| 1.
No Reply |
SOUND
B+ |
MELODY
B+ |
RHYTHM
B |
ARRANGE
B+ |
|
IMPRESSION
B+ |
PROFUNDITY
B |
ORIGINALITY
B+ |
PLAYABILITY
A+ |
The introduction that starts with vocal suddenly is fascinating,
but also the cool passage in this song must be drums. A three-two
bossanova style is played by the snare drum in the verse. I wonder
why they performed such a rhythm style in this song. However,
the snare drum is played at the usual beat of the 2nd and the
4th in the repeat of verse "I know that you saw me...".
It is simply not extemporaneous, but is the rhythm with much
consideration.
| VERSE |
This happened once |
F6 - G6 - C - F6 - G6 - C6 - FM7 -
Em - FM7 - Em - F6 - G6 - C6 |
16MEAS |
| CHORUS |
If I were you,
I'd |
C - E7 - A - Dm - F - C
- E7 - A - Dm - F - C |
16MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-ENDING |
|
| 2. I'm A
Loser |
SOUND
C+ |
MELODY
C+ |
RHYTHM
C+ |
ARRANGE
B- |
|
IMPRESSION
C+ |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A++ |
This song also begins with vocal, and has free-tempo. The
acoustic guitar sound is featured in this whole song, so they
say that it was due to the influence of Bob Delan. The very low
pitch voices (low tone G at "crossed..." or "end...")
are used, but those voices are not buried in backing, because
John sings with his heavy voice. At the chorus, a four beat rhythm
is played by the bass, and this sounds very cool. Paul sometimes
plays a four beat on the bass unexpectedly, but his performance
at this song is also in good taste.
| VERSE |
Of
all the love I have |
G - Dsus4 -
Fadd9 - G - Dsus4 - Fadd9 - G - Dsus4 - Fadd9 - G - Dsus4 - Fadd9
- G |
16MEAS |
| CHORUS |
I'm
a loser, and I |
Am7 - D7 -
Am7 - D7 - G - Em - Am7 - FM7 - D7 |
8MEAS |
| SOLO |
(Harmonica->Guitar) |
G - Dsus4 -
Fadd9 - G - Dsus4 - Fadd9 - G - Am7 - D7 - Am7 - D7 - G - Em
- Am7 - FM7 - D7 |
16MEAS |
| INTRO-VERSE-CHORUS-VERSE-CHORUS-SOLO-VERSE-CHORUS-ENDING |
|
| 3. Baby's
In Black |
SOUND
B- |
MELODY
B- |
RHYTHM
B- |
ARRANGE
B- |
|
IMPRESSION
B |
PROFUNDITY
B- |
ORIGINALITY
B |
PLAYABILITY
A++ |
This tune has a 12/8 time signature. The slow and triplet
rhythm gives us freshness and peace of mind because the duet
by Paul and John is perfect harmony. The guitar rif or solo that
are played occasionally prevent monotony, and are as spice factor.
In the latter half of song, at "She thinks of him...",
the performance turns into only drums but Ringo plays kick drum
with eighth note.
| VERSE |
Oh, dear what I
do |
A - E7 - D - E7 - A - D
- E7 - A |
3MEAS |
| VERSE2 |
She thinks of him |
A - A7 - D - A - E7 - A |
4MEAS |
| CHORUS |
Oh, How long will |
F#m - B - D - E7 |
2MEAS |
| SOLO |
(Guitar) |
A - E7 - D - E7 - A |
3MEAS |
| INTRO-VERSE-VERSE2-VERSE-VERSE2-CHORUS-VERSE-SOLO-CHORUS-VERSE-VERSE2-VERSE-ENDING |
|
| 4.
Rock And Roll Music |
SOUND
C+ |
MELODY
C+ |
RHYTHM
C+ |
ARRANGE
C+ |
|
IMPRESSION
B- |
PROFUNDITY
C+ |
ORIGINALITY
C+ |
PLAYABILITY
A++ |
Composed by Chuck Berry. This song has little introduction,
solo, or ending, so John sings all the time without rest. Since
this song is typical rock 'n' roll, the chord progression or
melody is simple but a triplet rhythm is used in the ending.
It gets into full swing and prevents a monotony of rhythm. I
think that the reverb effect for vocal may be too wet.
| VERSE |
Rock and roll music |
A - D7 - A - E7 - A - E7 - A |
14MEAS |
| CHORUS |
I got no kick,
kick |
E7 - A - D - E7 |
8MEAS |
| INTRO-VERSE-CHORUS-VERSE-CHORUS-VERSE-CHORUS-VERSE-CHORUS-VERSE-ENDING |
|
| 5.
I'll Follow The Sun |
SOUND
B- |
MELODY
B+ |
RHYTHM
C+ |
ARRANGE
A- |
|
IMPRESSION
B+ |
PROFUNDITY
B |
ORIGINALITY
B+ |
PLAYABILITY
A+ |
I was astonished by the chord progression at the beginning
of vocal. Since the key on this song is C major, the progression
such as "G7->F7->C" is converse pattern that
progresses from dominant to sub-dominant. Moreover, The note
Eb the 7th tone of F7 is used at "you'll" in "you'll
look". And that note goes up half-tone from note D at "One"
in the "One day...", so it forms very unique melody.At
the chorus, the sub dominant chord is used, that is the most
advanced arrangement in that time. The guitar solo seems to be
weak but may be suitable from the image of this song.
| VERSE |
One day, you'll
look |
G7 - F7 - C - D7 - C -
Em - D7 - G7 - C - F - C [- C7]* |
8MEAS |
| CHORUS |
And now the time |
Dm - Fm6 - C - C7 - Dm
- Fm6 - C - Dm |
8MEAS |
| SOLO |
(Guitar->Vocal) |
G7 - F7 - C - D7 - C -
Em - D7 - G7 - C - F - C - C7 |
8MEAS |
| INTRO-VERSE-VERSE*-CHORUS-VERSE-SOLO-CHORUS-VERSE-ENDING |
|
| 6.
Mr. Moonlight |
SOUND
B |
MELODY
B- |
RHYTHM
C+ |
ARRANGE
B- |
|
IMPRESSION
B+ |
PROFUNDITY
B- |
ORIGINALITY
B- |
PLAYABILITY
A++ |
Composed by Johnson in 1962. There are no unique points in
particular, and the drum performance is not clear. Ringo may
play the conga, but I wonder what the significance of the accent
sound with a bang in whole song is. So he does not play only
beat by drum set but also percussion mainly. And you can find
that they are particular about their music from many such rhythm
arrangement.
| VERSE |
You
came to me |
F# - B - F#
- Ebm - B - F# |
16MEAS |
| CHORUS |
And
now she is |
B - F# - Eb7
- Ab7 - F# |
8MEAS |
| VERSE2 |
Mr. Moonlight, |
F# - B - F# - Eb7 - Ab7
- F# |
16MEAS |
| SOLO |
(Organ->Vocal) |
F# - B - F#
- Eb7 - Ab7 - F# |
8MEAS |
| INTRO-VERSE-CHORUS-VERSE2-SOLO-VERSE2-ENDING |
|
| 7.
Kansas City - Hey, Hey, Hey, Hey |
SOUND
B- |
MELODY
B- |
RHYTHM
B- |
ARRANGE
C+ |
|
IMPRESSION
B |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A++ |
The song that Hey-hey-hey-hey by Little Richard joins K.C
Loving by Little Willy Littlefield is the original song. It is
unique that the chord progression in the introduction is G->C6->G->D7,
but after that it has typical shuffle blues progression. The
well-modulated high tone by Paul is impressive, and the backing
vocal harmony that takes turns singing in the latter half is
also cool. It may be liven up if you perform this song. However,
you may get tired out because you have to play the piano with
triplet eighth note hard from beginning to end.
| VERSE |
I'm goin' to Kansas |
G - C7 - G - D7 - C7 -
G |
12MEAS |
| CHORUS |
Hey hey hey hey, |
G - C7 - G - D7 - C7 -
G |
12MEAS |
| SOLO |
(Guitar) |
G - C7 - G - D7 - C7 -
G |
12MEAS |
| INTRO-VERSE-VERSE-SOLO-CHORUS-CHORUS-ENDING |
|
| 8.
Eight Day's A Week |
SOUND
B- |
MELODY
B- |
RHYTHM
B- |
ARRANGE
B- |
|
IMPRESSION
A |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A++ |
The atmosphere in this song is also mysterious. It is not
so hard as rock but is not like country though the acoustic guitar
is featured. The rhythm pattern is shuffle just like All My Loving,
and the bass pattern is the four beat. To compose such a song,
it seems that they try to build up their new music style by mixing
so many taste of music.
| VERSE |
Ooh I need your |
D - E7 - G - D - E7 - G
- D - E7 - G - E7 - G - D - E7 - G - D |
16MEAS |
| CHORUS |
Eight days a week |
A - Bm - E7 - G - A7 |
8MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-CHORUS-VERSE-ENDING |
|
| 9.
Words Of Love |
SOUND
C+ |
MELODY
C+ |
RHYTHM
C+ |
ARRANGE
B- |
|
IMPRESSION
B- |
PROFUNDITY
C+ |
ORIGINALITY
C+ |
PLAYABILITY
A++ |
Composed by Holly. The dazzling guitar sound is the introduction
is characteristic. Because of the cover song, this song gives
us different impression from ordinary Beatles melody. So many
factors such as the vocal line with low tones, repeat of simple
chord progression A->D->E7, and quiet drums, are heard
in this song. They do not heard much in their other songs. It
seems that they try to increase their sound variation by having
a mind to borrow such a song. BTW, I wonder that why they use
the hand claps from beginning to end, so once you noticed that,
it may be offensive to the ear.
| VERSE |
Hold
me close and |
A - D - E7
- A - D - E7 - A - D - E7 - A - D - E7 |
8MEAS |
| VERSE2 |
Words
of love you |
A - D - E7
- A - D - E7 - A - D - E7 - A - D - E7 |
8MEAS |
| SOLO |
(Guitar) |
A - D - E7 - A - D - E7
- A - D - E7 - A - D - E7 - A - D - E7 - A - D - E7 - A - D -
E7 - A - D - E7 |
16MEAS |
| INTRO-VERSE-VERSE2-VERSE-VERSE2-SOLO-VERSE-VERSE2-ENDING |
|
| 10.
Honey Don't |
SOUND
C+ |
MELODY
C+ |
RHYTHM
C |
ARRANGE
C+ |
|
IMPRESSION
C |
PROFUNDITY
C |
ORIGINALITY
C |
PLAYABILITY
A++ |
Composed by Perkins. Ringo takes main vocal after long interval.
The chord progression is blues style in basic, but the major
third progression such as E->C is used in the verse or solo,
it is conspicuous among the blues music. It seems that the performance
is not so complex, but the four beat bass line with solid tone
is impressive. Ringo sometimes sings this song halfway, but his
vocal with ad-lib is very cool.
| VERSE |
Well how come you |
E - C - E - C - E |
12MEAS |
| CHORUS |
Honey don't well |
E - A - E - G - A - E |
12MEAS |
| SOLO |
(Guitar) |
E - C - E - C - E - A -
E - G - A - E |
20MEAS |
| INTRO-VERSE-CHORUS-VERSE-CHORUS-SOLO-VERSE-CHORUS-SOLO-ENDING |
|
| 11.
Every Little Things |
SOUND
B- |
MELODY
B- |
RHYTHM
B- |
ARRANGE
B- |
|
IMPRESSION
C+ |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A+ |
The introduction is magical. Maybe I think that the verse
is used as the introduction, but it may have shuffle rhythm.
This introduction is played by the guitar as if it is nothing
difficult, but it is difficult to play this actually because
it has special feeling of rhythm and delicate rest before vocal
begins. After the verse, the 12 strings guitar is featured, and
it is not so loud. However, Ringo plays the drums with elaborate
patterns. He plays only kick drum in the verse, after that the
snare drum sound is getting to increase, finally in the chorus,
he plays the kick drum with eighth note. Moreover, the most fascinating
point is the timpani played once in a while. I wonder this might
be over-dubbed by Ringo.
| VERSE |
When I'm walking |
A - D - E - A - G - D -
Bm - Bm7 - E7 - A - D - E - A - G - D - Bm - Bm7 - E7 |
12MEAS |
| CHORUS |
Every little things |
A - G - A - G - A |
8MEAS |
| SOLO |
(Guitar) |
A - D - E - A - G - D -
Bm - Bm7 - E7 |
6MEAS |
| INTRO-VERSE-CHORUS-VERSE-CHORUS-SOLO-CHORUS-ENDING |
|
| 12.
I Don't Want To Spoil The Party |
SOUND
B- |
MELODY
C+ |
RHYTHM
C+ |
ARRANGE
B- |
|
IMPRESSION
B- |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A+ |
This song is one of the country music. The vocal is duet by
Paul and John from beginning to end except a part of verse "There's
nothing for me...". However, their harmony does not have
simple 3rd or 5th interval, but has opened voicing just like
in the There's A Place. The guitar solo is a rhythmic phrase
with middle tone, it is not loud but feels not to break the atmosphere
of country.
| VERSE |
I don't want to |
G - D7 - Em - B7- Am7-
D - G - Fadd9 - G |
16MEAS |
| CHORUS |
Though tonight |
G - Em7 - A7 - C - D7 -
G - Em7 - A7 - C - D7 |
12MEAS |
| SOLO |
(Guitar) |
G - D7 - Em - B7- Am7-
D - G - Fadd9 - G |
16MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-SOLO-CHORUS-VERSE-ENDING |
|
| 13.
What You're Doing |
SOUND
C+ |
MELODY
B- |
RHYTHM
C+ |
ARRANGE
B |
|
IMPRESSION
B- |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A++ |
It is unique for them because this song starts with four measures
introduction of drums. It is impressive that George repeats rif
with his 12 strings guitar, and this style is also used in Ticket
To Ride. But, I think that the solo is not so cool, because the
drums pattern in the introduction or ending is very fine. The
timpani is also used just like Every Little Things.
| VERSE |
Look what you're |
D - G - D - G - Bm - G
- D - G |
8MEAS |
| CHORUS |
I've been waiting |
G - Bm - G - Bm - E - A |
8MEAS |
| SOLO |
(Guitar) |
D - G7 - D - G7 - D - G7 |
8MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-SOLO-CHORUS-VERSE-ENDING |
|
| 14.
Everybody's Trying To Be My Baby |
SOUND
C+ |
MELODY
C+ |
RHYTHM
B- |
ARRANGE
C+ |
|
IMPRESSION
C+ |
PROFUNDITY
C |
ORIGINALITY
C |
PLAYABILITY
A++ |
Composed by Perkins in 1958. It is typical rockabilly and
is hard to say that this song is so unique. I wonder why they
has recorded such a uncool song at the last of this album. George
takes main vocal and gives us nice atmosphere, but a echo effect
may be slightly too wet.
| VERSE |
Well they took |
E - A7 - E - B7 - A7 -
E |
12MEAS |
| SOLO |
(Guitar) |
E - A7 - E - B7 - A7 -
E |
12MEAS |
| VERSE-VERSE-SOLO-VERSE-SOLO-SOLO-VERSE-VERSE-ENDING |
|
