Earworms - And Your Bird Can Sing by the Beatles

An indelible melody and guitar riff, and the most guaranteed musical thrill I know

Certain songs take hold in my head, sometimes old, sometimes new, for reasons which may or may not be obvious. So, I’ll write stuff about them.

John Lennon was, we all know, not infallible. It’s my contention that one of his biggest mistakes was that he went to his grave not only unaware of the power of his greatest recorded moment, but believing it to be one of his worst. Lennon dissed “And Your Bird Can Sing,” calling it “fancy paper around an empty box.” This is because he put more emphasis on the lyrics than the music, which is simply crazy. That fancy paper is among the most exhilarating experiences in all pop music.

Far better guitarists than I ever was have struggled to figure out how to play that wondrous ascending riff that anchors the song. Then they learned it was actually a combination of Lennon and George Harrison playing at the same time. No wonder their fingers could not move fast enough or far enough to accomplish it. I assume Lennon did not have that riff in mind when he brought the song to the band, and it was some sort of miraculous partnership with Harrison that created it in the studio. (Oh, if only there was a Get Back-style filmed document of the Revolver sessions.)

Do not ignore the contributions of Paul and Ringo on this cut. McCartney, of course, could toss off counter-melodic invention as he rolled out of bed, but the bass line on this song is particularly impressive. An ordinary bass player could maybe, on a very good day, come up with the bouncing little line that anchors the first verse, but as the song goes on, he throws in neat little inversions, accents, and some machine gun rat-a-tats, then goes wild on the bridge before further expanding his relation to the tune on the final verse. And it’s his notes that we hear walking off into the sunset at the end of the song.

Ringo Starr here is deceptively simple until you listen closely – this is something of a pattern for one of the greatest drummers in rock history. In lock step with the rhythm guitar there is a solid, swinging four/four beat with the bass and snare drum. But then there is that hi-hat work on the bridge that adds lots of complexity, the overdubbed tambourine, the occasional but potent cymbal splash. Also, somebody had the wise idea to throw in handclaps the third time the guitar riff comes along.

Lennon’s vocal is warm and supportive, the essence of friendship and camaraderie, made even warmer by the close harmony McCartney adds on the title line. Maybe the metaphor is a bit convoluted, but I don’t spend much time worrying about it. The song is about connection, about steadfast love in the face of distraction from others. “When your prized possessions start  to weigh you down / Look in miy direction/ I’ll be ‘round, I’ll be ‘round.,” as the melody rises up and up. But then, in that last verse, it appears the beloved friend can’t see the singer. Lennon ccould stand there at the ready forever, but he might not get what he wants. Oh, well, not to worry, here comes that riff again, and then McCartney’s bass dribbles out some closing notes.

It's my favorite song in the entire world.