Beatles – Good Morning Good Morning

Somebody needs to know the time, glad that I’m here
Watching the skirts you start to flirt now you’re in gear

I was 10 when I bought Sgt Peppers Lonely Hearts Club Band…10 years after it was released. It came with the same cutouts as it did in 1967. I remember taking hours and looking over the album cover. You would find faces you didn’t see before and I remember spotting Stuart Sutcliffe, the former Beatles bassist and the man who was most responsible for coming up with the band’s name.

Here is Stuart (left) on the cover and the picture they took it from. 

Stuart Sutcliffe on Sgt Pepper

The Cutout page that came with Sgt Pepper. 

Sgt Pepper Cutouts

The song started out with a rooster crowing and ends with a chicken clucking. Good Morning Good Morning was inspired by a Corn Flake commercial. Lennon would always leave the TV on and sometimes with the volume turned down. He saw an ad for Corn Flakes and the song came to him. “Good Morning Good Morning…the best to you each morning.” I’ll have the video at the bottom of the post.

As a youngster, I enjoyed this song and Lovely Rita. The only song that was hard for me to grasp on the album was Within You Without You…because it was so different. In time, it became one of my favorites on the album.

I love the horns in this song and McCartneys stinging guitar solo in this one. Ringo’s drumming also stands out on this track…the sound and the playing are outstanding. His cymbols sound like a steam engine with the compression they ran on them.

This song is one of the most technically challenging songs they wrote. It was highly aggressive and complex, with a loud french horn, animal noises, pounding drums, strong vocals, and a large amount of intricate strumming guitars. The time signature to this song is all over the place…3/4, 5/4, 4/4, 12/8… but the song doesn’t sound forced or disjointed. This track is an example of how great Ringo is as a drummer. This and his work on A Day In The Life. He had to play in many different styles because John, Paul, and George wrote so many different styles of songs.

One of the most interesting things about the song is the end of it. Various animal sounds are put together but they had a purpose. The animal sounds were dubbed in from a sound effects disc. They were arranged in order of creatures capable of eating or chasing the one before, at Lennon’s request. And at the very end…was a very cool effect. A clucking chicken suddenly turns into a guitar lick when it melts into Sgt Pepper’s Reprise.

Six brass players were involved in this session, three saxophonists, two trombonists, and one French horn player. George Martin was excellent at mixing horns with Beatle songs. Got To Get You Into My Life is another example of that. They are not regulated to the background like other songs. They are upfront and have a fat sound to them.

This song was also the first song The Beatles ever licensed, while they were together, to be used in a show. It was in the last Monkees episode (“The Frodis Caper”) which was totally surreal…not like the formula driven episodes of the first season. It was kinda like The Simpsons meet Green Acres.

John Lennon: “I often sit at the piano, working at songs, with the telly on low in the background, if I’m a bit low and not getting much done, then the words on the telly come through. That’s when I heard ‘Good morning, good morning.’ It was a corn flakes advertisement. I was never proud of it. I just knocked it off to do a song.”

Paul McCartney: “John was feeling trapped in suburbia and was going through some problems with Cynthia, it was about his boring life at the time. There’s a reference in the lyrics to ‘nothing to do’ and ‘meet the wife’; there was an afternoon TV soap called ‘Meet The Wife’ that John watched, he was that bored, but I think he was also starting to get alarm bells and so ‘Good morning, good morning.’”

Micky Dolenz (drummer for the Monkees): “And I’ll never forget it.  John Lennon looks up at me and says, ‘Hey Monkee Man!…You want to hear what we’re working on?’…And he points up to George Martin and I remember this so clearly…He’s wearing a three-piece suit…and he pushes a button on a four-track tape recorder and I hear the tracks to ‘Good Morning Good Morning.’…And then we sit around and then I remember some guy with a white coat and tie came in with tea…’Tea time, eh!’ And we sat around a little table and had really God-awful tea. And then everybody sat around and then we were chatting – ‘What’s it like, The Monkees?,’ me again trying to be so cool. And then I think it was John that went, ‘Right lads, down in the mines.’ And they went back to work.” .

Sgt Pepper

Just in case you wanted to know who was who on the cover. 

Sgt Pepper Cover who is who

This is the commercial that inspired John Lennon

I couldn’t find a version of Good Morning Good Morning going into the Sgt Pepper Reprise. You have to listen to the end of Good Morning and the beginning of the Reprise to hear it. The album of course plays them together…there is no space between the songs. 

Good Morning Good Morning

Nothing to do to save his life call his wife in
Nothing to say but what a day how’s your boy been
Nothing to do it’s up to you
I’ve got nothing to say but it’s okay
Good morning, good morning

Going to work don’t want to go feeling low down
Heading for home you start to roam then you’re in town
Everybody knows there’s nothing doing
Everything is closed it’s like a ruin
Everyone you see is half asleep
And you’re on your own you’re in the street
Good morning, good morning

After a while you start to smile now you feel cool
Then you decide to take a walk by the old school
Nothing has changed it’s still the same
I’ve got nothing to say but it’s okay
Good morning, good morning

People running round it’s five o’clock
Everywhere in town is getting dark
Everyone you see is full of life
It’s time for tea and meet the wife
Somebody needs to know the time, glad that I’m here
Watching the skirts you start to flirt now you’re in gear
Go to a show you hope she goes
I’ve got nothing to say but it’s okay
Good morning, good morning

cat, dogs barking, horses, sheep, lions, elephants, a fox being chased by dogs with hunters’ horns being blown, then a cow and finally a hen.


Beatles Week – Something

Dave is closing out Beatles Week in style with a George Harrison masterpiece.

Dave grew up in Canada, now resides in Texas and has been passionate about music for as long as he can remember. Unfortunately, a brief foray into buying keyboards during his high school years didn’t equate to making music people were passionate about doing anything with but avoiding!  He writes a daily music blog, A Sound Day, looking at memorable music events from album releases to artist birthdays to important concerts and more. You can find Dave at

Thanks Max, for inviting me to take part in this! And a good topic too.

When asked to write about a Beatles song, I didn’t take long to make my pick. There’s just something about Something that moves me like no other…Beatles track. Yet getting to that point has been a long road. Maybe a long and winding one, even.

A little back history about myself. I was born in the ’60s but by the time I was cognizant of it really, let alone had my own little transistor radio to listen to it, The Beatles were done. Wings or solo Ringo, John or George were more relevant to me at the time. But my mom and older brother liked the Beatles and in fact, one of my early memories was hearing Sgt .Pepper Lonely Heart’s Club Band on our big old console in the living room, liking the music and loving the colorful cover. As a kid, I liked the simple pop hooks of Ringo and Paul, post-Beatles, songs like “You’re Sixteen”, “Helen Wheels” and “My Love.” I knew a lot of Beatles songs, either from AM radio or my family playing them on the stereo, and liked quite a lot of it but it was hard for me to grasp how influential or flat out great they had been.

As I hit my teens, was buying my own records and listening to FM radio, my appreciation of them grew. I had a used copy of Revolver, though I can’t remember why I specifically bought that one. A good album, absolutely, but never my favorite of theirs. I probably found it cheap in a used store or flea market. Around that time, I was growing to favor John. “Norwegian Wood “ and “Dear Prudence” were high on my list of Beatles songs and by the time I was getting to like his solo work as much as say, Paul’s 1980 rolled around and well, I think we all know what the end of that story was. As was the case with most people, my estimation of him rose rapidly and I listened to his work more, began to love songs like “Mind Games” and “#9 Dream” that I’d missed, or nearly so when they had first come out. I loved his work for peace and outspokenness and was oblivious to the shortcomings in his character. All the while though, George was just on the periphery of my musical awareness. Sure, “My Sweet Lord” was nice, and I was one of the minority who in ’79 bought and loved the “Blow Away” single, but he was really the “quiet Beatle” to me. Nearly invisible. Really, the thing I might have been most impressed with at that point was his work funding Monty Python films, since like most boys hitting puberty, I laughed my head off at things like the “Lumberjack Song” and killer rabbits.

That changed a little in ’88 when he had his comeback album, Cloud Nine. By that time too, the Beatles were finally putting out CDs of their old catalog and I’d decided, hey, they had a lot of good tunes, I should be getting some in my collection. I bought several of the ’60s works on CD and really that’s where my true appreciation for them began. That and noticing a good portion of the bands I thought were really good at the time – say Crowded House, Aztec Camera, Squeeze for instance – were almost universally described as “Beatle-esque.”

Anyhow, then and still to this day, Sgt. Pepper... has been my favorite Beatles work, but it is a close contest. Not surprisingly then, for years if anyone asked me for my favorite Beatles song, it was “A Day in the Life”. A song like no other, with its time changes, Paul and John changing off vocals, that almighty, seemingly endless piano chord to end it, the bizarre lyrics that actually made some sense when you read of their inspirations. It still is a great song and high on my list.

But just as the Beatles changed and matured during their career, so too have I. And as the band matured, George started to take his place at the front. He brought a new sense of spirituality, and experimentalism to them, opened them up to what we’d now call “World Music”, the sounds of the Far East. Being able to incorporate that into a pop-rock setting was revolutionary and quite a challenge I’m sure. But it worked! And as I matured, I grew more and more appreciative of George’s songwriting as well as his quiet sense of peacefulness. “Something” is the epitome of that to me. And to his ex-bandmates it would seem.

Early on, George was a guitarist and nothing much more to them. Maybe his first hint of potential greatness was on Rubber Soul when he wrote and sang “If I needed someone.” A pretty good song, and presumably John and Paul agreed since they let him put three onto the next record, Revolver, including “Taxman”, one of their many “hits” that never hit the charts because it wasn’t out as a single. A decent little snarky rock tune but probably not on anyone’s list of “best ever.” The first real taste of his brilliance was still a couple of years away, and their self-titled double album. “While My Guitar Gently Weeps” was to me the standout on the album and really showed his talent as a songwriter…not to mention nearly got Eric Clapton in the band. Let It Be was recorded next (but released last) and though he did “For You Blue” on it, as we saw in Get Back, he was distant from the band by then and briefly quit. It was becoming clear he’d outgrown the limitations he felt were imposed on him by the two main men who clearly wanted most of the spotlight.

Which leads us to Abbey Road. Their swansong, even if it did arrive in stores months before Let it Be. I gather by then they knew it was time to call it a day but leave fans with one more worth remembering. And they did just that. In particular George. He contributed – i’ll say it – the two best songs on it, “Here Comes the Sun” and “Something.”

Here Comes the Sun” is a pretty incredible, happy-sounding song in which he introduced a synthesizer to the band and wrote a tune in seemingly impossible time signatures (changing rapidly from 4/4 to 11/8 to 7/8 and so on). It ranks high on my Beatles list too, but the crowning achievement was “Something.”

george and pattie

Pattie Boyd must have been “something” too. We know he wrote the song for her, his wife,  and a couple of years later, his buddy Eric Clapton wrote “Layla” for her. In time he won her away from Harrison, and somehow they all remained friends. George was more tolerant than I would have been, I can tell you that. Maybe all the time with the Indian gurus really made him a better person.

Anyway, to me, “Something” is just about a perfect pop song. It’s beautifully written and immaculately played, and the lyrics are outstanding. If you’ve never been so in love, in the beginning, that the lines don’t make sense, well, I hope you’ll experience that head over heels feeling, combined with just a touch of anxiety over fear of losing it (“you’re asking me will my love grow/I don’t know/ I DON’T KNOW”).  George demonstrates his love for Pattie and his slide guitar prowess all the while Ringo drums along exquisitely. The more I listen to Starr, the more I appreciate his talent. He plays for the song, not to take over the song. Then there are the under-stated strings, completing the song nicely. I think George Martin’s introducing strings to middle-era Beatles songs was one of the more under-rated things about them; how many rock & roll bands before 1965 would have thought to bring in violins and cellos? Now, it’s commonplace.  There’s not really a point wrong with “Something” and it does it all in barely three minutes. Each time I listen to it, I seem to pick up on some tiny new detail I’d missed before that makes me appreciate it more.

Of course, my opinion was backed by many others. Frank Sinatra began singing it in his shows right away and called it “the greatest love song of the past 50 years”… and he knew a thing of two about love songs! (Unfortunately, he mistakenly told his audiences Lennon & McCartney wrote it.)  Later Elton John would say it was “one of the best love songs ever –ever – written…it’s the song I’ve been chasing for the last 35 years!”  And Ringo piped in that it and “While My Guitar Gently Weeps” were “two of the finest love songs ever written” and put Harrison on a par with John and Paul. Critics tended to agree. The NME  in Britain called it a “real quality hunk of pop” while Rolling Stone applauded its “excellent drum work, dead catchy guitar line, perfectly subdued stings and an unusually nice melody.”  Add in great vocals and there’s not much missing there.

Happily, it was eaten up by the fans. It came out with “Come Together” as a single, but in most lands was considered the A-side. It hit #1 in Australia, Canada, New Zealand, and of course the U.S. where it became their 18th #1 song…which happened to surpass the number Elvis Presley had. However, it was the first #1 song credited to George…not surprising because somehow, it was the first Beatles single he wrote or sang! And that’s saying “something” – when a guy can create songs this good and somehow be seen by the band as a third-stringer… wow. No wonder we’re still talking about them a half century later.

Beatles Week – I Want To Hold Your Hand

I was really happy when I asked Halffastcycling to do this and he accepted. I really appreciate his comments on songs that not everyone is going to know like Little Feat and other bands that didn’t live in the top 20. So thank you and go visit his site!

He started the blog to chronicle a coast-to-coast bike trip. Recently retired from a series of careers (in co-ops, plumbing, and health care), I spend my time riding my bike (once across the continent wasn’t enough so I quit working to do it again), paddling, writing about bikes and whatever pops into my head, and sitting on the front porch in a rocking chair. I’m old enough that I remember this music when it was new, not from oldies stations. The first hit records I remember hearing were by Little Richard (78 RPM). (I have older siblings.) My intro to live music (besides high school dances) was through BB King (followed quickly by Willie Dixon, Muddy Waters, Luther Allison, Bonnie Raitt, Pete Seeger, and the Grateful Dead, among others). I wrote a high school term paper on the Beatles (after reading the new Hunter Davies bio in 1968) and got a D.


It was the 1963-64 school year and the fifth grade talent show was fast approaching. Being only a spectator was not an option. Everyone had to have an act, a talent to display.

My friend Max at Powerpop has declared “Beatles Week” and invited others to write about “a favorite Beatle song”. (In another part of the same post he invites folks to write about “their favorite Beatles song”, an important distinction in my eyes. Who can have a single favorite from their catalog? I’ve written about the my problem of declaring favorites before.)

A classmate approached me about joining an act with a couple of friends. When I asked about the act he was very secretive. He couldn’t tell me what the act was until I agreed to be in it. Once he told me, I couldn’t back out. Note I called him a “classmate”, not a “friend”. I didn’t trust him enough to go along blindly with this. Besides, I already had my act together. What was my act? I have no idea. What was their act? That still sticks in my mind 60 years later.

Four guys took the stage. Each had a rag mop on his head, dyed black and trimmed just so. Three of them held brooms – no mere air guitar for them. The fourth was, of course, Ringo. They lip-synched to “I Want to Hold Your Hand”. It wasn’t my favorite Beatles song even then. I bought the single of “She Loves You” but I didn’t buy “I Want to Hold Your Hand”. It seemed like the sort of song that reinforced parental stereotypes about pop music (and “She loves you, yeah, yeah, yeah” didn’t?) with its simplistic lyrics about holding hands.

Four guys took the stage. Each had a rag mop on his head, dyed black and trimmed just so. Three of them held brooms – no mere air guitar for them. The fourth was, of course, Ringo. They lip-synched to “I Want to Hold Your Hand”. It wasn’t my favorite Beatles song even then. I bought the single of “She Loves You” but I didn’t buy “I Want to Hold Your Hand”. It seemed like the sort of song that reinforced parental stereotypes about pop music (and “She loves you, yeah, yeah, yeah” didn’t?) with its simplistic lyrics about holding hands.


(Image from WebRestaurantStore)

On February 9, 1964, the US saw The Beatles in person for the first time, on The Ed Sullivan Show. Those of us in the know had seen them a month before on grainy, low fidelity video on Jack Paar.

They had appeared in an NBC News story on November 18, 1963. The news was more about Beatlemania than about the music, though they did acknowledge that The Beatles wrote some of their own songs. Early coverage of the band was more from a sense of amusement at the phenomenon of those crazy teenagers than it was about the music.

“I Want to Hold Your Hand” was not received with universal acclaim in the US. “Esquire‘s music critic David Newman wrote, ‘Terrible awful. …It’s the bunk. The Beatles are indistinguishable from a hundred other similar loud and twanging rock-and-roll groups. They aren’t talented singers (as Elvis was), they aren’t fun (as Elvis was), they aren’t anything.’[34]

On the other hand, it did reach #1 in most western countries (stalling at #6 in Belgium and Finland). In the US it was replaced at #1 by “She Loves You”. In the UK, the order was reversed. It was subsequently released in German as “Komm, gib mir diene Hand” – that version also received US airplay.

Contrast Newman with Rob Sheffield’s assessment in the Rolling Stone Album Guide (40 years later): “Just check out ‘I Want to Hold Your Hand,’ which explodes out of the speakers with the most passionate singing, drumming, lyrics, guitars, and girl-crazy howls ever – it’s no insult to the Beatles to say they never topped this song because nobody else has either … It’s the most joyous three minutes in the history of human noise.[40]

So what made them such a big deal? We were used to “singing groups” lip-synching their latest single on American Bandstand, complete with orchestration and fadeout. These were actual musicians. They played and sang at the same time. Of course, they weren’t the first, but it was still somewhat unusual in the pop music world. And they wrote their own songs. Sure, they covered American R&B (“Twist and Shout”, “Roll Over Beethoven”) and even show tunes (“A Taste of Honey”, “Til There Was You”) but the list of hit songs (and great songs) they wrote is too long to recount here. Some singers can produce great harmonies in a studio with multiple takes and overdubs, but The Beatles sounded great live in an era without monitors (and with fans screaming loudly enough that they might not have heard themselves even with monitors).

I went to a summer camp that had a carnival with games. One game involved headphones through which a few notes of a Beatles tune were played. Your challenge was speed in identifying the song. How many notes did you need? Hw quickly could you answer? With what other band would you play that game?

“I Want to Hold Your Hand” is far from the best Beatles song, it’s not my favorite Beatles song, and it wasn’t even the first Beatles song. But it was the only one that dominated the fifth grade talent show at Winnequah School and made 4 boys instantly popular. I was not one of them.

Beatles Week – Matchbox/Slow Down

This post is by John from . John’s blog has different subjects and he will post songs that I had completely forgot about. I like talking guitars with John also…He is an internet disc jockey, lover of old TV (especially the commercials), inveterate wise guy.

The Beatles released the EP Long Tall Sally in the UK in 1964. It had one Lennon-McCartney original, “I Call Your Name,” and three covers, Little Richard’s “Long Tall Sally” from 1956, Larry Williams’s “Slow Down” from 1958, and Carl Perkins’s “Matchbox” from 1957. Capitol Records, who was the distributor for Beatles music in the US and Canada, took “Long Tall Sally” and “I Call Your Name” and put them on The Beatles’ Second Album, then took “Matchbox” and “Slow Down” and put them on the album Something New with the songs from A Hard Day’s Night and a couple of other songs. Capitol issued “Matchbox” and “Slow Down” as a single in late August 1964.

The single didn’t do as well as most Beatles singles that year: “Matchbox” (which appeared as “Match Box” on the single and its sleeve) only reached #17 in the US and Canada, while “Slow Down” came in at #24. It’s really a lost single, issued when music from A Hard Day’s Night was on everyone’s mind. Naturally, it was my favorite record for a very long time.

“Match Box” was the A side of the record. The Beatles were great fans of Carl Perkins, particularly George Harrison, who learned many of Perkins’s solos while he learned the guitar, and Ringo Starr, who sang two of the three Perkins songs the Fab Four covered (“Honey Don’t” was the other). Coming in at just under two minutes, it was rock ‘n’ roll, Fab Four style.

What I especially like about this:

  • That opening. You have two bars of George doing that figure around the A chord before everyone else comes in. That gets your toes tappin’ and your butt shakin’…
  • The utter simplicity. Three chords: A7, D7, E7, all played in first position. It doesn’t get much simpler than that.
  • The solo. Like so many of George’s solos, simple and to the point, played on his Gretsch Country Gentleman.
  • George Martin’s piano. Just enough that you know it’s there. He added it several days after The Beatles recorded the song, but it sounds like he was in the studio with them.
  • Ringo’s vocal. Don’t ever tell me that Ringo can’t sing. He has a little trouble with the lyrics, but who cares?
  • The end. That last chord, an A 6/9, wraps everything up perfectly.

The flip side, “Slow Down,” is just as noteworthy. Larry Williams was an R&B singer and pianist whose songs The Beatles often covered, including this song, “Dizzy Miss Lizzie,” and “Bad Boy.”

Could I say the same things about this song as I did about “Match Box”? Almost. John did the vocal on this track, but the opening of the song, highlighted by George Martin’s piano, is just as memorable, it’s another three-chord song, George’s solo is, again, to the point, and you have that same 6/9 chord ending this one. Two solid sides of rock ‘n’ roll, Fab Four style.

Maybe the most perfect thing about these sides is that they aren’t perfect. George’s pick hand gets ahead of his fret hand on both solos, and the double-tracked vocal by John on “Slow Down” seems to have a few extra voices in it. They don’t make the record a bad one. If anything, hearing them screw up just underlines how much they’re enjoying themselves. That’s what makes this such a great record.

Beatles Week – Got To Get You Into My Life

Liam Sullivan is a Dad, archivist, choral singer, and tour guide living his best life in Boston, MA. You can read his thoughts on books, movies, music, and more at Panorama of the Mountains

“Got to Get You Into My Life” is a song by The Beatles that was a top ten hit when I was a small child. Except that The Beatles broke up more than 3 years before I was even born. How could this be? It was a mystery to me for a long time. I didn’t even know it was a song by The Beatles until I was a teenager in the 1980s. It puzzled me how I could remember “Got to Get You Into My Life” being in heavy rotation with the songs I heard played on the radio in my dad’s Chevy Nova back in the mid-70s.

I won’t keep you in suspense as long as I was. It turns out that Capitol Records, The Beatles label in the United States, released “Got to Get You Into My Life” as a single on May 31, 1976. Despite being a ten-year-old song at that point, it did well on the charts, peaking at #7 on the Billboard Hot 100 in the week of July 24, 1976. It would be The Beatles last Top Ten hit until “Free As A Bird” in 1995.

The single was released to promote a compilation album that Capitol Records was promoting called Rock ‘n’ Roll Music. The collection of 28 rockers culled from The Beatles’ previous releases was clearly Capitol looking to make some money off of a beloved band that wasn’t making any new music. It sold well, reaching number 2 on the Billboard album charts, ironically held out of the top spot by Paul McCartney’s Wings at the Speed of Sound.

    The album cover for Rock ‘n’ Roll Music was designed to tap into the Fifties nostalgia craze of the 1970s with images of a jukebox, cars with big fins, and Marilyn Monroe. The Beatles, notably were a Sixties band, but the title track is a cover of a Chuck Berry song from the Fifties, so there’s a tenuous connection. The Fifties nostalgia probably was kicked off by the doo wop cover act Sha Na Na performing at Woodstock in 1969 (the group would get a TV show that started in 1977. I loved Bowser). The Broadway musical Grease (1972), the movie American Graffiti (1973), and the TV sitcom Happy Days (debuted in 1974), all continued this trend. Even John Lennon got into the act with his 1974 album Rock ‘N’ Roll, a collection of covers of Lennon’s favorite songs from his youth.

    But “Got to Get You Into My Life” is not a Fifties song. It’s a Sixties song that became a hit in the Seventies partly because it really sounds like the soul and funk music that was dominating the charts at the time. Does it not sound like it totally fits in with the Number One song of week of July 24, 1976, “Kiss and Say Goodbye” by The Manhattans (who despite their name were a New Jersey band who played Philadelphia soul). Even better evidence that an old Beatles’ album track somehow captured the zeitgeist of Seventies funk and soul is that the Chicago R&B band released a cover of the song in July 1978 (their version peaked at #9 on the Hot 100).

    But let’s go back to the Sixties, when the Beatles recorded the song. The lineup for The Beatles recording the song was Paul McCartney on lead vocal and bass, John Lennon on rhythm guitar, George Harrison on lead guitar, and Ringo star on drums and tambourine. Producer George Martin also added organ. But if you’re going to record an homage to Motown and Memphis soul, you’re going to need horns. So a quintet of guest artists were brought in.
    • Eddie Thornton – trumpet. The Jamaican-born Thornton, known by the nickname Tan Tan, is likely the first Black guest musician on a Beatles recording since The Beatles didn’t have many guest artists prior to recording Revolver.
    • Ian Hamer – trumpet. Hamer had a jazz artists who had a long career as a Liverpool big band leader.
    • Les Condon – trumpet. The London-born Condon was a modern jazz pioneer who played with many of the top UK and American jazz acts.
    • Alan Branscombe – tenor saxophone. Merseyside-born Branscombe was a sideman to numerous jazz band leaders over a four decade career.
    • Peter Coe – tenor saxophone. Coe was more of a pop musician and had previously played with the British R&B band Georgie Fame and the Blue Flames, contributing a sax solo to their UK #1 hit “Yeh Yeh.”
    Having discussed many aspects of the song, let us finish with the lyrics. It is a love song, of course. Right? Well, according to McCartney “It’s actually an ode to pot.” Legendarily, the Beatles were introduced to marijuana by Bob Dylan when they met in 1964, and the band grew to incorporate the drug into their creative process leading to this love song to pot. Personally, I’m going to forget that I learned that because while I’ve never used marijuana, I have been in love. The lyrics of this song so perfectly capture that feeling of meeting an intoxicating person (or plant) and connecting with them so fully that you just want to spend every moment you can with them. Surely this is what Paul McCartney would feel when he met Linda Eastman in 1967. In fact, they are famous for spending “every single day” of their lives together until Linda’s death in 1998. You can read the full lyrics and decide for yourself if this is a love song, a drug song, or (most likely) both.

Beatles Week – Revolution

I met Deke when I published a Georgia Satellites song and fellow blogger Graham told me about Deke after he posted a Satellites song a little earlier. Since then Deke has me listening to all sorts of things I wouldn’t have dreamed of before. Go visit his WordPress site. He also has a youtube channel to visit. I can tell you from experience…it’s worth subscribing to the youtube channel. Ok Deke…take it away…

Thanks to Max for the invite. My name is Derek but all my pals call me deKe and I have been blogging at WordPress for almost 10 years now. As many know I’m a huge fan of hard rock as my blog tends not to deviate from that style lol. I also have a Youtube page titled The Distortion Den that takes up a fair bit of time (but in a good way mind you) where I have had the fortunate pleasure of talking to friends, musicians and book authors.

Recently along with a pal from Moncton named Jex we have started a show called Retro ThrowDown (on Youtube) where we pit two rock albums against each other and rate each one out of a score of 10. We don’t discuss beforehand with each other what we were thinking on each album. That’s the charm and oh we keep these shows around the 30 minute mark so they are action packed!

I will be the first to admit I’m no way the biggest Beatles fan in the world but I like their music as they were innovators and it really wasn’t into the back half of the 80s when the catalog of Beatles music started coming out on CD that I started picking away at getting their music.

My contribution to Max’s Beatles week is the time Nike ran their TV ad with Revolution being the music to it.

Why well for me, it was the power of that Nike ad that made me want to start getting some more Beatles music.

I didn’t care for the running shoe part, I wanted the song which was, of course, the John Lennon powered Revolution!

So along with my good pal T-Bone, I came across one of those mixed Beatles tapes as there were many on the market and I believe it was called Rock N Roll Volume 1 that had Revolution on it along with a few other Beatles standards.

I purchased it on cassette tape for the sole purpose of cranking Revolution in T-Bones car.

Man I still recall at one point as (now remember we’re talking the summer of 87) we were cruising the streets of Thunder Bay windows down cranking Revolution over and over like no one’s business and I’m sure we lost some hearing along the way as that stereo in T-Bones car could crank out the decibels.

One of the moments that is etched in my brain forever is we were sitting at a red light on that warm summer evening the windows down and the warm summertime air blowing our mullets around and as I looked over to my right was an older dude and his female companion (older by that I mean me and T-bone were 21 years old at the time whereas the fellow and his lady friend were probably our ages now).

I will always remember sitting at that red light and the dude looking over at us and giving us the thumbs up! That for me was like winning  Olympic Gold lol. Maybe that guy thought “hey, look at these young punks digging on the Beatles or maybe he thought we were posers because of the commercial)

Whatever way that guy was thinking it was one of those fun moments and the power of a song connected at that red light!

Revolution to this day is still my favourite Lennon song. Love that it’s just the four of them laying it down with basically just drums, bass vocals, and guitar.

At the time when the Nike commercial aired The surviving Beatles sued Nike for 15 million which was crazy considering Michael Jackson owned the Beatles catalog which we all know drove McCartney nuts.

But if anything I have to give Nike credit as they did a really cool commercial for it all in black n white and even had John McEnroe and Micheal Jordan in it as well.

The commercial made me seek out and buy the song, not the running shoe!

Beatles Week – If I Needed Someone

Christian and I share a lot of the same musical tastes. It’s odd because neither one of us grew up with The Beatles or that great 60s generation. We both grew up in the 80s but share a lot of the same likes. He has a very informative site that is a must if you are a music fan. Go see him at

My Favorite Beatles Tune

The Beatles are my all-time favorite band, so rejecting an invitation to write about my most beloved song or something else about the four lads from Liverpool simply wasn’t a possibility. I chose the first option. Thanks for the generous offer, Max!

So, what’s my favorite Beatles tune? That’s easy – all of them, except perhaps for number 9, number 9, number 9…Well, that doesn’t reduce the choices by much. Seriously, with so many great Beatles songs, it’s hard to pick just one!

My first Beatles album was a compilation, Beatles 20 Golden Hits, released by Odeon in 1979. Below is an image of the track list.

While each of the above songs is great and would deserve a dedicated post, the album doesn’t include the tune I decided to highlight. If you follow my blog or know my music taste otherwise, by now, you may be thinking I’m going to pick another song The Beatles recorded after they stopped touring.

Perhaps gems like A Day In the Life, Strawberry Fields Forever or I Am the Walrus come to mind. In fact, I previously said if I could pick only one, it would be A Day In The Life. The truth is with so many great tunes to choose from, it also depends on my mood and the day of the week.

That said, one song I’ve really come to love only within the past five years was recorded by The Beatles while they still were a touring band: If I Needed Someone, one of George Harrison’s earlier tunes that made it on a Beatles album: Rubber Soul, except for North America where it was included on Yesterday and Today, the record that became infamous because of its initial cover showing The Beatles in butcher outfits with mutilated baby dolls.

According to his 1980 autobiography I, Me, Mine, as cited by Wikipedia, Harrison apparently didn’t feel If I Needed Someone was anything special. He compared it to “a million other songs” that are based on a guitarist’s finger movements around the D major chord.

True, it’s a fairly simple song. And yet I totally love it!

Music doesn’t have to be complicated to be great. In this case, a major reason why I dig this tune as much as I do is Harrison’s use of a Rickenbacker 360/12, a 12-string electric guitar that sounds like magic to my ears. Of course, when you hear Rickenbacker, one of the first artists who come to mind is Rickenbacker maestro Roger McGuinn who adopted the Rickenbacker 360/12 to create the Byrds’ signature jingle-jangle guitar sound.

There is an interesting background story. The inspiration to McGuinn to use the Rickenbacker 360/12 came after he had seen Harrison play that guitar in the Beatles film A Hard Day’s Night. Harrison’s If I Needed Someone, in turn, was influenced by the guitar sound McGuinn had perfectionated, especially on the Byrds’ rendition of Pete Seeger’s The Bells of Rhymney. The rhythm was based on the drum part in She Don’t Care About Time, a tune by Gene Clark, the Byrds’ main early songwriter.

“George Harrison wrote that song after hearing the Byrds’ recording of “Bells of Rhymney”, McGuinn told Christianity Today magazine, as documented by Songfacts. “He gave a copy of his new recording to Derek Taylor, the Beatles’ former press officer, who flew to Los Angeles and brought it to my house. He said George wanted me to know that he had written the song based on the rising and falling notes of my electric Rickenbacker 12-string guitar introduction. It was a great honor to have in some small way influenced our heroes the Beatles.”

Apart from the signature guitar sound of the Byrds, If I Needed Someone also is viewed as reflecting Harrison’s then-developing interest in Indian classical music by the use of drone over the main musical phrase and its partly so-called Mixolydian harmony. I’m basing this on Wikipedia and frankly don’t fully understand it.

Harrison wrote the song for English model Pattie Boyd whom he married in January 1966. There has been some discussion over the ambivalent tone of the lyrics. Does a guy who sings, “If I needed someone to love you’re the one that I’d be thinking of” really sound like he’s madly in love with the girl and wants to marry her? Or how about “Carve your number on my wall and maybe you will get a call from me” – “maybe” neither sounds very committed nor romantic, at least not in my book!

If I Needed Someone has been covered by various other artists. First out of the gate were The Hollies who released the tune as a single on December 3, 1965, the same day Rubber Soul appeared in the UK. Their rendition, which Harrison evidently didn’t like, peaked at no. 20 on the UK Official Singles Chart. Various other versions were recorded in 1966 by American bands Stained Glass, The Kingsmen and The Cryan’ Shames, as well as South African jazz trumpet player Hugh Masekela. Among additional covers that appeared later is a brilliant rendition by Mr. Rickenbacker maestro himself from 2004.

The BeatlesIf I Needed Someone

The ByrdsThe Bells Of Rhymney

The ByrdsShe Don’t Care About Time

Roger McGuinnIf I Needed Someone

If Needed Someone

If I needed someone to love
You’re the one that I’d be thinking of
If I needed someone

If I had some more time to spend
Then I guess I’d be with you, my friend
If I needed someone

Had you come some other day
Then it might not have been like this
But you see now I’m too much in love

Carve your number on my wall
And maybe you will get a call from me
If I needed someone
Ah, ah, ah, ah

If I had some more time to spend
Then I guess I’d be with you, my friend
If I needed someone

Had you come some other day
Then it might not have been like this
But you see now I’m too much in love

Carve your number on my wall
And maybe you will get a call from me
If I needed someone
Ah, ah

Beatles Week – Please Please Me

I’ve been visiting Stewart at Number1sblog for a few years. His blog never lets me down. Learning about #1 songs in the UK and how different the American charts can be from them. He is currently in the year 1989 but travel back to see the previous years also. He always gives you a quality take on every #1 song. 

Stewart writes about every UK number one single at He’s 630 singles in, give or take, and about to enter the 1990s…

When Max asked us to write a post on our favourite Beatles song, I instantly thought about choosing one of their seventeen UK number one singles. It would have been ‘on-brand’ for me, at least, at the number 1s blog. But I’ve been there and done those, so I decided to cast my eye one place further down the charts.

The Fab Four have two very famous #2 singles. One is the ‘Penny Lane’ / ‘Strawberry Fields Forever’ double-A that became their first single in four years not to make #1, in March 1967 (famously held off by none other than Engelbert Humperdinck). The other is the single that introduced them to the British public in January 1963: ‘Please Please Me’.

‘Love Me Do’ had been the Beatles’ first single to make the charts a few months before. It has huge significance, for obvious reasons, in the history of the band but I’ve never loved it. It’s slow, it’s a bit predictable. Not terrible, not at all, but I can’t imagine many who heard it on the wireless in October 1962 thinking that this new band were going to change the world. ‘Please Please Me’, however…

There are many moments in the Beatles’ discography in which they took a lightyear-sized step towards the future, and this was the first. The tempo has increased a hundred-fold from ‘Love Me Do’, everything – guitars, vocals, drums – is tight, the harmonies inspired by the Everly Brothers, the harmonica in the intro an alarm announcing them to the world. John Lennon was the main player here: he wrote it, and it’s his harmonica that gives the song its distinctive hook. It’s a simple song (a lot of the early, early Merseybeat hits were traditional pop arrangements modernised with guitars and drums) and originally a slow, bluesy number that George Martin thought was dreary. It’s him we have to thank for upping the tempo, and turning this into a rattling, breakneck pop hit, with that wonderful, swinging middle-eight.

The record was released during one of Britain’s worst-ever winters, and legend has it that the audience for their performance of the song on ‘Thank Your Lucky Stars’ on January 19th would have even larger than usual, with large swathes of the country snowbound. This was the first time most people had seen or heard The Beatles, with their long (by 1963 standards) hair and their natty suits. It created a buzz, and got them booked on tours supporting Tommy Roe, Helen Shapiro, and Roy Orbison. ‘Please Please Me’ began to shoot up the charts, and by the time those tours came around The Beatles had been bumped up the bill to headliners. Martin predicted that it would be the Beatles’ first number one hit, and he was correct.

Well, sort of… The singles charts of the 1950s and ’60s were a tad messy. There wasn’t just one of them, for a start. You had the ‘Melody Maker’ chart, the ‘NME’ chart, and the ‘Record Retailer’ chart. None of which offered a complete overview of a week’s sales – they all conducted ‘surveys’ of select record stores over the phone. ‘Please Please Me’ hit #1 in the NME chart (which had the largest circulation) and ‘Melody Maker’ chart, but it only reached #2 in ‘Record Retailer’, which was the one that the Official Singles Chart chose to follow. So, it may well have been the UK’s biggest selling single at some point; we’ll just never know for sure… The history books record it as having stalled behind Frank Ifield’s dull-as-dishwater country ballad ‘The Wayward Wind’ for two weeks.

It’s far from the only single to have suffered this unfortunate fate – it wasn’t until 1969 that the UK charts were unified into one – but it’s a landmark single from the biggest pop group in history, with one of the very best middle-eights. And it set the tone for the next two years, in which the Fab Four would release single after single of pop perfection. ‘From Me to You’, the record that officially gave them their first #1, was perhaps a step back towards ‘Love Me Do’. But then came ‘She Loves You’, and ‘I Want to Hold Your Hand’, and there was no looking back.

It’s interesting to note that an intervention from George Martin, and a particularly snowy winter, contributed to the official start of Beatlemania. Of course a band as good as the Beatles, with a songwriting partnership as prolific as Lennon-McCartney, would have made it eventually. It’s just fitting that ‘Please Please Me’, their first of many, many great songs, was the record that did it.

Beatles Week – Beatles Donut Holes

I’ve been visiting Cork’s site for years and it’s one of my favorite blogs to go to. I’ve read posts about The Beatles, Sasquatch, Frozen Pizza, Iron Maiden, movies, blues songs, and many more. Take a visit to his site at

Beatles Donut Holes

I was born in 1970 so I don’t know if Beatles Donut Holes were ever a real thing during the Sixties, but they sure sound tasty. “I’ll have a John Lennon Long John and a large Blacca Macca Coffee to go please. Yeah, and let me get an order of Cinnamon Starr Sticks with a Savoy Truffle.”

If you have no idea what I’m talking about, it’s this….even RAGING, RABID Beatles fans can miss some things…myself included. It’s like, “Oops, how did I miss it?” I’ve experienced this on more than one occasion in my own personal B.L.Q. (Beatles Listening Quest). The American and British album releases are the easiest example of this.

For example, I checked out the vinyl “Revolver” album from my local library branch and recorded it onto a cassette. A few weeks later I was standing in the Beatles’ section of my local record store scratching my head wondering why “Doctor Robert” and “I’m Only Sleeping” aren’t on my newly dubbed version of the album. Thanks, Capitol!

The first Beatles collection I remember owning was the “red” Greatest Hits 1962-1966. Here are two donut holes you might have missed. First is the James Bond-ish intro to the song “Help.”

I always enjoy listening to the 25 second mashup of twangy guitars, sitar, and orchestra instruments. At some point I bought the Help! soundtrack years later. Don’t ask which version because I have no idea. I always associate this song with this greatest hits collection. It would be a shame to like The Beatles and not have heard this one.

Another example is the song “I Feel Fine”, which is also part of that red 62-66 collection. It’s probably best known for the whole feedback intro on the song, but you might have missed something towards the very end of the recording. It helps if you crank the volume and/or wear headphones for this. Towards the very end of the song, around 2:15, I swear I hear the sound of a dog barking.

I Googled this prior to its inclusion in this blog and I’m not the only one who hears this. One person seemed to think it was Paul McCartney barking or whooping, but you tell me what you think. I always thought “Hey Bulldog” was their finest barking, but I could be wrong.

One of my earliest Beatles Donut Hole experiences came from recording “The Compleat Beatles” documentary off USA cable network back in the day. I had the first few lines of this thing memorized from watching it so much. “Liverpool: 200 miles northwest of London.” I went to visit an out of state friend and he brought up some scenes in the film that I had never seen — then I found out the network had cut some parts of the film for time so I had the “InCompleat Compleat Beatles.” I guess American film distributors would call it the “Incomplete Complete Beatles.”

Hopefully, you got a laugh reading this. Not everything associated with The Fab Four is necessarily a rarity or demo version of your favorite song. (I also checked out The Beatles Rarities from the same library branch by the way. ) I think the beauty of enjoying an established band like The Beatles allows fans to make their own discoveries. Here’s hoping no Donut Holes befall you anytime soon.

Till next time, keep your Mojo on the Horizon!

Beatles Week…Coming Friday March 10, 2023

On Friday, March 10, 2023, my blog will be blessed…it will be guest hosted by many of you wonderful bloggers out there. I asked some bloggers to write about their favorite Beatles song or somewhere along those lines. In the next week or so that is what we will have.

I truly appreciate all of them writing on this subject. I admire all of them for their writing abilities and having fantastic sites. I’m calling it Beatles Week but in truth, it WILL go longer than a week. If it does so be it…I’m not going to rename it to Beatles 8 or more days… I think “week” has a certain ring to it.

We will have one post a day BUT…I will still have my Star Trek posts to work in on Wednesday, Saturday, and Sunday. Now…if any of you reading this would want to write about a favorite Beatle song…just tell me and I’ll get you in…although I’ll need to know by Friday. I so appreciate all of my readers and it’s been a joy working with all of these different bloggers. We do have a great community here on WordPress.



Time Machine To Hamburg

Dave at A Sound Day gave writers a question to write about. If you could safely go back in time and move about for one day, what one concert or live performance would you choose to go to?

Well, that narrows it down to me because there are two cities that come to mind after he asked that. Now…if this was a baseball question I would go to New York in the twenties and see who I think was the best baseball player ever…Babe Ruth. But it’s music so the two cities are Hamburg and Liverpool…the Star Club in Hamburg or the Cavern in Liverpool…and I shouldn’t have to name the band.

I’m going to pick Hamburg…and the reason is The Beatles would play 6-8 hours a night compared to lunchtime sessions at the Cavern so to Germany I go! From everything I’ve read the performances there were off the charts. They played loud sweaty rock and roll there and accumulated way past 1000 hours playing there in a 3-year stretch from 1960 to 1962. It’s not a stretch to say at that time they could have had more hours on a stage than any other rock band.

The Beatles played over 250 nights in the seedy red-light district of Hamburg. If you average 6 hours a show that would be 1500 hours…that is why they could play so well with a wall of screaming in their ears later on. They would get to know the gangsters who would buy them champagne, the barmaids who would sell or give them  Preludin (a type of diet pill speed so they could play all night…”prellies”), and the prostitutes who would take them in and befriend them. They also met Little Richard, Billy Preston, and Gene Vincent there.

They slowed down in 1962 and didn’t play as long of sets but at the end they had Ringo. I would want to see them in 1960-61 when Stuart Sutcliffe was on bass and Pete Best was drumming. Other bands from England started to come over but none of them had the impact of the Beatles. They lived off of prellies and beer when they played and would go have an English breakfast when they could afford it. There are pictures of them holding a  Preludin metal tube (what they came in) and grinning manically.

Beatles In Hamburg

They would write a few songs but mostly played covers through this period of learning. They caused all kinds of trouble and there were rumors of John Lennon urinating off of a balcony on nuns…but that has been disproven…no he did urinate off of balconies but left the nuns alone. He once appeared with a real toilet seat around his head on stage after being angered and ripping it off a toilet. George was booted out of the country for being underaged and Paul and Pete were accused of trying to burn down a cinema. Stuart Sutcliffe found his true love there Astrid Kirchherr. He would die in 1962 of a brain hemorrhage at 22.

When they came back from Hamburg in 1960 to Liverpool…people were amazed and at first thought, they were a German band with their all leather clothes. They were a sensation because they played like no one else. Without Hamburg…there would probably be no Beatles. After they got back they started to play the Cavern regularly and the promoters were wary of them because of their reputation but soon knew they would make them a lot of money. They were NOT the grinning moptops that the world came to love. They were rough and tough growing up in Liverpool with further education in Hamburg. Often after shows in Liverpool, they would have to fight because of the rough audiences being jealous of their girlfriends who were fawning over them.

Well, that was long-winded…but Hamburg in 1961… is where I want Dave’s time machine to take me. I might hijack it and make another trip to the Cavern if Dave is not watching. So what is the saying about rock music? Sex, drugs, and Rock and Roll? This probably helped that saying along.

There are some low-fi recordings of them in Hamburg in 1962 with Ringo drumming which shows how stripped down and raw they were.

Beatles – Twist And Shout ….Under The Covers Week

Usually, I don’t like covers better than the original but with this song I do. John Lennon sounds demented and he pushed his vocals over the edge. Lennon has said he screamed the lyrics more than sang them but it worked. He provided the power to this song with just his vocals. The Beatles didn’t have monitors live…no one else at this time didn’t either so they had to sing loud to be heard.  Author Mark Lewisohn called it “arguably the most stunning rock and roll vocal and instrumental performance of all time.”

This is probably close to sounding like they did live in Hamburg and The Cavern. This session took place on February 11, 1963, at EMI Studios in London, which was later renamed Abbey Road Studios. The Beatles did 10 songs that day, nine of which ended up on Please Please Me, their first UK album. Think about that for a minute… in one day they recorded their debut album except for the song Please Please Me which was recorded later.

When The Beatles played the Royal Command Performance with the Queen watching. During the introduction to this song, John Lennon famously said, “For the people in the cheaper seats, clap your hands and the rest of you, if you’d just rattle your jewelry.” He told Brian Epstein that he was going to say “rattle your fu**ing jewelry” and Epstein was on pins and needles worried that John would go through with that…but he didn’t. John wasn’t a fan of playing at these functions.

They actually did two takes of the song and kept the first one. John was sick with a cold and had stripped off his shirt to let himself sweat it out, but he pulled it off. The next day…February 12, 1963 – The Beatles played two shows, one at the Azena Ballroom in Yorkshire and another at the Astoria Ballroom in Lancashire. No rest for the weary.

This was the first song ever written by Bert Burns. He went on to write, Piece of My Heart, Here Comes the Night, Hang on Sloopy, Cry to Me and Everybody Needs Somebody to Love to name just a few. He signed Van Morrison to his first solo deal with Bang Records. Unfortunately, he died at 38 of a heart attack in 1967. Phil Medley did get a co-writing credit on the song.

The song peaked at #2 on the Billboard 100, #5 in Canada, and #1 in New Zealand in 1964. The Beatles version was not done yet. In the film, Ferris Bueller’s Day Off in 1986, the song was used and charted again. It peaked at #23 on the Billboard 100 and #16 in Canada.

The Isley Brothers’ version is great and there have been many other charting versions of it.

Norman Smith engineer:  “Someone suggested they do ‘Twist and Shout’ with John taking the lead vocal. But by this time all their throats were sore; it was 12 hours since we had started working. John’s, in particular, was almost completely gone so we really had to get it right the first time. The Beatles on the studio floor and us in the control room. John sucked a couple more Zubes (a brand of throat lozenges), had a bit of a gargle with milk and away we went.”

Twist and Shout

Well, shake it up, baby, nowTwist and shoutCome on, come on, come, come on, baby, nowCome on and work it on outWell, work it on out, honeyYou know you look so goodYou know you got me goin’ nowJust like I knew you would

Well, shake it up, baby, nowTwist and shoutCome on, come on, come, come on, baby, nowCome on and work it on outYou know you twist, little girlYou know you twist so fineCome on and twist a little closer nowAnd let me know that you’re mine, woo

Ah, ah, ah, ah, wowBaby, nowTwist and shoutCome on, come on, come, come on, baby, nowCome on and work it on outYou know you twist, little girlYou know you twist so fineCome on and twist a little closer nowAnd let me know that you’re mineWell, shake it, shake it, shake it, baby, nowWell, shake it, shake it, shake it, baby, nowWell, shake it, shake it, shake it, baby, nowAh, ah, ah, ah

Beatles – Here, There, And Everywhere

I was looking for a Beatles song to post about and I came across Hobo Moon Cartoons a while back and this new video was featured. Check the site out when you can.

What a beautiful song this is..I think it’s one of Paul’s and The Beatle’s best ballads. Paul has said before that the song was inspired by the Beach Boys’ “God Only Knows” off of their album Pet Sounds. on Twitter: "Today in 1966, Bruce ...

The way that John and Paul heard Pet Sounds for the first time is interesting. Beach Boy Bruce Johnston was in England in 1966 and he met a huge Beach Boy fan Keith Moon. Moon dragged him to every hip spot in London. To Johnston’s surprise and amazement…he took him to a hotel and invited John and Paul to come over and meet Johnston and listen to the Beach Boy’s new album that was about to be released. Bruce had no idea how connected the Who’s drummer was at the time. He had come to England to sightsee and maybe hype the album a little but did not expect to have an audience of John and Paul.

Keith at the time acted like he liked the album but at heart, he wanted the same old surf songs…he wasn’t expecting an art-pop album from the Beach Boys. John and Paul were knocked out by Pet Sounds and after hearing God Only Knows Paul came up with this melody and he and John finished it off. Paul said this song was around 80-20 his song. It was a full circle because Brian Wilson was inspired by Rubber Soul when writing Pet Sounds.

Paul said that John praised his songwriting only once. He said “John says just as it finishes, ‘That’s a really good song, lad. I love that song.’ And I’m like, ‘Yes! He likes it!'”

The song was on arguably the Beatle’s best album Revolver. This song was somehow not released as a single. The album peaked at #1 in the Billboard Album Charts, in Canada, and in The UK in 1966. During the 1987 CD releases, it peaked at #3 on the US Billboard Top Compact Disks Charts…seriously? I never heard of the US Billboard Top Compact Disks but that is also a chart.

Paul McCartney: “I wrote that by John’s pool one day, I sat out by the pool on one of the sun chairs with my guitar and started strumming in E, and soon had a few chords, and I think by the time he’d woken up, I had pretty much written the song, so we took it indoors and finished it up…John might have helped with a few last words…But it’s very me, it’s one of my favorite songs that I’ve written…So I would credit me pretty much 80-20 on that one.”

John Lennon:  “Here, There And Everywhere’ was Paul’s song completely, I believe – and one of my favorite songs of The Beatles.”

John Lennon: “There was a period when I thought I didn’t write melodies, that Paul wrote those and I just wrote straight, shouting rock’n’roll. But of course, when I think or some of my own songs – ‘In My Life,’ or some of the early stuff, ‘This Boy’ – I was writing melody with the best of them.”

The Beatles released an animated video for this song in 2022. It was directed by Rok Predin.

Here, There, And Everywhere

To lead a better life
I need my love to be here

Here, making each day of the year
Changing my life with a wave of her hand
Nobody can deny that there’s something there
There, running my hands through her hair
Both of us thinking how good it can be
Someone is speaking
But she doesn’t know he’s there

I want her everywhere
And if she’s beside me I know I need never care
But to love her is to need her everywhere

Knowing that love is to share
Each one believing that love never dies
Watching their eyes and hoping I’m always there

I want her everywhere
And if she’s beside me I know I need never care
But to love her is to need her everywhere

Knowing that love is to share
Each one believing that love never dies
Watching their eyes and hoping I’m always there

I will be there
And everywhere
Here, there and everywhere

Beatles – All My Loving

This is the first song America heard on February 9, 1964, on the Ed Sullivan Show.

I love this song for one big reason. John Lennon plays a hell of a rhythm in the background. He makes it sound so deceptively easy but it’s not. I need to start focusing on some of their earlier music instead of just their late sixties tracks. I have some readers that just like their early stuff and others who like just the mid or later. I love both because it’s the same band… early, middle, or late… both have great melodies but just different tones of instruments.

What is great about the early part is their harmonies. When I played in a band we didn’t do many Beatles songs although they were being requested. If we did we did a later song like Get Back without those harmonies. It takes a band with 2 or better yet 3 singers who can do those harmonies. Not easy to do when you are teen playing instruments at the same time. We stuck with Rolling Stones and CCR songs without the complicated harmonies. Now we couldn’t do I Am The Walrus either because of the craziness of the instruments.

Meet The Beatles

This song was on the first Beatles album I listened to…the American version of With The Beatles named Meet The Beatles with their faces in shadow. We had a clubhouse and my older cousin bought the album and I was hooked…for life. It’s hard not to get hooked by the songs.

On February 9th, 1964, an estimated 73 million viewers watched this much-hyped young Liverpool band perform five songs ‘live’ from CBS-TV Studio 50 in New York City. Capital Records kept rejecting Beatles songs until I Want To Hold Your Hand. A few radio stations started to play the song and soon Capitol realized that they could not reject them anymore. They didn’t like British records and only would release novelty British songs in America. When they started to get behind Meet The Beatles the dam burst.

They chose All My Loving to start the set and made an immediate good first impression and kept that huge television audience tuned in for the whole show. What separated the Beatles from other bands? The thousands of hours they already had under their belt from rocking in Hamburg, The Cavern, and all around Europe. At one point they very well could have had more hours on stage than any other rock band. Another thing was the quantity and more important the quality of the songwriting of the band that would continue to their end.

It’s a Lennon-McCartney song but mostly McCartney. The song peaked at #1 in Canada and New Zealand. It surprisingly only peaked at #45 on the Billboard 100 in 1964.

Paul McCartney:  “I don’t know that I was thinking specifically of Jane Asher when I wrote this, though we were courting. It’s probably more of a reflection on what our lives were like then – leaving behind family and friends to go on tour and experience all these new adventures.”

All My Loving

Close your eyes and I’ll kiss you
Tomorrow I’ll miss you
Remember I’ll always be true
And then while I’m away
I’ll write home every day
And I’ll send all my lovin’ to you

I’ll pretend that I’m kissing
The lips I am missing
And hope that my dreams will come true
And then while I’m away
I’ll write home every day
And I’ll send all my lovin’ to you

All my lovin’, I will send to you
All my lovin’, darlin’, I’ll be true

Close your eyes and I’ll kiss you
Tomorrow I’ll miss you
Remember I’ll always be true
And then while I’m away
I’ll write home every day
And I’ll send all my loving to you

All my lovin’, I will send to you
All my lovin’, darlin’, I’ll be true
All my lovin’, all my lovin’
Ooh ooh, all my lovin’, I will send to you

Ranking Beatle Albums

For anyone who has talked to me in person or through the blog…the number one choice is NOT going to be a surprise. The rest of the bunch might be a little but not number 1. It’s also an almost impossible task for me to do this. The Stones albums were easier to rank.

 I’ve seen Hanspostcard to this before but I’ve never tried it. Since it would be convoluted to include the American versions…I’m sticking with the UK versions only…except with Magical Mystery Tour. Magical Mystery Tour was released as two eps in the UK but an album in the US…now the album is considered the standard.

I was struck again by how far they came. Please Please Me and four years later I Am The Walrus. Who makes that big of a jump?

As with my Stones list a while back… I will do this on personal preference. When people mention the best Beatle album…many say Revolver or Sgt Pepper. Artistically I always thought Revolver is at the top but not personally.

The only easy selection for me was the bottom two but that doesn’t mean I don’t love them both. Many bands would make a career out of the bottom two. The hardest part was comparing the early albums with the others. That is not all…how do you compare Strawberry Fields with I Want To Hold Your Hand to Something off of Abbey Road?

I have some readers who are pro-early Beatles and some who are pro-middle to late. I’ll take them all. They were innovative to start off with…not just middle to late. I know that many will disagree and I hope you do… that’s the fun of these lists! If I made this tomorrow…only the top pick and the last two would be the same. I have over 40 revisions of this post…yea it was hard. 

Yellow Submarine

13. Yellow Submarine (Soundtrack) – This was the dumping ground of the not wanted songs for a while. The Beatles would keep sending songs to this album but just because it was last doesn’t mean it wasn’t any good. The album also had songs from other albums on this one.

Favorite Song – Hey Bulldog

Beatles for Sale

12. Beatles For Sale – The cover tells the story. Beatlemania had worn them down physically and emotionally. Six out of the fourteen songs on the album are cover versions. They were good cover versions but were running low on gas at this point.

Favorite Song – No Reply

Let It Be

11. Let It Be – My love for this album has grown but I’ve always liked it. Lately, it has drawn new fans into the Beatles because of the Get Back film. Why oh why did Phil Spector leave off Don’t Let Me Down? This is another album that I hated to rank as low as I did.

Favorite Song – Two Of Us

Please Please Me

10. Please Please Me – I love this debut album. They recorded most of it in one day… on February 11, 1963. Recording this in one day shows you how well they knew their material. It takes people days just to start on an album…much less get it done. It really hurts to rank this as low as it is.

Favorite Song – Please Please Me

Magical Mystery Tour

9. Magical Mystery Tour – I remember buying this album as a kid I liked it better than Sgt Pepper at the time. Many of the songs had already appeared on singles like Strawberry Fields Forever, Penny Lane, Hello Goodbye, I Am The Walrus.

Favorite Song – Strawberry Fields Forever

With The Beatles

8. With The Beatles – This album was close to its American counterpart (Meet The Beatles) without I Want To Hold Your Hand. It had many more covers.  I think Meet The Beatles could be a little better because it was totally made up of Lennon-McCartney songs with Harrison’s first original song…Don’t Bother Me.

Favorite Song – It Won’t Be Long (one of my favorite Beatles songs of all time)


7. Help! – For me this album gets underrated and this is where you can start hearing the change between Beatlemania and more mature Beatle music. It opens the door for Rubber Soul and then Revolver.

Favorite Song – The Night Before

Abbey Road

6. Abbey Road – This album has been said to sound more modern than the other Beatles albums. The reason is they recorded on a 16-track recorder just installed at the time in Abbey Road. It was the last album they all worked on together.

Favorite Song – The “mini pop opera” on side B

Sgt Pepper

5. Sgt Pepper’s Lonely Hearts Club Band – The most famous album of the Beatles and quite possibly of all time. As John Lennon said it wasn’t really a concept album after the first two tracks and the refrain…it worked because they said it worked. If The Beatles would have included Strawberry Fields and Penny Lane…this could be my number 1. 

Favorite Song: perhaps my favorite of all time… A Day In The Life

Rubber Soul

4. Rubber Soul – This was known as their pivotal album. I think Help! was the album that you started to know the change between the early Beatles and mid-Beatles but this one was full-blown. It shows their folk and drug influence with their great melodies. 

Favorite Song – In My Life

A Hard Day's Night

3. A Hard Day’s Night (Soundtrack) – I think this is the best album they released during the Beatlemania days and on some days it could be listed even higher. Songs such as the title track, Tell Me Why, I Should Have Known Better, If I Fell, Anytime At All, and many more.

Favorite Song – I’ll Cry Instead


2. Revolver – I think Revolver is the Beatle’s best album artistically. It’s not the most popular with the masses but it’s a masterpiece of an album. I’m biased but this one or Pet Sounds? I would take Revolver any day of the week…and I love Pet Sounds! It’s as close to a perfect album as you can get.

Favorite Song – Tomorrow Never Knows

The White Album

  1. The Beatles (White Album) – This not only is my favorite Beatles album…but my favorite album of all time. It gives such a wide palette of music…  there is something that everyone would like on here somewhere. Unlike Abbey Road or Sgt Pepper…it’s not slick…it’s them playing in a room. I like the well-known songs and I love the album tracks even more. Actually, all are album tracks technically because there were no singles (except for an overseas single) from this album. Songs included Back in the USSR, Helter Skelter, Dear Prudence, Sexy Sadie, Cry Baby Cry, Revolution 1, and so many more. 

Favorite Song: Sexy Sadie