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Old Dec 14, 2010, 04:46 PM   #341
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Originally Posted by Maia 66 View Post
As an American, I love, love, love when their British accents come through on songs. Here are just a few examples.

The Long and Winding Road ~ At the end, the last time he sings, "You left me standing hee-ahr" -- yum! Love it!

I've Just Seen a Face ~ "...had it beeeen another day...." Sweet!

And, of course, the famous "I sawr a film today" of A Day in the Life. (Although that could be a Brooklyn accent too. )
The most obvious and striking example for me would be the way the pronounce "can't" [or "cahn't," teehee] in "Tell Me What You See!" <3
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Old Dec 14, 2010, 04:48 PM   #342
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When Paul croons "do-you-hear-me speaking..... wooo" in Helter Skelter, that makes me all dizzy.

"Can you take me back where I came from, can you take me back..."

I love love love how Ringo totally hits the spot with the drumming on A Day In The Life, I think he really nails the atmosphere.

The bridge in Something ("you're asking me.."), I love how it's put together with the slightly aggressive percussion and the swelling strings. Also, Paul harmonising on "I don't know".

"Whoa-oh-IIIIIIIIIIIIIIII!!!! Whoa-oh-IIIIIIIIIII!!!" on When I Get Home. It's what makes the song for me.

The screaming and moaning at the end of While My Guitar Gently Weeps. Lawdy lawdy.

Paul's "aaaaah"-ing in the Lovely Rita intro. Very psychedelic.

Paul's very faint falsetto "ooo"-ing over John's "aaaaaah"s in A Day In The Life. Chills.

The cello in Strawberry Fields Forever.

How just the first few seconds of Here Comes The Sun can make you utterly euphoric.

George talking during John's solo in For You Blue.

George and John yelling out "arm" and "leg" in Ob-La-Di Ob-La-Da makes the song worthwhile.

The accent in Polythene Pam, of course. And the drumming is super-awesome, not that that's a little thing, though.

Any time their accent quirks particularly shine through, mainly John's "gehl" etc, Paul pronouncing the g in words ending with the ng-sound, and George... "it doesn't really matter what clothes I wurr or how I furr or if my hurr is brown"...

Paul's manic old-skool Beatles "oooooo"-ing on Oh! Darling cracks me up. Get some sleep, Paulie.

The guitar intro to The Continuing Story Of Bungalow Bill is so underrated!!

The enthusiastic "yeah!"s in It Won't Be Long is what makes this song so unbelievably addictive.

The utter dorkiness of the lyric "my love don't give me presents/I know that she's no peasant"...... Seriously, Paul? (To quote In His Own Write: "...which doesn't even rhyme"...)

How the piano chord in the Good Day Sunshine intro sounds kind of gloomy and ominous before the song suddenly takes off and is transformed into the perkiest mutha in the world, all "GOTCHA!!! HAHAHAAAA IT'S HAPPYTIIIIIME!"

How Paul's voice can so quickly transform from badass rock&roll to lullaby, most evident in Golden Slumbers where it changes in the middle of a phrase ("when you rise").

The timpani in Every Little Thing. Lifts the song and makes you pay attention.

"Time to rectifyyy.." in Think For Yourself, I'm not sure why I like it so much, but I think it's because they sing this bit to the Lord Mayor in Yellow Submarine.

The lyric "I feel good in a special way/I'm in love and it's a sunny day". It's so childishly simple that it's almost lame, and yet.... it's totally not.

How Ringo's the one who shines through when all four of them are singing on Carry That Weight.

When the theme from You Never Give Me Your Money reappears on Carry That Weight, I love the prog/musical/suite (whichever you please) effect of that.

John's adorable "AAAAAAHHH, she's got a ticket to ride", especially the last time, he sounds so frustrated.

"A pretty nurse is selling poppies from a tray" - that's my favourite flower and the image makes me happy.

The moog on I Want You (She's So Heavy).

"Got the wrong chord, f-ing hell", I almost feel Hey Jude is incomplete without it.

The intro to Eight Days A Week is what makes me want to listen to it.
That is an EXCELLENT point about "Good Day Sunshine!" It's like the audio version of something going from grey and gloomy to bright vibrant colors! It's a great little surprise, you're so right!
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Old Dec 14, 2010, 04:55 PM   #343
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I'm so sorry for crowding up this awesome thread, but I couldn't help playing catch-up...not to mention there were MANY more things I wanted to reply to, but I had to try and limit myself for the sake of your sanity, lol.

If I don't have a complete list before contributing here, I'll really crowd things up bad, but that may be impossible. There's probably multiple moments worth mentioning in every single song for me, but don't worry...I won't go quite this wild every again :]
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Old Dec 16, 2010, 01:26 PM   #344
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Our favorite bits from Beatle songs? My goodness, how could this thread ever end?? :)

1. the funky "that is, you know" lyric construction in "Strawberry Fields"

2. the twangy, jangly lead guitar part in "Words of Love"

3. the descending piano bass line as the melody ascends in "For No One"

4. the acoustic lead guitar part at the end of "Girl"

5. John and Paul's breathtaking harmony on the last verse of "And Your Bird Can Sing"

6. that incredible instrumental break in "I'm Only Sleeping"

7. of course, the crescendo in "A Day in the Life"

8. the bass line in "Nowhere Man". How the hell did he manage to play that and sing a harmony part at the same time?

9. "but now the tide is turning" ... what a great line!

10. "like a lizard on a window pane" ... ooooooooh!

11. the fingerpicking acoustic guitar in "Julia"

12. the flamenco guitar intro on "Bungalow Bill"

13. "I will say the only words I know" ... so poignant and touching

14. "She feels good" and a little voice in the background repeating it ... naughty boys!

15. the trumpet solo in Penny Lane

16. my surprise at discovering that it was John and not George who played the lead guitar solo on "Get Back"

17. the twangy guitar part between verses of "I Will" (by the way, listen to Alison's Krause's cover of this ... magnificent!)

18. the tight three-part harmony on "This Boy" ... I love harmony singing and the Beatles never got enough credit for how good they were.

19. ok, I'll admit it ... I like "Why Don't We Do It in the Road", especially Paul's over-the-top bluesy voice

20. the schmaltzy orchestral arrangement of "Honey Pie"

21. etc, etc
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Old Dec 16, 2010, 08:38 PM   #345
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I've thought of a few involving their singing...

John's "oh-oh-oh-oh-oh-oh" in Anna (Go To Him)

George's backing vocals on You Really Got a Hold On Me

Paul's voice on Long Tall Sally (so young and enthusiastic!)

Ringo's voice on Goodnight (don't laugh, it's actually quite soothing!!)

How's that...one for each.
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Old Dec 18, 2010, 04:28 AM   #347
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Ahhhhh.... but that was actually a Mellotron!
Well, I still like it :)

Last edited by mariposa : Dec 18, 2010 at 04:28 AM.
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Old Dec 18, 2010, 10:47 AM   #348
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Originally Posted by OzBeatleFan View Post
George's backing vocals on You Really Got a Hold On Me
George was such a good harmony singer.

Quote:
Paul's voice on Long Tall Sally (so young and enthusiastic!)
Paul had such a versatile voice. He could imitate almost anyone.
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Old Dec 18, 2010, 11:28 AM   #349
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The "Waaaah!" in "Cry For A Shadow."
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Old Dec 18, 2010, 03:19 PM   #350
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johns rough voice in twist and shout makes my knees go weak
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Old Dec 18, 2010, 03:24 PM   #351
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I like the thing that plays around 1:45 in "Taxman."
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Old Dec 18, 2010, 11:32 PM   #352
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The drumming bit Ringo does when George sings "Say the words you long to he-ee-e-e-e-ear" =D And the drumming during the "Ahhh's" on Twist and Shout.

Johns "oah-a-hoh" in Eight days a week After he sings 'Just like I need you'. His high-pitched "Gun" in 'Happiness is a Warm Gun'.

The ending of 'Take good care of my baby'.

In Thank you girl, the "Oh's" and the Harmonica/drum combination.

'Young Blood'- John's "Why what's your name?"

The end of 'Cry Baby Cry'

There's a Place- John's voice.

From me to you- the harmonica/da-da-da-da-da-da-da-dumm

She Said, She Said- The John/John harmony xD

Martha My Dear- I just love the whole thing 8D

Being for the benefit of my kite- The drum/cymbal thing.

Blue Jay Way- the back ground singing stuff =D

I Just Don't understand- Opening/John's voice

Please Mister Postman- John's strained 'Ya gotta wait a minute, wait a minute..." (and "I been standin here waitin..."

For No One- Horn solo

P.S. I Love You- The "Mm You know I want you to.."

Misery- The opening and closing(LOVE these, makes me think of Grease, that and 'Take Good Care of my Baby')

Words of Love- The ending, John's growing "Mmmm's"

How Do You Do it- "But won't you tell me How do you do it"

I Me Mine- The Guitar bit that opens it.

I've Just Seen a Face- That guitar bit in the middle.

Not Guilty- The music that opens it, and the same bits throughout the song.

Any Time at all- The drum that starts it xD

She Loves you- the drumming 8D

Only A Norther Song- The lyrics xD

That Means a Lot- The 'Can't you see?'

Piggies- The piano parts.

Oi, I should stop. A lot more than I thought it'd be. Sorry D:
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Old Dec 20, 2010, 05:43 AM   #353
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'Young Blood'- John's "Why what's your name?"
LOLOL, yes! :D
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Old Dec 21, 2010, 03:55 AM   #354
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This may sound trivial, but I always liked the rhyming schemes John and Paul used. In many of the songs, especially in the early years, the first and third line of each verse rhymed, as well as the second and fourth lines, which was much more common. The "A-B-A-B" rhyme scheme is more difficult to do and was very unusual in pop songs at the time.

I always thought that was cool, and also demonstrated the care and effort that they put into their work.
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Old Dec 21, 2010, 12:32 PM   #356
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This may sound trivial, but I always liked the rhyming schemes John and Paul used. In many of the songs, especially in the early years, the first and third line of each verse rhymed, as well as the second and fourth lines, which was much more common. The "A-B-A-B" rhyme scheme is more difficult to do and was very unusual in pop songs at the time.

I always thought that was cool, and also demonstrated the care and effort that they put into their work.
AMEN! The care and effort they put into their work is impressive and exceptional, indeed!
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Old Dec 22, 2010, 04:18 PM   #357
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what a thing to do.
baby you're a rich man.

just the way the song flows, it's magic.

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Old Dec 22, 2010, 08:11 PM   #358
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3. the descending piano bass line as the melody ascends in "For No One"
I just really paid attention to that, it really is wonderful.
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Old Dec 22, 2010, 08:23 PM   #359
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I love the way John sings, "Just the sight of you makes nightime bright, very bright," in "It's Only Love".
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Old Dec 23, 2010, 07:41 AM   #360
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I just really paid attention to that, it really is wonderful.
Paul did the same thing at least one other time that I can think of ... in "Yesterday", where the bass goes down at the same time the melody goes up. He must have liked the idea ... I'm sure it was no accident.

Hmmm ... this makes me think of another question. In what other songs do the musical arrangements have a "reply" to the lyrics? I don't mean sound effects ... I mean where the music "answers" the ideas presented in the lyrics.

I think "I'm Only Sleeping" does that. The arrangement has a dreamy, semi-conscious sound to it. It fits the lyrics perfectly.
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