1965

Changes in songwriting

-Fusion with Indian music-

Someone introduced jazz! ?

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O-Parts also exist in songs that are supposed to have been made during the preparation period before "HELP!" .
'Ticket To Ride' was used to riff of Asus2, 'I Need You' and 'You've Got To Hide Your Love Away' in Xsus4 - X - Xsus2 variation which is a combination of, the sudden code of suspend X is overflowing ing.

Moreover, the reverse progression (D-A-E) used in the ending of'You're Going To Lose That Girl' would not be a coincidence. On the other hand, Paul's'Yesterday' begins with a 5th step (G -) F#m7-B7-Em that suddenly goes out of scale, and I can't think of it as a dream. In the first place, Paul himself said that it was like a jazz melody, and I suspected it was an old jazz song that his father was listening to. These were not the elements of R&R and pops up to that point, and they may have come from jazz as Paul says. The main point of contact is The Mike Cotton, led by Michael Edward Cotton(Mike Cotton), who acted as the opening act in the "Another Beatles' Christmas Show" (~1/16) that had been held until just before. Presumed to be Sound. Only Paul seems to have been influenced by John Mayall (a musician who triggered the purchase of the Casino) , but even so, the'Wait' made in the Bahamas used C#7sus4-C#7 a little later (simply Maybe George just played it).

You can check the notes on February 15 ( 'A TICKET TO RIDE' , 'ANOTHER GIRL' , 'I NEED YOU' ), February 18 ( 'YOU'VE GOT TO HIDE YOUR LOVE AWAY' , 'IF YOU GOT TROUBLE' ) February 19th ( 'YOU'RE GOING TO LOSE THAT GIRL' ) February 20th ( 'THAT MEANS A LOT' ). Among these were the type of guitar and the performer, passing a 12-string guitar through the volume pedal, playing the Hefner with a bow (!), and using the recording method to transfer from track to track, Etc. are described in detail. On the contrary, it can be seen that the omitted bass and drums players were unchanged.

Although not mentioned in the memo in'Ticket To Ride' , there is a certain sound creation.

Aiming for a heavy sound, we are changing not only the playing method but also the recording method. Previously, "Hold Me Tight" and "Little Child" were doing remakes to increase the tape speed, but that was a painful measure. This time, it is intentionally performed, that is, planned from the beginning, and makes the sound of the instrument heard heavy by making the speed slower than when playing. The aim is to have a concept similar to that of a'Misery' piano.

However, at this point, there was no speed adjustment device, and the delicate work of adjusting the power frequency of the tape recorder was required. This was necessary for'I'm Looking Through You' at the end of the year, and it is speculated that this led to a tape speed adjustment device for the "REVOLVER" period one year later.

• 'Yes It Is'
• "That Means A Lot"
• "You Like Me Too Much"
• 'Tell Me What You See'
• 'If You've Got Trouble'

Story that failed to make history

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An interesting attempt was made during the recording session of'That Means A Lot' .

The notes that Martin left behind are
Paul bowing bass guitar You can check the description (date 65/2/19).

This description shows that Paul played a bass guitar (Heffner definitely) with a bow, and that sound can be confirmed as a sustaining bass in the "ANTHOLOGY 2" recording version .

It's unclear if this performance had any original material, but at least certainly faster than Jimmy Page. It was possible that Paul would have been a pioneer if this song was in the market at the time.

Paul wrote the original song of "Michelle" during the Liverpool institute era ( ⇒ around 1960 ), and Paul himself reveals the secret of the jazz-like chord F7#9 in the second measure of A melody. John, who listened to this A melody, was inspired by a phrase that Nina Simon's "I Put a Spell on You" ( ⇒ 65/6 ) repeated "I love you" three times immediately after the interlude, and was inspired by middle eight. I suggest that it is perfect. At this time, I composed with key C, but when recording I raised it to key F (5 capo).

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'What Goes On' is an early Lennon work that he wrote before the Beatles. It was a completed song that I tried to record in the'From Me To You' session ( ⇒63/3/5 ), but here it is a remake version with the A melody replaced. With Neil Aspinor's testimony at the time that this work was led by Paul, Paul created a demo for Apple (that was completed before the recording date to give him time to learn), Apple, who listened to it , cooperated with the lyrics of the new A melody , and apple is also in credit.

Although'The Word' is said to have been mainly written by John, in R&B the 12-bar progression by D7, G7, A7, which is familiar, is replaced by D7#9, G7sus4-G7, A7sus4-A7. X7#9 is the code used for'Michelle ' via Jim Gretti, and it is speculated that this is Paul's work. The D7#9 chord form used here has been transformed into what is commonly known as the'Jimichen code', perhaps influenced by the hippie culture of San Francisco, or perhaps obtained through John Mayall. ..

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'You Won't See Me' is a live story of Paul's composition. The impressive bass line is conscious of Motown's James Jamerson (Motown bassist), and the melodic bass is positioned as an important part and recorded at the end (playing the piano when recording a basic track). It contains interesting chord progressions, with the chorus ending in (II -) Ⅱsus4-V . The Xsus4-X progression is the usual procedure, but the 5th progression is the same as the "Michelle" chorus (Fm-Absus4-Db) .

John is the main song for'Girl' , but Paul also cooperates in finishing the lyrics and composing.
John said he wrote about an ideal woman he had never seen before, adding that it was Yoko. What John wanted to insist on this poem was the view on "pain will lead to pleasure." in the final verse, and John himself disputes this idea. In other words, the idea is that the person who achieved the goal can talk about the hardships that they have experienced by looking back, and it is a mistake to think that they will not succeed unless they experience the hardships. "(Did she understand it) when they said" is being asked by John as a double-meaning of "~shita" and "when~".
"Will she still believe the word if he died while he was crushing himself?" Paul cites John's film "Zorba the Greek" as a reference. The claim is emphasized and tightened.