Only a little trolling. You got real mad though, so it wasn't really proportional.
Even though listed songs are more musically mature than A Hard Day's Night, they still display very basic song structure as well as the least amount of psychedelia possible to still be considered 'psychedelic rock'. Making a song about LSD does not a good psychedelic band make; Pink Floyd and Quicksilver Messenger Service were doing way better, way weirder psychedelic shit at around the same time. Revolution is about as simple and faux-intellectual as a political song gets (as is pretty much of all Lennon's political songwriting). And it still falls under the "forward-moving verse, catchy repetitive chorus" structural hallmark of even the most basic pop. Let It Be is your typical pop ballad. All most certainly pop, in that they took minimal aspects from contemporary musical trends and made them as accessible to your mom as possible.
I guess by respect from their contemporaries I meant more along the lines of being considered innovators, or setting the musical bar. For example, I don't think that Rubber Soul or what have you was as much as a challenge to other artists amping up their game as MBDTF or The Blueprint was.
Once you recognize that the Beatles were far less innovative or musically challenging than many of their contemporaries, which is something that is pretty obvious, the only reason they'd even be in the running for 'best' is because they moved a lot of records and were pop culture icons. Which is exactly, I guess, where I find issue with the claim that the Beatles were GOAT. They aren't respected due to some sort of objective, historically-situated reverence for the albums themselves, but because everyone knows the lyrics to Hey Jude, and they're a lowest-common-denominator sort of band that pretty much everyone can at least vaguely enjoy.
And fuck you, listen to Reasonable Doubt or MBDTF and you tell me it's diluted. Both are challenging, complex masterpieces that portray multi-faceted characters over incredible production.
Sure, the Rolling Stones were (early on) the more risque counterpart of the Fab Four, but their music retained a certain factor that the Beatles' didn't. Perhaps it was the love for the blues, perhaps it was the stomping rhythms, perhaps it was the classic rock n' roll voice of Mick Jagger. And after the initial explosion of british rock/pop bands, the Rolling Stones matured so much better than many of their contemporaries. I can't listen to Exile on Main Street or Sticky Fingers or really any of the classic Stones and imagine that any of it was indebted to the Beatles.
If you want to go much later, early seventies later, the Krautrock era completely dwarfed, stylistically, anything Great Britain or the US were putting out in terms of experimental, psychedelic rock music.
There were some really great tracks on Graduation, but I also thought there was way more filler/tracks I didn't like than any other Kanye album (except 808s).
It's sort of hard to compare MBDTF to any of Jay's albums because the beauty of MBDTF largely resided in Kanye's production, and continuity/ebb and flow of that kind isn't really going to be found on a rapper's album featuring a multitude of producers. In terms of rapping, Jay blows Kanye out of the water, and in terms of creating an interesting character narrative, I think Jay is still better at it. Kanye raps about Kanye, and we get a really good picture of his conflicted nature as well as his massive ego (not knocking it btw, it's the reason he's interesting), but Jay-Z has painted several equally clear pictures of himself at different points of his career, showing a clear character arc and maturation. From the street intellectual on RD, to the leader of an empire on Blueprint, to the returning champion recapturing his hunger on The Black Album, to the man he is on WTT, who is so successful and brilliant he lives on a different plane of existence.
And the fact that this sort of arc is what most other rappers try to portray isn't a signal of Jay's unoriginality, but rather a testament to his influence. He's the only one, in my mind, that has successfully both rapped about and lived that character arc, and whenever a new chapter of the ongoing saga of Jay-Z is started, so do the personas of vast majority of rappers. Perhaps he's that influential. Perhaps he's just ahead of the curve. Either way, it's the best evidence, in my opinion, for Jay-Z being the GOAT rapper. When you get into the realm of Tupacs, Biggies, Jays, Big Ls, and KRS-Ones, it's hard to compare lyricism and flow. They're all head and shoulders above other rappers, and they're all great in their own right. So it really comes down to strength of albums and influence. Jay puts out more consistent albums than other contenders - Nas hasn't put out anything of note since Illmatic, KRS-One hasn't put out anything good since about that time either, Reasonable Doubt is far more consistent that either of Biggie's contemporary albums, Tupac's best works are marred by mediocre production, and Big L died before he could put out anything of the scope of Jay's later albums - and the influence thing was the rest of the paragraph.
Though I think, given a few more years on earth, Big L would be talked about in GOAT discussions with the same frequency as Nas and Biggie.