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829:". The album was a commercial and critical success, although initially some reviewers in the UK were confused by the band's more mature approach. The release also marked the start of a period when other artists, in an attempt to emulate the Beatles' achievement, sought to create albums as works of artistic merit, with a consistently high standard of original compositions and with increasingly novel sounds. Among the albums influenced by
750:, instructed the studio engineers to set up a second, ambient microphone and tape the Beatles as they rehearsed and recorded their vocal parts for the track. The tapes captured the three vocalists – Harrison, Lennon and McCartney – engaging in humorous banter and often unable to remember their parts. As a rare record of the group at work in the studio, the "Think for Yourself" rehearsal tape has invited comparison with the Beatles'
580:", as Harrison appears to be ending a relationship, possibly with a lover. The lyrics adopt an accusatory stance from the opening line: "I've got a word or two to say about the things that you do." Author Ian Inglis describes the song as "a withering attack" in which "Harrison's blunt 'I left you far behind' and Dylan's curt 'It's not my problem' could be spoken by the same voice." Harrison also incorporates Dylan-esque
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211:. The song's lyrics advocate independent thinking and reflect the Beatles' move towards more sophisticated concepts in their writing at this stage of their career. The song has invited interpretation as both a political statement and a love song, as Harrison dismisses a lover or friend in a tone that some commentators liken to
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as his favourite
Beatles album. As well as highlighting the group's marijuana consumption throughout this period, he attributed the album's success to their "suddenly hearing sounds that we weren't able to hear before", adding: "we were being more influenced by other people's music and everything was
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ranked "Think for
Yourself" at number 75 in its list of the "100 Greatest Beatles Songs". The magazine's editors wrote that while the Beatles created the track in obvious haste and under the influence of marijuana, these conditions worked to the song's advantage, lending it "an unchained, garage-band
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scholar, the lyrics express the view that their relationship is based on a false reality, whereby the individual is submerged within the bounds of the relationship. In the final verse, Harrison urges his partner to "try thinking more", confident that she too will come to see the emptiness in her life
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was initially "unsettling" for many
American teenagers, since: "Instead of cheerleading for love, the album's songs held cryptic messages about thinking for yourself, the hypnotic power of women, something called 'getting high' and bedding down with the opposite sex. Clearly, growing up wasn't going
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serves as a lead guitar line throughout the song and marked the first time that a bass guitar had been recorded using a fuzzbox device, as opposed to manipulating equipment to achieve a distorted sound. The group overdubbed their harmony vocals during a lighthearted session that was also intended to
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recalls little about the inspiration behind "Think for
Yourself". He said that his intention was to target narrow-minded thinking and identified the British government as a possible source. Partly as a result of the vagueness of his comments, the song has invited interpretation as both a political
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Pedler similarly writes that, while the song appears to defy formal compositional logic, "it is the combination of this musical uncertainty with the lyrical theme that subconsciously makes perfect sense." He considers this overlapping of major and minor harmony and restless root movement to be an
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In his review of the song for AllMusic, Thomas Ward deems it one of
Harrison's weakest compositions. He says that the track offers "a very dated, rather patronising lyric and rather bland melody", although he also recognises "an ingenious chord sequence and, typically, a great introduction". Alex
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George
Harrison's spiritual investigations would soon initiate an entire genre of songwriting. "Think For Yourself" was the first sign that he had a voice of his own, every bit as cynical as Lennon's about the trappings of everyday life, but holding out the study of the mind and the universe as a
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to provide an element of contrast in their songs, Harrison's composition ensures that the two modes are "blended", so creating a form that is "neither quite really Major nor minor". In the description of musicologist
Dominic Pedler, while G major appears to be the central key, the song's musical
591:, contemporary listeners most likely interpreted it as a love song, given the limited perception afforded the work of pop artists. As a result, Gould includes the composition among "a new genre of 'anti-love' songs", a style that was inaugurated by Dylan in 1964 and later developed by
556:". He adds that, such is the ambiguity throughout, "its tonal quality forms the perfect conspirator with the text's and the rhythm's hesitations and unexpected turns." Pollack also views the composition as musically adventurous; he identifies it as a "curious stylistic hybrid" in the
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feel". Dominic Pedler cites "Think for
Yourself" as an example of the extent to which Harrison contributed to the Beatles' legacy as writers of pioneering, original melodies. He recognises the song as "harmonically outrageous" and "a maverick blueprint for left-field pop-rock".
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In his analysis of "Think for
Yourself", Alan Pollack comments on the possibility that the song is ill-served by this sequencing. He says that the track engenders a different reaction when heard after McCartney's "You Won't See Me", rather than "Nowhere
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finds the song underrated and "less ingratiating but more incisive" than "If I Needed
Someone". While he considers that the group's performance could have been improved on, MacDonald admires the "real fervour" in McCartney's vocal over the choruses.
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323:, Dylan's work inspired the Beatles, and particularly Harrison, as a nascent songwriter, to address more sophisticated concepts than the standard love song. In addition, since March that year, Harrison's outlook had been transformed by his and
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choices. While adhering to this particular interpretation of "Think for Yourself", Decker says that "Harrison and the Beatles have thus raised the stakes from the naïve idealism of hand-holding" that typified love songs of the period.
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McCartney's riff-dominated part serves the role of a lead guitar throughout the track. The inclusion of fuzz bass, and its layering beside a standard bass part, typified the Beatles' willingness to experiment with sound on
617:') in Harrison's existential philosophy, later to be adumbrated by Eastern religion and thought, about the mind-numbingly automatic and insensate manner in which human beings undertake their lives in the workaday world".
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Fuzz bass had been approximated – that is, achieved without a formal effects unit – on recordings since the mid 1950s. In those instances, bassists removed a tube from their amplifier to give their playing an overdriven
726:. Inglis comments that, in its dialogue with Harrison's vocal lines, the "growling" fuzz bass contributes to the song's "persistent mood of menace", while Gould describes the effect as "the snarls of an enraged
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described the song as "acerbic" and empathetic with the confused sexual politics of "Norwegian Wood". She recognised Harrison's "assertion of independent-mindedness" as a forerunner to Lennon's 1968 song
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Unterberger regrets that the Beatles did not attempt to play more of their material from the 1965–66 era in concert before deciding to quit touring in late 1966. He identifies "Think for Yourself" and "
904:. He introduced the lyrics with a statement on the Beatles' impact: "Freedom to have a good time, to boogie, they showed, was a practical possibility for the average human. I'm glad I got the message."
634:, at which point they were under pressure to meet the deadline for completing the album. Recording for the song, which had a working title of "Won't Be There With You", took place at EMI Studios (now
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said that "Think for Yourself" was among the album's best tracks and also admired its "double tempo" sections and "good chugging maraca beat". Michael Lydon, who interviewed Lennon and McCartney for
860:, Allen Evans interpreted the song's message as "advice to someone who's going off the rails to think for himself and rectify things", and he admired the track's "good tempo and vocal sound".
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that emerged in 1965, in which artists railed against "oppressive conformity itself" rather than political issues. He views it as one of the musical statements that, informed by mass media,
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magazine, Harrison said that LSD "just opened up this whole other consciousness … It changed me, and there was no way back to what I was before." He added, referring to the pressures of
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writes that, with its vitriolic tone and an "edge" that was unfamiliar in the Beatles' work, "Think for Yourself" was "somewhat startling" to many listeners. In his album review for the
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The unusual chord progression is an example of the Beatles' use of chords for added harmonic expression, a device that Harrison adopted from Lennon's approach to melody. Musicologist
966:, with the fuzz bass providing "just the right guttural cynicism", yet he says the song lacks the "melodic sonorities and layered texture" that distinguishes the guitarist's other
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review panel opined: "Nice song but a feeling hereabouts that there's a sameness about some of the melody-construction ideas. Maybe we'll lose it later on …" While recognising
638:) in London on 8 November 1965. The group achieved a satisfactory basic track in one take, with a line-up comprising two electric guitars, bass guitar and drums. Lennon also
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331:; in a 1987 interview, he said that the drug had revealed to him the futility of the band's widespread fame. Author George Case groups "Think for Yourself" with two
349:" – as examples of how the band's focus had progressed "from excited songs of juvenile love to adult meditations on independence, estrangement and brotherhood". In
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introduction, the structure comprises three combinations of verse and chorus, with the final chorus being repeated in full, followed by what musicologist
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terms a "petit-reprise of the last phrase" to close the song. The chorus sections contrast rhythmically with the verses, providing a more upbeat mood.
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documentary film, made in January 1969. Whereas that film documents a period of acrimony among the band members, the 1965 tape shows them, in author
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highlighted the "wonderful sound effect" created by McCartney's fuzz bass and concluded: "a good, strong, driving beat will keep this one on top."
283:"Think for Yourself" must be about "somebody" from the sound of it – but all this time later, I don't quite recall who … Probably the Government.
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VII rock run in D Aeolian. During the chorus, Pedler continues, the anticipated tonic-identifying V–I (D7–G7) shift is preceded by an unexpected
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974:". Riley adds that "Think for Yourself" merely serves to provide contrast with the Lennon songs either side of it on the album. Conversely,
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movement" through extensive borrowing from the parallel minor key. The G7 chord over the introduction suggests a tonic key of G major and a
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Although Harrison never performed it in concert, "Think for Yourself" was one of the songs he rehearsed before his 1991 Japanese tour with
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animated film. McCartney subsequently incorporated other segments from the "Think for Yourself" rehearsal into his 2000 experimental album
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The excerpt appears in the scene where the Beatles return to Pepperland and awaken the Lord Mayor from the despondency instigated by the
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identifies an air of superiority in Harrison's lyrics. In his description, the song represents "the inaugural entry (with shades of '
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magazine. Kruth describes Shelley's version as "an exhilarating punk anthem" that includes "crunchy guitar chords" in the style of
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1033:" as songs that conveyed the Beatles' new, sophisticated outlook at the time and, decades later, evoked progressive women such as
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magazine, the song "implores listeners to question what they're told and live a more examined, conscious life". Author and critic
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provide material for their 1965 fan-club Christmas disc. A snippet from this session was used in the Beatles' 1968 animated film
678:" on a song. Gould and Everett consider that the Beatles' adoption of this effect was inspired by the Rolling Stones' 1965 hit "
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699:
674:. The recording of a bass through a fuzzbox was unprecedented at the time, as was the inclusion of both a standard bass and "
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Rock, Counterculture and the Avant-Garde, 1966-1970 - How the Beatles, Frank Zappa and the Velvet Underground Defined an Era
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799:. In 1995, a mix of the song featuring only vocals was among several tracks that were in the running for inclusion on the
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According to Beatles biographer Jonathan Gould, despite Harrison having envisaged "Think for Yourself" as a form of
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laudatory feature on the Beatles in early 1966, quoted the song's chorus in the conclusion to his 1972 article for
702:– a 1962 recording that, after the distorted lead guitar sound had been created accidentally in the studio, led to
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246:. In a departure from convention, the track includes two bass guitar parts – one standard and one played through a
1005:, as the first track to show how "this album is truly the champion of making bitterness sound cheerful." In 2010,
760:'s description, "clearly joy in one another's company". Once the vocals had been recorded successfully, and then
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The verse contains a variety of chord changes that contribute to the song-wide ambiguity in key and musical mode.
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was the Beatles' "departure record", written and recorded during a period when, largely through the influence of
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595:. When read as a farewell to a romantic partner, according to James Decker, an English literature academic and
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III in G major) followed by a C chord (IV in G major) creates further ambiguity, since these chords hint at a
1074:, "chronicled and propelled a social reformation as the old world forged its uneasy synthesis with the new".
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Everett, Walter (2006). "Painting Their Room in a Colorful Way". In Womack, Kenneth; Davis, Todd F. (eds.).
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in his reference to "opaque" minds and in the line "the good things that we can have if we close our eyes".
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had spent time socialising in May 1965, in London, and then in mid August, following the band's concert at
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Typical of the group's sound on the album, the song's arrangement includes three-part harmonies sung in
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singing – repeating the line "And you've got time to rectify" – was used in the soundtrack of the
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Contrary to Martin's hopes, nothing from the rehearsal tape was deemed suitable for the Beatles'
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on 3 December 1965 in Britain, with "Think for Yourself" sequenced as the fifth track, between "
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The Beatles recorded "Think for Yourself" in November 1965, towards the end of the sessions for
4059:: 1000 Days That Shook the World (The Psychedelic Beatles – April 1, 1965 to December 26, 1967)
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would remain "fresh" for another 50 years. Also writing in December 2015, Emily Mackay of the
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The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962–1970
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361:, "We were expanding in all areas of our lives, opening up to a lot of different attitudes."
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views both tracks as evidence that Harrison was "developing into a fine songwriter" on
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791:. A fifteen-minute edit of the full tape became available unofficially in 1991 on the
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1458:"The Beatles Songs: 'Think For Yourself' – The history of this classic Beatles song"
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is a combination of G major and G minor. Pollack comments that whereas Lennon and
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Tell Me Why – The Beatles: Album by Album, Song by Song, the Sixties and After
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Lydon, Michael (9 July 1972). "The Beatles & Me: An Era Dribbles On ...".
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The Beatles recorded "Think for Yourself" towards the end of the sessions for
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This Bird Has Flown – A 40th Anniversary Tribute to the Beatles' Rubber Soul
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The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes"'
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This Bird Has Flown – A 40th Anniversary Tribute to the Beatles' Rubber Soul
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Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four
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The Love There That's Sleeping: The Art and Spirituality of George Harrison
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Fab Four FAQ: Everything Left to Know About the Beatles ... and More!
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considers the track to be "a step beyond" Harrison's two contributions on
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described "Think for Yourself" as "cool but fierce". He grouped it with "
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as another example of the Beatles "setting trends in this world of pop",
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to overdub the fuzz bass, which effectively serves as a lead guitar part.
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224:
109:
3138:"'Rubber Soul' Is 50: A Reappraisal of the Beatles' Coming of Age Album"
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McCartney overdubbed an additional bass part, which he played through a
4068:
Way Beyond Compare: The Beatles' Recorded Legacy, Volume One, 1962–1965
3733:
This Bird Has Flown: The Enduring Beauty of Rubber Soul, Fifty Years On
2382:"50 Years of 'Rubber Soul': How the Beatles Invented the Future of Pop"
4129:(2009). "The Beatles as Recording Artists". In Womack, Kenneth (ed.).
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Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings
3259:
1045:. He said that the same three songs were statements that ensured that
223:, the composition has been recognised as adventurous in the degree of
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intriguing characteristic of Harrison's songwriting as far back as "
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a more precise tone than he had been able to achieve with his usual
4457:
3342:
Beatles Gear: All the Fab Four's Instruments, from Stage to Studio
3110:"The Beatles' Rubber Soul is 50: and it's still ahead of its time"
1249:", but the Beatles had never used it on their released recordings.
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901:
775:. In 1968, six seconds' worth of Harrison, Lennon and McCartney's
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The song's message recalls that of Dylan's September 1965 single "
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it should settle? What is the key centre, and the mode? The whole
3673:
Mystical One: George Harrison – After the Break-up of the Beatles
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album, as songs that "would have worked well in a live setting".
319:
in New York. Just as their songs had encouraged Dylan to embrace
2267:"500 Greatest Albums of All Time: 5. The Beatles, 'Rubber Soul'"
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film in 1999, a new mix of the song was issued on the Beatles'
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commentary and a statement on a failing personal relationship.
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1204:: "And we still had to continue being fab, you know. Now with
907:"Think for Yourself" was one of the seven Beatles tracks that
856:
475:, in which the chord represents iv. The immediate shift to a B
328:
2768:
RM Disc Jury (4 December 1965). "It's Rubber Soul Time ...".
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Long and Winding Roads: The Evolving Artistry of the Beatles
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Revolution in the Head: The Beatles' Records and the Sixties
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The Beatles as Musicians: The Quarry Men Through Rubber Soul
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This Bird Has Flown: 40th Anniversary Tribute to Rubber Soul
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203:", marked the start of his emergence as a songwriter beside
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The Beatles: Paperback Writer - 40 Years of Classic Writing
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While My Guitar Gently Weeps: The Music of George Harrison
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and the transformation of pop". In Womack, Kenneth (ed.).
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Full lyrics for the song at the Beatles' official website
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A Hard Day's Write: The Stories Behind Every Beatles Song
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Out of Our Heads: Rock 'n' Roll Before the Drugs Wore Off
2007:
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2003:
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1999:
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describes the composition as "a tour de force of altered
3802:(2nd rev. ed.). Chicago, IL: Chicago Review Press.
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A Day in the Life: The Music and Artistry of the Beatles
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The Beatles as Musicians: Revolver Through the Anthology
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The Beatles Diary Volume 2: After the Break-Up 1970–2001
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DeCurtis, Anthony (5 November 1987). "George Harrison".
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1081:", along with some of the guitar-based tracks on their
471:, and the subsequent change to D minor then suggests A
3072:"100 Greatest Beatles Songs: 75. 'Think for Yourself'"
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Simmons, Michael (November 2011). "Cry for a Shadow".
3991:(2nd ed.). New York, NY: Carlton/HarperCollins.
3591:
All the Songs: The Story Behind Every Beatles Release
2924:"A New 'Yellow Submarine Songtrack' Due in September"
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839:, which included fuzz-toned bass parts on the songs "
261:. The song has also appeared on the 1976 compilation
1103:. They also contributed a recording of the track to
718:, a solid-body guitar that gave his bass playing on
463:, yet the verse opens with A minor, the ii chord in
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3819:
Eight Arms to Hold You: The Solo Beatles Compendium
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Can't Buy Me Love: The Beatles, Britain and America
2790:Eden (1 January 1966). "The Lowdown on the British
2662:"Villains and Heroes: In Defense of the Beach Boys"
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effect since 1963, beginning with the session for "
805:compilation album but were ultimately passed over.
690:had been a key element. However, Harrison credited
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3903:Revolver: How the Beatles Reimagined Rock 'n' Roll
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3515:. Albany, NY: State University of New York Press.
3382:
3315:
3589:Guesdon, Jean-Michel; Margotin, Philippe (2013).
1953:"The Coolest Beatles Songs You Might Have Missed"
1091:have performed "Think for Yourself", featuring a
199:, the band's lead guitarist, and, together with "
3555:. Jackson, MS: University Press of Mississippi.
2733:Evans, Allen (3 December 1965). "Beatles Tops".
1451:
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1447:
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1021:on the 50th anniversary of the album's release,
378:and is set to a moderate rock beat. After a two-
3445:Decker, James M. (2009). "'Try Thinking More':
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1241:Harrison had experimented with the Gibson-made
1139:According to Ian MacDonald except where noted:
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528:
281:
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900:, in which he reflected on the passing of the
4176:
4133:. Cambridge, UK: Cambridge University Press.
4109:The Beatles Encyclopedia: Everything Fab Four
3841:The Beatles Diary Volume 1: The Beatles Years
3453:. Cambridge, UK: Cambridge University Press.
3282:"Mojo 2012" > "MOJO Issue 224 / July 2012"
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8:
1743:"Dusting 'Em Off: The Beatles – Rubber Soul"
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1734:
1683:. London: Music Sales. 1977. pp. 43–45.
991:, a view echoed by author Robert Rodriguez.
327:'s experiences with the hallucinogenic drug
3969:. New York, NY: Little, Brown and Company.
3593:. New York, NY: Black Dog & Leventhal.
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3711:1965: The Most Revolutionary Year in Music
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2343:
2314:
1698:
1696:
1694:
1692:
1690:
1117:, a CD issued with the July 2012 issue of
1060:1965: The Most Revolutionary Year in Music
20:
4552:Song recordings produced by George Martin
3943:. New York, NY: Oxford University Press.
3534:. New York, NY: Oxford University Press.
3496:. New York, NY: Oxford University Press.
3475:. New York, NY: Oxford University Press.
3070:Rolling Stone staff (19 September 2011).
2989:
2692:
2635:
2563:
2165:
1824:
1768:
1584:
1293:, so that "Think for Yourself" followed "
1285:For the North American release, however,
4030:The Unreleased Beatles: Music & Film
3920:Shea, Stuart; Rodriguez, Robert (2007).
2827:
2611:
2539:
2228:
2011:
1923:
1410:
746:completed at this time, their producer,
742:. Since the band also had to have their
653:
530:Where is the music going? Where does it
3173:
3161:
2950:
2503:
2355:
2326:
2290:
2153:
2102:
1990:
1887:
1836:
1812:
1548:
1434:
1349:
1187:
1001:describes it as a "vital" inclusion on
911:included on the 1976 compilation album
235:and through its suggestion of multiple
50:
39:
35:Cover of the Northern Songs sheet music
4131:The Cambridge Companion to the Beatles
3860:The Songwriting Secrets of the Beatles
3821:. Chesterfield, MO: 44.1 Productions.
3692:The Words and Music of George Harrison
3615:. San Francisco, CA: Chronicle Books.
3451:The Cambridge Companion to the Beatles
3389:. San Francisco, CA: Chronicle Books.
3095:
2909:
2897:
2885:
2851:
2647:
2623:
2599:
2587:
2515:
2461:
2302:
2252:
2216:
2087:
1978:
1938:
1911:
1848:
1800:
1783:
1524:
1422:
730:, snapping and striking at its lead".
424:
4479:Sgt. Pepper's Lonely Hearts Club Band
4032:. San Francisco, CA: Backbeat Books.
3941:101 Albums That Changed Popular Music
3817:Madinger, Chip; Easter, Mark (2000).
3344:. San Francisco, CA: Backbeat Books.
3212:
2974:
2962:
2839:
2707:"The Beatles' 'Rubber Soul' Turns 50"
2575:
2551:
2527:
2446:
2422:
2240:
2204:
2141:
2126:
2023:
1899:
1863:
1725:
1666:
1630:
1560:
1536:
686:, fuzz-tone sound of the lead guitar
185:" is a song by the English rock band
7:
4223:Norwegian Wood (This Bird Has Flown)
4070:. New York, NY: Three Rivers Press.
3713:. New York, NY: Thomas Dunne Books.
2063:
2040:
1875:
1642:
1572:
1503:
1306:Writing in December 2015, historian
642:a keyboard part, played on either a
4008:Beatles '66: The Revolutionary Year
2265:Rolling Stone staff (31 May 2012).
931:Retrospective assessment and legacy
706:'s invention of the first fuzzbox.
543:– Musicologist Dominic Pedler, 2003
307:The song reflects the influence of
3675:. Toronto, ON: Guernica Editions.
3046:"The Beatles 'Think for Yourself'"
2757:. London: IPC Ignite!. p. 34.
2380:Sheffield, Rob (3 December 2015).
764:, Starr overdubbed tambourine and
603:In the opinion of Steve LaBate of
14:
4557:Songs published by Northern Songs
3905:. Milwaukee, WI: Backbeat Books.
3735:. Milwaukee, WI: Backbeat Books.
3408:. Milwaukee, WI: Backbeat Books.
3136:Mackay, Emily (7 December 2015).
2660:Sculatti, Gene (September 1968).
1951:LaBate, Steve (5 December 2008).
4547:Songs written by George Harrison
3886:. Cambridge, MA: Da Capo Press.
3552:The Beatles: Image and the Media
3258:. Mojo Cover CDs. Archived from
3108:Stanley, Bob (3 December 2015).
700:Bob B. Soxx & the Blue Jeans
425:Problems playing this file? See
407:
29:
4111:. Santa Barbara, CA: ABC-CLIO.
2922:White, Timothy (19 June 1999).
2750:Sutherland, Steve, ed. (2003).
2705:Myers, Marc (2 December 2015).
2670:. teachrock.org. Archived from
1705:"Notes on 'Think For Yourself'"
1146:– lead vocal, lead guitar
374:"Think for Yourself" has a 4/4
335:compositions from the Beatles'
250:. Performed by McCartney, this
4054:: Stretching the Boundaries".
3754:. Milwaukee, WI: Hal Leonard.
3709:Jackson, Andrew Grant (2015).
3694:. Santa Barbara, CA: Praeger.
3656:. Milwaukee, WI: Hal Leonard.
2817:. 4 December 1965. p. 12.
744:annual fan club Christmas disc
1:
4567:The Beatles' Yellow Submarine
3924:. New York, NY: Hal Leonard.
3549:Frontani, Michael R. (2007).
3256:"Yellow Submarine Resurfaces"
1741:Young, Alex (24 April 2010).
1363:. Plexus Publishing Limited.
1166:– harmony vocal, bass,
797:Unsurpassed Masters, Volume 7
680:(I Can't Get No) Satisfaction
4057:Mojo Special Limited Edition
4010:. New York, NY: HarperLuxe.
1129:All Day and All of the Night
1070:and the introduction of the
646:organ or an electric piano.
227:ambiguity it employs across
4092:. New York, NY: Continuum.
3671:Huntley, Elliot J. (2006).
3322:. New York, NY: Continuum.
2190:Guesdon & Margotin 2013
2076:Guesdon & Margotin 2013
1492:Guesdon & Margotin 2013
1194:In the same interview, for
1175:– drums, tambourine,
1115:Yellow Submarine Resurfaces
1089:Yonder Mountain String Band
956:Among Beatles biographers,
914:The Best of George Harrison
564:-inflected motifs within a
447:premise involves permanent
293:In his 1980 autobiography,
264:The Best of George Harrison
4583:
3965:The Beatles: The Biography
3901:Rodriguez, Robert (2012).
3225:Erlewine, Stephen Thomas.
3198:Madinger & Easter 2000
2370:, pp. 136–38, 169–70.
1263:blossoming at that time …"
1095:arrangement that includes
924:Yellow Submarine Songtrack
538:is to think for yourself!
277:Background and inspiration
270:Yellow Submarine Songtrack
4417:
4387:The Beatles' 1965 UK tour
3862:. London: Omnibus Press.
3843:. London: Omnibus Press.
3652:Howard, David N. (2004).
3363:. London: Omnibus Press.
3032:Shea & Rodriguez 2007
2115:Shea & Rodriguez 2007
1703:Pollack, Alan W. (1993).
1390:. McFarland. p. 20.
902:1960s cultural revolution
28:
4107:Womack, Kenneth (2014).
3858:Pedler, Dominic (2003).
3776:. London: Bounty Books.
3570:Gould, Jonathan (2007).
3530:Everett, Walter (2009).
3490:Everett, Walter (2001).
2876:(subscription required).
2780:(subscription required).
833:was the Rolling Stones'
451:ambiguity and "restless
16:1965 song by the Beatles
4382:The Beatles discography
4290:I'm Looking Through You
2712:The Wall Street Journal
2478:Liverpool Sound Collage
2329:, pp. 310, 312–13.
1575:, pp. 16, 18, 134.
1289:altered the content of
788:Liverpool Sound Collage
670:effect unit known as a
353:'s later recollection,
343:I'm Looking Through You
288:– George Harrison, 1979
4562:British pop rock songs
4066:Winn, John C. (2008).
4006:Turner, Steve (2016).
3359:Badman, Keith (2001).
2219:, pp. 92, 96, 98.
1679:"Think for Yourself".
1384:Greene, Doyle (2016).
940:
845:Mother's Little Helper
663:
540:
465:Roman numeral analysis
396:
285:
189:from their 1965 album
3939:Smith, Chris (2009).
3637:. London: Pan Books.
3430:. London: Sanctuary.
3404:Case, George (2010).
3385:The Beatles Anthology
3002:Unterberger, Richie.
1587:, pp. 51, 54–55.
1258:Harrison later cited
1158:Vox Continental organ
1113:covered the song for
809:Release and reception
773:1965 Christmas record
657:
578:Positively 4th Street
395:
217:Positively 4th Street
4486:Magical Mystery Tour
3750:Leng, Simon (2006).
3690:Inglis, Ian (2010).
3312:Allison, Dale C. Jr.
2437:, pp. 194, 197.
2358:, pp. 331, 411.
2090:, pp. 173, 182.
2078:, pp. 288, 289.
1866:, pp. 164, 165.
1748:Consequence of Sound
1728:, pp. 162, 171.
1633:, pp. 317, 615.
1357:Evans, Mike (2014).
1068:hallucinogenic drugs
1058:". In his 2015 book
998:Consequence of Sound
724:Höfner "violin bass"
521:that undermines its
403:"Think for Yourself"
195:. It was written by
24:"Think for Yourself"
4393:Yesterday and Today
4311:If I Needed Someone
4026:Unterberger, Richie
3574:. London: Piatkus.
2912:, pp. 65, 150.
2542:, pp. 69, 200.
2474:Ginell, Richard S.
1208:added perspective."
972:If I Needed Someone
714:. McCartney used a
467:, which suggests A
201:If I Needed Someone
4444:A Hard Day's Night
4423:The Beatles albums
4347:We Can Work It Out
4244:Think for Yourself
3098:, pp. 662–63.
2854:, pp. 194–95.
2392:on 5 December 2015
2243:, pp. 35, 47.
2129:, pp. 165–66.
1707:. soundscapes.info
1563:, pp. 33, 34.
1539:, pp. 195–96.
1456:Fontenot, Robert.
1072:contraceptive pill
981:Richie Unterberger
716:Rickenbacker 4001S
694:'s production of "
664:
660:Rickenbacker 4001S
636:Abbey Road Studios
593:the Rolling Stones
568:-based framework.
560:genre, comprising
397:
183:Think for Yourself
4542:The Beatles songs
4524:
4523:
4327:
4326:
4318:Run for Your Life
4140:978-0-521-68976-2
4118:978-0-313-39171-2
4099:978-0-8264-1746-6
4077:978-0-3074-5239-9
4048:Williams, Richard
4039:978-0-87930-892-6
4017:978-0-06-249713-0
3950:978-0-19-537371-4
3931:978-1-4234-2138-2
3912:978-1-61713-009-0
3893:978-0-306-81120-3
3869:978-0-7119-8167-6
3809:978-1-55652-733-3
3783:978-0-7537-2545-0
3761:978-1-4234-0609-9
3720:978-1-250-05962-8
3701:978-0-313-37532-3
3622:978-0-8118-5900-4
3600:978-1-57912-952-1
3581:978-0-7499-2988-6
3562:978-1-57806-966-8
3541:978-0-19-531024-5
3460:978-0-521-68976-2
3415:978-0-87930-967-1
3370:978-0-7119-8307-6
3329:978-0-8264-1917-0
3227:"Various Artists
2811:"Mixed Beatles".
2695:, pp. 36–37.
2650:, pp. 68–70.
2602:, pp. 23–24.
2231:, pp. 39–40.
1914:, pp. 81–82.
1620:. pp. 47–48.
1603:. pp. 78–79.
1506:, pp. 18–19.
1243:Maestro Fuzz-Tone
949:The Beatles Diary
696:Zip-a-Dee-Doo-Dah
658:McCartney used a
589:social commentary
412:
179:
178:
4574:
4500:Yellow Submarine
4451:Beatles for Sale
4437:With the Beatles
4430:Please Please Me
4375:Related articles
4332:Non-album single
4230:You Won't See Me
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3667:
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3631:Hertsgaard, Mark
3626:
3609:Harrison, George
3604:
3585:
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3186:Unterberger 2006
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3076:rollingstone.com
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2874:Rock's Backpages
2871:
2867:The Boston Globe
2861:
2855:
2849:
2843:
2837:
2831:
2825:
2819:
2818:
2808:
2802:
2801:
2787:
2781:
2778:Rock's Backpages
2775:
2765:
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2495:
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2492:
2490:
2476:"Paul McCartney
2471:
2465:
2459:
2450:
2444:
2438:
2435:The Beatles 2000
2432:
2426:
2420:
2414:
2411:Unterberger 2006
2408:
2402:
2401:
2399:
2397:
2388:. Archived from
2386:rollingstone.com
2377:
2371:
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2271:rollingstone.com
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2178:The Beatles 2000
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2169:
2168:, p. 178fn.
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1655:The Beatles 2000
1652:
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1464:. Archived from
1462:oldies.about.com
1453:
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1381:
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1295:You Won't See Me
1283:
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952:
919:Yellow Submarine
897:The Boston Globe
893:
868:
782:Yellow Submarine
682:", on which the
544:
519:second inversion
516:
515:
510:
509:
504:
503:
498:
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492:
491:
486:
485:
480:
479:
414:
413:
394:
333:Lennon–McCartney
289:
267:and on the 1999
258:Yellow Submarine
231:major and minor
215:'s 1965 single "
170:
156:
135:
134:
130:
33:
21:
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4573:
4572:
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4370:
4365:12-Bar Original
4352:
4323:
4263:
4196:
4189:
4152:
4147:
4141:
4125:
4119:
4106:
4100:
4086:Womack, Kenneth
4084:
4078:
4065:
4061:. London: Emap.
4046:
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3569:
3563:
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3542:
3529:
3523:
3510:
3504:
3489:
3483:
3469:Everett, Walter
3467:
3461:
3444:
3438:
3428:George Harrison
3422:
3416:
3403:
3397:
3377:
3371:
3358:
3352:
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3330:
3310:
3306:
3301:
3291:
3289:
3280:
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3265:
3263:
3262:on 15 June 2012
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2674:on 14 July 2014
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1591:
1583:
1579:
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1559:
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1547:
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1502:
1498:
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1471:
1469:
1468:on 5 March 2016
1455:
1454:
1441:
1433:
1429:
1421:
1417:
1409:
1405:
1398:
1383:
1382:
1378:
1371:
1356:
1355:
1351:
1347:
1342:
1333:
1329:
1323:
1319:
1310:commented that
1305:
1301:
1287:Capitol Records
1284:
1280:
1271:
1267:
1257:
1253:
1240:
1236:
1230:
1226:
1220:Don't Bother Me
1216:
1212:
1193:
1189:
1185:
1144:George Harrison
1137:
954:
942:
933:
909:Capitol Records
891:
866:
817:label released
811:
758:Mark Hertsgaard
736:
652:
644:Vox Continental
628:
623:
615:Don't Bother Me
574:
546:
542:
513:
512:
507:
506:
501:
500:
495:
494:
489:
488:
483:
482:
477:
476:
432:
431:
423:
421:
420:
419:
418:
415:
408:
405:
398:
392:
372:
367:
301:George Harrison
291:
287:
279:
197:George Harrison
166:
160:George Harrison
152:
132:
128:
127:
119:
83:8 November 1965
75:3 December 1965
52:from the album
36:
17:
12:
11:
5:
4580:
4578:
4570:
4569:
4564:
4559:
4554:
4549:
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4503:
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4454:
4447:
4440:
4433:
4426:
4419:
4418:
4415:
4414:
4412:
4411:
4404:
4396:
4389:
4384:
4378:
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4372:
4371:
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4368:
4360:
4358:
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4314:
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4293:
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4202:
4198:
4197:
4190:
4188:
4187:
4180:
4173:
4165:
4159:
4158:
4151:
4150:External links
4148:
4146:
4145:
4139:
4123:
4117:
4104:
4098:
4082:
4076:
4063:
4044:
4038:
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3911:
3898:
3892:
3874:
3868:
3855:
3849:
3833:
3827:
3814:
3808:
3792:MacDonald, Ian
3788:
3782:
3770:Lewisohn, Mark
3766:
3760:
3747:
3742:978-1617135736
3741:
3725:
3719:
3706:
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3328:
3307:
3305:
3302:
3300:
3299:
3288:. January 2012
3286:mojo4music.com
3273:
3247:
3217:
3215:, p. 169.
3202:
3200:, p. 482.
3190:
3188:, p. 152.
3178:
3176:, p. 283.
3166:
3154:
3128:
3100:
3088:
3062:
3044:Ward, Thomas.
3036:
3034:, p. 163.
3024:
2994:
2992:, p. 178.
2990:MacDonald 2005
2979:
2977:, p. 162.
2967:
2965:, p. 217.
2955:
2953:, p. 279.
2943:
2914:
2902:
2900:, p. 197.
2890:
2888:, p. 148.
2878:
2856:
2844:
2842:, p. 595.
2832:
2830:, p. 122.
2820:
2803:
2782:
2760:
2742:
2725:
2697:
2693:Rodriguez 2012
2685:
2667:Jazz & Pop
2652:
2640:
2636:Rodriguez 2012
2628:
2616:
2604:
2592:
2580:
2578:, p. 219.
2568:
2564:Rodriguez 2012
2556:
2544:
2532:
2530:, p. 215.
2520:
2518:, p. 542.
2508:
2506:, p. 267.
2496:
2466:
2464:, p. 902.
2451:
2449:, p. 167.
2439:
2427:
2415:
2413:, p. 135.
2403:
2372:
2360:
2348:
2346:, p. 136.
2331:
2319:
2317:, p. 155.
2307:
2305:, p. 121.
2295:
2283:
2257:
2245:
2233:
2221:
2209:
2207:, p. 165.
2194:
2192:, p. 289.
2182:
2180:, p. 196.
2170:
2166:MacDonald 2005
2158:
2156:, p. 411.
2146:
2144:, p. 299.
2131:
2119:
2117:, p. 175.
2107:
2092:
2080:
2068:
2066:, p. 374.
2045:
2043:, p. 373.
2028:
2026:, p. 216.
2016:
1995:
1993:, p. 308.
1983:
1981:, p. 119.
1971:
1943:
1928:
1916:
1904:
1902:, p. 300.
1892:
1890:, p. 122.
1880:
1868:
1853:
1851:, p. 665.
1841:
1829:
1827:, p. 207.
1825:MacDonald 2005
1817:
1815:, p. 146.
1805:
1803:, p. 664.
1788:
1786:, p. 663.
1773:
1771:, p. 498.
1769:MacDonald 2005
1761:
1730:
1718:
1686:
1671:
1669:, p. 584.
1659:
1657:, p. 194.
1647:
1635:
1623:
1606:
1589:
1585:Rodriguez 2012
1577:
1565:
1553:
1551:, p. 255.
1541:
1529:
1508:
1496:
1494:, p. 288.
1479:
1439:
1437:, p. 157.
1427:
1415:
1403:
1396:
1376:
1369:
1348:
1346:
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1327:
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1234:
1224:
1210:
1207:
1186:
1184:
1181:
1180:
1179:
1170:
1164:Paul McCartney
1161:
1147:
1136:
1133:
1039:Maureen Cleave
1027:Norwegian Wood
970:composition, "
934:
932:
929:
841:Under My Thumb
810:
807:
762:double-tracked
735:
734:Vocal overdubs
732:
651:
650:Fuzz bass part
648:
627:
624:
622:
619:
611:Kenneth Womack
573:
570:
550:Walter Everett
537:
533:
527:
444:parallel minor
440:Paul McCartney
422:
416:
406:
401:
400:
399:
390:
389:
388:
376:time signature
371:
368:
366:
363:
280:
278:
275:
209:Paul McCartney
177:
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163:
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157:
149:
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137:
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81:
77:
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73:
69:
68:
66:Northern Songs
63:
59:
58:
49:
48:
38:
37:
34:
26:
25:
15:
13:
10:
9:
6:
4:
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2:
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4157:
4154:
4153:
4149:
4142:
4136:
4132:
4128:
4127:Zolten, Jerry
4124:
4120:
4114:
4110:
4105:
4101:
4095:
4091:
4087:
4083:
4079:
4073:
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4049:
4045:
4041:
4035:
4031:
4027:
4023:
4019:
4013:
4009:
4004:
4000:
3998:0-06-273698-1
3994:
3990:
3986:
3985:Turner, Steve
3982:
3978:
3976:1-84513-160-6
3972:
3967:
3966:
3960:
3956:
3952:
3946:
3942:
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3927:
3923:
3918:
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3879:
3875:
3871:
3865:
3861:
3856:
3852:
3850:0-7119-8308-9
3846:
3842:
3838:
3834:
3830:
3828:0-615-11724-4
3824:
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3811:
3805:
3800:
3799:
3793:
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3726:
3722:
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3703:
3697:
3693:
3688:
3684:
3682:1-55071-197-0
3678:
3674:
3669:
3665:
3663:0-634-05560-7
3659:
3655:
3650:
3646:
3644:0-330-33891-9
3640:
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3606:
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3553:
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3543:
3537:
3533:
3528:
3524:
3522:0-7914-6716-3
3518:
3514:
3509:
3505:
3503:0-19-514105-9
3499:
3495:
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3488:
3484:
3482:0-19-512941-5
3478:
3474:
3470:
3466:
3462:
3456:
3452:
3448:
3443:
3439:
3437:1-86074-489-3
3433:
3429:
3425:
3424:Clayson, Alan
3421:
3417:
3411:
3407:
3402:
3398:
3396:0-8118-2684-8
3392:
3387:
3386:
3380:
3376:
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3362:
3357:
3353:
3351:0-87930-731-5
3347:
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3207:
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3199:
3194:
3191:
3187:
3182:
3179:
3175:
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3167:
3164:, p. 90.
3163:
3158:
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3143:
3139:
3132:
3129:
3117:
3116:
3111:
3104:
3101:
3097:
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3063:
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3033:
3028:
3025:
3013:
3009:
3007:
3004:"The Beatles
2998:
2995:
2991:
2986:
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2980:
2976:
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2964:
2959:
2956:
2952:
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2918:
2915:
2911:
2906:
2903:
2899:
2894:
2891:
2887:
2882:
2879:
2875:
2872:Available at
2869:
2868:
2860:
2857:
2853:
2848:
2845:
2841:
2836:
2833:
2829:
2828:Frontani 2007
2824:
2821:
2816:
2815:
2807:
2804:
2800:. p. 15.
2799:
2798:
2793:
2786:
2783:
2779:
2776:Available at
2773:
2772:
2771:Record Mirror
2764:
2761:
2756:
2754:
2753:NME Originals
2746:
2743:
2738:
2737:
2729:
2726:
2714:
2713:
2708:
2701:
2698:
2694:
2689:
2686:
2673:
2669:
2668:
2663:
2656:
2653:
2649:
2644:
2641:
2638:, p. 36.
2637:
2632:
2629:
2626:, p. 64.
2625:
2620:
2617:
2614:, p. 40.
2613:
2612:Williams 2002
2608:
2605:
2601:
2596:
2593:
2590:, p. 47.
2589:
2584:
2581:
2577:
2572:
2569:
2566:, p. 25.
2565:
2560:
2557:
2553:
2548:
2545:
2541:
2540:Lewisohn 2005
2536:
2533:
2529:
2524:
2521:
2517:
2512:
2509:
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2500:
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2332:
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2320:
2316:
2311:
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2304:
2299:
2296:
2293:, p. 80.
2292:
2287:
2284:
2272:
2268:
2261:
2258:
2255:, p. 86.
2254:
2249:
2246:
2242:
2237:
2234:
2230:
2229:Williams 2002
2225:
2222:
2218:
2213:
2210:
2206:
2201:
2199:
2195:
2191:
2186:
2183:
2179:
2174:
2171:
2167:
2162:
2159:
2155:
2150:
2147:
2143:
2138:
2136:
2132:
2128:
2123:
2120:
2116:
2111:
2108:
2105:, p. 33.
2104:
2099:
2097:
2093:
2089:
2084:
2081:
2077:
2072:
2069:
2065:
2060:
2058:
2056:
2054:
2052:
2050:
2046:
2042:
2037:
2035:
2033:
2029:
2025:
2020:
2017:
2014:, p. 67.
2013:
2012:Lewisohn 2005
2008:
2006:
2004:
2002:
2000:
1996:
1992:
1987:
1984:
1980:
1975:
1972:
1960:
1959:
1954:
1947:
1944:
1941:, p. 82.
1940:
1935:
1933:
1929:
1926:, p. 87.
1925:
1924:Harrison 2002
1920:
1917:
1913:
1908:
1905:
1901:
1896:
1893:
1889:
1884:
1881:
1878:, p. 18.
1877:
1872:
1869:
1865:
1860:
1858:
1854:
1850:
1845:
1842:
1839:, p. 19.
1838:
1833:
1830:
1826:
1821:
1818:
1814:
1809:
1806:
1802:
1797:
1795:
1793:
1789:
1785:
1780:
1778:
1774:
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1727:
1722:
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1706:
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1693:
1691:
1687:
1682:
1675:
1672:
1668:
1663:
1660:
1656:
1651:
1648:
1645:, p. 28.
1644:
1639:
1636:
1632:
1627:
1624:
1619:
1618:
1617:Rolling Stone
1610:
1607:
1602:
1601:
1593:
1590:
1586:
1581:
1578:
1574:
1569:
1566:
1562:
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1509:
1505:
1500:
1497:
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1467:
1463:
1459:
1452:
1450:
1448:
1446:
1444:
1440:
1436:
1431:
1428:
1425:, p. 92.
1424:
1419:
1416:
1413:, p. 88.
1412:
1411:Harrison 2002
1407:
1404:
1399:
1397:9781476624037
1393:
1389:
1388:
1380:
1377:
1372:
1370:9780859658966
1366:
1362:
1361:
1353:
1350:
1344:
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1328:
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1313:
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1300:
1296:
1292:
1288:
1282:
1279:
1275:
1269:
1266:
1261:
1255:
1252:
1248:
1247:She Loves You
1244:
1238:
1235:
1228:
1225:
1221:
1214:
1211:
1205:
1203:
1199:
1198:
1197:Rolling Stone
1191:
1188:
1182:
1178:
1174:
1171:
1169:
1165:
1162:
1159:
1155:
1154:harmony vocal
1151:
1148:
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1142:
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1140:
1134:
1132:
1130:
1126:
1122:
1121:
1116:
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1107:
1102:
1098:
1094:
1090:
1086:
1085:
1080:
1075:
1073:
1069:
1065:
1064:protest songs
1061:
1057:
1052:
1048:
1044:
1040:
1036:
1035:Edie Sedgwick
1032:
1028:
1024:
1020:
1019:
1013:
1010:
1009:
1008:Rolling Stone
1004:
1000:
999:
992:
990:
986:
982:
977:
976:Ian MacDonald
973:
969:
965:
964:
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953:
950:
946:
945:Peter Doggett
939:
930:
928:
926:
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916:
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863:Record Mirror
859:
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784:
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749:
748:George Martin
745:
741:
733:
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713:
707:
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579:
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555:
554:scale degrees
551:
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531:
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474:
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237:musical modes
234:
230:
226:
222:
221:musicologists
218:
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210:
206:
202:
198:
194:
193:
188:
184:
175:
174:George Martin
172:
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155:
154:Songwriter(s)
150:
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4470:
4463:
4456:
4449:
4442:
4435:
4428:
4422:
4406:
4399:
4391:
4276:What Goes On
4243:
4216:Drive My Car
4191:
4130:
4108:
4089:
4067:
4055:
4051:
4029:
4007:
3988:
3964:
3940:
3921:
3902:
3882:
3859:
3840:
3837:Miles, Barry
3818:
3797:
3773:
3751:
3732:
3710:
3691:
3672:
3653:
3634:
3612:
3590:
3571:
3551:
3531:
3512:
3492:
3472:
3450:
3446:
3427:
3405:
3384:
3360:
3341:
3338:Babiuk, Andy
3317:
3290:. Retrieved
3276:
3264:. Retrieved
3260:the original
3250:
3238:. Retrieved
3228:
3220:
3193:
3181:
3174:Jackson 2015
3169:
3162:Jackson 2015
3157:
3145:. Retrieved
3131:
3119:. Retrieved
3115:The Guardian
3113:
3103:
3091:
3079:. Retrieved
3065:
3053:. Retrieved
3039:
3027:
3015:. Retrieved
3005:
2997:
2970:
2958:
2951:Huntley 2006
2946:
2934:. Retrieved
2932:. p. 77
2927:
2917:
2905:
2893:
2881:
2865:
2859:
2847:
2835:
2823:
2814:Melody Maker
2812:
2806:
2795:
2791:
2785:
2774:. p. 7.
2769:
2763:
2751:
2745:
2739:. p. 8.
2734:
2728:
2716:. Retrieved
2710:
2700:
2688:
2676:. Retrieved
2672:the original
2665:
2655:
2643:
2631:
2619:
2607:
2595:
2583:
2571:
2559:
2554:, p. 7.
2547:
2535:
2523:
2511:
2504:Huntley 2006
2499:
2487:. Retrieved
2477:
2469:
2442:
2430:
2425:, p. 8.
2418:
2406:
2394:. Retrieved
2390:the original
2375:
2363:
2356:Everett 2001
2351:
2327:Everett 2001
2322:
2310:
2298:
2291:Everett 2006
2286:
2274:. Retrieved
2260:
2248:
2236:
2224:
2212:
2185:
2173:
2161:
2154:Everett 2001
2149:
2122:
2110:
2103:Everett 2009
2083:
2071:
2019:
1991:Everett 2001
1986:
1974:
1962:. Retrieved
1956:
1946:
1919:
1907:
1895:
1888:Clayson 2003
1883:
1871:
1844:
1837:Everett 1999
1832:
1820:
1813:Everett 1999
1808:
1764:
1752:. Retrieved
1746:
1721:
1709:. Retrieved
1680:
1674:
1662:
1650:
1638:
1626:
1615:
1609:
1598:
1592:
1580:
1568:
1556:
1549:Jackson 2015
1544:
1532:
1527:, p. 6.
1499:
1470:. Retrieved
1466:the original
1435:Allison 2006
1430:
1418:
1406:
1386:
1379:
1359:
1352:
1336:Eric Clapton
1330:
1320:
1315:to be easy."
1311:
1302:
1290:
1281:
1274:Blue Meanies
1268:
1259:
1254:
1237:
1227:
1213:
1195:
1190:
1138:
1118:
1114:
1111:Pete Shelley
1104:
1082:
1079:Drive My Car
1076:
1059:
1050:
1046:
1043:Pauline Boty
1018:The Guardian
1016:
1014:
1006:
1002:
996:
993:
988:
967:
961:
955:
948:
941:
936:
922:
918:
912:
906:
895:
886:
882:Melody Maker
880:
874:
870:
861:
855:
849:
834:
830:
818:
812:
800:
796:
795:compilation
786:
780:
770:
751:
737:
719:
711:
708:
692:Phil Spector
665:
631:
629:
604:
602:
597:Henry Miller
586:
575:
547:
541:
529:
473:Aeolian mode
457:musical mode
433:
384:Alan Pollack
373:
370:Musical form
354:
336:
317:Shea Stadium
311:, with whom
306:
294:
292:
286:
282:
268:
262:
256:
243:
241:
190:
182:
180:
53:
18:
4493:The Beatles
4465:Rubber Soul
4400:Nowhere Man
4340:Day Tripper
4237:Nowhere Man
4193:Rubber Soul
4052:Rubber Soul
3729:Kruth, John
3613:I, Me, Mine
3447:Rubber Soul
3379:The Beatles
3096:Pedler 2003
3006:Rubber Soul
2910:Inglis 2010
2898:Badman 2001
2886:Womack 2014
2852:Turner 2016
2792:Rubber Soul
2648:Turner 2016
2624:Howard 2004
2600:Turner 2016
2588:Zolten 2009
2516:Badman 2001
2462:Womack 2014
2303:Womack 2007
2253:Turner 1999
2217:Babiuk 2002
2088:Babiuk 2002
1979:Womack 2007
1939:Decker 2009
1912:Decker 2009
1849:Pedler 2003
1801:Pedler 2003
1784:Pedler 2003
1525:Inglis 2010
1472:21 November
1423:Turner 1999
1312:Rubber Soul
1291:Rubber Soul
1260:Rubber Soul
1202:Beatlemania
1173:Ringo Starr
1150:John Lennon
1047:Rubber Soul
1023:Bob Stanley
1015:Writing in
1003:Rubber Soul
989:Rubber Soul
968:Rubber Soul
871:Rubber Soul
831:Rubber Soul
823:Nowhere Man
819:Rubber Soul
802:Anthology 2
720:Rubber Soul
712:Rubber Soul
672:Tone Bender
632:Rubber Soul
626:Basic track
525:direction.
517:) chord in
469:Dorian mode
436:musical key
434:The song's
365:Composition
355:Rubber Soul
351:Ringo Starr
338:Rubber Soul
325:John Lennon
313:the Beatles
296:I, Me, Mine
244:Rubber Soul
205:John Lennon
192:Rubber Soul
187:the Beatles
168:Producer(s)
55:Rubber Soul
46:the Beatles
4537:1965 songs
4531:Categories
4507:Abbey Road
4297:In My Life
3959:Spitz, Bob
3878:Riley, Tim
3213:Kruth 2015
2975:Riley 2002
2963:Miles 2001
2840:Spitz 2005
2718:9 November
2576:Miles 2001
2552:Kruth 2015
2528:Miles 2001
2447:Kruth 2015
2423:Kruth 2015
2241:Smith 2009
2205:Kruth 2015
2142:Gould 2007
2127:Kruth 2015
2024:Miles 2001
1900:Gould 2007
1864:Kruth 2015
1726:Riley 2002
1667:Spitz 2005
1631:Gould 2007
1561:Smith 2009
1537:Miles 2001
1345:References
1308:Marc Myers
1222:" in 1963.
1056:Revolution
852:John Kruth
815:Parlophone
740:homorhythm
640:overdubbed
582:surrealism
461:Mixolydian
427:media help
321:rock music
146:Parlophone
4514:Let It Be
4050:(2002). "
3880:(2002) .
3772:(2005) .
3611:(2002) .
2929:Billboard
2797:KRLA Beat
2064:Winn 2008
2041:Winn 2008
1876:Leng 2006
1643:Case 2010
1573:Leng 2006
1504:Leng 2006
1168:fuzz bass
1135:Personnel
1125:the Kinks
1109:in 2005.
1093:bluegrass
995:Young of
958:Tim Riley
938:panacea.
876:KRLA Beat
836:Aftermath
777:a capella
753:Let It Be
728:schnauzer
684:distorted
676:fuzz bass
621:Recording
449:tonic key
359:marijuana
341:album – "
309:Bob Dylan
252:fuzz bass
219:". Among
213:Bob Dylan
62:Published
4472:Revolver
4268:Side two
4258:Michelle
4251:The Word
4208:Side one
4088:(2007).
4028:(2006).
3987:(1999).
3961:(2005).
3839:(2001).
3794:(2005).
3731:(2015).
3633:(1996).
3471:(1999).
3426:(2003).
3381:(2000).
3340:(2002).
3314:(2006).
3235:AllMusic
3050:AllMusic
3012:AllMusic
2755:: Lennon
2484:AllMusic
1160:, guitar
1152:–
1101:mandolin
1084:Revolver
985:AllMusic
888:Newsweek
827:The Word
558:pop/rock
514:♭
508:♭
502:♭
496:♭
490:♭
484:♭
478:♭
347:The Word
229:parallel
110:Pop rock
96:, London
80:Recorded
72:Released
4357:Outtake
3304:Sources
3266:20 June
3240:20 June
3142:nme.com
3121:20 June
3081:20 June
3055:20 June
3017:17 June
2936:20 June
2678:20 June
2489:20 June
2396:20 June
2276:20 June
1964:14 June
1754:16 June
1711:19 June
1177:maracas
1029:" and "
927:album.
850:Author
843:" and "
825:" and "
793:bootleg
766:maracas
668:fuzzbox
481:chord (
345:" and "
273:album.
248:fuzzbox
4137:
4115:
4096:
4074:
4036:
4014:
3995:
3973:
3947:
3928:
3909:
3890:
3866:
3847:
3825:
3806:
3780:
3758:
3739:
3717:
3698:
3679:
3660:
3641:
3619:
3597:
3578:
3559:
3538:
3519:
3500:
3479:
3457:
3434:
3412:
3393:
3367:
3348:
3326:
3292:5 July
1394:
1367:
1232:sound.
951:, 2001
892:'s
867:'s
813:EMI's
704:Gibson
698:", by
572:Lyrics
124:Length
89:Studio
4458:Help!
4201:Songs
3147:7 May
2794:LP".
1958:Paste
1325:Man".
1183:Notes
1097:banjo
963:Help!
606:Paste
562:blues
536:point
523:tonal
505:VI (E
459:of G
225:tonal
141:Label
102:Genre
4402:(EP)
4304:Wait
4283:Girl
4135:ISBN
4113:ISBN
4094:ISBN
4072:ISBN
4034:ISBN
4012:ISBN
3993:ISBN
3971:ISBN
3945:ISBN
3926:ISBN
3907:ISBN
3888:ISBN
3864:ISBN
3845:ISBN
3823:ISBN
3804:ISBN
3778:ISBN
3756:ISBN
3737:ISBN
3715:ISBN
3696:ISBN
3677:ISBN
3658:ISBN
3639:ISBN
3617:ISBN
3595:ISBN
3576:ISBN
3557:ISBN
3536:ISBN
3517:ISBN
3498:ISBN
3477:ISBN
3455:ISBN
3432:ISBN
3410:ISBN
3391:ISBN
3365:ISBN
3346:ISBN
3324:ISBN
3294:2021
3268:2017
3242:2017
3149:2018
3123:2017
3083:2017
3057:2017
3019:2017
2938:2017
2720:2019
2680:2017
2491:2017
2398:2017
2278:2017
1966:2017
1756:2017
1713:2017
1600:Mojo
1474:2017
1392:ISBN
1365:ISBN
1206:that
1120:Mojo
1099:and
1041:and
1031:Girl
688:riff
566:folk
532:feel
453:root
233:keys
207:and
115:rock
42:Song
2736:NME
1131:".
1127:' "
1051:NME
983:of
857:NME
847:".
493:VI–
380:bar
329:LSD
94:EMI
44:by
4533::
3284:.
3233:.
3205:^
3140:.
3112:.
3074:.
3048:.
3010:.
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2031:^
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511:/B
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1968:.
1758:.
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131::
129:2
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