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Beatles Lyrics Falling You Back Again

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1965 song past the Beatles

"I've Merely Seen a Face"
I've Just Seen a Face sheet music.jpg

Cover of the Northern Songs sail music
Song by the Beatles
from the anthology Help!
Released 6 August 1965 (1965-08-06)
Recorded 14 June 1965 (1965-06-14)
Studio EMI, London
Genre Folk rock, country and western, pop rock
Length two:02
Label Parlophone
Songwriter(s) Lennon–McCartney
Producer(south) George Martin

"I've Simply Seen a Face" is a vocal by the English language rock band the Beatles. It was released in August 1965 on their anthology Assist!, except in Northward America, where it appeared as the opening track on the December 1965 release Rubber Soul. Written and sung by Paul McCartney, the vocal is credited to the Lennon–McCartney partnership. The song is a cheerful honey ballad, its lyrics discussing a dear at first sight while conveying an adrenaline rush the vocalizer experiences that makes him both enthusiastic and inarticulate.

Originally titled "Auntie Gin's Theme", the song began every bit an uptempo country and western-style pianoforte piece. McCartney then added lyrics that may have been inspired past his relationship with actress Jane Asher. The Beatles completed the runway in June 1965 at EMI Studios in London on the same day they recorded "I'm Down" and "Yesterday". The recording fuses state and western with several other musical genres, including folk rock, folk, popular rock and bluegrass. The first Beatles track without a bass guitar, it features iii acoustic guitars, a brushed snare and maracas.

Several reviewers accept described "I've But Seen a Face" in favourable terms, highlighting its rhyming lyricism and McCartney'due south vocal delivery, and described it equally an overlooked song. Its replacement of "Drive My Car" on the North American version of Rubber Soul furthered the album's identity as a folk rock work, although some commentators view this modify as masking the ring'southward late-1965 creative developments. It was amongst the get-go Beatles songs McCartney played live with his group Wings, and versions from their 1975–76 earth bout announced on the 1976 alive album Wings over America and in the 1980 concert film Rockshow. The song has been covered by several bluegrass bands, including the Charles River Valley Boys, the Dillards and the New Grass Revival with Leon Russell. George Martin, Holly Cole and Brandi Carlile are among the other artists who have covered it.

Background and inspiration [edit]

The outside of the 57 Wimpole Street apartment.

Although the song is credited to the Lennon–McCartney songwriting partnership,[1] John Lennon and Paul McCartney each identified "I've Only Seen a Face" as having been written entirely by McCartney.[two] McCartney recalled writing it in the basement music room at 57 Wimpole Street in central London.[3] The house was the family home of his girlfriend, extra Jane Asher, where McCartney lodged from November 1963.[four] Working on a piano, he composed the melody first, starting time information technology as an uptempo country and western-inflected piece.[v] After he played it on the piano at a family gathering,[6] his aunt Gin enjoyed the tune, prompting him to give it the working championship "Auntie Gin'southward Theme".[seven] [note one] He added fast-paced lyrics which may take been inspired by his relationship with Asher, turning the vocal into a cheerful love ballad.[xi]

McCartney completed "I've But Seen a Confront" too late for inclusion in the Beatles' second characteristic film, Assist!,[one] nigh of the songs for which were recorded in February 1965.[12] He presented it to the band in mid-June,[thirteen] shortly after returning from holidaying in Portugal with Asher.[14] During the vacation, he also wrote the lyrics to his carol "Yesterday".[15] Author Ian MacDonald comments that, since writing "Tin can't Buy Me Love" in early on 1964, McCartney had fallen backside Lennon in output, Lennon being the primary writer of the Beatles' next iv singles.[one] [note two] Near of the sessions for the band's Assist! album had likewise focused on Lennon compositions.[nineteen] In MacDonald'southward view, given McCartney's absorption in his relationship with Asher and the contrasting depth and originality of Lennon's writing since 1964, McCartney was motivated by the need to utilise a renewed focus in his writing on Help!, to regain his equal condition in the songwriting partnership.[one]

Composition [edit]

Music [edit]

"I've Just Seen a Face up" is in the key of A major and is in 2/2 (cutting time).[20] [21] [note 3] The song begins with a ten measure out intro.[twenty] Split up into iii phrases,[20] the intro uses triplets that are slower than the balance of the vocal to create a sense of acceleration,[23] reinforced by a shortened third phrase which quickens the kickoff poesy's arrival.[20] McCartney used the effect of boring triplets again later that year in "We Tin Work It Out".[20] The song's outset chord is F-abrupt minor, slightly away from the domicile key, and is similar to "Help!" in leaving its harmonic grounding ambiguous until the end of the intro.[20] Following the intro, the song speeds up in tempo to what music scholar Terence J. O'Grady calls "an undanceable speed".[24]

The song uses four chords total; the twelve-measure verses employ the common popular chord progression I–vi–IV–V, while the eight-measure refrains utilize the blues progression V–IV–I.[20] The latter progression simulates descent (further suggested by the lyrics: "[V] falling, yes I am [Four] falling, and she keeps [I] calling..."),[25] and the inclusion of a melodic small-scale third on the first syllable of "calling" gives the refrain section a blues sound.[twenty] Structurally, the song includes 3 different verses, an instrumental interruption and a reprise of the first verse. Afterwards the second verse, each section is separated from the other by a chorus.[26] Like other Beatles songs, a triple echo of the chorus signals the end of the vocal, though Pollack writes "[t]he repeat here of an entire viii bar chorus is rather unprecedented." The outro finishes by repeating a phrase from the cease of the intro to provide a feeling of symmetry.[xx]

Genre [edit]

Past this signal [the Beatles] had been freely borrowing and blending various stylistic elements of pop, stone, folk, dejection, and still other styles for quite a while. Still, this otherwise sweetly simple "folk stone" song really pushes the envelope in terms of the sheer number of diverse styles juggled simultaneously besides as the effortlessly seamless mode in which they are fused.[20]

– Musicologist Alan Westward. Pollack on "I've Just Seen a Face up", 1993

The composition fuses several different styles and is difficult to categorise.[20] Musicologist Alan Due west. Pollack describes the vocal on the whole as folk rock,[xx] as does MacDonald,[27] though Pollack characterises parts of the song differently, describing the get-go two verses as "pure pop-rock", the changes between poetry and refrain in the second half as "folksy" and the triplet refrain in the outro as similar an "R&B rave-up".[20] Musicologist Walter Everett describes it as both folk and a "bluegrass-tinged ballad",[28] suggesting information technology anticipates the "simple folk style" of McCartney'south 1968 limerick "Female parent Nature'south Son".[29] O'Grady similarly highlights the song's folk-styled guitar contribution with underlying hints of bluegrass, comparing it to another of McCartney'due south 1965 compositions, "I'm Looking Through You".[xxx] He further writes that both songs "[demonstrate] a divide personality" through joining pop-rock with either folk or country-western.[31]

Author Chris Ingham writes "I've Just Seen a Confront" indicates the Beatles' continued interest in country music,[32] and music critic Richie Unterberger describes the "well-nigh pure land" song as a continuation on the band's country-influenced work from the previous year, such as their album Beatles for Sale and the song "I'll Cry Instead" from A Hard 24-hour interval's Nighttime.[33] At the same fourth dimension, Unterberger counts the vocal as one of several Help! tracks that display the influence of folk rock on the Beatles.[34] By contrast, O'Grady writes that the song'south country-influenced vocals are sung over an instrumental accompaniment "devoid of any specific rock and scroll gesture", and concludes it is the Beatles' "first authentically country-western (every bit opposed to land-rock or rockabilly) vocal".[24]

Lyrics [edit]

Written in a conversational style,[35] the lyrics of "I've Merely Seen a Confront" describe a love at first sight.[36] Sung without pauses for breath or punctuation, the song conveys an adrenaline rush the singer experiences[37] that makes him both enthusiastic and inarticulate.[xx] Author Jonathan Gould groups "I've Only Seen a Face" with several of McCartney's 1965 compositions that deal with face-to-face encounters, including "Tell Me What Yous See", "You Won't See Me", "We Can Piece of work It Out" and "I'm Looking Through Yous".[38] Musicologist Naphtali Wagner instead categorises it with later McCartney compositions that "explore ambiguous, elusive and altered states of consciousness", such as "Got to Get You into My Life" from Revolver (1966) and "Fixing a Hole" from Sgt. Pepper'south Lonely Hearts Club Band (1967).[39]

The lyrics are constructed using an irregular rhyme scheme,[twoscore] using both run-on verses and alliterations.[23] McCartney afterward described them equally insistent in quality, "dragging y'all forward... pulling you to the side by side line".[41] Rhyming every two beats,[22] the lyrics use a series of cascading rhymes ("I have never known/The like of this/I've been alone/And I have missed").[35] [annotation 4] Appoggiaturas are used throughout for rhymes to line-upwards, such as "face" and "identify" in the song's intro.[20] The ends of stanzas are wordless,[23] using vocal cadences similar "lie-die-die-dat-'n'-die"[22] that repeat the descent of the song's instrumental intro (scale degrees scale degree 4 – scale degree 3 – scale degree 2 – scale degree 1 – scale degree 7 – scale degree 1 ).[xx] [22]

Production [edit]

Recording [edit]

Having completed the filming of Assist! on eleven May 1965,[45] the Beatles recorded "I've Just Seen a Face up" during the first of three sessions dedicated to filling out the anthology with songs not in the film.[46] The session took place in EMI's Studio Two (now part of Abbey Road Studios) on 14 June, George Martin producing with assist from balance engineer Norman Smith.[47] During the same afternoon session, the band recorded McCartney's new stone and roll song "I'yard Down" earlier breaking for dinner and returning to begin work on "Yesterday".[48] The 3 songs of divergent styles reflected the range of McCartney's compositional abilities;[49] [fifty] author and musician John Kruth calls information technology "McCartney's famous marathon session".[6] [annotation 5]

Taped on 4-rails recording equipment,[6] the song consists of two backing tracks.[22] On the first, George Harrison plays Lennon'southward Framus Hootenanny audio-visual twelve-string guitar, McCartney his Epiphone Texan nylon-cord guitar and Ringo Starr a snare pulsate with brushes.[53] The second includes a lead vocal from McCartney and Lennon playing rhythm guitar with his Gibson J-160E acoustic.[54]

Overdubbing and mixing [edit]

The ring taped the basic rails in 6 takes,[47] overdubbing new parts onto take vi.[46] McCartney played a college section in the intro with his Epiphone Texan and added a descant vocal,[55] providing a contrapuntal bankroll during the refrains in a nasally country and western tone, similar to his backing vocal on some other Help! track, "Human activity Naturally".[twenty] Adding texture unremarkably achieved with a tambourine,[23] Starr overdubbed maracas on the choruses,[56] while Harrison added a twelve-string acoustic guitar solo.[57] [note 6]

Employing a technique used extensively during the Assist! sessions, another guitar plays simultaneously during the guitar solo to provide a contrasting sound.[59] [note seven] Gould writes that, in shifting from cut time to common fourth dimension during the solo, Harrison's playing is reminiscent of both jazz guitarist Django Reinhardt and the French jazz organisation Le Hot Club.[37] Pollack characterises the solo every bit a "'countrified', rhythmically flat rendering",[20] and O'Grady writes it "approximates Bluegrass fashion in rhythmic regularity".[24] "I've Just Seen a Face" was the first Beatles song to non take a bass guitar part.[10] Music critic Tim Riley suggests the instrument's absence, together with the guitar solo being played on the low-stop of the guitar, keeps the song rooted in the country genre.[23]

On 18 June, Martin and Smith mixed several songs on Help! for mono and stereo, including "I've Just Seen a Confront".[sixty] The two mixes of the vocal are nigh identical to ane another.[46] As was typical for their pre-Condom Soul piece of work, the Beatles participated minimally in the album'southward mixing process.[61] In 1987, for Assistance! 's first CD release, Martin remixed the song for stereo, adding a modest amount of echo.[46] [notation viii]

Release [edit]

EMI's Parlophone label released the Assist! LP on half-dozen August 1965.[63] "I've Merely Seen a Face" appeared on side two along with six other tracks not in the film, sequenced between "Tell Me What Yous See" and "Yesterday".[64] McCartney was pleased with the finished recording and it became one of his favourite Beatles songs.[41]

[The Beatles'] new management can be seen immediately in the song that opens the [N] American version of [Rubber Soul], McCartney'south jaunty, bluegrass-inflected "I've Only Seen a Face", which had footling resemblance to anything that the Beatles had recorded upwardly to that time. Only "I've Just Seen a Face" was written several months earlier than the other Rubber Soul songs and had already been included on the British version of Help!, so its credentials as the "signature song" for the anthology are, regardless of its quirky charm, suspect at best.[30]

– Music scholar Terence O'Grady, 2008

In keeping with the visitor'due south policy of reconfiguring the Beatles' albums,[65] Capitol Records removed "I've Just Seen a Confront" and the other non-film songs from the North American version of Aid!, replacing them with several orchestral pieces from the film'due south soundtrack.[66] On the band's next album, Rubber Soul, Capitol again altered the track listing; in add-on to omitting iv songs they deemed "electric", the company selected "I've Just Seen a Face" and Lennon's "It's Only Love" every bit the opening tracks of side one and side two, respectively.[67] Capitol'due south arroyo was motivated by the popularity of folk rock in the United States,[68] with singles such as Sonny & Cher'due south "I Got Yous Babe", the Beatles' "Assist!", Barry McGuire'due south "Eve of Destruction",[69] the Byrds' cover of Bob Dylan's "Mr. Tambourine Homo", Simon & Garfunkel'southward "The Sound of Silence" and the Mamas & the Papas' "California Dreamin'" all representative of the style in 1965.[70] "I've Just Seen a Face up" thereby replaced the Memphis audio-inspired "Drive My Car" and was followed by the acoustic vocal "Norwegian Wood (This Bird Has Flown)".[71]

Released on six Dec 1965,[72] Capitol's version of Rubber Soul was dominated by audio-visual-based songs.[73] Many North American listeners therefore erroneously assumed that the Beatles had focused on folk music for an unabridged LP.[74] Opening with "I've Just Seen a Confront" gave Rubber Soul more conceptual unity,[75] which reinforced perceptions of it equally a folk or folk rock centred LP,[76] at the cost of distorting the band's late-1965 creative developments and their original artistic intentions.[77] [notation 9]

Retrospective cess and legacy [edit]

Reviewing Help! for AllMusic, Stephen Thomas Erlewine describes "I've Just Seen a Face" as "an irresistible folk-rock precious stone" that is much improve than two of McCartney'southward other contributions to the anthology, "The Night Earlier" and "Another Girl",[79] a sentiment author Andrew Grant Jackson echoes.[80] Journalist Alexis Petridis too disparages McCartney's other Help! contributions as filler – in particular, "Another Girl" and "Tell Me What You See" – simply describes "I've Only Seen a Face up" every bit the album's "one genuine disregarded gem".[81] He sees information technology as "an English language inversion of Help! 's much-noted Dylan influence", existing partway between the folk sound of Greenwich Hamlet and that of skiffle.[81]

Writing for Pitchfork, Tom Ewing pairs the song with "Yesterday", describing both as a "personal breakthrough for McCartney", with each achieving a "deceptive lightness that would become trademark and millstone for their writer". He recognises "I've But Seen a Face" as "a folksy state song [that demonstrates] the gift for pastiche that would help give the balance of the Beatles' career such convincing variety".[82] Music critic Allan Kozinn groups it with "Yesterday", "It's Only Love" and "Await" as songs recorded nearly the end of the Assist! sessions that were a stylistic break from the rest of the album, their "sophistication, spirit and complexity of texture" having more in common with Rubber Soul.[83]

In 2010, Rolling Stone ranked "I've Just Seen a Face" at number 58 in a list of the Beatles' 100 greatest songs,[35] [84] and a 2014 readers' poll conducted past the magazine ranked it as the tenth all-time Beatles song from the pre-Rubber Soul era.[85] McCartney biographer Peter Ames Carlin calls the vocal one of McCartney's most overlooked Beatles contributions, nonetheless also one of his best,[86] and Riley similarly counts it as McCartney's 2nd all-time contribution to Assist! after "Yesterday".[23] Riley, Carlin and Everett each praise the song's lyricism,[87] MacDonald commenting that its internal rhyming and fast-paced delivery "complements the music perfectly".[1] In MacDonald'southward opinion the vocal elevates the 2nd side of Help! with its "quickfire freshness" and he describes information technology equally a "pop parallel" to several 1965 Swinging London films, such every bit The Knack... and How to Go It, Darling and Take hold of Us If You Can.[one] Music critic Rob Sheffield describes the Northward American Prophylactic Soul 'southward sequencing of "I've Only Seen a Face" and "Norwegian Wood (This Bird Has Flown)" every bit a "magnificent 1-ii punch" which results in "the only case where the shamefully butchered U.Southward. LP might top the U.K. original".[88] He judges the song the "about romantic [ever]", while managing to be "almost as funny every bit 'Drive My Car'".[89] Describing the song as "fetching, vintage McCartney" and a "warm, cheerful folk-rock treasure", journalist Marking Hertsgaard admires its "thigh-slapping beat, sing-forth melody, and cheerful, isn't-love-great lyrics"; he deems it "the musical equivalent of an armful of freshly picked daisies".[xc]

Unterberger describes "I've Just Seen a Face" as "probably the almost bluegrass-soaked rock song of the 1960s".[91] John Kruth says its influence can be heard on "Go and Say Goodbye", the original opening track of Buffalo Springfield's 1966 debut anthology. Kruth argues that both songs helped accustom rock fans with small doses of country music, setting up the plough from folk rock to country past the Byrds with their 1968 album Sweetheart of the Rodeo; [92] in Kruth's stance, the song'southward "deep wooden timbre" tin can be heard in the music of Crosby, Stills & Nash; James Taylor and Jackson Browne.[93] Reflecting in 2006 on the Beatles' legacy and influence, journalist Greg Kot views the song'due south folk styling every bit exemplifying the Beatles' musical fluency and ability to main genres far removed from their stone music origins.[94]

McCartney live versions [edit]

McCartney playing a twelve-string acoustic guitar during one of the tour's concerts.

McCartney performing during the Wings Over the Earth tour, 1976. He included "I've Just Seen a Face" during an audio-visual department of the bout'southward setlist.

The vocal has remained a favourite of McCartney's in his postal service-Beatles career and is one of the few Beatles songs he played with his later band, Wings.[41] An audio-visual rendition of "I've Just Seen a Face up" was among the five Beatles songs McCartney played during the 1975–76 Wings Over the World tour,[95] being the outset time he included Beatles songs in his alive setlist.[96] [note 10] Beatles writer Robert Rodriguez calls the pick unexpected,[98] and McCartney explained contemporaneously that he picked the songs "at random... I didn't want to get too precious nearly it".[99] Journalist Nicholas Schaffner writes that their inclusion "electrified audiences", and Rodriguez similarly describes the Beatles section of the setlist as the "emotional highlight for near attendees".[100] McCartney reflected at the fourth dimension, "They're great tunes... So I just decided in the terminate, this isn't such a big deal, I'll do them."[99] In a retrospective cess, Riley lauds McCartney for performing the song during the tour as though he were "sitting effectually on a porch harmonizing to a good old rural favorite".[23] Live versions of the song from the tour were later on included on the 1976 triple live album Wings over America and in the 1980 concert picture Rockshow.[101]

McCartney performed "I've Only Seen a Confront" in a 25 Jan 1991 prepare,[102] played on acoustic and filmed by MTV for their series Unplugged.[103] The performance was later included on his 1991 album Unplugged (The Official Bootleg).[104] He has played the song live on several other occasions, including it in the setlist of his 2004 Summer Tour and 2011–12 On the Run bout, and it was included on the 2005 DVD Paul McCartney in Ruby Square.[84] In 2015, during the Saturday Nighttime Live 40th Anniversary Special, he and musician Paul Simon played an impromptu duet of the vocal.[105]

Cover versions [edit]

Charles River Valley Boys [edit]

"I've Just Seen a Face up"
Song by Charles River Valley Boys
from the anthology Beatle Country
Released Nov 1966 (1966-eleven)
Recorded September 1966 (1966-09)
Studio Columbia, Nashville
Genre Bluegrass
Length 2:39
Label Elektra
Songwriter(due south) Lennon–McCartney
Producer(s)
  • Paul A. Rothchild
  • Peter 1000. Siegel

The Cambridge, Massachusetts-based Charles River Valley Boys (CRVB) recorded a cover of "I've Just Seen a Confront" for their 1966 album, Beatle Country, a drove of Lennon–McCartney compositions played as bluegrass and sung in a loftier lonesome style.[106] James Field of the group later on recalled hearing the song on the radio in the lead up to the US release of Condom Soul and thinking "information technology instantly felt similar bluegrass".[107] In particular, the I–six–4–V progression and the chorus showtime on the dominant had "a bulldoze perfectly suited for a straight-ahead bluegrass trio".[107] He added: "The tempo (for us) is about 115 bpm, and if you listen to many bluegrass standards, a lot of them are in that range. Why? Considering it'due south perfect for the banjo. Yous get a overnice, bouncy roll, and you can go far band."[107] Banjoist Bob Siggins further stated: "I think the instantaneous 'experience' of the song was the tipoff for me... additionally, the lyrics could easily be (and in fact became) bluegrass lyrics."[107] With their usual setlist made up of old and new bluegrass and country songs, the band added an arrangement of "I've Just Seen a Face up" to their set, forth with the country-inflected Beatles song "What Goes On".[108]

Produced by Paul A. Rothchild and co-produced past Peter Yard. Siegel, recording for Beatle Land took place in September 1966 at Columbia's studio in Nashville, Tennessee.[109] The CRVB'due south encompass of "I've Just Seen a Face" changes the composition in several ways, including transposing it from the key of A to G. Structurally, the CRVB add together actress instrumental breaks for banjo, mandolin and dabble – a typical feature of bluegrass music, where each musician is allowed the chance to solo – every bit well as repeating the chorus an extra time, which musicologist Laura Turner writes serves to emphasise the "quintessential bluegrass technique" of close three-role harmonies.[110] She describes the biggest differences betwixt versions as their different textures and timbres, in detail the "incessant, 'walking' upright bass line that provides energetic drive, sparking mandolin tremolo, rolling banjo figures, and intricate, oft double-stopped fiddle motifs that permeate the texture."[26]

Elektra released Beatle Country in November 1966.[111] "I've Just Seen a Face up" was the LP's opening track, and Field later characterised the vocal as the foundation piece of the entire anthology.[112] A contemporary review in Cash Box magazine counts the cover equally one of the five all-time tracks on the album,[113] and a retrospective assessment by John Paul of the online mag Spectrum Culture describes it as "like a lost bluegrass standard".[114] When the Boston Bluegrass Union awarded the CRVB the Heritage Award in 2013, "I've Only Seen a Face" was among the songs the ring performed during the award ceremony at the city'due south annual Joe Val Bluegrass Festival.[115]

Bluegrass groups [edit]

Sam Bush

New Grass Revival mandolinist Sam Bush-league in 2012, who described "I've Just Seen a Face up" as the first song by the Beatles to which he could relate.

Besides the Charles River Valley Boys, numerous bluegrass groups have covered the song.[93] Doggett writes the tempo and chord changes of "I've Merely Seen a Face up" "[cry] out for a banjo and mandolin",[116] and Turner argues it has been "key in stimulating a relationship between bluegrass and the music of the Beatles".[117] The progressive bluegrass band the Dillards recorded a cover of the song between the British release of Assist! and the North American release of Condom Soul; they had hoped to result the song in the U.s. before the Beatles, though the recording went unreleased.[118] They afterwards recorded a encompass for their 1968 album Wheatstraw Suite.[119] Joining elements of traditional mountain music and modernistic land music, their version includes high harmonies, a banjo and a pedal steel guitar.[93] Unterberger calls information technology "a respectable version" which "completed [the Dillards'] movement from bluegrass into folk-country-rock",[33] while Turner describes information technology as "relaxed in tempo and wistful", writing that its use of a pedal steel guitar is "a articulate salute to the flourishing folk-stone scene".[117] Kruth suggests that the finished recording influenced bands like the Byrds, the Grateful Dead and the Eagles.[93]

Sam Bush, mandolinist for the progressive bluegrass band New Grass Revival, recalled existence uninterested in rock music before the mid-1960s, simply found that "I've Merely Seen a Confront" allowed him to "relate to the Beatles for the starting time time", like-minded with a characterisation of it equally "bluegrass without a banjo".[120] New Grass Revival after covered the song with musician Leon Russell for their 1981 alive anthology, The Alive Album, a version Turner calls "difficult driving" and "erratic".[121] Bush-league later covered the song as a solo artist for the 2013 Americana tribute album, Let Us in Americana: The Music of Paul McCartney.[122] The group Bluegrass Clan recorded the song for their 1974 album Strings Today... And Yesterday, basing their arrangement on the Charles River Valley Boys' version.[123]

Other artists [edit]

George Martin recorded an orchestral version of the vocal for his 1965 easy listening album, George Martin & His Orchestra Play Help!, credited under its original working championship, "Auntie Gin'southward Theme".[124] In a review of the album for AllMusic, Bruce Eder describes Martin'southward recordings as "tasteful just otherwise largely undistinguished". He credits the release of tracks nether their working titles as ane of the album'due south unique selling points, being "details that Beatles fanatics of the time simply devoured".[125] The Grateful Expressionless performed the vocal in concert on eleven June 1969 in San Francisco, playing pseudonymously every bit Bobby Ace and the Cards from the Bottom of the Deck, and old Grateful Expressionless keyboardist Tom Constanten recorded a cover for his 1993 album Morn Dew.[126] Hank Crawford, the alto saxophonist of Ray Charles, recorded a funk and reggae-inspired version of the song for his 1976 album Tico Rico.[93]

Canadian jazz vocalist Holly Cole covered the song for her 1997 album Dark Dear Centre.[127] Released with a noir-way music video,[127] the version reached number seven on Canada's RPM Top Singles Chart in November 1997.[128] The 2007 jukebox musical romantic drama film Across the Universe features a encompass of the song,[127] later on included on its associated soundtrack album.[129] In the picture show, the atomic number 82 character, Jude (Jim Sturgess), sings about Lucy (Evan Rachel Wood) at a bowling aisle in what Kruth terms a "somewhat bizarre beloved-fantasy scene".[127] Reviewing the soundtrack for AllMusic, Erlewine writes that Sturgess does "a apparent job" on the song's "rockabilly revamp".[129] American vocalizer Brandi Carlile occasionally sings the song during alive shows.[127] Though Kruth disparages Carlile's version as "[not] specially dissimilar or innovative",[127] a 2010 ranking by Paste mag of the fifty best Beatles covers placed it at 46, writing that she transforms the vocal into a "sing-along hoe-downwardly".[130] Kruth designates "I'll Just Drain Your Face" every bit the song'south "most bizarre" cover,[127] recorded by Beatallica – a mashup grouping of heavy metal band Metallica and the Beatles – for their 2009 album Masterful Mystery Tour.[131]

Personnel [edit]

According to Walter Everett,[22] except where noted:

  • Paul McCartney – lead song, harmony vocal, nylon-string guitar
  • John Lennon – audio-visual rhythm guitar
  • George Harrison – acoustic twelve-string guitar
  • Ringo Starr – drums (with brushes),[132] maracas[133]

Notes [edit]

  1. ^ Virginia "Gin" Harris was the younger sis of McCartney's begetter, Jim McCartney.[eight] McCartney later referenced her in the song "Let 'Em In",[ix] released on the 1976 album Wings at the Speed of Sound.[10]
  2. ^ The four A-sides were "A Hard Day's Nighttime", "I Experience Fine", "Ticket to Ride" and "Help!"[sixteen] The pair co-wrote "Eight Days a Calendar week",[17] released as a single in the United States in February 1965.[18]
  3. ^ Everett writes the song is in cut time.[22] Pollack writes that the song can be counted in either ii/2 or 4/4 (common fourth dimension), but that if counted in the onetime, the listener can "more easily grasp the extent to which the underlying tempo is constant".[20]
  4. ^ Recorded a day afterward "I've Only Seen a Face",[42] the song "Information technology's But Dear" sometimes employs similar phrasing patterns.[43] Everett hypothesises that Lennon equanimous "Information technology'south Only Dearest" in an effort to match the rhyming result of "I've Simply Seen a Confront", merely ultimately finds it "Lennon's most forced effort at rhyming".[44]
  5. ^ Author Adam Gopnik describes the twenty-four hours equally "a memorable high-water mark in musical history",[51] while Sheffield and McCartney each comment that it provides a sense of the Beatles' quick recording practices.[52]
  6. ^ Amongst Beatles authors, Gould and John C. Winn each say that Harrison played the solo.[58] Jean-Michael Guesdon & Philippe Margotin write McCartney played information technology with his Epiphone Texan, just express general uncertainty over what guitar parts McCartney and Harrison contributed.[10]
  7. ^ The outcome appears on their covers of "Dizzy, Miss Lizzy" and "Bad Boy", equally well equally on "Yes It Is", "The Night Earlier", "Help!", "It's Merely Love" and "Ticket to Ride", where Harrison'southward opening twelve-string ostinato contrasts with three overdubbed guitars.[59]
  8. ^ When the Beatles' catalogue was remastered for stereo in 2009, the Help! CD retained Martin'due south 1987 remix. The original stereo mix was included as a bonus on the companion release The Beatles in Mono.[62]
  9. ^ The anthology was a commercial success and, according to Gould, served to concenter folk-music enthusiasts towards pop music.[78]
  10. ^ The other picks included "Lady Madonna", "The Long and Winding Route", "Yesterday" and "Blackbird".[97]

References [edit]

Citations [edit]

  1. ^ a b c d eastward f MacDonald 2007, p. 155.
  2. ^ Sheff 2000, p. 195: Lennon; Miles 1997, p. 200: McCartney.
  3. ^ Miles 1997, pp. 107–108.
  4. ^ Miles 1997, pp. 103–104; Shea & Rodriguez 2007, p. 363.
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External links [edit]

  • Full lyrics for the song at the Beatles' official website
  • The Beatles – I've Just Seen A Face (Remastered 2009) on YouTube
  • Paul McCartney – I've Just Seen A Face (Live / Wings over America / Remastered) on YouTube
  • Paul McCartney – I've Just Seen a Face (Alive / Unplugged (The Official Bootleg)) on YouTube
  • The Dillards – I've Simply Seen a Face on YouTube
  • Hank Crawford – I've Merely Seen a Face on YouTube
  • Holly Cole – I've Only Seen a Face on YouTube
  • Hosts Monologue – Saturday Night Live 40th Anniversary Special, including Paul McCartney and Paul Simon playing "I've But Seen a Face" on YouTube
  • Jim Sturgess – I've Just Seen A Face (From "Across The Universe" Soundtrack) on YouTube
  • Leon Russell and New Grass Revival – I've Just Seen a Face (Live / The Live Album) on YouTube

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Source: https://en.wikipedia.org/wiki/I%27ve_Just_Seen_a_Face

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