Beatles – Help! Soundtrack Album

We wrapped up Hanspostcard’s album draft…100 albums in 100 days. We are going into extra innings and extending three more picks from these categories… favorite Soundtracks, Greatest Hits, and a music related movie. This is my pick for sountrack…Help! by the Beatles.

2020 ALBUM DRAFT- ROUND 11 PICK 4- SOUNDTRACKS- BADFINGER20 SELECTS- THE BEATLES- HELP!

To avoid confusion I’m reviewing the UK version of Help! because that is the one that I own.

The movie Help! was an enjoyable movie. It was not nearly as good as A Hard Days Night but it had it’s moments. I love black and white movies but the color made Help! stand out. The Beatles knew it wasn’t as good as their first…John had a quote about it: “it was like being a frog in a movie about clams.” Nevertheless it was a fun movie and a pleasure to watch today.

Amazon.com: Blujway The Beatles Help Lobby Card Movie Poster Replica 11 X  14 Photo Print: Posters & Prints

They shot the movie in five different locations…London, Wiltshire, Berkshire, Austria, and the Bahamas.

It was the first Beatle movie I ever saw…I rented it from a video store in the mid-eighties. The Help! movie was the only Beatle movie they had at the time. With no internet, it was my only window to see the Beatles other than the documentary The Compleat Beatles.

Behind-the-Scenes Footage From the Beatles' 'Help!' Surfaces

The soundtrack is a great album on it’s own.

I picked this album/soundtrack because I always thought this was the transitional album between Beatlemania and The Beatles middle period. After this album would come Rubber Soul and the swinging sixties would officially be kicked off. Help! shows them making strides into the future. You can hear a some of their earlier work and get a hint of what was coming.

Here are a few songs…I’ll leave the big hits off of the preview.

You’ve Got to Hide Your Love Away is a good song with a noticeable Dylan influence.

One of my favorite songs on the album is The Night Before…I first heard it on the Beatles Rock and Roll Music compilation album. It’s another song that would have been a single for another band.

As soon as I heard I’ve Just Seen A Face…I learned it on guitar and have been playing it ever since. This is a song that you can see the change starting to take place…from the bouncy numbers to this folk influenced one. This song would be on the American version of Rubber Soul.

You’re Going to Lose That Girl has a catchy call and response chorus. The backup vocals are superb.

The title track is brilliant with John calling out for Help after being battered by Beatlemania. They also dipped into their club roots with a cover of the Larry Williams song Dizzy Miss Lizzy. The album had the hits of course…Help!, Yesterday, and Ticket To Ride…all #1 in the Billboard 100.

I’m ready to watch Help! now…can I smuggle a Blu-ray player on the island?

Help!
The Night Before
You’ve Got to Hide Your Love Away
I Need You
Another Girl
You’re Going to Lose That Girl
Ticket to Ride
Act Naturally
It’s Only Love
You Like Me Too Much
Tell Me What You See
I’ve Just Seen a Face
Yesterday
Dizzy Miss Lizzy

Beatles – Drive My Car

Beep beep’m beep beep yeah

The song was on their album Rubber Soul released in 1965. What stands out is the Motown type bass line being played by Paul while George doubled him on guitar. Paul played lead with slide guitar.

George Harrison suggested the R&B arrangement and it  was implemented as the rhythmic style of the song. The introduction to the song is confusing to some though.

This is another song by Lennon/McCartney but with Lennon saying it was mostly Paul’s song. Lennon though did write a lot of the lyrics as Paul’s original lyrics were pretty bad…per Paul. It was not released as a single.

According to McCartney, “‘Drive my car’ was an old blues euphemism for sex”.This expression was more common in the pre-automatic shift era of automobiles.

The opening two measures of “Drive My Car” still leave studied “musicologists” scratching their heads to this day. Producer Mark Hudson, who had worked with Ringo on his solo career for ten years, has related how he asked the drummer about the song’s introduction, saying that “he could never figure it out.” Ringo couldn’t even explain it.

The Beatles seem to do that a lot… A Hard Days Night intro and the beginning to I Want To Hold Your Hand have musicologist debating how something was done…and how it worked.

Paul McCartney: “The lyrics were disastrous and I knew it. Often you just block songs out and words just come into your mind and when they do it’s hard to get rid of them. You often quote other songs too and you know you’ve got to get rid of them, but sometimes it’s very difficult to find a more suitable phrase than the one that has insinuated itself into your consciousness.” Other songs he used as a template in this case most likely include “Can’t Buy Me Love” and “I Feel Fine,” both of which include lines about buying a “diamond ring” for someone.

Paul McCartney:  “”It was wonderful because this nice tongue-in-cheek idea came and suddenly there was a girl there, the heroine of the story, and the story developed and had a little sting in the tail like ‘Norwegian Wood’ had, which was ‘I actually haven’t got a car, but when I get one you’ll be a terrific chauffeur.’ So to me it was LA chicks…and it also meant ‘you can be my lover.’ ‘Drive my car’ was an old blues euphemism for sex, so in the end all is revealed. Black humor crept in and saved the day. It wrote itself then. I find that very often, once you get the good idea, things write themselves.”

From Songfacts

Laden with sexual innuendo, this song is about a guy who meets an aspiring actress, who tells him he can “drive my car,” as she has a keen interest in him, and might even be in love.

She keeps trying to lure him in (“I can show you a better time”), but when he finally agrees to take the job, she admits that she doesn’t have a car, but still wants him to be her driver. It’s pretty clear that all this driving talk is leading to sex, but there’s no proof that it isn’t just a song about a guy, a girl, and a car – making it another radio-friendly Beatles track.

Originally, it was a very different song lyrically, with the chorus, “I can give you golden rings, I can give you anything, baby, I love you.” Knowing that storyline would lead them nowhere good, they hashed it out until they came up with “Drive My Car” for the title, and changed the song so it was the woman soliciting the man.

Paul McCartney played bass, piano and lead guitar on this one; George Harrison played guitar and did backing vocals. John Lennon sang lead with McCartney and also played tambourine.

The “beep beep” refrain is a take-off on The Beatles own “yeah, yeah yeah”s in “She Loves You” as well as a nod to The Playmates song “Beep Beep” (a #4 US novelty hit in 1958).

Paul McCartney played this at halftime of the 2005 Super Bowl. The year before, Janet Jackson exposed a breast on live TV, which caused a great deal of controversy. McCartney was a solid choice because he was unlikely to offend anyone.

At the 2005 Live 8 Concert in London, McCartney performed this in a duet with George Michael.

The title of the album comes from “plastic soul,” a derogatory phrase McCartney had overheard black musicians using about Mick Jagger. (“Plastic” in those days meant anything fake or processed.) Paul can be heard using the phrase in studio chatter on June 14, 1965, during recording of the “Help!” B-side “I’m Down.” Reliably, he put his own spin on the phrase.

Drive My Car

Asked a girl what she wanted to be
She said, “baby, can’t you see
I want to be famous, a star on the screen
But you can do something in between

Baby, you can drive my car
Yes, I’m gonna be a star
Baby, you can drive my car
And maybe I’ll love you”

I told a girl that my prospects were good
And she said, “baby, it’s understood
Working for peanuts is all very fine
But I can show you a better time

Baby, you can drive my car
Yes, I’m gonna be a star
Baby, you can drive my car
And maybe I’ll love you”

Beep beep’m beep beep yeah

Baby, you can drive my car
Yes, I’m gonna be a star
Baby, you can drive my car
And maybe I’ll love you

I told a girl I can start right away
And she said, “listen, babe, I got something to say
I got no car and it’s breaking my heart
But I’ve found a driver and that’s a start

Baby, you can drive my car
Yes, I’m gonna be a star
Baby, you can drive my car
And maybe I’ll love you”

Beep beep’m beep beep yeah
Beep beep’m beep beep yeah
Beep beep’m beep beep yeah
Beep beep’m beep beep yeah

Beatles – Hey Jude

This is one of McCartney’s best written songs. Like a lot of other great songs it builds… from McCartney’s lone voice and piano to a giant sing a long at the end. Hey Jude is one of the most famous songs in rock history.

This was their debut single for their new record company Apple. The A side was Hey Jude and the B side was Revolution. That is a great way to start. This was one of the best double A side singles ever.

The song was not on an album at the time. Hey Jude peaked at #1 in the Billboard 100, UK, Canada, and New Zealand in 1968.

Paul McCartney wrote this as “Hey Jules,” a song meant to comfort John Lennon’s 5-year-old son Julian as John and Cynthia were getting a divorce. The change to “Jude” was inspired by the character “Jud” in the musical Oklahoma! Paul went to visit Cynthia and Julian when the divorce was happening and he composed most of it then.

John wanted Revolution released as a single right away but when he heard this song he agreed to have Revolution as the B side.

It was the Beatles longest single, running 7:11. George Martin was afraid radio stations would not play it but John said ‘They will if it’s us.” When this became a hit, stations learned that listeners would stick around if they liked the song, which paved the way for long songs like “American Pie” and “Layla.”Disc jockeys loved it…they got a break.

The Beatles filmed a promotional video for this song, which was directed by Michael Lindsay-Hogg who directed Let It Be. He had the Beatles sing the song (the music was on a backing track) in front of an audience of about 100 people, who sang it with them. This was the closest the Beatles had come to a live performance since they had stopped touring two years earlier.

The clip first aired on the UK program The David Frost Show in 1968, and was quickly picked up by other shows, giving the song a big promotional push.

Paul McCartney: “I thought, as a friend of the family, I would motor out to Weybridge (John’s former home with Cynthia) and tell them that everything was all right: to try and cheer them up, basically, and see how they were. I had about an hour’s drive. I would always turn the radio off and try and make up songs, just in case…I starting singing: ‘Hey Jules – don’t make it bad, take a sad song, and make it better…’ It was optimistic, a hopeful message for Julian: ‘Come on, man, your parents got divorced. I know you’re not happy, but you’ll be OK.’ I eventually changed ‘Jules’ to ‘Jude.’ One of the characters in ‘Oklahoma’ is called Jude, and I like the name.” 

Cynthia Lennon: “During the divorce proceedings, I was truly surprised when, one afternoon, Paul arrived on his own. I was touched by his obvious concern for our welfare and even more moved when he presented me with a single red rose accompanied by a jokey remark about our future. ‘How about it, Cyn?  How about you and me getting married?’ We both laughed at the thought of the world’s reaction to an announcement like that being let loose. On his journey down to visit Julian and I, Paul composed the beautiful song ‘Hey Jude.’ He said it was for Julian. I will never forget Paul’s gesture of care and concern in coming to see us. It made me feel important and loved, as opposed to feeling discarded and obsolete.”

Paul McCartney: “I finished it all up in Cavendish (Paul’s home) and I was in the music room upstairs when John and Yoko came to visit and they were right behind me over my right shoulder, standing up, listening to it as I played it to them, and when I got to the line ‘The movement you need is on your shoulder,’ I looked over my shoulder and I said, ‘I’ll change that, it’s a bit crummy. I was just blocking it out,’ and John said, ‘You won’t, you know. That’s the best line in it!’ That’s collaboration. When someone’s that firm about a line that you’re going to junk, and he says, ‘No, keep it in.’

John Lennon: “He said it was written about Julian…but I always heard it as a song to me. If you think about it, Yoko’s just come into the picture. He’s saying: ‘Hey, Jude – hey, John.’ I know I’m sounding like one of those fans who reads things into it, but you can hear it as a song to me. The words ‘go out and get her’ – subconsciously he was saying, ‘Go ahead, leave me.’ But on a conscious level, he didn’t want me to go ahead. The angel inside him was saying, ‘Bless you.’ The devil in him didn’t like it at all, because he didn’t want to lose his partner.”

John Lennon: “Well, when Paul first played ‘Hey Jude’ to me…I took it very personally. ‘Ah, it’s me,’ I said, ‘it’s me.” He said, ‘No, it’s me!’ I said, ‘Check, we’re going through the same bit.’ So we all are. Whoever is going through a bit with us is going through it. That’s the groove.”

From Songfacts

This was named as the song most often referred to in literature in a list compiled by culture interpretation website Small Demons. Amongst the 55 books the site says it’s mentioned in are Stephen King’s Wolves of the Calla (“Why do people over here sing Hey Jude? I don’t know”) and Toni Morrison’s Paradise (“Soane had been horrified – and he drove off accompanying Hey Jude on his radio”).

Elvis Presley’s “Heartbreak Hotel” was runner-up on the list and Led Zeppelin’s “Stairway To Heaven” came in third place

In 1987 Julian ran into Paul in New York City when they were staying at the same hotel and he finally heard Paul tell him the story of the song firsthand. He admitted to Paul that growing up, he’d always felt closer to him than to his own father. In Steve Turner’s book The Stories Behind Every Beatles Song, Julian said: “Paul told me he’d been thinking about my circumstances, about what I was going through and what I’d have to go through. Paul and I used to hang out quite a bit – more than Dad and I did… There seem to be far more pictures of me and Paul playing at that age than me and Dad. I’ve never really wanted to know the truth of how Dad was and how he was with me. There was some very negative stuff – like when he said that I’d come out of a whisky bottle on a Saturday night. That’s tough to deal with. You think, where’s the love in that? It surprises me whenever I hear the song. It’s strange to think someone has written a song about you. It still touches me.”

The Beatles inner circle was shifting when Paul McCartney wrote this song. John Lennon had recently taken up with Yoko and cast off his first wife, Cynthia; McCartney had broken off his engagement with his longtime girlfriend Jane Asher. He was the only Beatle to reach out to Cynthia and Julian at this time.

The drive to the Lennon home in Surrey was one of reflection for McCartney, who thought about Julian and how difficult life could be as a child of divorce. He wrote the line, “Don’t make it bad, take a sad song and make it better” thinking about how he could encourage the boy.

Paul was conditioned to think up songs on this trip, as he used to drive to the home for songwriting sessions with John – there were instruments and recording equipment in the attic.

In a 2018 interview with GQ, Paul McCartney talked about how he came up with the idea for this song: “John and his wife Cynthia had divorced, and I felt a bit sorry for their son, who was now a child of a divorce. I was driving out to see the son and Cynthia one day and I was thinking about the boy whose name was Julian – Julian Lennon, and I started this idea, ‘Hey Jules, don’t make it bad, it’s gonna be OK.’ It was like a reassurance song.

So that was the idea that I got driving out to see them. I saw them and then I came back and worked on the song some more. But I like that name, Jude.”

This was the first song released on Apple Records, the record label owned by The Beatles. It was recorded at Trident Studios, London, on July 31 and August 1, 1968 with a 36 piece orchestra. Orchestra members clapped and sang on the fadeout – they earned double their normal rate for their efforts.

Paul McCartney on his songwriting partnership with John Lennon in Observer Music Monthly October 2007: “I have fond flashbacks of John writing – he’d scribble it down real quick, desperate to get back to the guitar. But I knew at that moment that this was going to be a good collaboration. Like when I did ‘Hey Jude.’ I was going through it for him and Yoko when I was living in London. I had a music room at the top of the house and I was playing ‘Hey Jude’ when I got to the line ‘The movement you need is on your shoulder’ and I turned round to John and said: ‘I’ll fix that if you want.’ And he said: ‘You won’t, you know, that’s a great line, that’s the best line in it.’ Now that’s the other side of a great collaborator – don’t touch it, man, that’s OK.”

This song hit #1 in at least 12 countries and by the end of 1968 had sold more than 5 million copies. It eventually sold over 10 million copies in the United States, becoming the fourth-biggest selling Beatles single there. Factoring in the price of records in 1968 vs. 1964, when the top-seller “I Want To Hold Your Hand” was released, “Hey Jude” might be the biggest earner.

When McCartney played this song for John Lennon and Yoko Ono, John interpreted it as being about him; he heard the line “You were made to go out and get her” as Paul imploring him to leave his first wife and go after Yoko (“I always heard it as a song to me,” said Lennon). This was one of Lennon’s more narcissistic moments, as he failed to grasp that the song was written for his son.

This was going to be the B-side to “Revolution,” but it ended up the other way around. It is a testament to this song that it pushed “Revolution” to the other side of the record.

George Harrison wanted to play a guitar riff after the vocal phrases, but Paul wouldn’t let him. Things got tense between them around this time as McCartney got very particular about how Harrison played on songs he wrote.

Julian Lennon didn’t find out that this song was written for him until he was a teenager. It was around this time that he reconnected with his dad, whom he would visit in New York from time to time until his death.

In terms of songcraft, this is one of the most studied Beatles songs. It starts with a vocal – Paul’s voice singing “Hey” – then the piano comes in (an F chord). The song gradually builds, with McCartney alone playing on the first verse, then the sounds of George Harrison’s guitar, Ringo’s tambourine, and harmony vocals by George and John. The drums enter about 50 seconds in, and the song builds from there, reaching a peak of intensity with McCartney delivering the “better… better… better” line punctuated by a Little Richard-style scream, then the famous singalong resolution.

The “na na na” fadeout takes four minutes. The chorus is repeated 19 times.

“Jude” is the German word for “Jew,” but nobody in the Beatles camp knew that. In 1967 and 1968, the group owned a retail store on Baker Street in London called the Apple Boutique, which they closed around the time this song was released. On the shuttered building, an employee scrawled the words “Revolution” and “Hey Jude” to promote the new Beatles single. Without proper context, this proved offensive to Jewish residents, who read it as hateful graffiti.

Wilson Pickett recorded this shortly after The Beatles did. His version hit #16 UK and #23 US and provided the name for his album. Duane Allman played on it and got a huge career boost when the song became a hit. He spent the next year as a session guitarist for many famous singers and then formed The Allman Brothers, who are considered the greatest Southern Rock band of all time.

Thanks to the communal nature of this song, it is sometimes used to pay tribute to those who have passed. When Paul McCartney and Ringo Starr appeared on the 2014 CBS special The Night That Changed America: A Grammy Salute to the Beatles, Paul dedicated the song John Lennon and George Harrison. Musicians who performed earlier in the show joined on stage for the ending, which closed the telecast.

In America, an album called Hey Jude (originally titled “The Beatles Again”) was released in 1970 containing this and several other Beatles songs that were released as singles or B-sides. The album has not appeared as a CD because Apple Records made the decision to copy only the British LP releases onto CD. In the ’60s the American record company managed to get extra LPs off the British releases by cutting down the number of tracks, then putting them out with singles and B-sides as additional albums. 

As discussed in the DVD Composing the Beatles Songbook, while Paul wrote this song for Julian, in a lot of ways McCartney wrote this song about his brand-new relationship with Linda Eastman.

After the “Oh” in the crescendo, McCartney sings “YEAH!” in a non-falsetto voice. The note he hits is F Natural above male High C, a very difficult note for a male to hit in a non-falsetto voice.

The original 1968 version was recorded in mono, and many listeners find it far superior to the stereo remake from 1970, which is much more heavily produced.

On The Beatles Anthology 3, there is a version of this song with an introduction spoken by John and Paul: “From the heart of the black country: When I was a robber in Boston place You gathered round me with your fine embrace.”

“Boston place” (mentioned by Paul) is a small London street where The Beatles’ company Apple had just installed an electronics laboratory. In a more familiar scene, Boston Street was that street in which The Beatles ran for the title sequence of their film A Hard Day’s Night. John spoke of the “Black Country,” which was the name of the old smokestack industrial region in the middle of England.

Richie Havens played this at Woodstock when he opened the festival in 1969.

If you listen at about 2:55, you hear a sound from John Lennon while Paul keeps singing. It sounds like “Ohh!” at first, but it is really him saying “…chord!” You can barely hear it, but if you listen really closely, you can hear him say “Got the wrong CHORD.” He says “chord” much louder than the other words. And about two or three counts later, you can hear McCartney say “F**king hell.” 

The song debuted at #10 in the Hot 100, and in doing so it made history by becoming the first ever single to reach the top 10 in its first week on the chart.

When the Beatles music was made available for download for the first time – on iTunes November 16, 2010 – “Hey Jude” was the most downloaded Beatles song that day.

McCartney played this at the 2005 Live8 concert in London. He started with “The Long and Winding Road” and flowed it into the end of “Hey Jude,” which closed out the Live8 concert. 

Paul McCartney played this at the 2005 Super Bowl halftime show. He performed the year after Janet Jackson’s breast was exposed on stage, causing an uproar. McCartney was deemed a safe and reliable choice for a nudity-free performance.

Sesame Street did a parody of this (and tribute to healthy eating) called “Hey Food.”

With hundreds of crowd favorites to choose from in his catalog, Paul McCartney mixes up his setlists when he plays live, but this one always seems to stick. “I’ll switch up the songs, but I’ve got to do ‘Hey Jude’ because it is such fun and it’s great handing that over to the audience,” he told GQ. The greatest thing is, you feel this sense of community, and in these times when it’s a little dark and people are separated by politics and stuff, it’s so fantastic to see them all come together singing the end of ‘Hey Jude.’ I’m very happy about that, so I keep it in the show.”

This appears frequently throughout Stephen King’s The Dark Tower series, including the first installment, The Gunslinger (1982). The fantasy western is set in a parallel universe where a lone gunslinger is on a quest for revenge. King explained the significance of the song in a 1988 interview with The Guardian: “I see the gunslinger’s world as sort of a post-radiation world where everybody’s history has gotten clobbered and about the only thing anybody remembers anymore is the chorus to ‘Hey, Jude.'”

Hey Jude

Hey Jude, don’t make it bad
Take a sad song and make it better
Remember to let her into your heart
Then you can start to make it better

Hey Jude, don’t be afraid
You were made to go out and get her
The minute you let her under your skin
Then you begin to make it better

And anytime you feel the pain
Hey Jude, refrain
Don’t carry the world upon your shoulders
For well you know that it’s a fool
Who plays it cool
By making his world a little colder
Na-na-na, na, na
Na-na-na, na

Hey Jude, don’t let me down
You have found her, now go and get her (let it out and let it in)
Remember to let her into your heart (hey Jude)
Then you can start to make it better

So let it out and let it in
Hey Jude, begin
You’re waiting for someone to perform with
And don’t you know that it’s just you
Hey Jude, you’ll do
The movement you need is on your shoulder
Na-na-na, na, na
Na-na-na, na, yeah

Hey Jude, don’t make it bad
Take a sad song and make it better
Remember to let her under your skin
Then you’ll begin to make it better
Better better better better better, ah!

Na, na, na, na-na-na na (yeah! Yeah, yeah, yeah, yeah, yeah, yeah)
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude (Jude Jude, Judy Judy Judy Judy, ow wow!)
Na, na, na, na-na-na na (my, my, my)
Na-na-na na, hey Jude (Jude, Jude, Jude, Jude, Jude)
Na, na, na, na-na-na na (yeah, yeah, yeah)
Na-na-na na, hey Jude (yeah, you know you can make it, Jude, Jude, you’re not gonna break it)
Na, na, na, na-na-na na (don’t make it bad, Jude, take a sad song and make it better)
Na-na-na na, hey Jude (oh Jude, Jude, hey Jude, wa!)
Na, na, na, na-na-na na (oh Jude)
Na-na-na na, hey Jude (hey, hey, hey, hey)
Na, na, na, na-na-na na (hey, hey)
Na-na-na na, hey Jude (now, Jude, Jude, Jude, Jude, Jude)
Na, na, na, na-na-na na (Jude, yeah, yeah, yeah, yeah)
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude (na-na-na-na-na-na-na-na-na)
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na (yeah, make it, Jude)
Na-na-na na, hey Jude (yeah yeah yeah yeah yeah! Yeah! Yeah! Yeah! Yeah!)
Na, na, na, na-na-na na (yeah, yeah yeah, yeah! Yeah! Yeah!)
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude
Na, na, na, na-na-na na
Na-na-na na, hey Jude

Beatles – Taxman

George steps up to the plate on Revolver and knocks it out of the park. If you think you pay too much tax…The Beatles were in a 95% tax bracket.

At the time, high earners paid exorbitant taxes in England. Many successful entertainers left the country so they could keep more of their money. As a result, The Beatles, as well as The Who and The Rolling Stones, spent a lot of time in America and other parts of Europe as tax exiles.

This is a strong one by George and it was the opener for the album. On the song, it wasn’t George that played the solo…it was Paul. It’s a brilliant small solo and adds a lot to the song. Paul played it with an Indian feel for George.

Revolver is the only album on which Harrison has three songs. On all the others he only has two or fewer. On The White Album he had four, but it was a double album so he was only allotted his usual one track per side.

 George Harrison: “You are so happy that you’ve finally started earning money – and then you find out about tax. In those days we paid nineteen shillings and sixpence out of every pound (there were twenty shillings in the pound), and with supertax and surtax and tax-tax it was ridiculous – a heavy penalty to pay for making money…It was, and still is, typical. Why should this be so? Are we being punished for something we have forgotten to do?…That was the big turn-off for Britain. Anybody who ever made any money moved to America or somewhere else.”

George Harrison: “‘Taxman’ was when I first realized that even though we had started earning money, we were actually giving most of it away in taxes.”

 

From Songfacts

George Harrison wrote this song. The music was inspired by the theme song for the popular 1960s TV series Batman, which was written and originally recorded by the conductor/trumpeter Neal Hefti, and covered by the surf rock group The Marketts early in 1966 in a version that hit #17 in the US. Harrison was a big fan of the show.

This was the first track on the Revolver album. It was the first song Harrison wrote that was given such prominent position, indicating that he was capable of writing songs as good as Lennon and McCartney’s.

“Mr. Wilson” and “Mr. Heath” are mentioned in the lyrics. They are British Prime Ministers Harold Wilson and Edward Heath, who were being scorned in the song for contributing to English tax laws. Before this song was released, Wilson had presented The Beatles with the award for England’s Show Business Personalities of 1963 at the Variety Club of Great Britain Annual Show Business Awards held on March 19, 1964 in London. 

Over the next few years, George Harrison came to realize that money, when you have lots of it, is a rather ephemeral concept and does not translate to happiness. This played into his spiritual awakening. In 1969, he told BBC Radio: “No matter how much money you’ve got, you can’t be happy anyway. So you have to find your happiness with the problems you have and you have to not worry too much about them.”

The fade-out ending is a reprise of the guitar solo as all completed takes of the song ended with John and Paul singing “Taxman!”

There’s been a lot of confusion over who played lead guitar on this track. Harrison said in his 1977 Crawdaddy interview: “I helped out such a lot in all the arrangements. There were a lot of tracks though where I played bass. Paul played lead guitar on ‘Taxman,’ and he played guitar – a good part – on ‘Drive My Car.”

Jeff Emerick said in his book on recording the Beatles that Harrison just couldn’t get the solo right, so Paul played most of the guitar parts, including the solo. The repeat of the solo at the end of the song was the same “exact” solo by Paul, which Jeff dubbed from the middle of the song to another piece of tape and cut into the fade at the end.

Seth Swirsky, who worked as a staff songwriter before producing the Beatles documentary Beatles Stories, told Songfacts: “I think Paul McCartney was one of the greatest guitar players of the ’60s. Nobody really recognized him as an electric guitar player, or an acoustic guitar player, but his leads on ‘Taxman’ and on different songs that you think George played, they ripped. I think George is great, but when Paul played lead on some songs, they tore. They were just very unique. There’s no one like Paul McCartney in the history of the world.”

The guitar solo at the end is a straight copy of the middle-eight. This same solo was later reused as a tape spool on “Tomorrow Never Knows.” >>

“Weird Al” Yankovic recorded a parody of this song called “Pac-Man” in 1981. It was never officially released on any of his albums (possibly because Pac-Man Fever got there first), but a demo version can be found on Dr. Demento’s Basement Tapes No. 4. The song is very faithful to the Beatles’ original, plus some musical and well-placed Pac-Man sound effects. Sample lyrics:

I used to be a pinball freak
That’s where you’d find me every week
But now it’s Pacman
Yeah it’s the Pacman >>

This wasn’t the last Beatles song to question who else is getting their cash. On their 1969 Abbey Road album, Paul McCartney contributed “You Never Give Me Your Money,” where he takes aim at their unscrupulous business partners.

Blues guitarist Stevie Ray Vaughan covered this song. His version sounds very different, but the lyrics are identical. 

Harrison put some math into the lyrics. In the beginning of the song, he sings, “There’s one for you, 19 for me” before “If 5 percent appears too small.” One of 19 is 5 percent. 

In his 1987 reminiscence “When We Was Fab,” it was clear that the taxation of long ago was still on George Harrison’s mind, as he sang, “Income tax was all we had.”

In 2002, H&R Block used this in commercials for their tax preparation service. The ads aired shortly after Harrison died.

Taxman

Let me tell you how it will be
There’s one for you, nineteen for me
‘Cause I’m the taxman, yeah, I’m the taxman

Should five per cent appear too small
Be thankful I don’t take it all
‘Cause I’m the taxman, yeah I’m the taxman

If you drive a car, I’ll tax the street,
If you try to sit, I’ll tax your seat.
If you get too cold I’ll tax the heat,
If you take a walk, I’ll tax your feet.

Don’t ask me what I want it for
If you don’t want to pay some more
‘Cause I’m the taxman, yeah, I’m the taxman

Now my advice for those who die
Declare the pennies on your eyes
‘Cause I’m the taxman, yeah, I’m the taxman
And you’re working for no one but me.

George Harrison – Cloud 9

This song was the title track of Georges 1987’s superb album. Song starts off with Harrison and Clapton trading licks and George matches him with his slide guitar. George was not a virtuoso type of guitar player but he was one of the best slide guitarists in the business. Guitar players are still trying to get his tone.

George wasn’t a self-indulgent guitar player…he always played for the song and always gave the song what it needed.

I love the blues-tone that Jeff Lynne got out of this production. He emphasized the bass drum and the bass to make it sound grounded.

Although the album was titled Cloud Nine, Harrison decided to use the numeric “9” in the song’s title to avoid confusion with the Temptations’ 1968 hit song “Cloud Nine.”

The song wasn’t released as a single but it’s a great-sounding song. This album marked a huge comeback for George. This album peaked at #8 in the Billboard 100, #5 in Canada, and #10 in the UK in 1988.

After this album, George formed the Travelin Wilburys.

Cloud 9

Have my love
It fits you like a glove
Join my dream, tell me yes
Bail out should there be a mess
The pieces you don’t need are mine

Take my time
I’ll show you cloud nine
Take my smile and my heart
They were yours from the start
The pieces to omit are mine

Have my love
Use it while it does you good
Share my highs but the times
That it hurts pay no mind
The pieces you don’t need are mine

I’ll see you there on cloud nine

Take my hope
Maybe even share a joke
If there’s good to be shown
You may make it all your own
And if you want to quit that’s fine
While you’re out looking for cloud nine

Beatles – While My Guitar Gently Weeps

This is one of the best songs from the White Album. George stated that the song was written at his mother’s home in Warrington in the north of England.

Harrison was reading I Ching, the Chinese book of changes, and decided to write a song about the first words he saw, which were “Gently Weeps.”

George wanted a sound he wasn’t getting so he called his friend Eric Clapton to play on the song. It also served another purpose. Much like bringing in Billy Preston on Let It Be…John and Paul behaved much better when a visitor came into the picture. Eric declined at first because he said that no one plays on Beatle records and the others wouldn’t like it. George told him it was his song and he wanted him on it. According to George, the atmosphere changed and the song took off from there.

After hearing the playback Eric said that there was a problem…his guitar wasn’t Beatley enough.’ So it was put through the ADT (Artificial Double Tracking) to wobble it up a bit.

George Harrsion:  ‘Eric’s going to play on this one,’ and it was good because that then made everyone act better…It’s interesting to see how nicely people behave when you bring a guest in, because they don’t really want everybody to know that they’re so bitchy…Paul got on the piano and played a nice intro and they all took it more seriously…Also it left me free to just play the rhythm and do the vocal…It was a similar situation when Billy Preston came later to play on ‘Let It Be’ and everybody was arguing. Just bringing a stranger in amongst us made everybody cool out.”

Mick Jagger: “It’s lovely, plaintive. Only a guitar player could write that. I love that song.”

George Harrison: “‘While My Guitar Gently Weeps’ was just a simple study based on the theory that everything has some purpose for being there at that given moment…So I open this book and I saw ‘gently weeps.’ I shut the book and then I started the tune.”

 

From Songfacts

Harrison often had to fight to get his songs on the albums. John Lennon and Paul McCartney were not interested in this song at first, but came around when Harrison brought Clapton to the studio.

This was the first song Ringo played on after leaving the band in frustration a few weeks earlier. He returned to find flowers on his drums to welcome him back.

Clapton used a Les Paul guitar on this track. Later in his career, he switched to a Fender Stratocaster.

Even though this was not a hit, it is one of the most enduring Beatles songs. It remains popular on classic rock radio.

When George Harrison arranged a trip to India for The Beatles to study Transcendental Meditation, they were joined by their good friend Donovan, a singer-songwriter who had hits with “Sunshine Superman” and “Mellow Yellow.” They shared a lot of ideas on this trip, many of which influenced The White Album. In our interview with Donovan, he said that John Lennon wanted to learn the clawhammer guitar style, while Harrison was interested in Donovan’s chord structures. The A minor descents Donovan showed him ended up in “While My Guitar Gently Weeps.”

After working on this song, Eric Clapton became good friends with John Lennon, and played with him on some of his solo work. When George Harrison threatened to leave The Beatles in 1969, Lennon was ready to replace him with Clapton.

This was originally recorded as an acoustic ballad with just Harrison on acoustic guitar and Paul McCartney on organ. This version can be found on some bootlegs and on The Beatles Anthology 3

The Demo Version

The Studio Version

While My Guitar Gently Weeps

I look at you all, see the love there that’s sleeping
While my guitar gently weeps
I look at the floor and I see it needs sweeping
Still my guitar gently weeps

I don’t know why nobody told you
How to unfold your love
I don’t know how someone controlled you
They bought and sold you

I look at the world and I notice it’s turning
While my guitar gently weeps
With every mistake we must surely be learning
Still my guitar gently weeps

I don’t know how you were diverted
You were perverted too
I don’t know how you were inverted
No one alerted you

I look at you all, see the love there that’s sleeping
While my guitar gently weeps
Look at you all
Still my guitar gently weeps

Beatles – Yer Blues

Great hard bluesy song on one of my favorite Beatle albums…The White Album. This is one reason I like the White Album so much. The variety it gives you is off the charts…but there is no mistaking who the band is in every song. The Beatles kept their style through the lush soft songs to the hard ones.

What I like about it is the rawness. This song and Helter Skelter have enough to spare.

The room they recorded this in was called Room 2A, which was next to the control room of EMI Studio Two and was a mere 8 ft. by 15.5 ft. The room had been used for storing four-track machines before it was emptied. It was very tight quarters for The Beatles once they set everything up. That added to the sound. They jammed together from 7pm to 5am and after 14 takes produced this song.

John Lennon wrote this in India while The Beatles were on a retreat learning meditation with the Maharishi.

Lennon was self-conscious about singing the blues.

John Lennon: “There was a self-consciousness about suddenly singing blues,” John continues. “Like everybody else, we were all listening to Sleepy John Estes and all that in art school (in the late ’50’s).  But to sing it, was something else. I was self-conscious about doing it.”

Ringo Starr: “We were just in an 8 foot room, with no separation, just doing what we do best: playing.”

A 9 minute version with Lennon, Eric Clapton, Keith Richards and Mitch Mitchell was performed on the Rolling Stones’ Rock ‘n’ Roll Circus. They called themselves the Dirty Mac.

Yer Blues

Yes, I’m lonely
Want to die
Yes, I’m lonely
Want to die
If I ain’t dead already
Oh, girl, you know the reason why

In the morning
Want to die
In the evening
Want to die
If I ain’t dead already
Oh, girl, you know the reason why

My mother was of the sky
My father was of the earth
But I am of the universe
And you know what it’s worth

I’m lonely
Want to die
If I ain’t dead already
Oh, girl, you know the reason why

The eagle picks my eye
The worm he licks my bone
I feel so suicidal
Just like Dylan’s Mr. Jones

Lonely
Want to die
If I ain’t dead already
Oh, girl, you know the reason why

Black cloud crossed my mind
Blue mist round my soul
Feel so suicidal
Even hate my rock and roll

Want to die
Yeah, want to die
If I ain’t dead already
Oh, girl, you know the reason why

 

George Harrison – When We Was Fab

I loved this song when I heard it. To hear George sing about his time with The Beatles surprised me. Of all the Beatles George seemed to have the most resentment and some of it was understandable. A few years after this he would join the remaining Beatles and start on The Beatles Anthology.

George co-wrote the song with Jeff Lynne, who also co-produced the album that shortly pre-dates the two of them forming The Traveling Wilburys. ‘When We Was Fab’ is a musical nod to the psychedelic sound that the Beatles had made their own. George used a sitar, string quartet, and backward tape effects.

This one peaked at #23 in the Billboard 100, #20 in Canada, and #25 in the UK.

He also got some help from Ringo. Starr played drums on this track and a few others on the album. Harrison says that when he started writing the song, he had Ringo’s drumming in mind for the intro and the overall tempo.

The album was Cloud Nine…it peaked at #8 in the Billboard Album Charts, #5 in Canada, #10 in the UK, and #27 in New Zealand.

 

From Songfacts

Harrison wrote this after the Beatles had split up. It’s about the days of Beatlemania, when the group was known as “The Fab 4.” It sounds very much like a Beatles song. 

Jeff Lynne, George’s bandmate from the superstar band The Traveling Wilburys and leader of The Electric Light Orchestra, produced this song and as well as the rest of this album. A huge Beatles fan, Jeff also appears briefly in the video for this song (look for the big afro). 

Harrison states in this song: “income tax was all we had.” Excessive taxation was a scourge for him – he wrote the Beatles song “Taxman” on the subject.

Gary Wright, who had a big hit with “Dream Weaver,” played piano on this track.

 

When We Was Fab

One! Two!
Back then long time ago when grass was green
Woke up in a daze
Arrived like strangers in the night
(Fab! Doot, doot, doot doo)
Long time ago when we was fab (Fab!)
Back when income tax was all we had
Caressers fleeced you in the morning light
Casualties at dawn
And we did it all
(Fab! Doot, doot, doot doo)
Long time ago when we was fab (Fab)
In my world you are my only love

And while you’re in this world
The fuzz gonna come and claim you
But you mo better wise
When the buzz gonna come and take you away
Take you away. Take you away

The microscopes that magnified the tears
Studied warts and all
Still the life flowed on and on
(Fab! Doot, doot, doot, Gear!)
Long time ago when we was fab (Fab)

But it’s all over now, baby blue
(Oo! doot, doot doot. Fab!)
Long time ago when we was fab
(Fab!) Like this pullover you sent me
(Fab! Doot, doot, doot. Gear!)
And you really got a hold on me
(Fab! Doot, doot, doot, Gear!)

Tom Petty – Free Fallin’ … Full Moon Fever Week

I’m including at least one song off of Tom’s album Full Moon Fever every day this week…So if you don’t know the album stay tuned, if like the album stay tuned,and if you don’t like the album…sorry. It was a great album released in 1989 that was arguably the peak of Tom’s career.

Full Moon Fever

Tom was not happy with the last Heartbreakers album (Let Me Up (I’ve Had Enough) released in 1987 and wanted a change. Mike Campbell (Heartbreakers guitar player): “Tom called me up and said, ‘We’re done. I think we’re done.” He called back later and said that at least temporarily he wasn’t going to work with the Heartbreakers.

He ended up using Belmont Tench and Howie Epstein from the Heartbreakers for a few songs but it was Tom Petty, Jeff Lynne, Mike Campbell and Phil Jones on drums who made the album. They did have some help from George Harrison, Roy Orbison, and Del Shannon among others.

Released in 1989, Full Moon Fever would become Petty’s greatest commercial success. During its creation Jeff Lynne helped inspire him to create some of his best and most popular songs. But along the way he also risked further alienating several members of the Heartbreakers.

Free Fallin’

Free Fallin’ may be the song he is most remembered. Tom Petty and Jeff Lynne wrote and recorded “Free Fallin'” in just two days, the first song completed for Full Moon Fever. “We had a multitude of acoustic guitars,” Petty told Rolling Stone of the song’s Byrds-y feel. “So it made this incredibly dreamy sound.”

The song peaked at #7 in the Billboard 100, #5 in Canada, #4 in New Zealand, and #59 in the UK in 1989.

Tom Petty: “There’s not a day that goes by that someone doesn’t hum ‘Free Fallin” to me or I don’t hear it somewhere,”  “But it was really only 30 minutes of my life.”

From Songfacts

Mike Campbell is The Heartbreakers’ guitarist. He has also produced and written the music for many of their songs, as well as “The Boys of Summer” and “The Heart Of The Matter” for Don Henley. Mike told us about working with Jeff Lynne: “When we did that first record with Jeff Lynne, Full Moon Fever, that was an amazing time for me because it was mostly just the three of us – me and Tom and Jeff – working at my house. Jeff Lynne is an amazing record-maker. It was so exciting for a lot of reasons. First of all, our band energy in the studio had gotten into kind of a rut, we were having some issues with our drummer and just kind of at the end of our rope in terms of inspiration – having a lot of trouble cutting tracks in the studio.

This project came along and really we were just doing it for fun at the beginning, but Jeff would come in and every day he would blow my mind. It was so exciting to have him and Tom come over and go, ‘OK, here’s this song,’ and then Jeff would just go. I’d never seen this done before, he’d say, ‘OK, here’s what we’re going to do: Put a drum machine down. Now put up a mic, we’re going to do some acoustic guitars. Put up another mic, were going to do a keyboard. OK, here’s an idea for the bass. Mike, let’s try some guitar on this. I’ve got an idea for a background part here…’

Sure enough, within five or six hours, the record would be done, and we’d just sit back and go, ‘How the f-ck did you do that?’ We were used to being in the studio and like ‘OK, here’s how the song goes’ and everybody would set up to play and just laboriously run the song into the ground, and it usually got worse and worse from trying to get the groove and the spirit and trying to get a performance out of five guys at once. This guy walked in and he knew exactly how to put the pieces together, and he always had little tricks, like with the background vocals how he would slide them in and layer them, and little melodies here and there. Tom and I were soaking it up. Pretty amazing, a very exciting time, like going to musical college or something.” (Read more in our interview with Mike Campbell.)

In a 2006 interview with Esquire magazine, Petty said: “‘Free Fallin” is a very good song. Maybe it would be one of my favorites if it hadn’t become this huge anthem. But I’m grateful that people like it.”

The lyrics deal with Los Angeles culture, mentioning actual places in the area: Reseda, Mulholland and Ventura Boulevard. It implies that the people of LA will casually use others for personal gain, as the singer has just dumped a girl and doesn’t even miss her. Petty was born and raised in Gainesville, Florida and moved to LA with The Heartbreakers in 1974. His outsider perspective came in handy in this song.

Directed by Julien Temple, the music video was ahead of its time in that it featured skateboarding before the X Games existed and action sports went mainstream. Legendary skater Mark “Gator” Rogowski appears in the video.

Petty considers this song a ballad; it’s one of his few hits without a guitar solo. There are plenty of ballads on his albums, but his record companies rarely released them as singles.

Petty and the Heartbreakers played this to close out their set at the halftime show of the Super Bowl in 2008. The song turned out to be appropriate for the New England Patriots, who were undefeated going into the game and led at halftime, only to lose at the end to the New York Giants. In 2002, when the Patriots won their first Super Bowl, the featured song at halftime was “Beautiful Day” by U2.

A live version by John Mayer returned this song to the US Hot 100 in July 2008, going to #51.

Petty performed this song, along with “Runnin’ Down A Dream,” with The Heartbreakers on Saturday Night Live when they were the musical guests on May 20, 1989. Their record company, MCA, wanted them to play “I Won’t Back Down,” which was out as a single and climbing the charts, but Petty defied them.

Petty often tells a story about performing this song at a pivotal night in his career. His label, MCA, rejected the Full Moon Fever album when he submitted it in 1988, claiming they didn’t hear a hit. Crestfallen, he went to a dinner party with George Harrison and Jeff Lynne at the home of Mo Ostin, head of Warner Bros. Records. Harrison had them break out the guitars and play “Free Fallin’,” which everyone thought was great. When Petty explained that it wasn’t good enough for his label, Ostin offered to sign him and put it out. They did the deal, but kept it secret until Petty fulfilled his commitment to MCA. Ostin didn’t have to put it out though: In 1989, management changed at MCA; the new regime liked Full Moon Fever and released it.

While MCA kept him in limbo, Petty teamed up with Lynne, Harrison, Roy Orbison and Bob Dylan to form the Traveling Wilburys, a fruitful and highly acclaimed collaboration that sold over 3 million copies of their first album.

The song achieved its highest position on the UK singles chart in May 2012 after being covered by contestant Max Milner on the music talent show The Voice. It previously peaked at #64 in 1989.

Here’s what Tom Petty said about this song on his VH1 Storytellers appearance:

“‘I used to ride down Mulholland Drive and make up songs. Some of the songs were good, and some of the songs just wouldn’t swing. I had this one: [sings] ‘Mulholland Drive’ and I never could get anywhere with that song. So, I sat down one day with my friend Jeff Lynne and we were playing around on the keyboard. I hit this lick and he said, ‘That’s a good lick you got there,’ and I played it again. So, just to make him laugh I started to make up words:

She’s a good girl, loves her mama
Loves Jesus and America too
She’s a good girl, crazy about Elvis…

And he goes, ‘Good.’

I said, ‘What? What was good?’

‘It’s all good, just sing that.'”

The girl in the music video is Devon Kidd (born Devon Renee Jenkin). She also had roles in Enemy Of The State, Slammer Girls and Slumber Party Massacre III.

She was a gymnast and model when she got the call to audition for “Free Fallin’.”

“I don’t know if you want to do it,” her agent said. “It’s a small job.”

She knew Tom Petty and “Free Fallin'” and jumped at the opportunity. Today, it’s probably the role she’s best known for.

Free Fallin’

She’s a good girl, loves her mama
Loves Jesus and America too
She’s a good girl, crazy ’bout Elvis
Loves horses and her boyfriend too

It’s a long day living in Reseda
There’s a freeway runnin’ through the yard
And I’m a bad boy ’cause I don’t even miss her
I’m a bad boy for breakin’ her heart

And I’m free, free fallin’
Yeah I’m free, free fallin’

All the vampires walkin’ through the valley
Move west down Ventura boulevard
And all the bad boys are standing in the shadows
All the good girls are home with broken hearts

And I’m free, free fallin’
Yeah I’m free, free fallin’
Free fallin’, now I’m free fallin’, now I’m
Free fallin’, now I’m free fallin’, now I’m

I want to glide down over Mulholland
I want to write her name in the sky
Gonna free fall out into nothin’
Gonna leave this world for a while

And I’m free, free fallin’
Yeah I’m free, free fallin’

Beatles – Within You Without You

As Van Morrison would say…Into The Mystic… this song off of Sgt Pepper was a George Harrison song…and he was the only Beatle on it… This is about as sixties as you can get with the sitar and philosophical lyrics.

This was a brilliant addition to Sgt Pepper to show yet another side to the Beatles.

It’s hard to overestimate how profound of an effect that the introduction to Eastern religion had on George Harrison. Under the name of Sam Wells, George, along with his wife Pattie, vacationed in Bombay, India for six weeks, beginning on September 20th, 1966. At the suggestion of Ravi Shankar, from whom he was going to take sitar lessons while there, he grew a mustache as a subtle disguise so as to ward off any Indian “Beatlemaniacs” that may have been around in the area.

The book Autobiography Of A Yogi really changed his life and mind. It influenced his writing of songs like Within You Without You’ and many others. George started to write this song on a pedal harmonium at friend Klaus Voormann’s home.

During the recording, George was there with Indian musicians and they had a carpet on the floor and there was incense burning.

At George Harrison’s request, they added a small bit of laughter at the end of the song as it faded out to lighten the mood a bit.

John Lennon: “I think that is one of George’s best songs, one of my favorites of his. I like the arrangement, the sound and the words. He is clear on that song. You can hear his mind is clear and his music is clear. It’s his innate talent that comes through on that song, that brought that song together. George is responsible for Indian music getting over here. That song is a good example.”

 

From Songfacts

Although this song is billed as being recorded by the Beatles, George Harrison was the only Beatle to play on the track. There is no guitar or bass, but there are some hand-drums.

Harrison spent weeks looking for musicians to play the Indian instruments used on this. It was especially difficult because Indian musicians could not read Western music.

This is based on a piece by Indian musician Ravi Shankar, who helped teach Harrison the sitar. Harrison wrote his own lyrics and shortened it considerably.

Harrison wrote this as a 30-minute piece. He trimmed it down into a mini-version for the album.

This was the only song Harrison wrote that made it onto the album. He also contributed “Only A Northern Song” (recorded in February of 1967 as verified by the Anthology 2 album), but it was left off the album at the last minute. It was initially intended to go on the first side of Sgt. Pepper between “She’s Leaving Home” and “Being for the Benefit of Mr. Kite.” >>

This was one of Harrison’s first songs to explore Eastern religion, which would become a lifelong quest. He believed in reincarnation, which helped him accept death in 2001, when he lost his life to cancer.

Oasis covered this for the BBC to celebrate the 40th anniversary of Sgt. Pepper’s Lonely Hearts Club Band

This is the second Indian classical-influenced song that George Harrison wrote for the Beatles, the first being “Love You To.”

“Now “Within You/Without You” was not a commercial song by any means. But it was very interesting. [George Harrison] had a way of communicating music by the Indian system of kind of a separate language… the rhythms decided by the tabla player.” –Sir George Martin, from the documentary The Material World.

Within You Without You

We were talking
About the space between us all
And the people
Who hide themselves behind a wall of illusion
Never glimpse the truth
Then it’s far too late when they pass away

We were talking
About the love we all could share
When we find it
To try our best to hold it there, with our love, with our love
We could save the world, if they only knew

Try to realize it’s all within yourself, no-one else can make you change
And to see you’re really only very small
And life flows on within you and without you

We were talking
About the love that’s gone so cold
And the people
Who gain the world and lose their soul
They don’t know, they can’t see
Are you one of them?

When you’ve seen beyond yourself then you may find peace of mind is waiting there
And the time will come when you see we’re all one
And life flows on within you and without you

 

 

Beatles – Don’t Bother Me

In 1975 my friends and cousin had a clubhouse that was an old horse barn. We had a record player, a lantern, and a one-armed bandit. My cousin played the Meet The Beatles album and me… being a Monkee fan soaked it up and it started a lifelong love for The Beatles.

My first favorite Beatle song was It Won’t Be Long…then this one came in second at the time. George wrote this when he was down with the flu in a hotel room in the Northeast of England. It was the first song he wrote……technically he did have partial credit on the instrumental Cry For A Shadow.

Is it George’s best song? Of course not but it fits in well with the early Beatles and it gets overlooked. If you think about it…”Don’t Bother me” is so George and his attitude at times. I always really liked it…the overall feel of it is cool. It was a very good attempt at his first song.

George Harrison: “I don’t think it’s a particularly good song… It mightn’t even be a song at all, but at least it showed me that all I needed to do was keep on writing, and then maybe eventually I would write something good.”

Tom Petty: “I thought it was just the coolest song, like nothing I’d heard in rock,” Petty said in 2014 “I’d say, ‘Well, I like it. A lot. If you did that today, I’d say it was really good.’ And he’d go, ‘Well, you’d be wrong.'”

The Smithereens did a great job covering this song.

From Songfacts

This was George Harrison’s first recorded song. It was his response to critics who claimed he was not an important member of the group because he did not write songs.

A Harrison-penned song would not appear again until the 1965 album Help!. That would be “You Know What To Do.”

This song has a darker, more pessimistic mood that was uncommon of The Beatles main sound, but would come to be Harrison’s trademark stamp. This is actually part of what made the Beatles’ formula work: McCartney was the chirpy, positive one, and Harrison was the melancholic counterpart.

Years later these were sold off at one of the London auction houses. This song in it’s very earliest stages is available on bootleg and features George working the music and lyrics out as he goes along. George stated, “I wrote the song as an exercise to see if I could write a song. I was sick in bed. Maybe that’s why it turned out to be ‘Don’t Bother Me.'” 

For your information, the photography technique for the cover of With The Beatles, in which the Fab Four’s headshots hover in a half-moon, light-and-shadow effect, is called “chiaroscuro.” It’s an Italian word to describe the Renaissance technique of dramatically contrasted lighting effects in oil paintings.

This was the first song on Side 2 of Meet The Beatles, their first album released in the US. With The Beatles was their second UK release.

Don’t Bother Me

Since she’s been gone I want no one to talk to me
It’s not the same but I’m to blame, it’s plain to see

So go away, leave me alone, don’t bother me
I can’t believe that she would leave me on my own
It’s just not right when every night I’m all alone

I’ve got no time for you right now, don’t bother me
I know I’ll never be the same if I don’t get her back again
Because I know she’ll always be the only girl for me

But ’til she’s here please don’t come near, just stay away
I’ll let you know when she’s come home
Until that day
Don’t come around, leave me alone, don’t bother me

I’ve got no time for you right now, don’t bother me
I know I’ll never be the same if I don’t get her back again
Because I know she’ll always be the only girl for me

But ’til she’s here please don’t come near, just stay away
I’ll let you know when she’s come home
Until that day

Don’t come around, leave me alone, don’t bother me
Don’t bother me
Don’t bother me
Don’t bother me
Don’t bother me

Tom Petty – I Won’t Back Down

I always liked this song. It is defiant and cocky and in times like these, we need it.

Before recording Full Moon Fever, an arsonist burned down Tom Petty’s house while he was in it with his family and their housekeeper. They escaped and spent much of the next few months driving between hotel rooms and a rented house, but Petty was badly shaken.

It was on these drives that he came up with many of the songs for the album, and the fire was a huge influence, especially on this song. Petty felt grateful to be alive, but also traumatized – understandable he could have been killed. According to a report, an arsonist had drenched the house’s back staircase in lighter fluid. Petty and his family was deeply disturbed by the fact that someone had wanted to kill them. The case remains unsolved.

The song was on Full Moon Fever which I bought as soon as it was released. The song peaked at #12 in 1989 in the Billboard 100. Full Moon Fever peaked at #3 in the Billboard Album Charts that same year. The song was written by Petty and producer Jeff Lynne.

Tom Petty: “At the session George Harrison sang and played the guitar. I had a terrible cold that day, and George sent to the store and bought a ginger root, boiled it and had me stick my head in the pot to get the ginger steam to open up my sinuses, and then I ran in and did the take.”

I remember loving the video to this song. George Harrison and Ringo appear and guitar player Mike Campbell plays George’s guitar “Rocky” for the solo.

Songfacts

“I Won’t Back Down” was his way of reclaiming his life and getting past the torment – he said that writing and recording the song had a calming effect on him.

The arsonist was never caught, which made Petty’s plight even more challenging. As for motive, there was no direct connection made, but 11 days earlier, Petty won a lawsuit against the B.F. Goodrich tire company for $1 million. Goodrich wanted to use Petty’s song “Mary’s New Car” in a TV commercial, and when he wouldn’t let them, their advertising agency commissioned a copycat song that the judge felt was too similar.

This was the first single from Full Moon Fever, which was produced and co-written by Jeff Lynne. Petty and Lynne worked on the album at Mike Campbell’s house. As guitarist for the Heartbreakers, Mike has written and produced many songs with Petty.

He told us what happened when they brought the album to MCA Records: “We thought it was really good, we were real excited about it. We played it for the record company and they said, ‘Well, we don’t hear any hits on here.’ We were very despondent about the whole thing and we went back and recorded another track, a Byrds song called ‘I’ll Feel A Whole Lot Better,’ thinking at the time that maybe they’ll like this one. In the interim, they changed A&R departments and a whole new group of people were in there. We brought the same record back like six months later and they loved it – they said ‘Oh, there’s three hits on here.’ We were vindicated on that one. It was the same record. We played the same thing for them and they went for it. I guess it’s a situation of timing and the right people that wanted to get inspired about it. At the end of the line, if the songs are good and if the public connects with certain songs, that really is the true test, but you’ve got to get it out there.” (Read more in our interview with Mike Campbell.)

This was Petty’s first single without the Heartbreakers credited as his backing band. Members of the band did play on the album.

The video, directed by David Leland, features Ringo Starr on drums, with George Harrison and Jeff Lynne on guitar. Harrison did play on the track and contributed backing vocals, but Ringo had nothing to do with the song itself – a session musician named Phil Jones played drums on the Full Moon Fever album.

In some shots, Mike Campbell is playing George Harrison’s Stratocaster guitar, which he called “Rocky.” It was Harrison’s suggestion for Campbell to play it.

Around this time, Petty was active in the group The Traveling Wilburys with Lynne, Harrison, Bob Dylan and Roy Orbison.

This is perhaps Tom Petty’s most personal song. In a 2006 interview with Harp, he said, “That song frightened me when I wrote it. I didn’t embrace it at all. It’s so obvious. I thought it wasn’t that good because it was so naked. So I had a lot of second thoughts about recording that song. But everyone around me liked the song and said it was really good and it turns out everyone was right – more people connect to that song than anything I ever wrote. I’ve had so many people tell me that it helped them through this or it helped them through that. I’m still continually amazed about the power a little 3-minute song has.”

Many fans have felt a connection with this song. “The one that most strangers come up and tell me about is ‘I Won’t Back Down,'” Petty told Mojo. “So many people tell me it meant something in their lives.”

Petty played this on September 21, 2001 as part of a telethon to benefit the victims of the terrorist attacks on America. Celebrities at the event included Julia Roberts, Tom Hanks, Bruce Springsteen, and Tom Cruise. Almost 60 million people watched the special in the US.

In response to this being used as a patriotic anthem after September 11th, Petty said: “The song has also been adopted by nice people for good things, too. I just write them, I can’t control where it ends up.”

This was one of four songs Tom Petty and the Heartbreakers played at the halftime show of the Super Bowl in 2008. The others were “American Girl,” “Runnin’ Down A Dream” and “Free Fallin’.”

Tom Petty died on October 2, 2017, the day after a mass shooting at the Route 91 Harvest festival in Las Vegas that killed 58. On October 7, Jason Aldean, who was on stage during the shooting, opened Saturday Night Live with a performance of this song, which served as both a tribute to Petty and a call for togetherness. “When America is at its best, our bond and our spirit is unbreakable,” he said before playing it.

When the shooting took place, Aldean was performing “When She Says Baby,” which was inspired by Petty’s “Here Comes My Girl.”

I Won’t Back Down

Well, I won’t back down
No I won’t back down
You can stand me up at the gates of hell
But I won’t back down

No I’ll stand my ground
Won’t be turned around
And I’ll keep this world from draggin’ me down
Gonna stand my ground

And I won’t back down
(I won’t back down)
Hey baby, there ain’t no easy way out
(I won’t back down)
Hey I will stand my ground
And I won’t back down
Well I know what’s right
I got just one life
In a world that keeps on pushin’ me around
But I’ll stand my ground
And I won’t back down
(I won’t back down)
Hey baby, there ain’t no easy way out
(I won’t back down)
Hey I will stand my ground
(I won’t back down)
Hey baby, there ain’t no easy way out
(I won’t back down)
Hey I won’t back down
(I won’t back down)
Hey, baby, there ain’t no easy way out
(I won’t back down)
I will stand my ground
And I won’t back down
No I won’t back down

George Harrison – Got My Mind Set On You

In 1988 I bought Cloud Nine by George Harrison. It stayed on my turntable and in my cassette player for months. This song is not my favorite on the album but I was happy to see George at the top of the charts for the first time since “Give Me Love (Give Me Peace on Earth)” in 1973.

The song was written and composed by Rudy Clark and originally recorded by James Ray in 1962 but it was not a hit for James.

ELO’s  Jeff Lynne produced this song with Harrison. His influence can be heard in the backing vocals of the chorus. The song peaked at #1 in the Billboard 100, #1 in Canada, #2 in the UK, and #4 in NewZealand in 1988.

This song is the last number 1 song by a Beatle. Paul did have a number 1 album in 2018 with Egypt Station. Cloud Nine peaked at #8 in the Billboard Album Chart.

 

From Songfacts

This was written by Rudy Clark and originally recorded by James Ray in 1962. Harrison bought a copy of the single in the summer of 1963 when visiting his sister Louise in Illinois. Many years later when he was writing his Cloud Nine album, he remembered the song and decided to cover it.

Cloud Nine was Harrison’s comeback album. He hadn’t had a hit since 1981 with “All Those Years Ago,” and his previous US #1 was “Give Me Love (Give Me Peace On Earth)” in 1973. Until the Beach Boys released “Kokomo,” Harrison had the record for longest span between #1 hits. “Got My Mind Set On You,” however, was his last single to chart.

Harrison released another album earlier in 1982 called Gone Troppo, which flopped. Proving that he could whip up a hit, he released this very simplistic cover song and it was a huge commercial success. A lot of Harrison’s work was well off the mainstream, using unusual instruments and based on Indian music. This proved that he could release a song requiring very little thought and send it up the charts. Predictably, many of Harrison’s ardent followers can’t stand this song.

Along with Roy Orbison, Bob Dylan, and Tom Petty, Harrison and Lynne formed The Traveling Wilburys in 1988.

 

Got My Mind Set On You

I got my mind set on you
I got my mind set on you
I got my mind set on you
I got my mind set on you

But it’s gonna take money
A whole lot of spending money
It’s gonna take plenty of money
To do it right, child

It’s gonna take time
A whole lot of precious time
It’s gonna take patience and time, um
To do it, to do it, to do it, to do it, to do it
To do it right, child

I got my mind set on you
I got my mind set on you
I got my mind set on you
I got my mind set on you

And this time I know it’s for real
The feelings that I feel
I know if I put my mind to it
I know that I really can do it

I got my mind set on you
Set on you
I got my mind set on you
Set on you

But it’s gonna take money
A whole lot of spending money
It’s gonna take plenty of money
To do it right, child

It’s gonna take time
A whole lot of precious time
It’s gonna take patience and time, um
To do it, to do it, to do it, to do it, to do it
To do it right

I got my mind set on you
I got my mind set on you
I got my mind set on you
I got my mind set on you

And this time I know it’s for real
The feelings that I feel
I know if I put my mind to it
I know that I really can do it

But it’s gonna take money
A whole lot of spending money
It’s gonna take plenty of money
To do it right, child

It’s gonna take time
A whole lot of precious time
It’s gonna take patience and time, um
To do it, to do it, to do it, to do it, to do it
To do it right

Set on you
Set on you

Set on you
Set on you
Set on you
Set on you
Set on you
Set on you
I set my mind on you
I’m gonna set on you

My Top 10 Favorite Live Albums

I’m more of a studio guy when it comes to listening to bands but there are a few live albums I really like. This is my top 10 and a few honorable mentions at the bottom. Very few artists can improve on the studio version but sometimes some manage to pull it off.

10. Led Zeppelin –  How the West Was Won – After the disappointing live album The Song Remains The Same, this album released in 2003 contained Led Zeppelin live in 1972 from two shows in top form.

How the West Was Won (Live) (3-CD)

9: Simon And Garfunkel – The Concert In Central Park – This was big for me when it was released. I had by this time worn a groove out in their greatest hits. The band was great and their harmonies were as good as ever.

Image result for Simon And Garfunkel – The Concert In Central Park

8: George Harrison – The Concert For Bangladesh – Fun to listen to George freed from the Beatles and he sounds great with Dylan, Billy Preston, Ringo, and other friends.

Image result for George Harrison – The Concert For Bangladesh

 

7: The Band: The Last Waltz – One of the best live albums ever. The Band’s last concert with Robbie with a host of talented famous friends. I still don’t get the Neil Diamond selection…nothing against Neil…he didn’t fit in with this atmosphere.

Image result for The Band: The Last Waltz album

6: The Allman Brothers Band “At Fillmore East” – This album floats up and down this list depending on my mood. It was at number 2 when I first made this list a couple of weeks ago. This band was probably one of the most talented bands in the seventies. I didn’t start heavily listening to them until around 5-10 years ago. They are better live than in the studio. There was not a weak link in this 6 piece band…especially in the Duane version but later incarnations were almost as strong.

At The Fillmore East (2LPs - 180GV)

5: Bruce Springsteen & the E Street Band, ‘Live/1975-85’ – I listened to this so much in the 80s that I knew the stories Bruce would tell by heart. Later when listening to the studio version of a song I would expect the story that went with it.

Image result for Bruce Springsteen & the E Street Band, ‘Live/1975-85’

4: Paul McCartney  Wings Over America – This triple album set was a live greatest hits. The songs had some edge to them thanks to Jimmy McCulloch the young prodigy guitar player.  Paul even broke his silence on the Beatles and included five Beatle songs. Blackbird, I’ve Just Seen a Face, Yesterday, The Long and Winding Road, and Lady Madonna. Unlike the other 3 albums ahead of this on in the list, Paul didn’t mess with the songs too much from the original studio recordings.

Wings over America

3: The Rolling Stones – ‘”Get Yer Ya-Ya’s Out!” – This tour and the 1972  tour were the Stones at their live peak.

Image result for the rolling stones get yer ya-ya's out

2: Bob Dylan – The Bootleg Series, Vol. 4: Bob Dylan Live 1966, The “Royal Albert Hall” Concert – I have seen Dylan 8 times but if I could pick a tour to see him on…I would go back and this would be the one. With The Band backing him up…minus Levon Helm but Mickey Jones on drums is very powerful.

Image result for bob dylan 1966 royal albert hall concert

1: The Who – ‘Live at Leeds’ This album highlights The Who at their best. I don’t think I’ve ever heard a rock band so tight. The power of the performance is huge. Pete Townshend told his soundman Bob Pridden to erase all other shows on this tour at the time…Bob did… much to Pete’s regret later on.

The Who - Live at Leeds By The Who

 

 

Honorable Mentions

Beatles Live At The Star-Club in Hamburg Germany – The quality of the recording is pretty bad but it’s exciting to hear the punkish Beatles before Beatlemania hit.

The Kinks – One For The Road

Neil Young & Crazy Horse –  Live Rust

Johnny Cash – At Folsom Prison

The Band – Rock of Ages

Cheap Trick – At Budokan

Elvis (68 Comeback Special)

 

Traveling Wilburys – Congratulations

This will be it for this Wilbury Weekend…one more tomorrow.

Congratulations for breaking my heart, Congratulations for tearing it all apart
Congratulations, you finally did succeed, Congratulations for leaving me in need

This appeared on their first Album Vol 1. This was the B side of the single End of the Line. Dylan sings this song of despair.

There is not a song on either of their two original album that I don’t know by heart. This one was played a lot in my car…which I seemed to livein… going in between a girlfriend and friends.

 

Congratulations

Congratulations for breaking my heart
Congratulations for tearing it all apart
Congratulations, you finally did succeed
Congratulations for leaving me in need

This morning I looked out my window and found
A bluebird singing but there was no one around
At night I lay alone in my bed
With an image of you goin’ around in my head

Congratulations for bringing me down
Congratulations, now I’m sorrow bound
Congratulations, you got a good deal
Congratulations, how good you must feel

I guess I must have loved you more than I ever knew
My world is empty now ’cause it don’t have you
And if I had just one more chance to win your heart again
I would do things differently, but what’s the use to pretend?

Congratulations for making me wait
Congratulations, now it’s too late
Congratulations, you came out on top
Congratulations, you never did know when to stop

Congratulations
Congratulations
Congratulations
Congratulations