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149 – Her Majesty – Jon Albrink

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Original version – July 2 1969

Ukulele version – November 12 2011

 

Jon Albrink: Vocals, guitar

John Benthal : Ukulele

 

Recorded at Live at Rockwood Music Hall NYC on The Abattoir iPhone.

 

Written by Paul McCartney

Credited to Lennon/McCartney

 

Photo Judy Schiller

 

ABOUT THE SONG

 

There is nothing wrong with “Her Majesty” per se. Lovely melody, witty lyrics, interesting chord structure that references the past while being firmly in the present. Admittedly it does bear a strong resemblance to  the Robert Johnson song “They’re Red Hot” – they are similar, but I doubt McCartney consciously stole from the great bluesman.

 

The Beatles simply should not  have had this song at the end. It just doesn’t fit. They should have put "The End" at the end of Abbey Road. It just embodies all The Beatles stand for, especially the last line "In the end, the love you take is equal to the love you make"

 

To have McCartney take over after the end does him, or the record no favors.

 

The song was originally placed between "Mean Mr. Mustard" and "Polythene Pam"; McCartney decided that the sequence did not work and the song was edited out of the medley by Abbey Road Studios tape operator John Kurlander. He was instructed by McCartney to destroy the tape, but EMI policy stated that no Beatles recording was ever to be destroyed. The fourteen seconds of silence between "The End" and "Her Majesty" are the result of Kurlander’s lead out tape added to separate the song from the rest of the recording.

 

The loud chord that occurs at the beginning of the song is the ending, as recorded, of "Mean Mr. Mustard". "Her Majesty" ends abruptly because its own final note was left at the beginning of "Polythene Pam". Paul applauded Kurlander’s "surprise effect" and the track became the unintended closer to the LP. 

 

The ukulele version features an extended lyric by balladeer Jon Albrink.  His version was recorded live at Rockwood Music Hall with John Benthal on ukulele

 

Her Majesty

 

Her majesty’s pretty and all

but she hasn’t got a lick of sense

Her majesty’s pretty and all

but she’s actually kind of dense

I tried to take her for a walk in the woods

but we couldn’t see the forest for the trees

Her majesty’s pretty and all

That’s why I’m begging on my knees, oh yeah

that’s why I’m begging on my knees

 

Her majesty’s got a nice shape

But her sweater’s getting in the way

Her majesty’s got a nice shape

That’s why a guy’s gotta pray

I tried to get her in the back of my car

but my buddy wouldn’t give me back the keys

Her majesty’s got a good shape

Some day I’ll see her in the breeze, oh yeah

some day I’ll see her in the breeze

 

Oh your majesty, oh your majesty, oh your majesty, oh

Oh your majesty, oh your majesty, vo de oh de oh doh

I tried to get in line for a ticket to ride

But it rained so I went and hid my head

Your majesty, oh your majesty

Guess we’ll have to stay in bed, oh yeah

Guess we’ll have to stay in bed

 

Her majesty’s a pretty nice girl

but she hasn’t got a lot to say

her majesty’s a pretty nice girl

but she changes from day to day

I want to tell her that I love her a lot

But I gotta get a belly full of wine

her majesty’s a pretty nice girl

some day I’m gonna make her mine, oh yeah

Some day I’m gonna make her mine

 

 

ABOUT THE ARTIST

 

Jon Albrink is a New York City based singer/songwriter.  His two CDs of original songs, “Shimmer and Thrum” and “Private Moon,” have garnered praise for their “haunting melodies and arrangements”… “beautiful, soulful, intelligent music”…”perfect lyrics.”  Jon has collaborated on songs withPeter Valentine, Jeff Franzel, Nikki Gregoroff, Amanda Homi, Phil Galdston and Danielia Cotton, among others.  He performs regularly as a solo artist and with Amanda Homi’s “Drumgirl” band. 

 

Jon’s vocal performance is also featured on the recently released “Rosler’s Recording Booth” on the Don Rosler song “Pretty as Ever.” 

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