Who Wrote the Beatle Songs
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Index
“12-Bar Original,” 361
20 Forthlin Road, Allerton, Liverpool (McCartney residence), 30, 39-40, 44, 52, 62, 69, 96, 127, 170n, 324, 345, 355
251 Menlove Avenue, “Mendips,” Liverpool (Lennon residence), 34, 77, 130, 170n
34 Montagu Square, Marylebone, London (Starr, Lennon residence), 254
57 Wimpole Street, Marylebone, London (Asher home, McCartney residence), 68, 82, 99, 111-14, 142, 150
7 Cavendish Avenue, in St. John’s Wood, London (McCartney residence), 170, 178, 182, 198, 206, 208, 215, 221-22, 226, 272, 304, 313, 323
“A Day in the Life,” 17, 152, 164, 185, 196-202
A Hard Day’s Night album, 66, 78ff. ; influenced by Dylan and folk music, 78-79, 85; milestone, because includes all original songs, no covers, 66
A Hard Day’s Night movie, 78ff.
“A Hard Day’s Night,” 78-80
“A Shot of Rhythm and Blues,” (Arthur Alexander) 347
“A Taste of Honey,” (Lenny Welch) 44
“A World Without Love,” 69-70
Abbey Road album, 204, 264, 266, 276, 279ff. ; aesthetic triumph, 267; collaborative nadir for John and Paul, 264; side two, a kind of operatic song suite, 280-81; George Martin an active participant on, 280; influence of Yoko Ono on, 290-92; influence of Linda Eastman on, 292; reflects strains of approaching Beatle breakup, 292, 298
“Across the Universe,” 305, 320-22
“Act Naturally,” (Buck Owens and the Buckaroos) 102, 111
“Ain’t She Sweet” (Gene Vincent) 21-24, 72
“Ain’t That Cute,” 308-9
Alexander, Arthur, 42, 343, 346-49
“All I’ve Got to Do,” 59
“All My Loving,” written by Paul “upside down,” words first, 59-60 , 116, 190
All Things Must Pass (solo album by George Harrison), 19, 333-36 ; influence of Bob Dylan on, 333-36; many songs of written during Beatle era, 333
“All Things Must Pass,” 19, 335 , 363, 365
“All Together Now,” 269-70
“All You Need is Love,” 164, 204-6 , 216
“And I Love Her,” 82-83
“And Your Bird Can Sing,” 156
animals, in Beatle songs, 195, 238, 242-45, 253, 270, 287-88
“Anna (Go to Him),” (Arthur Alexander) 42
“Another Day,” 157, 337
“Another Girl,” 110
Anthology 1 album, 353ff.
Anthology 2 album, 360-61
Anthology 3 album, 361-63
Apple, 224, 265, 272-73, 285, 289, 292, 295, 304; financial difficulties of, 292, 296, 298
Applejacks, The, 74-75
Asher, Jane, 67-69, 82, 85, 109, 114, 122, 129, 142, 157
Asher, Peter, 69-70, 74, 90-91, 138
“Ask Me Why,” 36-37 , 42
Aspinall, Neil, 127, 144-45, 150, 162, 177, 195-96, 205-6, 212, 215, 223, 240, 378
Astaire, Fred, 192, 257
Atkins, Chet, 125
Atlantic City, 99-101
“Baby It’s You,” (Shirelles) 43
Baby What You Want Me to Do,” (Jimmy Reed) 363
“Baby, You’re a Rich Man,” 206 , 216
“Baby’s In Black,” 96
Bach, Johann Sebastian, 206, 243
Bacharach, Burt, 43, 57, 90, 368
“Back in the U.S.A.,” (Chuck Berry) 232, 350
“Back in the U.S.S.R.,” 232-33
“Back Seat of My Car,” 338
“Bad Boy,” (Larry Williams) 105
“Bad Penny Blues,” (the Humphrey Lyttleton band) 222
“Bad to Me,” 50-51 , 366
Badfinger, 304-5
Baez, Joan, 54, 148
Band, The, 333, 335
band music, marching brass band music, 166, 175, 229
Bart, Lionel, 114
Beach Boys, The, influenced Paul, 134, 149, 156, 173, 218, 233
Beatle breakup, 6-7, 11, 307-08, 309; according to John, real Beatles breakup during White album, 373; see The Beatles (White Album) , Abbey Road , Let It Be
Beatle stereotypes, 1, 12-13; as magical synergy, 368-72; view that John was rocker and Paul was writer of ballads, 380-84; view that John’s songs had pessimistic depth while Paul’s were light and optimistic, 380-84; view that Paul was dependent on collaboration, 391-93; view that there was an absolute drop-off in musical quality in Beatle solo music after Abbey Road , 391-93
Beatles after the breakup, 331ff.; feud between Paul and John, 339, 380-84, 388-89, 393; feud between adherents of Paul and John, 380, 388-89; dualistic, either-or view of John and Paul, 389-90, 393; solo songs sometimes written during the Beatle period, 19, 49, 220, 333ff., 393
Beatles for Sale album, 88, 94ff. ; uses live show format, mixing covers and originals, 88; autobiographical songs on, 95, 100
Beatles songwriting collaboration: full collaboration, 2, 368-69, 374; full collaboration characteristic of early Beatles, 378; supportive collaboration, most common, 2, 368-70; minor, “editing” collaboration, 369-74, 387; some songs written with no collaboration, 369-75; some late collaboration, 234-35, 270, 273, 276-77, 282-84, 293, 323-24; Lennon and McCartney, mutual influence, 164, 372-73, 394; Lennon supplies lyrics to McCartney songs, 39, 182, 185-87, 192; McCartney supplies melodies to John songs, 130-32, 168, 180-81, 386-88; Lennon and McCartney competition, 32, 169, 378-79, 387; Lennon and McCartney sometimes combined separately written songs, 151-52, 199, 206-7, 323-24, 369; myth of constant 50-50 collaboration, 368; myth of no collaboration, 372-73; Lennon and McCartney writing different kinds of songs, 380-86; often no collaboration on music, then collaborative “filling holes” in lyrics, 369, 372, 377-78
Beatles songwriting: comic elements in, 270, 311-12; communal contributions to lyrics, 38, 126, 144-45, 150, 175-77, 193-94, 208, 211, 236, 376-78; communal contributions to music rare, 376-78; disputed songs, 3-4, 7, 41, 43-44, 68-69, 79-81, 83, 86, 91-94, 98-99, 103-4, 105-7, 109, 130-32, 144-47, 150-51; experimental music in, 17, 135-36, 141, 151, 161-62, 194-200, 237, 260-62; flaws in ascription, 3-5, 9-10; “found” elements in lyrics, 111-12, 161, 179-80, 187-89, 194, 196-98, 202n, 236, 239-40, 250, 253, 258-59; increasing artistic development of related to increasingly less collaboration, 378-80; lead vocals and songwriting, 8-9, 31, 355; psychological aspects of, similar to therapy, 167, 274, 310, 326, 337; social comment in, 228, 238-41; structure of songs, 31; use of song fragments, 155, 237, 239-40, 259, 280, 292
Beatles VI , U.S. album, 105
Beatles, The: breadth of musical styles in group, 61, 381-84; as songwriters, contrasted with performance artists, 375-76; became mainly a recording group, 375; group focused on recording original songs, 29, 375-76; enor
mous impact of, 18, 164
“Beautiful Dreamer,” (Tony Orlando) 366
“Be-Bop-A-Lula,” (Gene Vincent) 342
“Because I Know You Love Me So,” 365
“Because,” 276, 281, 290-92
bed-ins, of John Lennon and Yoko Ono, 276, 278, 281, 303, 339
Beethoven, Ludwig van, 290
“Behind That Locked Door,” 336
“Being for the Benefit of Mr. Kite!” 164, 187-90
Berry, Chuck, 26-27, 39, 62, 96, 192, 232, 282-84, 342, 347, 349-53, 366
“Bésame Mucho,” (the Coasters) 26, 27, 328-29, 358
“Birthday,” 250-51
Black Dyke Mills Band, 229
Black, Cilla, 56-57, 90, 221-22
“Blackbird,” 243-44
“Blue Jay Way,” 215
“Blue Moon of Kentucky,” (Elvis Presley) 364
“Blue Suede Shoes,” (Carl Perkins) 306, 362
“Boys,” (Shirelles) 42
Brodax, Al, 269
Byrds, The, 133-34, 148, 156, 173, 290
Cage, John, 201
“Can You Take Me Back Where I Came From,” 259
“Can’t Buy Me Love,” 70-72 , 84
“Carol,” (Chuck Berry) 349
Carroll, Lewis, 54, 151, 180-81, 211, 385
“Carry That Weight,” 298
“Cat Call,” 207
Cavern Club, The, 21-22, 34, 38, 55, 57, 62, 65, 74, 88n, 191-92, 324, 348, 351, 357, 359
“Cayenne,” 207, 356
“Chains,” (the Cookies) 42
Charles, Ray, 267, 285, 326, 346
“Child of Nature,” see “Jealous Guy”
chords, used by Beatles, 54, 82, 113-4, 142, 149, 160, 213, 326, 333
Chris Barber Band, The, 207
Christianity, 128-29, 183, 261, 276
“Christmas Time (Is Here Again),” 216-17 , 360
“Circles,” 344
civil rights movement, 243-44, 273
Civil, Alan, 157-58
Clapton, Eric, 225, 230, 239, 258, 271-72, 289, 303, 332-34, 340, 375
“Clarabella,” (The Jodimars) 349