![]() I think the interesting thing is the crazy ending - instead of ending like the previous verse, we changed the tempo. It was pretty much a work job that turned out quite well. Because John sang it, you might have to give him 60 per cent of it. We'd often work those out as we wrote them. We wrote the melody together you can hear on the record, John's taking the melody and I'm singing harmony with it. I remember talking about Ryde but it was John's thing. But this 'number one' business doesn't seem to stop - great while it lasts - but now we'll have to start all over again and people will start predicting funny things for the next one. There's bound to be a time when we come in at 19 (on the charts). With Ticket To Ride we were even more worried. John Lennon, Lennon Remembers - Jann Wenner, 1970 It's a heavy record, and the drums are heavy too. I don't want anything else on the album, the guitars and janglin' piano or whatever. If you'd give me the eight-track now, remix it - I'll show you what it is really, but you can hear it there. If you go and look in the charts for what other music people were making, and you hear it now, it doesn't sound too bad. I liked it, 'cause it was slightly a new sound at the time. Paul McCartney, Paul McCartney: Many Years From Now w/Barry Miles, 1998 John just didn't take the time to explain that we sat down together and worked on that song for a full three-hour songwriting session, and at the end of it all we had all the words, we had the harmonies, and we had all the little bits. Paul's contribution was the way Ringo played the drums. ![]() That single hit puts a huge stamp of approval-underline.That was one of the earliest heavy-metal records made. And the last single stroke after the last "ri-hi-hide"-gold. This whole section is a brilliant sequence of chords, and this particular chord, at this particular place in the song-with the stoppage of all other instruments-is a top Beatles moment.ĥ: Ringo's different drum figures to introduce the A sections are great. More Beatle magic.Ĥ: The chord under the 3rd 2nd "ride"- the "ri-hi-hide"-has no connection the the melody notes. Here they aren't, and when the next chord comes, two whole bars later, it's not the chord that 7th/9th usually precede. Normally these notes are used to pivot to the next chord. It was a Major Statement, second only to "She Loves You" at the time.īesides the obvious two points-the opening riff and the the fabulous drum pattern-there are many important things happening:ġ: The melody is a very new and unique style.Ģ: The 1st I chord lingers for a long time, creating a suspense or anticipation-what will the next chord be? where the hell is it?ģ: The odd use and timing of 7ths and 9ths on "girl that's" (driving me mad). There was nothing even close, even in the Beatles repertoire. This song was shocking when it was new-another Beatle song without precedent. The other ratings show the age skew here. Then near the end when you think they’ve surely reached peak quality, the outro kicks it up another notch. This song starts brilliantly and only gets better as it goes on. Bringing the gorgeous vocal harmonies in for a few words at the end of a line is ten, twenty, a hundred times more effective than loading them in only at the start of a line, as they tried in “What You’re Doing”. The drumming is compelling, the guitar riff is mesmerising, the exciting solo one of George’s best yet. A number one hit around the world and deservedly so!Įvery aspect is flawless and engaging: the lyrics, the composition, the arrangement, the instrumental and vocal performances. This is a truly superlative pop song, masterful, assured, catchy, interesting, creative, fun and everything you could possibly want. It’s only my wanting to leave myself a little head-room in the ratings in reserve for future masterpieces that I’m not scoring this higher.
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