Above and beyond the music, should be interesting as a preview to how this whole Apple TV Proper thing might fly, with Apple propping up the content end of things via live events like this one.

I read a few posts saying “who cares” about Beatles on iTunes — well, even a non-fan should realize the biggest reason why this is important: Beatles on iTunes would legitimize the medium of music downloads.

Meaning: it’s ridiculous that the arguably greatest band in pop music in history isn’t available for download. Imagine visiting visit Netflix and finding some agreed-upon movie classic like Gone With The Wind or Star Wars wasn’t yet out on DVD. It would be pathetic and so it is with no Sgt. Pepper in Apple’s library. I’m Down.

But the lack of Beatles on iTunes has now become personally annoying. I just put in an order for the Beatles Stereo Box Set on Amazon. The ship date is (sit down, please): the first week of October. (Tell Me Why)?

Since I have to wait this Long, Long, Long, it sure would be nice to fire up iTunes and buy a few choice tracks to tide me over until the physical media shows up. True, it’s silly that I’d pay double (well, triple since I already own all the CDs) for decades-old music, but I’m ready and willing to hand good money over, here, just to enjoy some remastered Beatles right now.

And I can’t. Free money, turned away. Help.

At this point, it’s only my own pathetic conscience that keeps me on the straight and narrow. Common sense dictates firing up the old BitTorrent. All the tracks, Free As A Bird.

You Never Give Me Your Money, indeed.

Basically John Lennon had a jukebox that he would take around with him on tour, filled with all of his favorite music. It’s a pretty good sampling of early R&B, Stax, to folk stuff from Dylan. What’s interesting to me is the documentary seeks out some of the original artists and goes over their inspirations. You can also hear a lot of musical influence toward the Beatles’ own songs.

Lastly, the whole idea of this large jukebox filled with 45 records is an interesting contrast to today’s iPods with tens of thousands of songs in a package no larger than a wallet. There’s something definitely more precious about having 40 odd physical objects containing your favorite music. The irony is that by having only room for 40 songs, might we be more careful about our selections and value that music more?

Recently, Paul McCartney signed on to have his solo stuff in iTunes (I bought his Memory Almost Full there) and Ringo has had some of his stuff in there for a while now, so now it’s just one more to go: George Harrison. For we all know, when the Beatles’ albums finally show up on iTunes, we can’t have any of this “partial album” stuff because of rights issues.

The Beatles are an eventuality at this point, and their iTunes debut might be perfect timing, what with rumored full-screen iPods coming later this year or more likely, MacWorld ’08. Sounds like a great opportunity for the snazzy Yellow Submarine edition I keep reading about.

What’s especially bumming is I really liked his last disc, Chaos And Creation In The Backyard. Seemed like he was on the edge of an artistic re-awakening.

I guess I won’t know for sure until I have a chance at listening to the album proper, but there really isn’t much to recommend about this first tune except that the video has Natalie Portman in it. But at least it will be available via iTunes and Starbucks so you can make up the extra energy via a Star Trek episode download or a triple caramel McCartneyatto.

iTunes Store Link: Dance Tonight — Memory Almost Full (Deluxe Limited Edition)

Some other tidbits of info are that all thirteen of the Beatles’ albums have been remastered for this eventuality.

Dang, I was hoping for some Apple iTunes Beatle Media Blitz with a Yellow Submarine iPod. If the Beatles won’t be exclusively on iTunes, there’s less reason for that to happen.

Hopefully this paves the way for a possible Beatles partnership with Apple, meaning downloads of the band’s music, starting with the “new” album: Love. Sounds like a perfect relationship to announce around Valentine’s Day.

Starting with this album would certainly whet people’s appetite for the Fab Four’s back repertoire on iTunes. It would be cool if they released one album a month, say, and only had said download available for a limited time. This would stretch the journey through all the Beatles’ albums for as long as possible, with huge marketing buzz behind it.

I think Disney (another company that Apple has a relationship with) still does something like this with their animated films — release it on DVD for a “limited time only” and pull it back, creating artificial demand for these must-own classics.

Oh, and how about a Beatles branded iPod, like the U2 one. I’m a sucker; I’d probably get it — especially if it were in some Beatle-y color like… yellow?

Additional Reading: Gizmodo, Engadget, USATODAY, Thomas-Fitzgerald.net, NYTimes

There are also unconfirmed rumors that the deal will make a big splash via a Super Bowl Apple ad, probably announcing the partnership and that the Beatles’ music will be available only through the iTunes Music Store. The famous 1984 Apple Macintosh ad aired during the Super Bowl. Also, note how in Steve Jobs’ recent Macworld keynote, he played a track from the Beatles’ Sgt. Pepper.

So a Beatles / iTunes advertisement is possible — but if so, I wonder which Beatles song will be used?

Having recently churned through all of the Beatles’ songs, I looked over the list to see which tunes might be especially suitable for an iPod ad. Here are some picks:

All You Need Is Love

This tune would make the most sense, since the recent Beatles album is called “Love” and the song could just be used to say (this album) is all you need. The “Love” album the one most are predicting will be the first to appear in iTunes.

From Me To You

Think about the lyrics — “call on me and I’ll send it along, with love from me to you”. The Beatles might as well be referring to an iPod with the “Love” album loaded on it.

All Together Now

Something about how the iPod and the Beatles are together at last, maybe hinting at an end (or at least a truce) to the legal battles between Apple records and Apple Inc.

Love Me Do

The first big Beatles hit could provide an interesting angle. It could represent the new situation of the Beatles’ back catalogue as a new “phase” of the Beatles. I think iPods bouncing around to this song in particular would make a neat ad.

A Mash Up

Since the “Love” album was promoted as a “mash up” of Beatles songs, maybe a new one could be created just for the Apple ad. The Lady Madonna one off of “Love” is pretty neat.

Tomorrow Never Knows

Commenter Dave suggests Tomorrow Never Knows… that’s a good one — plus one of the better “mash ups” on the “Love” album is that song combined with Within You Without You.

Money

On second thought… no.

Mr. Moonlight

I reserve a fair amount of annoyance for this song. There’s so much wrong with it, from the night club vibe to the cheesy organ, or the caveman-like drum before the title lyrics. I think the Beatles had outgrown the lounge act by the time of this recording.

iTunes Store Link: Mr. Moonlight — Beatles For Sale

Kansas City/Hey-Hey-Hey-Hey!

Another half-baked cover.

iTunes Store Link: Kansas City / Hey-Hey-Hey-Hey! — Beatles For Sale

You Like Me Too Much

This is probably the first Beatles song I might say I hate. It’s cornball, and the middle always drove me up the wall with its strange resolution back to the verse. Plus, there’s that wimpy pseudo-ragtime piano trading licks with the guitar. George hadn’t hit his stride — although it appears on Help!, it’s A Hard Day’s Night material.

iTunes Store Link: You Like Me Too Much — Help!

Dizzy Miss Lizzy

While it’s a rocking tune, with its placement right after Yesterday it fails miserably.

iTunes Store Link: Dizzy Miss Lizzy — Help!

Dig It

This shouldn’t even be counted as a song, but it shows up as a separate track on Let It Be.

iTunes Store Link: Dig It — Let It Be

Maggie Mae

As a kid watching Beatles cartoons, this sort of John goofing around thing was appealing, but feels like a mockery of the whole enterprise.

iTunes Store Link: Maggie Mae — Let It Be

The Fool On The Hill

Some people love this Paul number, but I don’t, not since I turned 21. The melody is daffy, the recorder solo completely stupid, and I don’t enjoy hearing a stoned grown man discussing a fool, whom I have no sympathy for, getting dizzy watching the world go round.

iTunes Store Link: The Fool On the Hill — Magical Mystery Tour

Flying

This song makes me cry. “Flying”? “High”? Get it? Easily one of the worst Beatles song ever.

iTunes Store Link: Flying — Magical Mystery Tour

Blue Jay Way

You’d have to be stoned to listen to “please don’t be long” as many times as the Beatles repeat, here. Why didn’t George Martin put a stop to this? There’s a neat cello part, but that’s all. And only someone really out of it would think a song about someone hashed out, bored to death, waiting for his friends to show up, would make a good subject for a song.

iTunes Store Link: Blue Jay Way — Magical Mystery Tour

Run For Your Life

Am no fan of John the stalker here, threatening to hunt his lover down. Also has that country twang I dislike more and more. In comparison to everything else on Rubber Soul, it sounds like an afterthought.

iTunes Store Link: Run For Your Life — Rubber Soul

Wild Honey Pie

This isn’t a song, nor an idea for a song, or even funny — it’s garbage. Paul could write this kind of thing in the bathroom — and it sounds like it was recorded there, too.

iTunes Store Link: Wild Honey Pie — The Beatles (White Album)

Rocky Raccoon

You know how I keep saying I don’t like it when the Beatles attempt country. This is the worst offender. I hate Paul’s Western accent, ugh. Couldn’t this song have been combined with Bungalow Bill and ended with a shoot-out, killing everyone involved?

iTunes Store Link: The Beatles (White Album) — The Beatles

Don’t Pass Me By

Another Ringo tune. This one, he wrote himself, which shouldn’t surprise anyone.

iTunes Store Link: Don’t Pass Me By — The Beatles (White Album)

Day Tripper

= 5 stars

Starting with a taut guitar lick (doubled in the bass), this song nearly tumbles into my ears. All the Beatle elements are here, neat guitar playing, high harmonies, a curt tambourine, Ringo experimenting, and a build-up (more laid back) but similar to Twist and Shout. When John reaches up for a high note near the end on “so long” it’s shiver-inducing.

We Can Work It Out

= 5 stars

This is a classic Beatles tune because it’s split in two, half optimistic Paul and half questioning John. The Paul side is acoustic with an accordion, the John side minor and with a 3/4 descender. The contrast is both musical and personality-wise — summing up the two songwriters in more digestible manner than A Day In The Life.

Paperback Writer

= 4 stars

Pretty simplistic song which lyrically is admittedly dumb, but Paul’s bass playing and Ringo’s drumming keep it interesting for me.

Rain

= 5 stars

So put the melodic bass (nice triplets on a later verse) and Ringo drumming in a better song, and you get Rain, a stunning example of the Beatles at their best. I can’t name a thing awry about this tune. It has a great groove, some neat harmonies (just before “I don’t mind”), and even the slightly gimmicky backwards vocals during the outro fit the slightly droopy mood.

Lady Madonna

= 5 stars

Nice rhythm, some great horns, and a not too ornamented piano. It also showcases Paul’s deepening baritone he sometimes lapses into. The John harmony vocal on “see how they run” pushes it over the edge into 5 stars for me.

The Inner Light

= 3 stars

A better Indian buffet than Within You Without You, but it’s not really Beatle-y until Paul comes in with some tidy harmonies on “Do all without doing.” Still, I like the zen “yes-is-no “lyrics. I just wish the music were more my cup of jasmine tea.

Hey Jude

= 5 stars

Paul McCartney sometimes lapsed into cheese with cheese on top, but this one song has a decent dose of protein. It starts out like a typical Paul ballad, but moves through several phases that the Beatles were masters at: adding harmonies, a tambourine, and then a wonderful coda that throws in horns and a sing-along chorus, where Paul switches to baritone improvising and screaming. The final running time is 7 minutes, 20 seconds.

Revolution

= 5 stars

This is spectacular John rocker, leaping into the chaos that was the late sixties with a flash-bulb intensity. I also appreciate a wry sense of humor mentioning Chairman Mao and the way the moaning collides with a spinning guitar solo. Lastly, the manner in which John yelps out “all right!” after the last colliding guitar chords is just exquisite.

Get Back

= 5 stars

This is rather corny Paul as well, but at least it has a beat and a shiny keyboard solo from Billy Preston. I guess this is the album’s statement about getting back to one’s roots, and while the other three didn’t totally go along with the idea, the sentiment is more or less there, here. And what I didn’t give to Paul on his song Let It Be, I feel better about giving him credit here.

Don’t Let Me Down

= 4 stars

This is a good John song, talking about his relationship with Yoko. It’s included on the Let It Be… Naked album. There is some interesting rhythmic shifting, and a nice, syncopated guitar lick on the middle.

The Ballad of John and Yoko

= 2 stars

I don’t like this song that much, mostly because I find it over long and a bit boring. I appreciate the sentiment — just not my cup of tea.

Old Brown Shoe

= 2 stars

The beat here makes me itchy.

Across the Universe

= 5 stars

Here’s John at his most introspective best, wondering about all the crap going on in the world and finding peace within his own happy, active mind, although surely a bit burned out from all the drugs and interpersonal tension. I especially love the sentiment “nothing’s going to change my world,” repeated several times like a mantra.

Let it Be

= 4 stars

It may be sacrilege for me to rate this song at 4 stars, but I’ve always heard it as a second version of Hey Jude and unfortunately, the awkward George guitar solo hurts the otherwise perfect aura. A close 5 star contender, but I’ve been reserving the 5 star rating for perfection.

You Know My Name (Look Up the Number)

= 2 stars

This is an amusing Beatle play-around tune that reminds me of Monty Python, the Muppets, or Tony Clifton — something like that. There’s some dippy show-boating, silly voices, saxophone playing but doesn’t really add up to much.

iTunes Store Link: Past Masters, Vols. 1 & 2 — The Beatles

Only A Northern Song

= 2 stars

I do like the general melody of this tune (especially the way the chords jump about while George sings: “It doesn’t really matter what chords I play,” but the production doesn’t make much sense. It’s kind of caught between Magical Mystery Tour and Revolver with the spinning tape loops and some pleasant-enough horns, however, the end result is more a mish-mash of kitchen-sink tossing than anything worth listening to over and over.

All Together Now

= 4 stars

This is a cute Paul tune that he likely wrote in his sleep. The lyrics are nursery-rhyme simple, and it’s fun like Yellow Submarine. John takes care of some of the vocals, quipping “Chop the tree” like some jokey uncle who likes offering the kids sips of his beer at parties.

Hey Bulldog

= 4 stars

This is a pretty great John song, with a blunt guitar lick (reminiscent of a meaner Day Tripper) that’s kind of like a James Bond theme. The middle part of “you can talk to me” is a harbinger of much of his scarier stuff like Glass Onion or even Cold Turkey. But one thing bends it out of 5 stars, ever so slightly, for me — the overly long joking around with one of the Beatles pretending to be a dog.

It’s All Too Much

= 2 stars

Another average George song, but it doesn’t sound like this song completely has a handle on the electric guitar feedback, and once again the production is more toss-everything-in-there than inspired.

Wikipedia: Yellow Submarine

Also, here’s a Webomatica movie review of Yellow Submarine.

iTunes Store Link: Yellow Submarine — The Beatles

Links to my song by song breakdown, album by album, are on this page.

I then selected 10 of these as the ultimate Beatles songs. This list is directly below (in no particular order) plus a few comments about each song. Honestly, I was torn by the omission of many songs, namely She Loves You, Rain, I Am The Walrus, and Let It Be. I’m also a bit perturbed that I couldn’t decide on a specific song from Revolver, but oh well.

So I’m not totally happy with it, but if I were asked to identify 10 required Beatles listening songs to an alien (or a naive teenager) that encapsulated what the Beatles were all about, this is what I’d offer up:

1. I Want to Hold Your Hand

Beatles perfection, once again. The intro preps us for the verse. But when the high harmonies on “hand:” arrive, it’s like a wave washing over. The chorus is also nicely askew, a variation on the I vi IV V progression but starting on the IV. I always thought that was genius. The middle secion adds a nice contrast, John being a little nostalgic, and it’s repeated twice. To cap things off, just when things sound like they might run out of steam, the ending resolves in an unexpected way.

2. Strawberry Fields Forever

This is perfection. Maybe it was George Martin’s way of arranging the horns and strings just so, or the lucky happenstance of two different versions spliced into one, but everything about it is exquisite. John’s nostalgia, the sagging melody and instruments (reminding me of an umbrella soaked through a downpour) and the collapsing coda where the rattle of Ringo’s drums gives way to a spinning cartwheel of sonic effects. Even the last tantalizing moans of John in an altered voice (did he say “I buried Paul?”) was somehow worth obsessing over. A song with this many precious details deserves more than five stars.

3. Penny Lane

This is a perfect song, too. The high trumpet, the sinking, Beach Boys inspired bass line, the England-old-time lyrics, the sneaky-snide harmonies on “fish and finger pie” — so many glorious bits that beg for repeat listening. Even the key change leading up to a clanging piano chord is great stuff.

(There was some talk that both Strawberry Fields Forever and Penny Lane would have been included on Sgt. Pepper, except the Beatles were still in the habit of recording singles and not including them on albums. The mind reels at the possibility.)

4. Nowhere Man

This song is a shining example of all that I love about the Beatles: magical harmonies and supporting background vocals. This is an instance where the guitar solo is note-perfect and adds another level to the song. Also note the neat way the middle builds through the bass, guitar, drums, and background vocals, finally collapsing back into the verse. The subject matter is also intriguing — John guiding someone towards inner happiness. I wish I had an extra star for this one.

5. In My Life

I don’t know what kind words I can say to elevate this song above what place it has in my soul. I can’t even really write about it objectively since it’s come to mean too many things. I love how the subject matter is nostalgic, and the sped up piano (sounding like a harpsichord) sounds like a nod to pre-rock and roll music. Also shining is the minor chord upon which John stunningly reaches for a high note at the song’s end, foreshadowing some of his solo work. Several times before I mentioned a “secret weapon” of John on lead with Paul and George behind — this song is an awesome example of this trinity. I don’t have enough stars for this one, either.

6. A Day In The Life

If I had to name one perfect Beatles song that captures the whole of their legacy, this is it. It’s mostly a John song with a Paul middle. The two sections are separated by a stunning full orchestra pitch-rise and some Lennon wailing. The John section is personal, wistful, and has some beautiful melodies and stunning high notes. By contrast, the Paul section is a typically cornball vaudeville theme, but it’s kept relatively restrained and benefits immensely from what surrounds it, including some neat Ringo drums. This is perhaps the Beatles’ finest moment — one could almost say everything in their career builds up until this moment, and it’s all downhill following the crashing, iconic piano chord. I only ask one question: Where’s George?

7. Something

My favorite George song ever, it’s the culmination of many earlier ones. It seems to have equal parts Lennon and McCartney. His guitar solo is note perfect, there’s dusky Ringo drumming, Paul’s bass playing adds a counter melody, Paul’s vocal harmonies are stunning. The chord progression is also mesmerizing: how the same two chords that lead into the verse change on their entry into the bridge, and how the same chords are repeated both ways at the song’s end.

8. Yesterday

If I had another star, I’d give it to this song, as it still makes me tear up under in the right situation. So much is perfect: the string quartet, the patient strums of Paul’s guitar, and the emotionally tugging lyrics. It’s that feeling of regret and lost love, and resignation that no matter what you do, she isn’t coming back. From this point on, the Beatles’ bar was raised — and you may now have a sense why I’ve been so harsh on some of their songs thus far.

9. Help!

This song still sends chills down my spine if I listen to it under the right circumstances. That is was an actually cry for help from John under the weight of Beatlemania makes it scarier. The descending guitar line from George, the intense, too close for comfort backing vocals, and the high note on “help!” all come together for a tightly charged experience. The last verse, sung when the band drops out leaving just Lennon and his acoustic guitar is musical history.

10. Hey Jude

Paul McCartney sometimes lapsed into cheese with cheese on top, but this one song has a decent dose of protein. It starts out like a typical Paul ballad, but moves through several phases that the Beatles were masters at: adding harmonies, a tambourine, and then a wonderful coda that throws in horns and a sing-along chorus, where Paul switches to baritone improvising and screaming. The final running time is 7 minutes, 20 seconds.

The results actually surprised me, because it pretty much lined up with my previous “uncalculated” opinion of these albums. I usually claim Revolver is my favorite Beatles album, and it showed up second on my list. I think Sgt. Pepper benefited from this song-by-song ranking system as it had one less song, and therefore shows up at the number one spot.

I must mention my opinion that all the Beatles’ albums are worth owning, or at the very least, listening to. Although I found out that Magical Mystery Tour is the second worst Beatles album in my opinion, it contains some of my favorite Beatles songs ever, namely Strawberry Fields Forever and Penny Lane. Also note that the rank range for all these albums ended up between 4.384 and 3 stars — even my “worst” Beatles album ended up being “average.”

In conclusion, I found this exercise not unlike ranking Picasso paintings. They’re all pretty damned good. And I’m just a Beatles fan, not an expert music critic or anything. Anyways, here are my results, from best to the worst. Beneath each evaluation paragraph is a link to the earlier post in which I break down my opinion of each song.

Note: I’m not including Yellow Submarine or Past Masters 1 and 2 as the first only has four Beatles originals they considered lesser songs, and the latter two are compilations of their singles.

1. Sgt. Pepper’s Lonely Hearts Club Band

4.384 stars

When taken in comparison with the rest of the Beatles’ output, these songs really stand out. There’s a clarity of purpose, the psychedelic noodling is limited, and the four were still working as a group (or at least it sounds like it). The sonic experimentation here is quite awe-inspiring. A few songs like A Day In The Life practically capture the entirety of the Beatles’ legacy.

Webomatica: Sgt. Pepper’s Lonely Hearts Club Band

iTunes Store Link: Sgt. Pepper’s Lonely Hearts Club Band — The Beatles

2. Revolver

4.07 stars

I’m glad this album is up here, because it was always a personal favorite. It was the first Beatles album that freaked me out as a kid — with its relatively mature subject matter — that I had to “grow into.” It showcases the diverging Beatle personalities while retaining the “middle period” Beatles beat.

Webomatica: Revolver

iTunes Store Link: Revolver — The Beatles

3. Abbey Road

3.941 stars

At this point the Beatles were toast, but it’s awesome how they went out on a relative high note. The first side celebrates the Beatles as individuals, while the second half of this album has so many neat melodies and fragments more or less strung together. And of course, the two songs that boost this album up immensely in my mind are George’s: Something and Here Comes the Sun.

Webomatica: Abbey Road

iTunes Store Link: Abbey Road — The Beatles

4: Rubber Soul

3.714 stars

This was a Beatles album with renewed vigor. It’s as if they realized they didn’t have to be commercial and could actually have a go at being serious musicians, shedding their cute pop group roots. It also contains one of my favorite Beatles songs ever, Nowhere Man.

Webomatica: Rubber Soul

iTunes Store Link: Rubber Soul — The Beatles

5. With The Beatles

3.571 stars

I’m kind of surprised this album made it up so high, but I think it’s because it was a sharper version of Please Please Me.

Webomatica: With The Beatles

iTunes Store Link: With The Beatles — The Beatles

6. A Hard Day’s Night

3.307 stars

Only 13 songs on this one. Interesting that the early Beatles edges out the later Beatles (White Album).

Webomatica: A Hard Day’s Night

iTunes Store Link: A Hard Day’s Night — The Beatles

7. White Album (Disc 1)

3.352 stars

There are just too many songs on this average album (17), some truly horrid. Good tracks are Dear Prudence and While My Guitar Gently Weeps while bad ones are Wild Honey Pie and Don’t Pass Me By.

Webomatica: White Album (Disc 1)

iTunes Store Link: The Beatles (White Album) — The Beatles

8. Help!

3.285 stars

Average album, but featuring the stunning Help! and Yesterday.

Webomatica: Help!

iTunes Store Link: Help! — The Beatles

9. Let It Be

3.25 stars

Average, probably without the chaos, John goofiness, and some bad George songs, it would have ranked higher.

Webomatica: Let It Be

iTunes Store Link: Let It Be — The Beatles

10. White Album (Disc 2)

3.23 stars

Frustratingly varied. A really strong song like Sexy Sadie is held back by the self-indulgence of Revolution 9.

Webomatica: White Album (Disc 2)

iTunes Store Link: The Beatles (White Album) — The Beatles

12. Please Please Me

3.214 stars

I’m a bit shocked to see the album so low on the list, but not really. It’s chock full of covers and hardly any 5 star songs.

Webomatica: Please Please Me

iTunes Store Link: Please Please Me — The Beatles

13. Magical Mystery Tour

3.090 stars

I really wish this album ranked higher on my list since it contains two of my favorite songs ever: Strawberry Fields Forever and Penny Lane — but the lesser songs are so terrible that they sunk this album down to second worst. Even with only 11 songs, I dealt out so many 1 and 2 stars this album couldn’t carry the weight.

Webomatica: Magical Mystery Tour

iTunes Store Link: Magical Mystery Tour — The Beatles

13. Beatles For Sale

3 stars

This album was a low point for the Beatles. Supposedly they were tired of the constant pace of touring and filled this album with some pointless covers. The only songs truly worthy of the Beatles’ name is Eight Days A Week and No Reply — That’s it. So it’s my vote for the worst Beatles album.

Webomatica: Beatles For Sale

iTunes Store Link: Beatles For Sale — The Beatles

The last recorded Beatles album, but second to last released. After the live-concept disaster of Let It Be, Paul supposedly asked long time producer George Martin if he would produce as they used to in the old days. Martin’s reliable production had the benefit of a return to solid songwriting by all members, most notably George Harrison’s Something and Here Comes the Sun, but also the best Ringo song yet. Another stellar idea is the second side’s near-seamless song cycle of tunes running together, culminating in the buoyant The End, effectively closing the door on the Beatles’ career on a high note.

The second side features the melody from You Never Give Me Your Money as a theme, a three-chord progression similar to Something as a motif, along with the sinking, syncopated guitar lick inspired from I Want You. In terms of album cohesion, the second side (musically, at least) seems to hold together better than Sgt. Pepper.
Come Together

= 5 stars

John does the Plastic Ono Band type thing and there’s a cool malevolence here. I prefer I Want You to this song, but it’s still deserving of 5 stars.

Something

= 5 stars

My favorite George song ever, it’s the culmination of many earlier ones. It seems to have equal parts Lennon and McCartney. His guitar solo is note perfect, there’s dusky Ringo drumming, Paul’s bass playing adds a counter melody, Paul’s vocal harmonies are stunning. The chord progression is also mesmerizing: how the same two chords that lead into the verse change on their entry into the bridge, and how the same chords are repeated both ways at the song’s end.

Maxwell’s Silver Hammer

= 2 stars

There is a cold, dark place in hell where this song plays over and over. It’s the worst type of song, one that’s so catchy that it burrows into your mind and repeats, driving you slowly insane. The clank of the hammer is too literal and could be the sound of Maxwell trying to beat this song out of his subconscious.

Oh! Darling

= 4 stars

I love the way Paul shreds his voice singing the middle part of this song. I do find myself waiting impatiently during the other sections until the screaming starts, so reluctantly I deduct a star.

Octopus’s Garden

= 4 stars

Ringo writes a great song; stop the presses. Just when John and Paul seem to be faltering somewhat, the other two come to the fore. However, I still prefer the old-time Yellow Submarine and With A Little Help From My Friends.

I Want You (She’s So Heavy)

= 5 stars

When John gets serious, he gets dark. This song drifts from love to lust and ends with an obsession that flips into the nightmarish. This is the subject matter of Yer Blues done right. The guitar line echoing John’s words finally collapses into a droning, repeated guitar lick that repeats endlessly as waves of static and Paul’s bogey-man bass swoops down like a vulture. The cut-off between there, the abrupt end, and the start of the next song is amazing.

Here Comes The Sun

= 5 stars

George comes through with another perfect song, celebrating sun after a long winter (and in this case, the aural oppression of the previous song). It has a neat solo section with tons of jumpy synthesizer noises which are just below goofy. I always equated them to a bunch of cute animals coming out of their holes to greet the sunshine.

Because

= 3 stars

This melody and multiple part harmonies are great. However the awkward sounds of the early Moog synthesizer kind of grates in retrospect.

You Never Give Me Your Money

= 5 stars

This tune features a pretty Paul melody over a simple piano. I think it’s his best work on the album. It also sets up a musical theme that repeats during Golden Slumbers and Carry That Weight. The way the song progresses through a few sections to the counting “1 2 3 4…” always pleases me to no end.

Sun King

= 3 stars

Was John slightly making fun of George’s Here Comes the Sun?

Mean Mr. Mustard

= 4 stars

This is more of a song fragment, but it has a neat cutting John vocal and a change to 3/4 time. The lyrics are quite impressive, describing a weird personality and his off-color ways.

Polythene Pam

= 3 stars

Doesn’t cut the mustard like Mean Mr. Mustard but still rather engaging.

She Came In Through The Bathroom Window

= 4 stars

This is a pretty catchy, groovy Paul song. There’s an interesting “smack” noise that occurs at nice moments during the second verse. George interjects with neat fills throughout.

Golden Slumbers

= 4 stars

Another pleasant Paul tune, not as strong as You Never Give Me Your Money but the way it tumbles into the next song is golden. I also love the phrase with Paul’s brassy baritone.

Carry That Weight

= 4 stars

I think this is Ringo taking the lead, in the last Beatle sing along. At just the right moment, the melody from You Never Give Me Your Money returns.

The End

= 5 stars

I don’t know of any other defunct band that ended their career in such a manner. A pseudo-drum solo leads into a three-way guitar jam. Try to figure out which one is Paul, John, and George. On a firm guitar chord, voices enter, along with strings and a few chords, concluding in a manner reminiscent of the end of Something. It’s fitting that the final phrase has to do with the sentiment of love.

Her Majesty

= 2 stars

Nice gimmick, but I kind of think it diminishes the finality of The End.

Wikipedia: Abbey Road

iTunes Store Link: Abbey Road — The Beatles

This CD is a compilation of Beatles’ singles from the years 1963 to 1965. They were in the habit of releasing singles that were not included on the upcoming LPs — pretty amazing if you think about it. Therefore, some of the best Beatles songs are hanging out in single form.

Note: I’m not including this CD along with the list of Beatles albums because of its compilation nature.

Love Me Do (Single Version)

= 5 stars

A classic but odd song, with the early Beatles harmonica as the center of my fascination. I’m also peculiarly drawn to the parallel octave harmonies of the bridge. It seems John Lennon sang a lot of low parts in the early days. It’s unique and has a distinctive, unforgettable sound.

From Me To You

= 4 stars

Some great moments here, the high harmony on “oh so true” and a “whoo,” that would be used to better effect in She Loves You There’s also that wailing harmonica.

Thank You Girl

= 3 stars

The harmonica introduces a neat number, but it’s a little too goofy for me. The “ohs” and teasing verse specifically.

She Loves You

= 5 stars

Beatles perfection. So much about this song is crazily-good: the M6 chord on “yeah,” the guitar hooks, even the triplet drums on the intro. The voices also diverge at certain times, maintaining interest throughout.

I’ll Get You

img src=“http://www.webomatica.com/wordpress/images/stars/3-stars.gif” height=“10” width=“39” alt=“3 stars” title=“3 stars” /> = 3 stars

“Oh, yeah.” Decent tune. Return of the harmonica.

I Want to Hold Your Hand

= 5 stars

Beatles perfection, once again. The intro preps us for the verse. But when the high harmonies on “hand” arrive, it’s like a wave washing over. The chorus is also nicely askew, a variation on the I vi IV V progression but starting on the IV. I always thought that was genius. The middle secion adds a nice contrast, John being a little nostalgic, and it’s repeated twice. To cap things off, just when things sound like they might run out of steam, the ending resolves in an unexpected way.

This Boy

img src=“http://www.webomatica.com/wordpress/images/stars/3-stars.gif” height=“10” width=“39” alt=“3 stars” title=“3 stars” /> = 3 stars

Mellow, and demonstrates how the group could sing three part harmonies. I like the part where John takes over, developing that “secret weapon” of John on lead and Paul and George backing him up — he’s nearly shredding his voice here. Unfortunately, it only comes around once.

Komm, Gib Mir Deine Hand

= 2 stars

Pretty pointless German version of I Want To Hold Your Hand.

Sie Leibt Dich

= 2 stars

Pretty pointless German version of She Loves You.

Long Tall Sally

img src=“http://www.webomatica.com/wordpress/images/stars/3-stars.gif” height=“10” width=“39” alt=“3 stars” title=“3 stars” /> = 3 stars

Paul could belt out a rocker when he wanted to. This one is pretty hot and heavy, but nothing more than a cover.

I Call Your Name

img src=“http://www.webomatica.com/wordpress/images/stars/3-stars.gif” height=“10” width=“39” alt=“3 stars” title=“3 stars” /> = 3 stars

I think the Mamas and Papas recorded a version of this tune — which I think is better than this version.

Slow Down

= 2 stars

The John yelping always sounded a bit out of place in this frustratingly average rocker.

Matchbox

= 2 stars

Ringo takes a turn. Not one of his better moments.

I Feel Fine

= 5 stars

Perfect Beatles song, featuring a plunky guitar lick with a juicy amount of bass. The drums come in with a strange beat that just makes you want to shake your legs. The Beatle harmonies of Paul and George come in behind John to support the title lyric. The section starting with “I’m so glad…” — coated with all this juicy Beatles talent — takes this song into the stratosphere (and thankfully, it’s repeated). Following the guitar solo, the drums drop out to allow us to enjoy the guitar lick leading us back into the song. To me, this is a landmark of Beatles songwriting skill.

She’s a Woman

img src=“http://www.webomatica.com/wordpress/images/stars/3-stars.gif” height=“10” width=“39” alt=“3 stars” title=“3 stars” /> = 3 stars

Paul, bouncing around in that Another Girl style which I don’t particularly adore.

Bad Boy

img src=“http://www.webomatica.com/wordpress/images/stars/3-stars.gif” height=“10” width=“39” alt=“3 stars” title=“3 stars” /> = 3 stars

John acts mean and snarls out this number. It reminds of Dizzy Miss Lizzy — decent enough but I can’t get behind these straight-ahead numbers when was clear by this point they could write great originals.

Yes It Is

img src=“http://www.webomatica.com/wordpress/images/stars/3-stars.gif” height=“10” width=“39” alt=“3 stars” title=“3 stars” /> = 3 stars

Yes it is a variation on This Boy.

I’m Down

= 2 stars

Paul seems a bit determined to rock before he sinks into the mush that is Maxwell’s Silver Hammer. Nice effort, but I don’t need any more evidence they can do this stuff.

iTunes Store Link: Past Masters, Vols. 1 & 2 — The Beatles

This album was recorded before Abbey Road but released after. So unfortunately, the impression is that the Beatles fell apart before their break-up, fragmenting into solo careers. The “true” career ending album is Abbey Road.

There was a concept behind Let It Be: the Beatles getting back to their live performance origins, culminating in a big concert. Their practice sessions were filmed and recorded, but things collapsed, in-fighting took its toll, and the project culminated in an energetic but decidedly less-ambitious rooftop gig. The album was shelved, and the Beatles moved on to record the more flattering Abbey Road. American producer Phil Spector (famous for his “wall of sound”) was called after the fact to spin some gold out of the recorded hay. The result was the album Let it Be.

Overall, it’s a confused, disjointed mess, with glimmers of Beatle magic. There are a few songs I love (the stunning Let It Be and Across The Universe) while others I admittedly don’t. Probably the wisest thing Phil Spector did was limit the number of tracks to a dozen, covering up away the carnage (and inadvertently boosting this album higher on my album ranking list than it might have otherwise). If the Beatles needed anything at this point (other than lawyers to sue each other) it was an editor.

Note: For a refreshing “modern” take on this album, it’s worth checking out Paul’s Let it Be… Naked that was released in 2003. It strips away much of the Phil Spector window dressing, revealing unadulterated versions of The Long and Winding Road, I Me Mine and Across the Universe, deletes the goofy Lennon snippets, and adds Don’t Let Me Down to the album. I’d probably rate that version higher than the original one presented here.

Two Of Us

= 4 stars

This capable duet tries to re-establish the songwriting partnership between John and Paul, which at this point was strained. I can’t help but read into it a forced feeling, but it largely comes across as sincere. The Paul solo section is more than a bit mundane.

Dig A Pony

= 5 stars

I like this song much better than Two Of Us because it sports some inspired Lennon imagery, and his variations on rhymes for “indicate” (syndicate, radiate) I love. The guitar lick is a loopy treat, and the climax of “all I want is you” and Paul and John wrapping themselves around the world “you” as the music drops out is a treat.

Across The Universe

= 5 stars

Here’s John at his most introspective best, wondering about all the crap going on in the world and finding peace within his own happy, active mind, although surely a bit burned out from all the drugs and interpersonal tension. Despite some unwelcome additions by Phil Spector — an honest core shines through. I especially love the sentiment “nothing’s going to change my world,” repeated several times like a mantra.

I Me Mine

= 2 stars

George sneaks in and attempts to do the Lennon shifting rhythm thing, but I can’t get into it. The resulting effect is decent, but George’s songs on Abbey Road blow this trifle away.

Dig It

= 1 star

This shouldn’t even be counted as a song, but it shows up as a separate track.

Let It Be

= 4 stars

It may be sacrilege for me to rate this song at 4 stars, but I’ve always heard it as a second version of Hey Jude and unfortunately, the awkward George guitar solo hurts the otherwise perfect aura. A close 5 star contendor, but I’ve been reserving the 5 star rating for perfection.

Maggie Mae

= 1 star

When I was a kid and watched Beatles cartoons, this sort of John goofing around thing was appealing, but feels like a mockery of the whole enterprise.

I’ve Got A Feeling

= 5 stars

I love this song for one main reason: the contrast of Paul and John. Paul sounds almost desperate to write a hit song and keep the Beatles together. Meanwhile, John’s playing along, but kind of in this relaxed, “Why are you so stressed out?” kind of groove. Plus his lines referencing “wet dreams” “hair down” reinforce his lackadasical vibe — a tad subversive and poking fun at Paul’s serious energy. The nice touch is how Paul and John’s melodies eventually combine, as they both fit the chords of the verse.

One After 909

= 2 stars

The Beatles cover themselves. Interesting if you think about how different the Beatles sounded on this album as compared to how they did on Please Please Me, but unfortunately the result is less than exciting. It’s kind of sad, really.

The Long And Winding Road

= 3 stars

This is a really over-the-top, cheeseball Paul number. Was trying to write the next Hey Jude? Anyhow, this gawky teenager of a song is dressed up with some sugar-coated Phil Spector strings and sent out to the prom before ready.

For You Blue

= 2 stars

This sounds like a throwaway from George. The slide guitar and pick-pick sounds still drive me up the wall.

Get Back

= 5 stars

This is rather corny Paul as well, but at least it has a beat and a shiny keyboard solo from Billy Preston. I guess this is the album’s statement about getting back to one’s roots, and while the other three didn’t totally go along with the idea, the sentiment is more or less there, here. And what I didn’t give to Paul on his song Let It Be, I feel better about giving him credit here.

Wikipedia: Let It Be

iTunes Store Link: Let It Be — The Beatles

At this point in the Beatles career, they were constantly on the verge of breaking up. Each Beatle had a distinctive songwriting style and diverging interests (George India, and John Yoko), so the White Album is frustratingly difficult to evaluate. It’s almost like three or four albums smashed together. There’s undeniably some tripe and trash, but sometimes the contrast between the good and bad is what makes for interesting listening. On this disc in particular, if you can stand listening to the cacophony and nightmarish imagery of Revolution Number 9, you’re treated to the contrastingly innocent Good Night.

Birthday

= 3 stars

Was Paul hoping to write some songs that he could earn royalties from? I detect the same forced feeling as Back in the USSR. I don’t dislike this straight-ahead rocker; it’s just not one I seek out.
Yer Blues

= 4 stars

I love this song where John spits bile and bitches. There’s an interesting tempo change where everything just about goes to heck (during both a repetitive guitar solo and another where the guitar sounds like a mosquito through tissue paper). But since it’s not much more than a blues number, I hold back on the extra star.

Mother Nature’s Son

= 2 stars

Sounds like I’ll Follow the Sun. Fairly useless, especially with Blackbird on the other disc.

Everybody’s Got Something To Hide

= 3 stars

This is a decent rocker but kind of an average throwback to Revolver. Is the monkey Yoko? Was the Walrus Paul?

Sexy Sadie

= 5 stars

There are many things that I love about this John song. There’s a slightly wrong chord progression, a detuned piano, some crystalline backup vocals, and a nice counter melody in the guitar. But I think the vocal performance where John starts improvising on high notes near the end take my heart to another plane.

Helter Skelter

= 4 stars

Paul screams out this near heavy-metal song, with dive bombing guitars, spooky bass playing, and brain-bashing drums. The fade out — fade back in thing is classic, but it just goes on a bit too long for me. I’ll give it 4 stars though, because it’s McCartney at his most extreme rock on the White Album.

Long, Long, Long

= 3 stars

This song confused me to no end as a kid. It’s recorded very softly and has a beautiful melody, but the outro breaks down into something that sounds like a door creaking open and ghosts coming out. What the heck was George on?

Revolution 1

= 4 stars

Not as cool as the cutting, slash and burn single version, but interesting nonetheless if only to get some insight into how the Beatles had the freedom to experiment with different interpretations of the same tune.

Honey Pie

= 3 stars

Not so awful that I wish the rumors that Paul is dead to be true. I think it’s because there’s a polish on this one (similar to Martha My Dear) that I can tolerate listening to it. But I don’t need any more examples of Paul writing Broadway show tunes.
Savoy Truffle

= 3 stars

A tightly wound, eclectic-electric guitar song with horns from George. I just wish he were singing about something more consequential than chocolate candies and tooth decay. Cute reference to Ob La Di, Ob La Da.
Cry Baby Cry

= 4 stars

This song always reminded me of Alice and Wonderland (I think because of the kings and queens) and tarot cards. It’s a gorgeous John song — on par with Julia but without a certain something that pushes it over the edge into 5 star territory for me.

Revolution 9

= 1 stars

I would give this mish-mash of sonic masturbation more stars for audacity, but I can’t for the simple reason that I find it unbearable. I have listened to this song more than Wild Honey Pie trying to make some sense of it all, as if it would contain some clues as to why the Beatles broke up. But now, listening to it again, I find it frustratingly self-indulgent.

Good Night

= 3 stars

John supposedly wrote this and gave it to Ringo to sing. It’s pretty good. I guess its purpose is to put the kiddies to sleep, and to blunt the brutal edge of Revolution 9. But it puts me to sleep, too. I’m a bit torn between 4 or 3 stars, but since the strings are a bit over the top I’m erring on the side of caution.

Wikipedia: The White Album

iTunes Store Link: The Beatles (White Album) — The Beatles

At this point in the Beatles career, they were constantly on the verge of breaking up. Each Beatle had a distinctive songwriting style and diverging interests (George India, and John Yoko), so the White Album is frustratingly difficult to evaluate. It’s almost like three or four albums smashed together. There’s undeniably some tripe and trash, but sometimes the contrast between the good and bad is what makes for interesting listening. The jump from Happiness Is A Warm Gun to Martha My Dear is psychotic but part of what makes the album mesmerizing — you know that the Beatles’ days are numbered when you hear such flowers after calculated rage.

Back In The U.S.S.R.

= 3 stars

I had this at 4 stars originally, but the more I thought about it, there’s something oddly forced in this Paul rocker. Maybe it’s desperation, an over-eagerness to please, or aping the Beach Boys a little too much. I still like the song well enough but I’m bumping it down to average.

Dear Prudence

= 5 stars

The song itself might only get 4 stars, but the production is amazing. All kinds of musical jewels pile in: chunky drumming, glistening piano, high vocals, and a song-boosting counter guitar melody from George.

Glass Onion

= 4 stars

I really like this bitter, Beatle-mocking song from John. It’s mean, snarly, and he even makes fun of Paul’s banal Fool On The Hill. The “Oh yeah” part is acerbic John at his best.

Ob-La-Di, Ob-La-Da

= 3 stars

This is just average stuff, Paul shoveling the popcorn as high as he can get it, and topping it off with extra cheese. You have kooky characters doing kooky romantic things, and an Indian mantra to center it all on. Horns chime in, laughing people, dippy background vocals, ringing piano — the whole arsenal is expended to produce a rehash of Hello, Goodbye and a big “next” on my iPod.

Wild Honey Pie

= 1 star

This isn’t a song, nor an idea for a song, or even funny — it’s garbage. Paul could write this kind of thing in the bathroom — and it sounds like it was recorded there, too.

The Continuing Story Of Bungalo Bill

= 2 stars

I just don’t get this song either. It’s too long, John’s “all the children sing” annoys me, and Yoko’s little part “but when he looked so fierce” pisses me off. I’d probably blame her more for her singing on this song than any part she played in breaking up the Beatles.

While My Guitar Gently Weeps

= 5 stars

This is truly stunning stuff, and something that shows what the Beatles could achieve when they worked together (well, plus Eric Clapton). George’s songwriting is moving to a higher plane. It has two main sections, the first in a descending minor, and the second in major “I don’t know why…”, that contrast and complement each other perfectly. The only thing I can fault this song for is some sloppy playing but since everyone was probably stoned out of their minds I’ll forgive them and give it 5 stars.

Happiness Is A Warm Gun

= 5 stars

This is an exquisite piece of John songwriting, and although it’s probably fragments of several songs, the way they are stitched together is psychologically revealing and rather horrifying. The tempo changes are awesome. The combination of a 50s doo-wop song (background vocals saying “bang bang, shoot shoot”) and gun-play is a classic Lennon moment.

Martha My Dear

= 5 stars

This may surprise some, but this is my favorite “Paul the Vaudevillian” song. I know it’s about a dog. I know it’s totally dumb. But something about the arrangement of all the horn, orchestra, and piano parts just does it for me. I really like the “look what you’ve done” high notes. So if I’m to pick one song out of all the Paul “grandma” songs, it’s this one. And the only one. I promise.

I’m So Tired

= 5 stars

I really love this Lennon number. Maybe it’s only a sequel to I’m Only Sleeping, but I’m fascinated by the way John argues with himself, and how the sinking chord progression and tempo perfectly captures the tired feeling. There’s also some neat building on the repeated phrase at the end, Paul chiming in with a deep baritone. It sounds like an annoyed, tired person muttering about how the kids these days don’t appreciate rock and roll.

Blackbird

= 4 stars

This is a cool Paul folk song. I think he blew his acoustic-guitar-solo-singer wad with Yesterday, but it’s neat enough to give it 4 stars.

Piggies

= 2 stars

I never liked this song. George mocks the wealthy class via various elements of Victorian England (strings, harpsichord). The big join-in sounding like regal courtmembers and the awkward ending with snorting pigs are just a little too literal for me.

Rocky Raccoon

= 1 star

You know how I keep saying I don’t like it when the Beatles do country. This is the worst offender. I hate Paul’s Western accent, ugh. Couldn’t this song have been combined with Bungalow Bill and ended with a shoot-out, killing everyone involved?

Don’t Pass Me By

= 1 star

Another Ringo tune. This one, he wrote himself, which shouldn’t surprise anyone.

Why Don’t We Do It In The Road

= 3 stars

So why do I give this song, which seems even stupider, three stars? Because it’s got some lusty Paul shouting. Because in the style of the best bluesy rock songs, it only has two lines which make no sense. And because, it’s thankfully short. Not a four or five star song, but it makes me laugh.

I Will

= 3 stars

This one sounds like a retread of I’ll Follow the Sun. Been there, done that. It’s similar to Here, There and Everywhere. You can draw a direct line from this ear-pleasing tune to much of Paul’s solo work.

Julia

= 4 stars

This is a great song, a precursor to All Across the Universe. Especially exquisite is the way the minor chords spin up into a different section “Her hair of floating sky…”. The subject matter is about as personal as it gets.

Wikipedia: The White Album

iTunes Store Link: The Beatles (White Album) — The Beatles

After listening to Revolver and Sgt. Pepper’s Lonely Hearts Club Band, hallucinogenic drugs might sound like a blast, but this unbearably meandering album is the downside, a confused, muddled, burned out mess.

Who knows what really happened during the making of this one, but it wasn’t good. After the all-around success of Sgt. Pepper I suppose it was inevitable the Beatles would falter.

This album was partner to a bizarre drug trip bus trip film that managed to make drugs look boring. Or perhaps it wasn’t just the drugs, but the hot air and ego-stroking following Sgt. Pepper that went to the Beatles’ heads, making them believe that filming their hair growing or John shoveling spaghetti would be an artistic masterpiece.

Even more depressing is the fact that some of the best tracks, Strawberry Fields Forever, Penny Lane, and All You Need Is Love weren’t even recorded specifically for this album — they were intended as singles. The first two might have even made it onto Sgt. Pepper had the Beatles not been witholding singles from their albums. The only cool, drugged-out song is I Am The Walrus. The rest emphasize the worst aspects of the Beatles — their artistic excess, disparate musical styles, and self-indulgent grand-standing. Thankfully, they toned things down for The White Album.

Magical Mystery Tour

= 3 stars

A decent enough album opener, continuing that “let’s go on a trip” show-time vibe from Sgt. Pepper. It has some neat vocals, a tempo change, and some zooming bus noises. If only something good was waiting around the bend.

The Fool On The Hill

= 1 star

Some people might like this song, but I don’t, not since I turned 21. The melody is daffy, the recorder solo completely stupid, and I don’t enjoy hearing a stoned grown man discussing a fool, whom I have no sympathy for, getting dizzy watching the world go round.

Flying

= 1 star

This song makes me cry. “Flying”? “High”? Get it? Easily one of the worst Beatles song ever.

Blue Jay Way

= 1 star

You’d have to be stoned to listen to “please don’t be long” as many times as the Beatles repeat, here. Why didn’t George Martin put a stop to this? There’s a neat cello part, but that’s all. And only someone really out of it would think a song about someone hashed out, bored to death, waiting for his friends to show up, would make a good subject for a song.

Your Mother Should Know

= 2 stars

I’ll give this Paul tune an additional star since it’s actually a complete song, but it’s still pretty bad. If this is the kind of song that was a hit before I was born, I glad I wasn’t around.

I Am The Walrus

= 5 stars

Sometimes you get lucky, and although this song represents John at his most drugged out, paranoid, and nonsensical best, it’s a true marvel of avant-garde production, with a string section, horns, crazy sound samples beamed in from what sounds like beyond the grave, and a really whacked-out, borderline psychotic vocal. The imagery is beyond nuts: semolina pilchards, yellow matter custard, really great wacky stuff. I just need one representation of the Beatles’ “out there” phase, and this is it. Plus, it doesn’t put me to sleep like the other songs on this album.

Hello, Goodbye

= 3 stars

This is a pleasant enough Paul song with good musicianship skills and interlocking melodies. Unfortunately, it’s the same innocence and cloying quality that filled much of McCartney’s career past 1975. The banal “Wonderful Christmastime” is a direct descendant of Paul’s musical hit-making assembly-line mind.

Strawberry Fields Forever

= 5 stars

This is perfection. Maybe it was George Martin’s way of arranging the horns and strings just so, or the lucky happenstance of two different versions spliced into one, but everything about it is exquisite. John’s nostalgia, the sagging melody and instruments (reminding me of an umbrella soaked through a downpour) and the collapsing coda where the rattle of Ringo’s drums gives way to a spinning cartwheel of sonic effects. Even the last tantalizing moans of John in an altered voice (did he say “I buried Paul?”) was somehow worth obsessing over. A song with this many precious details deserves more than five stars.

Penny Lane

= 5 stars

This is a perfect song, too. The high trumpet, the sinking, Beach Boys inspired bass line, the England-old-time lyrics, the sneaky-snide harmonies on “fish and finger pie” — so many glorious bits that beg for repeat listening. Even the key change leading up to a clanging piano chord is great stuff.

(There was some talk that both Strawberry Fields Forever and Penny Lane would have been included on Sgt. Pepper, except the Beatles were still in the habit of recording singles and not including them on albums. The mind reels at the possibility.)

Baby You’re A Rich Man

= 3 stars

The guitar playing is really sloppy on this one, and the goofy harmonium noodling is inappropriate. Just shoddy work here. I do get some laughs out of John’s energy and the way he blurts out “you keep all your money…” though. But I just can’t boost it beyond average.

All You Need Is Love

= 5 stars

A great song because of the slightly rhythmically wrong Lennon verse, and the first time the Beatles explicity latched on to the “Summer of Love” thing. An awesome touch is the way the coda devolves into chaos, much as Good Morning Good Morning did on Pepper, but here symbolizing a world of people joining in on the positive message. The addition of a voice saying “she loves you” brings the Beatles’ previous legacy of fluffy pop songs forward to this song — also reminding us how much the Beatles had changed in the span of a few years.

Wikipedia: Magical Mystery Tour

iTunes Store Link: Magical Mystery Tour — The Beatles

This album shows up on so many “best albums of all time” lists that it’s a cliche. I have to admit there’s a temptation to give these songs less credit just to seem contrary, but I can’t. These tunes are awesome, and I still listen to them occasionally. Several are pop music milestones. There are no two or one star songs this time out.

Today, it seems like a quaint idea that repeating a song twice and claiming a “theme” for an album was revolutionary. But it was, in the sense that for the first time the entire collection was meant to be taken in as a whole in one sitting, from start to finish, and “experienced” as a complete work of art: not just a collection of hit and miss singles.

This was also a climactic moment for the Beatles as a group. Through the preceding albums, they were honing their songwriting craft to the point where covers were no longer necessary. The songwriting styles of John, Paul, and George were diverging into identifiable individuals. And lastly, their mastery of the recording studio peaks and this album represents a group pushing the technology available to the limit. The diverging styles alone would have destroyed a lesser band, but the Beatles were somehow able to make it work (for a while).

Add to this potent mix the revolutionary feeling of the sixties, where the social structure was changing because of the Beatles’ generation, and you have a vibrant culmination of events that gives this album even more social importance that can’t be accurately measured by my measly 5 star system.

Sgt. Pepper’s Lonely Hearts Club Band

= 5 stars

This song still holds up really well for me, as it advertises the fun and sonic wonder to come. From the grungy guitars to the ring-master ranting of Paul, this is musical history.

With A Little Help From My Friends

= 5 stars

At last Ringo gets to sing a song that isn’t a throwaway. Second to Yellow Submarine this paints him in a flattering light, where he fills the persona of “Billy Shears” from the album opener. I love the call and response from the background vocals.

Lucy In The Sky With Diamonds

= 5 stars

John sings about a picture his son Julian drew but there are enough drug-inspired references to fill a rowboat. John’s other-worldy imagery is awesome, and it’s imaginatively recorded to boot. The chorus and verse are almost two different songs, and the strange sped up and slowed down vocals compliment the out of body experience.

Getting Better

= 5 stars

I adore this song for a few reasons: it’s a true Paul and John duet, second, the lyrics had a strange, unsettling adultness about it. It alternates visions of cheer with tragedy, moving from childhood to adulthood and talking about wife-beating. And of course there’s John’s classic, cynical response to Paul’s “getting better all the time”: “Can’t get much worse…”.

Fixing A Hole

= 3 stars

The first bump on the album, this song drags when I listen to it now. It’s the average Paul noodling around that similarly plagues songs like Another Girl. Its saving graces are the harpsichord and some seesaw guitar acrobatics.

She’s Leaving Home

= 4 stars

Definitely not 5 stars, but a bit more than three. It’s a bit dull and boring, but tells a pleasant enough story with some amusing counter-balance from John’s part — he sounds like an old parent who stayed up too late waiting for his naughty daughter to come home.

Being For The Benefit Of Mr. Kite

= 5 stars

This is Beatles nirvana. The surreal Lennon imagery finds an appropriate outlet in the vision of a scary circus, where nothing is as it seems. The move to a waltz rhythm that John had been toying with comes to its fullest fruition. The crazy tape loops are more expertly used here than they were in Tomorrow Never Knows or would be in Revolution Number 9.

Within You Without You

= 3 stars

While I appreciate George’s full-on immersion in all things India to create this song, it’s rather dull.

When I’m Sixty Four

= 4 stars

Paul continues on his kick of trying to write the next big show tune. I like this song well enough, it’s cute, and its placement after the George Indian buffet is quite exquisite. I’m just not in love with it any more to give it 5 stars.

Lovely Rita

= 3 stars

Paul falters a bit with this basically great song, complete with a daffy comb solo by John, but what kills it for me is the meandering coda part, with grunts and groans drenched in reverb.

Good Morning Good Morning

= 5 stars

I always loved this tune, with John moaning about how sunny mornings can drive you nuts if you’re in a bad mood. It’s kind of like a snide response to Paul’s Good Day, Sunshine from Revolver. I like the snarly guitar that responds to John’s sarcastic “time for tea and Meet the Wife.” The controlled chaos ensues, leading us into the next song.

Sgt. Pepper’s Lonely Hearts Club Band (Reprise)

= 5 stars

This an up-tempo repeat of the album opener. It has a bit more drive and force, and just when it might be getting old, cascades into the final song.

A Day In The Life

= 5 stars

If I had to name one perfect Beatles song that captures the whole of their legacy, this is it. It’s mostly a John song with a Paul middle. The two sections are separated by a stunning full orchestra pitch-rise and some Lennon wailing. The John section is personal, wistful, and has some beautiful melodies and stunning high notes. By contrast, the Paul section is a typically cornball vaudeville theme, but it’s kept relatively restrained and benefits immensely from what surrounds it, including some neat Ringo drums. This is perhaps the Beatles’ finest moment — one could almost say everything in their career builds up until this moment, and it’s all downhill following the crashing, iconic piano chord. I only ask one question: Where’s George?

Wikipedia: Sgt. Pepper’s Lonely Hearts Club Band

iTunes Store Link: Sgt. Pepper’s Lonely Hearts Club Band — The Beatles

This was the seventh Beatles’ album, and showed a new commitment to experimentation in the studio at the expense of touring. There were also heavy doses of “tea” that were manifesting themselves in the music in varied, enhancing ways.

As a kid, Revolver frankly, freaked me out, as I couldn’t get a handle on the serious subject matter — how could the cute Beatles be talking about being “screwed in the ground” and some girl who knew “what it was like to be dead”? And Tomorrow Never Knows — what the heck was that all about? But as I got older, this admittedly forward-thinking collection became my favorite.

I see this album as the one where the Beatles finally said “screw what everybody else thinks” and decided to just write strange, experimental songs, and let the world try to keep up. This is also the first album where the songwriting styles of John, Paul, and George began diverging into completely different styles: John the serious, introspective, personal songwriter, Paul the vaudevillian stylistic shape-shifter, and George a mystic off on some Indian-inspired voyage he wouldn’t return from until the White Album. The group was changing from four lads who dressed alike — combining to form one unified sound, to four separate identities — still dedicated to the idea of the Beatles but expressing unique personalities.

Taxman

= 4 stars

George is pissed at how much cash is being taken away by the tax folks. No wonder he got property on Maui. Anyhow, it’s got a neat beat and a really cutting guitar solo that is so great it bears repeated twice. George’s vocals finally are up to the match of John and Paul’s background ones.

Eleanor Rigby

= 5 stars

This is Yesterday times two with the addition of John and a more challenging, biting string octet. It’s also an unusually sad song and lyric for Paul. The wail of “all the lonely people” repeated in the background is ingrained in my subconscious.

I’m Only Sleeping

= 5 stars

On this song, John sounds like he’s half asleep and swimming through a smoke filled room, just fine for the subject matter. His voice is changing from the belter of the early albums to a spaced out, remote announcer. There’s some neat slashing acoustic guitar strums and a creepy bass lick to boot. To me, this sounds like the song where John finally shed his Beatlemania roots.

Love You To

= 3 stars

Here’s George with an Indian inspired tune, and something that sounds like a motorcycle. This song confused me as a kid, with George talking about all the perverted, scary people in the world who will fill you with sin. He has a point, and it’s good to see the Beatles moving to a more adult level. But it’s not an awesome song in my book.

Here, There And Everywhere

= 3 stars

I should probably like this song more, but I don’t. The harmonies are appropriately lush, the chord changes all in the right places, but it’s the lovey-dovey subject matter and the slightly out of tune guitar noodling that bumps it down to average.

Yellow Submarine

= 5 stars

A nostalgic, happy fairy tale for an album with a lot of confused, alienated emotions. This is Ringo’s best moment in many ways. There’s even some Monty Python-like verbal clowning around. Was it really a kid’s tune about a Yellow Submarine, or a testament to the isolationist power of drugs? Either way, it’s fun. It inspired a whole cartoon movie adventure to boot.

She Said She Said

= 4 stars

Great song, and the second instance of a different, waltz-like rhythm as a contrasting section (the first being We Can Work It Out). This John “changing rhythm” tactic would come to a head in the future Being For The Benefit Of Mr. Kite and eventually implode into the fragmentary Happiness Is A Warm Gun. But for now, I love this song with its neat guitar licks and some notable Ringo drumming. The lyrics evoke like a bad drug trip, with someone talking about what it’s like to be dead. Creepy.

Good Day Sunshine

= 5 stars

I love this song, from its tripping fade in vocals. It’s another appropriately restrained Paul vaudeville song, and so I’ll give it the best rating as a fine example. I’d take this one over Your Mother Should Know, or even When I’m Sixty Four any day.

And Your Bird Can Sing

= 3 stars

This is a nice song with a fascinating, slightly distorted and harmonized guitar lick, plus some gorgeous harmonies, but it pales a bit in comparison with the other songs on this album.

For No One

= 4 stars

This is a bit like Elanor Rigby enhanced — the way the French horn wraps around the melody is really beautiful. I think the only reason why I deduct one star is because it begs for a third section — it’s too short.

Doctor Robert

= 3 stars

This song is alright, but I never cared for the “well, well, well” part, despite its pretty harmonies. It sounds like a Rubber Soul out-take.

I Want To Tell You

= 4 stars

A better George song (he’s getting better all the time) that despite being a bit out of tune in places (the high Paul harmony), the odd piano repetition and the beat-single note with those crunchy drums — I’ve always loved. The slight Indian vocal noodling at the end is a nice touch too.

Got To Get You Into My Life

= 4 stars

This is a neat upbeat number with the introduction of a horn section to the Beatles repertoire. The drumming is appropriate, and the high Paul melody is neat, too. The reason I give it 4 stars is because Paul is essentially copying Motown.

Tomorrow Never Knows

= 5 stars

This song still blows my mind, from the one beat off drums to the pulsing, droning bass, to the loops that sound like Indians coming over a hill. The shuttling of John’s vocal through a Leslie organ speaker was truly inspired. The result is an out of body, meditative song that fits the surreal lyrics perfectly. I’m sure they were stoned out of their minds creating this, but in this case it took things to another musical level, and pointed out a new, glorious direction they could follow.

Wikipedia: Revolver

iTunes Store Link: Revolver — The Beatles

A break from touring resulted in extra studio time, making a huge difference. The Beatles’ sound evolves from straight-ahead rock-and-roll into something unique and new. Subject matter shifts from girls and love… to metaphors about girls and love. Rubber Soul also features increasing musicianship: Paul’s bass is more melodic and at times a new voice in its own right, Ringo’s drumming is tighter, and George chimes in with some incredible guitar work — his solo on Nowhere Man is note-perfect. There is Beatles gold here; songs I can’t imagine living without.

Drive My Car

= 5 stars

What’s not to like? Solid guitar lick, bluesy piano, gorgeous harmonies, and John acidly chiming in with “and maybe I’ll love you,” after the girl falls for the materialistic pick-up line.

Norwegian Wood (This Bird Has Flown)

= 5 stars

Following You’ve Got To Hide Your Love Away, John slouches further into the laid-back Dylan thing, telling a complete story, loaded with sexual metaphors about spending a night in a girl’s bathtub. Also features a sitar, an Indian instrument that George discovered on the set of Help! causing an Indian influence in several of his songs.

You Won’t See Me

= 3 stars

Paul’s song features inventive piano, drumming, and bass. John, sounding bored with his background vocals, contributes “ooh la la las.” and a mumbled, contrasting “no, I wouldn’t.” Ultimately feels slightly slow and doesn’t take me anywhere.

Nowhere Man

= 5 stars

A shining example of everything I love about the Beatles: solid songwriting, interesting lyrics, magical harmonies, supporting background vocals, and a perfect guitar solo that adds another level to the song. Also love the neat way the middle builds through the bass, guitar, drums, and background vocals, finally collapsing back into the verse. The subject matter is also intriguing — John guiding someone towards inner happiness. Wish I had an extra star.

Think For Yourself

= 2 stars

George gets better, but not enough. The fuzzy guitar grates, as does the strange, meandering chords of the verse. There’s also a point where Paul seems to choke on his word-stream out of exhaustion. George would reassert this cutting, holier-than-thou lyrical stance in Revolver.

The Word

= 3 stars

An ode to the power of love, with a renewed, tightly wound beat. But although nice, I can’t help but think the future “love” odes like All You Need Is Love render this song a bit dull. The section where John sings alone also sounds oddly mean.

Michelle

= 5 stars

Some may disagree with a five star rating, but it’s not as schmaltzy as Paul’s later cheese-fests, and features truly gorgeous harmonies. I’m also continually fascinated by the guitar solo and outro with their meandering melodic lines of guitar, bass, over slowly sinking chords. How do mere mortals come up with this stuff?

What Goes On

= 2 stars

Ringo takes a turn into the “corn”-er store and I get off, here.

Girl

= 4 stars

A beautiful John song, nearly his equivalent of Michelle. Dislike the distracting drum part beneath the guitar solo, and the guitar line that appears about two thirds way through is just sub-par.

I’m Looking Through You

= 4 stars

Always liked this song, but not enough to slide into love — the hyper-organ and yanky guitar always struck me as inappropriate.

In My Life

= 5 stars

Can’t write even one paragraph objectively about this song, as it’s come to mean too many things, reaching down to my soul. I love the nostalgic subject matter matched with instrumentation, as the sped up piano sounds like a centuries-old harpsichord. Love the minor chord at song’s end, which John stunningly reaches for a high note, foreshadowing some of his solo work. Several times before I mentioned a “secret weapon” of John on lead with Paul and George behind — this song is another awesome example of this trinity.

Wait

= 4 stars

Like the cascading drum fill leading into the chorus and the tambourine hits; a variation on Ticket to Ride. Unfortunately, the Paul middle is the progenitor of schmaltzy-McCartney who sings “woah, woah, woah,” in My Love.

If I Needed Someone

= 4 stars

Finally, a great George song, if a bit obvious. A neat Byrds-y guitar lick, some nice harmonies from John and Paul, and a middle that doesn’t drive me up the wall. The only thing missing? A decent guitar solo.

Run For Your Life

= 1 star

No fan of John the stalker, threatening to hunt his lover down. The country feel should be relegated to Beatles For Sale. Sounds like an afterthought in comparison to the stellar stuff preceding.

Wikipedia: Rubber Soul

Next Album: Revolver
Previous Album: Help!

iTunes Store Link: Rubber Soul — The Beatles

After the dull Beatles For Sale, the Beatles returned to fine form with Help!, a soundtrack to the identically-titled action-adventure Bond parody movie. It’s worth noting some of the album’s best songs (Yesterday) failed to appear in the movie.

Only two covers appear: Act Naturally and Dizzy Miss Lizzy — the songwriting team of Lennon / McCartney could now produce enough gems to populate a full album, their songs stretching into new musical directions.

Help!

= 5 stars

Still evokes chills under the right circumstances. John’s actual cry for help under the crushing burden of Beatlemania. Adding to the pressure are a complicated, chromatic, descending guitar line from George, intense, too close for comfort, answering backing vocals, and the high note on “help!” resulting in a tightly charged, tense experience. The last verse where the band drops out leaving Lennon alone with acoustic guitar is musical history.

The Night Before

= 3 stars

Nice beat and pleasant background vocals, but nothing stellar.

You’ve Got To Hide Your Love Away

= 5 stars

Lennon channeling Dylan, having so much to say the lyrics come to the foreground. The simple imagery is also odd and and a bit surreal. I love the line “feeling two foot small.”

I Need You

= 3 stars

George contributes a solid but slow-moving song, featuring an unusual “fade in-out” guitar, some moaning backup vocals, and more cowbell.

Another Girl

= 3 stars

Goofy, jumpy Paul tries to write another Can’t Buy Me Love. Nice harmonies on the middle.

You’re Gonna Lose That Girl

= 4 stars

Another great example of Paul and George contributing expert background harmonies that echo John’s lyrical phrases so closely that the song is nearly a duet or trio. John has one sparkling, high note on “lose,” and on one particular iteration, leads us into the middle, featuring an unusual key change. How this section casually sinks back into the key of the verse (or guitar solo) was a revelation when I first heard it. So why four stars? I guess because Help! is an even better example of those call-and-answer background harmonies.

Ticket To Ride

= 5 stars

Several ingredients combine to make this perfect song — off-kilter drums, Byrds-ian chiming guitars, a tambourine on the middle, high harmonies, a killer pause under the “ri-hi-ide”, and the coda goofing around with “my baby don’t care.” A band could base an entire career on the sound created here.

Act Naturally

= 2 stars

Country Ringo jokingly observes that the Beatles have become movie stars. Not as witty as it likely seemed at the time.

It’s Only Love

= 2 stars

Pretty, but the twangy, flangy guitar always breaks my heart. Suffers in comparison with John’s other, superior contributions on this album.

You Like Me Too Much

= 1 stars

The first Beatles song I entirely dislike. Beyond corny, and the middle’s strange resolution to the verse still sounds wrong no matter how many times I hear it. Plus, there’s that wimpy pseudo-ragtime piano trading licks with the guitar in a much too obvious manner (one goes up, the other goes down).

Tell Me What You See

= 3 stars

Divine song with an interesting electric piano hook and nice harmonies, but by Beatle standards, undeniably average — plus the next two amazing songs essentially obliterate it.

I’ve Just Seen A Face

= 4 stars

The first of the Paul’s “show” songs (where he seems determined to write a Broadway show tune) but its hook-ridden melody makes for an amazing folk guitar number. The melody builds naturally, adding excitement and worry that someone will run into a wall and hurt themselves with a splintered guitar.

Yesterday

= 5 stars

Wish I had an extra star for this song that can make me tear up in the right environment. So much perfect: the string quartet, the patient guitar strums, the emotionally tugging lyrics paired with an arcing melody. Regret, lost love, and resignation that no matter what, she isn’t coming back. From this point forward, the Beatles’ bar was raised far above anything that had come before.

Dizzy Miss Lizzy

= 1 stars

After Yesterday, we really don’t have the patience for this kind of stuff anymore.

Wikipedia: Help

Next Album: Rubber Soul
Previous Album: Beatles For Sale

iTunes Store Link: Help! — The Beatles

The first weak outing, with the only notable development being a sour dejection in John’s songwriting, marking a turn toward autobiographical, introspective subject matter. Whether due to relentless touring, or the pressures of Beatlemania, or just growing older, the Beatles began shedding their pop roots in simplistic love songs. But the songs feel weary, with an odd country tinge, and only three songs recall past glories. Thankfully, this lull would prove brief.

No Reply

= 5 stars

Several songs on A Hard Day’s Night seem like warm-ups to this new sort of Beatles song, unabashedly autobiographical and personal. Paul contributes a nearly shouted harmony vocal (“I nearly died”), adding to John’s bittersweet feeling of loneliness, rejection, and infidelity. The first indication that Lennon / McCartney could move beyond silly love songs  to something greater.

I’m A Loser

= 4 stars

The ridiculously famous John convincingly claims he’s a loser with a killer chorus. There’s a unique, lonely quality when John sings alone.

Baby’s In Black

= 3 stars

Nice opening guitar lick and John and Paul harmonies, but the country feel leaves me cold.

Rock And Roll Music

= 2 stars

After the first two original songs, this cover feels inadequate.

I’ll Follow The Sun

= 4 stars

Paul serves up a nearly perfect acoustic guitar number, but I deduct a star due to better examples to come, and the weak guitar solo.

Mr. Moonlight

= 1 star

Among my least favorite Beatle songs. There’s so much wrong, from the night club feel to the cheesy organ, or the caveman-like drum before the title lyrics. The Beatles left the lounge behind in Hamburg.

Kansas City/Hey-Hey-Hey-Hey

= 1 star

Another half-baked cover.

Eight Days A Week

= 5 stars

The fade in: genius, like a ray of sunshine. The soaring John melody with a shiver-inducing Paul harmony, hand claps, and a middle containing a precious musical pause beneath John and Paul’s voices. So much to like, it’s too short — as soon as it ends, I want to hear it again.

Words Of Love

= 4 stars

Not much to say about this Buddy Holly cover, but it sports a unique, relaxed sound in contrast to the preceding self-concious, carbon-copy covers. I also feel a tad guilty for doling out so few stars at this point.

Honey Don’t

= 2 stars

Ringo takes a nutball turn with a completely silly song, having more in common with Don’t Pass Me By than should be recognized.

Every Little Thing

= 3 stars

Unusual yet interesting harmonies during the chorus are sunk by inappropriate timpani and piano.

I Don’t Want To Spoil The Party

= 3 stars

Despite John’s heart-felt dejection, can’t get beyond the country sound.

What You’re Doing

= 2 stars

No fan of the twangy guitars, strange drum intro, and the unison vocals.

Everybody’s Trying To Be My Baby

= 3 stars

This George cover fails to match his previous take on Roll Over Beethoven, rending it pointless.

Wikipedia: Beatles for Sale

Next Album: Help!
Previous Album: A Hard Day’s Night

iTunes Store Link: Beatles For Sale — The Beatles

Taking its name from a Ringo catchphrase, the first Beatles movie A Hard Day’s Night documented a purportedly typical “day in the life” of the Fab Four preparing for a television broadcast. Surprisingly, The Beatles didn’t rest on their earlier success, and filled the film soundtrack with new originals featuring steadily improving songwriting, stellar harmonies, and increasing musical variety.

A Hard Day’s Night

= 5 stars

An iconic opening chord opens up to an acoustic energy deftly capturing the sleepless insanity and humor of Beatlemania. A new development: the song’s awesome middle (“when I’m home…”) repeats twice.

I Should Have Known Better

= 3 stars

Much to love; John’s high falsetto notes, that plaintive harmonica, and the gloriously contrasting middle (“that when I tell you…”) — yet it still drags. Maybe it’s how the guitar solo is just a mimic of the verse, and the instrumentation of acoustic guitar doesn’t feel quite right.

If I Fell

= 4 stars

Following the askew introductory chords, we’re treated to nearly perfect John and Paul harmonies. Yet it feels a bit too precious and calculated — a subtle awkwardness to a nearly perfect love song.

I’m Happy Just To Dance With You

= 3 stars

Like the appropriately odd chord on the word “dance,” but once again, John and Paul’s background voices overwhelm George’s lead vocal.

And I Love Her

= 4 stars

Paul pens his own version of Til There Was You and  the results are a bit smoky and dark like a night club. But the too-obvious arpeggios in the guitar part over the verse always bugged me.

Tell Me Why

= 2 stars

Never liked the hokey, game-show opening chords, to the little-girl mimicry on the line “is there anything I can do?”.

Can’t Buy Me Love

= 5 stars

Beatles perfection. The catchy chorus is placed at the start, and Paul’s bouncy, exuberant vocal sells the verse placed pauses. Lyrically, a happier cousin to John’s cynical cover of Money.

Any Time At All

= 4 stars

Aggressive John on the chorus, contrasted with a polite verse with a sinking piano with a mellower delivery. Negative attributes are the lame piano break and the obviously tagged on ending chords.

I’ll Cry Instead

= 3 stars

Rockabilly Elvis. Am thankful the Beatles only occasionally lapsed into country.

Things We Said Today

= 3 stars

Decent song, but sports a mopey verse and middle featuring that hang-dog McCartney tone in excess supply these days. Paul’s later product reaches back in time to strangle the past.

When I Get Home

= 2 stars

The lyric “cows come home” always made me wince.

You Can’t Do That

= 2 stars

Average, laid back tune featuring cowbell; a dress rehearsal for Drive My Car. Otherwise, an interesting example of John’s acerbic side.

I’ll Be Back

= 3 stars

Pleasant John and Paul harmonies, interesting, triplet acoustic guitar strumming, and a middle featuring a sad, introspective John. Still, only three stars, because all three elements are more expertly combined in the stunning No Reply - featured on the subsequent album, Beatles For Sale.

Wikipeda: A Hard Day’s Night

Next Album: Beatles For Sale
Previous Album: With The Beatles

iTunes Store Link: A Hard Day’s Night — The Beatles

The Beatles’ second disc, sporting a now-iconic black and white cover, heads half-lit and shaded, is musically similar to Please Please Me, but with a sharper, darker edge, and a balance of covers and Lennon / McCartney originals.

It Won’t Be Long

= 5 stars

Adore the guitar hooks, similar to I Want To Hold Your Hand but darker and more aggressive; love bordering on lust. Cute wordplay of “be long” and “belong,” finished off with a high falsetto note.

All I’ve Got To Do

= 4 stars

The longing verses move from sad wailing to happy resolution as the whole band joins in. Later, John’s lonely, solo voice finds emotional support when backed by group vocals. This musical interplay is echoed in the lyrics.

All My Loving

= 5 stars

A driving rhythm, relentless guitar strumming, and the sweeping arc of a classic McCartney melody. Add a contrasting middle section and a note perfect guitar solo. This “upbeat McCartney” style has a direct descendant in Can’t Buy Me Love.

Don’t Bother Me

= 2 stars

George contributes this “meh” number featuring major / minor noodling and a wailing middle. Supposedly the first song George ever wrote; sounds like it.

Little Child

= 2 stars

Return of the wailing harmonica. Dislike the somewhat perverse subject matter and the mocking tone of the phrase “I’m so sad and lonely”.

Till There Was You

= 5 stars

Easy to pass off as a throwaway cover from a musical (The Music Man), a perfect example of Paul’s stagey, melodramatic side that would soon inform his own songwriting. Even with the goofy pronunciation he’s remarkably (and appropriately) restrained. Love the note perfect, melodic guitar solo.

Please Mister Postman

= 4 stars

Originally done by a girl group (The Marvelettes), the strategy of John as lead singer with Paul and George on backup vocals sell it.

Roll Over Beethoven

= 4 stars

George couldn’t yet write songs, but this cover with a note-perfect guitar solo makes up for it.

Hold Me Tight

= 3 stars

Great verse but awkward middle, particularly the lead-in back to the verse which is merely a repeat of an earlier part.

You Really Got A Hold On Me

= 3 stars

John’s delivery is witheringly lustful, resembling more a complaint than a love song.

I Wanna Be Your Man

= 2 stars

Once offered to the Rolling Stones, Ringo sings this number which comes off as a lesser Twist and Shout.

Devil In Her Heart

= 3 stars

Reminiscent of Do You Want To Know A Secret, George’s lead is nearly overpowered by John and Paul’s background vocals.

Not A Second Time

= 4 stars

The melody shifting over major and minor chords has an odd yet addictive Asian influence, more than making up for a simplistic piano solo.

Money (That’s What I Want)

= 4 stars

Sarcasm and irony, as The Beatles were now rolling in it.

Wikipedia: With The Beatles

Next Album: A Hard Day’s Night
Previous Album: Please Please Me

iTunes Store Link: With The Beatles — The Beatles

Please Please Me was the Beatles’ debut album, and an uncharacteristically strong one for a new band. The Fab Four had to prove themselves commercially before moving on to greater things, and so packed the disc with energy and efficiency — the whole shebang recorded in a mere day. There are early glimmers of artistic prowess to come via some Lennon / McCartney compositions, that hold their own alongside the rock-n-roll covers.

I Saw Her Standing There

= 4 stars

Great album opener and a high-energy showcase for Paul’s strong, confident voice, despite an ordinary song structure and verses that drag a bit. After that initial “one, two, three…” music was forever changed.

Misery

= 3 stars

A catchy song, but the great intro quickly sinks into something rather ordinary, complete with a drippy bridge featuring a Liberace-style piano riff.

Anna (Go To Him)

= 3 stars

John delivers this slower song expertly, the best part being a confidently-sung bridge with background vocals lending both musical and emotional support to a lonely lover. Hello, Beatle harmonies.

Chains

= 2 stars

Despite pretty harmonies and boppy energy, George’s lackluster vocals during the middle section bring things down.

Boys

= 2 stars

Ringo got to sing a song on each album. A passable cover, and only useful as evidence that each Beatle could carry a tune.

Ask Me Why

= 2 stars

A demonstration that Lennon / McCartney could write a standard pop song. Don’t care for the ornamentations around John’s vocal melody. Tell Me Why from A Hard Day’s Night feels like a superior version of this.

Please Please Me

= 5 stars

As close to perfection as I’ve ever heard, and here’s where the album really gets going. The melody is a mousetrap, opening and closing, catching the listener between John and Paul’s diverging voices. Add some neat guitar hooks, surprising chord changes, and some gloriously high harmonies to create the Beatles’ first number one.

Love Me Do

= 5 stars

Unforgettably classic yet odd, featuring a melancholy, whining harmonica. I’m also peculiarly drawn to the parallel octave harmonies of the bridge — John sang a lot of low parts in the early days.

P.S. I Love You

= 3 stars

Internet dating has replaced the quaint love letter. One odd chord, and some nice, alternating vocals add some needed pep about 3/4 way through.

Baby It’s You

= 3 stars

John adds some longing emotion to this cover, particularly on the line “can’t help myself.” His understanding of when to push forward or hold back does wonders at selling the performance. Shame all else is tragically average.

Do You Want To Know Secret

= 3 stars

George sings this reasonably catchy Lennon / McCartney original (still gets radio play) featuring interesting chromatic melodies and chord changes and a heavy dose of corn — some “doo dah doos” drenched in plate reverb.

A Taste Of Honey

= 2 stars

Paul sings this extremely corn song, which contains odd seeds of later work — the “I will return” sections inform I’ve Just Seen A Face and even Fixing A Hole.

There’s A Place

= 3 stars

The wailing, haunting harmonica from Love Me Do makes another appearance, and even at this early stage, Lennon and McCartney’s songwriting demonstrates a careful understanding of ornamentation and precious pauses. A strange parallel to the Beach Boys’ In My Room - John and Paul jump on the bed imitating Elvis, while Brian Wilson closes his door and gets stoned. It bursts with hopeful energy.

Twist And Shout

= 5 stars

Nothing bad can be said regarding John shredding his voice in sacrifice of rock and roll. Especially neat are the building sections with the cascading “ahs”. Most bands couldn’t build excitement like this, and if The Beatles had subsequently died in a plane crash, their place in rock history would arguably have been cemented with this one song.

Wikipedia: Please Please Me

Next Album: With The Beatles

iTunes Store Link: Please Please Me — The Beatles

One additional angle is that perhaps the Beatles are at work producing newly remastered versions of their albums that when released would be of much higher quality (The Love album demonstrates this potential). I’m certain one fear on the part of the Beatles is that MP3 downloads would cannibalize their CD sales. With “new,” higher quality CD masters on the way, MP3 versions of the current 80s era CD releases would be perfect to sell to unknowing consumers who might buy these MP3s, and then be sold the “new” CDs when they come out in a few years — basically paying for the same music multiple times, while the Beatles always keep the best versions just out of reach or at a premium price. George Lucas, anyone?

But the parallels between the Beatles’ Apple Corps and Apple computer go deeper than name and a few lawsuits here and there. Both have an attention to detail and quality that is exemplar. The Beatles Love graphic design looks right out of a Mac desktop pattern, even down to the Beatles silhouettes resembling Macintosh OS X icons.

Lastly, after Revolution graced a Nike shoe, the Beatles are currently plastered all over Vegas and even slot machines, so a few iPods and Apple ads here and there wouldn’t diminish their reputation any. So here’s to the crazy ones — just do it.

For inspiration, it looks like everyone, from the performers to the set designers, revisited the sixties source material and took it seriously. The potential cheese factor (think the Sgt. Pepper movie with the Bee Gees) is in thankfully short supply. Some characters are taken directly from the Sgt. Pepper and Magical Mystery Tour album sleeves and inserts. It’s nice to see Cirque du Soleil demonstrating the same artistic perfection and attention to detail that the Beatles themselves strove for.

The overall effect comes close to sensory overload. Activity happens in all corners of the stage constantly, to dizzying effect. The multi-layered, “mash up” music demonstrates this same aesthetic, and sound comes from all corners, due to a powerful sound system including speakers in every seat. There is literally not a bad place to sit in the entire theater.

More about the “mash up” music: The combining of various Beatles songs makes more sense in this theatrical setting than on the CD. Because the Beatles’ music is so familiar, I think the intent was to have people unsure as to exactly what song was coming next. Therefore, what sounds like Blackbird ends up being Yesterday, or what might be Tomorrow Never Knows actually becomes Within You Without You. I’m still not completely sold on the “mash up” idea, but dramatically it makes more sense.

There are some truly inspired visual themes running through the show, a VW Beetle, British school children, Sgt. Pepper, Eleanor Rigby, clusters of mangled musical instruments, flowers, and rain boots (with or without people). But the most powerful visual metaphor is the Beatles themselves, represented by the number four: four children, four white balloons, their top halves painted black to represent John, Paul, George, and Ringo. The numerical metaphor could be extended to the stage itself, with its four entry ways and curtains that divide it into quadrants. I think the ultimate realization is that many elements of the Beatles canon can be reduced to a visual iconography that comes to life in unexpected ways. The show doesn’t shy away from the Beatles dark side either, with some truly nightmarish symbolism to the songs that freaked us out as kids.

Probably my favorite song treatments were Within You Without You, with a truly amazing combination of a parachute and a subsonic sound, Yesterday, and A Day In The Life, each with a culmination of many the themes and threads running through the show into something simultaneously climactic and unresolved.

That said, there were a few minor misfires. I would have appreciated a few more characters directly inspired by the lyrics. More specifically, it seems like the circus-inspired Being for the Benefit of Mr. Kite begs for an appearance of Henry the Horse dancing the waltz. Similarly, I’d have loved to have some visual metaphors for John Lennon’s most surreal lyrics in I Am The Walrus and Lucy In The Sky With Diamonds. Just one or two semolina pilchards in marmalade skies, please.

Second, although an attempt was made to assign some sort of loose narrative thread through the whole thing (something about World War II, music rising from the ashes, and a few nods to the Beatles’ story with four silhouettes joking around, and the burning of Beatles albums leading to four burning blackbirds), I think this should have just been abandoned. There is no reason for adding continuity where none existed before — the relationship between Strawberry Fields Forever and I Want To Hold Your Hand in terms of narrative is practically nil and that’s what is so great about the Beatles; their musical range, and how they went from a pop group to experimental musicians in the span of a few years.

Lastly, although I think John Lennon would have enjoyed the show itself, I don’t know what the anti-establishment Beatle would have thought about the blatant advertising of the show all over Vegas on billboards, television, and blaring over speakers near the Treasure Island hot-girl show. There were even a few Beatles slot machines hanging out near the Love entrance, reminding me a bit of Rutles documentary: All You Need Is Cash.

Anyhow, to sum up, I really enjoyed this show. My only warning is that if you don’t like the Beatles or don’t like their music, you may not fully get or understand Love. But otherwise, for a different take on the Beatles music, it’s worth the time and effort to check it out.

iTunes Store Link: LOVE — The Beatles

First, my reservations. This is an abridged, “Cliff Notes” of the Fab Four’s career. It presents their strongest and most artistic work in the best light. As a result, it’s a very serious album and definitely post Revolver-heavy. There are only a few mop-top era Beatles songs, namely I Want To Hold Your Hand and Drive My Car. The latter in particular basically attempts to cram all of Rubber Soul and Beatles For Sale into one song.

Which brings me to the subject of the “mash-up” or combining different songs together in a unique way. I have to admit I found these experiments rather hit and miss. Some moments are truly inspired, like the appending of I Want You (She’s So Heavy) to Being For The Benefit Of Mr. Kite, and also the combination of Tomorrow Never Knows and Within You Without You. I think this is because the basic mood of these song-pairs retains the spirit of the original works.

Meanwhile, the combination of Ringo’s Octopus’s Garden vocal over Goodnight doesn’t feel quite right to me. Neither does parts of Piggies, Penny Lane, and Hello Goodbye playing over the coda of Strawberry Fields Forever. The original context of each of these songs is too ingrained in my memory. Therefore, I hear more excessive alterations to said tunes as confusing the original meaning — Hello Goodbye is too happy and superficial for Strawberry Fields.

So what did I really like about this album? Basically, there are several tracks that are completely remastered and enhanced versions of the originals, with little or no “mash-up” activity. The results are a new-found separation of each song’s instruments and sonic detail — the feeling when you change out old, grungy guitar strings to a new set, or the difference in image quality going from VHS to DVD — it’s that good.

The Love versions of Eleanor Rigby and Yesterday are particularly stunning — you can hear every nuance in the strings and emotions in Paul’s voice that are fresh and new. John’s Help and Revolution benefit as well — the lead guitar in both sounds as acerbic and cutting as John’s lyrics and delivery. New details are revealed: a crispness to Ringo’s drums, George’s finger running over strings during a guitar solo, or an acoustic guitar muddled behind a mono mix for forty years (with Yesterday in particular, I found myself getting misty-eyed).

George Harrison seems to benefit the most; the new treatments of Something, Here Comes the Sun, and even Within You Without You make George seem like an equal contributor to the Beatles legacy (which he practically is today, but in the sixties he seemed to come into his own only after Sgt. Pepper).

So the ultimate point of Love might be revisionist history, presenting The Beatles as musical geniuses and serious artists — which I don’t disagree with, but there was an awful lot of experimentation for them to get to that point. The road from the cheesy, commercial Mr. Moonlight to the world-changing sing-along of Hey Jude is part of what I love about The Beatles, and isn’t presented here. Love is pretty much the sonic equivalent of an exciting movie trailer showing the best parts of an epic movie that you’ve already seen.

What I’m secretly hoping is that the “epic movie” to come is a complete digital restoration and re-mastering of the entire Beatles catalog. I was skeptical I would ever want such a package before I picked up this CD, but after listening to what is possible with a return to the original recordings, I’d pony up for each and every one of them. The sound quality of this disc is that amazing.

Additional Reading: My Review of the Beatles Love Cirque du Solei Show