My best unknown Beatles songs

Here are a few Beatles songs I love.

For No One, a strange discarnate and quiet 4/4 waltz-like song written by McCartney for Revolver, to describe the end of a love story. Everything seems perfect in this song : the piano, the drums, the chorus modulations, the French horn, very little reverb (giving an intimacy), the non-ending end…

It’s a jewel, and one of the favorite songs of Lennon, who adored it.

Your day breaks, your mind aches
You find that all the words of kindness linger on
When she no longer needs you

She wakes up, she makes up
She takes her time and doesn’t feel she has to hurry
She no longer needs you

And in her eyes you see nothing
No sign of love behind the tears
Cried for no one
A love that should have lasted years!

If I Fell is a Lennon song I adore because of its brutal modulations : it’s clearly a “chords game” – they change all the time!

If I fell in love with you
Would you promise to be true
And help me understand
‘Cause I’ve been in love before
And I found that love was more
Than just holding hands

Because, By John Lennon, on Abbey Road, has harpsichord and Moog (!), and splendid “three-parts backing vocals”.

Because the world is round it turns me on
Because the world is round, ah

Because the wind is high it blows my mind
Because the wind is high, ah

Love is old, love is new
Love is all, love is youBecause the sky is blue, it makes me cry
Because the sky is blue, ah

Thanks for reading! Have a great day!

Movies : an in between modernity mess

There’s a funny dissonance I love to feel in movies : it’s when the modernity of a scenario, of dialogs, of directing is seen into what seems an “old form”.

It’s obvious – and very disturbing – when you watch Seven Samurai (1954) or Orson Welles’ The Magnificent Ambersons (1942). The sound is old, and it’s black and white vintage, but everything sweats modernity.

It’s as if it was “not OK”, not fitting, and one wonders how the audience could watch that at the time. You feel this with all Welles movies, but also Fellini’s.

But in the beginning of the sixties, you find movies which are between two worlds : Truffaut’s Jules et Jim (1962), Huston’s Night of the Iguana (1964), Fellini’s La Dolce Vita (1960), but also Lilith (1964) or Breathless (1960), Suddenly Last Summer (1959), The Misfits (1961), L’Eclisse (1962)…

All of them are black and white movies, and you begin to watch them accordingly (“Oh a good vintage classic movie!”). And you are FLOORED by the complexity or modernity of these…

Well, this article is about this “in between” mess. The structure seems to be : “looks like an old form, but modernity explodes into it”.

Where do you find that? In literature? Photography? Poetry?

What if you searched, out of Netflix, “Best films of the Sixties”, and watch them all, just for the pleasure of discovering forms, authors, resonances, happiness? Out of the flow…

Have a nice day!

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