Long, Long, Long. It's one of my favorite songs ever. The melody is hauntingly Beautiful and lyrically it could be about the love for a woman or of a Deity. So deep and yet underappreciated.
Lennon and McCartney was my song book in the sixties, i'm 76. But when George released All Things Must Pass i was captivated. I went back and listened to George's contribution with the Beatles and appreciated his introspective journey with songs like I,Me, Mine and more.
An early lyric by George is one of my favorites. It’s from “I Need You,” and it goes “Said you had a thing or two to tell me.” The “two” followed by a “to,” followed by another word starting with a “t” makes it stylistically daring. Most lyricists would avoid it. But it conveys the narrator’s exasperation with the person he’s addressing. George sings the line with deliberation.
Reminds me somehow of Good Morning Good Morning: “Somebody wants to know the time, glad that I’m here,” which can also be heard as “Somebody wants to know that I’m, glad that I’m here.”
I love your treatment of this song by George Harrison again very much 👌 And I'm happy to hear that you like Long Long Long on The White Album so much (like I do) 👌👌 and I fully agree with your nice idea that they could have replaced Wild Honey Pie there with a George song 👌👌👌 And most important: You rate this great song as high as it should be, and your survey of George's contributions to the band throughout their whole career is very enlighting, thank you very much for your excellent work 😊👏👏👏👏
A lovely piece in favor of the youngest Beatle, who had a triple album in him by the time everyone was let go. I wasn't expecting the post-credits end bits, with outtakes, where the piano correspondent played a bit of Free as a Bird, just because, y'know. Like it. Because I like it too much like I like you. Hah, Harrison.
George's songs have always had something to them that I like. My aunt, after hearing about how I felt he was my favorite Beatle, told me that George could write a whole song about a leaf falling from a tree because it moved him. She also told me that as a teen, she just *knew* that she was going to marry Paul. I remember a girl at work had written a paper talking about how Blue Jay Way was a throw away song. She knew I was a Beatles fan and asked me to read it and give her my take on it. I was in a no win scenario as far as I was concerned. I didn't want to hurt her feelings, yet all my thoughts were totally opposed to the subject of her paper. It was one of my favorite "new" songs on the record. I Am the Walrus was first, Hello, Goodbye, Baby You're a Rich Man and Blue Jay Way edged out the title track and you couldn't really count Strawberry Fields and Penny Lane as 'new', since they predated Pepper. I read her paper, that she had meticulously crafted, trying to figure out how I was going to tell her how horribly wrong I felt she was. I told her she had a well written paper, but I had to disagree wholeheartedly about it being a throw away song. I started telling her my interpretation of the song (before I knew the story about the jet lag and the guy that was supposed to be driving there to meet George) and she was not happy. It was too late to rewrite her paper and she wasn't going to do it. I even suggested that she changed the paper to be 'Why Blue Jay Way Wasn't a Throw Away Sing' with just a few minor changes. She didn't like that idea at all. What made it worse was when her professor apparently had the same opinion that I did about it not being a throw away song and graded it accordingly. I think it may have possibly had something to do with the standoff-ish way she wrote her paper, but I digress.
Your Beatles analysis videos are so bloody hip! Not only do you speak to how they are cool, because you are a musician, a singing musician, you can really bring it to calling out the examples. Bloody awesome!
my favorite beatle (john) wasn't keen to include george frickin' harrison in his band...that's why it's the greatest musical story ever told. "old brown shoe" or "for you blue" perhaps aren't underrated at this late date but one of those two would be my answer. i love your takes as others here have said.
Yet another banger of a video. Absolutely fantastic and so full of love, passion and intelligence. As for fave underrated George song I think I have to go with Ballad Of Sir Frankie Crisp. And holy hell is the jam on Out of the Blue
I always thought of "Penny Lane" as the Beatles song that paired with "Pleasant Valley", though "Penny Lane" provides a deep, heartfelt, psychological punch instead of superficial sociological whimsey. But then the Monkey Brain trust stole their entire existence from the Beatles.
@@BeatlesCentricUniverse : Sure, the PreFab Four were an artificial, made-for-TV creation, but they did produce some decent music. The early backing tracks were laid down by the great Wrecking Crew, and a number of outstanding songwriters contributed, including Neil Diamond and John Stewart (and Goffin/King, as Nancy mentioned).
It may be the margaritas (...) but I think this episode is genius.🙂 Speaking as someone who was 16 when Revolver was released (and considered it almost sacred at the time), there's a 'natural tendency' to think "how much can this young person really perceive/understand about The Beatles?" (ha ha!...and apologies...). This analysis was great, musically and psychologically. FWIW it makes intuitive sense to my 1966 brain as well as shining a light into areas that are clearly relevant and ring true. Kudos and thanks!
This is genius at work! You give me a new understanding of their music each time I see your channel. And I agree with you 110%. I like all of George’s songs. “It’s All Too Much” stands out in my mind, but so does “My Sweet Lord”. Also “Something” and “Here Comes The Sun”. Not to mention “Within You Without You”. Need I go on?
Wonderful! Amazing, as ever! I learn so much from your videos. You go wide and you go deep, and always with a sense of being pulled onward by authenic joy and love for the music. Pat Martino understood that the diminished chord is the single chord that acts like stem cell from which all other chord types can be derived by merely moving a single voice a half step. Is that actually true? To describe the diminished chord as discordant is, imho, maybe not as illuminating as to describe it as fundamentally ambiguous. People tend to be uncomfortable with ambiguity, with uncertainty. I loved how you picked up on George's tendency to be drawn to lyrics that convey intellectual humility or uncertainty. I wish we could get together away from the internet and listen to records IRL w/o fear of DMCA challenges.
Love your stuff, especially this episode! I’m a big George fan and it annoys me when people say George “came to his own” only on Abbey Road. He had already delivered so many great and unusual songs that really complimented Paul and John and brought unique colors to the the Beatles’ palette.
You do an excellent job. I thought i knew a lot about the Beatles nut i am learning lot from you. My favorite underrated George song is Old Brown Shoe.
I've been looking forward to your analysis of this song since you first started talking about Revolver. While "Taxman" is the most celebrated of George's songs on Revolver (it's a banger!), I've always felt that "I Want To Tell You," like George himself, is underappreciated. Thank you for giving this fine, fun song some time in the limelight. ps-- I love the closing lyric: "I could wait forever; I've got time." George getting a bit metaphysical, there.
I’ve always been drawn to Georges music starting with Don’t Bother Me I’d hear a song from different Beatle albums thinking I really like that song and later discovering it was a Harrison composition.
I was always more partial to Here Comes the Sun than Good Day Sunshine. Both are great songs, but there was something about the delicate guitar notes kind of felt like the first morning rays reaching out over the horizon or peeking out from a cloud. The light opening vocals furthering that impression, subtlety getting stronger as the sun would, climbing higher in the sky. A very George way of creativity if you ask me.
This song sometimes "haunts" me, but in a good way. Like it will jump into my head, even though I haven't heard it in a while, and won't leave my head until I either listen to it, or sing it out loud while driving.
i adore this song. i couldn't have articulated exactly why, but it's probably a combination of the things you talked about here: the dissonance, the introverted frustration in the lyrics, etc.
I enjoy your videos. They increase my enjoyment of songs I enjoy, and provide a lot of interesting information. They also help me feel bad for those who listen to music and then immediately move on to something else without giving a second thought, which I believe is true for a whole lot of people (which is fine for them if that's how they want it).
A lovely analysis of not only this song, but also its place in the record & George's place in the band. BTW, that opening guitar riff is so killer to play. In particular check out the rehearsal video of this from The Concert for George. Eric Clapton nails it. I had a mix tape of just George's Beatles song I used to play in the car. Loved it.
love your stuff! - if you ever are talking about the 'White Album' - remember George Martin's quote that at the time, they were trying to fulfill a contract based a number of tracks completed........ that's why there a lot of short tracks - (so that they could negotiate a new more lucrative contract) ciao!
I was reading about the concept of Negative Capability yesterday. It's the ability to be comfortable with uncertainty, roughly speaking. George sounds like he had well-developed skills in that department.
George Harrison said that Paul always brought his A-game to his songs and gave this one as an example. He really appreciated the vocal melisma outro that Paul provided because he felt it respected his Indian interests. And I really love Paul's piano contribution here. George said that the problem with Paul was getting him interested in George's songs in the first place. He always prioritized his own and treated George's as an afterthought, but once he was working on them, he was fully committed and did good work. I think this is a bit unfair, especially since fans have been preoccupied with the part where Paul was "dismissive" of his songs, rather than what his eventual contributions were. It is only natural that Paul would prioritize his own songs over George. George basically had a 2 song quota each album, so should he have the material, he would get the slots. He needed to present his songs, and they could still not make it, but he didn't really need to COMPETE to get them on. I can understand how this could be very frustrating, but it also gives you some security. Lennon-McCartney was the golden goose and they basically had 11 slots, so it was natural that a rivalry would emerge to compete for those slots. Perhaps this rivalry was being encouraged by the suits to get best results. They HAD to prioritize their own songs to ensure they got on the album. Paul only had 3 songs on A Hard Day's Night remember. It was not guaranteed. John and Paul were competing with each other for slots; they had to make sure their songs were produced and ready to go. Only then could they afford to turn to work on George's stuff. Besides, George was the true perfectionist in the group. His songs took more time, so it made sense to backload them in the production schedule. Though I'm not sure the actual logs would bear that out, it certainly is George's impression of how his songs were treated.
The age thing is funny because it reminds me of when I was 17 and in a group with two guys the same age (one was 16). We needed a fourth member, and one of my cousins, who was 19, arrived one day while we were rehearsing, and basically asked if he could join the group. I remember we all looked at each other in mortification, aghast at the mere idea of having such an "old" person in our group. We tactfully declined his offer, and we laughed about it after he left. Incidentally, I met George Harrison in London back in the 80s, and had a discussion (or, perhaps more accurately, a good natured argument, since we held opposing views) about spirituality, psychic abilities, and the Tarot.
In the early years before John and Paul began writing new material regularly and they played nearly all covers, the three singers would take turns doing the lead vocal. That era was not documented by live recordings so that is according to various witnesses. A few surviving written set lists also show that. It also reduced the wear and tear on John and Paul's voices to have George doing every third song when their shows were much longer and they performed daily. When Lennon/McCartney songs began to greatly reduce the covers played and their sets got shorter, George sang leads much less. George singing fewer leads coincides with their rise to fame and better documentation of their live shows so the change from earlier isn't easily seen. The other thing I don't see mentioned about why Georges songs were kept limited was that Brian had set up John and Paul with songwriter/publishing income separate from the recording/performing income. They got very accustomed to that large revenue stream very quickly. Each Harrisong on a record meant less income potential for John and Paul. By the Get Back sessions, Apple Corps had consumed so much money and the groups finances were so stressed and messy that I believe John was extremely reluctant to cede any space to more George songs. Also George had probably angered John regarding Yoko's constant presence. George had apparently made it clear he was not thrilled about it. Another reason for John to exert his authority to limit Georges songs. However he did eventually relent later but by then the split ended any more Beatles records happening.
George always had heart and would spread it in waves of feeling.The byrds here without you plays the riff to if I needed some one nice nod he was appreciated
One thing about “Revolver”, it’s the only Beatles album that had 3 George songs, in fact, the US Capital version, George had more songs than John. It seemed Ringo was the only one who didn’t talk down to George… “I Want To Tell You” reminds me a lot of The Who song came out around that time called “I Can’t Explain”…
"Mango, I'd like you to meet George Harrison..." - I heard my boss's voice and I looked up from my fathomless bliss in a well-baked potato. Folk called me Mango because as I had been living on mangoes and coconuts for 7 seasons. I was enjoying the potato in the corner booth of the restaurant where I washed dishes. The restaurant, Longhi's, burned down with the rest of Lahaina, Maui, in 2023. So I look up from my perfect potato and sure enough there stood George. I forget how he was dressed. His hair was medium long and he had a trim goatee. I spewed potatoes in a perfect spit-take and George smiled, he got the joke. Imma Virgo and none of the crumbs came near George. My boss rolled his eyes and hustled George out of there before I had a chance to speak. 1977. There are a ton of George songs in my default (when I don't know what to play I have default collections - blues, Hendrix, George, Donovan, you get the idea) repertoire. Isn't it a Pity can chill a room and Wah-Wah can wake it up. Me'n'George'n' the diminished five. I've been working on Within You...for 57 years and I still don't have an interpretation that I love. Maybe tonight. What would Jimi do? When All Things was released I went nuts. "Dude's been saving his songs", I thought in 1971 and I graduated high school, go Dolphins. I was 17 and had been teaching myself on a painful Harmony archtop borrowed from a bluesmaster. I would buy my first guitar the next year, 1972, a battered cherry LP Junior, 150 bucks (multiply by 10 or so) Ringo is a bloody master, when will ya'll get that? Effin George is always around, I think he likes Earth-style rock and roll. When you meet a Beatle you have to make them remember you in the amusing way. Don't even ask me about 1990 and Ringo and Babs...my spookiest Beatle-related story is about my night in the crumbling Blue-Jay Way mansion, 1980. George described that particular dwelling quite well. If you want to throw a WTF into your song toss in a diminished fifth for a second or two. George is quite Earthbound if you know that death is an illusion. He even put it in a song. Maybe tonight I get the ultimate Within You...
George had said that being in a band with Paul was the worst thing for him as a guitarist. Paul became the Beatles “musical director” within the band, certainly never telling John what to do, but George and Ringo were ripe for nitpicking. Also… in ‘64-67 Paul was probably a better guitarist- he played lead bits all over Rubber Soul through Pepper. George got annoyed/depressed about his role, the sitar took on greater significance - and even stopped almost playing guitar altogether on Pepper. (He’s on maracas on In My Life, Paul plays lead on Good Morning etc). I wouldn’t quite say he’s on their level from ‘65 onwards. George’s contributions are great on revolver but pepper is a real dip. WYWY is pure genius, but he wasn’t at their level overall. He had withdrawn (so maybe in a roundabout way that was on them). Thank you for mentioning Its All Too Much and LoNg Long… And on the white album.? From then and beyond he’s arguably at or even above their level.
Tough to pick a fave. He was my fave! So, I'm going to go sans Beatles, and say I'd Have You Anytime written with Dylan. The opener of All Things Must Pass. I think it also exemplifies what you point out here on I Want to Tell You. There's the diminished chords as well as the odd metering. I'd have to look at his writings chronologically, but IWTTY may be a harbinger of the way his writing was going to go. George was truly one of a kind. It's fitting that his name was also cyclical and could go on infinitely; George-or-ge-or-ge-or-ge...... the youngest Beatle, but the oldest soul. Glad I was around for one of his visits.
The truth is that the Beatles rehearsed on George's songs on Let It Be a lot! More than on John and Paul's songs, but George didn't want to have his beatiful songs on the album. He wanted them by himself. He was already thinking of a solo record. All this information is on Get Back and on the audio tapes from the sessions.
Yeah; the problem with George is that he wasn't conformable with presenting his songs and the issues he had with Lennon & McCartney seemed to be some self-inflicted paranoia about his contributions to the Beatles.
He just didn't want them used for the television special they were rehearsing for. He also didn't think they were appropriate for the original vision of a live album without overdubs.
I always thought Long, Long, Long would have made it to radio were it not for the weird noise ending/outro they should have edited out, IMO. It has hints of a Fleetwood Mac feel to it. It reminds me of Lindsey and Stevie's song, Crystal.
Immensely entertaining and thought-provoking. Taxman, IWTTY, Something, Here Comes the Sun, What is Life and It Don't Come Easy are career worthy songs. However, I am probably the only guitar player on the planet who actively despises WMGGW. How much do I despise it? I'm a huge Clapton fan, especially LAOALS, yet WMGGW is the only Clapton appearance I despise as well. The Get Back movie clarified why Lennon and McCartnet worked so tightly together... Both were incredibly fast at synthesizing ideas in real time and were broadly blown away when they first started writing together they found an equally capable "pen mate." When you are THAT naturally gifted, it's easy to conclude that it's not that you're that gifted but that others who are not as gifted are instead slow, plodding, dumb... I feel like writing a song. If I work with A, it will take 20 minutes and I'll get that creative buzz in 20 minutes. If I work with B, it's gonna take 5 hours, I'm gonna be bored the entire time, it will feel like work the entire time and the song won't be as good. Who ya gonna gravitate towards? Part of that dynamic was that besides lagging in writing, Get Back made it clear Harrison's guitar playing lagged far behind the musicianship of the other three. He looked and sounded like a beginning guitar player trying to comp along while Paul was jamming Get Back into existence.
That is a very interesting take ("actively despises WMGGW"). Would love to hear why you despise it. I loved the song from the first time I heard it in 1968 - and it was easily my favorite song that George had made up to that point in time. Love everything about it... and EC's guitar play enhances it greatly. The song has become one of the most beloved Beatles songs as the years have gone by. Lots of people choose it as the best song on the White Album. But... I want to point out that it was not seen that way back in 1968. It was not close to being the most popular song on that album back in 1968. It was released as the B side on the only single that was released from the album back then... but the A side (Ob-La-Di, Ob-La-Da) was easily the most popular song on the album. While "Ob-La-Di" raced to the top of the charts around the world, the B side never even charted. As time went by... "Guitar Weeps" made huge gains in popularity - while "Ob-La-Di" fell in popularity. Enjoyed reading your take on why J&P worked so well together - and would prefer that to working with someone else.
I Want To Tell You also influenced the riff to Roxette's The Look - you'd think this unlikely inspiration for a synth/drum machine 80's track but Per Gessle was a 60's fanatic.
"Love you to"....well, considering that it's 1966,perhaps George had to hide the sexual-desire component from the title,in order to avoid censorship! I guess he meant "(making)Love To You",and he just shifted a word... Congratulations for the great video,and greetings from Italy!! Sergio
band dynamics are difficult and even in foursome one person can get overlooked: it needs confidence, bit 'a' front, to present a new song to people, even to friends. it's correct that a reassessment of george is still ongoing: he was very talented: but they were four very talented people and their alignment was truly a once upon a time situation. the fact is that john and paul so rarely missed. i mean paperback writer and rain don't get on R , day tripper and we can work it out don't appear on RS! i don't want to diminish, yeah well, your exploration of the song. told me all kinds of stuff. R is a different sound world in places to their previous and george was important in that process as you say. in his 3,though, there is nothing as beautiful as 'to lead a better life i need my love' or as crazy as the sound world of tomorrow never knows. great purring somebody sign him up 😼
Having experienced the North American butchred Revolver album George's output outnumbered John's 3 the for George and a paltry 2 were John took lead vocals both closing each side . Giving the album an intriguing but unbalanced character . Furthermore the dissonant piano chords arpeggios give me anxiety. George always masterfully sneaking in diminished chords. Yeah I recognized the diminished reference brilliantly done Fathom!
Honestly George probably always had more songs to input post revolver but he always got turned down where he only got one or two tracks on a album until the end of the band
To my ears, Paul's bass work really kicked off on Rubber Soul. Paul also has mentioned that's when he trying harder with them too. Also, if the band were unwilling to work hard on George's songs, especially Paul, why would Paul choose this as the turning point to start overdubbing them to really nail them? That along with his ripping guitar work and groovy bass on Taxman just doesn't make any sense to me. And as you acknowledged, his harmonies at the end of I Want to Tell You is one of the best Beatle moments full stop. Ringo's fills and smack are, again as you mentioned, critical to the track. Paul's opening bass bit is sweet too.
George was basically a no-show on Sgt Pepper; not John and Paul's fault he didn't show up. Also, John and Paul worked on All Things Must Pass a lot with him, he was not rejected by them
No that's BS, based on a flippant comment by McCartney. If you read Martin and Emerick's books he was involved in nearly every track as well as offering 'Only A Northern Song' which is great but seemed to go over George Martin's head. He might have been late for a session or two after being pissed off that his guitar solo for the Sgt Pepper song was rejected. You said 'no show' which is a lie. Plenty of photographic evidence too.
George could come up with stuff that was the equal of John and Paul, BUT (!) he couldn't come up with it consistently. During the Sgt. Pepper sessions, the only song he had, apart from Within You, Without You, was Only A Northern Song, which does kind of work in the context of the Yellow Submarine film, but it's no masterpiece ! George Martin, who was expecting more from George after Revolver, was actually very disappointed with what he brought to the table. To be fair to George, Within You, Without You must've taken up a lot of his time. It's a very complex arrangement, with Indian time signatures, etc. A very ambitious project for a twenty-three year old pop musician !
If they had met as adults, this wouldn't have been an issue, since Paul and George are basically the same age and the same height. However... Age: They became friends at grammar school, where, especially in the UK, hierarchical status is everything. As kids, we measure age by grade level, so if someone is in our class, even if they were held back or skipped a grade, we see them as our age and kids in lower or upper classes as being of a different age, even if they are actually the same age. At their school it was even worse, because upper classmen were allowed to discipline lower classmen, so someone in Paul's form could literally hit someone in George's form. Height: Paul had his major growth spurt at 14/15, whereas George had his at 17/18, so Paul was also significantly TALLER than George during the initial growth of their relationship. Sexual Experience: As with height, Paul is said to have lost his virginity at 15. George is believed to have lost his at 17, though the circumstances he describes are more consistent with 18. That is at least a 3 yr difference in actual time dilation. So it would've been natural for Paul to see George as still a kid while viewing himself as already a man. Even so, I feel that this power dynamic has been overblown over the years in fans' minds, due to Paul's admission that he talked down to him. This was not their dynamic all the time, especially in the cover band days when George had a lot of lead vocals, though it is true that Paul will never shake his view of George as a little brother. It is ingrained -- and has got even more so since George died.
I always thought George was the 'cool Beatle' and I gravitated to his (albeit numerically limited) stuff. He could never escape the music behemoth that was The Fabs generally and Lennon McCartney at its core. A pity. Harrison, in discovering his own composer's voice and independence, found he could opt out of things when he didn't really 'dig the gig' which IMO is what he did with song contributions to Sgt Pepper's. John and Ringo were famously meh about the project too, so that's where Paul's essential genius really shines. (tbf John often being a detached critic of George's work had glowing praise for Within You Without You).
This will not convince me to move this song from the label of my least favorite on this LP, but it will make me appreciate it more. I think I like dissonance, Aladdin Sane, Aja, but it is a struggle for me with I Want to Tell You.
George was only allowed one song on sgt P? George was not interested in the recordings. George was absent most of the time! Why do you think Pal is playing so much solo guitar on sgt P? George was in India playing sitar.
What is your favourite underrated George song?
If I Needed Someone. Great harmonies!
yeah. long long long. he's reflective and vulnerable there. most of the time he wasn't?
Easy: Savoy Truffle.
'It's All Too Much' which rocks and also full of eastern philosophy.
don't bother me
Long, long, long is certainly an underestimated track.
George was a legend! I am a lifelong fan and was glad you pointed out how talented George really was. Thank you ❤
Long, Long, Long. It's one of my favorite songs ever. The melody is hauntingly Beautiful and lyrically it could be about the love for a woman or of a Deity. So deep and yet underappreciated.
Lennon and McCartney was my song book in the sixties, i'm 76. But when George released All Things Must Pass i was captivated. I went back and listened to George's contribution with the Beatles and appreciated his introspective journey with songs like I,Me, Mine and more.
Great stuff, Fathom! Keep ‘em coming. Look forward to Vinyl Friday every week.
An early lyric by George is one of my favorites. It’s from “I Need You,” and it goes “Said you had a thing or two to tell me.” The “two” followed by a “to,” followed by another word starting with a “t” makes it stylistically daring. Most lyricists would avoid it. But it conveys the narrator’s exasperation with the person he’s addressing. George sings the line with deliberation.
Reminds me somehow of Good Morning Good Morning: “Somebody wants to know the time, glad that I’m here,” which can also be heard as “Somebody wants to know that I’m, glad that I’m here.”
@@davidfranklin5426 Yes! That wordplay occurs to me sometimes when I’m listening to “Good Morning, Good Morning.”
I personally LOVE it when you get pedantic, Nancy! And when your kitty uses you as a scratching post.
It's gratifying to know I'm not the only person who's read the massive "Anthology" book.
Anthology is a pamphlet compared to Mark Lewisohn's two volume extended version of " TUNE IN". NOW THAT'S MASSIVE! And it's just vol. 1!
Missed opportunity to ask your cat “Do you want to know a secret?” Another George classic!
George Sang it, but John wrote it!
I love your treatment of this song by George Harrison again very much 👌 And I'm happy to hear that you like Long Long Long on The White Album so much (like I do) 👌👌 and I fully agree with your nice idea that they could have replaced Wild Honey Pie there with a George song 👌👌👌
And most important: You rate this great song as high as it should be, and your survey of George's contributions to the band throughout their whole career is very enlighting, thank you very much for your excellent work 😊👏👏👏👏
A lovely piece in favor of the youngest Beatle, who had a triple album in him by the time everyone was let go. I wasn't expecting the post-credits end bits, with outtakes, where the piano correspondent played a bit of Free as a Bird, just because, y'know. Like it. Because I like it too much like I like you. Hah, Harrison.
I love the care and variety you put into these song analyses. Be a Proud Pedant! It's your superpower, or at least one of them 🤩
George's songs have always had something to them that I like. My aunt, after hearing about how I felt he was my favorite Beatle, told me that George could write a whole song about a leaf falling from a tree because it moved him. She also told me that as a teen, she just *knew* that she was going to marry Paul.
I remember a girl at work had written a paper talking about how Blue Jay Way was a throw away song. She knew I was a Beatles fan and asked me to read it and give her my take on it. I was in a no win scenario as far as I was concerned. I didn't want to hurt her feelings, yet all my thoughts were totally opposed to the subject of her paper. It was one of my favorite "new" songs on the record. I Am the Walrus was first, Hello, Goodbye, Baby You're a Rich Man and Blue Jay Way edged out the title track and you couldn't really count Strawberry Fields and Penny Lane as 'new', since they predated Pepper.
I read her paper, that she had meticulously crafted, trying to figure out how I was going to tell her how horribly wrong I felt she was. I told her she had a well written paper, but I had to disagree wholeheartedly about it being a throw away song. I started telling her my interpretation of the song (before I knew the story about the jet lag and the guy that was supposed to be driving there to meet George) and she was not happy. It was too late to rewrite her paper and she wasn't going to do it. I even suggested that she changed the paper to be 'Why Blue Jay Way Wasn't a Throw Away Sing' with just a few minor changes. She didn't like that idea at all.
What made it worse was when her professor apparently had the same opinion that I did about it not being a throw away song and graded it accordingly. I think it may have possibly had something to do with the standoff-ish way she wrote her paper, but I digress.
Your Beatles analysis videos are so bloody hip! Not only do you speak to how they are cool, because you are a musician, a singing musician, you can really bring it to calling out the examples. Bloody awesome!
My fav underrated George song has to be It’s All too Much.
Your show is great. Keep it up!💚💙💜
A wildly overrated song by George, because it was as close to psychedelia as the Beatles got.
I am always keen to hear your insights! Amazing work!
my favorite beatle (john) wasn't keen to include george frickin' harrison in his band...that's why it's the greatest musical story ever told. "old brown shoe" or "for you blue" perhaps aren't underrated at this late date but one of those two would be my answer. i love your takes as others here have said.
This is one of my favourite Harrisongs, and I'm glad to see someone give it the love it deserves
Yet another banger of a video. Absolutely fantastic and so full of love, passion and intelligence. As for fave underrated George song I think I have to go with Ballad Of Sir Frankie Crisp. And holy hell is the jam on Out of the Blue
Nice reference to "Pleasant Valley Sunday", arguably the best song the Monkees ever recorded.
Monkees=YUCK
I always thought of "Penny Lane" as the Beatles song that paired with "Pleasant Valley", though "Penny Lane" provides a deep, heartfelt, psychological punch instead of superficial sociological whimsey. But then the Monkey Brain trust stole their entire existence from the Beatles.
@@BeatlesCentricUniverserespectfully disagree.
@DonDueed respectfully agree. At the very least, certainly one of the top three. Right up there with “Daydream Believer”.
@@BeatlesCentricUniverse : Sure, the PreFab Four were an artificial, made-for-TV creation, but they did produce some decent music. The early backing tracks were laid down by the great Wrecking Crew, and a number of outstanding songwriters contributed, including Neil Diamond and John Stewart (and Goffin/King, as Nancy mentioned).
Just brilliant. I consider myself a Beatle nerd but you bring it to another level! Thank you!
A wonderful use of diminished chord by george is in Apple Scruffs, and its weird virtuoso chorus.
Wonderful video as always !
It may be the margaritas (...) but I think this episode is genius.🙂
Speaking as someone who was 16 when Revolver was released (and considered it almost sacred at the time), there's a 'natural tendency' to think "how much can this young person really perceive/understand about The Beatles?" (ha ha!...and apologies...).
This analysis was great, musically and psychologically. FWIW it makes intuitive sense to my 1966 brain as well as shining a light into areas that are clearly relevant and ring true.
Kudos and thanks!
I love your beatles tracks analysis, really love them.
This is genius at work! You give me a new understanding of their music each time I see your channel. And I agree with you 110%. I like all of George’s songs. “It’s All Too Much” stands out in my mind, but so does “My Sweet Lord”. Also “Something” and “Here Comes The Sun”. Not to mention “Within You Without You”. Need I go on?
Wonderful! Amazing, as ever! I learn so much from your videos.
You go wide and you go deep, and always with a sense of being pulled onward by authenic joy and love for the music.
Pat Martino understood that the diminished chord is the single chord that acts like stem cell from which all other chord types can be derived by merely moving a single voice a half step. Is that actually true?
To describe the diminished chord as discordant is, imho, maybe not as illuminating as to describe it as fundamentally ambiguous. People tend to be uncomfortable with ambiguity, with uncertainty. I loved how you picked up on George's tendency to be drawn to lyrics that convey intellectual humility or uncertainty.
I wish we could get together away from the internet and listen to records IRL w/o fear of DMCA challenges.
I like "fundamentally ambiguous". Well said.
Love your stuff, especially this episode! I’m a big George fan and it annoys me when people say George “came to his own” only on Abbey Road. He had already delivered so many great and unusual songs that really complimented Paul and John and brought unique colors to the the Beatles’ palette.
You do an excellent job. I thought i knew a lot about the Beatles nut i am learning lot from you. My favorite underrated George song is Old Brown Shoe.
I've been looking forward to your analysis of this song since you first started talking about Revolver. While "Taxman" is the most celebrated of George's songs on Revolver (it's a banger!), I've always felt that "I Want To Tell You," like George himself, is underappreciated. Thank you for giving this fine, fun song some time in the limelight. ps-- I love the closing lyric: "I could wait forever; I've got time." George getting a bit metaphysical, there.
I’ve always been drawn to Georges music starting with Don’t Bother Me I’d hear a song from different Beatle albums thinking I really like that song and later discovering it was a Harrison composition.
I was always more partial to Here Comes the Sun than Good Day Sunshine. Both are great songs, but there was something about the delicate guitar notes kind of felt like the first morning rays reaching out over the horizon or peeking out from a cloud. The light opening vocals furthering that impression, subtlety getting stronger as the sun would, climbing higher in the sky. A very George way of creativity if you ask me.
Fathom, it is immediately clear to me that you are an absolute legend!! 🤷♂
Excellent analysis of the song.
This song sometimes "haunts" me, but in a good way. Like it will jump into my head, even though I haven't heard it in a while, and won't leave my head until I either listen to it, or sing it out loud while driving.
i adore this song. i couldn't have articulated exactly why, but it's probably a combination of the things you talked about here: the dissonance, the introverted frustration in the lyrics, etc.
Good show, thank you.
It’s all too much!
I love it!! Really appreciate good ol needing out over the Beatles 🐅⚡️🍔
I enjoy your videos. They increase my enjoyment of songs I enjoy, and provide a lot of interesting information. They also help me feel bad for those who listen to music and then immediately move on to something else without giving a second thought, which I believe is true for a whole lot of people (which is fine for them if that's how they want it).
The Inner Light - deceptively simple, beautiful, moving, philosophical, introspectively revealing. Love it.
Long Long Long
Thanks this was fun and enlightening
A lovely analysis of not only this song, but also its place in the record & George's place in the band. BTW, that opening guitar riff is so killer to play. In particular check out the rehearsal video of this from The Concert for George. Eric Clapton nails it. I had a mix tape of just George's Beatles song I used to play in the car. Loved it.
Great review! I've always thought this was a great, under rated song. The piano grabs your attention. Love the guitar riff!
love your stuff! - if you ever are talking about the 'White Album' - remember George Martin's quote that at the time, they were trying to fulfill a contract based a number of tracks completed........ that's why there a lot of short tracks - (so that they could negotiate a new more lucrative contract) ciao!
I was reading about the concept of Negative Capability yesterday. It's the ability to be comfortable with uncertainty, roughly speaking. George sounds like he had well-developed skills in that department.
"It's all too much" is the trippiest song of the sixties.
"It's Only a Northern Song" wasn't far behind it for trippiness.
Nah.
love your energy 😅
Wow looks like I've found another great Beatles channel
Great deep dive and fantastic music lesson.
Great video!...and great song.
It's All Too Much is the secret best anthem of the Beatles catalog
George Harrison said that Paul always brought his A-game to his songs and gave this one as an example. He really appreciated the vocal melisma outro that Paul provided because he felt it respected his Indian interests. And I really love Paul's piano contribution here. George said that the problem with Paul was getting him interested in George's songs in the first place. He always prioritized his own and treated George's as an afterthought, but once he was working on them, he was fully committed and did good work.
I think this is a bit unfair, especially since fans have been preoccupied with the part where Paul was "dismissive" of his songs, rather than what his eventual contributions were. It is only natural that Paul would prioritize his own songs over George. George basically had a 2 song quota each album, so should he have the material, he would get the slots. He needed to present his songs, and they could still not make it, but he didn't really need to COMPETE to get them on. I can understand how this could be very frustrating, but it also gives you some security. Lennon-McCartney was the golden goose and they basically had 11 slots, so it was natural that a rivalry would emerge to compete for those slots. Perhaps this rivalry was being encouraged by the suits to get best results. They HAD to prioritize their own songs to ensure they got on the album. Paul only had 3 songs on A Hard Day's Night remember. It was not guaranteed. John and Paul were competing with each other for slots; they had to make sure their songs were produced and ready to go. Only then could they afford to turn to work on George's stuff.
Besides, George was the true perfectionist in the group. His songs took more time, so it made sense to backload them in the production schedule. Though I'm not sure the actual logs would bear that out, it certainly is George's impression of how his songs were treated.
A brilliant musician, dive bell deep insights &, sublimely beautiful with feline-ish empathy.
* With at least a massive respect, ❤️🖐️
The guitar tones on Revolver have never been bettered IMHO.
The age thing is funny because it reminds me of when I was 17 and in a group with two guys the same age (one was 16). We needed a fourth member, and one of my cousins, who was 19, arrived one day while we were rehearsing, and basically asked if he could join the group. I remember we all looked at each other in mortification, aghast at the mere idea of having such an "old" person in our group. We tactfully declined his offer, and we laughed about it after he left.
Incidentally, I met George Harrison in London back in the 80s, and had a discussion (or, perhaps more accurately, a good natured argument, since we held opposing views) about spirituality, psychic abilities, and the Tarot.
This is really good. Glad to have discovered your channel and happy to subscribe.
Yayyyy I look forward to this every week :)
I want to tell you is all about that dissonant piano chord
Please do a track by track of the All Things Must Pass!
Another interesting and insightful breakdown of a Beatles song.
In the early years before John and Paul began writing new material regularly and they played nearly all covers, the three singers would take turns doing the lead vocal. That era was not documented by live recordings so that is according to various witnesses. A few surviving written set lists also show that. It also reduced the wear and tear on John and Paul's voices to have George doing every third song when their shows were much longer and they performed daily. When Lennon/McCartney songs began to greatly reduce the covers played and their sets got shorter, George sang leads much less. George singing fewer leads coincides with their rise to fame and better documentation of their live shows so the change from earlier isn't easily seen.
The other thing I don't see mentioned about why Georges songs were kept limited was that Brian had set up John and Paul with songwriter/publishing income separate from the recording/performing income. They got very accustomed to that large revenue stream very quickly. Each Harrisong on a record meant less income potential for John and Paul. By the Get Back sessions, Apple Corps had consumed so much money and the groups finances were so stressed and messy that I believe John was extremely reluctant to cede any space to more George songs. Also George had probably angered John regarding Yoko's constant presence. George had apparently made it clear he was not thrilled about it. Another reason for John to exert his authority to limit Georges songs. However he did eventually relent later but by then the split ended any more Beatles records happening.
George always had heart and would spread it in waves of feeling.The byrds here without you plays the riff to if I needed some one nice nod he was appreciated
Love this video!
One thing about “Revolver”, it’s the only Beatles album that had 3 George songs, in fact, the US Capital version, George had more songs than John. It seemed Ringo was the only one who didn’t talk down to George…
“I Want To Tell You” reminds me a lot of The Who song came out around that time called “I Can’t Explain”…
I'm bias ,I'm a George fan.
You’re amazing.
"Mango, I'd like you to meet George Harrison..." - I heard my boss's voice and I looked up from my fathomless bliss in a well-baked potato. Folk called me Mango because as I had been living on mangoes and coconuts for 7 seasons. I was enjoying the potato in the corner booth of the restaurant where I washed dishes. The restaurant, Longhi's, burned down with the rest of Lahaina, Maui, in 2023. So I look up from my perfect potato and sure enough there stood George. I forget how he was dressed. His hair was medium long and he had a trim goatee. I spewed potatoes in a perfect spit-take and George smiled, he got the joke. Imma Virgo and none of the crumbs came near George. My boss rolled his eyes and hustled George out of there before I had a chance to speak. 1977. There are a ton of George songs in my default (when I don't know what to play I have default collections - blues, Hendrix, George, Donovan, you get the idea) repertoire. Isn't it a Pity can chill a room and Wah-Wah can wake it up. Me'n'George'n' the diminished five. I've been working on Within You...for 57 years and I still don't have an interpretation that I love. Maybe tonight. What would Jimi do? When All Things was released I went nuts. "Dude's been saving his songs", I thought in 1971 and I graduated high school, go Dolphins. I was 17 and had been teaching myself on a painful Harmony archtop borrowed from a bluesmaster. I would buy my first guitar the next year, 1972, a battered cherry LP Junior, 150 bucks (multiply by 10 or so) Ringo is a bloody master, when will ya'll get that? Effin George is always around, I think he likes Earth-style rock and roll. When you meet a Beatle you have to make them remember you in the amusing way. Don't even ask me about 1990 and Ringo and Babs...my spookiest Beatle-related story is about my night in the crumbling Blue-Jay Way mansion, 1980. George described that particular dwelling quite well. If you want to throw a WTF into your song toss in a diminished fifth for a second or two. George is quite Earthbound if you know that death is an illusion. He even put it in a song. Maybe tonight I get the ultimate Within You...
George had four songs on “Revolver,” not three. He wrote Taxman, Love You To, I Want to Tell You, and co-wrote She Said, She Said.
He also influenced John’s Tomorrow Never Knows, particularly the drone and drums.
George had said that being in a band with Paul was the worst thing for him as a guitarist. Paul became the Beatles “musical director” within the band, certainly never telling John what to do, but George and Ringo were ripe for nitpicking.
Also… in ‘64-67 Paul was probably a better guitarist- he played lead bits all over Rubber Soul through Pepper. George got annoyed/depressed about his role, the sitar took on greater significance - and even stopped almost playing guitar altogether on Pepper. (He’s on maracas on In My Life, Paul plays lead on Good Morning etc).
I wouldn’t quite say he’s on their level from ‘65 onwards. George’s contributions are great on revolver but pepper is a real dip. WYWY is pure genius, but he wasn’t at their level overall. He had withdrawn (so maybe in a roundabout way that was on them).
Thank you for mentioning Its All Too Much and LoNg Long…
And on the white album.? From then and beyond he’s arguably at or even above their level.
Tough to pick a fave. He was my fave! So, I'm going to go sans Beatles, and say I'd Have You Anytime written with Dylan. The opener of All Things Must Pass. I think it also exemplifies what you point out here on I Want to Tell You. There's the diminished chords as well as the odd metering. I'd have to look at his writings chronologically, but IWTTY may be a harbinger of the way his writing was going to go. George was truly one of a kind. It's fitting that his name was also cyclical and could go on infinitely; George-or-ge-or-ge-or-ge...... the youngest Beatle, but the oldest soul. Glad I was around for one of his visits.
_Love_ It’s All Too Much
I think I'm in love 🤗😼❤️😳
The truth is that the Beatles rehearsed on George's songs on Let It Be a lot! More than on John and Paul's songs, but George didn't want to have his beatiful songs on the album. He wanted them by himself. He was already thinking of a solo record.
All this information is on Get Back and on the audio tapes from the sessions.
Yeah; the problem with George is that he wasn't conformable with presenting his songs and the issues he had with Lennon & McCartney seemed to be some self-inflicted paranoia about his contributions to the Beatles.
He just didn't want them used for the television special they were rehearsing for. He also didn't think they were appropriate for the original vision of a live album without overdubs.
@@Kieop It doesn't change the fact that he wanted them by himself. During the rehearsels he told John that he was thinking of doing a solo record.
@@tomasfagerberg6323 I was adding to your argument, not disputing it.✌
@@Kieop Ok, thank you.
I always thought Long, Long, Long would have made it to radio were it not for the weird noise ending/outro they should have edited out, IMO. It has hints of a Fleetwood Mac feel to it. It reminds me of Lindsey and Stevie's song, Crystal.
If only he hadn't been so passive-aggressive about it. Should have stood up for his songs more. You make cool videos and I dig 'em.
Can I join your band?
19:51 "... and it starts here." (Paul's "really beautiful, poignant, dynamic bass parts on Beatles songs").
Well, no.
Drive My Car, Oct 1965.
Immensely entertaining and thought-provoking. Taxman, IWTTY, Something, Here Comes the Sun, What is Life and It Don't Come Easy are career worthy songs. However, I am probably the only guitar player on the planet who actively despises WMGGW. How much do I despise it? I'm a huge Clapton fan, especially LAOALS, yet WMGGW is the only Clapton appearance I despise as well. The Get Back movie clarified why Lennon and McCartnet worked so tightly together... Both were incredibly fast at synthesizing ideas in real time and were broadly blown away when they first started writing together they found an equally capable "pen mate." When you are THAT naturally gifted, it's easy to conclude that it's not that you're that gifted but that others who are not as gifted are instead slow, plodding, dumb... I feel like writing a song. If I work with A, it will take 20 minutes and I'll get that creative buzz in 20 minutes. If I work with B, it's gonna take 5 hours, I'm gonna be bored the entire time, it will feel like work the entire time and the song won't be as good. Who ya gonna gravitate towards? Part of that dynamic was that besides lagging in writing, Get Back made it clear Harrison's guitar playing lagged far behind the musicianship of the other three. He looked and sounded like a beginning guitar player trying to comp along while Paul was jamming Get Back into existence.
These are all really great points, thanks for sharing.
That is a very interesting take ("actively despises WMGGW"). Would love to hear why you despise it.
I loved the song from the first time I heard it in 1968 - and it was easily my favorite song that George had made up to that point in time. Love everything about it... and EC's guitar play enhances it greatly. The song has become one of the most beloved Beatles songs as the years have gone by. Lots of people choose it as the best song on the White Album.
But... I want to point out that it was not seen that way back in 1968. It was not close to being the most popular song on that album back in 1968. It was released as the B side on the only single that was released from the album back then... but the A side (Ob-La-Di, Ob-La-Da) was easily the most popular song on the album. While "Ob-La-Di" raced to the top of the charts around the world, the B side never even charted. As time went by... "Guitar Weeps" made huge gains in popularity - while "Ob-La-Di" fell in popularity.
Enjoyed reading your take on why J&P worked so well together - and would prefer that to working with someone else.
The cat IS George!
Thank you for pronouncing “uncomfortable “ correctly.
I Want To Tell You also influenced the riff to Roxette's The Look - you'd think this unlikely inspiration for a synth/drum machine 80's track but Per Gessle was a 60's fanatic.
Long Long Long as a Beatle. Lay His Head as a solo Artist.
"Love you to"....well, considering that it's 1966,perhaps George had to hide the sexual-desire component from the title,in order to avoid censorship! I guess he meant "(making)Love To You",and he just shifted a word...
Congratulations for the great video,and greetings from Italy!!
Sergio
No, it's 'love you to', as I would love you to... [fill in the blanks]😉
band dynamics are difficult and even in foursome one person can get overlooked: it needs confidence, bit 'a' front, to present a new song to people, even to friends.
it's correct that a reassessment of george is still ongoing: he was very talented: but they were four very talented people and their alignment was truly a once upon a time situation. the fact is that john and paul so rarely missed. i mean paperback writer and rain don't get on R , day tripper and we can work it out don't appear on RS!
i don't want to diminish, yeah well, your exploration of the song. told me all kinds of stuff. R is a different sound world in places to their previous and george was important in that process as you say. in his 3,though, there is nothing as beautiful as 'to lead a better life i need my love' or as crazy as the sound world of tomorrow never knows.
great purring somebody sign him up 😼
Always enjoy your thoughts, Alan.
Having experienced the North American butchred Revolver album George's output outnumbered John's 3 the for George and a paltry 2 were John took lead vocals both closing each side . Giving the album an intriguing but unbalanced character . Furthermore the dissonant piano chords arpeggios give me anxiety. George always masterfully sneaking in diminished chords. Yeah I recognized the diminished reference brilliantly done Fathom!
Your cat must think you're nuts, if it sees you doing stuff like at 13:24.
He loves it!
👏👏👏👏👏
From 18/6 to 25/2 you have eight months (and one week).
Haha, Paul, George AND I were all wrong! Thanks for doing the math.
Honestly George probably always had more songs to input post revolver but he always got turned down where he only got one or two tracks on a album until the end of the band
After the "Help!" movie, the band took a - - *sabBEATtical* ?
To my ears, Paul's bass work really kicked off on Rubber Soul. Paul also has mentioned that's when he trying harder with them too.
Also, if the band were unwilling to work hard on George's songs, especially Paul, why would Paul choose this as the turning point to start overdubbing them to really nail them? That along with his ripping guitar work and groovy bass on Taxman just doesn't make any sense to me. And as you acknowledged, his harmonies at the end of I Want to Tell You is one of the best Beatle moments full stop. Ringo's fills and smack are, again as you mentioned, critical to the track. Paul's opening bass bit is sweet too.
George was basically a no-show on Sgt Pepper; not John and Paul's fault he didn't show up. Also, John and Paul worked on All Things Must Pass a lot with him, he was not rejected by them
No that's BS, based on a flippant comment by McCartney. If you read Martin and Emerick's books he was involved in nearly every track as well as offering 'Only A Northern Song' which is great but seemed to go over George Martin's head. He might have been late for a session or two after being pissed off that his guitar solo for the Sgt Pepper song was rejected. You said 'no show' which is a lie. Plenty of photographic evidence too.
George could come up with stuff that was the equal of John and Paul, BUT (!) he couldn't come up with it consistently. During the Sgt. Pepper sessions, the only song he had, apart from Within You, Without You, was Only A Northern Song, which does kind of work in the context of the Yellow Submarine film, but it's no masterpiece ! George Martin, who was expecting more from George after Revolver, was actually very disappointed with what he brought to the table. To be fair to George, Within You, Without You must've taken up a lot of his time. It's a very complex arrangement, with Indian time signatures, etc. A very ambitious project for a twenty-three year old pop musician !
If they had met as adults, this wouldn't have been an issue, since Paul and George are basically the same age and the same height. However...
Age: They became friends at grammar school, where, especially in the UK, hierarchical status is everything. As kids, we measure age by grade level, so if someone is in our class, even if they were held back or skipped a grade, we see them as our age and kids in lower or upper classes as being of a different age, even if they are actually the same age. At their school it was even worse, because upper classmen were allowed to discipline lower classmen, so someone in Paul's form could literally hit someone in George's form.
Height: Paul had his major growth spurt at 14/15, whereas George had his at 17/18, so Paul was also significantly TALLER than George during the initial growth of their relationship.
Sexual Experience: As with height, Paul is said to have lost his virginity at 15. George is believed to have lost his at 17, though the circumstances he describes are more consistent with 18. That is at least a 3 yr difference in actual time dilation. So it would've been natural for Paul to see George as still a kid while viewing himself as already a man.
Even so, I feel that this power dynamic has been overblown over the years in fans' minds, due to Paul's admission that he talked down to him. This was not their dynamic all the time, especially in the cover band days when George had a lot of lead vocals, though it is true that Paul will never shake his view of George as a little brother. It is ingrained -- and has got even more so since George died.
I Me Mine.
Ah! Yes!
I always thought George was the 'cool Beatle' and I gravitated to his (albeit numerically limited) stuff. He could never escape the music behemoth that was The Fabs generally and Lennon McCartney at its core. A pity.
Harrison, in discovering his own composer's voice and independence, found he could opt out of things when he didn't really 'dig the gig' which IMO is what he did with song contributions to Sgt Pepper's. John and Ringo were famously meh about the project too, so that's where Paul's essential genius really shines. (tbf John often being a detached critic of George's work had glowing praise for Within You Without You).
xxx
To balance the "George was robbed" narrative: th-cam.com/video/m--gIaUEZtA/w-d-xo.html
I was just about to post something on the myth that George's songs were ignored during Get Back. +1
This will not convince me to move this song from the label of my least favorite on this LP, but it will make me appreciate it more. I think I like dissonance, Aladdin Sane, Aja, but it is a struggle for me with I Want to Tell You.
George was only allowed one song on sgt P? George was not interested in the recordings. George was absent most of the time! Why do you think Pal is playing so much solo guitar on sgt P? George was in India playing sitar.
9:25 I literally came here after enduring Honey Pie and Bungalo Bill to get to While My Guitar Gently Weeps lol