Curtin University Homepage
  • Library
  • Help
    • Admin

    espace - Curtin’s institutional repository

    JavaScript is disabled for your browser. Some features of this site may not work without it.
    View Item 
    • espace Home
    • espace
    • Curtin Research Publications
    • View Item
    • espace Home
    • espace
    • Curtin Research Publications
    • View Item

    'Ob-La-Di Ob-La-Da' Paul McCartney, Diaspora and the Politics of Identity

    196310_196310a.pdf (212.9Kb)
    Access Status
    Open access
    Authors
    Stratton, Jon
    Date
    2013
    Type
    Book Chapter
    
    Metadata
    Show full item record
    Citation
    Stratton, Jon. 2013. 'Ob-La-Di Ob-La-Da': Paul McCartney, Diaspora and the Politics of Identity, in O. Wilson, S. Attfield (ed), Shifting Sounds: Musical Flow - A Collection of Papers from the 2012 IASPM Australia/New Zealand Conference, pp. 179-186. Dunedin, NZ: International Association for the Study of Popular Music (IASPM) Australia/New Zealand.
    Source Title
    Shifting Sounds: Musical Flow: A Collection of Papers from the 2012 IASPM Australia/New Zealand Conference
    Additional URLs
    http://search.informit.com.au/documentSummary;dn=876404358678651;res=IELHSS
    ISBN
    978-0-9757747-9-3
    Remarks

    This article is published under the Open Access publishing model and distributed under the terms of the Creative Commons Attribution License http://creativecommons.org/licenses/by-nc-sa/3.0/. Please refer to the licence to obtain terms for any further reuse or distribution of this work.

    Copyright © 2013 Jon Stratton

    URI
    http://hdl.handle.net/20.500.11937/40915
    Collection
    • Curtin Research Publications
    Abstract

    'Ob-La-Di Ob-La-Da' is commonly considered to be one of the Beatles more trite songs. A slice of happy-go-lucky pop-ska, it was recorded in June 1968 during the sessions for the eponymously titled double album, usually known as the White Album, released in November of that same year. The lyrics describe the lives of Desmond and Molly, focusing on their marriage and their happy-ever-after existence. The song is a romance. However, the chorus of 'Ob la di ob la da life goes on' suggests the very mundanity of their life. It is theirs alone, but what makes it special, their love, could be anybody's. 'Ob-La-Di Ob-La-Da' was, as all the Beatles knew, the most commercial track on the album but, as Ian MacDonald writes in Revolution in the Head, his track by track account of the Beatles' recordings: 'Fed up with it, the others vetoed it as a single and Marmalade cashed in, taking it to No 1' (2008, p.295). As we shall see, it was not as simple as this. While Marmalade's version was, indeed, the most successful, the Bedrocks, a group from Leeds composed of Caribbean migrants, climbed as high as number 20 in the UK singles chart with a reading of the song that was simultaneously rockier and more Jamaican. That same year Joyce Bond, who divided her time between Jamaica and London, recorded a version that had a more pronounced ska rhythm and the following year the Heptones, one of the most significant Jamaican rock-steady groups, released their version.

    Advanced search

    Browse

    Communities & CollectionsIssue DateAuthorTitleSubjectDocument TypeThis CollectionIssue DateAuthorTitleSubjectDocument Type

    My Account

    Admin

    Statistics

    Most Popular ItemsStatistics by CountryMost Popular Authors

    Follow Curtin

    • 
    • 
    • 
    • 
    • 

    CRICOS Provider Code: 00301JABN: 99 143 842 569TEQSA: PRV12158

    Copyright | Disclaimer | Privacy statement | Accessibility

    Curtin would like to pay respect to the Aboriginal and Torres Strait Islander members of our community by acknowledging the traditional owners of the land on which the Perth campus is located, the Whadjuk people of the Nyungar Nation; and on our Kalgoorlie campus, the Wongutha people of the North-Eastern Goldfields.