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1965 vocal by the Beatles

"I've Just Seen a Face"
I've Just Seen a Face sheet music.jpg

Encompass of the Northern Songs canvas music
Song by the Beatles
from the album Help!
Released half-dozen Baronial 1965 (1965-08-06)
Recorded xiv June 1965 (1965-06-fourteen)
Studio EMI, London
Genre Folk stone, state and western, pop rock
Length 2:02
Characterization Parlophone
Songwriter(south) Lennon–McCartney
Producer(due south) George Martin

"I've Just Seen a Face" is a song past the English language stone band the Beatles. It was released in August 1965 on their album Help!, except in North America, where it appeared every bit the opening track on the December 1965 release Rubber Soul. Written and sung past Paul McCartney, the vocal is credited to the Lennon–McCartney partnership. The song is a cheerful love ballad, its lyrics discussing a beloved at showtime sight while conveying an adrenaline rush the singer experiences that makes him both enthusiastic and inarticulate.

Originally titled "Auntie Gin's Theme", the song began as an uptempo country and western-style piano piece. McCartney and then added lyrics that may take been inspired by his human relationship with actress Jane Asher. The Beatles completed the track on fourteen June 1965 at EMI Studios in London on the same mean solar day they recorded "I'm Down" and "Yesterday". The recording fuses country and western with several other musical genres, including folk rock, folk, pop stone and bluegrass. With no bass guitar, it features 3 acoustic guitars, a brushed snare and maracas.

Several reviewers take described "I've Just Seen a Face up" in favourable terms, highlighting its rhyming lyricism and McCartney's vocal delivery, and described information technology as an overlooked song. Its replacement of "Bulldoze My Car" on the North American version of Rubber Soul furthered the anthology's identity every bit a folk stone work, although some commentators view this change as masking the band's belatedly-1965 creative developments. It was among the starting time Beatles songs McCartney played live with his grouping Wings, and versions from their 1975–76 world tour announced on the 1976 live album Wings over America and in the 1980 concert film Rockshow. The song has been covered past several bluegrass bands, including the Charles River Valley Boys, the Dillards and the New Grass Revival with Leon Russell. George Martin, Holly Cole and Brandi Carlile are among the other artists who have covered it.

Background and inspiration [edit]

The outside of the 57 Wimpole Street apartment.

Although the vocal is credited to the Lennon–McCartney songwriting partnership,[1] John Lennon and Paul McCartney each identified "I've Just Seen a Face" as having been written entirely past McCartney.[2] McCartney recalled writing information technology in the basement music room at 57 Wimpole Street in central London.[3] The house was the family home of his girlfriend, actress Jane Asher, where McCartney lodged from November 1963.[iv] Working on a piano, he equanimous the melody offset, starting time it every bit an uptempo country and western-inflected piece.[v] Later on he played it on the piano at a family unit gathering,[vi] his aunt Gin enjoyed the tune, prompting him to give it the working championship "Auntie Gin'due south Theme".[7] [note 1] He added fast-paced lyrics which may have been inspired by his relationship with Asher, turning the vocal into a cheerful love ballad.[11]

McCartney completed "I've Just Seen a Face" too late for inclusion in the Beatles' 2nd feature moving picture, Help!,[1] nigh of the songs for which were recorded in February 1965.[12] He presented it to the band in mid-June,[13] soon afterwards returning from holidaying in Portugal with Asher.[fourteen] During the vacation, he also wrote the lyrics to his ballad "Yesterday".[15] Author Ian MacDonald comments that, since writing "Can't Buy Me Love" in early on 1964, McCartney had fallen behind Lennon in output, Lennon being the primary writer of the Beatles' next four singles.[1] [annotation 2] Most of the sessions for the band's Help! album had also focused on Lennon compositions.[19] In MacDonald's view, given McCartney'southward absorption in his relationship with Asher and the contrasting depth and originality of Lennon'south writing since 1964, McCartney was motivated past the need to apply a renewed focus in his writing on Help!, to regain his equal status in the songwriting partnership.[1]

Composition [edit]

Music [edit]

"I've Simply Seen a Face" is in the cardinal of A major and is in two/ii (cut fourth dimension).[20] [21] [note 3] The song begins with a ten measure out intro.[twenty] Divide into three phrases,[20] the intro uses triplets that are slower than the rest of the song to create a sense of acceleration,[23] reinforced by a shortened third phrase which quickens the commencement verse's inflow.[20] McCartney used the effect of tiresome triplets again later that year in "We Can Work Information technology Out".[twenty] The song'south first chord is F-sharp minor, slightly away from the abode key, and is similar to "Help!" in leaving its harmonic grounding ambiguous until the terminate of the intro.[20] Post-obit the intro, the song speeds up in tempo to what music scholar Terence J. O'Grady calls "an undanceable speed".[24]

The song uses four chords full; the twelve-measure verses use the mutual pop chord progression I–half-dozen–IV–V, while the 8-measure refrains use the dejection progression V–4–I.[20] The latter progression simulates descent (farther suggested past the lyrics: "[V] falling, yeah I am [IV] falling, and she keeps [I] calling..."),[25] and the inclusion of a melodic pocket-sized third on the commencement syllable of "calling" gives the refrain section a blues sound.[xx] Structurally, the song includes iii different verses, an instrumental pause and a reprise of the start verse. Later the second verse, each section is separated from the other past a chorus.[26] Like other Beatles songs, a triple repeat of the chorus signals the end of the song, though Pollack writes "[t]he repeat here of an entire eight bar chorus is rather unprecedented." The outro finishes by repeating a phrase from the end of the intro to provide a feeling of symmetry.[20]

Genre [edit]

By this point [the Beatles] had been freely borrowing and blending diverse stylistic elements of pop, rock, folk, blues, and still other styles for quite a while. Still, this otherwise sweetly simple "folk rock" song really pushes the envelope in terms of the sheer number of diverse styles juggled simultaneously as well as the effortlessly seamless manner in which they are fused.[20]

– Musicologist Alan W. Pollack on "I've Just Seen a Face", 1993

The composition fuses several different styles and is difficult to categorise.[20] Musicologist Alan W. Pollack describes the song on the whole as folk rock,[twenty] as does MacDonald,[27] though Pollack characterises parts of the song differently, describing the first two verses every bit "pure pop-rock", the changes between verse and refrain in the second half as "folksy" and the triplet refrain in the outro as similar an "R&B rave-upward".[twenty] Musicologist Walter Everett describes it equally both folk and a "bluegrass-tinged ballad",[28] suggesting information technology anticipates the "simple folk style" of McCartney'south 1968 limerick "Mother Nature's Son".[29] O'Grady similarly highlights the song'south folk-styled guitar contribution with underlying hints of bluegrass, comparing it to another of McCartney's 1965 compositions, "I'm Looking Through Yous".[xxx] He further writes that both songs "[demonstrate] a split personality" through joining pop-rock with either folk or country-western.[31]

Writer Chris Ingham writes "I've Just Seen a Face up" indicates the Beatles' continued involvement in country music,[32] and music critic Richie Unterberger describes the "well-nigh pure state" vocal every bit a continuation on the band's country-influenced work from the previous twelvemonth, such every bit their album Beatles for Sale and the song "I'll Cry Instead" from A Hard Day's Night.[33] At the same time, Unterberger counts the song equally one of several Aid! tracks that display the influence of folk stone on the Beatles.[34] Past contrast, O'Grady writes that the vocal's country-influenced vocals are sung over an instrumental accompaniment "devoid of whatever specific stone and roll gesture", and concludes it is the Beatles' "first authentically country-western (equally opposed to country-rock or rockabilly) song".[24]

Lyrics [edit]

Written in a conversational way,[35] the lyrics of "I've Just Seen a Face" describe a dear at kickoff sight.[36] Sung without pauses for breath or punctuation, the vocal conveys an adrenaline rush the singer experiences[37] that makes him both enthusiastic and inarticulate.[twenty] Author Jonathan Gould groups "I've Just Seen a Face" with several of McCartney'southward 1965 compositions that deal with face-to-face encounters, including "Tell Me What You Encounter", "You Won't See Me", "We Can Work It Out" and "I'm Looking Through You".[38] Musicologist Naphtali Wagner instead categorises it with afterwards McCartney compositions that "explore ambiguous, elusive and altered states of consciousness", such as "Got to Get Y'all into My Life" from Revolver (1966) and "Fixing a Pigsty" from Sgt. Pepper's Alone Hearts Club Band (1967).[39]

The lyrics are synthetic using an irregular rhyme scheme,[40] using both run-on verses and alliterations.[23] McCartney later described them equally insistent in quality, "dragging you forward... pulling you to the next line".[41] Rhyming every two beats,[22] the lyrics use a series of cascading rhymes ("I have never known/The similar of this/I've been solitary/And I have missed").[35] [note 4] Appoggiaturas are used throughout for rhymes to line-up, such as "face" and "place" in the song'due south intro.[20] The ends of stanzas are wordless,[23] using song cadences like "lie-die-die-dat-'n'-die"[22] that echo the descent of the song's instrumental intro (calibration degrees scale degree 4 – scale degree 3 – scale degree 2 – scale degree 1 – scale degree 7 – scale degree 1 ).[20] [22]

Production [edit]

Recording [edit]

Having completed the filming of Help! on xi May 1965,[45] the Beatles recorded "I've Merely Seen a Face up" during the offset of 3 sessions dedicated to filling out the anthology with songs not in the moving picture.[46] The session took place in EMI'due south Studio Two (now part of Abbey Road Studios) on xiv June, George Martin producing with assistance from balance engineer Norman Smith.[47] During the same afternoon session, the band recorded McCartney's new rock and roll song "I'thousand Down" before breaking for dinner and returning to begin work on "Yesterday".[48] The three songs of divergent styles reflected the range of McCartney'southward compositional abilities;[49] [fifty] author and musician John Kruth calls it "McCartney's famous marathon session".[half-dozen] [note 5]

Taped on four-rails recording equipment,[6] the vocal consists of two backing tracks.[22] On the first, George Harrison plays Lennon'southward Framus Hootenanny acoustic twelve-string guitar, McCartney his Epiphone Texan nylon-cord guitar and Ringo Starr a snare drum with brushes.[53] The 2d includes a lead vocal from McCartney and Lennon playing rhythm guitar with his Gibson J-160E acoustic.[54]

Overdubbing and mixing [edit]

The band taped the basic track in six takes,[47] overdubbing new parts onto accept vi.[46] McCartney played a higher section in the intro with his Epiphone Texan and added a descant vocal,[55] providing a contrapuntal backing during the refrains in a nasally country and western tone, similar to his backing vocal on some other Help! rails, "Act Naturally".[twenty] Adding texture normally achieved with a tambourine,[23] Starr overdubbed maracas on the choruses,[56] while Harrison added a twelve-cord audio-visual guitar solo.[57] [annotation 6]

Employing a technique used extensively during the Help! sessions, another guitar plays simultaneously during the guitar solo to provide a contrasting sound.[59] [note 7] Gould writes that, in shifting from cut time to mutual time during the solo, Harrison'due south playing is reminiscent of both jazz guitarist Django Reinhardt and the French jazz organisation Le Hot Lodge.[37] Pollack characterises the solo as a "'countrified', rhythmically flat rendering",[20] and O'Grady writes it "approximates Bluegrass style in rhythmic regularity".[24] "I've Just Seen a Face" features no bass guitar part.[10] [note 8] Music critic Tim Riley suggests the instrument's absence, together with the guitar solo being played on the low-cease of the guitar, keeps the song rooted in the country genre.[23]

On 18 June, Martin and Smith mixed several songs on Help! for mono and stereo, including "I've Just Seen a Face".[62] The two mixes of the song are about identical to one some other.[46] As was typical for their pre-Rubber Soul work, the Beatles participated minimally in the album's mixing process.[63] In 1987, for Assist! 's first CD release, Martin remixed the song for stereo, adding a minor amount of echo.[46] [notation 9]

Release [edit]

EMI's Parlophone characterization released the Assist! LP on half-dozen Baronial 1965.[65] "I've Just Seen a Face" appeared on side two along with vi other tracks not in the film, sequenced between "Tell Me What Y'all See" and "Yesterday".[66] McCartney was pleased with the finished recording and it became one of his favourite Beatles songs.[41]

[The Beatles'] new direction can be seen immediately in the song that opens the [North] American version of [Prophylactic Soul], McCartney'due south jaunty, bluegrass-inflected "I've But Seen a Face up", which had fiddling resemblance to annihilation that the Beatles had recorded up to that fourth dimension. Merely "I've Only Seen a Face up" was written several months before than the other Condom Soul songs and had already been included on the British version of Help!, and so its credentials as the "signature song" for the album are, regardless of its quirky charm, suspect at best.[thirty]

– Music scholar Terence O'Grady, 2008

In keeping with the company's policy of reconfiguring the Beatles' albums,[67] Capitol Records removed "I've Just Seen a Face up" and the other non-picture show songs from the North American version of Aid!, replacing them with several orchestral pieces from the film's soundtrack.[68] On the band's side by side album, Rubber Soul, Capitol again contradistinct the rails list; in improver to omitting 4 songs they deemed "electric", the company selected "I've Only Seen a Face" and Lennon'south "It's Merely Dearest" as the opening tracks of side one and side ii, respectively.[69] Capitol's approach was motivated by the popularity of folk stone in the United States,[70] with singles such as Sonny & Cher's "I Got Yous Babe", Barry McGuire'due south "Eve of Devastation",[71] the Byrds' cover of Bob Dylan'due south "Mr. Tambourine Homo", Simon & Garfunkel'southward "The Sound of Silence" and the Mamas & the Papas' "California Dreamin'" all representative of the manner in 1965.[72] "I've Just Seen a Confront" thereby replaced the Memphis sound-inspired "Drive My Car" and was followed by the acoustic song "Norwegian Wood (This Bird Has Flown)".[73]

Released on vi December 1965,[74] Capitol's version of Rubber Soul was dominated by audio-visual-based songs.[75] Many North American listeners therefore erroneously assumed that the Beatles had focused on folk music for an unabridged LP.[76] Opening with "I've Just Seen a Face" gave Rubber Soul more conceptual unity,[77] which reinforced perceptions of it equally a folk or folk rock centred LP,[78] at the cost of distorting the band'southward late-1965 creative developments and their original artistic intentions.[79] [note 10]

Retrospective assessment and legacy [edit]

Reviewing Help! for AllMusic, Stephen Thomas Erlewine describes "I've Simply Seen a Confront" as "an irresistible folk-rock gem" that is much improve than 2 of McCartney's other contributions to the album, "The Night Before" and "Another Girl",[81] a sentiment writer Andrew Grant Jackson echoes.[82] Announcer Alexis Petridis likewise disparages McCartney'south other Help! contributions as filler – in particular, "Another Girl" and "Tell Me What You Run into" – but describes "I've Just Seen a Face" as the album'southward "one genuine overlooked gem".[83] He sees it as "an English inversion of Help! 'due south much-noted Dylan influence", existing partway betwixt the folk sound of Greenwich Village and that of skiffle.[83]

Writing for Pitchfork, Tom Ewing pairs the song with "Yesterday", describing both as a "personal quantum for McCartney", with each achieving a "deceptive lightness that would go trademark and millstone for their writer". He recognises "I've Simply Seen a Confront" as "a folksy land vocal [that demonstrates] the souvenir for pastiche that would help give the rest of the Beatles' career such convincing diversity".[84] Music critic Allan Kozinn groups it with "Yesterday", "It'due south Only Love" and "Expect" as songs recorded near the end of the Aid! sessions that were a stylistic pause from the residuum of the album, their "sophistication, spirit and complexity of texture" having more than in common with Safe Soul.[85]

In 2010, Rolling Rock ranked "I've Just Seen a Face" at number 58 in a list of the Beatles' 100 greatest songs,[35] [86] and a 2014 readers' poll conducted by the magazine ranked it as the tenth best Beatles song from the pre-Prophylactic Soul era.[87] McCartney biographer Peter Ames Carlin calls the song one of McCartney's most disregarded Beatles contributions, still also one of his best,[88] and Riley similarly counts it equally McCartney'south 2nd best contribution to Help! later "Yesterday".[23] Riley, Carlin and Everett each praise the vocal's lyricism,[89] MacDonald commenting that its internal rhyming and fast-paced delivery "complements the music perfectly".[i] In MacDonald'due south stance the song elevates the 2nd side of Help! with its "quickfire freshness" and he describes it equally a "pop parallel" to several 1965 Swinging London films, such as The Knack... and How to Get Information technology, Darling and Grab Us If Y'all Can.[1] Music critic Rob Sheffield describes the Northward American Safe Soul 'southward sequencing of "I've Merely Seen a Face" and "Norwegian Wood (This Bird Has Flown)" equally a "magnificent one-ii punch" which results in "the only case where the shamefully butchered U.Due south. LP might elevation the U.1000. original".[90] He judges the song the "most romantic [ever]", while managing to be "virtually as funny as 'Bulldoze My Auto'".[91] Describing the vocal every bit "fetching, vintage McCartney" and a "warm, cheerful folk-rock treasure", journalist Mark Hertsgaard admires its "thigh-slapping beat, sing-along melody, and cheerful, isn't-love-peachy lyrics"; he deems it "the musical equivalent of an armful of freshly picked daisies".[92]

Unterberger describes "I've But Seen a Face up" every bit "probably the nigh bluegrass-soaked rock song of the 1960s".[93] John Kruth says its influence tin can be heard on "Go and Say Goodbye", the original opening track of Buffalo Springfield's 1966 debut album. Kruth argues that both songs helped acquaint rock fans with small doses of state music, setting upwardly the turn from folk rock to country by the Byrds with their 1968 album Sweetheart of the Rodeo; [94] in Kruth's opinion, the song'due south "deep wooden timbre" tin be heard in the music of Crosby, Stills & Nash; James Taylor and Jackson Browne.[95] Reflecting in 2006 on the Beatles' legacy and influence, journalist Greg Kot views the song'southward folk styling as exemplifying the Beatles' musical fluency and ability to principal genres far removed from their rock music origins.[96]

McCartney alive versions [edit]

McCartney playing a twelve-string acoustic guitar during one of the tour's concerts.

McCartney performing during the Wings Over the World tour, 1976. He included "I've Just Seen a Face" during an acoustic section of the tour's setlist.

The song has remained a favourite of McCartney's in his mail service-Beatles career and is ane of the few Beatles songs he played with his later ring, Wings.[41] An acoustic rendition of "I've Simply Seen a Confront" was amidst the five Beatles songs McCartney played during the 1975–76 Wings Over the Globe bout,[97] existence the commencement time he included Beatles songs in his live setlist.[98] [annotation 11] Beatles author Robert Rodriguez calls the pick unexpected,[100] and McCartney explained contemporaneously that he picked the songs "at random... I didn't desire to go besides precious most it".[101] Journalist Nicholas Schaffner writes that their inclusion "electrified audiences", and Rodriguez similarly describes the Beatles section of the setlist as the "emotional highlight for virtually attendees".[102] McCartney reflected at the time, "They're great tunes... Then I simply decided in the finish, this isn't such a big deal, I'll do them."[101] In a retrospective assessment, Riley lauds McCartney for performing the song during the tour as though he were "sitting around on a porch harmonizing to a good old rural favorite".[23] Live versions of the song from the tour were later included on the 1976 triple live album Wings over America and in the 1980 concert film Rockshow.[103]

McCartney performed "I've Just Seen a Face up" in a 25 January 1991 set,[104] played on acoustic and filmed by MTV for their series Unplugged.[105] The operation was subsequently included on his 1991 anthology Unplugged (The Official Bootleg).[106] He has played the song live on several other occasions, including it in the setlist of his 2004 Summer Tour and 2011–12 On the Run tour, and it was included on the 2005 DVD Paul McCartney in Red Square.[86] In 2015, during the Saturday Night Live 40th Anniversary Special, he and musician Paul Simon played an impromptu duet of the song.[107]

Encompass versions [edit]

Charles River Valley Boys [edit]

"I've Just Seen a Face up"
Vocal by Charles River Valley Boys
from the anthology Beatle Country
Released November 1966 (1966-xi)
Recorded September 1966 (1966-09)
Studio Columbia, Nashville
Genre Bluegrass
Length 2:39
Label Elektra
Songwriter(s) Lennon–McCartney
Producer(s)
  • Paul A. Rothchild
  • Peter K. Siegel

The Cambridge, Massachusetts-based Charles River Valley Boys (CRVB) recorded a cover of "I've Just Seen a Confront" for their 1966 anthology, Beatle Country, a drove of Lennon–McCartney compositions played as bluegrass and sung in a high lonesome style.[108] James Field of the group later recalled hearing the song on the radio in the lead upward to the US release of Rubber Soul and thinking "it instantly felt similar bluegrass".[109] In particular, the I–half dozen–IV–V progression and the chorus offset on the dominant had "a drive perfectly suited for a direct-ahead bluegrass trio".[109] He added: "The tempo (for us) is nigh 115 bpm, and if yous listen to many bluegrass standards, a lot of them are in that range. Why? Because it'southward perfect for the banjo. You go a nice, boisterous scroll, and you lot can make it ring."[109] Banjoist Bob Siggins further stated: "I call up the instantaneous 'feel' of the song was the tipoff for me... additionally, the lyrics could easily be (and in fact became) bluegrass lyrics."[109] With their usual setlist made upward of old and new bluegrass and country songs, the band added an arrangement of "I've But Seen a Face" to their set, along with the country-inflected Beatles vocal "What Goes On".[110]

Produced past Paul A. Rothchild and co-produced by Peter Thousand. Siegel, recording for Beatle Country took place in September 1966 at Columbia'south studio in Nashville, Tennessee.[111] The CRVB's cover of "I've Just Seen a Face" changes the limerick in several ways, including transposing it from the central of A to 1000. Structurally, the CRVB add extra instrumental breaks for banjo, mandolin and fiddle – a typical feature of bluegrass music, where each musician is allowed the chance to solo – as well as repeating the chorus an extra time, which musicologist Laura Turner writes serves to emphasise the "quintessential bluegrass technique" of close iii-office harmonies.[112] She describes the biggest differences between versions equally their different textures and timbres, in item the "ceaseless, 'walking' upright bass line that provides energetic drive, sparking mandolin tremolo, rolling banjo figures, and intricate, often double-stopped fiddle motifs that permeate the texture."[26]

Elektra released Beatle Country in November 1966.[113] "I've Just Seen a Face" was the LP'southward opening track, and Field later on characterised the vocal as the foundation slice of the entire album.[114] A contemporary review in Cash Box magazine counts the embrace as ane of the five best tracks on the album,[115] and a retrospective assessment by John Paul of the online magazine Spectrum Culture describes it as "like a lost bluegrass standard".[116] When the Boston Bluegrass Union awarded the CRVB the Heritage Award in 2013, "I've Just Seen a Face" was among the songs the band performed during the award anniversary at the metropolis'south annual Joe Val Bluegrass Festival.[117]

Bluegrass groups [edit]

Sam Bush

New Grass Revival mandolinist Sam Bush in 2012, who described "I've Simply Seen a Confront" every bit the first song by the Beatles to which he could relate.

Too the Charles River Valley Boys, numerous bluegrass groups have covered the song.[95] Doggett writes the tempo and chord changes of "I've Only Seen a Face" "[weep] out for a banjo and mandolin",[118] and Turner argues it has been "central in stimulating a relationship between bluegrass and the music of the Beatles".[119] The progressive bluegrass band the Dillards recorded a cover of the vocal between the British release of Assistance! and the N American release of Rubber Soul; they had hoped to consequence the song in the US before the Beatles, though the recording went unreleased.[120] They afterwards recorded a cover for their 1968 album Wheatstraw Suite.[121] Joining elements of traditional mount music and modern land music, their version includes loftier harmonies, a banjo and a pedal steel guitar.[95] Unterberger calls it "a respectable version" which "completed [the Dillards'] motion from bluegrass into folk-land-rock",[33] while Turner describes information technology as "relaxed in tempo and contemplative", writing that its use of a pedal steel guitar is "a articulate salute to the flourishing folk-rock scene".[119] Kruth suggests that the finished recording influenced bands like the Byrds, the Grateful Dead and the Eagles.[95]

Sam Bush-league, mandolinist for the progressive bluegrass ring New Grass Revival, recalled being uninterested in rock music before the mid-1960s, only found that "I've Just Seen a Face" allowed him to "chronicle to the Beatles for the showtime time", agreeing with a characterisation of it every bit "bluegrass without a banjo".[122] New Grass Revival subsequently covered the song with musician Leon Russell for their 1981 live album, The Live Album, a version Turner calls "hard driving" and "erratic".[123] Bush later covered the vocal as a solo artist for the 2013 Americana tribute album, Let United states in Americana: The Music of Paul McCartney.[124] The group Bluegrass Association recorded the song for their 1974 anthology Strings Today... And Yesterday, basing their arrangement on the Charles River Valley Boys' version.[125]

Other artists [edit]

George Martin recorded an orchestral version of the song for his 1965 like shooting fish in a barrel listening album, George Martin & His Orchestra Play Help!, credited nether its original working title, "Auntie Gin's Theme".[126] In a review of the album for AllMusic, Bruce Eder describes Martin's recordings as "tasteful only otherwise largely undistinguished". He credits the release of tracks under their working titles as ane of the album'south unique selling points, existence "details that Beatles fanatics of the time simply devoured".[127] The Grateful Dead performed the song in concert on 11 June 1969 in San Francisco, playing pseudonymously as Bobby Ace and the Cards from the Bottom of the Deck, and erstwhile Grateful Expressionless keyboardist Tom Constanten recorded a cover for his 1993 anthology Morning Dew.[128] Hank Crawford, the alto saxophonist of Ray Charles, recorded a funk and reggae-inspired version of the song for his 1976 anthology Tico Rico.[95]

Canadian jazz vocaliser Holly Cole covered the vocal for her 1997 anthology Night Honey Heart.[129] Released with a noir-way music video,[129] the version reached number 7 on Canada's RPM Top Singles Chart in Nov 1997.[130] The 2007 jukebox musical romantic drama film Beyond the Universe features a cover of the vocal,[129] later included on its associated soundtrack album.[131] In the flick, the lead character, Jude (Jim Sturgess), sings about Lucy (Evan Rachel Wood) at a bowling alley in what Kruth terms a "somewhat baroque dear-fantasy scene".[129] Reviewing the soundtrack for AllMusic, Erlewine writes that Sturgess does "a credible chore" on the vocal'south "rockabilly revamp".[131] American singer Brandi Carlile occasionally sings the song during alive shows.[129] Though Kruth disparages Carlile'south version as "[not] peculiarly different or innovative",[129] a 2010 ranking by Paste magazine of the 50 best Beatles covers placed information technology at 46, writing that she transforms the song into a "sing-along hoe-down".[132] Kruth designates "I'll Just Bleed Your Face up" as the song's "most bizarre" cover,[129] recorded by Beatallica – a mashup grouping of heavy metal ring Metallica and the Beatles – for their 2009 anthology Masterful Mystery Tour.[133]

Personnel [edit]

According to Walter Everett,[22] except where noted:

  • Paul McCartney – pb and harmony vocals, nylon-cord guitar
  • John Lennon – audio-visual rhythm guitar
  • George Harrison – acoustic twelve-cord guitar
  • Ringo Starr – drums (with brushes),[134] maracas[135]

Notes [edit]

  1. ^ Virginia "Gin" Harris was the younger sister of McCartney's father, Jim McCartney.[8] McCartney later referenced her in the vocal "Let 'Em In",[nine] released on the 1976 album Wings at the Speed of Sound.[10]
  2. ^ The four A-sides were "A Hard Day's Night", "I Experience Fine", "Ticket to Ride" and "Assistance!"[xvi] The pair co-wrote "Eight Days a Calendar week",[17] released as a unmarried in the United States in February 1965.[eighteen]
  3. ^ Everett writes the song is in cut time.[22] Pollack writes that the song can be counted in either 2/2 or iv/4 (common time), merely that if counted in the erstwhile, the listener can "more easily grasp the extent to which the underlying tempo is constant".[20]
  4. ^ Recorded a mean solar day after "I've Simply Seen a Face",[42] the vocal "It's Just Beloved" sometimes employs similar phrasing patterns.[43] Everett hypothesises that Lennon equanimous "Information technology's Only Beloved" in an effort to match the rhyming effect of "I've Just Seen a Face", but ultimately finds it "Lennon'south about forced effort at rhyming".[44]
  5. ^ Author Adam Gopnik describes the twenty-four hour period as "a memorable high-water mark in musical history",[51] while Sheffield and McCartney each annotate that information technology provides a sense of the Beatles' quick recording practices.[52]
  6. ^ Among Beatles authors, Gould and John C. Winn each say that Harrison played the solo.[58] Jean-Michael Guesdon & Philippe Margotin write McCartney played it with his Epiphone Texan, but limited general incertitude over what guitar parts McCartney and Harrison contributed.[10]
  7. ^ The effect appears on their covers of "Light-headed, Miss Lizzy" and "Bad Boy", as well as on "Yes It Is", "The Dark Earlier", "Help!", "It's Simply Beloved" and "Ticket to Ride", where Harrison's opening twelve-cord ostinato contrasts with three overdubbed guitars.[59]
  8. ^ Guesdon and Margotin land the song is the get-go by the Beatles to not feature a bass guitar.[10] Everett writes the previous year'due south "I'll Follow the Sun" does non feature the instrument,[60] while Pollack identifies a bass on "Sun".[61]
  9. ^ When the Beatles' catalogue was remastered for stereo in 2009, the Assist! CD retained Martin's 1987 remix. The original stereo mix was included equally a bonus on the companion release The Beatles in Mono.[64]
  10. ^ The album was a commercial success and, according to Gould, served to attract folk-music enthusiasts towards popular music.[fourscore]
  11. ^ The other picks included "Lady Madonna", "The Long and Winding Road", "Yesterday" and "Blackbird".[99]

References [edit]

Citations [edit]

  1. ^ a b c d e f MacDonald 2007, p. 155.
  2. ^ Sheff 2000, p. 195: Lennon; Miles 1997, p. 200: McCartney.
  3. ^ Miles 1997, pp. 107–108.
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External links [edit]

  • Full lyrics for the song at the Beatles' official website
  • The Beatles – I've Only Seen A Face (Remastered 2009) on YouTube
  • Paul McCartney – I've Only Seen A Face (Live / Wings over America / Remastered) on YouTube
  • Paul McCartney – I've Just Seen a Face (Alive / Unplugged (The Official Bootleg)) on YouTube
  • The Dillards – I've Just Seen a Confront on YouTube
  • Hank Crawford – I've But Seen a Face on YouTube
  • Holly Cole – I've Just Seen a Confront on YouTube
  • Hosts Monologue – Sabbatum Night Alive 40th Ceremony Special, including Paul McCartney and Paul Simon playing "I've Simply Seen a Face up" on YouTube
  • Jim Sturgess – I've Merely Seen A Confront (From "Across The Universe" Soundtrack) on YouTube
  • Leon Russell and New Grass Revival – I've Just Seen a Face (Alive / The Live Album) on YouTube

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Source: https://en.wikipedia.org/wiki/I%27ve_Just_Seen_a_Face

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