Oh hell yeah. In contrast to your personal experience, I had in retrospect the good fortune of the opposite experience socially. I was discovering the Beatles as a freshman in high school in 1977. At that time, they were at the relatively low ebb of their popularity. I know of only one classmate who had Beatle albums, making him immediately the coolest guy in school. Thus, basically I got to experience the Beatles for that crucial first year or two as my own favorite little cult group.

Interesting. Most of my friends were fans of the Beatles during highschool (in the 90's, mind you) but I've always had a very hard time getting into them, and I really did try to like them. However, reading this review of the White Album makes me want to give it another go and listen to them, this album, in particular.

Really nice review, Bryan.

Thanks a lot, Jones. I hope that you enjoy it, should you choose to give it another listen. As it's a double album, it can be a lot to take in on one go, but it's well worth it, I think.

My relationships with Beales album were always ferociously intense and multi-dimensional.

I first bonded with Sgt. Pepper in '78 (same year the movie came out, but I knew the Beatles before I know Frampton and the Bee Gees). Abbey Road grabbed me almost immediately next, in mid-'79. I was 14 then.

The WHite Album then became my favorite obsession. It sounded darker, more sinister. It had a creepy Charles Manson connection. It sounded jaded and worn. It had some of their best moments; the sunburst of Lennon guitar on "Dear Prudence", the gentle McCartney back-to-naturism "Mother Natures Son", the Harrison showcases, the baroque bare-bones-meets-misique-concret-from-the-Pepper-guys of "Sexy Sadie", "Long Long Long:, Ringo's "Don't Pass Me By", the slow "Revolution #1" and the John Cage on acid of "Revolution #9", the Beach Boy nods, the tips from Donovan, McCartney's most bawdy "Why Don't We Do It In The Troad", this informed my 15 year old self in 1980.

I next went through a Rubber Soul phase, a Help! phase, and a Hard Days Night Phase, before deciding I was a Revolver man, around 1983.

I consider this Beatlefied musical upbringing a useful, varied, and fun one. God bless 'em.

I dig that White Album.

I wrote off the Beatles as old fogeys for most of my youth since I was into alt rock, rap and metal. But as I traced back influences of influences in college around 1997, I found it usually leads to the Fab 4.

I'll steal UAO's description of being a Revolver man, since I don't own the White Album, just copied some MP3s from it. But I might should probably give it another look.

I was a teenager when the White Album and Abbey Road came out. Both are still mainstays of my collection, but I do recall this. A reviewer commented about
Abbey Road that it included songs from all kinds of genres - rock, eclectic, schmaltz, country, etc. My reaction was "what the hell is this guy thinking?" This was very true about the White Album, which has at least one song from every possible variation, including outright psychotic, but it had no relation to Abbey Road.

Abbey Road was one of the finest albums of the Beatles ouevre, but it did not have nearly the range that The Beatles did.

One of the little cool points of entry for the White Album is the tribute angle that informs several of the songs. That is, some of these songs were put together very specifically as tributes/parodies of other artists. Mostly this was Paul's angle.

Thus, "Helter Skelter" was a nod to the new kid, Jimi Hendrix.

"Back in the USSR" covers both the Beach Boys and Chuck Berry, as per "Sufin' USA."

"Why Don't We Do It in the Road" was Paul's idea of a Little Richard song, thus the primal simplicity of the lyric. Think "Tutti Frutti."

Best of all this way, "Rocky Raccoon" was a very specific Dylan parody, clearly addressing his current John Wesley Harding style.

I'm not sure how much John was into that tribute conceit, but "Yer Blues" would make perfect sense as the Beatles' answer to the "Heartbreak Hotel."

Mr Sahm wrote about tracing back the styles of all his modern college boy music to the Beatles. These White Album tributes take it a step further, showing some of the places the Beatles were getting it- and what they were doing different. You can see how "Why Don't We Do It in the Road?" is modeled on Little Richard, but he sure never sounded like that. It's all Paul.

I never really thought of "Helter Skelter" as a nod to Hendrix, but that does certainly put an interesting spin on the sound of the song.

The Beach Boys allusions in "Back In The U.S.S.R." are masterful, however.

It certainly is interesting to look at how the Beatles drew upon their various influences and transformed them into something wholly unique and fantastically inspired. This is an extraordinarily singular record in that it sounds completely original while still containing recognizable nods to nearly every piece of Western music to come before it. "Piggies" even goes as far to makes nods to the classical composition of the baroque era.

Most important to their later development was the incorporation of British vaudeville music hall tradition, which came out in interesting schmaltzy stuff ("She's Leaving Home") to some of the more obvious novelty numbers. "Maxwell's Silver Hammer" and "When I'm 64" come to mind. Paul used to refer to some of those things as his "Fred Astaire" songs.

I bought all the Beatles albums (LP's and 45's) when they came out. From Revolver on up. Okay that ages me.

The lads got a lot of flack from the press for the White Album. George Martin didn't want to put it out. He still mentions that when interviewed.

Pauly (I remember this) made a response to a reporter who asked a question concerning the White Album (with a negative slant).... when asked Paul replied... (and a paraphrase here)

"It's the fucking White Album, for Christ's sake"

Meaning... it sold, had a good following, might even be a diamond right now.

A few years ago, I heard it on CD (I hadn't listened to it in a number of years)..... it didn't sound that fresh... to my ears, it didn't pass the test of time. But I could have been in a pisser of a mood when I played it.

I've always thought the White Album was overrated myself. Sure, it's got some great songs. But by 1968 the boys were getting a little less selective about what they would release. It's hard to imagine such lightweight songs as "Wild Honey Pie," "Cry Baby Cry," or "Why Don't We Do It in the Road?" making the cut for Revolver. And seriously, does anybody ever make it all the way through disc 2 without fast-forwarding past "Revolution 9"?

Also, the album's kind of a bummer in that you can almost hear them breaking up. Earlier Beatles albums had more of a collaborative feel to them. Lennon even once said of the White Album: "It's like if you took each track off it and made it all mine and all George's. It's like I told you many times, it was just me and a backing group, Paul and a backing group, and I enjoyed it. We broke up then."

Personally, I think Rubber Soul and Revolver are much stronger albums. Those are the two albums that made me really appreciate the Beatles for the first time.

Crooked Spine, are your ears crooked too? "Cry Baby Cry" is a particularly outstanding and underappreciated song. CLICK HERE for my full pontification on the song.

"Why Don't We Do It in the Road?" is a perfectly good basic rock and roll song. It's probably not up there with "Strawberry Fields," but it would slot in nicely next to, say, "She's a Woman" or "I'm Down."

"Revolution 9" hardly counts as a song, but you could entirely edit it out and still have a good double album. This track makes for good texture.

This little freaky bit of electronic experimentation also is fun to play on CD jukeboxes to screw with the straights in restaraunts and bars. I remember having a particularly good time playing this on a jukebox at Chi-Chi's during happy hour a few years back, and watching the building anxiety generated in the bar.

I bought 'em as they came out -- which makes me around 104 years old. (Still own all the first pressings, too, including the "Introducing the Beatles!" on VeeJay label!)

Just a memory: We used to listen to #9 on acid.

On 8-track.

In the backseat of by older brother's psychedelic, fluorescent  green 1968 VW.

Still can't hear the words "Number Nine" without having a mini-flashback.

Thanks for the memories, kids.

======

PS: I second CrookedSpine's "...you can almost hear them breaking up."

That album is one of the most "that's a Paul song -- that's a Lennon song" of their entire body of work.

(Paul, the cheesy 'musical hall' tunes --vs-- John, the really cool good stuff...)

It's a hindsight thing, but a valid observation.

I once read an interview with McCartney in which he said that Helter Skelter after hearing that (I think it was) The Who had done the loudest, rawnchiest rock song ever, to which he responded something like, "Right, must do it."

My mom and dad, who don't normally listen to rock, became Beatles fans after seeing Yellow Submarine, so I was listening to them in preschool. Nowadays I'm a Rubber Soul man.

Further musings on the White Album...

At the same time I discovered the White Album, I was also reading "Helter Skelter" about the Mansonites. There's almost half a chapter devoted to Manson's twisted interpretations of "Revolution #9", "Revolution #1", "Blackbird", "Helter Skelter", "I WIll", "Sexie Sadie", "Piggies" and others.

While the Beatles had nothing to do with whatever was mutating in Manson's acid drenched head, this connection somehow colored the album an extra bleaker shade.

That, along with the packaging and overall vibe the splintering band conveyed, made the album akin to a frozen winter day, with bare trees and frost on the ground.

Which made me appreciate the glimpses of color, like "Dear Prudence" even more.

In a sense, the album is a prefect rehearsal for the Beatles' individual solo careers, all of which remained largely within the parameters set on this record.

I was particularly fond of Harrison's tunes on this disc, and while McCartney has some silly ones, his best ones rank up there with his best. But Lennon has all the greatest moments. I'll second the vote for "Cry Baby Cry" as great song, although in the end, I do still consider Revolver the Beatles' best album.

It's hard to choose just one with the Beatles, however. Each one has so much history and and are so full of good songs that the Beatles occupy a mythical place beyond the rockosphere, beyond the ability of rock critics or fans to accurately describe.

The Beatles still continue to impress me and I've heard all their stuff countless times. Amazing band. The best ever.

The older I get, the more I dig and appreciate The Beatles. I like all their stuff, but am particularly partial to the Rubber Soul / Revolver era. The White Album is outstanding, of course. And I happen to dig the vaudeville stuff.

Nice job on this, Bryan.

I tend to prefer Lennon's stuff (and Harrison's, too - maybe more, truth be told), to McCartney's, but Paul sings Julia, so I presume he wrote it. It's certainly one of the Beatle's most beautiful melodies and lyrics.

Cry Baby Cry strikes me as pretty banal.

Incidentally, I was reading an interview with the virtuoso punk rock guitarist Billy Zoom the other day in a fanzine, and he made the point that one's reaction to the Beatles "vaudeville" (his term) stuff depended on whether you'd heard the real thing, which he said was much better done (I can't remember the name of the band that he cited - damn, I gotta pick up another copy of that zine - the man's musical background and biography are utterly amazing, and much bigger than the music he's known for, much as I love it).

Amyway, this isn't meant to slight the White Album, first of all because it only applies to a small minority of their songs.

I just find myself moved by other periods at this stage of my life.

Actually, Lenno0n sang and wrote "Julia", about his estranged mother. She gave him to his aunt to raise when he was 4 or 5, and he never got to know her again until he was 17. Then she was killed in an automobile accident.

Lennon would revisit his feelings for his mother in the stark and Primal "Mother" from Plastic Ono Band in 1970.

The Kinks would be the other obvious act to have that English vaudeville influence, explaining their 70s musical stage plays, such as the Soap Opera.

Somewhere here, I've got this big honkin' box set of English music hall recordings. This stuff mostly didn't strike me as anything that amazing. None of these people had Beatle level skills.

Then again, we're talking about stuff going back to the beginnings of the commercial popular music industry. The whole idea of making records was new.

In any case, that vaudeville stuff greatly broadened the Beatles palatte. That influence rather than early American rock is probably the biggest practical stylistic difference between Beatlemania and the Serious Artists going from Rubber Soul forward.

I think the vaudeville influence is fun and further proves that The Beatles' were almost always able to keep it loose, even amid maddening fame. It also lends a distinct Britishness to The White Album, something that Big Time UK acts like Led Zep and the Stones never really achieved... they likely could have cared less, but you (hopefully) get my drift.

Hmm, I don't think I've actually listened to Julia in like ten years. Most of this stuff is just kind of bouncing around my noggin.

"None of these people had Beatle level skills." Oh, I imagine their instumental chops were better. Beyond that, I'm tempted to get into a digression about where Mr. Zoom is coming from, but no.

I'd say Dylan was a bigger influence on Rubber Soul. I don't hear any music hall there.

Godoggo, I'm just reacting to the memory of one specific 4 CD set, which I need to give another spin. I wouldn't say that I know the stuff well enough to say a lot about it, but what I heard was mostly not especially fancy playing.

Yeah, I don't know that the music hall thing in particular was big on Rubber Soul, just that this was the album where they officially became Artistes.

It was more than just a "fun" influence though, but something broader that broke out their original talents in a kaleidoscope of different dramatic directions. The frank sentimentality of "Eleanor Rigby" and "She's Leaving Home" work, as does the Kinks "Village Green Preservation Society." Baby Jane could have sung "She's Leaving Home" in her vaudeville act next to her signature "Writing a Letter to Daddy." (It was postmarked to heaven above.)

OK, well, I was just quoting somebody who's opinion I respect, because of his deep musical knowledge. I myself haven't listened to much music hall.

As for Eleanor Rigby, aside from the strings, it's musically very much a folk song. The ambiguity is Dylanesque. I'd see the sentimentality (a bad thing, to my tastes) as just an expression of Paul's personality.

The Beatles were great. I don't think there has been or will ever be another group as influential as them. Whenever I write a song and hit a road block, I always ask myself what the Beatles would do for the next step. Works almost every time.

WWTBD?

Cool!

Shark: I bought 'em as they came out -- which makes me around 104 years old.

Turn me on, dead man.

Bryan, I've moved this to Advance.net, as a "retro-review" a place affiliated with about 10 newspapers around the country.

One such site is here.

Thank you.
Temple Stark

It was... "Turn AROUND dead man" for the backwards facing Paul on the backside of the Pepper LP.

And the Beatles, were great. ALL of their individual efforts were ALL very good too.

I don't think there is any disputing that fact.

I like them all... except... my sisters gooshing (wetting panties) over the Beatles on Ed Sullivan....

MY GAWD... I was a Dave Clark 5 and Kinks fan after that episode. But in retrospect, I have probably had every Beatles release at one time or another in one form of media or another.

Would I buy the White Album in CD format. No. Why? Because I'm saving up for a new set of Conga's....

Everyone has to have priorities.

L8tr

I was first exposed to the Beatles as a young child. My mother used to hum songs from Yellow Submarine, as she held me underwater while bathing.

Most kids spent their early childhood in a sandbox, or in preschool: until I was 6 mother had me belt-fastened to a chair by day, a bed-cage by night, with John, Paul, George and Ringo playing nonstop on a cruel betamax, over and over to Pepperland. God.

High school was bad, too, because I got zits.

After graduating, I ran away from home, because a traveler, a hobo, a bum , if you will, but I could never stomach the bouncy chords of the Beatles, it reminded me of pain and bad Liverpudlian accents.

And then I was introduced to the White Album.

It was perfect, a bolt of genius, a cover absent the Beatles ruddy mugs was my antidote. I could finally think clearly becuase I wasn't traumatized by seeing the Beatles, only hearing the Beatles.

Joy.

Joy. joy. joy.joy. joy. joy. joy. joy
JOY! JOY! JOY! JOY! JOY! JOY! JOY! JOY! JOY! JOY! JOY! JOY! JOY! JOY! JOY! JOY!

ahhhhh

now I can kill my mother.

Sidebar on the "vaudeville" sounding numbers...

They were more in the English pub hall tradition than vaudeville, although pub music was certainly influenced deeply be vaudeville.

These would have been sentimental songs that McCartney's dad would have sung while getting rosy cheeked with his mates in the 30's.

McCartney's father James actually was a small time dabbler in music himself, writing a few tunes, performing at pubs. McCartney wrote these songs perhaps with his father in mind; he's always had an air of trying to be a "regular" bloke, something of course, he can never be.

The earliest manifestation of McCartney's vaudeville/pub music I can think of off the top of my head would have been "When I'm 64" on Sgt. Pepper in '67. The White Album had Honey Pie; McCartney would have a few with Wings, including "You Gave Me The Answer".

In 1974, he released a 45 Walking In The Park With Eloise/Bridge Over The River Suite The 45 was Wings' version of a song his father wrote, and it hams it up bigtime (Wings renamed themselves The Country Hams for this release). Incidentally, the b-side is a jazzy instrumental (not vaudeville flavor) that is quite possibly one of Wings' best tracks, although few people heard it.

His vaudeville/pub excursions are pretty silly, and don't merit high among Beatle classics. But the Beatles album's sums were increased by these parts; they added breadth that make their whole output gain breadth.

Lennon famously hated "Ob-La-Di, Ob-La-Da" and said nasty things about it literally up to the very day he died.

Defending Macca:

In defense of McCartney, "Helter Skelter" "Bithday" and "Why Don't We Do It In The Road" are some of the hardest rock the Beatles recorded; "Martha My Dear" "I Will" and "Mother Nature's Son" his most tuneful and lovely, and "Back In The USSR" is a great spoof made even better when you know the story of the rivalry between the Beatles and the Beach Boys. "Rocky Raccoon" has some of his best lyrics and a real sense of humor.

On 'Paul is Dead' clues:

Revolution 9 backward is "Turn me on dead man" (as the legend goes; it always sounded like 'Nyert ee myon, nyed ma' to me). The mumbled bit at the end of "I'm So Tired" is "Paul is dead man, miss him, miss him!" (again, I never quite heard it that way)

The one Paul-Is-Dead legend that can be refuted is Lennon intoning "I Buried Paul" twice during the coda for Strawberry Fields" He always claimed he said "Cranberry Sauce", and if you hear the demo, cranberry sauce it is.

Awesome takes, uao.

What's up with this line on "Glass Onion":

"Well here's another clue for you all /
The walrus was Paul"

I kind of knew what this was supposed to mean at some point, but now it escapes me.

I've always loved that tune, by the way, one of my faves on The White Album. That, and "Savoy Shuffle". If that puts me in the minority, so be it!

"My mother used to hum songs from Yellow Submarine, as she held me underwater while bathing."

Ha.

Blogging prose.

And...submit!

...or was what you said that actually what you meant?

On "heres another clue for you all/the Walrus was Paul" and other Paul is Dead Clues:

(Don't tell HW Saxton about this post, I didn't research it. So if a Beatlefan -you know the kind I mean- is lurking, feel free to flesh this out, or slap out any errors)

As recollection serves:

The rumor was esentially that Paul McCartney was killed in a motorway accident in his Aston Martin in 1966. The Beatles, and Brian Epstien (who really did die of a mysterious overdose in '67) in particular, wanted to hush things up.

So a replacement was found, in the person of doppelganger William Campbell.

The rumor was broadcast during a late night Detroit call-in radio show in 1969. The spinner of the yarn was a deejay named Gibson (forgot his first name).

Gibson played "clues" from the records, and pointed out album art clues as he broadcast this "believe-it-or-don't" style bit that went on for about an hour. It was delivered in a mock solemn tone, and was extremely well done; tapes of the original show circulate and it is very creepy listening.

It was even more creepy in the paranoid environment of 1969 in a left-leaning labor town like Detroit during a very polarizing era in the city's history. People took the rumor seriously, and the rumor spread far and wide around the world.

Examining album covers for "hints" the Beatles placed became a real pastime. Sgt. Pepper has the most clues, among them the Beatles standing before a grave while wax figures of them are dressed like mourners. A floral arrangement looks like a car crashing and burning over a cliff. Another floral arrangement is shaped like Paul's bass. Hundreds of "clues exist", including in the photos on the inner gatefold.

"A Day In The Life" references the incident. The Magical Mystery Tour album had similar clues in the artwork and songs. In the Magical Mystery Tour film, Lennon sings "I Am The Walrus" and presumably is the man wearing the walrus costume.

The White Album had the most sonic clues on it. The line "here's another clue for you all" was the Beatles letting us in on the ruse, and "the walrus was Paul" added to the mystery.

What the Beatles really meant by that line escapes me, if it has ever been revealed.

I first heard the original tape the same year I was totally Beatle-mad, in 1979. Despite ten years of debunking, I still halfway bought it. I was just a conspiracy-minded adolescent then.

Of course, the rumor never explained a few key things, like how did they find an identical human, also lefthanded like the late Paul, complete with his musical abilities? Why the coverup? Money? Blackmail? Did Brian Epstien know too much?

In the supergeek world of manic Beatle scholar-geeks the Paul Is Dead legend has taken on a life of its own even to this day, with fans finding new hints, some of them really quite good and others not, all over the place. I knew a guy who did a 90-minute slideshow presentation with album details and soundbytes at fan conventions. I caught his show once, but I didn't stay for the convention...

When I first heard about this stuff, as a kid circa 1986 or so, it was presented to me that the rumor held that Paul died, to be replaced by none other than Lee Harvey Oswald, who impersonated Paul long through the years.

I was fascinated by all of the clues, of course, particularly Abbey Road's album cover.

I've always thought the whole mystique around the rumors/"clues" was very interesting. Although not having been even born until "circa 1986 or so," by the time I came around to the album much of the mystique had lifted. No one really still thinks Paul is dead (unless, of course, we're talking about his music career), but it is still fascinating to go back and look at the various connections people made. More interesting were the various Manson connections outlined in the book Helter Skelter. It just adds another layer of depth to the listening experience.

Talking earlier in the thread about the English music hall tradition, I was thinking of an album. HERE IT IS

I have been a *huge* highly impressed Beatles (especially) John & Paul fan since I was 9 and I got my first Beatles book for 11th birthday and I had every album by the time I was 13.

I want to correct uao about A Day in The life having rerencing the "incident" about Paul's "death". John Lennon actually wrote the song especially the lines about,I read the news today oh boy and he blew his mind out in a car,about the death of guiness heir Tara Brown who was a good friend of theirs and died at the age of 21 in a car crash in December 1966. John wrote this after reading the coroners report on his death in The Daily Mail. Paul actually met Tara first in the same club where he would eventually meet Linda.Tara Brown would have inherited a million dollars if he had lived to be 25!

fab4--

You're right, that's what he was really writing about.

When I say "A Day In The Life" refrences Paul's car accident and subsequent death, it is only if you accept the premise that Paul is indeed dead, and the beatles were leaving clues.

As Paul himself has pointed out, he is, in fact, alive.

;-)

I forgot to mention that I was born in 1965 during the middle of their amazing recording career and I have always loved *all* of their music from their early days to the end! A Hard Day's Night is just as great as The White album in many ways.Rubber Soul is one of my big favorites to.


Also Paul's great heavy blues rocker,She's A Woman from late 1964,his screaming heavy(especially for 1965) rocker I'm Down are also rockers from Paul. Also John's great I Want You(She's So Heavy) from Abbey Road which people have pointed out as well as Paul's Helter Skelter are the first real heavy metal songs,and John's great hard rocker,the single version of Revolution are all great hard rockers.


In a 2001 online Bender Magazine interview Ozzy Osbourne says Paul McCartney is a genuis and The Beatles are the greatest band to ever walk this earth! He's been a huge Beatles fan since he was a teenager and She Loves You was one of the first records he ever bought.

Music Editor Temple Stark picked this for an Editor's Pick of the Week. Go find out why HERE and grab a button.

Thank you.

I wanted to add some things since my last posts.There is an excellent book by Mark Lewisohn called,The Beatles Recording Sessions and it's a very thorough detailed musical diary of their amazing 8 year recording career. It strongly documents how truly brilliant,creative,and innovative especially John and Paul were in the recording studio. The book is unfortunately out of print but some libraries may have it.


Many of their recording engineers are interviewed in this book too and they are all really impressed with them too. Some of these engineers went on to work with other well known music artists too. Norman Smith,one of The Beatles early engineers went on to work with Pink Floyd,Ken Scot went on to work with David Bowie and Alan Parsons,a highly impressed Beatles fan was one of their engineers on their last two albums,Let it Be and Abbey Road.

Just one of the many impressive examples in this book,is in John Lennon's good song I'm Only Sleeping,George Harrison recorded a backwards guitar in the most difficult way even though there was an easy way,and Geoff Emerick one of their recording engineers said George made it doubly more difficult by adding more distorted guitars and it took 6 hours just for the guitar overrdub!

George Harrison's mother said in the 1967 only authorized Beatles biography by Hunter Davies,that she would stay up until 2 in the morning with George when he was only 14 and he would play the guitar until he got the chords just right and his fingers were bleeding!


There is an interesting online interview with musician Frank Marino of the hard rock group Mahagony Rush from 2003 where he says he can't stand The Rolling Stones and that they are the worst hoax ever and that a lot of people are suckers for The Rolling Stones. In his recent interviews he says he likes and listens to The Beatles though!

Hello,
i was wondering if you could get back to me on this matter, i have been searching everywhere on the web to find the chords along with the words for the song johnny b good, i was hoping you could get back to me with a picture of the words, and when a chord changes in the song then put it in brackets beside it, i want to learn the song and hope you will help me on the matter.
Thank you.

Hey Terry #48 No offense man, but Johnny B Goode is 3 chords. E A and B, or G C and D, or A D and E or...well, take your pick. You really can't find the chords to that song on the web. Are you joking? It's not exactly what I would call obscure. And as far as when the chords change,...are you serious!?

The white album changed my life. 'nuff said!

I dont understand why everyone doesnt give Paul his due, "You never give me your money" is my favorite Beatle song. And I never understood why classics like "here there and everywhere", "she came in through my bathroom window", "golden slumbers", Eleanor Rigby, Mother Natures Son, I will, Martha My Dear, Let it Be, Penny Lane, Paperback Writer, and many other songs never get their due. Unfortunatly I think the man might have to die before people realize that he is better than Elvis, John Lennon, Mick Jaggar, and Sinatra.