ฝัง
- เผยแพร่เมื่อ 1 ก.ค. 2024
- One of The Beatles’ longest songs! John and George’s bluesy guitar phrasing mesh with doomsday arpeggios and a heavy drop D tuned outro. The primary verse structure sees John mimicking his vocal line on the guitar with George playing counterpoint. As such, “I Want You (She’s So Heavy” features a relatively large amount of improvisation for a Beatles record, as well as sophisticated layered guitar arrangements. John’s phrasing is quite nuanced with microtonal bends and intricate hammer-on/pull-offs. Pay special attention to the pick-up switch position throughout the song; they changed it a lot!
Support the channel on Patreon: / mattiboo
Studio photos from the February 22, 1969, Trident Studios session show John playing his sanded Epiphone Casino and George on his red Gibson “Lucy” Les Paul. The 2019 Abbey Road Deluxe Edition album allows for some insight into this session, with a shy Glyn Johns telling John that a passerby to the studio has requested they turn down their loud amplifiers. John diplomatically replies that they will do one more “loud one” before counting off another take. Given the slight level of distortion on the recorded guitar, it is quite reasonable to assume that the Beatles had their amps cranked to achieve that on Fender Twin Reverbs!
The song begins with the hypnotizing guitar arpeggio (0:00), which sounds triple tracked: one by John’s original take, and then I believe 2 more guitars were added to this intro by John and George later during their April 19, 1969, guitar overdub session. I recorded these overdubs using both the Casino and Les Paul and panned them in the stereo field. It is important to note that the song begins significantly faster than it ends, beginning roughly around 170bpm and ending at 140bpm!
George’s original lead guitar is panned left and is very quite on the original mix (0:02, top left). Another overdubbed part comes in slightly thereafter and is panned right (top right). Both these parts use the middle pickup position. A final overdubbed part comes loudly into the left channel at 0:04, this time using the bridge pickup for a brighter sound (bottom). Notice how George’s original part misses the return bend at 0:06. Likewise, he plays the final F note of the lead slightly later than the overdubbed parts (0:10). The first overdubbed part (top right) plays a back and forth conclusion to the phrase, alternating between A and D notes (0:08), while the bridge pickup overdubbed part plays up the entire Aaug arpeggio. Overall, these final few notes create some interesting guitar harmony!
John’s guitar comes in for the first verse, slightly overbending the final note of the phrase (0:11) and falling quickly off it. Notice the bend/pull-off/bend at 0:19. These microtonal aspects of John playing are important to capture for an authentic performance. Double stops are played during the phrase “drivin’ me mad” at 0:28, and John plays closer to the bridge for a more nasal sound at 0:30. Both of these are regular features throughout the song, with minor nuances. George often changes the position of the short chordal interlude in this section (0:26). The lick at 0:33 is a signature late Beatles Harrison lick, one that he plays on “Golden Slumbers”.
The D section of the first verse is similar to the A section, except John plays a Chuck Berry style bend at 0:46. The walk-up at 0:52 has John playing individual G, G#, A, while George plays the same notes with the 4th below. The chord they play following this is an E7b9 (022131). It’s difficult to say who plays the low E note before the chord strumming, so I did it mainly as John’s part, with a light bit from George (0:53).
Verse 2 comes in with slightly more intricate guitar licks from John, such as the overbend waggling at 1:05. Again, I tried to recreate John’s phrasing as accurately as possible, so I shall reserve comment on more mundane phrasing nuances and refer those interested to pay close attention to the video! George goes perhaps a fret too high on the double stop slide (1:27). More Chuck Berry double notes are played by John at 1:30. George plays a light low C note transitioning from the F chord to the C7 at 1:40. He then switches to the bridge pickup at 1:45 while John adds an extra muted whack at 1:54.
The first interlude features the main riff played twice (1:56). Notice how John plays the higher notes of the Bb7 chord the first time while George arpeggiates the middle notes (2:03). George plays a transitory F note to the E note at 2:13.
Description continued in pinned comment below!
Instruments Used:
John Lennon Guitar: 2001 Epiphone Casino Standard (modified)
George Harrison Guitar: 2006 Gibson Les Paul Standard
Amplifier: Fender Custom Vibrolux Reverb (1995) - เพลง
I have no idea how you notice all of these details.
ears
pieta909 what’s that
@@norbertradomski8940 lol
our boy does his homework.
You can find the isolated tracks on youtube and yes ears too
The outro to this song may very well be the greatest outro of all time.
Paul didn’t think so.
@@evyalley yeah, but he also thought it was a good idea to do take after take of Ob La Di Ob La Da. Haha
@@TheShape2534 you should think about his point of view and look up some background stories of that song.
@@evyalley Ob La Di Ob La Da? I read Geoff Emerick's book. He said Paul kept wanting to do take after take driving the others crazy.
@@TheShape2534 no I know that. I mean I Want You.
Seeing the 9 guitars appear was chilling
Agreed, super unexpected
The sound of the Epiphone Casino is just so majestic.
2:24 Keep it mind this song was recorded 6 months before Santana made their debut at Woodstock.
Yes! Finally!! He's returned, and he returned STRONG
Or maybe learning this just took 7 months 😂😂
Google global truth project and click "The Present" tab to see the truth about life/death in four pages
@@meanmr.mustard4268 tf
I LOVE COOKIES I don’t think so lmao
EXACTLY
Goddamn legend comes back in one of the most badass ways possible
It's great to see Harrison's licks reproduced in this video. His playing is exquisitely nuanced, bluesy, funky, and just plain cool.
En realidad el lick es de John,no de harrison
@@yaretplay7749No, se refiere al acompañamiento de George tocado en la Les Paul.
@@metaluna09 oh ya veo,pues tiene razón,es genial
That is my favorite thing about this piece
If you don't like this song you don't like anything happy in life.
Hey! I saw you in the comment section of one of George’s song
I really dislike this song. One of the worst beatles songs. It should have been much shorter but it just never ends.
Timmy Turner thats the beauty of it. For me personally, it keeps me intrigued all the way with the guitar being played, being a keen guitarist myself it helps me pickup on new techniques everytime I hear it.
@@jw16gv67 agreed we need not all like the same songs
an argument where two people agree to disagree? On the internet? wow
My favourite Beatles song. It's electrifying.
Having started school in the Fall of 1960, you could say my friends and I are bonafide 60's era kids.
I was 8 years old, on the Den floor in Dallas, Texas, when the Beatles debuted on the Ed Sullivan show. Thank God we had a big cabinet TV integrated by a repair shop, to have a large speaker made for guitar amps. My Dad is hard of hearing and likes TV and music up loud.
My sister about lost her mind during their performance, I admit that I was surprised. What people forget about our era was that this was all about new original sounds. Sure, there were influences, but for the most part, new bands brought new approaches. The contrast between everything before the early 60's bands and everything we heard after is amazing.
I became a musician right away and continued the love as long as physically able.
Sharing my humble opinion:
Here's a shocker statement for you non musicians:
The Beatles (and many other early greats were actually not writing Instrument parts that are super technical by today's standards, or even then among top Professionals.
What made Beatles and a few other band's music captivating to a lot of us is because it was written and played TASTEFULLY. Rather than trying to design the super technical piece, most of the time it was hot because it struck a nerve and literally resonated in our nervous system in a way that was often hypnotic. "Tasty" was a common description of good music.
For us, music was a new Universe. High Fidelity, Stereo and Quadraphonic equipment came along and we used the best speakers & headphones we could get, to immerse ourselves for hours, listening intently.
One night a few years later, I was at my neighbor's house and unwrapped a brand new album called "Are You Experienced?" by Jimi Hendrix. For me, it "struck a nerve." Jimi was "anti-polished". Jimi was more like a loose jazz player with raw, extemporaneous jamming, never quite the same arrangement, wild enthusiastic and amazingly entertaining. We saw some people come to play his stuff more accurately, consistently, etc... but they couldn't BE Jimi.
That night, I banged on my friend's drum along with the album and I was hooked. I knew I had to study how to be a real drummer. I bought my neighbor's kit and joined the school band the next day, where I met some other kids that understood completely.
Most of us don't mean to insult people who didn't experience the era. It's that you really do have to experience such a complete change in music and culture to realize the impact it had on us and the World.
The funniest part for me to remember these days was my Dad's reaction to the Beatles and the rest of the new generation bands that followed. My Old Man hated them with a passion. He loved the standards, classic C & W & Bluegrass. My ancient, old days/old ways Dad was then 28 years old. In those days, it was common for most people over 30 to seem older than the average 60 year old does these days. Back then, many a really ancient fossil that acted WAY over the hill was a Grandpa like 36 or 38 years old. Hilarious when some of us look back today. Of course some adults were hip to change, but they were not in the majority.
Today, it's not uncommon for a kid to discover early Pop, Folk or even Hard Rock from someone in their 70's or 80's.
When the Beatles got here, I was just 8 years old. Yes some of the older crowd, beyond College age and still open to new music embraced the English Invasion and the American Reaction. Their experiences in the 60's and 70's might not have been as formative as my age group, but from what I observed and heard about, they evolved and had adventures of their own to tell you about. I join you in your love of music, but I have to tell you, it wasn't all about the super technical or highly advanced techniques on the performance side of music - what primarily drove the revolution was surely the raw and powerful, primal grip effect the new bands had. Even the Pop music of early Beatles had primal power in context of girls reaction to music designed to hit you with rhythm and feelings. It helped that a lot of songs addressed the feelings that men had for women. Guys could relate and girls wanted to be the target of all this more openly expressed, raw passion. Try watching films with scenes of the girls of all ages, reacting in live audiences. Nobody coached them to be at a fever pitch, they were just shocked, hormonally fueled and hypnotically entertained. Promoters began to coach filmed & taped audiences, trying to show that other acts got similar reactions. For over two decades I was there, at every concert possible. I can tell you that for the ones we loved, no coaching was needed. On the occasion that acts like the Who or Eagles played 2 nights in the Dallas/Fort Worth Metroplex, we bought tickets for both shows.
I have never again seen such a giant enterainment reaction and cultural change, as the early to mid 60's. It changed lots of attitudes and drove record setting sales the very first week.
Even though many more truly great bands appeared and evolved the scene, they weren't as much of a shock to the system.
Doubt me? Ask around. Search the movies and TV tapings of the era. If live Who, Zepellin, down through to Tool and beyond didn't grab your attention down deep - then I feel bad for your musical soul.
Dean
Standup Philosopher
Thank you very much for this
Thank you for this insightful comment! Great hearing from someone who experienced and remembers so vividly the early days of rock and roll!
As a humble 24 year old enjoyer of modern music, I can nothing but listen to records, I would turn back time just to see them live, it must've sounded WAAY different than today's concerts, got myself a copy of their mono box set and man, it is INCREDIBLE, as a fan of retro audio gear, when I played it I inmediately felt I was in the mid 60's it sounded so different, and in a way that any other version sounds like a cover compared to the original experience, no matter how old you are or how many times you listen to them, you will always rediscover The Beatles and you will never run out of new stuff to find
I love this comment. It was saturated with first hand experience, seasoned with musical and cultural philosophy. Thank you.
I was 13 when The Beatles became big. I can agree with you that there was nothing more exciting than hearing a new Beatles song for the first time. And the fact that none of them sounded the same made each song a totally new experience. It's been almost 60 years and I can still remember the feeling. I don't think I've heard anything since that was as exhilarating. I'd like to be young again but I wouldn't have wanted to miss the '60s for anything.
Love how it sounds so heavy
HEAAAAVYYYYY
@@bunnyleaningonasquishedbun5542 SHES SO HEAAAAVYYYYYY
Fun fact: This is the only song on Abbey Road where Paul uses his Hofner bass.
That is not true. Paul used the Hofner on Something, Sun King, Mean Mr Mustard, Polythene Pam, and She Came Into The Bathroom Window
How do I trust?
@@dlgeiling He used a Jazz Bass on Sun King and Mean Mr. Mustard (as well as You Never Give Me Your Money) and his Rickenbacker on the rest.
dlgeiling please tell us your sources. Both of you so we can end the discussion
@@ideasonek3374 For I Want You (She's So Heavy), it was recorded months before the rest of the songs on the album and there are photos taken from a rehearsal showing Paul using the bass.
For the rest, i'll admit it's mostly speculation but there's no evidence that Paul used his Hofner on any other tracks off that album and most sources claim that Paul used his Jazz Bass on You Never Give Me Your Money, Sun King, and Mean Mr. Mustard, and his Rickenbacker on the rest (although it's worth pointing out that there's photographic evidence of George using a different Jazz Bass on Maxwell's Silver Hammer).
I got chills at 4:40 with the nine guitars.
Phenomenal cover.
Support the channel on Patreon: www.patreon.com/mattiboo
Feel free to tip if you enjoyed the video: www.paypal.com/donate/?hosted_button_id=9HEE4B4FXKXDA
Description continued from above!
Going into the solo, both guitars switch to the neck pickup, with John changing slightly earlier than George (2:20). John’s bluesy playing comes to the forefront, complete with intricate bending work. George likewise plays excellent counterpoint. John misses the note at 2:39. The unusual lick at 2:44 is played by bending the C note at fret 5 G string slightly down and then grabbing the E note fret 5 B string simultaneously. George plays a nice descending line at 2:52 and John plays double stopped 4ths at 3:03. George makes a tricky switch to the middle pickup up position at 3:05, which is tough to execute as you must be very precise to not accidentally go to the bridge pickup! John adds dramatic slide ups to the end of each flourish in this section (3:05).
The second interlude is much like the first, only George adds the transitory F to E notes both times here (3:21).
The fourth and final verse begins with a nice fall of by John (3:44). The lick at 3:51 is very similar to one played by John during the solos of “Get Back”; a very unique John riff! The 4:03 line is similar to the one played during the solo, only he includes an open A at 4:04, perhaps by accident. The note at 4:11 is missed. Check out the cool 6th interjection at 4:15 and string rake at 4:18!
The outro is an epic wall of guitars overdubbed by a “huddled” John and George early in the morning at Abbey Road Studios. There are 2 main riffs here, the arpeggiated high part and the drop D tuned ominous low part. I imagine John and George played a combination of both parts together. Reports by engineer Jeff Jarratt were that their amps were turned up very loud, and I can confirm that to achieve the level of distortion required on the low part, I had my Fender Custom Vibrolux Reverb turned up loud enough to shake the walls! (Although it may not seem like that on the video, the amp really was very, very loud). Overall, I overdubbed 6 of each part, with 3 of each played by the Casino and the other 3 by the Les Paul to represent John and George, with a 7th arpeggiated part played on the Casino to represent John’s original track. Only 9 guitars are shown on screen however. Upon listening carefully to isolated drum tracks, a haphazard lead guitar part was attempted by George during the original recording session, but it was obviously mixed out at some point in favor of the wall of guitars.
hello matt
So nice to put all the specs and info about the song
He returns!
Good job!
Listen to the trident reduction mix to hear this "haphazard" lead guitar part at the end along with some organ soloing by Billy Preston (both are incredible)
I love how you layered the guitars at 4:36. Its exactly what they did and so many people who cover this song dont. Awesome work.
Good cover.
This is one of the few of Beatles songs in which The Beatles were close to be jamming. Listen to the drums and bass in the last 3 minutes. They're awesome.
Good job.
It's also known that this was the last song all 4 beatles worked on simultaneously
MikeGP close! The End was finished on Aug 18th and I Want You (She’s So Heavy) was completed on the 20th, the same day the album was finished being recorded. It was less than a month later that Lennon quit the group
the longest track is Revolution 9 (Track 12 on White Album | disc 2)
that one is almost 9 min. long
@@Belchmaster41the original recording for this songs about 10 minutes, but the originals sort of rare to find
@@superhacker35 There's a much longer version, but no full version unfortunately
Let never forget that The Beatles were not just a great singing band but also an extraordinary instrumental band too!
I read an awesome article about James hetfield talking about how he wasn’t super into the Beatles because they didn’t have much of a crunch or something silly and then he heard this song and it blew his mind. The Beatles didn’t invent heavy metal but they definitely inspired sabbath to take it to the next level. This song is heaviest non metal song ever. The progressions are just incredible. Salute to you my friend, excellent cover!
Hell yeah
Agree completely!!
James Hetfield is no one to talk about the Beatles in the first place.
@@rishabhaniket1952 bro what? james hetfield is an absolute legend, don’t get butthurt because he doesn’t share the same opinion as you ❄️❄️❄️
Agreed
Loving that George Harrison Abbey Road denim attire
one of john's best. song completely changed my life when i heard it for the first time. never heard anything like it
The Legend Is BACK!!!!!!
YEAH Boi
John Lennon was a beast of a songwriter !
That Casino is one of the clearest sounding guitars I’ve listened to on TH-cam
This song reveals how much Lennon was an underrated guitarist. Not as skilful as George playing solo but a very stable hand (e. g. early rock'n'roll albums with triplets etc.) and silent improvising talent as shown here.
I can only imagine how long it takes for you to get all the minor details. You and ably house deserve to get a shout out from Paul and ringo.
With this mind-blowing outro, this should've been the last track of abbey road. It would've been such an epic final song for the beatles
But it wasn't and Doris got her oats...as usual.
You mean her majesty's is not a pretty nice girl?
The outro to this song is my favorite 3 minutes of Abbey Road
when i was 17,me and my friend of that time whenever we were jamming we would play this riff for 20,30 minutes. it felt so good
This is a song that could just keep going for ever
Nice detail on that Epiphone. Even down to the black knob that John had on his. I've always loved playing this song.
Wow! I almost fell off my chair when you presented nine guitars at the end of the tune. As a 67 yr. old retiree...I bleed Beatles...and always have. You are the best at showing the "genius of the Beatles."
John and George invented de Doom Metal
This is my favorite song of all-time, and I always wondered what part John played and what guitar part George played. Now I know. Thanks man! And your guitar skills are beyond dope bro!
4:34 Gave me goosebumps
YES! Thank you, Mattiboo!
Edit 4:37 This has to be the most amazing thing I have seen in a cover! Great job!
I didn't even know you were gone, but sick cover of the best Abbey road song
Yeeeeeaaaah This I've been waiting for
Thank you for bringing this to life and showing us the detail of what went into to the brilliance of the record. Your re creation is also quite brilliant. Sincere thanks
Absolutely amazing documentation and superb performance. My hat is off to you
Mindblowingly precise and perfect! Amazing work
He uploaded! Kinda ironic the last video he uploaded was a cover of it won't be long and now I want you so bad haha it came full circle
Maybe it was intentional. We'll never know
@@bruh-fl3mo brūh
@@bruh-fl3mo brûh
@@carpetchair5778 brůh
I just replied to my own comment with another variation wow I am stupid
Fabulous as Always
Oh my, the madman did it.
Fantastic cover, man!
That casino tone is unreal. Great job man!
Such a passionate performance that captures the ear where you skillfully make smooth rhythm changes. As a guitarist, i really like those dynamics you use and the melodic lines you make sing from your strings. Many cheers!
I was waiting this cover a lot of time. Congrats!
As usual...fantastic video showing the genius of...the Beatles!
Mattiboo, your accuracy and attention to detail is amazing. Bravo!
Great job with this classic. Really great performance. This chord progression is brilliantly savage. Just perfection.
Man I just want to say I really appreciate how much effort you put into these. You may not upload a lot but they are always quality and one is able to watch them over and over again. Love how George and John trade licks off one another here during the verses.
OH JESUS CHRIST YOU'RE BACK!!! ❤️❤️❤️❤️
Love It! One of my favorite Beatles songs.
Hypnotic! Truly awesome stuff!!!
How cool is this!! The ending where the nine guitars suddenly show up gave me chills.
Magnifica Cover.. Preciosas tanto la Epiphone Casino como esa bonita Gibson Les Paul Standard..
Gracias por subir el Video
un saludo 🙌
oh HELL YEAH!!
best cover of George's part out there, for sure.
Phew you're back. I was beginning to worry. And definitely worth the wait
This is my favorite Beatles song. Beautifully played and filmed. Thanks for sharing!
Excellent work, thanks to take your time to show this
Back with an awesome beatles cover. One of my favs
Thank you for uploading it this song has been getting requested a lot and welcome back
I love your vids and how you explain clearly with interesting facts each sections of the song! Keep up the great work!
Great job. Thanks for the work you've put into this.
He's back! Love your videos mate, please don't go away again!
I love how sporadic the rhythm guitar is. It gives space to the lead guitar/main melody to shine through. You nailed the most important details in my opinion ☺️
Class guitar by John and George
We've missed you @mattiboo you crack👌🏾
Many thanks, young master! Last 5 years I've been collecting all videos for Beatles' masterpieces. Yours saw today and I am delighted with the detail and likeness. I know,cos' I'm 63 ears old 😄
This is such a awesome and detailed cover!😄👍🏻
New video! I was just watching you play some early Beatles o ha yesterday. Glad you’re back
Best Cover Yet. Love the description as well!
Wowzerz you have one hell of an ear!!! I absolutely adore all of your work!
Yeahhhh incredible as always. This has to be one of your best alongside a day in the life
The legend always return
I love John and George's guitar chemistry. Amazing playing Matt!!
Outstanding! No words are needed
One word? Perfect!
Absolutely brilliant, well done
OMG it's exatly the song i was looking for in your channel, and you finally return!!
Lovely tones from that Casino.
you nailed the tone ! that Casino sounds mint!! great job!
I love this so much. Great cover.
I wait this for sooooo looong,your job is amazing,greetings from Brazil
I HAVE NEVER BEEN SO EARLY FOR A VIDEO!!!! This is my favorite Beatles song!!!!!!
@@deletedaccount1886 It doesn't always work
This is a fantastic lesson!!! That E7b9 chord is amazing!
Glad to see you back!
THERE HE IS! WELCOME BACK MY MAN. LOVE THIS ONE!
Amazing!
Thank you. You've done a great job!
Nice work, perfect details and parts. I like.
One of my fav... thanks
The tone is great! I can listen to this over and over:)
YESSS!! What a great song to come back to!
WHAT A COMEBACK
Awesome job. Thank you for this!
This is awesome!
Excellent!
You're absolutely amazing!
Hermoso trabajo!!!!!!! Muchas gracias. Saludos desde Argentina.