| 1.
I Saw Her Standing There |
SOUND
C+ |
MELODY
C+ |
RHYTHM
C |
ARRANGE
B- |
|
IMPRESSION
B+ |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A++ |
It is a Rock 'n Roll that starts with energetic count-in voice.
The structure of song, chord progression, and using sounds are
very simple, so it feels straight. Actually, only the four notes
C, Bb, G, D are used in verse "Well she was just...".
Moreover, rough-hewn phrases are heard in guitar solo melody
and drums fill-in, it does not look right out of an amateur musician.
In opposition, those are good point in this song. The other day,
Paul has played this song in his band "Wings", but
there are much differences with the song in this album. Someday
I wish I played this song in my band.
| VERSE |
Well she was just |
E - A - E - B7 - E - E7/G#
- A - C6 - E - B7 -E |
16MEAS |
| CHORUS |
Well my heart |
A7 - B7 - A |
10MEAS |
| SOLO |
(Guitar) |
E - B7 - E - A - E - B7
- E |
16MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-SOLO-CHORUS-VERSE-ENDING |
|
| 2. Misery |
SOUND
B- |
MELODY
B- |
RHYTHM
C+ |
ARRANGE
B |
|
IMPRESSION
B- |
PROFUNDITY
C+ |
ORIGINALITY
C+ |
PLAYABILITY
A++ |
Very novel method is used because the end of verse is placed
suddenly as the introduction. The piano phrase with octave unison
is in the 2nd verse, so it creates a mild atmosphere still more
in guitar sound. The song title is reminded of sad song, but
it is not heard like that. Actually key of this song is major.
This might be John's favorite joke. Especially, I think his singing
"La la la..." in falsetto voice at the ending make
fun of us.
| VERSE |
I'm the kind of
guy |
C - F - C - F - G7 - C |
8MEAS |
| CHORUS |
I'll remenber all
the |
Am - C - Am - G7 |
8MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-CHORUS-VERSE-ENDING |
|
| 3. Anna
(Go To Him) |
SOUND
C |
MELODY
B- |
RHYTHM
C |
ARRANGE
B- |
|
IMPRESSION
C |
PROFUNDITY
C- |
ORIGINALITY
C |
PLAYABILITY
A++ |
The original song was composed by Arthur Alexander and hit
in 1962. Before and after the debut, the Beatles willingly played
R&B music other than this song. In verse, George's guitar
repeats same rif with soft tone, and it looks like that the lead
vocal with John's rough-hewn voice is wrapped. When chorus, adding
backing harmony to enhanced vocal, the balance between motion
and stillness is the most interesting part. The rhythm patterns
by drums are simple, and few hi-hat notes are cool.
| VERSE |
Anna, you come
and |
D - Bm - D - Bm - [D]*
- [Bm]* - D - G - A7 - D |
8-10*MEAS |
| CHORUS |
All my life I've
been |
G - D - D7 - G - E7 - A7 |
16MEAS |
| INTRO-VERSE*-VERSE*-CHORUS-VERSE-CHORUS-VERSE-ENDING |
|
| 4.
Chains |
SOUND
C+ |
MELODY
C+ |
RHYTHM
C+ |
ARRANGE
C+ |
|
IMPRESSION
C |
PROFUNDITY
C- |
ORIGINALITY
C+ |
PLAYABILITY
A++ |
This is also cover song, and the original is an American pop
music by Goffin/King . The chord progression is typical blues
progression, but it does not feel dull its high tempo. The triple
harmony in verse has settled in their songs as early as this
time. Keeping exactly shuffle rhythm pattern on hi-hat, Ringo's
methodicalness shows itself in his play. However, playing this
song will tax his right arm.
| VERSE |
Chains, my baby's |
Bb - Eb7 - Bb - F7 - Eb7
- Bb |
12MEAS |
| CHORUS |
I wanna tell you |
Eb - Bb - Bb7 - Eb - F7 |
16MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-CHORUS-VERSE-ENDING |
|
| 5.
Boys |
SOUND
B- |
MELODY
C+ |
RHYTHM
C |
ARRANGE
B |
|
IMPRESSION
C |
PROFUNDITY
C |
ORIGINALITY
C |
PLAYABILITY
A++ |
his is also cover song, and the original is by Dixon/Farrel.
Ringo takes vocal. The chord progression is also typical blues
progression, but this song is finished as high-speed song with
eight beat. Especially, backing harmony "bop a shoo-wa..."
that seemed back up Rongo's vocal, bass line that is like a machine-gun,
and a rough-hewn guitar solo heap up this song. However, at the
ending, it is thrown into confusion with shout, unclear guitar
solo, and Ringo's out of tune vocal "Ahhh..." by over-heaped
up.
| VERSE |
I've
been told when |
E - A7 - E
- B7 - A7 - E - A7 |
12MEAS |
| CHORUS |
Well
I talk about |
E - A7 - E
- B7 - A7 - E - A7 |
16MEAS |
| SOLO |
(Guitar) |
E - A7 - E
- B7 - A7 - E - A7 |
16MEAS |
| INTRO-VERSE-VERSE-CHORUS-SOLO-VERSE-CHORUS-ENDING |
|
| 6.
Ask Me Why |
SOUND
B |
MELODY
B- |
RHYTHM
B- |
ARRANGE
B+ |
|
IMPRESSION
B- |
PROFUNDITY
C |
ORIGINALITY
B |
PLAYABILITY
A++ |
It looks like simple at a glance but the structure is so complex.
First, the introduction is a part in the midst of the verse,
and the verse itself is composed by four and four and five measures.
Moreover, when moving from 2nd time verse to chorus, the argument
chord shows another variation. (right before "I can't believe...").
And beginning of the 2nd verse after the chorus is also same
as one of the 1st verse, however, this block is ended as it is
without an intonation in the melody. The 2nd verse has strange
length of six measures. The ending is a phrase that refrains
the 2nd verse, and it ends lightly with EM9 or B6 that has not
been used. So this song has different factor from the songs in
this album. The prototype of the Beatles' unique sound may already
come into existence at this time.
| VERSE |
I love
you Cause you |
G#m7 - F#m7
- E - G#m7 - A - E - G#7 - C#m - Am - (F#m)*- E - Eaug |
13MEAS |
| CHORUS |
I can't
believe it's |
A - B - E -
Eaug - A - B7 |
8MEAS |
| BRIDGE |
Ask
me why, I'll say |
G#m7 - A -
G#m7 - A - E |
6MEAS |
| INTRO-VERSE*-VERSE-CHORUS-BRIDGE-VERSE-BRIDGE-CHORUS-BRIDGE-ENDING |
|
| 7.
Please Please Me |
SOUND
B- |
MELODY
B- |
RHYTHM
C+ |
ARRANGE
B- |
|
IMPRESSION
B- |
PROFUNDITY
C+ |
ORIGINALITY
B |
PLAYABILITY
A++ |
The harmonica sound in the introduction is light-hearted.
At the beginning of vocal, Paul sings note E in high tone, and
John sings melody line that goes down from note E to B (E->D#->C#->B),
they create cool harmony in vocal. In the latter half of the
verse, at the phrase that repeats "Come on" in four
times, Paul's vocal is getting high tension little by little
with John's shouted voice, and they come to top of tension at
"Please please me...". Moreover, it shows us differences
with rhythm in short snare drum roll before the 2nd verse or
drums fill-in patterns in the 2nd verse. And at the ending, the
chord progression with minor 3rd is put over their falsetto voice,
it finished in typical pattern. Before their debut, they are
influenced upon R&B, however they may also compose songs
different from R&B such as this song in early time.
| VERSE |
Last
night I said |
E - A - E -
G - A - B7 - E - A - E - A - F#m - C#m - A - E - A - B7 - E |
16MEAS |
| CHORUS |
I don't
want to sound |
A - B7 - E
- A - B7 - E - A - B7 - E |
10MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-ENDING |
|
| 8.
Love Me Do |
SOUND
C |
MELODY
C |
RHYTHM
C- |
ARRANGE
C |
|
IMPRESSION
C |
PROFUNDITY
C- |
ORIGINALITY
C |
PLAYABILITY
A++ |
This is a memorial debut song. At the beginning of vocal line,
the phrase "Love, love me do..." is harmonized so the
solo vocal "Love me do..." after "so please..."
is striking. BTW, this song is so simple. Only the G, C, D7 of
chords are used, so its melody or arrangement feels unsatisfactory
as compared with modern music.
| VERSE |
Love Love me do |
G - C - G - C - G - C -
G |
13MEAS |
| CHORUS |
Someone to love |
D7 - G - D7 - G |
8MEAS |
| SOLO |
(Harmonica) |
D7 - G - D7 - G |
12MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-SOLO-VERSE-ENDING |
|
| 9.
P.S. I Love You |
SOUND
B- |
MELODY
B- |
RHYTHM
B- |
ARRANGE
B |
|
IMPRESSION
C+ |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A++ |
Composed by Paul. This is a sentimental love song that he
is peculiar to, so the feelings of his later song And I Love
Her or Yesterday bears some resemblance to this song. There is
no so much noteworthy point in melody or arrangement, however
the harmony is very cool. Suddenly the melody begins with two
voices unison without introduction, however at the next block,
the melody is harmonized with three voices on the 1st and 2nd
beat, also at the phrase that is put the first melody again.
| VERSE |
As I write this
letter |
Bm - D - Bm - D - Bm -
D - A7 - D |
8MEAS |
| CHORUS |
As I write this
letter |
G - D - G - D - G - D -
A7 - D |
8MEAS |
| BRIDGE |
Treasure these
few |
D - Em7 - D - F#m7 - Bm
- A7 - Bb - C - D |
10MEAS |
| VERSE-BRIDGE-BRIDGE-CHORUS-BRIDGE-CHORUS-BRIDGE-ENDING |
|
| 10.
Baby It's You |
SOUND
C |
MELODY
C+ |
RHYTHM
C |
ARRANGE
C+ |
|
IMPRESSION
C |
PROFUNDITY
C- |
ORIGINALITY
C |
PLAYABILITY
A++ |
Composed by David/Williams/Bacharach. Not on this particular
song, in case of cover song, I am hard to write comments. Especially,
the original song is not well-known, I cannot guess what and
how they would express in their music. As far as this song is
concerned, John sings lead vocal in quiet tones, the other members
sing backing harmony, so this is their typical style. There is
nothing in particularly I would like to say, but the piano solo
in 2 octaves unison is so cool.
| VERSE |
It's no way you
smile |
C - G - C - G |
8MEAS |
| CHORUS |
But how many many |
Em - Am - G - Em - C -
D7 |
8MEAS |
| SOLO |
(Vibraphone&Guitar) |
C - G - C - G |
8MEAS |
| INTRO-VERSE-CHORUS-INTRO-VERSE-CHORUS-INTRO-SOLO-CHORUS-ENDING |
|
| 11.
Do You Want To Know A Secret |
SOUND
B- |
MELODY
B- |
RHYTHM
B- |
ARRANGE
B |
|
IMPRESSION
C+ |
PROFUNDITY
C |
ORIGINALITY
B |
PLAYABILITY
A++ |
This is rare song because the verse or chorus is not used
as introduction, so the introduction is different from the other
phrases. As far as this introduction is concerned, minor phrase
and major phrase are used skillfully, it is effective direction
though they are short. At the verse, the chord progression with
half-tone down every two measures, the concept of this song is
different from other songs. The chord progression with half-tone
down also used on vocal phrase. (at the part of "Wow wo..."
after "Do you promise not to tell..."). Like Ask Me
Why, the Beatles' originality appears in this song in early time.
And the bass line moves on various tones with eighth note, so
it gives a spice to rhythm that is prone to be dull.
| VERSE |
Listen do you know |
E - D#m - Dm - C#m - B7
- E - D#m - Dm - C#m - B7 - E - D#m - Dm - C#m - Am - E - D#m
- Dm - C#m - A - E - D#m - Dm - C#m - B7 - A - B7 - C#m |
14MEAS |
| CHORUS |
I've known a secret |
A - F#m - C#m - Bm - A
- F#m - C#m - Bm - F#m - B7 |
6MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-ENDING |
|
| 12.
A Taste Of Honey |
SOUND
C+ |
MELODY
C+ |
RHYTHM
C |
ARRANGE
C+ |
|
IMPRESSION
C |
PROFUNDITY
C |
ORIGINALITY
C+ |
PLAYABILITY
A++ |
Composed by Scott/Marlow. The cliche line with half-tone down
is cool at the beginning of the verse. Paul sings minor phrase
in sadness, and his sweet voice goes well with lyric. Regarding
their performance, soft feelings are emphasized with the guitar's
triplet notes, Ringo's performance with brush is very cool. Especially
in the chorus, he slap on the snare drum with brush, the rhythm
has varied tones. BTW, this song is unique because it begins
with time signature 3/4, but it changes to 4/4 at the chorus.
| VERSE |
My dream of your |
F#m - F#mM7 - F#m7 - B
- F#m - F#mM7 - F#m7 - B - F#m - A - E7 - F#m |
8MEAS |
| CHORUS |
I will return yes |
A - Bm7 - C#m7 - Bm7 -
F#m - E7 - F#m |
6MEAS |
| INTRO-VERSE-INTRO-CHORUS-VERSE-INTRO-CHORUS-ENDING |
|
| 13.
There's A Place |
SOUND
C+ |
MELODY
C+ |
RHYTHM
C+ |
ARRANGE
C+ |
|
IMPRESSION
C |
PROFUNDITY
C |
ORIGINALITY
C+ |
PLAYABILITY
A++ |
On the whole, the vocal line is harmonized in two voice by
Paul and John, and the harmony is very cool because the harmonization
is not only normal method such a major 3rd. As you can hear later,
this song may be the origin form of their typical pattern that
Paul sings in higher voice and John sings in lower voice with
each other. BTW, I am afraid that Paul is out of tune at the
beginning of 2nd block phrase "There..." .
| VERSE |
There's a place |
E - A - E - A - E - C#m7
- B7 - EM7 - A - EM7 - A - C#m |
14MEAS |
| BRIDGE |
I think of you |
E - A - E - A - E - C#m7
- B7 - A -B7 |
12MEAS |
| CHORUS |
In my mind there's |
C#m - F#m7 - E - G#7 -
C#m - F#m7 - E - G#7 |
8MEAS |
| INTRO-VERSE-BRIDGE-CHORUS-VERSE-ENDING |
|
| 14.
Twist And Shout |
SOUND
B- |
MELODY
C |
RHYTHM
C+ |
ARRANGE
C+ |
|
IMPRESSION
C+ |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A++ |
Listening to this song, it is fun that Paul and John turn
singing. John's voice in this song is very wild. Especially I
hear the part of phrase that "Come on" repeats four
times, I nearly rush into a dance hall in spite of myself. And
the excitement is burst at a stroke when the chord comes to 7th
chord at "Ahh..." after guitar solo. This reminds me
that I Saw Her Standing There, at the top of this album, may
be same situation as this song. The two songs that seem to symbolize
the bloom of their youth are recorded at the first of and end
of this album, the story has completed in this album.
| VERSE |
Well shake it up |
D - G - A7 - D - G - A7
- D - G - A7 - D - G - A7 |
8MEAS |
| SOLO |
(Guitar-Voice) |
D - G - A7 - D - G - A7
- D - G - A7 - D - G - A7 - D - D7 |
12MEAS |
| INTRO-VERSE-VERSE-VERSE-VERSE-SOLO-VERSE-VERSE-ENDING |
|
