This is the one. Or maybe If I Fell, but is it a love song? I never understood why these two were not included on the original edition of the red album.
Side note about If I Fell: on a solo demo of John playing this song, he creates the youhou ouhouhou so famous from Imagine. Incredible. Sadly I don't remember where I heard it. Edit: found it on RUclips, check it out!
I would say here there and everywhere too. it might be expected that a love song be a ballad but i admire i've just seen a face also because of the way it captures a breathless quality mirroring the excitement of a love that is catching fire. i, because i'm the most objectionable romantic you could hope to meet, am placing i will third.
One other thing about structure: "Here, making each day of the year"; "There, running my hands through her hair"; "Everywhere, knowing that love is to share".
My sister sang this song at my wedding, accompanied by my father on guitar. Extraordinary moment (she's a professional jazz singer), a bit tough for my poor father, tricky chord progression 😅. Thanx for the video, and I hope that like for me, your love is there. (Or here? I dunno I'm french sorry).
In an album that can stop its listeners with almost every track, this one does more than its share of breaking. When I first heard the album (as a 2nd gen. Beatles fan in the 70s) I did stop after this track because it took the record to another world and was such an advance on earlier songs in the same vein like Yesterday and I'll Follow the Sun, for all the reasons you mention. Brilliant celebration of a great song, for which, many thanks. PS it was Abby's Vinyl Monday that put me on to this so to apply some clunking wit and add an Australian tint, I'll have Vinyl Friday on my mind.
I appreciate your videos greatly. Thank you. One thing that struck me this time: the number of times the word "simple" comes up here. I fancy that I've often heard the same thing in others' discussions of McCartney: simple but beautiful, simple but very effective, simple but... It slightly puzzles me. To take the case in point, I think the composition and arrangement are - as demonstrated here, surely - quite sophisticated.
we're in agreement: this is the one. the line ' changing my life...' is one of the greats in the english language. i also like the way 'both of us thinking ' and ' each one believing ' suggest a mutual love, on an equal level. the part where you investigate how his melody is so unconstrained was great and you seemed deep in thought at the keys. another good example is martha my dear. the melody on 'never care' he also uses on the gorgeous 'love in the open air' from the family way music. hang on i'll just check to see if he's allowed. yeah it's ok he's allowed. you could write a nineteenth century russian type 800 page 😮 novel (bear with me) about your beloved, hang a gallery with 100 paintings, build a monument in stone. on the other hand you just write the 2.25 mins of here there and everywhere.
Yes, Paul's melodies are always excellent but this one is stunning. His use of interval jumps moving against the background vocals is a big feature. Nicely analysed & kudos for the XTC T-shirt.
Thank you for your always great observations. I love how you get a lot of humour in there as well, like talking to your other selves, or speeding passages up. The start of the lyrics on the 3 verses are clever too; Here, There and Everywhere, like the song title. You could explain how the backing vocals were constructed as well. It’s obvious to you of course, but not to everyone. I really enjoy your videos. Greetings from Sweden!
What floors me is when I realize how much work time and energy you put into making your videos! Amazing! Thank you Entertaining and educational. I was @ 17 yrs old when the Fab Four came on the scene . Their songs and personalities brought joy to the world and new generations are discovering them. 3 fantastic song writers in one group! Just incredible.
I had "Here, There and Everywhere' Sung at my wedding. However, it was a fall-back, because the talent I'd found could not play "Something" on his guitar. BTW, Frank Sinatra, of all authorities, said "Something" was the best love song, ever. That being said, "Here, There, and Everywhere" still touches my heart, deeply.
I discovered your show yesterday thanks to Vinyl Monday. And now that I discovered your brilliant channel, you are doing a video on the Beatles song that is the song for my wife and I. In fact my daughter had us dance to this at her wedding. Your show is amazing and like Abby, you are very informative. Keep it up.
You had me at hello. I am a huge Beatles fan and I subscribed off the strength of just watching one of your videos. Love it! This is one of my all time favorite Beatle songs, the harmonies are everything! You really get it on these breakdowns and it's great to hear Great
Gershwin anyone? Love it. Sounds like breathing, love and realization. The chromaticism of In bloom is just a louder, angrier and more cynical amp away and yet they get ya right in the tingles. I am carried away. Inks Spots, Yesh! The Abbey collab was great.
You know there's a good back story behind this song. Paul was going to get together with John for a songwriting session, but when Paul arrived, John was alseep ( I'm only sleeping, right?), so Paul just started playing & writing, & this is the masterpiece he wrote while John was sleeping 😌😴. And I think the reason John has such a high regard for this one is that Paul is singing in John's style, right down to that falsetto, which closely resembles the in my life falsetto, so subconsciously it's a stylistic homage to John. And obviously it's a lovesong to Jane Asher, you can tell by the details you mentioned, wave of her hand, but there's a sadness & longing, and if she's beside me I know I need never care, so the joy of love is tinged with melancholy cause she's not there. The first time I heard it, I thought John was singing the high parts. Really enjoying vinyl Fridays, like the way you find an excuse to insert Charlie Parker and the Beach Boys into a Beatles episode. See you tomorrow, have a great day, and all your " correspondents" too....
" subconsciously it's a stylistic homage to John." While that may be the case , this was written during the "Help !" filming. I think it came before "In my Life."
@@grimtraveller7923 even if it was written before in my life, it was recorded afterwards, so it could still borrow stylistically from in my life. Just cause a song is written doesn't mean it's been arranged. That's still up in the air till they figure it out in the studio...
@@DoctorInsomnia-qw7us "even if it was written before in my life, it was recorded afterwards, so it could still borrow stylistically from in my life. Just cause a song is written doesn't mean it's been arranged. " I agree completely. Most of the time, especially in the earlier days, songs tended to be arranged with all four Beatles in the studio so there was often the possibility of borrowing from songs that had already been recorded. Paul claims to have written the music for "In My Life" {he was going for a Smokey Robinson feel} on John's new mellotron. If that's true, it could account for the stylistic similarity between the two songs. And I did acknowledge that it could have been a subconscious stylistic homage.
I've been a Beatles fan for almost 50 years. I grew up with the Beatles and left them for a short time as a teenager, as is the case. And then I returned to the family after I had experience with other music and was able to recognize what an incredibly gigantic quality there was in the music of the Beatles. Because I had never perceived such a quality in this breadth and depth in all the other music that I had heard in the meantime. With this preliminary banter I'm simply trying to clarify my competence regarding the Beatles in order to say with real enthusiasm: you're so good! Rarely have I seen someone speak so competently and intelligently about the Beatles. Thanks for that!
By the way: The most breathtaking progressions from minor to major - but also vice versa - were written by Franz Schubert, especially in his piano works. If you don´t know them, please check it out (for example in his Impromptu in c-minor, op.90/no.1)
Since I was a kid, I have noted those "stop/start" methods in this song, like everytime it goes into a new section with the minors and majors and key changes. Always found it to be very clever and a way to keep the song fresh. Really love your presentation here.
I'm back from Vinyl Monday 🙂📀 Revolver is a well arranged album and it really dips into psych but without going full psych but its still a rock/pop album with that indian influence
Same here - I wonder why it didn't end up on Rubber Soul? Mind you, Paul has a notoriously unreliable memory for timelines (and who can blame him with all that going on?) and he could well have conflated that with something else.
Paul McCartney is, and for close to 50 years has been, one of my favourite songwriters, mostly on the strength of his Beatles output {he did a few great songs with Wings}. John thought he was a lyricist that didn’t make enough effort but I beg to differ. I think all of the Beatles were really thoughtful lyricists. John’s main criticism of Paul was that Paul didn’t write about himself, whereas John did. But that’s not true. There’s a lot of Paul and his thoughts in the songs where he was the main writer. Personally, I think he comes across as one of the most misogynistic writers of the 60s {indeed, ever !}. That will surprise some people, but there’s an undercurrent of selfishness from Paul that funnily enough isn’t in much of John’s writing. You’d think that songs like “You can’t do that” “Norwegian Wood,” “Ticket to ride,” “I call your name,” Girl” and “Run for your life” would pitch John in that light but what they really reveal is his insecurity masquerading as the tough guy in control of his woman. Paul, on the other hand, was utterly selfish in his songs pertaining to women, especially in 1965-66. We think of “Michelle” and “Here, there and everywhere” as such sweet love songs but I’ve long seen a different side to them. It’s worth remembering that in the 60s, when English songwriters sang about love between a man and woman, what they were really singing about much of the time was sex and possession. As the English journalist Rosie Boycott pointed out, the real beneficiaries of free love in the 60s weren’t the women of the western world ! That came much, much later. “Here, there and everywhere” reminds me of the way many of us initially thought of the Police’s “Every breath you take.” It sounds like a passage of undying love. It’s not. It’s a sinister tale of control, a manifesto from a stalking maniac whose only interest in the object of his affection is to possess and starve the woman of freedom. Paul’s song reminds me of that and when you put it into context with songs like “I’ve just seen a face,” “I’m down,” “Another girl,” “You won’t see me,” “I’m looking through you,” “We can work it out,” and “For no one” you can see a side to Paul that was kind of chilling. It’s also very interesting that to the writer Michael Braun as early as January 1964, Jane Asher said “The trouble with Paul is that he wants the fans adulation and mine too. He’s so selfish. That’s his biggest fault.” While commenting on the song “Every little thing” in his book “A Hard Day’s Write,” Steve Turner observes “The girl’s needs are not even considered, the assumption being that she should find her fulfilment in serving her man. Ironically, it was precisely the attitude expressed in this song that Jane Asher later challenged when she told Paul she needed to find fulfilment in her acting career. It wasn’t enough for her to be the girlfriend of a desirable pop star…” Paul even admitted it when he told Hunter Davies that “I knew I was selfish….it caused a few rows. Jane went off and I said ‘OK then, leave. I’ll find someone else’.” This was in the context of saying that he’d always had women around, even when he’d had a girlfriend and that despite having a girlfriend that he lived with, he led the batchelor life. So for me, these things {they are well and numerously documented} shine a somewhat different light on Paul’s mid-60s songs in which he declares his love. “Michelle” comes across as the words of a bloke who can’t even communicate with Michelle but is happy to screw her royally. And that’s one of the sweet ones !!! People often criticised the Rolling Stones {and as the main lyricist, Mick Jagger in particular} for their misogynistic mid 60s output. Well, the Beatles got there first and were ready to show the Stones a thing or two ! That all said, “Here, there & everywhere” is a lovely song, if not lyrical thought, although it’s my least favourite on “Revolver.” Which isn’t saying anything derogatory, because I think all 14 songs are at the very least magnificent.
What a fascinating take; thank you for your detailed commentary. I'm well familiar with the discourse around John's misogyny, but it can totally be read that Paul's lyrical chauvinism is right out there in the open. I appreciate this contribution to the conversation.
@@fathommusicnz I know this sounds ridiculous, given the common take on their history, but Paul was a worse misogynist than John, in my opinion. Paul was solidly in that direction until he married Linda. It comes out in so many of his songs in that period. But he didn't like it when Jane saw another guy. To me, that speaks eloquently about where Paul was at. If you haven't already, a great book to read is "Many Years From Now" by Miles. It is as close to an autobiography from Paul as we've ever got. It annoys me when Paul is regarded as a lightweight. He was deep and he had aspects to him that were horrible and he's never given credit for the full scope of a man going through the requisite 1960s changes.
I like to say that Paul wrote infatuation songs and John wrote love songs. I consider Here There and Everywhere to be one of Paul's better love songs lyrically, in that it at least contains the presence of the beloved. Many of his songs are about love, but the beloved is completely hypothetical or absent. But here she is at least real and tangible, and there is an expression of shared ideals, rather than imposed ones. But I agree with you overall and that is the reason why I am convinced that John and Paul wrote Ticket to Ride together, despite what John claims. In the verses, John is trying to process why she left. He is trying to understand what went wrong. But suddenly, the song lashes out at her. "I don't know why she ridin' so high; she oughta think right, she oughta do right by me." This is a basic Paul attitude. If she leaves, it's her loss, not his. She'll come back once she's seen the error of her ways. I interpret "do right by" here, not as if she owes him restitution for hurting him, but rather that she is in good hands with him and should reconsider. He thinks she's not going to find someone better out there and that her complaints against him are baseless. He feels he's been doing right by her, so she should be grateful and return. When John lashes out, it's more vindictive, but less judgmental. More, you hurt me, so watch out.
I think you were onto something when you said HTAE is a sort of sister song to “In My Life”. The most beautiful Beatles love song? No way I could pick one, just no way.
Just started listening to you yesterday and have seen a few of your videos and I am very impressed at your insight and detail of each song just so refreshing to have someone that knows what there talking about, look forward to much more.
I enjoy these song breakdowns! I think I prefer the version Paul did in concert with an accordion player, I’m a big George Harrison fan, but his accented guitar clank is obtrusive on such a delicate track. Imo.
This is a lovely song. To me the most beautiful is The Long and Winding Road without Phil Spector. The song evokes a emptiness and loss .I have never heard in any other song. As beauty goes I think Julia overall is more emotional and beautiful. But this is all splitting hairs .
Great video. It's worth pointing out, though, that in AABA song structure, the B section is the 'middle 8'. In fact, that is where the term comes from. You seem to be confusing it with a bridge, which is not really the same thing as a middle 8, though the terms are sometimes used interchangeably.
That said, I would argue that this song is not an AABA structured song. The "I want her everywhere" part is actually the chorus. There just isn't a bridge or prechorus.
i think i'm going to do a 24 minute video about how well you coordinate the color "green"...can i be as articulate as you are about my favorite band? undoubtedly not.
This is indeed a very beautiful song. But… They didn't draw on the full range of possibilities for the arrangement imo. The guitar should be acoustic, the accompanying vocals should have been arranged by Brian Wilson, the guitar solo is also not convincing and feels as if glued on. If they would have spent more time on it, they could have made it not a, but the most beautiful song.
I can appreciate this song, but I don't really like it. I think its lyrical construction is really clever (the way each verse starts with a part of the title and the last word of each verse is the first word of the next verse), but it doesn't resonate with me emotionally.
What, in your opinion, is the most beautiful Beatles love song?
THIS ONE MOST DEF
Absolutely this one. I think Sinatra claimed Something was his choice but while that is an excellent song, HTAE is simply sublime.
This is the one. Or maybe If I Fell, but is it a love song? I never understood why these two were not included on the original edition of the red album.
Side note about If I Fell: on a solo demo of John playing this song, he creates the youhou ouhouhou so famous from Imagine. Incredible. Sadly I don't remember where I heard it.
Edit: found it on RUclips, check it out!
I would say here there and everywhere too. it might be expected that a love song be a ballad but i admire i've just seen a face also because of the way it captures a breathless quality mirroring the excitement of a love that is catching fire. i, because i'm the most objectionable romantic you could hope to meet, am placing i will third.
Why don't you have a million subscribers? You're marvelous.
The song is only 2 mins 24 secs long, it amazes me how much magic they can put into a song with such a short amount of time.
I always think of "Here, There, and Everywhere" and "For No One" as a pair of songs Paul sung from the heart.
Same, they form such a powerful couple
One other thing about structure: "Here, making each day of the year"; "There, running my hands through her hair"; "Everywhere, knowing that love is to share".
Love the English Settlement short.
My sister sang this song at my wedding, accompanied by my father on guitar. Extraordinary moment (she's a professional jazz singer), a bit tough for my poor father, tricky chord progression 😅.
Thanx for the video, and I hope that like for me, your love is there. (Or here? I dunno I'm french sorry).
didn't see this first time scrolling. that's a nice anecdote well told.
I think "for no one" is just fantastic and does not get the credit it deserves
"John Lennon, Paul McCartney soul mate" 😂
Easily one of the best songs ever created.
In an album that can stop its listeners with almost every track, this one does more than its share of breaking. When I first heard the album (as a 2nd gen. Beatles fan in the 70s) I did stop after this track because it took the record to another world and was such an advance on earlier songs in the same vein like Yesterday and I'll Follow the Sun, for all the reasons you mention. Brilliant celebration of a great song, for which, many thanks. PS it was Abby's Vinyl Monday that put me on to this so to apply some clunking wit and add an Australian tint, I'll have Vinyl Friday on my mind.
I appreciate your videos greatly. Thank you. One thing that struck me this time: the number of times the word "simple" comes up here. I fancy that I've often heard the same thing in others' discussions of McCartney: simple but beautiful, simple but very effective, simple but... It slightly puzzles me. To take the case in point, I think the composition and arrangement are - as demonstrated here, surely - quite sophisticated.
They sound simple. They're not !
I really love the way you present these videos, I have seen a few and you make them so informative and entertaining.
Revolver and English Settlement in the first frame - be still my heart!
It’s like I’m looking in a mirror!
The finger snaps. Brilliant.
we're in agreement: this is the one. the line ' changing my life...' is one of the greats in the english language. i also like the way 'both of us thinking ' and ' each one believing ' suggest a mutual love, on an equal level.
the part where you investigate how his melody is so unconstrained was great and you seemed deep in thought at the keys. another good example is martha my dear. the melody on 'never care' he also uses on the gorgeous 'love in the open air' from the family way music. hang on i'll just check to see if he's allowed. yeah it's ok he's allowed.
you could write a nineteenth century russian type 800 page 😮 novel (bear with me) about your beloved, hang a gallery with 100 paintings, build a monument in stone. on the other hand you just write the 2.25 mins of here there and everywhere.
Tears. Bless you. ❤
Yes, Paul's melodies are always excellent but this one is stunning. His use of interval jumps moving against the background vocals is a big feature. Nicely analysed & kudos for the XTC T-shirt.
Indeed, she has really good taste in music.
Thank you for your always great observations. I love how you get a lot of humour in there as well, like talking to your other selves, or speeding passages up. The start of the lyrics on the 3 verses are clever too; Here, There and Everywhere, like the song title. You could explain how the backing vocals were constructed as well. It’s obvious to you of course, but not to everyone. I really enjoy your videos. Greetings from Sweden!
What floors me is when I realize how much work time and energy you put into making your videos! Amazing! Thank you Entertaining and educational. I was @ 17 yrs old when the Fab Four came on the scene . Their songs and personalities brought joy to the world and new generations are discovering them. 3 fantastic song writers in one group! Just incredible.
Best lovesong ever!
I had "Here, There and Everywhere' Sung at my wedding. However, it was a fall-back, because the talent I'd found could not play "Something" on his guitar. BTW, Frank Sinatra, of all authorities, said "Something" was the best love song, ever. That being said, "Here, There, and Everywhere" still touches my heart, deeply.
My favourite song to sing and play on my acoustic.
I discovered your show yesterday thanks to Vinyl Monday. And now that I discovered your brilliant channel, you are doing a video on the Beatles song that is the song for my wife and I. In fact my daughter had us dance to this at her wedding. Your show is amazing and like Abby, you are very informative. Keep it up.
This is the ultimate serotonin song. (In my view, Paul is serotonin to John's dopamine).
You had me at your t-shirt. :)
You had me at hello. I am a huge Beatles fan and I subscribed off the strength of just watching one of your videos. Love it!
This is one of my all time favorite Beatle songs, the harmonies are everything! You really get it on these breakdowns and it's great to hear
Great
Gershwin anyone? Love it.
Sounds like breathing, love and realization.
The chromaticism of In bloom is just a louder, angrier and more cynical amp away and yet they get ya right in the tingles. I am carried away. Inks Spots, Yesh!
The Abbey collab was great.
I will hold you to your XTC, promise, dear!
Thanks!
Thank you!
My favourite Beatles ballad... and nice XTC T-shirt! Maybe you could talk about the most beatlesque XTC album, "Oranges and Lemons".
You know there's a good back story behind this song. Paul was going to get together with John for a songwriting session, but when Paul arrived, John was alseep ( I'm only sleeping, right?), so Paul just started playing & writing, & this is the masterpiece he wrote while John was sleeping 😌😴. And I think the reason John has such a high regard for this one is that Paul is singing in John's style, right down to that falsetto, which closely resembles the in my life falsetto, so subconsciously it's a stylistic homage to John. And obviously it's a lovesong to Jane Asher, you can tell by the details you mentioned, wave of her hand, but there's a sadness & longing, and if she's beside me I know I need never care, so the joy of love is tinged with melancholy cause she's not there. The first time I heard it, I thought John was singing the high parts. Really enjoying vinyl Fridays, like the way you find an excuse to insert Charlie Parker and the Beach Boys into a Beatles episode. See you tomorrow, have a great day, and all your " correspondents" too....
" subconsciously it's a stylistic homage to John."
While that may be the case , this was written during the "Help !" filming. I think it came before "In my Life."
@@grimtraveller7923 even if it was written before in my life, it was recorded afterwards, so it could still borrow stylistically from in my life. Just cause a song is written doesn't mean it's been arranged. That's still up in the air till they figure it out in the studio...
@@DoctorInsomnia-qw7us
"even if it was written before in my life, it was recorded afterwards, so it could still borrow stylistically from in my life. Just cause a song is written doesn't mean it's been arranged. "
I agree completely.
Most of the time, especially in the earlier days, songs tended to be arranged with all four Beatles in the studio so there was often the possibility of borrowing from songs that had already been recorded.
Paul claims to have written the music for "In My Life" {he was going for a Smokey Robinson feel} on John's new mellotron. If that's true, it could account for the stylistic similarity between the two songs.
And I did acknowledge that it could have been a subconscious stylistic homage.
Loved your analysis. You related the human aspect so well. Important to a non-musician but a music lover.
I've been a Beatles fan for almost 50 years. I grew up with the Beatles and left them for a short time as a teenager, as is the case. And then I returned to the family after I had experience with other music and was able to recognize what an incredibly gigantic quality there was in the music of the Beatles. Because I had never perceived such a quality in this breadth and depth in all the other music that I had heard in the meantime. With this preliminary banter I'm simply trying to clarify my competence regarding the Beatles in order to say with real enthusiasm: you're so good! Rarely have I seen someone speak so competently and intelligently about the Beatles. Thanks for that!
Awesome once again
Love your analysis on the Beatles..they are also my favorite
Lovely video and extremely illuminating observations. I don’t know why you don’t have a million followers!
By the way: The most breathtaking progressions from minor to major - but also vice versa - were written by Franz Schubert, especially in his piano works. If you don´t know them, please check it out (for example in his Impromptu in c-minor, op.90/no.1)
Since I was a kid, I have noted those "stop/start" methods in this song, like everytime it goes into a new section with the minors and majors and key changes. Always found it to be very clever and a way to keep the song fresh. Really love your presentation here.
I really enjoy your assessment of these Beatle songs. It’s truly entertaining. Keep up the good work!
I think there are a number of correlations between The Beatles and XTC. I'd love to hear you discuss that topic. Comparing songs and musical ideas.
This is absolutely delightful!! Your analysis of the song is spot on!! Keep it coming!!
Thank you❤excellent analysis
I'm back from Vinyl Monday 🙂📀
Revolver is a well arranged album and it really dips into psych but without going full psych but its still a rock/pop album with that indian influence
love the t shirt !!!
It’s news to me Here There and Everywhere dates back to Help days considering it was released August 1966
Same here - I wonder why it didn't end up on Rubber Soul? Mind you, Paul has a notoriously unreliable memory for timelines (and who can blame him with all that going on?) and he could well have conflated that with something else.
Paul McCartney is, and for close to 50 years has been, one of my favourite songwriters, mostly on the strength of his Beatles output {he did a few great songs with Wings}. John thought he was a lyricist that didn’t make enough effort but I beg to differ. I think all of the Beatles were really thoughtful lyricists. John’s main criticism of Paul was that Paul didn’t write about himself, whereas John did. But that’s not true.
There’s a lot of Paul and his thoughts in the songs where he was the main writer.
Personally, I think he comes across as one of the most misogynistic writers of the 60s {indeed, ever !}. That will surprise some people, but there’s an undercurrent of selfishness from Paul that funnily enough isn’t in much of John’s writing. You’d think that songs like “You can’t do that” “Norwegian Wood,” “Ticket to ride,” “I call your name,” Girl” and “Run for your life” would pitch John in that light but what they really reveal is his insecurity masquerading as the tough guy in control of his woman. Paul, on the other hand, was utterly selfish in his songs pertaining to women, especially in 1965-66. We think of “Michelle” and “Here, there and everywhere” as such sweet love songs but I’ve long seen a different side to them. It’s worth remembering that in the 60s, when English songwriters sang about love between a man and woman, what they were really singing about much of the time was sex and possession. As the English journalist Rosie Boycott pointed out, the real beneficiaries of free love in the 60s weren’t the women of the western world ! That came much, much later.
“Here, there and everywhere” reminds me of the way many of us initially thought of the Police’s “Every breath you take.” It sounds like a passage of undying love. It’s not. It’s a sinister tale of control, a manifesto from a stalking maniac whose only interest in the object of his affection is to possess and starve the woman of freedom. Paul’s song reminds me of that and when you put it into context with songs like “I’ve just seen a face,” “I’m down,” “Another girl,” “You won’t see me,” “I’m looking through you,” “We can work it out,” and “For no one” you can see a side to Paul that was kind of chilling. It’s also very interesting that to the writer Michael Braun as early as January 1964, Jane Asher said “The trouble with Paul is that he wants the fans adulation and mine too. He’s so selfish. That’s his biggest fault.” While commenting on the song “Every little thing” in his book “A Hard Day’s Write,” Steve Turner observes “The girl’s needs are not even considered, the assumption being that she should find her fulfilment in serving her man. Ironically, it was precisely the attitude expressed in this song that Jane Asher later challenged when she told Paul she needed to find fulfilment in her acting career. It wasn’t enough for her to be the girlfriend of a desirable pop star…” Paul even admitted it when he told Hunter Davies that “I knew I was selfish….it caused a few rows. Jane went off and I said ‘OK then, leave. I’ll find someone else’.” This was in the context of saying that he’d always had women around, even when he’d had a girlfriend and that despite having a girlfriend that he lived with, he led the batchelor life.
So for me, these things {they are well and numerously documented} shine a somewhat different light on Paul’s mid-60s songs in which he declares his love. “Michelle” comes across as the words of a bloke who can’t even communicate with Michelle but is happy to screw her royally. And that’s one of the sweet ones !!! People often criticised the Rolling Stones {and as the main lyricist, Mick Jagger in particular} for their misogynistic mid 60s output. Well, the Beatles got there first and were ready to show the Stones a thing or two !
That all said, “Here, there & everywhere” is a lovely song, if not lyrical thought, although it’s my least favourite on “Revolver.” Which isn’t saying anything derogatory, because I think all 14 songs are at the very least magnificent.
What a fascinating take; thank you for your detailed commentary. I'm well familiar with the discourse around John's misogyny, but it can totally be read that Paul's lyrical chauvinism is right out there in the open. I appreciate this contribution to the conversation.
@@fathommusicnz I know this sounds ridiculous, given the common take on their history, but Paul was a worse misogynist than John, in my opinion. Paul was solidly in that direction until he married Linda. It comes out in so many of his songs in that period. But he didn't like it when Jane saw another guy. To me, that speaks eloquently about where Paul was at.
If you haven't already, a great book to read is "Many Years From Now" by Miles. It is as close to an autobiography from Paul as we've ever got.
It annoys me when Paul is regarded as a lightweight. He was deep and he had aspects to him that were horrible and he's never given credit for the full scope of a man going through the requisite 1960s changes.
I like to say that Paul wrote infatuation songs and John wrote love songs.
I consider Here There and Everywhere to be one of Paul's better love songs lyrically, in that it at least contains the presence of the beloved. Many of his songs are about love, but the beloved is completely hypothetical or absent. But here she is at least real and tangible, and there is an expression of shared ideals, rather than imposed ones.
But I agree with you overall and that is the reason why I am convinced that John and Paul wrote Ticket to Ride together, despite what John claims. In the verses, John is trying to process why she left. He is trying to understand what went wrong. But suddenly, the song lashes out at her. "I don't know why she ridin' so high; she oughta think right, she oughta do right by me." This is a basic Paul attitude. If she leaves, it's her loss, not his. She'll come back once she's seen the error of her ways. I interpret "do right by" here, not as if she owes him restitution for hurting him, but rather that she is in good hands with him and should reconsider. He thinks she's not going to find someone better out there and that her complaints against him are baseless. He feels he's been doing right by her, so she should be grateful and return. When John lashes out, it's more vindictive, but less judgmental. More, you hurt me, so watch out.
i like you tee shirt. love xtc too
And, of course, that rising bass line, which gives a wonderfully optimistic feel to the verse.
I think you were onto something when you said HTAE is a sort of sister song to “In My Life”.
The most beautiful Beatles love song? No way I could pick one, just no way.
One of Macca's most beautiful tunes. Great dissection!
Just started listening to you yesterday and have seen a few of your videos and I am very impressed at your insight and detail of each song just so refreshing to have someone that knows what there talking about, look forward to much more.
You are absolutely spec-taco-lar!!
I could imagine a nice video of John and Yoko hanging around in various locations with this song playing in the background.
Actually, this was the only song that John told Paul he really liked by Paul.
Packed with tasty observations!
I enjoy these song breakdowns! I think I prefer the version Paul did in concert with an accordion player, I’m a big George Harrison fan, but his accented guitar clank is obtrusive on such a delicate track. Imo.
thanks i enjoyed this
I’ve never loved this song. Hoping she can help me to get it.
This is a lovely song. To me the most beautiful is The Long and Winding Road without Phil Spector. The song evokes a emptiness and loss .I have never heard in any other song.
As beauty goes I think Julia overall is more emotional and beautiful.
But this is all splitting hairs .
It just is.
Great video. It's worth pointing out, though, that in AABA song structure, the B section is the 'middle 8'. In fact, that is where the term comes from. You seem to be confusing it with a bridge, which is not really the same thing as a middle 8, though the terms are sometimes used interchangeably.
That said, I would argue that this song is not an AABA structured song. The "I want her everywhere" part is actually the chorus. There just isn't a bridge or prechorus.
17:30 He’s was singing from his dad’s point of view, about his mother.. not about his own romantic relationship
What about FOR NO ONE?
ENGLISH SETTLEMENT!!!!
i think i'm going to do a 24 minute video about how well you coordinate the color "green"...can i be as articulate as you are about my favorite band? undoubtedly not.
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You didn't play the song...
This is indeed a very beautiful song. But… They didn't draw on the full range of possibilities for the arrangement imo. The guitar should be acoustic, the accompanying vocals should have been arranged by Brian Wilson, the guitar solo is also not convincing and feels as if glued on. If they would have spent more time on it, they could have made it not a, but the most beautiful song.
I can appreciate this song, but I don't really like it. I think its lyrical construction is really clever (the way each verse starts with a part of the title and the last word of each verse is the first word of the next verse), but it doesn't resonate with me emotionally.
dance hall
tin pan alley
It was probably written by George Martin or Theador Adorno
The Beatles were a psy op
Too techy...
...yet, a very sterile song.