I'm currently re-listening to the album in mono, for maybe the fourth time. I think the mono mixes of these early albums pack more punch, most of the songs feel more "rocking" this way. Though once we get to the more "studio-based" albums, I'll probably switch to stereo anyway. I tried listening to both
Sgt. Pepper and
Magical Mystery Tour in mono this April and I didn't like it
at all. In fact, I'm gonna go out and say it sounds like shit. Way too claustrophobic, muddy, the individual tracks disappear at random and in general it all sounds more like some weird demo. Converted into 32kbps MP3 just for the heck of it.
On the other hand, those early stereo mixes of
Rubber Soul and
Revolver (I think) where they kept all the instruments in the left channel and all the voices in the right one will make you want to kill yourself. In headphones it's absolutely unlistenable.
Also, the
White Album was never meant to be released primarily in mono and in fact the mono version was more or less an afterthought this time (IIRC, that is). The mono version have some serious problems (I don't really care about "blisters" being deleted from Helter Skelter, but on Long, Long, Long there's something weird about the backing vocals that makes me head hurt, actually, and the fiddle seems to drown everything on Don't Pass Me By).
But enough talk on mixes, let's look at the "sunny" album. And while you might say it's only personal subjective feeling that has no serious backing whatsoever, it always felt to me as if their career began and ended with albums that felt connected to the Sun, though where PPM had the "sunny" feel of holidays and youthful exuberance,
Abbey Road always hat this dry, hazy, drowsy feel of
very hot sunny afternoon (and yes, that one's really the last one,
Let It Be is more of a post-scriptum, also, it was recorded before AR). It's a very happy and a very silly record, not necessarily bad because of it, but definitely very lightweight in any regard. Just look at the cover - already
With the Beatles would be the "dark" one, and the sound of that album always felt darker and nastier to me that this one. Starostin talks about the latter having more of George and John, having more of that "pepper" - though that's an oversimplification (I am perfectly well aware that Lennon had his share of silly happy songs and Macca of dark ones, besides Lennon has always been only my third favourite Beatle and I always hated the hipsterish, angsty "TR00 LENNON" approach, you know what I mean), there is something about every oversimplification, because I can't help but feel that this record, dominated by Macca, is much lighter and more easy-going than pretty much anything else that would come later, since even AHDN, mostly a Lennon work in his most friendly and optimistic mood, still doesn't quite get this right. Past
Rubber Soul, they'd also be way to serious to truly sound this way. Maybe that's why I never quite understood the "back to roots" idea permeating
Let It Be - apart from nostalgic remembering of the Hamburg days (which might have been grand, but not necessarily from the musical point of view), they seemed to try to recapture a spirit and approach that was there only for a very limited time and that was really
not to be recaptured, because even if they succeeded, it would mostly resemble a middle-aged man writing silly, fatalistic poems to the girl of his heart, presumably at least two decades younger than him.
That probably makes this LP the closest to the early efforts of the Beach Boys -
All Summer Long is full of those feelings - and also the perfect soundtrack to any holiday, any feel-good montage, you know the drift.
I Saw Her Standing There... gets a pass from me. It's simplistic, they would soon do much better, but it's
first, you see, and pretty good considering the time and the place. The "how could I dance with another" part, though, is fierce, though. Listen to the rise of the base there. The solo is more or less laughable - though on the other hand just compare it with Carl Wilson's attempts on the early Boys' albums and you'll see the gigantic difference. George would eventually learn to do minimalistic lead guitar in a masterful and tasteful way and this is a cool sorta preview, methinks.
Misery... has an early Beatles "hit melody"
TM. It's really funny, because it's actually the first time we see the glimpses of true "Beatles work", chronologically, yet in hindsight it already feels a bit "by the book". If it proceeds into the next round I will definitely vote against it. You might say I'm being too tough on the blokes, but I didn't vote against it so far, now have I? The idea of upbeat melody and downbeat lyrics, while novel and possibly hilarious if you try to take it as a mockery of those fatalistic youthful feelings/songs/bands (deconstructing emo?) is not my favourite, however. Feels kínda weird.
I've never found the time to go and check out Arthur Alexander yet, but I've always wanted to. 'Cause Anna is one of the most interesting covers the Fab Four've ever done and I don't say that lightly. It has a downright haunting atmosphere and a magnificent flow and it's actually very memorable. Recently I realised that this has been my go-to song from this first LP for quite some time, thus making it probably
my favourite off this one. I know, I know. But it's really
the dark horse of PPM in me book.
Chains are really not that great. Especially since it's Carole King's work, who usually does so much better. Very basic, boring, actually. Not even George's vocals (I really like his voice, tbh) can save this. Would be absolutely umemorable, if not for the fact its blandness make it stick out like a lad in a nunnery in between all the other efforts, including many of the other covers.
Vote. (you know, I started this comment much earlier, so excuse some anachronisms here and there)
Same goes for Boys. The Four would often make the covers work via bringing out important elements neglected in the originals (Words of Love, more on that later), via giving the songs more emotion that was present in the original (Please Mr. Postman) or by actually picking great tracks that tend to be forgotten nowadays (the aforementioned Anna). Boys do nothing of the sort. It's a bit more lively than Chains, but just as unmemorable. Mostly a throwaway track for Ringo to sing. Also, while we're at it, hearing Ringo singing about "boys" being a "bundle of joy" is... not appreciated, really. Also, George, what are you doing? I just spoke well of you few songs ago, what's this? I insisted you are quite
unlike Carl Wilson, you see...
Vote.
Ask Me Why is... a bit clumsy, song writing-wise, those contrasts between the hectic chorus and the starts and stops make it feel very uneasy and the I-I-I, while melodically good has a very strange feel to it. Some good chord changes make it my second favourite of the first half of the album for me, though.
Please Please Me was a huge hit and became the title track, but I don't really understand why. It feels more like an idea that might be eventually turned into a good song, but at this point still mostly an idea. The "come on" and "please" hook is rather weak, IMHO, and a proper chorus would definitely be appreciated. The harmonica line could also be expanded upon, methinks. Gets my
vote every time. Also, doesn't the mono version a more prominent guitar part at places? Either that or I didn't listen to it for way too long.
If somebody told me that Ringo actually
did write songs for the Beatles, yet didn't tell me which songs exactly, I'd probably guess Love Me Do. The song almost feels as if it wants to be your friend and It's like a fat, bumbling cat chasing after a fly, yet losing it in the end. Again, no hook in sight.
Vote.
I don't quite understand why PS I Love You keeps getting so many votes. Okay, it might seem a bit sappy or cheesy, but then again - what here isn't? (Apart from I Saw Her and Twist and Shout, possibly?) The development of the melody is very old-school, true, at times feeling almost "Presleyish" or "Sinatrasque", but that doesn't make it worse in my book. This used to be my original dark horse, actually - after listening to this album many times over I actually re-discovered this particular track one day and was quite baffled that I managed not to notice something as cute as this here track.
I tell you that from "Treasure" to "You-you-you", the music's unparalleled and this melodic line by itself leaves current pop music crying in the rain in shame.
I'm really glad Baby It's You didn't get eliminated last time, although many peoply obviously dislike it. I guess it's because of the retarded "sha-la-las". But .. it has a rather untrivial development, with a nice buildup before the title drop Small wonder, it was originally written by Burt Bacharach. Might not be one of his finest creations, but it certainly better than its score here would suggest. Possibly my
second favourite on the album as a whole.
The "Nun falling down the stairs" of Do You Want to Know a Secret is catchy, but also very clunky. I know what they were aiming at and the song's not unpopular, but in general it feels half baked. I just can't get into it, also the eternal "up-and-down"s feel like a rather lazy attempt at true catchy hook. Invaders, anyone?
Also, that "I've known the secret for a week or two // Nobody knows just we two" bridge is quite possibly the stupidest moment in any of the self-penned songs around here, both melodically and lyrically. The spoken intro is also very questionable, as is the echo on the "doo-dah-doo"s in the chorus. Definitely a
vote.
Taste of Honey is one of the songs I didn't like even in the original version, the hazy atmosphere, slow tempo and cheap attempt at something approaching "mystique" make me think of a Turkish brothel every time. The Fab Four doesn't actually improve on anything. I admit the middle eight is not all bad, but I see no reason whatsoever to listen to this one.
Vote.
There's a Place is a very weird one. I think I should like it less than I do, but there's something about the rise in that "Aaand it's my miiind" that gets me everytime. Lots of comparisons with Brian's In My Room, thematically, yes, it also probably stands out here in that regard, but it's no Dylan, that's for sure. But I feel this one tends to be neglected, though I tend to neglect it myself. Confused? That's okay, I meself often am.
I know I'm probably being contrarian again, but Twist and Shout is okay, but nothing special. It's got a lot of energy, true, but it's also repetitive and has no progress whatsoever for the third longest song on the album. I don't care how many cough drops Lennon downed after recording this one, it's "just" a good rocker. That's not something I go to the Beatles primarily for. Still, it's rather good, just not as exceptional as usually depicted.
Regarding those two non-album songs...
From Me to You has an ingenious melody throughout, one of the most well-written songs among this first bunch. A hit for ages and deservedly so. If there is such thing as "Beatles genius" (and I certainly believe there is, careful as I usually am with the word), it's already notable here - just hum the vocal melody of the verse and then go straight into the chorus/middle eight and you'll know what I'm talking about. This is something lesser songwriters try to sell their souls to demons for. Okay, maybe I'm overselling - it's not their best song and it's not even my favourite, especially 'cause it's been so overplayed, but to deny its merits would be silly and prejudiced, IMHO.
I'm surprised to see Thank You Girl taking a beating here. It has a really nice hook and melody. Love the way it starts as a unison vocal before branching off into harmony for both the verses and choruses.
Agree with this, though it's not really my particular favourite. The chorus leaves something to be desired. Not going to vote against it anytime soon, but I like a lot of the other songs much more.
Anyway, that's probably most of what I've had on my mind. Sorry, it's late and I've not had enough sleep in the past few days, so please pardon any mistakes and incoherences.
Slán!
