Especially with Lennon there could be a bit of a barb in the songs, some heartache in the joy that gave depth to a lot of it. A need to be heard that was very deep. This was always known as part of their irresistible superlative genius, UNTIL THIS THREAD. Sorry didn’t mean to shout.
What the hell are you on about? Why do you keep going on as if the idea that the Beatles’ sound was slightly darker than that of the Monkees (which, bizarrely, you’ve given lots of evidence for) is disparaging the Beatles? I make no apologies for shouting back at you; NO ONE IN THIS THREAD WAS DISPARAGING THE BEATLES, BUT FOR SOME REASON YOU CHOSE TO MISCONSTRUE THE OP AND MANY OF THE REPLIES.
Drad dog, you also seem to have a hard time accepting that it’s legitimate for other people have different preferences and subjective interpretations from your own. You become unnecessarily combative and disdainful and so make it impossible to find common ground with you.
I don’t think you have read the thread.
Unless you think my thoughts aren’t “legitimate” too, why are you so worked up?
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Um…
A sample of some joyful Beatles’ songs:
- She Loves You
- I Saw Her Standing There
- Please Please Me
- Twist and Shout (Phil Medley, Bert Russell)
- Roll Over Beethoven (Chuck Berry)
- I’m Happy Just to Dance with You
- Can’t Buy Me Love
- Any Time at All
- Rock and Roll Music (Chuck Berry)
- Eight Days a Week
- Every Little Thing
- Everybody’s Trying to Be My Baby (Carl Perkins)
- I Feel Fine
- Long Tall Sally (Blackwell, Johnson, Penniman)
- I’ve Just Seen a Face
- Drive My Car
- Here, There and Everywhere
- Yellow Submarine
- Good Day Sunshine
- Got to Get You into My Life
- Sgt. Pepper’s Lonely Hearts Club Band
- With a Little Help From My Friends
- Lucy in the Sky with Diamonds
- Fixing a Hole
- When I’m Sixty-Four
- Lovely Rita
- Back in the U.S.S.R.
- Ob-La-Di, Ob-La-Da
- Birthday
- Savoy Truffle
- Yellow Submarine
- All You Need Is Love
- Penny Lane
- Something
- Here Comes the Sun
- Octopus’s Garden
- Get Back
Though to be fair he was an adequate singer within a limited range. It’s interesting that when they first tested them out in the studio it was the two actors that got the most attention ( Dolenz primarily, Jones secondarily ) because of their voices. Nesmith was compared ( somewhat dismissively it seems ) to Merle Haggard and folky Tork was completely snubbed as a lost cause.
That of course in the context of having studio musicians doing all the instrumentation and performing pop songs written by others. Once they asserted themselves creatively, it was actual musician Nesmith who took the lead.
You forgot “All Together Now”
That was mean. 