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Post by coachbk on Apr 29, 2013 11:26:37 GMT -5
Since John had a shorter career and fewer albums, I'm putting the early John & Yoko stuff together as one, but feel free to adapt for your own list. After #1 each of these has worthwhile tracks. Starting with worst:
1. TWO VIRGINS/LIFE WITH THE LIONS/WEDDING ALBUM-self indulgent experimental noise 2. SOMETIME IN NEW YORK CITY-"New York City" rocks, but most of the lyrics are embarrassing for someone so gifted. 3. ROCK AND ROLL-John doing early rock should have been great. This wasn't. 4. WALLS AND BRIDGES-an OK album. "#9 Dream" is great. The rest so so. 5. MIND GAMES-A good album. "Mind Games" great. A few others pretty good too.
I thought about putting MILK AND HONEY at #5, but all John's songs (with the exception of "Flower Princess") are good to excellent and Yoko's stuff is passable.
How I wish we had 30 more years of Lennon solo stuff to talk about....
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Post by John S. Damm on Apr 29, 2013 15:47:02 GMT -5
1. TWO VIRGINS/LIFE WITH THE LIONS/WEDDING ALBUM: Amazing in 2013 how J & Y would think these things should be released. 2. Some Time in New York City: Title track rocks and I like the two Irish songs as to John's powerful vocal performance in each. But the rest is pretty bad. 3. Rock 'n' Roll: the remixed version re-released in the early 2000's saves the day but Yoko went back in 2010 to remasters of John's original mix. Too bad. 4. Milk And Honey: Yoko sounds a lot better here. John was running on fumes I hate to say. I would give my left testicle to have heard even a semi-finished "Grow Old With Me," at least something with a studio quality guide-vocal. "Nobody Told Me" starts great but does not make it to the finish line. Needed heavy lyric editing John wasn't allowed to do. 5. Shaved Fish: I was once high on this but I hate the edited GPAC and Cold Turkey. Sonically dead, the vocal on Instant Karma distorts on this album unlike anywhere else. Phil Spector did not intend that. I count this as John put it together and did the artwork too.
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Post by Panther on Apr 29, 2013 17:39:58 GMT -5
Five? C'mon, if we discount live albums, comps, and experimental (pre-Beatles' break-up) stuff, we're left with only 6 albums in his lifetime...
In those 6, I'd say three are quite good to amazing: - JL/Plastic Ono Band / Imagine / Double Fantasy one is good, but listless with a 70s' hangover: - Walls & Bridges and two are quite disappointing: - Sometime in NY City / Mind Games
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Post by acebackwords on Apr 30, 2013 12:43:33 GMT -5
MIND GAMES, SOME TIME IN NEW YORK CITY, and ROCKNROLL.
ROCKNROLL is really the big one that got away. That could have been a classic if Spector and Lennon had been on the same page. MIND GAMES -- what the hell, everybody does an album where they're just treading water, even Lennon. STINYC I can't really judge as music because I find the "radical chic" posturing so putrid.
Something like TWO VIRGINS, it works for what it is, a piece of conceptual art. The cover alone makes it a weird kind of one-off classic.
I was gonna add IMAGINE -- the only songs I like on that one are How Do You Sleep and Crippled Inside. But its such a popular album, maybe there's something wrong with me that I can't get into it.
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Post by ursamajor on Apr 30, 2013 21:12:15 GMT -5
John had six official releases in his lifetime and one posthumous release to I guess this question is more which are the two best JL albums and the rest can fill the places of the 5 worst which sounds like a contradiction , probably because it is JL/POB is the best JL album, IMO followed by Imagine so I will rank the others from worst to best. 1. Milk and Honey - Not bad songs but clearly unfinished and Yoko's songs are not as strong as on DF 2. SINYC - John still trying to be a visionary and gets too political but it backfires on him. Good music and I guess some good causes for that time but just not relevant from the day it was released, needed to be more universal to get his point across or use another medium to support his and Yoko's causes 3. Walls and Bridges - I used to prefer this to Mind Games but my opinion has changed, this needed to be abit more stripped down, less horns , some more guitar and more balls, it needed a good producer. 4. Mind Games - really like this album today, the remixed version has brought this to life, more Lennon-lite than classic Lennon but this is where you'll hear some great under-rated Lennon ballads that are rarely heard such as Aisumasen, Out of the Blue, I Know and You Are Hear. Meat City is a glorious rocker as well. 5. Double Fantasy - just a brilliant album, love John and Yoko's songs on this, this was a collboration that worked much better than SINYC and has not aged at all, the sound on the remix is crisp, clear with depth , it sounds huge.
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Joseph McCabe
Very Clean
A rebel to his last breath ...
Posts: 912
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Post by Joseph McCabe on Apr 30, 2013 22:07:46 GMT -5
Sadly, except for JL/POB and possibly Imagine & Walls and Bridges, John's albums are pretty mediocre.
Here are, imo, the five worst, but in no particular order:
Double Fantasy, and Milk and Honey. Spoiled by Yoko presence, but John's songs seem well-crafted, MOR stuff; and if not, very derivative (wasn't Starting Over a massive disappointment - more like looking back). And don't you cringe at the apologetic, I'm sorry, I was wrong angles on several songs.
Mind Games. A lot of the sorry I'm pathetic and wrong stuff here too.
Shaved Fish. He said, do these tracks, and they screwed him with the truncated Peace/Chance. Bastards.
Rock and Roll. Eh? One of the greatest rock artists, puts out shit like this? The remaster, as Mr Damm points out, is better. Still terribly poor coming from John Lennon.
I think John's big problem is the same as Paul's - nothing to say. THEY said it all in the 60s!
McCabe
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Post by John S. Damm on Apr 30, 2013 23:29:15 GMT -5
The remixed and remastered Mind Games and Rock n Roll from the early 2000's are great, they breath life back into two albums that were sonically dead by John's production on MG and John and Phil's heavy hands on RnR.
It was funny as I read Ursamajor's review of MG and I was "Right on!" But then I read Joseph McCabe's dismissive words for the same album and I am "Right on!" That's my problem with MG, it is a ying/yang thing, sometimes it sounds good to me other times it sounds weak. A good album elicits a consistent response with the listener. MG's is bi-polar to me.
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Post by Joe Karlosi on May 1, 2013 1:20:44 GMT -5
Again, it would be too easy to simply get away with listing obvious stuff like TWO VIRGINS, LIFE WITH THE LIONS, THE WEDDING ALBUM, and even LIVE PEACE IN TORONTO. I also don't believe in counting the "hits" package, SHAVED FISH -- That would be the 5 for me right there! If I wasn't counting only strictly studio albums, those would be my "cheat" picks without ever touching a "proper" studio LP ... It's really not fair to pick "5" for John because he didn't live long enough to have a larger studio LP catalogue. 1) ROCK N ROLL -- My "least" John album, mainly because I prefer John doing his own material. And it doesn't help that the arrangement left much to be desired here. That said, I do enjoy each song, though the weakest ones for me would be "Do You Wanna Dance", "Ya Ya", and "Just Because". 2) MILK AND HONEY -- It's not John's fault that he was killed and so this album had half-finished tracks on it. But of all John's original studio albums, this would be my least. I do enjoy all his songs except for "Forgive Me My Little Flower Princess". One of his poorest tracks, but not "un-listenable". 3) SOME TIME IN NYC -- I still appreciate this album for what John and Yoko were trying to achieve at the time. But something has to come in 3rd. -- And I'm afraid that this is as far as I can honestly go, since I consider John's other studio albums to be fine. If I HAD to list two more of the "least", #4 would be DOUBLE FANTASY and #5 would be MIND GAMES, in that order. I'm not sure I get the non-appreciation for WALLS AND BRIDGES.
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Post by vectisfabber on May 1, 2013 4:18:16 GMT -5
It's a really unfair exercise for John, especially if you knock out compilations and half-albums (Menlove Ave, anyone?). I'm uneasy about negativity since I'm aware that, as I get older, I get more negative anyway, but this is a thread which invites negativity, so I think I have to say (which I've said anyway) that I find John's solo career pretty drab almost throughout:
JLPOB - powerful, but I never listen to it through choice as the glimmers of tremulous hope are buried under misery. It brings me no pleasure, which is my only reason for listening to music. Imagine - I like it, apart from the horrific Soldier and the nasty How Do You Sleep? Mind Games - forgettable STINYC - horrifying with some good melody and singing. (Horrible attitude, horrible arrangements) Walls And Bridges - Mind Games vol 2 - more forgettable Double Fantasy - excellent half-a-John-album (I like Yoko's stuff on DF, but it's not John) Milk And Honey - see DF, only not quite as good. John's material from DF and M&H would make an excellent album.
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Post by acebackwords on May 1, 2013 15:09:53 GMT -5
Again, it would be too easy to simply get away with listing obvious stuff like TWO VIRGINS, LIFE WITH THE LIONS, THE WEDDING ALBUM, and even LIVE PEACE IN TORONTO. I also don't believe in counting the "hits" package, SHAVED FISH -- Maybe I'm cheating but I consider SHAVED FISH a distinct album (and one of my faves) because it has classic Lennon songs like Give Peace a Chance, Instant Karma, Cold Turkey and Happy Xmas that don't appear on any of his other albums. Plus I loved the packaging.
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Post by ReturnToPepperland on May 1, 2013 16:38:01 GMT -5
Sadly, except for JL/POB and possibly Imagine & Walls and Bridges, John's albums are pretty mediocre. Here are, imo, the five worst, but in no particular order: Double Fantasy, and Milk and Honey. Spoiled by Yoko presence, but John's songs seem well-crafted, MOR stuff; and if not, very derivative (wasn't Starting Over a massive disappointment - more like looking back). And don't you cringe at the apologetic, I'm sorry, I was wrong angles on several songs. Mind Games. A lot of the sorry I'm pathetic and wrong stuff here too. Shaved Fish. He said, do these tracks, and they screwed him with the truncated Peace/Chance. Bastards. Rock and Roll. Eh? One of the greatest rock artists, puts out shit like this? The remaster, as Mr Damm points out, is better. Still terribly poor coming from John Lennon. I think John's big problem is the same as Paul's - nothing to say. THEY said it all in the 60s! McCabe Its true that you can't underestimate the importance of lyrics. The music draws you to a song, but the lyrics keep you there. Good lyrics keep you interested in a song. The melody has to be extraordinary (like a good number of Paul's) to be interested with little being said in the lyric. With Paul, his lyrics are so oblique, you really have to look at alternate interpretations rather than a literal reading.
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Joseph McCabe
Very Clean
A rebel to his last breath ...
Posts: 912
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Post by Joseph McCabe on May 1, 2013 21:29:38 GMT -5
With Paul, his lyrics are so oblique, you really have to look at alternate interpretations rather than a literal reading. That's what convinces me that very often, Paul has nothing to say. If you are so oblique that people have no clue as to what you mean, you're either (A)a poor writer (B)all of the above. Paul's a tunesmith, not a lyricist. So, RTP, defend Paul's strengths, not his weaknesses. McCabe
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Post by mikev on May 1, 2013 21:59:34 GMT -5
With Paul, his lyrics are so oblique, you really have to look at alternate interpretations rather than a literal reading. That's what convinces me that very often, Paul has nothing to say. If you are so oblique that people have no clue as to what you mean, you're either (A)a poor writer (B)all of the above. Paul's a tunesmith, not a lyricist. So, RTP, defend Paul's strengths, not his weaknesses. McCabe Paul has played the "movement you need is on your shoulder" card wayyyyy too many times. Lennon blessed a throwaway line, and subsequently "blessed in post-mortem" every throwaway line after that."The dog-goner girl is mine" Complete bleeck!! "12345 let's go for a drive" was to me absolute driv-el. He had already done it in a kiddie song (All Together) and a bit more poetic on Abbey Road-I'm okay with that one. But I thought the actual music/melody on Driving Rain was pretty good.
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Post by vectisfabber on May 2, 2013 3:08:41 GMT -5
I hated the shoulder line in Hey Jude - lyrically clumsy.
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Post by ReturnToPepperland on May 3, 2013 10:10:18 GMT -5
With Paul, his lyrics are so oblique, you really have to look at alternate interpretations rather than a literal reading. That's what convinces me that very often, Paul has nothing to say. If you are so oblique that people have no clue as to what you mean, you're either (A)a poor writer (B)all of the above. Paul's a tunesmith, not a lyricist. So, RTP, defend Paul's strengths, not his weaknesses. McCabe Even John said Paul was a good lyricst when he put the effort in. I think too often Paul took the easy way out. And yes, his strongest suit is as a tunesmith. That doesn't eliminate him as a lyricst of some consequence.
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Post by mikev on May 3, 2013 13:07:44 GMT -5
That's what convinces me that very often, Paul has nothing to say. If you are so oblique that people have no clue as to what you mean, you're either (A)a poor writer (B)all of the above. Paul's a tunesmith, not a lyricist. So, RTP, defend Paul's strengths, not his weaknesses. McCabe Even John said Paul was a good lyricst when he put the effort in. I think too often Paul took the easy way out. And yes, his strongest suit is as a tunesmith. That doesn't eliminate him as a lyricst of some consequence. I think lyrically Paul peaked during Revolver. When he has someone to bounce things off of and not sycophants- he is in the elite. When he asks top producers who even attempt to edit his lyrics "how many top 10 hits have YOU written", he is an oblivious bore.
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Post by John S. Damm on May 3, 2013 13:09:25 GMT -5
I hated the shoulder line in Hey Jude - lyrically clumsy. I love it but I don't like Paul's retelling of the story a billion times.
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Post by Joe Karlosi on May 3, 2013 14:55:06 GMT -5
Even John said Paul was a good lyricst when he put the effort in. I think too often Paul took the easy way out. And yes, his strongest suit is as a tunesmith. That doesn't eliminate him as a lyricst of some consequence. Once again, RTP, why can't you EVER criticize Paul in any way? Maybe admit that there is ONE area where he is not "God"...? Paul has a shaky rep as a lyricist because he is not, and never has been, an outstanding lyricist. McCabe is 100% correct when he said Paul's major strength is as a "tunesmith". Paul is the greatest melodist the world has ever known -- isn't that enough for you, or do you have to have it all?
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Post by ReturnToPepperland on May 3, 2013 15:16:14 GMT -5
Even John said Paul was a good lyricst when he put the effort in. I think too often Paul took the easy way out. And yes, his strongest suit is as a tunesmith. That doesn't eliminate him as a lyricst of some consequence. Once again, RTP, why can't you EVER criticize Paul in any way? Maybe admit that there is ONE area where he is not "God"...? Paul has a shaky rep as a lyricist because he is not, and never has been, an outstanding lyricist. McCabe is 100% correct when he said Paul's major strength is as a "tunesmith". Paul is the greatest melodist the world has ever known -- isn't that enough for you, or do you have to have it all? Calling him a lyricist of some consequence isn't overstating his abilities as a lyricist. Go back through all his songs Beatles and post-Beatles and you will find many songs with quite good lyrics, some brilliant--probably many more than most artists. Comparing him to the best, John, Paul still comes off pretty well.
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Post by Joe Karlosi on May 3, 2013 15:26:55 GMT -5
I hated the shoulder line in Hey Jude - lyrically clumsy. As I'm sure I've said before, I don't agree. I think that second "shoulder" line is wonderful, and I love the way Paul sings it, as if to drive that fact home one more time, with a poetic emphasis. Now, this was always my favorite moment in the song, even years before Paul started revealing that he was going to delete that line until Lennon insisted it was the best bit and that he "got" it. Well, I liked it too and I understand the vibe behind it as well. We've been though talking about it a zillion times before, but I take it as it's up to you and your own mind (your head is on your shoulder -- ie "You've got a good head on your shoulders").
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Post by Joe Karlosi on May 3, 2013 15:30:59 GMT -5
Once again, RTP, why can't you EVER criticize Paul in any way? Maybe admit that there is ONE area where he is not "God"...? Paul has a shaky rep as a lyricist because he is not, and never has been, an outstanding lyricist. McCabe is 100% correct when he said Paul's major strength is as a "tunesmith". Paul is the greatest melodist the world has ever known -- isn't that enough for you, or do you have to have it all? Calling him a lyricist of some consequence isn't overstating his abilities as a lyricist. Go back through all his songs Beatles and post-Beatles and you will find many songs with quite good lyrics, some brilliant--probably many more than most artists. Comparing him to the best, John, Paul still comes off pretty well. No, it's just you yet again grasping at any straws to give Paul every kudo, and never, ever criticize him. You have an unrelenting resentment against John. Instead of just complimenting John alone, you have to nudge paul up there too and say "he still comes off pretty well". No, he does not -- if he DID, people would not often tease Paul and make him the brunt of lyricist jokes. (Remember THE RUTLES? Eric Idle on the piano composing: "Dee-dee-dee-dee! Dee-dee-dee-dee"!)
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Post by Panther on May 4, 2013 9:32:31 GMT -5
(After ignoring Joe's endless boring rants against RTP...yawn...)
I love the "movement you need is on your shoulder" line; it strikes the perfect note of left-of-center weirdness that the song, and the music culture in general at the time, needed.
HOWEVER...
I honestly think that the reason Paul has told the story about it 10 million times is not to amuse audiences or expand the virtues of John's judgement. I think the reason Paul has endlessly told the story is to drive it down fans' throats that he -- Paul -- wrote the song, alone, without John. It's yet another example -- one of many -- of Paul's staggeringly unnecessary insecurity regarding his own popular legacy. He saw in the "movement you need" story an opportunity to tell a typical Paul whimsical tale about John that would give Paul a repeated chance to clarify that it was HE -- PAUL McCARTNEY AND NONE-OTHER -- who wrote 'Hey Jude'. Because, you know, being the world's most commercially successful songwriter ever and the co-leader of the most successful recording act in history ISN'T ENOUGH!! No, every 4th generation Beatle fan must know that it was Sir Paul ALONE, with no help whatsoever, who wrote 'Hey Jude'.
Anyway, that's my take on it. If you watch, for example, Paul's telling of this (tiresome) story in Anthology, he pauses, in an obviously calculated way, to make clear the point that it was 'just that one line' that John ever so slightly influenced.
Poor Paul. He's sometimes rather sad.
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Post by debjorgo on May 4, 2013 9:56:40 GMT -5
Of course John was the first one to reveal who wrote what. He didn't do it to take credit for his songs as much as just to drive another nail in the Beatles' coffin. And maybe also because he knew Paul would not be happy, giving fans a major look behind the mystique of the Beatles. I may be wrong but I don't think Paul would have ever said who wrote what if John hadn't.
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Post by acebackwords on May 4, 2013 15:20:55 GMT -5
While not in the same class as Lennon or Dylan when it came to lyrical inventiveness, I maintain Paul is one of the great pop lyricists of all time. You don't become one of the greatest songwriters of all-time without being masterful in both phases of the melody/lyrics department. Paul is way, way , WAY under-rated as a lyricist. Probably because his melodies and singing and musicianship and showmanship are so brilliant that if you're gonna criticize Paul that's probably the only thing the critics could come up with.
Probably the main thing that damaged Paul's reputation, lyric-wise, is: He's simply written so many damn songs that his lyrical repertoire couldn't keep pace with his melodic output. Hence, quite a few songs with great melodies and tossed-off lyrics.
But if you look at Paul's greatest 20 or 30 songs, I maintain the lyrics hold their own with any lyricist of any era.
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Post by acebackwords on May 4, 2013 15:27:17 GMT -5
Some one tell me that these songs, just to name a few, don't have great lyrics:
Yesterday Eleanor Rigby Here, There and Everywhere Rocky Raccoon Helter Skelter Why Don't We Do it in the Road (jes' kidding) The End Every Night Uncle Albert Venus & Mars/Rock Show Here Today Silly Love Songs
Examine some of those songs. Macca demonstrates how multi-faceted he is as a lyricist.
He can tell a story (Eleanor Rigby). He can verbally express romantic love on par with his gorgeous melodies (Here, There and Everywhere). He can write humorous and clever ditties (Rocky Raccoon). He can come up with the exactly right climactic phrase to end the Beatle career on (The End). (even Lennon had to admit that one was a keeper) He can compete with Dylan and Lennon when it comes to evocative "Dylanesque" gobbledeegook (Uncle Albert). He can express brotherly love in a highly subtle and understated way (Here Today). He can evoke the entire excitement of the concert-going experience (Rock Show). He can even get in sly lyrical jabs at the very critics who are criticizing his lyrics (Silly Love Songs).
I could go on but you get the picture.
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Post by vectisfabber on May 4, 2013 16:46:15 GMT -5
I'd add Fool On The Hill and You Never Give Me Your Money to name but two. He can do it when he works at it, but he so often doesn't.
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Post by Joe Karlosi on May 4, 2013 20:22:28 GMT -5
Some one tell me that these songs, just to name a few, don't have great lyrics: But this is called "cherry picking". They are exceptions to the general rep about Paul. Nobody's saying he has "never" written good lyrics, nor that he "is incapable" of writing fine lyrics. But what is ultimately used as the general reputation for anything is its majority. Let's look at it this way. I'd bet we could find some melodies Paul has written that "aren't so good". But it wouldn't matter, because that's cherry picking; the thing is, paul has written mostly wonderful melodies, and that forms his rep as a great tunesmith in spite of the occasional exceptions.
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Post by Joe Karlosi on May 4, 2013 20:24:50 GMT -5
(After ignoring Joe's endless boring rants against RTP...yawn...) I guess it is lost on you that you're just as boring when you endlessly repeat how boring and endless my rants against RTP are. If you "really" wish to "ignore" them, then just shaddap about commenting on them. Double-Yawn...
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Post by acebackwords on May 4, 2013 21:32:25 GMT -5
This could easily tun into a Monty Python "arguement clinic" endless regression. I admit i love it. Thats why im here every day.
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Post by ReturnToPepperland on May 6, 2013 2:47:18 GMT -5
Here are some examples of Paul's lyrics and this is just over a couple of years. And yes, I could find as many or more post Beatles which I will if you like.
I'm looking through you where did you go? I thought I knew you, what did I know? You don't look different but you have changed. I'm looking through you you're not the same. Your lips are moving, I cannot hear.' Your voice is soothing, but the words aren't clear. The only difference is you're down there. I'm looking through you and you're nowhere. Why tell me why did you not treat me right? Love has a nasty habit of disappearing overnight.
Got a good reason for taking the easy way out She's a big teaser, she took me half the way there. Tried to please her, she only played one night stands.
(Jane wants to act. Paul wants her at home. That's a deal breaker) Try to see it my way, do I have to keep on talking till I can't go on? While you see it your way, there's a chance that we might fall apart before too long. Think of what you're saying. You can get it wrong and still you think that its alright. Think of what I'm saying. We can work it out and get it straight or say goodnight. We can work it out.
Eleanor Rigby picks up the rice at the church where a wedding has been, lives in a dream. Waits at the window, wearing a face that she keeps in a jar by the door. Who is it for? All the lonely people, where do they all come from? All the lonely people, where do they all belong?
To lead a better life, I need my love to be here. Here, making each day of the year. Changing my life with the wave of her hand. Nobody can deny that there's something there. Someone is speaking but she doesn't know he's there. I want her everywhere, and if she's beside me I know I need never care. But to love her is to need her everywhere. Each one believing that love never dies, watching her eyes and hoping I'm always there.
In the town where I was born lived a man who sailed to sea. And he told us of his life in the land of submarines. So we sailed on to the sun till we found the sea of green And we lived beneath the waves in our yellow submarine.
I need to laugh, and when the sun is out, I've got something I can laugh about. I feel good in a special way. I'm in love and it's a sunny day. We take a walk, the sun is shining down. Burns my feet as they touch the ground. Then we lie beneath a shady tree. I love her and she's loving me.
Your day breaks your mind aches, You find that all her words of kindness linger on, When she no longer needs you. She wakes up, she makes up. She takes her time and doesn't feel she has to hurry, She no longer needs you. And in her eyes you see nothing. No sign of love behind the tears cried for no one. A love that should have lasted years.
Had it been another day I might have looked the other way. And I'd have never been aware, but as it is I'll dream of her tonight. Falling yes I am falling, And she keeps calling me back again.
Yesterday, love was such an easy game to play, Now I need a place to hide away. Oh I believe in Yeserday.
If you let me take your heart I will prove to you. We will never be apart if I'm part of you. Open up your eyes now, tell me what you see. Don't you realize now, what you see is me.
When I'm walking beside her people tell me I'm lucky. Yes I know I'm a lucky guy. I remember the first time I was lonely without her. Can't stop thinking about her now. Every little thing she does she does for me.
She don't give boys the eye. She hates to see me cry. She is happy just to hear me say that I will never leave her. She don't give boys the eye. She will never make me jealous. Gives me all her time as well as loving, don't ask me why. Turns me on when I get lonely. People tell me that she's only fooling, I know she isn't.
You say you'll be mine girl till the end of time. These days such a kind girl seems so hard to find. Someday when I'm lonely wishing you weren't so far away. Then I will remember things we said today. Me I'm just the lucky kind, And though we may be blind love is here to stay And that's enough to make you mine girl, be the only one.
I give her all my love, that's all I do. And if you saw my love you'd love her too. I love her.
Say you don't want no diamond ring and I'll be satisfied. Tell me that you want the kind of things that money just can't buy. I don't care to much for money, money can't buy me love.
Well she was just seventeen She'd never been a beauty queen But the way she looked was way beyond compare. So how could I dance with another, When I saw her standing there. She looked at me and I, I could see, that before too long I'd fall in love with her.
When I call you up your line's engaged. I have had enough so act your age. We have lost the time that was so hard to find. And I will lose my mind if you won't see me.
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