#92: The Word

Written by: John Lennon & Paul McCartney
Released: December 3, 1965
Appears on: Rubber Soul
Lead vocal: John (with Paul & George)


"The Word" is really a prototype "All You Need Is Love". It talks about love as an abstract concept, outside of a strict boy/girl relationship. 
Honestly, I've never been too fond of the song. It's very basic, with a three-part harmony that doesn't do much. John takes the lead vocal during the verses, seeing as he wrote the song. The only thing that really sets it apart is George Martin's harmonium solo. 
Certainly without it, there's no way that the Beatles could have logistically made the jump to "All You Need Is Love". The Beatles were coming to the realization, rather quickly too, that they were spokesman and that whatever they were saying, people were actually listening to. "The Word" is the first song where this is apparent. Thankfully, what the Beatles were saying was positive stuff that never ages. I think we all know that if the Beatles told us that the word isn't love, than we certainly wouldn't still be listening to them today. Although, I still think it's funny to hear John mention that the word is not only in the good books, but in the bad ones, too. Well...that's John Lennon for you. 


The song has never appeared anywhere else. I haven't mentioned Love yet, but it is the only appearance of the song outside the UK and US versions of Rubber Soul. In Love, it is (barely) included as part of the mash-up with "Drive My Car" and "What You're Doing".     

#90: Nowhere Man

Written by: John Lennon & Paul McCartney
Released: December 3, 1965
Appears on: Rubber Soul
Lead vocal: John, Paul & George


"Heeeee's a real Nowhere Man, sitting in his nowhere land..."


"Nowhere Man", the only song on Rubber Soul with a three-part harmony, is a milestone. It's the first original Beatles song not about love - at all. John wrote the song about himself. The 'Nowhere Man' is someone who has no outside connection to the world and spends his time "making nowhere plans for nobody". John came up with the idea after spending hours trying to come up with an idea and just when he was about to give up, "Nowhere Man" popped into his head. 
I like the unique sound of the guitar on the song. It's really a perfect pop exercise where not only is the harmony perfect, but the technical wizardry is amazing. Listen to the way George's guitar resonates on the speaker, especially during his blistering solo.

The song is so far ahead of its time that it feels perfectly at home among the psychedelic songs from 1967. So, it's no wonder that it is the oldest song used in Yellow Submarine. ("Think For Yourself" is quoted with a short excerpt, but "Nowhere Man" is used from start to finish.) The 'nowhere man' was visualized as a short, plump character, whose 'nowhere land' was literally nothing but a white void. He provides probably some of the funniest moments in the film and ends up playing a huge part in the finale. (I'm particularly fond of the sequence where he gives the Beatles his business cards and they all have different names.)
Since the song is an obvious rock/pop track, it went against Capitol's move of turning Rubber Soul into a folk album. They took the song off the record and held it for a single release, with "What Goes On" as the flip side. The single, which was not released until February, 1966, reached #3 on Billboard. In July, 1966, Parlophone issued it as the title track of the only EP for Rubber Soul. This was the last EP until Magical Mystery Tour.
"Nowhere Man" was selected as the side four opener on 1962-1966 and is also included on The Beatles' Ballads. Finally, the song is also on the remixed Yellow Submarine Songtrack, although the version is not significantly different, since it was already remixed by George Martin in 1987 for Rubber Soul's CD release.    
Finally, "Nowhere Man" was also one of the few Rubber Soul songs that were taken out on the road. Even by late-1965, it was obvious that it was impossible to perform their new material on the road as well as they could do the old stuff. By 1966, they weren't even trying and not a single song from Revolver was performed live. Here's one attempt at "Nowhere Man" live, but it's obvious that it was impossible for them to do it as well as the record caught it. 

#70: Yes It Is

Written by: John Lennon & Paul McCartney
Released: April 9, 1965
Appears on: Past Masters, Volume One
Lead vocal: John, Paul & George (John on the bridge)


It's only fitting that the seventieth Beatles song is one of their most heart-breaking songs, taking their harmonies to new heights and adding a new, rare sound to the mix. "Yes It Is" is very similar to "This Boy", but much more mature and technically interesting. George employs a volume pedal to make his guitar fade in and out, which makes what could be a relatively boring song interesting. 
I personally like it, especially the imagery in the lyrics. John requests that the girl not wear red because he associates the color with bad memories. John's vocals are also brilliant, especially during that magical bridge: "I could be happy with you by my side/If I could forget her, but it's my pride/Yes it is, yes it is...oh yes it is!!!" 


In the US, since the song was not going to be in HELP!, Capitol was able to issue it on Beatles VI. In the UK, the song wouldn't make an appearance until Rarities and not again until Past Masters in 1988. (It was on Love Songs, but I don't think anyone has a problem if I try to forget about those silly 1970s compilations.)

#63: Words Of Love

Written by: Buddy Holly
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: John, Paul & George



Despite their love of Buddy Holly, they had yet to cover the master until "Words Of Love". In fact, this is the only Holly cover they ever recorded in the studio for EMI. "That'll Be The Day", Holly's signature tune, was covered by them when they were still the Quarrymen and it appeared on their home-made 45 (that's currently in Paul's possession, as far as I know) that's on Anthology 1. 
The original version of "Words of Love" (heard here) was first released on Brunswick's Buddy Holly LP in 1958.  
Now, the interesting thing about the Beatles' version is that they copied Holly almost note-for-note. Ringo even went as far as playing a suitcase to get the sound of Holly's percussion right. This makes it a real rarity in the Beatles' catalog. Most of their covers add something unique, but here The Beatles copy an already perfect song. 
Sure, it's entirely possible that it was recorded because they needed to fill a slot on the LP...but, I like to think that it's the Beatles making sure that their single-most important influence is finally represented on one of their records.  

In the US, this was another song that got held over until Beatles VI, but it was not issued on a 45. 

#57: Baby's In Black

Written by: John Lennon & Paul McCartney

Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: John, Paul & George

Harmony exercises were usually kept to B-Sides for the Beatles, but for the final part of John's opening trilogy, they chose to use probably their best three-part harmony as the closer. It's probably one of the most melancholy songs in the Beatles' catalog (aside from the song that proceeds it), but it certainly is a thing of beauty. Aside from the vocals on the track, put your ear's attention to George's clunky, sorrowful guitar, especially during the solo. It definitely optimizes the sadness that John's lyrics show. My favorite part is the bridge sequence. Sure, Paul sounds like he's straining his voice when they sing "Oh, how long will it take?", but the fact is that it shows the Beatles at the height of their harmonic powers.

The Beatles' harmonies in their early period is one of the reasons why I prefer to this time period to the latter years. The Beatles' three-part harmonies would get just two more great showcases, so I can't write an obituary for it just yet.

Where else can you find "Baby's In Black"? Well, as one of the best Beatles songs, it's surprising to know that the only release of the song, aside from it's appearance on Beatles For Sale, was on Capitol's Beatles '65. A live take was issued on the "Real Love" CD single, but that's it. Oh well...I don't need alternate versions to prove that this is one of the Beatles' best songs.