Tag: Beatles

Song Lyric Sunday – When Bands Break Up

There is an interesting prompt for today’s Song Lyric Sunday from our host Jim Adams. He has asked us to find a song from a band that broke up and we wished they were still together. I have had to go to the first band that I loved as a pre-teen, The Beatles. When they broke up, well, it was the end of the world. At the time we were all in love with the look, the sweet music and of course easily swept up with the hysteria known as Beatlemania. I couldn’t understand why the Beatles would want to break up and I hated Yoko Ono for ruining everything. Of course I now know that they wanted to pursue their experimental music instead of playing for audiences who never heard them anyway because of the screaming.

Lennon and McCartney were amazing songwriters but It wasn’t until much later, after I had watched the Beatles Anthology and other documentaries, that I realized how much George Martin, their record producer, influenced their music and recordings. He was affectionately known as the “Fifth Beatle”

So my choice of song today is Eleanor Rigby which features an amazing string section, one of George Martin’s ingenious contributions. Hope you enjoy it.

The Song

Paul McCartney wrote most of this song. He got the name “Eleanor” from the actress Eleanor Bron, who appeared in the 1965 Beatles film Help!. “Rigby” came to him when he was in Bristol, England, and spotted a store: Rigby and Evens Ltd Wine and Spirit Shippers. He liked the name “Eleanor Rigby” because it sounded natural and matched the rhythm he wrote.
McCartney explained at the time that his songs came mostly from his imagination. Regarding this song, he said, “It just came. When I started doing the melody I developed the lyric. It all came from the first line. I wonder if there are girls called Eleanor Rigby?”

McCartney wasn’t sure what the song was going to be about until he came up with the line “picks up the rice in a church where a wedding has been.” That’s when he came up with the story of an old, lonely woman. The lyrics “wearing the face that she keeps in a jar by the door” are a reference to the cold-cream she wears in an effort to look younger.

The song tells the story of two lonely people. First, we meet a churchgoing woman named Eleanor Rigby, who is seen cleaning up rice after a wedding. The second verse introduces the pastor, Father McKenzie, whose sermons “no one will hear.” This could indicate that nobody in coming to his church, or that his sermons aren’t getting through to the congregation on a spiritual level. In the third verse, Eleanor dies in the church and Father McKenzie buries her.
“Father Mackenzie” was originally “Father McCartney.” Paul decided he didn’t want to freak out his dad and picked a name out of the phone book instead.

After Eleanor Rigby is buried, we learn that “no one was saved,” indicating that her soul did not elevate to heaven as promised by the church. This could be seen as a swipe at Christianity and the concept of being saved by Jesus. The song was released in August 1966 just weeks after the furor over John Lennon’s remarks, “Christianity will go. It will vanish and shrink. I needn’t argue about that; I’m right and I will be proved right. We’re more popular than Jesus now.”

For the most part, the song eluded controversy, possibly because the lilting string section made it easier to handle.

A string section scored by Beatles producer George Martin consisting of four violins, two violas and two cellos were used in recording. Paul may have been inspired by the classic composer Vivaldi.
The Beatles didn’t play any of the instruments on this track. All the music came from the string players, who were hired as session musicians.

Paul McCartney recounted this song’s origin story in a 2018 interview with GQ. He said: “When I was really little I lived on what was called a housing estate, which is like the projects – there were a lot of old ladies and I enjoyed sitting around with these older ladies because they had these great stories, in this case about World War II. One in particular I used to visit and I’d go shopping for her – you know, she couldn’t get out. So I had that figure in my mind of a sort of lonely old lady.

Over the years, I’ve met a couple of others, and maybe their loneliness made me empathize with them. But I thought it was a great character, so I started this song about the lonely old lady who picks up the rice in the church, who never really gets the dreams in her life. Then I added in the priest, the vicar, Father McKenzie. And so, there was just the two characters. It was like writing a short story, and it was basically on these old ladies that I had known as a kid.”

In Observer Music Monthly, November 2008, McCartney said: “These lonely old ladies were something I knew about growing up, and that was what ‘Eleanor Rigby’ was about – the fact that she died and nobody really noticed. I knew this went on.”

There is a gravestone for an Eleanor Rigby in St. Peter’s Churchyard in Woolton, England. Woolton is a suburb of Liverpool and Lennon first met McCartney at a fete at St. Peter’s Church. The gravestone bearing the name Eleanor Rigby shows that she died in October 1939, aged 44. However Eleanor was not like the lonely people in McCartney’s song, as she was married. Another of the gravestones there has the word “McKenzie” written on it. McCartney has denied that that is the source of the names, though he has agreed that they may have registered subconsciously.

The Lyrics

Ah, look at all the lonely people
Ah, look at all the lonely people

Eleanor Rigby
Picks up the rice in the church where a wedding has been
Lives in a dream
Waits at the window
Wearing the face that she keeps in a jar by the door
Who is it for?

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

Father McKenzie
Writing the words of a sermon that no one will hear
No one comes near
Look at him working
Darning his socks in the night when there's nobody there
What does he care?

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

Ah, look at all the lonely people
Ah, look at all the lonely people

Eleanor Rigby
Died in the church and was buried along with her name
Nobody came
Father McKenzie
Wiping the dirt from his hands as he walks from the grave
No one was saved

All the lonely people (ah, look at all the lonely people)
Where do they all come from?
All the lonely people (ah, look at all the lonely people)
Where do they all belong?

Writer/s: John Lennon, Paul McCartney
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Song Lyric Sunday – My Sweet Lord

The prompts for this week’s Song Lyric Sunday are Delightful, Pleasant and Sweet suggested by our friend Paula from Light Motifs. It wouldn’t surprise me if we have some repeats again this week as there are a lot of songs with the word ’Sweet’ in the title. I was spoilt for choice but I have picked a favorite, ”My Sweet Lord” by George Harrison. I will never get tired of hearing it. There is a lot of history behind this song so I hope you enjoy reading about it too.

The Song

This was Harrison’s first single as a solo artist, and it was his biggest hit. The song is about the Eastern religions he was studying.

Highly unusual for a hit song, Harrison repeats part of a Hindu mantra in the lyric when he sings, “Hare Krishna… Krishna, Krishna.” When set to music, this mantra is typically part of a chant that acts as a call to the Lord. Harrison interposes it with a Christian call to faith: “Hallelujah” – he was pointing out that “Hallelujah and Hare Krishna are quite the same thing.”

In the documentary The Material World, Harrison explains: “First, it’s simple. The thing about a mantra, you see… mantras are, well, they call it a mystical sound vibration encased in a syllable. It has this power within it. It’s just hypnotic.”


In 1971, Bright Tunes Music sued Harrison because this sounded too much like the 1963 Chiffons hit “He’s So Fine.” Bright Tunes was controlled by The Tokens, who set it up when they formed the production company that recorded “He’s So Fine” – they owned the publishing rights to the song.

During the convoluted court case, Harrison explained how he composed the song: He said that in December 1969, he was playing a show in Copenhagen, Denmark, with the group Delaney and Bonnie, whose piano player was Billy Preston (who contributed to some Beatles recordings). Harrison said that he started writing the song after a press conference when he slipped away and started playing some guitar chords around the words “Hallelujah” and “Hare Krishna.” He then brought the song to the band, who helped him work it out as he came up with lyrics. When he returned to London, Harrison worked on Billy Preston’s album Encouraging Words. They recorded the song for the album, which was released on Apple Records later in 1970, and Harrison filed a copyright application for the melody, words and harmony of the song. Preston’s version remained an album cut, and it was Harrison’s single that was the huge hit and provoked the lawsuit, which was filed on February 10, 1971, while the song was still on the chart.

In further testimony, Harrison claimed he got the idea for “My Sweet Lord” from The Edwin Hawkins Singers’ “Oh Happy Day,” not “He’s So Fine.”

When the case was filed, Harrison’s manager was Allen Klein, who negotiated with Bright Tunes on his behalf. The case was delayed when Bright Tunes went into receivership, and was not heard until 1976. In the meantime, Harrison and Klein parted ways in bitter fashion, and Klein began consulting Bright Tunes. Harrison offered to settle the case for $148,000 in January 1976, but the offer was rejected and the case brought to court.

The trial took place February 23-25, with various expert witnesses testifying. The key to the case was the musical pattern of the two songs, which were both based on two musical motifs: “G-E-D” and “G-A-C-A-C.” “He’s So Fine” repeated both motifs four times, “My Sweet Lord” repeated the first motif four times and the second motif three times. Harrison couldn’t identify any other songs that used this exact pattern, and the court ruled that “the two songs are virtually identical.” And while the judge felt that Harrison did not intentionally copy “My Sweet Lord,” that was not a defense – thus Harrison was on the hook writing a similar song without knowing it. Harrison was found guilty of “subconscious plagiarism” in a verdict handed down on August 31, 1976.

Assessing damages in the case, the judge determined that “My Sweet Lord” represented 70% of the airplay of the All Things Must Pass album, and came up with a total award of about $1.6 million. However, in 1978 Allen Klein’s company ABKCO purchased Bright Tunes for $587,000, which prompted Harrison to sue. In 1981, a judge decided that Klein should not profit from the judgment, and was entitled to only the $587,000 he paid for the company – all further proceeds from the case had to be remitted back to Harrison. The case dragged on until at least 1993, when various administrative matters were finally settled.

The case was a burden for Harrison, who says he tried to settle but kept getting dragged back to court by Bright Tunes. After losing the lawsuit, he became more disenfranchised with the music industry, and took some time off from recording – after his 1976 album Thirty Three & 1/3, he didn’t release another until his self-titled album in 1979. He told Rolling Stone, “It’s difficult to just start writing again after you’ve been through that. Even now when I put the radio on, every tune I hear sounds like something else.”

This was recorded at Abbey Road studios using the same equipment The Beatles used. There were some familiar faces at the sessions who had contributed to Beatles albums, including John Lennon, Yoko Ono, Billy Preston and Eric Clapton. Bobby Whitlock was friends with Harrison and Clapton, and played keyboards on the album. When Songfacts spoke with Whitlock, he shared his thoughts:

“That whole session was great. George Harrison, what a wonderful man. All the time that I ever knew him, which was from 1969 to his passing, he was a wonderful man. He included everyone on everything he did because there was enough for all.”

Whitlock adds, “All during the sessions, the door would pop open and in would spring three or four or five Hare Krishnas in their white robes and shaved heads with a pony tail coming out the top. They were all painted up, throwing rose petals and distributing peanut butter cookies.”

This was the first #1 hit for any Beatle after the band broke up. Harrison became the first Beatle to release a solo album when he issued Wonderwall Music, the soundtrack to the movie Wonderwall, in 1968.

When this song was released, the phrase “Hare Krishna” was associated with a religious group called the International Society for Krishna Consciousness, whose members would often approach passengers in airports, seeking donations and trying to solicit members. Individuals in this group became popularly known as “Hare Krishnas,” with a generally negative connotation.

The Lyrics

My sweet Lord
Mm, my Lord
Mm, my Lord

I really want to see you
Really want to be with you
Really want to see you, Lord
But it takes so long, my Lord

My sweet Lord
Mm, my Lord
Mm, my Lord

I really want to know you
Really want to go with you
Really want to show you, Lord
That it won't take long, my Lord

(Hallelujah)
My sweet Lord
(Hallelujah)
Mm my Lord
(Hallelujah)
My sweet Lord
(Hallelujah)

Really wanna see you
Really wanna see you
Really wanna see you, Lord
Really wanna see you, Lord
But it takes so long, my Lord

(Hallelujah)
My sweet Lord
(Hallelujah)
Mm, my Lord
(Hallelujah)
My my my Lord
(Hallelujah)

I really wanna know you
(Hallelujah)
Really wanna go with you
(Hallelujah)
Really wanna show you, Lord
That it won't take long, my Lord
(Hallelujah)

Mmm
(Hallelujah)
My sweet Lord
(Hallelujah)
My my Lord
(Hallelujah)

Mmm my Lord
(Hare Krishna)
My my my Lord
(Hare Krishna)
Oh my sweet Lord
(Krishna, Krishna)
Oohh
(Hare Hare)
Now I really wanna see you
(Hare Rama)
Really wanna be with you
(Hare Rama)
Really wanna see you, Lord
But it takes so long, my Lord
(Hallelujah)
Mmmm my Lord
(Hallelujah)
My my my Lord
(Hare Krishna)
My sweet Lord
(Hare Krishna)
My sweet Lord
(Krishna, Krishna)
My Lord
(Hare Hare)
Mmmm
(Gurur Brahma)
Mmmm
(Gurur Vishnu)
Mmmm
(Gurur Devo)
Mmmm
(Maheshwara)
My sweet Lord
(Gurur Sakshaat)
My sweet Lord
(Parabrahma)
My, my my Lord
(Tasmayi Shree)
My, my my my Lord
(Guruve Namah)
My sweet Lord
(Hare Rama)
(Hare Krishna)
My sweet Lord
(Hare Krishna)
My sweet Lord
(Krishna Krishna)

Writer/s: George Harrison 
Publisher: CONCORD and MUSIC PUBLISHING LLC, DistroKid
Lyrics licensed and provided by LyricFind

Courtesy of Songfacts

Song Lyric Sunday – “Ob-La-Di, Ob-La-Da”

Song Lyric Sunday is hosted every week by Jim Adams. This Sunday he has prompted us with just the two letters “La”. It could be La-Dee-Da, or perhaps LA for Los Angeles or even La for Louisiana. Perhaps even Ooo-la-la and that song comes to mind. I have chosen to go with Ob-La-Di, Ob-La-Da by the Beatles from the 1968 White Album. It is a fun song and caused a bit of a stir in the 60s as they used the word “Bra” in the song! Well it did help with the rhyming!

It was written by Paul McCartney and credited to the Lennon–McCartney partnership. Following the album’s release, the song was issued as a single in many countries, although not in Britain or America, and topped singles charts in Australia, Japan, New Zealand, Switzerland and West Germany. When belatedly issued as a single in the United States in 1976, it peaked at number 49 on the Billboard Hot 100.

McCartney wrote “Ob-La-Di, Ob-La-Da” in the Jamaican ska style and appropriated a phrase popularized by Jimmy Scott, a London-based Nigerian musician, for the song’s title and chorus. Following its release, Scott attempted, unsuccessfully, to receive a composing credit. The recording sessions for the track were marked by disharmony as McCartney’s perfectionism tested his bandmates and their recording staff. The song was especially disliked by John Lennon and a heated argument during one of the sessions led to Geoff Emerick quitting his job as the Beatles’ recording engineer. A discarded early version of the track, featuring Scott on congas, was included on the band’s 1996 compilation Anthology 3.

The Beatles’ decision not to release the single in the UK or the US led to several cover recordings as other artists sought to achieve a chart hit with the song. Of these, Marmalade became the first Scottish group to have a number 1 hit in the UK when their version topped the Record Retailer chart in late 1968. Despite the song’s popularity, “Ob-La-Di, Ob-La-Da” has been ridiculed by some commentators for its lightheartedness. From 2009, McCartney has regularly performed the song in concert.

Paul McCartney began writing “Ob-La-Di, Ob-La-Da” during the Beatles’ stay in Rishikesh, India, in early 1968. Prudence Farrow, one of their fellow Transcendental Meditation students there, recalled McCartney, John Lennon and George Harrison playing it to her in an attempt to lure her out of her room, where she had become immersed in intense meditation.

McCartney wrote the song when reggae was becoming popular in Britain; author Ian MacDonald describes it as “McCartney’s rather approximate tribute to the Jamaican ska idiom”. The character of Desmond in the lyrics, from the opening line “Desmond has a barrow in the market-place”, was a reference to reggae singer Desmond Dekker, who had recently toured the UK. The tag line “Ob-la-di, ob-la-da, life goes on, bra” was an expression used by the aforementioned Jimmy Scott-Emuakpor. According to Scott’s widow, as part of his stage act with his band Ob-La-Di Ob-La-Da, Scott would call out “Ob la di”, to which the audience would respond “Ob la da”, and he would then conclude: “Life goes on.” 

Lyrics

Desmond has a barrow in the marketplace
Molly is the singer in a band
Desmond says to Molly, girl, I like your face
And Molly says this as she takes him by the hand

Ob la di, ob-la-da, life goes on, bra
La-la, how the life goes on
Ob-la di, ob-la-da, life goes on, bra
La-la, how the life goes on

Desmond takes a trolley to the jeweller's store
Buys a twenty carat golden ring
Takes it back to Molly waiting at the door
And as he gives it to her she begins to sing

Ob la di, ob-la-da, life goes on, bra
La-la, how the life goes on
Ob-la di, ob-la-da, life goes on, bra
La-la, how the life goes on

In a couple of years they have built
A home sweet home
With a couple of kids running in the yard
Of Desmond and Molly Jones

Happy ever after in the market place
Desmond lets the children lend a hand
Molly stays at home and does her pretty face
And in the evening she still sings it with the band

Ob la di, ob-la-da, life goes on, bra
La-la, how the life goes on
Ob-la di, ob-la-da, life goes on, bra
La-la, how the life goes on

In a couple of years they have built
A home sweet home
With a couple of kids running in the yard
Of Desmond and Molly Jones

Happy ever after in the market place
Molly lets the children lend a hand
Desmond stays at home and does his pretty face
And in the evening she's a singer with the band

Ob la di, ob-la-da, life goes on, bra
La-la, how the life goes on
Ob-la di, ob-la-da, life goes on, bra
La-la, how the life goes on

And if you want some fun, sing ob-la-di, bla-da

Writer/s: John Lennon, Paul McCartney 
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind


Backstory provided by Wiki
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