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I Want You (She's So Heavy)
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13 August 2013
3.46am
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Von Bontee
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LOL at Grumpy George in that photo

Paul: Yeah well… first of all, we’re bringing out a ‘Stamp Out Detroit’ campaign.

         

13 August 2013
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SirFrankieCrisp
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When I was in 8th grade in music class, we all had an assigned day to bring in a cd over the course of the year and we would listen to it during class. I brought Abbey Road in, and the majority of the class was not really enjoying it and kinda zoning out. I could tell even my music teacher started to get annoyed when She’s So Heavy came on. I was sitting next to my buddy and I was like when this song ends its super abrupt and everyone is gonna notice it. So once the song cut, everyone almost jumped at the lack of sound, my teacher even asked me if the cd was broken. I didn’t even say anything and Here Comes The Sun calmed everyone back down again.

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13 August 2013
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It’s somehow almost mystical, I know their psychedelic era songs are often mystical, but something dreamy about this song.

like alcoholic beverage for a metaphor, like a beaten up guy stranded in a bar,

somehow depressing yet very interesting.

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13 August 2013
5.52pm
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Funny Paper
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Has any other famous pop musician/band cut a song’s ending like that?

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13 August 2013
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Ron Nasty
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I think others have played similar tricks since, but I can’t think of instance. And I just have to say this to the people talking about hearing it on CD, and Here Comes The Sun breezing in after it, pause the CD, make a cup of cup, and then listen, because that is how it was. Last track of side 1, first track of side 2. It probably never mattered more for effect.

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13 August 2013
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SatanHimself
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Funny Paper said
Has any other famous pop musician/band cut a song’s ending like that?

Not famous internationally, but the Canadian band Sloan has a song on their 2nd album ‘Twice Removed’ called “Before I Do” which hearkens to “I Want You”.  During an extended ending, it abruptly cuts off at 7:04.

Legend at the time was that the band (who was in dispute with Geffen for dropping the Grunge sound that sold them as Canada’s answer to Nirvana) was told to shorten it and they refused, so the label just cut it off the master.  I think the truth was it was a conscious decision, but it’s still pretty jarring.

It’s an amazing song from an amazing album.

http://www.youtube.com/watch?v…..E8BhYCl12Q

E is for 'Ergent'.

13 August 2013
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WETSRoosa
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SatanHimself said

Funny Paper said
Has any other famous pop musician/band cut a song’s ending like that?

Not famous internationally, but the Canadian band Sloan has a song on their 2nd album ‘Twice Removed’ called “Before I Do” which hearkens to “I Want You”.  During an extended ending, it abruptly cuts off at 7:04.

Legend at the time was that the band (who was in dispute with Geffen for dropping the Grunge sound that sold them as Canada’s answer to Nirvana) was told to shorten it and they refused, so the label just cut it off the master.  I think the truth was it was a conscious decision, but it’s still pretty jarring.

It’s an amazing song from an amazing album.

http://www.youtube.com/watch?v…..E8BhYCl12Q

 

Wow… I forgot all about Sloan… they never really made it here in the States (save for “The Good in Everyone,” which I do remember being on the old 120 Minutes show)… are they still around?

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13 August 2013
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SatanHimself
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Yep.  They’ve had a long and interesting history.  I’m friends with them still.  I even provided recordings for them which got used in a vinyl-only live “bootleg” release.

After Geffen dropped them, they essentially went independent and had a good string of charting singles here in Canada.  They still follow the basic rule of dividing the songwriting and singing 4 ways.

The heydays are over, but the band still reliably put out interesting and fiercely independent power pop albums.  Their next record is supposed to be a double album, where each band member gets one side.

E is for 'Ergent'.

14 August 2013
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I saw Sloan live about 14 years ago, they were opening for Matthew Good Band.  I was impressed, they put on a really good show!  

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1 December 2014
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Listening to the reconstructed isolated RB tracks of this (and all the other ‘Abbey Road ‘ tracks) which are fascinating. Paul’s bass work is wonderful as he will occasionally throw in a little chord run Out Of The Blue that you’re not expecting, like he was sneaking it in whilst no-one was looking. And John’s “yeah” scream towards the end is even more intense on it’s own. Great vocal.

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26 January 2015
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The Walrus said
I wish it faded smoothly into Here Comes The Sun , but other than that, it is great. I love the mesmerising guitars.

All you kids! Get off my lawn! On the Abbey Road LP the song ends the first side of the album. It cuts off into NOTHING, not Here Comes The Sun ! Throw your digital gizmos out and buy a damned turntable!

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27 January 2015
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SirHuddlestonFuddleston said

The Walrus said
I wish it faded smoothly into Here Comes The Sun , but other than that, it is great. I love the mesmerising guitars.

All you kids! Get off my lawn! On the Abbey Road LP the song ends the first side of the album. It cuts off into NOTHING, not Here Comes The Sun ! Throw your digital gizmos out and buy a damned turntable!

Indeed, I wish CDs had a longer gap at the appropriate place for albums that came out on LP originally to emphasise the original divisions – as track placements were often carefully planned to make use of the whole side thing. Many do this for bonus tracks which I like.

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27 January 2015
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robert
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SirFrankieCrisp said
So once the song cut, everyone almost jumped at the lack of sound, my teacher even asked me if the cd was broken. I didn’t even say anything and Here Comes The Sun calmed everyone back down again.

a-hard-days-night-george-10

As others have mentioned – the vinyl “I Want You (She’s So Heavy)” not only cuts out and nothing happens – but when heard for the first time, we didn’t know what the heck had happened. It wasn’t just a pause and then “Here Comes The Sun ” it was a hard break and nothing. If you didn’t have an auto turntable you had to get up and take a look at the album to make sure your turntable hadn’t broken.

In my opinion, I have always felt that the writer/director of the last episode of The Sopranos was using “I Want You (She’s So Heavy)” as the model on how the series ended. Everyone thought their cable had gone out.

This is the type of effect the ending of “I Want You (She’s So Heavy)” had – only about 40 years earlier of course.

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27 January 2015
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vonbontee
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Wow, I never thought of that comparison. David Chase was famously fond of classic rock (his first movie was about a ’60s band trying to succeed) so who knows, it sounds plausible to me. (Of course, Sopranos ended immediately ended after the sung phrase “Don’t Stop…” (…believin‘), so that arguably makes for a less dramatic, more telegraphed finish than “She’s So Heavy” provides)

GEORGE: In fact, The Detroit Sound. JOHN: In fact, yes. GEORGE: In fact, yeah. Tamla-Motown artists are our favorites. The Miracles. JOHN: We like Marvin Gaye. GEORGE: The Impressions PAUL & GEORGE: Mary Wells. GEORGE: The Exciters. RINGO: Chuck Jackson. JOHN: To name but eighty. 

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27 January 2015
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Who plays the guitar solo……That mellow soft smooth sound?

I ask the perhaps obvious only because on ‘McCartney’ there’s a very similar set-up on one of the guitar solos. I’ll see if i can find it on you-tube so you can compare. 

 

This is the song I’m thinking of now and thought at the time had a similarity in terms of the guitar/amp set-up.

 

What are people’s thoughts?

http://youtu.be/bRok3oy_2H4 

1 January 2017
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At one time I loved this and then went off it. Now i’m back to thinking it’s immense.

My feeling is that the song documents the stages of one side of a love feeling/desire/obsession.

At the beginning it’s very start/stop giving the appearance of apprehension of admittance and slowly it goes thru calm certainty of the feelings to outright defiance to angry obsession and finally stuck in this chaotic never ending infatuated insanity that will never end until it’s somehow stopped.

And to find this on the super clean ‘Abbey Road ‘. 

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2 January 2017
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Funny Paper said
Has any other famous pop musician/band cut a song’s ending like that?  

The most well-known is probably I See Red by Split Enz, a band very popular here in Australia/New Zealand in the mid-70’s to mid-80’s. Stories differ about how the ending came about (they were huge Beatles fans too which is suspicious!), several people claim to have had “the idea” to cut it, and others say the tape actually ended. But as there is a version that fades out, I think it was a decision with the mix. It was recorded with free time at none other than Startling Studios (Tittenhurst Park) according to Tim Finn, so it’s possible that the mix is a combination of tracks done there and little could be done to “fix” the end.

 

meanmistermustard said
At one time I loved this and then went off it. Now i’m back to thinking it’s immense.

My feeling is that the song documents the stages of one side of a love feeling/desire/obsession.

At the beginning it’s very start/stop giving the appearance of apprehension of admittance and slowly it goes thru calm certainty of the feelings to outright defiance to angry obsession and finally stuck in this chaotic never ending infatuated insanity that will never end until it’s somehow stopped.

And to find this on the super clean ‘Abbey Road ‘.   

I think of this as John using “surrender to emotion” in musical form, and it really does stick out like a sore thumb, which is a good effort on that side of the record! It’s interesting to compare this to I’m So Tired   as examples of the Beatles using dynamics in their songs, which happens a lot more with John than Paul. Like I’m So Tired it builds up in three phases including an anti-climax, and I always hear the organ as playing horror chords. It’s far more dramatic than the former song though, and there’s that uneasy lounge-music feel in the “verses” and solo. I think it owes a lot to the style of songs John was writing during the Get Back sessions. Paul goes somewhere else with that bass, man. If you can listen to an isolated track of it, you can hear it’s a really overdriven sound and he skips around the fretboard so much because he knows the guitars will carry the main line and he can get away with it. The mogg is a lot of fun to listen to.

Someone said it was one of those songs made up of fragments, and it would be except for the makeover it gets once those bits are put together, they do sound more organic than compared to Happiness Is A Warm Gun . On the whole though, John seems to write the best endings, there’s this, A Day In The Life , I Am The Walrus , Strawberry Fields Forever , all dramatic, interesting and unique.

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30 January 2018
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I have few words for how great this song is. It astounds me when there are only about 12 different words and a few different melody lines that they made so much out of so little just by alternating and building up. The coda is amongst the best three minutes in their discography with those huge towering guitar lines ploughing through the stormy white noise. Not to mention the amazing vocal performance by John and the great guitar solo by whoever played it.

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30 January 2018
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QuarryMan said
I have few words for how great this song is. It astounds me when there are only about 12 different words and a few different melody lines that they made so much out of so little just by alternating and building up. The coda is amongst the best three minutes in their discography with those huge towering guitar lines ploughing through the stormy white noise. Not to mention the amazing vocal performance by John and the great guitar solo by whoever played it.  

I’m fairly certain the guitar solo is played by George. 

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30 January 2018
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I’m fairly sure that there are 14 different words, including ‘yeah’.

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