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This is a song that isn’t about anything in the first place; the last two verses are the same except for having Desmond and Molly’s names switched out, but Mc Cartney’s vocal gets more and more excited. “Don’t Pass Me By,” (“The White Album”) (1968): This was a song that Ringo had been bashing about for several years.

Newsflash: (1967): Another song that has existed in the cultural consciousness for 50 years and has been played on the radio incessantly over that time. You can tell that by lines like these: “Sorry that I doubted you / I was so unfair / You were in a car crash / And you lost your hair.” To Starr’s credit, we have to acknowledge that the words (1963): A minor bit of ’50s pop schlock, co-written by Burt Bacharach early in his career.

(The first of these ended when authorities discovered George Harrison was underage; he was unceremoniously deported.) The band’s undisciplined and chaotic performances are now the stuff of legend, ranging as they did from wild American R&B to the schlockiest schlock, like this.

But at the end of this trial by fire — playing in front of gamblers, gangsters, strippers, and thugs — they emerged as tight and focused a band as can be imagined.

At Beatles anniversary time, the stories write themselves. orchestrations) ignored, with a few other interesting tracks that have dribbled out over the decades added in.

The list is based on the band’s British releases, which is how they thought of their work. There was also a flurry of non-album singles throughout those years, collected in different ways in the U. They are duly noted below; most sound like the appreciative efforts of a young and not-quite-formed band; the Beatles being the Beatles, however, a few are transcendent.

(1963): “I love you / Woo-woo-woo-woo.” “Ask Me Why” was one of Lennon and Mc Cartney’s first compositions, as the lyrics here attest.

He advised them to write some new material and get rid of their drummer. “Free As a Bird,” single (1995): This single enraged me, in 1995, when it was released to gin up interest in the first album.Still, having left Sutcliffe in Hamburg, the band continued to rock the Cavern as a quartet, with Paul Mc Cartney playing bass.A local music-store owner, Brian Epstein, saw potential in the band when no one else did and reinvented himself as their manager.It was a Lennon song from long after he’d left the Beatles; he sounded so vulnerable, and the studio work that had gone into making this distant-sounding, crummily recorded demo sound presentable felt like too big a burden for the martyred star to bear.His former songwriting partner, one Paul Mc Cartney, added six lines as a sort of bridge.

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It took a long time for the band to get this right in the studio.