I pinched the title of this review from the film, A Clockwork Orange, which was Stanley Kubrick's interpretation of the wonderful novel of the same name written by Anthony Burgess. These words were used by Alex, Burgess' anti-hero, to describe the music of Ludwig von Beethoven. The same words can be used to describe the airs of Hey Jude, one of the most famous songs ever recorded by the Beatles.

The story is that Paul McCartney wrote the song as a sort of "pep talk" to Julian Lennon, John's son, who was experiencing some confusion and emotional problems as a result of the divorce of his parents. Paul was also splitting from his long-time girlfriend, Jane Asher, so the accepted origin of the song might not be exactly correct. Let's hear from the principals:

Paul's recollection:

"I remember I played it to John and Yoko and I was saying, 'These words won't be on the finished version.' Some of the words were 'the movement you need is on your shoulder,' and John was saying 'It's great!--the movement you need is on your shoulder.' I'm saying 'It's crazy, it doesn't make any sense at all.' He's saying 'Sure it does, it's great.' I'm always saying that, by the way. That's me. I'm always never sure if it's good enough. That's me, you know." (Paul McCartney In His Own Words p. 23)

John's recollection:

"Well, when Paul first sang 'Hey Jude' to me-or played me the little tape he'd made of it-I took it very personally. 'Ah, it's me!' I said. 'It's me.' He says, 'No, it's me.' I said, 'Check, we're going through the same bit,' so we all are. Whoever is going through that bit with us is going through it, that's the groove." The Ballad Of John And Yoko, p. 50)

It doesn't really matter who the song is about, or what inspired Paul McCartney to write it. What is significant about Hey Jude is that is was the first rock 'n roll anthem ever produced. It's a perfectly structured, well-conceived song that intentionally builds to one of the most famous climaxes in the history of rock 'n roll music. Part of the appeal of the song is that is begins with one voice and ends with literally scores of voices, creating a feeling of community and togetherness.

Paul begins the song with a vocal urgency that is unusual for the restrained style of this song. His voice has never been more beautiful, and his voice and the rich, full piano perfectly set the stage for the layered buildup that is to follow.

A guitar and tambourine join in the second verse, and John and George make their first appearance with background harmonies. Bass guitar, drums and fuller harmonies are layered onto the bridge, and by the time we reach the third verse, the musical texture is almost complete. John adds some tasteful harmonies on the third verse, in just the right places, and the second bridge brings all the elements together. Paul give us a hint of what is to follow with some leaping vocal gymnastics on the second bridge. John expands his harmonies on the fourth verse, singing both above and below Paul's melody, and the stage is perfectly set for the "nah nah nah" buildup that concludes the song. Horns and orchestra create a ponderous sound against the backdrop of a large number of voices and Paul really adlibs his vocals at the end, creating a sense of freedom.

Hey Jude is really all "gorgeousness and gorgeousity"--it's also about growing up--the Beatles replaced their famous "yeah, yeah, yeah" adolescent refrain with a more mature mantra, and in doing so, created a rock 'n roll anthem.

The B-side of Hey Jude was Revolution, a John Lennon composition. I could regale you with the story of the bitter disagreement between Paul and John on which song should be the A-side, but that will be for another day.





Recommended: Yes

Great Music to Play While: Getting ready to go out