Robert Bunter: The early Beatles sing a happy crappy song about how terrific it is to be in love. It's nice, but I file this under "filler." I'll give credit to John and Paul for a typically dynamic, passionate vocal performance here. However, beyond that, I'm not really hearing much greatness on this one. Sorry, Rich. I know you like this track a lot.
Richard Furnstein: I sure do. There's a lot to love here. A melody built on ninety percent single syllable words; making their use of "eternally" sound like the most sophisticated exotic word in the English language. Paul and John conjure up the magical third voice in the best moments of this song; the starkness of the track reveals a lot of beauty.
Robert Bunter: Hmmmmm. Well, I guess you're right about that. Did you ever notice how much reverb Capital put on this thing? The UK mono master is a whole different animal. It's like, first there was this one bland, unremarkable animal. Then, I found out about this dry, uninspired mono animal.
Richard Furnstein: Of course I've noticed how much amazing reverb is on this thing. The end of the song goes deep into the cave, with only Ringo's stellar fills breaking through the fog. More about that ending, the final return to the pleading "oh-oh's" comes quicker than you would expect. It's a pleasant surprise, especially since the song is all about the final descent into Ringofill Caverns. Take a listen to this beautiful edit of the finale from Take 9, where our heroes are just working out that perfect ending. It's from my personal vault.
Robert Bunter: Alright, a neat little curiosity. It's true that this song is absolutely amazing. The lyrics represented a real breakthrough. Also, the gimmicky harmonica was an embellishment that the Beatles had not yet already done. Can you smell my sarcasm here? As John Lennon once said, "[The song was written by] Paul and me. This was just a silly song we knocked off." McCartney seemed to agree, describing it as "a bit of a hack song, but all good practice." It's nice that they had a chance to practice, so they could finally write some good songs after they got finished with "Thank You Girl."
Richard Furnstein: I'm sorry that this song isn't high brow enough for you. I guess it's only the best for a man who eats Triscuits and processed American cheese slices in his stained Toyota Yaris during his lunch break, all the while laughing like a hyena to Howard Stern sexually intimidating a poor female intern. Yes, only first class seats on the Robert Bunter Express. Can you smell my sarcasm here?