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Hi @therealsaintscully! As requested, an explanation:
In AHDN, John has spent the whole damn day working and he is exhausted (valid). He earns money to buys things for his beloved, but then he comes home and receives his compensation. All that labor is bearable bc love gives him a reason to endure it. And although love and labor are entwined here, the dynamic isn’t cold or transactional — working is a way of proving devotion (*Girl plays ominously from the not-so-distant future*). In essence: I do all this shit, but it’s worth it bc it’s all for you. I’ll keep doing whatever it takes to give you what you want bc you give me what I want.
CBML, on the other hand, kind of pushes back against that logic. It’s not exactly a refusal of the terms set by AHDN, but it definitely renders the terms irrelevant. Right away, Paul makes it clear that the money and the things that John works to provide in exchange for love don’t matter to him. To prove he’s not in it for the stuff, HE will buy his “friend” a diamond ring, HE will give all he’s got to give, so long as he receives love in return. Does this sound familiar?
The crucial condition of both songs is mutual affection: love me too, and the rest becomes secondary. You don’t have to earn what’s already being freely returned.
I say (lots) more on the subject of love over labor in this essay for @wontyoucomeouttoplay <3
I think there is a lot going on in these songs to on-the-fly reconfigure the definition of "success" at a time of disorienting personal fame. They had to make new terms up as they went along. These songs are very spontaneously produced. I hear uncertainty and caution in addition to enthusiasm.
"IF you say you'll love me too." In "Can't Buy Me Love," the singer has the unusual power of having an endless supply of financial resources to impress his 'friend,' yet also, paradoxically, "may not have a lot to give." There is a wedding-ceremony quality that sneaks its way into "Can't Buy Me Love." For richer, for poorer…with this (diamond) ring…. Just how, exactly, does the exchange of gifts in order to hear the beloved say "I love you" display how love cannot be bought? This is not success defined by a Genghis Khan style conquest: the endless string of casual sexual partners. Surprisingly, this is success grounded in intimacy.
"Everything SEEMS to be right"
Is working "like a dog" becoming only a means to an end, as long as the "end" is the beloved waiting devotedly at home to provide some holding tight, doing those things that make you feel alright? For most people work can become that way, unless work itself is a place of joy (a 'home'). So in some senses yes "A Hard Day's Night" can indeed be seen as a plea to avoid a very real potential 'alienation of work.' I'm fascinated by the way Paul ends up inserting himself into the place where the beloved could have responded to the 'workin' man' singer as a duet. He focuses only on the loving part, playing the "girl's role" in the gender politics of the day. The surprise this provides is gently provocative.
I somehow missed the lyrics video last month and I watched it for the first time right now and I'm shook. When I think about this in the context of Paul, because let's face it, this is Paul's handiwork through and through, he had someone working on this one year after the original video came out. He's not done with Now and Then. He's still thinking about it, creating with it, revisiting it.
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I’ll admit I had low expectations for the new album but I’ve been incredibly impressed with the musicality and production of The Boys of Dungeon Lane. I’m in awe of Paul’s ability to pluck these melodies out of thin air, and after a listen or two, feel as if they have been in the McCartney catalog for decades. How can he hitting this great stride at 83 years old? It illustrates that getting older doesn’t mean you stop growing or that creativity dies. I hope all of us will be this lucky.
I’m really into a lot of songs on this record but I wanted to talk about Never Know because, not only is it my favorite, but a lyric triggered a connection that’s worth exploring, so here we go…
First, this song feels heavily inspired by past musical Beatle business (tape loops, close harmonies, mellotron, electric piano, recorder à la Fool on the Hill) but the lyrics feel placed in the early 70s timeline of the breakup and escape to Scotland. Let’s take a look:
I want to be the one | That's rooting for you | Lying in the sun again | I want to feel your touch | The things that you do | Have always meant so much to me
I don’t think he’s literally talking about lying in the sun (although he’s likely using a double meaning here), I read this as John being the sun. ☀️ The charismatic genius he bet his life on. When all is right with the world, he’s typically basking in John’s glow. Almost all of John’s attention and warmth, creatively and personally, has been on Paul up to this point. But now the sun shines on Yoko and he’s longing to be the partner who is John’s main support and focus again.
I want some love and peace | We need it right now | Your wonders never cease to be
At this point in time, John and Yoko are heavily engaged in their Peace activities. And Paul seems to be saying: okay, so you’re promoting a facade of love and peace to the world but, to me, you’re attacking my whole existence. Don’t I deserve love and peace right now too?
I love you, but you know | My heart is breaking over you | When you got me on the run | My body's shaking, oh, oh, oh | My mind is black and blue | I love you, but I never know
Here’s where this song took at turn that, in my mind, made me more certain that this is a “John Song.” The lyric “you got me on the run” alludes to his and Linda’s escape to Scotland to spin out, mourn, and heal in private. And the reason I think that is because of the line “my body’s shaking,” which instantly reminded me of the quote below from the book Wings: the Story of a Band on the Run
And this interview from All You Need Is Love: The Beatles in Their Own Words calls out shaking a little later in the timeline.
I'm gonna take the time | To prove that I care | Don't mind as long as I'm with you | I've got to make you see | I'll always be there | I only want to be with you
Following the story laid out in the previous lyrics, this last verse seems to be present day Paul being ever so self-aware that one of his greatest weaknesses is not being able to show/tell people that he loves them or that they are important to him. And he’s come to the understanding that this is what John needed to hear/know to believe that Paul never stopped loving him, knew a good thing when he saw it (warts and all), and was still committed to their partnership. So this song is just another one of those attempts to make John (somewhere across the universe) see that Paul “will always be there.”
WE two boys together clinging,
One the other never leaving,
Up and down the roads going—North and South excursions making,
Power enjoying—elbows stretching—fingers clutching,
Arm'd and fearless—eating, drinking, sleeping, loving,
No law less than ourselves owning—sailing, soldiering, thieving,
threatening,
Misers, menials, priests alarming—air breathing, water drinking, on
the turf or the sea-beach dancing,
Cities wrenching, ease scorning, statutes mocking, feebleness
chasing,
Fulfilling our foray.
My insane analysis on like the most important McLennon moment ever caught on film
IN THIS ANALYSIS, I will compare the original 1969 footage of the Beatles discussing India with the edited footage of the same moment in the 2021 “The Beatles: Get Back” documentary.
The original footage has significant historical relevance, where Lennon makes explicit references to the Bob Wooler incident and the holiday with Epstein in Spain. What’s more is, he does this after Epstein’s death. It’s a risky thing to hint at in casual conversation, and that’s knowing that they’re being filmed.
In mentioning these two incidents, Lennon simultaneously alludes to an, ahem, moment between him and McCartney in India.
Of course, the remarks Lennon makes could be ironic, self-sardonic witticisms - he was wont to make those.
But I find it interesting that exactly these remarks have been so heavily edited and / or entirely omitted. To me, this signals that the documentarists were aware that what Lennon said, if heard in its entirety, would lead to serious speculation.
Throughout the transcript below, there are some highlights to showcase where the documentary deviates from the original recording. I will explain these highlights:
Blue is when original audio has been left in, but as voiceover, meaning original visual footage is left out
Green means original footage has been moved and edited around
Red means original footage has been left out completely
The amount of highlights give a sense of how insanely heavily edited this moment is.
The 1970 documentary “Let It Be” is also guilty of this, but to avoid confusion, I only directly compare this transcript with the 2021 documentary.
If you watch the documentary, additional footage has also been added to the original recording. I don’t include these additions since this is a transcript of the original conversation, but I do point to moments where significant additions have been made in the footnotes.
Beatles transcript, original India discussion, Jan 25th, 1969, compared with the 2021 “The Beatles: Get Back” documentary:
Paul, John, George and Ringo are rehearsing, surrounded by sound- and film-crew. Paul is having an inaudible conversation with Ringo.
JOHN: (singing, unintelligible)
PAUL: Oh, I saw that film last night.
JOHN: What?
PAUL: Of us at the Maharishi’s - I’ve got all the film of it-
JOHN: Oh, yeah.
PAUL: And we all saw them(?) together. Incredible. It’s just got a great opening. (Nods at something) Yeah, (inaudible).
JOHN: The helicopter one, up in the sky.
PAUL: Yeah, I noticed you taking it, so I thought, “oh, I’ll get that.”
JOHN: Well that was the idea, you know, ‘cause you said you were making a film.
PAUL: Yeah. But it’s incredible - the opening is great, it’s just(inaudible) (1)
Paul goes on to talk with the others a bit - it’s mainly inaudible. Meanwhile, John talks about the reels.
JOHN: And on each of my two reels, “by John Lennon - Productions” written on those two reels.
SOMEONE: (Inaudible).
JOHN: I’ve had it - he’s got a few reels, too. But these are(?) my reels, luv, “By John Lennon” all through ‘em, with like subtitles. John Lennon’s reel.
SOMEONE (Paul?): (Laughing) Shut up, John. (2)
GEORGE(?): Here’s a little bit, it’s (inaudible) together, and they make a great… (?)
PAUL: Yeah, sure.
SOMEONE: So, uh… Great-
PAUL: (Talks about the film again, directed at John) It’s incredible, you know, to just sorta(?) see us. What we’re doing. It’s unbelievable.
GEORGE: What were you doing?
JOHN: (Teasingly) Yes, what were we doing?
Paul scratches his head and combs his fingers through his hair.
PAUL: Well, uh- I don’t really know, you know, but it’s like- we totally sort of put our own personalities under, for the sake of it, and you’d(?) really see, you know-
Paul pantomimes a stereotypical obedient school-boy.
JOHN: Who was that writing all them songs?
PAUL: (taken out of it) Oh that was uh- that was probably (inaudible)-
JOHN: In your room…
PAUL: Yeah, right. (Laughs and nods at John) I remember, yeah. (Serious again) But just sort of, uh- there’s a shot- there’s a long shot of you walking (points at John)-
GEORGE: (To Paul) Do you regret having gone there?
PAUL: No, no. Oh, no, no. I mean, you know-
GEORGE: Well, I feel as though I (inaudible).
PAUL: No, I just think what we did there-
JOHN: I don’t regret anything, ever… Not even Bob Wooler. (3)
PAUL: (Facing George but looking at John) No, I just think what we did there- we did, we uh, we didn’t take-
Close-up of John - he looks directly at Paul while he begins to fellate the microphone lewdly. (4)
PAUL: We weren’t sort of really truthful. You know. I mean, we could’ve, I mean- Rishikesh(?), you know there’s things like sneaking behind his back and sorta saying, “it’s a bit like school, isn’t it?” But you can see on the film that it is very like school, and that really we shoulda sorta said-
JOHN: (stops mouthing the mic) You wanna call it-
PAUL: Like we needed(?)-
JOHN: You wanna call it, “what we did on our holidays”. (5)
PAUL: (Glances at camera) Well, you know.
JOHN: (Laughs) I bet you’d love(?) (inaudible) to get it over(?).
PAUL: (Looking away) Yup, yeah… (At John again) But it is very like- there’s a long shot of you sort of walking with him, and it’s just not you, you know-
John also pantomimes an obedient school-boy.
PAUL: It’s just- (laughs) Yeah! Sort of all, “tell me, O’ master.” And that-
JOHN: (Amused) “Tell me, old master.”
PAUL: And that thing- Linda remembered that thing you said the other night as well (laughs) about when you went in the helicopter with him- you just thought he might slip you the answer.
They all laugh.
JOHN: I thought he might fly home.
(1) In the 2021 doc, at this point, additional footage is included, where we see the film from the reels with a voiceover of Paul describing them in greater detail.
(2) They’re saying that Paul didn’t film, so John thought to do it instead. At some point, Paul noticed John filming during a helicopter ride and decided to keep the tapes. Someone is confused and asks John whose tapes they were; he then goes on to clarify that they both used the camera, but jokes about his proprietary rights of the bits he filmed.
(3) The incident at Paul’s 21st birthday party, where John beat Bob Wooler in a drunken fit of rage over Wooler insinuating John and Epstein had had an affair on their holiday in Spain - John apologised for it but despite this, it still made the press. In 71, Lennon said this about the incident: “[...] obviously I must have been frightened of the fag in me to get so angry. You know, when you’re twenty-one, you want to be a man, and all that. If somebody said it now, I wouldn’t give a shit. [...]”
(4) In the 1971 film “Let It Be”, this footage is replaced with another clip of Lennon, where he wears a multi-coloured striped shirt - a shirt he did not wear on January the 25th and does not wear in any of the other clips from this conversation (instead, he wears a white t-shirt and vest). The audio has not been replaced, though, and one can still hear him mouthing at the microphone. The original footage is first included in the 2021 documentary series, where you can see from all the highlights that most of the actual conversation that took place is either edited out or moved around. This is significant, because in both films, at this moment, where Lennon refers to the Bob Wooler incident and then fellates the mic, he is directly referring to a significant historical incident in Beatles history - and yet both films choose to reframe this moment to obscure what Lennon is hinting at.
(5) It is interesting that the 2021 doc leaves this innuendo and the fellatio in, a clear reference to what Lennon and Epstein allegedly did on their holiday in Spain (and a potential double-meaning of what he and Paul did on their holiday in India), yet the mention of the Bob Wooler incident is removed. Was it an attempt to find a middle-ground, where they could include some reference to the alleged affair and simultaneously obscure it? There must have been discussions about what to include and what to leave out, and one can only wonder what the reasoning behind the final end result must have been (and who may have had final authority in the editing room…)
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Fran Drescher wearing a rainbow turtleneck, The Nanny, S2 E20 'Lamb Chop's On the Menu', 1995
VS
Alessandro Mendini wearing 'Sentirsi un Arcobaleno Addosso' by Franco Summa, 1975
Fine, Fiona i need you to tell me what you think about every song on the album, your theories, and what you think every little thing means based on your own interpretation.
I don't feel like I have a Grand Take on every single song but let me try.
As You Lie There:
No huge ~theory, but I too am now in love with Jasmine. This song makes me feel things kind of like Layla does (it's not quite on Layla's level, on the other hand, I don't exactly relate to Layla) but it's helpful Paul isn't Eric Clapton.
I don't know if I've ever felt like Paul was making me see what he sees, feel what he feels in a love song, as opposed to being endeared to the way he described his feelings/his love interest. It's also probably related to where I'm at in my life these days.
I just love the dichotomy of it – the romantic and the erotic. There's an argument for this being the most quintessentially Paul song, specifically for embodying both of these sides at once. But I also think the combination heightens it to something more than either part separately. It's gorgeously human.
I was unsure about the spoken part on first listen, but actually I'm obsessed now. It's musical theatre-y the way he first speaks "Do I ever cross your mind?" and then sings it.
The way it just cuts back to the calm part at the end. *chef's kiss*
Lost Horizon
This song appeals to me as a Lover Of Memory™. I like how it's specifically about the feeling of being suddenly reminded of things (prompted by sounds – a lovely motif) which you didn't even remember you remembered.
And I love how Paul uses these memories to remind himself that every moment counts: even if you think this might be forgotten, it isn't necessarily! You shouldn't assume any moment is lost forever!
It may be Beatles-inspired. "Where every memory we shared / Brought us closer together" certainly fits how Paul tends to talk about the early Beatles period, though it's of course applicable to many different situations. It connects to Down South, the idea of key moments and shared experiences bonding you to someone.
The song itself was forgotten by Paul, rediscovered by his engineer on a cassette, which is wildly fitting and perfect. I also feel like it echoes the sentiment of Paul revising his breakup memories via Get Back, or finding that old Lennon-McCartney lyric sheet when putting together The Lyrics, or, my personal favourite, while talking about one of the Eyes Of The Storm pictures of John, he mentioned it was nice to rediscover that photo, because he had forgotten that John used to chew on his knuckles in the way he does on the picture. Memory is fleeting and fragile, but there are ways to retrieve it.
Lastly, I like how it's not completely positive: "That sound / Can do my head in."
Days We Lost Behind
I wrote a lot about this one on release, but it's interesting as a reflection extending from the previous track, like Paul is now processing these newly discovered memories ("Looking back at white and black reminders of my past") and it's quite bittersweet.
Ripples in a Pond
This one reminds me musically of Get Started off the Explorer's Edition of Egypt Station.
It's got a few lyrics that irk me: "If you say that I've been through worse / I'll have to say that's something that I couldn't deny" sorry could he not have rewritten that second part lmao.
That being said, the bridge bit elevates it so much musically.
I really like the central imagery: "Let's carry on making ripples in a pond / Let's see how far it goes" is fire.
Mountain Top
I love when this song gets dark, that descending guitar line is by far the best part
Tangential, but pumpkin pie is the best kind of pie. So yay.
Also
@ people who have an official lyric sheet: Chat Is This Real? If so, DIED 1986 BORN 2026 WELCOME BACK OKLAHOMA WAS NEVER LIKE THIS
Uh. it could be about John, but I sort of have no deeper thoughts related to that. Like, yeah they did drop acid together. It's not really a romantic song, though, so IDK why he would feel the need to bury the lead on the inspiration by making the main character a girl, if it was about John.
On that note, there's something interesting about how Paul doesn't have to hide that this is a drug song, unlike during his 60s psychedelic phase. I feel like that gives this song a distinctly modern feel, like it really is about some teenaged girl in the 2020s.
The song is 95% vibes anyways. I like the tempo change.
Down South
Unfortunately this song kind of disappointed me lol. Mostly cause I don't love this type of guitar song from Paul (I'm also not huge on Confidant, for example). It's kinda basic and because I know the story he's telling well, I don't get a ton out of it. But it's cool that we have a George song :)
We Two
The music is growing on me, the slightly strange, restrained optimism with a sliver of melancholy in the melody and chords is appealing. Still love the tape noises at the end.
Maybe it's about John, I certainly wouldn't rule that out, but the lyrics just kind of bore me. TBH. I don't want to expend much time thinking about it. I actually lowkey suspect it's in fact about no one lol, it mostly feels like platitudes.
Come Inside
Hot take: this one's got more gay potential than We Two. The double entendre of "Come inside my mind" is right there + you could argue it's about mind melding which is of course a core McLennon activity
That being said, I think the most natural reading is that this a reflection on Paul interacting with his audience. It's a strange position for him to take, given his infamous guardedness. That being said, "All my life's an open book" well. I literally own like 20 books about him, so did he lie?
You could read it as perhaps a reflection on being "proven right" about many aspects of Beatles history. Sort of a "I've been saying all of this from the start – are you finally ready to listen?"
Never Know
I've said it all
Actual new GOAT in the discog. Crazy.
I made my best friend listen to the instrumental break and the Strawberry Fields Forever Take 1 outro one after the other to make sure I wasn't crazy.
Home To Us
Previous thoughts
Absolutely not the intention of the song, but given the previous song, reading Liverpool as a stand-in for John and this song being Paul and Ringo defending him despite his rough sides tickles my brain a lot.
Joy <3
Life Can Be Hard
I like that you can read this as a love song about someone who makes life easier or as a love song to life. Life calls Paul on and he's enchanted by her beauty.
"I can see when there's no food in the larder / I know that she wouldn't care" quite immediately pinged as a callback to My Love ("And when the cupboard's bare / I'll still find something there with my love"), which, being Paul's favourite Wings song and his longtime tribute to Linda, feels both heavy and lovely, especially in a song about love helping Paul push through the hardships of life. It's also very Chaos & Creations-coded.
So pretty. The lyrics of the bridge are so fun, beautiful imagery.
First Star of the Night
This one's been the biggest grower for me. It's soooooo warm and delightful.
The spoken "Raining in Costa Rica" intro, followed by the opening line "Even when it's raining inside / Something tells me it's alright" appears to be a callback to My Valentine ("What if it rained? We didn't care" + the way Paul introduces the song on tour)
I love how Paul is actually subtly calling the subject of the song the first star of the night – Venus of course, goddess of beauty and love. It's deeply romantic and elegant. On Letting Go, Paul invoked the planet Venus with the line "Like a Lucifer she'll always shine", making this another Linda comparison, in a way? I'm thinking about the fact Nancy met Linda and, when she told Paul this, it made him feel more certain about this new relationship, like they were both aligned I suppose. It's lovely to see him being able to reconcile them with each other, not make them compete.
Salesman Saint
The 4/4 trumpets over the 3/4 song: so cool.
"They couldn't take any more / But they had to carry on" is actually soooooo Too Much Rain-coded ("It's too much for anyone […] You've gotta learn to laugh").
The "So they learned to carry on" bridge bit works so well, it raises the tension so well, makes you agree: You just have to carry on.
Momma Gets By
I do suspect this is to some extent inspired by Paul's parents and perhaps a reflection on Linda in the early period of her marriage to him (over which I do believe he feels some guilt), as well as his general observation of women which he's been doing his entire career, reaching all the way back to Suicide.
The instrumental is so gorgeous.
Also the "She loves him, she loves him" bit immediately made me think of On My Own from Les Mis. I don't know if that was on purpose but it's a depressing song to invoke while describing a marriage.
The fact it's from the child's perspective is quite interesting. In a way, the album begins and ends with a young perspective, while a lot of it is aged.
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“Never Know” I need to hear more thoughts on this one. give me a long review from your perspective.
you're in luck, I completed my Taylor song of the day post early today, but I'm also Well Practiced in writing about songs at this point.
Okay, let me subdivide it:
The music
SOOOOO many great elements. Genuinely, one of the greatest arrangements on any Paul song ever:
the acapella "bum bum bum"s which give such a haunted vibe to the whole thing, and they sort of foreshadow the "oh oh oh" of the chorus, which makes it all so cohesive. And the full acapella bit before the second chorus, which adds suspense. IT'S SO VARIED!!!! and also perfectly builds musical tension.
The flarey tape sounds in the background REALLY remind me of I'm Only Sleeping in particular, but it's obviously a general psychedelic vibe
the flutes are just…… sooo Strawberry Fields-coded. I just looked at the personnel list and there is no credited flutist...... but there's a mellotron on this track. RAAAAAA!
EDIT: Paul is playing a recorder on this track (my cmd+f failed me).... I was actually thinking it sounded kind of super real for a mellotron. But there's ALSO a mellotron he plays. I think it's playing like the accompanying chords, creating a combined sound.
the mysterious, uncertain vibe of the verse melody vs. the catchy but slightly dark vibe of the chorus melody. Amazing chord use across the board. This is one of Paul's catchiest tracks which somehow doesn't sound like anything else he's done.
I love the little octavated "never know" backing vocal at the end of the second chorus. Also the chorus harmonies in general.
I adore the instrumental break and how it changes throughout the song. At first, it SUPER sounds like Strawberry Fields, especially because of the descending bass accompanying it, then there's that fakeout ending and only the flute which has this like....... cliffside (???) vibe — Nature. Fool On The Hill. (the Fool On The Hill with Mother Nature's Son bits from Love specifically, perhaps) — And then that guitar and those "oohs" comes in and it's sooooooo uplifting and heartbreaking at once. God that's just pure MUSIC. This song doesn't need a bridge because of how good this instrumental is. And finally the fadeout with mostly the vocals. Perfect, genuinely.
There's quite some bass playing on this song actually. I miss that on a lot of Paul's post-Wings work, tbh
The lyrics
"I want to be the one that's rooting for you" – notice how he's not actually saying that he is rooting for the you. From line 1, he's bargaining with himself.
The entire first verse is praising the you, but the chorus is completely about feeling blindsided and destroyed by this relationship. The contrast is stark.
"My mind is black and blue" is such a heavy line, but I love it.
I love the contrasting bookend lyrics of the chorus: "I love you but you know" vs. "I love you but I never know."
However, the second verse complicates this: "I'm gonna take the time / To prove that I care" and "I've got to make you see / I'll always be there / I only want to be with you." This suggests that the narrator of the song does know and it's the you who doesn't. Are the communication issues mutual?
Overall, the words are haunting but so simple.
The John of it all (DISCLAIMER: I make zero of these connections with certainty)
I JUST NOTICED IT'S TRACK 9.
Just in general, I feel like the track really captures the specific toxicity of late-stage JohnandPaul. Just the emotional exhaustion from being perpetually not on the same page, despite the love still running so deep. The fear and sadness of something so special ending, the growing weariness from walking on invisible eggshells day in, day out. And combine that with the second verse: having all those feelings but also having an instinctive knowledge that to some extent John acted that way because of deep-seated abandonment issues, because he couldn't always fully believe Paul was on his side. In spite of all the hurt caused, there is still entrenched sympathy.
"I want some love and peace / We need it right now" it really doesn't get more The Beatles, 1969 than that
I think there's an interesting avenue of reading this as a song about the insurmountable uncertainty created by the separation of death. That's not directly in the lyrics, but I'm Me and these are things I think about a lot lol (see: my fics......) I find the line "Your wonders never cease to be" especially interesting in this context – John is gone, but his works live on and continue to fascinate Paul and others.
dailybridgerton
jbbartram-illu
snowghoul
