Can we imagine...dare we dream?...of a collab between Michael, Matty, the Ably House guys, Man With No Expression and maybe one or two of the other really good "Beatles" YT artists? Holy cow...
I was just listening to the record and thinking the same! (first time noticing after mere decades of listening to the song) Also, kinda a throwback for a band that reinvented their sound just about every 6 months...
Right on! Listen to the recording, John's "D" addition is there, but hard to hear, but I believe he gets it off a B minor form and not the traditional "D" chord, like this: ruclips.net/video/0phUWdQZ9qY/видео.html
@@georgescarlett2320 Unfortunately I wouldn't go by that link. He spends a lot of time talking about how John used his Rick on the song (he didn't, he used a Strat) and I think the reason it sounds like he might be using the Bm shape is because a D chord doesn't have a B note in it. BUT...the B note is coming from George's 12 string, which hits at the same time as John's change. It's easier to hear what John plays in the outro, where he continues the A-D changes but in double time.
Brilliant! I cannot praise your work more than others have already done, so I will kick in a bit of trivia. Soon Paul would be saying "Every Summer we could rent a cottage on the Isle of Wight if it's not too dear". If you go to South Hampton and catch a ferry to the isle of Wight, one of the destinations is a town called "Ryde". Hummm. John LOVED getting double meanings out of words, even if they were not always spelled the same. Please please me. All you need is love, Love.
@@coZyLos You can take the piss out of me all you like. Perhaps you noticed I commented on Ably House's video 2 months ago and one week ago on this one.
that shot at 2:25 is so simple yet beautiful that warm yellow sunlight really brings out the colours of George's Rickenbacker 330 12 string, and having it out of focus with the microphone in the foreground shows the brilliant composition to a realistically unimportant aspect of this video, yet Michael Sokil doesn't disappoint in editing and camera work. Edit: ended up liking it so much I made it my desktop background!
Was really looking forward to this one, seems like every Beatles fan holds a special kind of reverence for this song. Like you say it's really just perfect. Such a dense and engaging mix, despite it in theory being a straightforward guitar driven record. Heavy, but effortlessly laid back and cool. Really just a masterpiece, both the original and your recreation.
It really is the perfect mix of Beatles magic. A searing John rock vocal (on a love song!), smooth John & Paul harmonies, a catchy riff, the Rickenbacker 12-string chime, a new and unique Ringo drum pattern (with 4-5 separate drum breaks!), two guitar solos, enigmatic vocals (it's a sad song about a girl leaving a guy, but it's also weirdly fun and loose?). And somehow it all works perfectly.
I think you're right when you say every Beatles fan holds a special kind of reverence for Ticket to Ride. It's one of my personal favourites, and i believe this track led them onto Rubber Soul and the track Rain. Definitely a landmark track in the Beatles history.
@@kevanbrown7620 It was 1965 down here in Ft Lauderdale, my mom ran into a drug store to pick up a prescription and I stayed in the car and listened to the radio. "We've got the brand new one by The Beatles....this is called "Ticket To Ride" and I was spellbound. Already a guitar player and avid Beatles fan, I was blown away. 3 and half years later I was recording at EMI Studios and got to meet George and ask him about it. Life is strange!
So glad you posted this, Lemon! When it came out, it was my favorite, and I've never had the heart to dislodge it from its pinnacle since. (Its stiffest competition is perhaps "Come Together" which Ringo told Stephen Colbert was his pick for having just one song on a desert island.) When you said "special kind of reverence" wow! So true! (Ditto Kevan!) And yes, Michael, it is truly magic -- that gently comes out of several left fields at once for a song that is perfect in ways you can't put your finger on, other to cite (rightly) how each of its elements is brilliant. Total agreement with all here. The cherry on top for me is how in the verse the 1st measure (?) is John, the 2nd John and Paul, the 3rd John and Paul, the 4th John, where he sings "is going away" and "when I was around" and it makes him sound so lonely and blaming himself stoically.
It's just incredible and amazing! What an amazing musician you are! I've always wanted to learn how to play guitar in the entire Beatles repertoire. But I couldn't, I didn't have the zeal! But I almost selectively play Beatles compositions from all albums, starting with Tony Sheridan. I wish you further creative success and especially health, and most importantly a peaceful sky over your head for all of us! Sincerely, a fan and a Beatleman from Russia! P.S. The Beatlove is the most authentic Beatles tribute band in Russia. Formed in Moscow in 2013, this band performs Beatles songs with attention to every musical detail and uses original vintage musical instruments and authentic costumes. Their performances can be viewed on RUclips.
This probably feels like just one of John's "throwaway" break-up lyrics with a heavy, sick-arse instrumental, but, those boys were smarter than you think. For instance, what do we have a ticket for? What are we riding? Those sorts of questions. I've heard a rumour it's about getting results back from a particular clinic. I like that one. The one I always heard as a kid was that the song was called "Ticket To Ryde" (yes, the town on the Isle Of Wight), but someone made them change it, because nobody's ever heard of Ryde. But my personal favourite (& I'm sure this crossed the Beatles minds at least once) has to be that it's about how a woman can ride a...well, I'm sure you get the picture. As always, art be subjective. And that means some goddamn crazy (& hilarious) ideas. Great video, man. Can't wait to see all of those pianos soon...
I think I'm gonna be sad I think it's today, yeah The girl that's driving me mad Is going away She's got a ticket to ride She's got a ticket to ride She's got a ticket to ride But she don't care She said that living with me Is bringing her down yeah For she would never be free When I was around She's got a ticket to ride She's got a ticket to ride She's got a ticket to ride But she don't care I don't know why she's ridin' so high She ought to think twice She ought to do right by me Before she gets to saying goodbye She ought to think twice, She ought to do right by me I think I'm gonna be sad I think it's today yeah The girl that's driving me mad Is going away, yeah She's got a ticket to ride She's got a ticket to ride She's got a ticket to ride But she don't care I don't know why she's ridin' so high She ought to think twice She ought to do right by me Before she gets to saying goodbye She ought to think twice She ought to do right by me She said that living with me Is bringing her down, yeah For she would never be free When I was around Ah, she's got a ticket to ride She's got a ticket to ride She's got a ticket to ride But she don't care My baby don't care, my baby don't care My baby don't care, my baby don't care My baby don't care, my baby don't care
Man this is insane I'm glad to see you're back and still spreading that Beatle magic, I remember way back seeing your video on breaking down I saw her standing there with your natural finished casino, it was a revelation because I thought you did a amazing job capturing that authentic Beatle nuance, it stuck with me. Keep up the amazing work man! (:
Благодарю за Ваш великолепный и кропотливый труд! Я обожаю такие видео- игра крупным планом каждого инструмента в отдельности, а тут ещё и Битлз! Вы гений!
I've been watching all your beatles videos. I'm in my 50s now, and back in the early 90s I went through a phase of trying to replicate instrumental beatles tracks using the limited gear I had (Hohner Arbor strat, Hondo II Rick copy, Lorenzo acoustic, Boss DR660 drum machine, Kawaii home keyboard with preset sounds, DX7ii synth, Moog Rogue, Yamaha REX50 multi FX, a few pedals, WEM copycat echo machine, Tascam 424(?) 4 track cassette...the one built like a tank with colourful knobs, filter sweep EQ, VU meters and 2X speed recording....a huge improvement over my previous Fostex X30 which felt more like a toy). Mastering to a chrome TDK SA90 cassette of course. And you better pray that tape survives. Musicians don't know how good they got it today! A 4 track cassette machine cost a good few hundred quid BACK THEN. There wasn't really any music software. The good thing was awesome bits of vintage kit like my WEM tape echo and Moog which cost me 40 quid each, before that stuff became ridiculously sought after and pricey. With the old 4 tracks, you could record drum machine in mono on track 1, rhythm guitar on track 2, bass on track 3 then you'd have to bounce all that to track 4 (mono) , hoping the mix would end up OK because once bounced, the levels were set in stone. Now you can overwrite track 1 and 2 with whatever, and there is the availability of a bounce of 1 and 2 onto track 3. Whatever is on track 4 can now be panned wherever in the stereo field, and so can track 3. Tracks 1 and 2 are now available. No more bouncing. You got 2 tracks left. Even way back then in prehistory, these "portastudios" had stereo send/return for external FX. The limitations of 4 track, the only good thing about it was the challenge of working within these limitations. Also, little pleasures like the fantasy of living vicariously the life of Geoff Emerick or George Martin by eg; turning the cassette over so your music comes out backwards, plug guitar into track 1, start recording, then turn the cassette round again and voila - Tomorrow Never Knows. Now you master into stereo on a clunky old HI FI cassette deck. If you use a chrome cassette then the hiss won't be too bad..hopefully... Now all you need to worry about is how long your tape survives before getting chewed up, or damaged some other way. You can copy that cassette by patching the cassette deck to another using phono cables. You'd have to make sure the second machine ran at exactly the same speed. And learn to enjoy hearing a constant white noise hissing which gets worse and worse with each successive "bounce". I remember them days I do. Workin 36 hours a bloody day down the coal mines with nowt but a piece of coal to eat at the end of the day. Father used to come home from work and beat us to death every sodding night. I bet nobody believes what I wrote about how we had to record demoes back in the 20th century 😂
I really respect that you gave Maroon 5 props. I think their tribute was great and very accurate. And imagine the pressure of playing those songs live in front of Paul and Ringo!!
Dear Michael. Ever since I was 12 and learnt my first chord. Em, staying behind after school with the music room all to myself. Nylon strung in lap, strumming endless and vigorously, that Em felt vast and wide open and full of possibilities. Around the same time ('82) I got into Beatles and within two years I'd filled my Beatles score book with observations and corrections (a few of the songs were presented in the wrong key so I'd put the correct chord next to the incorrect one. And my observations were lists of instruments I thought I could hear. I already had the kind of ear that could go deep into the sonic sea, and was intrigued by a particular sound I could hear deep in the mix of Please Please Me. It was something thumping and grinding away at the root, in quavers, under the first line of the second verse when E changes briefly to A ( "...way love." ). It sounds like someone hitting their low string just a little too vigorously. It sounds like bass guitar going all Helter Skelter. And for all my 40 years playing music and listening intensely to Beatles, I still to this day get surprises. Like finding out that what I thought was mellow Gretsch Duo Jet all over the first album, is in fact a plugged in Gibson J160E. A LOT of the songs on Please Please Me have no Gretsch nor Rickenbacker, yet the last thing this collection of songs feels like is an acoustic album. This is a lovely performance of Ticket To Ride, Michael. That Strat in the mix, same like your If I Needed Someone, has a bright glassy jangle. Is that the Vox treble boost? It sounds like it's coming in from the Astral. And that 12 string cloud burst thar permeates "...ri hi hide." in the chorus is something I never got around to clearing up and working out on the fret board. Good to see it pinned down at last! Leads me to a request: please does anybody know the title of the book I leafed through in a bookshop a couple of years ago. It was a paperback that went into wonderful detailed information on what goes on in Beatles music. I particularly remember it saying that the Rickenbacker cloudburst in the chorus was a most interesting feature of the song, and a good paragraph or two going into deep analysis including some music theory, just for this mysterious little brush stroke courtesy of George Harrison. The book is a treasure for nerdy Beatles musicians like me. Like you, Michael :) It ain't The Beatles Gear (2nd edition is the ONE) by A Babuick. It ain't Revolution In The Head. That book is a lightweight read-while-sitting-on-the-toilet or "waiting for the bus" compared to this one I've forgotten the hecking title. DOES ANYBODY KNOW THIS BOOK??
Absolutely stunning performance - and the special bonus content pretty much authenticates it. What a song! And it's nice to see another Classic Player 60's Sonic Blue Strat - older than mine by a few years!
Most people never notice differences between live Beatle performances vs their recordings but having written many articles on the Beatles plus being a guitarist for 45+ years, I've noticed how tricky those guys were. For instance, as you noticed on Ticket to Ride, John changed up his guitar part for live versions meaning, in the studio, he was playing that A to D type triad (very mixed back), although, I'm still not sure if he's playing a regular open pos. D triad OR a Bm/A (no F#) substitution or a weird Asus with 6th & 9th tones all of which fit around that open D form. I found he could have also played his A triad in the 5th position then grabbed that D or Bm/A in the 7th position which is easier. Whichever inversion John used following the A, for live shows he simply played the open A major triad in 2nd position and even occasionally spiced it up with an A7:-) The major thing that hit me during live renditions, is during the chorus when the chords move from Bm to E to F#m then D where on the recording, John is playing a D7 but live he always played a regular D major but often added the Dsus2 meaning the little passing tone, F# to E note. John as an above-average rhythm guitarist who could also play a respectable second lead guitar as heard on many Beatles recordings. The big problem for me, considering TTR uses such simple chord forms is how John's rhythm is very hard to really *isolate* during the verses under George's theme riff on the 12 string (during the A to D sequence). It's nearly drowned out so to my ear, at first, it sounds like plain vanilla A to D but whether due to harmonics or other studio anomalies, that D major seems to sound more like what I mentioned above, either the Bm/A or a hybrid type of Asus but yet, to be honest, none of them seem to hit the mark, or what I call the audible sweet spot🙂 John was notorious for changing one or two of his chord shapes during live versions of songs, i.e., in the studio version of "All My Loving", John always played his favorite open B7 following the chords, A F#m and D after sections like "remember I'll always be true" but on live versions, he always substituted the open B7 with a bar B major or actually B6 (hitting the Ab note) in the second position. He did the same thing during live versions of "I Wanna Hold Your Hand" where in the recording, in addition to the incredibly bizarre tone he's getting on his Rickenbacker (I wrote 3 pages on that mystery), he emphasizes a hard-driving open B7, especially on the root, 3rd & 7th tones but live, he'd only play a bar B7 up at the 7th position following a bar Em at the 7th position. I believe he did that for the sake of efficiency while singing (unless as Paul as suggested), the Fabs occasionally used different chord inversions during live shows to hide what they really did from observant guitar players in the audience:-) Either way, in the studio recording of IWHYH, John used an open Em and open B7 but as stated above, he switched those two chords to the 7th position when playing live which means they never sounded as effective. There is only one early video of the Fabs miming "Hand" where John plays the open Em and open B7. Throughout the Beatles catalog, John especially loved the open B7, it's in many songs and even McCartney used it on occasion. Anyway, I've got to go but the subject of Beatles recordings and the nuances of different guitar parts, overdubs, added or superimposed keys which was one of Martin's fantastic tricks plus vocal variations, is an endless subject. A book published in 2015 that really delves into that type of esoterica is called "Hearing Aids to the Beatles: A Musician's Perspective Volume I". It really digs into vocals how many tracks, overdubs, and analyzes many guitar details. I know the author and he told me he (& his editor), need to correct a few errors, plus a few things that were accidentally left out and new information making the book an endless work in progress considering how many new details come up, especially from new re-mixed sets and outtakes. Vol. II is coming out soon according to him. www.amazon.com/dp/B017WVVEFO/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1 I had the privilege of seeing the Beatles live in 1966 and it was an experience I'll never forget. considering they had to deal with screaming & no foldback monitors, they still pulled off complex harmonies on tunes like "Nowhere Man" and "If I Needed Someone" or "Day Tripper" etc. They sounded great running those 100W Vox amps, it was powerful and we were only about 65 feet away. The tickets were only FIVE bucks! I also saw other legends like Cream in 1968 (where a 23 yr old Clapton changed my guitar life blasting us with his Gibson SG "Fool" through a dual Marshall stack, it was beyond visceral & incendiary), The Band, Procol Harum, Hendrix, Jeff Beck (with an unknown singer named Rod Stewart), The Allman Brothers, Blind Faith, Derek & the Dominoes, McLaughlin's Mahavishnu orchestera and a plethora of great jazz artists like Chick Corea, Oscar Peterson, Pat Martino, Joe Pass & Keith Jarret & Geoge Benson etc. Those WERE the days!:-)
You may already know of...but if not - Alan Pollack's analysis of every Beatles song, including Harrison's. Dude is a very fine writer period... in addition to having the best ears in the "Beatles interpretative sweepstakes." To use but one example - since above, you've pretty much spelled it out...to use one song, I'll Follow The Song, solid song if not a masterpiece... John's intro (which just about everyone gets wrong) was obviously an 'ear-worm' that stayed in Pauls' head for years and turned into a major part of the structure of Band On The Run. Also, I'd always assumed there was a Hohner Pianet or the like on the intro. I was certain there was a keyboard - but it's the warmth of George's Gretsch also playing the intro. There's also a 3-note turn around in the song, and it seems as if Bowie/Ronson heard it and 'completed' it, for the intro to Rebel, Rebel. The Beatles sounds are in the world's ears, I guess I can say - with awful syntax!
@@Allan-et5ig To be honest (which is a joke phrase in actuality), Pollack's Beatle reviews are more in the realm of musicological details then straight analysis by observing the individual instruments, vocals and other nuances from a musician's perspective. What Pollack got dead wrong among others is how he *missed* the addition of George Martin's stealth, Hammond RT-3 organ used on "I Wanna Hold Your Hand" to bolster & thicken John's strong, Rickenbacker guitar track. The keys make their entrance at around 8 seconds into the recording just as they sing "Oh yeah I'll" and from that point on, the merging of Martin's low register keys with John's low root/5th combinations during the verses creates a visceral wall of sound that makes the recording extremely powerful thus, creating an effect they could never duplicate live although 95% of people listening wouldn't know the difference. I once emailed Sir George while he was alive re the organ and he admitted, that although it was a long time ago, he thought there were "probably keys in the recording". Just as Martin added keys to the opening, strident chord and guitar solo of "Hard Days Night" or the keys in "Money", "Misery" or the with the guitar solo in "Any Time at All', Martin was a master of adding keys in areas to strengthen their recordings. He also dubbed the Hammond organ o to "I Wanna Be Your Man" just a week before the Fabs recorded IWTHYH which was probably the genesis of the idea. Pollack's writing's are interesting but he misses details due to not being in bands or not seeing that many bands in a recording studio. Pollack is mostly assuming what we call the basic "Beatles dance band format" meaning, he's always assuming its just John on rhythm guitar, George on lead guitar, Paul on bass and Ringo on drums were in reality, even early on, they were playing musical chairs. John played lead guitar as early as "Twist Shout" as part of a dual guitar solo with George, or his solo in "You Can't Do That" or the first guitar solo in "Long Tall Sally" and again, the guitar solo in "Matchbox". Paul's first entrance on electric guitar occurred for "Ticket to Ride" and so forth and in later years, both John & George took turns on the Fender 6 string bass. During Rubber Soul, Paul started playing even more lead guitar on tunes like "Drive My Car" and the wild riff breaks during "I'm Looking Through You" which featured John's great intro on his Gibson J-160E flattop guitar. Pollack also occasionally misses on WHO sang a particular vocal or whether it was double tracked or a combination of John & Paul doing their patented "unison" lead vocals on tunes such as "IWHTHY", "Thank you Girl", "From Me to You", "Misery", "Little Child:", "I'll Get You", and "Eight Days a Week" among the many where J&P sang in unison lead vocals plus split harmonies during the refrains or choruses. Many Beatle writers miss that and think its one of them double tracked which tells me that many do NOT have a particularly acute ear😃 The bottom line is, Beatles recordings almost always far more complex than people realize and studying their recordings can provide an endless form of discovery. Those tricky Fabs will keep music analysts busy for years to come🙂
Aside from the brilliant performances, the accuracy is so good. Was thinking the casino was too early for 65 but then remembered Paul played the solo and was first to get a Casino(64?) !
Amazing reproduction! and with the added vocals in the special bonus content, it really sounds like the original single. We like how meticulous you are in your reproduction, you notice all the little details and riffs they add they normally would just be a passing glance for any listener, but it definitely completes the music. I don't even know how you come up with the time to make these reproductions, considering you're busy with your job and whatnot. Kudos!
Evenings and weekends, haha. I also record in batches. I did the guitars for 5 songs in one weekend 3 weeks ago. Been slowly adding drums and bass ever since.
I seriously can't get enough listens. Sometimes I have to remind myself that it's not actually John, Paul, George and Ringo in the studio nor is it an actor miming the parts. It is what it is as we say here in the UK. Their guitar parts were just so ridiculously cool. And the way they were pieced together.
Great!! You are a master!!! Please repost your Beatles songs lessons! You inspire musicians to improve their skill and find motivation!! I really appreciate your music, and competence!! Well done!!!👍
Thanks, Enrico! I'm considering doing some longer, intensive videos with lessons for a handful of favorite tracks. Unsure when or if this will happen. Stay tuned!
I know most of the magic of George's guitar sound is in the Rick, and you get a great sound as well. However, listening to the record that opening riff is even crisper than yours. How do you think they did that? George into a pre-amp -> REDD -> Fairchild? What a sound on that Rick!
Dude! You're back!! I literally just looked up your old username and discovered your new channel. Now time to binge your Beatles stuff and glad to see you back man!
@@chrisst8922 One can only guess, but yes he wanted to play the Strat because it was new and also it gave a different tone than anything they had used previously. They were constantly looking for a different sound, even small changes such as the unique sound of the Strat compared to their other guitars. Even back in 1965, when I heard this I knew a different guitar was being used. Did not know what it was yet.
@@chrisst8922 The Beatles fell hard for new gear and loved using a new piece of equipment a ton after its arrival. Best examples are George using the Rick 12 all over "A Hard Day's Night," and the Pianet all over "Help!" John definitely had a Strat phase in 1965. It's all over "Help!" - "Ticket To Ride," "You're Gonna Lose That Girl," "Tell Me What You See," then Rubber Soul ("If I Needed Someone", maybe "You Won't See Me"). In "Beatles Gear," you can read that John even rehearsed for a late 1965 tour with a black Strat, which would've been something else!
@@MichaelSokil Thank you. Serious question now please. What's the attraction of the Stratocaster in comparison with the Rickenbacker? I've seen most of my heroes start with Rick and move on, often to a Fender product. Lennon, Harrison, Fogerty, Weller, Marr. Only two have stood firm; Roger McGuinn, he's got a niche of course and Susanna Hoffs, there's an emotional attachment. But what do you think please Mike? You're not swayed by playability, you're the master of those so called unplayable instruments.
I have the same Classic Player’s Strat! Does it ever bother you that the Sonic Blue ALWAYS looks like a different color? Some lights it will look more white than blue and other lights it will definitely be Sonic Blue. I debate if I like it or if it drives me crazy.
Michael, at the coda section "My baby don't care" listen again closely on the record or rock band tracks, John continues to play A - D in double time....all through the fade out...
@@DLD2Music Not sure if this is possible, but I'd love to hear the "Yesterday" string part isolated! The only ones I see seem to be faux/fake recreations.
i love all your videos man, but this one is perfect! you were careful to play the A-sharp on the bass in the "my baby dont care" part, exactly as paul recorded it, great! (not being ironic)
It's nice to be rich to be able to afford all these very expensive instruments. You are also lucky to live in a time when there is the internet and these instruments are available. I am 70. When I was growing up, there was no knowledge of these instruments, no internet, no Google, no ebay, no Amazon, nothing but your local music store. And they knew nothing about Beatles instruments.
What other group would take the time to add a couple of extra notes from the Casino such as at 0:53 in the video, or an added few notes from the Strat, such as at 1:29? None. The song was fine, wonderful, great, and better than anyone else without those very small touches, but that's why no one else sounded as complete as the Beatles. Nice catch, Michael, in picking up on those and including them. I thought you missed the handclaps at the beginning of each chorus because I did not see them pictured in the video. But you got 'em.
Good job, Michael, as always. But why the A-D alternating in the versus when John on live performances ever played only A? The "D" sound couldn't be a 12string armonic effect?
@@Gogiants929 Oh gotcha, my bad. Yep, already done the acoustics on "It's Only Love." Planning a special treat for "You've Got To Hide Your Love Away"...
Me and my brother saved up for a long time to buy a brilliant acoustic 12 stringer many years ago. The difference in the sound just blew us away. It was strange at first having to play, say a D chord and hold 6 strings instead of 3. It was special, but we had to sell it sometime after as we had both been laid off from work, with other people aswell. I've always regretted it ever since. I have a six string acoustic, and my brother has an electric and acoustic, but we both still regret selling that 12 string.
BUSTED! That was Paul playing a Fender Broadcaster on lead. (the single-pickup Tele) TTR is the first McCartney lead in the Beatles' catalogue. Sorry, the rest is in fact lovely.
Hi! No, it was Paul on his Epiphone Casino. Not sure what you mean by "Fender Broadcaster" - maybe the Fender Esquire Paul played on Pepper? FYI, that guitar wasn't seen in the studio until 1967. You might want to read "Beatles Gear" by Andy Babuik.
I think the key to the drum sound is the Marlboro pack on the snare! You even switched up the syncopated drum patter after the bridge which Ringo does. He lost that amazing pattern but still driving the bus! Nice job! Have you recorded You Can't Do That?
Myself and my best friend, Terry Hogan, played this for our 5th grade talent show on our Teisco japanese guitars. I'd say your version is a tiny bit better!
@@marksimpson2321 Mark, here's what I remember from almost 60 years ago. Terry, who was playing the melody, totally screwed up a large part. I gave him a look of distain and we finished the song. The whole school talked about my dirty look and no one noticed Terry's screw up. The important thing was, we still impressed the girls.
At 1:10, on the Rickenbacker, you seem to be fretting the d7 chord (i.e. X5405X), but somehow you're getting a super D-Dbm sound as per the 1st (high E) string though I can't how you are generating this in the video clip. Is this an overdub not shown. I would love to know how you achieve this! Many thanks for a great deconstruction here.
Yep, I'm fingering that D7 shape but using my pointer finger to hit that F on the D string. If you look closely, you can see my fingers moving to play the riff!
Wow!! Amazing!! Who is playing those single notes during the verses?? The way it looks from your re-construction, it is George (an overdub). Thanks for your great work!!
Yea, George plays the jangly kinda arpeggio notes....from the introduction all the way through, while John drives the rhythm...something he was just the best at. Best rhythm guitarist ever imho.
this guy is Beatles Guitar Secrets, Mattiboo, and Ably House mixed into one
Yep, but better.
@@joestarr05 No reason to make it a competition. They're all top notch for spreading the Beatles' music on to more and more people.
@@HeelBJC I'm not exactly doing that. It's just that he's my most favourite.
Can we imagine...dare we dream?...of a collab between Michael, Matty, the Ably House guys, Man With No Expression and maybe one or two of the other really good "Beatles" YT artists? Holy cow...
@@ThatBobGuy850 Don't forget Perry Stanley and Sam Popkin.
Do I hear a little "You Can't Do That" on the Ric during the chorus? Never noticed that before. One more reason I love these videos.
it’s very similar yes!
I was just listening to the record and thinking the same! (first time noticing after mere decades of listening to the song) Also, kinda a throwback for a band that reinvented their sound just about every 6 months...
Man, Help! really has some bangers.
Sensational, the best Beatles covers on the planet. Who needs four musicians 😍
So incredibly kind. Thanks, Graham!
This is really cool. The production quality and musicianship are outstanding.
Finally someone plays Lennons part right lol…great all around. So strange John never played it like that again live anywhere that I've seen...
Probably more easier to go with A
Right on! Listen to the recording, John's "D" addition is there, but hard to hear, but I believe he gets it off a B minor form and not the traditional "D" chord, like this: ruclips.net/video/0phUWdQZ9qY/видео.html
@@georgescarlett2320 Unfortunately I wouldn't go by that link. He spends a lot of time talking about how John used his Rick on the song (he didn't, he used a Strat) and I think the reason it sounds like he might be using the Bm shape is because a D chord doesn't have a B note in it. BUT...the B note is coming from George's 12 string, which hits at the same time as John's change. It's easier to hear what John plays in the outro, where he continues the A-D changes but in double time.
Brilliant! I cannot praise your work more than others have already done, so I will kick in a bit of trivia. Soon Paul would be saying "Every Summer we could rent a cottage on the Isle of Wight if it's not too dear". If you go to South Hampton and catch a ferry to the isle of Wight, one of the destinations is a town called "Ryde". Hummm. John LOVED getting double meanings out of words, even if they were not always spelled the same. Please please me. All you need is love, Love.
One of my favorite rumors is that "Ticket to Ride" means a clean test result of a certain variety. I guess that would make this a triple entendre?
@@MichaelSokil I think you're on to something.
In THAT Ryde did live one of cousins of Paul, Bet, and in the beginning of 60-s Paul with John DID hitch-hike there!
I have to say that is the most accurate rendition of the instrumentation of this classic song that I have ever heard.
Bravo.
you’ve also said that comment on Ably House’s rendition of “Ticket To Ride” 😂. Who do you think made it best?
@@coZyLos You can take the piss out of me all you like.
Perhaps you noticed I commented on Ably House's video 2 months ago and one week ago on this one.
@@localbod what? i’m just asking you if who did Ticket To Ride. I’m not taking the piss at anything at all
@@coZyLos There's is good (I mean come on it's Ably House) but the tone for the 12 string isn't very accurate, this one is more accurate.
that shot at 2:25 is so simple yet beautiful that warm yellow sunlight really brings out the colours of George's Rickenbacker 330 12 string, and having it out of focus with the microphone in the foreground shows the brilliant composition to a realistically unimportant aspect of this video, yet Michael Sokil doesn't disappoint in editing and camera work.
Edit: ended up liking it so much I made it my desktop background!
Was really looking forward to this one, seems like every Beatles fan holds a special kind of reverence for this song. Like you say it's really just perfect. Such a dense and engaging mix, despite it in theory being a straightforward guitar driven record. Heavy, but effortlessly laid back and cool. Really just a masterpiece, both the original and your recreation.
It really is the perfect mix of Beatles magic. A searing John rock vocal (on a love song!), smooth John & Paul harmonies, a catchy riff, the Rickenbacker 12-string chime, a new and unique Ringo drum pattern (with 4-5 separate drum breaks!), two guitar solos, enigmatic vocals (it's a sad song about a girl leaving a guy, but it's also weirdly fun and loose?). And somehow it all works perfectly.
I think you're right when you say every Beatles fan holds a special kind of reverence for Ticket to Ride. It's one of my personal favourites, and i believe this track led them onto Rubber Soul and the track Rain. Definitely a landmark track in the Beatles history.
@@kevanbrown7620 It was 1965 down here in Ft Lauderdale, my mom ran into a drug store to pick up a prescription and I stayed in the car and listened to the radio. "We've got the brand new one by The Beatles....this is called "Ticket To Ride" and I was spellbound. Already a guitar player and avid Beatles fan, I was blown away. 3 and half years later I was recording at EMI Studios and got to meet George and ask him about it. Life is strange!
@@TheAerovons That's an amazing story. Well done man. I play guitar aswell. Acoustic mostly. Thanks for that oceantracks. 👍
So glad you posted this, Lemon! When it came out, it was my favorite, and I've never had the heart to dislodge it from its pinnacle since. (Its stiffest competition is perhaps "Come Together" which Ringo told Stephen Colbert was his pick for having just one song on a desert island.) When you said "special kind of reverence" wow! So true! (Ditto Kevan!) And yes, Michael, it is truly magic -- that gently comes out of several left fields at once for a song that is perfect in ways you can't put your finger on, other to cite (rightly) how each of its elements is brilliant. Total agreement with all here. The cherry on top for me is how in the verse the 1st measure (?) is John, the 2nd John and Paul, the 3rd John and Paul, the 4th John, where he sings "is going away" and "when I was around" and it makes him sound so lonely and blaming himself stoically.
It's just incredible and amazing! What an amazing musician you are! I've always wanted to learn how to play guitar in the entire Beatles repertoire. But I couldn't, I didn't have the zeal! But I almost selectively play Beatles compositions from all albums, starting with Tony Sheridan. I wish you further creative success and especially health, and most importantly a peaceful sky over your head for all of us! Sincerely, a fan and a Beatleman from Russia! P.S. The Beatlove is the most authentic Beatles tribute band in Russia. Formed in Moscow in 2013, this band performs Beatles songs with attention to every musical detail and uses original vintage musical instruments and authentic costumes. Their performances can be viewed on RUclips.
You gotta love any Beatles song in which George plays his 12 string. Happy songs!
This probably feels like just one of John's "throwaway" break-up lyrics with a heavy, sick-arse instrumental, but, those boys were smarter than you think. For instance, what do we have a ticket for? What are we riding? Those sorts of questions.
I've heard a rumour it's about getting results back from a particular clinic. I like that one.
The one I always heard as a kid was that the song was called "Ticket To Ryde" (yes, the town on the Isle Of Wight), but someone made them change it, because nobody's ever heard of Ryde.
But my personal favourite (& I'm sure this crossed the Beatles minds at least once) has to be that it's about how a woman can ride a...well, I'm sure you get the picture.
As always, art be subjective. And that means some goddamn crazy (& hilarious) ideas.
Great video, man. Can't wait to see all of those pianos soon...
I think I'm gonna be sad
I think it's today, yeah
The girl that's driving me mad
Is going away
She's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care
She said that living with me
Is bringing her down yeah
For she would never be free
When I was around
She's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care
I don't know why she's ridin' so high
She ought to think twice
She ought to do right by me
Before she gets to saying goodbye
She ought to think twice,
She ought to do right by me
I think I'm gonna be sad
I think it's today yeah
The girl that's driving me mad
Is going away, yeah
She's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care
I don't know why she's ridin' so high
She ought to think twice
She ought to do right by me
Before she gets to saying goodbye
She ought to think twice
She ought to do right by me
She said that living with me
Is bringing her down, yeah
For she would never be free
When I was around
Ah, she's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care
My baby don't care, my baby don't care
My baby don't care, my baby don't care
My baby don't care, my baby don't care
Man this is insane I'm glad to see you're back and still spreading that Beatle magic, I remember way back seeing your video on breaking down I saw her standing there with your natural finished casino, it was a revelation because I thought you did a amazing job capturing that authentic Beatle nuance, it stuck with me. Keep up the amazing work man! (:
Lots of Snow. The same thing I thought in '65. Always something new for these guys! I believe it was the first heavy song they did. Doug
Благодарю за Ваш великолепный и кропотливый труд! Я обожаю такие видео- игра крупным планом каждого инструмента в отдельности, а тут ещё и Битлз! Вы гений!
I've been watching all your beatles videos. I'm in my 50s now, and back in the early 90s I went through a phase of trying to replicate instrumental beatles tracks using the limited gear I had (Hohner Arbor strat, Hondo II Rick copy, Lorenzo acoustic, Boss DR660 drum machine, Kawaii home keyboard with preset sounds, DX7ii synth, Moog Rogue, Yamaha REX50 multi FX, a few pedals, WEM copycat echo machine, Tascam 424(?) 4 track cassette...the one built like a tank with colourful knobs, filter sweep EQ, VU meters and 2X speed recording....a huge improvement over my previous Fostex X30 which felt more like a toy). Mastering to a chrome TDK SA90 cassette of course. And you better pray that tape survives.
Musicians don't know how good they got it today! A 4 track cassette machine cost a good few hundred quid BACK THEN. There wasn't really any music software. The good thing was awesome bits of vintage kit like my WEM tape echo and Moog which cost me 40 quid each, before that stuff became ridiculously sought after and pricey. With the old 4 tracks, you could record drum machine in mono on track 1, rhythm guitar on track 2, bass on track 3 then you'd have to bounce all that to track 4 (mono) , hoping the mix would end up OK because once bounced, the levels were set in stone. Now you can overwrite track 1 and 2 with whatever, and there is the availability of a bounce of 1 and 2 onto track 3. Whatever is on track 4 can now be panned wherever in the stereo field, and so can track 3. Tracks 1 and 2 are now available. No more bouncing. You got 2 tracks left. Even way back then in prehistory, these "portastudios" had stereo send/return for external FX. The limitations of 4 track, the only good thing about it was the challenge of working within these limitations. Also, little pleasures like the fantasy of living vicariously the life of Geoff Emerick or George Martin by eg; turning the cassette over so your music comes out backwards, plug guitar into track 1, start recording, then turn the cassette round again and voila - Tomorrow Never Knows. Now you master into stereo on a clunky old HI FI cassette deck. If you use a chrome cassette then the hiss won't be too bad..hopefully...
Now all you need to worry about is how long your tape survives before getting chewed up, or damaged some other way. You can copy that cassette by patching the cassette deck to another using phono cables. You'd have to make sure the second machine ran at exactly the same speed. And learn to enjoy hearing a constant white noise hissing which gets worse and worse with each successive "bounce".
I remember them days I do. Workin 36 hours a bloody day down the coal mines with nowt but a piece of coal to eat at the end of the day. Father used to come home from work and beat us to death every sodding night.
I bet nobody believes what I wrote about how we had to record demoes back in the 20th century 😂
It's great to see such a hard working guy devote so much time to making these amazing covers ! Mind blowingly good ! Ty !!
Thanks, Mark!
THE BEST "TICKET TO RIDE" COVER IN RUclips!! YOU REALLY DIG MICHAEL!!!
I really respect that you gave Maroon 5 props. I think their tribute was great and very accurate. And imagine the pressure of playing those songs live in front of Paul and Ringo!!
I'm not a Maroon 5 fan at all, and yep - they knocked it out of the park. I saved that special on my DVR for YEARS, solely for that performance.
A special song deserves special bonus content - vimeo.com/594292692.
Wow both covers are great!
@Nathan Geiling okay this made me smile
Best Cover yet on RUclips
When the vocal came in, I thought; 'hello, I know that voice!'
The backing you recorded fitted perfectly.
You did a great job. Really fab.
This drums were far more than on point, boi.🤙🏻
the sound of the bass is beautiful 💖
:::stands up…genuflects…raises up in massive applause::: Thank you…thank you…just fantastic! Cannot wait for the next recreation!
My pleasure! These are so much fun for me to make. Very stoked that other people get some enjoyment out of it too!
Excelente excelente me gusta mucho The Beatles soy de Venezuela y lo que hago siempre es escuchar esta maravillosidad
Gracias, Royman!
Bravo! So well done! Thanks for sharing your incredible talent.
Love the detail of the Marlboro's on the drum kit.
Dear Michael. Ever since I was 12 and learnt my first chord. Em, staying behind after school with the music room all to myself. Nylon strung in lap, strumming endless and vigorously, that Em felt vast and wide open and full of possibilities. Around the same time ('82) I got into Beatles and within two years I'd filled my Beatles score book with observations and corrections (a few of the songs were presented in the wrong key so I'd put the correct chord next to the incorrect one. And my observations were lists of instruments I thought I could hear. I already had the kind of ear that could go deep into the sonic sea, and was intrigued by a particular sound I could hear deep in the mix of Please Please Me. It was something thumping and grinding away at the root, in quavers, under the first line of the second verse when E changes briefly to A ( "...way love." ). It sounds like someone hitting their low string just a little too vigorously. It sounds like bass guitar going all Helter Skelter.
And for all my 40 years playing music and listening intensely to Beatles, I still to this day get surprises. Like finding out that what I thought was mellow Gretsch Duo Jet all over the first album, is in fact a plugged in Gibson J160E. A LOT of the songs on Please Please Me have no Gretsch nor Rickenbacker, yet the last thing this collection of songs feels like is an acoustic album.
This is a lovely performance of Ticket To Ride, Michael. That Strat in the mix, same like your If I Needed Someone, has a bright glassy jangle. Is that the Vox treble boost? It sounds like it's coming in from the Astral.
And that 12 string cloud burst thar permeates "...ri hi hide." in the chorus is something I never got around to clearing up and working out on the fret board. Good to see it pinned down at last!
Leads me to a request: please does anybody know the title of the book I leafed through in a bookshop a couple of years ago. It was a paperback that went into wonderful detailed information on what goes on in Beatles music. I particularly remember it saying that the Rickenbacker cloudburst in the chorus was a most interesting feature of the song, and a good paragraph or two going into deep analysis including some music theory, just for this mysterious little brush stroke courtesy of George Harrison. The book is a treasure for nerdy Beatles musicians like me. Like you, Michael :)
It ain't The Beatles Gear (2nd edition is the ONE) by A Babuick.
It ain't Revolution In The Head. That book is a lightweight read-while-sitting-on-the-toilet or "waiting for the bus" compared to this one I've forgotten the hecking title.
DOES ANYBODY KNOW THIS BOOK??
Absolutely stunning performance - and the special bonus content pretty much authenticates it. What a song! And it's nice to see another Classic Player 60's Sonic Blue Strat - older than mine by a few years!
"A fiendish thingy!"
Man, this sounds great!
Put a lot of effort into making this mix sound clear and crisp! Glad you like it!
Great song love the instruments thanks.
Most people never notice differences between live Beatle performances vs their recordings but having written many articles on the Beatles plus being a guitarist for 45+ years, I've noticed how tricky those guys were. For instance, as you noticed on Ticket to Ride, John changed up his guitar part for live versions meaning, in the studio, he was playing that A to D type triad (very mixed back), although, I'm still not sure if he's playing a regular open pos. D triad OR a Bm/A (no F#) substitution or a weird Asus with 6th & 9th tones all of which fit around that open D form. I found he could have also played his A triad in the 5th position then grabbed that D or Bm/A in the 7th position which is easier. Whichever inversion John used following the A, for live shows he simply played the open A major triad in 2nd position and even occasionally spiced it up with an A7:-) The major thing that hit me during live renditions, is during the chorus when the chords move from Bm to E to F#m then D where on the recording, John is playing a D7 but live he always played a regular D major but often added the Dsus2 meaning the little passing tone, F# to E note. John as an above-average rhythm guitarist who could also play a respectable second lead guitar as heard on many Beatles recordings.
The big problem for me, considering TTR uses such simple chord forms is how John's rhythm is very hard to really *isolate* during the verses under George's theme riff on the 12 string (during the A to D sequence). It's nearly drowned out so to my ear, at first, it sounds like plain vanilla A to D but whether due to harmonics or other studio anomalies, that D major seems to sound more like what I mentioned above, either the Bm/A or a hybrid type of Asus but yet, to be honest, none of them seem to hit the mark, or what I call the audible sweet spot🙂 John was notorious for changing one or two of his chord shapes during live versions of songs, i.e., in the studio version of "All My Loving", John always played his favorite open B7 following the chords, A F#m and D after sections like "remember I'll always be true" but on live versions, he always substituted the open B7 with a bar B major or actually B6 (hitting the Ab note) in the second position. He did the same thing during live versions of "I Wanna Hold Your Hand" where in the recording, in addition to the incredibly bizarre tone he's getting on his Rickenbacker (I wrote 3 pages on that mystery), he emphasizes a hard-driving open B7, especially on the root, 3rd & 7th tones but live, he'd only play a bar B7 up at the 7th position following a bar Em at the 7th position. I believe he did that for the sake of efficiency while singing (unless as Paul as suggested), the Fabs occasionally used different chord inversions during live shows to hide what they really did from observant guitar players in the audience:-) Either way, in the studio recording of IWHYH, John used an open Em and open B7 but as stated above, he switched those two chords to the 7th position when playing live which means they never sounded as effective. There is only one early video of the Fabs miming "Hand" where John plays the open Em and open B7. Throughout the Beatles catalog, John especially loved the open B7, it's in many songs and even McCartney used it on occasion.
Anyway, I've got to go but the subject of Beatles recordings and the nuances of different guitar parts, overdubs, added or superimposed keys which was one of Martin's fantastic tricks plus vocal variations, is an endless subject. A book published in 2015 that really delves into that type of esoterica is called "Hearing Aids to the Beatles: A Musician's Perspective Volume I". It really digs into vocals how many tracks, overdubs, and analyzes many guitar details. I know the author and he told me he (& his editor), need to correct a few errors, plus a few things that were accidentally left out and new information making the book an endless work in progress considering how many new details come up, especially from new re-mixed sets and outtakes. Vol. II is coming out soon according to him. www.amazon.com/dp/B017WVVEFO/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1 I had the privilege of seeing the Beatles live in 1966 and it was an experience I'll never forget. considering they had to deal with screaming & no foldback monitors, they still pulled off complex harmonies on tunes like "Nowhere Man" and "If I Needed Someone" or "Day Tripper" etc. They sounded great running those 100W Vox amps, it was powerful and we were only about 65 feet away. The tickets were only FIVE bucks! I also saw other legends like Cream in 1968 (where a 23 yr old Clapton changed my guitar life blasting us with his Gibson SG "Fool" through a dual Marshall stack, it was beyond visceral & incendiary), The Band, Procol Harum, Hendrix, Jeff Beck (with an unknown singer named Rod Stewart), The Allman Brothers, Blind Faith, Derek & the Dominoes, McLaughlin's Mahavishnu orchestera and a plethora of great jazz artists like Chick Corea, Oscar Peterson, Pat Martino, Joe Pass & Keith Jarret & Geoge Benson etc. Those WERE the days!:-)
You may already know of...but if not - Alan Pollack's analysis of every Beatles song, including Harrison's. Dude is a very fine writer period... in addition to having the best ears in the "Beatles interpretative sweepstakes."
To use but one example - since above, you've pretty much spelled it out...to use one song, I'll Follow The Song, solid song if not a masterpiece... John's intro (which just about everyone gets wrong) was obviously an 'ear-worm' that stayed in Pauls' head for years and turned into a major part of the structure of Band On The Run. Also, I'd always assumed there was a Hohner Pianet or the like on the intro. I was certain there was a keyboard - but it's the warmth of George's Gretsch also playing the intro. There's also a 3-note turn around in the song, and it seems as if Bowie/Ronson heard it and 'completed' it, for the intro to Rebel, Rebel.
The Beatles sounds are in the world's ears, I guess I can say - with awful syntax!
@@Allan-et5ig To be honest (which is a joke phrase in actuality), Pollack's Beatle reviews are more in the realm of musicological details then straight analysis by observing the individual instruments, vocals and other nuances from a musician's perspective. What Pollack got dead wrong among others is how he *missed* the addition of George Martin's stealth, Hammond RT-3 organ used on "I Wanna Hold Your Hand" to bolster & thicken John's strong, Rickenbacker guitar track. The keys make their entrance at around 8 seconds into the recording just as they sing "Oh yeah I'll" and from that point on, the merging of Martin's low register keys with John's low root/5th combinations during the verses creates a visceral wall of sound that makes the recording extremely powerful thus, creating an effect they could never duplicate live although 95% of people listening wouldn't know the difference. I once emailed Sir George while he was alive re the organ and he admitted, that although it was a long time ago, he thought there were "probably keys in the recording". Just as Martin added keys to the opening, strident chord and guitar solo of "Hard Days Night" or the keys in "Money", "Misery" or the with the guitar solo in "Any Time at All', Martin was a master of adding keys in areas to strengthen their recordings. He also dubbed the Hammond organ o to "I Wanna Be Your Man" just a week before the Fabs recorded IWTHYH which was probably the genesis of the idea. Pollack's writing's are interesting but he misses details due to not being in bands or not seeing that many bands in a recording studio. Pollack is mostly assuming what we call the basic "Beatles dance band format" meaning, he's always assuming its just John on rhythm guitar, George on lead guitar, Paul on bass and Ringo on drums were in reality, even early on, they were playing musical chairs.
John played lead guitar as early as "Twist Shout" as part of a dual guitar solo with George, or his solo in "You Can't Do That" or the first guitar solo in "Long Tall Sally" and again, the guitar solo in "Matchbox". Paul's first entrance on electric guitar occurred for "Ticket to Ride" and so forth and in later years, both John & George took turns on the Fender 6 string bass. During Rubber Soul, Paul started playing even more lead guitar on tunes like "Drive My Car" and the wild riff breaks during "I'm Looking Through You" which featured John's great intro on his Gibson J-160E flattop guitar. Pollack also occasionally misses on WHO sang a particular vocal or whether it was double tracked or a combination of John & Paul doing their patented "unison" lead vocals on tunes such as "IWHTHY", "Thank you Girl", "From Me to You", "Misery", "Little Child:", "I'll Get You", and "Eight Days a Week" among the many where J&P sang in unison lead vocals plus split harmonies during the refrains or choruses. Many Beatle writers miss that and think its one of them double tracked which tells me that many do NOT have a particularly acute ear😃 The bottom line is, Beatles recordings almost always far more complex than people realize and studying their recordings can provide an endless form of discovery. Those tricky Fabs will keep music analysts busy for years to come🙂
Even the change in the drumpattern in verse 3 is there!
I’d really like to see This Boy if you haven’t done it already, that would be awesome.
Oh that's certainly on my list of songs to hit one day. Dueling J-160E's and brushes!
Good choice. The Beatles had some amazing b-sides. This Boy, She's A Woman, Rain, I am the Walrus, Don't Let Me Down.
@@MichaelSokil that would sound great!
Absolutely class no one has ever done this before got the Beatles sound absolutely perfect well done lads
Aside from the brilliant performances, the accuracy is so good. Was thinking the casino was too early for 65 but then remembered Paul played the solo and was first to get a Casino(64?) !
Omg, that’s an incredible recreation
The master strikes again (and hits it out of the park)!
Hell yea!
Very kind! This one was so much damn fun.
@@joestarr05 Very kind!
Amazing reproduction! and with the added vocals in the special bonus content, it really sounds like the original single. We like how meticulous you are in your reproduction, you notice all the little details and riffs they add they normally would just be a passing glance for any listener, but it definitely completes the music. I don't even know how you come up with the time to make these reproductions, considering you're busy with your job and whatnot. Kudos!
Evenings and weekends, haha. I also record in batches. I did the guitars for 5 songs in one weekend 3 weeks ago. Been slowly adding drums and bass ever since.
I'm loving these covers/recreations - been doing vocal warmups to them :)
So good. you even mimicked Ringo's somewhat late 4 beat fill spot on.
Brilliant. Also one of my personal favourites. Just a classic Beatles track. Thanks for playing it. 👍
Me puse a cantar sobre esta pista ... Es genial ...
I seriously can't get enough listens. Sometimes I have to remind myself that it's not actually John, Paul, George and Ringo in the studio nor is it an actor miming the parts. It is what it is as we say here in the UK. Their guitar parts were just so ridiculously cool. And the way they were pieced together.
Brilliant. I wish they'd recorded a lot more like this.
Absolutely phenomenal
Another nail. Just perfect.
Nailed it as always. Thanks for the video!
You're so welcome, Ignacio!
Great!! You are a master!!! Please repost your Beatles songs lessons! You inspire musicians to improve their skill and find motivation!! I really appreciate your music, and competence!! Well done!!!👍
Thanks, Enrico! I'm considering doing some longer, intensive videos with lessons for a handful of favorite tracks. Unsure when or if this will happen. Stay tuned!
As if it wasnt enough you make it feel like its all too easy
I know most of the magic of George's guitar sound is in the Rick, and you get a great sound as well. However, listening to the record that opening riff is even crisper than yours. How do you think they did that? George into a pre-amp -> REDD -> Fairchild? What a sound on that Rick!
My next trip to England, I plan to stand on the dock at South Hapmton, and buy a ticket to Ryde, isle of Wight.
Great job!!!! Your work it's fantastic!!! Keep going please🙏🙏🙏
Dude! You're back!! I literally just looked up your old username and discovered your new channel. Now time to binge your Beatles stuff and glad to see you back man!
Very nice sonic Strat
Isn't she pretty?
I really like your guitars and the cover with it!
I really like ketchup, so it's mutual!
@@MichaelSokil where did you get your guitars from?
@@realketchup6563 A variety of sources! Combination of guitar shows, Musician's Friend, Reverb.com, Ebay...
I want that sonic blue strat so bad!! 😭
Yes and can you shed any light on why Lennon might have wanted to use it in preference to his 325 or even J160E. (Other than it being his new guitar)
@@chrisst8922 One can only guess, but yes he wanted to play the Strat because it was new and also it gave a different tone than anything they had used previously. They were constantly looking for a different sound, even small changes such as the unique sound of the Strat compared to their other guitars. Even back in 1965, when I heard this I knew a different guitar was being used. Did not know what it was yet.
This was the most affordable of my gear purchases - less than $700. Just gotta keep looking!
@@chrisst8922 The Beatles fell hard for new gear and loved using a new piece of equipment a ton after its arrival. Best examples are George using the Rick 12 all over "A Hard Day's Night," and the Pianet all over "Help!" John definitely had a Strat phase in 1965. It's all over "Help!" - "Ticket To Ride," "You're Gonna Lose That Girl," "Tell Me What You See," then Rubber Soul ("If I Needed Someone", maybe "You Won't See Me"). In "Beatles Gear," you can read that John even rehearsed for a late 1965 tour with a black Strat, which would've been something else!
@@MichaelSokil Thank you. Serious question now please.
What's the attraction of the Stratocaster in comparison with the Rickenbacker? I've seen most of my heroes start with Rick and move on, often to a Fender product. Lennon, Harrison, Fogerty, Weller, Marr. Only two have stood firm; Roger McGuinn, he's got a niche of course and Susanna Hoffs, there's an emotional attachment. But what do you think please Mike? You're not swayed by playability, you're the master of those so called unplayable instruments.
I like to listen to study the base part ! Thanks
I have the same Classic Player’s Strat! Does it ever bother you that the Sonic Blue ALWAYS looks like a different color? Some lights it will look more white than blue and other lights it will definitely be Sonic Blue. I debate if I like it or if it drives me crazy.
YES it absolutely does drive me crazy. I discarded otherwise great footage because it looked totally white in certain light.
@@MichaelSokil Did you color correct this footage? The blue in the video is beautiful! Fantastic video by the way, I subscribed!
Oh my god! HE’S BACK!!!
Michael, at the coda section "My baby don't care" listen again closely on the record or rock band tracks, John continues to play A - D in double time....all through the fade out...
yep you're right! great catch!
🙋 Love Beatles 🐞🐞🐞🐞 💝
love you Michael 💖
very nice
Thanks, dude! Put a lot of love into this one (you can tell by the 7-8 camera angles on the guitars alone).
Amazing Mike! Keep them coming!
I certainly will! "It's Only Love" is coming up next (no clue when though...gotta learn it first).
@@MichaelSokil I love that song, I think John himself said it sucked or something like that, but it's a great song as far as I'm concerned.
Best cover ever!!!!
great
Very well done
Thanks, Oliver!
awesome! congrats!
Great work!
Thanks, Ethan!
Great!
Thanks, bud!
Wow! Awesome ❤️
Thanks, Joachim!
Great like always
High praise!
@@MichaelSokil you're welcome michael, any deconstruction request?
@@DLD2Music Not sure if this is possible, but I'd love to hear the "Yesterday" string part isolated! The only ones I see seem to be faux/fake recreations.
@@MichaelSokil Pass me your mail
i love all your videos man, but this one is perfect! you were careful to play the A-sharp on the bass in the "my baby dont care" part, exactly as paul recorded it, great! (not being ironic)
It's nice to be rich to be able to afford all these very expensive instruments. You are also lucky to live in a time when there is the internet and these instruments are available. I am 70. When I was growing up, there was no knowledge of these instruments, no internet, no Google, no ebay, no Amazon, nothing but your local music store. And they knew nothing about Beatles instruments.
love these!
Excellent my friend
seems you also have the speed varied as on the origjnal recording that is not exactly in A
素晴らしい！！！
Good shew Michael!
You´re awesome!
Wow!
Thanks, Don! Glad you liked it!
@@MichaelSokil I'm blown away by everything you do. I'm running out of words.
damn! sounds *good*
What other group would take the time to add a couple of extra notes from the Casino such as at 0:53 in the video, or an added few notes from the Strat, such as at 1:29? None. The song was fine, wonderful, great, and better than anyone else without those very small touches, but that's why no one else sounded as complete as the Beatles.
Nice catch, Michael, in picking up on those and including them. I thought you missed the handclaps at the beginning of each chorus because I did not see them pictured in the video. But you got 'em.
Los Beatles tan geniales!!!
I thought the guitar on the right channel was a little 'loud'...and the drums needed more presence. Otherwise, a beautiful cover! Great job! :)
more presence?
@@MichaelSokil Naw - I just listened to it again. Ya did a really good job on this. Don't mind me. Don't change a thing.
Never noticed the volume swells on this song.
Good job, Michael, as always. But why the A-D alternating in the versus when John on live performances ever played only A? The "D" sound couldn't be a 12string armonic effect?
How about the pack of smokes, Marlborough on the drum skin. I know smeking isn't cool, but I thought the placement of the cigs was.
Ludwig drums, ok, and haven't you forgotten to mention Marlboro cigarettes on the snare drum? ;-)
OMG!
I feel a 12 string coming soon
I already own two (electric and acoustic), so this must mean you're looking at getting one, yes? Go for it!
Actually. It’s only love. And you got to hide your love away must be queued up. Can’t wait
@@Gogiants929 Oh gotcha, my bad. Yep, already done the acoustics on "It's Only Love." Planning a special treat for "You've Got To Hide Your Love Away"...
@@Gogiants929Two great Lennon tracks from the Help album. Definitely.👍
Me and my brother saved up for a long time to buy a brilliant acoustic 12 stringer many years ago. The difference in the sound just blew us away. It was strange at first having to play, say a D chord and hold 6 strings instead of 3. It was special, but we had to sell it sometime after as we had both been laid off from work, with other people aswell. I've always regretted it ever since. I have a six string acoustic, and my brother has an electric and acoustic, but we both still regret selling that 12 string.
I never realised the rhythm part goes A-Bm. Does that mean the verse is poly chordal..?
BUSTED!
That was Paul playing a Fender Broadcaster on lead. (the single-pickup Tele)
TTR is the first McCartney lead in the Beatles' catalogue.
Sorry, the rest is in fact lovely.
Hi! No, it was Paul on his Epiphone Casino. Not sure what you mean by "Fender Broadcaster" - maybe the Fender Esquire Paul played on Pepper? FYI, that guitar wasn't seen in the studio until 1967. You might want to read "Beatles Gear" by Andy Babuik.
I think the key to the drum sound is the Marlboro pack on the snare!
You even switched up the syncopated drum patter after the bridge which Ringo does. He lost that amazing pattern but still driving the bus!
Nice job!
Have you recorded You Can't Do That?
Myself and my best friend, Terry Hogan, played this for our 5th grade talent show on our Teisco japanese guitars. I'd say your version is a tiny bit better!
did you win?!?
@@MichaelSokil Lol, if by win you mean not given the "hook", yes!
@@mikefranklin3528 Im sure you'll have more good memories of doing that though !
@@marksimpson2321 Mark, here's what I remember from almost 60 years ago. Terry, who was playing the melody, totally screwed up a large part. I gave him a look of distain and we finished the song. The whole school talked about my dirty look and no one noticed Terry's screw up. The important thing was, we still impressed the girls.
@@mikefranklin3528 that's absolutely the most important thing, yes.
At 1:10, on the Rickenbacker, you seem to be fretting the d7 chord (i.e. X5405X), but somehow you're getting a super D-Dbm sound as per the 1st (high E) string though I can't how you are generating this in the video clip. Is this an overdub not shown. I would love to know how you achieve this! Many thanks for a great deconstruction here.
Yep, I'm fingering that D7 shape but using my pointer finger to hit that F on the D string. If you look closely, you can see my fingers moving to play the riff!
@@MichaelSokil Ace! Thanks so much for the clarification. Great channel!
George's bridge part sounds basically like the main riff of You Can't Do That
Wow!! Amazing!! Who is playing those single notes during the verses?? The way it looks from your re-construction, it is George (an overdub). Thanks for your great work!!
Yea, George plays the jangly kinda arpeggio notes....from the introduction all the way through, while John drives the rhythm...something he was just the best at. Best rhythm guitarist ever imho.
Goode
Thanks!