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"Here, There and Everywhere" is a song written by Paul McCartney (credited to Lennon–McCartney), recorded for the Beatles' 1966 album Revolver. In his biography Many Years From Now, McCartney said the song is one of his favourities. Beatles' producer George Martin has also mentioned it as one of his favourite McCartney songs. John Lennon reportedly told McCartney it was "The best tune on the album" and said in his 1980 Playboy interview it was "one of my favourite songs of the Beatles." It was ranked the 4th greatest song of all time by Mojo in 2000.
Inspired by the Beach Boys' album Pet Sounds, McCartney wrote the song at Lennon's house in Weybridge while waiting for Lennon to wake up. "I sat out by the pool on one of the sun chairs with my guitar and started strumming in E," McCartney recalled. "And soon [I] had a few chords, and I think by the time he'd woken up, I had pretty much written the song, so we took it indoors and finished it up."
The verse is based on an ascending major chord sequence, while the middle eight, which modulates to the tonic minor, creates a telling contrast. The introduction beginning "To lead a better life" opens in the key of G and involves a I-iii-♭III-ii-V7 chord progression. The ♭III (B♭ chord) on "I need my love to be here" (arpeggiated in the melody line) is a dissonant substitute for the more predictable VI (E7) that would normally lead to the ii (Am) chord.
The verse opens strongly anchored on "Here" in the key of G (with simultaneous I (G chord) and melody G note) and moves equally predictably to a I-ii-iii-IV chord shift (G-Am-Bm-C) through "making each day of the year". This repeats on "Changing my life with a wave"; but immediately after (in bar 5) the song indeed changes on "of her hand". It goes down six semitones from the IV (C chord) to a ii (F#m) [adding a non-G scale C#] then a V7 (B7) chord [adding a non-G scale D#] which briefly modulates towards a new tonic Em.
The harmonic fascination with the bridge segment beginning "I want her everywhere" is that at that point the key centre does go "everywhere". It shifts via an F7 chord (a ♭VII in the old G key and a V7 in the new B♭ key) to a I-vi-ii (B♭-Gm-Cm) chord progression in B♭ key. It then shifts again via a D7 chord (a III7 in the old B♭ key and a V7 in the new Gm key) to Gm key where we go through a i-iv (Gm-Cm chord) progression. Finally the pivot of D7 takes us back to the G major tonic and reinforcing G melody note of "Everywhere."
Rolling Stone has noted, "The tune's chord sequence bears Brian Wilson's influence, ambling through three related keys without ever fully settling into one, and the modulations — particularly the one on the line "changing my life with a wave of her hand" — deftly underscore the lyrics, inspired by McCartney's girlfriend, actress Jane Asher."
The song is noted for its bitter-sweet melody, layered backing vocals and utilising a 'clever harmonic scheme'. "Here There and Everywhere" was recorded from 14 to 17 June (1966), a few weeks after a Pet Sounds listening party McCartney was affected by. McCartney mentioned in the 1989 radio series McCartney on McCartney that the much-praised vocals were meant to have a "Beach Boys" sound. He has also said he was trying to sing it in the style of Marianne Faithfull. His vocals are multi-tracked.
To lead a better life I need my love to be here...
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Jan 26 14 7:23 AM
freddypup wrote:Nice Rick Wakeman selections, mycroft. Where did the Ozzy collaboration come from?I have been following Yes members on Twitter. Wakeman is one odd bloke, as the English say. He's very clever and funny,
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freddypup wrote:Good Vibrations is a fantastic song! Isnt it interesting that the two bands that "peaked", per se, around the same time were The Beatles and The Beach Boys? The two very bands that inspired and pushed the other to new heights in competition. The media always fed the Beatles vs Rolling Stones rivalry, but in reality that was a joke. The Stones knew they couldnt compete with "the four-headed monster", as Mick Jagger called them, so the Stones reverted back to the Blues from Pop. And for the better because then they peaked with their best work.
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Lively, ambitious, almost entirely successful debut album, made up of keyboard-dominated instrumentals ("The Barbarian," "Three Fates") and romantic ballads ("Lucky Man") showcasing all three members' very daunting talents. This album, which reached the Top 20 in America and got to number four in England, showcased the group at its least pretentious and most musicianly -- with the exception of a few moments on "Three Fates" and perhaps "Take a Pebble," there isn't much excess, and there is a lot of impressive musicianship here. "Take a Pebble" might have passed for a Moody Blues track of the era but for the fact that none of the Moody Blues' keyboard men could solo like Keith Emerson.
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