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The Beatles Calling Me Back Again

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1965 vocal by the Beatles

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

Cover of the Northern Songs canvass music
Vocal by the Beatles
from the album Help!
Released 6 August 1965 (1965-08-06)
Recorded fourteen 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(due south) George Martin

"I've But Seen a Face" is a song by the English stone band the Beatles. It was released in August 1965 on their album Help!, except in Due north America, where it appeared as the opening track on the December 1965 release Rubber Soul. Written and sung past Paul McCartney, the song is credited to the Lennon–McCartney partnership. The vocal is a cheerful dear ballad, its lyrics discussing a love at beginning sight while carrying an adrenaline blitz the singer experiences that makes him both enthusiastic and inarticulate.

Originally titled "Auntie Gin'southward Theme", the song began as an uptempo country and western-style piano slice. McCartney so added lyrics that may have been inspired by his relationship with actress Jane Asher. The Beatles completed the rail in June 1965 at EMI Studios in London on the same day they recorded "I'thousand Downwards" and "Yesterday". The recording fuses land and western with several other musical genres, including folk rock, folk, pop stone and bluegrass. The first Beatles rail without a bass guitar, it features 3 audio-visual guitars, a brushed snare and maracas.

Several reviewers take described "I've Just Seen a Confront" in favourable terms, highlighting its rhyming lyricism and McCartney'due south song delivery, and described it as an overlooked song. Its replacement of "Drive My Automobile" on the North American version of Rubber Soul furthered the album's identity as a folk stone work, although some commentators view this modify as masking the ring's late-1965 creative developments. It was amongst the offset Beatles songs McCartney played alive with his group Wings, and versions from their 1975–76 world tour appear on the 1976 live album Wings over America and in the 1980 concert flick 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,[i] John Lennon and Paul McCartney each identified "I've Merely Seen a Face" equally having been written entirely past McCartney.[ii] McCartney recalled writing it in the basement music room at 57 Wimpole Street in central London.[three] The house was the family home of his girlfriend, actress Jane Asher, where McCartney lodged from Nov 1963.[4] Working on a piano, he composed the tune first, beginning it every bit an uptempo state and western-inflected piece.[v] Afterward he played it on the piano at a family gathering,[half dozen] his aunt Gin enjoyed the melody, prompting him to give information technology the working championship "Auntie Gin's Theme".[7] [note ane] He added fast-paced lyrics which may have been inspired by his human relationship with Asher, turning the song into a cheerful honey carol.[11]

McCartney completed "I've Only Seen a Confront" too late for inclusion in the Beatles' second characteristic movie, Assist!,[i] nearly of the songs for which were recorded in February 1965.[12] He presented information technology to the band in mid-June,[13] presently after returning from holidaying in Portugal with Asher.[xiv] During the holiday, he also wrote the lyrics to his ballad "Yesterday".[fifteen] Author Ian MacDonald comments that, since writing "Can't Buy Me Love" in early 1964, McCartney had fallen behind Lennon in output, Lennon being the primary author of the Beatles' next four singles.[1] [notation 2] Well-nigh of the sessions for the band's Assistance! album had likewise focused on Lennon compositions.[19] In MacDonald's view, given McCartney'due south absorption in his human relationship with Asher and the contrasting depth and originality of Lennon's writing since 1964, McCartney was motivated past the need to apply a renewed focus in his writing on Help!, to regain his equal status in the songwriting partnership.[1]

Composition [edit]

Music [edit]

"I've Just Seen a Face" is in the key of A major and is in two/2 (cutting fourth dimension).[20] [21] [annotation three] The song begins with a ten measure out intro.[20] Split into 3 phrases,[20] the intro uses triplets that are slower than the residuum of the song to create a sense of acceleration,[23] reinforced by a shortened 3rd phrase which quickens the start verse'southward arrival.[twenty] McCartney used the effect of wearisome triplets again later that year in "Nosotros Can Work It Out".[20] The song's commencement chord is F-sharp minor, slightly abroad from the domicile key, and is similar to "Aid!" in leaving its harmonic grounding cryptic until the end of the intro.[20] Post-obit the intro, the song speeds upwards in tempo to what music scholar Terence J. O'Grady calls "an undanceable speed".[24]

The vocal uses four chords total; the twelve-measure verses use the common pop chord progression I–vi–IV–V, while the eight-measure refrains use the blues progression 5–Iv–I.[20] The latter progression simulates descent (further suggested by the lyrics: "[Five] falling, yes I am [Four] falling, and she keeps [I] calling..."),[25] and the inclusion of a melodic minor third on the outset syllable of "calling" gives the refrain section a dejection audio.[twenty] Structurally, the vocal includes 3 different verses, an instrumental break and a reprise of the beginning verse. Later on the second verse, each section is separated from the other by a chorus.[26] Like other Beatles songs, a triple repeat of the chorus signals the end of the vocal, though Pollack writes "[t]he repeat here of an unabridged eight bar chorus is rather unprecedented." The outro finishes by repeating a phrase from the end of the intro to provide a feeling of symmetry.[20]

Genre [edit]

By this indicate [the Beatles] had been freely borrowing and blending diverse stylistic elements of pop, rock, folk, blues, and nonetheless 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 various styles juggled simultaneously as well as the effortlessly seamless manner in which they are fused.[20]

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

The limerick fuses several dissimilar styles and is difficult to categorise.[twenty] Musicologist Alan W. Pollack describes the song on the whole as folk rock,[twenty] 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 every bit like an "R&B rave-up".[xx] Musicologist Walter Everett describes it equally both folk and a "bluegrass-tinged ballad",[28] suggesting it anticipates the "simple folk style" of McCartney's 1968 composition "Mother Nature'southward Son".[29] O'Grady similarly highlights the song'south folk-styled guitar contribution with underlying hints of bluegrass, comparing information technology to another of McCartney'southward 1965 compositions, "I'm Looking Through You".[xxx] He further writes that both songs "[demonstrate] a split personality" through joining popular-rock with either folk or land-western.[31]

Author Chris Ingham writes "I've Only Seen a Face" indicates the Beatles' connected interest in country music,[32] and music critic Richie Unterberger describes the "almost pure country" song as a continuation on the band's land-influenced work from the previous year, such every bit their album Beatles for Auction and the song "I'll Cry Instead" from A Hard Mean solar day's Night.[33] At the same time, Unterberger counts the song as i of several Help! tracks that brandish the influence of folk rock on the Beatles.[34] By dissimilarity, O'Grady writes that the vocal'southward state-influenced vocals are sung over an instrumental accompaniment "devoid of any specific rock and roll gesture", and concludes it is the Beatles' "first authentically country-western (as opposed to state-rock or rockabilly) vocal".[24]

Lyrics [edit]

Written in a conversational manner,[35] the lyrics of "I've Just Seen a Face up" depict a love at kickoff sight.[36] Sung without pauses for jiff or punctuation, the song conveys an adrenaline rush the singer experiences[37] that makes him both enthusiastic and inarticulate.[20] Author Jonathan Gould groups "I've Just Seen a Confront" with several of McCartney'southward 1965 compositions that bargain with face-to-confront encounters, including "Tell Me What You See", "You Won't See Me", "We Tin Work It Out" and "I'yard Looking Through You".[38] Musicologist Naphtali Wagner instead categorises information technology with later McCartney compositions that "explore ambiguous, elusive and altered states of consciousness", such as "Got to Get Yous into My Life" from Revolver (1966) and "Fixing a Pigsty" from Sgt. Pepper's Solitary Hearts Club Band (1967).[39]

The lyrics are synthetic using an irregular rhyme scheme,[40] using both run-on verses and alliterations.[23] McCartney subsequently described them as insistent in quality, "dragging you forward... pulling you to the adjacent line".[41] Rhyming every 2 beats,[22] the lyrics use a series of cascading rhymes ("I accept never known/The like of this/I've been alone/And I have missed").[35] [notation 4] Appoggiaturas are used throughout for rhymes to line-up, such as "face" and "place" in the song's intro.[twenty] The ends of stanzas are wordless,[23] using vocal cadences like "lie-die-die-dat-'n'-die"[22] that echo the descent of the vocal'southward instrumental intro (scale degrees scale degree 4 – scale degree 3 – scale degree 2 – scale degree 1 – scale degree 7 – scale degree 1 ).[twenty] [22]

Production [edit]

Recording [edit]

Having completed the filming of Assist! on 11 May 1965,[45] the Beatles recorded "I've But Seen a Face" during the get-go of three sessions dedicated to filling out the album with songs not in the film.[46] The session took place in EMI's Studio Two (now office of Abbey Road Studios) on 14 June, George Martin producing with assist from residual engineer Norman Smith.[47] During the aforementioned afternoon session, the ring recorded McCartney'southward new rock and roll vocal "I'm Down" before breaking for dinner and returning to brainstorm piece of work on "Yesterday".[48] The three songs of divergent styles reflected the range of McCartney'southward compositional abilities;[49] [50] author and musician John Kruth calls it "McCartney's famous marathon session".[6] [note 5]

Taped on 4-track recording equipment,[vi] the vocal consists of ii backing tracks.[22] On the commencement, George Harrison plays Lennon'south Framus Hootenanny acoustic twelve-cord guitar, McCartney his Epiphone Texan nylon-string guitar and Ringo Starr a snare drum 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 band taped the bones rail in six takes,[47] overdubbing new parts onto take six.[46] McCartney played a higher 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 ordinarily 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 Aid! sessions, another guitar plays simultaneously during the guitar solo to provide a contrasting sound.[59] [annotation 7] Gould writes that, in shifting from cutting time to common time during the solo, Harrison'due south playing is reminiscent of both jazz guitarist Django Reinhardt and the French jazz system Le Hot Club.[37] Pollack characterises the solo equally a "'countrified', rhythmically flat rendering",[xx] and O'Grady writes it "approximates Bluegrass manner in rhythmic regularity".[24] "I've Just Seen a Face" was the first Beatles song to not accept a bass guitar office.[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 vocal rooted in the country genre.[23]

On 18 June, Martin and Smith mixed several songs on Assist! for mono and stereo, including "I've Just Seen a Face".[lx] The 2 mixes of the song are almost identical to one 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 Assist! 's start CD release, Martin remixed the vocal for stereo, adding a minor amount of echo.[46] [note 8]

Release [edit]

EMI's Parlophone label released the Aid! LP on 6 August 1965.[63] "I've Only Seen a Face up" appeared on side two along with six other tracks non in the film, sequenced between "Tell Me What You Run into" and "Yesterday".[64] McCartney was pleased with the finished recording and it became i of his favourite Beatles songs.[41]

[The Beatles'] new direction can be seen immediately in the song that opens the [Due north] American version of [Safe Soul], McCartney's jaunty, bluegrass-inflected "I've But Seen a Face", which had little resemblance to anything that the Beatles had recorded upwards to that time. But "I've But 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!, and then its credentials equally the "signature song" for the album are, regardless of its quirky charm, suspect at best.[30]

– Music scholar Terence O'Grady, 2008

In keeping with the company's policy of reconfiguring the Beatles' albums,[65] Capitol Records removed "I've Just Seen a Confront" and the other non-pic songs from the North American version of Help!, replacing them with several orchestral pieces from the film's soundtrack.[66] On the ring's next album, Safe Soul, Capitol again altered the track list; in add-on to omitting iv songs they deemed "electric", the visitor selected "I've Just Seen a Face" and Lennon'southward "It'due south But Love" as the opening tracks of side one and side two, respectively.[67] Capitol's approach was motivated by the popularity of folk rock in the United States,[68] with singles such equally Sonny & Cher's "I Got Yous Infant", Barry McGuire's "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.[seventy] "I've Just Seen a Face" thereby replaced the Memphis sound-inspired "Drive My Motorcar" and was followed past the acoustic song "Norwegian Wood (This Bird Has Flown)".[71]

Released on 6 Dec 1965,[72] Capitol's version of Condom 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 entire LP.[74] Opening with "I've Just Seen a Face up" gave Rubber Soul more conceptual unity,[75] which reinforced perceptions of it as a folk or folk rock centred LP,[76] at the cost of distorting the ring'due south late-1965 creative developments and their original artistic intentions.[77] [note ix]

Retrospective assessment and legacy [edit]

Reviewing Help! for AllMusic, Stephen Thomas Erlewine describes "I've Just Seen a Face" equally "an irresistible folk-rock jewel" that is much better than two of McCartney's other contributions to the anthology, "The Dark Earlier" and "Another Girl",[79] a sentiment author Andrew Grant Jackson echoes.[eighty] Announcer Alexis Petridis too disparages McCartney's other Assistance! contributions as filler – in particular, "Another Girl" and "Tell Me What You Encounter" – but describes "I've Just Seen a Face" every bit the album'southward "ane 18-carat overlooked precious stone".[81] He sees information technology as "an English inversion of Aid! 'due south 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 Just Seen a Face" as "a folksy land song [that demonstrates] the gift for pastiche that would help give the rest of the Beatles' career such convincing diversity".[82] Music critic Allan Kozinn groups it with "Yesterday", "Information technology'southward Just Dearest" and "Wait" equally songs recorded near the stop of the Help! sessions that were a stylistic break from the rest of the album, their "sophistication, spirit and complexity of texture" having more than in common with Safety Soul.[83]

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

Unterberger describes "I've Only Seen a Face" as "probably the about bluegrass-soaked rock song of the 1960s".[91] John Kruth says its influence can be heard on "Go and Say Bye", the original opening track of Buffalo Springfield's 1966 debut album. Kruth argues that both songs helped accustom rock fans with small-scale doses of state music, setting upwardly the plough from folk rock to country by the Byrds with their 1968 anthology Sweetheart of the Rodeo; [92] in Kruth's opinion, the song's "deep wooden timbre" 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 vocal's folk styling equally exemplifying the Beatles' musical fluency and ability to master genres far removed from their stone music origins.[94]

McCartney alive versions [edit]

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

McCartney performing during the Wings Over the World tour, 1976. He included "I've Simply Seen a Confront" during an acoustic section of the tour'due south setlist.

The song has remained a favourite of McCartney'due south in his mail-Beatles career and is i of the few Beatles songs he played with his later band, Wings.[41] An audio-visual rendition of "I've Just Seen a Face" was among the five Beatles songs McCartney played during the 1975–76 Wings Over the World bout,[95] existence the outset time he included Beatles songs in his live 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 as well precious about it".[99] Announcer Nicholas Schaffner writes that their inclusion "electrified audiences", and Rodriguez similarly describes the Beatles section of the setlist equally the "emotional highlight for about attendees".[100] McCartney reflected at the time, "They're great tunes... So I just decided in the end, this isn't such a large deal, I'll do them."[99] In a retrospective assessment, Riley lauds McCartney for performing the vocal during the tour equally though he were "sitting around on a porch harmonizing to a good quondam rural favorite".[23] Live versions of the song from the tour were afterwards included on the 1976 triple live album Wings over America and in the 1980 concert film Rockshow.[101]

McCartney performed "I've Simply Seen a Face" in a 25 January 1991 set,[102] played on acoustic and filmed by MTV for their serial Unplugged.[103] The performance was later on 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 Bout and 2011–12 On the Run tour, and it was included on the 2005 DVD Paul McCartney in Ruby Foursquare.[84] In 2015, during the Sabbatum Dark Live 40th Ceremony Special, he and musician Paul Simon played an impromptu duet of the song.[105]

Cover versions [edit]

Charles River Valley Boys [edit]

"I've Only Seen a Face"
Song by Charles River Valley Boys
from the anthology Beatle Country
Released November 1966 (1966-xi)
Recorded September 1966 (1966-09)
Studio Columbia, Nashville
Genre Bluegrass
Length two:39
Label Elektra
Songwriter(s) Lennon–McCartney
Producer(s)
  • Paul A. Rothchild
  • Peter K. Siegel

The Cambridge, Massachusetts-based Charles River Valley Boys (CRVB) recorded a cover of "I've But Seen a Face up" for their 1966 album, Beatle Country, a collection of Lennon–McCartney compositions played every bit bluegrass and sung in a high lonesome mode.[106] James Field of the group subsequently recalled hearing the vocal on the radio in the lead up to the US release of Rubber Soul and thinking "it instantly felt like bluegrass".[107] In detail, the I–vi–Four–V progression and the chorus beginning on the dominant had "a drive perfectly suited for a straight-ahead bluegrass trio".[107] He added: "The tempo (for us) is virtually 115 bpm, and if you listen to many bluegrass standards, a lot of them are in that range. Why? Considering it's perfect for the banjo. You get a nice, bouncy roll, and yous can brand it ring."[107] Banjoist Bob Siggins further stated: "I recollect 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 sometime and new bluegrass and country songs, the band added an organisation of "I've Just Seen a Face" to their set, along with the country-inflected Beatles song "What Goes On".[108]

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

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

Bluegrass groups [edit]

Sam Bush

New Grass Revival mandolinist Sam Bush in 2012, who described "I've Just Seen a Face up" as the commencement song past the Beatles to which he could chronicle.

Besides the Charles River Valley Boys, numerous bluegrass groups have covered the song.[93] Doggett writes the tempo and chord changes of "I've Just 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 vocal betwixt the British release of Assistance! and the North American release of Safety Soul; they had hoped to upshot the vocal in the Usa earlier the Beatles, though the recording went unreleased.[118] They later recorded a cover for their 1968 album Wheatstraw Suite.[119] Joining elements of traditional mountain music and modern country music, their version includes high harmonies, a banjo and a pedal steel guitar.[93] Unterberger calls it "a respectable version" which "completed [the Dillards'] motility from bluegrass into folk-land-rock",[33] while Turner describes information technology as "relaxed in tempo and wistful", writing that its employ of a pedal steel guitar is "a clear 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-league, mandolinist for the progressive bluegrass band New Grass Revival, recalled existence uninterested in stone music before the mid-1960s, but found that "I've Merely Seen a Confront" allowed him to "relate to the Beatles for the kickoff time", like-minded with a characterisation of it as "bluegrass without a banjo".[120] New Grass Revival subsequently covered the vocal with musician Leon Russell for their 1981 live album, The Alive Album, a version Turner calls "difficult driving" and "erratic".[121] Bush after covered the song equally a solo creative person for the 2013 Americana tribute anthology, Let United states in Americana: The Music of Paul McCartney.[122] The group Bluegrass Clan recorded the vocal for their 1974 anthology Strings Today... And Yesterday, basing their system on the Charles River Valley Boys' version.[123]

Other artists [edit]

George Martin recorded an orchestral version of the song for his 1965 like shooting fish in a barrel listening album, George Martin & His Orchestra Play Help!, credited nether its original working title, "Auntie Gin'due south Theme".[124] In a review of the album for AllMusic, Bruce Eder describes Martin'southward recordings as "tasteful but otherwise largely undistinguished". He credits the release of tracks under 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 Dead performed the vocal in concert on 11 June 1969 in San Francisco, playing pseudonymously as Bobby Ace and the Cards from the Bottom of the Deck, and former Grateful Dead keyboardist Tom Constanten recorded a embrace for his 1993 anthology Morning time Dew.[126] Hank Crawford, the alto saxophonist of Ray Charles, recorded a funk and reggae-inspired version of the song for his 1976 anthology Tico Rico.[93]

Canadian jazz singer Holly Cole covered the song for her 1997 album Dark Dear Center.[127] Released with a noir-style music video,[127] the version reached number seven on Canada'southward RPM Superlative Singles Chart in Nov 1997.[128] The 2007 jukebox musical romantic drama picture show Beyond the Universe features a cover of the song,[127] after included on its associated soundtrack album.[129] In the film, the atomic number 82 character, Jude (Jim Sturgess), sings about Lucy (Evan Rachel Wood) at a bowling alley in what Kruth terms a "somewhat bizarre love-fantasy scene".[127] Reviewing the soundtrack for AllMusic, Erlewine writes that Sturgess does "a credible job" on the song's "rockabilly revamp".[129] American vocaliser Brandi Carlile occasionally sings the song during live shows.[127] Though Kruth disparages Carlile'southward version every bit "[not] particularly different or innovative",[127] a 2010 ranking by Paste magazine of the l best Beatles covers placed it at 46, writing that she transforms the song into a "sing-along hoe-downwards".[130] Kruth designates "I'll Just Drain Your Confront" as the vocal's "most baroque" cover,[127] recorded by Beatallica – a mashup group of heavy metal band Metallica and the Beatles – for their 2009 anthology Masterful Mystery Tour.[131]

Personnel [edit]

Co-ordinate to Walter Everett,[22] except where noted:

  • Paul McCartney – lead vocal, 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 sister of McCartney'due south father, Jim McCartney.[eight] McCartney later referenced her in the vocal "Allow 'Em In",[ix] released on the 1976 album Wings at the Speed of Audio.[x]
  2. ^ The four A-sides were "A Hard Day's Night", "I Feel Fine", "Ticket to Ride" and "Help!"[16] The pair co-wrote "Eight Days a Week",[17] released as a unmarried in the Usa in February 1965.[18]
  3. ^ Everett writes the vocal is in cut fourth dimension.[22] Pollack writes that the vocal tin be counted in either 2/two or iv/4 (common time), but that if counted in the former, the listener can "more easily grasp the extent to which the underlying tempo is abiding".[xx]
  4. ^ Recorded a day later "I've Just Seen a Confront",[42] the song "It's Only Love" sometimes employs like phrasing patterns.[43] Everett hypothesises that Lennon composed "It's Only Honey" in an attempt to match the rhyming upshot of "I've Merely Seen a Face", merely ultimately finds it "Lennon's nearly forced effort at rhyming".[44]
  5. ^ Author Adam Gopnik describes the mean solar day as "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. ^ Amidst 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, but express general uncertainty over what guitar parts McCartney and Harrison contributed.[10]
  7. ^ The outcome appears on their covers of "Empty-headed, Miss Lizzy" and "Bad Male child", too as on "Yes It Is", "The Dark Earlier", "Assist!", "Information technology's Only Beloved" and "Ticket to Ride", where Harrison'southward opening twelve-string ostinato contrasts with 3 overdubbed guitars.[59]
  8. ^ When the Beatles' catalogue was remastered for stereo in 2009, the Help! CD retained Martin's 1987 remix. The original stereo mix was included as a bonus on the companion release The Beatles in Mono.[62]
  9. ^ The album was a commercial success and, co-ordinate to Gould, served to attract 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 Simply Seen A Confront (Alive / Wings over America / Remastered) on YouTube
  • Paul McCartney – I've Just Seen a Face (Live / Unplugged (The Official Homemade)) on YouTube
  • The Dillards – I've Just Seen a Face on YouTube
  • Hank Crawford – I've Simply Seen a Face on YouTube
  • Holly Cole – I've But Seen a Confront on YouTube
  • Hosts Monologue – Saturday Night Live 40th Anniversary Special, including Paul McCartney and Paul Simon playing "I've Just Seen a Confront" on YouTube
  • Jim Sturgess – I've Just Seen A Face up (From "Across The Universe" Soundtrack) on YouTube
  • Leon Russell and New Grass Revival – I've Only Seen a Face (Alive / The Live Anthology) on YouTube

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

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