I remember sending the demo to the record label and telling them I thought we had a good single. Robyn says she's proud of Dancing On My Own because it features elements of "many different worlds" she loves including: "Prince songs, 80s rock ballads and queer electronica". The song was a hit. It went on to top year-end critics' polls , Robyn performed it on TV shows around the world and it was nominated for a Grammy. Then came the first of Robyn's two defining moments in the life of her song.
We'll get to the second later. Robyn says the use of the song was "genius" while Lena Dunham tells Newsbeat it was "magical". In the episode, Lena's character Hannah finds out her ex-boyfriend is gay. She's sat in her flat and Dancing On My Own starts up on her laptop. Her best friend Marnie Alison Williams comes home and they dance in Hannah's bedroom to the track, which then plays over the end credits.
Off camera she says the whole crew was dancing and people were crying. So that's funny. But its most famous cover is by Calum Scott, who gave the song a second lease of life. In , the British singer auditioned for Britain's Got Talent with a stripped-back version of the track, the video of which has now been viewed million times.
He points to the lyric "I'm right over here, why can't you see me? Calum struggled with his sexuality growing up. He says Dancing On My Own became his anthem. Calum's version was released commercially in and performed better than Robyn's original, reaching number two in the UK singles chart. He also describes the "surreal moment" when the two of them met - by chance - at the BBC.
She came up to me and said it was nice to finally meet me. You never expect to meet the person who had the original song". Robyn says Calum and his voice interpreted it in a way that "made the song came alive again". She says there have been so many covers because "it's a great song".
But as Calum was bringing the song to a far wider audience in the mids, Robyn was taking a step back from what she'd created. The song came from a break-up in her own life and she became "tired of the broken heart". I don't feel conflicted and I love performing it and playing it live. The release of With the Beatles was where things in England began to get weird.
Stores were overrun by teenagers wanting the record. It is said to have sold a half-million copies on its first day ; that would be the rough equivalent of 4 million copies in the U. They worked out the logic of this or that scenario, and delivered verdicts or advice accordingly. It took a while before actual love songs with recognizable people and situations in them would be in the offing.
The new six-disc mega rerelease of Sgt. Pepper includes a reproduction of the actual poster. The Beatles set themselves up as Sgt. So why were Sgt. The result is a decent novelty song that provides ammunition for those, like me, who contend that, track for novelty track, the song quality on Sgt. The chorus of this Lennon vocal workout is downright irritating, and the bridge is worse. A flaw in their contracts allowed them to record outside songs for movies, a financial windfall for the studio lucky enough to make the film.
What no one expected was that a young, canny director named Richard Lester would make the resulting movie an unexpected classic, with any number of comic set pieces, ranging from the slapstick to the satirical, that remain invigorating and pointed to this day.
In one scene, George is taken in to be quizzed by an amoral adman on what British youth were thinking. A winsome romp from George Harrison. This song is catchy as hell. The anvil sound is hilarious. Wait — Maxwell kills people? In the wan Let It Be movie, you can see John Lennon looking pensive as the band runs through this piffle, wondering how his life has come to this. Docked 50 notches for the verse in which Maxwell kills the pataphysical scientist.
She seemed cool. This silly Paul number offends on a lot of levels. Much later, McCartney would allow that he was guilty of laziness for putting nontracks like this on his albums. An anticlimax to the last uninteresting album the band would release for several years. They broke up for a lot of reasons. Then Lennon started using heroin. Fun times, fun times. Later he tried to paint the other Beatles as the bad guys.
For this show-offy number, McCartney spent nights in the studio singing his lungs out to get the desired desperation and strain in his voice. The result is just that — show-offy. This first turned up on an American release, Beatles VI. The vulnerability is charming, though.
Another of those early chuggy numbers, Lennon singing lead. A minor, droning number, with a lead vocal by Ringo. One of the least interesting songs on the otherwise sparkling Rubber Soul. Ringo Starr grew up Ritchie Starkey — without a father and in the slums. He nearly died from an infection at 6 — remaining in a hospital for a full year. He then contracted tuberculosis, which gave him an extended stay in a sanitarium and no chance at all of regaining his footing in school.
The dismal future that awaited him was thwarted by chance. His natural likability and gifted affinity for the drums changed everything. He came alive on stage — sporting a streak in his hair and flashy rings.
That put his life on its unlikely trajectory, and ultimately made him a worldwide household name for some 55 years now. That likability, his reliable steady beat, and his flair for a tasteful fill made him an important part of the Beatles, which is saying something. He sang lead on 11 songs. The good songs went to the movies and toward the grueling single-release schedule that Martin and Epstein enforced.
Beatles for Sale, which came out between the two soundtracks, was another unprecedented smash, spending months at No. Great groovy fuzzed-out bass line, though. Supposedly recorded in one take. One assumes this was a live crowd-pleaser, because its charms are elusive on disc. American records were rare in Britain, and the band picked up what songs they could from the eccentric assortment that presented itself; this was originally done in a distaff version by an obscure Detroit girl group called the Donays, written by one Ricky Dee.
Of the four Beatles, Harrison was the only one who grew up in a nuclear family; like the others, though, he also grew up with an outhouse, and playing in rubbled lots, the detritus of a terrible war that had given undue attention to Liverpool, a major port. Lennon could of course be much crueler about it. Harrison responded by leaving Lennon out of his autobiography. This is routinely referred to as a Beatles oddity, but the song itself is from The Music Man , one of the best American musicals of the era.
Some fans love this song. The first version of this song Lennon brought to the group was a slow groove; no one was particularly happy with it, but it ended up being on the album anyway. The song about the meter maid, fine. But we draw the line at animal songs, particularly when the story, pointless to begin with, goes nowhere.
Much later, Lennon would play it with the Plastic Ono Band. A second-tier Carl Perkins number, with Starr singing lead, is another piece of the filler on Beatles for Sale. Paul McCartney is one of the most remarkable, and luckiest, people of the 20th century.
He, too, grew up marginally in a damaged city; he lost his mother at More than any of the Beatles, and indeed more than just about anyone you can think of, he has radiated happiness and contentment and not in a self-satisfied way for most of his life. He was in the biggest-selling band of the s, and was probably the biggest-selling artist of the s as well.
He was also — how to put this? He smoked marijuana heroically most of his life, and lived a great love story with his wife, Linda Eastman, until her too-early death in If Paul McCartney has a dark side, it is the voice inside him demanding that he dominate every genre of pop music with his cosmically pleasurable, almost ridiculously facile skills.
Here, a number for toddlers. A McCartney throwaway that was supposed to be in the middle of the Abbey Road medley. George takes a strong stand about eating sweets. And some people say he was a humorless moralist.
But there was a way in which he was always on parole, and over the years his resentment grew. Docked another five notches for having basically the same title as another, even worse, song on the same album. This one, by Roy Lee Johnson, is a genuine oddity, partly crooned, party wailed. He has an amazing voice. In addition to the lulling arrangement and production — novel and relaxing, spectacular and subtle — we have Paul mulling things over, a step up from grinning platitudes about nothing.
The argument against it is that it is in the end an argument for the status quo. Given his place in the universe, of course Paul McCartney liked things the way they were. A lot of yelling. You might think the song is directed at rich, complacent hippies — but the rich, complacent hippies in the Beatles would never write a song about that, would they?
The very antithesis of a moon-spoon-June love song. Lennon grew up a striking artistic personality, living, it needs hardly be said, at a time and in a place where this was barely recognized.
Without getting too psychological about it, you can say this left him with lingering anger and displacement issues, manifesting in lots of drinking and random acts of cruelty many never forgot.
As the Decade of the Beatles wore on, a growing realization of some of these issues put his sensibility on a collision course with the unprecedented circus of a professional life he had inadvertently found himself in. The result in the latter years of the s was a lot of growing up, and out, in public, via this or that very personal, and sometimes not very attractive, artistic statement on the matter.
Harrison had a very quick, and very subtle, sense of humor; those who knew him presumably saw a lot of that here, but to me it comes across as moralizing. This is a takeoff on Animal Farm , and anything but subtle.
Funny voices, too. Lennon thought he was striking blows against the empire with raspy, unproduced constructions like this. Ladies and Gentleman, Arthur Alexander.
This is a slow grinder, sung earnestly by Lennon. Ringo blasting through a Carl Perkins classic. Way too much echo on the track, though. Painfully plain, this is one of the first complete songs McCartney and Lennon wrote together. Simple is not the word; there are exactly 17 different words in the song, three of which manage to extend to two syllables. This song, powered by a Beethoven-y harpsichord, an extravagant vocal track, and a rudimentary synthesizer, is supposedly not part of the extended medley on the second side of Abbey Road , but its limited lyrics and aimless structure gives it the feel of a fragment.
A story from the trip to India, where they saw a rich kid go on safari. A rare Ringo songwriting credit. If you grew up with Abbey Road you probably still love it.
This is a less interesting, blaring track. An effective rave-up, and one that has stood the test of time. The animation film Yellow Submarine was built around it years later. The film was not written by the Beatles, and does not feature their voices either, but their inspiration made it a highly enjoyable cinematic experience, then and now.
The exuberance keeps on coming. And no one could reproduce the inherent manic feel of the Beatles. A tedious workout. I respect that Lennon is trying to strip down his work to elements, lose his ego, profess his love for Ono, and disappear to be reborn, all that shit.
The outro is interminable, undergirded with a roar of white noise, a nice effect. It finally ends, abruptly, with a sharp cut, mid-note. Later, Emerick came to feel Lennon was right.
A promising rock-out of a beginning goes nowhere. Lennon and McCartney quickly became adept at creating magical pop songs out of common sayings. What came to be called the Get Back sessions featured songs like this — a guitar or two, bass drums, maybe a keyboard, with natural voices on top. You want to like songs like this — and particularly this song, with two of the most familiar voices in the world winding around each other with obvious pleasure. The documentary made of these sessions, Let It Be , is an engrossing, wan, sometimes joyous, but ultimately troubled look at four friends who could no longer get it together to record earth-shattering music.
The band shelved the material and eventually re-formed to record and release Abbey Road. The Get Back session tracks, by this point a red-headed stepchild, were later refashioned to varying degrees by Phil Spector and put out under the name Let It Be , which inadvertently became, in the eyes of the public, the Beatles sad swan song.
The Beatles early middle period was weird. This is one of them. A Smokey Robinson workout, and a favorite of the band from the start. With a sober nod to the past, they played it during the recording of Let It Be.
The import supposedly delivered in this song is pointless. Its official name is merely The Beatles. Side one:. Side two:. After the manic and timeless success that was their first movie, the band and director Richard Lester went back to the well for Help! Despite the conceptual problems, there are striking moments in the first half, not least the cutaway to the credits, and of course the conceit of the foursome going home to a row of townhomes, all of which were connected inside.
The Help! A sunny McCartney track. A Lennon song about a celebrity doctor who dispensed drugs to rich clients in Manhattan. There are various stories about whom or what this song is really about, but in the end the critical undertones seem sophomoric; after all, the Beatles had been surviving on amphetamines for nearly a decade.
Signs of growth, but boy this is an uninteresting song. The intro is one of their drabbest. Another of the so-so unadorned Lennon songs from the last days of the Beatles. Too many of his songs consist of the title words repeated over and over in the chorus. The band played it on the famous rooftop concert in Let It Be , but it was left off the album. The song, famously written as he waited for some friends on Blue Jay Way in the L. Some nice sounds though. This exercise in sound collage could be seen as slumming.
Those who shelled out money for them at the time could take comfort only in the fact that they must have been more tedious to make than they were to consume. A good, rough, and quite novel guitar sound kicks off this track, which the band thought was good enough to lead off Revolver , one of the most significant rock albums ever made.
Indeed, Harrison has three songs on the album. Sound and music and meaning came together for the band here in a way that it never would again. They were adults with an ever-changing, ever-more-pointed way of looking at the world; at the same time, the extraordinary tastefulness of the production techniques instilled by George Martin gave them powerful tools to capture those impressions.
McCartney and Lennon worked on this song, off and on, for months. Too many of the songs on Let It Be are just … minor. This has a hummable melody, a decent bridge, a rambling bass track by McCartney, and really not much else. Some people love this song. I guess this is a minor Beatles song, from the period just before things started to get really interesting, but the melody and the arrangement mix, here, as in so many other songs in their oeuvre, in a lovely and highly likable way. Note the waltz time in the middle eight, with the melancholy insert from Lennon.
A crisp and clean take on the Chuck Berry classic. The band barrels through the verses at top speed, not noticing they are supposed to done herky-jerky style. As recorded, three minutes of pop glory set to a melancholy, aching melody, wrapped up in whistles, flutes, vocals, production swirls, and McCartney ululations.
We take it all for granted now, but the sound spaces created on the track are exquisite. The result is lulling and stately, a dream in audio Technicolor. Too much of the lyrics are clumsy. Is Paul himself the Fool on the Hill? A raucous song that tries to come up with a little social comment. Pepper to compare with the three or four landmark tracks he delivered on Revolver.
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