![]() The backing vocals provide their much talked about, deceptively simple block harmonies on the phoneme, "ooooh". ![]() You'll note places in which the second track either drops out or provides a harmonization with the primary track. Both this lead vocal and the lead guitar licks of the bridge are selectively double-tracked. Paul's lead vocal was recorded on the low and slow side in order to make it sound higher and much whispier on playback. Even without access to the bootlegs of so-called Monitor Mixes, you can get a feel for this by simply listening to each of the stereo tracks on the official release one at a time. This accomplishment is made to seem ironic and all the more impressive given the extent to which Lewisohn reports they fussed over the arrangement in the overdub stage. The arrangement subscribes to the aesthetic of "less-is-more", with restrained yet carefully placed details in all departments. The opening measures of the verse make use of a jazzy chord stream of the sort that harkens all the way back to early numbers like " Ask Me Why" and " P.S. Granted, in the formal context of the two-to-three minute song, there is relatively little room for the full-fledged modulations you'll find in larger forms, but this in no way precludes a more furtive and no less restless exploration of alternate tonal centers. This is a particularly rare example in which all of them are used in the same song. Both Paul and John were fond of these types of key schemes, and there are many songs we've looked at that use one or more of these tricks. The home key of the song is G Major, but both its relative minor (e), as well as the parallel minor (g) and its relative Major (B-flat) make important appearances. It also manages to maintain a nicely fluid melodic feeling through its mix of stepwise motion, long leaps, rhetorical dwellings on a single note, and some triadic outlines. The tune uses a wide variety of rhythmic values to convey an impression of the naturally spoken word. The lyrics make a rather John-like structural use of the title words. It opens with one of those (relatively rare-for-the-Beatles) ad-lib introductions, but the form is otherwise the classic two-bridge model, with only one verse intervening and no instrumental break. It is a landmark triumph of the soft rock genre. This song is remarkable for its bitter-sweet tune, clever harmonic scheme, and understated arrangement. US-release: 8th August 1966 (LP "Revolver") UK-release: 5th August 1966 (LP "Revolver") Recorded: 14th, 16th, 17th June 1966, Abbey Road 2 CD: "Revolver", Track 5 (Parlophone CDP7 46441-2)
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