| 1.
It Won't Be Long |
SOUND
B- |
MELODY
B |
RHYTHM
C+ |
ARRANGE
B |
|
IMPRESSION
B |
PROFUNDITY
B- |
ORIGINALITY
B |
PLAYABILITY
A+ |
Suddenly it starts in vocal without introduction. The chorus
is used as the introduction. The construction on this song is
so complex, there is no 2nd verse in the first block shown as
follows Chorus->1st Verse->Chorus->2nd Verse->1st
Verse->Chorus->2nd Verse->1st Verse->Chorus. Moreover,
the 1st verse has strange length of seven measures. Also the
chord progression is unique, for example the progression in the
1st verse is only major 3rd between E and C, and the argument
chord Baug is used in the 2nd verse. In the chorus, the progression
is C#m->E->A->Aadd(-9), so the chord Aadd(-9) creates
half-tone up line such as G#->A->Bb->B in inner voice
from chord E. In the ending, the progression has half-tone down
line such as G->F#->F after break, and at last it ended
with cool chord EM7 as if it was nothing important. It may be
advanced in composing method to use such a chord at that time.
| CHORUS |
It won't be long |
C#m - E - C#m - A - Aadd(b9)
- E |
8MEAS |
| VERSE |
Every night, when |
E - C - E - C - E |
7MEAS |
| BRIDGE |
Since you let me |
E - Baug - Bm - C#7 - A
- B - F#m7 - B7 |
8MEAS |
| CHORUS-VERSE-CHORUS-BRIDGE-VERSE-CHORUS-BRIDGE-VERSE-ENDING |
|
| 2. All I've
Got To Do |
SOUND
C |
MELODY
C+ |
RHYTHM
C |
ARRANGE
C+ |
|
IMPRESSION
C |
PROFUNDITY
C |
ORIGINALITY
C |
PLAYABILITY
A++ |
Composed by John, and this reminds me Anna. The rhythm pattern
is mainly hi-hat or snare drum, and is tight though few notes
are used. This song also has strange length of measures. The
1st verse has six measures and 2nd one has five measures, the
progression seems to jump the gun with the vocal getting hurry
up. Conversely for a simple song such as this, it can make a
whole of song tight by cutting useless measures. I think both
this and simple rhythm pattern that I mentioned before are effective
method.
| VERSE |
Whenever I want |
C#m - E - C#m - F#m7 -
Am - E |
11MEAS |
| CHORUS |
And the same goes |
A - C#m - A - E - C#m -
A - E |
8MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-CHORUS-ENDING |
|
| 3. All My
Loving |
SOUND
B |
MELODY
B+ |
RHYTHM
B- |
ARRANGE
B- |
|
IMPRESSION
B+ |
PROFUNDITY
B- |
ORIGINALITY
B |
PLAYABILITY
A++ |
This song also starts with vocal without introduction. This
song has triplet rhythm but does not swing. The bass line is
four beat but double-triplet rhythm is on the side guitar. So
this is the mysterious song with unique atmosphere. The streaming
melody line is unforgettable at the mere hearing of this once,
and the bass line with four beat makes the vocal line clear.
At the chorus, rhythm pattern changes into eight beat unexpectedly,
the syncopated guitar phrase is in contrast with the 1st verse
phrase . After the guitar solo, it returns to 1st verse phrase,
but harmonized with 3rd interval perfectly at this time, and
then goes to chorus, it ended with melody that is slightly different
from the phrase in chorus. The chord progression in the chorus
is typical cliche line C#m->C#mM7->E.
| VERSE |
Close your eyes |
F#m - B7 - E - C#m - A
- F#m7 - D7 - B7 - F#m - B7 - E - C#m - A - B7 - E |
16MEAS |
| CHORUS |
All my Loving |
C#m - C#mM7 - E |
8MEAS |
| SOLO |
(Guitar) |
A - E - F#m - B - E |
8MEAS |
| VERSE-VERSE-CHORUS-SOLO-VERSE-CHORUS-ENDING |
|
| 4.
Don't Bother Me |
SOUND
C- |
MELODY
C- |
RHYTHM
C |
ARRANGE
C |
|
IMPRESSION
C |
PROFUNDITY
C- |
ORIGINALITY
C |
PLAYABILITY
A++ |
The first song composed by George. However, to tell the truth,
it is not so cool. Surely the chord progression is commonplace
and also its arrangement is not particularly unique. But many
percussion can be heard. Even supposing that the tambourine is
good, there are claves with bossanova style and a strange percussion
called Arabian bongo. Somehow I think that these percussion trick
me the plainness of this song. But you will know that George's
spirit for composing songs go up suddenly after this song, when
you listen to I Need You in the album HELP!.
| VERSE |
Since she's been |
Bm - Am - G - Em - Bm -
Am - G - Em - A7 - E |
12MEAS |
| CHORUS |
I know I'll never |
D - Em - D - Em - Bm -Am
- D - Em |
16MEAS |
| SOLO |
(Guitar -> Vocal) |
Bm - Am - G - Em - Bm -
Am - G - Em - A7 - E |
8MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-SOLO-CHORUS-VERSE-ENDING |
|
| 5.
Little Child |
SOUND
C |
MELODY
C |
RHYTHM
C |
ARRANGE
C |
|
IMPRESSION
C+ |
PROFUNDITY
C |
ORIGINALITY
C |
PLAYABILITY
A++ |
This song is special feature on the harmonica sound. Drums
and bass on eight beat, dancing piano phrase, and lively vocal
are perfect rock 'n' roll for dance. However, I have an uneasy
point about this song. The 2nd verse "If you want someone
to ..." has strange length of six measures. It does not
look out of place because it has even measure, but when this
song is played in a dance hall, It might be lack of dancing foot
steps.
| VERSE |
Little child, little |
E - A - E - B7 - A - F#9
- B7 (- E) |
8MEAS |
| CHORUS |
If you want someone |
E - B7 - E - F#7 - B7 |
6MEAS |
| SOLO |
(Harmonica) |
E - A - E - B7 - A - F#7
- B7 |
12MEAS |
| INTRO-VERSE-VERSE-VERSE-VERSE-CHORUS-VERSE-SOLO-CHORUS-VERSE-ENDING |
|
| 6.
Till There Was You |
SOUND
B- |
MELODY
B |
RHYTHM
B- |
ARRANGE
B- |
|
IMPRESSION
B+ |
PROFUNDITY
B- |
ORIGINALITY
B- |
PLAYABILITY
A+ |
This song is a cover song from famous musical The Music Man.
The chord progression is very complex because the original song
is jazz. However, Paul sings simply with his classic guitar's
backing, and his vocal is very expressive. The arrangement that
is devoted to simplicity such as without their harmony, no percussion
except bongo, tells us their universality and new frontier spirit
for challenge.
| VERSE |
There was bells |
F - Gbdim - Gm - Bbm -
F - Am - Abm - Gm - C9 - F - [Gm - C9] - F7 |
8MEAS |
| CHORUS |
Then there was |
Bb - Bbm - F - D9 - Gm
- G7 - C7 - Caug7 |
8MEAS |
| SOLO |
(Guitar) |
F - Gbdim - Gm - Bbm -
F - Am - Abm - Gm - C9 - F - F7 |
8MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-SOLO-CHORUS-VERSE-ENDING |
|
| 7.
Please Mr. Postman |
SOUND
C+ |
MELODY
C+ |
RHYTHM
B- |
ARRANGE
B- |
|
IMPRESSION
B+ |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A++ |
Surprised by hi-hat sound that begins suddenly. The original
song is so old in 1961, the chord repeats typical pattern A->F#m->D->E7
till the end. A good point in this song is not harmony or arrangement
but its energy. Especially, the energy explodes at the break
"Deliver the letter, the sooner the bet you gotta wait a
minute!..." in the ending. BTW, the drum fill-in pattern
right before the 2nd block is very similar to the one in I Saw
Her Standing There, I think this fill-in may be Ringo's speciality.
| CHORUS |
Mr. postman look |
A - F#m - D - E7 |
8MEAS |
| VERSE |
There must be |
A - F#m - D - E7 |
8MEAS |
| INTRO-CHORUS-VERSE-VERSE-CHORUS-VERSE-CHORUS-ENDING |
|
| 8.
Roll Over Beethoven |
SOUND
C+ |
MELODY
C+ |
RHYTHM
C+ |
ARRANGE
C+ |
|
IMPRESSION
B |
PROFUNDITY
C |
ORIGINALITY
C+ |
PLAYABILITY
A++ |
This song is composed by Chuck Berry, and is rock 'n' roll
with typical chord progression of blues. George takes main vocal.
The hand clap used all the time with quarter note. From this,
it seems that they, who are dissatisfied with an usual arrangement,
will do something in this song. Regarding the drums, Ringo plays
slight opened hi-hat with eighth note, but in the chorus, he
changes his performance to play the snare drum softly. So the
vocal line stands out against the backings. Not on this particular
song, when they cover existing songs, they do not only cover
the song simply but also put their originality in the song. And
then they re-compose new song from existing song by such method.
BTW, only one measure of time signature 2/4 is used at the end,
it may also be their idea.
| VERSE |
I'm
gonna write a |
D - A7 - D
- B7 - A7 - D - A7 |
12MEAS |
| CHORUS |
Well
if you feel it |
D - A7 - D
- B7 - A7 - D - A7 |
12MEAS |
| SOLO |
(Guitar) |
D - A7 - D
- B7 - A7 - D - A7 |
12MEAS |
| INTRO-VERSE-VERSE-VERSE-CHORUS-SOLO-VERSE-VERSE-ENDING |
|
| 9.
Hold Me Tight |
SOUND
C+ |
MELODY
B- |
RHYTHM
C+ |
ARRANGE
B- |
|
IMPRESSION
B+ |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A++ |
This song may be recorded on the previous album PLEASE PLEASE
ME from the beginning. This is strait rock music with eight beat
but its vocal feels like a pop music. As many hand-claps are
used, so this should be the same kind of I Want To Hold Your
Hand that was recorded at the same time. (Also these titles are
similar to each other.) For the chord progression, the sub dominant
minor chord in the chorus is cool. It is at "So hold me
tight tonight ..." with F->F7->Bb->Bbm. Also the
vocal takes turns singing in this part, it is reminded of Pease
Please Me. The construction of this song is so complex. First,
the bridge is used as the introduction, so it is very unique.
Next, the 2nd verse "Don't know what it means..." has
six measures, then leads to the bridge of one measure. So these
measures have very strange length. Moreover, it is getting slow
down at the ending, and is rare.
| VERSE |
Hold
me tight. Tell |
F - Bb - G
- C7 - F - Bb - G - C7 |
8MEAS |
| CHORUS |
So
hold me tight |
F - F7 - Bb
- Bbm - F - Bbm - F - C |
8MEAS |
| BRIDGE |
Oh,
don't know what |
F - Ab - F
- Bb - Gm7 - G |
6MEAS |
| INTRO-VERSE-CHORUS-VERSE-CHORUS-BRIDGE-VERSE-CHORUS-BRIDGE-VERSE-CHORUS-ENDING |
|
| 10.
You Really Got A Hold On Me |
SOUND
C |
MELODY
C |
RHYTHM
C |
ARRANGE
C+ |
|
IMPRESSION
B- |
PROFUNDITY
C |
ORIGINALITY
C |
PLAYABILITY
A++ |
Composed by Robinson. This is triplet motown rock in time
signature 12/8. George harmonizes the main vocal by John with
low tone, they take turns harmony phrase in the middle of singing.
Their performance does not seem to be complex on purpose because
the chords are simple. Four measures from the beginning of vocal,
the recorded level of performance is low, so it seems that only
this part of another take was replaced at the tape editing. BTW,
the title is "You Really ..." even though the
lyric is "You've really ...". Regarding this,
there might be a special meaning.
| VERSE |
I don't like you |
A - F#m - A - A7 - D -
B7 - E7 - A - F#m |
11MEAS |
| CHORUS |
I love you and
all |
A - A7 - D - A - E7 |
4MEAS |
| INTRO-VERSE-VERSE-CHORUS-BREAK-VERSE-CHORUS-ENDING |
|
| 11.
I Wanna Be Your Man |
SOUND
C+ |
MELODY
C+ |
RHYTHM
C+ |
ARRANGE
C+ |
|
IMPRESSION
B- |
PROFUNDITY
C+ |
ORIGINALITY
B- |
PLAYABILITY
A++ |
This is a present song for the Rolling Stones as their 2nd
single. The chord is very simple because it is almost E7 only
except the chorus. Ringo takes main vocal after a long interval.
However, John and Paul take main vocal instead of Ringo in the
chorus. In the chorus, the obbligato by octave unison with the
guitar is very cool because it has syncopated rhythm with half-tone
down line. After the chorus, shouted voice or glissando sound
by organ is heard, so if you play this song at live, the audience
must be rise.
| VERSE |
I wanna
be your |
E - B7 - E |
8MEAS |
| CHORUS |
I wanna
be your man |
F# - B7 - E
- C#7 - F#m - B7 - Em |
8MEAS |
| SOLO |
(Guitar) |
E |
12MEAS |
| INTRO-VERSE-VERSE-CHORUS-VERSE-CHORUS-SOLO-VERSE-CHORUS-ENDING |
|
| 12.
Devil In Her Heart |
SOUND
C+ |
MELODY
B- |
RHYTHM
B- |
ARRANGE
B- |
|
IMPRESSION
B |
PROFUNDITY
B- |
ORIGINALITY
C+ |
PLAYABILITY
A++ |
This song also is cover, and the original is by Drapkin. They
say that this song had a poor sale at that time, but the Beatles
picked up this. The drums is characteristic rhythm because the
snare drum is played at the latter half of the 2nd beat and at
the just 4th beat from beginning to end. This is typical oldies
rhythm pattern. At the break, after the rest in half beat, you
can hear the simple but tight rhythms that are the flam by snare
drum and two of kick drum. The triple harmony can be heard in
this song after a long interval. George takes main vocal but
harmonized voices by John and Paul are stronger than George's,
so George seems to be buried in the harmony. The last chord is
Gadd9, so this brings to finish with cool feelings.
| VERSE |
She's got the devil |
Am7 - D7 - G - Am7 - D7
- G |
8MEAS |
| CHORUS |
I'll take my chances |
C - Cm - G - G7 - C - Cm
- A7 - D7 |
8MEAS |
| INTRO-VERSE-CHORUS-VERSE-CHORUS-VERSE-CHORUS-VERSE-ENDING |
|
| 13.
Not A Second Time |
SOUND
C |
MELODY
C |
RHYTHM
C |
ARRANGE
C+ |
|
IMPRESSION
C+ |
PROFUNDITY
C |
ORIGINALITY
C+ |
PLAYABILITY
A+ |
The piano backing and solo with middle tone are impressive.
It seems that some phrases of the bass guitar are played by piano.
They say that George Martin plays the piano, however, with the
bass line, the possibility that Paul plays the piano is undeniable.
Moreover this song also has strange length of measures. The verse
has seven measures, and the piano solo has nine measures, after
that it leads to drum break of one measure. I wonder that John
is not aware of the number of measure so much, or he does it
with special intention. To tell the truth, this song is not so
cool but is not simple. On the contrary, you can find their many
technics in such a song.
| VERSE |
You know you made |
G - Em - G - Em - D - G
- D - G - Em - G - Em - D - G - D |
7MEAS |
| CHORUS |
You're giving me |
Am - Bm - G - Em - Am -
Bm - Am - Em |
9MEAS |
| SOLO |
(Piano) |
G - Em - G - Em - Am -
Bm - Am - Em |
9MEAS |
| VERSE-VERSE-CHORUS-SOLO-VERSE-VERSE-CHORUS-ENDING |
|
| 14.
Money |
SOUND
C+ |
MELODY
C+ |
RHYTHM
C+ |
ARRANGE
B- |
|
IMPRESSION
B- |
PROFUNDITY
B- |
ORIGINALITY
B- |
PLAYABILITY
A++ |
Composed by Bradford/Gordy. This is hard rock 'n' roll that
John sings with his strong shouted voice. Also Paul and George
of backing vocal are repeating "That's what I want"
with their shouted voice. After the piano rif in the introduction,
the guitar, bass, and drums come to play step by step, the performance
is getting rise. I think that the tone A at the fifth measure
and the tone A at the sixth measure give emphasis to the avant-garde
atmosphere. Regarding their performance, it repeats the piano
rif pattern same as the introduction except the verse, and characterizes
this song. Moreover, the drums in the verse is also creative.
Ringo plays the snare drum at the top of every measures, and
plays the floor tom with eighth note. This strong rhythm pattern
makes John's vocal more powerful.
| VERSE |
The best things
in |
E - (A) - E - A - E - B7
- A - E - B7 |
12MEAS |
| INTRO-VERSE-VERSE-VERSE-INTRO-VERSE-VERSE-VERSE-ENDING |
|
