![]() The song is essentially just Lennon and McCartney enthusiastically shrieking about how it’s your birthday, how exciting it is that it’s your birthday, how it also their birthday and then a whole host of other commands over a riff that may as well be labeled “generic rock riff no.8.” This is certainly not the most appealing of ideas. ![]() It’s not really hard to see why this song gets perhaps a more muted reception than other Fab Four songs. “Hey, you know what my favourite song by The Beatles is? ‘Birthday’.” said literally no one ever. Still though, it is definitely the most joyous song that is about something as horrendous as hunting down and brutally murdering a girl, so there is that! 08) ‘Birthday’ Lennon himself became embarrassed by it, though in the song he sounds so utterly self-satisfied with the concept of killing this girl that I would not be surprised if ‘Hammer Smashed Face’ by Cannibal Corpse turned out to be based around a set of lyrics he was working on before he died. ‘Run for Your Life’ does admittedly have a very pleasant melody and catchy guitar riff, but it is just impossible to get past the repellent lyrics. You may get a bit of shock, therefore, if you listen to the lyrics of ‘Rubber Soul ’s closer ‘Run for Your Life’ and discover the song is about how he wants to kill his girlfriend if she goes off with another man. The popular consciousness is that John Lennon was a nice and peace-loving guy who wrote some of the best songs ever written and is essentially painted as the greatest man to ever walk the face of the earth. I keep fascinating about how I want to throw Desmond’s barrow at him and then force him to listen to the song over and over again until blood starts pouring out of his eyes and he is nothing more than a broken shell of a man who can do nothing but desperately claw at his own ears in the hope he will one day tear them off and be rid of hearing that abomination of a song. I’m listening to it at the moment and it’s making me angry. The track’s melody crawls into your brain like a tumour on first listen and stays lodged in there, coming out and looping in your head only at your lowest moments to mock you. It is that rare beast of a song that is both astoundingly irritating and fist-clenchingly awful. Of course had the song actually been a good song, then all may have been forgiven – but unfortunately it is not! Whilst many would point towards the frog chorus as the nadir of his career, the worst thing that Macca ever did was surely to launch the universal hated cod-reggae genre to popularity by writing ‘Ob-La-Di, Ob-La-Da’. No band can ever be that incredibly visionary, delicious and just plain brilliant the entire time so it’s time to shine a light on the very worst that The Fab Four has to offer. For every ‘Dear Prudence’ there is the just plain awful ‘Piggies’, a song that somehow managed to inspire a mass murder. ![]() We know all of this, but that doesn’t mean everything they released was great, does it? For every ‘A Day In The Life’ there is the repetitive horrors of ‘Why Don’t We Do It in the Road?’ For every ‘In My Life’ there is the baffling pointless ‘Flying’. ![]() Yes, John Lennon is one of the UK’s true icons, Paul McCartney is the most beloved and revered songwriter of our time, George Harrison is an underrated genius and Ringo – erm- narrated Thomas the Tank Engine. Yes, they are unarguably the most important band in musical history, achieved more in their brief period together than any band have before or since, and released a shed-load of songs that are now stitched firmly into our cultural heritage. This blog is a workshop for developing my analyses of The Beatles' music.Yes, we know that The Beatles are great. The macro-scale formal layout can be seen as 4 iterations of Verse (both parts a and b) + transition + chorus, with the first such iteration omitting the chorus, all of which is preceded by the introduction. Thus, there will no concluding gestures, there can be no coda. In this case, there is no conclusion, it simply stops. The purpose of the coda, of course, is to conclude the song. The song ends with the chorus, the 5-bar phrase that defines the chorus is heard 14 times and on the 15th time it is abruptly cut off. The transitions that follow each verse are perfectly designed to be tags, however with no defining musical motif, I have to call them transitions. Formal structure of "I Want You (She's So Heavy)":Ĭomments: Each verse has two subsections, both featuring the same melodies and similar chords, but a fourth higher (the first half is centered around A minor, while the second half is centered around D minor - though it certainly is not a key change).
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