John and Paul had a specific agreement to share credit on songs no matter who did what (or indeed if one person wrote everything on a song), and agreed to Lennon-McCartney.Īs long as the BMI credits remain the same, it seems to me it doesn't matter what sequence the credits run in, it seems petty to change an established order as really today the sequence of credits may or may not reflect how much each member contributed. In the distant past - before songs became "band" compositions with contributions from multiple band members, but were composed by professional songwriters - Tin Pan Alley and then Brill Building era - wasn't the composer of the music (chords and melody) listed first, then the lyricist? So Brian Wilson and Mike Love wrote a song, it would be listed Wilson-Love, unless Brian wrote the melody and Brian the words, then it would be Love-Wilson (I can't think of a song where that was the case though). No one has ever claimed, and no one has brought forth any evidence, that McGuinn is the principal composer of the song. Not quite the same thing here, since McGuinn already has a co-credit on "Eight Miles High." But if things are what they seem.that is, that there are no legal impediments to rearranging the order of credited songwriters on any given release.then it speaks rather poorly of McGuinn if it's he who has engineered the reordering. Certainly one could say that this riff is crucial to the song's success.but Eric Carmen has argued (quite passionately) that it's still not part of the song's composition, and that he has no intention of sharing the composer credit on "Go All the Way." ![]() Wally Bryson of Raspberries has argued for years, futilely, that he should have a co-composer credit on "Go All the Way," since he came up with the song's signature guitar riff completely on his own. Under a strict interpretation, a musician who adds an instrumental part (or puts a specific arrangement to) an already-composed song doesn't get the credit.the song already existed before he/she did anything to it. Overall, "Eight Miles High" is a song that encapsulates the countercultural ideals of the 1960s, celebrating the freedom of expression and the unbridled creativity that can be unleashed through psychedelic experiences.Click to expand.This gets into the whole debate about what a "composer's credit" really means. The line "Nowhere is there warmth to be found / Among those afraid of losing their ground" could be interpreted as a commentary on the societal norms and expectations that stifle individual expression and creativity. The speaker seems to be overwhelmed by the sensory input of their surroundings, unable to comprehend the meaning behind the signs and symbols that surround them.Īs the song continues, the lyrics become more abstract and impressionistic, with lines like "Rain gray town, known for its sound / In places, small faces unbound" evoking a sense of detachment and freedom from earthly concerns. They are describing a sensation of being lifted above reality and transported to a place that is beyond their normal perception.įurthermore, the lines "Signs in the street, that say where you're going / Are somewhere just being their own" describe a sense of disorientation and confusion that often accompanies altered states of consciousness. The opening lines, "Eight miles high, and when you touch down / You'll find that it's stranger than known" suggest that the speaker is either on a plane or already experiencing some kind of altered state of consciousness. The song seems to be about a hallucinogenic journey that transports the listener far beyond the physical world, into an ethereal and dreamlike state. The song was released at a time when The Byrds were experimenting with drugs like LSD, and the lyrics seem to reflect that kind of experience. ![]() "Eight Miles High" is widely known as one of the quintessential psychedelic rock songs of the 1960s.
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