Mother Nature's Son
"Mother Nature's Son" is a song by the English rock band the Beatles from their 1968 double album The Beatles. The song was written by Paul McCartney, credited to Lennon–McCartney, it was inspired by a lecture given by the Maharishi Mahesh Yogi. The same lecture inspired Lennon's song "Child of Nature", the tune of which he re-used for "Jealous Guy". Although credited to the group, the song was performed by McCartney alone, while the other Beatles were working on other "White Album" songs. According to Paul McCartney he was inspired by Nat King Cole's song "Nature Boy" he heard growing up, he wrote the song in Liverpool. McCartney recorded the song during the height of the tensions that marred the sessions for the White Album. On 9 August 1968, he recorded 25 takes playing acoustic guitar simultaneously. Take 24 was perceived to be the best. McCartney recorded overdubs of timpani, another guitar, drums on 20 August, when George Martin's orchestral contributions were added; the drums were put halfway down an uncarpeted corridor with the microphones at the far end, resulting in a bongo-like staccato sound.
John Lennon did not play on the recording, but McCartney said he contributed some words to the song in India. When Lennon and Ringo Starr walked into the studio after McCartney had finished, "you could have cut the atmosphere with a knife", recalled engineer Ken Scott. Coinciding with the 50th anniversary of its release, Jacob Stolworthy of The Independent listed "Mother Nature's Son" at number 15 in his ranking of the White Album's 30 tracks, he praised McCartney's vocals, writing "the anguish alone makes this one of the album's most emotional songs." Personnel per Ian MacDonald Paul McCartney – double-tracked vocal, acoustic guitars, bass drum George Martin – brass arrangement Jack White covered the song at the White House when McCartney was being given the Gershwin Prize on 2 June 2010. Ramsey Lewis used it as the title of his 1968 album Mother Nature's Son; the album includes other songs from The Beatles. Harry Nilsson covered the song in 1969 for his album Harry. John Denver covered the song on his Grammy winning An Evening with John Denver album, it was on his 1972 album Rocky Mountain High, after his death it became the title of a biography of Denver by John Collis.
Gryphon covered the song in 1974 on the album Raindance. Sheryl Crow covered it for the movie I Am Sam. Danger Mouse included a sample of the song in his "mashup" version of the Jay-Z song "December 4th" for his The Grey Album. DJ Reset used it along with Slick Rick's "La-Di-Da-Di" for the "mashup" song "Mother Nature's Rick". Brad Mehldau covered the song in a medley on his album Largo and on the album Don't Explain with tenor saxophonist Joel Frahm. Phish covered the song on 31 October 1994 as part of a full set covering the entire White Album, it can be found on Live Phish Volume 13. Alan W. Pollack's Notes on "Mother Nature's Son"
A song is a single work of music, intended to be sung by the human voice with distinct and fixed pitches and patterns using sound and silence and a variety of forms that include the repetition of sections. Through semantic widening, a broader sense of the word "song" may refer to instrumentals. Written words created for music or for which music is created, are called lyrics. If a pre-existing poem is set to composed music in classical music it is an art song. Songs that are sung on repeated pitches without distinct contours and patterns that rise and fall are called chants. Songs in a simple style that are learned informally are referred to as folk songs. Songs that are composed for professional singers who sell their recordings or live shows to the mass market are called popular songs; these songs, which have broad appeal, are composed by professional songwriters and lyricists. Art songs are composed by trained classical composers for recital performances. Songs are recorded on audio or video.
Songs may appear in plays, musical theatre, stage shows of any form, within operas. A song may be for a solo singer, a lead singer supported by background singers, a duet, trio, or larger ensemble involving more voices singing in harmony, although the term is not used for large classical music vocal forms including opera and oratorio, which use terms such as aria and recitative instead. Songs with more than one voice to a part singing in polyphony or harmony are considered choral works. Songs can be broadly divided depending on the criteria used. Art songs are songs created for performance by classical artists with piano or violin/viola accompaniment, although they can be sung solo. Art songs require strong vocal technique, understanding of language and poetry for interpretation. Though such singers may perform popular or folk songs on their programs, these characteristics and the use of poetry are what distinguish art songs from popular songs. Art songs are a tradition from most European countries, now other countries with classical music traditions.
German-speaking communities use the term art song to distinguish so-called "serious" compositions from folk song. The lyrics are written by a poet or lyricist and the music separately by a composer. Art songs may be more formally complicated than popular or folk songs, though many early Lieder by the likes of Franz Schubert are in simple strophic form; the accompaniment of European art songs is considered as an important part of the composition. Some art songs are so revered. Art songs emerge from the tradition of singing romantic love songs to an ideal or imaginary person and from religious songs; the troubadours and bards of Europe began the documented tradition of romantic songs, continued by the Elizabethan lutenists. Some of the earliest art songs are found in the music of Henry Purcell; the tradition of the romance, a love song with a flowing accompaniment in triple meter, entered opera in the 19th century, spread from there throughout Europe. It became one of the underpinnings of popular songs.
While a romance has a simple accompaniment, art songs tend to have complicated, sophisticated accompaniments that underpin, illustrate or provide contrast to the voice. Sometimes the accompaniment performer has the melody. Folk songs are songs of anonymous origin that are transmitted orally, they are a major aspect of national or cultural identity. Art songs approach the status of folk songs when people forget who the author was. Folk songs are frequently transmitted non-orally in the modern era. Folk songs exist in every culture. Popular songs may become folk songs by the same process of detachment from its source. Folk songs are more-or-less in the public domain by definition, though there are many folk song entertainers who publish and record copyrighted original material; this tradition led to the singer-songwriter style of performing, where an artist has written confessional poetry or personal statements and sings them set to music, most with guitar accompaniment. There are many genres of popular songs, including torch songs, novelty songs, rock and soul songs, other commercial genres, such as rapping.
Folk songs include ballads, plaints, love songs, mourning songs, dance songs, work songs, ritual songs and many more. Air Animal song: bird vocalization, whale song, zoomusicology Aria Canticle Hymn Instrumental Lists of songs Madrigal Poem and song Song structure Theme song Vocal music Marcello Sorce Keller, "The Problem of Classification in Folksong Research: a Short History", Folklore, XCV, no. 1, 100- 104. Jean Nicolas De Surmont, From vocal poetry to song, toward a Theory of Song Obects" with a foreword by Geoff Stahl, Ibidem
I Need You (Beatles song)
"I Need You" is a song by the English rock band the Beatles from their 1965 album Help! It is the second George Harrison song the band released after two albums without any songwriting contribution from Harrison, it was performed in their second film, Help!, is the second video produced showing George Harrison singing lead vocal. The song was recorded on 15 and 16 February 1965; this was the first recording session for the group in 1965 and included two others, "Ticket to Ride" and "Another Girl", both of which were included on the Help! album. The song is assumed to be addressing Harrison's relationship with Pattie Boyd, whom he had met in March 1964 while filming A Hard Day's Night; some Beatles books have claimed that George wrote it in the Bahamas while separated from Pattie, but this can't be true as recording began on February 15th, 1965, the Bahamas scenes weren't shot until the following week. The song is in A major; the recording's distinctive lead guitar cadences were achieved through Harrison's first recorded use of a volume pedal, by common guitar suspended chords in the key of A.
These form the introduction and most of the verse of the song and give a quasi-modal effect relieved in the verse by a line in the relative minor, the whole making a fourteen-bar ternary verse-structure. This, after a repeat, segues into a second bridge melody that introduces a cowbell for contrast and is based on a simple IV-V-I chord progression that passes through the dominant key to resolve back on the verse. An interesting feature is the use of an imperfect cadence in the climax of the bridge which uses II and V chords. Many such aspects of the song are developed in Harrison's song "If I Needed Someone" on the group's next album, Rubber Soul. George Martin kept notes during the session that documented the unusual arrangement, which was: George Harrison – double-tracked vocal, acoustic rhythm guitar, twelve-string lead guitar John Lennon – harmony vocal, snare drum Paul McCartney – harmony vocal, bass Ringo Starr – acoustic guitar percussion, cowbellPersonnel per George Martin, quoted in Ryan and Kehew The Sunshine Company recorded a version, arranged by George Tipton, for their 1967 Imperial Records LP Happy Is the Sunshine Company.
Tom Petty and the Heartbreakers played the song in tribute to Harrison at the Concert for George in 2002. The progressive rock supergroup Transatlantic recorded a mix of two songs called "I Need You" on their 2009 album The Whirlwind; the first part is sung by Neal Morse while the Beatles's part features vocals by the band's drummer Mike Portnoy. The Lolas have done a cover version Steve Perry recorded a re-imagined version for his 2018 album, Traces. Alan W. Pollack's Notes on "I Need You"
Richie Unterberger is an American author and journalist whose focus is popular music and travel writing. Unterberger attended the University of Pennsylvania, where he wrote for the university newspaper The Daily Pennsylvanian and in the early 1980's was a deejay on the Penn radio station, WXPN-FM. Just prior to graduating in late 1982, he started reviewing records for Op magazine, which marked the start of his career as a freelance writer. From 1985 to 1991, Unterberger was an editor for Option. Since 1993, he has been a prolific contributor to AllMusic, the on-line database of music biographies and album reviews, for which he has written thousands of entries, many of his on-line contributions have been printed in the AllMusic guide series. Unterberger contributes to various local and national publications, including Mojo, Record Collector, Rolling Stone, Oxford American, No Depression, he has written liner notes for dozens of CD reissues from labels like Rhino, Collectors' Choice, Sundazed.
Unterberger's books draw extensively on first-hand interviews with their associates. Unterberger has given numerous talks on music and popular culture at public libraries in San Francisco and San Mateo County, California, he is a speaker at area bookstores, including The Booksmith in the Haight Ashbury neighborhood of San Francisco. Unterberger has written on travel, including The Rough Guide to Seattle, is co-author of The Rough Guide to Shopping with a Conscience, a book about ethical products and related topics, he has traveled to more than thirty countries and is an advocate of independent travel and alternative culture. His nephew, Andrew wrote for Stylusmagazine.com, in 2007 was part of the winning team on VH1's World Series of Pop Culture. He has been featured contributor on a number of music or sports blogs, his books include: 1998: Unknown Legends of Roll. Profiles of 60 underappreciated cult rock artists of all styles and eras 1999: The Rough Guide to Music USA. A guidebook to the evolution of regional popular music throughout America in the twentieth century 2000: Urban Spacemen & Wayfaring Strangers: Overlooked Innovators and Eccentric Visionaries of'60s Rock.
Another look at underappreciated cult rock artists 2002: Turn! Turn! Turn!: The'60s Folk-Rock Revolution. The first part of a history of folk rock 2003: Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock; the second part of a history of folk rock 2006: The Unreleased Beatles: Music and Film. An illustrated 400-page guide to music that the Beatles recorded but did not release, as well as musical footage of the group that has not been made commercially available 2009: White Light/White Heat: The Velvet Underground Day-by-Day 2009: The Rough Guide to Jimi Hendrix. 2011: Won't Get Fooled Again: The Who from Lifehouse to Quadrophenia 2002 interview with Unterberger Richie Unterberger's Unknown Legends at www.richieunterberger.com Profile at Rough Guides // Allmusic.com // IMDb Article about Richie Unterberger in the SF Weekly The WELL interviews on Turn! Turn! Turn! // Eight Miles High // The Unreleased Beatles Book review: Fleetwood Mac: The Complete Illustrated History by Richie Unterberger / Rocker Magazine
Mark Lewisohn is an English author and historian, regarded as one of the world's leading authorities on the English rock band the Beatles. Over the course of his career, Mark Lewisohn has worked for EMI, MPL Communications and Apple Corps, has written many reference books about the Beatles, he has been referred to as the world's leading authority on the subject, renowned for his meticulous research and integrity. Lewisohn is Jewish. In 1986, Lewisohn's book The Beatles Live! was published. This featured a complete history of all the Beatles' live performances, in a format which Lewisohn would follow for his subsequent books. After being invited by EMI to listen to all of the Beatles' original session tapes, Lewisohn wrote The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years, published in 1988; the book was in the form of a diary, listing chronologically every recording session the Beatles had at Abbey Road Studios. It included details such as who played on each track and how many takes were recorded in each session.
The book featured an introductory interview by Paul McCartney. Lewisohn's next book, The Beatles: 25 Years In The Life, was published in 1988 and included information on what each individual member of the band was doing on any particular day between 1962 and 1987; this book was republished as The Beatles Day by Day in 1990. The Complete Beatles Chronicle was published in 1992 and went one step further, detailing the band's entire career in the studio, on stage, on radio, television and video. Lewisohn's next book was The Beatles London, which he co-authored with Piet Schreuders and Adam Smith, published in 1994; this is a guide book to all the Beatles-related locations in London, including Abbey Road and the London Palladium, featuring maps and photographs of the band at the locations mentioned. A revised version of the book was published in early 2008; as well as writing his own books, Lewisohn has written forewords to such books as Recording The Beatles by Brian Kehew and Kevin Ryan, Beatles Gear by Andy Babiuk and the German book Komm, gib mir deine Hand by Thorsten Knublauch and Axel Korinth.
He has contributed to In My Life: Lennon Remembered, a book to accompany the 10-part BBC radio series about John Lennon, edited McCartney's book Wingspan, after working for a long time as editor and writer for McCartney's fanzine Club Sandwich. This led to him being invited by the former Beatle to write the liner notes for several of his albums, namely Flaming Pie, Band on the Run: 25th Anniversary Edition and Wingspan: Hits and History, he wrote the liner notes for the retrospective six-CD box set Produced by George Martin – 50 Years in Recording, the Beatles' albums 1 and The Capitol Albums, Volume 1. He was involved in The Beatles Anthology project. According to Daniel Finkelstein, writing in The Times in 2014, Lewisohn was responsible for identifying comedian Jasper Carrott as the source in 1983 of the famous remark, "Ringo isn't the best drummer in the world, he isn't the best drummer in the Beatles." This observation has been attributed to John Lennon, but Lewisohn had been doubtful because he could find no record of his having said it and thought it was out of character for Lennon to say something that he did not believe, though he was well known for making mischievous remarks.
However, Lewisohn has since confirmed that the line originated in a 1981 episode of the BBC radio comedy series Radio Active, written by Angus Deayton and Geoffrey Perkins. In 2005, Lewisohn announced, he was quoted as saying of the work: The Beatles story has been told often but, in my view very well. I'm writing a wide-ranging history and my aim is true: to explore and comprehend what happened in and around the Beatles, to write it even-handedly, without fear or favour, bias or agenda. A rock and roll group came out of Liverpool and shaped the last half of the 20th century the world over, their music transcends changing times; the whole extraordinary story needs to be recorded and it needs to be done now, while first-hand witnesses are still with us. Volume 1 was published in October entitled The Beatles: All These Years, Volume One -- Tune In. Lewisohn was quoted as saying "It took longer to research and write than I could have anticipated". In an interview published on 28 December 2013, Lewisohn estimated that the second volume would be published in 2020 and the final volume in 2028.
Although the Beatles is Lewisohn's area of particular expertise, he has written on a variety of other subjects. One of his best-known works is an encyclopaedia of comedy on British television screens titled Radio Times Guide to TV Comedy, published in 1998 and updated in 2003 available online as the BBC Guide to Comedy until 2007, he has written Funny, Peculiar, a biography of Benny Hill, published in 2002. In the past, Lewisohn has written for magazines, including Match of the Day, he helped to edit the book Hendrix: Setting The Record Straight, written by John McDermott and Eddie Kramer. Http://www.marklewisohn.net
A Hard Day's Night (album)
A Hard Day's Night is the third studio album by the English rock band the Beatles, released on 10 July 1964, with side one containing songs from the soundtrack to their film of the same name. The American version of the album was released two weeks earlier, on 26 June 1964 by United Artists Records, with a different track listing. In contrast to their first two albums, all 13 tracks on A Hard Day's Night were written by John Lennon and Paul McCartney showcasing the development of their songwriting talents; the album includes the title track, with its distinct opening chord, the released "Can't Buy Me Love", both transatlantic number-one singles for the band. The title of the album was the accidental creation of drummer Ringo Starr. According to Lennon in a 1980 interview with Playboy magazine: "I was going home in the car and Dick Lester suggested the title,'Hard Day's Night' from something Ringo had said. I had used it in In His Own Write. You know, one of those malapropisms. A Ringo-ism, where he said it not to be funny... just said it.
So Dick Lester said,'We are going to use that title.'" Musically, A Hard Day's Night eschews the rock and roll cover songs of the band's previous albums for a predominantly pop sound. Sputnikmusic's Dave Donnelly observes "short, peppy" pop songs characterised by layered vocals, immediate choruses, understated instrumentation. According to Pitchfork's Tom Ewing, the lack of rock and roll covers allows listeners to "take the group's new sound purely on its own modernist terms", with audacious "chord choices", powerful harmonies, "gleaming" guitar, "Northern" harmonica. Music journalist Robert Christgau writes that Lennon–McCartney's songs were "more sophisticated musically" than before. Side one of the LP contains the songs from the movie soundtrack. Side two contains songs written for, but not included in, the film, although a 1980s re-release of the movie includes a prologue before the opening credits with "I'll Cry Instead" on the soundtrack. A Hard Day's Night is the first Beatles album to feature original compositions, the only one where all the songs were written by John Lennon and Paul McCartney.
Lennon dominates the songwriting, being the primary author of nine out of the thirteen tracks on the album, as well as being the lead singer on these same nine tracks. Lennon and McCartney co-wrote "I'm Happy Just to Dance with You", while McCartney wrote "And I Love Her", "Can't Buy Me Love", "Things We Said Today", it is one of three Beatles albums, along with Let It Be and Magical Mystery Tour, in which Starr does not sing lead vocal on any songs. It is one of three Beatles albums, along with Please Please Me and Beatles for Sale, in which Harrison does not contribute to the songwriting. According to music critic Richie Unterberger, writing for AllMusic: George Harrison's resonant 12-string electric guitar leads were hugely influential; the Beatles' success, had begun to open the US market for fellow English bands like the Rolling Stones, the Animals, the Kinks, inspired young American groups like the Beau Brummels, Lovin' Spoonful, others to mount a challenge of their own with self-penned material that owed a great debt to Lennon–McCartney.
In his book Yeah! Yeah! Yeah!: The Story of Pop Music from Bill Haley to Beyoncé, Bob Stanley identifies A Hard Day's Night as the album that best captures the band's early-career appeal. He writes: If you had to explain the Beatles' impact to a stranger, you'd play them the soundtrack to A Hard Day's Night; the songs, conceived in a hotel room in a spare couple of weeks between up-ending the British class system and conquering America, were full of bite and speed. There was adventure, knowingness and abundant charm. In 2000, Q placed A Hard Day's Night at number five in its list of the 100 Greatest British Albums Ever. In 2012, it was ranked 307th on Rolling Stone magazine's list of the "500 Greatest Albums of All Time"; the album was included in Robert Dimery's 1001 Albums You Must Hear. On 26 February 1987, A Hard Day's Night was released on compact disc in mono, along with Please Please Me, With the Beatles, Beatles for Sale. Having been available only as an import in the US in the past, the 13 track UK version of the album was issued in the US on LP and cassette on 21 July 1987.
Stereo mixes of "A Hard Day's Night", "Can't Buy Me Love", "And I Love Her" had been made available on the first compact disc issue of 1962–1966 in 1993. Most of the rest of the tracks appeared in stereo on compact disc for the first time with the release of the box set The Capitol Albums, Volume 1 in 2004. On 9 September 2009, a remastered version of this album was released and was the first time the album appeared in stereo on compact disc in its entirety; this album is included in The Beatles Stereo Box Set. A remastered mono version of the original UK album was part of The Beatles in Mono box set. All tracks written by Lennon–McCartney; the American version of the album was released on 26 June 1964 by United Artists Records in both mono and stereo, the fourth Beatles album in the United States. The album went to number one on the Billboard album chart, spending 14 weeks there, the longest run of any album that year. All seven songs from the film, the first side of the UK album, were featured along with "I'll Cry Instead", although w
"Michelle" is a song by the English rock band the Beatles from their 1965 album Rubber Soul. It was composed principally with the middle eight co-written with John Lennon; the song is a love ballad with part of its lyrics sung in French. Following its inclusion on Rubber Soul, the song was released as a single in some European countries and in New Zealand, on an EP in France, in early 1966, it was a number 1 hit for the Beatles in Belgium, Norway, the Netherlands and New Zealand, while concurrent recordings of the song by David and Jonathan and the Overlanders were successful in Canada and Britain, respectively. "Michelle" won the Grammy Award for Song of the Year in 1967 and has since become one of the most recorded of all Beatles songs. The instrumental music of "Michelle" originated separately from the lyrical concept. According to McCartney: "Michelle" was a tune that I'd written in Chet Atkins' finger-picking style. There is a song he did called "Trambone" with a repetitive top line, he played a bass line while playing a melody.
This was an innovation for us. The first person we knew to use finger-picking style was Chet Atkins... I never learned it, but based on Atkins' "Trambone", I wanted to write something with a melody and a bass line in it, so I did. I just had it as an instrumental in C; the words and style of "Michelle" have their origins in the popularity of Parisian Left Bank culture during McCartney's Liverpool days. In his description, "it was at the time of people like Juliette Greco, the French bohemian thing." McCartney had gone to a party of art students where a student with a goatee and a striped T-shirt was singing a French song. He soon wrote a farcical imitation to entertain his friends that involved French-sounding groaning instead of real words; the song remained a party piece until 1965, when John Lennon suggested he rework it into a proper song for inclusion on Rubber Soul. McCartney asked Jan Vaughan, a French teacher and the wife of his old friend Ivan Vaughan, to come up with a French name and a phrase that rhymed with it.
McCartney said: "It was because I'd always thought that the song sounded French that I stuck with it. I can't speak French properly so that's why I needed help in sorting out the actual words."Vaughan came up with "Michelle, ma belle", a few days McCartney asked for a translation of "these are words that go together well" – sont les mots qui vont très bien ensemble. When McCartney played the song for Lennon, Lennon suggested the "I love you" bridge. Lennon was inspired by a song he heard the previous evening, Nina Simone's version of "I Put a Spell on You", which used the same phrase but with the emphasis on the last word, "I love you"; each version of this song has a different length. The UK mono mix is 2:33 whereas the stereo version extends to 2:40 and the US mono is 2:43; the version available in The Beatles: Rock Band has a running time of 2:50. The song was composed in C, but was played in F on Rubber Soul; the verse opens with an F major chord the second chord is a B♭7♯9. McCartney called this second chord a "great ham-fisted jazz chord", taught to them by Jim Gretty who worked at Hessey's music shop in Whitechapel, central Liverpool and which George Harrison uses as the penultimate chord of his solo on "Till There Was You".
After the E♭6 there follows an ascent involving different inversions of the D dim chord. These progress from A♭dim on "go" – melody note F, bass note D. George Martin, the Beatles' producer, recalled that he composed the melody of the guitar solo, heard midway through the song and again during the fadeout, he showed Harrison the notes during the recording session and accompanied the guitarist when the solos were overdubbed. In terms of its complementary role to the main melody, musicologist Walter Everett likens this guitar part to two musical passages that Martin had arranged for singer Cilla Black the previous year: a bassoon–English horn combination on "Anyone Who Had a Heart" and the baritone electric guitar on "You're My World". EMI's Parlophone label released Rubber Soul on 3 December 1965 in Britain, with "Michelle" sequenced as the final track on side one of the LP; the album was viewed as marking a significant progression within the Beatles' work and in the scope of pop music generally.
Recalling the album's release for Mojo magazine in 2002, Richard Williams said "Michelle" represented "the biggest shock of all" to a contemporary pop audience, as McCartney conveyed "all his nostalgia for a safe childhood in the 1950s, itself a decade suffused with nostalgia for the inter-war security of the'20s and'30s, the era to which this song refers."In a contemporary review for the NME, Allen Evans described "Michelle" as a "memorable track" with a "bluesy French sound" in which McCartney's vocal was supported by " others using voices as instruments". Record Mirror's reviewer admired the lyrics and said that the song was "just remotely, faintly similar to'Yesterday' in the general approach" and "another stand-out performance". Jazz critic and broadcaster Steve Race admitted to being "astonished" by the album and added: "When I heard'Michelle' I couldn't believe my ears; the second chor