I didn't give The Beatles the light of day for most of my life. Even constantly hearing people refer to them as the greatest musicians ever, I assumed I wouldn’t enjoy their music. Recently, however, I finally listened to some of their music and became instantly hooked. Every song felt fresh and different while still pleasant to the ear, and now at least a couple of songs from The Beatles sit comfy in whatever playlist I am listening to. But as my love for music has grown immensely this past year, so has my desire to analyze and inspect it, especially The Beatles. This has allowed me to delve into a subject I’ve never got the chance to do, and understand the chosen songs musically and lyrically.

I tried to choose three songs that not only impacted me the most as a listener in lyrically and musically prominent ways but also provided a diverse spectrum regarding the lyrics' themes, the musical instrumentation, and the music theory used. While all three songs chosen succeed in being unique in these ways, what is a commonality between them is the ingeniously vivid lyricism and relationship between the music felt and the words heard, these factors being unique to the band's capabilities. All the songs examined were written by Paul McCartney, the first being "Rocky Racoon," an American folk-inspired tune, followed by "Maxwell's Silver Hammer," a dark tale with an ironically uplifting melody. Finally, we analyze "For No One", an emotionally breathtaking piece about heartbreak.

The Beatle's "Rocky Racoon," found on the album titled The Beatles, otherwise known as The White Album, released November 1968, portrays a story as old as time of a man losing his love against all his efforts (“Rocky Racoon”). This piece utilizes a uniquely American folk music-inspired theme. Written by the lyrically gifted Paul McCartney, the song begins with an open A string of the acoustic guitar in standard tuning and follows a simple verse and bridge song structure. A short homophonic introduction played by one acoustic guitar sets a chord progression repeated throughout the entirety of the song. The introduction leads us into the first verse, where Paul McCartney candidly introduces us to our protagonist, Rocky Racoon, in an attempted old-time American Western accent, ultimately producing an interesting hybrid subsequent of McCartney's scouse accent growing up in Liverpool, a controversial aspect to some, as critics found the accent unamusing. McCartney wastes no time to set the stage, squeezing as much information about Rocky as possible within two measures of the verse describing Rocky as a "young man" living in the "black mining hills of Dakota." He ends this bar with a vocally dominant "ahh," further exemplifying the narrator's eagerness to continue as he collects his thoughts before completing the phrase by synopsizing Rocky's demise.

McCartney's Western folk-inspired vocals produce a uniquely raspy, almost brash timbre, melodically accompanied by a beautifully simple American folk-inspired chord progression played on an acoustic guitar in E-standard tuning. The progression consists of six relatively simple chords, Am7, D7sus4, D7, G7, C, and C/B, forming a tune that simply repeats throughout the piece, exemplifying the uncomplicated nature of an old story from a simpler time. While these chords are simple and common in American folk and country music, the commonality of these chords, in contrast to McCartney's ability to create such a unique yet simultaneously familiar piece, only exemplifies his and the band's musical genius. McCartney often utilizes ascending and descending bass notes through his chord progressions, and this is no different in "Rocky Racoon" and exemplified by the C/B chord in the progression, that being a C-chord with a B bass note. As this simple yet compelling chord progression carries us along, McCartney is telling a vivid story. Using only eight measures in the first verse, McCartney has already described how Rocky has lost "his woman…to another guy," finishing off with a simple rhyme, "hit young Rocky in the eye." McCartney holds the "eye" for a half note until the end of the bar, which contrasts the next line, "Rocky didn't like that, he said I'm gonna get that boy," as McCartney only holds "boy" for a quarter note, allowing the acoustic chord progression to fill the silence amplifying the brevity of what Rocky Racoon has said.

As McCartney continues to the next verse, his timbre changes, and he shifts from an almost speechlike melody to a brighter, more resonant singing voice. We are also introduced to the harmonica, followed by Ringo's drumming faintly heard. In contrast to McCartney's uplifting timbre, the story only gets darker as McCartney describes Rocky as being "equipped with a gun" as he searches his hotel room to “shoot off the legs of his rival" but only finds a bible. As we continue into the third verse, a powerful throaty bassline is introduced, and McCartney belches into the next line with a heavy vocal emphasis on "his rival" before describing our protagonist's love and the potential whereabouts of the lovers. As the story continues, the fourth verse of the song is much the same. However, the snares are rhythmically placed in a more apparent manner, but a beautiful aspect of this verse is the introduction of a harmonica progression coinciding with McCartney's lyricism. McCartney describes that Rocky's love and his rival "who calls himself Dan'' were nearby at "the hoedown," and the word "hoedown" acts as a queue where the lively harmonica solo comes in, representing the lively fun nature of the "hoedown" but Rocky is not there for fun and quickly challenges Dan to a duel which does not end well for Rocky. McCartney's clever line, "Daniel was hot, he drew fast and shot," is brilliantly accompanied by Ringo's abrupt popping of the snare representing the shot fired.

The song's bridge is beautifully portrayed as McCartney hits a high-pitched guttural note describing how Rocky has been shot, leading into a piano ballad reminiscent of a saloon sound accompanied by the continued bass line and McCartney's bright and lively vocals contrasting the dark situation, which has taken place. The sixth and seventh verses of the song continue with the same six-chord progression seen through the rest of the song; however, in the seventh verse, as McCartney describes the reality of Rocky's situation and what he lost, a vocal chorus provides a beautiful harmony to accompany the brevity of the situation. However, McCartney cleverly contrasts this dark situation with a powerful and raspy "Oh yea yea" to bring us into the final middle eight and conclusion of the song.

Similar to "Rocky Racoon," the September 1969 release "Maxwell's Silver Hammer," found on the band's album titled Abbey Road, tells a vivid and thrilling story using an upbeat, thrilling tune (Joe). However, unlike the two other songs we have and will discuss, "Maxwell's Silver Hammer" does not play on tropes about love but rather tells the story of a hammer-wielding murderous medical student named Maxwell Edison. "Maxwell's Silver Hammer" uses a more standard song structure, having a verse, bridge, chorus, and guitar solos after the choruses; however, that is not to say the song doesn't instill unique qualities both in McCartney's lyrical applications and through unique instrumental accompaniments such as the anvil used in the chorus of the song or the harmonic chord progression heard played by a synthesizer. The song jumps directly into the first verse, which consists of a dominant and punchy baseline, which is doubled by a bright piano progression, harmoniously creating a lively rhythm McCartney uses to describe Joan, the first victim of the story. McCartney uses positive and bright vocabulary, seemingly telling a jolly story about a "quizzical" young girl who is asked to go to see a film with Maxwell. Here, McCartney very brilliantly fragments a lyric between two measures when he sings, "Studied pataphysical science in the home," drawing emphasis on the peculiar word "pataphysical". The bright timbre and tone of the piano progression, accompanied by softening drums and a melodic bassline, create an overall bright and playful feeling to the song, which is quickly contrasted with the contents of the lyrics by the first chorus. The first bridge of the song consists of McCartney singing, "but as she's getting ready to go, a knock comes on the door" the word "but" queuing the change in the bass and piano progressions, momentarily leaving just McCartney's voice and Ringo's hi-hat building suspense as the listener ponders what the knock at Joan's door may be. An ascending piano progression brings us into the chorus as the bass, piano, drums, and an accompanied anvil follow suit. "Bang bang" McCartney sings, doubled by a distinct crashing of the anvil twice as McCartney reveals Maxwell has swung upon Joan's head with his "silver hammer". The jolly theme of the lyrics has quickly shifted to reveal a dark story as Maxwell has killed his first victim of the story. 

Progressing into the second verse only further portrays McCartney's lyrical genius as he vividly describes who Maxwell is as a student while simultaneously progressing the listener toward the second victim of the story in just two four-beat measures, exclaiming, "Back in school again, Maxwell plays the fool again teacher gets annoyed." In this verse, we also hear the introduction of an electric guitar progression following the line "avoid an unpleasant scene." The guitar almost acts as if to laugh at the irony of that statement, given Maxwell's brutal nature. The end of the second verse follows the first as McCartney prepares us for another brutal murder, and just on cue, the ascending piano progression of the second bridge leads us into the banging anvil accompanied by a harmonious "bang bang." With a second "bang bang" of the anvil, McCartney assures us Maxwell has done the job, saying, "Maxwell's silver hammer made sure that she was dead." A wailing electric guitar solo follows suit, as hinted towards in the second verse of the song, leading into the third verse and final victim of the song. 

            "PC 31 said they've caught a dirty one," McCartney sings, easing the listener's tensions as to how much longer Maxwell's rampage will take place as he's finally been caught by the police. McCartney vividly describes how Maxwell is now facing a judge, and when describing this, they utilize a captivating choral harmony sung by the band members. McCartney sings, "Rose and Valeria screaming from the gallery say he must go free." The band harmoniously responds with "Maxwell must go free," representing the ladies screaming for Maxwell in the courthouse. Although Maxwell has been caught, he does not go out without taking one more victim with him, and as the third verse and bridge ends, Maxwell's "silver hammer" comes down upon the judge's head once more, signaling the final chorus as McCartney once again assures us "Maxwell's silver hammer made sure he was dead."

         Unlike the previous two songs discussed, "For No One" written by Paul McCartney and released on The Beatle's seventh album Revolver in August 1966, evokes a vivid story within the listener rather than through a fictional character and their experiences (“For No One”). Often regarded as the greatest breakup song of all time, McCartney's lyrics focus on the spirit of a hopeless romance, highlighting the rollercoaster of emotions we experience through heartbreak. Being the shortest piece we have discussed today, the song follows a relatively simple verse and refrain structure with a solo. Although it's the shortest song, it is also the most emotionally impactful of the three, as McCartney's lyricism is so vivid and relatable, drawing memories and corresponding emotions that blindside you as a listener. The first verse begins, and McCartney immediately begins to set the picture to the pain of losing someone in just the first measure of the song as he sings, "The day breaks your mind aches." Accompanying this is a piano progression following a descending bass note progression common to many of McCartney's songs. In the same verse, he describes how "she" wakes up, "she" being one's lost love, and this heavily contrasts the feeling we resonate with earlier in the verse as now McCartney describes she "doesn't feel she has to worry she no longer needs you." This line not only represents her loss of interest but also a metaphor commenting on how men often rush their spouses to get ready in the morning, further constructing vivid thoughts in the listener's mind.

          In the refrain, McCartney brilliantly uses a universally known concept of breakup tears when he sings, "In her eyes you see nothing, no sign of love behind the tears cry for no one." This line beautifully comments on the false empathy someone parting ways with you shows and how this empathy does more harm than good. Accompanying this beautiful lyricism through the refrain is a percussive harmony as well a variation in the piano progression, which leads us into the next verse, in which McCartney describes the feelings of missing someone when they are gone. In one measure, McCartney once again paints a vivid picture when he says, "You want her, you need her," as this succinct determination of not only wanting but needing someone illustrates the hopeless mindset one gets in when met with losing someone they love. A powerful trumpet solo follows McCartney's description, resembling the wails aloud when we are in such pain.

           The third and final verse of the song introduces the trumpet melody heard in the previous solo, which beautifully overlays the ongoing piano progression and McCartney's voice as he produces some of his most personally impactful lyricism in all his work. McCartney describes a phenomenon anyone who has lost someone they loved will be familiar with as he sings, "There will be times when all the things she said will fill your head you won't forget her." No matter how hard you may want to forget someone and move on with your life, you will never truly forget them or how they have impacted your life. McCartney is able to illustrate this splitting emotion so elegantly in one simple line of this verse. With a concluding refrain, the song simply ends, which in many aspects symbolizes how quickly love can end, as well as how quickly our minds can be overtaken by past memories and then released of their grip in the blink of an eye.

          After analyzing "Rocky Racoon," "Maxwell's Silver Hammer," and the shortest yet most impactful song, "For No One," it is clear to see the musical and lyrical genius present in the Beatle's Music. Paul McCartney's ability to write such beautifully vivid and fulfilling lyrics, which say more in measures than many could in paragraphs, can only be described as a gift, and we are blessed to have this talent heard around the world. The band's instrumentation, melodic choices, and unique harmonious voices only exemplify the beauty of the words they produce, ultimately creating music that will forever impact generations to come, forever timeless.

“For No One.” For No One | The Beatles, Apple Corps, www.thebeatles.com/no-one#:~:text=%22For%20No%20One%22%20is%20a,Beatles’%20seventh%20album%2C%20Revolver. Accessed 25 Mar. 2024.

Joe. “Maxwell’s Silver Hammer.” The Beatles Bible, 26 June 2023, www.beatlesbible.com/songs/maxwells-silver-hammer/. Accessed 25 Mar. 2024.

“Rocky Raccoon.” Rocky Raccoon | The Beatles, www.thebeatles.com/rocky-raccoon. Accessed 25 Mar. 2024.