Amy, your sensitivity when analyzing songs is admirable. You are giving me an incredible journey reacting to my favorite bands. You are an enlightened human being. I love your work.
This is a really great analysis. Possibly your best yet Amy. I've listened to it 1000s of times but you've thrown new light on aspects of You Won't See Me.
The rest of them all said Paul was a workaholic, but as much as it drove them a little crazy, they all eventually gave him credit for pushing them on to what they all accomplished
Rubber Soul, as a whole, in my humble opinion, is the Beatles most underrated masterpiece. It was a milestone in their maturation as a band. To me, it's like with Rubber Soul, they moved from ordinary greatness to an unsurpassed upward trajectory. It's like everything they did before was done by a completely different band.
This is probably my favourite underrated Beatles tune, its great to play on the guitar. All the layers and parts tessellate like a piece of marquetry. R.E. the lyrics.. I had a point in my life where I was breaking up with a girl.. this song was on my mind for the duration.
As the Beatles improved, so did Paul as a bass player. He's acknowledged that his main influence, at that time, was James Jamerson, a jazz musician who was a memeber of the in-house band at Motown Records.
Thank you for this awesome reaction ... again👌 I love when you use the piano to explain things. And the picture of "walking on stilts" is so striking, so well suited. I would never have thought of that before. And now I'm looking forward to your next Beatles reaction ... I know which song it will be 😉 the one that follows this on the album, a real masterpiece 🤞😃
Great video! LOVE the chromatic voice leading in this song, which is sometimes my favorite Beatles song (despite the suboptimal lyrics, as you mention). How clever to have several chords in a row that allow the A to stay on the same pitch while the other line goes down chromatically! You can see the drone vs the chromatic line more clearly in the guitar part in the live version, on RUclips as "You Won't See Me (live 2016)"
This analysis is wonderful on several levels. Being open to the meaning and the invention in the music whilst parsing the content in fine details is very impressive. It also shows how far The Beatles progressed popular music - and this is only mid-period Beatles!
@@jnagarya519Even if that were true, it wouldn’t preclude the songwriting from being a work of genius. The certainty with which people assert what songs that they didn’t write are “about” is really quite astonishing. Until I hear Paul McCartney himself say “this is a song I wrote to manipulate my then girlfriend into being a ‘house frau’”, I’ll take such opinions with a grain of salt.
@@fromchomleystreet If we don't understand a thing, but we approve it, let's throw the word "genius" at it, as if we are qualified to assess who is and isn't "genius". And I agree with your second point. But Paul has had decades to refute it; so I treat his silence on the point as assent. Perhaps his volume of song lyrics, in which he details his recent recollections about their origins, includes either affirmation or rebuttal.
@@jnagarya519 You could treat his silence as a token of gentlemanship as well, couldn't you? LOL After all, why would he comment on it years or decades after their split, while he and Jane were married to other partners? Oh, and Paul is a genius, anyway.
@@maricaro8315 What silence? If you follow the theme in his "bitchy" songs of that period, it's transparently obvious that he was demanding that she conform to his wishes -- while he was having affairs all over the place -- which is a bizarre notion of "gentlemanship". And Paul's lyrics tend more than 90 per cent of the time to be shallow. Sure, pretty, but not substantive in ideas. And I am beyond the -- frankly -- stupidity of non-geniuses nonetheless slinging the word "genius" at anything that is actually beyond their comprehension -- any manifestation of the creative process -- because they have no skills in critical analysis. Get over yourself: emotional gushing based on the falsehood that music is "all subjective" is not analysis.
As a kid back in the 70s, before I could afford albums, I listened to two FM stations in Boston to hear deeper Beatles cuts--WBCN and WBZ-FM. This is one of the songs that I appreciated so much because it wasn't heard very often. Thanks for the analysis!
This was my favorite song for years. The complexity of the different vocal lines, each with a harmony within itself, is just so interesting and pleasing. Especially at the conclusion of the bridge, 'if I knew what I was missing..." Appreciate your breakdown. I was only 12 when this was released, but I knew it was great even though I couldn't articulate why.
In Paul's defense, and also John's, about their "traditional" views on romance as expressed in their early to mid works, Well they were quite young guys. Women's lib wasn't thing. In any event, they moved with the times as social change got underway in the mid 60's. John and Yoko were quite unconventional. Linda, Paul's wife was his constant companion and played in the band, Wings. Paul wanted Linda to tour with him and trained her so they could be together. I think that was the main problem with Jane Asher, that they would both have careers that would take them to different places and they'd never be together . My feeling is that Paul had considered this problem and that is why he made Linda a part of the Band so she would be a part of his world. They raised the kids together on the road!
Amy, "Rubber Soul" is one of the greatest albums ever and my Beatles favorite. You honestly need to listen and react to every song on side -1 and you'll see why. Thank you for all of your amazing reactions.
I try to resist but I can't pass a video like this without pointing out once again that this album contains both You Won't See Me and I'm Looking Through You: both Paul; both assumed to be inspired by his relationship with Jane Asher. They didn't need relationship counselling; they needed an optician. For all of her resistance to Paul's old-fashioned male chauvinism, Jane Asher ended up being most famous for her cake baking.
Hello Amy, not sure whether anyone else has already pointed this out, but this was actually your 50th Beatles reaction, as you appear to have counted both "I've Just Seen a Face" and "Yesterday" as number 45. Good luck with the rest of the series.
Una de las canciones más preciosas que hicieron los Beatles, con una melodía en cadencia sincopada, donde brilla maravillosa la voz de Paul en doble grabación, la instrumentación en una forma ya propiamente psicodélica... Me encanta que Amy se haya dado cuenta de lo interesante que es...Gracias.
If I didn't know the circumstances, I could interpret the lyrics as referring to any disappointment/disillusionment in a relationship and I could then appreciate the delightful play on "You won't see me"--you refuse to see me and I won't be around for you to see. As Amy points out, the contrapuntal chromatics reflect the "you go your way and I'll go mine" message; words and music are perfectly to each other.
This may be one case in which reading the background material is not a net positive, as it can color one's interpretation of the lyrics. It may have been better to go in without so much information that pushes the interpretation one way or another (to start the process "more virgin", so to speak). These lyrics bring to mind disappointment and can even seem a bit needy, but it's only when the real-life relationship of Paul and Jane (with his possibly trying to control her) is layered on the top, that the lyrics seem a bit more obnoxious.
I've loved this song since I bought the album soon after it came out, so it's wonderful to hear someone from the present day echoing my enthusiasm. You picked up on many of the key features - the compelling bass, the steady build-up of anticipation, the gradual expansion of the backing harmonies (and counterpoint!). I particularly appreciate your enjoyment of the climax on E major at the end of the bridge passage. The Beatles often used this device in their early and middle music - they pitched everything towards a wonderful dominant seventh at the end of the bridge. Have you noticed that in this particular song, the dominant seventh (i.e. of the root key) only occurs twice in the entire piece? Unusually, everywhere else the song more or less sticks to tonic, fourth (major and minor) and major second. It gives that climax even more explosive force. My only disappointment is that you pay so little attention to the lyrics! What you say about Paul McCartney's attitude to women back in the day may be true (I wouldn't know), but I don't think one can detect anything like that from the words of this song. To me it's just a poignant expression of regret at a collapsing relationship. But that aside, thanks for being so interested and enthusiastic!
It wasn't about He/She, who's career mattered the most. It was about him being in the biggest act in the world. And as you say, the Beatles were constantly working; touring, TV, movies, promos, interviews, recording.... When he finally got some free time, she was out making movies/TV shows. There was nothing dated about Paul's attitude. Nothing like the Beatles had ever existed before.
Yeah -- that explains how it happened that she came home unexpected and found him in their bed in her family home with another woman. He would not have tolerated her being in bed with another man. Yes: it was about his career mattering, and her being available at his beck and call.
@@debjorgo So his career was of paramount importance, but in his view hers was not because was constantly "reasons"? Except when he was sleeping with every available female? "The Beatles" were MALE CHAUVINISTS. George traded Patti to Clapton for Clapton's help in getting her sister in bed. George had an affair with Ringo's wife. Members of "The Beach Boys" slept with all the wives of the other members. MALE CHAUVINISM.
@@jnagarya519 I don't know anything about him cheating on her in her home. I'm sure Paul was no angel. I would just think a guy working as hard as Paul was in '64 - '68, would need a woman who could share his free time. It was unfortunate that Jane was not the one.
@@debjorgo Paul somehow managed to move into and live in the Asher home. He was sleeping with Jane. And she came home unannounced from a performance tour and found him in their bed with another woman. Imagine that: cheating on one's "fiance" in HER FAMILY'S home in the bed they shared. So, as said, Paul expected her to give up her career -- because HE was "working so hard [and getting laid all over the place]" -- and basically do nothing but sit and wait for him to show up when he wanted sex with her. It was fortunate for Jane that she discovered what he was and refused to be used by him. Stop the "Paul is God" self-deceit.
Amy, if you think these lyrics are dated, just wait until you get to Run For Your Life. It's the last song on this album. It was written by John, who later in life regretted writing it!! Stay safe 🤘 ✌️
I hope that one day you'll analyse 'God Only Knows' by the Beach Boys, just because Paul said many times it is the most beautiful song ever written (and I agree with him) - and if Paul, the greatest songwriter of the last century, said so... well, it's worth taking a listen to it! I'm sure Amy will love it too 🙂
I never paid attention to the lyrics and didn't know the context. But I love counterpoint and bass lines that make their own melodic sense (not just filling in the dots). I've always admired Paul McCartney's playing from those points of view. Perhaps he was maturing musically at this stage, bur still had some way to go on the emotional level. It's great that you can put your finger in all of this in just one song. I wonder what Paul would make of your analysis now he is in his 80s?
Since you are covering "Rubber Soul", I am hoping you will eventually cover "Pet Sounds" by The Beach Boys, which was Brian Wilson's attempt to keep up with The Beatles.
See _Revolution in the Head: The Beatles' Records and the Sixties_ (Chicago, IL: Chicago Review Press, An A Capella Book, Third Edition, 2007), by Ian MacDonald. And also his _The People's Music_ covering more of the music of the era.
i never noticed the relation between the piano and the harmony, good job. i also like this song because it's so fun and has an upbeat feeling. you have been always mentioning the 50th in this journey, i bet you'll like that one, it's a similar song like this one with better lyrics imo. you may will be listening to one more song about jane asher in the future, that one is very rocky, i like it so much so hope the man wouldn't jump that one haha. and run for your life is also this fun type actually though with even worse lyrics haha, but i hope you won't jump, i want musical analysis like this from amy
Poor Paul. Amy you are once again taking Jane Asher's side in their relationship difficulties, as you did in "We Can Work It Out."😉 I agree though that at least Paul's relationship problem songs don't have the bitterness you find in John's. I guess we can blame Dylan's influence on John's way of expressing himself. Just remember though that the bass playing you often admire in these Beatles songs is Paul, so he can't be all bad.😉 Perhaps this is why you refer to "Ringo's" drums, but it is always just "the" bass, never "Paul's" bass.😉 Hopefully my excessive use of "wink" emojis shows I speak in jest. I am really glad you enjoyed and appreciated this so much (despite the lyrics), with your usual great observations and music lessons. Ooh, la, la.
@@celt67 Lol, yeah for sure. If she thought John was going to the extreme when he burnt down her house in Norwegian Wood, wait until she gets to this one.
In object terms Paul was the ass, insisting his view of the relationship be obeyed. There is no evidence that she was attempting to dictate that her terms govern. Meanwhile, he was having countless affairs outside the relationship, but would never have tolerated her having them. It amazes how Paul could do no wrong. And that John's "bitterness" was not John's but someone else's "fault" -- in this instance Dylan's. In fact, John had a traumatic and confused childhood, which resulted in his "issues". He was also especially perceptive, as in the song "Girl": "Was she told when she was young that fame would lead to pleasure, Did she understand it when they said: That a man must break his back to earn his day of leisure, Will she understand it when he's dead?" It was another five years before women, as the women's movement, began critiquing women's traditional sex role. And that was based on the blind view that men's traditional role was all roses and unicorns. Try on the oppression of being male and subject to the draft during wartime.
@@heero17v83 Apparently the beginning lines to which there are objections were from an Elvis song. So I guess we can pillory Elvis too. I think the reaction to the lyrics is essentially nonsense. "Catch you with another man/That's the end" -- of the relationship? Why assume one's inference is instead literally in the actual lyric?
I really appreciate this reaction and the focus on chromaticism and counterpoint. This song is a great example of how Paul can create an ear worm for the listener without them realizing how much is going on in the music. I was running through this song in my head today at work, figuring this might be the next one you'd react to. That this was put together in a recording session, with the harmony parts that were worked out, well, I'll say it, it's just not fair to every other band out there.
Hi Amy. I really enjoy your analyses and your personality. Of course I'm a huge Beatles fan. Can you tell where you get the music transcriptions of the songs you review. Thank you so much and keep it up.
Anne Murray's cover in the early 70s was really big, bigger than the original. John Lennon went backstage at an Anne Murray concert to tell her it was his favorite Beatles cover.
That's one of those songs I heard the cover long before the original. I heard Anne Murray's version from top 40 in 1974, but it was 1981 on a Beatles Weekend (a top 40 FM station flipping to album rock) when I heard the Beatles did it first.
Though John started the band, Paul was the driving force keeping the band working and together untill they finally disolved the band. Seeing this woman comment on a group I grew up with is a trip. She could be the dictionary picture of the word prude. Hmm. The Beatles wrote a song about her called Dear Prudence... Or perhaps it was Eleanor Rigby. Her affected , clipped, English combined with that hairdo! Priceless!
Right Amy. I've always thought the genius in this song is that osstinato in the note of A through the whole piece, and everything revolves around that note, it's presence, it's absence, it's emphasis, it's getting too close to disonance... You can play A through the whole song
Maybe a bit traditionalist, but he's a Beatle and she's an actress. With those schedules, they might be able to be in the same town for one day out of the year. I really don't think Paul was anti-modern or sexist by any stretch! He's not telling her to stay in the kitchen.
You can call then Paul traditionalist in just relationship department but he changed his mindset after his relationship with Jane Asher and his upcoming wife Linda McCartney will work with him on the road often. Edit: You have to keep in mind that, at that moment he was just a kid only 23 years old. So, young blood had so much to learn and he actually learned. He had a very successful marriage with his wife too, which is unique in ultra celebs.
"If you want to know your thought 5 years ago then look at your reality now, and if you want to know how your reality is going to be 5 years from now, then look at your thought now" Deepak Chopra ( a quote from Hypnosis book ) Through The Barricades by Spandau Ballet. At the end of this song there is the sound of marching percussion as Mrs. Shafer explained. Thank's.
In tonal music, anytime a note from outside the established key is played, even if it’s only once, it’s an instance of chromaticism, because you’re stepping outside of whatever scale you’re in (eg the diatonic scale) and into the wider world of the chromatic scale of which every other scale (in standard western music) is a subset. The quality we recognise as chromatic is most noticeable and distinctive when you go up or down the chromatic scale, as in this song, but that isn’t necessary for a piece of music to be described as incorporating chromaticism. Most Beatles songs include chromaticism somewhere.
When Queen went to the record company with Bohemian Rhapsody there was still a reluctance to release it because it was over 3 minutes long at 6 minutes. That was close to ten years later than Rubber Soul.
@@dago87able Not to mention Dylan's Like a Rolling Stone, which they split into two 3-minute sides of the single. It was Dylan who pushed the longer song length.
I really don't see the sexism here. He's saying he's in tears because he can't get to see her. It is a quarrel about trying to make a basically long-distance relationship work. Knee-jerk Feminism is offensive--it's like trying to find the Waldo on every page--even books that don't have any Waldos.
Yeah, I don't buy that sexist line either. It's a guy who's frustrated as hell wondering how he's going to get through to his girlfriend. I suppose "act your age" is a trigger? Well, he's unhappy and can't understand her. Nothing sexist in venting and trying to get through to someone. And in what I know of their relationship I've always sided with Jane Ashur.
@@michaelwalsh2498Yeah, I thought the same thing about the "act your age" line, but that's the tension between fighting and crying that you would expect to see in a lover's quarrel song.
@zzzaphod8507 Prince: "act your age, not your shoe size, maybe we could do the twirl..." It's fine. Don't simp on vacuous and disingenuous guilt trips!
Having listened to your technical explanation that the effects of all these instruments and voices created, do you think the Beatles were aware of this, or do you think they merely employed their musical genius and talent to create a sound they liked… and that the technical explanation validated their genius?
Where most pop album releases of the time had virtually unlistenable "filler", the least songs on this Beatles' album (most of them, actually) could have been standalone hits. I'm happy to hear your analysis, as you demonstrate how much musical intelligence pours forth in even the "minor" album songs. You have a stunning one upcoming!
What's the problem with the lyrics? The Beatles used words as a stop gap to fill the musical spaces; but beyond that, what is the issue that causes the 'different era' or "100 years ago' comments? I suppose I know the answer.
I know little about the structure of music. I learn a lot from your videos, if I can remember the information. Sometimes I think it's better not to know why a song was written. I had no idea of the background. It's well written and people can apply it to situations in their own lives (more worthy of the attitude 😁).. But knowing the origin kills that. After a song has been in your life a long time, hearing what the lyricist meant isn't as likely to kill enjoyment. We've had years of putting our own view on it.
I agree, and I don't believe the origin of a song is what it is 'about'. Things in life suggest ideas to you, but what you make of them stands alone as an artistic creation with its own meaning.
I love Ringo Starr for the character, quirkiness, and tastefulness of his drumming. But anybody who describes Ringo as “the human metronome”, or otherwise declares Ringo Starr to be an unerring master of precise time-keeping has presumably never heard this song. That last verse sounds like a wind-up toy winding down. Cue the people claiming it to be an “artistic choice”. Aaaaaad go!
Doesn’t a “cross relation” denote a the relationship between two notes that are sounding simultaneously? What you’re describing there is just chromaticism, but the harmony at any given point is still highly consonant.
All that stuff about what the song is “about”, that ascribes to him some attitude re women with careers, is just speculative bullshit from people who can’t conceive of the “I” in a song lyric being anything other than a literal self-portrait of the writer, and the situations described in the song bearing anything less than a one-to-one correlation to something that must have been happening at the time to the writer. More importantly, none of it is inherently present in the lyrics as they actually manifested, even if the speculation about their inspiration is correct. It should be treated with the degree of seriousness it deserves: absolutely none.
"Not to mention" is one of those irrationalities -- invariably followed by mention of that which is declared not to be mentioned. The other is: "It goes without saying," invariably followed by saying that which is said to go without saying.
@@9211goat If you'd LISTENED to the video you'd have heard Amy use the phrase, "Not to mention". As an educated person with healthy critical faculties, and as a professional writer, I point to those two phrases, in constant use, because they MAKE NO SENSE.
@@jnagarya519 Gee, I didn't mean to step on your tail! As an educated person, you should know that one can listen to something and not necessarily HEAR the same thing as another listener. In other words, while you were judging Amy (a non-native English speaker, I think) on her use of a phrase, I was listening to her talk about the song. Also, remember: she may not even read your comment. Thus it is we, the listeners (viewers) who see your comment, which seemed to come from out of left field. Know what I mean?
@@9211goat Amy was born in the US, and is apparently from and in Tennessee. I listen to what people say so that I can respond to what they say, not to what I imagine they say. If a person says, "Not to mention," and one is listening, then one hears, "Not to mention",
"Pop rock" was a label that started at the end or just after the Beatles era. So was the term "Bubblgum Rock." Jesus Lord, everybody wants to label things to the point of making my stomach turn. Many now dismiss the Beatles early mujsic as in consequential by labeling it pop rock or "Boy band." How convenient for them to find a way to dismiss musical history of any kind as inconsequential to their musical prefereneces, carefully trained bythe subcultural and media exposures they grow up with [assuming these people really grow up...]. But when the Beatles were new, rather than a historical study, their music was just plain phenomenal rock and roll and variety, hust as the music that came before them. Many of the masses who did NOT live in the era don't understand that. They don't want to, they are afraid to take the time and effort. That includes what we call "Classical music, "and as you know even that generic term is a false generic term to include severeral musical eras/styles of the past. Same for the generic term "Jazz." Labels are abound and plentiful today including historically mislabling music out of modern musical preferential convenience, and often modern critics label past music with the hackneyed term "Old School." Ya know WHAT? I'm 68 and when I went to school it was NEW! I can't wait for the young to one day be labeled "Old School" by their children and and grandchildren, so l hopeafter I am gone I will be somewhere laughing my head off at them, and I was a music teacher.
Not a favorite of mine (Paul's vocal is a bit shaky, and I don't care for the emphasis on piano and tambourine), but it *was* an important addition to the catalog. The 70's cover by Anne Murray is the version I grew up with. Re: the lyrics, John is usually the one criticized for sexist lyrics, but they were ALL products of their generation. The fact that they could be of their generation while also serving as a catalyst for worldwide cultural changes is remarkable. I think those chromatic passing notes are often referred to leading tones in the singing world, because they lead the ear toward the resolution note or phrase. It's an example of what Paul had picked up from old Cole Porter-type tunes, which he was now starting to bring much more into his writing.
Not to give them a pass but all the Beatles were a product of their northern working class backgrounds and faithful to their partners. The women's liberation movement was yet to start but was on the horizon..
Amy, you shouldn't look at this as some kind of misogynist song full of outdated attitudes. Anne Murray covered this song and had a sizable hit with it. If you listen closely the only pronouns used are "you" and "me" which means any gender can sing it.
This is tame compared to some of Taylor Swift’s lyrics. But because Paul is male he isn’t allowed to have those feelings? He’s just a Neanderthal from the older days?
I think you’re brilliant and you really know what you’re talking about…. But…. But the constant interruptions make it really hard listen too….5 seconds of song to like 5 minutes of you talking lol….
Pay attention to what she says about copyright strikes. I don't understand copyright law, but I suspect she'd like to play whole pieces. Apparently, she does on her Patreon.
The one thing that lets this track down is the very thing that was supposedly "groundbreaking" about it - its length. Shave a minute off and it wouldn't outstay its welcome.
Amy, your sensitivity when analyzing songs is admirable. You are giving me an incredible journey reacting to my favorite bands. You are an enlightened human being. I love your work.
Compare her analysis with "Fathom's". The latter is a musician who actually understands rock.
This is a really great analysis. Possibly your best yet Amy. I've listened to it 1000s of times but you've thrown new light on aspects of You Won't See Me.
The rest of them all said Paul was a workaholic, but as much as it drove them a little crazy, they all eventually gave him credit for pushing them on to what they all accomplished
Great song! To my ears, McCartney's bass lines really seem to grow increasingly sophisticated and melodic from this song onwards.
Rubber Soul, as a whole, in my humble opinion, is the Beatles most underrated masterpiece. It was a milestone in their maturation as a band. To me, it's like with Rubber Soul, they moved from ordinary greatness to an unsurpassed upward trajectory. It's like everything they did before was done by a completely different band.
Es como si hubieran superado su etapa pegajosa y adolescente y trascendieron como artistas
This is probably my favourite underrated Beatles tune, its great to play on the guitar. All the layers and parts tessellate like a piece of marquetry. R.E. the lyrics.. I had a point in my life where I was breaking up with a girl.. this song was on my mind for the duration.
This one is a great example of how so many of the "filler" songs in Rubber Soul are really quite good.
Time to get the dictionary out 😅
As the Beatles improved, so did Paul as a bass player. He's acknowledged that his main influence, at that time, was James Jamerson, a jazz musician who was a memeber of the in-house band at Motown Records.
Thank you for this awesome reaction ... again👌 I love when you use the piano to explain things. And the picture of "walking on stilts" is so striking, so well suited. I would never have thought of that before.
And now I'm looking forward to your next Beatles reaction ... I know which song it will be 😉 the one that follows this on the album, a real masterpiece 🤞😃
Who else besides me rushes to listen to every song right after Amy finishes her analysis, but with fresh ears?
Yes.... if it's Beatles or other music which I love.
"Fresh ears." YES! That's the phrase!
Great video! LOVE the chromatic voice leading in this song, which is sometimes my favorite Beatles song (despite the suboptimal lyrics, as you mention). How clever to have several chords in a row that allow the A to stay on the same pitch while the other line goes down chromatically!
You can see the drone vs the chromatic line more clearly in the guitar part in the live version, on RUclips as "You Won't See Me (live 2016)"
This analysis is wonderful on several levels. Being open to the meaning and the invention in the music whilst parsing the content in fine details is very impressive.
It also shows how far The Beatles progressed popular music - and this is only mid-period Beatles!
underappreciated gem, this song
One of my favorite Beatles songs. Great that you appreciates it, too.
This is one more inspiring videos of yours. I loved watching it.
fantastic song in my opinion.... Paul.... genius at work
A manipulative tantrum in the face of the fact that Jane Asher refused to give up her career in order to be Paul's house frau.
@@jnagarya519Even if that were true, it wouldn’t preclude the songwriting from being a work of genius.
The certainty with which people assert what songs that they didn’t write are “about” is really quite astonishing. Until I hear Paul McCartney himself say “this is a song I wrote to manipulate my then girlfriend into being a ‘house frau’”, I’ll take such opinions with a grain of salt.
@@fromchomleystreet If we don't understand a thing, but we approve it, let's throw the word "genius" at it, as if we are qualified to assess who is and isn't "genius".
And I agree with your second point. But Paul has had decades to refute it; so I treat his silence on the point as assent. Perhaps his volume of song lyrics, in which he details his recent recollections about their origins, includes either affirmation or rebuttal.
@@jnagarya519 You could treat his silence as a token of gentlemanship as well, couldn't you? LOL
After all, why would he comment on it years or decades after their split, while he and Jane were married to other partners?
Oh, and Paul is a genius, anyway.
@@maricaro8315 What silence? If you follow the theme in his "bitchy" songs of that period, it's transparently obvious that he was demanding that she conform to his wishes -- while he was having affairs all over the place -- which is a bizarre notion of "gentlemanship".
And Paul's lyrics tend more than 90 per cent of the time to be shallow. Sure, pretty, but not substantive in ideas.
And I am beyond the -- frankly -- stupidity of non-geniuses nonetheless slinging the word "genius" at anything that is actually beyond their comprehension -- any manifestation of the creative process -- because they have no skills in critical analysis.
Get over yourself: emotional gushing based on the falsehood that music is "all subjective" is not analysis.
"Like a kid marching around on stilts" -- you're the best!
Good one Amy! Your insight helped me gain more appreciation for this one in particular.
A hundred years ago? Not quite. Only fifty years ago, LOL! Seems like yesterday to those of my age.
Ooh, the score! Love it! Thank you!
Can’t wait to see your mind blown by the next 6 albums. It’s about to get sublime.
As a kid back in the 70s, before I could afford albums, I listened to two FM stations in Boston to hear deeper Beatles cuts--WBCN and WBZ-FM. This is one of the songs that I appreciated so much because it wasn't heard very often. Thanks for the analysis!
This was my favorite song for years. The complexity of the different vocal lines, each with a harmony within itself, is just so interesting and pleasing. Especially at the conclusion of the bridge, 'if I knew what I was missing..." Appreciate your breakdown. I was only 12 when this was released, but I knew it was great even though I couldn't articulate why.
In Paul's defense, and also John's, about their "traditional" views on romance as expressed in their early to mid works, Well they were quite young guys. Women's lib wasn't thing. In any event, they moved with the times as social change got underway in the mid 60's. John and Yoko were quite unconventional. Linda, Paul's wife was his constant companion and played in the band, Wings. Paul wanted Linda to tour with him and trained her so they could be together. I think that was the main problem with Jane Asher, that they would both have careers that would take them to different places and they'd never be together . My feeling is that Paul had considered this problem and that is why he made Linda a part of the Band so she would be a part of his world. They raised the kids together on the road!
Amy, "Rubber Soul" is one of the greatest albums ever and my Beatles favorite. You honestly need to listen and react to every song on side -1 and you'll see why. Thank you for all of your amazing reactions.
Excellent (as usual)
You have officially surpassed "The Charismatic Voice" channel in my opinion. I'm learning more from you. Thank you!
This may not be one of the Beatles' most famous tracks, but it's one of my favorites. So glad it was picked for this series. Delightful video.
I try to resist but I can't pass a video like this without pointing out once again that this album contains both You Won't See Me and I'm Looking Through You: both Paul; both assumed to be inspired by his relationship with Jane Asher. They didn't need relationship counselling; they needed an optician.
For all of her resistance to Paul's old-fashioned male chauvinism, Jane Asher ended up being most famous for her cake baking.
And married to British cartoonist Gerald Scarfe
Great track, glad you got a kick out of it.
My Favorite Group and My Favorite Channel.
Hello Amy, not sure whether anyone else has already pointed this out, but this was actually your 50th Beatles reaction, as you appear to have counted both "I've Just Seen a Face" and "Yesterday" as number 45. Good luck with the rest of the series.
My second motivational tune to learn piano (MARTHA MY DEAR was my #1 goal).
As for 'long Beatles song', I think fans at the time didn't complain too much because they were buying albums.
Una de las canciones más preciosas que hicieron los Beatles, con una melodía en cadencia sincopada, donde brilla maravillosa la voz de Paul en doble grabación, la instrumentación en una forma ya propiamente psicodélica... Me encanta que Amy se haya dado cuenta de lo interesante que es...Gracias.
If I didn't know the circumstances, I could interpret the lyrics as referring to any disappointment/disillusionment in a relationship and I could then appreciate the delightful play on "You won't see me"--you refuse to see me and I won't be around for you to see. As Amy points out, the contrapuntal chromatics reflect the "you go your way and I'll go mine" message; words and music are perfectly to each other.
This may be one case in which reading the background material is not a net positive, as it can color one's interpretation of the lyrics. It may have been better to go in without so much information that pushes the interpretation one way or another (to start the process "more virgin", so to speak). These lyrics bring to mind disappointment and can even seem a bit needy, but it's only when the real-life relationship of Paul and Jane (with his possibly trying to control her) is layered on the top, that the lyrics seem a bit more obnoxious.
My favorite track on the Album
I've loved this song since I bought the album soon after it came out, so it's wonderful to hear someone from the present day echoing my enthusiasm. You picked up on many of the key features - the compelling bass, the steady build-up of anticipation, the gradual expansion of the backing harmonies (and counterpoint!). I particularly appreciate your enjoyment of the climax on E major at the end of the bridge passage. The Beatles often used this device in their early and middle music - they pitched everything towards a wonderful dominant seventh at the end of the bridge. Have you noticed that in this particular song, the dominant seventh (i.e. of the root key) only occurs twice in the entire piece? Unusually, everywhere else the song more or less sticks to tonic, fourth (major and minor) and major second. It gives that climax even more explosive force. My only disappointment is that you pay so little attention to the lyrics! What you say about Paul McCartney's attitude to women back in the day may be true (I wouldn't know), but I don't think one can detect anything like that from the words of this song. To me it's just a poignant expression of regret at a collapsing relationship. But that aside, thanks for being so interested and enthusiastic!
Amy: Beatle filler songs are precious. My all time favorite is Mr. Moonlight where one can hear the glorious vocals by John Lennon.
My favorite Beatles middle 8 is the one in this tune ❤
Another example of Paul's genius, and Martin's expertise in keeping it preserved without anything stepping on any toes.
It wasn't about He/She, who's career mattered the most. It was about him being in the biggest act in the world. And as you say, the Beatles were constantly working; touring, TV, movies, promos, interviews, recording.... When he finally got some free time, she was out making movies/TV shows. There was nothing dated about Paul's attitude. Nothing like the Beatles had ever existed before.
Yeah -- that explains how it happened that she came home unexpected and found him in their bed in her family home with another woman. He would not have tolerated her being in bed with another man.
Yes: it was about his career mattering, and her being available at his beck and call.
@@jnagarya519 It explains it exactly.
@@debjorgo So his career was of paramount importance, but in his view hers was not because was constantly "reasons"? Except when he was sleeping with every available female?
"The Beatles" were MALE CHAUVINISTS. George traded Patti to Clapton for Clapton's help in getting her sister in bed. George had an affair with Ringo's wife.
Members of "The Beach Boys" slept with all the wives of the other members.
MALE CHAUVINISM.
@@jnagarya519 I don't know anything about him cheating on her in her home. I'm sure Paul was no angel. I would just think a guy working as hard as Paul was in '64 - '68, would need a woman who could share his free time. It was unfortunate that Jane was not the one.
@@debjorgo Paul somehow managed to move into and live in the Asher home. He was sleeping with Jane. And she came home unannounced from a performance tour and found him in their bed with another woman.
Imagine that: cheating on one's "fiance" in HER FAMILY'S home in the bed they shared.
So, as said, Paul expected her to give up her career -- because HE was "working so hard [and getting laid all over the place]" -- and basically do nothing but sit and wait for him to show up when he wanted sex with her.
It was fortunate for Jane that she discovered what he was and refused to be used by him.
Stop the "Paul is God" self-deceit.
Amy, if you think these lyrics are dated, just wait until you get to Run For Your Life. It's the last song on this album. It was written by John, who later in life regretted writing it!! Stay safe 🤘 ✌️
They're not doing all Beatles songs--maybe they skip that one (hopefully).
I hope that one day you'll analyse 'God Only Knows' by the Beach Boys, just because Paul said many times it is the most beautiful song ever written (and I agree with him) - and if Paul, the greatest songwriter of the last century, said so... well, it's worth taking a listen to it! I'm sure Amy will love it too 🙂
I never paid attention to the lyrics and didn't know the context. But I love counterpoint and bass lines that make their own melodic sense (not just filling in the dots). I've always admired Paul McCartney's playing from those points of view. Perhaps he was maturing musically at this stage, bur still had some way to go on the emotional level. It's great that you can put your finger in all of this in just one song. I wonder what Paul would make of your analysis now he is in his 80s?
Since you are covering "Rubber Soul", I am hoping you will eventually cover "Pet Sounds" by The Beach Boys, which was Brian Wilson's attempt to keep up with The Beatles.
Great idea to insert that between Rubber Soul and Sgt. Pepper, given how much Rubber Soul inspired Pet Sounds and Pet Sounds inspired Sgt. Pepper!
Me uno a la moción.
Paul did ditties - fantastic.
See _Revolution in the Head: The Beatles' Records and the Sixties_ (Chicago, IL: Chicago Review Press, An A Capella Book, Third Edition, 2007), by Ian MacDonald.
And also his _The People's Music_ covering more of the music of the era.
i never noticed the relation between the piano and the harmony, good job. i also like this song because it's so fun and has an upbeat feeling. you have been always mentioning the 50th in this journey, i bet you'll like that one, it's a similar song like this one with better lyrics imo. you may will be listening to one more song about jane asher in the future, that one is very rocky, i like it so much so hope the man wouldn't jump that one haha. and run for your life is also this fun type actually though with even worse lyrics haha, but i hope you won't jump, i want musical analysis like this from amy
10:22 Almost predicted the progression of Paul & Jane’s relationship haha
Poor Paul. Amy you are once again taking Jane Asher's side in their relationship difficulties, as you did in "We Can Work It Out."😉 I agree though that at least Paul's relationship problem songs don't have the bitterness you find in John's. I guess we can blame Dylan's influence on John's way of expressing himself. Just remember though that the bass playing you often admire in these Beatles songs is Paul, so he can't be all bad.😉 Perhaps this is why you refer to "Ringo's" drums, but it is always just "the" bass, never "Paul's" bass.😉 Hopefully my excessive use of "wink" emojis shows I speak in jest. I am really glad you enjoyed and appreciated this so much (despite the lyrics), with your usual great observations and music lessons. Ooh, la, la.
I think if she reviews 'Run For Your Life' I'll be watching through the cracks in my fingers.🫣
@@celt67 Lol, yeah for sure. If she thought John was going to the extreme when he burnt down her house in Norwegian Wood, wait until she gets to this one.
In object terms Paul was the ass, insisting his view of the relationship be obeyed. There is no evidence that she was attempting to dictate that her terms govern.
Meanwhile, he was having countless affairs outside the relationship, but would never have tolerated her having them.
It amazes how Paul could do no wrong. And that John's "bitterness" was not John's but someone else's "fault" -- in this instance Dylan's. In fact, John had a traumatic and confused childhood, which resulted in his "issues". He was also especially perceptive, as in the song "Girl":
"Was she told when she was young that fame would lead to pleasure,
Did she understand it when they said:
That a man must break his back to earn his day of leisure,
Will she understand it when he's dead?"
It was another five years before women, as the women's movement, began critiquing women's traditional sex role. And that was based on the blind view that men's traditional role was all roses and unicorns. Try on the oppression of being male and subject to the draft during wartime.
yes i really hope she reviews run for your life, dispite the lyrics it's such a good song
@@heero17v83 Apparently the beginning lines to which there are objections were from an Elvis song. So I guess we can pillory Elvis too.
I think the reaction to the lyrics is essentially nonsense. "Catch you with another man/That's the end" -- of the relationship? Why assume one's inference is instead literally in the actual lyric?
this is great- I think some people hit dislike because it's the only option and that was confusing.
😎👍 The verses feature the exact same chord progression as "Eight Days A Week." It's the bridges where things get interesting.
I really appreciate this reaction and the focus on chromaticism and counterpoint. This song is a great example of how Paul can create an ear worm for the listener without them realizing how much is going on in the music. I was running through this song in my head today at work, figuring this might be the next one you'd react to. That this was put together in a recording session, with the harmony parts that were worked out, well, I'll say it, it's just not fair to every other band out there.
Hi Amy. I really enjoy your analyses and your personality. Of course I'm a huge Beatles fan. Can you tell where you get the music transcriptions of the songs you review. Thank you so much and keep it up.
I got a book with all their scores.
Anne Murray's cover in the early 70s was really big, bigger than the original. John Lennon went backstage at an Anne Murray concert to tell her it was his favorite Beatles cover.
never heard it, so it couldn't have been THAT big. 😄
Anne Murray’s version was a tedious dirge with absolutely no emotion.
There’s a great live version posted on RUclips of Anne singing this at an outside venue in 1974 with rock band, Chicago backing her.
That's one of those songs I heard the cover long before the original. I heard Anne Murray's version from top 40 in 1974, but it was 1981 on a Beatles Weekend (a top 40 FM station flipping to album rock) when I heard the Beatles did it first.
Lennon's sense of humor.
Though John started the band, Paul was the driving force keeping the band working and together untill they finally disolved the band.
Seeing this woman comment on a group I grew up with is a trip.
She could be the dictionary picture of the word prude. Hmm. The Beatles wrote a song about her called Dear Prudence... Or perhaps it was Eleanor Rigby. Her affected , clipped, English combined with that hairdo! Priceless!
Don't judge a book by it's cover....
.....you condescending Muppet......!!!
Right Amy. I've always thought the genius in this song is that osstinato in the note of A through the whole piece, and everything revolves around that note, it's presence, it's absence, it's emphasis, it's getting too close to disonance...
You can play A through the whole song
Most of the time, but isn't there an E7 chord in the middle, though?
@@zzzaphod8507 yeah! Thats the moment of highest tension to A
@@anarcovision If you allow the half-step clash between the G-sharp in the E chord and the A, then it seems that any note can go with any chord
Maybe a bit traditionalist, but he's a Beatle and she's an actress. With those schedules, they might be able to be in the same town for one day out of the year. I really don't think Paul was anti-modern or sexist by any stretch! He's not telling her to stay in the kitchen.
"act your age" sounds a bit patronizing, though
@@zzzaphod8507 rhymes with "line's engaged"
@@buddyneher9359 Not a perfect rhyme--many words rhyme with "engaged" at least as well as "age" does: page, cage, stage, etc.
You can call then Paul traditionalist in just relationship department but he changed his mindset after his relationship with Jane Asher and his upcoming wife Linda McCartney will work with him on the road often.
Edit: You have to keep in mind that, at that moment he was just a kid only 23 years old. So, young blood had so much to learn and he actually learned. He had a very successful marriage with his wife too, which is unique in ultra celebs.
"If you want to know your thought 5 years ago then look at your reality now, and if you want to know how your reality is going to be 5 years from now, then look at your thought now"
Deepak Chopra ( a quote from Hypnosis book )
Through The Barricades by Spandau Ballet. At the end of this song there is the sound of marching percussion as Mrs. Shafer explained. Thank's.
In tonal music, anytime a note from outside the established key is played, even if it’s only once, it’s an instance of chromaticism, because you’re stepping outside of whatever scale you’re in (eg the diatonic scale) and into the wider world of the chromatic scale of which every other scale (in standard western music) is a subset.
The quality we recognise as chromatic is most noticeable and distinctive when you go up or down the chromatic scale, as in this song, but that isn’t necessary for a piece of music to be described as incorporating chromaticism. Most Beatles songs include chromaticism somewhere.
When Queen went to the record company with Bohemian Rhapsody there was still a reluctance to release it because it was over 3 minutes long at 6 minutes. That was close to ten years later than Rubber Soul.
Well, yeah, but in between there’s Thick As A Brick, Child In Time, Echoes, Close To The Edge… but I get what you mean.
@@dago87able Not to mention Dylan's Like a Rolling Stone, which they split into two 3-minute sides of the single. It was Dylan who pushed the longer song length.
@@fredneecher1746 cool, I wasn’t aware that Dylan was the pioneer on that.
I really don't see the sexism here. He's saying he's in tears because he can't get to see her. It is a quarrel about trying to make a basically long-distance relationship work. Knee-jerk Feminism is offensive--it's like trying to find the Waldo on every page--even books that don't have any Waldos.
Yeah, I don't buy that sexist line either. It's a guy who's frustrated as hell wondering how he's going to get through to his girlfriend. I suppose "act your age" is a trigger? Well, he's unhappy and can't understand her.
Nothing sexist in venting and trying to get through to someone. And in what I know of their relationship I've always sided with Jane Ashur.
@@michaelwalsh2498Yeah, I thought the same thing about the "act your age" line, but that's the tension between fighting and crying that you would expect to see in a lover's quarrel song.
Yes, "act your age" isn't good.
@zzzaphod8507 Prince: "act your age, not your shoe size, maybe we could do the twirl..."
It's fine. Don't simp on vacuous and disingenuous guilt trips!
Nowhere near as bad as ‘You Can’t Do That.’ The,’how dare you talk to another guy,’ song.
Remember that the Beatles are humourists.
to think he rattled off a great song like that "at the last minute"!!!!
True, the guys' productivity was impressive.
Having listened to your technical explanation that the effects of all these instruments and voices created, do you think the Beatles were aware of this, or do you think they merely employed their musical genius and talent to create a sound they liked… and that the technical explanation validated their genius?
Where most pop album releases of the time had virtually unlistenable "filler", the least songs on this Beatles' album (most of them, actually) could have been standalone hits. I'm happy to hear your analysis, as you demonstrate how much musical intelligence pours forth in even the "minor" album songs. You have a stunning one upcoming!
What's the problem with the lyrics? The Beatles used words as a stop gap to fill the musical spaces; but beyond that, what is the issue that causes the 'different era' or "100 years ago' comments?
I suppose I know the answer.
Amy me gustaria que aparte de tu Brillante Reaccion de los temas de Los Beatles pudieras poner mas tiempo las Canciones como hacen otros
Im so curious to see your reaction to she’s so (heavy), it is 10mins long and the longest beatles song
Longest not counting Revolution 9, but under 8 minutes
Thank you for sharing the Beatles song, but you kept stopping too many times🤦🏻♂️
I have a question: now that you are not exactly the rock virgin any more, how would you define “rock music”?
Paul as only 22 when he wrote this
Paul attitudes to his girlfriend are bad in this one? Okay.. The end of this album might cast in a comparitively better light I expect.
you deserve special permission from the Beatles to show these on youtube.
I know little about the structure of music. I learn a lot from your videos, if I can remember the information.
Sometimes I think it's better not to know why a song was written. I had no idea of the background. It's well written and people can apply it to situations in their own lives (more worthy of the attitude 😁).. But knowing the origin kills that.
After a song has been in your life a long time, hearing what the lyricist meant isn't as likely to kill enjoyment. We've had years of putting our own view on it.
I agree, and I don't believe the origin of a song is what it is 'about'. Things in life suggest ideas to you, but what you make of them stands alone as an artistic creation with its own meaning.
I love Ringo Starr for the character, quirkiness, and tastefulness of his drumming. But anybody who describes Ringo as “the human metronome”, or otherwise declares Ringo Starr to be an unerring master of precise time-keeping has presumably never heard this song. That last verse sounds like a wind-up toy winding down.
Cue the people claiming it to be an “artistic choice”. Aaaaaad go!
Hmm... let's see how you go with "Run For Your Life" lyrics... 😟
Hey there! I would love to recommend you a song by the Talking heads called “Born Under Punches” highly recommend it! Love your content ❤️
Coming next...Nowhere man.
There's that easily added missing harmony part again.
The Temptations- I know I'm losing you
If you would like to understand John Lennon's apology for their attitude to women during this period, you should listen to his 'jealous guy'.
Doesn’t a “cross relation” denote a the relationship between two notes that are sounding simultaneously? What you’re describing there is just chromaticism, but the harmony at any given point is still highly consonant.
Interesting that you picked up on the influence that Bach had on the Beatles - Paul McCartney has often admitted to that influence.
All that stuff about what the song is “about”, that ascribes to him some attitude re women with careers, is just speculative bullshit from people who can’t conceive of the “I” in a song lyric being anything other than a literal self-portrait of the writer, and the situations described in the song bearing anything less than a one-to-one correlation to something that must have been happening at the time to the writer. More importantly, none of it is inherently present in the lyrics as they actually manifested, even if the speculation about their inspiration is correct. It should be treated with the degree of seriousness it deserves: absolutely none.
Beatles are THE gold standard by which all other bands are compared to. This chord progression is very Bach (not sure which piece)
Innuendo by Queen
What about Inyooutdoe? 😃
The first purpose of drums is keeping time for the entire band.
Hey Baby, what about that OTHER song of Meatloaf?
"Not to mention" is one of those irrationalities -- invariably followed by mention of that which is declared not to be mentioned.
The other is: "It goes without saying," invariably followed by saying that which is said to go without saying.
Huh?
@@9211goat If you'd LISTENED to the video you'd have heard Amy use the phrase, "Not to mention".
As an educated person with healthy critical faculties, and as a professional writer, I point to those two phrases, in constant use, because they MAKE NO SENSE.
@@jnagarya519 Gee, I didn't mean to step on your tail!
As an educated person, you should know that one can listen to something and not necessarily HEAR the same thing as another listener.
In other words, while you were judging Amy (a non-native English speaker, I think) on her use of a phrase, I was listening to her talk about the song.
Also, remember: she may not even read your comment.
Thus it is we, the listeners (viewers) who see your comment, which seemed to come from out of left field.
Know what I mean?
@jnagarya519 Clearly, for someone as intelligent as you apparently are, it goes without saying that
@@9211goat Amy was born in the US, and is apparently from and in Tennessee.
I listen to what people say so that I can respond to what they say, not to what I imagine they say.
If a person says, "Not to mention," and one is listening, then one hears, "Not to mention",
where's the like button??
Radios would not play longer songs...
Thick as a Brick was in 1972, much later than this song.
"Pop rock" was a label that started at the end or just after the Beatles era. So was the term "Bubblgum Rock." Jesus Lord, everybody wants to label things to the point of making my stomach turn. Many now dismiss the Beatles early mujsic as in consequential by labeling it pop rock or "Boy band." How convenient for them to find a way to dismiss musical history of any kind as inconsequential to their musical prefereneces, carefully trained bythe subcultural and media exposures they grow up with [assuming these people really grow up...]. But when the Beatles were new, rather than a historical study, their music was just plain phenomenal rock and roll and variety, hust as the music that came before them. Many of the masses who did NOT live in the era don't understand that. They don't want to, they are afraid to take the time and effort. That includes what we call "Classical music, "and as you know even that generic term is a false generic term to include severeral musical eras/styles of the past. Same for the generic term "Jazz." Labels are abound and plentiful today including historically mislabling music out of modern musical preferential convenience, and often modern critics label past music with the hackneyed term "Old School." Ya know WHAT? I'm 68 and when I went to school it was NEW! I can't wait for the young to one day be labeled "Old School" by their children and and grandchildren, so l hopeafter I am gone I will be somewhere laughing my head off at them, and I was a music teacher.
Not a favorite of mine (Paul's vocal is a bit shaky, and I don't care for the emphasis on piano and tambourine), but it *was* an important addition to the catalog. The 70's cover by Anne Murray is the version I grew up with. Re: the lyrics, John is usually the one criticized for sexist lyrics, but they were ALL products of their generation. The fact that they could be of their generation while also serving as a catalyst for worldwide cultural changes is remarkable. I think those chromatic passing notes are often referred to leading tones in the singing world, because they lead the ear toward the resolution note or phrase. It's an example of what Paul had picked up from old Cole Porter-type tunes, which he was now starting to bring much more into his writing.
A FABulous song from the Fab Four!
Not to give them a pass but all the Beatles were a product of their northern working class backgrounds and faithful to their partners. The women's liberation movement was yet to start but was on the horizon..
That's okay.... I'll give them the pass.
@@9211goat Well, girls are the reason they said they to into music in the first place.
Lennon's anger/aggression was expressed as his love of dissonance and "off-note" nuance.
Whenever I listen to this song, about three quarters of the way through, the music seems to slow down, anyone else?
me
Amy, you shouldn't look at this as some kind of misogynist song full of outdated attitudes. Anne Murray covered this song and had a sizable hit with it.
If you listen closely the only pronouns used are "you" and "me" which means any gender can sing it.
This is tame compared to some of Taylor Swift’s lyrics. But because Paul is male he isn’t allowed to have those feelings? He’s just a Neanderthal from the older days?
I think you’re brilliant and you really know what you’re talking about…. But…. But the constant interruptions make it really hard listen too….5 seconds of song to like 5 minutes of you talking lol….
Pay attention to what she says about copyright strikes. I don't understand copyright law, but I suspect she'd like to play whole pieces. Apparently, she does on her Patreon.
The one thing that lets this track down is the very thing that was supposedly "groundbreaking" about it - its length. Shave a minute off and it wouldn't outstay its welcome.
I agree. It is too long but also it is not soulful enough. Kind of Rubber Soul which for me doesn’t work.
Very few Beatles songs outstay their welcome.
Couldn't disagree more vigorously. There is so much energy and so much going on that it justifies its slightly longer length than the norm.
I'll give it another listen and get back to you.
Result... No, it's absolutely perfect as it is.
If you believe it's too long then you simply don't like the song that much.