In You've Got to Hide Your Love Away, another
one that we'll talk about in the closeup coming up.
We've got John Lennon, very much under the influence of Bob Dylan with Dylan-esque
kinds of lyrics and maybe even a little bit of Dylan kind of vocal delivery.
Now we have the use of the fluter, actually two
over dub flutes so we're starting to see more instruments
besides the basic rock ensemble coming into the music.
You're Going to Lose That Girl, this third John
song on the album has got much more of
kind of a Motown influence, at least, if you
read the [INAUDIBLE], and what's talked about in there.
John talks about having been influenced by Motown, maybe
Smokey Robinson and The Miracles or something like that.
Ticket to Ride, which is another song that was released as a single.
You want to
note the guitar intro on Ticket to Ride, and we can, sort of hook
that up with some of the other
guitar intro, tunes, that we've been talking about.
Going back to things like I Feel Fine, Eight Days a Week, h,
Ticket to Ride, fits in with that
as later, well, Daytripper and Paperback Writer.
The John song, It's Only Love is another contrasting verse-chorus form.
We're seeing more
of these contrasting verse-chorus songs.
So out of those songs that I've just mentioned that are on
the album, there are one, two, three, four, five John songs here.
And when you take the singles that were released earlier in B sides, we find John
using three AABA forms, but four contrasting verse-chorus songs.
So you can see that there's a much more even and balanced distribution of
AABA forms and verse-chorus types of approaches.
Of the Paul songs there's a great tune, AABA tune called The
Night Before, which interestingly enough features John Lennon on piano this time.
Another Girl, another Paul AABA form, as
we mentioned before, featuring Paul McCartney on guitar.
Tell Me What You See, if you look at the lyrics
to that one, you can see them getting a bit more poetic.
We'll, we'll we'll come to that topic in just a minute when we discuss I've
Just Seen a Face in the musical close-up,
there's another Paul song with a Dylan influence.
And again when I talk about that one in just a
minute, I'll want to focus on the seriousness of the lyrics there.
And of course Yesterday, which is also somewhat philosophical, in AABA form.
But now using classical
strings as a way of sort of reaching out beyond the Beatles the
Beatles ensemble of base to guitars, piano maybe, drums and vocals.
So of the Paul songs we got three AABA songs, two that are contrasting
first chorus and one that's simple verse kind of song.
So again, we see, like we saw with
John, a more balanced distribution of formal
types and a kind of an inclination for
the lyrics to get more serious and
to bring instruments outside of the usual thing.
We talked before about the guys using an audio snapshot kind of approach,
now we're starting to see a kind of a transition away from that.
Even though when you're listening to the records, you would never get
a sense that it wasn't the band performing in front of you.
The fact is that different band members are performing on different instruments.
Sometimes on two different instruments at the same time because
the ability of being able to overdub instruments and things.
And so what you're getting is the illusion of an
audio snapshot, but already their starting, to that, that idea of
the audio snapshot is starting to breakdown, and by the time
we get to Sergeant Pepper, we will be almost entirely gone.