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I don’t usually do this sort of thing, but I recently came across a “Top 5 Obscure Beatles Songs” list that for some reason thought to include such iconic blockbusters as “Penny Lane” and “While My Guitar Gently Weeps,” so it occurred to me that it might be worthwhile to chime in with my two cents, even if to an audience who needs no educating on the subject! :) But perhaps fun fodder for discussion (I’d be curious to hear your alternatives if you disagree with my choices)… and, as we approach the heart of the festive season, these might provide some ideas for stocking stuffers or gifts to those friends and kin who also happen to be enthusiasts!
Enjoy!
Enjoy!
1) FLYING
Track #3 on the album “Magical Mystery Tour,” “Flying” is distinct, and wonderfully so, in the fact that the song is difficult to identify as a Beatles track, even by context and with deep knowledge of their style, without prior familiarity with the album and its listing. For those of you who haven’t yet had the pleasure, the song is a trippy instrumental jam composed together by all four members, following a basic 12-bar blues pattern, that builds with each head from bare-bones rock instrumentation to a multi-layered feast of retro analog sounds and strangely EQ-ed, vaguely choral vocalizations.
To this listener it’s a fantastic track in its unexpectedness. I love and still can’t get over the fact that it just "doesn’t feel" like a Beatles song. Yes, I could get really nerdy and talk about little giveaway Beatle-y things like guitar tone, how the snare drum is being mic-ed, and the general Ringo-ness of the 8-beat that’s being played, but why? It’s fun, refreshing, and light; a sort of Beatles “back to basics” before launching into the belle melange of the next two albums (more on that later, perhaps): indeed well worth a listen.
To this listener it’s a fantastic track in its unexpectedness. I love and still can’t get over the fact that it just "doesn’t feel" like a Beatles song. Yes, I could get really nerdy and talk about little giveaway Beatle-y things like guitar tone, how the snare drum is being mic-ed, and the general Ringo-ness of the 8-beat that’s being played, but why? It’s fun, refreshing, and light; a sort of Beatles “back to basics” before launching into the belle melange of the next two albums (more on that later, perhaps): indeed well worth a listen.
A quick note… Since these songs are a little more obscure, it’s been tricky to find even a sample or clip of them on youtube. I’m historically a pretty awful searcher, though, so you might have better luck, or else it’s already on your iPod and you love it as much as I do. Or not. Either way is peachy keen. I’ll leave basic wiki info for strategic reading purposes, and album cover art as I can find it as well.
2) SHE'S A WOMAN
The B-side on the “I Feel Fine” single, this song is one that many—even seasoned Beatles fans—may not be familiar with, or else may not have encountered at all; for some reason it slips under the radar, possibly for both being a B-side, and not having any album presence. This is a favorite of mine to perform live, partly as it’s just a boatload of fun, but also because the vocal writing is top notch: it’s that kind of melody that not only makes you want to sing it, it makes you hard pressed to be able to stop singing it once you’ve started.
A Paul McCartney effort for the most part, the original (sung a good deal higher than where I’m able to reasonably attempt it) is another showcase of his early-days rock n roll vocal capability, echoing performers like Little Richard and, to a lesser degree but still, James Brown; I’ve always thought of “She’s a Woman” as a sort of follow up to his more-than-respectable turn on the Beatles version of “Long Tall Sally;” in addition the album “For Sale” which came out around the same time showed him off similarly with the “medley” of “Kansas City” and “Hey, Hey, Hey, Hey”—admittedly another favorite of mine to perform in the cover circuit (I guess I just like to scream like I’m Paul McCartney; evidence as to its effectiveness is thus far inconclusive).
A Paul McCartney effort for the most part, the original (sung a good deal higher than where I’m able to reasonably attempt it) is another showcase of his early-days rock n roll vocal capability, echoing performers like Little Richard and, to a lesser degree but still, James Brown; I’ve always thought of “She’s a Woman” as a sort of follow up to his more-than-respectable turn on the Beatles version of “Long Tall Sally;” in addition the album “For Sale” which came out around the same time showed him off similarly with the “medley” of “Kansas City” and “Hey, Hey, Hey, Hey”—admittedly another favorite of mine to perform in the cover circuit (I guess I just like to scream like I’m Paul McCartney; evidence as to its effectiveness is thus far inconclusive).
The singles are easier to find now (I remember it being a wee bit tricky back when I was a fifteen year old trying to round out his collection), and this one is well worth the ticket to ride (sorry, just had to).
3) ANY TIME AT ALL
Any Time At All; Side 2 Track 1 on the Beatles third studio album: "A Hard Day's Night."
I love this song. I’m just a total sucker for it. I think, though, or rather I’m realizing, that I might just be a sucker for that class of John Lennon songs. It seems to me that Lennon consciously used similar chord progressions—even ones he had developed that were unique enough that you’d recognize them if repeated—multiple times in order to explore specific emotional or narrative effects, or else to mimic specific styles. This particular “ilk” was (and I’m using my own term now) the “vi-I” riff, i.e. the “6 minor to 1 major” riff, which may be of no more help, I realize. This song’s opening riff is something of a twin to an earlier counterpart called “It Won’t Be Long” (another good lesser known song, just not on the list). The way the two move from 6 minor to 1 major in their respective openings is evocative of each other, using this characteristic, and fairly unique, harmonic device.
But enough nerding out. There’s just some great stuff going on here. This is for sure worth many listens, as it grows with time and as details become more clear and obvious with repeated exposure. John and Paul trading riffs on the choruses is a first standout moment; ostensibly done because the second half of the melody was out of John’s vocal range, but the effect ends up feeling much more profound, reminding the listener (as least, certainly, this one) that this is a group with a powerful vocal bench, not constrained to one lead singer or one set of timbres. In the early days, John and Paul often sang together, in both harmony and unison, on the lead lines (She Loves You; Please Please Me etc.); by now this was less of a signature feature, so this moment stands out as a cool demonstration of their growing vocal individuality while still presenting them effectively together.
The orchestration work is brilliant too for an early pop tune that wouldn’t have required it, with some fantastic bridge riff work doubling piano and 12-string guitar, devised by George Martin, and executed by McCartney and George Harrison. It’s just a super team effort, which stands to reason given its appearance on without a doubt the strongest Beatles album of the early era: “A Hard Days Night,” which might also explain why the track sometimes has a tough time standing out against the iconic powerhouses that surround it (A Hard Day’s Night; Ticket to Ride etc.). But underestimate this track at your peril. It’s jolly good craic and highly recommended by this fab four nut.
But enough nerding out. There’s just some great stuff going on here. This is for sure worth many listens, as it grows with time and as details become more clear and obvious with repeated exposure. John and Paul trading riffs on the choruses is a first standout moment; ostensibly done because the second half of the melody was out of John’s vocal range, but the effect ends up feeling much more profound, reminding the listener (as least, certainly, this one) that this is a group with a powerful vocal bench, not constrained to one lead singer or one set of timbres. In the early days, John and Paul often sang together, in both harmony and unison, on the lead lines (She Loves You; Please Please Me etc.); by now this was less of a signature feature, so this moment stands out as a cool demonstration of their growing vocal individuality while still presenting them effectively together.
The orchestration work is brilliant too for an early pop tune that wouldn’t have required it, with some fantastic bridge riff work doubling piano and 12-string guitar, devised by George Martin, and executed by McCartney and George Harrison. It’s just a super team effort, which stands to reason given its appearance on without a doubt the strongest Beatles album of the early era: “A Hard Days Night,” which might also explain why the track sometimes has a tough time standing out against the iconic powerhouses that surround it (A Hard Day’s Night; Ticket to Ride etc.). But underestimate this track at your peril. It’s jolly good craic and highly recommended by this fab four nut.
4) BABY, YOU'RE A RICH MAN
Another selection from Magical Mystery Tour, Baby You’re a Rich Man is another oddball track that might be difficult for the casual or recently initiated listener to identify as a Beatles tune, though its recent inclusion in the film “The Social Network” might have increased its range of exposure beyond die hard Beatle fans. The song itself is an interesting animal, a portmanteau sort of thing, mashing together two snippets: John’s “one of the beautiful people” riff with Paul’s “Baby, you’re a rich man” chorus idea. They don’t really cohere super well, but that, to me, is the charm of the song. It’s very much the opposite of Flying, instead providing a window, a sneak peek into what lies in store when works like “The Beatles” (aka the White Album) and especially “Yellow Submarine” stylistically take full root.
I’ve always just found this song super cool. The psychedelic vibe that’s almost over-conscious in its application just feels like an overindulgence of singular flavor, but in the right way, like one of those death-by-chocolate cakes, covered in more molten chocolate. I’ll take it. The song just sort of spins itself slowly into oblivion, similar in ways to something like “Tomorrow Never Knows” (ridiculously awesome song: too well known to be on this list) but with a little less to prove. That might in fact be the key to what speaks to me in this song, a certain lack of concern that I aspire to. And finally, one word: Ringo. Just take it in and feel the love. Incredible performance, similar—and this is apparently an opinion Beatles expert Ian McDonald and I share—to his unparalled rocking out on “Rain” (again, great song; maybe too well known at this point for this list). Have fun with this one!
I’ve always just found this song super cool. The psychedelic vibe that’s almost over-conscious in its application just feels like an overindulgence of singular flavor, but in the right way, like one of those death-by-chocolate cakes, covered in more molten chocolate. I’ll take it. The song just sort of spins itself slowly into oblivion, similar in ways to something like “Tomorrow Never Knows” (ridiculously awesome song: too well known to be on this list) but with a little less to prove. That might in fact be the key to what speaks to me in this song, a certain lack of concern that I aspire to. And finally, one word: Ringo. Just take it in and feel the love. Incredible performance, similar—and this is apparently an opinion Beatles expert Ian McDonald and I share—to his unparalled rocking out on “Rain” (again, great song; maybe too well known at this point for this list). Have fun with this one!
5) I'LL FOLLOW THE SUN
And finally returning to Paul McCartney. This track is on the album “For Sale,” which itself is not terribly well known. It’s an oddball album, coming after the megahit that was “A Hard Days Night” and, from what I understand, reflecting the growing tiredness of the Beatles as pop “product” act and instead finding them looking to venture into new creative territory. (something I’m sure all artists can identify with in some way or other!) I’ve always found it a bit of a hit and miss album, but I’ve consistently been a fan of McCartney’s brisk ballad “I’ll Follow the Sun.”
There’s that bit of Paul McCartney that by all evidence resides firmly in the West End stage of the early twentieth century. It’s used well in pastiche in a song like “Honey Pie,” and, vocally, can be effectively brought to bear in something as solidly showtune as “Til There Was You.” Even “I Will” and “Martha My Dear” are encrusted with fragments of this kind of style. What I like in particular about “I’ll Follow The Sun” is how all these different aspects of the “vaudeville” Paul are brought together in a song that sounds nothing like a stage piece at all yet evokes it—specifically the bond between the song’s emotional strength and its narrative imagery—and encapsulates it in a style that would eventually come to characterize the McCartney Beatles ballad for the rest of the group’s existence (see examples, also “The Long and Winding Road,” “Golden Slumbers,” and, in a funny sort of way, “Maxwell’s Silver Hammer.”)
It’s a beautiful tune with lyrics that are lovely and simple and uplifting and sad and hopeful and bittersweet (and there are so few of them, a wonderful display of economy), all the while never unclear. McCartney at some of his best, really. (George Martin apparently thought so too lol!)
There’s that bit of Paul McCartney that by all evidence resides firmly in the West End stage of the early twentieth century. It’s used well in pastiche in a song like “Honey Pie,” and, vocally, can be effectively brought to bear in something as solidly showtune as “Til There Was You.” Even “I Will” and “Martha My Dear” are encrusted with fragments of this kind of style. What I like in particular about “I’ll Follow The Sun” is how all these different aspects of the “vaudeville” Paul are brought together in a song that sounds nothing like a stage piece at all yet evokes it—specifically the bond between the song’s emotional strength and its narrative imagery—and encapsulates it in a style that would eventually come to characterize the McCartney Beatles ballad for the rest of the group’s existence (see examples, also “The Long and Winding Road,” “Golden Slumbers,” and, in a funny sort of way, “Maxwell’s Silver Hammer.”)
It’s a beautiful tune with lyrics that are lovely and simple and uplifting and sad and hopeful and bittersweet (and there are so few of them, a wonderful display of economy), all the while never unclear. McCartney at some of his best, really. (George Martin apparently thought so too lol!)
Note: I've done some scouring, and have come to the conclusion that I would suggest avoiding the versions currently on youtube (as of December 21st 2016); none really capture what's on the album; there's a BBC live recording that has a nice feel except for one key chord change that alters the entire timbre of the hook lol, not sure what happened there (lapse in concentration perhaps). Get a hold of the actual version from "For Sale:" your patience will be rewarded :)
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It’s funny; I just noticed the lack of George Harrison songs on this list, which seems odd given any list of "my favorite Beatles tracks" I seem to make have always included a "Harrisong" in the top five. Though that might be it, I realize in this moment. George went very quickly from underdog writer-in-training, to sitar-enthusiast-transcendental-world-music composer, to master of the near instant and bound to be ubiquitous hit: his later portfolio littered with household-name songs like Something and Here Comes the Sun etc. There's a decent chance even any future unseen hit lists that I create may struggle to include his work. Ah well. Too many good and famous songs? Not a bad problem to have :)
Anyway, not a conclusive list. There are a bunch of great lesser known songs out there. It’s hard to know exactly who knows what—it’s possible that songs I think are obscure are actually very well known (which would be a hilarious irony given my impetus to write this entry). Just think of this piece as a fun thought exercise, an opportunity to laud some awesome tunes and, for those of you who weren’t familiar, shine some light on some songs well worth listening. I hope you have a lot of fun adding some or all of these to your playlists this holiday season, or else sharing them with your friends and dear ones!
Some contenders that didn’t quite make this list (ones I suspected would be too well known), but I might write about anyway at a later date: Rain; Mother Nature’s Son; I’ve Just Seen a Face; You Can’t Do That, and many others I'm sure. Feel free to look them up.
And remember...
Some contenders that didn’t quite make this list (ones I suspected would be too well known), but I might write about anyway at a later date: Rain; Mother Nature’s Son; I’ve Just Seen a Face; You Can’t Do That, and many others I'm sure. Feel free to look them up.
And remember...
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Happy Holidays :) -AF
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