Youre Going to Lose That Girl
Contents:
The results have been available on the CD ever since its initial release in , even when it was re-mastered in Song Structure and Style.
This first verse is twelve measures long and, while this sounds standard, this is the only verse in the song that is this length. When the guitars kick in on the rhythm track as this verse begins, all the vocalists then slightly correct their pitch. A second verse begins immediately afterwards and is melodically and instrumentally identical except for one thing.
Because this verse segues into a bridge that changes key from E major to G major, they repeat a half phrase of the refrain section of the verse using the pivot chord D major to transcend to the bridge, thereby making this verse fourteen measures in length. This bridge is an odd seven measures long which could have sounded more symmetrical had they extended the final F major chord for one additional measure but, as could be imagined, it would have slowed down the momentum of the song unnecessarily. What could have been an awkward transition back to E major in the following verse was ironed out by just moving a step downward from F major, this being the last chord of the bridge.
While we have gotten quite used to George Martin filling the role of keyboard player in The Beatles early recordings, Paul seems to have taken over that role very nicely. When listening to the isolated piano overdub track which also contains the bongos , one has to admire his piano ability even at this early stage of the game. His bendy-guitar lead, using his newly acquired Sonic Blue Fender Stratocaster , fits the bill nicely. His bongo playing, on the other hand, is as adventurous as it is loud in the final mix.
You're Going to Lose That Girl
This soundtrack album was released on an individual compact disc on January 21st, , both the mono and the stereo mixes being contained on a single CD. For those who may be wondering, if you even noticed, there is a very small abnormality at the very beginning of the song that is only heard on the American soundtrack album. Sometime in , Capitol released Beatles music on a brand new but short-lived format called "Playtapes. These "Playtapes" are highly collectable today. The new George Martin stereo mix of the song was featured therein. This mix was also utilized when the CD was re-mastered and re-released on September 9th, As a bonus, the originally released stereo mix of the song was also included in this set.
This backlit footage is a true highlight of the film, with Paul and George singing their tight harmonies into a single microphone while Ringo fills the room with second-hand smoke from the cigarette dangling from his mouth. Since the overdubbed instruments are obviously heard, a shot of Paul on piano and Ringo on bongos appears in the scene as well. Famously, the footage ends with Ringo and his drum set falling through the studio floor which has been chain-sawed while the song was being recorded, or so it appeared. After this filming, The Beatles unfortunately retired this song for good.
Such was the output of Lennon and McCartney that they could afford to use a highly crafted pop song with all the elements of achieving a huge international hit as a mere album track. The song's vocals are perhaps the most impressive of all on the Help! The lyrics, too, are quintessential early Lennon, warning an unidentified male of his predatory intentions towards his female lover.
The Beatles began the song during the fifth recording session for Help! They recorded just two takes of the backing track, the first of which was a false start, with Lennon's rhythm guitar, Paul McCartney 's bass guitar and Ringo Starr 's drums recorded onto track one of the tape. During the same session they added some overdubs. Track two contained electric piano by an unknown player, plus a lead guitar by Harrison — these were later wiped. Lennon, McCartney and George Harrison added vocals onto track three, and Lennon double-tracked his lead vocals onto the fourth.
Harrison added a new lead guitar part onto track two, accompanied by bongos and piano, played by Starr and McCartney respectively. The song was mixed on 2 April Thanks for clarifying Dave. An excellent, classy song that sounds as good on the radio today as it did forty five years ago. But gee, I could be talking about nearly any Beatles song with that comment!
You’re Going To Lose That Girl
I was at the recording of Lose that girl on 19th Feb with Micky Jones Trini Lopez drummer and Paul played the lead guitar while I stood next to him and he gave me his plectrum. However it is possible they returned to Abbey road and George covered the solo. Very simple, very nice melody, the key change and everything. Just love that song.
"You're Going to Lose That Girl" is a song by the Beatles from the album and film Help!, written by John Lennon and Paul McCartney. Capitol Records originally. Co-written by Lennon and McCartney at the former's home in Weybridge, You're Going To Lose That Girl was recorded in February , three days before The.
Funny how John transmits a kind of agressivity in most of the early love songs that he wrote. Run For Your Life is another notable example. One of his first girlfriends accuses him of giving her a slap in front of her friends. This is followed by giggles from Yoko Ono. There was also a session on 30 March, in which overdubs were recorded.
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Lewisohn says that nothing from the session was used. However, there is a production acetate for the track, which was made for the group to mime to when they filmed the sequence.
This has no piano or bongos, and has a different weaker guitar solo that is backed by blocked chords on electric piano. I think that, having made the production acetate, track 2 must have been wiped on 30 March and non-electric piano, bongos and new guitar added, even though Lewisohn has these overdubs as also being recorded on 19 February. Ringo is seen playing bongos in the film, but the sequence was shot on 30 April, after the overdubs were made. If the piano was recorded on 19 February as Winn says , and the final mix was one from 23 February, that suggests that nothing from the 30 March session appears on the record.
But the piano can clearly be heard. Should we assume that piano and bongos were recorded on 19 February after all, or is the album mix more likely to be one from 2 April? I have heard the production acetate, which has that instrumentation. There are no bongos, and the guitar solo is rather weak and is backed by electric piano chords. The only other session documented is that 30 March session. So my guess is that track 2 was wiped during the 30 March session and a new guitar solo, acoustic piano played very differently to the electric piano contribution that was wiped and bongos were added on tracks 2 and 4.
This was then mixed — very probably on 2 April. Clearly there must have been recordings made after these mixing sessions, and these recordings must have then been mixed. Thanks for taking the time on this. I assume there was only one mono mix, or else nobody knows how many were made. This is just a great song period. Not a musician but really love love the beatles and always will. Love everything about the song and recording but every time I hear it all I can hear are the wacky bongo sounds!
They were a hot item in parts of the world San Francisco and the band continued to broaden their musical tastes. This song was a precursor to Girl. In Australia when the film was aired on TV this song was omitted.
Alan Mallard Tuesday 21 April However, the single was cancelled before it was issued. Sometime in , Capitol released Beatles music on a brand new but short-lived format called "Playtapes. When I think key changes, I think of what Barry Manilow, to use the most obvious example, loves to do: I Love You ". God I love this song.
Just learning this song on my guitar. Do not want to change the key also. Armchair Al 21 April God I love this song. Ben Smith, I think the song is more a homage to the folk-rock of the Mamas and Papas. This Beatles song was recorded eight months before California Dreaming was released. In early the Mamas and the Papas were rehearsing in the Virgin Islands and did not even have a record contract at that time. Anyone have any background on this? Amazing song, and another great vocal from John.
I always love the way he could be so intense, but also show great use of dynamics to change things up. So many other examples of how John mixed up his delivery during a song, but this is one of my absolute favorites! First of all, this is an amazing site. I have to nitpick on this song though.
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- Lettera alla tua famiglia (SAGGI ITALIANI) (Italian Edition);
Is there really technically a key change? It ends back in E.
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When I think key changes, I think of what Barry Manilow, to use the most obvious example, loves to do: To me, those are key changes. Thanks for pointing it out! Joe, I think it is fair to talk about a key change, and the great Alan Pollack agrees: In fact, there are no indigenous chords common between the two keys. After that, yes, it goes back to the home key.
- Jungle Momma!
- Letters to Lucretia.
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Ah, OK, thanks for the re-correction! I know Penny Lane has one of those Manilow-style changes. They certainly used it sparingly. I had no idea that this was co-written by Lennon and McCartney.