My most annoying pet peeve is when people randomly put together a 70s beatles album from their first solo albums or a johnpaul album from their first 80s albums… I hate it sooo much. I hate when albums which are intentionally made and produced a certain way are cut up and thrown together, where the songs end up not fitting and the whole thing doesn’t adhere to the 70-80s ethos of ‘album era’ i.e. its not just a collection of songs but they are making up a whole (and maybe the whole is stronger then individual pieces of it). Like. Not with my beloved Golden Age of Albums!
Guess I will never agree with the idea that John Lennon songwriting peak was 65, 66, 67, or just early years or whatever. For me it will always be 68-70.
I mean sure, he also released flop bullshit and did absolute insane nonsense, but at the same time, he released some daring, absolute timeless sounding rock music, especially heavy rock music, that was actually pushing rock (!) music - soundwise - forward and did something original, that I think was not even really replicated to this day.* (Personally I think he was the only Beatle to do that by this particular point).
I also just love his personal, heavy, pointed and sharp, oftentime "minimalistic" lyrics, paired with the abrasive, uncompromising, creative, haunting and beautiful music. After 70, he suddenly took a turn and started relying on heavily 50s nostalgia based rock music and used overall by that time "old"-ish or then current production; he never once again pushed "forward" or made music that sounded like not yet existing genres.
*I guess it could be said that JL/POB was "ahead of it's time" but I don't really like that wording. But it was released in a time when it could not become "trendy" or genre setter.
Imagine fucking up... then delivering the best fucking version of the song. Incredible and powerful vocal. Great guitar parts and awesome solo. High energy. Absolutely superior to the studio version (which I love).
This, together with his other studio demos, alt versions just proves it to me what a live enverionment artist John Lennon was. His strenght was never carefully and slowly recording every note. A band playing together, playing off on each other, delivering the raw sounding staff instead off over polishing it... is suited him the best.
I love these lyrical changes; the "you" gives it a sense of distance that is later removed. The "axe" to me feels like a more violent image, but "cock" is more... uncomfortable and disturbing (and the "axe" can feel a little bit ridicolous and caricaturistic).
Also, aren't "violence" and "overblown sexuality" the cornerstones of John Lennon? Something he also associated with being a "macho man"?
Bc they are either not selling T-shirts that I want (left one) or they are very pricey (right one) I have to do this myself
- sadly the image on the left one is too big for my taste but this (print on demand) service that i used didn't let me do a smaller one. at least I will fulfill my wish to be a living billboard for the greatest album ever
- the second one I commited all by myself with the limited numbers of textil pens that i have. i accidentally draw the name way too to the right side, not at the middle but whatever. maybe next time i will do better
Some days ago my mind just had some time to wander (while my hands were busy working overtime) and I suddenly thought - because I love forcing myself to make pointless lists with nonsensical rules - "which are THE bridges that came to my mind instantly? Not even my favourites, just the one that I would think of without looking up anything - therefore the ones I find the most memorable (atm)."
The answer is:
I had chosen from only the pop-rock genre, and the songs are under 6 minutes (the bridge is more clearly identifiable and stand-out in these cases)
they all include lyrics
appareantly I only know three artists who have bridges (unsurprisingly, it reflects what I'm currently listening to)
i have no idea what's the difference between bridge and middle eight. i had chosen the ones that sounds like bridges to me
My boring, personal, pointless list ft. musing about the songs, lyrics, production, performance. It's possible I wrote nonsense bc I'm theory-wise ignorant, but I re-listened the songs closely so I would be able to write something about them:
Just a job to do - Genesis (1983)
Keep running, Keep running; city to city/Even if you're innocent/You can cause too much embarrassment...
This is the song that I was listening to when this brainwave grabbed me. When I was listening to this song for the first years ago, I was not exactly sold on it, probably because of the harsh sounding synth stabs. But then the bridge came in and it was a life changing moment. I always remember this bridge. I always wait for it.
But first. This song has an excellent bass line, it truly imitates running/flight-fight so well. I love the added percussion on the "bang bang" part, and I love Phil Collins screaming that part. I love all the well placed guitar licks, despite them being almost in the background. Guitarist&bassist Mike Rutherford is such a hero of this song, along with Phil's 80s typical excellent vocal and drum performance.
It's also one of the Genesis songs where I feel like they may have inspired Phil later, on his song Don't Lose My Number. Which feels like later became an inspiration for a 90s Genesis song, Jesus He Knows Me. It's a circle!
The lyrics is about some... hitmen? I can't even pretend to care, lol. Who listens to this song for the lyrics?
Why they never performed it live is beyond me. It was not a single, either. They also ignore the existence of this song. Whatever!
Surprise, Surprise (Sweet Bird of Paradox) - John Lennon (1974)
Well I was wondering how long this could go on, on and on/Well I thought I could never be surprised...
Similiarly to "Just a job to do", the verses didn't really grab me on first listen. On the studio version I'm still kinda so-so on them; I absolutely prefer - just like with several of JL songs - the raw version, that was shared on the John Lennon Anthology release. Give me John stripped down (...) and with a single vocal track, without any vocal hiding studio nonsense on it!
But then you see - the bridge. The bridge doesn't really stand out on the Anthology version. Because it's too fast! It needs to be languid; it needs to slide and wander. It needs to imitate all that wondering and surprise and uncertainty.
The bridge stands out not just musically but lyrically. The verses has our narrator describe this love, this relationship; the first two verses have some sweatiness and eroticism (her body's warm and wet); they are overall more concerned of a bodily, physical need. The narrator also does some bragging (oh boy you don't know what she do to me). She offers wonderful things, a recess, but it can be already seen as temporary (a breath of spring you see); her "purpose" is to help forgetting (she makes me sweat and forget who I am).
The idea, that this bliss is maybe temporary, is stated in the bridge; it becomes part of the text (how long this could go on). It brings vulnerable and uncertain emotions up; but it offers the possiblity that our narrator is wrong to doubt (but could it be). Or maybe it can be interpreted enterily differently? Maybe this whole forgetting was wrong and this is all pretend? (Or maybe I'm going off on a tangent...)
The bridge changes the song's emotional landscape. After it the word "need" is now replaced with "love." It's not the side-effects of the cocaine/I'm thinking that it must be love, as our Bowie wrote. This verse also has one of my favourite John's line: the sunrise in her eyes. The start of something new?
I also find this John solo song to be possible the most referential to the Beatles; the Drive my car call back is obvious, but I personally think - although I'm not dying on this hill - it evokes part of Michelle with the repeated I need you/I love you part.
Thru These Walls - Phil Collins (1982)
Oo I'm feeling like I'm locked in a cage/No way in, no way out, and it gets so lonely...
And here it is! A character song and Mr Philip David Charles Collins intentionally creepiest song! (Bc I still think Like china is both cute and unintentionally (?) creepy sounding, but I digress). Similiarly to my previous two choices, I find the bridge to be musically the the best part of the song (although I love the chorus very much).
Starts with some gentle drums and marimbas (or is it a drum machine? It's not credited as such in the liner notes!), sounding almost like a pitter patter of tiny feet. It's accompanied by some sinister keyboards notes. The darkness of the song, both sound and lyrics-wise reminds me of Peter Gabriel's Intruder and No Self Control: songs, on which Phil played the drums and was instrumental in their making. I wonder if he was intentionally or unintentionally inspired by them here.
The lyrics is usually described as "about a man listening through the wall to his neighbours partaking in sexual activities" which I guess is true, but I feel like its a lil bit underselling things. I mean, I could make arguments that our narrator is a voyeur and even a pedophile (I can see the girls and the boys/I can see thru' my windows; I can see them playing with toys; Oh I hope it won't end/If I promise not to touch, just be a friend) but whatever. It's definetely creepy, and very noticeable. Phil is committed to the bit. He even does some little moans! Which is why I am not surprised that it was not a hit, but it boggles my mind why it was chosen as the FIRST single?! Like okay sir... (stop trying to make "Thru These Walls being a hit" happen...)
The song continuously builds and adds more elements and instruments. It has a strange structure and art rocky vibe, and it's the most off field song Phil has ever done in his solo carrier. (Sadly.) I know Phil and some fans dislike the fact that he re-used the drum fill from ITAT, but I think it's used interestingly and I'd say, quite uniquely. And the drumming is wonderful all through the song. All that little rolls and fills! Phil also said that: `Through These Walls,' from Hello, I Must be Going, is a Ringo drum part.
And the best part: the bridge!! I love love how it sounds. I love the melody, I really have to wait before he gives it to me... In previous parts of the song the movement is provided by the drums. And the way it adds bass guitar and guitar licks helps making it feel bigger, and it's effective because it it's very stark and dark, almost still before that. The lyrics are humanising the narrator in this part (I'm locked in a cage no way in no way out...).
Also, him performing this live in 1982 is kind of sending me. Perfect song to capture on camera I guess...
No reply - The Beatles (1964)
If I were you, I'd realize that I/Love you more than any other guy...
Greatest Beatles song ever actually. It's a top 10 John song, I'm making the case, I'm filing it!
But my favourite little moment has to be the "that's a lie" part. It enchants me. There is a some threat and danger in that part, especially because it's almost sing-songy or mockingly childish.
I love how tired and haggard sounding John's voice is. It's different from lot of his other performances in this era. See, he is not a boy anymore, he is a m a n. A working and tired man!
I love the bossa nova lilt the song has; I love Paul great harmony vocal on the I saw the light/I nearly died part and how loudly they are strumming that acoustic guitar there.
Then the bridge. It's just sounds good. The tempo picks up, the song is finally moving, also helped along by the very 60s clapping. I also love George Martin's hammering on the piano; it actually reminds me of later John Lennon, banging away on Remember.
I Cannot Believe It's True - Phil Collins (1982)
Over and over, I keep on telling myself/Over and over, I hope I'm gonna wake up... AND I know it's a crying shame/It's all the same to you...
Two bridges?? For the price of one? Phil Collins must be stopped with all this construction work!
The song heavily features the Phenix horns (who were the main horn section for the band Earth, Wind & Fire) with their typical staccato & rhytmic playing style. It's is essentially the sister song of I Missed Again, a similair funky-R&B song, with underlinig hurt and anger.
And what can I say? This song is just groovy ans smooth, it's comfortably slides on its way. It's packed with nice melodies, great drumming and even has a sax solo. The change up and melody on the "over and over again" part bewitches me to no end. The bouncy bass part on that part gives it a gallop-y vibe. I love it so much yet I have nothing to say.
Expect that Phil was nailing these bridges and pre-choruses in the 80s. Angry and sad Phil is the best Phil. I Cannot Believe He Wrote These Banger Songs and the only true hit from the album was a fucking cover. The first two Phil album, man, full of underrated songs!
Isolation - John Lennon (1970)
Unlike the previous songs, which I had chosen mostly for their sound, for the music, here the trio of lyrics + emotion + music makes this one of my favourite - and one of John's most striking - bridges.
I don't expect you to understand/After you caused so much pain
But then again, you're not to blame/You're just a human, a victim of the insane
The song starts purely with piano. The moment the vocal arrives (single tracked), together with the drum, are already a little powerful and a great preparation for the bridge, which will build on the same three elements.
The song slowly builds, almost meanders. The fourth time the "Isolation" part arrives, is the moment that signals the change; the vocals are drawned out and the double track makes its appareance.
The bridge is a turn; both lyrically and musically. It's emotionally different; it's in its short moments full of anger yet laced with acceptance (you are just a human). It's a human song, and the human core of the album (and not just bc the word itself used! it's the admission itself.)
Isolation is also the midpoint of the album, it's essentially the center song, and I could say the emotional center of the album. An idea that probably can be supported by the trio of Mother-Isolation-God, essentially the first, the middle and the last songs. They are the emotional spine of the album, on which the rest of the songs hang. All feature piano and devastating in a different way, and they progressively operate with more lyrics and melody. (Although maybe it could be argued that the self being rejected - self expresses acceptance - self rejects other things and figures in return disturbs the forward moving flow that the music brings... I think it works just fine and I'm complicating it.)
The song, the whole album is stripped down, but the bridge goes even further, and it stand out because it takes away; no bass guitar, no snares. Just the bass drum (?), thumping away. Ringo only starts playing the snare (i'm just saying things, i don't actually recongize parts of the drum kit by sound) and doing more on the victim of the insane part, helping to bring up the intensity - together with the powerful vocal delivery from John and some piano hammering. The bridge also has double tracked vocals (equally panned to left and right), making the whole thing feel bigger, more monumental and surrounded.
It ends with Ringo doing a little drum fill (when there is no vocal, bc he doesn't intrude on the vocals!), and the song continues with the next verse.
Ringo's subtle playing in the bridge is the true allegory and statement for both the album and Ringo's drumming: less is more. And the more barebone the music is, the more starkly the emotionality of it stands out.
I'm Losing You - John Lennon (1980)
Well, here in the valley of indecision/I don't know what to do/I feel you slipping away...
Well. Well. I always knew I will add this to my list: this is my favourite John Lennon song and it's high on my all time fave songs list too.
Honestly, I love everything about the song: the blues-rocky vibe, the bass (thanks to Tony Levin!!!), the guitar licks, the vocal, all the wells, the groan, the lyrics, the different shades of feelings it presents (or can be interpreted as): sadness, helplessness (i don't know what to do), anger (do you still have to carry that cross?), resignation (i feel you slipping away). The way our narrator turns around and suddenly doesn't want to take the blame anymore or being reminded of it (don't wanna hear about it).
And there is the bridge. The slipping away-ay-ay. The way it changes is up; the vocals are almost slurring. It floats away and streches. Like an expanded rubber band, about to break.
It's not really similiar, but I'm for some reason get reminded of I'm only sleeping (and maybe A Day in a Life) - the drawn out word.
my tears ricochet - Taylor Swift (2020)
And I can go anywhere I want/Anywhere I want, just not home...
I'm suprised by this turn of events, but appareantly I'm putting Taylor on my lists now. To be fair, she is well known for her bridges, but her songs are always very wordy, and there are cases where the bridge is not different - soundwise - enough for me; just monotone (i need more music/intrumental) or being there bc Taylor Does Bridges. This is not one of those cases.
Not long ago I watched the Eras tour movie (bc why not at this point). I've already liked this particular song, but that was the first time when I felt it truly coming alive. It shot up in my TS' song ranking after that.
It has a great production (courtesy of Jack Antonoff) and a build up; the percussion comes in just the right time, both adding movement and grounding it. This bridge hits both lyrics- and music-wise. Despite the inspiration being a Very Taylor Specific Situation, just the sound of the words, the words themselves (anywhere i want just not home), carry such a universal heartbreak, they truly transform the song for me into a very powerful experience. (Similiarly to me, to John's song, God: the dream is over... so dear friends you just have to carry on). I also love the added backing vocals just to emphasize the word "home".
The reason I prefer the live version compared to the studio one/OG, because I feel it doesn't sustain the momentum and energy well enough after the bridge. The whole song remains somewhat "lowkey."
BONUS:
Mama - Genesis (1983)
Can't you see me here/Mama, mama, mama, mama, please/Can't you feel my heart...
This Is Me Cheating. I didn't remember this one without checking. You see, I make up rules then I don't like them. How dares anybody trying to restrict *me*.
Anyway. This is my favourite Genesis song. It's in my top 10 song. It's my favourite vocal performance from Phil (from anybody???). Decidedly the one I consider The Sexiest Vocal. This song is Everything To Me. Except, appareantly it's not my favourite bridge.
This song is in group with several other post-In the Air Tonight songs; basically where Phil is edging you with witholding the actual drums, before dramatically adding them (i.e. Man on the corner, Mama, Against all Odds, We fly so close, For a friend, Dreaming while you sleep, maybe even: Colours, No son of mine, Driving the last Spike, I can't dance etc. I'm sure there are other cases).
It all starts with the heavy sounding, harsh Linn drum machine, programmed by Mike. Keyboardist Tony Banks adds creepy little synth lines on top, and they make very atmospheric setting for Phil. 80s Genesis (and solo Phil Collins) relied heavily on athmosphere, on space, on build up, while making overall vocal perfomance centric songs (with either the drum or the keyboards being a secondary "main character").
The song has a nightly vibe. It's a little hazy, little bit wet, damp and metallic. I find the production to be fantastic on this. (While I overall think that saying PC solo = 80s Genesis is nonsense, I think that the '83 Self titled Genesis album and 85 No Jacket Required PC album are the closest PC-Genesis pair, concerning the sound and mood (Phil 80s solo albums overall have a night-time vibe, as fas as I'm concerned. Furthermore I think that the link - sound and production-wise - between the quirky Abacab and this darker and sweaty 83 Genesis album is the darker sounding Helllo I Must Be Going. Of course, Padgham and Phil are both co-producers on all of these albums, it's only logical that their fingerprint is all over them.)
The lyrics are describing an obssessed, a kind of creepy narrator (oh to touch and feel you mama, oh I just can't keep away), who starts out with demands and little bit of delusional self-assuredness or self-soothing (i know inside you care). The singing is clipped and rhytmic: I find this particular facet of Phil Collins - a great drummer who becomes a great singer - unexplored. His drumming and his sense of rhythm is all over his 80s singing. He is a lot of times imitating the drums. (He is also deeply inspired by R&B , funk and soul). The track also benefits from the fact that it's was done in Phil's most powerful vocal years ('83-85): he had power, grit, range and was not yet really nasal. The little growl on "so get down, down here beside me" sends me to the stratosphere.
The song also has a little interlude with Phil menacingly (and ridiculously) laughing, inspired Grandmaster Flash's "The Message".
The bridge raises the emotional intensity and tension. The singing is changing up, and even the lyrics is introduces a different emotional quality; not exactly vulnerable but some true, desperate pain, full of not understanding and grappling with the void of reciprocity (can't you see me here, can't you feel me, the use of please). The bridge ends with the arrival of the drums; it arrives after 4 minutes of run time; 4 minutes of heightened build up.
After the bridge - which is why I did not think about this song - comes my actual favourite part. The rest of the verses, the wonderful singing and screaming. ITAT is def the song's closest sibling, feels like the true Genesis version of ITAT, where the screamy end part/outro is made into a much bigger part and the song itself is more busy, less empty, more "Genesis-y". It feels like Phil throwing a bone for Tony Banks bc he never get over the fact that ITAT was not a Genesis song! (And I def think ITAT and Mama are the best songs Phil and (80s) Genesis done, so good for me to have more of it.)
Did I wrote more about the bonus song than about any song on the actual list? More likely than you think.
Btw I had chosen two more songs on the first round, but it got too long. I just wanted some list, instead I made lot of work for myself. For no reason whatsoever, bc I wrote this for no one, after all.
