"Back in the U.S.S.R."

This morning, I started copying the lyrics in the CD booklet from The Beatles into Google Documents so that I can access them more easily.  I was surprised to find that a line in "Back in the U.S.S.R." is formatted as "Let me hear your balalaika's ringing out."  I'd always understood it as "Let me hear your balalaikas ringing out," but seeing it typed made me realize that it can be understood three different ways:

"Let me hear your balalaika's ringing out" (where "ringing out" is a gerund and "balalaika" [singular] is a possessive noun)

"Let me hear your balalaikas' ringing out" (where "ringing out" is a gerund and "balalaikas" [plural] is a possessive noun)

"Let me hear your balalaikas ringing out" (where "ringing out" is a participle modifying "balalaikas," which is the direct object of "hear")

"Too Much Monkey Business"

Recently, I found a note I'd made about Chuck Berry's "Too Much Monkey Business" that also applies to the Beatles' version (on Live at the BBC).  Lennon doesn't quite get the words right, but in Berry's original, the lines "Army bunk, army chow / Army clothes, army car" exhibit anaphora, and this repetition illustrates the uniformity or standardization of the military.

"So How Come (No One Loves Me)"

I was thinking about "So How Come (No One Loves Me)" this morning, and I realized that the shape of the melody illustrates a contrast.

The first verse of the Beatles' version is:

They say that ev'ryone

Wants someone

So how come no one

Wants me

There's a contrast even just in the words since "ev'ryone," "someone," and "no one" all rhyme with each other and leave "me" by itself, but this is illustrated in the melody too.  "Ev'ryone," "someone," and "no one" are all sung to higher pitches (B A B, B A G, and B A, respectively), but "me" is sung to a comparatively lower pitch (G).  Musically, then, there's a sense of "me" being apart and excluded.