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| "The four kings of EMI are sitting stately on the floor" |
Speaking of my youngest son, he recently asked an ancient question that still brings much controversy and debate even today. That is, regarding the album The Beatles, more famously known as The White Album, which songs would I keep and which ones eliminate? If you recall, I did a series of posts on my opinion about the least good to best Beatles albums. Naturally The White Album was brought up. It is most famous for showcasing the quick unraveling of the Beatles camp, with each of the band members more or less producing their own songs while the others went their ways.
They had come back from India with over thirty new compositions, and wanted thirty to be on the next album, for a double album of original material. The problem was, their producer, the famous fifth Beatle George Martin, felt many of the songs were subpar at best. He argued that if they cut the number of songs in half and ditched the lesser ones, they would have a great album, perhaps one of their best ever. But by then, Martin's opinion was having less and less of an impact. So it was the full monty.
When it was released, it obviously went to number one. But for really the first time, critics were mixed, and many said it was disjointed and inconsistent in style and quality. Of course today, it stands as one of their greatest, and one of the greatest of all time. Largely because it shows where they were moving as individuals by that point in the band's rather brief time together.
Nonetheless, never one to shrink from a fun challenge that costs nothing, I thought I would step up to the plate and make my case for which of the songs should stay, and which could be let go, in order to have that greatest of all albums. I'll start with the first album of the two, then the second, in order of the songs as they appear.
ALBUM 1
Back in the USSR
The 'hook' that producer George Martin so valued. That first song on an album needed to grab the listener. Largely Paul's production, it's not his greatest, but as an homage to, among other things, a Beach Boys vibe, it works, and is too good to jettison.
Verdict: Keep
Dear Prudence
An idyllic Lennon piece, using the name of a friend he got to know in India. It's a perfect segue from Paul's USSR. As a set, they demonstrate well the radical differences between Lennon and McCartney as songwriters, especially by the White Album's recording sessions. And, in its own way, a good song. Paul's bass work is alone worth the listen.
Verdict: Keep
Glass Onion
A Lennon rant, largely aimed at Paul. By now the cracks were showing, and this song is Lennon venting. "I told you about the fool on the hill, I tell you man he's living there still"? "Here's another clue for you all, the walrus was Paul"? Yeah, we get it. Not a bad song, and a good listen, but a bit 'give it a rest John.' If pressed for space, it can go.
Verdict: Scrap
Ob-La-Di, Ob-La-Da
The much maligned Paul ditty so famously hated by Lennon. It's problem isn't that it's not a fun listen. But by now Paul was obsessed with production and seemed to think that if you took Mary Had a Little Lamb and poured three months of production onto it, you could make it into an operatic masterpiece. Still, it's fun, and I don't care what people say, you can't help but tap your toes when it's on.
Verdict: Keep
Wild Honey Pie
Burn it with fire. The Beatles earned the right to be goofy, and many of their studio tricks became a Beatles staple. Even the wonky You Know My Name, Look Up My Number is earned given their contributions to modern music and the recording industry. But that is no excuse for this hunk of audio garbage.
Verdict: Scrap
The Continuing Story of Bungalow Bill
Another case of Lennon sermonizing. This was a dig at America's war machine in Vietnam and the general tendency of America to fight and want to win wars. It's OK, but not Lennon at his best. With both albums present, I'm glad it's there, but if we have to cut, it goes. The clearly discernable vocalizing of Yoko Ono only makes the vote easier.
Verdict: Scrap
While My Guitar Gently Weeps
What can I say. I know people who don't like the Beatles who concede this is a great song. With Eric Clapton on guitar, some say it isn't just one of the Beatles' best, but one of the best of all time. Certainly George at the top of his game. Easiest vote on the album.
Verdict: Keep
Happiness is a Warm Gun
The first of the Wacky Three. Taken as a single song, this is pure Lennon. I don't think getting rid of this works, because it's Lennon in all his 'throw the rules out with the bathwater' glory. Almost five different song ideas smashed together, they say that all four of the Beatles agreed this was the most fun to record during the White Album sessions. When joined with the next two, the song is even better at showing the vast sweep of styles the Beatles could produce.
Verdict: Keep
Martha My Dear
The second of 'the Three.' It's more noticeable on CDs, where this immediately follows Happiness. On the albums, this is the first song of side two. As a result, it misses some of the punch of being a perfect Paul insert between two Lennon contributions that demonstrates yet again their stark contrast in writing styles. Inspired by his beloved sheepdog Martha, it's a toe tapper to be sure. But on its own, it isn't particularly memorable otherwise, except as part of the three song set.
Verdict: Scrap
I'm So Tired
Supposedly a Lennon lament over being tired, having insomnia, and yearning for Yoko, you can't help but wonder if it inspired Madeline Kahn's Dietrichesque performance in Blazing Saddles. Apart from the dig at Sir Walter Raleigh, however, it's more just listening to John fume. As part of that three piece set, it works perfectly after Paul's Martha. But on its own in attempting to condense the song list, it could be removed without much loss.
Verdict: Scrap
Blackbird
The first of the "Zoo Section" (each having animals in their titles), Blackbird was Paul's subtle shoutout to the Civil Rights movement. It's a pretty and somewhat moving song, especially if you don't know the context and think of it more in terms of general human experience. Nonetheless, with Paul alone on acoustic and some bird sound effects, it's not his greatest by far. Not bad at all, and quite a lovely listen worth being on the two album set, but just not necessary. In a pinch, it can go.
Verdict: Scrap
Piggies
The song that shows George had all the subtlety of a communal bedpan when it comes to social commentary. We get the point. It's a fun song to be sure. And its blues riff on a harpsichord is classic 'do anything musical that you want' Beatles style. Nonetheless, its own lack of anything but bludgeoning the message makes it easy to dismiss if pressed to eliminate songs.
Verdict: Scrap
Rocky Racoon
OK, Paul. A narrative song in which everything seems to hinge on a Gideon's Bible in a hotel room that ultimately has nothing to do with the song. The whole song is like that. A Paul attempt to tap into some faux Country Western musical theater, it can easily be dropped. A common theme with the Zoo Collection.
Verdict: Scrap
Don't Pass Me Buy
Ringo's first solo song writing credit (under Richard Starkey). It's also a nod to the Country-Western genre since, by all accounts, Ringo was quite the fan of that form of music. A bizarre lyric at times gets drowned out by recording styles and heavy arrangements. Still, it's his first composition, and only one of two songs with him on vocals on the album, so I'd be reluctant to get rid of it unless hard pressed.
Verdict: Keep
Why Don't We Do It in the Road
Verdict: Scrap
I Will
This works only as a follow up to Why Don't We Do It in the Road. Both are essentially Paul solo performances with a couple exceptions, demonstrating his talent for extreme shifts in musical styles if not musical genres, as well as his command of various instruments. I would either want to keep both or jettison both. Since I don't have a third option, however, I'll let this one stay.
Verdict: Keep
Julia
John's tribute to his mom. Both John and Paul lost their mothers at a young age, and that was the glue that cemented their 'soulmate' relationship in the early days. Despite this, the song somewhat meanders and isn't the best output from John. It isn't bad, and is touching given the context. But if we have to cut songs, this one can be cut.
Verdict: Scrap
ALBUM 2
Birthday
The hook song for the second album, Birthday has drawn its share of critics over the years. It does sound like an amateur jam session in someone's garage to be sure. But it's also high energy and a reminder that despite all their world and music changing influence, the Beatles were, in the end, merely a rock band wanting to rock.
Verdict: Keep
Yer Blues
A John number in pure John fashion. A straight blues performance with a variety of influences, it's just too John not to include. The ending drags a big, but overall a strong addition and one that segues, once again, so wonderfully into Paul's follow-up.
Verdict: Keep
Mother Nature's Son
One of Paul's home runs. It sits perfectly after Yer Blues as yet another 'compare and contrast' between his output and Lennon's. It's a wonderful, peaceful, evocative song from start to finish and there is no way it could be taken off an album. You can almost hear the sound of the music as the waters of that mountain stream rise.
Verdict: Keep
Everybody's Got Something to Hide Except for Me and My Monkey
Another of Lennon's goofy for goofy's sake songs. The final riff at the end, with the band doing a strange sort of 'sound like a monkey?' chant, has a certain flare, but not enough to warrant keeping the rest of the song. So much of Lennon's output this time lacks the usual edge or intent. It's as if he's wanting to be weird for weird's sake, and if we have to cut songs, this one goes.
Verdict: Scrap
Sexy Sadie
On the other hand, here is Lennon at his sharpest. It's a well known dig at the Maharishi Mahesh Yogi (get it? Maharishi - Sexy Sadie) because of rumors that the guru's intentions were not altogether spiritual where the women on the trip to India were concerned. The lyrics make it clear how imbittered Lennon was from the experience. But it's a strong song even without the backstory. One of his best on the album, and a keeper.
Verdict: Keep
Helter Skelter
Forever linked to the Manson murders, it's the song that made spinning records in reverse to hear hidden messages all the rage. It is also considered by not a few music historians to be the first proper 'proto-heavy metal' song based on its instrumentation and style. Paul is showing he can be nitty gritty bombast with the best of them. And when you hear this next to his loves ballads like Yesterday, or Michelle, or Here, There, and Everywhere, you can't help but appreciate his ability to tap into almost any musical genre, if not lay the groundwork for new ones, and make it work.
Verdict: Keep
Long, Long, Long
Of two minds on this one. It's a pretty song of George's. But the way the sound was mixed (and my son has explained it to me more than once), it's almost purposefully muted to contrast it to the ear splitting volume of Skelter. Therefore, you either turn up the volume or spend most of the song struggling to hear. Nonetheless, the effect works, and if you make it through the first part of the song, you see it's a pretty good offering from George.
Verdict: Keep
Revolution 1
The beginning of side 2 of the second album, this is John's wading into politics. Contrary to what an activist recently wrote online, modern day justice warriors don't want this blazing out of the speakers. It's a warning as he watched protesters, and in many cases those who shared his views, begin to spiral into violence, or embrace alternate forms of hateful or other dangerous views. Just because you see a problem doesn't mean you will always approach it correctly. This is also an iconic song for being a Beatles song that the Beatles themselves covered. It would take the Beatles to cover their own song, and in a completely different style. While the single release is a hard rock anthem, this is a slow, understated, tripped out mumble. One of Lennon's most famous and iconic compositions, and an easy keep.
Verdict: Keep
Honey Pie
No wild honey pie here, this is McCartney invoking an old, vintage 1920's era jazz scene and pop culture motif. It sounds it. You could believe it was written ages ago as a backdrop for a Fitzgerald biopic. The transition phrase that uses a worn, scratchy phonograph sound to suggest an old recording is typical Beatles cleverness. It works as an homage, and as a standalone, and deserves to stay on the album.
Verdict: Keep
Savoy Truffle
Sorry George. A playful dig at his friend Eric Clapton's insufferable sweet tooth, it's a rousing, fun, and upbeat song. But not terribly unique or special. Fun to listen to, but if something has to go, let it be this, and we'll keep While My Guitar Gently Weeps with no complaints.
Verdict: Scrap
Cry Baby Cry (Can you take me back)
No clue about this one. At one point, in today's sensitivities, I could almost see it banned. The refrain 'you're old enough to know better' just doesn't sit well for many modern listeners. Though we don't have to assume the worse behind its meaning. Even so, the song itself is a strange concoction with dreamy lyrics that bring to mind strange settings in a pseudo-Mother Goose sort of way. It's an interesting tune, and if there was space, I'd want to keep it. Plus you have the attached 'Can you take me back'; the part of a song McCartney was working on but never finished. So what do you do? If you're the Beatles you just paste it onto another song. Too much to lose, so unless there is no choice, it stays.
Verdict: Keep
Revolution 9
The greatest and most famous argument at Abbey Road studios in Beatles history. Everyone, and I mean everyone, wanted this off the record. But it was a John and Yoko avant-garde sound experiment, and it stayed. Coming to this "song" while listening to the album is like driving 70 mph down a highway and suddenly hitting two hours of traffic stuck in construction. In reality, if the album is cut for any reason, this is the first to go. As the double album, it stays due to its historical place in the canon. And as a testimony to the Beatles' vast influence over the evolving technology and development of the recording industry. But if we must cut, there is no way this nine minute fever dream on tape remains.
Verdict: Scrap
Good Night
Not written by Ringo, but sung by him. An almost lullaby. The orchestrations are straight out of Percy Faith, and the lyrics seem as if Ringo is putting his children to sleep with a gentle verse for pleasant dreams. It's almost parody, and yet it isn't. Like most Beatles output, it manages to be many things and few at the same time. It works as the finale for the album, and whether two albums or one, I think it stays and is a fine closing out of the whole work.
Verdict: Keep









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