So I’m sailing for tomorrow my dreams are a-dyin’
And my love is an anchor tied to you (tied with a silver chain)
I have my ship and all her flags are a-flyin’
She is all that I have left and music is her name

Think about
Think about how many times I have fallen
Spirits are using me, larger voices callin’
What Heaven brought you and me cannot be forgotten

I have been around the world (I have been around the world)
Lookin’ (lookin’ for that woman girl)
(Who knows love can endure)
And you know it will
And you know it will

So we cheated and we lied and we tested
And we never failed to fail it was the easiest thing to do
You will survive being bested
Somebody fine will come along make me forget about loving you
And the southern cross

Jackson 5 – I Want You Back

All I have to hear is the intro and I always finish the complete song. The song peaked at #1 in the Billboard 100 and #2 in the UK.

This was written by a team of Motown writers called The Corporation. The head of the label, Berry Gordy, was one of the writers. They were based in California, unlike most Motown writers who were in the Detroit offices.

Michael Jackson reminded Berry Gordy of Frankie Lymon, another teenage star. Gordy helped write this as if he was writing for Lymon. The song was originally envisioned as a vehicle for Gladys Knight but Berry saw it as a way to break the Jackson’s into the charts.

From Songfacts

This was the first Jackson 5 single released by Motown Records. It launched their career and went to #1 in the US, as did their next three releases: “ABC,” “The Love You Save” and “I’ll Be There.”

Michael Jackson sang lead. He was 11 years old and the youngest of the group. There was one younger Jackson brother named Randy, who replaced Jermaine in the group in 1977.

The original title was “I Want To Be Free.” It was Gordy’s idea to change it to “I Want You Back” and make it more of a love song.

This was intended for Gladys Knight & The Pips, and at one point Diana Ross was going to record it, but Berry Gordy decided to change the title and some of the lyrics and use it for his newly signed group of boys, the Jackson 5.

Gordy went out of his way to make this a hit. He was very high on The Jackson 5 and felt they were the perfect group to prove that Motown could continue its success through the ’70s. At the time, this was the most expensive Motown single ever recorded.

When this topped the Hot 100, the 11-year-old Michael Jackson became the youngest person to feature in an American #1.

Two popular songs sampled this in 2001: Jay Z used it on “Izzo (H.O.V.A.)” and it was also used on Lil’ Romeo’s “My Baby.” In 1992, it was sampled on the Kris Kross hit “Jump.”

The sci-fi soul singer-songwriter Janelle Monáe covered this as a bonus track on the deluxe edition of her The Electric Lady album. She explained to A.V.Club that she chose this particular tune as it resonated with her. “There are so many amazing Michael Jackson songs from different stages of his career,” she said, “and that happened to be one of my favorite stages. It makes people happy, and I love the tone, and musically, it has a lot of places to go for our orchestra. It has a lot of odd instrumentation.”

“The version I did does not sound like the Jackson 5 original recording,” Monáe continued. “I wanted to interpret it my way and record it differently, while continuing to pay homage to him, but I saw it in a different light. I’m really excited to let you guys hear it because you’ll get a chance to hear that song from my perspective. I had a dream about it and how I wanted it to be recorded.”

This song appears in the films Now and Then (1995), Drumline (2002), Daddy Day Care (2003) and Friends with Benefits (2011). It also plays under the end credits of the 2014 movie Guardians Of The Galaxy and is included on the soundtrack, which was a #1 hit in America for two weeks.

I Want You Back

When I had you to myself, I didn’t want you around
Those pretty faces always make you stand out in a crowd
But someone picked you from the bunch, one glance is all it took
Now it’s much too late for me to take a second look

Oh baby, give me one more chance
(To show you that I love you)
Won’t you please let me back in your heart
Oh darlin’, I was blind to let you go
(Let you go, baby)
But now since I’ve seen you it is on
(I want you back)
Oh I do now
(I want you back)
Ooh ooh baby
(I want you back)
Yeah yeah yeah yeah
(I want you back)
Na na na na

Trying to live without your love is one long sleepless night
Let me show you, girl, that I know wrong from right
Every street you walk on, I leave tear stains on the ground
Following the girl I didn’t even want around

Let me tell ya now
Oh baby, all I need is one more chance
(To show you that I love you)
Won’t you please let me back in your heart
Oh darlin’, I was blind to let you go
(Let you go, baby)
But now since I’ve seen you it is on

All I want
All I need
All I want!
All I need!

Oh, just one more chance
To show you that I love you
Baby baby baby baby baby baby!
(I want you back)
Forget what happened then
(I want you back)
And let me live again!

Oh baby, I was blind to let you go
But now since I’ve seen you it is on
(I want you back)
Spare me of this cost
(I want you back)
Give me back what I lost!

Oh baby, I need one more chance, hah
I’d show you that I love you
Baby, oh! Baby, oh! Baby, oh!
I want you back!
I want you back!

Dire Straits – Skateaway

This song is so smooth and has a great groove to it. Add in Mark Knopfler’s guitar and it turns into a very good pop song. It was on the album Making Movies which peaked at #19 in 1980.

Skateaway peaked at #58 in the Billboard 100 in 1981.

From Wiki

After the Communiqué Tour ended on 21 December 1979 in London, Mark Knopfler spent the first half of 1980 writing the songs for Dire Straits’ next album. He contacted Jimmy Iovine after hearing Iovine’s production on the song “Because the Night” by Patti Smith—a song she had co-written with Bruce Springsteen. Iovine, who had also worked on Springsteen’s Born to Run and Darkness on the Edge of Town albums, was instrumental in recruiting E Street Band keyboardist Roy Bittan for the Making Movies sessions.[1]

Making Movies was recorded at the Power Station in New York from 20 June to 25 August 1980. Jimmy Iovine and Mark Knopfler produced the album.

Skateaway

I seen a girl on a one way corridor
Stealing down a wrong way street
For all the world like an urban toreador
She had wheels on on her feet
Well the cars do the usual dances
Same old cruise and the kerbside crawl
But the roller girl she’s taking chances
They just love to see her take them all

No fears alone at night she’s sailing through the crowd
In her ears the phones are tight and the music’s playing loud

Hallelujah here she comes queen roller ball
Enchante what can I say don’t care at all
You know she used to have to wait around
She used to be the lonely one
But now that she can skate around town
She’s the only one

No fears alone at night she’s sailing through the crowd
In her ears the phones are tight and the music’s playing loud
She gets rock n roll a rock n roll station
And a rock n roll dream
She’s making movies on location
She don’t know what it means
But the music make her want to be the story
And the story was whatever was the song what it was
Roller girl don’t worry
D.j. play the movies all night long

She tortures taxi drivers just for fun
She like to read their lips
Says toro toro taxi see ya tomorrow my son
I swear she let a big truck grease her hip
She got her own world in the city
You can’t intrude on her
She got her own world in the city
’cause the city’s benn so rude to her

No fears alone at night she’s sailing through the crowd
In her ears the phones are tight and the music’s playing loud
She gets rock n roll a rock n roll station
And a rock n roll dream
She’s making movies on location
She don’t know what it means
But the music make her want to be the story
And the story was whatever was the song what it was
Roller girl don’t worry
D.j. play the movies all night long

Come slipping and sliding
Life’s roller ball
Slipping and a sliding
Skate away that’s all
Shala shalay hey hey skate away
She’s going singing shala shalay hey hey
Skate away

Beatles – Rain

This song would make my personal top ten of Beatle songs… Rain was the B side to Paperback Writer. Personally, I like this song better. First off the sound was different compared to previous songs…the bass comes through like never before and Ringo’s drumming complimented the bass so well.

They experimented with a new way of recording bass.  This technique involved “using a loudspeaker as a microphone,” explains engineer Geoff Emerick.  “We positioned it directly in front of the bass speaker and the moving diaphragm of the second speaker made the electric current.”

The peaked at #23 in the Billboard 100 in 1966.

Ringo on this recording is outstanding and some think it’s his best moment on record. Personally, I like his playing on A Day In The Life but this one is great.

At the end of the song, the vocals are backward. There are different stories on how this happened. One was that a stoned John took the tape home and put it in backward and was astonished at what he heard and wanted the whole song backward. George Martin remembered it differently: “I was always playing around with tapes,” Martin explains, “and I thought it might be fun to do something extra with John’s voice.  So I lifted a bit of his main vocal off the four-track, put it onto another spool, turned it around and then slid it back and forth until it fitted.  John was out at the time but when he came back he was amazed…They all thought it was marvelous.”

Whichever way it was…it fits this song perfectly

Paul McCartney said this about who wrote the song:

I don’t think he brought the original idea, just when we sat down to write, he kicked it off. Songs have traditionally treated rain as a bad thing and what we got on to was that it’s no bad thing. There’s no greater feeling than the rain dripping down your back. The most interesting thing about it wasn’t the writing, which was tilted 70-30 to John, but the recording of it.

From Songfacts

John Lennon wrote most of “Rain.” It was his first song to get really deep, exploring themes of reality and illusion – after all, rain or shine is just a state of mind.

This was the first song to use a tape played backward, which created the strange audio effect. John Lennon discovered the technique when he put the tape for “Tomorrow Never Knows” on the wrong way. He was stoned at the time, and producer George Martin had to convince him that using a backward recording for the entire song was a bad idea. 

Ringo Starr has said this is his best drumming on a Beatles song.

The backward vocal at the end fade out is actually the songs first line: “When the rain comes they run and hide their heads”.

This was one of the first Beatles records to feature loud, booming bass. McCartney’s bassline is extremely recognizable, in contrast to The Beatles’ older records. 

This was released as the B-side of “Paperback Writer.” It was recorded during the Revolver sessions.

As part of the studio manipulation that gave this song such an unusual sound, the rhythm track was played fast and then slowed down on tape.

The Beatles shot a video for this song with director Michael Lindsay-Hogg, who was tapped because he worked on the UK music show Ready, Steady,Go!. The videos for “Rain” and “Paperback Writer” were shot at the same time, with some footage recorded at Abbey Road studios, but most of it outdoors at the Chiswick House gardens in London.

These videos were done so The Beatles could promote the single without actually performing on the various TV shows that drew huge audiences and drove sales. In doing so, they set a standard for music videos, as other bands followed suit. The “Rain” video uses many elements that would become commonplace, including candid shots from between takes.

Rain

If the rain comes 
They run and hide their heads
They might as well be dead
If the rain comes
If the rain comes

When the sun shines 
They slip into the shade
And sip their lemonade
When the sun shines
When the sun shines

Rain, I don’t mind
Shine, the weather’s fine

I can show you 
That when it starts to rain
Everything’s the same
I can show you
I can show you

Rain, I don’t mind
Shine, the weather’s fine

Can you hear me
That when it rains and shines
It’s just a state of mind
Can you hear me
Can you hear me