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Parts of Beatles songs that could be a song in their own right
25 August 2017
5.42pm
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Pineapple Records
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One I've noticed is that first part of "Happiness Is A Warm Gun " --

"She's not a girl who misses much, doo doo doo doo doo, oh yeah..."

Instead of branching off into the subsequent acid trip John is on (which is cool, don't get me wrong), I wonder what kind of song could be developed from that first short part.  I think I'll play around with it.

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26 August 2017
11.47am
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QuarryMan
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John and Paul's separate sections of A Day In The Life spring to mind. Though of course you can't beat the final version. 

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¡No pasarán!

 

26 August 2017
1.10pm
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Martha
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That's an interesting topic! 

I've always felt that the guitar intro to I've Just Seen A Face could have developed into a different song than it actually does. When I listen to this song for the first time, I thought that the introduction was written in a completely different time signature and also in a different tempo than the rest of the song and boy was I surprised when I clapped the beats and proved myself wrong! The melody sounds quite dreamy and free from every metre in comparison to the very rhythmic rest of the song - this has always fascinated me but also left me wondering whether these have originally been two ideas.

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Not once does the diversity seem forced -- the genius of the record is how the vaudevillian "When I'm 64" seems like a logical extension of "Within You Without You" and how it provides a gateway to the chiming guitars of "Lovely Rita. - Stephen T. Erlewine on Sgt Pepper's

26 August 2017
1.28pm
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SgtPeppersBulldog
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Does the instrumental/solo break from I Call Your Name count? 

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"Some kind of happiness is measured out in miles... " 

 2017: 

 
26 August 2017
2.54pm
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QuarryMan
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Perhaps the piano solo in While My Guitar Gently Weeps . Or the bridge in Something .

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26 August 2017
4.51pm
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vonbontee
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Pineapple Records said
One I've noticed is that first part of "Happiness Is A Warm Gun " --

"She's not a girl who misses much, doo doo doo doo doo, oh yeah..."

Instead of branching off into the subsequent acid trip John is on (which is cool, don't get me wrong), I wonder what kind of song could be developed from that first short part.  I think I'll play around with it.  

1 thing I like least about Gun is that the music for the third part doesn't measure up to the other two, imo. Something about those doo-wop chords used  to close the song just doesn't sit right...if the first or middle section had used 'em I would've minded less...fine song either way!

Ska section of I Call Yr Name woulda been the beginning of a great little rocker.

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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, Marvin Gaye. PAUL & GEORGE: Mary Wells. GEORGE: The Exciters. RINGO: Chuck Jackson. JOHN: To name but eighty. 

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27 August 2017
1.40am
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Well vonbontee, that song more than almost any other Beatles song involves sort of completely different segments just glued together to form some odd knicknack; but I guess I like each one so much I don't care. I can see that the segue between last "Mother Superior jumped the gun" to the beginning C chord of that doo-wop part seems even less organic than the others. However, chord/key-wise it seems to flow.

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27 August 2017
2.45am
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sir walter raleigh
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The full outtakes of Can You Take Me Back kind of disapoint me, but that's a great song, and had potential to be a top tier White Album song. 

"The pump don't work cause the vandals took the handles!"

-Bob Dylan, Subterranean Homesick Blues

"We could ride and surf together while our love would grow"

-Brian Wilson, Surfer Girl

27 August 2017
10.08am
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vonbontee
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Pineapple Records said
Well vonbontee, that song more than almost any other Beatles song involves sort of completely different segments just glued together to form some odd knicknack; but I guess I like each one so much I don't care. I can see that the segue between last "Mother Superior jumped the gun" to the beginning C chord of that doo-wop part seems even less organic than the others. However, chord/key-wise it seems to flow.  

Yeah, it ultimately works.

Part of the reason the doo-wop bit calls unnecessary attention to itself is a result of its placement on the album: the very next Lennon song is I'm So Tired , and THAT one is built on a practically the same four-chord sequence, only transposed a bit! (Not actually the very same, as I think Joe or someone equally knowledgeable pointed out here once.)

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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, Marvin Gaye. PAUL & GEORGE: Mary Wells. GEORGE: The Exciters. RINGO: Chuck Jackson. JOHN: To name but eighty. 

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27 August 2017
10.37am
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Martha
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vonbontee said

Yeah, it ultimately works.

Part of the reason the doo-wop bit calls unnecessary attention to itself is a result of its placement on the album: the very next Lennon song is I'm Sleeping, and THAT one is built on a practically the same four-chord sequence, only transposed a bit! (Not actually the very same, as I think Joe or someone equally knowledgeable pointed out here once.)  

When one is so tired this doesn't automatically mean one is sleeping, does it? a-hard-days-night-paul-11a-hard-days-night-george-10

 But I agree, this has always bothered me too. 

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Not once does the diversity seem forced -- the genius of the record is how the vaudevillian "When I'm 64" seems like a logical extension of "Within You Without You" and how it provides a gateway to the chiming guitars of "Lovely Rita. - Stephen T. Erlewine on Sgt Pepper's

27 August 2017
10.58am
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vonbontee
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Haha what happened ?

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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, Marvin Gaye. PAUL & GEORGE: Mary Wells. GEORGE: The Exciters. RINGO: Chuck Jackson. JOHN: To name but eighty. 

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