I made an oversight when composing the haiku for songs from Past Masters, Volume One, the compilation of early Beatles singles and b-sides that also includes the four tracks off the Long Tall Sally EP. I mistakenly thought all four were covers, and skipped over them because I didn't want to get bogged down in haiku for non-original songs. As it turns out, one was an original - "I Call Your Name," written by John before The Beatles formed.
Between the twelve-string,
the cowbell, and the ska bridge,
"Name" unfolds with flair.
(The rest of my Beatles haiku can be found here.)
Showing posts with label haiku. Show all posts
Showing posts with label haiku. Show all posts
Wednesday, February 15, 2012
Wednesday, July 6, 2011
A haiku for pretty much every song by The Beatles
At long last, my Beatles haiku project has come to an end; the finished product is below. I began writing these haiku for a simple reason: I wanted to contribute something original to the world of Beatles writing. As far as I can gather from searching the Internet, no comparable undertaking has been completed and published. If this is the case, terrific. If not, I've still had a rich experience becoming intimately familiar with pretty much all of The Beatles' songs. As lightweight as these pseudo-poems may be, a lot of research went into their formation. I'd like to think that, on some level, this project serves as a history of The Beatles. It addresses the band's influences, the development of their sound, their individual personalities, important figures in their lives, significant events, the Lennon-McCartney partnership, and more. But I also realize that, on another level, it's just a curiously packaged collection of trivia.
Either way, I hope that you read it, enjoy it, and maybe even learn from it. If you spy any errors (i.e., misinformation or non-conformities with the 5-7-5 haiku format), please let me know.
Finally, it would be quite an affront to decency if I failed to thank The Beatles for their wonderful songs. They've brought so much joy and inspiration to so many people, including myself. I suppose these haiku could be seen as a show of gratitude (however meager by comparison) for all of that.
Here they are, by album:
- Please Please Me
- With The Beatles
- A Hard Day's Night
- Beatles for Sale
- Help!
- Rubber Soul
- Revolver
- Sgt. Pepper's Lonely Hearts Club Band
- Magical Mystery Tour
- The Beatles
- Yellow Submarine
- Abbey Road
- Let It Be
- Singles and B-sides
Either way, I hope that you read it, enjoy it, and maybe even learn from it. If you spy any errors (i.e., misinformation or non-conformities with the 5-7-5 haiku format), please let me know.
Finally, it would be quite an affront to decency if I failed to thank The Beatles for their wonderful songs. They've brought so much joy and inspiration to so many people, including myself. I suppose these haiku could be seen as a show of gratitude (however meager by comparison) for all of that.
Here they are, by album:
- Please Please Me
- With The Beatles
- A Hard Day's Night
- Beatles for Sale
- Help!
- Rubber Soul
- Revolver
- Sgt. Pepper's Lonely Hearts Club Band
- Magical Mystery Tour
- The Beatles
- Yellow Submarine
- Abbey Road
- Let It Be
- Singles and B-sides
Tuesday, July 5, 2011
Singles and B-sides haiku
Below, you'll find the haiku I've written for The Beatles' non-album singles and B-sides. It's everything from the Past Masters collections with the exception of these songs: "Love Me Do" (which I had already done), the German-language renditions of "I Want to Hold Your Hand" and "She Loves You" (skipped for obvious reasons, I think), the covers from the Long Tall Sally EP and Larry Williams' "Bad Boy" (I didn't feel like getting bogged down with covers), "Get Back" (which I had already done), the charity version of "Across the Universe" (it's superior to the one on Let It Be, but it's not blessed with canon status), and "Let It Be" (which I had already done). For all of the other songs, I wrote a haiku, and they collectively represent the last ones I composed or will compose; in other words, I'm done. Tomorrow, I will bring them all together in one post and finally close the book on this project.
Enjoy.
1) "From Me to You"
2) "Thank You Girl"
3) "She Loves You"
4) "I'll Get You"
5) "I Want to Hold Your Hand"
6) "This Boy"
7) "I Call Your Name"
8) "I Feel Fine"
9) "She's a Woman"
10) "Yes It Is"
11) "I'm Down"
12) "Day Tripper"
13) "We Can Work It Out"
14) "Paperback Writer"
15) "Rain"
16) "Lady Madonna"
17) "The Inner Light"
18) "Hey Jude"
19) "Revolution"
20) "Don't Let Me Down"
21) "The Ballad of John and Yoko"
22) "Old Brown Shoe"
23) "You Know My Name (Look Up the Number)"
Enjoy.
1) "From Me to You"
2) "Thank You Girl"
3) "She Loves You"
4) "I'll Get You"
5) "I Want to Hold Your Hand"
6) "This Boy"
7) "I Call Your Name"
8) "I Feel Fine"
9) "She's a Woman"
10) "Yes It Is"
11) "I'm Down"
12) "Day Tripper"
13) "We Can Work It Out"
14) "Paperback Writer"
15) "Rain"
16) "Lady Madonna"
17) "The Inner Light"
18) "Hey Jude"
19) "Revolution"
20) "Don't Let Me Down"
21) "The Ballad of John and Yoko"
22) "Old Brown Shoe"
23) "You Know My Name (Look Up the Number)"
Labels:
Beatles songs,
haiku,
singles and b-sides haiku
Wednesday, April 13, 2011
Wednesday haiku - "You Know My Name (Look Up the Number)"
A campy pastiche,
"Name" might deserve this title:
the Fabs' strangest song.
"Name" might deserve this title:
the Fabs' strangest song.
Tuesday, April 12, 2011
Tuesday haiku - "Old Brown Shoe"
Like "Hello, Goodbye",
George's "Old" deals with contrasts:
right/wrong, early/late.
George's "Old" deals with contrasts:
right/wrong, early/late.
Sunday, April 10, 2011
Sunday haiku - "The Ballad of John and Yoko"
A droll travelogue,
"John" tracks the newly hitched pair
all across Europe.
"John" tracks the newly hitched pair
all across Europe.
Saturday, April 9, 2011
Saturday haiku - "Don't Let Me Down"
In tones of anguish,
John makes a plea for Yoko
to always love him.
John makes a plea for Yoko
to always love him.
Friday, April 8, 2011
Friday haiku - "Revolution"
John wrote two versions,
and on this more forceful one,
he spurns violence.
and on this more forceful one,
he spurns violence.
Thursday, April 7, 2011
Thursday haiku - "Hey Jude"
"Jude" is Julian,
John's young son whom Paul cared for
and sought to comfort.
John's young son whom Paul cared for
and sought to comfort.
Wednesday, April 6, 2011
Wednesday haiku - "The Inner Light"
When he wrote "Inner",
George drew from the Tao Te Ching,
an old Chinese text.
George drew from the Tao Te Ching,
an old Chinese text.
Sunday, April 3, 2011
Sunday haiku - "Lady Madonna"
On this romping tune,
Paul sings like Fats Domino
and salutes mothers.
Paul sings like Fats Domino
and salutes mothers.
Saturday, April 2, 2011
Friday, April 1, 2011
Friday haiku - "Paperback Writer"
To promote his book -
a long and "dirty" novel -
Paul presents a pitch.
a long and "dirty" novel -
Paul presents a pitch.
Thursday, March 31, 2011
Thursday haiku - "We Can Work It Out"
"We can work it out",
hopes Paul, while John sternly warns,
"Life is very short".
hopes Paul, while John sternly warns,
"Life is very short".
Wednesday, March 30, 2011
Wednesday haiku - "Day Tripper"
It's a play on words:
"day trippers" are fake druggies,
mere "Sunday drivers".
"day trippers" are fake druggies,
mere "Sunday drivers".
Tuesday, March 29, 2011
Tuesday haiku - "I'm Down"
On this brisk rave-up,
Paul howls like Little Richard,
one of his heroes.
Paul howls like Little Richard,
one of his heroes.
Monday, March 28, 2011
Monday haiku - "Yes It Is"
"Yes" was John's attempt
at reproducing "This Boy";
both are lush ballads.
at reproducing "This Boy";
both are lush ballads.
Saturday, March 26, 2011
Saturday haiku - "She's a Woman"
With its driving beat
and Paul's high-tenor vocal,
"Woman" packs a punch.
and Paul's high-tenor vocal,
"Woman" packs a punch.
Friday, March 25, 2011
Friday haiku - "I Feel Fine"
By John's reckoning,
"Fine" was the first pop record
to contain feedback.
"Fine" was the first pop record
to contain feedback.
Thursday, March 24, 2011
Thursday haiku - "This Boy"
John, Paul, and George shine:
their lithe three-part harmonies
guide this doo-wop turn.
their lithe three-part harmonies
guide this doo-wop turn.
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