Side 1 #1 - Yeah, I wanna hold your hand! Like a revelation! Demur, proper; then, an ecstasy in discovery! I want to hold your hand! Masks are dropped: I can’t hide! The bass is a throbbing swamp. I do!
#2 - For the first time, I hear this song as cocky, instead of love-struck. The sound is so lo-fi; basement drums, railcar guitars.
#3 - If this was the only song they were known for, they’d have fallen in place with the Fleetwoods and Del Vikings.
#4 - Out of the daydream: crack amateurs blast daylight black. Thunder in a funnel; cascading vocals. Made it home by 3!
#5 - Soul song. Purveyor of zombie sound? Humming, “Rockin’ Robin” style.
#6 - One for the fan club! Brown shoulders, brown shadows, but no taming the joy in the treble! The coda takes off down the river.
Side 2
#1 - The best song on the album, but if this was the hit, they’d have been a different band.
#2 - Light stuff, but fun. A little boogie-woogie thrown into the beat to vex monsignors.
#3 - A necessary aspect of the Beatles success – this sound, this imagery only McCartney can deliver. Why so important? I think it was a tether securing the Beatles in a certain subset of music. The donkey walked us up here. He had a hat.
#4 - Is this even the Beatles? Sounds like a really old session; it sounds like they’re in a tunnel. McCartney sounds like he’s singing for his life; not great desperation in his voice, but a fear.
#5 - A Side 2, Track 5 song if I ever heard one. They tussle during the solo. Ringo is falling across his drums.
#6 - The piano solo is amazingly deliberate, but beautiful. Both the engineering and performance lend that phrase passion. And it ends. Just like that. The song, the album. Sorry, have we met?
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