Ranking The Beatles

After a few years of producing some fairly heady and serious musical output, George found himself wanting to lighten the load a bit in 1968. Not everything needed to be Within You Without You, inspiration didn't always have to be divine. It could come from anywhere, even your friends gross teeth. Thanks to his friend Eric (you know who)'s love of chocolates and disregard of dental hygiene, George came up with Savoy Truffle, an under-rated (imo) tune in which Paul and Ringo provide some of their nastiest grooves. George's decision to let the song be led by horns instead of guitar keep it exciting and energetic in a way it just wouldn't be if guitars were the feature instrument. George said around this time he "just wanted to be a rock star," and he certainly seems to be the part here, with a great vocal delivery matching his guitar lines, and lyrics that are downright sexy. How this song doesn't get more love is beyond me, cuz it's a killer.

To wrap up our 2023 season, we're delighted to welcome the one and only Chris Carter, host of Breakfast with the Beatles! Chris is celebrating the show's 40th ANNIVERSARY, and we couldn't be happier to talk about it with him. I mean, it's on in our car every morning anyway! We chat with Chris about the history and the future of Breakfast with the Beatles and how he keeps it fresh, gnarly horn sounds, absent John, and a wonderful story about a call from a Beatle's wife. If you don't already, listen to Breakfast with the Beatles Monday - Friday 8-11 ET on Sirius XM's Beatles Channel, and on KLOS every Sunday 9-12 PT.

What do you think about "Savoy Truffle" at #95? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

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Riding high on the success of a chart topping debut album and #1 singles, the Beatles were searching for what the next big hit would be. While "It Won't Be Long" didn't turn out to be that hit, it did provide a brilliantly urgent shot with which to start their sophomore album. It absolutely fires out of the speakers, grabbing the listener immediately with a passionate lead vocal from John that volleys back and forth "yeah!" "yeah!" "yeah!"s with Paul and George. A great guitar hook, tight syncopation from John and Ringo showing that this band has chops and an ear for crafting winners even on mere album tracks. It's a great way to start the second album, showing that there's definitely more in the tank from this young upstart band.

We're thrilled to welcome back author and Beatles scholar Ken Womack! He's ready to rank, and ready to talk about his fantastic new book, "Living The Beatles Legend: The Untold Story of Mal Evans," a book that finally shines the light on the boys' longtime assistant and confidante. We talk about amazing journey to rescue Big Mal's archives, the Red and Blue remixes, the storm of touring, and much more! Grab a copy of the book here, and get ready for the follow up next year!

What do you think about "It Won't Be Long" at #96? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

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It can be tough to write songs when you're not out living real life experiences. After the Beatles stopped touring, John often found himself at home, bored and isolated from the social scenes he'd been in while on the road. But John could find inspiration in anything...posters, newspapers, even commercials. That's where he found inspiration for this rocking ode to everyday malaise that would find a home towards the end of Sgt. Pepper's Lonely Hearts Club Band. Driven by some gnarly sounding horns, a driving drum track that hides a complicated time signature, and an absolutely ripping guitar solo from Paul, "Good Morning, Good Morning" seems to often get the short end of the stick. It's not as psychedlic and dreamy as some of John's other Pepper-era tunes, but it's certainly as vidual a lyric and as well produced a track, and a nice chance to hear the band really rock on that album.

This week, we're thrilled to be joined by Darren HIll and John Thomas Griffith of the recently-reunited Red Rockers. Before they scored an early MTV hit in 1984 with the song "China," they were hailed as America's answer to The Clash by Rolling Stone, and released the seminal album "Condition Red." After a fateful discovering of long-lost master tapes, they've not only recently re-mixed and re-released the album, they've also performed their first live show since breaking up in 86 (it was amazing, btw). We chat with John and Darren about how they got their record back, reuniting, the Beatles punk credibilty, de-evolution, the art of the album, and so much more. Follow Red Rockers on Facebook or Instagram to see what the future holds, order yourself a copy of Condition Red, or stream it wherever you listen to music!

What do you think about "Good Morning, Good Morning" at #97? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

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1967 was arguably the top of the mountain for the Beatles. With the Sgt. Pepper album, they provided the soundtrack that encapsulated global consciousness, while also elevating themselves beyond just a mere pop band; they were artists of the highest order.

It was also the beginning of the end, with the death of Brian Epstein kicking off a long series of events that would eventually unravel the band. But by the year's end, they were just too big to fail. As such, "Hello, Goodbye" made it's impact as a return to light-heartedness that the band, and the world, needed. It's an insanely catchy song, sing-a-long-able in every way, and miles removed from the higher plane they'd been operating on for the last year. But it's kind of like cotton candy. It's sweet, and satisfies the sweet tooth, but doesn't have any real substance to it. But boy, it's sure tasty.

This week we inaugurate Debbie Davis as the newest member of the 4 timers club! We welcome back one of the best singers in New Orleans to discuss this song, musical grave robbing, commerciality, and more!

What do you think about "Hello, Goodbye" at #98? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠!

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We're into the top 100 songs in our rankings! We can't turn back now!!

Paul McCartney seems to have a knack for making sure he finishes things. "Now and Then" is a good example; he saw something there worthwhile and though it took a couple of decades, he saw it through to completion. The same can be said for "I Will," a song for which he had a melody kicking around a long time before he was able to complete a lyric for. After tossing lyrics he worked on in India with Donovan, and after John declined to help, he came up with what on paper are incredibly simple lyrics, but say so much more. And that melody...what a winner. He looped in Ringo and John to add percussion, and a brilliant vocal bass, cramming the final song with hooks in a simple arrangement. It makes for one of the more beautiful and light-hearted moments on an album that can sometimes be viewed as really dark.

To discuss this song, we're thrilled to welcome back this week's guest, Mike Viola! Mike (who joined us back in 2021 to discuss #165 "Your Mother Should Know") is a wonderful singer, songwriter, and producer, who's worked with acts like Panic! At the Disco, Fall Out Boy, Mandy Moore, Jenny Lewis and more, and has written songs for numerous films like Walk Hard: The Dewey Cox Story. He's also the voice you hear singing the brilliant "That Thing You Do!" from the film of same name. Since we last spoke, he's released the fantastic "Paul McCarthy" album, which we highly recommend you check out. And he's going to be on a solo acoustic tour in the early part of 2024, which we also highly suggest you get tickets for if he's in your area. We chat with Mike about manic creativity, songwriting responsibility, the best way to watch Get Back, and more!

What do you think about "I Will at #99? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠!

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As Paul noted in the Get Back series, The Beatles seemed to excel when their backs were against a wall. They were certainly feeling the time crunch during a several week residency in Paris in early 64. They hadn't yet conquered America, but they were due to be there in a couple of weeks. They also had their first movie on the horizon, and they had to finish writing most of the songs for the film and it's accompanying album. All while playing a bunch of shows, and trying to enjoy the fact that they'd just gotten their first #1 in the US.

Thankfully, they were able to knock out some classic material in that time, including this song, "I Should Have Known Better." Featuring an effective harmonica hook, a 12 string guitar solo, and a wonderful lead vocal from John, this song almost exemplifies '64-era Beatles. In fact, it's often the song I think about what when I think about what typifies the band. It's the first Beatles song I can remember hearing also, which may explain that. It's simple, sustinct, effective, and so so catchy.

Joining us to chat this week is Laurie Kaye, author of the new book "Confessions of a Rock and Roll Name Dropper: My Life Leading Up to John Lennon's Last Interview. We chat with Laurie about her journey in radio, including interviewing a couple of other Fabs, leading up to her December 8th 1980 interview with John. We also discuss some of the other legends she's chatted with, harmonicas, the Hard Days Night Movie, and much much more! Check out Laurie's book at https://www.confessionsofarocknrollnamedropper.com/ or wherever you get Beatle books!

What do you think about "I Should Have Known Better" at #100? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠!

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While the exact time and place of this song seems to have been lost to the fog of 80+ years of memories, Paul does remember that he wrote this song with the thought it might end up as the Beatles next single in 1964. It seemed to lack that certain Beatle magic singles required, but it found a home on the back half of Beatles For Sale, albeit a home that maybe doesn't do it the justice it deserves. It's sneaky in a few different ways. It's got melodies and hooks for days, from the verse melody to the soaring chorus, to that chorus' emphatic tympani hits. And that's before we even get to John's 12 string electric guitar part, which comes across as a totally different take on the 12 string electric from what George would have played. Speaking of John, he turns in a fantastic vocal, and it's one of the rare times in the catalogue a song is sung by a Beatle who wasn't also the composer of the song.

Joining us this week is Joe Adragna, the brains behind power-pop force The Junior League. He's been putting out critically acclaimed music under this moniker since the early aughts, as well as playing in a variety of other groups. We chat with Joe about DIY recording and Jonathan's lazy musical output, power pop blueprints, childhood Beatles obsessions, and the Beatles' impact on kids today. Be sure to check out Joe's music at The Junior League's bandcamp page, or wherever you buy or stream music! And give em a follow on Facebook!

What do you think about "Every Little Thing" at #101? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠!

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Been a long time since we did a two-fer episode! Here we go!

The Beatles often seemed to turn in some of their best work when up against a deadline. A handful of songs that would make up most the Help!album seemed to come about in short order, as the band had to write and record a big majority of the album before leaving to film. "You're Going to Lose That Girl" is one John knocked out in short order that really shows the band's growth as a unit, and represents them at maybe the most professional sounding of the early Beatles era. A killer, classic John vocal with pitch perfect call and response vocals from Paul and George and rock solid foundation from Ringo, pushed forward by a frantic bongo overdub. It just seems to be the epitome of early-Beatles cool, especially in light of the brilliant performance footage of it in the Help!film.

And in very different times, the band turn in one of their most straight ahead rocking performances with "Sgt. Pepper's Lonely Hearts Club Band (Reprise)." By the end of the Sgt. Pepper sessions, the band hadn't really done a true out and out fast rocker since maybe the middle of 1965. Ready to put their masterpiece to bed, the band spent the last day of the sessions letting it all out on the uptempo penultimate track. With some of Ringo's most killer grooves (the Beastie Boys would sample the intro on Paul's Boutique, their own hip-hop Sgt. Pepper), absolutely killer guitar from George and John, and some of Paul's most frenzied shouting, the band showed that even though they were branching out in all directions, they could be the best rock and roll band in the world.

Joining us to talk these two songs this week is Mary Lasseigne! The bassist for The Cowsills (formerly of Cowboy Mouth, just like me - there's a lot of us) stops by to talk backing into the Beatles via Wings, playing with 60s legends, Now and Then, and these two very different Beatles tunes. Catch her on the road with The Cowsills!

What do you think about "You're Going to Lose That Girl" at #103 and "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" at #102? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠!

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IT'S HERE!! New Beatles music in...2023!?!?!

What a time to be a Beatles fan. After blowing our collective minds with the Get Back documentary in 2021, Peter Jackson and co. have again used their MAL software to allow separation of John's vocal and piano from his original demo, solving the issue that seemed to have stalled the completion of this song in the 95 Anthology sessions. With the help of Giles Martin, Paul and Ringo have finally seen this one over the finish line, the last new Beatles song.

It's a LOT to take in. From the song itself, to ithe controversial video, to the even more controversial single artwork, we wanted to discuss it all. So we decided to gather some Beatle pod friends to chat about after we had a couple of days to let it all sink in. We're joined by Allison of BC The Beatles, and Tommy, Becker, and RB of Blotto Beatlesto let our thoughts out and see just how we're all feeling about this momentous moment in Beatles history.

What do you think about Now and Then? Let us know in the comments on Facebook, Twitter or Instagram. Be sure to check out www.rankingthebeatles.com for all things RTB, grab yourself a Rank Your Own Beatles poster (we'll be updating it soon to include "Now and Then"), or if you're really enjoying it, Buy Us A Coffee!

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After what must have been a creatively exhausting few months creating Sgt. Pepper, The Beatles blew off steam by recording a track that was more in line with the Goon Show humor they grew up loving, filled with weird voices and sound effects, creating comedic environments and asides, purely for the enjoyment of doing something that appeased them. It took them several sessions over a couple years to finish it, with Paul and John working in on it together even during some of their most tumultuous times. For somer reason, it was something they really wanted to finish. Usually a song like that would stay in the vaults, but by the time the wheels had fallen off, this bizarre track found a home as the B-side of "Let It Be," mainly due to John's prodding. If any song released during their time together could be considered obscure, it's probably this one.

However, while it's understandable that this song may not be people's cup of tea, I've always found this to be an absolutely captivating and fun song. It's the absurd humor and silliness we all love in A Hard Day's Night or Help or (more so) Magical Mystery Tour, but on record instead of film. This is probably one of the best looks at the entangled relationship of Lennon and McCartney, two people so connected into each other's brain and psyche and humor. It's their in-jokes, it's their connection as friends with their own private world, and it's right here on record. It's two friends on the microphone doing being the kids they've always been, and it's a blast. How you can you listen to this and NOT smile? And not to mention, it has maybe one of Paul's most ferocious vocals, and possibly Ringo's fattest groove and best sounding drums? Cmon! Who else could do this!?!?!

To discuss this bizarre tune, we're happy to welcome back our good buddy Sam Whiles. He's the host of "Paul or Nothing," the absolutely wonderful Paul McCartney podcast, which is the only place to get All Paul All The Time. He joins us to discuss the bizarre humore and charm of the Beatles, the weird chemistry of bandmates, early aughts internet, and why Jonathan chooses this hill to die on. Be sure to subscribe to Paul or Nothing wherever you get podcasts, and follow Sam on Twitter and Instagram to join the fun.

What do you think about "You Know My Name (Look Up The Number)" at #104? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠Facebook⁠⁠⁠⁠, ⁠⁠⁠⁠Instagram⁠⁠⁠⁠, or ⁠⁠⁠⁠Twitter⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠!

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Lots of songwriters point to the idea that the best songs are the ones that tend to find the you, letting the writer be the vessel or medium. Much like "Yesterday" did for Paul, "Across The Universe" seemed to come to John from within a dreamstate, appearing in his subconscious while lying in bed, almost pushing him to get up and go write down the words and find the melody that seemingly appeared out of nowhere. An absolutely gorgeous lyric no doubt influenced by the band's recent immersion into meditation and easter philosophy, the song marks John at perhaps his most cosmic and peaceful. The irony is that from a recording standpoint, John never could figure out what he wanted to do with the song. Unlike "Yesterday," where George Martin seemed to know exactly what the song needed, that directive and inspiration was no where to be found for "Across The Universe." Lennon lead the band through multiple arrangement ideas but never captured what he thought he was hearing in his head, or where he thought the song should go. Which is a shame because I think although it's a really beautiful track (I love all the versions out there) the track ultimately suffers from an almost un-easy performance from John. As released, it never feels totally settled and comfortable in it's own skin. It's almost like it's missing the confidence in the delivery because John never seems sure of where he should be going. But even still, it's a beautiful song, one of John's best written songs, I just think it's a B- minus track of an A+ song.

Joining us this week is jazz guitarist Dan Wilson! The Ohio-based virtuoso joins us to chat about making people move, jazz vs rock, coming into jazz from a church and funk background, and his newest album Things Eternal, which features a FANTASTIC version of "Eleanor Rigby." There's a taste here in the episode, but we highly recommend you check out the whole thing. Be sure to follow Dan on Facebook and at his website to hear more music and see when he's playing!

What do you think about "Across the Universe" at #105? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠Facebook⁠⁠⁠, ⁠⁠⁠Instagram⁠⁠⁠, or ⁠⁠⁠Twitter⁠⁠⁠! Be sure to check out ⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠Buy Us A Coffee⁠⁠⁠!

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It almost seems a shame that the Beatles only ever recorded one Burt Bacharach song. There are arguably no finer melodicists in modern popular music than Bacharach and Lennon/McCartney. But "Baby, It's You" is the only song from his catalogue they ever laid to tape. Recorded for their first album and a product of their well documented love of girl-group R&B, it's a chance for John to show his fantastic, soulful voice. His voice really carries the track with an impassioned delivery, bolstered by always great background vocals from Paul and George, solid foundation, and a charming celeste solo from George Martin. It's a wonderful example of John's potential for being a blue-eyed soul singer if things had been a little different.

Joining us this week is Chuck Gunderson, author of "Some Fun Tonight - The Backstage Story of How the Beatles Rocked America: The Historic Tours of 1964-1966." His books are the absolutely definitive look at the Beatles North American tours, the going-ons that made them happen, and the behind the curtain look at what went down. It's a stunning 2 volume set filled with hundreds of unreleased photos, we can't recommend it enough! We talk with Chuck about Beatles tributes, writing the book you want to read, the simplicity of early Beatles tours, girl groups, US albums and more! Get a signed copy of the books at somefuntonight.com, or grab a copy at Amazon or wherever you get books.

What do you think about "Baby It's You" at #106? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠Facebook⁠⁠, ⁠⁠Instagram⁠⁠, or ⁠⁠Twitter⁠⁠! Be sure to check out ⁠⁠www.rankingthebeatles.com⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠Buy Us A Coffee⁠⁠!

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At the end of what was probably the busiest year they'd ever have, the Beatles needed a single for the Christmas market in 1964. They needed to churn it out while also wrapping up work on their 4th album. John picked up a riff from a Bobby Parker song and wrote what he thought was "a lousy song" around it, but nevertheless, brought it to the band. Thankfully, his fellow Beatles all had deep bags of tricks to pull from. Ringo added a latin groove straight out of "Tequila," George added a Chet Atkins-infused solo, Paul keeps it tidy with a grooving bass part and great harmonies. And a little bit of musical voodoo gets sprinkled on top when the band stumbled upon the magic of feedback, which they then tack on to the beginning of the track. All of the sudden, this "lousy song" is their 6th consecutive #1 that year, stayed in their live set for the next 2 years, and goes on to be the 56th best selling single of all time in the UK. Not bad for a little song called "I Feel Fine."The Beatles magic of turning a song into something stronger than the sum of its' parts is on display here, as there's not too much weight to the song, but boy is it a cool song.

Speaking of cool, how cool is this? Joining us on the show this week is guitarist, composer, and former Wings member Laurence Juber! The London-born virtuoso joined us for a lovely chat back in June (which is why some of the upcoming things he mentions have already happened), in which we discuss his Teatime with LJ livestreams on Facebook, the upcoming Brady Bunch musical he's been working on, his journey with Wings, an absolutely lovely moment with George Harrison, and much, much more! Be sure to follow Laurence on Facebook at https://www.facebook.com/LaurenceJuberGuitar and you can check out all of his music and keep an eye on dates on his website at https://laurencejuber.com/.

What do you think about "I Feel Fine" at #107? Too high? Too low? Or just right? Let us know in the comments on ⁠Facebook⁠, ⁠Instagram⁠, or ⁠Twitter⁠! Be sure to check out ⁠www.rankingthebeatles.com⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠Buy Us A Coffee⁠!

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Though the Lennon/McCartney partnership really only existed in name by 1969, the two songwriters still knew who the best person was to help complete a half-written tune. As they'd done before on songs like "We Can Work It Out" and "A Day in the Life," each brought an unfinished piece they were able to stick together to make a whole with "I've Got A Feeling," combining Paul's verse idea and John's bridge. It's a song they worked on constantly during their January '69 sessions and was the source of some real touchy moments with George, but it never really took flight until Billy Preston showed up and sprinkled his magic keys on it. Billy's gospel-tinged electric piano provides the perfect call and response in the verse. Paul delivers a powerful top-of-the-range vocal that gets countered by John's more subdued bridge vocal. George's fluid leads throughout combine well with Billy's keys, and Ringo provides a super solid foundation, as always. But in the end, the song doesn't really SAY anything, it's more a performance track than an actual song. Though, I'd give my left toe to write a track like this and have it be someone's 108th favorite song of mine.

Joining us this week is Denver-based singer and songwriter Julian Fulco Perron. He's got a couple of incredibly catchy, vibey, funky singles out right now, reminiscent of "Arrow Through Me" era Wings and Bee Gees grooves. And he does it all himself! We talk about being a DIY artist, genre hopping, what would have happened if Billy had joined the band full time, and Julian's great story about attending a Paul show. Follow Julian at his website, Facebook, or Instagram and stream his music wherever you stream groovy tunes! The songs "About Love" and "Burnout, Baby" are featured in this episode.

What do you think about "I've Got A Feeling" at #108? Too high? Too low? Or just right? Let us know in the comments on Facebook, Instagram, or Twitter! Be sure to check out www.rankingthebeatles.com and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to Buy Us A Coffee!

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George Harrison's journey as a songwriter began later than his other bandmates. After delivering his first self-penned track for the band's 2nd album, he had to rely on a Lennon/McCartney song for the 3rd, and a Carl Perkins cover on the 4th. But by the time of the Help! album, he had 2 on the table, and found his abilities starting to really grow. With "I Need You," he drops the dour, bitter persona he is sometimes known for to deliver an open, honest, vulnerable track that's economical in length, has some gorgeous key changes, and features the band starting to stretch in terms of trying new sounds in the studio. George plays rhythm guitar on a nylon string acoustic, Ringo plays percussion on the back of a guitar, John (?!?!) delivers the back beat on the snare drum, while Paul delivers a really interesting bass part that eschews the normal root note bass mentality. The band aren't afraid to venture into new territory, and George seems unafraid to show his actual vulnerability and own real life turmoil, which all coalesces into a track that's better than people remember.

This week, we're thrilled to welcome back the Queen of Beatles media, Kit O'Toole! Fresh from speaking on a whopping 7 panels at the Chicago Fest for Beatles Fans, we chat with Kit about her upcoming course on the British Invasion at Monmouth University (sign up here), the legacy of the Help! film and album, George's growth as a writer, memories of cds and cassettes, and so much more! Follow Kit on Facebook for more fun!

What do you think about "I Need You" at 110? Too high? Too low? Or just right? Let us know in the comments on Facebook, on Twitter, or on Instagram! Be sure to check out rankingthebeatles.com for all your RTB needs, and tell a friend to come join in the fun!

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The friendly creative rivalry between the Beatles and the Beach Boys arguably hit it's peak in 1966 when the bands released two albums that routinely top "best album ever" lists, the Beatles' Revolver and the Beach Boys' Pet Sounds. Lennon and McCartney had been inspiring Beach Boys mastermind Brian Wilson to up his songwriting, and vice versa. On Revolver, this influence shines through in the harmony-laden "Here, There, and Everywhere," a song Paul managed to scribble together while waiting for John to wake up for a songwriting session. Not a bad way to kill some time. It's an absolutely gorgeous song that, honestly, I'm not sure why in the hell I have it ranked at #111. I must've been in a weird mood the day I did this ranking, or maybe I was halfway through a bottle wine (I did make this list during quarantine afterall), but this song is just beautiful. Between the melody and the 3 part harmony, I pick up real mid 60s Brian Wilson vibes here (not surf era, more the Summer Days.../Pet Sounds era), and it makes me think that while "Here, There, and Everywhere" has a really basic backing track, I wonder if it might have benefited from a more intricate style Brian Wilson production?

To chew on my latest ranking abomination, we're happy to welcome back Death Cab for Cutie guitarist Dave Depper! Since we last chatted with Dave, his band has released the fantastic album Asphalt Meadows, as well as an acoustic version of the album, and he's released a solo album which is an entire cover of the Air album Moon Safari. Busy fella!

Dave calls this song "the most beautiful song ever recorded by anyone," but in shocking news, Julia's not quite feeling it! We chat with Dave about creative spontaneity, remixes, Paul's stunning dexterity as a singer, God-level songwriting, and one of the best stories about meeting a Beach Boy (not that one, and probably not the other one you're thinking of either). Check out Dave on tour with Death Cab for Cutie and the Postal Service this fall (if you can snag a ticket), and head to davedepper.com or deathcabforcutie.com to pick up his tunes and DCFC's, or anywhere you choose to listen to/buy music.

What do you think? Too high? Too low? Or just right? Follow along and let us know your thoughts on Facebook, Instagram @rankingthebeatles, or Twitter (I'm never calling it X) @rankingbeatles. Be sure to visit rankingthebeatles.com for all your RTB needs, tshirts, posters, you name it!

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One of the first songs The Beatles worked on for the Get Back sessions of 1969, Paul's "Two of Us" was inspired by his road trips to nowhere with his new love, Linda; piling in the car, picking a direction and getting lost, just for fun. When he brought it to the band, it was originally conceived as a fast, chugging rocker, with a dual harmony vocal for Paul and John to harness their inner Everly Brothers on. This is the song the band were working on when George has his infamous "I'll play whatever you want me to play, or I won't play at all, whatever it is that will please you, I'll do" moment in the Let it Be film. Despite it's peaceful, loving origins, it was a track that caused major head bumping. However, in it's final form, it's a breezy, easy, track, with effortless vocals from Paul & John, and just the right amount of everything from the band musically. I've got to say, I adore this song, and what I was thinking when I ranked this at #112, I have no idea. Honestly, maybe I was drunk. I don't know, I ranked these during lockdown so it's possible.

To rightfully question my sanity this week, we welcome Brian O'Connor and Simon Barber to the pod. Better known as the duo Sodajerker, Brian and Simon are a songwriting team who also host the absolutely brilliant podcast Sodajerker on Songwriting. For the last 10 years, they've been interviewing the cream of the crop of the world's biggest and most successful songwriters, legends such as Elvis Costello, Lindsey Buckingham, Nile Rogers, Diane Warren, Paul Simon, Noel Gallagher, and an up-and coming writer you may have heard about named Paul McCartney. They've amassed the largest archive of songwriter interviews in the world, and it's one of my absolute favorite listens, both as a musician, and as a music lover. Brian and Simon join us to talk about all manner of things, sculpting air, esoteric songwriters like Van Dyke Parks and Michael Nesmith, bad Scouse acting, how badly Jonathan blew it here, and their absolutely EPIC meeting with Sir Paul.

Check out Sodajerker at www.sodajerker.com, or on Apple podcasts or anywhere you get podcasts!

What do you think? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Instagram ⁠⁠⁠⁠⁠⁠⁠⁠@rankingthebeatles⁠⁠⁠, or ⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠⁠⁠@rankingbeatles⁠⁠⁠! Be sure to visit ⁠⁠⁠⁠⁠⁠⁠⁠rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠! Wanna show your support? ⁠⁠⁠Buy us a coffee⁠⁠⁠!

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By the time of the White Album, George Harrison had mellowed considerably, thanks in part to his immersion in meditation. His newfound enlightenment replacing the dour, bitter side that came out in earlier songs like "Don't Bother Me," or "Taxman." So it's interesting that this chilled out version of George would decide to pickup the abandoned-in-1966 song "Piggies"to complete for the band's 1968 album. But indeed he does, and with a big assist from Abbey Road engineer Chris Thomas, turns in an Orwellian baroque classical-influenced social commentary track about class inequity. It's an outlier on a album with many outliers, but it's a really fun, light-hearted yet heavy-handed track that wouldn't work nearly as well without the harpsichord work of Thomas, who happened to be overseeing the session and had the gumption to suggest, and then perform that part that essentially drives the whole track. Whether it's essential is another argument for another podcast, but it wouldn't be the White Album without "Piggies."

Bringing a close to 3 Weeks of The Walrus is the caboose that makes our Beatley engine work, Andre Bohren. Andre is commonly known in musical circles as a drummer, mainly holding it down for Johnny Sketch & The Dirty Notes and being one of the busier drummers for hire in the area. He's the drummer in the Walrus, but he's also the keyboardist/pianist and he often plays drums and keys at the same time. You see, he's a classically trained pianist, who, when he's not playing drums, also does classical performances at clubs and festivals all over town. And since I know nothing about classical music, he's the guy for the job. We chat about some of the intricacies of classical music, the chronological proximity of the Beatles to classical composers (its about the same from then to now, terrifyingly enough), Chris Thomas, MVP, and the playful "screw you" that is "Piggies." Check out everything Andre, and get a copy of his fantastic classical piano record Resonance at https://www.andrebohren.com/.

What do you think? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Instagram ⁠⁠⁠⁠⁠⁠⁠@rankingthebeatles⁠⁠, or ⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠⁠@rankingbeatles⁠⁠! Be sure to visit ⁠⁠⁠⁠⁠⁠⁠rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠! Wanna show your support? ⁠⁠Buy us a coffee⁠⁠!

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Though George was still a budding songwriter in 1964, deadlines and heavy workloads meant he didn't have anything ready for the band's 4th album. John and Paul didn't seem to have the time to write him something new either, so when the clock was ticking, the band reached back into their bag of beloved covers to find a spotlight for their lead guitarist. Everybody's Trying To Be My Baby, a song by one of their heroes Carl Perkins (or was it?) proved a formidable track to give George a chance to flex his well honed country guitar muscles, and give the band a fun rocking moment to end their most mellow record to date, Beatles For Sale. It may be a cover, but it's a great band performance. George is really confident in his singing and playing, and really seems to be going for it vocally. It's a really fun track on a more serious album, and though the track is a good time, live, it's an absolute stomper. At Shea Stadium, they sound like the world's best garage band. I maybe wonder if I associate that smoking like track more with the song and that may bump the ranking up a bit more in my subconscious, but maybe not. I just love this song.

We're in week two of the Three Weeks of Walrus here on Ranking the Beatles, and who better to talk George with than our own quiet one, Felix Wohlleben? Our lead guitarist joins us to talk about the origins of The Walrus and his own journey as a guitarist, the influence Jazz has on the Beatles (and their influence in Jazz), Carl Perkins: Song Thief, Beatles Vs. Stones, and more! Though we have no Walrus album for you to check out (I mean, the Beatles did it first), check out the record Felix just made with Jenn Howard! Get yours here!

What do you think? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Instagram ⁠⁠⁠⁠⁠⁠@rankingthebeatles⁠, or ⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠@rankingbeatles⁠! Be sure to visit ⁠⁠⁠⁠⁠⁠rankingthebeatles.com⁠⁠⁠⁠⁠⁠! Wanna show your support? ⁠Buy us a coffee⁠!

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When you're cranking out 2 albums a year, plus singles, plus a movie, plus BBC sessions, plus tv appearance, AND touring, it can be a little difficult to crank out nothing but brilliance. While most of us hardcore Beatle fans are not quick to deride many songs in their catalog, the Beatles themselves certainly could be, and both John and Paul minced no words in describing this Help! album track. "Abominable," "Abysmal," "Lousy," and "Not literature" are just a few of the descriptors they gave to this song. That said though, I tend to think it's actually got some real merit, despite the slight lyrics and weak rhymes. Melodically, it's actually quite lovely, and John's vocal is beautifully understated throughout, with just enough ache in the chorus to sell it, followed by a wonderful falsetto Roy Orbison-esque sendoff. It's always been a bit of a sleeper for me, as a great melody can cover up all manner of sins.

For the next three episodes, we'll be welcoming on my bandmates from The Walrus - A New Orleans Beatles Tribute to chat songs and Fabs. After playing more shows than our band ever has in the last couple of years, I thought it'd be interesting to see how our immersion into the catalog has influenced the work we do outside of it. And I just like hanging with these folks.

Joining us this week (for the 3rd time!) is David Pomerleau, bassist and singer in The Walrus (as well as New Orleans institution Johnny Sketch and the Dirty Notes, and the country trio Desert Nudes). We chat with Dave about his songwriting process, being allowed to hate your own work, chaos brains, Phish and Rush, embarrassment and so much more!

What do you think? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Instagram ⁠⁠⁠⁠⁠⁠@rankingthebeatles⁠, or ⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠@rankingbeatles⁠! Be sure to visit ⁠⁠⁠⁠⁠⁠rankingthebeatles.com⁠⁠⁠⁠⁠⁠! Wanna show your support? ⁠Buy us a coffee⁠!

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It takes a certain higher level of creativity to write a song based around the more mundane and every-day-type affairs. Obviously, that's something Paul McCartney has in spades, as he was able to turn an encounter with a meter maid into the Sgt. Pepper track "Lovely Rita." A bouncing song held down with a really funky groove from Ringo, a ridiculously cool bass part from Paul, all manners of vocal effects and sounds, it's the kind of track that they Beatles could've only put out on the Sgt. Pepper album. There's a humor to the whole process that belies the fact that it's author is one of the smoothest bachelors in the world, but ultimately strikes out in his attempt to woo said meter maid. Who would write a song about this? Paul McCartney, of course.

Joining us for our 100TH EPISODE (!!!) is Atlanta-based-by-way-of-New-Orleans songwriter Matt Hobbs. Matt's the brains behind Puppy Songs, the creator of viral songs inspired by his dogs (and listeners dogs), a master at taking the mundane, every-day-type affairs, like the goofy things we sing to our pets, and turning them into insanely catchy songs. His recent song "Cheese Tax" landed him, as well as his pups Leni and Mar Pup on NPR, The Today Show, and a list of other sites, podcasts, and interviews, including a sponsorship with Kraft Sings, who made their own Cheese Tax pack. Puppy Songs has been a constant source of smiles in our house, and we think you should give a follow on Facebook, Instagram, or TikTok, or check it out on Spotify, even if you don't have pups of your own. Also, check out Matt's new-non-puppy single, "How Amazing,"which is out now! We chat with Matt about finding ways to stand out, sharing your authentic self, White Album summers, the REAL Rita, and living (musically) by the idea of WWPD? What would Paul Do?

What do you think? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Instagram ⁠⁠⁠⁠⁠@rankingthebeatles, or ⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠@rankingbeatles! Be sure to visit ⁠⁠⁠⁠⁠rankingthebeatles.com⁠⁠⁠⁠⁠! Wanna show your support? Buy us a coffee!

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What was originally a song given away to fellow Liverpudlian singer Billy J. Kramer, "I Call Your Name" is claimed to be one of John's earliest song attempts, pre-dating the Beatles when he was first learning to play guitar. The song was spruced up with Paul for Kramer, but then reclaimed by the Beatles in early 1964 in consideration for songs for A Hard Day's Night. That plan fell by the wayside, but the track found its' home on the Long Tall Sally EP and The Beatles Second Album in the US, though managed to stay somewhat of an obscurity, as far as Beatles songs go at least. However, that doesn't prevent it from being an ripping, if not adventurous slice of music from the boys. For such an early song, it goes to some interesting places melodically, showing John possessed his knack for songwriting at an early age. It features some fantastic 12 string work George, though he's still getting comfortable with the instrument. It's a song about being absolutely devastated by loss, to a point of not even being able to cry, and if the timing is correct as John claims, it seems like it may be about something really, really hurtful from his past. It's all held together by a phenomenal vocal performance from John, hitting the peak his of his early phase vocals. Then of course, there's that rhythm change in the solo, an imaginative, experimental move the band had never tried, completely out of left field. It's a fantastic song and recording, as evidenced by the fact that it was covered contemporaneously by acts like The Mamas & The Papas and The Buckinghams, among others.

When we need to get deep on John, few are better to speak on it than Jude Kessler, author of the on-going 9 volume "The John Lennon Series." She's been researching Lennon's life since the 80s, and her books are becoming known to be the benchmark for deep diving on John and his history and what makes him tick. Plus we just like talking to her because she's incredibly nice! She's released 5 of the 9 volumes so far, and the audiobook for the 3rd volume, "She Loves You," is out now! Check it all out and get a copy at thejohnlennonseries.com! We chat with Jude about the Fest for Beatles Fans, John's family life, Beatle b-sides and so much more!

What do you think? Too high? Too low? Or just right? Let us know in the comments on⁠⁠⁠⁠Facebook⁠⁠⁠⁠,⁠⁠⁠⁠Instagram ⁠⁠⁠⁠@rankingthebeatles, or⁠⁠⁠⁠Twitter ⁠⁠⁠⁠@rankingbeatles! Be sure to visit⁠⁠⁠⁠rankingthebeatles.com⁠⁠⁠⁠! Wanna show your support? Buy Us A Coffee!

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After almost a half a year of intense work on the Sgt. Pepper album, it's hardly surprising that, though there was plenty of work to be done for future endeavors, the Beatles were looking to blow off some steam and take things a little bit lighter. "All Together Now," a song that even by Paul's own admission is pretty slight in the grand scheme of things, certainly fits that bill. It eventually found its' home in the Yellow Submarine film and accompanying soundtrack. In the film, it's the finale, when we finally get a glimpse of the real life Fabs, looking different than their cartoon counterpoints, not quite Beatlemania, but not quite the longhair, bearded phase they'd be into after the film. It's a weird, inbetween phase, highlighted by John's brilliant mutton chops. But musically, it's just a blast of simple, pure joy...nothing more, nothing less. Driving acoustic guitars, hand claps, harmonicas, honking horns, and a call and response vocal of what's essentially nonsensical children's song lyrics are all the ingredients of what's basically musical ice cream...no real nutritional value, but boy is it delicious. This is a song that always puts a smile on my face and makes me move, regardless of the mood I'm in. The Beatles can be all things to all people, and one of the things I genuinely appreciate about them is the fun they can bring, and this is one of my favorite examples of that. I think I may be in the minority on here, but it's my list, so hate on, haters!! :)

Joining us this week is author Madeline Bocaro, author of "In Your Mind - The Infinite Universe of Yoko Ono." Having been a fan of Yoko from before she was with John, Madeline's been working towards this book for years. She tracks Yoko's life and journey through her artwork and music, delivering a fantastic book that is best described (at least in our conversation) as hitting the imaginary nail on the imaginary head. You can get a copy at conceptualbooks.com or any of your usual bookstores, and follow her blog at https://madelinex.com/.

What do you think? Too high? Too low? Or just right? Let us know in the comments on⁠⁠⁠Facebook⁠⁠⁠,⁠⁠⁠Instagram ⁠⁠⁠@rankingthebeatles, or⁠⁠⁠Twitter ⁠⁠⁠@rankingbeatles! Be sure to visit⁠⁠⁠rankingthebeatles.com⁠⁠⁠! Wanna show your support? Buy Us A Coffee!

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In the fall of 1964 as the Beatles began working on what would become their 4th album, Beatles for Sale, it was only a couple of months after their 3rd album hit stores. They'd been constantly touring, making their first feature film, recording BBC sessions, essentially going non-stop. Time for songwriting was becoming precious and hard to find, so consequently, they started looking back at more of their favorite covers and originals that had been pushed to the back burner. One of those was Paul's "I'll Follow The Sun," a song with origins that traced all the way back to 1958. What was originally a bit of a jauntier song was transformed into an introspective, folksy ballad, given some lyrical tweaks and a fresh arrangement, and turned into a really beautiful moment on an album that often gets overlooked. It provides somewhat of a throughline for Paul's love of ballads and more tender material, a throughline that starts with their first album and continues all the way through to today. And for a song that he wrote when he was 16...it's pretty darn beautiful. If it loses any points, it's not its' own fault, its just part of such a storied song catalog of songs written by a more learned songwriter. But what a melody. Don't sleep on this one.

Joining us this week is New Orleans-based alt-pop musician and songwriter Julie Elody! After finding some initial success with her college band, she's now working solo, collaborating with producers and artists from around the world. She's recently released a couple of new singles, the gorgeous "Hate Myself," and most recently, "Get Fit," a banger about working out so that we can eat all the chips and good food we actually want to eat. We talk with Julie about how the Beatles impact her coming from a pop perspective, not growing up with a ton of Beatles, ungooglable band names, the damage of pep band arrangements of Beatles songs, and more! Check out her music at www.julieelody.com, and follow her on Instagram @julieelody. You can also catch Jonathan's recent appearance on her Tub Talk Tuesday here!

What do you think? Too high? Too low? Or just right? Let us know in the comments on⁠⁠Facebook⁠⁠,⁠⁠Instagram ⁠⁠@rankingthebeatles, or⁠⁠Twitter ⁠⁠@rankingbeatles! Be sure to visit⁠⁠rankingthebeatles.com⁠⁠! Wanna show your support? Buy Us A Coffee!

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The Beatles' love of r&b, Motown, and especially Smokey Robinson are no secret. They were such fans, their 2nd album, 1963's With The Beatles featured 3 motown covers, including "Please Mr. Postman," originally by the Marvellettes, and the first chart topping single for the Motown label. While it wasn't as big a hit in the UK, it was a hit with the Beatles, who added it to their set as early as December 1961. By the time they were working on their second album, they had turned it into a scorching, passionate tune, with one of John's finest early vocals, great backing vocals from Paul and George, and as always, rock solid support from Ringo. Their love of the material shines through, making for one of my favorite Beatles cover songs of the early era. It's just got...that thing.

We're excited to team up with our OG podpals for this episode! Those boys from Beantown are back, Becker, Tommy, Scotty C., and RB, the crew behind Blotto Beatles, the best ranking-while-drinking-Beatles podcast around! We love hanging and chatting with this crew, it's always a blast. We finally meet RB, the newest Blotto, and talk about his Beatle journey, Motown songs, Beatle covers good and bad, Blotto episode titles, and so much more! Be sure to listen to Blotto Beatles anywhere you get podcasts, on Twitter, Facebook, or Instagram, and at blottobeatles.com for all things Blotto (incl. great merch!)

What do you think? Too high? Too low? Or just right? Let us know in the comments on⁠Facebook⁠,⁠Instagram ⁠@rankingthebeatles, or⁠Twitter ⁠@rankingbeatles! Be sure to visit⁠rankingthebeatles.com⁠! Wanna show your support? Buy Us A Coffee!

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Lennon and McCartney were masters at finding inspiration all around them, not just from their own personal lives. On the Sgt. Pepper's Lonely Hearts Club Band album, John was inspired by a poster in his house and wrote "Being For The Benefit of Mr. Kite." Paul found inspiration in reading a news story about a young teenage runaway, and turned that into the harp and string-laden drama ballad "She's Leaving Home." Another of those great Macca Mind Movies where the story is so vivid you not only can see it in your mind's eye, but you sympathize with the characters in the song. It's a song that often gets overlooked, as it's surrounded by so many big hitters on the album, but it's an absolutely gorgeous tune. 

Joining us this week is Olivia Nilsson, daughter of the late, great Harry Nilsson, who was so taken by "She's Leaving Home," he recorded his own version of it just days after the release of Sgt. Pepper's Lonely Hearts Club Band. With a gorgeous horn arrangement and spotlighting Harry's brilliant vocal range, his version has always been one of our favorites in his catalog. Olivia runs the fantastic Nilsson social media accounts, where she shares stories of her dad, histories of songs, and behind the scenes tales all with a much more personal touch than one would normally find from an artist, especially a legacy artist. She's instrumental in the ongoing resurgence in the interest in Harry's music, and a fantastic guard of his legacy. We talk building her dad's legacy, his Forrest Gump-ian career, mutual inspiration between Harry and the Beatles, his cover of She's Leaving Home, and much more! Be sure to follow on Instagram at @officialnilsson, TikTok at @theofficialnilsson, or on Twitter at @officialnilsson to see what she's sharing! 

What do you think? Too high? Too low? Or just right? Let us know in the comments onFacebook,Instagram@rankingthebeatles, orTwitter@rankingbeatles! Be sure to visitrankingthebeatles.com! Wanna show your support? Buy Us A Coffee!

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From the moment he joined the band, Ringo's popularity meant he'd have a song or two to sing each night. This was a practice for The Beatles even when Pete Best was in the band, but once things really took off, and Lennon and McCartney were becoming more solidified songwriters, they knew it'd be good to have an original for Ringo to sing. "I Wanna Be Your Man" was written while the band was working on their second album, and according to some tellings, was written on the spot for a young, upstart band called The Rolling Stones, who were looking for a song that might be a hit. Whether it was written specifically for the Stones or for Ringo, it turned into Ringo's vocal turn on the With The Beatles album, and also provided the Stones with their first chart hit. It's a simple but effective rocker, a glimpse to what the band might've sounded like bashing it out in the Cavern, and it stuck in the band's live set all the way through the end of their touring days in 1966. It swings, it's fun, it's got a really cool turn around, and Ringo really goes for it vocally, which isn't what he usually does.  

Joining us this week is Narada Wise, an Ohio-based drummer who plays with New Orleans-based kirtan band Sean Johnson & The Wild Lotus Band. We talk about just what kirtan music is, how Ringo influences Narada's playing even in a genre that's very different from the Beatles, the brilliance of Ringo, rock & roll lazers, and much more! Follow Narada and the band at www.seanjohnsonandthewildlotusband.com, check out their music, and see when they're coming to your town!

What do you think? Too high? Too low? Or just right? Let us know in the comments onFacebook,Instagram@rankingthebeatles, orTwitter@rankingbeatles! Be sure to visitrankingthebeatles.com! Wanna show your support? Buy Us A Coffee!

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Self-care isn't always something that gets prioritized when we're in our 20s. But the notion of taking the time to check in with yourself, to be mindful of the things going on around and inside of you seems to be something that Paul McCartney was tuned into in 1967. He credits this with the freedom to discover himself that he found through mind-expanding stimulants of the time, namely marijuana and LSD. "Fixing A Hole" is the result of this, a metaphorical look at taking personal stock and learning to look after one's self. It's an interesting tune that doesn't really sound like anything else on Sgt. Pepper, it's not overtly psychedelic, and personally, it's a bit of a sleeper for me. A sleeper in that I seem to forget about it but when it pops up I remember how lovely it is. There's some interesting questions about it too...did Mal Evans get a co-write on it? Did John really play bass? How did George get that rad guitar tone?? 

Joining us this week is the wonderful Sonia Tetlow, an Atlanta, GA-based singer/songwriter by way of New Orleans. She's got a fantastic new solo album out, "Better Days," which Jonathan played guitar on, and features previous RTB guests Andre Bohren and Paul Sanchez. We talk about what it takes to make a really great record, a mysterious Beatles song Sonia doesn't like, and much much more! Follow Sonia on Facebook, and you can stream "Better Days" anywhere you stream quality music, or download it or buy it on CD through her Bandcamp!

What do you think? Too high? Too low? Or just right? Let us know in the comments onFacebook,Instagram@rankingthebeatles, orTwitter@rankingbeatles! Be sure to visitrankingthebeatles.com! Wanna show your support? Buy Us A Coffee!

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Originally sketched out in a notebook of song ideas started in Rishikesh, Paul's "Mother Nature's Son" is part of a trifecta of White Album songs where he emerges as fully formed solo artist, the only Beatle on the track. It's a beautiful acoustic-based song about the solitude and peace one finds in nature. Featuring a nice bit of Nilsson-influenced brass, it provides fantastic imagery and scenery, another of those great Beatle mind movies. And to my ears, it's also a LOT more autobiographical than it gets credit for. Paul had been somewhat isolated from the other 3 Beatles for a few years, socially, living in the city area of London, while the other three relocated to the stockbroker belt. The others took to LSD long before he did. He left India before John and George. In a lot of ways, he kind of HAD to become a self-contained solo artist to get out all the creativity he had inside him because he didn't have his partners around him as much. Maybe this poor young country boy is more telling of a track than we realize? Regardless, it's certainly one of his more beautiful acoustic tracks that he can just churn out so easily. This one feels so effortless and delicate and unguarded, in a way a lot of these songs don't for him.

Joining us this week for our 90th episode, and our season finale, is Dr. Susan Shumsky. Her new book is called The Inner Light: How India Influenced the Beatles. It's a topic she knows a thing or two about, as she spent several decades under the mentorship of Maharishi Mahesh Yogi, and has spent years teaching thousands of people meditation. We chat with Dr. Susan about her own experiences with Maharishi, his thoughts on the White Album, Paul being more of an open book than we realize, and much much more! Grab a copy of her fantastic book (we read it on vacation shortly after taping, it's great) at your local bookstore or online at drsusan.org.

What do you think? Too high? Too low? Or just right? Let us know in the comments onFacebook,Instagram@rankingthebeatles, orTwitter@rankingbeatles! Be sure to visitrankingthebeatles.com! Wanna show your support? Buy Us A Coffee!

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"We made a mistake," said John. "We thought there was more to him than there was, you know?" said Paul. After their stay in Rishikesh ended, the Beatles' overall disillusionment with the Maharishi lead to John and Paul publicly distancing themselves from the Eastern philosophy and path to enlightenment that George had lead them all to pursue. And while the unit a whole distanced themselves, marking the end of that phase for the group, George continued his practice and involvement for the rest of life. He felt the group viewed him at fault for they saw as public embarrassment, but in his mind, they were free to make any choices they wanted, and to follow any path they chose. It wasn't his fault. And thus was born "Not Guilty," a song recorded during the summer of '68 for the White Album.

The band spent more time on "Not Guilty" than any other song in their recorded catalog, and after all that work, it was left in the archives until the Anthology project in the 1990s. George re-recorded it in the late 70s for his self-titled solo album, albeit in a much mellower version. The Beatles version though seethes in a moody, angry way. George's fully self-referential lyrical style is on display, singing a song about something obviously very personal, maybe almost too much so though. It's a much darker, heavier song than The Beatles typically are known for, with some interesting instrumental and arrangement choices, leading them to spend over 100 takes trying to get the track right. But everyone comes to play here. John's harpsichord track moves things into a kind of demented carnival territory, with George adding a sublime, almost detached lead vocal, and a stabbing electric guitar part. Ringo gives a dynamic, grooving part, while Paul provides one of the coolest bass parts he ever laid down. Maybe John and Paul weren't comfortable with letting George be the one to air the dirty laundry at this point, but to me, leaving this song off the White Album was a rare mistake in their catalogue. It makes the album a bit more of a rocking album, and shows another side of the band musically.

We're always pleased to catch up with this week's guest, our old pal Sam Whiles. Sam hosts the brilliant podcast "Paul Or Nothing," the place to get all Paul, all the time. We chat about George's knack for pointing the finger at others, whether this should've been on the White album, George solo albums, and we talk a good bit of smack about other Beatle podcasts (all joking of course!). Check out Paul or Nothing anywhere you get your podcasts!

What do you think? Too high? Too low? Or just right? Let us know in the comments onFacebook,Instagram@rankingthebeatles, orTwitter@rankingbeatles! Be sure to visitrankingthebeatles.com! Wanna show your support? Buy Us A Coffee!

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They say there's no rest for the wicked, but throughout the 60s, there was often no rest for the Beatles. As soon as work was done on the Sgt. Pepper's Lonely Hearts Club Band album, they began working on more songs with an eye towards the recently-contracted-Yellow Submarine film. Inspired by an acid-fuled evening spent at the 14 Hour Technicolor Dream and his immersion into the hippy scene of '67, John began working on a song called "One of the Beautiful People." At some point, he paired with a song fragment Paul had, possibly inspired by their want for manager Brian Epstein to start enjoying himself and some of the money they'd all made, and "Baby, You're A Rich Man" was born. One of the coolest grooves the Beatles (especially Ringo) ever laid to tape, the tune bounces from detached, light-hearted falsetto to a boisterous, joyous chant of the chorus, all held together with a musical equivalent of a mosquito in flight, John's performance on the clavoiline (possibly played with an orange?), an instrument that was lying around Olympic Sound Studios, the studio the band was recording in on that evening. It's an absolute jam of a track, and incredibly fun, but the track maybe hiding that fact that the song itself is maybe lacking a bit in substance.

Joining us this week is our old pal James C., host of The Oasis Podcast. He recently undertook the ill-advised task of ranking the entire catalogue of Oasis, as well as the Gallagher bros post-Oasis work. We wanted to compare notes on how we each went about our rankings, and what we took from it. Of course, I'm always up to talk about Oasis, as they're one of my other favorite bands. We touch on all kinds of things like musical and emotional growth (or lack thereof), memories triggered by music, and the difference between American and British podcast guests. Check out his brilliant Oasis Podcast anywhere you listen to podcasts about Oasis!

Trigger Warning: in regards to a long-held rumor about a lyrical variation on this song supposedly sung by John about Brian Epstein, we do discuss the cultural differences between the F-word, and the word is mentioned in that conversation, but purely in a contextual sense. If you'd rather skip this discussion, it starts at an hour and 3 minutes in, and lasts for about 6 minutes, feel free to skip ahead, and know that in no way do we condone or support hate speech or language of that type.

What do you think? Too high? Too low? Or just right? Let us know in the comments onFacebook,Instagram@rankingthebeatles, orTwitter@rankingbeatles! Be sure to visitrankingthebeatles.com! Wanna show your support? Buy Us A Coffee! 

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Paul McCartney seems to always have a fondness for looking through time. He looks to older age in songs like "When I'm 64,"too his own passing in "The End of The End" from Memory Almost Full. He presents quasi case studies in the music of yesteryear with songs like "Honey Pie" or "Your Gave Me The Answer." With "Things We Said Today," he's looking to the future to look at the present, thinking that one day, what he's experiencing NOW will be but a memory. Or something like that. That's how he explains it at least, and who am I to argue? 

Presented on the back half of A Hard Day's Night, "Things We Said Today" is a somber look at a relationship he already seems to know may not last. Its driven by an energetic acoustic guitar and a fantastic McCartney melody with some nice chord movements. Additionally, being an acoustic based, up-tempo, minor key song, it stands out on an album that's pretty filled up with John-dominated rockers as a song with a bit of sophistication. And while it's definitely a really good song, I don't necessarily think it's a great one. It seems to serve as a blue print for things Paul would go on to do better in the coming years, and as such, I don't find myself thinking of it all that often. When I do though, I definitely enjoy it, it just feels like....it's a bit lighter than I remember it?

Joining us this week is author and Hollywood Historian Laurie Jacobson. Her newest book, Top of the Mountain: The Beatles at Shea Stadium 1965 is a fantastic recounting of the entire journey of the concert event that changed live music, as told from interviews with people who helped put the show on, performers on the bill, and people in the audience, many of whom are now well known figures. We can't recommend it enough, it's a great read! We talk about Shea, seeing the Beatles live, nightly Beatle rituals, and also, I had a cold when we recorded this, so apologies if my voice is a bit scratchy at times. The show must go on as they say. Grab a copy of Laurie's book at lauriejacobson.com or anywhere you get good books!

What do you think? Too high? Too low? Or just right? Let us know in the comments onFacebook,Instagram@rankingthebeatles, orTwitter@rankingbeatles! Be sure to visitrankingthebeatles.com! Wanna show your support? Buy Us A Coffee!

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Hindsight being what it is, one can only imagine the reaction listeners had when they first reached the back half of side 4 of the White Albumin November 68, and the sounds of"Revolution 9"came out of their stereos for the first time. While adjectives such as "bewilderment" or "confusion" probably are safe bets, The Beatles had been sowing seeds of avant-garde & outside influence in their music since they introduced the sitar on Norwegian Wood in 1965, moving to tape loops and backwards tracks and exploratory (if not self-indulgent) recording techniques on Revolver, Sgt. Pepper and Magical Mystery tour, and they'd been nothing if not progressive since day 1. All of them had experimented in making their own home-studio recordings of weirdness, and while they hadn't completely committed to putting out something like this in a traditional commercial sense, once John had Yoko's encouragement to stretch out to new artistic horizons, all bets were off. He was staying true to his art and following his muse, and Beatle fans were invited to come along for the ride. 

Our first taste of this is "Revolution 9," an 8 minute plus journey through playful and terrifying soundscapes, spoken word, and tape loops, with roots from the original extended take of "Revolution 1." The final product is a auditory journey through John's idea of the sonics of actual revolution: chaos, explosions, backwards sounds, eerie melodies, screaming, stereo spectrum panning creating a dizzying effect. Over 40 loops pass through the tape heads at EMI's Abbey Road studios, each faded in and out of the track in real time by John, with help from Yoko and George. It's truly a one-of-a-kind performance, using the studio as an instrument, both musical and one of chaos. And while it may have caused many listeners to ask "why?," if you look beyond the obvious, there's more important questions to ask, and more joy to be discovered. Why would an artist who's work I so admire put out something I don't get? Why don't I get it? What are my expectations, and are they fair to the artist? The more time you spend with a track like this, the more you can start to see those things and begin to appreciate the track. I, for one, appreciate that this is maybe the only song that you can never hear the same way twice. It's like a choose-your-own-adventure book, but in a song. I also like that it's essentially a non-visual soundtrack. You can listen to it and picture every element of it in your head, all are total mysteries until you imagine what's passing through your eardrums. And to add to it all, they've dropped this slice of musique concrete on a pop album that ended up in like, 30 million homes. Arguably one of the boldest and bravest artistic moves ever. The Beatles could be absolutely fearless, and what sums that up more than this?

Coming back to chat with us this week is James Campion, author of the book Take A Sad Song: The Emotional Currency of Hey Jude. We had such a good time talking "Revolution 1," we had to have him back for #9! We dive deep into topics like what constitutes art, being true to yourself, Stockhausen, and more. This is one of our favorite chats yet! Grab a copy of "Take A Sad Song" anywhere you get books, or order one through jamescampion.com and he'll even sign it for you!

What do you think? Too high? Too low? Or just right? Let us know in the comments on Facebook, Instagram@rankingthebeatles, or Twitter@rankingbeatles! Be sure to visit rankingthebeatles.com! Wanna show your support? Buy Us A Coffee!

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It only took a few days of the Get Back project for George to lose any real optimism he may have entered it with. Malaise, indecision, and ego had been building for a while, and as they took root in the project, George took to pen to put down his feelings towards his song-writing bandmates’ (and humanity in general’s) egos and selfishness, the minor key “I Me Mine.”

In the end, the track only features the lineup that would go on in the 90s to be coined The Threetles, as John was on holiday and already had announced his intention for a divorce, but George, Paul and Ringo turn in a pretty great performance. While it could’ve been approached as little more than a loose end to tie up, they bring their A-game, from George’s lead guitar which moves from elegant acoustic to aggressive electric and his fantastic lead vocal performance, to Paul’s smart addition of the rock bridge, all held together by a really artful drum track from Ringo. It’s one that really hits the mark. Even Phil Spector doesn’t overstep the line here, making the right call in extending the arrangement, and not overdoing it with the orchestra and choir.

Returning this week is our palMicah McKee, singer/songwriter, and brains behind The Lonesome Wilde. Micah’s one of New Orleans’ more prolific songwriters, and his band’s new single “I’m Your Piano” is out now. He’s also the host of American 100, a podcast looking at the history of the Billboard top 100 charts. We touch on a number of points, from what made George his Beatle, the sadness of 69/70, our shared love of the New Orleans Pelicans, and whether or not I Me Mine was a warning to others about the failure of flower power the Summer of Love.

What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website, www.rankingthebeatles.com and our brand new webstore!! RANK YOUR OWN BEATLES with our new RTB poster!  Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support? Buy Us A Coffee!

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Note:This episode was originally taped several days before the release of "Got To Get You Into My Life (Second Version/Unnumbered Mix)" from the upcoming Revolver Super Deluxe reissue. We reconvened several days after that track's release to discuss the alternate version, and how it not only compares to the original, but how it changes our perceptions of the track. That conversation has been added to the end of our ranking discussion. 

One of the defining traits of Revolver is the vast differences between its' songs. The sessions started off with John's psychedelic masterpiece "Tomorrow Never Knows," and then moved from the paisley, trippy world to the sunshine and R&B bombast of Paul's "Got To Get You Into My Life." He must've known it was full of potential, as he lead the band through 2 different arrangements of it, then sat on it for several weeks before landing on the song's iconic horn arrangement. As we learn recently though, that melody was around as part of a full band, guitar melody. Yet one of Paul's strengths has always been pulling the most out of a song's potential, and he does it swimmingly here. It's a bright, confident blast of Stax/Motown-influenced R&B, yet feels distinctly like something that would come out of swinging London in the summer of '66. One of my only wishes was that the final version had more of the full band energy in it. And wouldn't you know it, as soon as I say that in a podcast episode, days later, a version with the full band gets released!

ALSO: At #133, yeah, I totally blew it. I don't know what I was thinking when I ranked this song #133. Mea culpa. I humbly offer my apologies on this gross misstep. 

We're happy to welcome this week's guest, singer/songwriter/musician Sean Nelson back to the podcast! As the first member of our illustrious 5-timers club, Sean (formerly of Harvey Danger) joins us to discuss the thrill of hearing new Beatles songs, why buying physical albums seems to be part of the Beatles experience, Paul's ode to chocolate, getting to be an honorary Rutle, and he and Julia share their best curly hair tips. If you're in the New York area, catch Sean live at City Winery Nov 6th! Tickets available here! Sean's latest single, Viral Love, can be heard here, or anywhere you stream music. 

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website,www.rankingthebeatles.comand our brand new webstore!!RANK YOUR OWN BEATLES with our new RTB poster!  Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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Following the flower power vibes of 1967, 1968 found the Beatles diving into transcendental meditation, looking inward, and grounding themselves back to the real world around them, which was getting pretty tumultuous. A back-to-basics vibe that was moving through the music scene, combined with John's growing want to speak his mind on current events (aided by the artistic awakening he was experiencing with his new girlfriend, Yoko Ono), lead to the creation of "Revolution 1," a slow bluesy shuffle explaining John's desire to see the oppressive systems around the world crumble, but also his uncertainty of what to do once they fall. His want for this to be the band's next single lead to the creation of a faster, uptempo, unnumbered version that would be released as the b-side to "Hey Jude." Elements of the over 10 minute jam that became "Revolution 1"would get repurposed for John and Yoko's avant garde tour de force, "Revolution 9." 

"Revolution 1," however, was John's original statement, his artistic intent. He wanted the song slow so the lyrics were upfront and easy to understand, but to me the song's opioid-induced tempo kind of undercuts the message. The track itself is really interesting. It's a crisp, acoustic rhythm guitar provided by George, grounding the back-to-basics idea, but that idea gets undercut by lead guitar and loops and sounds that run in and out of the track. It's just as much a studio concoction as it is a band performance. John isn't sure if he can be counted in or out, and neither is the band just yet, as to whether they want to return to their roots. 

Joining us this week is James Campion, author of the book Take A Sad Song: The Emotional Currency of Hey Jude. We look at the times and history surrounding the writing and recording of "Hey Jude" and the "Revolution" trio, and the parts they play in their creations. We also talk about the multiple layers of the band, their first entry into the realm of political sons, the quintessential mansplain, and more! Grab a copy of "Take A Sad Song" anywhere you get books, or order one through jamescampion.com and he'll even sign it for you!

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website,www.rankingthebeatles.comand our brand new webstore!!RANK YOUR OWN BEATLES with our new RTB poster!  Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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The yin and yang of Lennon and McCartney are rarely so perfectly on display as they are in the chorus of "Getting Better." Paul's eternal optimist, "I've got to admit it's getting better, a little better all the time" runs right up against the sardonic side of John: "It can't get no worse." On this Sgt. Pepper tune, they find meld an upbeat, bouncy melody with darker, quite self-aware lyrics about the worst parts of one's personality, and the human want to better one's self when love is involved. Sometimes we forget these guys are actually human, and made mistakes just like all of us. Though it maybe doesn't add much to the "concept" theme of Pepper, it's certainly a great and catchy song, and a band moment on a record where those full band moments start to become less frequent.

We're thrilled to have our friend Debbie Davis back this week! One of the most revered singers in New Orleans, and now part of a touring bluegrass 80s cover band (how wild is that?), Debbie's knowledge of music and what makes things tick is always a pleasure to get to enjoy. We discuss all matter of issues, from traumatizing kid movies, the worst places to accidentally dose yourself, Jerry Garcia neckties, the lads' self-awareness, and Julia FINALLY gets with the porridge train! Be sure to follow Debbie's new band, Frankie Goes to Dollywood to see when they're headed your way!

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website,www.rankingthebeatles.comand our brand new webstore!!RANK YOUR OWN BEATLES with our new RTB poster!  Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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Perhaps the ultimate song written for the purpose of playing it on a beat up old acoustic at a party so you can meet girls (apologies for that run on sentence), "Michelle" was written by Paul back in 1959 for just that purpose. You can easily imagine him brooding in a smokey corner, wearing a turtle neck, and singing an early version of this tune. It get shined up and completed for inclusion on 1965's Rubber Soul, and has become a much-loved, though often maligned Macca classic. I think it's got a whole lot going for it, personally. A fantastic melody, impeccable playing, brilliant vocals...and honestly, I think I blew it on this ranking. I even say so in the episode. Maybe I was just in a mood when I ranked it, but whatcha gonna do?

Joining us this week is Janice Mitchell, author of the brilliantly-titled book My Ticket To Ride: How I Ran Away to England to Meet the Beatles and Got Rock and Roll Banned in Cleveland.Jan's lead a pretty amazing life and experienced some pretty amazing things, and we touch on a whole bunch of them, including this fantastic story her book is based on. Together we discuss her book, this amazing wine & cheese song, Below Deck, and Jonathan butchers the beautiful French language.

Get a copy of Jan's book anywhere you pick up books, and get a signed copy here! 

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website,www.rankingthebeatles.comand our brand new webstore!!RANK YOUR OWN BEATLES with our new RTB poster!  Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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If there was any inclination the Fab Four were down to “expand their minds,” by the time Revolver came around, there was very little second guessing. The sounds are out there, backwards, mystical. And on "Dr. Robert," what might have been a nudge and wink previously is now just a punch in the face: THESE GUYS TAKE DRUGS.

Whether it’s autobiographical or a character piece though, it’s a fantastic mind movie, where the band paint a great picture sonically of the good Doctor, while John’s vocal moves to almost Dylan-esque places. On an album wherein the band is really starting to use the studio as an instrument, “Dr. Robert” holds its’ own as a great live band performance, especially with John and Paul’s fantastic vocals being recorded together. Sonically, this is maybe the song that exemplifies to me the brilliance of the sound of the Revolver album, chiming Epiphone Casinos and Vox Amps, thumping Rickenbacker bass. It’s maybe my favorite SOUNDING Beatles album, and this is one of my favorite sounding moments. It’s not a major player in the overall arc of the catalog, but it’s a good one for sure.

Joining us this week is Emmy and Golden Globe nominated screenwriter, producer, and author Bruce Ferber. While his biggest credits include some truly classic sitcoms like Home Improvement, Sabrina The Teenage Witch, Bosom Buddies, Coach, and Growing Pains, these days he’s turned his pen towards writing award winning novels. His current book is I Buried Paul, a story of a man who plays Paul McCartney in a Beatles Tribute band. It’s a self-described love letter to the power of music, and an exploration of the sacrifices its disciples are willing to make in service to its’ magic. We chat with Bruce about just what drove him to dive into the world of Beatles Tribute acts, learning to be open to change, the REAL Dr. Robert, and what may be the greatest Beatles Tribute band of all time. Get yourself a copy of I Buried Paul at bruceferber.net, or anywhere you buy good books!

P.S. - This was recorded prior to the announcement of the upcoming Revolver box set reissue.

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If ever a Paul song fit the oft-used descriptor of “jaunty,” it’s “Good Day Sunshine.” A tune written during the Revolver sessions, it’s one of the sunnier moments on an album that sees a bit of a darker side of the Beatles than we’d seen before. It’s maybe not the weightiest thing he’s ever done, but it’s amazing how Paul has the ability to soundtrack human emotions so easily; the song really has the bounce and light and fun of new love and a beautiful day. It’s the part of the ying and yang, the light and dark that make the Beatles so successful.

Joining us this week is comedian, actor, author, and now Emmy winning-producer Wayne Federman. Wayne is the producer of the documentary George Carlin’s American Dream,”which recently won the 2022 Emmy for Outstanding Documentary. He’s also the the author of the book The History of Standup: From Mark Twain to Dave Chapelle, was the head monologue writer for Late Night with Jimmy Fallon, and has popped up in a long list of movies and tv shows that you’ve definitely seen. We chat with Wayne about being a Ringo stan, the value of the Beatles brand comedy, musical DNA between songs, song inspiration, and much much more! Check out WayneFederman.com to grab his book, and follow him on Twitter at @federman.

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website,www.rankingthebeatles.comand our brand new webstore!!RANK YOUR OWN BEATLES with our new RTB poster!  Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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The break's over friends! We've missed you all, but we're tanned, rested, and ready to rank! Well, actually we're still quite pasty (Jonathan especially), we're still always tired, but we're definitely ready to get back to the business of ranking!

To say the Beatles were working hard in 1964 is more than an understatement. Tours, bbc sessions, t.v. appearances, movies, recording sessions, sometimes multiple of these things in the same day...yeah, it was a lot. So in this situation, one would maybe be excused to not turn out their BEST work. Of course, even the Beatles' not-best-work is still classic, and that's what Eight Days A Week is. It's the first time the band ever took a song to the studio that was incomplete, such was the pace at which they needed to churn out material. It's got all the catchiness and melody of a classic Beatles tune, but it maybe KIIIIINDA feels a bit tossed off as well, in that "too big to fail" way. It's the intersection of the band's need to maintain chart dominance while also starting to experiment in studio and stretch their legs as artists. It's a great tune, for sure, but is it also an early sign to a new direction? A new direction apart?

Joining us this week is Dr. Duncan Driver, who, if you listen to other Beatle podcasts, you've no doubt heard (he's frequently featured on One Sweet Dream, among others) wax eloquently about the Fabs. We're delighted to finally have him on our show, and we touch on all kinds of points, everything from the pop song firsts, Beatles by numbers, Big Mac and Crossroads songs, and Duncan flips the script on our rapid fire questions! Be sure to follow Duncan on social media at https://twitter.com/drduncd, and catch him on episodes of One Sweet Dream!

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website,www.rankingthebeatles.comand our brand new webstore!!RANK YOUR OWN BEATLES with our new RTB poster!  Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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We've been on a break between seasons, but being Paul McCartney's 80th birthday, we felt we wanted to contribute our little part to the conversation and global love fest. When our friend and previous guest, musician Sean Nelson reached out and asked if we wanted to chat about our favorite Paul songs, it seemed the perfect way to do so. There's certainly no shortage of words being written to sing his praise, but to us, the best way to show our appreciation is with his music. What can be said that hasn't been said 1000 times already? Probably a lot really, there's so much to talk about with the Beatles, especially Paul, who continues creating and working into his's 8th decade.

So we each chose our top 5 Paul Beatle songs and top 5 post Beatle Paul songs. The songs aren't ranked the same way we normally do them. Jonathan's Beatle songs are more a "top 5 unappreciated" list, not reflective of what's in the official RTB ranking...can't let the secrets out!! And like everyone, our list probably has changed since we compiled them, but these are songs we love wanted to share of love of, along with our love of Paul. Happy birthday Paul, here's to another 80 years of sharing your gifts with all of us!

This is a free form, largely unedited conversation, recorded today, June 18th, 2022, Paul's birthday. We wanted to "Instant Karma" it and record and post same day, so please forgive any extra "um's" or dog noises in the background.

Check out Sean's most recent single, "Viral Love" on Apple Music or anywhere you stream good music. What are your favorite Paul songs? Drop us a line on Facebook at facebook.com/rankingthebeatles, Twitter at @rankingbeatles, or Instagram at @rankingthebeatles. And be sure to check out our website, www.rankingthebeatles.com, where you can also grab a tshirt or a Rank Your Own Beatles poster!!

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“If you tried to give rock and roll a different name, you might call it ‘Chuck Berry." - John Lennon

To say Chuck Berry was influential on the Beatles would be an understatement. They covered more of his songs during their career than any other artist, and "Roll Over Beethoven" was in their live set all the way back in 1957. So when recording their 2nd album, With The Beatles, in 1963, and having a bit more say on what songs they would record, it's not surprising they went with paying tribute to one of their heroes with a song that, by this time, was in their DNA. It's an exciting, if a bit controlled, rock & roll rave up, with George in the forefront, handling the classic intro riff with skill and finesse. He gives what might be his best and most energetic sounding vocal of the Beatles early output (he does tend to sometimes sound a bit non-plussed in his vocal delivery), and plays a great solo (even if he kind of muffs a note or two at the end). The band are cooking behind him, especially Ringo, who absolutely drives the track. Chuck's original served notice to the establishment that rock and roll was here to stay, and for a while that was true. Following the late 50's/early 60's more mellow, crooner boom though, when the Beatles brough rock and roll back to the forefront, their cover of "Roll Over Beethoven" serves much the same purpose....a statement piece informing the establishment that, again, rock and roll was here, youth culture was here, and the days of old were gone.

Joining us this week is author, PhD, lifelong Beatles fan (and retired professor) Tim Hatfield. What began during the pandemic as Tim's daily, Beatles-themed inspirational email chain to cheer up friends and family, is now a book, "When We Find Ourselves in Times of Trouble - The Beatles: All Their Songs with Encouraging Words for Challenging Times." It's a fantastic read, finding uplifting and inspirational ideas from all the songs in the band's catalog! We had a great time chatting with Tim, talking about the Beatles' influence on his teaching career and style, passing the torch of a Beatle-influenced world to students, learning his own tenacity in working on the book, faithful cover songs, and what produces an energy in a song that some people hear, while others (looking at you, Julia) may not. Pick up Tim's book on Amazon at https://www.amazon.com/Beatles-their-songs-encouraging-challenging-ebook/dp/B0974LRBYV. It's a beautiful read.

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website,www.rankingthebeatles.comand our brand new webstore!!RANK YOUR OWN BEATLES with our new RTB poster!  Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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It’s interesting to think that in 12 months the Beatles had gone from recording almost an entire album in one day, to showing up at EMI’s Abbey Road studio with songs half complete. But by the spring of 1964, needing to finish their 3rd album (which would accompany their first film), that’s just what they did with John’s “Any Time At All.” Coming up with an inventive instrumental bridge in the studio, and a cracking arrangement, the band, George Martin, and the EMI production staff turn in an inspired performance all around for what would be considered by any other band’s standard, a “filler song.” But as with so many Beatles tracks, there’s a lot hiding behind the surface. John’s vocal melody seems to be pulled more from the Paul school of melody writing, with a melody moving all over the place, as opposed to more single or double note melodies where the lyric is the focus, a trait John would lean on throughout his career. It’s a gorgeous line, buoyed by a great low-key verse vocal and a scorching, raspy chorus. A swinging Ringo groove (while on the verge of collapsing from tonsillitis the next day), a chiming George 12 string, and great support from Paul on bass and piano (as well as figuring out the instrumental bridge), and that classic 1964 Beatlemania production shimmer all add up to a filler track that probably would’ve been a hit for any other band. The icing on the cake is the rare example of a single snare hit that’s just as much a hook as the chorus itself. All in all, it’s a great song (aren’t they all), but by no means the best they’d come up with. But oh man, isn’t it exciting?

Our guest this week is Canadian-American recording artist, producer, recording and mix engineer Jerry Hammack, author of the brilliant "The Beatles Recording Reference Manuals." If you want to know how these songs were made, from demo to final take, Jerry’s books are the Bible for how they were done. He’s got great points of view as a producer and musician, and honestly, we could’ve talked to him all day. We talk about putting your all into filler tracks, a producer’s role of saying “yes,” the Beatles as a measuring stick in recording, putting in the work in the studio, and so much more! You can learn more about his work as a mix-engineer at www.jerryhammack.com, his music at www.throttlebodymc.com and more about The Beatles Recording Reference Manuals at www.beatlesrecordingreferencemanuals.com.

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website,www.rankingthebeatles.comand our brand new webstore!!RANK YOUR OWN BEATLES with our new RTB poster!  Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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Riding a serious creative hot streak in 1967, Paul was inspired by the "mystery tour" trips of his younger years, a bus trip to an unknown destination, and developed an idea for a film version of that, starring the Beatles. Of course, being the psychedelic year of 1967, it'd be magical, a Magical Mystery Tour. In needing a theme song or fanfare for the project, not dissimilar to what the band needed for the Sgt. Pepper album a few months prior, the band put together a bombastic track, with rocking drums, blasting horns, and multiple tempo changes. It's great to hear the band ROCK in 1967, and the horns are just piercing and powerful. The sped up vocals add to the trippiness of the affair, and it has a wonderful fade off into the mysterious unknown. It's does a great job as a theme song for MMT, both the film, and album (or EP), but as far as "a song" it doesn't necessarily carry much weight. But as always, it's fun, it's catchy, and it's exciting...it's the Beatles, after all isn't it?

Joining us this week is Sean Gaillard, author of "The Pepper Effect: Tap into the Magic of Creativity, Collaboration, and Innovation"as a look at the intersection of the Beatles and education. Sean's also the host of "The Principal Liner Notes Podcast," and has contributed articles to PBS and Culture Sonar. AND he's a big Monkees fan, so you know we're gonna get along smashingly. We talk about exactly what IS "the Pepper effect," having confidence in your ability to explore and be creative, being willing to fail, Beatle rituals, and Julia's desire to never go on a trip without a destination. Be sure to follow Sean on Twitter and Instagram at @smgaillard, and subscribe to "The Principal Liner Notes" wherever you get podcasts.

We dedicate this episode to the memory of Taylor Hawkins, drummer of the Foo Fighters, who passed away Friday March 25th, the night before recording this episode. The music he created and the joy and love he helped share will live on, and he will be very, very missed. 

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website,www.rankingthebeatles.comand our brand new webstore!!RANK YOUR OWN BEATLES with our new RTB poster!  Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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It's no secret that John Lennon was often trying to fill the hole left his parents' absence. His need of a father figure had definite impacts on his relationships with men his senior and of perceived power, like Brian Epstein and George Martin. The same could be said about Maharishi Mahesh Yogi. Once turned on to his teaching, John immediately dove into his teachings of transcendental meditation and was eager to study at his ashram. Stories (along with video and pictures) show John jockeying for proximity to the guru, most comically when he made his way into the lone passenger seat of the Maharishi's helicopter ride, later telling the others he hoped that he might "slip him the secret." So when it appeared that Maharishi may not be the more-than-mystical figure they'd thought him to be, John's wrath was quick and sharp. It was in the taxi ride out of Rishikesh that he began singing a VERY explicit melody to himself about Maharishi, George Harrison asking him not to be quite so brutal in his lyrics. In changing the subject from a man accused of sexual misconduct to "Sexy Sadie," an imaginary woman who made a fool of everyone, he may be doing a disservice to both the song and himself. That said, it's a fine song, however, to me, it feels uncomfortable in inself, never quite settling in. The recording was incredibly labored over, hours and hours of overdubs, arrangements and effects recorded and removed. In that light, it makes one wonder if that's maybe an attempt to distract from a story John maybe wasn't quite as upset about months later.

Joining us this week from the future (and the past) in his New Zealand home is musician Elroy Finn. While on a pandemic-induced break from touring in Crowded House (he's the youngest son of Neil Finn), he wrote, recorded, produced, and mixed his debut solo album, "ELROY."It's a vibey, mellow collection of synthy-psychedelic melody, and we highly recommend it! We chat with Elroy about different Beatles records soundtracking different parts of your life, growing up in a musical household, whether this is a replaceable song on the White Album, meeting Paul, and much more! Be sure to check out his record, follow him on Facebook at facebook.com/elroyelroyelroy and on Instagram @elroytf!

 What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website,www.rankingthebeatles.comand our brand new webstore!!RANK YOUR OWN BEATLES with our new RTB poster!  Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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OK WE'RE FINALLY HERE!! Let's get down to it. During the creation of the White Album as tensions built among the ranks of the Beatles, the members often found themselves working on their own tracks in different studios, sometimes bringing in other members as needed, or working by themselves. While John and Ringo tended to a mix session for Revolution 9, which Paul hadn't been a part of, Paul was in another studio overseeing overdubs on his own "Mother Nature's Son." Following work on that tune, and feeling a creative streak, Paul demoed a (still) unheard song, "Etcetera," and then began building a track based on a guitar riff he came up with in Rishikesh. Adding additional guitars, percussion, and wild vocal acrobatics, Paul and the staff of Abbey Road finish the evening by mixing this weird track, and using their hand against the tape machine to manipulate the speed of the song, giving it it's even weirder sonic warble. In about an hour "Wild Honey Pie" was born, a track that had no real precedent in 1968, as far as it it's experimental nature and sound. It's weird, disjointed, grooves, and works within itself in ways that don't always make sense in passing listens. In headphones, it reveals how dual guitars weave together to form this strange, almost atonal melody, while the man who, at the time, had arguably the greatest voice in popular music throws his voice around in ways others wish they could. It's Paul at his experimental best, giving you just enough to do be different and not overstay its' welcome, and it's the beginning of a through-line that appears throughout his career, whether in his early home solo works, the synthy-strangeness of McCartney II, his collabs with producer Youth as The Fireman, all the way up to his tape loops and sounds he created for his Rockdown album, McCartney III. As Julia puts it, "Wild Honey Pie"walked so "Temporary Secretary" could run. But fear not, listener, Julia's just as perplexed at this ranking as you might be. 

Joining us this week to talk about this track is the fantastic Phoebe Lorde, one of the hosts of Another Kind of Mind, which, in our humble opinion, is one of the best Beatle-pods around. Challenging well-worn tropes and narratives about the band, and examining their history with more nuance and deeper, more candid discussion, AKOM is part of a rejuvenation of the discussion of the legacy of the Beatles, refreshing the story and opening it up to new light after all these years. We're big, big fans. With Phoebe along for the ride, we touch on all kinds of points, like trying to break through historical biases in the Beatles' story, finding the space to be creative, defining "experimentation," the weirdness of 1964 Beatles songs on an album called "Beatles 65," and much more! Be sure to listen and subscribe to Another Kind of Mind anywhere you get podcasts, and follow along on their socials on Twitter @akompodcast and on Facebook https://www.facebook.com/anotherkindofmindpod.

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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After enjoying the anonymity of traveling incognito during the Beatles 1966 post-touring break, Paul came up with the idea of creating alter ego for The Beatles as a band, allowing them the freedom to do whatever they wanted, without the weight of the Beatles name attached. Once the project began with that idea in mind, he (along with Beatles' tour manager and assistant Mal Evans) wrote what would essentially be the intro, fanfare, and title track of the album of same name for Sgt. Pepper's Lonely Hearts Club Band ("the band"). It's a loose, heavy rocker, with really interesting harmonies, a fantastic Paul vocal, fantastic Paul guitar, and a killer drum sound from Ringo. With some help from George Martin, they really create a movie of the mind, starting with the murmur of the crowd, the tuning of instruments, laughter, applause. And it all segues into the spotlight for Ringo, "With A Little Help From My Friends." A song custom tailored to Ringo's strongest points as a vocalist, as well as his personality, this song really cements the persona of Ringo as everyone's lovable uncle. It's also probably more of a biographical song for the drummer, as he so often talks of his love of playing and being with others, he truly craves that camaraderie of friendship and community. It's his signature song, and for good reason, you can't not smile when listening to it.

Returning to the show this week to talk about these songs, as well as berate Jonathan for many-a-previous rankings, is our pal Sam Whiles of the "Paul or Nothing"and "Macca In Your Attic" podcasts! Sam chats with us about the dawn of Paul's creative dominance in the Beatles, Beatle podcast tshirts, whether the concept of Sgt. Pepper is genius or pretentious, and the idea of songs versus tracks. We also touch on emotional response versus energy response, presidential impressions, and the Kim Kardashian of the Beatles story! Be sure to check out "Paul or Nothing" and "Macca In Your Attic," and follow Sam on Twitter @McCartneyPod and Instagram @paul_mccartney_pod. He's one of the best!

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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Even after conquering the world and experiencing the highest highs celebrity had maybe ever known, by summer 1964 John found himself at odds with the public persona he'd been living with. After a journalist told him he felt John was more revealing in his offbeat poetry and prose than in his music, and with a little help from their new friend Bob Dylan and the party supplies he turned them on to, John began looking inward more than he had previously on the band's 4th lp, Beatles for Sale. The album's 2nd track, "I'm A Loser," sees Lennon embracing his trademark wordplay and wit, alternating the idea of a loser as both someone who isn't cool and confident (at least not as he pretends to be) with someone who's lost something, or someone. It's an important song in John's songwriting journey, as the track has that trademark early Beatle excitement, with a first taste of introspection that he begins to master on albums like Help! and Rubber Soul. Another clue to the new direction. 

Joining us this week is songwriter and musician Hilarie Sidney of The High Water Marks (and formerly of Apples In Stereo). We talk about being born into a Beatles family, life in Norway, hamburger snobs, and the similarities between the Beatles' Apple Corps. and Elephant 6 Recording Collective, which she helped found in the late 80s/early 90s, which gave rise to such indie bands as Neutral Milk Hotel, Olivia Tremor Control, and her own Apples In Stereo among others. We also talk about her current band The High Water Marks, their new album Proclaimer of Thingswhich came out Feb 4th, and is a fun blast of 60s influenced indie pop rock. This episode features samples of the tracks "Jenny" and "Proclaimer of Things." Pick up a copy of the album at their Bandcamp page https://thehighwatermarks.bandcamp.com, and be sure to follow along on Facebook!

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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Written in Hamburg at the end of 1962, and inspired by a very early memory of his mother, "Do You Want To Know A Secret?" is a John tune given to George (or maybe a John & Paul tune written specifically for George, depending on who's telling the story) to sing on their debut album. It's genetic make up is a bit all over there place...a dash of Disney, a pinch of Spanish soap opera dramatics, a hint of a band called The Stereos, and just a kiss of the doo-wah-doos. It makes for a perfectly pleasant song, one that would released as an American single in 64 and go all the way to #2, while Billy J. Kramer and the Dakotas would cover it and take to #1 in the UK. Despite that, by the summer of '63 the Beatles were well and done with the song, and maybe that's rightfully so. It doesn't seem to have any of the hallmarks of what made a great Beatles song, nor does it necessarily sound very different from any other number of pop groups of the day. But that said, it's charming and catchy and a pleasant way to spend 1:58.

Joining us this week to chat is "The Rock & Roll Detective," Jim Berkenstadt! Jim's the author of a number of books including Black Market Beatles, Classic Rock Albums: Nirvana - Nevermind, The Beatle Who Vanished,and his newest one, Mysteries In The Music: Case Closed. We discuss run-ins with rock legends, working with Apple Corps, George Harrison and his estate, the mystery and excitement of bootlegs, and so much more! Check out Jim's goings-on at rockandrolldetective.com, on Twitter @rockdetective, and on Facebook!

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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On the A Hard Day's Night album, John is absolutely on fire creatively, and at his most prolific. Tossed off on vacation, possibly as a tribute to Del Shannon's "Runaway," "I'll Be Back" is an oft-overlooked song deserving of way more attention than it usually gets. It's unique in that on a really upbeat album, it serves as a darker closer than one would expect. It features really smart 3 part harmonies that only serve to add to a real maturity found on this track. With the song's journey tracked as it moves from an electric waltz, to a straight electric pop tune, to an acoustic and nylon string driven song show the Beatles really working hard at refining what they're doing to get the best track possible. The end result is an early clue to the new direction, as you get introduced to the Beatles for Sale era right there at the end of A Hard Day's Night.

Joining us to chat this week is the wonderful Kit O'Toole, a writer, music journalist and video podcaster. She's the author or of Songs We Were Singing: Guided Tours Through the Beatles’ Lesser-Known Tracks and Michael Jackson FAQ: All That's Left to Know About the King of Pop,a writer and associate editor for Beatlefan Magazine,among other writing jobs. She also co-hosts Talk More Talk : A Solo Beatles Videocast, which is a wonderful dive in to the solo career of the Fabs. We chat about all manner of things, like never clapping on the 1 and 3, challenging the idea of a pop song, and the multitude of ways the Beatles seem to impact people. On Feb 15, through Monmouth University, Kit is co-hosting (with our pal Ken Womack) a Tuesday Night Record Club event discussing Prince's Sign O' The Times, album, its a free event, you can sign up here! Follow along for future courses and events, as well as her upcoming books and more at kitotoole.com, and check out Talk More Talk as well!

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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Guess who's back? It's your old pals at Ranking The Beatles! It's 2022, and we're back for Season 4, with new episodes and ready to rank more Beatles songs. We're starting this season off by looking at a track the boys recorded because Capitol Records wanted a couple of new songs to tack onto yet another cobbled together American release. So the boys reached back into their Cavern/Hamburg bag of tricks, and dusted off a few belters by (fellow New Orleanian) Larry Williams. They liked the end results of "Dizzy Miss Lizzy"so much, they decided to tack it on to the end of the 5th album (and the soundtrack to their 2nd film - the color one) Help! It's a barn burner of a rocker with a Lennon vocal that's coming straight from the gut. It's a rocker for sure, but a questionable arrangement choice, and some less than inspired guitar work, keeps this song from reaching the heights it maybe should've. It still smokes though, and is a ball to listen to.

We're excited to start this season off a little differently. When we first started up this podcast, one of my oldest and dearest friends texted me that whenever it came about in the list, he wanted to talk about "Dizzy Miss Lizzy," and after 25 years of friendship, you gotta do right by your buddy. So we're happy to be joined by Sanjay Karnik, a New Orleans native, now living in Chicago, and one of the finest people we have the pleasure of knowing. We chat about a number of different things, including the Beatles influence in realtime on India (as opposed to the often discussed influence of India on the Beatles), learning western pop music in an Indian-American household, the speed of the bands trajectory, the advantage of knowing your creative partners so well, and beautiful story about his parents and "Love Me Do." If you enjoy our chat, feel free to follow him on Twitter at @SKar1789 for a slew of progressive politics, sports, music, and other assorted shenanigans.

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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In honor of the late Michael Nesmith, we wanted to take the opportunity to talk about the man, his art, his amazing life journey, and the impact it's had on us. His career will always be somewhat intertwined in the Beatles story as a member of the Monkees, a tv show about a band, created in the image of the Beatles, so we think it's not too far a stretch to do this in the confines of a Beatles podcast. 

To say his music plays a big role in our lives would be saying the bare minimum. Our lives have been greatly enriched because we have his songs in it. In light of his passing, it only seems appropriate to put his music out there in anyway we can, so we're presenting a baker's dozen of our favorite Nez tunes, some well known, some not so well known. We think/hope they're songs you might enjoy and be able to take into your lives as well. If you dig them, and we hope you do, we've built a playlist for you to enjoy those songs, plus a bunch more, all songs from both his time with the Monkees and as a solo artist. 

We tried to give a cliffnotes version of his incredible life, but this was all done fairly off the cuff, so we've no doubt forgotten things here and there. But it seemed a good way to do our part to help keep his memory alive. We hope you enjoy this bonus episode, and more so the music contained within.

https://music.apple.com/us/playlist/michael-nesmith/pl.u-kv9lbmmT6E3al

https://open.spotify.com/playlist/7qQkGLA1jBSAXRIykkP0UR?si=b0ade223d4e84027 (note: Spotify doesn't have Nesmith's entire catalog, so about an hour of music is missing from this playlist compared to the Apple playlist).

Songs featured in this episode include:
Sweet Young Thing - The Monkees
You Told Me - The Monkees
Circle Sky - The Monkees
Listen To The Band - The Monkees
Nine Times Blue - Michael Nesmith & The First National Band
Hollywood - Michael Nesmith & The First National Band
Propinquity (I've Just Begun To Care) - Michael Nesmith & The First National Band
Keep On - Michael Nesmith
Dance - Michael Nesmith
Yellow Butterfly - Michael Nesmith
Me & Magdelena - The Monkees
Elusive Ragings - Michael Nesmith

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Written during his house-husband years in the late 1970s, John wrote "Real Love"as part of a planned musical about his and Yoko's life. Despite demoing it a number of times, he didn't record it for his Double Fantasy album in 1980. The song was given a new life though when it was chosen by the remaining Beatles as a song to work on for the Anthology project, eventually making it's home as the second "new" Beatles song associated with the landmark project. It's the more uptempo of the two, and some say it's emerged as the more popular of the two. As a song that was mostly complete before the Threetles got to it, the final version ends up pretty smothered in Jeff Lynne's production style, which maybe prevents it from quite taking off like it should, but despite that, it's a song that's always made me feel happy. Seems I'm not the only one....

Joining us this week is Jack Lawless, the brains behind the Beatles twitter account @BeatlesEarth. With almost 50,000 followers, it's one of the most active Beatle twitter accounts, and one of the best representations of how Beatles fandom has adapted to social media. We chat with Jack about all kinds of things, from the cross-generational fun of chatting about the Fabs, soundtracking parts of your own life to Beatles eras, to run-ins with Yoko and Sean. Be sure to follow Jack on Twitter @BeatlesEarth, and keep an eye out for his upcoming podcast!

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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Imagine a world where your favorite band could release a new album, and a double-A side single with two songs not from that album on the same day. That's exactly what happened when The Beatles released Rubber Soul along side the double-A sided "We Can Work It Out/Day Tripper" single. Paul's side featured a relatively autobiographical tale of ongoing relationship woes with his long time girlfriend Jane Asher. Paul's verses are pleading with her to just understand and see things the way he sees them, if she wants things to work out, while John's more dour bridge section actually gives a bit of hope to proceedings somehow...there's no time for fussing and fighting. It's a stone Beatles classic but does it deserve the praise it gets?

Joining us this week to hash it all out are Matt and Samer, the brains behind Super Awesome Mix! It's a platform and podcast that celebrates the power of a good ol-fashioned mix tape (or mix cd, or mix 8 track, or mix reel-to-reel), where every element of the mix, from the track order to song selection to handmade cover art, is poured over before presenting it to it's benefactor. A mix has the power to say all the things we sometimes can't, and in the age of playlists, that personal human element of the mix is gone. Super Awesome Mix is an app where you can create your own mix, add personal notes or voice memos custom artwork and send it to someone, just the way we used to with mixtapes, only...in a digital platform. It's miles more personal than a playlist. Super Awesome Mix is also a podcast, where Matt and Samer and their guests discuss the art of the mix, and go over different themed mixes each show. If you grew up making mixtapes like we did, this is right up your alley. Download the app and start playing with it, it's so much fun, and be sure to subscribe to the podcast as well! You can also follow along on Twitter and IG.

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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Y'ALL. HOW GOOD IS GET BACK? We're absolutely reeling over this masterpiece docuseries. There's so much to absorb, so much to learn, so much to love. It's going to take many, many, many more viewings to take it all in. 

We were delighted when our pod pals Tommy, Scotty and Becker from Blotto Beatles invited us to join them online for a conversation with more pod pals, Sam from Paul or Nothing, Allison and Erika of BC The Beatles, and Ethan of Fans on the Run at the end of release weekend to talk about what we all just watched. We talk about our favorite moments, the most enlightening moments, the most surprising moments and a whole lot more. A splendid time was had by all, and we wanted to share it with all of you. 

So here's a bonus episode, graciously provided by the Blottos for us to share and you to enjoy. 

Make sure to follow and subscribe to all of their shows!

Blotto Beatles
Paul Or Nothing
BC The Beatles
Fans on the Run

Recorded live Sunday, November 28, 2021

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It's hard to imagine any other band in history who could pull off recording an album that contains both a genre-defying acid journey like "Tomorrow Never Knows," and full-on children's song like "Yellow Submarine," but that's exactly what the Beatles pulled off on their 1966 album Revolver. In needing a customary Ringo track, Paul, with help from John (as well as Donovan), managed to come up with the perfect vehicle for Ringo's "jovial uncle" persona, while also creating a song that embodied the youthful side of psychedelia and at the same time, a vehicle for ongoing multi-generational fandom. "Yellow Submarine" envisions a utopia where we can all be happy and carefree, and that's one of the best things The Beatles have been able to provide in their legacy. Of course, it's also the springboard for the classic animated film and merchandise mega-product of same name.

Joining us this week to talk what might be the ultimate pop children's song is Scott Durbin, progenitor and keyboardist for children' rock band Imagination Movers! Of course, it only seemed appropriate to also bring back the Movers' drummer, and friend of the pod, Kyle Melancon to join in. We talk about a number of topics, from the Movers' recent songwriting award nominations, their work on their Disney Channel show, what makes children's music work, coming to the Beatles late, merchandising, and much more! Follow the Imagination Movers at imaginationmovers.comas they get ready to celebrate their 20th anniversary next year, and check out their super enjoyable most recent album, Happy to Be Here!

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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Not many bands in history could, within the space of a few days, go from recording the genre-bending "Strawberry Fields Forever"to the genre-specific "When I'm 64." Then again, not many bands are...The Beatles. Written by Paul at the ripe old age of FOURTEEN, and frequently utilized as a way to kill time when stage power blew at the Casbah or Cavern Club, this jazzy, music hall number may seem worlds apart from the preceding "Within You Without You," but on Sgt. Pepper's Lonely Hearts Club Band, the Beatles establish the fact that in music and art, there are no rules. Much like "Your Mother Should Know," it's almost punk rock to put a song like this on such a major album. It's delivered with no hint of irony, and full respect for the music of the time it seems to be pulled from. That's how a song like this ends up as a standard, all these years later.

Joining us this week for the second time is jazz singer and all around badass, Debbie Davis! One of the premier jazz vocalists in New Orleans, Debbie joins us to talk the through line between jazz and the Beatles, the pop landscape of 66, how to raise a cool kid who's into rock music, and much more! As the world opens up, be sure to follow Debbie to see when you can catch her live, or check out her records. All available at debbiedavismusic.com.

What do you think? Too high? Too low? Just right? Let us know in the comments onFacebookhttps://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support?Buy Us A Coffee!

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By 1966, The Beatles, particular George Harrison, are growing in all sorts of ways. George is living out the most incredible life experiences, immersing himself in eastern religion and culture, and truly blossoming as a songwriter. For the first time, he gets three songs on the band's new album Revolver, and on "I Want To Tell You", he's letting the listener know that there's so much he's seen and learned that he wants to relay, only, he can't find the right way to do it. The frustration turns into music as dissonant chords echo the feeling of hanging one's head against the wall. And this isn't just a fab gear pop rock song. It's a song with pounding piano, a glitchy guitar riff, and melodically oozing the influence of the Indian music he's now studying under Ravi Shankar. It's a real inclusion of eastern music and western pop, and it's the last time we hear George writing as a guitarist for the next year and a half or so. A song with this much going for it is destined to be a stand out on any album in any band's catalog, right? Right?

Bad news this week: Julia's M.I.A. for the first time in RTB history. So I understand if you Julia Stans are like, "nah, see you next week, pal." But the good news....our friends Matt, Adam, and Grace from El Vinilo return to the show this week! All the way from across the pond in Liverpool, our old pod pals return to talk about George and his underdog story, running a podcast based on Rolling Stone's top 100 albums only to have Rolling Stone update those top 100 albums in the middle of your podcast, Liverpool adventures, and more! El Vinilo is one of our favorite podcasts, discussing the albums in Rolling Stone's top 100 list, and comparing them to a current chart topping album. Listen and subscribe to them anywhere you get podcasts, and follow along on Instagram @elvinilo!

What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support? Buy Us A Coffee!

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By the time The Beatles were writing songs for their first film A Hard Day's Night,John was absolutely on fire. "Tell Me Why," a song he went on to consider as nothing more than a throwaway, was a song he seemed to be able to just toss off with no problem at this point in time, absolutely on top of his game. But what comes off as a perfect slice of early Beatle songcraft may actually have way more meaning than what it seems on the surface, and this meaning may be one that appears way more regularly throughout his writing than we realize. Also, I may have completely blown it on this particular ranking. 

Joining us this week is author and historian Jude Southerland Kessler. Jude has been spending decades researching the life of John Lennon for her on-going The John Lennon Series, a 9 volume collection detailing the life of Lennon with more detail and fact based information than any other book. The most recent book, volume 5, "Shades of Life," is now available at johnlennonseries.com or anywhere you buy your Beatles books! We chat with Jude (and avoid saying "hey" as much as possible) about her 30 years of researching John, how a north Louisiana woman got enraptured in his story, songs like "Tell Me Why" being the crux of Lennon's story, adventures with Allan Williams, and so much more!

What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support? Buy Us A Coffee!

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After George's infamous walk-out during the Get Back/Let It Be session, his return was one of several conditions. He insisted the band move from Twickenham to their own Apple Studio, the idea of the big live show/tv program had to go, and he pulled almost all of his songs from consideration. After spending the winter holidays in the US with Bob Dylan and the Band and other musician pals, he was keenly aware that his songwriting had reached the same level of John and Paul. Songs like "Hear Me Lord" and "All Things Must Pass" went back into George's back pocket, and he left the band with "For You Blue," a song that can best be described as...a happy blues song! It does, however, provide a great moment of real musical connection for the band, playing live with a laid-back vibe and fun feeling, while still striving for new sounds between putting John on lap steel and Paul's experimenting with piano sounds. And while it wouldn't end up being George's only tune on the album, it is the only one of his to feature all four Beatles, and one of the best moments of group camaraderie as musician in the Get Back/Let it Be project. I can't wait to see it in the Peter Jackson film.

Joining us to discuss this tune are brothers Paul and Garry Abbott, hosts of the Big Beatles Sort Out podcast, another fantastic podcast in which the hosts...rank the Beatles catalog. Ha. However, whereas ours is based on personal preference and guttural choice, theirs is based on mathematics and analytics, providing a totally different method to our collective madness. We all about what it's like inheriting the Beatles, parallel between Blur and the Beatles, Beatles music being a saving grace in a time of need, and whether or not all this ranking is an exercise in futility. Maybe it is or isn't, but it sure is fun. Be sure to listen to Big Beatles Sort Out anywhere you listen to podcasts, and follow along on Twitter at @big_sort as well! And check out Garry and Paul's musical and creative endeavors as well, as mentioned in the episode. 

What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support? Buy Us A Coffee!

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After an unintended, Hurricane-induced hiatus, we're back in action! And what better way to get the party started back up than by talking about..."Good Night"? The Ringo-sung, John-penned closer to the White Album has always been somewhat of a polarizing song in the Beatles' cannon. Some love it, some loathe it. Yet, like so many moments in the band's catalog, there's so much more at play here. Where else could a song this saccharine fit than after the audio soundtrack of a revolution? Who else but Ringo could sing something so sweet and soothing? But then again, isn't it rather twisted to end the journey of the White Album with a song like this? Is there maybe some darkness behind the Disney-esque sweetness at play? As always with the Beatles, there's many layers to this glass onion.

To dive in this week, we're joined by Jason Kruppa, host of the fantastic Producing The Beatles podcast, and co-author of "All Things Must Pass Away: Harrison, Clapton, and Other Assorted Love Songs," which he wrote with previous guest Ken Womack (see #162 - "Another Girl"). Jason, who also lives here in New Orleans, joined us in RTB headquarters (before we all evacuated for the hurricane) to discuss the ins and outs and secrets of "Good Night," the never-ending wellspring of All Things Must Pass, George's favorite incense, the world of bootlegs, and the on-going saga of Eric Clapton's self-inflicted career and legacy damage.

Be sure to check out Jason's podcast at https://www.producingthebeatles.com, on Twitter @ptbeatles, IG @producingthebeatles, and Facebook at https://www.facebook.com/ProducingTheBeatles, as he breaks down how these brilliant songs were recording from George Martin's production side of things. His book, All Things Must Pass Away can be found anywhere you get good books. 

What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support? Buy Us A Coffee! 

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The Beatles needed a song for George Harrison to sing in their first film, A Hard Day’s Night. After producing his first self-composed song on the band’s previous album, the still-emerging writer didn’t have one of his own yet to offer up, so John and Paul wrote the uptempo “I’m Happy Just To Dance With You.” A many-chorded, clanging rocker with an incredibly propulsive rhythm guitar part, the song presents an interesting side of the band that’s even less threatening to parents and teenage girls…they don’t even want to hold your hand…just dancing together is enough. It feels a bit lightweight, but it’s still a great encapsulation of that 1964 Beatlemania, and features fantastically in the movie. It’s also the last time George would rely on his bandmates for his songs.

This week, we’re joined by Daisy and Chloe, hosts of the podcast “All About The Girl.”Hailing from Northern England, their show is a fascinating look into the lives and stories of the women associated with the Beatles stories; wives, daughters, mothers, lovers, all who tend to often have their own lives and journeys overshadowed by the band. By further diving into their stories, we get a better understanding of where the Beatles came from, how they responded and changed over the years, and how these women help shape their legacy. Be sure to check out their show anywhere you listen to podcasts, follow along on Twitter @allabouthegirlpod and Instagram @allaboutthegirlpodcast!

What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support? Buy Us A Coffee!

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After 3 albums where he comes off as the alpha male/leader of the gang, John Lennon seems to be dealing with a crisis of confidence on the band’s fourth album, Beatles For Sale. For the first time, his self-penned songs seem to fully embrace his emotions in a way they hadn’t previously. The self-consciousness on display in “I Don’t Want To Spoil The Party” shows a guy who, while we may have seen him as the life of the party, maybe has been hiding his own fears behind the loud, confident, cocky persona we’ve gotten to know so far. Maybe it’s Dylan’s influence, or maybe he’s just not adjusting to the fame, John’s allowing himself to be incredibly vulnerable on the songs on this record, and definitely on this song. A great Lennon vocal (and self-harmony) shines through a song that’s still memorable, despite having no chorus. George falls prey to the riff-between-each-line move that, while sometimes effective, here kind of takes away my focus from the lyric. But it’s still a super memorable, catchy song, and part of John’s transition from pop-writer-John to introspective-John. 

Joining us this week is Dr. Christine Feldman-Barrett. A scholar, author, and Senior Lecturer in the School of Humanities, Languages and Social Science at Griffith University, Australia, her new book, “A Women’s History of the Beatles” is a brilliant look at the influence the band has had on women. From their earliest fans at the Cavern, girls who went headstrong into promoting the band, starting and running fan clubs, and became true friends of the band, to women who were inspired to start their own bands, or allow their love of the band to route their lives to England, to modern generations of fans who continue to reinvent the essence of fandom and keeping the band in the cultural zeitgeist. The book is available in hardback now, with paperback coming in the new year. Its a fantastic read, and sheds light on parts of the Beatles story that haven’t had the light shone on them they deserve. Be sure to follow Christine on Twitter @feldmanbarrett, and pick up her book!! 

What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support? Buy Us A Coffee!

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It's easy to overlook a song like "Another Girl," as it sits on an album (Help!) with multiple major Beatles classics, and is featured in a film (also Help!)that's usually given the short straw when discussing the Fabs celluloid catalog. However, for something tossed off on a holiday, then captured basically in one take, it's a really fun, breezy pop rock tune. Musically (and visually in the film), it's essentially the blueprint for what The Monkees would come out with: an easy-bop-along pop tune with a catchy vocal and a fun beat. However, just below the surface a bit more sinister undertone of requiring love on Paul's terms, or he's going to go off to his next girl, because she's already here.

Joining us this week is author/podcast host/teacher and Beatle-knowledge wellspring Ken Womack. At the end of 2020, he released John Lennon 1980: The Last Days in the Life,a deep dive in the final year of Lennon's life and creative resurgence, and now in July 21, with co-author Jason Kruppa, we have All Things Must Pass Away: Harrison, Clapton, and Other Assorted Love Songs, which takes into the creations of George's solo debut, Clapton's Derek & The Dominos' Layla album, and the dynamics at play in their relationship. We chat about everything from falling in love with the story of the Beatles (as well as the music), seeing in real time how an artist's story and history unfolds when they live a long time, Ken's wonderful "Everything Fab Four" podcast, and Paul's BDE. You can check out Ken's books, blog, and so much more at https://kennethwomack.com.

What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support? Buy Us A Coffee!

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This 1963 album Please Please Me album track is a great example of the Beatles understanding the value in digging through record store racks for songs other bands weren't playing. "Chains," a Goffin/King song gave George Harrisona vocal spotlight on the Beatles' debut album, and a place for their impeccable three part harmonies to have a home. There's a great innocence to this track, as the band's love of R&B and girl groups shines through on this song. Maybe it's a lightweight track, but good grief it sure is catchy, and they sing the hell out of it.

We're honored to have rock and roll royalty join us this week on the podcast. At the age of 8, Susan Cowsill joined her brothers and mother in the family band The Cowsills, and hit the charts with classics like "The Rain, The Park, and Other Things," "Indian Lake," "Hair," and "Love American Style." The band would serve as the blueprint for The Partridge Family in the early 1970s, but have had an amazing career of their own. Susan has the unique perspective of being on the charts at the same time as the Beatles, and has some great stories to go along with it. In addition to a busy solo career with her own music and working on other's records, she's still touring with her brothers Bob and Paul, and they can be heard this summer on the Happy Together tour, which is one of the most fun shows you can catch if you love great 60s pop and rock. They've also got their own podcast, The Cowsills Podcast, and it's a great glimpse into the fun these siblings are still having after all these years. Susan's on the the BEST voices in rock and pop history, one of the nicest people in the game, and we're so happy to have her on our show!

What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support? Buy Us A Coffee!

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This 1963 John song often gets overlooked these days as album filler. However, this With The Beatles track can be seen as one of the songs responsible for writers and critics viewing The Beatles as actual artists. In a 1963 article, critic William Mann called John and Paul the greatest British songwriters of the year, but also heaped praise upon the band's "lugubrious" music and "pandiatonic clusters, and "the Aeolian cadence of 'Not A Second Time.'" John viewed this as nonsense, but the result was the validation of them not just as pop stars of the moment, but as writers of real serious art. It brought to light the unusual quality of work the band was doing from the onset, and one could argue is indirectly responsible for not just this podcast, but all Beatles podcasts, books, documentaries, etc. And even though it's tacked on the end of the record, it's better than people give it credit for. It's part of a handful that mark the beginning of John's dominant period in the band, where his confidence is at an all time high, and his material is top notch, a period that would reach its apex on A Hard Day's Night.

Kicking off Season 3 with us is Andrew Sandoval. Andrew's the producer behind some of the most landmark reissues in recent history from artists like The Kinks, The Monkees, The Zombies, The Beach Boys, The Bee Gees, Elton John, Big Star, The Left Banke, Nilsson, The Turtlesand more. As a concert producer/manager, he's been behind the brilliant late-career resurgence of The Monkees, handling all their tours since 2011, in addition to handling A&R duties and additional production on their 2015 comeback album Good Times. His upcoming book The Monkees: The Day-By-Day Storyis the most in-depth and important dive into the one-of-a-kind, fascinating career and story of the Monkees, and is available for pre-order now at beatlandbooks.com. We discuss the relationship between the Beatles and the Monkees, creating reissue packages from a fan's perspective, John's not playing by the rules as a writer, and so much more. We could've picked his brain for many more hours, so hopefully, we can do this again.

You can catch Andrew this fall running the show with Michael Nesmith and Micky Dolenz on the Monkees' farewell tour, hitting US cities September through November. Trust us, you'll want to see this show.

What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support? Buy Us A Coffee! 

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Happy 1 year birthday to us! Thanks to everyone who's joined us on this ride so far! We're releasing this episode 1 year + a day on from our first episode, and we couldn't be more chuffed to have made it this far. We're so glad you're all here with us!

Paul's made no bones about his admiration for the music of his parents' generation, the music hall numbers his family loved that must've filled the Macca home, either on record or when dad Jim played during family gatherings. He claimed to have written "When I'm 64" when he was 14, so it's safe to say he's always had a soft spot for this style of music, though John may have scoffed at it (though his brilliant guitar solo on "Honey Pie" shows that he knew EXACTLY what it needed, so he was better versed than he admits). During one of those Macca family gatherings in 1967, Paul came up with "Your Mother Should Know," a tribute to women before his generation, whom he thought, may be a bit hipper and wiser than the growing generation gap may think. The song serves as the big song & dance number which finishes the Magical Mystery Tour film, and much like the film itself, can be a divisive entry in the Beatles' catalog. As mentioned by our guest this week, to put out a song like this during the height of psychedelia & rock and roll, well, it's a pretty punk rock move on Paul's part. 

We're joined this week by one of our favorite singers & songwriters, Mike Viola, who first entered the scene in the late 90s with his band Candy Butchers, and as the singer on the song "That Thing You Do!" from the Tom Hanks' directed film. In addition to writing songs for films such as "Walk Hard - The Dewey Cox Story," and "Get Him To The Greek," Mike is an in-demand songwriter and producer, having worked with artists such as Fall Out Boy, Panic At The Disco, Mandy Moore, Shania Twain, Dan Wilson & Semisonic, The Monkees, and more. We chat with Mike about what makes this song tick and why it's such a classic Paul song despite some of its quirks, creativity being born out of trauma, basing one's entire music career on Ram, meeting Paul (legit some of the best meeting-Paul stories ever), and his absolutely fantastic new album, 2020's Godmuffin, which we at RTB strongly suggest you pick up because it's wonderful. Follow Mike at https://www.mikeviola.com, on Instagram @themikeviola, and on Facebook.com/mikeviolamusic. 

What do you think? Too high? Too low? Just right? Let us know what you think! Be sure to join in the conversation on Facebook at https://www.facebook.com/rankingthebeatles, on Instagram @rankingthebeatles, and on Twitter @rankingbeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!
Songs featured this week include:

Nice To Know You (Candy Butchers - Hang On Mike) That Thing You Do! (The Wonders - That Thing You Do! Soundtrack) USA Up All Night (Mike Viola - Godmuffin) Creeper (Godmuffin) Dear Boy (Mike Viola, Tim Christensen, Tracy Bonham w/ The Damn Crystals - Pure McCartney) All You Can Eat (Godmuffin) Drug Rug (Godmuffin)
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After having his mind perm-blown by acid in the spring of 65, George's songwriting changed its' trajectory, both in quality (upwards) and in subject matter. Gone were the boy/girl-romance songs, and in came a more thoughtful, world-weary young man, the same almost dour man we met just 2 years earlier holding the pen for "Don't Bother Me."With Rubber Soul's "Think For Yourself," George seems to be delivering a memo of caution regarding the peril of being stuck in traditional ways of living and thinking. It's unclear who he's talking to though. Is it a romantic partner? A platonic relationship (bandmates?)? The British government? Himself? The track is delivered with an absolutely confounding and kind of unsettling chord progression that leaves the listener feeling unrooted. Is it a major key? A minor key? It doesn't seem to fit the rules of pop song craft. It's so far removed from the simple chords of early Beatle songs, let alone early George songs. And it's all propelled by a fuzzed-out lead bass track, possibly the first recorded fuzz bass ever. 

Joining us this week is the one and only Kyle Gass, half of the greatest rock band in history of the world, Tenacious D. Along with his partner Jack Black, one could make the case that he and Kyle are the modern-day Lennon/McCartney of comedy rock. Their 20+ career has seen the release of 4 studio albums, a film, an HBO series, a multi part series on Youtube (2018's Post-Apocolypto), and Grammy. In his spare time in the last year, he's managed to post daily guitar videos on Instagram, start up the podcast "Did We Do It?" with fellow actor Kevin Weisman, and recorded new solo and Tenacious D music. He's got a new solo single, "Vaccinated," with a star-studded video, out now. You can stream the song, watch the video, and get the t-shirts at https://linktr.ee/kylegass. We chat with KG about all sorts of things, from podcast mic tips to hating social media, the Beatles as actors, the appeal of a creative duo vs a band, to getting the vip treatment at Abbey Road. He even drops a few Easter eggs for upcoming Tenacious D plans (we got the ok from their people to leave it in) that's sure to please old school D fans and Beatles fans alike. Be sure to follow Kyle on Instagram at @theactualkylegass. 

So what do you think? Too high? Too low? Just right? Kyle things we're laughably crazy. Let us know what you think! Be sure to join in the conversation on Facebook at https://www.facebook.com/rankingthebeatles, on Instagram @rankingthebeatles, and on Twitter @rankingbeatles. Enjoying the show and want to show your support? Check outhttps://anchor.fm/rankingthebeatles/support!

Songs featured this week include: 

Classico - Tenacious D Tribute - Tenacious D Time Warp - Tenacious D Vaccinated - Kyle Gass
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It's our 50th Episode! Thanks to everyone who's been along for the ride so far. We're so glad you're here! On to this week! Paul McCartney sometimes is (unfairly) criticized for not bearing himself in his songs in the more upfront ways John often did. While he usually wraps his emotions in bigger stories and concepts, there have been times he's been extremely candid about his life in song. Late 65-66 saw him bearing his thoughts on the struggles of his relationship with Jane Asher in a handful of tracks, especially on Rubber Soul, which is where we find ourselves this week with the song "I'm Looking Through You." The band worked on this song in several arrangement styles over the sessions, before landing on a somewhat loose, fun, folksy track featuring an absurdly great Paul melody, scorching organ in the chorus and some interesting percussion from Ringo (and George on tambourine!). And while the track is undoubtedly great (aren't they all), I sometimes wonder if the Anthology version may have been a bit more interesting and thought out?

To get to the heart of this tune, we're joined by our old friend Mark Bryan, guitarist and songwriter of kajillion-times platinum selling band Hootie & The Blowfish. We chat about all manner of things, from Mark and the band's early songwriting and harmony influences, the Beatles material output speed versus the output in modern music, the unspoken language of the Beatles, and Paul's brilliance in writing songs that can be shaped to any style. Mark's new solo album, Midlife Priceless, is out know everywhere, and is a masterful rock and roll/pop album. Stream it everywhere, or buy a cd or record at https://www.markbryanmusic.com. Follow Mark on Facebook and Instagram @markbryanmusic.

Songs in this episode from Midlife Priceless include:
"Gotta Get Outta Town"
"Wanna Make You Feel Something"
"A Little More Rock and Roll"

Also featured:
"I'm Looking Through You" - Steve Earle

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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Though the Beatles recorded an annual holiday record for their fan club, it took them until 1967 to finally put an actual real Christmas song on one of them. The very last thing the Beatles recorded together in 1967, "Christmastime Is Here Again" is almost a mantra, a repetitive sing-a-long, filled with all the fun and personality you'd want from the Fab Four, capturing a festive holiday spirit while avoiding virtually any cliche or normal hint of traditional Christmas music. It's interesting that for a band who's every move was recorded and noted, virtually NO info exists about the origins of the song, the tracking of, the nuts and bolts, etc. Coming at the end of a WILD year especially, it boasts some of Ringo's nastiest groove drumming as well, it's also the last time the band would collaborate together on a fan club Christmas record. It's a staple in the RTB house every holiday season. 

We're always glad to spend time with our podpals Blotto Beatles, and they're here this week to help us bring a bit of holiday cheer to you as it starts to turn to summer. Scotty C, Tommy, and Becker are ALSO ranking Beatles songs, albeit in a different method, and also while throwing back a ton of drinks. Their show is one of our favs. After a year of hardcore Beatle podcasting, what have we all learned? How do we feel about holiday music, and Beatle holiday music? How do we keep ourselves sane after so much Beatling??? Be sure to follow their show everywhere you listen to podcasts, all the info you need is on their website at BlottoBeatles.com. 

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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A quintessential Paul McCartney track, "The Fool On The Hill" lands in a dreamy haze on Magical Mystery Tour, the tale of someone who lives with their head in the cloud, not a care in the word, inspire of the worries of those who think they're....a fool. Is the song about the Maharishi? About John? Paul himself? Or maybe all of us? Paul's never quite owned up to the truth on it, but it doesn't detract from the fact that this is a beautiful song. But what DOES detract is the peculiar choice of a recorder, the loud, children's-anyone-can-learn-it-instrument, used for the solo section. Is that enough to take the listener out of the blissed out vibe the song creates?

Joining us to tackle this discussion is Damon Johnson, singer/songwriter and guitarist of Damon Johnson and the Get Ready, and formerly of Alice Cooper, Thin Lizzy (and offshoot band Black Star Riders), and Brother Cane. We chat about The Beatles playing a big part of a child's first memories, from the spinning of a Capitol label, to crib calls for "Mysterytour!!" We also touch on balancing an ear for melody and pop while holding down a gig in harder rock bands, and his excellent new album, "Battle Lessons," which is out now, how the pandemic shaped the record and possibly his next like, 10 records. Pickup his new album now at damonjohnson.com, and be sure to follow along on Facebook (https://www.facebook.com/officialdamonjohnson), Instagram (@officialdamonjohnson) and Twitter (@damonjofficial)!

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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Written at the end of 1967 and finding a home later the following year on the back end of the White Album, "Cry Baby Cry"serves as several different significant markers. It's John's last real psychedelic track, marking the end of his acid-haze word play and the start of writing as reporting on real life. It's the last track engineer Geoff Emerick works on with the band, quitting mid-session due to ongoing tensions. And it's also the start of what Jonathan refers to as "the creepiest 11 and a half minutes in the Beatles catalog." This dreamy, opium-den-sounding track is a fantastic tune, with great work all around from the band, especially Paul's brilliant bass work (Julia thinks the his part at the beginning sounds like a spaceship!). A great tune, with an ominous vibe that leads the listener down a dark path, with Paul's "Can You Take Me Back" segue guiding the listener into the darkness of whatever they're about to experience with "Revolution 9."

Returning to the show this week is singer/songwriter Paul Sanchez, one of the most prolific, award-winning, and beloved songwriters in New Orleans. After releasing 19 solo albums (including a recent vinyl reissue of his 1992 solo classic Jet Black and Jealous), we take the time to look back at the role the Beatles, as writers, have impacted his songwriting through the years. We touch base on all sorts of things, like the chemistry of bands vs brands (Paul was a guitarist and founding member the band Cowboy Mouth, and after leaving after 15 years, Jonathan joined the band as guitarist for the next 3 years, more details in the show), whether Nebraska is Bruce Springsteen's Plastic Ono Band, the immediacy and vulnerability of Lennon, and realizing that your songs are ALWAYS about you in some way. We also get a rendition of the first song Paul ever wrote! Paul also now is co-host of "Another Cup of Coffee," a Youtube-based podcast airing live Monday, Wednesday, and Friday at 9am CST! Tune in! 

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles),onTwitter @rankingbeatles,and onInstagram @rankingthebeatles.Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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As one of several songs Paul wrote at the end of 1965 during a rough patch with Jane Asher, "You Won't See Me" provides a glimpse into the real-life on-goings of Paul McCartney, something listeners only ever get careful, glancing views of. With this piano-driven, Motown influenced track, buoyed by an incredibly strong vocal, the lads create something that sounds fresh even today. Recorded on the last day of Rubber Soul sessions, the song showcases a Paul who's hurt, a bit angry and salty, but also completely desperate to get his partner back. It's a fantastic track on a fantastic album, and the only drawback may be that it kind of reveals itself to you completely rather early on. But to paraphrase Macca, "it's the bloody Beatles' Rubber Soul, shut up, Jonathan."

Returning to the pod this week is singer, songwriter, writer, and fellow Beatles nerd Sean Nelson! In this episode, we touch on a LOT of topics...Paul planting his flag in the sand on this record, relationships between Beatles and their partners, and Paul's ability to show us exactly how much he wants us to see. We also talk Sean's brilliant Harry Nilsson covers album Nelson Sings Nilsson, drinking with Micky Dolenz of the Monkees, and how Sean's old band ended up providing the theme song to a beloved British television comedy. 

Check out Nelson Sings Nilsson as well as Sean's other solo album Make Good Choices and Harvey Danger's 3 albums anywhere you get your music, then thank us later. Songs in this episode include

"Gotta Get Up" - Sean Nelson,Nelson Sings Nilsson
"Meetings With Remarkable Men (Show Me The Hero)" - Harvey Danger, King James Version
"Daddy's Song" - Sean Nelson, Nelson Sings Nilsson
"Don't Forget Me" - Sean Nelson, Nelson Sing Nilsson

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles),onTwitter @rankingbeatles,and onInstagram @rankingthebeatles.Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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The affection The Beatles had for Carl Perkins' music is no secret. "Matchbox" was a longtime part of the band's early live show, first sung by John, then by Pete Best, then again by John. Starting in '63, Ringo took it over for a few BBC sessions, then in studio in June of '64, with Perkins himself hanging in the studio with them. Their cover is a swinging, sloppy, rollicking fun mess. Ringo fumbles lyrics and melodies all over the place, but, in Jonathan's opinion, it's a fun, fast tune showing a bit of that raw rocker vibe that Beatles were starting to take their first steps away from as they grew and experienced more and more. Is that enough to elevate the track to something Fab-worthy? 

Julia doesn't really agree, and neither do this week's guests. Our pals Jak Locke and Angie Tusa return to the show. Since we last connected, Angie has started a blog called After The End, a deep chronological dive into the entire solo catalog of The Beatles. Jak's history with rockabilly in his band The Monochromes helps give us a good resource this track, and it's history, which goes well beyond Carl Perkins. We touch on all sorts of topics in this fun, in-person (yay!) episode. We also try out a new game, Bruce's Brain Busters! Be sure to follow Angie along on the blog an on Twitter, and check out all Jak's musical projects at jaklocke.com! What do you think? Too high? To low? Or just right, like Baby Bear's porridge? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support to drop a coin in the tip jar!

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The second track on the band's debut LP, "Misery" was actually the first time John and Paul wrote a song with the intent of shopping it to another artist, Helen Shapiro. When she passed on the song, it gained a spot on the Please Please Me album, being one of the only really "new" songs put to tape on the album, most everything else being songs that had long been in their live set. Compared to a lot of the rest of the album, the song sounds quite grown-up production-wise, even if the lyric is kind of teenage-woe-is-me. John and Paul's unison vocal breaks into a harmony on the refrain, and already their voices are the perfect compliment to each other. A beautiful, melancholy bridge, accentuated by producer George Martin's piano, helps make this a catchy tune, even if it's nothing world-changing. It actually went on to be the first Lennon/McCartney tune covered by another artist, as tour mate Kenny Lynch scored a minor hit with a super sappy version of it.

We're joined this week by fellow Beatle podcaster Joe Wisbey, who's amazing collection of books on the fabs turned into The Beatles Books Podcast, in which he interviews the authors of some of the countless books that have been written about the lads (Julia thought we had a lot of Beatle books in the house...we ain't got nothing on Joe). He also runs a daily instagram feed which spotlights a different Beatles book or magazine each day. In addition to diving deep in this tune, we chat about what Joe looks for in a good Beatles book, the deep corners of Ringo's 70s and 80s filmography, the US vs English perspective on the band, and Joe raises a great point...is this song maybe a bit more tongue-in-cheek than we realized? Listen to Joe's podcast anywhere good podcasts are found, and follow along on Instagram and Twitter.

What do you think? Too high? To low? Or just right, like Baby Bear's porridge? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support to drop a coin in the tip jar!

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Leave it to Paul and the lads to come up with a classic song from conception to mix in just under 12 hours. That's the story of "Birthday," the storming rocker that kicks off side 2 of The White Album. Inspired by the rock and roll of their youth, courtesy of the 1957 rock film "The Girl Can't Help It," the Beatles put together an absolute barn burner of a rock tune, and captured a track that shows just how great a rock and roll band they could still be, at a time when working individually was increasingly becoming the norm. A strange topic to sing such a shouter about, the song has more than stood the test of time, becoming a multi-generational standard, a constant feature of Paul's live show, as well as at....well...just about every birthday.

Joining us this week is Portland-based musician Dave Depper, who's worked and toured with musicians from all over the place, but found a home in indie rock titans Death Cab For Cutie (one of our fave bands). Since joining in 2017, he's been on their most recent full length, Thank You For Today, 2019's Blue EP, and most recently, The Georgia EP. This year, he completed and releasedEuropa, a long-gestating instrumental album of guitar loops, improvised and recorded live while on tour. It's a fantastic, soothing, dreamy, melodic record. Also under his belt is his 2015 synth pop album Emotional Freedom Technique (also rad AF), and if you need to be further convinced, in 2011, he released The Ram Project, a complete note-for-note recreation of Macca's classic, Ram. It too, is rad. We chat about all manner of things, including, but not limited to committing to Covid hair lengths, joining an established band with a history and finding a new future, the Beatles being part of your DNA, and why Birthday may succeed where other rockers fail. We highly recommend doing yourselves a favor, and checking out all of Dave's work (you can get it all at www.davedepper.com), as well as that of his day job. You can thank us later. 

What do you think? Too high? To low? Or just right, like Baby Bear's porridge? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support to drop a coin in the tip jar!

Songs featured in this episode:
Dave Depper - Munich Six - Europa
Dave Depper - Manchester Two - Europa
Dave Depper - Too Many People - The Ram Project
Dave Depper - Anytime, Anywhere - Emotional Freedom Technique
Death Cab For Cutie - Waterfalls - The Georgia EP

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Sometimes, all it takes to write a signature song is...quitting your band. During a sabbatical from the tense White Album sessions of 1968, a trip on Peter Sellers' boat gave Ringo the inspiration for "Octopus's Garden." With a little help from his friends, George in particular, he was able to put together something that's incredibly charming and fun, and the last example of the band all pulling together to support their beloved drummer; it's a stellar performance all around, and a sonic gem, along with the rest of Abbey Road. As childlike and saccharine as it may be though, is it possible this is a much deeper song, where Ringo's really seeking out some shelter from the storm around him? Could this be his "Help"?

We're joined this week by Liz Stokes and Jonathan Pearce, 1/2 of the New Zealand-based rock band The Beths. Their latest album Jump Rope Gazers, out now on Carpark Records, was in our top 3 albums of 2020, a literal constant quarantine companion. Over the last few years, their blend of propulsive, sing-along choruses, four-part vocal arrangements, and wry, introspective lyrics has earned them fans around the world, as well as opening slots for indie rock titans like The Breeders, Pixies, Weezer, and Death Cab for Cutie. We chatted on Mardi Gras day about all sorts of things, from very different Beatle-fan perspectives, and, in a podcast first, Jonathan admits that he maybe got his ranking wrong on this one. 

You can follow The Beths online at thebeths.com, as well as on Facebook and Instagram. Jump Rope Gazers is streaming everywhere, and you can grab a copy on vinyl or cd at https://thebethsnz.bandcamp.com. Do it and thank us later.

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support to drop a coin in the tip jar!

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One of the most divisive tracks in the Beatles' catalog is another classic example of Paul McCartney being able to invent stories out of thin air, wrap them in insanely catchy melodies and arrangement, and somehow draw the ire of all of his band mates, and like, 50% of the general population. "Maxwell's Silver Hammer" gets a bad rap...if his bandmates hadn't literally trashed it in the press upon release (and on through the 2010s), or had it been recorded a couple of years earlier, would it be as divisive, or held up as a classic McCartney? Is it "classic McCartney/Beatles" if it's also something as many people genuinely hate as they do love? Is it...the perfect Marmite song?

To discuss this and much more, we're joined this week by our pod-pal Sam Whiles, who hosts the all-McCartney podcast "Paul or Nothing."We touch on all manner of subjects in a wide ranging chat, from learning about the Beatles out of context, to writing songs like "Maxwell" as a big "f--- you," the need to get our paws on some Linda McCartney frozen dinners, and the fun of all these Beatles podcasts working together to continue the discussion of this music we love so much. You can check out "Paul or Nothing" on any podcast provider, and follow along on Twitter and Instagram. 

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support to drop a coin in the tip jar!

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You can really chart the band's early growth with all the different versions of this Carl Perkins' tune. "Honey Don't" appeared in the band's live set in 1962, and found a home on the Beatles for Sale album. It made multiple appearances over the years on BBC sessions, and each time, it's done a bit different. The band's growth from rough and ready, garage rock band to seasoned, attentive recording artists can be tracked over these versions. And while Jonathan may find that interesting, Julia isn't sure that necessarily makes it a great song.

That said, this week, it's just us! As we hit the round number of #180, we decided to take a look back and chart OUR growth, with a quick run down memory lane, recapping our list so far. We talk about how our thoughts on the band have been evolving over time doing this podcast, and discuss our current Beatle favs!

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support to drop a coin in the tip jar!

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In early 1968, the Beatles journeyed to Rishikesh to seek the fulfillment they realized they weren't finding in fame, drugs, money, and success. While the results of the trip on the group are debatable, there's no denying it provided them with tremendous inspiration for songs. One fellow student, and his mother, provided the inspiration for this Saturday morning cartoon adventure, "The Continuing Story of Bungalow Bill." The song joins "Rocky Raccoon" and "Ob-La-Di Ob-La-Da" in the category of story songs on The White Album that, while they may not be the most meaningful, impressive things the Fabs ever wrote, they sure are fun. This track also marks, literally the introduction of Yoko Ono into the audio version of the Beatles catalog, as her one line in here is the first and only time a lead vocal was ever sung by someone other than a Beatle. 

Joining us this week is Paul Saltzman, whose journey of self-discovery and heartbreak led him from civil rights worker in Mississippi to the Maharishi's ashram, and eventually, into the orbit of the Beatles. The photos he took of the band while at Rishikesh are some of the most beloved, catching the band creating, jamming, in thought, relaxed. He's also a long time producer and director, having produced Sundance favorites such as "Prom Night In Mississippi" and "The Last White Night," while still maintaining a foot in the world of activism with this non-profit organization Moving Beyond Prejudice, which garnered him an audience with, and recognition from President Obama. His most recent documentary is "Meeting The Beatles In India," and it's available for streaming at https://thebeatlesinindia.com.

There is a moment of some poor connection around minute 16 we've done our best to correct. We think it's sounds OK, and appreciate your understanding. 

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support to drop a coin in the tip jar!

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Even though the Fabs had shown some affinity for country, it's on the White Album where they dive headfirst. Paul's turn at spinning a country story comes via "Rocky Raccoon," one of the numerous songs written by the band in India early in 1968. Leaning on a cheeky, twangy vocal, the tale of Rocky, Dan, and Lil has a bit of everything: a love triangle, a shootout, a drunk doctor who doesn't appear to actually help Rocky with his gunshot wound. Thankfully, he finds a Bible in his room and then....we don't know! Does he ride of into the sunset? Does he die? TELL US PAUL!

This week, we're taking everyone to school, and keeping in it in the fam. We're joined by Celeste Faia, a PhD candidate studying microbiology and immunology, a budding casual singer and painter, and also, Julia's cousin, and one of our closest people. We thought it'd be fun to shine a light on science for a change, and boy do we. We discuss everything from the science of the Covid vaccine, the chemical results of the Beatles' drug use, entering the Beatles' catalog via the Anthology, a history of the Gideons, whether or not Rocky Raccoon is a cowboy dude, or a human-sized Raccoon-man hybrid. Also, Julia's tired all the time, and one time Jonathan was attacked by a raccoon. It's a wild time.

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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As the opening track on Rubber Soul, "Drive My Car" represents the line in the sand in which The Beatles shake off their beat-group roots, and firmly enter a smokey, hazy world, influenced by the world they've conquered and toured, and made in their image. Their continuing love of R&B manifests itself in the bass driven tune, propelling a story of a would-be star persuading the narrator to be her "chauffeur" (nudge nudge wink wink say no more) before she even has a car. A great example of a fascinating and clever story in song. It's a great song for sure, and it's an important song in their oeuvre, but I've never really LOVED it. 

To help me figure out why, we're joined by Sean Nelson, the singer behind the beloved band Harvey Danger, who's late 90s hit "Flagpole Sitta" has grown to be one of the most enduring songs of that decade, with its sharp wit and singalong hooks. In addition to the 3 albums his band released,  his own solo work, collaborations with other artists like Robyn Hitchcock and Death Cab for Cutie, he's also been the editor of Seattle's The Stranger newspaper, written a 33 1/3 series book on Joni Mitchell, acted in indie films, ran a record label, and, oh yeah, he's a HUGE Beatles fan. His most recent album is an absolutely fantastic collection of Harry Nilsson songs called Nelson Sings Nilsson, which we recommend you download/stream/buy as soon as you're done listening to this episode. Topics explored in this episode range from the adventures of starting a band, doing music on your own terms, working for pay versus being paid for your work, The Beatles being the blueprint for what a band should be,  ugly crying at Paul shows, to a shared love of the Monkees, and all points in between. 

Non-Beatles songs included in this episode:

Harvey Danger - “Flagpole Sitta” from Where Have All The Merrymakers Gone?

Paul & Linda McCartney - “Backseat of My Car” from Ram

Archie Bell & The Drells - “Tighten Up” from Tighten Up

Harvey Danger - “Little Round Mirrors” from Little By Little

Sean Nelson & Seattle Rock Orchestra - “Helter Skelter” (live)

Sean Nelson - “Gotta Get Up” from Nelson Sings Nilsson

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To finish the break-neck recording sessions for Rubber Soul, the band dug back into the archives for the song "Wait," originally recorded and shelved during the Help! album soundtrack. A new overdubs, and voila! A fine album track, it's a great performance from all parties, but it also has a hint of the beat-group that the band had outgrown by this album, so it's got an interesting vibe of being a Help song in a Rubber Soul costume. One wonders if late 65 Beatles would've recorded this in the same style as early 65 Beatles, considering the growth they'd made personally, professionally, and musically in that year.

Joining us to this week is singer/songwriter Micah McKee. Micah has been a fixture in the New Orleans scene for years, with the bands Little Maker, The Essentials, and on his own. He also hosts the American 100 podcast, a podcast that explores the music of America by way of the history of the Billboard Top 100 chart. On this episode, recorded on Inauguration Day, we discuss everything from the relief of welcoming in a new administration, getting into the Beatles via the right album at the right time, making an album on your own with total control, to Disco Duck and recording a podcast with a robot named Rando.

Micah's new album "Abundences" will be out Feb 16th, and our episode features the tracks "Your Favorite Beatle" and "Someone Lost The Map." You can check out Micah's music at https://micahmckee.bandcamp.com and pre-order "Abundences" at http://www.campersrule.com/artists/micahmckee.  Check out the American 100 podcast at Apple Podcasts, or anywhere you listen to podcasts.

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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This week's song is an "all-Paul" track (writing-wise, at least John says it is) that found a home on the Help! film and soundtrack. On celluloid, the boys craft "The Night Before" in a field, surrounded by tanks and assailed by wind. In real life, they knocked it out in 2 takes in Abbey Road in February of 65, the track marking the first time we hear Lennon on keys, and a key part that drives the entire song. It's a fun, upbeat song that gives Paul a place to shine in the film, while the latin-tinged bridge section shows their growth and willingness to change gears completely. And while they're growing by leaps and bounds, part of the song still feels steeped in early-Beatles-beat-group land...a land they were fast escaping on this album. On a record which delivers classics like "Help!," "Ticket To Ride," and the classic of classics, "Yesterday," the growing pains on this song kind of stand out. But then again, it's '65 Beatles, so it's still fantastic. 

Joining us this week is Louisiana-based singer/songwriter Ben Labat. When Covid shut down touring, Ben found a way to help other musicians pay their bills while continuing to record with his Bayou Fever Sessions project, and also found time to write, record and release a ton of other music. His latest single, "Rocket Heart," is out now, and the video was just premiered January 16th on Ditty TV. In our chat, we touch on everything from finding ways to adapt during pandemic times, the benefit of creators having a partner to impress and keep their bar high, to passing the Beatles down to your own kids. You can check out Ben on Facebook at https://www.facebook.com/benlabatmusic, his website http://www.benlabat.com/, and check out the video for "Rocket Heart".  

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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There's an old joke...What was the last thing the drummer said before getting fired? "I've written a song..." Ringo first brought "Don't Pass Me By" to the Beatles when he joined the band in 1962. Not until the free-for-all spirit of The White Album in 1968 did the band agree to take up his jolly country tune, and when we say the band, we mean just Paul. Dueling sources place both Beatles behind the drum kit, strangely, and we're frankly not sure who it is because while it's messy enough to be Paul, it's weird and groovy enough to be Ringo . The song is filled with Sir Rich's trademark charm, and certainly adds to the sonic journey of the band's sole double album. Speaking of the band, The Band, it was their favorite track on the record, apparently. 

To discuss this track, we've brought back two of New Orleans' premier drummers...Kyle Melanon (Dash Rip Rock, Imagination Movers) who loves the track, and Andre Bohren (Johnny Sketch & The Dirty Notes) who does NOT. In our first in-person podcast, we discuss the pros and cons of being not quite professional, the difference singing versus being able to truly delivera vocal, the weight of charm, and importance of letting your fiddle player tune up and make more than 1 pass on a track, while Julia drops a bomb that just may be the one overarching rule when it comes to The Beatles....

What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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John & Paul often talk about some songs as being "work songs"....tunes they knocked out for other artists, or George and Ringo, or tracks to fill out the album. They often referred to #188, "Little Child," as one of those songs. It's a fairly simple, uptempo rocker intended for Ringo's vocal spotlight on With The Beatles, though John eventually handles  the vocal on it. Simple as it may be, it's part of a period where the band starts realizing they're not beholden to the standard pop song arrangement or instrumentation, starting to spread their wings while maintaining a foot steadily in their beat group phase. It's also a remnant of that strange time in music where women are always referred to like young children, which is...yeah, kinda weird. A rocking track though that does it's job on the record.

It takes a certain level of love for a band to devote oneself to a podcast, and we're kicking off season 2 by talking to James C., the host of one of our favs, The Oasis Podcast. Since 2017, James has been chatting with ex-Oasis members, musicians who worked with the band, art directors, video directors, a whole slew of of people who worked with the Britpop giants, while also discussing the on-going solo careers of the Gallaghers and co., giving a much-deserved spotlight to music that, whether we in the states realize or not, was an influential, cultural JUGGERNAUT. There's so much more than just "Wonderwall," folks! We touch of the perfect storm of Oasis coming to the alongside the Beatles Anthology, the joys of a shimmering coda, the pride and love of having YOUR band, and our half-hearted attempts to reach out to the brains behind the music that fuels our respective shows. Be sure to listen and subscribe to The Oasis Podcast at any podcast provider of your choice, and follow along with James on Twitter @oasispodcast. Additionally, he hosts the 1001 Albums podcast, based on the book "1001 Albums You Must Hear Before You Die." Check them out!

Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles) and on Instagram @rankingthebeatles. You can also now follow us on Twitter at @rankingbeatles! Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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One of the great things this podcast has given over so far is a chance to re-examine songs you've heard hundreds of times. Through that, "There's A Place"revealed itself to be the roots of the introspective and sensitive Lennon who goes on the bring us songs like "Nowhere Man," "Strawberry Fields Forever," all the way to "Watching The Wheels." And it's brave as hell to put a song that low-key is commentary on mental health on your debut album in 1963, a time when those things weren't really discussed. But this is maybe the first time the Beatles become a band that people could connect to through song on a mental/emotional level, in that "this song gets me" kind of way.

On the flip, "Devil In Her Heart" shows the band finding material that no one else was playing or listening to, standing out among the other bands in Liverpool with more interesting choices and songs. They really connect on girl-group songs, and this song is no different. An overlooked, under-appreciated tune which, due to this podcast, finally led us to the original version, which rules!

This week, we elected to have no guest, and take a look back at the first season of our show. Jonathan and Julia chat about what they've learned and what's surprised them about this deep dive into the Fabs catalog, feeling conflicted about past rankings (and a couple of future ones), and touch briefly on what's to come in the new year. 2020 has been pretty awful, but doing this podcast has been the real highlight for us, so thank you all for joining us this season! Season 2 starts up in January!

Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles) and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support! 

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Every holiday season from 1963-1969, members of the Official Beatles Fan Club would receive a special present from the Fab Four: a limited edition, fan-club-only flexidisc record, made just for them. What started out as a brilliant turn of PR, scripted to strengthen the appeal and bond between band and fan turned into an outlet for the boys to create whimsey and weirdness without consideration of commerciality. As they got turned on, so did the Christmas records. Bringing in elements of their beloved Goon Shows, pantomime and theatre, avant garde sound collages, the band turned in increasingly creative, then increasingly distant records every year, providing a fascinating glimpse into their trajectory throughout their career. 

To discuss this curio in the catalog, we teamed up for this crossover episode with Christmas music fanatic, previous guest, and host of the 12 Songs of Christmas Podcast, Alex Rawls. For several years now, in addition to his regular music website, My Spilt Milk, he devotes the end of the year to discussing Christmas music old and new, it's place in the zeitgeist and the relationship we have it. It's a fantastic podcast we highly recommend subscribing to. 

If you want to dive deeper into the Beatles Christmas discs, they're pretty easy to find on Youtube. They reissued them in a 7" boxset in 2017, which can still be purchased should you love them and decide to add them to your collection. 

Also featured in this episode is The Breton Sound's cover of "Wonderful Christmastime," which you can stream on all streaming sites, or download on iTunes if you really want it, and The Fab Four's "Tomorrow Never Knows"-ish cover of "Jingle Bells," which is absolutely a blast. They have a Christmas album called HARK!, all holiday songs done in Beatles-style, and it's a hoot. Highly recommend. 

Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles) and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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At the onset of the Get Back/Let It Be project, John had a dilemma: he was short on songs. Paul and George had them falling out of their back pockets, but John was...going through some things, and didn't have a ton of material. He looked to the past, as the rest did, to old Lennon/McCartney tunes, rock & roll standards, covers, and old folk songs, like "Maggie Mae," a tale-as-old-as-time story about a prostitute robbing her...John. This tune, with's it's equally odd history, shows up between takes of "Two of Us," a light-hearted jaunt through songs they knew back when, relieving tension, and providing that "fly-on-the-wall" perspective that was the impetus behind the project. It's an enjoyable, if somewhat perplexing inclusion in the catalog.

To somehow get an episode's worth of discussion on this track, we called the man who wrote the book on these sessions...literally. Bruce Spizer has written 10 books on the Beatles, examining everything from their releases on obscure independent record labels to band and solo releases on their own Apple Records, deep dives on their conquering of America, to in-depth analyses on Sgt. Pepper, The White Album, and now, Let It Be. He was the infuriating brain behind the questions on the Beatles' Trivial Pursuit game (10 points if you know what Jet Clipper Defiance is without Googling), and he's a regular speaker at Beatles conventions and events around the world. In addition to the odd history of "Maggie Mae," we touch on growing up as a 1st generation fan, what it takes to write some of the best Beatles books, the twists and turns of the Get Back/Let It Be project, and getting past book-burnout courtesy of an ex-Wings member.

Bruce's new book, "The Beatles Finally Let It Be," is available now! You can get it (autographed and with a SLEW of extra goodies - all of which he outlines in the episode) at his website, Beatle.net. Get it now and you'll be able to get the addendum accompanying the release of the Peter Jackson "Get Back" film next year! We also highly recommend his other books if you're looking for informative deep dives on Beatles topics, packaged in wonderful coffee-table books.

Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles) and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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