be me

> be me
> listen to pic related and absolutely love it
> Yea Forums says Revolver is much better
> listen to Revolver
> “Wow! Yea Forums really does have shit taste!”

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nothing on Peppers matches the lyrical beauty of For No One, the iconic status of a Yellow Submarine or Eleanor Rigby, and the musicianship of And Your Bird.

Peppers is better produced and more "luscious", sure, but Tomorrow Never Knows does a greater service to the LSD sound than Lucy.

> sgt peppers

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> be me
> listen to pic related and absolutely love it
> Yea Forums says that any other Beatles album is much better
> listen to all of them
> “Wow! Yea Forums really was wrong as always!”

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>lyrical beauty of For No One
she's leaving home and fixing a hole have wonderful lyrics.they just actually paint a picture and aren't poetic love songs
> iconic status of a Yellow Submarine or Eleanor Rigby
being iconic doesn't make it good. plus those are iconic because they were singles while not a single song on pepper was a single and it became pretty iconic itself.
>musicianship of And Your Bird
WHAT?! a medium paced duel guitar solo is not high musicianship

fuck off compilation album fag. we're talking about real albums

>one of Paul's granny songs is the best example of lyrics you got
point: proven

>Yellow Submarine

>lyrical beauty

I said it was iconic, retard.

neither of them is paul's music hall shit retard. one is an orchestral balled while the other is psychedelic pop. For no one is also a Baroque paul balled and you said it had lyrical beauty. utter brainless

if "painting a picture" equates to good lyrics for you, I don't know what to say other than you have a childlike mentality. Also, For No One isn't a love song either, it's a break-up song if you want to boil it down to its bare essentials.

i like magical mystery tour the best

No it paints a picture as well as having great lyrics. Even John admittedly fixing a hole has uncharacteristicly good lyrics for a Paul song. Literally no argument

John said For No One was "one of my favorites". No argument my ass, autismo.

Because for no one is a good song. You’re the one claiming that nothing compares to it when clearly it does.

Fine if I concede that they could be on an equal playing field, then it just goes to show how dumb OP's comment is

Most of the tracks on MMT beats out most of the songs on sgt peppers lyrically and musically.

give examples

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>Yea Forums is one person

Nothing on Sgt. Pepper's is better than Tomorrow Never Knows, but overall it's the better album.
Not that it matters as they're very different.

Flying

Blue jay way

She's Leaving Home doesn't just "paint a picture" ala Rocky Raccoon, it displays the conflicting perspectives of different characters and is sympathetic to all while being concise. You understand where the daughter, mother, and father are coming from, the song takes neither side, and the ending is tonally ambiguous.

>Wednesday morning at five o'clock (a nice detail, this is just late enough to not be dangerous and early enough to be before when people are expected to wake up to get ready for work)
>As the day begins
>Silently closing her bedroom door (indirect characterization)
>Leaving the note that she hoped would say more (implying she's not just being a brat, she knows this hurts her parents and is conflicted)

>She goes downstairs to the kitchen
>Clutching her handkerchief (indirect characterization)
>Quietly turning the backdoor key (indirect characterization)
>Stepping outside, she is free (now you start to understand why she would leave)

Parent's perspective
>She(we gave her most of our lives)
>Is leaving (sacrificed most of our lives)
>Home (we gave her everything money could buy) (top-tier sympathetic lyrics)
>She's leaving home, after living alone, for so many years (bye bye) (notice the "living alone" part)

>Father snores as his wife gets into her dressing gown (indirect characterization of the family as the platonic ideal by implying the standard "wife making breakfast before husband wakes up" trope)
>Picks up the letter that's lying there
>Standing alone at the top of the stairs
>She breaks down and cries to her husband
>"Daddy, our baby's gone.
>"Why would she treat us so thoughtlessly? (believable anger)
>How could she do this to me?" (believable hopelessness)

>She (we never thought of ourselves)
>Is leaving (never a thought for ourselves)
>Home (we struggled hard all our lives to get by)
>She's leaving home, after living alone, for so many years

I could go on like this, but you should get the point now.

>be me
>inspire Charles Manson

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>Nothing on Sgt. Pepper's is better than Tomorrow Never Knows
cringe opinion, TNK isn't even best on Revolver

How much acid do I need to do before Piggies and Helter Skelter make me wanna kill people?

what about the last verse

>She (what did we do that was wrong)
>Is Having (we didn't know it was wrong)
>Fun (fun is the one thing that money can't buy)
>Something inside, that was always denied,
for so many years
>She's leaving home, bye, bye

isn't the song on the daughter's side here?

I find the songs on Revolver to be better individually but overall Sgt. Pepper's has an element of added cohesion that allows it to overtake Revolver. Revolver starts showing the signs of the internal construction of Sgt. Pepper's but still stumbles in the resolution (hence complaints that the second half is weaker than the first half - the key center organization goes from stellar on the first half to stumbling around and failing to use the one possible key for a resolution; the one time it has a smooth transition is... Got To Get You Into My Life to Tomorrow Never Knows). This also happens in Sgt. Pepper's Side B to a lesser extent and only stabilizes again when it goes into Good Morning Good Morning (which allows for a fantastic resolution), and is vindicated by A Day In The Life's transition between Paul's verse and John's final verse.

Frankly, that's my personal view. An added track or modulation would help Revolver gain additional consistency in order to emphasize the big climatic ending of that final, stunning C major drone after a song in G major, mostly by placing a song in D major before (that way you can go A major (Good Day Sunshine), E major (And Your Bird Can Sing), B major (For No One), B major with an A major fake out (Doctor Robert), A major (I Want To Tell You), D major (imaginary song here, also only real resolution from that A major-B major conflict) into Got to Get You Into My Life - Tomorrow Never Knows for a stunning ending. Sgt. Pepper's instead puts something of a recapitulation of the entire album in A Day in the Life to balance it out, and the structure of the key centers is overall better.

Based.