My Thoughts on songs #41-50

#41. Rock and Roll Music

 a phenomenal John Lennon vocal, holds the second spot on my list of favorite Beatles covers. Its raw energy is somewhat reminiscent of "Twist and Shout," maintaining a consistent, driving feel from start to finish despite its simple progression. You'll notice the drums are mixed subtly in the background, while John's voice features a prominent echo. Even after listening to this song for 50 years, I still can't quite make out the words of one particular line in the third verse, where John sings about "crossing the tracks."

George Harrison's presence feels minimal on this track, as there's no distinct lead guitar break. Ringo Starr famously quipped that the song "goes on forever," a sentiment that resonates because John continuously launches into new verses. I particularly enjoy the final verse, with Ringo's cymbals shifting to a refreshing, tango-like style that perfectly complements the lyrics. This track feels like one of those songs they nailed in just a take or two, given they'd likely performed it hundreds of times over the preceding five years, making it a staple of their live shows. John's rhythm guitar is powerfully understated, while Paul McCartney's bassline and Ringo's drumming are relatively straightforward. Ultimately, it's John's commanding vocal performance that truly elevates this song.

#42. Taxman

  "Taxman" holds the distinction of being the second George Harrison song on my list and notably kicks off the Revolver album, showcasing the band's collective confidence in it as an opener. The lead guitar and bass share a nearly identical part, and George's guitar has a distinct new sound. I'd have to verify which guitar he used, but it could very well be the Epiphone Casino that both John and George favored in concert, or perhaps the Fender Stratocaster acquired for the Rubber Soul album.

The lyrics truly stand out, with George candidly addressing the enormous tax burden the Beatles faced in the UK. While he exaggerates slightly with "one for you, 19 for me" – it's hard to imagine they only retained 5% of their earnings – the sentiment is clear. Thankfully, they opted against including the frivolous background vocals from an earlier version of the song.

What's particularly remarkable about "Taxman," and a standout on my list of favorite Beatles lead parts, is that Paul McCartney actually played the lead guitar. The story goes that Paul developed the part at home, brought the tape in, and the band and George Martin loved it so much that they used his exact recording not only for the middle break but also for the song's ending lead. It's quite striking to have a George Harrison song featuring such a prominent Paul McCartney lead, a testament to how much George must have admired it – and indeed, it's a fantastic lead.

#43. Penny lane. 

"Penny Lane" is a quintessential Paul McCartney song that truly takes us down memory lane. The song exudes a bright, clean feel, largely due to the echoing piano and an extraordinary bassline. Listen closely, and you'll hear Paul showcasing exceptional vibrato on the sustained half notes leading into the trumpet solo. This marks the first instance where Paul's bass definitively dominates a Beatles track; it's both melodic and possesses the unique sonic signature only a Rickenbacker bass can deliver.

Released in February 1967 as a double A-side single with "Strawberry Fields Forever," this marked a groundbreaking moment in the record industry, with both songs equally promoted. Though vastly different, "Penny Lane" is arguably the more immediately catchy, yet I'm certain John felt as passionately about "Strawberry Fields Forever" as Paul did about "Penny Lane."

The song is further distinguished by its prominent brass section and a memorable trumpet solo. Regarding the lyrics, while some transcriptions say "wet beneath the blue suburban skies," I've always heard "there beneath the blue suburban skies." This track hails from a period when Paul was primarily composing on piano, and it was recorded before the Sgt. Pepper sessions in the spring of 1967. "Penny Lane" is unique for its subtle feedback and Ringo's distinctive roll on the ride cymbal.

John Lennon also managed to insert a lyric that undoubtedly elicited a smirk from both him and Paul: "fish and finger pies." I won't elaborate on its meaning, but it's a prime example of John cleverly slipping in a euphemism that most parents at the time would likely have found objectionable.

#44. When I'm Sixty-Four

 As we delve further into Paul and George's compositions, "When I'm Sixty-Four," featured on the Sgt. Pepper's Lonely Hearts Club Band album, emerges as a truly lovable song. Paul likely conceived it many years prior, only completing it for the album. This track notably diverges from the popular sound of the era, both in its charming theme and its distinctive arrangement, which includes a clarinet playing in harmony with Paul's vocal. At this point in his career, Paul's songwriting was truly flourishing and showcased an incredible diversity.

My friends and I used to get a kick out of isolating the clarinet by turning the stereo balance to the right channel. If you haven't tried it, I highly recommend it; you'll be amazed at how beautifully the clarinet harmonizes with Paul's voice.

Around this time, John and Paul seemed to be heading in divergent musical directions, with Paul's writing exhibiting a remarkable breadth, as this song exemplifies. While John often spoke disparagingly of "When I'm Sixty-Four," I suspect a degree of jealousy was also at play. The song's perceived "frivolousness" in John's eyes certainly didn't diminish its worthiness for inclusion on the iconic Sgt. Pepper album.

#45. She's a Woman

 One of the most remarkable aspects of The Beatles' legacy is the astonishing range of styles they explored, and "She's a Woman," the B-side to "I Feel Fine," perfectly exemplifies this. For this track, they embraced a completely different arrangement, featuring John Lennon playing what I'd describe as a percussive rhythm guitar. The entry of the bass can be initially disorienting, as it playfully obscures the downbeat. John's playful nature during recordings is evident at the 1:26 mark, where he skips a guitar chord—a delightful quirk that, once noticed, becomes something to anticipate with every listen.

This song also boasts one of my favorite lyrical moments, with Paul McCartney's clever rhyme of "jealous" with "as well as." George Harrison handles the lead guitar, and this is likely one of the last instances we hear him play lead on his Gretsch guitar. Released in 1964, "She's a Woman" stands as a transitional song, bridging the gap between the sound of A Hard Day's Night and Rubber Soul, as the band was moving towards a distinctly different guitar tone.

I may have mentioned this before, but The Beatles had a unique practice of releasing singles concurrently with their albums, yet deliberately omitting those singles from the albums themselves. They often stated this was to avoid "cheating the public," as it would have duplicated songs listeners were already purchasing. While I'm not certain it was entirely altruistic, I find this approach refreshingly unique, ensuring their singles stood as distinct releases. If you own the 45 RPM single, you'll recall the distinctive orange and yellow Capitol label.

Paul's vocal performance on this track showcases his incredible range, hitting notes comparable to those in "Long Tall Sally." The song itself is remarkably sparse, essentially featuring one vocal track, John's rhythm guitar, George's lead, and Ringo's drums. It's quite possibly the only song from that era that lacks any backing vocals whatsoever—just Paul and the microphone.

#46. She Said She Said 

kicks off with a truly remarkable sound from George Harrison's lead guitar, undoubtedly his Fender Stratocaster. Another standout element is Ringo Starr's drumming; the snare possesses a distinct ring, a sound we hadn't quite heard before on a Beatles album. As many know, Revolver was the album where a very young Geoff Emerick began his engineering career. It's astounding to think he was only 20 at the time, yet he managed to conjure some truly unique drum sounds, among others.

I get the distinct impression that "She Said She Said" was a close collaboration between George and John, with Paul McCartney primarily serving as the bassist, not significantly contributing to the lyrics or arrangement. This song also marks the beginning of John's fascination with unusual time signatures; in the middle, you'll hear the song transition from 4/4 to 3/4, or perhaps even 5/4 timing. Ringo maintains a straight rhythm until the song reverts to the verse. Paul doesn't even add any background vocals, though the song truly didn't require them.

The inspiration for the song came from a party where an actor, whose name I've forgotten but who was popular in the mid-60s, famously declared, "I know what it's like to be dead." John took that line and built the song around it. The ending is particularly unique, with Ringo's drums shifting to double time, adding a distinct flair to the overall piece. Ultimately, it's a solid John Lennon lyric underpinned by a very strong drumline and lead guitar.

#47. Something

 "Something" dramatically kicks off side two of Abbey Road, and John Lennon later proclaimed it the best song on the album. I hope John conveyed that to George at the time, though compliments weren't exactly John's strong suit.

You may know that The Beatles' Apple label had recently signed James Taylor. Undoubtedly, George heard Taylor's song "Something in the Way She Moves," which opens with that very lyric. One can't help but wonder what James Taylor thought when he later heard that exact phrase as the opening line of George's "Something." While it's not unusual for writers to borrow lyrics or guitar licks, this instance was so blatant that it surely raised some eyebrows. Thankfully, George's song is musically very different from Taylor's, and it's an undeniable masterpiece in its own right.

Paul McCartney plays a somewhat busy bass part on the track. The story goes that George, wanting to simplify the arrangement, told Paul to "cool it" with his playing. I can only imagine what Paul's initial, even more "over the top" take must have sounded like! I'm fairly certain George plays the organ on this song, in addition to all the guitar parts. George was feeling incredibly confident in his songwriting at this point, and this was likely one of the first sessions where he precisely dictated what the other band members should play. Given their famously good rapport, I'm sure Ringo took extra care to ensure his drumming was perfect—and it absolutely is.

Most people are aware that Frank Sinatra famously declared "Something" the "greatest love song of all time." What Sinatra got wrong, however, was attributing it to Lennon and McCartney, rather than recognizing it as a George Harrison composition. It's just another instance where George, despite his brilliance, often took a backseat to Paul and John in public perception.

#48. Julia

 I'm truly glad John Lennon finally got to express himself with a song dedicated to his mother. The first thing that strikes me about John's vocal is its remarkably spacious and sparse quality. Much of it is double-tracked, and for once, John is meticulously precise with his vocal layering. This is truly a solo John composition; we hear only his intricate finger-picking, later augmented by subtle guitar accents. I'm drawn to this song for its intriguing chord changes. It's a deeply touching and personal piece, which explains why we hear no contribution from George or Paul.

A small shout-out is due to Donovan for teaching John the art of finger-picking on the guitar. As many probably know, Donovan was part of The Beatles' trip to India to visit the Maharishi, where he imparted this skill to John. John certainly put it to good use on "Julia." I often wish John were alive today; I genuinely wonder what he would be saying and writing. Many thanks, John Lennon.

#49. Mean Mr. Mustard

 "Mean Mr. Mustard," another gem from the Side Two medley of Abbey Road, clocks in at a mere minute and seven seconds. It's composed of just a couple of verses that John Lennon had in his arsenal but hadn't found a home for, and I'm truly glad it made it onto the record.

One unusual aspect of this song is the bassline, which features a distinct fuzz tone. Something tells me it might actually be a keyboard playing this part, and I'm not entirely convinced it's Paul McCartney on bass guitar. So, what truly stands out about this brief track? The first thing I latch onto is the second verse, where Paul's harmony beautifully envelops John's lead, effectively becoming the prominent vocal line itself.

If you've followed the rest of my list, you'll know that the Side Two medley on Abbey Road is my favorite ten minutes of Beatles music, though I'm treating each song as an individual entity here. If you stream "Mean Mr. Mustard," you'll notice the drum intro, which sounds quite poorly recorded – almost as if Ringo has tea towels draped over his tom-toms.

#50. I'm Happy Just to Dance with You

 is simply a joy to listen to. It's such a straightforward song, yet it contains wonderfully compelling elements. John Lennon's rhythm guitar truly shines, delivering some delightful fills. John undoubtedly penned this track specifically for George Harrison to sing, and it appears on A Hard Day's Night album.

The song, clocking in at only a minute and 56 seconds, tells a simple story of a boy meeting a girl and merely wanting to dance. John was incredibly clever at subtly masking his true intentions in some of these early songs, such as "I Want to Hold Your Hand" or this one. But as a 23-year-old man, it's clear John desired more than just a dance. Regardless, it's a perfect early song that remains a pure delight to hear. Ringo Starr's tom-toms sound uniquely loud on this track, adding another element of distinct charm to the song.