Ranking The Beatles (Jonathan and Julia Pretus)

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 on ⁠Facebook⁠, ⁠Instagram ⁠@rankingthebeatles, or ⁠Twitter ⁠@rankingbeatles! Be sure to visit ⁠rankingthebeatles.com⁠! Wanna show your support? Buy Us A Coffee!

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 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!

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!

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 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!

In many ways, Paul McCartney is the ultimate storyteller. He's got an unparalleled ability to craft characters and a situations that are so vivid, you can't easily tell when he's hiding his own feelings and life stories in them. So when we writes a song where he's totally upfront about a situation, no story, no characters, you can bet it's something important to him. And that's what he's doing with "You Never Give Me Your Money" from Abbey Road. Maybe the first time we get. real glimpse of the Paul who can take various fragments and create a composition with different movements, the song discusses his frustration with the Beatles' inner-organization fighting over their financial situation. One might think a song with such a specific perspective would make it hard to connect to, but Paul's vocal is so on point and so emotive and authentic, it's easy to connect to. It's also, imho, the auditory blueprint for Abbey Road, crystal clear guitars, signature drum fills, sparkling sonics, it's a true gem of the catalogue.

Joining us this week is someone who knows McCartney pretty darn well, Tom Hunyady, co-host of 2Legs, A Solo Paul McCartney Podcast, as well Talk More Talk, A Solo Beatles Videocast. Tom's been deep-diving into Paul's catalogue for a long, long time, and we're big fans of his shows, so when we had a chance to connect at the Fest for Beatles Fans, we couldn't have been happier. Tom joins us (with a BIG discrepancy in our ranking) to discuss the Beatles podcast landscape, One Hand Clapping, recognizing Paul's genius, and more. Be sure to check out 2Legs and Talk More Talk to follow what Tom's doing!

What do you think about "You Never Give Me Your Money" at #87? 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!

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 Things which 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 on Facebook https://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!

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 Turtles and 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 Story is 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! 

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!

As a musician, I couldn't ever imagine having the world hear the first song I ever wrote...or have the guts to put that first song on a record that's expected to sell millions of copies. But that's just what happens with #198, George's "Don't Bother Me." It checks all the 60's early rock boxes, all while in a minor key! Impressive? George called it "not a great song," and maybe he's not wrong, but its not awful, and it certainly shows a better beginning than anything I ever wrote. #197, "Ask Me Why," hits a spot I love: Early John drawing inspiration from R&B. This Smokey Robinson & The Miracles-inspired tune finds the band dropping some FANTASTIC 3 part harmony, with some clever lyrics...but does it sound like The Beatles? 

This week, we're joined by....another couple! Jak Locke (Jak Locke Rock Show) is a New Orleans-based musician, and Angie Tusa is an accountant, painter, and podcaster....and they're married, just like us! The difference is, SHE's The Beatles nut, and he's the casual fan. We dive into the role The Beatles, their music, and their own interpersonal and romantic relationships have impacted or inspired our own, and how having a partner who provides love and support can enable you to become the best version of yourself, for you AND your partner. We also touch on the being a product of your own record collection, kids being the worst, and Jak and Angie show off a very special piece of memorabilia. 

You can check out Jak's new record "Loud As Me," along with all his music from various bands at www.jaklocke.com and all streaming platforms. The track "Hannah" is featured in this episode, as well as several Beatles covers he's done with various bands. Angie's podcast, Schumacast (A journey through the films of Joel Schumacher) can be heard at https://schumacast.blogspot.com and at various podcast platforms.

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!

Send us your HOT TAKES for a chance to be featured in a future episode! Visit anchor.fm/rankingthebeatles, and click on Message. You can do it from your phone or computer, and send us your thoughts on a track we've discussed or any particular thing that you'd like to hear us yammer on about!

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!

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 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!

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!

Maybe it's just me, but I've got a real sweet spot for when, in the midst of all the chaos of exploding into the world's biggest band and becoming the greatest songwriters alive, the Beatles blow off steam by pulling out a song from their garage band days. "Slow Down," written by New Orleanian Larry Williams (protege to Little Richard and Lloyd Price) was recorded during the sessions for the A Hard Day's Night album, when John's early rock and roll voice is arguably at it's peak. Those screams...good lawdy, indeed ! It feels carefree and joyous, they're not fretting over if this new song is going to be the next big hit, they're just hitting the release valve and letting go all that pressure, just playing rock and roll for the fun of it. I love those moments.

Bad news, folks: Julia's not with us today. Good news, folks: our podpals from Blotto Beatles are! We love any chance to catch up with our Blotto bros, and this time was no exception (well, except for Julia's absence). We talk about the trouble with Larrys, Beatle footware, covers, the Fest for Beatle Fans, and so much more! If you're not listening to Blotto Beatles, you should be, so check it out!

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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!

There's always been something about The Beatles that made them really shine on screen. Their charisma and ease on camera seems to come from a rounded appreciation of the arts, including literature and theatre. That they only ever released one cover of a Broadway tune is interesting, especially when you consider it's kind of what got them their shot with George Martin, but that's what happened with "Til There Was You." They really nail it on this song from The Music Man, despite John's own misgivings, thanks to a gorgeous vocal from Paul, and sublime guitar work from George. Given their ease and apparent comfort and draw to acting, one wonders why they didn't dive further into that side of the arts.

Who better to discuss the impact of theatre and literature on The Beatles than with a two-time Tony Award winner?  (He's half an EGOT winner too thanks to a Grammy, but who's keeping track?) Actor/musician Michael Cerveris joins us to discuss the impact being raised with an appreciation of multiple forms of the arts creates a well rounded performer, and how The Beatles on-screen magnetism gives their fieldwork a leg up on competitors like Elvis. We also discuss Michael getting advice from Sir George Martin on how to handle Roger Daltry's vocal parts when he starred as Tommy in The Who's Broadway version of the famous rock opera (while under the watchful eye of Pete Townsend no less), college singalongs to Sgt. Pepper with other actor friends, and how playing a musician on TV can actually help you realize that legitimately ARE a musician.

Michael's band Loose Cattle has a brand new single out November 13th, a cover of David Bowie's "Heroes," which you can get at their website and all streaming outlets. 

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!

Send us your HOT TAKES for a chance to be featured in a future episode! Visit anchor.fm/rankingthebeatles, and click on Message. You can do it from your phone or computer, and send us your thoughts on a track we've discussed or any particular thing that you'd like to hear us yammer on about!

The White Album is definitely a high water mark for The Beatles. This expansive, now-classic album lifts off with the Chuck Berry-meets-The Beach Boys flavored rocker "Back In The USSR." The rocking Beatles are back from their psychedelic trips, and the gang's all here...except for Ringo, who walked out during the recording of this track. Paul takes over on the drums, adequately, and the original Threetles create a classic Beatles tune. But it's also the first time they look backwards, and it's the first time in a long time we hear them trying to sound like someone else. 

Elsewhere, Paul goes with the ol' "first idea-best idea" method with "Why Don't We Do It In The Road?" Ringo's here, but John and George are missing. Could Paul have not had a second idea though? In an increasingly familiar move, Paul creates the track without the input of any other band member, which, they've all done to some extent, but it's starting to stick in the craw of some. But also, like, no other idea besides just the one here? 

Joining us this week is guitarist/songwriter/singer/Texas Guitar Hall of Famer John Thomas Griffith. As the lead singer of early MTV stars Red Rockers, he came up in the early 80s punk/new wave scene, scoring a Billboard hit with the song "China," and seeing the world. Then in the 90s as a member of Cowboy Mouth, he saw the world again, and continues to do so today (when not shut down by a pandemic). Having shared the stage with everyone from U2 to Dave Matthews to Kiss to Bo Diddley, he's a rock and roll lifer who's seen and done it all. He's one of my favorite singers as well, and it's all topped off by the fact that he's one of the best dudes on the planet. I don't have a big brother, but if I did, it'd be John Thomas Griffith. We talk about all sorts of things, as fellas who've spent countless hours in a tourbus will do. We touch on writing the kind of songs YOU want to hear as an artist, coming up in the early punk/new wave scene, genre hopping, the weird and messy world of band dynamics, and we maybe even write a hot new blues jam for a new JTG solo album,  right here on the show!

Keep up with JTG on Facebook at https://www.facebook.com/johnthomasgriffith for his Pandemic Fireside Livestream shows. You can also check out his music on all streaming platforms. Non-Beatles songs featured in this week's episode include "China" and "Another Day" by Red Rockers, "Everybody Loves Jill," "Man On The Run," and "New York City" by John Thomas Griffith, "This Boy," "Everybody Loves Jill," "Follow Me," and "Here I Sit In Prison" by Cowboy Mouth. 

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!

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!

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

The journey of "No Reply" is a curious one. A song John seemed to not think much of, and originally offered to another Brian Epstein-managed artist, it also was possibly slated to be the final song recorded for A Hard Day's Night. If not for Ringo's tonsillitis, who knows what would've happened with it. After spending some time with it though, and working it into a bit more interesting arrangement, it turned out to be the lead off track to the band's 4th album, and a real signpost to where the band was headed. More introspective than what had come before it, and a much less energetic album opener than Beatles fans were expecting, No Reply is a real sneaky song. It's filled with great melody and harmony, possibly one of the best bridges the band ever recorded, and it's all done very economically. Not a second is wasted on this song. It shows a real growth that the band is starting to go through, with John painting a brilliant scene throughout the song. It's a fantastic and unique way to start a Beatles record, and a song that doesn't get nearly enough love.

Joining us this week is musician and journalist Jeff Slate. You may have read his articles in Rolling Stone, Billboard, or the New Yorker, or heard him as guest DJ on Sirius XM or KLOS. He's got a brand new record out, The Last Day of Summer with a laundry list of great players joining him. It's a fantastic pop rock album, we can't recommend it enough. He'll be on the road this November supporting the Wallflowers on the East Coast so don't miss it! We chat with Jeff about working with the Elephant's Memory band, being challenged by Pete Townsend, John's toilet demo, Weekend Wilburys, and more! Check out all things Jeff at www.jeffslatehq.com or follow him on Twitter or Facebook!

What do you think about "No Reply" at #88? 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!

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!

Upon rejoining the band following his departure in the Get Back sessions, George pulled his more serious material, most of which would end up on All Things Must Pass. Along with his blusey and lightweight "For You Blue," he also brought in a stomping little piano song he wrote during the sessions, "Old Brown Shoe." It wouldn't find a home for a few months until the band needed a b-side to "The Ballad of John & Yoko," and even then, it remains one of the more obscure songs in the Beatles catalogue. But that said, I've always loved it. George sings like he's really having fun with it, and whoever the hell is playing whatever on this song (it's all very murky and mysterious) is really killing it. But what's he singing about? George's shoe game was pretty solid after all. Maybe it's about stepping out with a new love? Maybe it's about leaving someone...or someone(s)?

It's always a pleasure to welcome our old pal Sean Nelson back to RTB! Sean is best known as the singer of the band Harvey Danger, who's song "Flagpole Sitta" is one of the 90s defining songs, and the tip of the iceburg of a ton of great music in their catalogue that you'd do yourselves a favor to dig into (along with is own solo work). He's also now the host of his own podcast, The Wonder of It All, a deep dive in to the pros and cons of success. He's a great conversationalist so it only makes sense his podcast would be fantastic. Be sure to subscribe to it and tune in!

What do you think of Old Brown Shoe at #84? Too high? Too low? 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, some of our new Revolver-themed merch, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

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 on Facebook, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to visit rankingthebeatles.com! Wanna show your support? Buy Us A Coffee!

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 on Facebook, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to visit rankingthebeatles.com! Wanna show your support? Buy Us A Coffee!

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!

The morning of Oct 8, 1964, Paul came up with a song idea he was so excited about, he had the band work on it at their recording session that day. He saw it as a Little Richard-esque r&b rock tune, something they hadn't been able to write yet. The track, "She's A Woman," became the b-side for "I Feel Fine," but the band must've had a soft spot for it. It became a staple of their live show from the time of release until their final live tour date at Candlestick Park in 1966. It's certainly got some interesting elements to it, especially the intro and John's slashing guitar, but the rest of the song is maybe kind of lacking. John and Paul relished the chance to drop "turns me on," a drug reference, into a song for the first time, but how cool is it when it follows "My love don't buy me presents/I know that she's no peasant"? Returning to chat with us this week is our old pal and fellow Beatles uber nerd, Kyle Melancon, drummer for Disney's Imagination Movers, Louisiana Music Hall of Famers Dash Rip Rock, and Jonathan's bandmate in their 90s cover band supergroup, Big In The 90s. We touch on our relationship with Beatles b-sides and discovering the whole new world they contain, questionable live song choices, weird songs from Kyle's children's music band, and more! If you're into 90s music, check out Kyle and Jonathan's 90s cover band, Big In the 90s, and follow them on Facebook for livestream shows if you're not in the New Orleans area.  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!

"There's a great woman behind every idiot." - John Lennon. 

This is super true. When the idea came of having a co-host, I wanted someone who didn't share my same obsession with The Beatles, someone who could help keep my scattered brain organized, someone who could make me laugh and was easy to talk to. Also, someone who was, you know, available? We're still under quarantine and all. I just so happen to be married to a woman who checks all those boxes, and was surprisingly willing to follow me down this ridiculous road and keep me from losing the map. 

Ladies and gentlemen, boys and girls, Beatle-people of all ages, meet my co-host, my best friend, the great woman behind my idiot, the one-and-only Mrs. Julia Pretus!

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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One of the first songs The Beatles worked on for their fourth record, Beatles for Sale, ended up being one of the last ones they finished, and along the way, I argue, the create the blueprint for what becomes power-pop. A catchy, repeating guitar riff on a jangly 12-string, a signature drum part, earnest, powerful, heart-on-the-sleeve vocals, and MELODY MELODY MELODY. "What You're Doing" may not be the high-water mark on the album, but it's impact on bands would be felt for generations to come.

One of those bands who followed that blueprint, and then fine-tuned it themselves was Memphis's Big Star. We're joined this week by author Rich Tupica, who's book "There Was A Light: The Cosmic History of Chris Bell and the rise of Big Star" is a brilliantly written bio on Big Star founder Chris Bell, who often gets sidelined in the story for the more well known and cult-worshipped Alex Chilton. Together, Chris and Alex wrote all the material for the band's debut, #1 Record, fashioning themselves as a Lennon-McCartney-style writing team with Chris the embracing the melody and production values of McCartney, and Alex the chaos and immediacy of Lennon. The partnership didn't last, as Chris left after the album came out to no fanfare, fruitlessly pursuing a solo career, while the band forged on, putting out an additional 2 records that sank without much of a trace upon release. Over the years, the Big Star/Chris Bell catalog moved underground, a secret between musicians with a shared love of Beatle-esque pop/rock, until a 90s reunion and on-going resurgence brought the band the acclaim and notoriety that eluded them during their initial run. All 3 of their original albums, #1 Record, Radio City, and Third, rank in Rolling Stone's top 500 Albums of All Time list. 

Rich's book can be purchased online or via your local bookstore. We suggest ordering locally if possible, and we can't recommend the book enough. Also, check out Rich's podcast Hanging on the Telephone (long-form phone conversations with creative people) and Inzane Michigan (a dive in the sights and sounds of Michigan).

This episode is a bit longer than usual, but Rich's knowledge of Big Star is impressive, and this music is as important, imho, as Beatles music, and I wanted to give it all the space it deserved. Non-Beatles songs featured in this episode are "In The Street," "Feel," "Septmber Gurls," I'm So Tired," "Thirteen," and "O My Soul" by Big Star, "I Am The Cosmos," and "You And Your Sister" by Chris Bell (the latter featuring Alex Chilton), and "The Letter" by The Boxtops.

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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 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!

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.

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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!

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The Beatles's love of Motown is no secret. They were HUGE fans. So it's no shock that their second album featured 3 different songs from the Motown catalog. In fact, the first song cut especially for the album was their powerful cover of Smokey Robinson's "You Really Got A Hold On Me." Now, even though a business deal between Brian Epstein and Motown head Barry Gordy assured its' placement on the record, the band hold nothing back in delivering their heartfelt performance. Buoyed with a great harmony vocal from George, John delivers an absolutely scorching lead vocal, progressing from fragile and intimate to pleading to devastatingly heart wrenching. There's nothing extraordinary needed from Paul and Ringo, and like any rhythm section worth their salt, they hold down the track and let the song do the talking. It's one of my favorite of their early covers, and one I wish we had more live versions of, one can only imagine how this was in person in the Cavern. Joining us this week is author and self-described enlightened dumbass Robert Dean. His work's been featured in outlets like Mic, Eater, Fatherly, Austin-American Statesman, Consequence of Sound, USA Today, and he's appeared on your TV and radio through places like CNN and NPR. Though based in Austin now, we've known him since his days and night in New Orleans, much of which time informs the essays in his brilliant new book Existential Thirst Trap. We chat about writing with authenticity, the punk rock ethos, slouching towards irrelevance, his least favorite Christmas song, and much more! Pick up a copy of Existential Thirst Trap, and follow him on Instagram at @literallyrobertdean. 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!

Hi! I'm Jonathan, and I'm a Beatles nut. I have been ever since I was a little kid. I've bought all the records (and cds and tapes and download), read all the books, poured over the boxsets, the hours and hours and hours of outtakes and isolated tracks and live tracks, made the pilgrimage to Abbey Road, The Cavern, Strawberry Fields, Penny Lane. I've spent what my parents always called "an exorbitant amount of time" on this band. They've always been my musical companion, through good and bad. So with time on my hands during the Covid-19 lockdown, I figured why not add to that exorbitant amount, and rank the entire recorded output of the band?

I began posting the rankings on my personal Facebook to start, and the conversations they sprung were fantastic. So fantastic, that it seemed a shame to not go further in-depth than a Facebook thread would allow. So here we are.

This episode is just a little intro to me and my history...a "get-to-know-your-Captain" informative packet, but in audio form. If you feel the same way I do about The Beatles, or even about any band, let me know! I'd love to hear it. Drop me a line on Facebook  or IG @rankingthebeatles, or email rankingthebeatles@gmail.com. 

Ever seen an artist create a global smash hit from the moment of inception through each and every moment of rehearsal and refinement to recording, live premier, and continued real time performances 60 years later? With "Get Back," now you have. Pulling this out of the ether during the 1969 Twickenham sessions, this seedling turns into a fantastic performance by the lads, brought to its' full potential with assistance from Billy Preston. As it says in the ad for the single, it's "music to rollercoast to" and who are we to argue?

Joining us this week are Robert Rodriguez and Jerry Hammack. You may know Robert from his brilliant and long running podcast, Something About the Beatles and his books, and Jerry's the author of the Beatles Recording Reference Manuals, a fab 5 volume series documenting how each and every musical sausage was made by the band. They've joined forces now for Ribbons of Rust: The Beatles Recording History in Context. It's a fascinating deep dive into the recordings and the world, musical and otherwise, that informed them. Volume 1 is out now, covering 1954-1963, so there's A LOT more to look forward to! Grab a copy at RibbonsofRust.net!

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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!

Thousands of words have been written about Bob Dylan's influence on the Beatles. Despite all those words, one need look no further than "You've Got to Hide Your Love Away" from the Help! album. Taking the folk trademark of heavily strummed 6 and 12 string acoustic and nylon string guitars, minimal instrumentation, the song finds John delivering (up to this point) one of his most introspective lyrics with a brilliantly intimate and weary vocal performance. The arrangement is mature and subtle, never taking the focus off the lyric. It's real "3 chords and the truth" stuff, and it's fantastic.

Joining us this week is the legendary Steven Page! Steven made a name for himself as lead singer and co-founder of Barenaked Ladies before embarking on seriously busy solo career. His 2022 album Excelsior! is fantastic, as his the debut from his Canadian version of the Travelling Wilburys, the Trans-Canada Highwaymen. Check it all out at stevenpage.com

What do you think of You've Got To Hide Your Love Away at #83? Too high? Too low? 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, some of our new Revolver-themed merch, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

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 deliver a 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!

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! 

Country music always played a part in The Beatles' story, more so than it probably gets credit for. Cavern and Hamburg sets featured covers of  songs from the likes of Chet Atkins and Carl Perkins, while George's early lead style is massively influenced by them as well, all the way down to his choice of guitar. Ringo's love of country ends up with him doing a full on country album with studio giants in 1971 in Nashville, but before that, he dips his toes in the the country pool with his own songs and cover choices, like #200, "Act Naturally." Ringo's natural acting chops had come to the forefront in their first two films, so it made the most sense for him to be the one singing "they're gonna put the in the movies" on this Buck Owens tune. His persona carries the tune as well, leaning into the "aw shucks"ness naturally inherent in his voice, and for 4 guys who grew up as far away from "country" as possible, they do a fine job on this tune, which serves it's purpose well as the token Ringo vocal on "Help!".

Joining us this week is Chapel Hart, a country band consisting of 2 sisters, Danica and Devyn, and their cousin Trea. Their single "Jesus & Alcohol" is currently working it's way up the CMT charts and at country radio, as they try finding safe and smart ways to continue touring and working as a band during cover. They were recently named Mississippi Songwriters of the Year, and we discuss learning about songwriting from the diversity of the radio and learning wordplay from John Lennon. We also touch on crossing over from country to rock and vice versa, keeping a thesaurus and a wrench in your purse, and how they got Z.Z. Top legend Billy Gibbons to appear in their music video. Find out all at about Chapel Hart at www.chapelhart.com, check them out on Facebook, Instagram and TikTok. Their video for "Jesus & Alcohol," featuring Billy MF'in Gibbons, can be seen at https://www.youtube.com/watch?v=1_bMgoPAlTY

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!

Send us your HOT TAKES for a chance to be featured in a future episode! Visit anchor.fm/rankingthebeatles, and click on Message. You can do it from your phone or computer, and send us your thoughts on a track we've discussed or any particular thing that you'd like to hear us yammer on about!

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!

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!

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If Revolver is the record where The Beatles remove any illusion to their drug use, "She Said She Said" may be one of the cornerstones of that moment. A song with origins from an evening of tripping on LSD in Los Angeles, it's a song that straddles a number of different lines. It rocks, but it's not rocking. It's psychedelic but not trippy. It's autobiographical but filled with illusion. It's probably my favorite guitar tone of all time. It's also a song that's a bit mysterious. Whoever "She" is, what she's saying is confusion. What's it like to be dead? How does she know? Who the hell is playing the bass? Regardless of the answers to these questions, it's just a killer track, and one that really sums up the Revolver ethos, in my humble opinion. Joining us this week is songwriter, singer, guitarist and producer Jon Auer. Jon first made his name in the 90s as a founding member of now-defunct power-pop heroes The Posies, whose albums Dear 23 and Frosting on the Beater landed them all over MTV and alternative radio in the 90s, as well as landing a track on Ringo's Time Takes Time album ("Golden Blunders," originally from Dear 23). He also spent 17 years as member of the reunited legendary Big Star. With surviving founding member Jody Stephens, Jon recently joined Wilco's Pat Sansone, R.E.M.'s Mike Mills, and Chris Stamey of the dBs for a tour celebrating the 50th anniversary of Big Star's debut release, #1 Album. Jon joins us to talk a number of things, including this LSD-soaked Revolver track, who played bass on it, his Ringo & Peter Asher connection, the recent Big Star tour, and 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!

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 Harrison a 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!

There's a reason The Beatles are so associated with the word "love." While they wrote a huge amount of songs about romantic love, they became the flag-bearers for love as a universal cause. #204 "The Word" marks the first time we see the Fabs stepping into that spokesperson role, espousing the power of love and peace. Just two years later, on the heels of telling the world love was all they needed, they found a way to turn the most simple melody into an absurdly catchy instrumental for a spaced out druggy film, which is were we find ourselves with #203, "Flying." This week, we finally escape sausage land and get another dose of estrogen on our show! We're joined by powerhouse vocalist Debbie Davis, who's been singing professionally since she was 2 years old. Known as one of New Orleans' premier jazz vocalists, she's performed all over the world, accompanied by a variety of groups, duos, and with her signature ukulele. With Debbie in tow, we discuss the genre-crossing power of a good pop song, the confusion is can cause performers in figuring out how to end songs live where the Beatles faded them out, the Fabs touching on Motown and New Orleans R&B, using body parts for percussion, serving birthday cake to Sir Paul and watching him be a normal human when he walks out the wrong door. This episode was recorded Sept 9th, which was a BONKERS news days. We wondered aloud how weird things would be when we released the episode in early October. Yikes. Debbie's latest album is a duo release with pianist Josh Paxton, and is called "Interesting Times." This episode features the song "Other Than Everything, Everything's Great," as well as a live cover of "When I'm 64" from her and Josh's live album "Vices and Virtues." Both albums, as well as as the rest of Debbie's music, including her WONDERFUL "Oh Crap! It's Christmas" album can be heard at www.debbiedavismusic.com. You should buy them, because she's incredible.  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!

Much has been discussed of Paul McCartney's love of what John Lennon called "granny music." The music of his parents' generation, British Music Hall, Vaudeville, Tin Pan Alley...you know the genre...the stuff Lennon loved to complain about when it came from Paul, but seemingly had no problem with his favorite group, Nilsson, whos stock and trade was the song tradition rooted in that era. Paul, however, loved, and still loves, music and art from that time. It gives him a chance to embody the character pieces he so easily writes, putting himself in the shoes of Fred Astaire and getting to pretend he's someone other than Paul McCartney. Honey Pie also has roots in trad jazz, and Lennon obviously knew a thing or two because he pulls off a spot-on Django Reinhardt impression on his guitar solo. Personally, I love this side of Paul, "Honey Pie," "You Gave Me The Answer," "Martha My Dear," I'll take it all!

Returning to the show this week is the always wonderful Dr. Christine Feldman-Barrett, author of the brilliant book A Women's History of the Beatles and the newly released "The Life, Death, and Afterlife of the Record Store." She joins us from all the way across the world in Brisbane where we chat about appreciating legacy artists in all their eras, what record stores mean to her, the cyclical nature of culture, and an exciting round of Beatles trivia! Be sure to pick up a copy of her book at the links above or anywhere you get good books!

What do you think about "Honey Pie" at #93? 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!

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!

Under the gun for material to complete Rubber Soul, the Beatles dusted off an old Quarrymen-era tune, sprinkled a bit of Buck Owens on it, and gave Ringo his vocal turn with #207, "What Goes On."  An earlier version was considered as a single to follow up "Please Please Me," but it found it's home as a nice bit of album filler in 1965. Featuring nice guitar and bass work, a solid vocal, and done in one take, it lands as not a bad song, not a great song, but good enough. 

#206, "A Taste of Honey," is the first time we get a sample of what John called Paul's "granny music $h!t." Everyone turns in a nice understated performance for a song that was sure to win over the parents of their target demographic, but is it too syrupy for its own good? And for a song with so many well known and unknown covers, how does it stack up?

Joining us this week to discuss these songs is music writer Brett Milano (Boston Globe, OffBeat Magazine, Rhino Records), who entered the Fabs' orbit as lead writer and content creator for The Beatles Rock Band game. We talk about learning what a band should look, feel, and act like, take a peek behind the curtain at the creation of the Beatles Rock Band, including being in the same room as a copy of of mythical, mysterious, holy grail, "Carnival of Light." Elsewhere we touch on long lost tracks from Billie Dee Williams (the OG Lando Calrissian), finally touch on the Monkees,  Jonathan and Julia shamelessly shill for beer again, and we introduce a brand new feature....BLOOPERS!

Learn more about Brett at his website brettmilano.com. Pick up one of his great books anywhere you get books...

• Vinyl Junkies: Adventures in Record Collecting
• THE SOUND OF OUR TOWN: A History of Boston Rock & Roll
• 300 Songs for 300 Years: Songs That Have Immortalized New Orleans

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!

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!

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 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!

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 on Facebook https://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!

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 on Facebook https://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!

Few can dispute the fact that The Beatles were masters at the craft of songwriting. Melding music and lyrics was literally THEIR THING. They were GREAT at it. So it's an odd move for them to undertake recording a Memphis R&B styled instrumental during the sessions for Rubber Soul. A track owing more than just a tip-of-the-cap to Booker T. & The MGs' "Green Onions," "12 Bar Original" finds the band doing their best to step WAY out of their lane. The track gets tossed into the archives eventually and Rubber Soul gets spared this white boy groove, but if nothing else, it serves as love letter from the band to the music of Memphis and Stax Records, Detroit and Motown, and New Orleans R&B legends, all of whom serve as the literal foundation of what The Beatles are building upon in their own way. That love proved to be reciprocal, especially in Memphis, with Stax legends like Otis Redding, Carla Thomas, Isaac Hayes, and the aforementioned Booker T. & The MGs, not to mention non-Stax acts like Al Green (to say nothing of power-pop acolytes Big Star, but that's a whole other episode - and it's coming) all embracing, covering, and reinventing The Beatles music. 

To explore the love-in between the Fabs and Memphis, we welcome Memphis-based engineer & producer Adam Hill into the two-timers club. Having been submersed in the music scene and recording industry in Memphis for the better part of 20 years, Adam gives us a history lesson through the river that runs from Liverpool to Bluff City. We also touch on The Beatles' aborted plans to record the album that would become Revolver in Memphis, choosing the wrong instruments to get funky on, and the surprising mystery of an acetate rough-mix of "A Day In The Life" surfacing in Memphis months before Sgt. Pepper's Lonely Hearts Club Band was released. 

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!

Send us your HOT TAKES for a chance to be featured in a future episode! Visit anchor.fm/rankingthebeatles, and click on Message. You can do it from your phone or computer, and send us your thoughts on a track we've discussed or any particular thing that you'd like to hear us yammer on about!

You know how when a puppy's paws get big, and they get real clumsy and don't know what to do with them, and it's super cute, but they need to grow into their paws? That's how Jonathan sees "That Means A Lot," a song from the "Help!" album sessions, shelved until the Anthology release in the 90s. We're joined this week by drummer and classical pianist Andre Bohren to discuss this song, as well as "Tell Me What You See," a song that features a lyric Andre calls "unforgivable." GASP!

We also discuss making music during a pandemic, touring the country and soaking up all kinds of music as a child, and Andre reveals to Jonathan that apparently Sir Paul & Co. once knew about, and maybe talked about trying to make it to a John Lennon tribute show they were involved in. You can hear Jonathan's heart rate build up.

Andre is the drummer is in New Orleans rock/funk band Johnny Sketch & the Dirty Notes. Additionally, a classically trained pianist, he's toured and performed all over the country in both roles. Currently, you can catch him playing AMAZING daily classical livestreams on his Facebook page, facebook.com/andre.bohren. 

What are your thoughts on these rankings? Agree or disagree? Drop us a line on at facebook.com/rankingthebeatles, and follow us on Insta at @rankingthebeatles. Don't forget to subscribe, and if you're really digging it, leave us a review!!

Did you guys know the Beatles did drugs? IT'S RIGHT THERE IN THE TITLE, MAN, LSDDDDDDDD! Inspired by a drawing done by his son Julian, John's "Lucy in the Sky with Diamonds" is arguably the most psychedelic of Beatles psychedelic songs. But that trippiness overshadows brilliantly musical performances and inventive production. It's one of the high points of The Beatles and George Martin (and his team) being on the same wavelength, all pulling in the same direction. Lucy (and her parent album) may have lost a touch of its' shine among the common listener, but listen with fresh ears and be blown away all over again.

Joining us this week is the always fantastic Jason Kruppa, host of the Producing the Beatles podcast, co-author of All Things Must Pass Away: Harrison, Clapton, and Other Assorted Love Songs. He was supposed to join us via Zoom a couple of weeks ago (during the now famous New Orleans snow storm) but the recording set up at RTB HQ couldn't handle the cold and died on us. So we had to reschedule once we got back up and running, so we were able to connect in person, which was much better! We chat with Jason about the brilliance of the Beatles' vocals, isolation videos, Crocs, the importance of the drummer, and so much. more!

All isolations in this episode provided by Jason. Be sure to subscribe to Producing the Beatles!

What do you think about "Lucy in the Sky with Diamonds" at #77? Too high? Too low? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠find us now on Bluesky!⁠⁠⁠⁠⁠⁠ Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, some of our new Revolver-themed merch, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

After spending a year and half out firmly planted in psychedelia, The Beatles returned to Earth at the beginning of 1968 with "Lady Madonna," a Paul-penned tune that pays tribute to the strength of women, a topic he mines throughout his career. The song also serves an homage to New Orleans' piano legend and rock and roll trail blazer Fats Domino, and marks maybe the first time the band created their own intentional throwback to the early rock and roll of their youth. It's a grooving song with a fantastic shuffle from Ringo, some great faux-horn vocals from George and Paul. It always feels like a little slice of home to me, perhaps because New Orleans music is at the root of the song.

To talk about New Orleans piano music, there are few better than Davis Rogan. Davis is known internationally as a master of the artform, and one of New Orleans' classic larger than life personalities. That personality is so big, it spawned a main character on HBO's popular Treme series. He's worked in radio, worked as a music teacher, been at the forefront of the hybrid of brass music, funk and hip-hop with his band All That. We chat with Davis about reapproaching the Beatles music after music education, Fats Domino, synthesizing New Orleans music, Alex Chilton, and much more! Check out Davis at davisrogan.com and Facebook.com/DavisRoganMusic to see if he's coming to your neck of the woods!

What do you think about "Lady Madonna" at #89? 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!

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!

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 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!

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!

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 pal Micah 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!

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!

Paul McCartney and John Lennon are, inarguably, two of the greatest songwriters of all time. On this episode, we tackle what may be the most inconsequential songs they penned during their time as Beatles. These songs also show the different paths they'd found themselves on in 1969...Paul, able to be fully self-sufficient on his own, creating on whim; John, searching for something while in the throws of addiction, and pulling the band behind him to try and manufacture inspirado. 

We're joined this week by New Orleans-based singer/songwriter Justin Molaison. Justin studied music and songwriting at Berklee, where he even took a course built on the study of John Lennon's songwriting. We cover lots of ground in this episode, including Justin growing up with a British mother, Paul digging into his most impish and whimsical, a missed opportunity to use Her Majesty as the theme music to "The Crown," and put out our first soulless grasp at sponsorship.

Non-Beatles music in this episode include
Chumbawumba - Her Majesty (NOT KIDDING)

Justin Molaison - Ain't Loved Like This Before

You can find Justin's music at justinmolaisonmusic.com and keep up with him on Facebook.

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.

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!

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! 

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!

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 on Facebook, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to visit rankingthebeatles.com! Wanna show your support? Buy Us A Coffee!

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!

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!

What do George Harrison and Big Worm from the movie Friday have in common? Messing with their money is like messing with their emotions. But Big Perm, I mean Big Worm, doesn't write banging rock tunes about it. George's "Taxman," the lead off track on Revolver, finds the guitarist squaring off against the greedy hand of the man for taking 98% (NINETY EIGHT) percent of the Beatles income, income they'd actually (unlike so many millionaires and billionaires) worked INCREDIBLY hard to achieve. It's a fantastically sardonic lyric, with a brilliant performance by the band (Paul's basically inventing psychedelic bass parts here while also providing a ripping guitar solo). It sets the tone for Revolver by moving away from the romantic theme of so many of their songs, into a new, cool, and darker world.

Joining us this week is the wonderful Vinyl Benjy! If you're on social media and follow music accounts or record accounts, the odds are high you've seen his smiling, pleasant self showcasing records and cool trivia about them. His record collection is swoonworthy, and the dude knows his stuff! We talk about the joys of record collecting, the importance of chap stick, George’s financial gripes, and Julia’s got a real spicy hot take for us! Check Benjy out on Instagram @vinylbenjy and TikTok @vinylbenjy!

What do you think about "Taxman" at 79? Too high? Too low? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠find us now on Bluesky!⁠⁠⁠⁠ Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, some of our new Revolver-themed merch, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

John came into the Get Back project only one fully formed new song, "All I Want Is You," later re-named as "Dig A Pony." After a possibly initial ambivalent reaction, the band tightened it up as the first song recorded in their own Apple Studios. It eventually found it's true home on the rooftop of Apple on a cold January day, where the band nailed it in one rock solid take. The song lumbers and moves in weird ways, almost like a giant kind of stomping slowly, while John delivers a fantastic vocal of some kind of wordplay I've never really understood. Musically, it's just so good though. The riff is classic rock guitar at it's core, held down by the most perfect subdued drumming from Ringo, and a jagged and refined yet unexpected solo from George. It's such an odd song, but it feels so good, you can't not love it.

Joining us this week is New Orleans-based songwriter and producer Nicholas Dayton! Nick writes songs for Sesame Street, which is maybe the coolest job you could ever have. He's also done some acting, and been seen on 30 Rock and Nickoldeon. Add to that he plays bass in a 60s cover band AND an Elton John tribute? It's like a found a long lost sibling! Join us as we chat about hearing Big Bird sing a song you wrote, Lin-Manuel Miranda, 60s music, and so much more!

What do you think about Dig A Pony at 82? Too high? Too low? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ find us now on Bluesky! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, some of our new Revolver-themed merch, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

There seems to be somewhat of a misconception of The Beatles having a really big "Indian period." In reality, there's only 3 songs that really fit that bill, and the 3rd a final one, "The Inner Light," may be the most open hearted and enlightened one. After being inspired/challenged by a scholar he met on the David Frost show, George took lyrics from the Tao Te Ching and created a gorgous song that found it's home on the b-side of the Lady Madonna single. Recorded in Bombay while working on the Wonderwall Music soundtrack, George created an authentic and beautiful song with a gorgeous lyric, that gets sprinkled with a kiss of the Beatles magic at the end, one line of 3 part harmony that reminds the listener "oh yeah, it's The Beatles." It's an unappreciated, somewhat unknown tune that should get more love than it usually does.

We're joined this week by an absolute ray of sunshine, the lovely Caitlin Larkin! Caitlin is a DJ on the Sirius XM Beatles Channel who got her job after a campaign of posting a series of faux-radio promos on Tik Tok and catching the ear of the Sirius folks. She's a joy to listen to, has great taste in what she chooses to play, and is one the nicest folks in all of Beatle-fandom. We have a blast talking about old Napster throwbacks, what goes on behind the scenes at the Beatles channel, Liverpool tears, and the magical Beatles quiz book. Be sure to listen to Caitlin weekdays on the Sirius XM Beatles Channel from 12-1 EST, and follow her on Facebook, Twitter, and Instagram.

What do you think about "The Inner Light" at #90? 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!

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!

Get ready to dive into a total fool's errand....

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.com as 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 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!

Not quite the caboose, but close! At #221, Mr. Moonlight ranks as my 3rd least favorite Beatles song. We’re joined on this episode by engineer/producer Adam Hill (Big Star, Jack White, Klaus Voorman and more). In this epidode, we discuss how a band so known for it’s brilliance could lay such an egg as this. We also discuss Adam’s work with Klaus Voorman on his solo album “A Sideman’s Journey" (with some great Hamburg stories re-told), how the Beatles influenced the work that went into making the classic Big Star albums, Ringo watching bums, and hear the beautiful sounds of birds chirping throughout our episode, as Adam joined us from a cabin while on a woodland get-away with his family for Father’s Day.

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 on Facebook, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to visit rankingthebeatles.com! Wanna show your support? Buy Us A Coffee! 

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 on Facebook https://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!

Note: PLS LISTEN BEFORE LIGHTING YOUR TORCHES AND GATHERING YOUR PITCHFORKS!

Written as a way to show sympathy and encouragement to young Julian Lennon in the face of his parents' divorce, "Hey Jude" is obviously one of the high water marks of modern popular music. It's a brilliantly composed song with a powerhouse vocal from Paul, showcasing his ability to go from the sweetest, most emotive and sensitive places to an absolute beast, shredding his voice and screaming from the pits of his you know whats. The rest of the lads turn in a perfect accompaniment, all serving the song as it builds to a chorus that is the prototype for the lighters-aloft stadium anthem, designed to unite masses of people. I've experienced what I think may be the closest thing to nirvana singing along to this with Paul and 70,000 strangers, and it's amazing. But once you've done that, and you've heard the record a million times, that record doesn't really compare to that moment. In fact, I find myself not really connecting to the record in that way at all anymore, and more often than not, rarely choose to listen to it. It's a victim of overexposure in a way, but maybe that's just a me problem?

To help me sort this out, we've called on our old friend James Campion, who literally wrote the book on the subject, Sing A Sad Song: The Emotional Currency of Hey Jude. James joins us to chat about subjective preference vs objective quality, Paul's ultimate flex, Ted Lasso parallels, and his upcoming book on Price. Follow along with all things JC at ⁠jamescampion.com⁠, and ⁠order a copy of his book⁠ while you're at it!

What do you think about "Hey Jude" at 81? Too high? Too low? Have I totally lost the plot? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠find us now on Bluesky!⁠⁠ Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, some of our new Revolver-themed merch, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

In early 1964, John was certainly on a hot streak as a songwriter. He had the lion's share of material on the band's 3rd album, the soundtrack to their film "A Hard Day's Night." He wrote the title song essentially on command. He was the main or sole writer on the majority of the album, and had the most lead vocals. In the film, he's presented as the cocky, confident leader of the group, an image Lennon would be saddled with to present day. Yet that image isn't really the truth. In reality, he's actually filled with fear of abandonment, jealousy, self-image issues, and questions of self-worth, and all of these issues come to the forefront in the very self-aware "I'll Cry Instead." It's a propulsive, rhythmic tune, with a great Lennon vocal, and the height of economy in songwriting. In under 2 minutes, he exposes his jealousy and desire for revenge while also being too afraid to show the hurt he keeps inside. Pretty heady stuff for a pop song, which is probably why director Richard Lester chose to leave this one out of the film. We're thrilled to welcome back the always wonderful Phoebe Lorde, co-host of the brilliant podcast Another Kind of Mind. AKOM is one of the most fascinating Beatles podcasts around these days, challenging longheld tropes and narratives about the band with commentary, educated criticism, and original, thought-provoking analysis. Their work was recently featured in by the GRAMMY Foundation in an article about the history of LGBTQ+ people in the Beatles story. If you're not already listening to AKOM, check them out wherever you get podcasts, follow on Twitter or join the convo on Facebook! What do you think about "I'll Cry Instead" at 109? 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!

Everyone knows that couple...everytime you go on holiday, they seem to get into a fight about SOMETHING. Then everyone's walking on eggshells, trying not to be awkward, not picking sides, just wanting to enjoy their nice vacation, but instead having to deal with someone else's drama.

That seems to be a continuing theme with Paul McCartney and Jane Asher on vacation, only when those fights happen, Paul tends to wander off and pen classic songs, like "For No One." It's a strikingly mature and bold song, featuring only Paul and Ringo, buoyed by a brilliant melody and progression, and a top notch McCartney vocal. It's like the sad ending to the story that began with "She Loves You," addressing YOU, the listener...where it used to be that she loves you, now, she no longer needs you. Brutal, but beautiful.

Returning to the show to discuss this tune is our friend Dr. Duncan Driver! You may have heard him on our "Eight Days A Week" episode a while back, or maybe you've heard him as a contributor to One Sweet Dream. He joins us from the future, or Canberra (listen to how badly Jonathan butchers that in the intro!), to discuss Paul's headspace in 66 when he writes this song, his ascension as an artist, and this classic Macca tune. If you'd like to hear more of Duncan's thoughts on "For No One," check out the writings he did on it, "Three Perspectives on 'For No One'" here, here and here.

What do you think about "For No One" at #80? Too high? Too low? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠find us now on Bluesky!⁠⁠⁠ Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, some of our new Revolver-themed merch, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

The Beatles 3rd single, and their first bonafide #1 hit, is a sub-2 minute blast of all the early hallmarks of early Beatlemania: John & Paul singing together, a super catchy hook, and chord progressions more complex than just about any of their peers were pulling off. And of course, a mop-shaking "wooooo!" The band always viewed this song as a major leap in their songwriting ability and quality, and in learning how to add in complex changes and arrangements, an early and encouraging signal to them that they aren't bound by conventional means of thinking...about anything.  Joining us this week is our old pal David Pomerleau, who you may have met on our 3rd episode. He's the bassist for mainstay New Orleans rock/funk band Johnny Sketch & The Dirty Notes, as well as Jonathan's bandmate in The Walrus - A New Orleans Beatles Tribute. After quarantine shut down their original bands, David and Jonathan found themselves picking up more Walrus work than ever, as socially distant porch concerts became the only outlet for live music in New Orleans. A band that played maybe 4 shows a year started playing at least 4 shows a month, for pretty much a whole year. So now, after a year diving deeper into Beatles music, we talk about what's changed in how they view and appreciate Beatles music, and what it's like playing in a (no-costumes) Beatles tribute band. We also discuss working with changing voices, finding new paths as songwriters and performers, pilot koala bears, and silly Beatles trivia. Follow David's musical projects Johnny Sketch & The Dirty Notes (facebook) and The Walrus (instagram @WalrusNOLA) for livestream performances and more! 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!

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!

Heads up, Faith No More fans: this ain't your guy, and yes he's heard all the jokes. Power-pop songwriter and dj/music curator Mike Patton joins us as we continue counting down our ranking of all the Beatle songs. At #218, Hold Me Tight is, as Macca describes it, " an attempt at writing a single that didn't quite work out." Sure is snappy though! Mike tells Jonathan why he's way off base with it at #218. 

Following that is George's "You Like Me Too Much," a song that, once listened to with modern day thoughts and sensibilities, maybe isn't one of George's finest moments. Jonathan put it at #217, Julia puts it in the dumpster. Note: this portion of the episode does contain discussion of abuse. If you'd like to skip that part, following the "intermission," jump ahead about 23 minutes to continue the show. 

We also discuss Mike's music with the bands Vista Blue, Ralphie's Red Riders, his indie label and power-pop radio show. The dude does it all!

Non-Beatles songs in this episode include The Treasures "Hold Me Tight," Vista Blue "Three Chord City" and "I Think Cathy Is Crazy (About You)".

Check out Mike's music at https://wearevistablue.bandcamp.com/music.

His power-pop radio show "The Radiant Radish" can be heard Saturdays at 9:00pm on Radio Free Nashville (103.7 FM) or online here! The archives of his show are available to stream and are a treasure trove of great pop songs, highly recommended for good times in your ear holes!

Be sure to follow along and leave your comments on the rankings, and the show, on Facebook (facebook.com/rankingthebeatles) and on Instagram @rankingthebeatles

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 out https://anchor.fm/rankingthebeatles/support!

Songs featured this week include: 

• Classico - Tenacious D
• Tribute - Tenacious D
• Time Warp - Tenacious D
• Vaccinated - Kyle Gass
  

Some 25 years after the Beatles' break up, new music from the band emerged via a cosmic combination of technology and enduring love...and the career-spanning Anthology project. Using a solo John piano demo, the remaining Threetles completed "Free As A Bird," a stately and beautiful track, complete with the still gorgeous Beatle harmony, brilliant lead guitar, some new lyrics by Paul and George, a bit of that trademark Beatle cheekiness...it was them, all over again. In my opinon, the song holds up incredibly well within the catalogue. Of course there were/are naysayers, but wasn't this song bound to be the victim of unreal expectations? Despite that, it's a track that makes me feel a real sense of warmth and love and happiness, which is everything I want out of a Beatles song, and it's all the more amazing that they were able to provide that some 25 years after they initially broke up.

We're so happy to be back! We're also so happy to have our first guest for this season be the absolutely wonderful Skylar Moody! If you're on social media and a fan of the Beatles, you've likely seen Skylar's content out there. She handles social media content for the Fest for Beatles Fans, and is partnering with the Brooklyn Museum as a consultant and content creator for the Paul McCartney "Eyes of the Storm" photo exhibition. It's good to know that with people like Skylar at the helm, Beatles fandom will continue to grow and spread to new generations of fans. Follow Skylar on Twitter, Instagram, TikTok, and Facebook, or at skylarmoody.com.

What do you think about "Free As A Bird" at #94? 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!

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!

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 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!

It's our first ever crossover episode! We're putting our heads together with Tommy, Scotty, and Becker, the hosts of Blotto Beatles, a podcast where they discuss a different Beatles song over a handful of adult beverages, then decide where it should rank in their personal rankings. Great minds think alike! In this episode, we discuss "I'll Get You," the b-side to the "She Loves You" single. It's a song that really has no downside to it, it shows the Fabs already learning how to work the crowd, even on record, and has one of my absolute favorite John & Paul joint vocals. 99.9% of other bands would absolutely kill for this kind of song to be their b-side, lesser bands made careers out of songs that weren't as good as this. We also discuss growing up with friends who bond over the Beatles, kleptomaniac parents, intimate ideas for show that Macca could (but probably would never) do, and invent what's destined to be the first official Ranking the Beatles merch, the Paul Shawl.  Blotto Beatles can be heard anywhere you listen to podcasts, including Apple and Spotify, as well as on their website, blottobeatles.com. We highly recommend kicking back with the beverage of your choice and hanging with our new pod pals! Be sure to follow along and leave your comments on the rankings, and the show, on Facebook (facebook.com/rankingthebeatles) and on Instagram @rankingthebeatles

Ancient philosophers once wrote "Every new beginning comes from some other beginning's end." No, wait, sorry, that was Semisonic. It's true though. Beginnings and endings are fascinating because of what comes from both. "Love Me Do" was the beginning for the Beatles, but the end of the proverbial black & white life society was living in. Boom! Color. "The Long and Winding Road" marked the end of the Beatles, but the beginning of their respective solo careers, and the beginning of the hindsight with which we view them and their collective works. Which allows me too look back at these two songs and say, while I don't dislike them, they're not really my favorites. "Love Me Do" just never clicked for me for some reason. "The Long & Winding Road" is maybe just a touch too sad for my liking, and Phil Spector's sappy production is the syrupy icing on the cake that makes me not yearn to hear this track too often.

For our guest Paul Sanchez, The Beatles' music marked the start of a career that landed him on the charts in the mid 90's with New Orleans rock band Cowboy Mouth. For 16 years, he toured across the globe relentlessly with the band as rhythm guitarist, songwriter, and co-lead singer. The end of that time came about in 2006, when he decided to leave the band and focus on what's become an amazing solo career. That ending also marked a beginning for Jonathan, who joined Cowboy Mouth after Paul's exist, taking his role as rhythm guitarist. 3 years later in 2010, that beginning became an ending as well, as Jonathan left the band to pursue his own new beginning with The Breton Sound. Ironically enough, the night Jonathan returned from his final tour, he happened to run into Paul in a music club in New Orleans, and thus began yet another beginning; a friendship and occasional collaboration on record and stage that continues through to this day. He's been hailed by Tim Sommer of the Brooklyn Observer as "America's greatest living folk singer." Paul has released 19 solo albums, created a musical adaptation of the novel Nine Lives, and has been named Songwriter of the Year like 100 times by New Orleans' OffBeat Magazine. The dude knows how to write a good song.

Paul's music can be found at PaulSanchez.com, all streaming sites, and you can purchase his music on vinyl and CD at louisianamusicfactory.com. Songs featured in this episode are:

Walking In Liverpool - Paul Sanchez

At the Foot of Canal Street - John Boutte & Paul Sanchez - HBO's "Treme Season 1 - Official Soundtrack"

Light It On Fire - Paul Sanchez 

Jet Black & Jealous - Paul Sanchez

Be sure to follow along and leave your comments on the rankings, and the show, on Facebook (facebook.com/rankingthebeatles) and on Instagram @rankingthebeatles

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), on Twitter @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support!

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 Album in 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!

**Disclaimer: First show of the new year, and yeah, I know, I blew it, but I own up to it! The integrity of the list remains!**

The fabs sure loved writing songs about their relationships on vacation. As we discussed one of Paul's recently ("For No One"), now it's John's turn. John's ode to infidelity and arson turned into one of the most sublime sonic moments in their catalogue, as well as one of the most influential. George's now iconic sitar part influenced so many other bands of the time to start experimenting with Indian music (The Rolling Stones' "Paint It Black" maybe most famously), and marked the beginning of his and the band's bringing Eastern music to popular Western culture. It's a defining sound of the 60s, and this song may be well the defining song of the Rubber Soul album.

Joining us this week is Beatles author and all around lovely person Sara Schmidt! She's the author Dear Beatle People: The Story of the Beatles North American Fan Club and Happiness is Seeing the Beatles: Beatlemania in St. Louis . She's also the brains behind meetthebeatlesforreal.com where she's been archiving Beatles photos and fan stories since 2007. While Apple and so many are telling the history of the band, this is the other side of the coin, the thing that made it work, the fans, and it's a fantastic archive of stories and interactions with the band. Check out the website and Sara's books at meetthebeatlesforreal.com, and if you have a story to share with her, send it over!

What do you think about "Norwegian Wood (This Bird Has Flown)" at 78? Too high? Too low? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠find us now on Bluesky!⁠⁠⁠⁠⁠ Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, some of our new Revolver-themed merch, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

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 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!

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 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!

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!

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!

Sorry if we offended anyone by approaching something from Revolver so quickly, but alas, here we are. George's first full-on excursion into Eastern music may be one of the more significant and important songs in the Beatles catalog. That doesn't mean it's my favorite of his songs though. I've got it ranked at #219, but music writer/critic Alex Rawls totally disagrees with me. We talk about Alex's history with Beatles music, Christmas music...all kinds of music! 

Check out Alex's site www.myspiltmilk.com where he covers the cream of New Orleans music and beyond.

ALSO, if you love Christmas music like we do, check out his Christmas music podcast, 12 Songs of Christmas, and be sure to subscribe!!

Be sure to follow our socials! www.facebook.com/rankingthebeatles and on Instagram @RankingTheBeatles. And lastly, be sure to do your part in keeping everyone safe and healthy by staying home when you can, and wearing a mask when you have to go out. We want to interview our guests in person one day!!

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!

This week we travel back to 1963 and 1965 via 1995 with previously unreleased tracks from The Beatles Anthology. The Fabs had a great knack for self-editing and knowing when something wasn't quite working. In the case of "If You've Got Trouble," that knack helps when your song has got "stupid words" and is "the naffest song" (George said so himself. This shelved Ringo vocal from the "Help!" session is a perfect example. He's GOT to have a song on the record, but this one just never really connects. 

Another element to their story is how they were always willing to bet on themselves. While the powers that be wanted to release "How Do You Do It?" as their debut, but the boys insisted on one of their own compositions. How would history have been different if this had been their debut though, and does their version have that razz-a-matazz that made it a hit for someone else? 

Joining us this week is Jeffrey Roedel, a writer, director, producer, and fellow hardcore Beatlemaniac.  We discuss coming of age during the Anthology renaissance and how that impacted our experience of the Beatles story, Jonathan and Julia reminisce about their pilgrimage to Liverpool,  and we talk about the often-missed humility and humbleness of the young John Lennon. Wait, what?

Check out Jeffrey's literary magazine Wonder South at www.wondersouth.com and on Instagram @wondersouth, and you can also check out his writing and film endeavors at www.jeffreyroedel.com.

Listen to Jeffrey's Anthology and Outtakes Playlist! 

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!

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!