#Song sergeant pepper plus#

#Song sergeant pepper plus#

Plus no one who's ever seen Yellow Submarine will ever forget that 64 years is 33,661,440 minutes, or that one minute is a long time. But listen through all that and you hear the heartfelt yearning: Please don't let me grow old alone. When I'm Sixty FourДЇor all its lightweight reputation, this song is a surprisingly deep meditation on aging from a twentysomething.Д¬ritics like to dismiss it because it's one of the earliest tunes Paul ever wrote - yup, he dug deep into his back catalog for the Pepper album - and because he arranged it like a cheeky 1920s music hall number. There's a better song here somewhere, but John left it all on the field when he wrote 'Day in the Life.' 7. In real life he was stuck in bed most days, in an unhappy marriage, stoned out of his mind here he can't get through an ordinary day at work without smoking a joint (that's what 'time for tea' means, kids) or flirting with a random 'skirt.' In this track he doesn't know whether to attack the brutality of the world (hence the animals at the end, each of which is the predator of the previous) or attack himself for being inarticulate and smug in the face of it ('I've got nothing to say, but it's okay.')

I love me some angry, scowling John, with all his confusion laid bare. It requires a little more penance than 'changing my scene' and 'doing the best that I can.' 8. In 1967, Paul and John were both reassessing the angry young unreconstructed Liverpool lads they once were, and this song is their therapy session.Д«ut it's also their excuse to brush off some of their excesses a little too lightly: Woah, you beat your woman? That's a little beyond 'mean,' my friends. He would later rewrite this song, basically, in the far superior 'The Inner Light,' while John would take a few more years to drop the mic on the whole Beatlesplaining genre by writing 'Imagine.' 9. I wish I could rank it higher, but even he poured scorn on his own effort by inserting that laughter at the end. Other than the sitar break in 'Getting Better,' this is George's only serious contribution to the album. 'Are you one of them?' Why yes, maybe I am, Mr. And to be honest, he's the only man on the planet who could get away with looking down from his well-appointed mansion at our focus on material wealth and our lack of spiritual integrity. In which George Harrison invents a new genre, Beatlesplaining. But that overactive harp and cello just add way too much syrup, and by the end you're yelling at 'daddy' and 'his wife' to just get over it and enjoy their empty nest already. The story (ripped from the headlines) of a spoiled, miserable young girl dumping her parents to hook up with 'a man from the motor trade' would be thoroughly affecting if stripped to its basics. She's Leaving HomeДЄ beautiful song famously ruined by the fact that producer George Martin took a day off and Paul had to call up a random guy to arrange the orchestration. But this song will never be a guest at your dinner party, because you disagree and never win, and won't get past its door. If this song were a guest at your dinner party, you'd be yawning and looking at your watch. Worse, this is clearly Paul's response to John Lennon's solipsistic genius on 'Strawberry Fields Forever,' the most recent single - but whereas John was heartbreakingly unsure of himself ('er, yes, but it's all wrong'), Paul is just annoyingly cocky: 'and it really doesn't matter if I'm wrong, I'm right.' Dude, we get it: you're a functional stoner who really likes DIY. In which Paul McCartney humblebrags about the farmhouse in Scotland he just bought, how much renovation it needs, and how it keeps his mind from wandering where it will go (wink).

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