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Lionsong

“Lionsong” is the second song by Icelandic singer and musician Björk from her ninth studio album, Vulnicura. It was written and composed by Björk and features beats by Venezuelan musician Arca, who co-produced the track with her.

“Lionsong” was released as a promotional single to radio stations in some territories, including the US, by One Little Indian Records in late 2015 and received limited airplay in a shortened radio version.[1] Vulnicura saw no official commercial singles, digital or physical, the first for a Björk studio album, though several versions of “Lionsong” exist due to the various supplementary projects that accompanied the original Vulnicura album.

Stonemilker

“Stonemilker” is a song recorded by Icelandic singer/songwriter Björk for her ninth studio album, Vulnicura, in 2015. It was written and produced by Björk with beats by Venezuelan musician Arca. “Stonemilker” is Vulnicura’s opening track, and the first of a six-part narrative that details the devastating end of Björk’s relationship to American contemporary artist Matthew Barney. Björk wrote the lyrics on the same Icelandic beach where the innovative 360-degree music video was later shot.

“Stonemilker” was released as a promotional single in some territories in 2015 and received very limited airplay in a shorted radio edit. Unlike all of her previous studio albums, Vulnicura saw no commercially released singles. Despite this fact, several versions of the song have been released across a variety of different media.

The Comet Song

“The Comet Song” is a song by Icelandic artist Björk, written by herself and long-time friend and collaborator Sjón as the title theme of the 2010 movie Moomins and the Comet Chase.[3][4] The song is released as a charity single and all the benefits are donated to the victims of the 2010 Pakistan floods.[5][6]

Björk had previously declared to be a big fan of Moomins, and had worn clothes featuring characters from the series on several occasions.[7]

Mutual Core

“Mutual Core” is a song recorded by Icelandic singer Björk for her eighth studio album Biophilia (2011). It was written and produced by Björk herself, while programming and beats were made in collaboration with Matthew Herbert and the English dubstep band 16bit. “Mutual Core” is an uptempo experimental song. Its music includes Pipe organ, electronica-tinged sounds and features the Choir Graduale Nobili, the choir featured on Biophilia. The song’s lyrics are a metaphor for human relationships, compared to the structure of the Earth and Plate tectonics. The song was well received by contemporary music critics, who praised its production and beats, moreover appreciating Björk’s voice on the track.

As with all the songs on Biophilia, an app was made for the song, which features a video game in which the player have to move geological layers as an accordion to play chords. Though the song wasn’t released as a single, a music video was produced, directed by Andrew Thomas Huang. The video was critically applauded and received further attention when it got projected for one month in Times Square in 2013, and then across the 7 continents. Björk promoted the song by performing it throughout her Biophilia Tour.

Three remixes by Matthew Herbert, 16bit and These New Puritans were released as part of Biophilia Remix Series. The Matthew Herbert’s and the These New Puritans remixes were later included on bastards (2012). In July 2012, the online music store Beatport announced a fan contest in which “Mutual Core” had to be remixed, to be released afterwards on a remix package.

Virus (Björk song)

“Virus” is a song by Icelandic artist Björk released as the third single from the album Biophilia. Each song in the album features a theme related to nature. In “Virus”, Björk explores “fatal relationships” such as the one between a virus and a cell, as Björk explained in an interview: “It’s a kind of a love story between a virus and a cell. And of course the virus loves the cell so much that it destroys it.”[1]

“Virus” features a gameleste (a hybrid between a celesta and a gamelan that can be controlled by midi and that was also used in “Crystalline”, built exclusively for these songs) base that plays through the whole song. The gameleste represents the ‘virus’ that continues multiplying until it takes control at the end of the song.[2] Also, Manu Delago plays hang drum.[3] Since Björk wanted the album to break the typical 4/4 time signature,[4] “Virus” has a time signature of 6/4.

The lyrics to “Virus” talk about “dangerous relationships”, symbiotic relationships in which one organism is parasite for the other and takes a benefit, even changing the other’s behaviour. This fact is used as a metaphor between ‘love’ and ‘parasiting’.[2] Björk took inspitation from a McGraw-Hill educative video about mind-controlling parasites[5] and from candidiasis, illness that she suffered:[6]

I’d been fighting this candida issue in my throat and I had to really change my diet and use different medication and it sort of seems to pop up and its kinda hilarious. It’s like I have this new neighbour that I have to sort of learn to live with. And obviously you know this fungus is inside all of us and it’s never about eliminating it. You have to kind of just live with it.

Crystalline (song)

“Crystalline” is a song by Icelandic artist Björk, released as the lead single from her eighth album Biophilia. The song was released as a single on June 28, 2011[2][3] accompanied by an iPad app developed exclusively for the song. It was afterward released as part of The Crystalline Series alongside the second single from the album, “Cosmogony”.[4]

Moon (Björk song)

“Moon” is a song by Icelandic artist Björk. It is the first track on her album Biophilia and was released as the fourth and final single before the release of the album. Each song in the album features a theme related to nature. In “Moon”, Björk explores the lunar cycles and the effect they have on Earth.

The song “Moon” is based on four different sequences played by four different harpists: Zeena Parkins, Shelley Burgon, Sara Cutler, Carol Emanuel. These sequences repeat throughout the song, resembling the lunar cycles. The song has 17/8 time signature. The lyrics to “Moon” deals with themes such as rebirth, start over and mythology, making reference to the Moon as “adrenalin pearls placed in the gods’ mouths”. About the song, Björk explained: “With each new moon we complete a cycle and are offered renewal —to take risks, to connect with other people, to love, to give. The symbolism of the moon as the realm of imagination, melancholy, and regeneration is expressed in the song”[1]

Nature

“Náttúra” is a song written and recorded by Icelandic singer Björk. The track was released as a single promoting the protection of the Icelandic environment.[1] All proceeds from the single will be donated to the Náttúra Foundation, the environmental preservation campaign after which the song is named.[2] The single was initially discovered by Björk’s French language fan website[3] and was later confirmed by the singer’s representatives. It was released on October 20, 2008[1] as an iTunes Exclusive, and had a wide digital release on October 27.[4] The song was given a physical release on April 20, 2009 with a white label vinyl released by One Little Indian’s web shop.[5] The single was included on the deluxe version of Björk’s 2011 album Biophilia.

Declare Independence

“Declare Independence” is a song written and recorded by Icelandic singer Björk. The track was released as the third single from her seventh full-length studio album, Volta. The single was released on January 1, 2008. Björk’s dedication of the song to various independence causes at live performances of the song in Shanghai and Tokyo have caused controversy.[3][4]

The song was originally an instrumental track by British musician and frequent musical collaborator Mark Bell, performed at his live shows as early as November, 2006.[5] Björk later added her vocals and brass arrangement on top.[6] The lyrics are dedicated to the Faroe Islands and Greenland,[7][8][9] islands which currently are constituent nations within the kingdom Denmark, as Björk’s home country of Iceland had been.

Declare Independence was originally meant to be released as the second single from Volta in August, 2007, but due to the worldwide success of the album Björk had to perform more international promotion work than her label One Little Indian had originally planned, meaning that the previously-planned video shoot for “Declare Independence” with Michel Gondry in London couldn’t take place.[10] The deadline for the music video contest for “Innocence” (then slated as the third single) was then brought forward a month to June 10, 2007 so as to provide a finished video able to coincide with a July, 2007 release originally planned for Declare Independence.

Innocence (Björk song)

“Innocence” is a song written and recorded by Icelandic singer Björk. The song was released as the second single from her seventh full-length studio album, Volta. It is co-produced by record producer Timbaland and his protégé Danja. The song was premiered on Björk’s MySpace profile on March 19, 2007 as part of the fan contest to submit ideas for the music video.[1] The single was released exclusively as a digital download on July 23, 2007.

The Dull Flame of Desire

“The Dull Flame of Desire” is a song recorded by Icelandic singer Björk featuring Anohni Hegarty from the band Antony and the Johnsons. The track was released as the fifth and final single from her seventh full-length studio album, Volta, on 29 September 2008.[1] Björk has performed the song 12 times on her global Volta Tour, often with Antony Hegarty onstage.[2] The lyrics to the song are an English translation of a Russian poem by Fyodor Tyutchev, as it appears in the Andrei Tarkovsky film, Stalker.

Wanderlust (Björk song)

“Wanderlust” is a song written and recorded by Icelandic singer Björk. The track was released digitally as the fourth single[1] from her seventh full-length studio album, Volta, on 7 April 2008.

White labels of the single were issued in February 2008.[2] The physical single was released on 12 June after an almost two-month delay.[3]

Björk has described “Wanderlust” as being the heart of Volta,[4] and has said that the song is about “the state of looking for something and almost knowing you’re never going to find it” and that it makes fun of her hunger for “something new”.[5] It was released in the UK on 30 June.[6]

As Björk said in an interview for Harp, “Things go in circles. Wanderlust, for example, is a sort of continuity of ‘Hyperballad’.”[7]

Earth Intruders

“Earth Intruders” is a song written and recorded by Icelandic singer Björk. The song was released as the first single from her 2007 full-length studio album, Volta.
The single was released digitally in the USA on 9 April and 21 April 2007 and in Europe on 28 April 2007.[2][3][4] The single was released in a physical box set on 4 February 2008. Due to high digital download sales, it remains Björk’s highest charting single in the United States to date.

Triumph of a Heart

“Triumph of a Heart” is the second single from Björk’s album Medúlla. The hip hop-influenced song features beatboxer Rahzel from The Roots, Gregory Purnhagen, and Japanese beatboxer, Dokaka.

The making of the video is documented in a bonus feature that appears on The Medúlla Videos DVD. The feature focuses on the auditions for the bar patrons who had to be able to make the noises and sound effects required for the song.

The single was released on 28 February 2005 in the UK, and peaked at number 31.

The song was first performed live on April 20, 2008 during the Volta Tour at the Hammersmith Apollo in London.

Oceania (song)

“Oceania” is a song recorded by Icelandic singer Björk for her sixth studio album Medúlla. It was written and produced by Björk, with additional writing by Sjón and production by Mark Bell. The song was written by the singer specially for the 2004 Summer Olympics Opening Ceremony, after a request by the International Olympic Committee. “Oceania” was released as a promotional single on 13 August 2004, by One Little Indian Records. The song was written at the ocean’s point of view, from which the singer believes all life emerged, and details the human’s evolution, whilst accompanied by a choir. “Oceania” was generally well received by music critics, who believed it was the best track from Medúlla, although some thought it was not the best choice for a promotional release.

The accompanying music video for the song, directed by Lynn Fox, features Björk as “Mother Oceania”, whilst being jewel-encrusted in dark watery depths, with a colourful sunset and swirling floral creatures above her. A remix of the song, featuring additional lyrics and vocals by Kelis on her point of view of the continents, was featured as a B-side to the “Who Is It” single. A piano version also appeared on the DVD single, and was assisted in its creation by Nico Muhly. The song was premiered during Björk’s performance on the Summer Olympics ceremony, and was later included on the setlist of the Volta Tour (2007–08). At the 47th Grammy Awards in 2005, it was nominated in the category of Best Female Pop Vocal Performance. Cover versions of “Oceania” were done six times, while it was sampled once.

Who Is It (Björk song)

“Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)” is a song recorded by Icelandic singer Björk for her 2004 studio album Medúlla. It was released as the first single from the album on 18 October 2004, by One Little Indian Records. The accompanying music video for the song was directed by Dawn Shadforth and shot outdoors in Björk’s native Iceland. The video features the bell choir version of the song, which was re-recorded with the Bústaðakirkja Bell Choir, and is different from the album version.

Where Is the Line

“Where Is the Line” is a song by Icelandic artist Björk, taken from the 2004 album Medúlla, written by the singer herself and co-produced with longtime collaborator Mark Bell. The track was originally intended to be released as the album’s third commercial single, but its release was cancelled just before Björk released the Drawing Restraint 9 soundtrack, in order to focus all promotional efforts on the film and soundtrack instead. Some promotional white labels vinyls were released around 2005.[1] A music video for the song was made by Icelandic Artist Gabríela Friðriksdóttir. Upon the cancellation of the single, the video was used as part of a video installation project by Friðriksdóttir.

The track is included on a compilation album released by Rough Trade, titled “The Record Shop – 30 Years Of Rough Trade Shops”. The track was chosen by Richard Russell.[2] A remix by Mike Patton of the band Fantômas (who contributed to the original album track) was made available for download on War Child Music in April 2005[3] and also appeared on a previous White label 12″, as the B-side to the Vitalic remix of Who Is It. Both remixes were suspected to be included with the commercial release of Where Is The Line.

It’s in Our Hands

“It’s in Our Hands” is a song by Icelandic recording artist and songwriter Björk, released as the first and only single from her first greatest hits album Greatest Hits (2002). Like her previous work, the song was written by her and co-produced by her along with Matmos. Musically, “It’s in Our Hands” is an electronic song that is influenced by glitch music, abstract sounds, ambient and synthpop. The song received critical acclaim from many music critics.

Pagan Poetry

“Pagan Poetry” is a song by Icelandic singer Björk, released in November 2001 as the second single from her fourth album, Vespertine.

The single peaked at number 38 in the UK and number 12 in Canada.

It was written and produced by Björk with additional production by Marius de Vries and mixed by Mark “Spike” Stent. The music box adaptation, featured in the song, was done by Jack Perron and the full version was later featured as a B-side song on the “Cocoon” single.

Cocoon (Björk song)

“Cocoon” is a song recorded by Icelandic singer Björk for her fourth studio album Vespertine (2001). It was written and produced by Björk and Thomas Knak, and released as the album’s third single on 11 March 2002, by One Little Indian Records. Inspired by her relationship with artist Matthew Barney, Björk set to make a record with a domestic mood. Working with Knak, she wrote “Cocoon”, a glitch song which is lyrically a song about a woman who describes making love with her lover during their post-coital hibernation, and includes frank sexual narrative related both explicitly and through over-sharing and metaphor.

Music critics received “Cocoon” with positive reviews, calling it one of the album’s best moments. The song fared moderately on music charts, peaking at number 35 on the UK Singles Chart, and reaching the top 10 only in Spain. The accompanying music video for “Cocoon” was directed by Eiko Ishioka and was shot in New York City. It premiered at Raindance Film Festival in October 2001, and was made available online through the singer’s official website in February 2002, closer to the song’s release as a single. It depicts Björk as a geisha whose makeup extends over her entire bleached nude body. The video was considerated innapropriate and was banned from prime-time MTV following her music video for “Pagan Poetry”. Björk promoted the song by performing on the Vespertine World Tour and several TV and radio shows.

Hidden Place

“Hidden Place” is a song by Icelandic recording artist Björk, taken from her 2001 album Vespertine. It was written and produced by Björk. “Hidden Place” was released as a lead single from Vespertine on August 3, 2001.

In 2000, while Björk worked on the film Dancer in the Dark, she also began producing her next album, writing new music and teaming with new collaborators; she has said “Selmasongs was the day job and Vespertine was the hobby”.[3] Her new relationship with artist Matthew Barney and the tension while filming Dancer in the Dark have been referred to as the two major forces that shaped what would become Vespertine.[4] As the process of filming demanded her to be extroverted, the new music she was creating became hushed and tranquil as a way to escape.[4] Björk commissioned Valgeir Sigurðsson to relocate some of his studio equipment from Iceland to Denmark, where Dancer in the Dark was being filmed.[4] While living in Copenhagen she also contacted the electronic musician Thomas Knak (aka Opiate), after having enjoyed his 1999 album Objects for an Ideal Home.[5] Björk’s musical taste shifted from the “clang and clatter” and “thumping techno that characterized Homogenic,[6] as she “was bored with big beats”.[3]
Björk then set to make a record with a domestic mood featuring “everyday moods and everyday noises translating into melodies and beats,”[6] hence its working title Domestika.[4] As she wanted to write her own songs in music boxes, Björk contacted a music box company, requesting see-through acrylic glass boxes because she wanted it to sound “as hard as possible, like it was frozen.”[7] She also began to use her laptop to write music, and decided to use instruments whose sound wouldn’t be compromised when downloaded from sites such as Napster.[8] Björk completed: “I had loads and loads of beats for ‘Hidden Place’ but it still wasn’t up enough. Matthew Herbert came for a visit in the studio and offered to do it. He ran away to his studio and came back after a few hours later with a DAT”.[9] She explains the song’s title:

‘Hidden Place’ is sort of about how two people can create a paradise just by uniting. You’ve got an emotional location that’s mutual. And it’s unbreakable. And obviously it’s make-believe. So, you could argue that it doesn’t exist because it’s invisible, but of course it does.[10]

I’ve Seen It All

“I’ve Seen It All” is a song by Icelandic singer Björk, with lyrics by Sjón and Lars von Trier. It was released as the first promotional single from the Dancer in the Dark soundtrack, Selmasongs. The song features vocals from Radiohead frontman Thom Yorke. It was nominated for an Academy Award for Best Original Song. Lyrically, it speaks of one coming to terms with the fact that they are going blind.[1]

The album version from the soundtrack album Selmasongs is a duet with Thom Yorke and Björk,[2] whilst the version performed in the film Dancer in the Dark is a duet with actor Peter Stormare and Björk.

All Is Full of Love

“All Is Full of Love” is a song by Icelandic musician Björk taken from her third studio album Homogenic. Written by Björk, the lyrics are inspired by the presence of love in the advent of spring and Norse mythology’s Ragnarök. The more popular version of the track, the original mix solely produced by Björk, was used in the music video but did not appear in the album. The album version is a remix by Howie B and has a minimalist approach and places emphasis on the singer’s vocals. The video features a combination of electronic beats and string instruments. A remix by the German IDM duo Funkstörung was released as a single in the summer of 1998. The song later received a full single release in 7 June 1999 to coincide with the release of its music video.

While some music critics declared that the song was one of the highlights of the Homogenic album, the single performed moderately on the UK Singles Chart, peaking at number 24. In the United States, it became a dance hit. The song and music video were released two years after the release of the album for artistic merit rather than promotional purposes. The song was included as the opening track in the compilation album Greatest Hits (2002), whose tracks were selected by fans through a survey. Some regard “All Is Full of Love” as the first DVD single release.

The accompanying music video for “All Is Full of Love” was directed by Chris Cunningham and depicts the assembling of a robot with Björk’s features and her passionately kissing another robot against an ethereal and sterile backdrop. The song’s video garnered acclaim from critics and is commonly regarded as one of the best music videos of all time and a milestone in computer animation. The subject of much analysis and scrutiny, it was on permanent display at the Museum of Modern Art in New York City and has been included in various art exhibitions. Björk has performed “All Is Full of Love” in five of her tours, with the most recent being the Vulnicura Tour. It is one of Björk’s most idiosyncratic songs, and has been covered by various artists.

Pluto (song)

“Pluto” is a song by Icelandic musician Björk. The song was written and produced by Björk and British producer Mark Bell for Björk’s fourth studio album, Homogenic (1997).

The song is a collaborative effort between Björk and LFO’s Mark Bell, who was credited for the majority of the album’s production. Björk desired to have Mark Bell contribute to her albums Debut and Post, only finding him available for Homogenic.[1] Björk wrote the song in a Nord Lead synthesizer.[2] The final version was a result of Björk and Bell’s improvised jam sessions in Málaga, Spain, where the album was recorded.[3] Björk recalls:

“That was me and Mark having a laugh in Spain. It was a [hot] day like this. We got a little amp outside and a keyboard and I just did all these really punk things, just really thinking heavy metal. Most of the tracks I wrote before Mark started on them, so they’re more like song-songs, and then Mark would work on beats and arrangements with me afterwards.”[3]

The song’s title comes from the astrological concepts of Pluto, the sign ruler of Scorpio. Pluto is sometimes called “the Great Renewer”: it is the planet of rebirth and transformation that comes from experiences of destruction.[4] A Scorpio herself, Björk has said: “having a lot in the planet Pluto, which I do, means you want to cut the crap, throw all the rubbish away. No extra baggage. It’s death and birth.”[5]

On the 7th of May 2015, Björk linked to a video of a woman in a blue morphsuit twerking to the song on both her Twitter[6] and Facebook[7] accounts. In a week, the video had amassed 20,000+ views on YouTube. On her Facebook status, she claims that the video was shown to her by a friend. Soon after though, the video and the channel associated with it were taken down for reasons unknown.

Alarm Call

“Alarm Call” is a song recorded by Icelandic singer Björk for her third studio album Homogenic (1997). It was released as the fourth single from the album, peaking at number 33 in the UK.

The sped-up “radio version” of the song (which was also featured in the video) was used in the 1999 film The Mod Squad.

The song speaks of re-awakening through music and is rumoured to be about Michael Jackson as it was originally labelled “Jacko” on the Homogenic demo tape. Björk explained “I think that music has the power to change the things, and that’s what I wanted to show on Alarm Call”. It is the only single from Homogenic that was not included on Greatest Hits.

All Neon Like

“All Neon Like” is a song by Icelandic musician Björk. The song was written by Björk and produced by the singer and British producer Mark Bell for Björk’s fourth studio album, Homogenic (1997).

Snippets of the lyrics from “All Neon Like” were first released in the form of a poem entitled Techno Prayer, which Björk published in the July, 1996 edition of Details magazine.[2] It featured thematic ideas that she would later explore in her 2001 studio album Vespertine, such as cocooning and thread-weaving.[2][3] Björk confirmed the production and title of the track in an AOL chat interview in early 1997.[4]

The song’s production is a collaborative effort between Björk and LFO’s Mark Bell, who was credited for the majority of the album’s production. Björk had wanted Mark Bell to contribute to her albums Debut and Post, but he was only available for Homogenic.[5] Like the rest of the album, it was recorded at El Cortijo Studios in Málaga, Spain.[6][7]

Bachelorette (song)

“Bachelorette” is a song by Björk, released as the second single from her 1997 album Homogenic. Released on 8 December 1997, the song was originally written for a film by Bernardo Bertolucci, but the project was withdrawn. The lyrics for “Bachelorette” were written by Sjón, a friend and collaborator of the singer. The music video was noted for its surrealistic art direction, leading to a win at the 1998 MTV Video Music Awards.

Unravel

“Unravel” is the third song on the album Homogenic by Björk, which was released in 1997. The song features a prominent example of Björk’s use of a half-singing, half-speaking technique which, according to folklore specialist Njall Sigurason, is comparable to that of Old Icelandic choirmen.[1] Structurally, the song is made up of a slowly sweeping melody, saxophones, a church organ, and distant-sounding electronic beats.

Jóga

“Jóga” is a song by Björk, released as the first single from her 1997 album Homogenic.

An electronic song, “Jóga” fuses these elements with baroque and classical styles. The track’s sound was partially inspired by Icelandic music, containing what have been described as “volcanic beats”.[2] Lyrically, the piece is an ode to Björk’s native land and her best friend, while containing subtexts relating to emergency. “Jóga” has been critically acclaimed ever since its release, with reviewers praising her powerful vocal performance, as well as the track’s composition and overall production. Commercially, the song was a moderate success, charting in several international markets.

Hunter (Björk song)

“Hunter” is a song by Icelandic musician Björk from her 1997 album Homogenic. The lyrics of “Hunter” explore the pressure Björk felt to write music after realising the workforce that depended on her, following the success she found as a solo artist with her previous studio albums. The first time the song saw the light of day was at the 1997 Tibetan Freedom Concert and later with the online promotional release of Homogenic; the track was subsequently released as the third single for the album as three different CD releases in October 1998. A collaborative effort between Björk and Mark Bell, “Hunter” features a dark combination of strings and layered synths, a militaristic electronic beat, and enigmatic lyrics about the heading towards a mission.

Most commentators were enticed by “Hunter”, which they declared one of the highlights of the Homogenic album. The single performed poorly at the music charts, it peaked at number forty-four on the UK Singles Chart and number fifty-five on the French Singles Chart. The song was included in the compilation album Greatest Hits (2002), whose tracks were selected by fans through a survey.

The accompanying music video of “Hunter” was directed by longtime collaborator Paul White of Me Company and consists of a close-up of a bald Björk as she transforms into an “techno-bear” while singing. Seeking to convey the music’s fusion of organic and technological, the polar bear was animated in a non-naturalistic fashion; the bear also embodies the ferocious hunter the lyrics represent. The song’s video garnered acclaim from critics. Björk has performed “Hunter” on Later… with Jools Holland and in five of her tours, the most recent being the Vulnicura Tour.

I Miss You (Björk song)

“I Miss You” is a song by Björk, the sixth and final single release from her 1995 album Post. It is amongst her least-well performing singles in the UK, but it hit #1 on the U.S. Billboard Hot Dance Club Play.[2]

The B-side “Karvel”, was recorded in one of Björk’s first sessions with Graham Massey in 1991; on which two other tracks were also recorded: “Army of Me” and “The Modern Things”.

Possibly Maybe

“Possibly Maybe” is a song by Björk, released as the fifth single from her 1995 album Post. It is a song with deep electronic tones and soft beats that reflects on potential love.

There were three different single releases, this was the first Björk single to be released in three parts. Two of these three parts are rarities in the music world in that their A-side is not the first track. The first CD came with a slipcase that could also house the other two.

The song was covered at least 12 times by the other artists.

Hyperballad

“Hyperballad” (also known as “‘Hyper-Ballad”) is the fourth single from the studio album Post by Icelandic recording artist Björk. Like the rest of her songs, the song was written by Björk and co-produced by long-time collaborator Nellee Hooper. The recording sessions of Post and hence “Hyperballad” were set in Compass Point Studios, The Bahamas, to save tax money. “Hyperballad” infuses several music genres, such as classical, IDM, electronica and ambient music. The lyrical content discusses a dream that Björk experienced, in which she wakes early before her lover and throws small objects off a cliff, watching them smash. She imagines her body in their place, which makes her feel better about returning to her safe home and the arms of her lover.

“Hyperballad” was heavily lauded from contemporary music critics, who stated that it was the best song of Björk’s career. The song’s lyrical content, vocal performance and experimentation in its production and composition were also highly praised. The song was moderately successful in the countries it charted in, including Finland, Australia, United States, Sweden and the United Kingdom (where it was the last of three top-10 hits, after “Army of Me” and “It’s Oh So Quiet”). A music video was shot for the single, featuring a digitalized Björk running through a field.

Björk performed the song at the 1997 Tibetan Freedom Concert in New York, which was recorded by Sylvia Massy for Capitol Records. This live version was subsequently included on the second disc of the Tibetan Freedom Concert album released later that year.

Army of Me (Björk song)

“Army of Me” is a song by Icelandic recording artist Björk. It was released on April 21, 1995 by One Little Indian as the lead single from her 1995 solo album Post. The song was written and produced by Björk and Graham Massey, who helped her in producing and writing the majority of her third album. “Army of Me” was a commercial success, and the first single from Björk to enter in the top 10 of the UK Singles Chart. Lyrically, the song was inspired by the damaging behavior of Björk’s brother, and in the lyrics she tells him to stand up and to regain control of his life. The song was well received by music critics, who noted its darkness and praised Björk’s energy.

Björk premiered the song on some gigs during the Debut Tour before the release of the album. She performed it in a series of TV appearances, and notably, for the first time on Top of the Pops with Skunk Anansie. Additionally, the song was performed on every date of the Post Tour. The song was featured on Björk’s compilation album, Greatest Hits (2002).

The song’s music video was the product of another collaboration between Björk and Michel Gondry. It features Björk driving an enormous vehicle through a city, and includes Björk fighting with a gorilla for re-obtaining a diamond, and putting a bomb in a museum to free a boy.

In 2004, Björk, to help the UNICEF, released a charity benefit compilation entitled Army of Me: Remixes and Covers, which featured a series of covers and remix by artists from all over the world.

Play Dead (song)

“Play Dead” is a song by Icelandic singer Björk, and was released as the only single from the soundtrack of the 1993 crime drama The Young Americans. The song wasn’t included in the first edition of Debut but was later included as a bonus track, and the album was re-issued October 11, 1993.[1] The song was written by Jah Wobble, Björk featuring David Arnold, and was produced by Cannon, Arnold, receiving additional production and mixing by Tim Simenon.[2] The song, inspired by the main character of the film, was released in October 1993.

A mainly trip hop-influenced track, the song charted in the top 20 in the UK,[3] Ireland,[4] the Netherlands,[5] Norway[6] and Sweden.[7] An accompanying music video was released, featuring images from the film. “Play Dead” was included in Björk’s 2002 greatest hits album Greatest Hits.

Violently Happy

“Violently Happy” is a song by Icelandic singer Björk, released as the fifth and final single from her album Debut in 1994. The song was written by Björk and Nellee Hooper, who helped her in writing and producing most of the album. The lyrics speak of Björk feeling a love so intense that it is actually dangerous, requesting that her lover return to “calm her down”. Musically, it’s an upbeat song. “Violently Happy” peaked at #13 in the UK[2] and reached #4 on the US dance charts.[3]

The song was released in March 1994 and received positive reviews from music critics, which praised its musicality and its dance-pop appeal. The song received an accompanying music video which was shot by Jean-Baptiste Mondino, in which Björk and many guest appearances dance frantically in a kind of asylum while they’re cutting out their hair or parts of dolls. Björk performed the song live on TV a few times, including on Top of the Pops.

Big Time Sensuality

“Big Time Sensuality” is a song by Icelandic recording artist Björk, released as the fourth single from her 1993 album Debut (1993). Written by Björk and staple collaborator Nellee Hooper and produced by Hooper, “Big Time Sensuality” is a house-influenced song that helped boost Björk’s popularity worldwide, particularly the U.S., where she charted for the first time.

“Big Time Sensuality” lyrics deals with her relation with her friends and Hooper. The song features house grooves and electronic bass-sounds. The single release was actually the “Fluke Minimix”, which is a mix by Fluke, and the song was performed in this version in various occasions, including the inaugural MTV Europe Music Awards. Critics praised the song and the remix calling them “saucy” and commenting on their house and pop flavors.

A different edit of the Fluke remix was featured in the music video for the song, directed by Stéphane Sednaoui, in which Björk dances and sings on a truck throughout New York City. The video was praised by critics and fans and received heavy rotation on MTV channels.

The video edit of the Fluke remix was also featured in Björk’s Greatest Hits.

Venus as a Boy

“Venus as a Boy” is a song by Icelandic musician Björk. It was released as the second single from her 1993 album Debut. The song was written by Björk and was produced by Nellee Hooper, who produced the majority of her debut album. The single was released in August 1993, a month after the release of the album. The song was inspired by a boy who saw everything from a “beauty point of view”.[1]

“Venus as a Boy” features a musical ensemble made up of Indian instruments like tablas. The song received mixed reviews from critics, who discussed Björk’s musical shift. The song did not chart well in any nation but managed to enter the UK Singles Chart Top 30.

The accompanying music video was directed by the British music video director Sophie Muller. The clip shows Björk in a kitchen while she’s cooking some eggs and was inspired by the singer’s favorite book Story of the Eye. Björk performed the song on different TV appearances, including Top of the Pops, and sang it during the course of her Debut Tour.

The song was later chosen by fans to be included in her greatest hits album, Greatest Hits and also appeared in her Family Tree Box Set which contained a “greatest hits” disc on which the songs were chosen by Björk.

Cover versions of “Venus as a Boy” were done more than 30 times by other artists.

 

Human Behaviour

“Human Behaviour” is a song by Icelandic recording artist Björk from her album Debut (1993). The song was released in June 1993. The song was produced by Björk’s longtime collaborator Nellee Hooper. “Human Behaviour” is an alternative song with lyrics reflecting upon human nature and emotion from a non-human animal’s point of view. The song and music video were inspired by British broadcaster and naturalist David Attenborough.[1]

Critics praised “Human Behaviour” and deemed it a highlight of the album. The song was an underground smash, which peaked at number two on the dance charts[2] and reached number 36 in the UK Singles Chart.

The music video was directed by Michel Gondry and is the first time the two collaborated. The video, as the song, is a story about the relation between humans and animals, from the animal point of view.[1]

Irresistible Force (song)

“Irresistible Force” is a song by the Bee Gees, released in March 1997 on their album Still Waters, this song was written by Barry Gibb, Robin Gibb and Maurice Gibb.

It was written in 1995, and was recorded in 1996 as a demo and then this song was recorded with “Miracles Happen.” This track was one of the highlights in that album with its guitar and synth rock sound. The keyboards were played by Maurice and Robbie Kondor (Robbie also played on other songs in their 1987 album E.S.P..), the guitars were played by Waddie Watchtel and Carlos Alomar (who also worked with David Bowie, Mick Jagger, John Lennon and others), The bass was played by Pino Palladino (A Welsh session player who worked with Simon & Garfunkel, The Who, Eric Clapton, Joe Walsh, Jeff Beck, Paul Young and others). The drums were played by Steve Jordan.[1]

Why Don’t We Do It in the Road?

“Why Don’t We Do It in the Road?” is a song by the Beatles released on their 1968 album The Beatles, commonly referred to as The White Album. It was written[1][2] and sung by Paul McCartney,[3][4] but credited to Lennon–McCartney. “Why Don’t We Do It in the Road?” is short and simple; 1:42 of twelve-bar blues that begins with three different percussion elements (a hand banging on the back of an acoustic guitar, handclaps, and drums) and features McCartney’s increasingly raucous vocal[5] repeating a simple lyric with only two different lines.[6]

McCartney wrote the song after seeing two monkeys copulating in the street while on retreat in Rishikesh, India, with the Maharishi Mahesh Yogi. He marvelled in the simplicity of this natural scenario when compared to the emotional turmoil of human relationships. He later said:

A male [monkey] just hopped on the back of this female and gave her one, as they say in the vernacular. Within two or three seconds he hopped off again and looked around as if to say “It wasn’t me!” and she looked around as if there’d been some mild disturbance … And I thought … that’s how simple the act of procreation is … We have horrendous problems with it, and yet animals don’t.[1]

This Boy

“This Boy” is a song by English rock band the Beatles, written by John Lennon[3][4] (credited to Lennon–McCartney). It was released in November 1963 as the B-side of the British Parlophone single “I Want to Hold Your Hand”. It also appears as the third track on side one of the 1964 U.S album Meet the Beatles!. The Beatles performed it live on 16 February 1964 for their second appearance on The Ed Sullivan Show. “This Boy” was remastered for compact disc by George Martin and released in 1988 on the Past Masters, Volume One compilation. On 9 September 2009 it was re-released on the two CD set Past Masters, as part of the remastering of the original Beatles’ catalogue, and was included in The Beatles Stereo Box Set and in The Beatles in Mono box set.

Thank You Girl

“Thank You Girl” is a song recorded by the Beatles, written by John Lennon and Paul McCartney (Lennon–McCartney), and issued as the B-side of the single “From Me to You”, which was recorded on the same day (5 March 1963). While not released on an LP in the United Kingdom until Rarities in 1978, the song was the second track on The Beatles’ Second Album in the United States. As the B-side of the single “Do You Want to Know a Secret”, it hit No. 35 on the Billboard Hot 100 in the spring of 1964.

Strawberry Fields Forever

“Strawberry Fields Forever” is a song by the English rock band the Beatles. The song was written by John Lennon and credited to the Lennon–McCartney songwriting partnership. It was inspired by Lennon’s memories of playing in the garden of Strawberry Field, a Salvation Army children’s home near where he grew up in Liverpool.[4]

The song was the first track recorded during the sessions for the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band (1967),[5] and was intended for inclusion on the album. Instead, with the group under record-company pressure to release a single, it was issued in February 1967 as a double A-side with “Penny Lane”. The combination reached number two in the United Kingdom, breaking the band’s four-year run of chart-topping singles there, while “Strawberry Fields Forever” peaked at number eight on the Billboard Hot 100 in America.

Lennon considered the song his greatest accomplishment.[6] The track incorporates reverse-recorded instrumentation and tape loops, and was created from the editing together of two separate versions of the song – each one entirely different in tempo, mood and musical key. The song was later included on the US Magical Mystery Tour LP (although not on the British double EP package of the same name).
“Strawberry Fields Forever” is one of the defining works of the psychedelic rock genre and has been covered by many artists.[1] The Beatles made a promotional film clip for the song that is similarly recognised for its influence in the medium of music video. The Strawberry Fields memorial in New York’s Central Park is named after the song.[7][8]

Revolution 9

“Revolution 9” is a recorded composition that appeared on the Beatles’ 1968 eponymous LP release (popularly known as The White Album). The sound collage, credited to Lennon–McCartney, was created primarily by John Lennon with assistance from George Harrison and Yoko Ono. Lennon said he was trying to paint a picture of a revolution using sound. The composition was influenced by the avant-garde style of Ono as well as the musique concrète works of composers such as Edgard Varèse and Karlheinz Stockhausen (whom Paul McCartney had been listening to in 1966, inspiring his ideas for “Tomorrow Never Knows” on the Beatles’ album Revolver).

The recording began as an extended ending to the album version of “Revolution.” Lennon then combined the unused coda with numerous overdubbed vocals, speech, sound effects, and short tape loops of speech and musical performances, some of which were reversed. These were further manipulated with echo, distortion, stereo panning, and fading. At over eight minutes, it is the longest track that the Beatles officially released (see Carnival of Light).

You’ll Be Mine (Beatles song)

“You’ll Be Mine” is a short song, composed by Lennon–McCartney in the Beatles’ early years, then known as The Quarrymen.[1] It was a humorous parody of the Ink Spots.[1] It consists of Paul McCartney singing in a deep baritone, offset with shrill falsetto backing vocals by John Lennon, and guitar strumming. The lead vocal sings, in rather confused lyrics, about his determination of making a woman his; while the falsettos wail the last word of each sentence. About halfway through the song, Lennon gives a mock-bass voice spoken interlude about how, when the woman brought him toast one morning, he looked into her eyes and saw a “National Health Eyeball”, then proceeded to love her like he has never done before.[1] The song rises to a crescendo of wailing and bellowing, then fades out in laughter. To add to the confusion, the song is very difficult to understand; clicks, buzzes, fuzz, giggling, and the baritone voice obscure the lyrics.

Recorded in the McCartney family bathroom in 1960, it is the earliest song attributed to the Lennon–McCartney songwriting partnership to be officially released.[2] Along with the other songs recorded on that day, it is one of the few known Beatles recordings to feature Stuart Sutcliffe on bass.[1] Lennon’s spoken section provides insight into his love of wordplay.

You Won’t See Me

“You Won’t See Me” is a song by the Beatles, from the album Rubber Soul. Though credited to Lennon–McCartney, it was written by Paul McCartney. The song is a rare instance of McCartney singing a lower harmony to John Lennon and George Harrison’s higher harmonies.

Canadian singer Anne Murray covered “You Won’t See Me” in 1974 and had a big hit, reaching number 8 on the Billboard Hot 100 chart, number 1 on the Billboard Easy Listening chart, and number 5 on the RPM Top Singles chart.

You Never Give Me Your Money

“You Never Give Me Your Money” is a song by the Beatles, appearing on their 1969 album Abbey Road. It was written by Paul McCartney (though credited to Lennon–McCartney) and documented the financial and personal difficulties facing the band. The track is the first track of the medley on side two of Abbey Road and was recorded in stages between May and August 1969.

The song was the first one to be recorded for the medley, which was conceived by McCartney and producer George Martin as a finale for the Beatles’ career. The backing track was recorded at Olympic Sound Studios in Barnes, London, but the remainder of overdubs occurred at Abbey Road Studios. Musically, the song is made up of a suite of various segments, ranging from a piano ballad at the beginning through to guitar arpeggios at the end.

Yellow Submarine (song)

“Yellow Submarine” is a 1966 song by the Beatles, written by Paul McCartney (credited to Lennon–McCartney), with lead vocals by Ringo Starr. It was included on the Revolver (1966) album and issued as a single, coupled with “Eleanor Rigby”. The single went to number one on every major British chart, remained at number one for four weeks, and charted for 13 weeks. It won an Ivor Novello Award “for the highest certified sales of any single issued in the UK in 1966”. In the US, the song peaked at number two on the Billboard Hot 100 chart and became the most successful Beatles song to feature Starr as lead vocalist.

It became the title song of the animated United Artists film, also called Yellow Submarine (1968), and the soundtrack album to the film, released as part of the Beatles’ music catalogue. Although intended as a nonsense song for children, “Yellow Submarine” received various social and political interpretations at the time.[4]

What Goes On (Beatles song)

“What Goes On” is a song by the Beatles, featured as the eighth track on their sixth British album Rubber Soul. The song was later released as the B-side of the US single “Nowhere Man”, and then as the tenth track on the North America-only album Yesterday and Today. It is the only song by the band credited to Lennon–McCartney-Starkey.

The original version of the song was written by John Lennon in the Quarrymen days[1] and considered as a follow-up to “Please Please Me” in early 1963.[2] The song was not used until 1965 as Ringo Starr’s vocal piece for Rubber Soul. According to Lennon, “it was resurrected with a middle eight thrown in, probably with Paul’s help” for Rubber Soul.[1] Barry Miles also claimed that McCartney and Starr combined for the middle eight.[3] There is no formal middle eight in the song, though one chorus and one verse are extended; Ian MacDonald believes those longer sections were written by McCartney.[4] Starr contributed to the lyrics, his first-ever composing credit on a Beatles song. However, when asked what his contribution was to the song, Starr jokingly stated, “About five words, and I haven’t done a thing since.”[3] To his chagrin, the first pressing of the single accidentally omitted “Starkey” in the song-writing credit.

An early version was considered as a follow-up to “Please Please Me”, and the Beatles hoped to record it on 5 March 1963, but there was only time for the other songs recorded that night: “From Me to You”, “Thank You Girl”, and an early version of “One After 909”.[2]

The Rubber Soul version was recorded in one take, with overdubs, on 4 November 1965. In the verse before the lead break after Starr sings “tell me why,” Lennon can be heard saying “We already told you why!” in reference to the Beatles’ “Tell Me Why” from the previous year. During this session the Beatles recorded a long (6:36) instrumental tune called “12-Bar Original” for lack of a better name.[5] “12-Bar Original” was not included on Rubber Soul, and was not commercially available until 1996 when an edited version of take 2 of this song was included on the Anthology 2 album.

Wait (Beatles song)

“Wait” is a song released by the Beatles, on their 1965 album Rubber Soul. The songwriting credit is Lennon–McCartney, and the song is usually said to be a joint effort between the two, although in the 1997 book, Many Years from Now, McCartney recalls it as entirely his.[1] This is supported by a 1970 interview with John Lennon by Ray Connolly. John could not remember writing it. “That must be one of Paul’s,” he said.[2] The middle eight section is similar to “Autumn Leaves” (one example being the line “I know that you” matches “old winter’s song” from Autumn Leaves).

Tell Me Why (Beatles song)

“Tell Me Why” is a song by English rock band the Beatles from their album A Hard Day’s Night. In North America, it was released on both the American version of A Hard Day’s Night and the album Something New. Credited to Lennon–McCartney, it was written by John Lennon in either Paris or New York[1][2] and recorded in eight takes on 27 February 1964.[3]

Paul McCartney said:
“I think a lot of these [Lennon’s] songs like “Tell Me Why” may have been based in real experiences or affairs John was having, or arguments with Cynthia [Lennon’s wife] or whatever, but it never occurred to us until later to put that slant on it all.[4] ”

Lennon described the song as resembling “a black New York girl-group song”.[5] Its basic structure of simple doo-wop chord changes and block harmonies over a walking bass line “creates an illusion of sincerity through its sheer attack.”[2]

“Tell Me Why” was performed in the Beatles’ debut feature film, A Hard Day’s Night. The song was part of the ‘studio performance’ sequence, which was filmed at the Scala Theatre, London, on 31 March 1964.

The song is in the key of D major. John, Paul, and George sing a three-part harmony. Unusually, Paul sings a lower harmony to John’s lead during the chorus.

Tell Me What You See

“Tell Me What You See” is a song by the Beatles that first appeared in 1965 on their album Help! in the United Kingdom and on Beatles VI in the United States. As with all Beatles compositions by either of the two, the song is credited to Lennon–McCartney. Regarding the song’s authorship, Paul McCartney said, “I seem to remember it as mine. I would claim it as a 60-40 but it might have been totally me.”[1] Lennon said, in his interviews with Playboy (1980) and Hit Parader (1972), that “Tell Me What You See” was written completely by McCartney.

P.S. I Love You (Beatles song)

“P.S. I Love You” is a song composed principally by Paul McCartney[1] (credited to Lennon–McCartney) and recorded by English rock group the Beatles, with McCartney on lead vocal. It was released on 5 October 1962 as the B-side of their debut single “Love Me Do” and is also included on their 1963 album Please Please Me. It was later included on the 1977 Beatles compilation Love Songs.

The version featured on the single and album was recorded in ten takes on 11 September 1962 at EMI’s Abbey Road Studios, London. Producer George Martin had booked session drummer Andy White as a replacement for Pete Best, whom he considered not technically good enough for recording purposes (Martin had been unaware that the other Beatles had already replaced Pete Best with Ringo Starr, who attended the session and plays maracas on the song). White was a freelance show band and session drummer, and gave the recording a lightweight cha cha treatment.[2]

Martin was not present at the session, which was run by Ron Richards in his absence. Richards told the group that the song could not be the A-side of their single because of an earlier song of the same title: “I was originally a music publishing man, a plugger, so I knew someone had done a record with that title. I said to Paul ‘You can have it as B-side, but not an A-side'”[3] (despite other titles having been used for multiple hit songs without legal difficulties).

With Starr playing drums, the Beatles recorded this song at the BBC on 25 October 1962, 27 November 1962 and 17 June 1963 for subsequent broadcast on the BBC radio programmes Here We Go, Talent Spot and Pop Go the Beatles, respectively.

 

Rain (Beatles song)

“Rain” is a song by the English rock band the Beatles first released in June 1966 as the B-side of the “Paperback Writer” single. Both songs were recorded during the sessions for the album Revolver though neither appears on that album.

Written by John Lennon although credited to Lennon–McCartney, “Rain” has been called the Beatles’ finest B-side, noted for its slowed-down rhythm track and backwards vocals, both of which were a hint of things to come on Revolver, released two months later.[1][2][3]

Three promotional films were made for the song “Rain”.[4] These videos, along with other Beatles videos at the time, sparked George Harrison to say during the Beatles Anthology, “So I suppose, in a way, we invented MTV.”[5]

Real Love (Beatles song)

“Real Love” is a song written by John Lennon, and recorded with overdubs by the three surviving Beatles in 1995 for release as part of The Beatles Anthology project. To date, it is the last released record of new material credited to the Beatles.

Lennon made six takes of the song in 1979 and 1980 with “Real Life”, a different song that merged with “Real Love”. The song was ignored until 1988 when the sixth take was used on the documentary soundtrack Imagine: John Lennon.

“Real Love” was subsequently reworked by the three surviving former members of the Beatles (Paul McCartney, George Harrison and Ringo Starr) in early 1995, an approach also used for another incomplete Lennon track, “Free as a Bird”. “Real Love” was released as a Beatles single in 1996 in the United Kingdom, United States and many other countries; it was the opening track on the Beatles’ Anthology 2 album. It is the last “new” credited Beatles song to originate and be included on an album. To date, it is the last single by the group to become a top 40 hit in the US.

The song reached number four and number 11, respectively, in the UK and US singles charts, and earned a gold record more quickly than a number of the group’s other singles. The song was not included on the BBC Radio 1 playlist, prompting criticism from fans and British members of parliament. After the release of “Free as a Bird” and “Real Love”, Starr commented, “Recording the new songs didn’t feel contrived at all, it felt very natural and it was a lot of fun, but emotional too at times. But it’s the end of the line, really. There’s nothing more we can do as the Beatles.”[1]

Revolution (Beatles song)

“Revolution” is a song by the Beatles, written by John Lennon and credited to Lennon–McCartney. Two versions of the song were recorded in 1968: a hard rock version, released as the B-side of the “Hey Jude” single, and a slower, bluesier arrangement (titled “Revolution 1”) for the Beatles’ self-titled double album, commonly known as “the White Album”. Although the single version was issued first, it was recorded several weeks after “Revolution 1”, as a re-make specifically intended for release as a single. A third connected piece, written by Lennon, is the experimental track “Revolution 9”, based on the latter parts of the same performance that produced “Revolution 1”, and which also appears on the White Album.

Inspired by political protests in early 1968, Lennon’s lyrics expressed doubt in regard to some of the tactics. When the single version was released in August, the political left viewed it as betraying their cause. The release of the album version in November indicated Lennon’s uncertainty about destructive change, with the phrase “count me out” recorded differently as “count me out, in”. In 1987, the song became the first Beatles recording to be licensed for a television commercial, which prompted a lawsuit from the surviving members of the group.

In the same year Nina Simone recorded her single “Revolution” with some structural similarities (some lyrics are also the same) to the Beatles’ song, but credited to her and Weldon Irvine.

One After 909

“One After 909” (sometimes titled “The One After 909” in early recordings) is a song by the Beatles, written by John Lennon, with input from Paul McCartney (credited to Lennon–McCartney), and originally released in 1970 on the album Let It Be. The album version is the live performance from the rooftop concert which took place on 30 January 1969. This performance is also included in the Let It Be film. The song was written no later than spring 1960[2] and perhaps as early as 1957, and is one of the first Lennon–McCartney compositions. “One After 909” is perhaps more reminiscent of early American rock ‘n’ roll than any of the other songs from the rooftop show, and as a joke for the rooftop chatter, Lennon sings a variant on the opening line of “Danny Boy” after the song is finished.

Oh! Darling

“Oh! Darling” is a song by The Beatles composed by Paul McCartney[4] (credited to Lennon–McCartney) and appearing as the fourth song on the album Abbey Road in 1969. Its working title was “Oh! Darling (I’ll Never Do You No Harm)”.[5] Although not issued as a single in either the United Kingdom or the United States, a regional subsidiary of Capitol successfully edited it as a single in Central America, having “Maxwell’s Silver Hammer” as its B-side. It was also issued as a single in Portugal. Apple Records released “Oh! Darling” in Japan with “Here Comes the Sun” in June 1970.

Octopus’s Garden

“Octopus’s Garden” is a song by The Beatles written and sung by Ringo Starr (credited to his real name Richard Starkey) from The Beatles’ 1969 album Abbey Road. George Harrison, who assisted Starr with the song, commented: “‘Octopus’s Garden’ is Ringo’s song. It’s only the second song Ringo has ever written, mind you, and it’s lovely.” He added that the song gets very deep into your consciousness “…because it’s so peaceful. I suppose Ringo is writing cosmic songs these days without even realising it.”[2] It was the last song released by the Beatles featuring Starr on lead vocals.

Ob-La-Di, Ob-La-Da

“Ob-La-Di, Ob-La-Da” is a song by the Beatles from their 1968 album The Beatles (often called “the White Album”). Although credited to Lennon–McCartney, the song was written solely by Paul McCartney. It was released as a single that same year in many countries, but not in their native United Kingdom, nor in the United States until 1976.

Paul McCartney wrote the song around the time that highlife and reggae were beginning to become popular in Britain. The starting lyric, “Desmond has a barrow in the market-place”, was a reference to the first internationally renowned Jamaican ska and reggae performer Desmond Dekker who had just had a successful tour of the UK.[3] The tag line “ob-la-di, ob-la-da, life goes on, brah” was an expression used by Nigerian conga player Jimmy Scott-Emuakpor, an acquaintance of McCartney.[4]

The song is in the key of B-flat major and written in 4/4. The alternative version issued on Anthology 3 is in the key of A major.

Nowhere Man (song)

“Nowhere Man” is a song by the Beatles, from the British version of their album Rubber Soul.[2] The song was written by John Lennon (credited to Lennon–McCartney).
Recorded on 21 and 22 October 1965, “Nowhere Man” is one of the first Beatles songs to be entirely unrelated to romance or love, and marks a notable instance of Lennon’s philosophically oriented songwriting.[3] It was released as a single (although not in the United Kingdom) on 21 February 1966, and reached number 1 in Australia and Canada and number 3 on the Billboard Hot 100. Similarly to what had happened a year earlier (“Eight Days a Week” and “I Don’t Want to Spoil the Party” were on Beatles for Sale but not on Beatles ’65), “Nowhere Man” and “What Goes On” were not on the U.S. version of Rubber Soul (released in December around the same time as the British version), but were back-to-back on a subsequent single and later (in June) on an album (Yesterday and Today).
Lennon, McCartney, and George Harrison sing the song in three-part harmony. The song appears in the film Yellow Submarine, where the Beatles sing it about the character Jeremy Hillary Boob after meeting him in the “nowhere land”.
George and John play identical “sonic blue” Fender Stratocasters—John plays in the verses and George on the solo.[4]

Misery (Beatles song)

“Misery” is a song performed by English rock band the Beatles on their album Please Please Me. It was co-written by John Lennon and Paul McCartney. According to Lennon, “It was kind of a John song more than a Paul song, but it was written together.”[1] McCartney was to say: “I don’t think either one of us dominated on that one, it was just a hacking job.”[2]

A 1963 single by Kenny Lynch made “Misery” the first Beatles’ song to be covered by another artist.[3]

Lovely Rita

“Lovely Rita” is a song by the Beatles performed on the album Sgt. Pepper’s Lonely Hearts Club Band, written and sung by Paul McCartney, although as with all McCartney or Lennon-written Beatles’ songs, it is credited to Lennon–McCartney. It is about a female traffic warden and the narrator’s affection for her.[3]

Recording began on 23 February 1967. Using a four-track recorder, this first performance featured Harrison’s guitar on track 1, Lennon’s guitar on track 2, Ringo’s drums on track 3, and McCartney’s piano set on track 4. Once those tracks were “bounced,” the band later added lead vocal, bass, and a three-part backing vocal section featuring George, John, and American session musician Shawn Phillips. Engineer Geoff Emerick noted McCartney’s vocal arrangements were directly inspired by Brian Wilson’s work for the Beach Boys.[7] A second piano, played by George Martin and processed electromechanically to wobble in and out of tune was added for the distinctive solo. By 21 March, the final mono mix was completed and a month later, the stereo mix was done.[5] During mixdown the tape machine ran at 48.75 Hz instead of the standard 50 Hz, so that the pitch on the released recording is nearly a quarter-tone flat from the key of E in which the song was performed.[8]

The unusual noises during the song after the lines “and the bag across her shoulder/ made her look a little like a military man” were John Lennon, Paul McCartney, and George Harrison playing comb and paper.[9]

Pink Floyd watched the Beatles recording “Lovely Rita”.[10][11] Later, Pink Floyd took the effects of “Lovely Rita” for recording their instrumental compostition, “Pow R. Toc H.” from their debut album, The Piper at the Gates of Dawn.

Love of the Loved

“Love of the Loved” is a song written mainly by Paul McCartney, credited to Lennon–McCartney. It is one of his earliest compositions and featured in the Beatles live act in their early days. The group recorded the song at their 1962 audition for Decca Records, but never issued it on any of their official releases. Instead, Cilla Black recorded it for her debut single, which was produced by George Martin. It was not a big hit for her, reaching #35 on the UK Singles Chart.

The Beatles audition version was left off Anthology 1, even though the other Lennon–McCartney originals from the same session, “Hello Little Girl” and “Like Dreamers Do”, were included.

Recordings of “Love of the Loved” as the Beatles may have performed it were released as singles by US band The Poppees (1975) and Dutch band RollerCoaster (1980). Other cover versions are available on the 1989 album by Bas Muys entitled Secret Songs: Lennon & McCartney[1][2] and on the 1998 release It’s Four You by the Australian tribute band The Beatnix.[3][4] It has also been covered by Seattle-based Beatles cover band Apple Jam on their album Off The Beatle Track.

The original Decca audition version, along with 10 other tracks from the 1962 Decca session, is now available on the CD I Saw Her Standing There.[5]

Little Child

“Little Child” is a song by English rock group the Beatles from their album With the Beatles. It was written by John Lennon and Paul McCartney for Ringo Starr, but Starr was instead given “I Wanna Be Your Man” as his album song.[1]

McCartney describes “Little Child” as being a “work song”, or an “album filler”. He admits to taking the line “I’m so sad and lonely” from the song “Whistle My Love” by British balladeer and actor Elton Hayes.[2] The phrase “sad and lonely” also appears in the song “Act Naturally”, which the Beatles covered (with Starr singing) for the album Help!.

The song was recorded in three different sessions, with the first on 11 September 1963, where the Beatles recorded two takes. They later came back to it the next day, where they recorded 16 takes, including overdubs of piano from McCartney, and harmonica from Lennon. They later returned to it on 3 October, where they recorded three more takes.[3] According to the stereo mix, the harmonica pans from left to right for the solo. Then it pans back from right to left after the solo. The song’s solo follows a “twelve-bar blues format that does not appear in the rest of the [song].”[4]

Lady Madonna

“Lady Madonna” is a song by the Beatles, written by Paul McCartney and credited to Lennon–McCartney. In March 1968, it was released as a single, backed with “The Inner Light”. The song was recorded on 3 and 6 February 1968 before the Beatles left for India. This single was the last release by the band on Parlophone in the United Kingdom, where it reached number 1 for the two weeks beginning 27 March, and Capitol Records in the United States, where it debuted at number 23 on the Billboard Hot 100 for the week ending 23 March and reached number 4 from the week ending 20 April through the week ending 4 May.[2][3] All subsequent releases, starting with “Hey Jude” in August 1968, were released on their own label, Apple Records, under EMI distribution, until the late 1970s, when Capitol and Parlophone re-released old material.

The song, which was recorded in five takes, made its first album appearance on the 1970 collection Hey Jude.[2] The recording began with three takes of the basic rhythm track, with McCartney on piano and Starr playing the drums with brushes.

I’m Looking Through You

“I’m Looking Through You” is song by The Beatles written by Paul McCartney (credited to Lennon-McCartney). The song first appeared on 1965 album Rubber Soul. It was written about Jane Asher, McCartney’s girlfriend for five years,[2] “You don’t look different, but you have changed,” the lyrics declare, reflecting his dissatisfaction with her and their relationship. The lyrics also reference his changing emotional state, “Love has a nasty habit of disappearing overnight”.

I’m a Loser

“I’m a Loser” is a song by the Beatles, originally released on Beatles for Sale in the United Kingdom, later released on Beatles ’65 in the United States. Written by John Lennon,[4][5] (though credited to Lennon–McCartney), it was considered for release as a single until Lennon wrote “I Feel Fine”.[6]

According to music critic Richie Unterberger, while the lyrics tell a story of romantic rejection, “I’m a Loser” is one of the first Beatles compositions that “goes beyond young love,” including “the hypocrisy of keeping up a happy face when your world’s falling down”.[2]

I’ll Follow the Sun

“I’ll Follow the Sun” is a song by the Beatles. It is a melancholy ballad written primarily and sung by Paul McCartney and credited to Lennon–McCartney.[3] It was released in 1964 on the Beatles for Sale album in the United Kingdom and on Beatles ’65 in the United States, but was written long before that year: a version recorded in 1960 can be found on the bootleg record You Might As Well Call Us the Quarrymen. The song is somewhat of a cult favourite; it was released as a mono extended play 45 in 1964 on Parlophone/EMI (and in 1995 as a B-side to Baby It’s You).

If You’ve Got Trouble

“If You’ve Got Trouble” is a song written by Lennon–McCartney and recorded by the Beatles on 18 February 1965 with Ringo Starr singing the lead vocal. The song was intended to be Starr’s vocal appearance on the Help! album and the Help! film, but the Beatles were not happy with the recording and later chose “Act Naturally” (which is not in the film) instead.[1] “If You’ve Got Trouble” remained unreleased until Anthology 2 in 1996.[1]

If I Fell

“If I Fell” is a song by English rock band the Beatles which first appeared in 1964 on the album A Hard Day’s Night in the United Kingdom and on the North American album Something New. It was written by John Lennon,[2][3] and credited to Lennon–McCartney. “That’s my first attempt at a ballad proper….It shows that I wrote sentimental love ballads way back when”, Lennon stated in his 1980 Playboy interview.

I Will

“I Will” is a song by the Beatles that was released on The Beatles. It was written by Paul McCartney (credited to Lennon–McCartney) and features him on lead vocal, guitar, and “vocal bass”.

“I Will” was one of the songs worked on by the Beatles and their associates while in Rishikesh, India. Although the music came together fairly easily, the words were worked on in India, and remained unfinished even as recording began back in London.

This quiet song required 67 takes,[2] and George Harrison did not play (during The Beatles sessions, the Beatles often recorded in separate studios).[3] However, the reason for Harrison’s absence from the session has never been clarified.

During take 19 of “I Will”, McCartney ad-libbed an untitled and uncopyrighted song[2] (referred to as “Can you take me back?” by author Ian MacDonald), a 28-second segment of which ended up on side 4 of the album The Beatles as what MacDonald described as “a sinister introduction to “Revolution 9″”.[3] Also ad-libbed by McCartney was “Los Paranoias”, released, together with take 1 of “I Will”, in 1996 on Anthology 3.[citation needed]

The picture shown above features Apple Records’ 45 rpm record. It was manufactured by Dyna Products Inc (today’s Dyna Music Entertainment Corporation) of the Philippines, 1968.

I Don’t Want to Spoil the Party

“I Don’t Want to Spoil the Party” is a song by the Beatles, written by John Lennon and credited to Lennon–McCartney.[3] It was released on the album Beatles for Sale in the United Kingdom in 1964. “I Don’t Want to Spoil the Party” was also released on the Beatles for Sale (No. 2) EP.[4] In the United States, Capitol released the song as the B-side of the single “Eight Days a Week”, and later on the Beatles VI album, both in 1965. The single peaked at number one in the US[5] (it was not released in the UK);[6] “I Don’t Want to Spoil the Party” charted as a B-side, reaching number thirty-nine on Billboard.[5]

Here, There and Everywhere

“Here, There and Everywhere” is a song written by Paul McCartney[3][4] (credited to Lennon–McCartney), released on the Beatles’ 1966 album Revolver. McCartney includes it among his personal favourites of all the songs he has written. The composition has received similar praise from the Beatles’ producer, George Martin, and McCartney’s former bandmate John Lennon. In 2000, Mojo ranked it 4th in the magazine’s list of the greatest songs of all time.[5]
The Beatles recorded “Here, There and Everywhere” in June 1966, toward the end of the sessions for Revolver. Having recently attended a listening party for the Beach Boys’ Pet Sounds album, McCartney was particularly inspired by Brian Wilson’s song “God Only Knows”.

I Just Don’t Understand

“I Just Don’t Understand” is a song released by Swedish born singer and American citizen Ann-Margret. It charted at No. 17 on the US Billboard Hot 100 chart in 1961. It was one of the first records to feature a fuzz-tone guitar. It was later recorded by The Beatles on 16 July 1963 at the BBC Paris Studio, London for the Pop Go The Beatles radio show and appeared on their 1994 compilation album Live at the BBC, with lead vocals by John Lennon.[1]

In 1965, Australian pop star Normie Rowe presented a rockier version. This proved popular in its own right and appeared on the B-side of his Australian top 10 hit, “I (Who Have Nothing)”.[citation needed]

American indie rock band Spoon included a cover of the song on their 2014 album They Want My Soul.

I Don’t Want to Spoil the Party

“I Don’t Want to Spoil the Party” is a song by the Beatles, written by John Lennon and credited to Lennon–McCartney.[3] It was released on the album Beatles for Sale in the United Kingdom in 1964. “I Don’t Want to Spoil the Party” was also released on the Beatles for Sale (No. 2) EP.[4] In the United States, Capitol released the song as the B-side of the single “Eight Days a Week”, and later on the Beatles VI album, both in 1965. The single peaked at number one in the US[5] (it was not released in the UK);[6] “I Don’t Want to Spoil the Party” charted as a B-side, reaching number thirty-nine on Billboard.[5]

I Am the Walrus

“I Am the Walrus” is a song by the Beatles that was released in November 1967. It was featured in the Beatles’ television film Magical Mystery Tour (MMT) in December of that year, as a track on the associated British double EP of the same name and its American counterpart LP, and was the B-side to the number 1 hit single “Hello, Goodbye”. Since the single and the double EP held at one time in December 1967 the top two slots on the British singles chart, the song had the distinction of being at number 1 and number 2 simultaneously.

Honey Pie

“Honey Pie” is a song by the Beatles, from their 1968 eponymous album The Beatles, also known as “the White Album”. The song was written entirely by Paul McCartney, but is credited to Lennon–McCartney.

The song is a direct homage to the British music hall style. It concerns a famed actress, called only by the term of endearment “Honey Pie”, who becomes famous in the United States, and her old lover, who wishes for her to rejoin him in England. The premise – a humble admirer yearning for the return of his lover – is not unlike a typical music hall plot. In order to establish an appropriate, old-timey sound, ‘crackles’ were added to the third line, “Now she’s hit the big time!”, from a 78 rpm record.[1]

Recording began for “Honey Pie” on 1 October 1968, with the Beatles at Trident Studios in London’s Wardour Street. Only one take was recorded on the first day, although it is likely that a number of rehearsal attempts had previously been recorded and wiped. The next day, McCartney taped his lead vocals, and a lead guitar part was added. According to George Harrison, John Lennon played the guitar solo.[2] However, Barry Miles in his: “The Beatles, a diary: an intimate day by day history” [Omnibus Press 1998] says: “Paul added the lead vocal and guitar to ‘Honey Pie’.” [p.275, entry for October 2]. The guitar playing is very reminiscent of McCartney’s guitar playing (as is evidenced by his two later solo albums). Moreover, McCartney’s father was also known to be a jazz bandleader before McCartney was born (many members of Harrison’s own entourage have said that his autobiography had many errors).

Good Night (Beatles song)

“Good Night” is a song by the Beatles on their 1968 album The Beatles (also known as the White Album). It is the last song on the album. It is sung by Ringo Starr, the only Beatle to appear on the track. The music is provided by an orchestra arranged and conducted by George Martin.

John Lennon wrote the song as a lullaby for his five-year-old son Julian.[1]
George Martin’s arrangement is lush, and intentionally so. Lennon is said to have wanted the song to sound “real cheesy”, like a Gordon Jenkins-esque Old Hollywood production number. The musicians play the following instruments: twelve violins, three violas, three cellos, one harp, three flutes, one clarinet, one horn, one vibraphone, and one string bass. The Mike Sammes Singers also took part in the recording, providing backing vocals.
Starr became the third member of the group (after Paul McCartney and George Harrison) to record a song credited to the group without the other members performing (Lennon was the fourth with “Julia”). The song ends with Starr whispering the words: “Good night… Good night, everybody… Everybody, everywhere… Good night.”

Every Little Thing (Beatles song)

“Every Little Thing” is a song by the English rock group the Beatles from their 1964 album Beatles for Sale. Credited to Lennon–McCartney, it was written by Paul McCartney, although John Lennon is the more prominent lead vocalist on the recording. Rather than include the track on the North American version of Beatles for Sale (which was titled Beatles ’65), Capitol Records first issued the song on the June 1965 release Beatles VI. The track is an early example of the Beatles’ use of non-rock instrumentation on a recording, through the addition of timpani drum over the choruses.

Etcetera (Beatles song)

“Etcetera” is an unreleased song recorded as a demo by Paul McCartney on 20 August 1968, during a session for The Beatles (also known as the White Album).

Paul McCartney recalls in his authorized biography, Many Years from Now, that he had written the song, intending to give it to Marianne Faithfull to record, but she passed on recording it; The Beatles did as well.[1]

The song was recorded as a demo during the same session that producing White Album songs, “Mother Nature’s Son” and “Wild Honey Pie”. McCartney recorded one take of the song while waiting for session musicians to arrive. After the take was recorded, the tape was taken away by George Martin’s assistant, Chris Thomas. The recording is said to have lyrics, a bridge, and an introduction that’s reminiscent of “Here, There and Everywhere”.[1]

McCartney himself has not spoken well of the song. He has stated that “it’s a bad song” and that he’s “glad it died in a tape bin”. On the other hand, engineer Alan Brown called it “a very beautiful song.” Brown described the song as a “ballad and has the word ‘etcetera’ several times in the lyric.”[1]

The End (Beatles song)

“The End” is a song by the Beatles composed by Paul McCartney (credited to Lennon–McCartney) for the album Abbey Road. It was the last song recorded collectively by all four Beatles,[2] and is the final song of the medley that comprises the majority of side two of the album.

McCartney said, “I wanted [the medley] to end with a little meaningful couplet, so I followed the Bard and wrote a couplet.”[3] In his 1980 interview with Playboy, John Lennon acknowledged McCartney’s authorship by saying, “That’s Paul again … He had a line in it, ‘And in the end, the love you get is equal to the love you give,’ which is a very cosmic, philosophical line. Which again proves that if he wants to, he can think.”[4] Lennon misquoted the line; the actual words are, “And in the end, the love you take is equal to the love you make.”[5]

Eight Days a Week

“Eight Days a Week” is a song by The Beatles written by Paul McCartney and John Lennon based on McCartney’s original idea.[2] The song was issued in the United Kingdom in December 1964 on the album Beatles for Sale. In the United States, issued in February 1965 as a single with the B-side “I Don’t Want to Spoil the Party”, it went to No. 1 for two weeks on 13–20 March 1965. The song was also issued in June 1965 on the U.S. album Beatles VI and reissued worldwide in 2000 on the Beatles number one compilation album 1. WLS ranked the song at #8 for all of 1965.

Don’t Pass Me By

“Don’t Pass Me By” is a song by the Beatles from the double album The Beatles (also known as the White Album). Lead vocals were performed by Ringo Starr. It was Starr’s first solo composition.[1]

The song debuted at No. 1 in Denmark in April 1969.[2] It stayed in the Top 10 for a month.

Starr first played his song for the other Beatles soon after he joined the group in August 1962.[3] Its earliest public mention seems to have been in a BBC chatter session introducing “And I Love Her” on the radio show Top Gear in 1964. In the conversation, Starr was asked if he had written a song and Paul McCartney mocked him soon afterwards, singing the first line “Don’t pass me by, don’t make me cry, don’t make me blue, baby.”[4]

Don’t Let Me Down (Beatles song)

“Don’t Let Me Down” is a song by the Beatles (with Billy Preston), recorded in 1969 during the Let It Be sessions. It was written by John Lennon and credited to Lennon–McCartney.

Written by Lennon as an anguished love song to Yoko Ono,[1] Paul McCartney interpreted it as a “genuine plea”, with Lennon saying to Ono, “I’m really stepping out of line on this one. I’m really just letting my vulnerability be seen, so you must not let me down.”[2] Lennon’s vocals work their way into screams, presaging the primal scream stylings of the following year’s John Lennon/Plastic Ono Band album.[3]

The song is in the key of E and is in 4/4 time during the verse, chorus and bridge, but changes to 5/4 in the pick-up to the verse.[4] It grew (like “Sun King”) from the F♯m7- E changes from Fleetwood Mac’s “Albatross” (“like she does” [F♯m7] “yes she does” [A, Am] “yes she does” [E]) with McCartney arranging instrumental and vocal parts and Harrison adding a descending two-part lead guitar accompaniment to the verse and a countermelody in the bridge.[5] Pollack states that “the counterpoint melody played in octaves during the Alternate Verse by the bass and lead guitars is one of the more novel, unusual instrumental touches you’ll find anywhere in the Beatles catalogue.”[6]

Don’t Ever Change (song)

“Don’t Ever Change” is a 1961 popular song written by Gerry Goffin and Carole King. It is one of their lesser-known songs, although a version by The Crickets reached the top 5 in the United Kingdom. The Beatles performed the song on their BBC radio show Pop Go the Beatles, which was later released on their 1994 compilation Live at the BBC. It was taped on August 1, 1963, had its first broadcast on August 27, 1963, was produced by Terry Henebery and was a rare harmony duet between Paul McCartney and George Harrison.[1] The song was also covered by Brinsley Schwarz on their Please Don’t Ever Change album in 1973, by Bryan Ferry on his 1973 album These Foolish Things, and by Mud on their 1982 album Mud featuring Les Gray.

Cry Baby Cry

“Cry Baby Cry” is a song by the Beatles, written by John Lennon,[1] from their 1968 album The Beatles. The outro of the song is a short segment referred to as “Can You Take Me Back”, written by Paul McCartney, which was actually an outtake from the “I Will” session.

Demos indicate that Lennon composed the song in late 1967. The original lyrics were “Cry baby cry, make your mother buy.” Lennon described to biographer Hunter Davies how he got the words from an advertisement.[2] Some of the lyrics of the song are loosely based on the nursery rhyme “Sing a Song of Sixpence”.

Engineer Geoff Emerick resigned during the recording of “Cry Baby Cry”, though his departure was precipitated by Lennon and McCartney’s obsessions over the recording of both “Revolution” and “Ob-La-Di Ob-La-Da”, respectively, and the overall tensions of the White Album sessions. Emerick would not work with the Beatles again until the session for “The Ballad of John and Yoko” nine months later.[3]

After a day-long rehearsal, on 16 July 1968 the basic tracks were laid down for Lennon’s guitar part and his vocal on the introduction, McCartney’s bass, and Starr’s drums, along with Lennon’s piano and George Martin’s harmonium, while all other parts were dubbed in two days later: Lennon’s lead vocal, Lennon/McCartney falsetto backing vocals and tambourines, Martin’s harmonium introduction, sound effects for tea, and Harrison’s guitar, a Gibson Les Paul borrowed from Eric Clapton and soon to be a permanent gift.[4]

The Continuing Story of Bungalow Bill

“The Continuing Story of Bungalow Bill” is a song credited to Lennon–McCartney, but written by John Lennon, and released by the Beatles on their 1968 album The Beatles (also known as the White Album).

This song mocks the actions of a young American named Richard A. Cooke III, known as Rik, who was visiting his mother, Nancy Cooke de Herrera, at the ashram of Maharishi Mahesh Yogi in Rishikesh at the same time that the Beatles were staying with the Maharishi. According to his mother, both she and her son maintained friendly relations with all of the Beatles except for Lennon, who by Cooke de Herrera’s account was “a genius” but distant and contemptuous of the wealthy American Cooke de Herrera and her clean-cut, college-attending son. According to Nancy’s life account, Beyond Gurus, the genesis of the song occurred when she, Rik, and several others, including guides, set out upon elephants to hunt for a tiger (allegedly presented by their Indian guide as a traditional act). The pack of elephants was attacked by a tiger, which was shot by Rik. Rik was initially proud of his quick reaction and posed for a photograph with his prize. However, Rik’s reaction to the slaying was mixed, as he has not hunted since. Nancy claims that all present recognised the necessity of Rik’s action, but that Lennon’s reaction was scornful and sarcastic, asking Rik: “But wouldn’t you call that slightly life-destructive?” The song was written by Lennon as mocking what he saw as Rik’s bravado and unenlightened attitude.[1]

Lennon later told his version of the story in a Playboy interview, stating that: “‘Bungalow Bill’ was written about a guy in Maharishi’s meditation camp who took a short break to go shoot a few poor tigers, and then came back to commune with God. There used to be a character called Jungle Jim, and I combined him with Buffalo Bill. It’s sort of a teenage social-comment song and a bit of a joke.”[2] Mia Farrow, who was also at the ashram during the period, supports Lennon’s story in her autobiography; she writes, “Then a self-important, middle-aged American woman arrived, moving a mountain of luggage into the brand-new private bungalow next to Maharishi’s along with her son, a bland young man named Bill. People fled this newcomer, and no one was sorry when she left the ashram after a short time to go tiger hunting, unaware that their presence had inspired a new Beatles song – ‘Bungalow Bill.'”[3]

Clarabella (song)

“Clarabella” is a pop song composed by Frank Pingatore and recorded by the Jodimars (a group made of former members of Bill Haley & His Comets) in 1956.[1] Today, it is best known for being recorded by the Beatles for the radio programme “Pop Go the Beatles” on 2 July 1963, which was broadcast on the 16th of that month.[2] It was released commercially on compact disc much later, on the 1994 compilation album Live at the BBC, although years earlier a similar rendition by Billy Preston (who would later work with the Beatles on their later recordings) was performed on a 1965 episode of Shindig!.[3] In 2003 the White Stripes recorded a performance of the song live in concert.

Come Together

“Come Together” is a song by the Beatles written by John Lennon[1] but credited to Lennon–McCartney. The song is the opening track on the album Abbey Road and was released as a double A-sided single with “Something”, their 21st single in the United Kingdom and 26th in the United States. The song reached the top of the charts in the US[2] and peaked at number four in the UK.[3]

Christmas Time (Is Here Again)

“Christmas Time (Is Here Again)” (Lennon/McCartney/Harrison/Starkey) is a Christmas song recorded by the Beatles for their 1967 fan club Christmas record.[1] After being slated for inclusion in the planned (but ultimately scrapped) Sessions compilation album in 1985, the song finally saw official re-release in 1995 on the “Free as a Bird” single (issued in conjunction with the Anthology series), for which it was edited from its original 6:17 to a shortened version of 3:03. The song opens with a light-hearted tune from all four of the Beatles and occasionally cuts to a tale of the Beatles arriving at the fictional BBC house. This part of the song was cut from the 1995 single version.[2] The song then closes with a Christmas greeting from all four of the Beatles. At the end, “Auld Lang Syne” is played on the organ as Lennon reads one of his original nonsense free verse poems.

Cayenne (instrumental)

“Cayenne” is an instrumental track by the Beatles. It was recorded in 1960, when they were still known as The Quarrymen, and was not officially released until its inclusion on the 1995 album Anthology 1.

According to Paul McCartney, the recordings were made in the McCartney family bathroom in April 1960.[1] while they were rehearsing. The song is not credited to Lennon–McCartney but to McCartney alone, indicating that at this stage Lennon and McCartney had not agreed on the joint writing credit that they used for all of the band’s professional recording career.[2] The track is an instrumental jam similar in style to that of The Shadows. Stuart Sutcliffe plays bass with what critic Richie Unterberger described as an “artless thump”.[3] “Cayenne” is a 12-bar blues composition in the key of d-minor.[4]

“Cayenne” and two other homemade Quarrymen recordings, “Hallelujah, I Love Her So” and “You’ll Be Mine”, were included in Anthology 1, a collection of Beatles rarities and alternate tracks from 1958 to 1964. They are the only officially released Beatles recordings to feature Stuart Sutcliffe on bass. Sutcliffe, John Lennon’s close friend from art college, joined the band in 1960 as the bass player and played with them in Hamburg in 1960 and 1961 before leaving to concentrate on his art studies. Sutcliffe died of a brain haemorrhage in 1962. Although the tape was made in 1960, the tape was not discovered until much later by the McCartney’s neighbors on 20 Forthlin Road.

The recording which appeared on Anthology 1 was edited and made faster, giving it a length of 1 minute and 1 seconds while the original was 2 minutes and 24 seconds.

The song was in the instrumental rock style, which was becoming popular in the early sixties with bands such as the shadows. Another song the band did in the instrumental style was Cry for a Shadow in 1961.

Carnival of Light

“Carnival of Light” is an unreleased experimental piece by the Beatles. It was recorded on 5 January 1967, after the vocal overdubbing sessions for the song “Penny Lane”. The track was created for “The Million Volt Light and Sound Rave”, an event held at the Roundhouse Theatre on 28 January and 4 February 1967. The track was confirmed by Paul McCartney to be in his possession in 2008, but his attempt to release it to the public has been unsuccessful.

Birthday (Beatles song)

“Birthday” is a song written by Lennon–McCartney and performed by the Beatles on their double album The Beatles (commonly known as The White Album). It is the opening track on the third side of the LP (or the second disc in CD versions of the record). The song is an example of the Beatles’ return to more traditional rock and roll form, although their music had increased in complexity and it had developed more of its own characteristic style by this point. Surviving Beatles McCartney and Ringo Starr performed it for Starr’s 70th birthday at Radio City Music Hall on 7 July 2010.[3]

Being for the Benefit of Mr. Kite!

“Being for the Benefit of Mr. Kite!” is a song from the 1967 album by the Beatles, Sgt. Pepper’s Lonely Hearts Club Band. It was primarily written and composed by John Lennon, although Paul McCartney claims that he also contributed to it.[2][3] The song is credited to Lennon–McCartney.

One of the most musically complex songs on Sgt. Pepper, it was recorded by the Beatles on 17 February 1967 with overdubs on 20 February (organ sound effects), 28 March (harmonica, organ, guitar), 29 March (more organ sound effects), and 31 March.[8] Lennon wanted the track to have a “carnival atmosphere”, and told producer George Martin that he wanted “to smell the sawdust on the floor.” In the middle eight bars, multiple recordings of fairground organs and calliope music were spliced together to attempt to produce this request. In a 1968 interview, Martin recalled that he achieved “this by playing the Hammond organ myself and speeding it up.”[9]In addition to the Hammond organ, a 19th century steam organ was found for hire to enhance the carnival atmosphere effect.[10] After a great deal of unsuccessful experimentation, Martin instructed recording engineer Geoff Emerick to chop the tape into pieces with scissors, throw them up in the air, and re-assemble them at random.[11]

Before the start of the first take, Lennon sings the words “For the benefit of Mr. Kite!” in a joke accent, then Emerick announces, “For the Benefit of Mr. Kite! This is take 1.” Lennon immediately responds, “Being for the Benefit of Mr. Kite!”, reinforcing his title preference from a phrase lifted intact from the original Pablo Fanque poster. The exchange is recorded in The Beatles Recording Sessions (slightly misquoted)[4] and audible on track 8 of disc 2 of Anthology 2. The original recording can also be heard during the loading screen for the song if it is downloaded in the video game The Beatles: Rock Band.
Although Lennon once said of the song that he “wasn’t proud of that” and “I was just going through the motions,”[12] in 1980 he described it as “pure, like a painting, a pure watercolour.”[6]

It was one of three songs from the Sgt. Pepper album that was banned from playing on the BBC, supposedly because the phrase “Henry the Horse” combined two words that were individually known as slang for heroin. Lennon denied that the song had anything to do with heroin.[5][6]

Because (Beatles song)

“Because” is a song written by John Lennon[1] (credited to Lennon–McCartney) and recorded by the Beatles in 1969. It features a prominent three-part vocal harmony by Lennon, Paul McCartney, and George Harrison, overdubbed twice to make nine voices in all. It first appeared on Abbey Road (1969), immediately preceding the extended medley on side two of the record.

The Ballad of John and Yoko

“The Ballad of John and Yoko” is a song written by John Lennon,[2][3] attributed to Lennon–McCartney as was the custom, and released by the Beatles as a single in May 1969. The song, chronicling the events surrounding Lennon’s marriage to Yoko Ono, was the Beatles’ 17th and final UK number one single.[4]

Authored by Lennon while on his honeymoon in Paris,[3] it tells of the events of his marriage, in March 1969, to Ono, and their publicly held honeymoon activities, including their “Bed-In” at the Amsterdam Hilton Hotel and their demonstration of “bagism”.

Lennon brought the song to McCartney’s home on 14 April 1969, before recording it that evening.[5][6][7] “Paul knew that people were being nasty to John, and he just wanted to make it well for him,” said Ono. “Paul has a very brotherly side to him.”[8]

Bad to Me

“Bad to Me” is a song John Lennon wrote (credited to Lennon–McCartney) for Billy J. Kramer with The Dakotas[2] while on holiday in Spain. Billy J. Kramer with The Dakotas released their recording of the song in 1963 and it became their first number 1 in the UK Singles Chart.[1] Paul McCartney was present during the recording session at Abbey Road Studios. The single would be released in the US the following year, and become a top-ten hit there, reaching number 9. It became one of the first occasions a Lennon–McCartney composition made the US Top 40 recorded by an artist other than the Beatles (the first being “A World Without Love” by Peter & Gordon, and another example is Goodbye by Mary Hopkin).

Bootlegs exist of Lennon’s original demo of the song, which was recorded on 31 May 1963. An acoustic demo from the same era was released on iTunes in December 2013 on the album The Beatles Bootleg Recordings 1963.

Terry Black released a version of the song on his 1965 debut album, Only 16.[3]

Graham Parker recorded a version of the song for the 2003 album Lost Songs of Lennon & McCartney, new versions of 17 Lennon–McCartney songs that were originally released by other artists.[4] Leif Garrett also recorded a version of the song for his self-titled debut album. Finnish rock band Hurriganes covered this song in their third album, Crazy Days.

Recordings of “Bad to Me” as the Beatles may have performed it are available on the 1989 album by Bas Muys entitled Secret Songs: Lennon & McCartney[5][6] and on the 1998 release It’s Four You by the Australian tribute band The Beatnix.[7][8]

Baby’s in Black

“Baby’s in Black” is a song by the Beatles, co-written by John Lennon and Paul McCartney.[2][3] The song appears on the United Kingdom album Beatles for Sale[4] and in North America on Beatles ’65.[5]

“Baby’s in Black” is performed at a 6/8 time signature[6] with a moderate tempo that makes it sound like 3/4 (waltz-time). AMG described the song as “a love lament for a grieving girl that was perhaps more morose than any previous Beatles’ song.”[1] Musicologist Alan W. Pollack notes that the song is relatively complex in format, with a refrain, bridge, and a guitar solo. He describes the song as having “mishmash” of stylistic elements—among them, “bluesy” chords and country music-inspired vocals.[7]

They performed “Baby’s in Black” live during their appearances from late 1964 until their last tour in 1966. McCartney said they introduced the song by saying, “‘And now for something different.’ … We used to put that in there, and think, ‘Well, they won’t know quite what to make of this, but it’s cool.'”[3] In 1996, a live version of “Baby’s in Black” was released as a B-side to “Real Love”, the second single from their Anthology project.[10]

Baby, You’re a Rich Man

“Baby, You’re a Rich Man” is a song written by John Lennon and Paul McCartney, and recorded in 1967 by the Beatles. It was released on the B-side of the Beatles’ 1967 single “All You Need Is Love”.[3] New mixes of the song were made available on Magical Mystery Tour and Yellow Submarine Songtrack.

“Baby, You’re a Rich Man” was the result of combining two unfinished songs written by Lennon and McCartney, in a similar fashion to “A Day in the Life”, and “I’ve Got a Feeling”.[4][5] The verses from “One of the Beautiful People” by John Lennon were combined with Paul McCartney’s previously unaccompanied “Baby, you’re a rich man …” chorus.

That’s a combination of two separate pieces, Paul’s and mine, put together and forced into one song. One half was all mine. [Sings] ‘How does it feel to be one of the beautiful people, now that you know who you are, da da da da.’ Then Paul comes in with [sings] ‘Baby, you’re a rich man,’ which was a lick he had around.
— John Lennon, All We Are Saying, David Sheff[6]

It is thought that McCartney wrote the lyrics of his section of the song about the band’s manager, Brian Epstein.[5] Walter Everett writes that the song “asks an unnamed Brian Epstein what it’s like to be one of the ‘beautiful people.'”[7] Another angle to the song is that the “Beautiful People” verses were meant as a “tip of the hat” to Epstein for finally dropping acid. The questions John raises in the verses, such as, “How often have you been there?” and “What did you see when you were there?” are roughly equivalent to Jimi Hendrix’s “Are You Experienced?” Lennon claimed, however, that the meaning of the song was that everybody is a rich man, saying, “The point was stop moaning. You’re a rich man and we’re all rich men.”[6]

“Baby, You’re a Rich Man” was initially intended to be used in the Beatles upcoming movie, Yellow Submarine, but was rush-released as the B-side to “All You Need Is Love”.[6]

Ask Me Why

“Ask Me Why” is a song by English rock group the Beatles originally released in the United Kingdom as the B-side of their hit single “Please Please Me”. It was also included on their first UK album, Please Please Me.

Written in early 1962, “Ask Me Why” is principally a John Lennon composition,[1] but was credited to Paul McCartney and John Lennon, as were all other Lennon–McCartney originals on the first pressings of Please Please Me album. Paul McCartney: “It was John’s original idea and we both sat down and wrote it together, just did a job on it. It was mostly John’s.” (Barry Miles. Paul McCartney: Many Years From Now).[2] It was part of their live act prior to their recording contract, and was one of the songs performed at their first Parlophone recording session in EMI’s Abbey Road studio two on 6 June 1962.[3][4][5] The song emulates in style that of Smokey Robinson and the Miracles, by whom Lennon was influenced, and draws its opening guitar phrase from the Miracles’ “What’s So Good About Goodbye” (1961).[6]

Any Time at All

“Any Time at All” is a song recorded by English rock band the Beatles. Credited to Lennon–McCartney, it was mainly composed by John Lennon, with an instrumental middle eight by Paul McCartney.[1] It first appeared on the Beatles’ A Hard Day’s Night album.

In his 1980 interview with Playboy, Lennon described the song as “An effort at writing ‘It Won’t Be Long’. Same ilk: C to A minor, C to A minor—with me shouting.”[2]

Lennon’s handwritten lyrics for “Any Time at All” were sold for £6,000 at an auction held at Sotheby’s in London, on 8 April 1988.[3]

Incomplete when first brought into Abbey Road Studios on Tuesday 2 June 1964,[4] Paul McCartney suggested an idea for the middle eight section based solely on chords, which was recorded with the intention of adding lyrics later. But by the time it was needed to be mixed, the middle eight was still without words and that is how it appears on the LP.[3] McCartney sings the second “Anytime at all” in each chorus because Lennon couldn’t reach the notes.[5] “Any Time at All” reprises a George Martin trick from “A Hard Day’s Night” by using a piano solo echoed lightly note-for-note on guitar by George Harrison.[6]

Another Girl

“Another Girl” is a song by the Beatles released in 1965 on the album Help! and included in the film of the same name. The song was written by Paul McCartney[2][3] but credited to Lennon–McCartney. The song is directed to the singer’s girlfriend who is advised the singer has found “another girl.”

McCartney wrote the song while holidaying in Hammamet, a resort in Tunisia.[2] With an up-tempo swing-beat that the writer favoured (“Can’t Buy Me Love”, “She’s a Woman”) the song opens with a short refrain, powered by block vocal harmonies, that segues straight into the verse, which is constructed on the blues-mode chord changes the group currently favoured. The bridge theme makes a sudden key change up a minor third from A to C (a harmonic strategy also used on the record’s next track “You’re Going to Lose That Girl”) and features more close three-part harmonies as the aggressively sung verse’s apparent threat to a jealous girl turns into a sweet tribute to the “other” girl who “will always be my friend”.

The Beatles recorded the song on 15 February 1965, having also worked on “Ticket to Ride” and “I Need You”. The backing track was quickly recorded in a single take. George Harrison added a guitar “flourish” at the end which was omitted from the final mix:[4] McCartney added lead guitar the next day.[4] This is one of several Beatles songs recorded at the time on which McCartney played lead guitar in addition to his usual bass.[5] Four-track recording allowed the group to refine songs’ arrangements in the studio and McCartney often had clear ideas about the guitar lines he wanted. He also contributed lead guitar to “Ticket to Ride”[6][7] and played an electric guitar duet with Harrison on “The Night Before”. The song was mixed down on 18 February and again on 23 February.[8]

McCartney said of this song and other album tracks, “It’s a bit much to call them fillers because I think they were a bit more than that, and each one of them made it past the Beatles test. We all had to like it.”[2]

And Your Bird Can Sing

“And Your Bird Can Sing” is a song by the Beatles, released on their 1966 album Revolver in the United Kingdom and on Yesterday…and Today in the United States. The song was written by John Lennon and credited to Lennon–McCartney. Paul McCartney claims to have helped on the lyrics, however, estimating the song to be “80–20” to Lennon.[4] The working title was “You Don’t Get Me”. Lennon was later dismissive of the track, as he was of many of his compositions at the time, referring to it as “another of my throwaways … fancy paper around an empty box”.[5]

Anna (Go to Him)

“Anna (Go to Him)”, or simply “Anna”, is a song written and originally recorded by Arthur Alexander. His version was released as a single by Dot Records on September 17, 1962. A cover version was performed by English rock group The Beatles and included on their 1963 debut album Please Please Me.

According to Richie Unterberger, music critic for Allmusic:
‘Anna’ was one of the great early soul ballads, even if its loping groove was closer to a mid-tempo song than a slow ballad. Like several of Alexander’s songs, it would come to be more famous in its cover version than through its original release. And it was actually a small hit when it first came out in 1962, getting to #68 in the pop charts and #10 in the R&B listings.[2][3]
Critic Dave Marsh rates Alexander’s “Anna (Go to Him)” as one of the top 1001 singles of all time.[1] He praises the “gently swinging rhythm,” the tough, syncopated drumming, and Alexander’s vocal, particularly at the beginning of the refrain, suggesting that John Lennon may have learned to sing ballads like “In My Life” by listening to Alexander’s performance.[1]
Despite the title, throughout the song the lyric is “go with him” rather than “go to him”.

And I Love Her

“And I Love Her” is a song recorded by English rock band the Beatles, written mainly by Paul McCartney (credited to Lennon–McCartney). Being the fifth track on their third album, A Hard Day’s Night, it was released 20 July 1964 with “If I Fell” as a single by Capitol Records in the United States, reaching No. 12 on the Billboard Hot 100.

The Beatles performed “And I Love Her” just once outside Abbey Road Studios; on 14 July 1964 they played it for an edition of the BBC’s Top Gear radio show, which was broadcast two days later.[1]

All You Need Is Love

“All You Need Is Love” is a song by the Beatles that was released as a non-album single in July 1967. It was written by John Lennon[2] and credited to Lennon–McCartney. The Beatles performed the song as Britain’s contribution to Our World, the first live global television link. Watched by over 400 million in 25 countries, the program was broadcast via satellite on 25 June 1967.[3]

All Together Now

“All Together Now” is a song by the Beatles written primarily by Paul McCartney[1][2] and credited to Lennon–McCartney. The song was recorded during the band’s Magical Mystery Tour period, but remained unreleased until it was included on the Yellow Submarine soundtrack.[3] It was released as a single in 1972 in European countries such as France and Germany, backed by “Hey Bulldog”.

McCartney described the song as a children’s sing-along with the title phrase inspired by the music hall tradition of asking the audience to join in.[1] He also described a “subcurrent” in the song, a dual-meaning where “we are all together now.”[1] According to music critic Tom Maginnis of AllMusic, McCartney created the song “to match the same light-hearted spirit” of “Yellow Submarine”.[4]

“All Together Now” appears in an animated sequence in the film Yellow Submarine, and is also introduced by the Beatles themselves in a final live-action scene of the film. During the latter scene, translations of “All Together Now” into various languages appear written on-screen.

All Things Must Pass (song)

“All Things Must Pass” is a song by English musician George Harrison, issued in November 1970 as the title track to his triple album of the same name. Billy Preston released the song originally – as “All Things (Must) Pass” – on his Apple Records album Encouraging Words (1970), after the Beatles had rejected it for inclusion on their Let It Be album in January 1969. The composition reflects the influence of the Band’s sound and communal music-making on Harrison, after he had spent time with the group in Woodstock, New York, in late 1968, while Timothy Leary’s poem “All Things Pass”, a psychedelic adaptation of the Tao Te Ching, provided inspiration for his song lyrics.

The subject matter deals with the transient nature of human existence, and in Harrison’s All Things Must Pass reading, words and music combine to reflect impressions of optimism against fatalism. On release, together with Barry Feinstein’s album cover image, commentators viewed the song as a statement on the Beatles’ break-up. Widely regarded as one of Harrison’s finest compositions, its rejection by his former band has provoked comment from biographers and reviewers. Music critic Ian MacDonald described “All Things Must Pass” as “the wisest song never recorded by The Beatles”,[1] while author Simon Leng considers it “perhaps the greatest solo Beatle composition”.[2] The recording was co-produced by Phil Spector in London; it features an orchestral arrangement by John Barham and contributions from musicians such as Ringo Starr, Pete Drake, Bobby Whitlock, Eric Clapton and Klaus Voormann.

Although the Beatles failed to formally record the song, a 1969 solo demo by Harrison appears on their compilation Anthology 3 (1996). An early version from the All Things Must Pass sessions was released on Harrison’s posthumous compilation Early Takes: Volume 1 in 2012. Paul McCartney performed “All Things Must Pass” at the Concert for George tribute in November 2002, a year after Harrison’s death. Jim James, the Waterboys, Klaus Voormann and Yusuf Islam, and Sloan Wainwright are among the other artists who have covered the song.

All My Loving

“All My Loving” is a song by English rock group the Beatles, written by Paul McCartney[2] (credited to Lennon–McCartney), from the 1963 album With the Beatles. Though it was not released as a single in the United Kingdom or the United States, it drew considerable radio airplay, prompting EMI to issue it as the title track of an EP.[3] The song was released as a single in Canada, where it became a number one hit. The Canadian single was imported into the US in enough quantities to peak at number 45 on the Billboard Hot 100 in April 1964.[4][5] It was the first song most Americans ever heard the group sing as it was the opening song on their debut on The Ed Sullivan Show on 9 February 1964.

All I’ve Got to Do

“All I’ve Got to Do” is a song written by John Lennon[1][2] (credited to Lennon–McCartney) and performed by English rock group the Beatles on their second British album, With the Beatles.[3][4] In the United States, “All I’ve Got to Do” originally appeared on Meet the Beatles!.[3][5] According to Dennis Alstrand, this song is the first time in rock and roll or rock music where the bass player plays chords as a vital part of the song.[6]

In the UK, “All I’ve Got to Do” was released on With the Beatles which also includes the Beatles’ cover of “You Really Got a Hold on Me” by the Miracles,[3] the most direct connection between the album and Robinson’s music. In the US, Capitol Records pulled “You’ve Really Got a Hold on Me” off Meet the Beatles!, releasing it later on The Beatles’ Second Album.[3]

Ain’t She Sweet

“Ain’t She Sweet” is a song composed by Milton Ager (music) and Jack Yellen (lyrics) and published in 1927 by Edwin H. Morris & Co., Inc./Warner Bros., Inc. It became popular in the first half of the 20th century, one of the hit songs that typified the Roaring Twenties. Like “Happy Days Are Here Again” (1929), it became a Tin Pan Alley standard. Both Ager and Yellen were elected to membership in the Songwriters Hall of Fame.

Milton Ager wrote “Ain’t She Sweet” for his daughter Shana Ager,[citation needed] who in her adult life was known as the political commentator Shana Alexander.

Act Naturally

“Act Naturally” is a song written by Johnny Russell and Voni Morrison, originally recorded by Buck Owens and the Buckaroos, whose version reached number 1 on the Billboard Country Singles chart in 1963,[1] his first chart-topper.[2] In 2002, Shelly Fabian of About.com ranked the song number 169 on her list of the Top 500 Country Music Songs.[3]

The song has been covered by many other artists, including Loretta Lynn, Dwight Yoakam, Mrs. Miller and the Beatles.[4]

Across the Universe

“Across the Universe” is a song recorded by the Beatles. It was written by John Lennon and credited to Lennon–McCartney. The song first appeared on the various artists’ charity compilation album No One’s Gonna Change Our World in December 1969, and later, in different form, on Let It Be, the group’s final released album.

One night in 1967, the phrase “words are flowing out like endless rain into a paper cup” came to Lennon after hearing his then-wife Cynthia, according to Lennon, “going on and on about something”. Later, after “she’d gone to sleep – and I kept hearing these words over and over, flowing like an endless stream”, Lennon went downstairs and turned it into a song. He began to write the rest of the lyrics and when he was done, he went to bed and forgot about them.

12-Bar Original

“12-Bar Original” is an instrumental 12-bar blues by the Beatles. It was recorded in 1965, but was not commercially available until 1996 when an edited version of take 2 of the song was included on the Anthology 2 album. Prior to editing, the length of take 2 was 6:36.[1]

It is one of the few songs credited to Lennon/McCartney/Harrison/Starkey[2] and published by Lenono Music, Inc., MPL Communications Ltd, Harrisongs Ltd., and Startling Music Ltd.[3] Other songs credited to all four Beatles include “Flying” from Magical Mystery Tour, “Dig It” from Let It Be and “Christmas Time (Is Here Again)”, the B-side to the 1995 single “Free as a Bird”.

Of the Beatles, only John Lennon and Ringo Starr ever commented on the song. During some US radio interviews, Lennon was asked if there were any unissued Beatles recordings, he replied that all he could recall was “some lousy 12 bar”. Starr told journalist Peter Palmiere that “we all wrote the track and I have an acetate of one of the versions”. The quote was later used by Palmiere in a Ringo Starr cover interview/story in DISCoveries magazine in 1993 and by Jim Berkenstadt and Belmo in their book Black Market Beatles.

“12-Bar Original” was the Beatles’ first instrumental after signing for EMI, and was produced by George Martin at EMI’s Abbey Road Studios, London. Four other instrumentals by the group are the aforementioned “Flying”, an outtake version of that song called “Aerial Tour Instrumental”, “Cayenne” and “Cry for a Shadow”.

You Get Me

“You Get Me” is the first single from ZOEgirl’s third studio album, Different Kind of Free. It was written by Chrissy Conway-Katina and her then-lover, now-husband James Katina.

Like “With All of My Heart”, it was a No. 1 hit and received over 50,000 spins on the radio.[1] There was also a retail CD single released. A music video was created to promote this song.

Chrissy Conway-Katina’s inspiration for this song came from comparing her pre-Christian past to the Christian life and ministry she had at the time of writing. She “was always looking for somewhere to fit in” during the early years of her life. After she started following Jesus, her perspective of life took a drastic change. She then became “less concerned with fitting in with the world and more concerned with belonging to God.”[2]

The intimate relationship she shares with Christ is what fuels this song: “God is truly the only one who knows my thoughts before I think them. He’s the only one who knew every day of my life before I even took my first breath. No one else but God could ever love me and accept me for who I am the way that He can. He’s the only one who gets me.”[2]

White Feather (song)

“White Feather” is a song by Australian hard rock band Wolfmother, featured on their 2009 second studio album Cosmic Egg. Written by vocalist and guitarist Andrew Stockdale, the song was released as the third single from the album on 22 February 2010.

“White Feather” was first performed on 6 February 2009 at the first of the band’s two low-key comeback shows performed under the same alias, White Feather. The song was again performed at the second show, on 8 February, and later at the new lineup’s first performance in the United States, on 1 May at the Natural History Museum of Los Angeles County.[1] On 9 May, Stockdale reported on his Twitter profile that he was “About to shred the solo on White Feather,” describing it as “possibly the greatest song written since Womac[k] and Womac[k]’s “Foot Steps” Yes!”[2]

The “White Feather” single was first released on the Australian iTunes Store on 29 December 2009. According to independent music website Altsounds.com, a full single release was scheduled for 1 February 2010,[3] although promotional records released in December 2009 listed a 15 February 2010 release date.[4] The official release date is recognised as 22 February 2010.[5]

White Unicorn

“White Unicorn” is a song by Australian hard rock band Wolfmother, featured on their 2005 debut studio album Wolfmother. Written by band members Andrew Stockdale, Chris Ross and Myles Heskett, it was released as the second single from the album in Australia on 26 February 2006.

Edited by Kris Moyes,[1][2] the music video for “White Unicorn” is made up of footage from various live performances, including at Big Day Out, Homebake, Meredith Music Festival and MTV Live, and was first aired in Australia on 7 April 2006.[2]
A few months later, it was defaced by Kris Moyes with the help of a Disney Animator and re-released under the pseudonym Banditobruce [3] in cooperation with Pav at Modular. The band were later told about the piece of subterfuge at a party.

Woman (Wolfmother song)

“Woman” is a song by Australian rock band Wolfmother, featured on their 2005 debut studio album Wolfmother. It was released as the band’s fourth single in Australia on 17 June 2006, and later in the United Kingdom on 17 July.[1] It became a massive hit at rock radio during the summer of 2006 in the United States, peaking at number 7 on the Hot Mainstream Rock Tracks chart and number 10 on the Modern Rock Tracks chart. “Woman” won the award for Best Hard Rock Performance at the 49th Annual Grammy Awards in 2007.[2]

In Australia, the original recording of the song was ranked number 45 on Triple J’s Hottest 100 of 2004 after appearing on their debut EP Wolfmother.

Victorious (Wolfmother song)

“Victorious” is a song by Australian hard rock band Wolfmother. Written by vocalist and guitarist Andrew Stockdale, it was produced by Brendan O’Brien and serves as the title track for the band’s 2016 fourth studio album Victorious. The song was released as the first single from the album on 20 November 2015 and reached number 26 on the US Billboard Mainstream Rock Songs chart.

The worldwide debut of “Victorious” (as well as fellow Victorious track “City Lights”) came on 19 November 2015,[1] when radio DJ Zane Lowe played both songs on Apple Music station Beats 1 as part of his “World Record” feature.[2] The song was subsequently released as a single on music streaming service Spotify,[3] and was also included as a free digital download with every pre-order of Victorious on iTunes.[2]

The music video for “Victorious” was released on 25 January 2016, initially exclusive to digital media website Mashable.[6] Brother Willis directed the video, starring Aurelia Scheppers, which was filmed in Los Angeles, California.[2] Speaking in a behind the scenes feature, both Brother Willis and Andrew Stockdale described the video as “tongue-in-cheek”, and Willis described it as a “homage to sci-fi B movies”, particularly from the 1970s.[7] The spaceship-themed guitar used in the video was later given away in a competition by British music magazine Kerrang![8]
Speaking to Mashable, Stockdale explained that “the video is about a girl who’s held hostage by evil alien folk [who] upon hearing the powers of Wolfmother’s smash hit rock ‘n roll extravaganza … is set free from the dark forces of the universe”.[6] Loudwire’s Chad Childers described the story of the video as “an epic battle between a sword-wielding vixen and an evil ruler”.[4]

New Moon Rising (song)

“New Moon Rising” is a song by Australian hard rock band Wolfmother. It was released on their second studio album Cosmic Egg, released in 2009. The song shares its name with an Australian concert tour by the band, the New Moon Rising Tour, and was released as the lead single from the album on 25 August 2009. According to the Australian Recording Industry Association, in 2009 in Australia, “New Moon Rising” was the 49th best-selling single by an Australian artist.[2]

The music video for “New Moon Rising” premiered on MTV Australia on 13 October 2009.[13]

Mind’s Eye (song)

“Mind’s Eye” is a song by Australian hard rock band Wolfmother, featured on their 2005 debut album Wolfmother. When released as the first single from the album, it was well received by critics and reached number twenty nine in the ARIA Charts.[1]

The music video for “Mind’s Eye”, directed by The Malloys,[8] was nominated for “Best Rock Video” at the MTV Australia Video Music Awards 2006,[9] though lost out to The Darkness’ “One Way Ticket”.[10] It’s often[when?] been compared to Pink Floyd: Live at Pompeii concert, being said that it’s a “rip off” or a “remarkable resemblance”.[citation needed]

Love Train (Wolfmother song)

“Love Train” is a song by Australian hard rock band Wolfmother, featured on the 2006 international version of their debut studio album Wolfmother. “Love Train” was released as the fifth single from Wolfmother, on 7″ picture disc, CD single[1] and as a digital download,[2] on 18 September 2006[1] by Island Records.[2] It became a minor commercial success in the United Kingdom, reaching number 62 on the UK Singles Chart.[3]

The music video for “Love Train” was directed by Jay Martin, who described it as a combination of “band portraits and epic, heroic performance.”[4] The CD single featured a live version of hit single “Woman” recorded at radio station Triple J, as well as the music video;[1] a 12″ picture disc version of the single was later released in 2007, featuring a number of remixes by English electronic band Chicken Lips.[5][6]

“Love Train” was noted for being featured in an iPod advertisement.[2][4] It was also featured in The Hangover Part II.

Joker & the Thief

“Joker & the Thief” is a song by Australian rock band Wolfmother. The song serves as the sixth track and sixth single from the band’s eponymous debut studio album. It was released in Australia on 26 October 2005 and in the United Kingdom on 20 November 2006.[1] The music video for the song was nominated for the “Best Rock Video” and “Video of the Year” awards at the 2007 MTV Australia Awards.[2] The titular “joker” and “thief” are a reference to the lyrics of “All Along the Watchtower”.

Far Away (Wolfmother song)

“Far Away” is a song by Australian hard rock band Wolfmother, featured on their 2009 second studio album Cosmic Egg. Written by vocalist and guitarist Andrew Stockdale, the song was released as the fourth single from the album on 3 June 2010, backed with a live cover version of the Kate Bush song “Wuthering Heights”.[1][2]

“Far Away” has been generally well received by critics. Writing for Spin, David Marchese reviewed the song thus:

“Get your lighters out! If “In the Morning” was power-ballad-as-psychedelic-rainbow, then “Far Away” is its prom-friendly cousin. Over an almost delicate music box melody played on, I think, electric piano, [Andrew] Stockdale, in a relatively subdued voice, sings about the one that got away: “I believe that love is gonna last forever / But it’s all within my mind.” An acoustic guitar gently pads things out. The drums play a laidback shuffle. The bass shadows the guitar chords. A melodic major key guitar solo swoops in to guide the listener to Valhalla.[3]”
English music magazine NME praised the song as “the only ‘progress’” on the album, describing it as “sound[ing] like it was expelled by Axl Rose during an enema in early sessions for ‘Chinese Democracy’.”[4] In revealing that the song would be released as the fourth single from Cosmic Egg, Australian news website Access All Areas described “Far Away” as “the hands aloft summit of Wolfmother’s colossal second album,” adding that it is “Wolfmother’s sitting on the porch torch song, an epic slice of melancholic keys and searing guitar that sounds like a big ole bag of all-time good times.”[5]

Dimension (song)

“Dimension” is a song by Australian hard rock band Wolfmother, featured on their 2005 debut studio album Wolfmother. Written by band members Andrew Stockdale, Chris Ross and Myles Heskett, it was released as the second single from the album in Europe (and the third single overall) on 17 April 2006, charting at number 49 on the UK Singles Chart.[1]

Directed by The Malloys,[2][3] the music video for “Dimension” was first aired in the week of 13 February 2006.[3] Prior to this, the video was featured on the 2006 extended play (EP) Dimensions.[4]

Back Round

“Back Round” is a song by Australian hard rock band Wolfmother. Written by vocalist and guitarist Andrew Stockdale,[1] the song was the first material released since original band members Chris Ross and Myles Heskett left the band in August 2008.[2][3][4] “Back Round” was originally released as a free digital download on the band’s official website on 30 March 2009,[3][5][6] and was later released as a downloadable single on iTunes on 26 May 2009.[7][8] In October 2009 the song was featured on the deluxe edition of the band’s second album, Cosmic Egg.[9][10]

Fuck Me Pumps

“Fuck Me Pumps” is a song by English singer and songwriter Amy Winehouse from her debut studio album Frank (2003). Written by Winehouse and Salaam Remi, the song was released in the United Kingdom as the album’s fourth and final single on 23 August 2004 under the title “Pumps”—with “Help Yourself” as its coupling track—reaching number sixty-five on the UK Singles Chart. A clean radio edit was released for promotional purposes.

The track is about stereotypical “gold-digging” girls. The term “fuck-me pumps” or “FMPs” is a slang expression for sexy women’s shoes, particularly those featuring bare heels. Chris Willman from Entertainment picked “Fuck Me Pumps” as the best song from Frank.[2]

You Sent Me Flying

“You Sent Me Flying” is a song by English singer and songwriter Amy Winehouse from her debut studio album Frank (2003). Written by Winehouse and Felix Howard, the song was released on 5 April 2004 as the album’s third single, with “In My Bed” as its A-side. The single peaked at number 60 on the UK Singles Chart.

You Know I’m No Good

“You Know I’m No Good” is a song by English singer and songwriter Amy Winehouse from her second and final studio album Back to Black (2006). “You Know I’m No Good” was released as the second single from Back to Black on 5 January 2007. Originally recorded as a solo track, it was remixed with guest vocals from the Wu-Tang Clan member Ghostface Killah. The original appeared on Winehouse’s album, while the version with Ghostface Killah appears on his album More Fish.

Arctic Monkeys performed this song on Jo Whiley’s Live Lounge on BBC Radio 1 in their second appearance there, along with their single at the time, “Brianstorm”. In summer 2007, “You Know I’m No Good” was used in advertisements and in the first season opening for AMC’s TV drama Mad Men, although it was replaced with the current theme song for DVD release. It was also used for the opening to ITV’s Secret Diary of a Call Girl. On the recap of The Best Songs of 2007 by Entertainment Weekly magazine, this song ranked at number two.[2]

Tears Dry on Their Own

“Tears Dry on Their Own” is a song by English singer and songwriter Amy Winehouse from her second and final studio album Back to Black (2006). “Tears Dry on Their Own” was released as the fourth single from Back to Black on 13 August 2007. While the melody and lyrics are composed by Winehouse, the music behind her voice is a sample interpolation of Marvin Gaye and Tammi Terrell’s 1967 Motown classic hit “Ain’t No Mountain High Enough”, penned by the married duo of Ashford & Simpson. The original ballad version of the track is featured on the posthumous album Lioness: Hidden Treasures (2011). In 2015, it was also featured on the soundtrack for the documentary film based on the life of Winehouse, entitled Amy.

Take the Box

“Take the Box” is a song by English singer and songwriter Amy Winehouse from her debut studio album Frank (2003). Released as the album’s second single on 12 January 2004, it was the highest-charting single from Frank, peaking at number 57 on the UK Singles Chart.

The B-side of the single featured a cover of the jazz standard “‘Round Midnight”, written by Thelonious Monk.

The character in the song is in the process of discarding her former lover and leaving him, after discovering he is having an affair. The song details her acceptance of the fact that its over as she tells the lover to literally “take the box”, including gifts of love he had previously given her. Within the narrative of the songs of her debut album. placed so as to indicate a storyline, “Take the Box” indicates the break-up of the relationship.

Stronger Than Me

“Stronger Than Me” is a song by English singer and songwriter Amy Winehouse from her debut studio album Frank (2003). Written by Winehouse and Salaam Remi, “Stronger Than Me” was released in the United Kingdom as the lead single on 6 October 2003, it ended up as the lowest-charting single from Frank and of Winehouse’s career, peaking at number 71 on the UK Singles Chart. The song nevertheless won the Ivor Novello Award for Best Contemporary Song Musically and Lyrically in 2004.

In 2015, the song was featured on the film soundtrack of Amy which depicts the life and death of Winehouse. It was said in the film that “Stronger Than Me” first sold over 800 copies a day after its initial release by Winehouse’s previous guitarist, Ian Burter.

The single for “Stronger Than Me” features an exclusive B-side, “What It Is”.

Rehab (Amy Winehouse song)

“Rehab” is a song written and performed by English singer and songwriter Amy Winehouse, from her second and final studio album Back to Black (2006). Produced by Mark Ronson, the lyrics are autobiographical and address Winehouse’s refusal one time to enter a rehabilitation clinic. “Rehab” was released as the lead single from Back to Black on 23 October 2006, and it peaked at number 7 in the United Kingdom on its Singles Chart and number 9 in the United States on the Billboard Hot 100,[1][2] becoming Winehouse’s only top 10 hit in the US.

“Rehab” has become a critical and commercial success internationally, and has been referred to as Winehouse’s “signature song”.[3][4] It won three Grammy Awards at the 50th ceremony, including Record of the Year, Song of the Year, and Best Female Pop Vocal Performance.[5] It also won an Ivor Novello Award for Best Contemporary Song.[6] Winehouse’s public battle with drug and alcohol addiction, and subsequent death, have contributed to the song’s continuing popularity and appearance in the media.

The documentary film Amy (2015) and its soundtrack feature a 2006 performance of the song by Jools Holland. The song has been covered by a list of artists, such as Hot Chip, Lea Salonga, Seether, and the Jamaican Mento band The Jolly Boys.

Love Is a Losing Game

“Love Is a Losing Game” is a song by English singer and songwriter Amy Winehouse from her second and final studio album Back to Black (2006). It was chosen as the fifth and final single from Back to Black. It was the final single released in Winehouse’s lifetime. The single was released on 10 December 2007 in the United Kingdom. The song was added to BBC Radio 1’s playlist on 7 November 2007.

A video shoot was set up for “Love Is a Losing Game”, reportedly costing £70,000 at Pinewood Studios, but an unnamed source was quoted in The Sun as saying that it was cancelled after Winehouse failed to turn up for filming.[3] The original video was supposed to be directed by Phil Griffin and shot by director of photography Adam Frisch. Two alternate music videos were released: the first is a montage video, which includes photographs of Winehouse alongside live performance clips of the song, and the second is an entirely live video, taken from her I Told You I Was Trouble live performance DVD.

In My Bed (Amy Winehouse song)

“In My Bed” is a song by English singer and songwriter Amy Winehouse from her debut studio album Frank (2003). It was released on 5 April 2004 as the album’s third single (double A-sided with “You Sent Me Flying”), reaching number 60 on the UK Singles Chart.

“In My Bed” samples the beat of rapper Nas’s 2003 song “Made You Look”, which in turn contains a sample of the Incredible Bongo Band’s 1973 cover of “Apache”. Both songs were produced by Salaam Remi.[1]

A rare live session of Winehouse performing “In My Bed” in 2001 was included in the 2015 documentary film Amy, which depicts the singer’s life and death.

Help Yourself (Amy Winehouse song)

“Help Yourself” is a song by English singer and songwriter Amy Winehouse from her debut studio album Frank (2003). Released as the album’s fourth and final single on 23 August 2004 as a double A-side with “Fuck Me Pumps” (Pumps), it reached number 65 on the UK Singles Chart. The song was not included on the U.S. release of Frank. A radio edit was released for promotional purposes. The song samples “You Won’t Be Satisfied (Until You Break My Heart)” as recorded by Doris Day in 1945.[1]

Back to Black (song)

“Back to Black” is a song by English singer and songwriter Amy Winehouse. It was released by Island Records on 30 April 2007 as the third single from Winehouse’s second and final studio album of the same name. The song was written by Winehouse and Mark Ronson, and produced by Ronson. “Back to Black” was inspired by Winehouse’s relationship with Blake Fielder-Civil, who had left her for an ex-girlfriend.

“Back to Black” received universal acclaim by music critics, who generally praised its throwback sound to girl groups from the 1960s. It was included on several compiled year and decade-end lists of the best in music and was further considered to be one of the singer’s signature songs. The single peaked at number eight on the UK Singles Chart in the United Kingdom and is Winehouse’s third best-selling single in that country. Many cover versions by various artists were recorded for the song; most notably, Beyoncé and André 3000 covered it for the soundtrack of the 2013 film adaptation of the novel The Great Gatsby (1925).

In 2015, a documentary film that depicts the life and death of Winehouse, entitled as Amy was released. A videoed tape of Winehouse recording the song with Mark Ronson in March 2006 was included in the film and an a cappella melody was featured on the original soundtrack.

You Better You Bet

“You Better You Bet” is a song by the British rock band The Who, appearing as the first track on their 1981 album Face Dances. It is sung by frontman Roger Daltrey with backing vocals from Pete Townshend and bassist John Entwistle. Townshend’s guitar part is played on a Rickenbacker 360/12.

“You Better You Bet” became a hit and one of The Who’s most recognizable songs. It was the last single by the band that reached the top 20 on the Billboard Hot 100, reaching number 18. The track was at number one on the Billboard Top Tracks chart for five weeks beginning 4 April 1981.[1] It was also their last single to hit the Top Ten in the UK, peaking at number 9.

Won’t Get Fooled Again

“Won’t Get Fooled Again” is a song by the English rock band The Who, written by Pete Townshend. It was released as a single in June 1971, reaching the top 10 in the UK, while the full eight-and-a-half-minute version appears as the final track on the band’s 1971 album Who’s Next, released that August.

Townshend wrote the song as a closing number of the Lifehouse project, and the lyrics criticise revolution and power. To symbolise the spiritual connection he had found in music via the works of Meher Baba and Inayat Khan, he programmed a mixture of human traits into a synthesizer and used it as the main backing instrument throughout the song. The Who tried recording the song in New York in March 1971, but re-recorded a superior take at Stargroves the next month using the synthesizer from Townshend’s original demo. Ultimately, Lifehouse as a project was abandoned in favour of Who’s Next, a straightforward album, where it also became the closing track. The song has been performed as a staple of the band’s setlist since 1971, often as the set closer, and was the last track drummer Keith Moon played live with the band.

As well as a hit, the song has achieved critical praise, appearing as one of Rolling Stone’s The 500 Greatest Songs of All Time. It has been covered by several artists, such as Van Halen who took their version to No. 1 on the Billboard Album Rock Tracks chart. It has been used for several TV shows and films, and in some political campaigns.

Who Are You (song)

“Who Are You”, composed by Pete Townshend, is the title track on The Who’s 1978 album, Who Are You, the last album released before drummer Keith Moon’s death in September 1978. It was released as a double-A sided single with the John Entwistle composition “Had Enough”, also featured on the album. The song became one of the band’s biggest hits in North America, peaking at number 7 in Canada and at number 14 in the US. The keyboard pieces on the track are played by Rod Argent.

Waspman

“Waspman” is a mainly instrumental song by The Who, credited to their drummer Keith Moon. The song is the B-side to The Who’s single “Relay” (entitled “The Relay” in the United States).

The song is supposedly a tribute to Link Wray, who became famous for his 1958 instrumental hit “Rumble” by Link Wray and his Ray Men. He introduced “the power chord, the major modus operandi of modern rock guitarists” such as Pete Townshend of The Who.[2]

It is thought that John Entwistle wrote the song but gave the credit to Moon, as all members of The Who were supposed to write at least two B-sides, although Roger Daltrey only wrote one, “Here for More”, the B-side for “The Seeker” in 1970.

The Who only performed the song live once (June 10, 1974 at New York’s Madison Square Garden). The Who – My Generation/Waspman – New York 1974 (17, 18)

Trick of the Light (The Who song)

“Trick of the Light” is a song written by bassist John Entwistle for The Who’s eighth studio album, Who Are You. It was released as the second single from the album, atypically with another Entwistle song, “905” on the B-side, but did not chart.[2]

The lyrics describe fear of being sexually inadequate in the face of a prostitute.[3][4] The singer wants to have an emotional connection with the prostitute but she only sees him as dehumanized and recognizes his sexual insecurity.[2] He is concerned that he didn’t bring her “to the height of ecstasy.”[5] It features a guitar-like assault throughout the song, described by Pete Townshend as sounding like “a musical Mack truck”[1] and is actually Entwistle’s heavily distorted eight-string Alembic bass.[2][4] Chris Charlesworth feels that the bass dominates the song to an extent that none of the other elements of the song matter.[4] Who biographer John Atkins says the song has a “muscular texture” and is “fully realized” but that it represents an “orthodox heavy rock format” that the band usually shunned.[2] The Who FAQ author Mike Segretto considers it one of Entwistle’s “catchier songs,” attributing its lack of chart success to its being “too heavy” and “too mean” for the 1977 singles chart.[5] Segretto considers the song to be underrated, finding humor in the situation but stating that “genuine vulnerability makes the song more than a good giggle and undercuts the performance’s cock-rock attitude.”[5] But it was not a favorite of Who lead singer Roger Daltrey, who complained that it went “on and on and on and on.”[5]

It was performed occasionally on The Who’s 1979 tour with Entwistle on eight-string and Townshend playing one of Entwistle’s Alembic basses used on the 1975-1976 tours. It made its return to the setlist in 1989, with Townshend originally on electric guitar on the two Toronto dates in June and acoustic guitar for the rest of the tour. It was disliked by Roger Daltrey, who thought that although it had clever lyrics, it was too long.[1] On the original recording and in its 1979/1980 performances, Daltrey sang the lead vocal; in 1989 Entwistle sang it. “Trick of the Light” was included in the two-disc edition of The Who Hits 50!.

Tattoo (The Who song)

“Tattoo” is a song written by Pete Townshend that was first released by The Who on their 1967 album The Who Sell Out. A “rite of passage” song, “Tattoo” tells the story of two teenaged brothers who decide to get tattoos in their attempts to become men. Themes of the song include peer pressure to conform and young men’s insecurity about their manhood. The song has been heavily praised by critics and has appeared on several of The Who’s live and compilation albums. It has also been covered by Tommy Keene and Petra Haden.

Substitute (The Who song)

“Substitute” is a song by the English rock band The Who, written by Pete Townshend. Released in March 1966, the single reached number five in the UK and was later included on the compilation album Meaty Beaty Big and Bouncy in 1971.[4] In 2006, Pitchfork ranked “Substitute” at number ninety-one on the “200 Greatest Songs of the 1960s”.[5]

“Substitute” was primarily inspired by the 1965 soul single “The Tracks of My Tears” by Smokey Robinson and the Miracles. Pete Townshend became obsessed, particularly, with the line, “Although she may be cute/She’s just a substitute.” This had then led Townshend “to celebrate the word with a song all its own.”[6]

For the American single, released in April 1966, the line in the chorus “I look all white but my dad was black” was amended to “I try walking forward but my feet walk back.”[4] The complete second verse and chorus were also erased from the US release, reducing the track’s length to two minutes and fifty-nine seconds.[7]

Squeeze Box (song)

“Squeeze Box” is a song by The Who from their album The Who by Numbers. Written by Pete Townshend, the lyrics are couched in sexual double entendres. Unlike many of the band’s other hits, the song features country-like elements, seen in Townshend’s guitar finger picking.

“Squeeze Box” was a commercial success, peaking at number 10 on the UK Singles Chart and number 16 in the US Billboard Hot 100. The song is also their only international number-one hit, reaching number one in Canada, and reached number two on the Irish singles chart.

So Sad About Us

“So Sad About Us” is a 1966 song by British rock band The Who, first released on the band’s second album A Quick One. Originally written for The Merseys, “So Sad About Us” has likely been covered more frequently than any other song on the album; according to the All Music Guide, it is “one of the Who’s most covered songs”.[1] Shaun Cassidy, Primal Scream, The Breeders, and most notably The Jam and Dexter Romweber Duo (with backup vocal by Mary Huff of Southern Culture on the Skids) are among the many artists who have recorded studio versions of the song.

Beyond the sheer number of covers, it is also one of The Who’s most frequently imitated songs. As the aforementioned AMG put it, it is “an archetypal early Who song” and “hundreds of bands have based their entire careers on this one song”. With its ringing guitars, Beach Boys-styled harmonies, crashing drums, and lovelorn lyrics, it is one of the early forebears of the power pop genre, along with other early Who staples such as “I Can’t Explain” and “The Kids Are Alright”.

Love, Reign o’er Me

“Love, Reign o’er Me” (where the synth strings were heard), subtitled “Pete’s Theme”, is a song by English rock band The Who. Written and composed by guitarist and songwriter Pete Townshend, it was released on 27 October 1973 as the second single from the band’s sixth studio album and second rock opera, Quadrophenia. It is the final song on the album, and has been a concert staple for years. The song peaked at number 76 on the Billboard Hot 100 and number 54 on Cash Box.[1]

Pictures of Lily

“Pictures of Lily” is a single by the British rock band The Who, written by guitarist and primary songwriter Pete Townshend. It was released in 1967 as a single, and made the top five in the UK, but failed to break into the top 50 in the United States. In 1971, “Pictures of Lily” was included in the Who album Meaty Beaty Big and Bouncy, a compilation of previously released singles.

Townshend coined the term “power pop” when he used it to describe the song in a May 1967 interview with NME.[2]

Pinball Wizard

“Pinball Wizard” is a song written by Pete Townshend and performed by the English rock band The Who, and featured on their 1969 rock opera album Tommy. The original recording was released as a single in 1969 and reached No. 4 in the UK charts and No. 19 on the U.S. Billboard Hot 100.

The B-side of the “Pinball Wizard” single is an instrumental credited to Keith Moon, titled “Dogs (Part Two)”. Despite similar titles it has no musical connection to The Who’s 1968 UK single “Dogs”.

Postcard (The Who song)

“Postcard” is a song by the Who, written by the band’s bassist John Entwistle. It appears on the Who’s album Odds & Sods.

Released as a single, in the United States, it reached the Cash Box charts on November 23, 1974, peaking at No. 64.[citation needed] It was the first song written by Entwistle that was released as the A-side of a Who single.[1]

John Entwistle said about the album:

“We thought we’d just have a go at some of these bootlegs. They release really bad bootlegs of these songs all the time. I’ve heard three of them which were made in the States and they’re really bad quality. They obviously will last only about three plays before the acetate disintegrates. We thought it was about time we released a bootleg of our own. I tried to arrange it like a parallel sort of Who career — what singles we might have released and what album tracks we might have released.”[citation needed]

Pete Townshend said about the song:

“‘Postcard is a John Entwistle song about touring on the road. He describes in luscious detail the joys and delights of such romantic venues as Australia (pause to fight off temporary attack of nausea), America (pause to count the money) and, of course, that country of the mysterious and doubting customs official, Germany (pause, whether they like it or not, for ‘God Save The Queen’). Listen out for the field sound effects ACTUALLY RECORDED IN THE COUNTRIES WE TOURED. ‘Postcard’ was originally recorded in my house for a maxi single. They were EPs that only cost as much as a single. Ours unfortunately never got released.

I engineered this one with one hand on the controls and the other on the guitar. That’s why I only play one chord throughout the whole song.”[2]

The Who FAQ author Mike Segretto describes it as “a fun travelogue of the Who’s roadwork, penned with the droll wit we’ve come to expect from John Entwistle.”[1] The lyrics tell the various countries the band had visited on tour.[3] Chris Charlesworth describes the song as having an “up tempo rock rhythm.”[3]

“Postcard” was originally recorded for potential release on a maxi single in 1970, but that version only ended up being released in Japan.[1][3] For the version released on Odds & Sods, Entwistle remixed the song and recorded a new bass guitar part.[1]

See Me, Feel Me

“See Me, Feel Me” is a single from The Who’s 1969 album Tommy. It consists of two overture parts from Tommy, the second and third parts of the album’s final song “We’re Not Gonna Take It”: “See Me, Feel Me” and “Listening To You”. It was released as a single in September 1970. The single isn’t identified as a separate track on the 1969 studio version of the album.

The Who performed “See Me, Feel Me”, followed by the refrain of “Listening To You”, at the 1969 Woodstock Festival. This was captured on film in Woodstock (1970) and The Kids Are Alright (1979). “See Me, Feel Me” was also released as a single in the United States to capitalise on its appearance in the Woodstock film.[1] Entering the charts on 23 September 1970, it reached number 12 on the Pop Singles Chart.[2] It was also released in the United Kingdom but did not chart there.

The band performed this song at the Closing Ceremony of the 2012 Olympic Games in London on Sunday 12 August 2012, along with “Baba O’Riley” and “My Generation”.

The Real Me (The Who song)

“The Real Me” is a song written by Pete Townshend on The Who’s second full-scale rock opera, Quadrophenia in 1973. This is the second track on the album, although it is the first with lyrics. It concerns a boy named Jimmy, a young English Mod with four distinct personalities. The song describes how he angrily deals with several individuals to identify “the real me”.

The song features a virtuoso bass performance by John Entwistle. According to a 1996 interview with Entwistle by Goldmine Magazine, the bass part was recorded on the first take. Entwistle claimed he was “joking around” when he played the part, but the band loved it and used it in the final version.[1]

Aside from the verses about the psychiatrist, mother and preacher, Townshend’s original demo of the song on his solo album Scoop 3 includes another verse about rock and roll in general. The arrangement of the song is also much slower than what it would end up as in Quadrophenia.

Townshend has always referred to it as “Can You See the Real Me”, rather than the more accepted abbreviated title.

Real Good Looking Boy

“Real Good Looking Boy” is a song written by the guitarist of the British rock band The Who, Pete Townshend. It was originally released in 2004 on the compilation album Then and Now, and was one of two new songs on that album, the other being “Old Red Wine”. Together, they were the first new songs released by the Who for 15 years. It was later released as an edited single backed with the aforementioned song. “Real Good Looking Boy” was later performed in the 2007 rock musical The Boy Who Heard Music.[1]

The Quiet One (The Who song)

“The Quiet One” is a song by The Who, written by bassist John Entwistle. It is one of two Entwistle contributions to The Who’s first album without Keith Moon, Face Dances. Entwistle’s other contribution to Face Dances is “You”, with Roger Daltrey on lead vocals.

“The Quiet One” is also a B-side for the first single from Face Dances, “You Better You Bet”.

“You Better You Bet” reached number 18 on the Billboard Hot 100, number 1 on the Billboard Top (Rock) Tracks, and number 9 in the UK.[1]

The song was written by John Entwistle to replace his song “My Wife” (from Who’s Next) on tour, and he did so for the years of 1981 and The Who’s Tour of 1982. However, in following tours, this song was never played again; “My Wife” was brought back.

Entwistle said about the song:

“It’s me trying to explain that I’m not really quiet. I started off being quiet and that’s the pigeon hole I’ve been stuck in all these years. It started when I heard Kenney playing a drum riff and I thought ‘that would be really great for a song and give Kenney a chance to play that on stage.’ So I got Kenney to put down about three minutes of that and I worked along with it and came up with the chorus of ‘A Quiet One.’ I wrote ‘Quiet One’ especially to replace ‘My Wife’ onstage. I had gotten tired of singing that and ‘Boris The Spider.'”[2]

 

The Ox (instrumental)

“The Ox” is an instrumental piece by The Who. It was on their debut album My Generation. It was improvised by Pete Townshend, John Entwistle, Keith Moon and keyboardist Nicky Hopkins. This track appears as the b-side of “The Kids Are Alright” on the single’s UK release. The song was also on the compilation album Thirty Years of Maximum R&B. A jingle based on this song exists, and was released as “Top Gear” on both reissues of The Who Sell Out.[3]

The song was very rarely played live by The Who. The band may have played it in 1965 and 1966 while the album was still fresh, though no live recordings of the song are known to exist. The only known live appearance of this song was in a medley of “My Generation” at the Concertgebouw in Amsterdam, Netherlands on 29 September 1969, part of the Tommy tour.

Rolling Stone Magazine’s John Swenson described “The Ox” and “My Generation” to be “sonic marvels of the time” due to Townshend’s feedback technique on these songs.[4]

Overture (The Who song)

“Overture” is a song by English rock band The Who, written by Pete Townshend. The track is one of three instrumental tracks released on Tommy, although it does feature some lyrics towards the end; the other two being “Underture” and “Sparks”.

On 9 October 1970 song was released as the b-side of “See Me, Feel Me” – which did not chart – and was titled “Overture from Tommy”.[1]

Real Good Looking Boy

“Real Good Looking Boy” is a song written by the guitarist of the British rock band The Who, Pete Townshend. It was originally released in 2004 on the compilation album Then and Now, and was one of two new songs on that album, the other being “Old Red Wine”. Together, they were the first new songs released by the Who for 15 years. It was later released as an edited single backed with the aforementioned song. “Real Good Looking Boy” was later performed in the 2007 rock musical The Boy Who Heard Music.[1]

Mary Anne with the Shaky Hand

“Mary Anne with the Shaky Hand” is a song written by Pete Townshend and first released on The Who’s 1967 album The Who Sell Out. Four different recordings have been released by The Who. The best known version of the song has acoustic guitar and an arrangement using Latin percussion instruments. The song has ambiguous lyrics that have been subject to a variety of interpretations. It was later performed by a number of other artists.

Let’s See Action

“Let’s See Action” is a song written and composed by Pete Townshend and recorded by The Who. It was released as a single in the UK in 1971 and reached #16 in the charts.

The song is one of many tributes by Pete Townshend to Meher Baba, others being “Baba O’Riley” and “Don’t Let Go the Coat”.[citation needed]

The song is the first of three non-album singles by the The Who,[1] and came from the abortive Lifehouse project.[2] Pete Townshend’s demo version, which appears on his first major label solo album Who Came First as “Nothing Is Everything (Let’s See Action)”, is longer than the version on the single and contains the additional lines, “Rumor has it minds are open. Then rumors fill them up with lies.”[3] The band’s bassist, John Entwistle, said that the track was Pete Townshend “Trying to talk to the kids in general.”[1] According to The Who’s biographer John Atkins, the song takes ideas from the teachings of Meher Baba, encompassing “Soul searching and the utilization of positive impulses from within.”[4]

My Generation (album)

My Generation is the debut studio album by the English rock band The Who, released by Brunswick Records in the United Kingdom on 3 December 1965. In the United States, it was released by Decca Records as The Who Sings My Generation in April 1966, with a different cover and a slightly altered track listing.[1]

The album was made immediately after the Who got their first singles on the charts and according to the booklet in the Deluxe Edition, it was later dismissed by the band as something of a rush job that did not accurately represent their stage performance of the time. On the other hand, critics often rate it as one of the best rock albums of all time.

It’s Hard (song)

“It’s Hard” is a song written by Pete Townshend that featured on British rock band The Who’s tenth album, It’s Hard, of which it was the title track. It was released as the third and final vinyl single from the album in 1983, backed with the John Entwistle written song “Dangerous”, but failed to chart, although it reached number 39 on the Billboard Hot Mainstream Rock Tracks.[2] This would become the last Who single of new material until “Real Good Looking Boy” in 2004, and the last album single by them until “Black Widow’s Eyes”, two years later.

I’m Free (The Who song)

“I’m Free” is a song written by Pete Townshend and performed by The Who on the album Tommy. The song has since been released as a single, becoming one of the best known tracks from Tommy.

Pete Townshend has claimed that the song was partly inspired by the song “Street Fighting Man” by The Rolling Stones.

‘I’m Free’ came from ‘Street Fighting Man.’ This has a weird time/shape and when I finally discovered how it went, I thought ‘well blimey, it can’t be that simple,’ but it was and it was a gas and I wanted to do it myself.

— Pete Townshend[3][4]

On “I’m Free,” drummer Keith Moon only played on the breaks of the song. According to bassist John Entwistle, Moon was unable to perform the intro the way Townshend wanted, resulting in Townshend and Entwistle having to perform part of the drums. During live performances, Townshend and Entwistle were forced to signal Moon to play the song by making giant steps.

On ‘I’m Free’, me and Pete had to play the drums and Keith played the breaks because he couldn’t get the intro. He was hearing it differently from how we were, and he couldn’t shake it off. So we put down the snare, the hi-hat and the tambourine part and he came in and added all the breaks. When we did it live, the only way to bring him in was for Pete and I to go like this [makes an exaggerated step], which must have looked completely nuts.

— John Entwistle[4]

Within the plot of the album, “I’m Free” tells of Tommy’s vision to spiritually enlighten others due to his sudden and immense popularity. The “Pinball Wizard” riff (earlier on the album) appears at the end of the song during the “How can we follow?” part. Townshend has since noted “I’m Free” and “Pinball Wizard” as “songs of the quiet explosion of divinity. They just rolled off the pen.”[4]

“I’m Free” was later released as a single in most of Europe (backed with “Tommy, Can You Hear Me?”) as well as America (where it was backed with “We’re Not Gonna Take It”). The single reached number 37 in the US on the Billboard Hot 100.[5] It also reached number 20 in the Netherlands.[6]

I’m One

“I’m One” is a song by The Who. It was released on the group’s 1973 rock opera album Quadrophenia. Written and sung by Pete Townshend, the song has since become a fan favorite.[1]

“I’m One” is one of the main moments of introspection spread throughout the narrative and also a sign that Jimmy may not be as Mod as he appears, given the way he asks a fellow Mod where he got his clothes. (Mods would lose face asking another Mod where he got his clothes.) Pete Townshend said of the song’s lyrical inspiration:

When I was a nipper I felt that the guitar was all I had. I wasn’t tough enough to be in a gang, I wasn’t good looking enough to be in with the birds, not clever enough to make it at school, not good enough on my feet to be good football player, I was a fucking loser. I think everyone feels that way at some point. And somehow being a Mod – even though I was too old to be a Mod really – I wrote this song with that in mind. Jimmy, the hero of the story, is kinda thinking he hasn’t got much going for him but at least he’s one.[2]

The song features an acoustic opening followed by the rest of the band (excluding singer Roger Daltrey) joining in.

“I’m One” was one of the ten original Quadrophenia tracks to appear in remixed form on the soundtrack to the Who’s 1979 film Quadrophenia, which was based on the original rock opera. This version of the song also saw single release as the B-side to the 1979 remixed single release of “5.15.”

The song is featured on the soundtrack for Freaks and Geeks in the episode Dead Dogs and Gym Teachers, which featured many of the Who’s songs.

This song was performed first on the band’s original 1973-1974 Quadrophenia Tour, but it was never performed with Moon again afterwards. It made sporadic appearances in the 1981 (only once), 1982 (only the first verse; as an intro to “The Punk and the Godfather”) and 1989 tours as well. It was then brought back for every concert on the 1996-1997 Quadrophenia Tour. Performances after that, from 2000 onward, were often performed by Pete Townshend alone on stage (although some feature the full band).

I’m a Boy

“I’m a Boy” is a 1966 rock song written by Pete Townshend for The Who. The song, like other early recordings by the band, such as “I Can’t Explain”, “The Kids Are Alright” and “Happy Jack”, centers on the early power pop genre. The song was originally intended to be a part of a rock opera called ‘Quads’ which was to be set in the future where parents can choose the sex of their children. The idea was later scrapped, but this song survived and was later released as a single.

The song is about a family who “order” four girls, but a mistake is made and three girls and one boy are delivered instead. The boy dreams of partaking in sports and other boy-type activities, but his mother forces him to act like his sisters and refuses to believe the truth (“I’m a boy, I’m a boy, but my Mum won’t admit it”). The track was produced by Kit Lambert at IBC Studios around 31 July – 1 August 1966 and released just over three weeks later on 26 August 1966 with “In the City” as the B-side. The single was successful, reaching number 2 in the UK singles chart. It failed to repeat that success in the US.

The original recording (released as a single) which features John Entwistle’s French horn arrangement prominently in the mix is available on the album Who’s Missing.[1] The version included on most compilations, since the 1966 release, is exactly the same recording, with French horns removed.

A different, slower version was recorded in London in the week of 3 October 1966 and was intended for an early version of A Quick One titled Jigsaw Puzzle but was later released on Meaty Beaty Big and Bouncy in 1971. Another similar version was released on a bonus disc of The Ultimate Collection in 2002 and is unique to that album.

The song was performed at The Who’s legendary concert at Leeds, released in album format as Live at Leeds. On the Live at Leeds album, Pete Townshend comments on the song by saying:

“              We’d like to play three selected hit singles–three easiest…and “I’m a Boy” which according to the, (crowd cheers) thank you, according to the Melody Maker was our first number one in England I think for about a half an hour (crowd laughs).                ”

The single’s B-side, “In the City”, inspired The Jam’s song of the same name. The latter borrows its chord progression and a part of its lyrics from the Who song.

The Who by Numbers

The Who by Numbers is the seventh studio album by the English rock band The Who, released on 3 October 1975 in the United Kingdom through Polydor Records, and on 6 October 1975 in the United States by MCA Records. It was named the tenth-best album of the year in The Village Voice Pazz & Jop critics poll.[1]

Pete Townshend has claimed that the band recorded practically every song he had written for The Who by Numbers, partially due to a writer’s block that he was experiencing at the time.[2] The songs on the album were, for the most part, more introspective and personal than many other songs that the band had released. Townshend had his 30th birthday in May 1975 and was struggling with the idea of being too old to play rock-and-roll and that the band were losing their relevance.[3] He began to feel disenchanted with the music industry, a feeling that he carried into his songs. He said of the songs on the album:

[The songs] were written with me stoned out of my brain in my living room, crying my eyes out… detached from my own work and from the whole project… I felt empty.[3]

After concluding the album tour for Quadrophenia in June 1974, The Who took an extended hiatus and did not perform live for more than a year. John Entwistle kept himself occupied by playing solo gigs. In addition, the band spent this time filming a movie based on the Tommy rock opera.

Heaven and Hell (The Who song)

“Heaven and Hell” is a song by English rock band The Who written by group bassist John Entwistle. The studio version (originally recorded for an April 1970 BBC session), which appeared on the B-side of the live “Summertime Blues” single, is currently available only on the Thirty Years of Maximum R&B boxed set, though several live versions of the song exist on official releases. The song was one of many Entwistle B-side singles and one of his live staples.

Happy Jack (song)

“Happy Jack” is a song by the British rock band The Who. It was released as a single in December 1966 in the UK, peaking at No. 3 in the charts.[1] It peaked at No. 1 in Canada. It was also their first top 40 hit in the United States, where it was released in March 1967 and peaked at No. 24.[1] It was included on the American version of their second album, Happy Jack, originally titled A Quick One in the UK.

The song features Roger Daltrey on lead vocals with John Entwistle singing the first verse, making it one of the few songs composed by Pete Townshend to feature Entwistle on lead vocals. Author Mike Segretto describes Daltrey’s vocal as “imitating Burl Ives.”[2] At the tail end of “Happy Jack”, Townshend can be heard shouting “I saw you!”, and it is said that he was noticing drummer Keith Moon trying to join in surreptitiously to add his voice to the recording, something the rest of the band disliked.[3][4] Rolling Stone Magazine critic Dave Marsh calls this line “the hippest thing” about the song.[4]

According to some sources, Townshend reported the song is about a man who slept on the beach near where Townshend vacationed as a child. Children on the beach would laugh at the man and once buried him in the sand. However, the man never seemed to mind and only smiled in response. According to Marsh, “the lyric is basically a fairy tale, not surprisingly, given the link’s to Pete’s childhood.[4]

Greg Littmann interprets the song as a possible reaction to alienation, as Jack allows “the cruelty of other people slide off his back.”[5]

Despite its chart success, Who biographer Greg Atkins describes the song as being the band’s weakest single to that point.[1] Daltrey reportedly thought the song sounded like a “German oompah song.”[2] But Chris Charlesworth praised the “high harmonies, quirky subject matter” and “fat bass and drums that suspend belief.[3] Charlesworth particularly praised Moon’s drumming for carrying not just the beat, but also the melody itself, in what he calls “startlingly original fashion.”[3] Marsh states that although the song contained little that the band had not done before, it did “what the band did well,” giving the “soaring harmonies, enormously fat bass notes, thunderous drumming” and the guitar riffs as examples.[4]

Had Enough (The Who song)

“Had Enough” is a song written by The Who bassist John Entwistle, and featured on their eighth studio album, Who Are You. It was also released as a double A-sided single with “Who Are You”, making it Entwistle’s second single A-side, after “Postcard” from Odds & Sods in 1974.

Like “905”, “Had Enough” was planned to feature on a rock opera in the process of being written by Entwistle, but was never finished. It was written a long time before work was started on Who Are You. The lyrics describe the main character of the failed rock opera, 905, finally snapping under the pressure and stress of his life.[2]

“Had Enough” saw single release as a double-A side single with “Who Are You” in 1978 prior to the Who Are You album’s release. Despite this, “Had Enough” received far less radio airplay than “Who Are You.” Entwistle later joked that most people probably thought the song was a B-side because it said “Entwistle” on it.[3] It was never performed live by the Who, although it featured in many of Entwistle’s solo concerts.[4]

My Generation (album)

My Generation is the debut studio album by the English rock band The Who, released by Brunswick Records in the United Kingdom on 3 December 1965. In the United States, it was released by Decca Records as The Who Sings My Generation in April 1966, with a different cover and a slightly altered track listing.[1]

The album was made immediately after the Who got their first singles on the charts and according to the booklet in the Deluxe Edition, it was later dismissed by the band as something of a rush job that did not accurately represent their stage performance of the time. On the other hand, critics often rate it as one of the best rock albums of all time.

Going Mobile

“Going Mobile” is a song written by Pete Townshend and originally released by The Who on their 1971 album Who’s Next. It was originally written for Townshend’s abandoned Lifehouse project, with lyrics celebrating the joy of having a mobile home and being able to travel the open road. The Who’s lead singer Roger Daltrey did not take part in the recording of the song, leaving the rest of the band to record it as a power trio; Townshend handles the lead vocals, guitars, and synthesizers, with John Entwistle on bass and Keith Moon on drums. The song has attracted mixed reviews from music critics.

Getting in Tune

“Getting in Tune” is a song written by Pete Townshend and originally released by The Who on their 1971 album Who’s Next. It was originally written as part of Townshend’s abandoned Lifehouse project. Its lyrics describe the power of music, as well as reflect the inner contradictions Townshend was feeling at the time between his spiritual needs and his persona as a rock star. The music incorporates a number of changes in tempo and has been praised by critics for its use of dynamics.

Eminence Front

“Eminence Front” is a song written and sung by Pete Townshend of The Who. It appears as the sixth track on the group’s 1982 studio album, It’s Hard. The single reached number 68 on the Billboard Hot 100.[1] It is the only song from the album that the band has opted to play live after the initial post-release tours. Lead singer Roger Daltrey, vocally critical of the album, described “Eminence Front” as the only song on it that he felt was worthy of being released.[2]

Dreaming from the Waist

“Dreaming from the Waist” is a song by The Who, written by Pete Townshend and released on the group’s 1975 album The Who by Numbers (reissued in 1996); it also served as the B-side of the “Slip Kid” single, released in 1976 in the United States. The track’s lyrics deal with sexual frustration and the restlessness associated with getting older (Townshend had turned 30 in 1975), while the music features a bass solo from John Entwistle.

A live version recorded in Swansea, Wales on 12 June 1976 appears on the The Who by Numbers reissue and the Thirty Years of Maximum R&B box set, while the 9 December 1975 version from Cleveland was included in the Thirty Years of Maximum R&B Live video and DVD. In an interview from Thirty Years of Maximum R&B Live, Townshend declared “Dreaming from the Waist” as one of his least favorite songs to play onstage (referring to it as a “fresh turd” at the conclusion of song’s performance at the band’s one-off show at Kilburn in December 1977); in humorous contrast, John Entwistle, claimed in the same series of interviews that “Dreaming from the Waist” was one of his favorite songs to perform.

Dr. Jekyll and Mr. Hyde (The Who song)

“Dr. Jekyll and Mr. Hyde” is a song by English rock band, The Who. It was written by the band’s bassist, John Entwistle.

The song was about drummer Keith Moon’s drinking problems. This would be the first of two songs from The Who written about Keith Moon, the second being “Doctor Jimmy” from the album Quadrophenia. Who biographer John Atkins calls it “a macabre tribute to Keith Moon.”[1]

“Dr. Jekyll and Mr. Hyde” has been compared to a Hammer horror film.[2][1] The lyrics describe the good and evil elements within a single character, as in Robert Louis Stevenson’s “Dr. Jekyll and Mr. Hyde” story.[1] The music incorporates a “scarey opening” and has a melody led by Entwistle’s bass guitar line, which Chris Charlesworth describes as “menacing” and Atkins describes as “grinding.”[2][1] It also contains a French horn solo that Charlesworth describes as “spooky.”[2] Atkins describes the melody as being “strongly inventive.”[1]

“Dr. Jekyll and Mr. Hyde” had been considered as a possible single release, along with “Call Me Lightning,” but it was released the B-side of “Call Me Lightning” instead.[1] Atkins laments this decision, stating that although its horror film imagery was not ideal for a single, it was far better than “Call Me Lightning.”[1] He considers it one of Entwistle’s best songs, saying that the “music and performance combine to create a perfectly chilling horror-comic Gothic mood piece.”[1] Charlesworth states that the song “succeeds admirably.”[2]

Two very different versions of this song exist.[3] The first one, running 2:24, is the B-Side to the US single “Call Me Lightning”. It is still available on the 1968 compilation album Magic Bus: The Who on Tour. The second version, which exceeds the former’s length by 14 seconds, was the B-Side to the UK single “Magic Bus”. This version has a more prominent guitar line, as well as spooky “Mr. Hyde” effects (the voice John Entwistle had used in chorus of the song “Boris the Spider”) and can be found on the Japanese release of the Who’s Missing/Two’s Missing compilation released in 2011.

This song, as well as “Boris the Spider” and “Silas Stingy” all had lyrics that suited children.

Kit Lambert had the idea of making a kids’ album composed entirely of songs like these, but it never saw the light of day.

Don’t Let Go the Coat

“Don’t Let Go the Coat” is a song written by Pete Townshend and first released on The Who’s 1981 album Face Dances.

It was released as a single following up on the first single from Face Dances, “You Better You Bet”, but did not achieve the same success, reaching number 47 in the UK and number 84 in the US.[2][3][4] It has also been released on several compilation albums, and Pete Townshend himself released an alternate version of the song on his album Another Scoop.[5][6]

Dogs (The Who song)

“Dogs” is a UK single released by The Who in June 1968.[1] It reached number 25 on the UK singles chart, lower than any single the band had released in several years.[2][3] The B-side of the UK single was “Call Me Lightning”. Both songs were originally released mixed in mono only, as they were not intended for album release.

The lyrics of “Dogs” were inspired by Townshend’s friend Chris Morphet who had a fascination with greyhound racing. Morphet contributes harmonica and backing vocals. It was recorded at London’s Advision Studios in May 1968. Townshend booked this studio as it was the first in the UK to install professional reel-to-reel eight-track equipment. Prior to this The Who had only recorded in the U.K. at studios with a maximum of four tracks.

Uncut magazine describes the song as “mockney music-hall.”[4] The lyrics describe a love story set at a dog rate track and deal with such working-class activities as gambling, drinking beer and eating meat pies.[4][3] Uncut praised its whimsy, imaginative arrangement and “tumultuous rhythm.”[4] Who biographer John Atkins praises its “soaring melodies, interesting chord changes and irresistible hook lines” and particularly praises “one really tremendous descending melody” at the 2:28 mark.[3] Atkins claims that it is “probably the most underrated song ever released by The Who” and goes so far as to state that it “can be seen as a masterpiece of 1960s pop.”[3] On the contrary, author Mat Snow described the song as “amusing and zany but melodically unfocused.”[2]

The song was not a major commercial success at the time of its release, perhaps because of its rather bizarre and campy style. Several commentators have suggested that the song was influenced by the music of the Small Faces, particularly their song “Lazy Sunday,” which had been a recent hit.[4][3] Entwistle later said that it sounded much more like the Small Faces and suggested that it would have perhaps been better for both groups if they had recorded it instead. Roger Daltrey concurred, stating that the song was Pete Townshend’s “tribute to Ronnie Lane” and that “it’d have been better if Pete had just given the song to Ronnie in the first place. As a Who record, it was all a bit frivolous for me.”[4] Pete said in the notes to the 1974 LP Odds & Sods that this was one of the songs recorded during a period when the group went “slightly mad.” The song contains both singing and spoken sections and has vocal contributions from three members of the group, Roger, Pete and John. It includes the memorable closing phrase, “Nice dog, yes, lovely form, lovely buttocks”, spoken by Pete.

A subsequent song “Dogs (Part Two)” was later released as the B-side of “Pinball Wizard” in 1969.[4] Despite the titles the two songs are musically unrelated.[4] “Dogs (Part Two)” is an instrumental credited to Keith Moon. Both “Dogs” songs were included on the 1987 U.S. collection Two’s Missing. That album is out of print, but “Dogs” is available in a 1990s era stereo remix on the box set 30 Years of Maximum R&B; a stereo mix of “Dogs (Part Two)” was included on the bonus disc of the Tommy deluxe edition in 2003. It was once again released in mono as it was included in the two-disc edition of The Who Hits 50!.

Magic Bus: The Who on Tour

Magic Bus: The Who on Tour was the fourth American album by British rock band The Who, released in the US in September 1968 to capitalize on the success of their single of the same name.[1] It is a compilation album of previously released material, and was not issued in the UK, although the album was also released at approximately the same time in Canada. It peaked at #39 on the Billboard 200.[2]

The somewhat deceptive title implies that the songs were recorded live, but all recordings here are in fact studio tracks. The album’s track list duplicates a few songs from the second and third US albums, but also contains singles tracks and tracks from extended play singles that were previously unavailable on a US album. Members of the group (Pete Townshend in particular) have frequently expressed their dislike of this compilation. When the cover pictures were taken the group was not made aware by Decca that the shots would be used for a US album. Immediately following the modest success of this album, a similar but unrelated Who compilation, Direct Hits, was released in the UK by Track Records.

In 1974, the album was re-issued by MCA Records in the US and Canada as part of a budget priced double album set which also included the 1966 US debut The Who Sings My Generation. It was reissued on compact disc by MCA Records in the 1980s, but was not included among the catalogue remastering that took place in the 1990s. Though out of print in the US, the 1980s CD remains available in Canada.[citation needed]

Boris the Spider

“Boris the Spider” is a song written by The Who’s bass guitarist, John Entwistle. It appears as the second track of their 1966 album A Quick One. This song is claimed to be Entwistle’s first composition, and became a staple of live shows.[1] This song, along with “My Wife”, “Heaven and Hell” and “The Quiet One”, were Entwistle’s biggest songs to perform live. “The Quiet One” was written to replace this song and “My Wife”, which Entwistle had become quite tired of singing.[2] Though this song was popular, it was not released as a single in the US and the UK. In Japan, “Boris the Spider” was released as the B-side to “Whiskey Man” in 1967.

“Boris the Spider” was written after Entwistle had been out drinking with The Rolling Stones’ bass guitarist, Bill Wyman. They were making up funny names for animals when Entwistle came up with “Boris the Spider”. The song was written by Entwistle in six minutes and is considered a horror song.[3]

The chorus of “Boris the Spider” was sung in basso profundo by Entwistle, mimicking a popular Spike Milligan character, Throat, from The Goon Show, (which possibly helped give birth to the “death growl”), with a middle eight of “creepy crawly” sung in falsetto. These discordant passages and the black comedy of the theme made the song a stage favourite.

According to Pete Townshend in his song-by-song review of Meaty Beaty Big and Bouncy for Rolling Stone, it was Jimi Hendrix’s favourite Who song.

Subsequent to A Quick One, the central riff appears again as an encore to The Who’s rendition of Grieg’s In the Hall of the Mountain King recorded during the sessions for The Who Sell Out, but Entwistle sings “Radio London” instead. Although not released as part of the original listing of The Who Sell Out, the track appears on both the 1995 and 2009 reissues.

The Who by Numbers

The Who by Numbers is the seventh studio album by the English rock band The Who, released on 3 October 1975 in the United Kingdom through Polydor Records, and on 6 October 1975 in the United States by MCA Records. It was named the tenth-best album of the year in The Village Voice Pazz & Jop critics poll.[1]

Pete Townshend has claimed that the band recorded practically every song he had written for The Who by Numbers, partially due to a writer’s block that he was experiencing at the time.[2] The songs on the album were, for the most part, more introspective and personal than many other songs that the band had released. Townshend had his 30th birthday in May 1975 and was struggling with the idea of being too old to play rock-and-roll and that the band were losing their relevance.[3] He began to feel disenchanted with the music industry, a feeling that he carried into his songs. He said of the songs on the album:

[The songs] were written with me stoned out of my brain in my living room, crying my eyes out… detached from my own work and from the whole project… I felt empty.[3]

After concluding the album tour for Quadrophenia in June 1974, The Who took an extended hiatus and did not perform live for more than a year. John Entwistle kept himself occupied by playing solo gigs. In addition, the band spent this time filming a movie based on the Tommy rock opera.

Bell Boy (song)

“Bell Boy” is a song recorded by The Who for the 1973 album Quadrophenia and 1979 movie of the same name. It was never released as a single.

Besides the main lead vocal by frontman Roger Daltrey, the song features vocals by drummer Keith Moon (most of whose relatively few vocals for the band dated from the ’60s). Moon mostly talks (or sings) his lines in a cartoonish voice with an exaggerated Cockney accent; however the bridge and the last line are sung in his natural voice. The shouts of “Bell Boy” are the lines of Jimmy from the disgusted realization of what the Ace Face actually was, symbolic of the theme of disillusionment throughout the album.

Lyrically, this is the final straw for Jimmy, having just found out that the Ace-Face he had looked up to as a Mod was now a Bell Boy, working for everyone rather than ruling over everyone at the same Brighton hotel the Mods had smashed up back in 1963 (“I don’t suppose you would remember me/But I used to follow you back in ’63”). The previous lines (“Ain’t you the guy who used to set the paces/Riding up in front of a hundred faces”) refer to the “Hundred Faces”, a fan club set up by the Who’s managers Kit Lambert and Chris Stamp to promote the group in their early days.[2][3]

In the short story written by Townshend in the album’s libretto/liner notes, it is explained that Jimmy never thought he’d be let down by being a Mod (given everything else had let him down). Pete Townshend said of the song’s meaning:

He meets an old Ace Face who’s now a bellhop at the very hotel the Mods tore up. And he looks on Jimmy with a mixture of pity and contempt, really, and tells him, in effect, ‘Look, my job is shit and my life is a tragedy. But you – look at you, you’re dead!

— Pete Townshend[1]

Behind Blue Eyes

“Behind Blue Eyes” is a song by the English rock band The Who. It was released in October 1971 as the second single from their fifth album Who’s Next and was originally written by Pete Townshend for his Lifehouse project.[2][3] The song is one of The Who’s most well known recordings and has been covered by many artists.

“Behind Blue Eyes” originated after a Who concert in Denver on June 9th, 1970.[4] Following the performance, Townshend became tempted by a female groupie, but he instead went back to his room alone, possibly as a result of the teachings of his spiritual leader, Meher Baba.[5] Upon reaching his room, he began writing a prayer, the first words being “When my fist clenches, crack it open…” These words later appeared as lyrics in the “climactic rocking section” of “Behind Blue Eyes.”[5]

When “Behind Blue Eyes” was to be released as part of the aborted Lifehouse project, the song was sung from the point of view of the main villain, Jumbo. The lyrics are a first-person lament from Jumbo, who is always angry and full of angst because of all the pressure and temptation that surrounds him, and the song was intended to be his “theme song” had the project been successful. Pete Townshend said of the song’s lyrics:

Be Lucky

“Be Lucky” is a song by The Who, written by Pete Townshend and recorded for the band’s compilation album The Who Hits 50! released in 2014. The song is the first new material released by The Who in the eight years since their 2006 studio album Endless Wire. The royalties from “Be Lucky” benefited Teen Cancer America, a US outgrowth of Roger Daltrey’s successful UK charity, the Teenage Cancer Trust.[1]

Bargain (song)

“Bargain” is a song written by Pete Townshend that was first released by The Who on their 1971 album Who’s Next. It is a love song, although the intended subject of the song is God rather than a woman. The song has been included on several compilation and live albums. It was also included on several of Townshend’s solo projects. Critics have praised the song’s lyricism and power, as well as the performance of the band on the song. Townshend acknowledged during the Who’s concert at the Prudential Center in Newark on March 19, 2016 that this is his favorite song on this album.

Baba O’Riley

“Baba O’Riley” (sometimes mistakenly known as “Teenage Wasteland”) is a song by the English rock band The Who. It is the opening track to the band’s studio album Who’s Next, and was issued in Europe as a single on 23 October 1971, coupled with “My Wife”.

Roger Daltrey sings most of the song, with Pete Townshend singing the middle eight: “Don’t cry/don’t raise your eye/it’s only teenage wasteland”. The song’s title is a combination of the names of two of Townshend’s philosophical and musical influences, Meher Baba and Terry Riley.

“Baba O’Riley” was included in Time magazine’s list of the All-Time 100 Songs, Rolling Stone’s list of “The 500 Greatest Songs of All Time”, and the Rock and Roll Hall of Fame as one of the 500 Songs That Shaped Rock and Roll. It has appeared in a number of films and television shows, including CSI: NY, Miami Vice, House MD and The Peanuts Movie in 2015.

Athena (song)

“Athena” (the working title being “Theresa”) is a song written by Pete Townshend and recorded by The Who. It appears as the first track on the group’s tenth album It’s Hard, released in 1982. Written for actress Theresa Russell, the song was the first single from It’s Hard. The single was a moderate success reaching the Top 40 in both Britain and America.

“Athena” was released as the first single from It’s Hard, backed with “A Man Is a Man” in Britain and “It’s Your Turn” in America. The single achieved moderate chart success, reaching number 28 on the US Billboard Hot 100, but received good airplay on album-oriented rock and later classic rock radio formats. “Athena” also reached number 40 on the UK Singles Chart, making it both the band’s last UK and US Top 40 single.[2] The single also reached #5 in Canada.
In addition to appearing on It’s Hard, “Athena” also was released on both the The Ultimate Collection and the deluxe edition of The Who Hits 50! compilation albums.

Despite this being the first single from the album and well-received on rock radio, The Who only played “Athena” a total of ten times on the band’s 1982 tour, and has not played the song again ever since.

Anyway, Anyhow, Anywhere

“Anyway, Anyhow, Anywhere” was a single released by The Who in 1965. It features call-and-response lyrics (especially common in Who lyrics at this time) and some of the first ever recorded guitar feedback. The song was composed by lead singer Roger Daltrey and guitarist Pete Townshend, the only time they wrote together. The guitar feedback, although not the first to be heard on a record (see The Beatles’ “I Feel Fine”), is thought to be the first solo with feedback. This is the first Who release with Nicky Hopkins playing piano.

Townshend said of the song:

I wrote the first verse and Roger helped me with the rest. I was inspired by listening to Charlie Parker, feeling that this was really a free spirit, and whatever he’d done with drugs and booze and everything else, that his playing released him and freed his spirit, and I wanted us to be like that, and I wanted to write a song about that, a spiritual song.

The song was rarely played live for most of The Who’s career, but since 1999 has become a staple for their live shows; it appears on the album Live at the Royal Albert Hall. It can also be found on BBC Sessions and The Kids Are Alright.

Another Tricky Day

“Another Tricky Day” is the ninth track on The Who’s album Face Dances, written by Who guitarist Pete Townshend.

According to Townshend, keyboardist John Bundrick, who was playing with the Who on tour, inspired the song.[1][2] The lyrics of the track claim that there is “no social crisis”, saying that this so-called dilemma is “just another tricky day”. Steve Grantley and Alan Parker, authors of the book The Who by Numbers: The Story of The Who Through Their Music, compare the track’s lyrical content to the Rolling Stones’ track, “You Can’t Always Get What You Want”. They also say that the track is “still a pragmatic and optimistic note on which to end [Face Dances].”[3] The editors of Rolling Stone Magazine described the song as “a defiant yet complex tune about music’s power amid life’s problems.”[1] Author Chris Charlesworth described the lyrics as “pessimistic” while acknowledging that the song was “more interesting that most on Face Dances.”[4] In 2015, the editors of Rolling Stone Magazine rated “Another Tricky Day” as the Who’s 48th all-time greatest song.[1]

“Another Tricky Day” generally has received positive reviews. Rolling Stone Magazine’s Tom Carson said “In ‘Another Tricky Day,’ the constant shifts of melodic focus – a rhythm guitar unraveling here; a rumble of bass, a quick harmony or swatch of rippling keyboards there – express the song’s life-goes-on theme. The changes of mood from line to line – rebellious, fatalistic, confident, worried – are all held together by the chorus: ‘This is no social crisis. . . Just gotta get used to it. With its carefully modulated dynamics and Daltrey’s finest singing, “Another Tricky Day” approaches perfection, effortlessly achteving (sic.) the calm within the storm that most of the record strains for.”[5] Grantley and Parker said that the track “is the real high point of Face Dances” and that “the band have regained much of the swagger of old… just in time”.[3]

“Another Tricky Day” was included on the UK version of the compilation album The Ultimate Collection.[2][6]

A video in the same style as the videos for “You Better You Bet” and “Don’t Let Go the Coat” was made at the same session as the videos for the singles, even though the song was not released as a single.[2][7]

Tommy (album)

Tommy is the fourth studio album by the English rock band The Who, a double album first released in May 1969. The album was mostly composed by guitarist Pete Townshend as a rock opera that tells the story about a deaf, dumb and blind boy, including his experiences with life and his relationship with his family.

Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and attempted to translate Baba’s teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who’s breakthrough. Its critical standing diminished slightly in later years; nonetheless, several writers view it as an important and influential album in the history of rock music. The Who promoted the album’s release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House and the 1970 Isle of Wight Festival. The live performances of Tommy drew critical praise and rejuvenated the band’s career.

Subsequently, the rock opera developed into other media, including a Seattle Opera production in 1971, an orchestral version by Lou Reizner in 1972, a film in 1975, and a Broadway musical in 1992. The original album has sold 20 million copies and has been inducted into the Grammy Hall of Fame. It has been reissued several times on CD, including a remix by Jon Astley in 1996, a deluxe Super Audio CD in 2003, and a super deluxe box set in 2013, including previously unreleased demos and live material.

The Acid Queen

“The Acid Queen” is a song written by Pete Townshend and is the ninth song on The Who’s rock opera album Tommy. Townshend also sings the lead vocals. The song tells the attempts of Tommy’s parents to try to cure him. They leave him with a gypsy, a self-proclaimed “Acid Queen”. She feeds Tommy various hallucinogenic drugs.

“The Acid Queen” is often grouped with the album’s next track, “Underture”, a lengthy instrumental which deals with Tommy’s hallucinations and his experience with acid. The one cover song on Tommy, “Eyesight to the Blind,” may have been included to introduce the character of the acid queen.[1] Tommy’s parents take Tommy to the Acid Queen to see if her “lascivious attentions” can cure Tommy of his ills.[2] However, she is unsuccessful in awakening him.[2]

Several notable singers have performed the song including Merry Clayton, Patti LaBelle, Bette Midler and Tina Turner.

Pete Townshend used Tommy’s blindness to represent our “…blindness to reality.” The Acid Queen symbolized mindless self-indulgence, and attempted to use drugs to cure Tommy’s ailments: deafness, muteness and blindness.” Townshend has also said that “The song’s not just about acid: it’s the whole drug thing, the drink thing, the sex thing wrapped into one big ball. It’s about how you get it laid on you that if you haven’t fucked forty birds, taken sixty trips, drunk fourteen pints or whatever…society – people – force it on you. She represents this force.”[3][2]

Who biographer John Atkins describes the song as “a distinctive and fully matured song in which Pete’s vocals give a fine sense of urgency, suggesting that a sexual as well as drug initiation is being offered by the character.[1] Chris Charlesworth calls it “one of the best songs on Tommy.”[3]

A Quick One, While He’s Away

“A Quick One, While He’s Away” is a 1966 medley written by Pete Townshend and recorded by The Who for their second album A Quick One. The song also appears on the album BBC Sessions. In the performance on their Live at Leeds album Townshend calls the nine-minute “epic” track a “mini-opera” and introduces it as “Tommy’s parents”.
The song tells the story of an unnamed girl whose lover has been gone “for nigh on a year”. Her friends inform her that they “have a remedy”; the remedy comes in the form of Ivor the Engine Driver. When the lover returns, the girl confesses her infidelity, and she is ultimately forgiven.

A Legal Matter

“A Legal Matter” is a song written by Pete Townshend and recorded by The Who for their debut album My Generation. It was recorded on 12 October 1965 at IBC Studios, and released as the B-side to “The Kids Are Alright” in the U.S. The single was released by producer Shel Talmy without the permission of The Who and reached number 32.[1][2] This was an attempt to sabotage the release of the band’s chosen single “Substitute” which reached number 5, as a result of a legal dispute between Talmy and the band at the time.[3]

The subject of the song is divorce and it marks the first time Townshend sang lead vocals, rather than Roger Daltrey, possibly because the song was too close to home for Daltrey who was divorcing his wife at the time.[1] Who biographer John Atkins describes Townshend’s voice on the song as being higher and less abrasive than Daltry’s.[3] But Rolling Stone Magazine critic Dave Marsh thinks that the although the vocal has some charm, it does not suggest that Townshend’s voice would be good enough to be the band’s full-time lead singer.[2] Author Mike Segretto describes the vocal as a “noncommercial adenoidal croon.”[4] According to Allmusic critic Stewart Mason, “adenoidal whine actually makes the singer sound like he’s sneaking out in the dead of night, scared to death that his wife’s going to catch him.”[5]

Atkins describes the two note guitar figure used in the introduction to the song as being “memorable and catchy.”[3] He states that the song incorporates a “short, jolting rhythm” similar to that on their more famous song “My Generation.”[3] Steve Grantley and Alan G. Parker state that “the band sound like they have been let off the leash and really let rip to create another early classic.”[6] Segretto describes the melody as being “excellent.”[4] Nicky Hopkins joins the band on piano, and Segretto claims that his “hyper piano runs contribute much amphetamine fuel to the song.[3][4]

Atkins also notes the “ironic humour” of the song.[3] Mason also finds the song “funny.”[5] Segretto points out that the lyrics are surprisingly misogynistic coming from Townshend, but that is softened by the “playful tone and cute lines like ‘Just wanna keep on doing all the dirty little things I do.”[4] According to Townshend the song “is about a guy on the run from a chick about to pin him down for breach of contract. What this song was screaming from behind lines like ‘It’s a legal matter, baby, marrying’s no fun/It’s a legal matter, baby, you got me on the run’ was, “I’m lonely, I’m hungry, the bed needs making.’ I wanted a maid, I suppose.”[2] Marsh suggests that the protagonist really doesn’t want to marry because “he’s terrified of discovering who he really is (boring, middle-class and conventional.)”[2]

Several commentators noted an influence from the Rolling Stones on this song, particularly their song “The Last Time.”[1][3][5][6] For example, Segretto states “A Legal Matter” has “a nagging, droning riff that may share DNA with ‘The Last Time.'”[4] Mason states that the song “proves conclusively that Pete Townshend was working on a different plane than just about every other songwriter in London in 1965.”[5]

Who Are You

Who Are You is the eighth studio album by English rock band The Who, released by Polydor Records in the United Kingdom and MCA Records in the United States. The album received mixed reviews from critics, though it was a commercial success, peaking at number 2 on the US charts and number 6 on the UK charts.[1]

Who Are You was The Who’s last album to feature Keith Moon as drummer; Moon died three weeks following the album’s release. The paradoxical nature of the text “Not To Be Taken Away” that was written on Moon’s chair on the album cover was noted by some critics.[2] Moon’s death brought concerns that the group would have to fold; he was ultimately replaced as drummer by Kenney Jones.

5.15

“5:15” (sometimes written “5.15” or “5’15”) is a song written by Pete Townshend of British rock band The Who. Part of the band’s second rock opera, Quadrophenia (1973), the song was also released as a single and reached No. 20 on the UK Singles Chart,[1] while the 1979 re-release (accompanying the film and soundtrack album) reached No. 45 on the Billboard Hot 100.[2]

Although written as “5.15” on the single cover, on the back cover of Quadrophenia (the album from which the song is taken) it is written as “5:15”.

Lighthouse (Westlife song)

“Lighthouse” is a song by Irish boy band Westlife. It is the lead single from their second compilation album, Greatest Hits. The song is their second final physical single after their announcement to disband. The song was written by Gary Barlow and John Shanks, and was released on 11 November 2011. A music video was filmed in South Africa and premiered on 20 October 2011. The song became their second-lowest charting single in Ireland and their lowest-charting single in the United Kingdom, charting at number eleven and thirty-two respectively.

Something Right

“Something Right” is a song by Irish boyband Westlife from their ninth studio album, Back Home. The song was released as the band’s second single in Asia and Europe following their first single, “Home”, as well as the album’s overall third single.[1][2][3] The song was composed by Rami Yacoub, Savan Kotecha and Arnthor Birgisson. A music video was filmed in December 2007 in London and premiered on March 7, 2008.

The band’s record label, Sony BMG, aimed to increase album promotions and sales through the release of this single, which happens to be a fan favourite.[4] The song was composed by Rami Yacoub, Savan Kotecha and Arnthor Birgisson, who also contributed the songs “Us Against the World”, “The Easy Way”, and “Pictures In My Head” to the Back Home album.

The music video for “Something Right” began shoot on 17 December 2007, directed by Amber and Brown and was shot in London.[5] It premiered on March 7, 2008 on music channels. The video uses a brand new remix track of the song and was shot using green screen, featuring the band in a desert and subsequently in a futuristic night setting.

Obvious (Westlife song)

“Obvious” is the third and final single released from Westlife’s fourth studio album, Turnaround. It was written by Carl Björsell, Carl Falk, Didrik Thott, and Sebastian Thott under their stage name Pilot, Savan Kotecha, and Andreas Carlsson. It was produced by Jake Schulze, Kristian Lundin, and Karl Engström, with additional production by Quiz & Larossi.

“Obvious” peaked at number three on the UK Singles Chart, but marked the departure of Brian McFadden from the band. The band originally planned to write a farewell song for Brian, as it was his choice to leave, however, due to tour rehearsals and TV appearances, it was decided “Obvious” would be released as a single instead. However, as a tribute, CD2 features a medley of Brian’s favourite Westlife songs.

Tonight/Miss You Nights

“Tonight”/”Miss You Nights” is the second and last single released from Westlife’s greatest hits album, ‘Unbreakable’. It was released as a double A-Side in the UK, but in some other countries, both songs were released separately.

“Tonight” was written by Steve Mac, Wayne Hector and Jorgen Elofsson.[citation needed] “Miss You Nights” is a song written by Dave Townsend and originally recorded by Cliff Richard in 1975. At the time, it had reached #15 in the UK Singles Chart.[citation needed] The Westlife single peaked at #3 on the UK Singles Chart, becoming the band’s second non-chart topper. It sold over 115 000 in UK so far.[1]

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