One of my favourite George moments: *George:* "The great thing about LSD is that you only need to take it once." *Interviewer:* "You only took it once?" *George:* "No, I took it many times, but I only needed it once."
My favourite ever Beatles song, my fave Lennon moment too. When he switches from drug addled adult confusion into a cathartic plea to return to childhood , when "everything was right"...that gets me every time.The switch from 4/4 to 3/4 time sounds so instinctive, Ringo at his very best too.
This is my favorite Beatles song on Revolver. Probably my favorite top 3 Beatles song. Sounds like a day would look like through orange colored glasses.
The sound we are loving is more than just that. Back then, the distorted sound was just overdriven amps turned up loud. Keith Richards used a Maestro Fuzz-Tone that was marketed by saying you could make your guitar sound like horns. He said he laid down the guitar scratch track for Satisfaction so they could be replaced with horns (like on the Martha and the Vandellas song Nowhere to Run that came out earlier that year.) He was apparently shocked and initially upset when he heard the song on the radio with his guitar scratch track instead of horns. Eventhough I would love to hear the song as he originally intended, it is an iconic guitar sound. Maybe because of that and because the Beatles also liked the Stones, they got their own Fuzz pedal. According to pedal historian and pedal builder Josh Scott (of the JHS Show) the Beatles used the Rush Pepbox and the inventor's daughter said that the one that John Lennon was photographed with in '66 on the recording of Revolver was a pedal her father built. There is more to that story so check it out if you can. Anyway, I am confident that it is that unique sound described here. I have a weakness for overdrive pedals so in my 44+ pounds of pedals I have LOTS of them including a Rubber Soul pedal. Bet you can guess why I bought that one. However, on a side note, Lucy Rush ( daughter of the inventor of the Pepbox) did an interview with JHS called "The Most Legendary Fuzz Pedal You Don't Know (Rush Pepbox)" She is still making them like her dad used to and I think you can help her out by buying one, because she's making them by hand, keeping the family business alive. Getting one IS on my short list of pedals that I'm looking to get next!
I just ordered the Rush Pepbox. There are 3 versions of the pedal. 1.0 is exactly like the one that was made in '65 & '66 with a permanent output cable and is powered by a 9v battery. I ordered the 1.5 which is only different in that there is an output jack instead of the wired cable, because use (which I do plan on playing it quite a bit) can eventually damage the cable and I can just plug another cable in. Then there is the version 2.0 that has the classic circuit, but in a more modern case with a power plug in it as well as in and out jacks on the top. I almost got this one, but I like the look of the 1.5 and I can always get one later if the 9v battery changing gets old. I also decided to buy from the actual website so his daughter who is now building the pedals after her father passed in 2018, gets the money that would normally go to Reverb, Sweetwater or eBay seller. I like supporting a small business. Also, I haven't seen one for less yet, but definitely for more. I can't wait to give it a try when I get it 👍
@@nonrepublicrat Actually it isn't. But you still struggle to IGNORE the fact that "Cry for a Shadow" was NOT written by George. It was IN FACT written by JOHN and George. And in view of the fact that John was writing songs before George was in the picture, he was probably teaching George how to write a song. LYING in defense of George says everything about you and nothing about anything else including George. AND it insults the intelligence of actual "Beatles" FANS.
"She Said She Said" is one of my all time favorite Beatles songs. At one point in my painting studio, I played it probably 25 times in a row. The song is mesmerizing. I must say, you have wonderful taste Fathom. Perfect analysis as usual.Am I complementing myself ? Ya, maybe a little bit.
P.s. I totally love how excited you are about this track as I too have always felt so electrified by this song. Like Incense and Pepperments from the same era, the into is a forever Wow.
I'm absolutely convinced that John didn't adhere to time and changed when he felt the lyrics said what he wanted to say at that moment. He does this with his solo stuff too. Once the musicians get it, the transitions are quite smooth and necessary. Yeah, you hear the song writing divide from John and Paul from this album on.
Leonard Bernstein spoke about "She Said She Said" in the 1967 documentary "Inside Pop." The whole documentary used to be available on UA-cam, but I can only find snippets now, and the sound is muted in places. Nonetheless I recommend watching the snippets that you can find. Bernstein was quite the Beatles fan-boy - for some of the same reasons that @fathommusicnz pointed to. His comment about the changing time signature: "Such oddities as this are not just tricks or show off devices ... in terms of pop music's "basic English," so to speak, they are real inventions."
Side 1 of Revolver is strongly in the running for the very best album side they ever made. No filler and the only Beatles album side that has 2 songs from George Harrison instead of his usual paltry allotment of 1. The rivals to me are Rubber Soul Side 1, Pepper Side 1 and Abbey Side 2. But pick just one track from this side? It isn't fair!! So I will say, She Said, Eleanor Rigby and I'm Only Sleeping. In no particular order. Please keep in mind that if you ask me again tomorrow, I am likely to give you a slightly different answer. Always happy to help and I hope that this makes it perfectly clear.
Wow! Very glad this one's getting some deserved attention. I love the grinding treacley guitar wash and sinewy lead bends, the barnstorming drums, punchy drone bass and angelic vocals, as well as the weird lyrics. It's a great companion to other proto shoegaze/noise numbers like The Who's Circle's, The Kinks' See My Friends, The Stones' Have You Seen Your Mother, or the Byrds' What's Happening? There's a kind of chaotic off centredness in the order and, yes the guitar tone all over the record is stellar. This is my go-to track off the album if I just want to hear one. I really like the bromance theory. Paul conspicuously says he doesn't remember what the row was about that made him leave the session. When you think on't, they were super confident, unprecendently successful, intense and still only in their twenties; it's a wonder they didn't split a lot earlier. Been really enjoying these takes on one of my favourite records. Thanks again. Oh, almost forgot, I consider this to be a direct ancestor to I Want You (She's So Heavy).
Well stated! I was going to include a mention of "I Want You (She's So Heavy)" when I was talking about tempo changes, but ended up raving about "Happiness" for so long that I decided to cut it.
On that September school day in 1969, I was handed a 4 way tab of Purple haze by "friends''. I was told, "Share it ". I swallowed it all. I knew what it was like to be dead. A new and changed kid walked home after the school bus ride.
What a great analysis you have made! I have listened to this song a thousand times, but you’re making me hear new things. Thank you! Greetings from Sweden.
Once again, you've knocked it out of the park! Everyone talks about Tomorrow Never Knows, but this song is criminally disregarded. It's long been one of my favorites (as if I could pick between Beatles songs.) I never realized George's role in this song. Makes me love him even more! Thank you!
I've been listening for The Beatles for 40 years and I thought I knew all bout their songs, but your insights on their songs have helped me to be enthusiastic again, almost like the first time I listened to them. Btw, I love She said she said because Ringo went full Keith Moon, playing fills while John was singing
Just discovered you. Great analysis. This is my favorite track off my favorite album. Period. I think that for people who only know their hits, this is a mind-blowing hidden gem. So good. Interested in looking at your other posts. I think your view of the John George bromance is spot on.
Wow, I never would have made the “Beautiful Stranger” connection but it’s so obvious now that you state it; love that song also. It’s great how you thread psychedelic music through to today (esp UMO), and how you unpack the vocal melodies - you’re right, it’s not just double tracking John, it’s two different voices in a new combination.
@@fathommusicnz exactly, sooo deep!! Can't believe this was the result of these little toms you showed us, there must be some Martin/Emerick magic involved.
WOW! Talk about going way beyond doing your homework! I thought I knew every creak of "my Beatles" but you also are able to put it all in context, with concrete references (other bands, before, during and after) amazing work! You are brilliant!
You have without question, the best, most in-depth, and most entertaining analysis of Beatles music I have ever seen. Very impressive. Please keep it coming.
I have to say, much like a preacher can take one Bible verse and break it down for an hour, you are dissecting and elaborating virtually every note out of this song and it is delightful. Music appreciation is so underrated. I'm 66 years old, been a Beatles fan all my life and I've never learned how to pick them apart like you have. I'm seeing them in a fresh new perspective and I love it. I appreciate your musical insights for all musicians and their songs, but especially the Beatles.
'She said, she said' was two of Johns songs 'She said, she said' and 'When I was a boy' stitched together, the putting them together was George's idea, which John eagerly took up after Ringo said it was a great idea and he could handle it. Paul's idea were rejected as changing too much what John was hearing in his head, especially against the melodic bass Paul intended, and the softer edge sound he suggested - George was more in tune this time, and helped bring the whole together. Paul had a fit of pique and said 'Well, fuck off then!' (according to Mal Evans), and went home around the corner to Cavendish Avenue. As a result, George played the bass, both John and George exchanged lead guitar parts. When the track was done, they all went around to Paul's and made it up.
You mention a very significant fact about how the song came to be. George was essentially the arranger who organized John's ideas into the recording we have on Revolver. But nobody is interested in this because it has nothing to do with praising Paul.
It’s not true that George played bass on this song. Looking at the multi-track tapes the band laid down the basic track as a four piece live. Drums, bass and 2 guitars. It would be impossible for George to play one of the guitars and the bass at the same time. Paul did get in an argument and left the studio for the other guys to finish the song, but not until after he had played the bass part.
The middle eight (?) uses a trick John used on a few of his songs - From me To You, I Want To Hold Your Hand, Yes It Is, etc.. You go to the five chord, switch it to a minor, and that leads to a key change, like in the key of D it would go - Am to D and then into the key of G. The trick itself is probably old as the hills, but The Beatles always minted everything fresh.
Also check out "So How Come No One" off their Live at the BBC collection, and "You Really Got A Hold On Me", those two are John and George singing together in the very early years before acid.
It's interesting to me how some people don't appreciate Ringo's contributions to the Beatles. A good friend and Beatles fan bought into it and said that he was a mediocre drummer that got into a band with two and a half geniuses - slighting George too as he only "really" showed his genius during the latter half of the Beatles. I remember Billy Preston being on the Monkees' TV show at the end of one of the shorter skits as filler. He explained how Ringo brought R&B backbeat into popular music, thus breaking with the normal 4 (on the floor) edit* time keeping drums used on most pop songs. It was enlightening to me to have a name put on something that I heard and recognized, but didn't know how to explain. Like syncopation, something that is strictly feel thing. Listen to things like John Taylor's amazing syncopated bass line in Duran Duran's Rio for a cool example. Backbeat just makes things... better. Anyway, it's not like Ringo isn't appreciated - there are tons of professional rock drummers that talk about how unique his style is (Ringo writes it off as it just being because he's left handed) the way he seems to effortlessly pick out the right drum patterns for each song (Ringo says it just sounds right to him) and many other qualities, too numerous to list - though I have to at least mention how ALL the Beatles were so tight that they still played the songs nearly flawless, despite the fact that they couldn't hear each other over the sound of the screaming crowds. That's one of the reasons that Ringo gives as to why didn't include many fills in their touring days. He said he just had to hold on tight to the beat so he wouldn't lose it. I just don't get the dismissivness. Of course I find it hard to figure out people that dismiss the Beatles for whatever reason. I'm always thinking, but have you REALLY listened to them? Really?
16:05 i started to listen to the Beatles like 10 years ago and this is one of my favourites and I DIDN'T KNEW GEORGE SINGS IN THIS SONG i thought it was Paul and i thought in the last part John voice was double!! You never stop to learn about them❤
I had two older sisters. I remember them talking about Good Vibrations in the summer of 1966, saying how it took them 'so long' (90 hours) to record. That seems tame now. Since they were more teeny boppers, I lost track of The Beatles for awhile. When I rediscovered them in the 1970's I was overwhelmed by how the Ed Sullivan Show mop tops became psychedelic in just three years, (really two). The song Tomorrow Never Knows lets us know that the cute fab four mop tops were gone.
Hi Fathom! Great choice. This is probably my favorite song on my favorite album. But it's the "Big R"; all killer, no filler, so "favorite" is relative :) As an aside, I've always thought of George as a very good songwriter, but really not on the level of John or Paul, and I use this song, Rain and Tomorrow Never Knows as examples: when George writes a song based on the influences of Indian music, it more-or-less sounds pretty close to the traditional sound, but with Western Pop music lyrics, melody and structure. But John takes those influences and synthesizes an entirely unique and new musical vocabulary.
What makes George's "Don't Bother me" is the other three playing without singing, so their foci aren't divided. The bass lines changes with every verse. "The Beach Boys" never came close to getting out of their predictable rut.
Of course you will never accept George being on the same level as John and Paul. It is just too trendy to say that he isn't. You know all the Paul fanboys will says lots of nasty things about you if you admit anybody is his equal. Lennon admitted that George wrote the best songs on Abbey Road.
@@nonrepublicrat At the beginning he followed John and Paul around like a puppy dog looking to belong. In fact, his song writing was quite good, but for the longest time it WAS NOT on the lev\el of John and Paul. But he did luck in by witnessing, for free, how to write songs. Still, what marred George's songs was the arrogant and heavy-handedly judgmental religiosity.
@@jnagarya519 "Cry For A Shadow" demonstrates how excellent George's writing ability was from the beginning when given half a chance. "At the beginning he followed John and Paul around like a puppy dog looking to belong". Oh really?? I'm going to assume that you were not there hanging out with them at the time. I am always amazed at all the comments here on youtube from people who claim to know things about the Beatles history that are obviously just made up story telling.
@@nonrepublicrat " "Cry For A Shadow" demonstrates how excellent George's writing ability was from the beginning when given half a chance." This is how you prove my point -- you're exactly like a Trumper: you omit facts of which you are either ignorant, or that you don't like, in order to -- in this instance -- distort the fact -- if it is that -- to exaggerate George's talents. When I was buying records during the early and mid-1960s in junior and high school, I read absolutely everything on the record labels. As example, I _always_ noted that immediately under the title of the recording there were parentheses. And within the parentheses were the names of the writers of the song. "Cry for a Shadow" was written by JOHN LENNON AND George Harrison. And if you've actually LISTENED to the song, AND if you actually had experience PLAYING guitar, then you'd recognize that the lead guitar riff is extremely simple, and is repeated over and over and over and over again throughout the song. So in order to IGNORANTLY or DISHONESTLY exaggerate George's "talent" you ENTIRELY ERASE John Lennon, who'd been playing guitar longer than George, and had been writing songs before Geroge was even in the picture, and before George was writing songs at all. Some THREE YEARS later, for their "With The Beatles" LP, they recorded "Devil In Her Heart," which they'd played countless times before live. George sings lead, and George play lead. Search here on youtube for that song title and watch the video in which the guitarists breaks the song down into the individual parts. Watch in particular the lead guitar part by George. Some THREE YEARS after recording "Cry for a Shadow," and despite playing "Devil In Her Heart," George makes a major mistake during the recording.
I'm an instant fan of yours and your channel. Lots of people doing, "reaction videos" of Beatles songs and other songs of the '60s, but you obviously really love the music and although many of your insights about this music are ones that people my age have had, they can only be had if one really does love the music and the fact that you obviously do brings me a lot of joy. I will spread word about your channel for sure. Thanks!
Interesting. This is also my favorite song on side B. But that has mainly to do with the fact that I connect it very strongly with my younger daughter Anne. I wish I could express my enthusiasm the way you do. Thank you for your great contributions. That's what someone who grew up with the Beatles tells you, so they're almost family.
George was already playing sitar before all this. He had seen a sitar in a music shop and it piqued his curiosity, so he picked it up and started learning to play. That's what led to him playing on "Norwegian Wood," which had been released months before the infamous party and was likely the reason Crosby approached him recommending Ravi Shankar. (It's hard to imagine that if George had any interest in Indian music, he hadn't already known about Shankar, though Crosby wouldn't have known that.)
That's correct - I cover this is in a bit more depth in the Love You To episode. IIRC, although he doesn't name-drop specifically, George also refers explicitly to a friend telling him about Ravi Shankar in Anthology.
That's one of my faves too. It's also amazing that Paul wasn't included. The other three guys were capable of making damn good music without him. Nevertheless, when he was involved, it only enhanced the music.
Excellent deep dive. It's a wonderful conjecture that "She Said She Said" is a purposeful George/John collaboration, not an accident...as per Paul and even 'official' sources. I'll take that! It's a great pairing, too, because George brings out the "John-ness" of the track which, on REVOLVER especially, is a bonus. The other great John song on the album imho is "And Your Bird Can Sing," which is also George-heavy.
Norwegian Wood and Love You To were both written and recorded before the event in question. If Shankar had input to Beatles songs sound wise, it would be Within You Without You, Bluejay way and The Inner Light. You may have been confused by the strange release days of Beatles material in the US.
My favorite track on side A of 'Revolver' would be, "Love You To', My favorite George Harrison Indian inspired song. It's beautiful yet heavy, and it rocks!!!
Love your analysis also love your smile and hand gestures! You are so into it! I’ve watched a lot of Beatles stuff and right now your posts are the best.
To me, the line in “A day in the life,” has a reference to the Kennedy assassination. “He blew his mind out in a car.” “All the people stood and stared.” “They’d seen his face before, nobody was really sure if he was from the House of Lords.”
@@Larrymh07 I’m not interpreting, I lived through both in real time. The verse resonated clearly to me to that event at that time. Where were you in 1967?
@@bradhansen2065 I was in 2nd & 3rd grade, as I was born in December. The JFK assassination had an emotional impact on our family, but I was barely four years old at the time. I remember not being able to grasp the idea of death at the time. I didn't want to think that President Kennedy wasn't OK. The assassination occurred on November 22, 1963.
@@Larrymh07 That resonates, I was 2 months from my 14th birthday, and 17 in 1967. It was the defining moment of my life. Before that I was liberal but supported our effort in Vietnam. I ended up dodging the draft, even after I was drafted. My politics are radical left and I live in Portugal, a basically socialist country., and happy to be here. Cheers.
@@bradhansen2065 I wish you health, happiness and a long life with those, brother. Things don't look good here. I may be joining you nearby on Sardinia.
A really insightful breakdown of one of my favorite Beatles songs. The story of the genesis of She Said She Said was fascinating. I can't imagine being under the influence of LSD and having someone constantly telling me they know what it's like to be dead. I'm glad Fonda did because his conversation inspired such a great song. It's cool having John and George work so closely on a song. I wish they could have done more together. It is difficult to pick one song from Side 1 of Revolver. I think it is the most coherent album of their storied career. If I was forced to pick one I would go with She Said She Said but I love all of the others as well. Side 2 is a much easier choice for me. Tomorrow Never Knows is on my Top 10 Beatles songs list. I hope that is the one you are going to cover next!
This is my favorite song on Revolver, one of my favorite Beatles tracks ever. It is quintessential modern guitar pop, it's influence can be heard in things from Cheap Trick to The Smiths to The Strokes and literally hundreds of other rock bands. The arrangement, instrumentation, lyrics, vocals and production still sound sleek and fresh fifty years later. Yes you can hear certain limitations in the technology, but just barely. It has everything that's essential, and nothing that isn't.
You are the first person/channel I have ever subscribed. You are smart, funny, charming and witty . . . And, I love the Beatles too. I can’t help it, like falling in love, suddenly someone is pulling your pants off and you just don’t care anymore. Whoops. J.
After heading over here from Abby's channel and viewing this video, I am happy to now be a subscriber. This song, man... what a masterpiece. That precious and rare John & George vocal is just phenomenal. And I recall using this song waaaaay back in my middle school days as a shining example of how hard the Beatles rocked (at a time - the mid-1990's - when a middle schooler listening to the Beatles was an aberration). Your breakdown of the song was excellent, and I look forward to more!
@@Kieop Lennon's vocal gives it the bluesy emotion entirely absent from the original. And yet John didn't like any of their covers. Oh, come on, John -- Buddy's "Words of Love"!
You are so right! I remember when this album came out. This record was a big transition for them. Their music began to reflect the counter culture ideals,eg psychedelia. Especially John's writing after this began having almost dream-like surreal qualities. Thank you so much for your wonderful insights.
Ever notice how Deep Purple's "Hush" refrain is a hat tip to the bridge between Paul and John's part in "A Day in the Life"? Calling it plagiarism might be a bit harsh. I guess this sort of thing happens inadvertantly from time to time.
What's your favourite track on Revolver's side A?
You expect me to chose one?!?!?!
(Probably "Here there and everywhere")
here there and y'know everywhere because i need it to lead a better life.
Probably Love You To
"SHE SAID SHE SAID"!!! ....excellent commentary.... I LOVE the "drone"... Fave song tied w/ S.Fields is "Rain"
i´m only sleeping
This woman! Delightfully bonkers and by far the best analyst/pundit on UA-cam. She is a wonder, and I am a fan. 🙂
I like the way "making me feel like I never been born" sounds almost like an upside-down version of "I know what it's like to be dead."
Ringo's opening fill was a MONSTER.
@@KRW628 Yellow Submarine.
One of my favourite George moments:
*George:* "The great thing about LSD is that you only need to take it once."
*Interviewer:* "You only took it once?"
*George:* "No, I took it many times, but I only needed it once."
In the Anthology George said he looked at it under a microscope and said that it looked like "bits of old rope" and didn't want to take it anymore.
I heard a story about another Indian adept who 'proved' that LSD was putting an illusion on top of another illusion.
My favourite ever Beatles song, my fave Lennon moment too. When he switches from drug addled adult confusion into a cathartic plea to return to childhood , when "everything was right"...that gets me every time.The switch from 4/4 to 3/4 time sounds so instinctive, Ringo at his very best too.
Also 2/4 and 6/8
Easily one of Ringo's best performances.
YES. Ringo’s drumming.
I’m confused. I don’t see why you don’t have millions of views! YOU are extremely intelligent and oh so precious! Thank you!
You are very special... I'm 76 and you with this episode had me tripping.Thank you
67 here, and I'm geeking out over this vid. She's amazing!
72 here. Yup, she's made an incredibly intense analysis video.
Her geekery is infectious! The Beatles got me into music when I was 14 in 1994! Still fascinated 30 years later.
This is my favorite Beatles song on Revolver. Probably my favorite top 3 Beatles song. Sounds like a day would look like through orange colored glasses.
Interesting, this song has always looked more pink to me!
'Taxman' and 'She Said She Said' are my favorite tracks from side-A.
Two great songs. No fantastic songs
Best breakdowns of Beatle music I've heard so far. I've been listening to those dudes since 1964, maybe 63 but NOBODY goes to such MEANINGFUL detail.
The snarling guitar tones are courtesy of the super-rare VOX UL730. Used on Revolver and Sgt Pepper, and then never heard of again in Beatleland.
The sound we are loving is more than just that. Back then, the distorted sound was just overdriven amps turned up loud. Keith Richards used a Maestro Fuzz-Tone that was marketed by saying you could make your guitar sound like horns. He said he laid down the guitar scratch track for Satisfaction so they could be replaced with horns (like on the Martha and the Vandellas song Nowhere to Run that came out earlier that year.) He was apparently shocked and initially upset when he heard the song on the radio with his guitar scratch track instead of horns. Eventhough I would love to hear the song as he originally intended, it is an iconic guitar sound. Maybe because of that and because the Beatles also liked the Stones, they got their own Fuzz pedal. According to pedal historian and pedal builder Josh Scott (of the JHS Show) the Beatles used the Rush Pepbox and the inventor's daughter said that the one that John Lennon was photographed with in '66 on the recording of Revolver was a pedal her father built. There is more to that story so check it out if you can. Anyway, I am confident that it is that unique sound described here. I have a weakness for overdrive pedals so in my 44+ pounds of pedals I have LOTS of them including a Rubber Soul pedal. Bet you can guess why I bought that one. However, on a side note, Lucy Rush ( daughter of the inventor of the Pepbox) did an interview with JHS called "The Most Legendary Fuzz Pedal You Don't Know (Rush Pepbox)" She is still making them like her dad used to and I think you can help her out by buying one, because she's making them by hand, keeping the family business alive. Getting one IS on my short list of pedals that I'm looking to get next!
I just ordered the Rush Pepbox. There are 3 versions of the pedal. 1.0 is exactly like the one that was made in '65 & '66 with a permanent output cable and is powered by a 9v battery. I ordered the 1.5 which is only different in that there is an output jack instead of the wired cable, because use (which I do plan on playing it quite a bit) can eventually damage the cable and I can just plug another cable in. Then there is the version 2.0 that has the classic circuit, but in a more modern case with a power plug in it as well as in and out jacks on the top. I almost got this one, but I like the look of the 1.5 and I can always get one later if the 9v battery changing gets old.
I also decided to buy from the actual website so his daughter who is now building the pedals after her father passed in 2018, gets the money that would normally go to Reverb, Sweetwater or eBay seller. I like supporting a small business. Also, I haven't seen one for less yet, but definitely for more. I can't wait to give it a try when I get it 👍
The very, very early instrumental Beatles song Cry For a Shadow is credited to John and George.
Cry For A Shadow is a much better tune than many of their songs on With the Beatles.
@@nonrepublicrat Actually it isn't. But you still struggle to IGNORE the fact that "Cry for a Shadow" was NOT written by George. It was IN FACT written by JOHN and George. And in view of the fact that John was writing songs before George was in the picture, he was probably teaching George how to write a song.
LYING in defense of George says everything about you and nothing about anything else including George. AND it insults the intelligence of actual "Beatles" FANS.
"She Said She Said" is one of my all time favorite Beatles songs. At one point in my painting studio, I played it probably 25 times in a row. The song is mesmerizing. I must say, you have wonderful taste Fathom. Perfect analysis as usual.Am I complementing myself ? Ya, maybe a little bit.
You're extremely knowledgable and talented. Thank you for the great insights.
P.s. I totally love how excited you are about this track as I too have always felt so electrified by this song. Like Incense and Pepperments from the same era, the into is a forever Wow.
This is the guitar tone i've been chasing forever, "She said She said" is one of Johns' greatest tunes, the change in meter/time is phenomenal!.
Rains original speed sound is not even that fast, just so full of energy!
The "original speed" version on the Revolver box set is actually too fast. Slow it down a semitone to A.
Like the salient bits of a Ken Burns docu-series, with 5 hours added back onto your life. Bravo.
😆 thank you!
I'm absolutely convinced that John didn't adhere to time and changed when he felt the lyrics said what he wanted to say at that moment. He does this with his solo stuff too. Once the musicians get it, the transitions are quite smooth and necessary. Yeah, you hear the song writing divide from John and Paul from this album on.
Love your take on this piece. But oh how it sounded when it was brand new. Life changing and world changing really.
Leonard Bernstein spoke about "She Said She Said" in the 1967 documentary "Inside Pop." The whole documentary used to be available on UA-cam, but I can only find snippets now, and the sound is muted in places. Nonetheless I recommend watching the snippets that you can find. Bernstein was quite the Beatles fan-boy - for some of the same reasons that @fathommusicnz pointed to.
His comment about the changing time signature: "Such oddities as this are not just tricks or show off devices ... in terms of pop music's "basic English," so to speak, they are real inventions."
Great analysis into one of my fav songs. A really good and fun video. Thanks
I always thought that was John double-tracked. But you’re right, it is John and George. Boom! Exceedingly well put together video in every respect.
What an excellent song...
I love all the extra details pulled in and demonstrated by your collection of special correspondents. LOL.
Definitely on of Ringo's coolest drum performances ever.
Side 1 of Revolver is strongly in the running for the very best album side they ever made. No filler and the only Beatles album side that has 2 songs from George Harrison instead of his usual paltry allotment of 1. The rivals to me are Rubber Soul Side 1, Pepper Side 1 and Abbey Side 2. But pick just one track from this side? It isn't fair!! So I will say, She Said, Eleanor Rigby and I'm Only Sleeping. In no particular order. Please keep in mind that if you ask me again tomorrow, I am likely to give you a slightly different answer. Always happy to help and I hope that this makes it perfectly clear.
Wow! Very glad this one's getting some deserved attention. I love the grinding treacley guitar wash and sinewy lead bends, the barnstorming drums, punchy drone bass and angelic vocals, as well as the weird lyrics. It's a great companion to other proto shoegaze/noise numbers like The Who's Circle's, The Kinks' See My Friends, The Stones' Have You Seen Your Mother, or the Byrds' What's Happening? There's a kind of chaotic off centredness in the order and, yes the guitar tone all over the record is stellar. This is my go-to track off the album if I just want to hear one. I really like the bromance theory. Paul conspicuously says he doesn't remember what the row was about that made him leave the session. When you think on't, they were super confident, unprecendently successful, intense and still only in their twenties; it's a wonder they didn't split a lot earlier. Been really enjoying these takes on one of my favourite records. Thanks again. Oh, almost forgot, I consider this to be a direct ancestor to I Want You (She's So Heavy).
Well stated! I was going to include a mention of "I Want You (She's So Heavy)" when I was talking about tempo changes, but ended up raving about "Happiness" for so long that I decided to cut it.
I didn’t know about Rain being slowed down…..perfect idea for psychedelic music!! Great job!!
You got it right, you know yer shit.
What a fantastic analysis with so much background info! And I thought I new most of this.... You are a lovely person!
On that September school day in 1969, I was handed a 4 way tab of Purple haze by "friends''. I was told, "Share it ". I swallowed it all. I knew what it was like to be dead. A new and changed kid walked home after the school bus ride.
What a great analysis you have made! I have listened to this song a thousand times, but you’re making me hear new things. Thank you! Greetings from Sweden.
Once again, you've knocked it out of the park! Everyone talks about Tomorrow Never Knows, but this song is criminally disregarded. It's long been one of my favorites (as if I could pick between Beatles songs.) I never realized George's role in this song. Makes me love him even more! Thank you!
A great presentation on a very underrated and examined song. Thanks for posting!
I've been listening for The Beatles for 40 years and I thought I knew all bout their songs, but your insights on their songs have helped me to be enthusiastic again, almost like the first time I listened to them.
Btw, I love She said she said because Ringo went full Keith Moon, playing fills while John was singing
Just discovered you. Great analysis. This is my favorite track off my favorite album. Period. I think that for people who only know their hits, this is a mind-blowing hidden gem. So good. Interested in looking at your other posts. I think your view of the John George bromance is spot on.
Wow, I never would have made the “Beautiful Stranger” connection but it’s so obvious now that you state it; love that song also. It’s great how you thread psychedelic music through to today (esp UMO), and how you unpack the vocal melodies - you’re right, it’s not just double tracking John, it’s two different voices in a new combination.
Excellent video! Your analysis is so compelling!
You are so observant of all the nuances and details inthis song you are spot on and i love your enthusiasm!
What a SONG!!!!🙏🙏🙏
I second what spencer said and just let me add lovely and that includes her sister Bravo!
On Ringo's fills, my favorite is a very simple one but so powerful, that blew my mind as a child: With a little help from my friends!
Is it the one after the first chorus?
@@fathommusicnz exactly, sooo deep!! Can't believe this was the result of these little toms you showed us, there must be some Martin/Emerick magic involved.
WOW! Talk about going way beyond doing your homework! I thought I knew every creak of "my Beatles" but you also are able to put it all in context, with concrete references (other bands, before, during and after) amazing work! You are brilliant!
You have without question, the best, most in-depth, and most entertaining analysis of Beatles music I have ever seen. Very impressive. Please keep it coming.
I have to say, much like a preacher can take one Bible verse and break it down for an hour, you are dissecting and elaborating virtually every note out of this song and it is delightful. Music appreciation is so underrated. I'm 66 years old, been a Beatles fan all my life and I've never learned how to pick them apart like you have. I'm seeing them in a fresh new perspective and I love it. I appreciate your musical insights for all musicians and their songs, but especially the Beatles.
WOW! Thank you. Very educational.
'She said, she said' was two of Johns songs 'She said, she said' and 'When I was a boy' stitched together, the putting them together was George's idea, which John eagerly took up after Ringo said it was a great idea and he could handle it. Paul's idea were rejected as changing too much what John was hearing in his head, especially against the melodic bass Paul intended, and the softer edge sound he suggested - George was more in tune this time, and helped bring the whole together. Paul had a fit of pique and said 'Well, fuck off then!' (according to Mal Evans), and went home around the corner to Cavendish Avenue. As a result, George played the bass, both John and George exchanged lead guitar parts. When the track was done, they all went around to Paul's and made it up.
You mention a very significant fact about how the song came to be. George was essentially the arranger who organized John's ideas into the recording we have on Revolver. But nobody is interested in this because it has nothing to do with praising Paul.
It’s not true that George played bass on this song. Looking at the multi-track tapes the band laid down the basic track as a four piece live. Drums, bass and 2 guitars. It would be impossible for George to play one of the guitars and the bass at the same time. Paul did get in an argument and left the studio for the other guys to finish the song, but not until after he had played the bass part.
Truly awesome video. Thank you!
Peak Beatles!
The middle eight (?) uses a trick John used on a few of his songs - From me To You, I Want To Hold Your Hand, Yes It Is, etc.. You go to the five chord, switch it to a minor, and that leads to a key change, like in the key of D it would go - Am to D and then into the key of G. The trick itself is probably old as the hills, but The Beatles always minted everything fresh.
I love (and I share) your love for the Beatles
I've got to shout out Ringo here too, his fills are incredible this whole track.
Also check out "So How Come No One" off their Live at the BBC collection, and "You Really Got A Hold On Me", those two are John and George singing together in the very early years before acid.
Thank you Nancy, i thought i know everything about every beatles songs but how i was wrong! What a research! Love it so much! Thank you very much!
Bravo. An engrossing 360-degree exploration of an absolute classic. It is the best song on Side A.
It's interesting to me how some people don't appreciate Ringo's contributions to the Beatles. A good friend and Beatles fan bought into it and said that he was a mediocre drummer that got into a band with two and a half geniuses - slighting George too as he only "really" showed his genius during the latter half of the Beatles. I remember Billy Preston being on the Monkees' TV show at the end of one of the shorter skits as filler. He explained how Ringo brought R&B backbeat into popular music, thus breaking with the normal 4 (on the floor) edit* time keeping drums used on most pop songs. It was enlightening to me to have a name put on something that I heard and recognized, but didn't know how to explain. Like syncopation, something that is strictly feel thing. Listen to things like John Taylor's amazing syncopated bass line in Duran Duran's Rio for a cool example. Backbeat just makes things... better.
Anyway, it's not like Ringo isn't appreciated - there are tons of professional rock drummers that talk about how unique his style is (Ringo writes it off as it just being because he's left handed) the way he seems to effortlessly pick out the right drum patterns for each song (Ringo says it just sounds right to him) and many other qualities, too numerous to list - though I have to at least mention how ALL the Beatles were so tight that they still played the songs nearly flawless, despite the fact that they couldn't hear each other over the sound of the screaming crowds. That's one of the reasons that Ringo gives as to why didn't include many fills in their touring days. He said he just had to hold on tight to the beat so he wouldn't lose it. I just don't get the dismissivness. Of course I find it hard to figure out people that dismiss the Beatles for whatever reason. I'm always thinking, but have you REALLY listened to them? Really?
Very interesting. And She Said...has always. been one of my favorites.
My favourite song as well.
16:05 i started to listen to the Beatles like 10 years ago and this is one of my favourites and I DIDN'T KNEW GEORGE SINGS IN THIS SONG i thought it was Paul and i thought in the last part John voice was double!! You never stop to learn about them❤
She said She Said and I’m only sleeping. Cheers
Hooray for lots of chords. :D
I had two older sisters. I remember them talking about Good Vibrations in the summer of 1966, saying how it took them 'so long' (90 hours) to record. That seems tame now.
Since they were more teeny boppers, I lost track of The Beatles for awhile. When I rediscovered them in the 1970's I was overwhelmed by how the Ed Sullivan Show mop tops became psychedelic in just three years, (really two). The song Tomorrow Never Knows lets us know that the cute fab four mop tops were gone.
Hi Fathom! Great choice. This is probably my favorite song on my favorite album. But it's the "Big R"; all killer, no filler, so "favorite" is relative :) As an aside, I've always thought of George as a very good songwriter, but really not on the level of John or Paul, and I use this song, Rain and Tomorrow Never Knows as examples: when George writes a song based on the influences of Indian music, it more-or-less sounds pretty close to the traditional sound, but with Western Pop music lyrics, melody and structure. But John takes those influences and synthesizes an entirely unique and new musical vocabulary.
What makes George's "Don't Bother me" is the other three playing without singing, so their foci aren't divided. The bass lines changes with every verse. "The Beach Boys" never came close to getting out of their predictable rut.
Of course you will never accept George being on the same level as John and Paul. It is just too trendy to say that he isn't. You know all the Paul fanboys will says lots of nasty things about you if you admit anybody is his equal. Lennon admitted that George wrote the best songs on Abbey Road.
@@nonrepublicrat At the beginning he followed John and Paul around like a puppy dog looking to belong.
In fact, his song writing was quite good, but for the longest time it WAS NOT on the lev\el of John and Paul.
But he did luck in by witnessing, for free, how to write songs.
Still, what marred George's songs was the arrogant and heavy-handedly judgmental religiosity.
@@jnagarya519 "Cry For A Shadow" demonstrates how excellent George's writing ability was from the beginning when given half a chance.
"At the beginning he followed John and Paul around like a puppy dog looking to belong". Oh really?? I'm going to assume that you were not there hanging out with them at the time. I am always amazed at all the comments here on youtube from people who claim to know things about the Beatles history that are obviously just made up story telling.
@@nonrepublicrat " "Cry For A Shadow" demonstrates how excellent George's writing ability was from the beginning when given half a chance."
This is how you prove my point -- you're exactly like a Trumper: you omit facts of which you are either ignorant, or that you don't like, in order to -- in this instance -- distort the fact -- if it is that -- to exaggerate George's talents.
When I was buying records during the early and mid-1960s in junior and high school, I read absolutely everything on the record labels. As example, I _always_ noted that immediately under the title of the recording there were parentheses. And within the parentheses were the names of the writers of the song.
"Cry for a Shadow" was written by JOHN LENNON AND George Harrison. And if you've actually LISTENED to the song, AND if you actually had experience PLAYING guitar, then you'd recognize that the lead guitar riff is extremely simple, and is repeated over and over and over and over again throughout the song.
So in order to IGNORANTLY or DISHONESTLY exaggerate George's "talent" you ENTIRELY ERASE John Lennon, who'd been playing guitar longer than George, and had been writing songs before Geroge was even in the picture, and before George was writing songs at all.
Some THREE YEARS later, for their "With The Beatles" LP, they recorded "Devil In Her Heart," which they'd played countless times before live. George sings lead, and George play lead.
Search here on youtube for that song title and watch the video in which the guitarists breaks the song down into the individual parts. Watch in particular the lead guitar part by George. Some THREE YEARS after recording "Cry for a Shadow," and despite playing "Devil In Her Heart," George makes a major mistake during the recording.
I'm an instant fan of yours and your channel. Lots of people doing, "reaction videos" of Beatles songs and other songs of the '60s, but you obviously really love the music and although many of your insights about this music are ones that people my age have had, they can only be had if one really does love the music and the fact that you obviously do brings me a lot of joy. I will spread word about your channel for sure. Thanks!
Nice guitar Nancy! ...Richard
Wow. 12.08...what a revelation!
good guitar demonstration.
Interesting. This is also my favorite song on side B. But that has mainly to do with the fact that I connect it very strongly with my younger daughter Anne.
I wish I could express my enthusiasm the way you do. Thank you for your great contributions. That's what someone who grew up with the Beatles tells you, so they're almost family.
Great energy & great insights. I have a new appreciation of a singular sonic experience. I appreciate the love goes into this video.
George was already playing sitar before all this. He had seen a sitar in a music shop and it piqued his curiosity, so he picked it up and started learning to play. That's what led to him playing on "Norwegian Wood," which had been released months before the infamous party and was likely the reason Crosby approached him recommending Ravi Shankar. (It's hard to imagine that if George had any interest in Indian music, he hadn't already known about Shankar, though Crosby wouldn't have known that.)
That's correct - I cover this is in a bit more depth in the Love You To episode. IIRC, although he doesn't name-drop specifically, George also refers explicitly to a friend telling him about Ravi Shankar in Anthology.
Crosby was one of biggest of bloated-ego jerks.
And Shankar had released numerous LPs in earlier years.
Excellent! The best reaction I have seen.
That's one of my faves too. It's also amazing that Paul wasn't included. The other three guys were capable of making damn good music without him. Nevertheless, when he was involved, it only enhanced the music.
Excellent deep dive. It's a wonderful conjecture that "She Said She Said" is a purposeful George/John collaboration, not an accident...as per Paul and even 'official' sources. I'll take that! It's a great pairing, too, because George brings out the "John-ness" of the track which, on REVOLVER especially, is a bonus. The other great John song on the album imho is "And Your Bird Can Sing," which is also George-heavy.
"I'm Only Sleeping" is a great John song. Perhaps, though, you don't realize that because it puts you to sleep. :]
Favorite songs side 1: Elenor Rigby, 2. Taxman, 3. She Said
Great analysis and love your enthusiasm and presentation too.
Norwegian Wood and Love You To were both written and recorded before the event in question. If Shankar had input to Beatles songs sound wise, it would be Within You Without You, Bluejay way and The Inner Light. You may have been confused by the strange release days of Beatles material in the US.
❤ her videos!
My favorite track on side A of 'Revolver' would be, "Love You To', My favorite George Harrison Indian inspired song. It's beautiful yet heavy, and it rocks!!!
Love your analysis also love your smile and hand gestures! You are so into it! I’ve watched a lot of Beatles stuff and right now your posts are the best.
Awesome video! You nailed it 1000%!!
Just give it time. You will get to 100 000 subscribers son.
Goodness, you are musically talented...damn...picking out those harmonies...
To me, the line in “A day in the life,” has a reference to the Kennedy assassination. “He blew his mind out in a car.” “All the people stood and stared.” “They’d seen his face before, nobody was really sure if he was from the House of Lords.”
That's the beauty of music. One can interpret their meaning in any song. I do that as well.
@@Larrymh07 I’m not interpreting, I lived through both in real time. The verse resonated clearly to me to that event at that time. Where were you in 1967?
@@bradhansen2065 I was in 2nd & 3rd grade, as I was born in December. The JFK assassination had an emotional impact on our family, but I was barely four years old at the time. I remember not being able to grasp the idea of death at the time. I didn't want to think that President Kennedy wasn't OK.
The assassination occurred on November 22, 1963.
@@Larrymh07 That resonates, I was 2 months from my 14th birthday, and 17 in 1967. It was the defining moment of my life. Before that I was liberal but supported our effort in Vietnam. I ended up dodging the draft, even after I was drafted. My politics are radical left and I live in Portugal, a basically socialist country., and happy to be here. Cheers.
@@bradhansen2065 I wish you health, happiness and a long life with those, brother. Things don't look good here. I may be joining you nearby on Sardinia.
A really insightful breakdown of one of my favorite Beatles songs. The story of the genesis of She Said She Said was fascinating. I can't imagine being under the influence of LSD and having someone constantly telling me they know what it's like to be dead. I'm glad Fonda did because his conversation inspired such a great song. It's cool having John and George work so closely on a song. I wish they could have done more together. It is difficult to pick one song from Side 1 of Revolver. I think it is the most coherent album of their storied career. If I was forced to pick one I would go with She Said She Said but I love all of the others as well. Side 2 is a much easier choice for me. Tomorrow Never Knows is on my Top 10 Beatles songs list. I hope that is the one you are going to cover next!
This is my favorite song on Revolver, one of my favorite Beatles tracks ever. It is quintessential modern guitar pop, it's influence can be heard in things from Cheap Trick to The Smiths to The Strokes and literally hundreds of other rock bands. The arrangement, instrumentation, lyrics, vocals and production still sound sleek and fresh fifty years later. Yes you can hear certain limitations in the technology, but just barely. It has everything that's essential, and nothing that isn't.
Don't forget "Think for Yourself". The distortion is on the bass, but it makes for a pretty heavy sound.
Impressive analysis. ❤
You are the first person/channel I have ever subscribed. You are smart, funny, charming and witty . . . And, I love the Beatles too. I can’t help it, like falling in love, suddenly someone is pulling your pants off and you just don’t care anymore. Whoops. J.
My all-time favorite Beatle song!!!
"AAAAWWW, so good!" Nancy!!!
I look fwd to your 2, 20, & 200,000 subb eras...
You are so good- I’ve read so much about the Fabs but you really parse out the idiosyncrasies of them. Great work!!
After heading over here from Abby's channel and viewing this video, I am happy to now be a subscriber. This song, man... what a masterpiece. That precious and rare John & George vocal is just phenomenal. And I recall using this song waaaaay back in my middle school days as a shining example of how hard the Beatles rocked (at a time - the mid-1990's - when a middle schooler listening to the Beatles was an aberration). Your breakdown of the song was excellent, and I look forward to more!
Precious and rare. Another example is the Smokey Robinson cover You Really Got a Hold on Me.
@@Kieop Lennon's vocal gives it the bluesy emotion entirely absent from the original. And yet John didn't like any of their covers.
Oh, come on, John -- Buddy's "Words of Love"!
You are so right! I remember when this album came out. This record was a big transition for them. Their music began to reflect the counter culture ideals,eg psychedelia. Especially John's writing after this began having almost dream-like surreal qualities.
Thank you so much for your wonderful insights.
Ever notice how Deep Purple's "Hush" refrain is a hat tip to the bridge between Paul and John's part in "A Day in the Life"? Calling it plagiarism might be a bit harsh. I guess this sort of thing happens inadvertantly from time to time.
Ticket To Ride has drone too and it is from way back on Help!
Thanks!
Absolute favorite on side a