Dec 14

John Lennon 2

Highly Appreciated

JOHN LENNON – Songwriting
 
 

“My Bonnie Lies over the Ocean” is a traditional Scottish folk song that remains popular to this day.  Several other songs by the Beatles were recorded at that time; Anthology 1 includes “My Bonnie” (but not “The Saints”) plus “Ain’t She Sweet” and “Cry for a Shadow” that were made at the same recording session but without Tony Sheridan.  On “Ain’t She Sweet”, John Lennon sings lead; this song was a staple in their shows back in 1961.  “Cry for a Shadow” is a rare instrumental by the Beatles and the only recording ever credited to George Harrison and John Lennon as songwriters.

 

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As successful as Jagger/Richards have been – and over a much longer period of time – the songwriting partnership of Lennon/McCartney, that is John Lennon and Paul McCartney, might be even more so.  From Wikipedia:  “It is one of the best known and most successful musical collaborations in history.  Between 1962 and 1969, the partnership published approximately 180 jointly credited songs, of which the vast majority were recorded by the Beatles, forming the bulk of their catalogue.” 

 

Unlike many if not most songwriting teams, from the beginning John Lennon and Paul McCartney were adept at writing music as well as lyrics.  Again, Wikipedia states:  “Sometimes, especially early on, they would collaborate extensively when writing songs, working ‘nose to nose and eyeball to eyeball’.  Later, it became more common for one of the two credited authors to write all or most of a song with limited input from the other.”

 

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As I discussed last month, the Lennon/McCartney songwriters started much earlier than Jagger/Richards.  John Lennon and Paul McCartney met in 1957 as teenagers and began writing songs together; they agreed almost immediately to share joint writing credits even for songs written entirely by one of them.  

 

Two of their earliest songs are “One After 909” and “Hello Little Girl”, both written primarily by John Lennon; Wikipedia says that they date from 1957.  “One After 909” was included on the Beatles’ very last album, Let it Be and was also performed during the famous rooftop concert that is included in the film, Let it Be.  

 

“One After 909” definitely sounds like a song from that era.  As quoted in Wikipedia, Paul McCartney has fond memories of this song:  “It’s not a great song but it’s a great favorite of mine because it has great memories for me of John and I trying to write a bluesy freight-train song.  There were a lot of those songs at the time, like ‘Midnight Special’, ‘Freight Train’, ‘Rock Island Line’, so this was the ‘One After 909’; she didn’t get the 909, she got the one after it.” 

 

One of the highlights of Anthology 1 for me are some 1963 recordings of “One After 909”, when the Beatles tried unsuccessfully to put the song together for an early release.  Three takes are presented, each of which breaks down after a short time.  The compilers realized though that an entire performance of the song could be pieced together from these takes, and it is also given on the CD. 

 

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“Hello Little Girl” was included on the Decca Records audition tape; there is also a home demo recording of the song that features Stuart Sutcliffe on bass guitar, which is currently available only on bootleg albums.  A version of “Hello Little Girl” by the Beatles is included on Anthology 1. 

 

Like “I Wanna be Your Man”, which was first recorded by the Rolling Stones, “Hello Little Girl” was one of the songs that they gave to others to record.  A little known Liverpool band (at least in this country) called the Fourmost first recorded “Hello Little Girl” in 1963 and made it to #9 on the British charts; Gerry and the Pacemakers also recorded the song in this time period.  

 

I don’t know anything about the Fourmost except that I think they were the band that I saw in an early booklet or paper about the Beatles who were holding their guitars as though they were violins.  I haven’t been able to find that photo on the Internet though.  “Hello Little Girl” by the Fourmost opens Side 2 of an album called The Songs Lennon and McCartney Gave Away. 

 

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There are probably a lot of people who think of “Yesterday” as being the quintessential Beatles song.  It is certainly their most successful – from Wikipedia:  “It remains popular today with more than 2,200 cover versions and is one of the most covered songs in the history of recorded music.  ‘Yesterday’ was voted the best song of the 20th century in a 1999 BBC Radio 2 poll of music experts and listeners and was also voted the No. 1 pop song of all time by MTV and Rolling Stone magazine the following year.   In 1997, the song was inducted into the Grammy Hall of Fame.  Broadcast Music Incorporated (BMI) asserts that it was performed over seven million times in the 20th century alone.” 

 

However, this is not at all the way that “Yesterday” was viewed at the time.  Although released as a Beatles song, “Yesterday” could be more properly viewed as a Paul McCartney solo work:  Not only was Paul the sole songwriter, but he is also the only bandmember who performed on the song – he is accompanied by a string quartet.  

 

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I discussed last month that the opening riff from “(I Can’t Get No) Satisfaction” came to Keith Richards in a dream.  “Yesterday” has a similar origin; Paul McCartney had the entire melody in his head after a dream (probably sometime in 1964), and he rushed to the piano to play the tune before it faded from memory.  This worried him considerably, as he wondered whether his “dream” was actually someone else’s song; but after checking with several people, Paul was convinced that it was an original work.  There were no lyrics initially; the working title of the song was “Scrambled Eggs”, with these opening lines:  “Scrambled eggs / Oh, my baby how I love your legs”. 

 

Paul McCartney worked on the song incessantly for months; John Lennon is quoted in Wikipedia about “Yesterday”:  “The song was around for months and months before we finally completed it.  Every time we got together to write songs for a recording session, this one would come up.  We almost had it finished.  Paul wrote nearly all of it, but we just couldn’t find the right title.  We called it ‘Scrambled Eggs’ and it became a joke between us.  We made up our minds that only a one-word title would suit, we just couldn’t find the right one.  Then one morning Paul woke up, and the song and the title were both there, completed.  I was sorry in a way, we’d had so many laughs about it.”

 

George Harrison had something to say about “Yesterday” as well:  “Blimey, he’s always talking about that song.  You’d think he was Beethoven or somebody!”.  Producer George Martin also talked about the song at a later date:  “‘[Yesterday]’ wasn’t really a Beatles record and I discussed this with Brian Epstein:  ‘You know this is Paul’s song . . . shall we call it Paul McCartney?’  He said ‘No, whatever we do we are not splitting up the Beatles.’”

 

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Surprisingly, “Yesterday” was not initially released as a single in England; from Wikipedia:  “Since ‘Yesterday’ was unlike the Beatles’ previous work and did not fit in with their image, and was essentially a solo recording, the Beatles refused to permit the release of a single in the United Kingdom.” 

 
Capitol Records did release “Yesterday” b/w “Act Naturally” as a 45 in the U.S. on September 13, 1965, and it was a major hit.  “Yesterday” topped the Billboard Music Charts for 4 weeks – with one million sold within 5 weeks of its release – and was the fifth Number One single among six in a row for the Beatles – a record at that time.  Still, in the Capitol Records files, “Act Naturally” was always considered to be the “A” side of this single. 
 
“Yesterday” was included on a four-song EP by the Beatles that topped the British charts, but even the EP was not released until nearly six months later (on March 4, 1966).  Ten years later, on March 8, 1976, “Yesterday” finally came out as a single in the U.K. but only reached #8 on the charts.  
 
“Yesterday” is included on the British release of Help! but not on the American release; it is basically the title song of the U.S.-only Beatles album, Yesterday and Today. 
 
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The article in Wikipedia on the Beatles’ most famous album starts off like this:  “Sgt. Pepper’s Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles.  Released on 1 June 1967, it was an immediate commercial and critical success, spending 27 weeks at the top of the albums chart in the United Kingdom and 15 weeks at number one in the United States.  Time magazine declared it ‘a historic departure in the progress of music’, and the New Statesman praised its elevation of pop to the level of fine art.  It won four Grammy Awards in 1968, including Album of the Year, the first rock LP to receive this honor.” 
 
Despite the fact that Sgt. Pepper is far from being the unanimous choice by rock critics as the greatest Beatles album, no one can dispute that it made the biggest impact on the rock music scene – rather amazing, considering that they had already been the leading rock band in the world for over three years.  In a career that is loaded with superlatives, the Beatles still have 3 of the 20 biggest selling albums in history nearly a half-century after the music’s creation, with Sgt. Pepper at #13 (having an estimated 32 million in worldwide sales), 1 at #18 (a collection of the band’s Number One songs), and Abbey Road at #20.  
 
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The Beatles made the decision in August 1966 to quit touring and become strictly a studio band – few rock bands have done this as it is difficult to make a living as a musician on album sales alone.  This freed them to be experimental in their later albums by creating music that would be nearly impossible to recreate in an arena.  I am reminded of a comment that one band made who performed at the college when I was a freshman at North Carolina State University (I think it was Chicago).  Audience members were calling out requests; at one point, one of the bandmembers said:  “No, we haven’t learned that one yet.”  It didn’t occur to me for decades that turning out a song in a studio and learning to play it live at a concert could be two very different things. 
 
Paul McCartney came up with the idea of reimagining the Beatles as a military band from the Edwardian era (early 20th Century); they did not really stick to that time period, but they were definitely looking backwards.  
 
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One of the early fruits of this new stance is a Beatles single from that period, “Penny Lane” b/w “Strawberry Fields Forever”.  Penny Lane is a real street in Liverpool, near one of John Lennon’s boyhood homes; the actual place that Paul McCartney was writing about was a bus stop where he would have to change buses when going to John’s house (and vice versa).  Strawberry Field is a Salvation Army children’s home in Liverpool; in his song, John was writing about the garden there where he used to play as a child.  Originally planned for the Sgt. Pepper album, EMI Records pressured the band into releasing them only as a single; the songs were later included on the U.S. version of the Magical Mystery Tour album. 
 
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In Sgt. Pepper’s title song, the album opens with a framing device that, despite being “the band you’ve known for all these years”, serves to introduce the Beatles as “Sgt. Pepper’s Lonely Hearts Club Band”, along with “Sgt. Pepper’s Lonely Hearts Club Band (Reprise)” near the end of the album.  There were even rumors that the band was going to officially change its name, but of course that never happened.  Before launching into their second song, the singer is introduced as “Billy Shears”; then Ringo Starr begins singing “With a Little Help from My Friends”. 
 
Wikipedia reports:  “To date, [Ringo] Starr has closed every concert performed by each version of his All Starr Band, with this song [‘With a Little Help from My Friends’].  After he is done singing, Starr tells the audience, ‘Peace and love . . . peace and love is the only way . . . and good night’, then walks off the stage. . . .
 
“[Paul] McCartney and Ringo Starr . . . performed the song [‘With a Little Help from My Friends’] together on The Night That Changed America: A Grammy Salute to The Beatles, a commemorative show on 27 January 2014, that marked 50 years after the band’s first appearance on The Ed Sullivan Show.” 
 
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Barely one year later, in October 1968, Joe Cocker released a cover of “With a Little Help from My Friends” – a Number One single in the UK – which gets my vote as the most satisfying Beatles cover of all time.  His version of the song is very different from how the Beatles performed it, and that is what covers should be as far as I am concerned.  Joe Cocker is backed by a stellar band that includes Jimmy Page on guitar (the first Led Zeppelin album came out in the following year), B. J. Wilson of Procol Harum on drums, Chris Stainton on bass, and distinctive organ by Tommy Eyre.  Cocker’s frantic performance of the song was a highlight of the Woodstock film of the original Woodstock Music & Art Fair gathering in 1969. 
 
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Regarding the Sgt. Pepper album highlight “Lucy in the Sky with Diamonds”, Wikipedia has this to say:  “[John] Lennon’s son Julian [Lennon] inspired the song with a nursery school drawing he called ‘Lucy — in the sky with diamonds’.  Shortly after the song’s release, speculation arose that the first letter of each of the title nouns intentionally spelled LSD.  Lennon consistently denied this, insisting the song was inspired by Lewis Carroll’s Alice In Wonderland books, a claim repeatedly confirmed by Paul McCartney.  Despite persistent rumors, the song was never officially banned by the BBC.” 
 
John Lennon though was up front about intending “Lucy in the Sky with Diamonds” to be a psychedelic song, and the lyrics are about as good as it gets psychedelically, both from the imagery and from the word usage: 
 
     Follow her down to a bridge by a fountain
     Where rocking horse people eat marshmallow pies
     Everyone smiles as you drift past the flowers
     That grow so incredibly high

     Newspaper taxis appear on the shore
     Waiting to take you away
     Climb in the back with your head in the clouds
     And you’re gone 
 
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Perhaps because of the possible LSD reference in “Lucy in the Sky with Diamonds”, rumors of drug references in other lyrics by the Beatles also became manifest.  Wikipedia reports:  “Concerns that some of the lyrics in Sgt. Pepper refer to recreational drug use led to the BBC banning several songs from British radio, such as ‘A Day in the Life’ because of the phrase ‘I’d love to turn you on’, with the BBC claiming that it could ‘encourage a permissive attitude towards drug-taking.’ . . .  They also banned ‘Being for the Benefit of Mr. Kite!’ because of the lyric which mentions ‘Henry the Horse’, a phrase that contains two common slang terms for heroin.  Fans speculated that Henry the Horse was a drug dealer, and ‘Fixing a Hole’ was a reference to heroin use.  Others noted lyrics such as ‘I get high’ from ‘With a Little Help from My Friends’, ‘take some tea’ – slang for cannabis use – from ‘Lovely Rita’, and ‘digging the weeds’ from ‘When I’m Sixty-Four’.”  I had heard about “Horse” but not “Henry”; maybe any word starting with “H” could refer to heroin. 
 
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The inspiration for some of the songs on Sgt. Pepper came from something they had heard or seen:  John Lennon adapted “Good Morning Good Morning” from a commercial for Kellogg’s Corn Flakes; and Paul McCartney wrote “She’s Leaving Home” after reading about teenage runaways in an article in The Daily Telegraph.   
 
Most famously, John Lennon wrote the bulk of “A Day in the Life” based on several items that were in the January 17, 1967 edition of the Daily Mail.  Wikipedia quotes one of them:  “There are 4,000 holes in the road in Blackburn, Lancashire, or one twenty-sixth of a hole per person, according to a council survey.  If Blackburn is typical, there are two million holes in Britain’s roads and 300,000 in London.”  John evidently added the part about how many holes it takes to fill the Albert Hall.  
 
Paul McCartney’s contributions to “A Day in the Life” include the key lyric, “I’d love to turn you on”.  Also, as given in Wikipedia:  “McCartney provided the middle section of the song, a short piano piece he had been working on independently, with lyrics about a commuter whose uneventful morning routine leads him to drift off into a dream.  McCartney had written the piece as a wistful recollection of his younger years, which included riding the bus to school, smoking, and going to class.  This theme matched with the original concept of the album which was going to be about their youth.” 
 
The impetus for “A Day in the Life” though was the death of a childhood friend of both John Lennon and Paul McCartney, Tara Browne; Browne, an heir to the Guinness fortune, had died in an auto accident in 1966 when he was 21 years old.  An article in the Daily Mail the same day as the “hole” article talked about a custody matter regarding his two children.  Wikipedia quoted Lennon about this part of the song:  “I didn’t copy the accident. Tara didn’t blow his mind out, but it was in my mind when I was writing that verse.  The details of the accident in the song — not noticing traffic lights and a crowd forming at the scene — were similarly part of the fiction.”  
 
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The most remarkable story behind the songwriting on the Sgt. Pepper album is “Being for the Benefit of Mr. Kite!”.  While the Beatles were making a promotional film for “Strawberry Fields Forever”, John Lennon found a poster for a circus performance dating from the 1840’s in an antique store.  He later said of the song:  “Everything from the song is on that poster, except the horse wasn’t called Henry.” 
 
The title, “Being for the Benefit of Mr. Kite!” is practically in the center of the poster.  Other lines on the poster figure into the lyrics, almost verbatim in some cases:  
 
     Mr. Henderson will undertake the arduous task of throwing twenty-one somersets, on the solid ground.  
 
     Mssrs. Kite and Henderson, in announcing the following entertainments, assure the public that this night’s production will be one of the most splendid ever produced in this town, having been some days in preparation. 
 
     Over men & horses, through hoops, over garters, and lastly through a hogshead of real fire!
 
     In this branch of the profession Mr. H challenges the world! 
 
Several of the people mentioned in the song were prominent in the circus world at that time.  The poster is headlined “Pablo Fanque’s Circus Royal”; Fanque owned a circus back in Victorian times.  John Henderson performed with his wife Agnes Henderson throughout Europe and Russia in the 1840’s and 1850’s.  Mr. Kite is believed to be William Kite; he worked for Pablo Fanque from 1843 to 1845.  “Somerset” is an early term for what we call a somersault, and that word made it into the song’s lyrics.  
 

(June 2015)

 

Last edited: April 8, 2021