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- #51
- Posted: 03/25/2012 16:43
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| Mr. Shankly wrote: | And what's wrong with Taxman?!  |
Well, in my opinion, despite having a catchy bassline, it makes use of a grand total of about 3 vocal lines (melodies, not lyrics), I don't find its lyrics terribly deep OR humorous, and its guitar solos never felt terribly musical to me. Had it not been the first song on the album, I probably wouldn't mind it too much, but it honestly just totally fails to grab my attention whenever I listen to Revolver.
And yes, musically I won't deny that Nowhere Man is a good song. It's just got what I consider a cheesy pop melody and repetitive lyrics that I don't find to be even half as poetic as most people seem to think.
I think I get what you're saying about Abbey Road, but I would have to disagree wholeheartedly that the songwriting's not up to snuff. Come Together's opening lick is one of the catchiest and most instantly recognizable of all time, not to mention a sweet instrumental break where the guitar and keyboard play off each other quite nicely. Something has the most beautiful melodies George Harrison ever wrote, a brilliant guitar solo, and bridge whose intensity sharply contrasts with the rest of the song. Maxwell's Silver Hammer does a brilliant job of taking a simple verse-chorus pattern and making it interesting by varying the instrumentation. Oh! Darling does a similar thing, except instead of varying instrumentation, it dramatically varies in intensity. Octopus's Garden, as I said, has beautiful vocal harmonies and what is undeniably one of the catchiest guitar solos of all time. I Want You is an exploration of style for The Beatles, it opens with an incredibly dark and ominous riff that will catch any listener's attention, and has some of Paul and Ringo's best instrumental work during the outro.
I could keep going, but that's the basic idea. It's true, the individual songs in the medley (with the exception of You Never Give Me Your Money) wouldn't have been great had they been full-length, individual songs, but that's why they're part of a medley, and I personally think they do a great job of ending each song before it gets old.
And Eggman, I hate to burst your bubble, but from what I've seen even the most die-hard fans of the White Album will admit there are at least a COUPLE throwaways.
But, of course, we're all entitled to our opinions 'round hurr 
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Facetious
Gender: Male
Age: 24
Location: Somewhere you've never been
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- #52
- Posted: 03/25/2012 17:23
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| swedenman wrote: | Well, in my opinion, despite having a catchy bassline, it makes use of a grand total of about 3 vocal lines (melodies, not lyrics), I don't find its lyrics terribly deep OR humorous, and its guitar solos never felt terribly musical to me. Had it not been the first song on the album, I probably wouldn't mind it too much, but it honestly just totally fails to grab my attention whenever I listen to Revolver.
And yes, musically I won't deny that Nowhere Man is a good song. It's just got what I consider a cheesy pop melody and repetitive lyrics that I don't find to be even half as poetic as most people seem to think.
I think I get what you're saying about Abbey Road, but I would have to disagree wholeheartedly that the songwriting's not up to snuff. Come Together's opening lick is one of the catchiest and most instantly recognizable of all time, not to mention a sweet instrumental break where the guitar and keyboard play off each other quite nicely. Something has the most beautiful melodies George Harrison ever wrote, a brilliant guitar solo, and bridge whose intensity sharply contrasts with the rest of the song. Maxwell's Silver Hammer does a brilliant job of taking a simple verse-chorus pattern and making it interesting by varying the instrumentation. Oh! Darling does a similar thing, except instead of varying instrumentation, it dramatically varies in intensity. Octopus's Garden, as I said, has beautiful vocal harmonies and what is undeniably one of the catchiest guitar solos of all time. I Want You is an exploration of style for The Beatles, it opens with an incredibly dark and ominous riff that will catch any listener's attention, and has some of Paul and Ringo's best instrumental work during the outro.
I could keep going, but that's the basic idea. It's true, the individual songs in the medley (with the exception of You Never Give Me Your Money) wouldn't have been great had they been full-length, individual songs, but that's why they're part of a medley, and I personally think they do a great job of ending each song before it gets old.
And Eggman, I hate to burst your bubble, but from what I've seen even the most die-hard fans of the White Album will admit there are at least a COUPLE throwaways.
But, of course, we're all entitled to our opinions 'round hurr |
I'm much more than a die-hard fan 
Whatever, you're right. It's your opinion.
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