It was 50 years ago today/a month ago…

I write today about the 50th anniversary of the release of what has become arguably the most hallowed rock and roll album of all time: Sgt Pepper’s Lonely Hearts Club Band. This post comes in full awareness that I’ve missed the official anniversary of June 1st by over a month, but as John Lennon once said, “Life is what happens to you while you’re busy making other plans.” I suppose I’ve just been too busy living for the past month to acknowledge this momentous occasion, but I have plenty to say, and so here goes.

For the entire duration of my Beatles fandom, which officially stretches back over five years, Sgt. Pepper has never been among my favorite Beatles albums. I gave it a shot, doing the classic “listen to a full album at night in the dark with headphones in,” and while tuning out the world, I managed to gain at best a casual appreciation for what I had heard for years was the album to end all albums. I can’t quite quantify why I never felt that connected with Sgt Pepper. The best explanation I can come up with is that I’ve always felt that the songs overall just are not as good as the songs on Revolver and, especially, Rubber Soul. Sure, the production value of Sgt. Pepper is spectacularly high, but I bet some would agree that the actual songwriting of “Being For The Benefit of Mr. Kite” and “Fixing a Hole” does not compare to anything on either of those albums. I do believe that “Within You Without You” is among the most beautiful songs in the Beatles’ catalog, but I have long felt that the songs on this album overall are, frankly, overrated by the Beatles’ own standards.

Before I completely slander what is, I acknowledge, an extremely cherished album, I now delve into an event that has dramatically reshaped how I view Sgt. Pepper in the context of the Beatles’ music and rock music in general. I was lucky enough to attend a multimedia lecture about Sgt. Pepper with my dad last month. This took place at my local library, and was so jam-packed with fascinating information that I felt seriously compelled to take copious notes the entire time. The lecturer, a Beatles expert who happens to work at this library, spoke about everything from the planning behind the famous album cover, to the initial takes of songs like “A Day In The Life,” to other artists who the Beatles were influencing at the time, to so many other cool tidbits I don’t even remember them all.

It was absolutely fascinating, and even I, who foolishly believes I know everything about the Beatles, learned many new things. For example, I had no idea of the scope of album covers that have parodied Sgt. Pepper since its release, and I also did not know that the Beatles had a connection to a little known band who, a few years earlier, released an album with a cover very much like that of Sgt. Pepper. I was also unaware that this album is the most “British” out of all the Beatles’ albums, featuring many references to aspects of British culture like “Meet the Wife,” meter maids, and the Royal Albert Hall. This lecture also put Sgt. Pepper in a new context in my mind, for I had never really thought about it as a tribute to Britain within the confines of a psychedelic rock album. It got me thinking more about the brilliance of Sgt. Pepper than I ever have before, and also made me consider how the album would have been different if it had included, as originally planned, “Penny Lane” and “Strawberry Fields Forever.” Personally, I am of the camp that believes these two songs would have made this album truly perfect, thematically and musically, but of course I can’t rewrite history. When looking more closely at the album as it was released, it is pretty perfect just the way it is.

I struggle with calling Sgt. Pepper a “concept album” in the traditional sense, because its songs do not tell a continuous story like those of, say, “Tommy.” But the more I think about it, the more I realize that Sgt. Pepper is absolutely a concept album, though of a different nature. It is a concept album in its artistry, not in its narrative. Songs like “Lucy in the Sky with Diamonds,” which features possibly my favorite opening to any song ever, are an entirely new concept for songs in the rock genre. This redefinition of what the boundaries of rock encompass, or don’t encompass, also applies to “She’s Leaving Home,” “Within You Without You,” and basically every single song on the album. Sgt. Pepper is an artistic departure even from the psychedelia of Revolver, which was largely contained in songs with a familiar structure. It is the first Beatles album that is truly a spectacle much like its artistic predecessor, “Pet Sounds” by the Beach Boys, an album which I actually have never loved either but which is probably worth another shot.

This lecture also introduced me to the new remixed version of Sgt Pepper, produced by Giles Martin, the son of George Martin who was, as I’ve said before on this blog, the real 5th Beatle. When you hear the term “remix,” don’t be alarmed; here there are no trap beats added to this album’s beloved tracks. Instead, Sgt. Pepper was literally remixed in that the sound levels of instruments and vocals in each song were re-mixed together to create a more balanced sound. If you’re interested in hearing more about the album’s construction, here’s a lovely interview with Giles Martin when he was on The Tonight Show recently:

Knowing that Giles is the man behind the “Love” album for the Cirque de Soleil show of the same name, among many other acclaimed projects, gives me immense respect for how carefully he treats Beatles-related material. I don’t know how many other Beatles remixing or remastering projects there are in the works at the moment, but it would be a definite shame if he were not at least partially involved with them.

I still have one Sgt. Pepper-related project to finish this summer, and that is watching the new PBS documentary that aired in early June about the album, entitled “Sgt. Pepper’s Musical Revolution.” However, from what I’ve heard it offers a lot of insight into the album’s lyrics, which I definitely feel I have neglected to examine over the years. Even without having seen this documentary, I feel that I have definitely gained a greater appreciation for the genius of Sgt. Pepper this summer. It dared to be loud, over-the-top, and unconventional even for the ever-changing Beatles. Though not universally admired by critics of the time, it was adored by millions of Beatles fans in the 60s and is still adored and respected today. I haven’t actually listened to the album straight through in a long time, but these recent Sgt. Pepper-related projects make me more interested than ever in indulging in all of the goodness that Sgt. Pepper has to offer. I suggest you do the same, and I hope you will enjoy the show. So, sit back, and let the evening go.

 

What Makes a Song Good?

george_on_bed_with_guitar-550x369

George clearly contemplating the writing process, with guitar in tow

Today I’d like to discuss a topic that’s been coming to my mind recently as I’ve listened to Beatles songs and other songs alike, and that is, how do we as music listeners actually decide why a song is good or bad? The most important thing to remember here is that there really is no objective measurement of “goodness” or “badness” of a song. You can pretty much conclusively determine if someone is a skilled or unskilled piano player, but it’s a bit more murky to extend that level of objective analysis to judging the quality of an entire song. Of course, there are certainly songs I think are better than others, so here are a few points of comparison between songs and some examples to support that, both from the Beatles and from other artists I admire.

One point that’s recently been floating around in my mind is the idea of “good” songs balancing vocal and instrumental melodies. That is, the melody of the instruments is as important to the beauty and structure of the song as the melody of the vocals. This is assuming we’re discussing traditionally structured “pop” songs here, not 11-minute long instrumental jams. I hate to sound like a grump, but I find that so many modern pop songs have little instrumental substance and it’s all about highlighting the singer and their impressive growl or sky-high vocal riffs. There’s something about a song that has, say, an interesting opening guitar riff, melodic vocals, and other scattered instrumental breaks that just feels more complete to me. Songs like this also communicate that the quality of the song is what is most important, not the singer’s vocal talent. There’s a distinct, noticeable difference to me between a song that exists to celebrate beautiful, thoughtful music and a song that exists for a singer to show off how high they can belt.

Both categorizations have their place in the music industry, but the Beatles were musicians first and foremost and wrote songs that nearly always fall into the former category. Take “Eleanor Rigby,” for example. The staccato strings are really the iconic part of this song, not the Beatles singing. They sound great, obviously, but this song is a fraction of its final self without George Martin’s incredible string arrangement. Luckily Beatles fans are blessed with an officially-released instrumental version of this on the Anthology 2 album, and this may be the finest example of a Beatles song in which I actually prefer the solo orchestration to the complete song. There’s just so many interesting things to notice when you listen to only the string part, so many percussive strokes and instrumental counterparts, and it conveys the message of the song’s lyrics almost as well as the singing itself. But the complete song itself is what I highlight as a perfect example of a song that values its instrumentation just as much as its vocals.

In case that all weren’t enough to celebrate, it’s just over 2 minutes long and it feels perfectly complete. The song doesn’t thematically or instrumentally need to be any longer. There are no wasted notes here; they all contribute to the moving final product. The song’s inherent structure is so well-thought-out that it carries the beauty of the song all by itself. The more I listen to “Eleanor Rigby,” honestly, the more I marvel at it. It’s quickly moving up my list of favorite Beatles songs.

Another Beatles song that demonstrates their mastery of vocal and instrumental balance is “Here Comes The Sun.” This song features such a delicate, airy acoustic guitar part that I do wish there were an official version of just the instrumental parts without any of the Beatles’ vocals. It also features a lovely string arrangement, but rather than that being the star of this song, the interplay between the strings and the guitar combine to support the beautiful vocal part. “Here Comes The Sun” is absolutely a George Harrison masterpiece that is quickly becoming my new favorite Beatles song, mostly because the guitar is soothing and relaxing. I once heard a rare version of this song that features an additional overdubbed guitar solo, but I felt that it overpowered the rest of the song and did not mesh with the existing acoustic part. “Here Comes The Sun” is simply perfect and musically balanced the way it is.

In general, I feel that with songs I really admire, I could take out the vocals entirely and listen to only the instrumental backing and I’d love the song just as much. One example of a non-Beatles song that perfectly fits this description is “Sultans of Swing” by Dire Straits. The separated, choppy, yet beautifully melodic guitar part always hooks me from the second that the song comes on the radio. I really do feel that this song would function almost as well as a wholly instrumental song. I say “almost” because I do also feel that part of the reason the guitar here is so enchanting is because of how it counters the vocals by providing continual instrumental breaks throughout the song. These “breaks” wouldn’t exactly be breaks if they were not broken up by an intervening vocal part, now would they. This song, unlike the previous two, does not feature any sort of orchestration. Its notable instrumental part is almost strictly guitar, but the guitar here has a life of its own and  beautifully carries the melodic weight of the song so that no additional instrumentation is necessary for the song to feel complete.

Slightly unrelated, but this song also directly connects to the Beatles by featuring a lyrical reference to “guitar George” who “knows all the chords” and “doesn’t want to make them cry or sing.” There’s a chance this isn’t intentionally referring to “While My Guitar Gently Weeps,” but it seems more likely than not. After all that, I’m actually not 100% positive that this is a Beatles reference, but given that George Harrison is by far the most famous rock guitarist named George that I can think of, I’ll stick with this theory until proven wrong. Perhaps the guitar part throughout this song is meant as an ode to George’s carefully crafted Beatles guitar parts, which would certainly  explain why I love the song.

Much of the Beatles’ legend rests on their reinvention of the very idea of successful pop songs, and as this blog continually states, I do believe that they are still the masters of crafting songs with incredible attention to vocal and instrumental balance. However, they also epitomize the magical formula that I find takes a song from average to excellent, and that is a balance between highlighting vocals and highlighting instrumentals. It doesn’t necessarily have to be split 50/50, but I do feel that songs with a celebrated instrumental part, like the songs all mentioned above, possess more overall beauty than songs without.

I could go on and on about Beatles songs that feature a beautiful balance between vocals and instrumentals, and how this is also present in wonderful songs by other artists, but I’ll save that for another post. Until then, continue braving the long, cold, lonely winter and finding sunshine in your favorite songs.

George Martin, The Real 5th Beatle

george martin

The man who made the Beatles into rock pioneers.

Hello followers and readers of Beatle Me Do! I have returned from a hiatus for which I greatly apologize, but I have a few ideas for fun posts that I will be publishing throughout the summer! In the meantime, I have decided to dedicate a post to the late Beatles producer, George Martin, who died on March 8 of this year at age 90. Before becoming a music producer with the Beatles, Martin primarily produced comedy albums. However, he is most well known for signing the Beatles to a record contract in 1962 and producing every single Beatles album except for Let It Be, which was (some say) infamously produced by Phil Spector.

The debate over who is “the fifth Beatle” has gone on for decades and is practically a cliche by now. Some Beatles fans support awarding this illustrious title to members of the Beatles camp such as their manager, Brian Epstein, or their first drummer, Pete Best. However, if there really is such a thing as “the fifth Beatle,” I strongly believe that George Martin deserves that title.

His work in the studio with the Beatles helped transform their songs from acoustic demos into sonic masterpieces. He was a major player in the Beatles’ studio experimentation starting in around 1965 and strongly supported their use of the studio itself as an instrument. When the Beatles were on top of the charts and the musical world, George Martin was the man behind the curtain, the wizard of Oz who literally orchestrated their success. His death marks the passing of a figure essential to the Beatles’ musical innovation.

I’d like to touch on a few Beatles songs on which Martin had a particularly noticeable influence. First up is the acoustic version of While My Guitar Gently Weeps from the Beatles Cirque de Soleil show, Love. This show features some remixes of Beatles songs, but these remixes are composed only by compiling bits and pieces from different Beatles songs. This particular version of While My Guitar Gently Weeps originates from a demo version from the Beatles Anthology 3. It features a George Martin-composed orchestration that was the only original music composed for the Love album. I absolutely love this version of While My Guitar Gently Weeps; it’s a beautiful song made even more poignant and striking by the orchestra. Seeing the Love show is definitely on my Beatles-related bucket list!

Next, I’m going back to one of Martin’s first orchestral contributions to Beatles music, the famed song Yesterday, which features only Paul McCartney, an acoustic guitar, and a beautiful Martin-composed string quartet. Supposedly Paul was a bit skeptical about the idea of putting a string quartet on a song released by a rock band, but was convinced otherwise after Martin explained exactly how he planned to arrange it based on the chords of the song. This song is now legendary among the many iconic tracks in the Beatles’ catalog, thanks not only to the beauty of its melody and lyrics but also to the perfect melancholy accompaniment that the strings provide.

Another song which has an unmistakable George Martin touch is In My Life, on which he plays the sped-up piano break at the end of the song. I believe this is one of, if not the only, Beatles songs to feature a piano solo, or if not it was definitely the first to do so. It’s songs like this that truly embody the spirit of Rubber Soul, an album which challenged the definition of rock and roll and began pushing the boundaries of musical experimentation in rock music.

Eleanor Rigby is one of those Beatles songs that features an orchestra arrangement so strikingly iconic that I could listen to just the instrumentals and enjoy the song just as much. This is all thanks to George Martin, who insisted on creating a relentlessly staccato string arrangement that I regard as an absolute masterpiece. You can listen to the instrumental version of Eleanor Rigby, a track on the Beatles Anthology 2 album, here. Every time I listen to this track and try not to let my inner sing-along drown out what I’m actually hearing, I notice new little intricacies of the arrangement. It’s songs like this that absolutely astound me as to their fearless musicality and give me a true appreciation for the power of orchestral music. This song is just perfect.

Finally, what better way to close out this George Martin tribute post than with the behemoth of all classical arrangements in rock songs, the string section in A Day In The Life. This song is often ranked as the #1 best Beatles song, and while it’s not my #1 personal favorite, it is without a doubt an absolute, indisputable masterpiece. This is largely due to the enormous, chaotic, vaguely conducted orchestra part that builds and builds and always makes me feel like a car is about to hit me. Martin’s touch on this song is evident in its sonic power to completely overwhelm your senses and leave you breathless at its conclusion. What a song to close out Sgt. Pepper’s Lonely Hearts Club Band. What. A. Song. Period.

Rest in peace, George Martin. I know this tribute is a few months late, but I tried to make a post that pays the proper respect to a man who was literally  and figuratively instrumental in crafting many of my favorite songs of all time. He was among the giants of the musical world, and he will certainly be missed.

 

It’s Been a Long, Long, Long Time

I saw this and it made me chuckle for about five minutes. It's a gem.

I saw this and it made me chuckle for about five minutes. It’s a gem.

Well, hello everyone! As you may be able to tell from the title, I realize that I have not posted in approximately 11 months. That is a travesty. I can’t pretend like there’s a valid excuse for this either, other than the old “life getting in the way” excuse. All I can really say is that I’m in college now and obviously busy doing various things, but a couple of very nice comments left recently on this blog reminded me just how much I really enjoy blogging. So, I’m back in action!

First, a couple of things that have happened recently in the Beatle-verse. I was ecstatic to go onto YouTube a while back and see that the Beatles YouTube channel has actually started uploading some old Beatles music videos, like Revolution and Hello Goodbye, in HD! I honestly forgot they even had a legitimate YouTube channel, but it should really be updated more frequently because there is a lot of quality Beatles footage that deserves the HD treatment. Seeing the Sgt. Pepper suits in all their high definition glory is enough to make this worthwhile.

While re-watching some old Beatles music video-prototypes, I am reminded yet again of how innovative and forward-thinking the Beatles really were. Their early “promotional videos” with songs like Help and I Feel Fine may seem archaic now, but they really were some of the first music videos in popular music. When I watch music videos today, like “Hello” by Adele for example, that get upwards of 500 million views, it makes me wonder how many views the Beatles’ videos would get if they were released on YouTube or Vevo today. With their immense fandom in the 1960s, I’d imagine that they might get a comparable amount of views to modern musicians like Adele. Funny to find connections between the Beatles and musicians today yet again.
Also can I just say that I am so happy Adele is back and better than ever! I’m in love with her new album and she is a breath of fresh air on the radio.

In other news, with all of the recent terrorist attacks in Paris and Beirut and even the shooting that occurred today in California, I find myself wondering naively why people can’t just channel their anger into avenues other than killing people. There are so many Beatles songs that advocate for peace and understanding, like All You Need Is Love and Good Day Sunshine, and it makes me sad that these songs exist in a world with so much hatred. I suppose all I can do is continue sharing my favorite Beatles songs with others in the hopes that their inspiring messages can convince maybe one person not to do something terrible. Everyone reading this, do the same! It might make a difference.

Also, there’s a new ELO album! Jeff Lynne, famous for not only ELO but also for producing The Beatles Anthology project and a few albums with George Harrison, is back in the public eye! I saw his performance on The Tonight Show recently and I was so happy that he performed both a new song and a classic, Mr Blue Sky. If there’s musician out there today not named Paul McCartney or Ringo Starr whose music truly captures the spirit of the Beatles, it’s him. Someone needs to get him into the Rock and Roll Hall of Fame ASAP, and I usually don’t care much about stuff like that, but it’s seriously about time Jeff Lynne was immortalized for his massive contributions to music.

Before I wrap this up, I’d just like to say that it is extremely weird to be blogging from my dorm room and not the attic in my house. College is certainly a new experience, but I am trying to appreciate every moment, take advantage of opportunities that come my way, and remember the things I love that make me feel better whenever I’m down. Spoiler alert, one of those things is the Beatles.

Random Beatles song I’ve been enjoying recently: You”re Gonna Lose That Girl

I almost forgot about this song until it came up on my phone the other day, but it truly is a gem from the Help! album and movie. Definitely yet another underrated Beatles song in their massive canon of musical creations.

I really believe that I will not wait 11 months to blog again. It won’t happen. I will actually try to blog more regularly for the foreseeable future. Enjoy the holiday season everyone!

The Kinks: They Really Got Me

They are looking very ponderous and thoughtful here.

They are looking very ponderous and thoughtful here.

It seems that every few months, I become obsessed with a new band or artist that’s already famous to most humans and their household pets. Last summer, it was Elton John. February break, it was Gavin DeGraw. Spring break, it was the Red Hot Chili Peppers.

But as I’ve delved into the wonderful world of British Invasion-era bands, I’ve recently fallen deeply in love with the Kinks. I’ve enjoyed their music for a long time, but since I heard a couple of their songs on the radio last week, I’ve listened to them more than ever before. They are not completely unlike the Beatles, but they definitely have their own, distinctly British sound. There are so many things about them that I love, so I’ll list a few of them here.

1. They are (in my opinion) extremely underrated.
Sure, I like bands like Led Zeppelin and Queen a lot. They’re great. But I honestly feel that their overall musical output is just a tad over-celebrated. However, the Kinks, for some reason, are not on as much of a lauded pedestal as many other bands (yes, the Beatles are very lauded and celebrated, though deservedly so). I don’t know why this appeals to me, I guess I just like the idea that they are not as “mainstream” popular. And I always root for the “underdogs” of rock who never seem to get the accolades they deserve. Like George Harrison!

2. Ray Davies. Need I say more?
I’ve basically been listening to the Kinks nonstop for about three days, and I can safely say that I haven’t discovered a Kinks song I don’t like. I finally understand why Ray Davies is considered, as my dad has been telling me for years, a musical genius on par with the Beatles. His lyrical style is honest and accessible, but also clever, witty, and often amusing. I also love his voice, because it’s very different from any of my other favorite singers. Variety is, after all, the spice of life!
His songs are very melodic and easy on the ears, but they also make me stop and think about life. And his utter British-ness is, to me, very appealing. Just watch this video and you’ll see what I mean.

Yes, uninformed interviewers from the 60s and 70s always make me cringe (did this guy really think that people at a Kinks concert in 1977 would be screaming the whole time?), but Ray is so quietly charming and witty that I don’t even mind. He has fantastic hair, which always helps. He also says here that he isn’t as good looking as Mick Jagger, but I respectfully disagree. 🙂
Hmm, soft-spoken, underrated musical geniuses from the sixties with fantastic hair. Have we, at Beatle Me Do, seen this before…? 🙂

3. The Kinks invented a whole lot of things.
I did not know this, but apparently the 1965 Kinks song “See My Friends” is the actual first pop song credited with Indian influence, BEFORE the later, sitar-flavored “Norwegian Wood (This Bird Has Flown)” on the Beatles’ Rubber Soul. Now that I listen to it, I definitely hear it. Take a listen for yourself!

Also, their first big hit, “You Really Got Me,” is commonly recognized as one of the first proto-metal and punk songs because of its power chord structure and overall rawness. I’m not really into metal as a genre, but this is definitely one of the best harder rock songs of the early sixties.

4. They wrote my favorite rock Christmas song.

I listen to this year-round, with no shame whatsoever. It’s a really great song!

Now that I’ve introduced the Kinks on this Beatle blog, I will at some point in the future describe my favorite songs by them. In the meantime, I need to actually go through their discography in detail beyond their greatest hits compilations. I refuse to be an uneducated fan for long!
I’m also praying that the supposedly confirmed reunion album and tour between Ray and Dave will actually happen. How awesome to see these legends together in concert! One can only hope they will put aside their differences long enough to make their fans happy.
In the meantime, have a fantastic week! 🙂

My Top 10 Favorite Beatles Song Lyrics

Thought this was cute. :)

Thought this was cute. 🙂

I was hemming and hawing over what to post today, when this idea popped into my head. We all know that musically the Beatles were brilliant, but their song lyrics are just as extraordinary. Sure, many of their earlier songs have a lot of “cheesy” lyrics, which I will not deny. However, whenever I listen to one of their later albums like Rubber Soul or Abbey Road, I’m amazed at just how insightful and clever the words to their songs are. Sometimes I listen to a Beatles album only to pay attention to the lyrics, which helps me see it in a whole new light. So, without further ado, here we go!

10. I Saw Her Standing There- “Well she was just seventeen, you know what I mean.”
According to The Beatles Anthology, the original opening line for this song was, “Well she was just seventeen, she’d never been a beauty queen.” When John saw that’s what Paul had written, he supposedly said, “You’re joking, right?” and they changed it. Good move, in my opinion. There isn’t that much to dissect with this one, I just like how it flows. And that it’s vaguely suggestive. 🙂

9. Revolution- “But when you talk about destruction/Don’t you know that you can count me out”
When the Beatles sang this live on David Frost in 1968, John actually said, “Don’t you know that you can count me out, in” because he wasn’t sure what he believed. One thing I love about this song in general is that from the very first note, it makes a statement, and every line in the song, like this one, lives up to the boldness of those opening guitar chords.

8. You’ve Got To Hide Your Love Away- “If she’s gone I can’t go on/Feeling two-foot small.”
The actual line for this song had “two-foot tall” instead, but when John accidentally sang “two-foot small” in the studio once, Paul suggested he keep it that way. I like that this line doesn’t make logical sense initially, but really, it does. It’s sort of like a glass half empty vs. glass half full situation. Just another example of clever wordplay from the Beatles. 🙂

7. The Long and Winding Road- “Many times I’ve been alone and many times I’ve cried/Anyway you’ll never know the many ways I’ve tried”
Paul is clearly a master at rhymes, but this line in particular just hits me in a deep emotional place. The song itself is sad, but hopeful. This might be lyrically one of Paul’s best songs ever, actually, but I’ll let you be the judge of that.

6. Think for Yourself- “Although your mind’s opaque/Try thinking more if just for your own sake.”
While this was far from George’s first song, I think is the first time his lyrics were truly on par with Lennon and McCartney. The lyrics to this entire song are great, but I chose this line in particular as an example of the growing songwriting aptitude that George demonstrated on Rubber Soul. Way to go George!

5. Old Brown Shoe- “I want a love that’s right but right is only half of what’s wrong.”
More George for you! He has said in interviews that he intended for the lyrics of this song to juxtapose each other, with words like right and wrong and early and late. The lyrics to this entire song are clever and so very George. As I’ve said before, this song is extremely underrated.

4. I’ve Just Seen a Face- The entire song
While the lyrics for this song might not be the deepest, most philosophical in the Beatles’ catalog, I really have a special place in my heart for this song because of them. The whole song flows in a really interesting way because of how the lyrics are structured, and for that reason I didn’t single one line out in particular.

3. I Am The Walrus- “Expert textpert choking smokers/Don’t you think the joker laughs at you?”
I am happy to report that I typed that line entirely from memory. I guess I’ve listened to it too many times. 🙂
But seriously, every line in this song is just nuts. I suppose that’s what happens when John Lennon writes a song purposely to confuse people who read too much into the Beatles’ lyrics.

2. The End- “And in the end the love you take/Is equal to the love you make.”
This might be one of the single best known lyrics in the Beatles’ catalog, so this might not be that original a choice, but it is truly a beautiful, poignant line. I don’t think Abbey Road and the Beatles’ career could end any better than with this line. It sums up their entire essence in one simple line.

1. Across the Universe- “Limitless undying love that shines around me like a million suns/It calls me on and on, across the universe”, but basically the entire song
I firmly believe that the lyrics to this song are some of the most beautiful words ever written. I highlighted this line in particular because it’s the one that always sticks out in my mind, but really the entire song is a beautiful fountain of poetry. John is usually known as “the lyrical one” between himself and Paul, and I think that John really makes the case for best lyric writer in the Beatles with this song. It’s definitely a masterpiece.

Wow, for coming up with this idea on a whim, I really like how this turned out! I think I’ll try to do a “top 10 lines from Monty Python” in the near future as an expansion of this post.
Have a great weekend!