• Published in 1968
• Author: Lennon/McCartney

JOHN 1980: “Completely me. We recorded the song twice. The Beatles were getting real tense with each other. I did the slow version (Revolution 1) and I wanted to put it out as a single: as a statement of the Beatles’ position on Vietnam and the Beatles’ position on revolution. The first take of ‘Revolution’ …well, George and Paul were resentful and said it wasn’t fast enough. Now, if you go into the details of what a hit record is and isn’t, maybe. But the Beatles could have afforded to put out a slow, understandable version of ‘Revolution’ as a single, whether it was a gold record or a wooden record.”

About “Revolution”

“Revolution” was released as a single in 1968, along with “Hey Jude,” as a double A-side. The song was written by John Lennon and credited to the songwriting partnership of Lennon/McCartney, as was customary for most Beatles songs. “Revolution” is known for its powerful and politically charged lyrics, reflecting the social and political upheaval of the late 1960s. The song addresses themes of revolution, protest, and the desire for change. It’s often associated with the counterculture movements of the time.

Musically, “Revolution” features a raw and edgy sound, characterized by a distorted guitar riff and a driving rhythm. It was a departure from the more polished and melodic sound that The Beatles were known for in their earlier years. There are actually two versions of “Revolution.” The faster and more aggressive version was released as the B-side to the “Hey Jude” single, while a slower and more refined version “Revolution 1” appeared on The Beatles’ self-titled album, commonly known as the “White Album,” which was released later in 1968.

“Revolution” remains a significant and influential song in the history of rock music, and it continues to be celebrated for its social and musical impact.

Meaning of “Revolution”

The lyrics of “Revolution” reflect a sense of disillusionment with the state of the world and a desire for change. The song expresses frustration with the existing order and calls for a revolution, but not necessarily a violent one. Instead, it suggests a more contemplative approach to revolution, advocating for a change in consciousness and societal values.

“Revolution” can be seen as a reflection of the turbulent times in which it was written, with social and political upheaval taking place around the world, including events like the Vietnam War and civil rights movements. The song’s message is open to interpretation, but it’s generally understood as a call for change and a questioning of the status quo.

Personnel

The Beatles

• John Lennon – vocals, lead guitar, handclaps
• Paul McCartney – bass guitar, Hammond organ, handclaps
• George Harrison – lead guitar, handclaps
• Ringo Starr – drums, handclaps

Additional musician

• Nicky Hopkins – electric piano

The Beatles’ ninth studio album, also known as the White Album, was released on 22 November 1968. It is the band’s only double album. There are no graphics or text on the cover other than the band’s name embossed on the white sleeve. Compared to the vivid artwork on the band’s previous album Sgt. Pepper’s Lonely Hearts Club Band, this cover artwork was intended as a direct contrast. The Beatles’ music is known for its fragmentary style and diversity of genres, including folk, British blues, ska, music hall, and pre-heavy metal. Some critics have since viewed it as a postmodern masterpiece, as well as one of the greatest albums ever.

A total of 30 songs are included on the album, 19 of which were written at the Transcendental Meditation course in Rishikesh, India, between March and April 1968. In those days, the only western instrument available to the band was the acoustic guitar; many of these songs remained acoustic on The Beatles, recorded solo or by part of the band alone. Because of the production aesthetic, the album’s sound was scaled down and less reliant on studio innovation than most releases since Revolver (1966). By keeping each piece of music faithful to a specific genre, the Beatles broke with the band’s tradition of incorporating several musical styles into one song at the time.

Recording sessions began at EMI Studios in London at the end of May 1968 and lasted until mid-October. It was during these sessions that disagreements broke out between the foursome over creative differences and the presence of Yoko Ono, the Beatles’ new girlfriend, who subverted the Beatles’ rule that wives and girlfriends were not allowed in the studio. A series of problems led to Ringo Starr leaving the band for two weeks in August, including producer George Martin taking a sudden holiday and engineer Geoff Emerick suddenly quitting during a session. Tensions continued throughout the following year, leading to the band’s breakup.

Despite 1968’s turbulent political and social climate, the Beatles’ satirical songs were considered unimportant and apolitical by most music critics. In Britain and the United States, it topped the record charts. In either country, no singles were issued, but “Hey Jude” and “Revolution” were released on a single in August 1968. Platinum certification has been awarded to the album by the RIAA. For the 50th anniversary of the album, a remixed and expanded edition was released in 2018.

• Artist: The Beatles
• Release date: November 22, 1968
• Genres: Rock, Pop music, Pop rock, Country music, Hard rock
• Label: Apple Records

The Beatles (White Album) tracklist

DISC 1 – SIDE A

1. Back in the U.S.S.R.
   (Lennon-McCartney)
2. Dear Prudence
   (Lennon-McCartney)
3. Glass Onion
   (Lennon-McCartney)
4. Ob-La-Di, Ob-La-Da
   (Lennon-McCartney)
5. Wild Honey Pie
   (Lennon-McCartney)
6. The Continuing Story of Bungalow Bill
   (Lennon-McCartney)
7. While My Guitar Gently Weeps
   (Harrison)
8. Happiness Is a Warm Gun
   (Lennon-McCartney)

DISC 1 – SIDE B

1. Martha My Dear
   (Lennon-McCartney)
2. I’m So Tired
   (Lennon-McCartney)
3. Blackbird
   (Lennon-McCartney)
4. Piggies
   (Harrison)
5. Rocky Raccoon
   (Lennon-McCartney)
6. Don’t Pass Me By
   (Starkey)
7. Why Don’t We Do It in the Road?
   (Lennon-McCartney)
8. I Will
   (Lennon-McCartney)
9. Julia
   (Lennon-McCartney)

DISC 2 – SIDE A

1. Birthday
   (Lennon-McCartney)
2. Yer Blues
   (Lennon-McCartney)
3. Mother Nature’s Son
   (Lennon-McCartney)
4. Everybody’s Got Something to Hide Except Me and My Monkey
   (Lennon-McCartney)
5. Sexy Sadie
   (Lennon-McCartney)
6. Helter Skelter
   (Lennon-McCartney)
7. Long, Long, Long
   (Harrison)

DISC 2 – SIDE B

1. Revolution 1
   (Lennon-McCartney)
2. Honey Pie
   (Lennon-McCartney)
3. Savoy Truffle
   (Harrison)
4. Cry Baby Cry
   (Lennon-McCartney)
5. Revolution 9
   (Lennon-McCartney)
6. Good Night
   (Lennon-McCartney)

• Published on 1968
• Author: Lennon/McCartney
• Track 9 on “The Beatles – White Album“

PAUL 1968: “You see, I just start singing some words with a tune, you know what I mean. Mainly I’m just doing a tune and then some words come into my head, you know. And these happened to be ‘Martha My Dear, though I spend my days in conversation.’ So you can read anything you like into it, but really it’s just a song. It’s me singing to my dog.” (laughs)

PAUL circa-1994: “When I taught myself piano I liked to see how far I could go, and this (song) started off as a piece you’d learn as a piano lesson. It’s quite hard for me to play, It’s a two-handed thing, like a little set piece. Then when I was blocking out words– you just mouth out sounds and some things come– I found the words ‘Martha my dear.’ So I made up another fantasy song… I mean, I’m not really speaking to Martha, it’s a communication of some sort or affection, but in a slightly abstract way– ‘You silly girl, look what you’ve done…’ Whereas it would appear to anybody else to be a song to a girl called Martha, it’s actually a dog, and our relationship was platonic, believe me.”

About “Martha My Dear”

Credited to Lennon–McCartney, the song was written solely by Paul McCartney about his Old English Sheepdog, Martha. It has been covered by several artists, including Slade, Herb Alpert & The Tijuana Brass, Phish, World Party, and Les Boréades de Montréal. The song incorporates elements from pop rock music; it also features a music hall-inspired piano line that recurs throughout the piece, as well as a brass section. The song modulates through several keys.

According to Beatles biographers Ian MacDonald and Mark Lewisohn, “Martha My Dear” is one of the few songs by the band in which McCartney played all the instruments (except orchestral instruments played by session musicians). Such a scenario was increasingly common for him during the height of the tensions that marred the sessions for the album. Although George Harrison is known to have recorded a portion of the electric guitar on the final recording, he was not credited.

The song was recorded over two days on 4 and 5 October 1968 at Trident Studios in London. McCartney recorded the piano, drums and vocals on the first day. He was advised to have producer George Martin play the piano solo because it was believed that the solo was beyond McCartney’s competency, but McCartney persisted. Martin’s brass and string arrangements were overdubbed later that day. On 5 October, McCartney re-recorded his vocals, added handclaps, and overdubbed bass and guitar parts, completing the song that day.

Meaning of “Martha My Dear”

“Martha My Dear” is widely believed to be a tribute to McCartney’s Old English Sheepdog named Martha. In the song, Paul addresses Martha with affectionate and endearing language, expressing sentiments of love and admiration. The lyrics suggest a deep connection between McCartney and his pet, with references to Martha’s eyes, heart, and overall presence.

While the song is often interpreted as a simple love song to a pet, some fans and analysts have also speculated that it might carry metaphorical or symbolic meanings, possibly alluding to a more personal or human relationship. Ultimately, the meaning of “Martha My Dear” is open to interpretation, and it can be appreciated on different levels, whether as a heartfelt tribute to a beloved pet or as a reflection of deeper emotions.

Personnel

The Beatles

• Paul McCartney – double-tracked lead vocals, piano, bass, electric guitar, drums, handclaps, brass and string arrangement

Additional musicians

• Bernard Mille, Dennis McConnell, Lou Sofier, Les Maddox – violins
• Leo Birnbaum, Henry Myerscough – violas
• Reginald Kilby, Frederick Alexander, Peter Halling – cellos
• Leon Calvert – trumpet, flugelhorn
• Stan Reynolds, Ronnie Hughes – trumpets
• Tony Tunstall – French horn
• Ted Barker – trombone
• Alf Reece – tuba

String and brass arrangement by George Martin.

• Published on 1968
• Author: Harrison
• Track 24 on “The Beatles – White Album“

GEORGE 1980: “The ‘you’ in ‘Long Long Long’ is God. I can’t recall much about it except the chords, which I think were coming from (Dylan’s) ‘Sad Eyed Lady Of The Lowlands’– D to E minor, A, and D– those three chords and the way they moved.”

About “Long, Long, Long”

“Long, Long, Long” was written by George Harrison, the group’s lead guitarist, while he and his bandmates were attending Maharishi Mahesh Yogi’s Transcendental Meditation course in Rishikesh, India, in early 1968. Although Harrison later stated that he was addressing God in the lyrics, it is the first of his compositions that invites interpretation as both a standard love song and a paean to his deity.

“Long, Long, Long” originated during a period in which Harrison emerged as a prolific songwriter, coinciding with his return to the guitar after two years of studying the Indian sitar. He based the chord pattern on “Sad Eyed Lady of the Lowlands” by Bob Dylan, while the song’s understated arrangement partly reflects the influence of the Band’s 1968 album Music from Big Pink. The Beatles recorded it in London towards the end of the White Album sessions, which were marked by acrimony among the band members in the fallout to their experiences in Rishikesh. An ambient and meditative ballad, it ends with a partly improvised segment that was inspired by the sound of a wine bottle vibrating on a speaker in the studio.

“Long, Long, Long” has received praise from several music critics. On release, William Mann of The Times rated it the equal of the album’s best Lennon–McCartney compositions; Ian MacDonald later described it as Harrison’s “touching token of exhausted, relieved reconciliation with God” and his “finest moment on The Beatles”. Elliott Smith and Jim James are among the other artists who have recorded or performed the song.

Meaning of “Long, Long, Long”

“Long, Long, Long” is often interpreted as a reflection on Harrison’s spiritual journey and his relationship with God. The lyrics suggest a sense of longing and yearning for a deeper connection or understanding. The repetitive nature of the phrase “long, long, long” in the song’s title and chorus reinforces this feeling of longing.

The song’s haunting and ethereal sound is created through a combination of Harrison’s vocals, acoustic guitar, and the use of a Leslie speaker on the organ, which creates a swirling, atmospheric effect.

Overall, “Long, Long, Long” is considered one of George Harrison’s more introspective and spiritually reflective compositions, reflecting his interest in Eastern philosophy and his personal journey toward a deeper sense of meaning and purpose.

Personnel

The Beatles

• George Harrison – double-tracked lead vocal, acoustic guitars
• Paul McCartney – harmony vocal, Hammond organ, bass guitar
• Ringo Starr – drums

Additional musician

• Chris Thomas – piano

• Published on 1968
• Author: Lennon/McCartney
• Track 20 on “The Beatles – White Album“

PAUL 1968: “It says ‘Born a poor young country boy’ and I was born in Woolton hospital actually– so it’s a dirty lie.”

JOHN 1980: “Paul. That was from a lecture of Maharishi where he was talking about nature, and I had a piece called ‘I’m Just A Child Of Nature,’ which turned into ‘Jealous Guy’ years later. Both inspired from the same lecture of Maharishi.”

PAUL circa-1994: “I seem to remember writing ‘Mother Nature’s Son’ at my dad’s house in Liverpool… I’ve always loved the song called, ‘Nature Boy’ …’Mother Nature’s Son’ was inspired by that song. I’d always loved nature, and when Linda and I got together we discovered we had this deep love of nature in common. There might have been a little help from John with some of the verses.

About “Mother Nature’s Son”

The song was written primarily by Paul McCartney, and credited to Lennon–McCartney. It was inspired by a lecture given by the Maharishi Mahesh Yogi while the Beatles were in India.The same lecture inspired Lennon’s song “Child of Nature”, the tune of which he later re-used for “Jealous Guy”.Although credited to the group, the song was performed by McCartney alone (with a brass arrangement by George Martin), while the other Beatles were working on other “White Album” songs.

According to Paul McCartney he was inspired by Nat King Cole’s song “Nature Boy” he heard growing up. He wrote the song in Liverpool when he visited his father.

McCartney recorded the song during the height of the tensions that marred the sessions for the White Album. On 9 August 1968, he recorded 25 takes singing and playing acoustic guitar simultaneously. Take 24 was perceived to be the best (take 2 later appeared on Anthology 3).

McCartney recorded overdubs of timpani, another guitar, fingers slapping on a book and drums on 20 August, when George Martin’s orchestral contributions were also added. The drums were put halfway down an uncarpeted corridor with the microphones at the far end, resulting in a bongo-like staccato sound.

John Lennon did not play on the recording, but McCartney said he contributed some words to the song in India. When Lennon (who hated McCartney recording without the rest of the band) and Ringo Starr walked into the studio after McCartney had finished, “you could have cut the atmosphere with a knife”, recalled engineer Ken Scott.

Meaning of “Mother Nature’s Son”

The lyrics of “Mother Nature’s Son” evoke a deep connection with nature and celebrate the beauty and simplicity of the natural world. It portrays an individual who finds solace, inspiration, and a sense of belonging in the outdoors. The song conveys a sense of peace and contentment that comes from being in harmony with nature.

The persona in the song is presented as someone who appreciates the natural elements – the mountains, the trees, and the meadows. It’s a song that encapsulates a pastoral and idyllic view of life, drawing on themes of tranquility and oneness with the environment.

Overall, “Mother Nature’s Son” can be seen as a tribute to the restorative and nurturing qualities of the natural world, and it reflects a sentiment of finding a deeper connection and comfort in the embrace of nature.

Personnel

• Paul McCartney – double-tracked vocal, acoustic guitars, timpani, bass drum, book slaps
• Unknown – two trumpets, two trombones

• Published on 1968
• Author: Lennon/McCartney
• Track 18 on “The Beatles – White Album“

PAUL 1968: “What happened was ‘The Girl Can’t Help It’ was on television. That’s an old rock film with Little Richard and Fats Domino and Eddie Cochran and a few others… and we wanted to see it, so we started recording at five o’clock. And we said, ‘We’ll do something, We’ll make up a backing track.’ So we kept it very simple– twelve bar blues kind of thing. And we stuck in a few bits here and there in it, with no idea what the song was or what was gonna go on top of it. We just said, ‘Okay. Twelve bars in A, and we’ll change to D, and I’m gonna do a few beats in C.’ And we really just did it like that… random thing. And we came back here to my house and watched ‘The Girl Can’t Help It.’ Then we went back to the studio again and made up some words to go with it all. So this song was just made up in an evening. Umm, you know. We hadn’t ever thought of it before then. And it’s one of my favorites because of that. I think it works, you know, ‘cuz it’s just… It’s a good one to dance to. Like the big long drum break, just ‘cuz, normally we might have four bars of drums, but with this we just keep it going, you know. We all like to hear drums plodding on.”

JOHN 1972: “Both of us (wrote it.)”

JOHN 1980: “‘Birthday’ was written in the studio. Just made up on the spot. I think Paul wanted to write a song like ‘Happy Birthday Baby,’ the old fifties hit. But it was sort of made up in the studio. It was a piece of garbage.”

PAUL circa-1994: “We thought, ‘Why not make something up?’ So we got a riff going and arranged it around this riff. So that is 50-50 John and me, made up on the spot and recorded all in the same evening.”

About “Birthday”

Written by John Lennon and Paul McCartney, mainly by McCartney, it is the opening track on the third side of the LP (or the second disc in CD versions of the record). Surviving Beatles Paul McCartney and Ringo Starr performed it for Starr’s 70th birthday at Radio City Music Hall on 7 July 2010.

The song was largely written during a recording session at EMI Studios on 18 September 1968 by John Lennon and Paul McCartney. McCartney: “We thought, ‘Why not make something up?’ So we got a riff going and arranged it around this riff. So that is 50–50 John and me, made up on the spot and recorded all in the same evening.”During the session, the Beatles and the recording crew made a short trip around the corner to McCartney’s house to watch the 1956 rock & roll movie The Girl Can’t Help It which was being shown for the first time on British television. After the movie they returned to record “Birthday”.

George Martin was away so his assistant Chris Thomas produced the session. His memory is that the song was mostly McCartney’s: “Paul was the first one in, and he was playing the ‘Birthday’ riff. Eventually the others arrived, by which time Paul had literally written the song, right there in the studio.” Everyone in the studio sang in the chorus and it was 5 am by the time the final mono mix was completed.

Lennon said in his Playboy interview in 1980: “‘Birthday’ was written in the studio. Just made up on the spot. I think Paul wanted to write a song like ‘Happy Birthday Baby’, the old fifties hit. But it was sort of made up in the studio. It was a piece of garbage.”

“Birthday” begins with an intro drum fill, then moves directly into a blues progression in A (in the form of a guitar riff doubled by the bass) with McCartney singing at the top of his chest voice with Lennon on a lower harmony. After this section, a drum break lasting eight measures brings the song into the middle section, which rests entirely on the dominant. A repeat of the blues progression/guitar riff instrumental section, augmented by piano brings the song into a bridge before returning to a repeat of the first vocal section, this time with the piano accompaniment.

Meaning of “Birthday”

The Beatles’ song “Birthday” is a lively and celebratory track. Its meaning is quite straightforward, as it is a joyful tribute to the occasion of someone’s birthday. The lyrics are filled with well-wishes, expressing happiness and celebration for the person whose birthday it is.

The song’s message is all about having a good time, enjoying the festivities, and spreading positivity. It’s one of The Beatles’ more straightforward and lighthearted compositions, and it’s become a popular choice for birthday celebrations for its catchy melody and upbeat spirit.

Personnel

• Paul McCartney – lead vocal, bass, piano
• John Lennon – vocals, guitar
• George Harrison – guitar, tambourine
• Ringo Starr – drums, handclaps
• Pattie Harrison – backing vocal
• Yoko Ono – backing vocal
• Mal Evans – handclaps

How to play “Birthday” on guitar

“Birthday” features a prominent electric guitar riff that contributes to the energetic and celebratory feel of the track. The guitar work in “Birthday” is played by both John Lennon and George Harrison.

The riff is characterized by its catchy, rhythmic pattern that drives the song forward. It’s played on electric guitars with a bright and lively tone.

The following video features a guitar lesson on how to play “Birthday”:

How to play “Birthday” on piano

“Birthday” features piano played by Paul McCartney. The piano riff in “Birthday” is relatively straightforward but has a catchy and energetic feel that complements the rest of the instruments. It provides a solid foundation for the vocals and contributes to the celebratory atmosphere of the track.

The following video provides a piano cover of “Birthday”:

How to play “Birthday” on bass

The bassline in “Birthday”, played by Paul McCartney, is an integral part of the song’s groove and rhythm. It complements the energetic guitar riff and contributes to the overall celebratory feel of the track.

Paul McCartney’s bass playing in “Birthday” is characterized by a driving, melodic line that provides a solid foundation for the rest of the instruments. It features a combination of steady rhythmic patterns and melodic flourishes that add depth and interest to the song.

The following video shows how to play “Birthday” bassline with tab:

“Birthday” karaoke

For those who want to try singing “Birthday,” the following video features the karaoke version of the song:

• Published in 1968
• Author: Lennon/McCartney
• Track 1 on “The Beatles – White Album“
• Track 15 on “The Beatles 1967-1970” (Blue Album)

PAUL 1968: “Chuck Berry once did a song called ‘Back In The USA,’ which is very American, very Chuck Berry. Very sort of, uhh… you know, you’re serving in the army, and when I get back home I’m gonna kiss the ground. And you know– Can’t wait to get back to the States. And it’s a very American sort of thing, I’ve always thought. So this one is like about… In my mind it’s just about a spy who’s been in America a long long time, you know, and he’s picked up… And he’s very American. But he gets back to the USSR, you know, and he’s sort of saying, ‘Leave it till tomorrow, honey, to disconnect the phone,’ and all that. And ‘Come here honey,’ but with Russian women. It concerns the attributes of Russian women.”

JOHN 1980: “Paul completely. I play the six-string bass on that.”

PAUL 1984: “I wrote that as a kind of Beach Boys parody. And ‘Back in the USA’ was a Chuck Berry song, so it kinda took off from there. I just liked the idea of Georgia girls and talking about places like the Ukraine as if they were California, you know? It was also hands across the water, which I’m still conscious of. ‘Cuz they like us out there, even though the bosses in the Kremlin may not. The kids do.”

PAUL 1986: “I’m sure it pissed Ringo off when he couldn’t quite get the drums to ‘Back In The USSR,’ and I sat in. It’s very weird to know that you can do a thing someone else is having trouble with. If you go down and do it, just bluff right through it, you think, ‘What the hell, at least I’m helping.’ Then the paranoia comes in– ‘But I’m going to show him up!’ I was very sensitive to that.”

About “Back In The USSR”

“Back In The USSR“, written by Paul McCartney and credited to the Lennon–McCartney partnership, parodies Chuck Berry’s “Back in the USA” and the Beach Boys’ “California Girls”. As Berry’s patriotic sentiments about the United States are subverted, the narrator expresses relief upon returning home to the Soviet Union, formally known as the Union of Soviet Socialist Republics (USSR).

As a result of McCartney’s criticism of Starr’s drumming and the tensions that characterized the White Album sessions, the Beatles recorded “Back in the USSR” as a three-piece. The other Beatles instead made a composite drum track from a variety of takes. A Beach Boys-like bridge celebrates girls from various parts of the USSR, while McCartney’s singing is based on Jerry Lee Lewis. Tape loops of an aircraft landing on a runway open and close the song.

Six months following the Warsaw Pact’s invasion of Czechoslovakia, the Beatles’ sympathetic portrayal of the USSR prompted condemnation from both the New Left and the political right. In 1976, “Back in the USSR” was released as a single backed by “Twist and Shout” to promote the compilation album Rock ‘n’ Roll Music. The song peaked at number 19 on the UK Singles Chart and number 11 in Ireland. Moscow’s Red Square was the venue for McCartney’s 2003 performance of the song. There have also been versions recorded during concerts in Russia by Elton John and Billy Joel.

Meaning of “Back In The USSR”

“Back in the USSR” is a song that employs satire and humor to depict a romanticized vision of the Soviet Union. The lyrics playfully exaggerate and stereotype various aspects of Soviet life. The song opens with a sentiment of nostalgia and longing, expressing a desire to return to a place that holds sentimental value. This sets the tone for the rest of the song. The lyrics are filled with references to iconic Russian elements, such as the Ukraine girls, Georgian pine, and Moscow. These references are often used in a playful and exaggerated manner.

The song is written with a sense of satire and irony. It’s not meant to be taken as a serious commentary on the Soviet Union, but rather as a playful exaggeration of Western perceptions of the country. The lyrics mention specific cultural elements, such as the girls singing “goobye” on the plane, which may be a nod to the famous Russian tradition of the “troika” or the three-horse sleigh.

The lyrics also make comparisons between life in the USSR and life in the West. For example, the song contrasts the “Georgia’s always on my my my my my my my my mind” with “California dreaming”. This serves to highlight the differences between the two lifestyles. “Back In The USSR“ was influenced by the Beach Boys’ sound and style, and this is reflected in the harmonies and overall musical arrangement. This adds an extra layer of irony, as the Beach Boys were known for their California surf culture image, which is a stark contrast to the USSR.

Personnel

• Paul McCartney – double-tracked vocal, backing vocal, piano, bass guitar, drums, lead guitar, handclaps, percussion
• John Lennon – backing vocal, rhythm guitar, six-string bass, handclaps, drums, percussion
• George Harrison – backing vocal, rhythm and lead guitars, bass, drums, handclaps, percussion

How to play “Back In The USSR” on guitar

The guitars in “Back in the USSR” contribute to the song’s rock ‘n’ roll sound. They are an integral part of the song’s energetic and catchy musical arrangement, contributing to its overall sound and feel.

The rhythm guitar provides a driving, chugging rhythm that propels the song forward, while the lead guitar adds melodic lines and fills that complement the vocal melody. The guitar work in this song is played in a style that was typical of rock music in the late 1960s.

Here is a lesson on how to play the guitar parts of the song with tab:

How to play “Back In The USSR” on bass

In “Back in the USSR” the bass guitar plays a crucial role in providing a solid foundation for the song’s rhythm and melody. The bassline in this song is performed by Paul McCartney, who was known for his inventive and melodic bass playing.

The bassline in “Back in the USSR” is lively and driving, complementing the energetic rhythm of the song. It follows the chord progressions and provides a rhythmic groove that underpins the entire track. McCartney’s bass playing in this song demonstrates his ability to create memorable and melodic lines that enhance the overall musical arrangement.

The bass in “Back in the USSR” contributes to the song’s dynamic and infectious rhythm, helping to establish the upbeat and lively feel of the track. It is a testament to McCartney’s skill as a bassist and his ability to craft engaging basslines that add depth and character to The Beatles’ music.

The following video feature bass cover with tab of “Back In The USSR”:

“Back In The USSR” karaoke

For those who want to try singing “Back In The USSR” the following video features the karaoke version of the song:

Published on 1968
Author: Lennon/McCartney
Track 28 on “The Beatles – White Album“

Lennon’s quotes about “Cry Baby Cry”

JOHN 1968: “I’ve got another one here… a few words… I think I got them from an advert. ‘Cry baby cry, make your mother BUY.’ I’ve been playing it over and over on the piano. I’ve let it go now, but it will come back if I really want it. Sometimes I get up from the piano as if I’ve been in a trance, and I know I have let a few things slip away which I could have caught had I wanted something.”

JOHN 1980: “A piece of rubbish.”

About “Cry Baby Cry”

“Cry Baby Cry” is a compelling composition featured on 1968 double album, universally recognized as the “White Album“. The song bears the distinct mark of John Lennon’s songwriting, though it is attributed to the enduring Lennon-McCartney partnership. Additionally, the song’s coda, a brief interlude known as “Can You Take Me Back,” is attributed to Paul McCartney, originating from an outtake of the “I Will” session.

Demos suggest that Lennon crafted the song in late 1967, its original lyrics being “Cry baby cry, make your mother buy.” Lennon recounted to biographer Hunter Davies how he drew inspiration from an advertisement for these words. The song also loosely incorporates elements from the nursery rhyme “Sing a Song of Sixpence.”

During the recording of “Cry Baby Cry,” the Beatles’ esteemed recording engineer, Geoff Emerick, tendered his resignation. This decision was prompted by Lennon and McCartney’s intense focus on the recording of “Revolution” and “Ob-La-Di, Ob-La-Da,” respectively, as well as the overall tensions during the sessions. Emerick did not collaborate with the Beatles again until the session for “The Ballad of John and Yoko” nine months later.

On July 16, 1968, following an extensive day of rehearsal, the foundational tracks were laid down. This included Lennon’s guitar part and introductory vocal, McCartney’s bass, Ringo Starr’s drums, Lennon’s piano, and George Martin’s harmonium. Additional elements were overdubbed two days later, encompassing Lennon’s lead vocal, falsetto backing vocals and tambourines by Lennon and McCartney, Martin’s harmonium introduction, tea-related sound effects, and George Harrison’s lead guitar, a Gibson Les Paul generously loaned by Eric Clapton.

The album seamlessly segues into an impromptu and uncredited track sung by Paul McCartney. Although it originally had no formal title, it eventually became known as “Can You Take Me Back?” due to its recurring lyric. This track has been officially recognized as such on the 50th anniversary edition of The Beatles. It emerged from an improvised jam recorded by McCartney during a September 16, 1968 session for “I Will.”

In observance of the 50th anniversary of its release, Jacob Stolworthy of The Independent ranked “Cry Baby Cry” at number 19 among the 30 tracks on the White Album. He remarked that Lennon incorporated elements from the nursery rhyme ‘Sing a Song of Sixpence,’ and noted the eerie McCartney segment titled “Can You Take Me Back?” He described the song as “unremarkable, but remains easy listening.” A version of the song is also included on the Anthology 3 album.

Meaning of “Cry Baby Cry”

“Cry Baby Cry” is a song with surreal and evocative lyrics, which create a dreamlike atmosphere. The meaning of the song is somewhat ambiguous and open to interpretation, as with many of John Lennon’s compositions.

The lyrics consist of a series of vignettes, each depicting different scenes and characters. It doesn’t follow a conventional narrative structure but rather presents a sequence of images and emotions. The repeated phrase “Cry baby cry, make your mother sigh” adds to the haunting quality of the song.

“Cry Baby Cry” can be seen as a reflection of Lennon’s interest in creating abstract and evocative imagery through his songwriting. It invites listeners to form their own interpretations and emotional connections to the music.

In terms of meaning, “Can You Take Me Back?” doesn’t have a specific narrative or defined lyrics. It’s more of an impromptu vocalization. However, given its placement after “Cry Baby Cry,” some listeners have interpreted it as an emotional plea or a moment of vulnerability. McCartney’s delivery is somber and plaintive, which adds to the song’s reflective tone.

This snippet is relatively open to interpretation: some may view it as a continuation of the sentiments expressed in “Cry Baby Cry,” while others may see it as a separate, emotional punctuation mark to the song.

Personnel

“Cry Baby Cry”

• John Lennon – lead vocal and harmony vocal, falsetto vocals, acoustic guitar, piano, organ
• Paul McCartney – bass guitar, falsetto vocals
• George Harrison – lead guitar
• Ringo Starr – drums, tambourine
• George Martin – harmonium

“Can You Take Me Back?”

• Paul McCartney – lead vocal, acoustic guitar
• John Lennon – percussion, maracas
• Ringo Starr – bongos

How to play “Cry Baby Cry” on guitar

“Cry Baby Cry” features an acoustic guitar throughout the song played by John Lennon. It has a fingerpicked pattern that complements the melancholic tone of the song. Lennon’s fingerpicking style adds a gentle and emotive quality to the track, supporting the vocals and the overall mood of the piece. It’s a key element in creating the haunting and reflective atmosphere of the song.

In the following videos you can learn how to play “Cry Baby Cry” on guitar:

How to play “Cry Baby Cry” on bass

In “Cry Baby Cry” the bass guitar, played by Paul McCartney, provides a steady and supportive foundation for the song. The bassline in this track is relatively straightforward but complements the rest of the instruments well. It follows the chord changes and maintains the song’s rhythmic structure, anchoring the melody and harmonies provided by the vocals, guitar, and other instruments. McCartney’s bass playing in this song is precise and foundational, contributing to the overall depth and cohesion of the music.

The following video features a bass cover of “Cry Baby Cry”:

“Cry Baby Cry” karaoke

For those who want to try singing “Cry Baby Cry”, the following video features a good karaoke version of the song:

• Lyrics of “Cry Baby Cry”

• Published on 1968
• Author: Lennon/McCartney
• Track 4 on “The Beatles – White Album“
• Track 17 on “The Beatles 1967-1970” (Blue Album)

JOHN 1980: “I might’ve given him a couple of lyrics, but it’s his song, his lyric.”

PAUL 1984: “A fella who used to hang around the clubs used to say, (Jamaican accent) ‘Ob-la-di, ob-la-da, life goes on,’ and he got annoyed when I did a song of it, ‘cuz he wanted a cut. I said, ‘Come on, Jimmy, it’s just an expression. If you’d written the song, you could have had a cut.’ He also used to say, ‘Nothin’s too much, just outta sight.’ He was just one of those guys who had great expressions, you know.”

About “Ob-La-Di, Ob-La-Da”

“Ob-La-Di, Ob-La-Da” was written by Paul McCartney and appeared on their 1968 double album “The Beatles,” commonly known as the “White Album.” It was primarily composed by Paul McCartney. The phrase “Ob-La-Di, Ob-La-Da” is derived from a saying McCartney had heard in the nightlife scene in London’s Soho district. The song reflects a cheerful and optimistic outlook on life, portraying everyday events in a positive light. The song was recorded in July 1968 at EMI Studios in London, UK. The recording process was marked by its intricate arrangement and meticulous attention to detail. Producer George Martin played a significant role in helping the band achieve the desired sound.

“Ob-La-Di, Ob-La-Da” features a mix of rock, pop, and ska influences. The use of a ska beat gives the song a lively and infectious rhythm. The melody is characterized by its catchy sing-along quality, and the lyrics contribute to its memorable nature. The song prominently features McCartney on vocals and bass guitar, John Lennon on backing vocals and acoustic guitar, George Harrison on lead guitar, and Ringo Starr on drums. Additional instruments include a honky-tonk piano played by McCartney, creating a distinctive sound.

Upon its release, “Ob-La-Di, Ob-La-Da” received mixed reviews from music critics. Some praised its infectious melody and upbeat nature, while others criticized it for being too lightweight. Despite the critical reception, the song became a commercial success and has since become one of The Beatles’ most well-known and beloved tracks. “Ob-La-Di, Ob-La-Da” has been covered by numerous artists over the years, attesting to its enduring popularity and influence on popular music. It has also been featured in various movies, TV shows, and commercials, further cementing its place in popular culture.

The Beatles never performed “Ob-La-Di, Ob-La-Da” live as a group. However, Paul McCartney has included the song in his solo concerts, delighting fans with its infectious melody. In 2018, Paul McCartney revealed that John Lennon had a strong dislike for the song during the recording sessions. Lennon reportedly found the song too cloying and sing-songy.

“Ob-La-Di, Ob-La-Da” stands as one of The Beatles’ iconic tracks, known for its infectious melody and optimistic outlook on life. Despite initial mixed reviews, it has become a classic in the band’s discography, demonstrating the enduring power of McCartney’s songwriting and the band’s ability to create music that resonates across generations.

Meaning of “Ob-La-Di, Ob-La-Da”

The lyrics of “Ob-La-Di, Ob-La-Da” tell a story about a couple, Desmond and Molly Jones, and their experiences in life. The song conveys a message of embracing life’s ups and downs with a positive attitude and making the most out of any situation. It emphasizes the idea that life goes on, regardless of the challenges one may face.

The lyrics suggest a carefree and optimistic outlook, celebrating everyday moments and the resilience of the human spirit. The repeated refrain of “Ob-La-Di, Ob-La-Da, life goes on” reinforces the idea that life continues and it’s important to roll with the punches.

Overall, the song’s message can be summarized as an encouragement to enjoy life, appreciate the small pleasures, and not get bogged down by setbacks. It’s a testament to the enduring nature of human happiness and the ability to find joy even in the midst of adversity.

Personnel

The Beatles

• Paul McCartney – vocal, electric bass, acoustic bass, handclaps, vocal percussion
• John Lennon – piano, backing vocal, handclaps, vocal percussion
• George Harrison – acoustic guitar, backing vocal, handclaps, vocal percussion
• Ringo Starr – drums, bongos, maracas, other percussion, handclaps, vocal percussion

Additional musicians

• Three unnamed session players – saxophones
• George Martin – woodwind arrangement

• Published on 1968
• Author: Lennon/McCartney
• Track 23 on “The Beatles – White Album“

PAUL 1968: “Umm, that came about just ‘cuz I’d read a review of a record which said, ‘And this group really got us wild, there’s echo on everything, they’re screaming their heads off.’ And I just remember thinking, ‘Oh, it’d be great to do one. Pity they’ve done it. Must be great– really screaming record.’ And then I heard their record and it was quite straight, and it was very sort of sophisticated. It wasn’t rough and screaming and tape echo at all. So I thought, ‘Oh well, we’ll do one like that, then.’ And I had this song called ‘Helter Skelter’ which is just a ridiculous song. So we did it like that, ‘cuz I like noise.”

JOHN 1980: “That’s Paul completely. All that (Charles) Manson stuff was built ’round George’s song about pigs and this one… Paul’s song about an English fairground. It has nothing to do with anything, and least of all to do with me.”

PAUL 1985: “The Who had made some track that was the loudest, the most raucous rock ‘n roll, the dirtiest thing they’d ever done. It made me think, ‘Right. Got to do it.’ I like that kind of geeking up. And we decided to do the loudest, nastiest, sweatiest rock number we could.”

About “Helter Skelter”

“Helter Skelter” is a song appearing on their 1968 double album, “The Beatles – White Album”. It was written primarily by Paul McCartney, with some input from John Lennon. The term “Helter Skelter” originally referred to a British fairground ride, which is essentially a tall spiral slide.

The Beatles’ “Helter Skelter” is notable for its heavy and raucous sound, which was quite different from their earlier, more melodic work. McCartney was inspired to write it after hearing that the Who had recorded a particularly loud and raucous track. He wanted to create something even louder and more chaotic.

The song is often cited as an early influence on the development of heavy metal music due to its aggressive and powerful instrumentation. It features loud, distorted guitars and McCartney’s aggressive vocal delivery. The lyrics are somewhat abstract, with imagery evoking a sense of frenzied chaos.

Interestingly, Charles Manson, the infamous cult leader, misinterpreted the song as a prediction of an impending race war. He believed that “Helter Skelter” was a call to action, and his followers committed a series of brutal murders in the belief that they were carrying out the song’s apocalyptic message. This association with Manson and his crimes has added a dark layer of infamy to the song.

Despite this tragic association, “Helter Skelter” remains an important and influential piece of rock music history, showcasing the Beatles’ willingness to experiment with new sounds and styles.

Meaning of “Helter Skelter”

“Helter Skelter” is a song that, on the surface, doesn’t have a clear, straightforward meaning. The lyrics are somewhat abstract and filled with vivid imagery, which has led to various interpretations. At its core, “Helter Skelter” is often seen as a high-energy, raucous rock song that captures a sense of chaos and frenzy. The phrase “helter-skelter” originally referred to a British fairground ride, which was essentially a tall, spiraling slide. In this context, the song might simply be about the excitement and energy of a fast-paced, unpredictable experience.

However, due to its intense and somewhat chaotic nature, the song has also been associated with various cultural and historical events. Most notably, it became infamously linked to Charles Manson and his cult’s interpretation of it as a call to action for a supposed impending race war. In this context, Manson believed that “Helter Skelter” was a prediction of a coming apocalypse, and he and his followers committed a series of brutal murders with the belief that they were fulfilling the song’s apocalyptic message.

It’s important to note that the Beatles themselves have disassociated the song from Manson’s interpretation, emphasizing that it was never intended to be a call for violence or chaos. Paul McCartney, who primarily wrote the song, has stated that it was simply meant to be a loud, raucous rock ‘n’ roll track.

In summary, the meaning of “Helter Skelter” is somewhat open to interpretation. It can be seen as a high-energy rock song, an exploration of chaos and frenzy, or in the darker context of the Manson murders, although the latter was not the song’s intended meaning according to the Beatles themselves.

Personnel

• Paul McCartney – lead vocal, backing vocal, lead/rhythm guitar
• John Lennon – backing vocal, six-string bass, sound effects (through tenor saxophone mouthpiece), piano
• George Harrison – backing vocal, lead/rhythm guitar, slide guitar
• Ringo Starr – drums, vocal shout
• Mal Evans – trumpet