The dash of Beatles magic comes as they reach the end of the verse and bounce together on the strung-out “pleeeeeeease . . .” answered by Paul’s solo “ . . . love me do.” The spirit in the harmony and the expectant silence that follows heightens the sense of anticipation...
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In the drawn-out “plee-ee-ease” of “Love Me Do” the lilting harmonies yearn politely—in “Please Please Me” it’s dirty and polite all at the same time. John and Paul’s verse duet gains on the Everly formula: Paul stays on the initial high note as John pulls away beneath him (“Last night I said these words to my girl”), putting the Everlys’ “Cathy’s Clown” lilt to a brighter beat. The rasp in Lennon’s voice on the repeated “come on”s is far from innocent—he wants this woman to do more than just hold his hand. As they hit the second “please,” Paul and John leap away from the pleasantry of the first, soaring up to convey a real adolescent sexual frustration. Even the sound of the band has more rough edges than the thunking bass of “Love Me Do.” Where the first single is genuinely coy, the second makes a “polite” demand on the female, and Lennon deliberately tries to stir up a reaction.
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Although John and Paul can be worlds apart (as this album [“Please Please Me”] demonstrates), when they harmonize the common brilliance they achieve is breathtaking. The two share a space of musical effervescence that only they know how to reach for, and they hit it with uncommon grace.
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The first and last songs on the album, “I Saw Her Standing There” and “Twist and Shout,” are its bookends: both revolve around the idea of falling in love on the dance floor. But where Paul gets the dance floor jumping, Lennon makes the earth move. It’s as raunchy as anything the Beatles ever recorded, and it stands up beautifully to records with raunchier reputations (like the Stones’ “Satisfaction”). Where the opening tune suggests an adolescent sexuality, “Twist and Shout” conveys a loss of innocence; where Paul’s singing is charged but charming, Lennon’s delivery is nothing short of lustful.
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Throughout rock, and throughout the history of music—from Bach’s French Suites to Ravel’s La Valse—the image of the dance in music has been linked to the act of sex.
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After two verses [“Twist and Shout”], the singers—John with Paul and George in support— back off to play their guitars for a verse, as if resting for the final round. When the voices come back in, the personalities we’ve heard throughout the record stack up one by one for the rave-up, building the chord with mounting excitement. At the top of the ladder, they spill over the edge with hysterical screams, the musical dam breaks, and before we know it they’re into the last verse. It’s the musical equivalent of an orgasm, and it counts among the most exciting moments in all their music.
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It’s not that they’re telling teenagers to dance or have sex: they’re simply enjoying life so much that they can’t contain themselves—they want the beat to seduce the whole world into having fun.
(Tell Me Why by Tim Riley, 1998/2002)
The more excerpts I read from that Ian "Monstrous Terf/Zionist" Leslie book the more I see that he just rewrote a bunch of tumblr posts. His contextual knowledge actually seems quite shallow - he just writes in the style of "anecdote we all know + reference to much-shared photo + oft-repeated quote" - a style directly lifted from tumblr. And his apparently not knowing abt the beetles photo on RAM from that talk he did with (puke) Tom Holland is a real tell as to the limits of his knowledge. I wouldn't be surprised if most of his research is posts rather than books/primary sources (whatever his bibliography says). His only original writing seems to be some psychology and some song analysis (tho he's stolen a lot of that too eg In My Life trutherism, originally promoted by OSD.)
It all paints a picture of a grimy little opportunist deliberately queerbaiting to sell his book made up of other people's uncredited or barely-credited research. The text I've seen presents that research without sufficient rigour and puts the book in the same category as all the other sloppy, fanfic-y beatles bios. And some fans are falling all over his grotty transphobic ass bc he's "making McLennon mainstream". With friends like that, who needs enemies? There's a better, non-derivitave, non-sloppy J/P book waiting to be written by a decent person. Ian can go back into the hole he crawled out of and take his chickenshit book with him.
'Wherever you go, there you are'
On Instagram
melody maker letters as the burn book from mean girls
So you think 'Imagine' ain't political? It's 'Working Class Hero' with sugar on it for conservatives like yourself!! You obviously didn't dig the words. Imagine! You took 'How Do You Sleep' so literally (read my own review of the album in Crawdaddy.) Your politics are very similar to Mary Whitehouse's -- 'Saying nothing is as loud as saying something.' Listen, my obsessive old pal, it was George's press conference -- not 'dat ole debbil Klein' -- He said what you said: 'I'd love to come but...' Anyway, we basically did it for the same reasons -- the Beatle bit -- they still called it a Beatle show, with just two of them! Join the Rock Liberation Front before it gets you. Wanna put your photo on the label like uncool John and Yoko, do ya? (Aint ya got no shame!) If we're not cool, WHAT DOES THAT MAKE YOU? No hard feelings to you either. I know basically we want the same, and as I said on the phone and in this letter, whenever you want to meet, all you have to do is call.
literally the ramblings of an insane person I am GAGGED
Under his carpet: Linda Eastman McCartney reflects on the ups and downs her marriage to Paul in a series of snapshots between 1968 and 1990. Chapter 1 of 5 posted.
Plinda fans/Paul superfans dni (JOKING! No sugarcoating, but not a hatchet job on either. Most of it is based on fact, but plenty is invented - speculative fiction an' all that.)
While not shying away from the darker sides of the marriage, this story is primarily intended as a character study about flawed individuals, none of whom are villains. It also explores the tension between visually appearing liberated, as many Boomer women did, and the reality of their domestic lives. A tension which is still relevant today.
The Quarry Men’s banjo player, Rod Davis, recalls, “I had bought the banjo from my uncle and if he’d sold me his guitar, I might have been a decent enough guitarist to keep McCartney out of the band. I might have learnt guitar chords, I might not, and that was the big limitation really. McCartney could play the guitar like a guitar and we couldn’t, and let’s face it, a banjo doesn’t look good in a rock’n’ roll group. I only met Paul on one other occasion after the Woolton fête and it was at auntie Mimi’s a week or two later. He dropped in to hear us practising. From my point of view, I was the person he was replacing – it’s like Pete Best – you’re the guy who doesn’t know. Some things had gone on that I was unaware of.”
(Best of the Beatles: The sacking of Pete Best by Spencer Leigh, 2015)
The Bowery Boys are two guys with a blog and podcast who serve up regular helpings of truly fascinating New York history. With erudition and infectious enthusiasm, they present the histories of countless New York landmarks, from the famous (Central Park, the Brooklyn Bridge) to the obscure (the African Burial Ground and Famous Dogs of New York). Today on the blog they remember a shameful episode of the city's history from 1741, where the authorities became convinced, seemingly on no conclusive evidence, that the local slave and freed black community of the city were planning its destruction, and executed over 30 almost certainly innocent people. The Patrick's Day link reveals how the soldiers patrolling Fort George outside the city were so hungover this very morning in 1741 that they didn't catch a mystery arsonist who burned down the camp and almost let the flames spread to the city. In the febrile atmosphere of the time, when the authorities were whipping the white populace into a panicked frenzy about supposed plots, it didn't take long for blame for the fire to be put on the black population.Whoever the arsonist was, if the soldiers had been on the ball that morning the arson could have been stopped and the fire of paranoia dampened. There really are some jobs you can't turn up hungover for!
Read the full article here. And subscribe to the podcast, it's brilliant!
taxman is one of the funniest beatles songs ever
from Paul's self-interview with the McCartney I release.
He had the first two lines of 'Every Night' for "a few years"? D: D:
For reference, those two lines are:
Every night, I just want to go out Get out of my head Every day, I don't want to get up Get out of my bed
Source: The Longest Cocktail Party by Richard diLello
Some writing and Beatlemania. The phrase 'slender fire' is a translation of a line in Fragment 31, the remains of a poem by the ancient Greek poet Sappho
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