Home  ›  The Beatles Calling Me Back Again

The Beatles Calling Me Back Again

Written By Tuesday, May 10, 2022 Add Comment Edit

1965 vocal by the Beatles

"I've Just Seen a Face"
I've Just Seen a Face sheet music.jpg

Cover of the Northern Songs sheet music
Song by the Beatles
from the anthology Aid!
Released six Baronial 1965 (1965-08-06)
Recorded 14 June 1965 (1965-06-14)
Studio EMI, London
Genre Folk rock, country and western, pop rock
Length 2:02
Label Parlophone
Songwriter(s) Lennon–McCartney
Producer(s) George Martin

"I've Simply Seen a Face" is a song by the English rock band the Beatles. It was released in August 1965 on their album Aid!, except in North America, where information technology appeared as the opening track on the December 1965 release Rubber Soul. Written and sung by Paul McCartney, the song is credited to the Lennon–McCartney partnership. The song is a cheerful beloved ballad, its lyrics discussing a love at beginning sight while conveying an adrenaline rush the vocalist experiences that makes him both enthusiastic and inarticulate.

Originally titled "Auntie Gin's Theme", the song began equally an uptempo country and western-mode piano piece. McCartney and then added lyrics that may have been inspired by his relationship with actress Jane Asher. The Beatles completed the track in June 1965 at EMI Studios in London on the same 24-hour interval they recorded "I'm Downwardly" and "Yesterday". The recording fuses state and western with several other musical genres, including folk rock, folk, popular rock and bluegrass. The outset Beatles rails without a bass guitar, information technology features three acoustic guitars, a brushed snare and maracas.

Several reviewers have described "I've Just Seen a Face" in favourable terms, highlighting its rhyming lyricism and McCartney'southward vocal delivery, and described it as an overlooked song. Its replacement of "Drive My Auto" on the North American version of Prophylactic Soul furthered the album'due south identity as a folk rock work, although some commentators view this modify as masking the band's late-1965 creative developments. It was amongst the first Beatles songs McCartney played live with his group Wings, and versions from their 1975–76 world tour appear on the 1976 alive album Wings over America and in the 1980 concert film Rockshow. The vocal has been covered by several bluegrass bands, including the Charles River Valley Boys, the Dillards and the New Grass Revival with Leon Russell. George Martin, Holly Cole and Brandi Carlile are amidst the other artists who accept covered it.

Background and inspiration [edit]

The outside of the 57 Wimpole Street apartment.

Although the song is credited to the Lennon–McCartney songwriting partnership,[1] John Lennon and Paul McCartney each identified "I've Merely Seen a Face" equally having been written entirely by McCartney.[2] McCartney recalled writing it in the basement music room at 57 Wimpole Street in fundamental London.[iii] The house was the family habitation of his girlfriend, actress Jane Asher, where McCartney lodged from Nov 1963.[four] Working on a piano, he composed the melody first, beginning information technology as an uptempo land and western-inflected piece.[5] After he played it on the piano at a family unit gathering,[6] his aunt Gin enjoyed the tune, prompting him to give it the working title "Auntie Gin's Theme".[7] [notation 1] He added fast-paced lyrics which may have been inspired by his relationship with Asher, turning the vocal into a cheerful love ballad.[xi]

McCartney completed "I've But Seen a Face" too late for inclusion in the Beatles' 2nd characteristic moving-picture show, Aid!,[1] most of the songs for which were recorded in Feb 1965.[12] He presented information technology to the band in mid-June,[13] soon later returning from holidaying in Portugal with Asher.[14] During the holiday, he also wrote the lyrics to his ballad "Yesterday".[15] Author Ian MacDonald comments that, since writing "Can't Buy Me Honey" in early on 1964, McCartney had fallen behind Lennon in output, Lennon existence the primary writer of the Beatles' next four singles.[1] [notation 2] Nearly of the sessions for the ring's Help! anthology had too focused on Lennon compositions.[19] In MacDonald's view, given McCartney'southward absorption in his human relationship with Asher and the contrasting depth and originality of Lennon'south writing since 1964, McCartney was motivated by the need to use a renewed focus in his writing on Assistance!, to regain his equal status in the songwriting partnership.[ane]

Limerick [edit]

Music [edit]

"I've But Seen a Face" is in the key of A major and is in ii/two (cut time).[20] [21] [annotation three] The song begins with a ten measure out intro.[xx] Split into three phrases,[20] the intro uses triplets that are slower than the remainder of the song to create a sense of dispatch,[23] reinforced by a shortened third phrase which quickens the kickoff verse's arrival.[20] McCartney used the effect of slow triplets again later that year in "Nosotros Can Work It Out".[20] The vocal's first chord is F-sharp small, slightly abroad from the home cardinal, and is similar to "Assist!" in leaving its harmonic grounding ambiguous until the end of the intro.[xx] Following the intro, the vocal speeds up in tempo to what music scholar Terence J. O'Grady calls "an undanceable speed".[24]

The song uses four chords total; the twelve-measure verses utilise the common pop chord progression I–vi–IV–V, while the eight-measure refrains utilize the blues progression Five–IV–I.[twenty] The latter progression simulates descent (farther suggested by the lyrics: "[Five] falling, aye I am [Iv] falling, and she keeps [I] calling..."),[25] and the inclusion of a melodic minor third on the first syllable of "calling" gives the refrain section a blues sound.[20] Structurally, the vocal includes three different verses, an instrumental break and a reprise of the starting time verse. After the second verse, each department is separated from the other by a chorus.[26] Similar other Beatles songs, a triple repeat of the chorus signals the end of the song, though Pollack writes "[t]he repeat here of an entire eight bar chorus is rather unprecedented." The outro finishes past repeating a phrase from the stop of the intro to provide a feeling of symmetry.[20]

Genre [edit]

By this point [the Beatles] had been freely borrowing and blending diverse stylistic elements of pop, stone, folk, blues, and yet other styles for quite a while. Nonetheless, this otherwise sweetly elementary "folk stone" song actually pushes the envelope in terms of the sheer number of diverse styles juggled simultaneously as well as the effortlessly seamless manner in which they are fused.[twenty]

– Musicologist Alan W. Pollack on "I've Just Seen a Face", 1993

The limerick fuses several unlike styles and is difficult to categorise.[20] Musicologist Alan W. Pollack describes the song on the whole as folk rock,[20] every bit does MacDonald,[27] though Pollack characterises parts of the song differently, describing the get-go two verses as "pure pop-rock", the changes between verse and refrain in the 2nd half as "folksy" and the triplet refrain in the outro as like an "R&B rave-up".[20] Musicologist Walter Everett describes information technology as both folk and a "bluegrass-tinged ballad",[28] suggesting it anticipates the "simple folk style" of McCartney'southward 1968 limerick "Mother Nature's Son".[29] O'Grady similarly highlights the song's folk-styled guitar contribution with underlying hints of bluegrass, comparison information technology to another of McCartney's 1965 compositions, "I'm Looking Through You lot".[30] He further writes that both songs "[demonstrate] a divide personality" through joining pop-rock with either folk or state-western.[31]

Author Chris Ingham writes "I've Merely Seen a Face" indicates the Beatles' continued interest in country music,[32] and music critic Richie Unterberger describes the "near pure country" vocal as a continuation on the band's state-influenced work from the previous year, such every bit their anthology Beatles for Sale and the song "I'll Weep Instead" from A Hard Day'due south Night.[33] At the same fourth dimension, Unterberger counts the song every bit one of several Help! tracks that display the influence of folk rock on the Beatles.[34] By dissimilarity, O'Grady writes that the song's country-influenced vocals are sung over an instrumental accompaniment "devoid of any specific rock and roll gesture", and concludes it is the Beatles' "beginning authentically country-western (every bit opposed to country-rock or rockabilly) vocal".[24]

Lyrics [edit]

Written in a conversational fashion,[35] the lyrics of "I've Just Seen a Face" describe a love at first sight.[36] Sung without pauses for breath or punctuation, the vocal conveys an adrenaline rush the singer experiences[37] that makes him both enthusiastic and inarticulate.[twenty] Writer Jonathan Gould groups "I've Merely Seen a Face" with several of McCartney's 1965 compositions that deal with face up-to-face encounters, including "Tell Me What You See", "You lot Won't Encounter Me", "We Can Piece of work It Out" and "I'm Looking Through You".[38] Musicologist Naphtali Wagner instead categorises it with later McCartney compositions that "explore ambiguous, elusive and altered states of consciousness", such as "Got to Get You into My Life" from Revolver (1966) and "Fixing a Pigsty" from Sgt. Pepper'southward Lonely Hearts Guild Band (1967).[39]

The lyrics are synthetic using an irregular rhyme scheme,[40] using both run-on verses and alliterations.[23] McCartney after described them as insistent in quality, "dragging yous forward... pulling you lot to the next line".[41] Rhyming every two beats,[22] the lyrics utilize a series of cascading rhymes ("I have never known/The like of this/I've been lone/And I have missed").[35] [annotation 4] Appoggiaturas are used throughout for rhymes to line-upwardly, such equally "confront" and "place" in the song'south intro.[20] The ends of stanzas are wordless,[23] using vocal cadences like "lie-dice-die-dat-'n'-die"[22] that echo the descent of the song's instrumental intro (calibration degrees scale degree 4 – scale degree 3 – scale degree 2 – scale degree 1 – scale degree 7 – scale degree 1 ).[20] [22]

Production [edit]

Recording [edit]

Having completed the filming of Assist! on 11 May 1965,[45] the Beatles recorded "I've Just Seen a Face" during the get-go of 3 sessions defended to filling out the anthology with songs non in the picture show.[46] The session took identify in EMI's Studio Two (now office of Abbey Road Studios) on 14 June, George Martin producing with assistance from balance engineer Norman Smith.[47] During the same afternoon session, the ring recorded McCartney'due south new rock and whorl song "I'm Down" before breaking for dinner and returning to brainstorm piece of work on "Yesterday".[48] The three songs of divergent styles reflected the range of McCartney's compositional abilities;[49] [50] writer and musician John Kruth calls it "McCartney's famous marathon session".[6] [notation five]

Taped on 4-runway recording equipment,[6] the song consists of ii backing tracks.[22] On the kickoff, George Harrison plays Lennon'southward Framus Hootenanny acoustic twelve-cord guitar, McCartney his Epiphone Texan nylon-string guitar and Ringo Starr a snare drum with brushes.[53] The 2nd includes a lead vocal from McCartney and Lennon playing rhythm guitar with his Gibson J-160E acoustic.[54]

Overdubbing and mixing [edit]

The band taped the basic track in vi takes,[47] overdubbing new parts onto take vi.[46] McCartney played a higher section in the intro with his Epiphone Texan and added a descant vocal,[55] providing a contrapuntal bankroll during the refrains in a nasally country and western tone, similar to his backing vocal on some other Help! track, "Act Naturally".[20] Adding texture normally accomplished with a tambourine,[23] Starr overdubbed maracas on the choruses,[56] while Harrison added a twelve-string acoustic guitar solo.[57] [note 6]

Employing a technique used extensively during the Help! sessions, another guitar plays simultaneously during the guitar solo to provide a contrasting sound.[59] [note 7] Gould writes that, in shifting from cut fourth dimension to common time during the solo, Harrison's playing is reminiscent of both jazz guitarist Django Reinhardt and the French jazz organisation Le Hot Club.[37] Pollack characterises the solo as a "'countrified', rhythmically apartment rendering",[20] and O'Grady writes information technology "approximates Bluegrass mode in rhythmic regularity".[24] "I've Just Seen a Face" was the first Beatles vocal to not have a bass guitar role.[ten] Music critic Tim Riley suggests the musical instrument's absence, together with the guitar solo being played on the low-cease of the guitar, keeps the song rooted in the country genre.[23]

On eighteen June, Martin and Smith mixed several songs on Help! for mono and stereo, including "I've Just Seen a Face".[60] The ii mixes of the song are about identical to one some other.[46] As was typical for their pre-Condom Soul work, the Beatles participated minimally in the album'south mixing process.[61] In 1987, for Help! 'south first CD release, Martin remixed the song for stereo, adding a modest corporeality of repeat.[46] [annotation 8]

Release [edit]

EMI's Parlophone label released the Help! LP on 6 August 1965.[63] "I've Just Seen a Confront" appeared on side ii forth with six other tracks not in the motion picture, sequenced between "Tell Me What You Run into" and "Yesterday".[64] McCartney was pleased with the finished recording and it became i of his favourite Beatles songs.[41]

[The Beatles'] new management tin be seen immediately in the song that opens the [North] American version of [Rubber Soul], McCartney's jaunty, bluegrass-inflected "I've Simply Seen a Face", which had trivial resemblance to anything that the Beatles had recorded upwards to that time. Only "I've Only Seen a Face" was written several months before than the other Safe Soul songs and had already been included on the British version of Assist!, so its credentials as the "signature song" for the anthology are, regardless of its quirky amuse, suspect at best.[30]

– Music scholar Terence O'Grady, 2008

In keeping with the company's policy of reconfiguring the Beatles' albums,[65] Capitol Records removed "I've Simply Seen a Face" and the other not-film songs from the North American version of Help!, replacing them with several orchestral pieces from the film's soundtrack.[66] On the band's side by side album, Rubber Soul, Capitol once again contradistinct the runway listing; in addition to omitting four songs they deemed "electrical", the company selected "I've Just Seen a Confront" and Lennon'due south "It's Just Dearest" every bit the opening tracks of side 1 and side two, respectively.[67] Capitol's approach was motivated past the popularity of folk rock in the United States,[68] with singles such equally Sonny & Cher'due south "I Got Yous Infant", Barry McGuire'due south "Eve of Devastation",[69] the Byrds' cover of Bob Dylan's "Mr. Tambourine Man", Simon & Garfunkel's "The Sound of Silence" and the Mamas & the Papas' "California Dreamin'" all representative of the style in 1965.[70] "I've But Seen a Face" thereby replaced the Memphis sound-inspired "Drive My Automobile" and was followed by the acoustic song "Norwegian Wood (This Bird Has Flown)".[71]

Released on 6 Dec 1965,[72] Capitol's version of Rubber Soul was dominated by audio-visual-based songs.[73] Many North American listeners therefore erroneously assumed that the Beatles had focused on folk music for an entire LP.[74] Opening with "I've Just Seen a Face" gave Prophylactic Soul more conceptual unity,[75] which reinforced perceptions of it as a folk or folk stone centred LP,[76] at the cost of distorting the band's late-1965 creative developments and their original artistic intentions.[77] [note 9]

Retrospective assessment and legacy [edit]

Reviewing Help! for AllMusic, Stephen Thomas Erlewine describes "I've Just Seen a Face up" as "an irresistible folk-rock precious stone" that is much amend than two of McCartney's other contributions to the album, "The Night Earlier" and "Another Girl",[79] a sentiment author Andrew Grant Jackson echoes.[fourscore] Journalist Alexis Petridis also disparages McCartney'southward other Assistance! contributions equally filler – in particular, "Another Girl" and "Tell Me What Y'all See" – just describes "I've Simply Seen a Face" as the album'southward "i genuine overlooked gem".[81] He sees information technology as "an English inversion of Help! 'southward much-noted Dylan influence", existing partway between the folk sound of Greenwich Village and that of skiffle.[81]

Writing for Pitchfork, Tom Ewing pairs the song with "Yesterday", describing both as a "personal breakthrough for McCartney", with each achieving a "deceptive lightness that would become trademark and millstone for their writer". He recognises "I've Only Seen a Confront" every bit "a folksy country song [that demonstrates] the souvenir for pastiche that would assistance requite the rest of the Beatles' career such disarming variety".[82] Music critic Allan Kozinn groups it with "Yesterday", "It's Only Love" and "Wait" as songs recorded near the terminate of the Help! sessions that were a stylistic break from the rest of the album, their "sophistication, spirit and complication of texture" having more in common with Rubber Soul.[83]

In 2010, Rolling Stone ranked "I've Simply Seen a Face" at number 58 in a list of the Beatles' 100 greatest songs,[35] [84] and a 2014 readers' poll conducted by the magazine ranked it as the tenth all-time Beatles song from the pre-Prophylactic Soul era.[85] McCartney biographer Peter Ames Carlin calls the vocal one of McCartney'southward most overlooked Beatles contributions, nevertheless also ane of his all-time,[86] and Riley similarly counts information technology equally McCartney's 2d best contribution to Help! after "Yesterday".[23] Riley, Carlin and Everett each praise the song's lyricism,[87] MacDonald commenting that its internal rhyming and fast-paced delivery "complements the music perfectly".[1] In MacDonald'south stance the song elevates the 2nd side of Assistance! with its "quickfire freshness" and he describes it as a "pop parallel" to several 1965 Swinging London films, such as The Knack... and How to Become It, Darling and Catch Us If You Tin can.[1] Music critic Rob Sheffield describes the North American Rubber Soul 's sequencing of "I've Just Seen a Face up" and "Norwegian Woods (This Bird Has Flown)" as a "magnificent one-ii punch" which results in "the just case where the shamefully butchered U.S. LP might summit the U.K. original".[88] He judges the vocal the "near romantic [e'er]", while managing to be "almost equally funny as 'Drive My Automobile'".[89] Describing the song as "fetching, vintage McCartney" and a "warm, cheerful folk-rock treasure", announcer Marker Hertsgaard admires its "thigh-slapping beat, sing-along tune, and cheerful, isn't-love-bully lyrics"; he deems it "the musical equivalent of an armful of freshly picked daisies".[90]

Unterberger describes "I've Just Seen a Face up" every bit "probably the nigh bluegrass-soaked rock song of the 1960s".[91] John Kruth says its influence can exist heard on "Get and Say Goodbye", the original opening track of Buffalo Springfield'southward 1966 debut album. Kruth argues that both songs helped acquaint stone fans with small doses of country music, setting up the turn from folk rock to country by the Byrds with their 1968 album Sweetheart of the Rodeo; [92] in Kruth's opinion, the song's "deep wooden timbre" can exist heard in the music of Crosby, Stills & Nash; James Taylor and Jackson Browne.[93] Reflecting in 2006 on the Beatles' legacy and influence, journalist Greg Kot views the vocal'southward folk styling equally exemplifying the Beatles' musical fluency and power to main genres far removed from their rock music origins.[94]

McCartney live versions [edit]

McCartney playing a twelve-string acoustic guitar during one of the tour's concerts.

McCartney performing during the Wings Over the World tour, 1976. He included "I've Just Seen a Face" during an audio-visual department of the tour's setlist.

The vocal has remained a favourite of McCartney'south in his post-Beatles career and is one of the few Beatles songs he played with his afterward band, Wings.[41] An audio-visual rendition of "I've Only Seen a Face" was among the five Beatles songs McCartney played during the 1975–76 Wings Over the World tour,[95] being the get-go time he included Beatles songs in his live setlist.[96] [note 10] Beatles author Robert Rodriguez calls the pick unexpected,[98] and McCartney explained contemporaneously that he picked the songs "at random... I didn't want to get too precious virtually it".[99] Journalist Nicholas Schaffner writes that their inclusion "electrified audiences", and Rodriguez similarly describes the Beatles section of the setlist as the "emotional highlight for virtually attendees".[100] McCartney reflected at the fourth dimension, "They're great tunes... So I just decided in the end, this isn't such a large deal, I'll do them."[99] In a retrospective cess, Riley lauds McCartney for performing the song during the tour as though he were "sitting around on a porch harmonizing to a good sometime rural favorite".[23] Alive versions of the song from the bout were later included on the 1976 triple live album Wings over America and in the 1980 concert film Rockshow.[101]

McCartney performed "I've Just Seen a Confront" in a 25 January 1991 fix,[102] played on audio-visual and filmed past MTV for their series Unplugged.[103] The functioning was later included on his 1991 album Unplugged (The Official Bootleg).[104] He has played the song live on several other occasions, including it in the setlist of his 2004 Summertime Tour and 2011–12 On the Run tour, and it was included on the 2005 DVD Paul McCartney in Red Foursquare.[84] In 2015, during the Sabbatum Dark Live 40th Anniversary Special, he and musician Paul Simon played an impromptu duet of the song.[105]

Cover versions [edit]

Charles River Valley Boys [edit]

"I've Just Seen a Face"
Vocal past Charles River Valley Boys
from the album Beatle Country
Released November 1966 (1966-11)
Recorded September 1966 (1966-09)
Studio Columbia, Nashville
Genre Bluegrass
Length ii:39
Characterization Elektra
Songwriter(s) Lennon–McCartney
Producer(due south)
  • Paul A. Rothchild
  • Peter Thousand. Siegel

The Cambridge, Massachusetts-based Charles River Valley Boys (CRVB) recorded a embrace of "I've Just Seen a Face" for their 1966 album, Beatle Land, a collection of Lennon–McCartney compositions played as bluegrass and sung in a high lonesome style.[106] James Field of the group later recalled hearing the vocal on the radio in the lead up to the US release of Rubber Soul and thinking "it instantly felt like bluegrass".[107] In particular, the I–vi–IV–V progression and the chorus beginning on the ascendant had "a bulldoze perfectly suited for a straight-alee bluegrass trio".[107] He added: "The tempo (for us) is about 115 bpm, and if you lot listen to many bluegrass standards, a lot of them are in that range. Why? Because information technology'due south perfect for the banjo. You become a nice, bouncy roll, and you tin can make it ring."[107] Banjoist Bob Siggins further stated: "I think the instantaneous 'feel' of the song was the tipoff for me... additionally, the lyrics could easily exist (and in fact became) bluegrass lyrics."[107] With their usual setlist made upward of one-time and new bluegrass and country songs, the ring added an arrangement of "I've Just Seen a Face" to their set, forth with the country-inflected Beatles song "What Goes On".[108]

Produced past Paul A. Rothchild and co-produced past Peter K. Siegel, recording for Beatle Country took place in September 1966 at Columbia's studio in Nashville, Tennessee.[109] The CRVB's cover of "I've Just Seen a Face up" changes the limerick in several means, including transposing information technology from the key of A to G. Structurally, the CRVB add together extra instrumental breaks for banjo, mandolin and dabble – a typical feature of bluegrass music, where each musician is allowed the run a risk to solo – besides every bit repeating the chorus an extra fourth dimension, which musicologist Laura Turner writes serves to emphasise the "quintessential bluegrass technique" of close three-role harmonies.[110] She describes the biggest differences between versions as their different textures and timbres, in particular the "incessant, 'walking' upright bass line that provides energetic drive, sparking mandolin tremolo, rolling banjo figures, and intricate, often double-stopped fiddle motifs that permeate the texture."[26]

Elektra released Beatle Country in November 1966.[111] "I've Just Seen a Face" was the LP's opening rail, and Field later characterised the song as the foundation piece of the entire album.[112] A contemporary review in Cash Box magazine counts the cover equally 1 of the five best tracks on the anthology,[113] and a retrospective cess by John Paul of the online mag Spectrum Culture describes it as "like a lost bluegrass standard".[114] When the Boston Bluegrass Union awarded the CRVB the Heritage Honour in 2013, "I've Merely Seen a Confront" was amongst the songs the ring performed during the laurels ceremony at the city'due south annual Joe Val Bluegrass Festival.[115]

Bluegrass groups [edit]

Sam Bush

New Grass Revival mandolinist Sam Bush in 2012, who described "I've But Seen a Confront" equally the first vocal by the Beatles to which he could relate.

Also the Charles River Valley Boys, numerous bluegrass groups have covered the song.[93] Doggett writes the tempo and chord changes of "I've Just Seen a Face" "[cry] out for a banjo and mandolin",[116] and Turner argues information technology has been "central in stimulating a relationship betwixt bluegrass and the music of the Beatles".[117] The progressive bluegrass band the Dillards recorded a embrace of the song between the British release of Help! and the N American release of Safe Soul; they had hoped to issue the song in the United states of america before the Beatles, though the recording went unreleased.[118] They later recorded a comprehend for their 1968 anthology Wheatstraw Suite.[119] Joining elements of traditional mountain music and modern country music, their version includes high harmonies, a banjo and a pedal steel guitar.[93] Unterberger calls information technology "a respectable version" which "completed [the Dillards'] move from bluegrass into folk-country-rock",[33] while Turner describes it as "relaxed in tempo and wistful", writing that its utilise of a pedal steel guitar is "a clear salute to the flourishing folk-stone scene".[117] Kruth suggests that the finished recording influenced bands like the Byrds, the Grateful Expressionless and the Eagles.[93]

Sam Bush-league, mandolinist for the progressive bluegrass band New Grass Revival, recalled being uninterested in rock music earlier the mid-1960s, but constitute that "I've Just Seen a Face" allowed him to "relate to the Beatles for the get-go time", agreeing with a characterisation of it as "bluegrass without a banjo".[120] New Grass Revival subsequently covered the song with musician Leon Russell for their 1981 live anthology, The Live Album, a version Turner calls "hard driving" and "erratic".[121] Bush-league later covered the song as a solo artist for the 2013 Americana tribute album, Permit Us in Americana: The Music of Paul McCartney.[122] The grouping Bluegrass Association recorded the song for their 1974 album Strings Today... And Yesterday, basing their arrangement on the Charles River Valley Boys' version.[123]

Other artists [edit]

George Martin recorded an orchestral version of the song for his 1965 piece of cake listening anthology, George Martin & His Orchestra Play Help!, credited under its original working title, "Auntie Gin's Theme".[124] In a review of the anthology for AllMusic, Bruce Eder describes Martin's recordings every bit "tasteful but otherwise largely undistinguished". He credits the release of tracks under their working titles as 1 of the album's unique selling points, beingness "details that Beatles fanatics of the time simply devoured".[125] The Grateful Dead performed the song in concert on 11 June 1969 in San Francisco, playing pseudonymously as Bobby Ace and the Cards from the Bottom of the Deck, and former Grateful Dead keyboardist Tom Constanten recorded a cover for his 1993 album Forenoon Dew.[126] Hank Crawford, the alto saxophonist of Ray Charles, recorded a funk and reggae-inspired version of the vocal for his 1976 album Tico Rico.[93]

Canadian jazz singer Holly Cole covered the song for her 1997 album Dark Beloved Heart.[127] Released with a noir-style music video,[127] the version reached number seven on Canada'due south RPM Height Singles Chart in November 1997.[128] The 2007 jukebox musical romantic drama picture Beyond the Universe features a cover of the song,[127] afterward included on its associated soundtrack album.[129] In the film, the lead grapheme, Jude (Jim Sturgess), sings about Lucy (Evan Rachel Woods) at a bowling alley in what Kruth terms a "somewhat bizarre beloved-fantasy scene".[127] Reviewing the soundtrack for AllMusic, Erlewine writes that Sturgess does "a credible chore" on the song'southward "rockabilly revamp".[129] American singer Brandi Carlile occasionally sings the song during alive shows.[127] Though Kruth disparages Carlile'south version as "[not] particularly dissimilar or innovative",[127] a 2010 ranking by Paste magazine of the 50 best Beatles covers placed information technology at 46, writing that she transforms the song into a "sing-forth hoe-down".[130] Kruth designates "I'll Just Drain Your Confront" as the song's "most baroque" encompass,[127] recorded by Beatallica – a mashup group of heavy metal band Metallica and the Beatles – for their 2009 album Masterful Mystery Tour.[131]

Personnel [edit]

According to Walter Everett,[22] except where noted:

  • Paul McCartney – pb vocal, harmony vocal, nylon-cord guitar
  • John Lennon – acoustic rhythm guitar
  • George Harrison – audio-visual twelve-string guitar
  • Ringo Starr – drums (with brushes),[132] maracas[133]

Notes [edit]

  1. ^ Virginia "Gin" Harris was the younger sis of McCartney'due south father, Jim McCartney.[8] McCartney later referenced her in the vocal "Let 'Em In",[ix] released on the 1976 anthology Wings at the Speed of Sound.[10]
  2. ^ The four A-sides were "A Hard Solar day's Night", "I Feel Fine", "Ticket to Ride" and "Aid!"[16] The pair co-wrote "Viii Days a Week",[17] released as a single in the United States in February 1965.[xviii]
  3. ^ Everett writes the vocal is in cut time.[22] Pollack writes that the song can be counted in either 2/two or four/four (common time), but that if counted in the former, the listener can "more easily grasp the extent to which the underlying tempo is abiding".[20]
  4. ^ Recorded a day after "I've Just Seen a Face",[42] the song "It's Only Love" sometimes employs similar phrasing patterns.[43] Everett hypothesises that Lennon equanimous "Information technology's Merely Love" in an attempt to match the rhyming effect of "I've But Seen a Face", but ultimately finds it "Lennon's most forced effort at rhyming".[44]
  5. ^ Author Adam Gopnik describes the day as "a memorable high-water mark in musical history",[51] while Sheffield and McCartney each comment that information technology provides a sense of the Beatles' quick recording practices.[52]
  6. ^ Among Beatles authors, Gould and John C. Winn each say that Harrison played the solo.[58] Jean-Michael Guesdon & Philippe Margotin write McCartney played information technology with his Epiphone Texan, just express general uncertainty over what guitar parts McCartney and Harrison contributed.[x]
  7. ^ The consequence appears on their covers of "Silly, Miss Lizzy" and "Bad Boy", as well equally on "Yes It Is", "The Night Before", "Help!", "Information technology's Merely Love" and "Ticket to Ride", where Harrison's opening twelve-cord ostinato contrasts with three overdubbed guitars.[59]
  8. ^ When the Beatles' catalogue was remastered for stereo in 2009, the Help! CD retained Martin's 1987 remix. The original stereo mix was included as a bonus on the companion release The Beatles in Mono.[62]
  9. ^ The album was a commercial success and, according to Gould, served to attract folk-music enthusiasts towards popular music.[78]
  10. ^ The other picks included "Lady Madonna", "The Long and Winding Road", "Yesterday" and "Blackbird".[97]

References [edit]

Citations [edit]

  1. ^ a b c d e f MacDonald 2007, p. 155.
  2. ^ Sheff 2000, p. 195: Lennon; Miles 1997, p. 200: McCartney.
  3. ^ Miles 1997, pp. 107–108.
  4. ^ Miles 1997, pp. 103–104; Shea & Rodriguez 2007, p. 363.
  5. ^ Davies 2019, p. 320: piano; Everett 2001, p. 299: melody starting time; Miles 1997, p. 200: uptempo state and western-inflected.
  6. ^ a b c Kruth 2015, p. 51.
  7. ^ Badman 2001, p. 97; Turner 2005, p. 83; Shea & Rodriguez 2007, p. 285.
  8. ^ Womack 2014, p. 484; Turner 2005, p. 83; Lewisohn 2013, pp. 10, 25, 906.
  9. ^ Turner 2005, p. 83; Shea & Rodriguez 2007, p. 285.
  10. ^ a b c Guesdon & Margotin 2013, p. 248.
  11. ^ MacDonald 2007, p. 155: fast-paced lyrics added; Hertsgaard 1995, p. 132: cheerful love ballad; Guesdon & Margotin 2013, p. 248; Norman 2016, p. 196 and Davies 2019, p. 320: Asher possible inspiration.
  12. ^ Everett 2001, pp. 280, 296, 304–305.
  13. ^ Lewisohn 2000, p. 195; Miles 1997, p. 205.
  14. ^ Miles 2001, pp. 197, 198; Miles 1997, pp. 204–205.
  15. ^ Sounes 2010, p. 125; Miles 2001, p. 196.
  16. ^ Castleman & Podrazik 1976, pp. 34, twoscore, 46, 47; Womack 2009, p. 286.
  17. ^ MacDonald 2007, pp. 132, 155.
  18. ^ Castleman & Podrazik 1976, p. 45; Womack 2009, p. 290.
  19. ^ MacDonald 2007, p. 155; Doggett 2005, p. 65.
  20. ^ a b c d e f grand h i j grand l m n o p q r s Pollack, Alan Due west. (1993). "Notes on 'I've Just Seen a Confront'". soundscapes.info. Archived from the original on 12 June 2021. Retrieved 28 July 2021.
  21. ^ Everett 2001, p. 299: cut time; MacDonald 2007, pp. 155, 495: A major.
  22. ^ a b c d e f Everett 2001, p. 299.
  23. ^ a b c d east f g Riley 2002, p. 148.
  24. ^ a b c O'Grady 1979, p. 88; O'Grady 1983, p. 80.
  25. ^ Everett 2009, p. 228.
  26. ^ a b Turner 2016, p. 85.
  27. ^ MacDonald 2007, p. 156.
  28. ^ Everett 2001, pp. 299, 337.
  29. ^ Everett 1999, p. 186.
  30. ^ a b O'Grady 2008, p. 24.
  31. ^ O'Grady 1979, p. 89.
  32. ^ Ingham 2009, p. 34.
  33. ^ a b Unterberger, Richie. "The Beatles – I've Just Seen a Face". AllMusic. Archived from the original on 15 October 2014. Retrieved 28 July 2021.
  34. ^ Unterberger 2002, p. 272.
  35. ^ a b c "100 Greatest Beatles Songs: 58. 'I've Just Seen a Face'". Rolling Stone. 10 April 2020. Archived from the original on 13 July 2021.
  36. ^ MacDonald 2007, p. 155; Gould 2007, p. 278.
  37. ^ a b Gould 2007, p. 278.
  38. ^ Gould 2007, p. 302.
  39. ^ Wagner 2008, p. 89.
  40. ^ Everett 2001, p. 403n137.
  41. ^ a b c Miles 1997, p. 200.
  42. ^ Everett 2001, pp. 299, 303.
  43. ^ Pollack, Alan W. (1993). "Notes on 'It'southward Only Honey'". soundscapes.info. Archived from the original on 20 October 2021. Retrieved 22 January 2022.
  44. ^ Everett 2001, p. 303.
  45. ^ Lewisohn 2000, p. 193.
  46. ^ a b c d Winn 2008, p. 324.
  47. ^ a b Lewisohn 1988, p. 59.
  48. ^ Lewisohn 2000, p. 195; Lewisohn 1988, p. 59.
  49. ^ Lewisohn 1988, p. 59; Hertsgaard 1995, p. 132; Guesdon & Margotin 2013, pp. 248, 266; Shea & Rodriguez 2007, p. 285.
  50. ^ Pollack, Alan W. (1992). "Notes on 'I'm Down'". soundscapes.info. Archived from the original on thirty November 2020. Retrieved 22 October 2021.
  51. ^ Gopnik, Adam (five September 2011). "Decline, Fall, Rinse, Repeat". The New Yorker. Archived from the original on 2 July 2021.
  52. ^ Sheffield 2017, p. 96; Babiuk 2002, p. 162.
  53. ^ Everett 2001, pp. 299, 346: instrumentation and personnel on beginning basic rail; MacDonald 2007, p. 155: Starr on brushed snare; Womack 2014, p. 484 and Guesdon & Margotin 2013, p. 248: Epiphone Texan.
  54. ^ Everett 2001, p. 299: personnel; Womack 2014, p. 484: Gibson J-160E.
  55. ^ Everett 2001, p. 299: higher section with nylon-string audio-visual, descant vocal; Guesdon & Margotin 2013, p. 248: Epiphone Texan.
  56. ^ Baur 2017, p. 182n5.
  57. ^ Everett 2009, pp. 61, 346 and Everett 2006, p. 79: twelve-cord acoustic solo; Winn 2008, p. 324 and Gould 2007, p. 278: solo past Harrison.
  58. ^ Gould 2007, p. 278; Winn 2008, p. 324.
  59. ^ a b Everett 2006, p. 79.
  60. ^ Lewisohn 1988, p. 60.
  61. ^ Everett 2001, pp. 304, 408n84.
  62. ^ Erlewine, Stephen Thomas. "The Beatles – The Beatles: Stereo Box Set up ". AllMusic. Archived from the original on 19 October 2021. Retrieved 7 November 2021.
  63. ^ Castleman & Podrazik 1976, p. 47; Womack 2009, p. 288.
  64. ^ Lewisohn 1988, p. 62; Miles 2001, p. 203; Everett 2001, pp. 304–305.
  65. ^ Frontani 2007, pp. 53, 116; Rodriguez 2012, pp. 24–25.
  66. ^ Miles 2001, p. 206; Kimsey 2009, pp. 233–234.
  67. ^ Kruth 2015, p. vii.
  68. ^ MacDonald 2007, p. 156; Gould 2007, p. 296.
  69. ^ MacDonald 2007, p. 154.
  70. ^ Kruth 2015, p. 49.
  71. ^ Kimsey 2009, p. 235: Memphis sound; Jackson 2015, p. 181: replacement as opening track to make album audio folk-rock; Turner 2016, p. 83: earlier "Norwegian Woods".
  72. ^ Castleman & Podrazik 1976, p. fifty; Womack 2009, p. 292.
  73. ^ Kimsey 2009, p. 235; Rodriguez 2012, p. 75; Frontani 2007, p. 116; Womack 2014, p. 794.
  74. ^ Gould 2007, p. 296; Kimsey 2009, p. 235; Unterberger 2002, p. 180.
  75. ^ Sheffield 2004, p. 52: O'Grady 1979, pp. 87–88; O'Grady 1983, pp. 79–80 and Marsh 2007, p. 122.
  76. ^ Hamilton 2016, p. 148; Philo 2014, p. 88; Courrier 2009, p. 114.
  77. ^ Gould 2007, p. 296; Fusilli 2005, p. 78 and Marsh 2007, pp. 122, 177.
  78. ^ Gould 2007, p. 296.
  79. ^ Erlewine, Stephen Thomas. "The Beatles – Assistance!". AllMusic. Archived from the original on 21 July 2021. Retrieved 28 July 2021.
  80. ^ Jackson 2015, p. 181.
  81. ^ a b Petridis 2004, p. 176.
  82. ^ Ewing, Tom (8 September 2009). "The Beatles: Help!". Pitchfork. Archived from the original on 25 Feb 2021.
  83. ^ Kozinn 1995, p. 129.
  84. ^ a b Womack 2014, p. 484.
  85. ^ "ten Great Early Beatles Songs". Rolling Rock. 12 February 2014. Archived from the original on 28 July 2021.
  86. ^ Carlin 2009, p. 117.
  87. ^ Riley 2002, p. 148; Carlin 2009, p. 117; Everett 2001, p. 403n137.
  88. ^ Sheffield 2017, p. 90.
  89. ^ Sheffield 2017, pp. xv–xvi.
  90. ^ Hertsgaard 1995, pp. 127, 132–133.
  91. ^ Unterberger 2002, p. 181.
  92. ^ Kruth 2015, p. 52.
  93. ^ a b c d e Kruth 2015, p. 54.
  94. ^ Kot 2006, p. 326.
  95. ^ Badman 2001, pp. 165, 182–183; Rodriguez 2010, pp. 63, 173.
  96. ^ Norman 2016, p. 516; Ingham 2009, p. 66.
  97. ^ Schaffner 1977, p. 182; Rodriguez 2010, pp. 172–173.
  98. ^ Rodriguez 2010, p. 173.
  99. ^ a b Schaffner 1977, p. 182.
  100. ^ Schaffner 1977, p. 182; Rodriguez 2010, p. 63.
  101. ^ Womack 2014, pp. 961–962, 1203–1204.
  102. ^ Badman 2001, p. 459.
  103. ^ Ingham 2009, p. 111.
  104. ^ Ingham 2009, p. 111; Badman 2001, p. 462.
  105. ^ Blistein, Jon (xvi February 2015). "Paul McCartney, Miley Cyrus, Paul Simon Obsess at 'SNL 40'". Rolling Stone. Archived from the original on 15 April 2021.
  106. ^ Kruth 2015, pp. 30, 54, 169.
  107. ^ a b c d Turner 2016, p. 84.
  108. ^ Turner 2016, p. 85: normal setlist, added "I've Just Seen a Face" and "What Goes On"; Frontani 2007, p. 117: "What Goes On" existence state inflected.
  109. ^ Turner 2016, p. 87.
  110. ^ Turner 2016, pp. 84–86.
  111. ^ Turner 2016, p. 90.
  112. ^ Turner 2016, pp. 79, 88.
  113. ^ Cash Box Review Console (three December 1966). "Album Reviews" (PDF). Cash Box. p. 62. Archived (PDF) from the original on 4 January 2022.
  114. ^ Paul, John (12 October 2016). "Bargain Bin: The Charles River Valley Boys: Beatle Country". Spectrum Civilization. Archived from the original on 4 February 2017.
  115. ^ Turner 2016, p. 80.
  116. ^ Doggett 2001, p. 306.
  117. ^ a b Turner 2016, p. 83.
  118. ^ Einarson 2001, p. 46.
  119. ^ Unterberger 2003, p. 186.
  120. ^ Harris 2018, p. 244.
  121. ^ Turner 2016, pp. 78, 84.
  122. ^ Zolten 2020, p. 242.
  123. ^ Hambly 1976, p. 509.
  124. ^ Castleman & Podrazik 1976, p. 278: 1965 album; Schaffner 1977, p. 213: orchestral, easy listening; Everett 2001, p. 299: George Martin & His Orchestra Play Help!.
  125. ^ Eder, Bruce. "George Martin & His Orchestra – George Martin Plays 'Help'". AllMusic. Archived from the original on v April 2017. Retrieved 29 July 2021.
  126. ^ Trager 1997, pp. 209, 269.
  127. ^ a b c d east f g Kruth 2015, p. 55.
  128. ^ "Top RPM Singles: Issue 3389". RPM. Library and Archives Canada. Retrieved 30 July 2021.
  129. ^ a b Erlewine, Stephen Thomas. "Various Artists – Across the Universe [Original Soundtrack]". AllMusic. Archived from the original on 25 July 2021. Retrieved 19 October 2021.
  130. ^ Jackson, Josh (17 November 2010). "The l All-time Beatles Covers of All Fourth dimension". Paste. Archived from the original on 25 Feb 2021.
  131. ^ Womack 2014, p. 484; Kruth 2015, p. 55.
  132. ^ MacDonald 2007, p. 155; Guesdon & Margotin 2013, p. 248; Kruth 2015, p. 51.
  133. ^ MacDonald 2007, p. 155; Guesdon & Margotin 2013, p. 248; Baur 2017, p. 182n5.

Sources [edit]

  • Babiuk, Andy (2002). Beatles Gear: All the Fab Four'due south Instruments from Stage to Studio (Second (revised) ed.). San Francisco: Backbeat Books. ISBN0-87930-731-5.
  • Badman, Keith (2001). The Beatles Diary Book 2: After The Intermission-Up 1970–2001. London: Omnibus Press. ISBN0-7119-8307-0.
  • Baur, Steven (2017). "Ringo and Revolver: rhythm, timbre, and tempo in rock drumming". In Reising, Russell (ed.). 'Every Sound There Is': The Beatles' Revolver and the Transformation of Rock and Curlicue. Abingdon-on-Thames: Routledge. pp. 171–182. ISBN978-1-351-21868-9.
  • Carlin, Peter Ames (2009). Paul McCartney . New York: Simon & Schuster. ISBN978-1-4165-6223-8.
  • Castleman, Harry; Podrazik, Walter J. (1976). All Together Now: The First Consummate Beatles Discography, 1961–1975 . New York: Ballantine Books. ISBN0-345-25680-8.
  • Courrier, Kevin (2009). Bogus Paradise: The Dark Side of the Beatles' Utopian Dream. Santa Barbara: ABC-CLIO. ISBN978-0-313-34587-half-dozen.
  • Davies, Hunter (2019) [2016]. The Beatles Book. London: Ebury Publishing. ISBN978-0-09-195863-3.
  • Doggett, Peter (2001). Are You Gear up for the State: Elvis, Dylan, Parsons and the Roots of Country Rock . New York: Penguin Books. ISBN0-14-200016-7.
  • Doggett, Peter (2005). The Fine art and Music of John Lennon . London: Omnibus Press. ISBN978-1-84449-954-0.
  • Einarson, John (2001). Desperados: The Roots of Country Rock . New York: Cooper Foursquare Printing. ISBN978-one-4616-0733-5.
  • Everett, Walter (1999). The Beatles equally Musicians: Revolver through the Anthology . New York: Oxford University Press. ISBN978-0-xix-512941-0.
  • Everett, Walter (2001). The Beatles equally Musicians: The Quarry Men through Rubber Soul . New York: Oxford University Printing. ISBN978-0-xix-514105-4.
  • Everett, Walter (2006). "Painting Their Room in a Colorful Manner: The Beatles' Exploration of Timbre". In Womack, Kenneth; Davis, Todd F. (eds.). Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four. Albany: Land University of New York Press. pp. 71–94. ISBN0-7914-6716-3.
  • Everett, Walter (2009). The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Optics". Oxford: Oxford Academy Press. ISBN978-0-19-531024-five.
  • Frontani, Michael R. (2007). The Beatles: Image and the Media. Jackson: University Press of Mississippi. ISBN978-ane-57806-966-8.
  • Fusilli, Jim (2005). The Embankment Boys' Pet Sounds . 33⅓. New York: Bloomsbury Publishing. ISBN978-1-4411-1266-viii.
  • Gould, Jonathan (2007). Tin can't Buy Me Beloved: The Beatles, United kingdom of great britain and northern ireland, and America . New York: Three Rivers Press. ISBN978-0-307-35338-2.
  • Guesdon, Jean-Michel; Margotin, Philippe (2013). All the Songs: The Story Behind Every Beatles Release. New York: Black Dog & Leventhal Publishers. ISBN978-ane-57912-952-1.
  • Hambly, Scott (1976). "Bluegrass Records: A Review Article". Journal of American Folklore. 89 (354): 501–511. doi:x.2307/539307. ISSN 0021-8715.
  • Hamilton, Jack (2016). Just Around Midnight: Stone and Roll and the Racial Imagination. Cambridge: Harvard Academy Press. ISBN978-0-674-97356-5.
  • Harris, Craig (2018). Bluegrass, Newgrass, Sometime-Time, and Americana Music. Gretna: Arcadia Publishing. ISBN978-1-4556-2402-seven.
  • Hertsgaard, Mark (1995). A 24-hour interval in the Life: The Music and Artistry of the Beatles . New York: Delacorte Printing. ISBN0-385-31377-two.
  • Ingham, Chris (2009). The Rough Guide to the Beatles (third ed.). London: Rough Guides. ISBN978-ane-84836-525-4.
  • Jackson, Andrew Grant (2015). 1965: The Near Revolutionary Year in Music . New York: Macmillan Publishers. ISBN978-1-4668-6497-nine.
  • Kozinn, Allan (1995). The Beatles . London: Phaidon Press. ISBN0-7148-3203-0.
  • Kimsey, John (2009). "'An abstraction, like Christmas': the Beatles for sale and for keeps". In Womack, Kenneth (ed.). The Cambridge Companion to the Beatles. Cambridge: Cambridge University Press. pp. 230–254. ISBN978-0-521-68976-2.
  • Kot, Greg (2006). "'Toppermost of the Poppermost'". In Sawyers, June Skinner (ed.). Read the Beatles: Archetype and New Writings on the Beatles, Their Legacy, and Why They Nonetheless Matter. New York: Penguin Books. pp. 322–326. ISBN978-0-14-303732-iii.
  • Kruth, John (2015). This Bird Has Flown: The Enduring Dazzler of Rubber Soul, Fifty Years On. Milwaukee: Backbeat Books. ISBN978-i-61713-573-vi.
  • Lewisohn, Mark (1988). The Complete Beatles Recording Sessions . New York: Harmony Books. ISBN978-0-600-63561-1.
  • Lewisohn, Marking (2000) [1992]. The Complete Beatles Chronicle: The Only Definitive Guide to the Beatles' Unabridged Career . London: Hamlyn. ISBN0-600-60033-v.
  • Lewisohn, Mark (2013). The Beatles – All These Years, Volume One: Tune In . New York: 3 Rivers Press. ISBN978-1-101-90329-2.
  • MacDonald, Ian (2007). Revolution in the Caput: The Beatles' Records and the Sixties (Third ed.). Chicago: Chicago Review Press. ISBN978-one-55652-733-3.
  • Marsh, Dave (2007). The Beatles' 2nd Album. New York: Rodale. ISBN978-1-59486-426-ane.
  • Miles, Barry (1997). Paul McCartney: Many Years from Now . New York: Henry Holt. ISBN0-8050-5249-vi.
  • Miles, Barry (2001). The Beatles Diary Volume 1: The Beatles Years. London: Autobus Printing. ISBN978-0-7119-8308-3.
  • Norman, Philip (2016). Paul McCartney: The Life . New York: Little, Brown and Company. ISBN978-0-316-32796-1.
  • O'Grady, Terence J. (1979). "Rubber Soul and the Social Dance Tradition". Ethnomusicology. 23 (1): 87–94. doi:10.2307/851340. ISSN 0014-1836.
  • O'Grady, Terence J. (1983). The Beatles: A Musical Evolution . Boston: Twayne. ISBN0-8057-9453-0.
  • O'Grady, Terence J. (2008). "Sgt. Pepper and the diverging aesthetics of Lennon and McCartney". In Julien, Olivier (ed.). Sgt. Pepper and the Beatles: Information technology was Forty Years Agone Today. Aldershot: Ashgate Publishing. pp. 23–32. ISBN0-7546-6708-one.
  • Petridis, Alexis (2004). "Assist! Period of adjustment". In Trynka, Paul (ed.). The Beatles: Ten Years that Shook the World. London: Dorling Kindersley. pp. 176–177. ISBN0-7566-0670-5.
  • Philo, Simon (2014). British Invasion: The Crosscurrents of Musical Influence. Lanham: Rowman & Littlefield. ISBN0-8108-8627-8.
  • Riley, Tim (2002). Tell Me Why: The Beatles: Anthology by Album, Song past Song, the Sixties and After (Revised and Updated ed.). Cambridge: Da Capo Press. ISBN978-0-306-81120-3.
  • Rodriguez, Robert (2010). Fab Iv FAQ 2.0: The Beatles' Solo Years, 1970–1980. New York: Backbeat Books. ISBN978-0-87930-968-eight.
  • Rodriguez, Robert (2012). Revolver: How the Beatles Re-Imagined Rock 'northward' Roll . Montclair: Backbeat Books. ISBN978-1-61713-009-0.
  • Schaffner, Nicholas (1977). The Beatles Forever . Harrisburg: Cameron Business firm. ISBN0-8117-0225-1.
  • Shea, Stuart; Rodriguez, Robert (2007). Fab Four FAQ: Everything Left to Know Most the Beatles... and More! . New York: Hal Leonard Books. ISBN978-1-4234-2138-2.
  • Sheff, David (2000) [1981]. Golson, G. Barry (ed.). All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono . New York: St. Martin's Griffin. ISBN0-312-25464-iv.
  • Sheffield, Rob (2004). "The Beatles". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). New York: Fireside/Simon & Schuster. pp. 51–54. ISBN0-7432-0169-8.
  • Sheffield, Rob (2017). Dreaming the Beatles: The Love Story of One Band and the Whole World. New York: HarperCollins. ISBN978-0-06-220765-4.
  • Sounes, Howard (2010). Fab: An Intimate Life of Paul McCartney . London: HarperCollins. ISBN978-0-00-723705-0.
  • Trager, Oliver (1997). The American Book of the Dead: The Definitive Grateful Dead Encyclopedia . New York: Simon & Schuster. ISBN978-0-684-81402-v.
  • Turner, Laura (2016). "Beatle Country: A Bluegrass 'Concept Anthology' from 1966". In Womack, Kenneth (ed.). New Disquisitional Perspectives on the Beatles: Things We Said Today. London: Palgrave Macmillan. pp. 77–94. ISBN978-1-137-57013-0.
  • Turner, Steve (2005). A Hard Day'southward Write: The Stories Behind Every Beatles Vocal (New and Updated ed.). New York: HarperCollins. ISBN978-0-06-084409-seven.
  • Unterberger, Richie (2002). Turn! Turn! Turn!: The '60s Folk-Rock Revolution . San Francisco: Backbeat Books. ISBN0-87930-703-X.
  • Unterberger, Richie (2003). 8 Miles Loftier: Folk-Rock's Flying from Haight-Ashbury to Woodstock . San Francisco: Backbeat Books. ISBN0-87930-743-9.
  • Wagner, Naphtali (2008). "The Beatles' psycheclassical synthesis: psychedelic classicism and classical psychedelia in Sgt. Pepper". In Julien, Olivier (ed.). Sgt. Pepper and the Beatles: It was Forty Years Ago Today. Aldershot: Ashgate Publishing. pp. 75–ninety. ISBN0-7546-6708-ane.
  • Winn, John C. (2008). Way Beyond Compare: The Beatles' Recorded Legacy, Volume 1, 1957–1965. New York: Iii Rivers Printing. ISBN978-0-307-45157-6.
  • Womack, Kenneth, ed. (2009). "Beatles Discography, 1962–1970". The Cambridge Companion to the Beatles. Cambridge: Cambridge University Press. pp. 286–293. ISBN978-0-521-68976-2.
  • Womack, Kenneth (2014). The Beatles Encyclopedia: Everything Fab Four . Santa Barbara: Greenwood. ISBN978-0-313-39171-2.
  • Zolten, Jerry (2020). "On the Record! (Dis)Covering the Beatles". In Womack, Kenneth (ed.). The Beatles in Context. New York: Cambridge University Printing. pp. 230–244. ISBN978-one-108-40952-0.

External links [edit]

  • Full lyrics for the song at the Beatles' official website
  • The Beatles – I've Just Seen A Face (Remastered 2009) on YouTube
  • Paul McCartney – I've Just Seen A Confront (Live / Wings over America / Remastered) on YouTube
  • Paul McCartney – I've Just Seen a Face (Live / Unplugged (The Official Homemade)) on YouTube
  • The Dillards – I've Just Seen a Face up on YouTube
  • Hank Crawford – I've But Seen a Face on YouTube
  • Holly Cole – I've But Seen a Face up on YouTube
  • Hosts Monologue – Saturday Night Live 40th Anniversary Special, including Paul McCartney and Paul Simon playing "I've Simply Seen a Face" on YouTube
  • Jim Sturgess – I've Just Seen A Face (From "Beyond The Universe" Soundtrack) on YouTube
  • Leon Russell and New Grass Revival – I've Just Seen a Face (Live / The Live Album) on YouTube

brunismadving.blogspot.com

Source: https://en.wikipedia.org/wiki/I%27ve_Just_Seen_a_Face

0 Response to "The Beatles Calling Me Back Again"

Post a Comment

Subscribe to: Post Comments (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel