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The Beatles - Think For Yourself - Guitar Cover - Bass Cover - Drum Cover
Think for Yourself was recorded on 8 November 1965, and released as the fifth track of Rubber Soul on 3 December 1965. Written by George Harrison, it features Paul playing a Rickenbacker bass, possibly for the first time on a Beatles song. He would go on to use this instrument extensively on future Beatles recordings. On this song, the bass was initially recorded regularly and then an overdub was done through a fuzz box to make a slightly more melodic lead line over the song. The Beatles had previously considered using a fuzz box on guitar as early as 1963 on She Loves You, but it had been vetoed by the studio at the time.
Paul McCartney - Bass Guitar (1964 Rickenbacker 4001S)
John Lennon – Organ (Hammond RT-3)
George Harrison - Lead Guitar (1961 Sonic Blue Fender Stratocaster)
Ringo Starr - Drums (1964 Ludwig Super Classic Black Oyster Pearl), maracas, tambourine
(I'd highly recommend reading Dave Rybaczewski's History on this song. http://www.beatlesebooks.com/think-for-yourself )
On a first listen, Paul’s fuzz bass part might appear to be playing the same as the bass in the left channel, but closer inspection reveals that the fuzz bass part builds off of the foundation set by the bass part of the backing track, with a few parts being played more like a lead guitar line. Notably, the descending line near the beginning of the verse is an octave higher on the fuzz bass, which is something they would do again with multiple bass parts on the White Album on songs like Everybody’s Got Something To Hide Except Me And My Monkey, and While My Guitar Gently Weeps.
Here's the song request list: https://docs.google.com/document/d/1SvfYU4gYdzPSDHx5Uum_aj5eQWAhJ0jvs-9p0iiugSY/edit Feel free to comment your song requests, and ask any questions you have about chords or notes. Thanks for watching!
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https://www.youtube.com/watch?v=JnJbC3Y3VNo
Paul McCartney - Bass Guitar (1964 Rickenbacker 4001S)
John Lennon – Organ (Hammond RT-3)
George Harrison - Lead Guitar (1961 Sonic Blue Fender Stratocaster)
Ringo Starr - Drums (1964 Ludwig Super Classic Black Oyster Pearl), maracas, tambourine
(I'd highly recommend reading Dave Rybaczewski's History on this song. http://www.beatlesebooks.com/think-for-yourself )
On a first listen, Paul’s fuzz bass part might appear to be playing the same as the bass in the left channel, but closer inspection reveals that the fuzz bass part builds off of the foundation set by the bass part of the backing track, with a few parts being played more like a lead guitar line. Notably, the descending line near the beginning of the verse is an octave higher on the fuzz bass, which is something they would do again with multiple bass parts on the White Album on songs like Everybody’s Got Something To Hide Except Me And My Monkey, and While My Guitar Gently Weeps.
Here's the song request list: https://docs.google.com/document/d/1SvfYU4gYdzPSDHx5Uum_aj5eQWAhJ0jvs-9p0iiugSY/edit Feel free to comment your song requests, and ask any questions you have about chords or notes. Thanks for watching!
...
https://www.youtube.com/watch?v=JnJbC3Y3VNo
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the-byrds-renaissance-fair-guitar-and
Renaissance Fair was the fourth track on the Byrds’ fourth album, Younger Than Yesterday, released on 6 February 1967, and then released again as the B-side to My Back Pages on 13 March 1967 (which reached #30 on the Billboard Hot 100). This song features Jay Migliori on saxophone (who actually played baritone saxophone, bass clarinet, bass saxophone, clarinet, and flute on the Beach Boys' Pet Sounds less than a year before)
Written by Roger McGuinn and David Crosby, the song supposedly reflects the “Renaissance Pleasure Faire of Southern California, begun in 1963 and at the time occurring in Glen Helen Regional Park, just north of San Bernardino in the Spring and Fall of each year.”
This article gives some interesting information on the song. http://psychedmaster.org/Renaissance%20Fair.html
For this video I’ve tried to add just the vocals and trumpet back in and a little of the drums in the background. The saxophone pairs very well with Roger’s Rickenbacker, making it not entirely noticeable on first listen.
David Crosby most likely plays on his Gretsch Country Gentleman, and uses a capo on the second fret. He plays a very fascinating riff which is performed by making the chord 222477, and occasionally lifting your little finger off of the high e string. The low E and D strings are not played. This riff paired with the Rickenbacker and saxophone combo really fits into the half Ravi Shankar/ half John Coltrane area that the Byrds were interested in at the time.
But the person who really shines on this song is Chris Hillman on bass, having recently started playing in a style reminiscent of Paul McCartney on the Beatles’ album Revolver which was released four months prior to this being recorded. This is probably my favorite Byrds’ bassline, and it took much longer to figure out than the other parts, as Chris makes improvisational variation on each verse.
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https://www.youtube.com/watch?v=r4gYpAHzCgs
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the-byrds-it-s-no-use-guitar-cover
This song is the 9th track off of the Byrds first album, Mr. Tambourine Man, recorded in early 1965, and released on 21 June 1965. It was one of the five tracks of the album which was written by members of the Byrds, and one of two of those that included Roger McGuinn and not just penned by Gene Clark, the other being You Won't Have To Cry.
This song is unique in having the lead guitar part played on a 6 string. This was not always the case however. If you listen to the Preflyte Sessions, there are two recordings of It's No Use recorded somewhere in mid to late 1964. At this point the main riff was played on the Rickenbacker 12 string and the solo portion was skipped over.
When recording at Columbia for their first album, the Byrds first created a version similar to the released version, but different in that the solo was played on the basic track. By now the main riff is being played on the Gretsch Tennessean, but most likely by Roger McGuinn. The playing style on the Rickenbacker certainly admits this, because it's one of the few songs without the banjo fingerpicking style on the 12 string, implying David Crosby (Or possibly even Gene Clark) is playing this instrument. Finally the version on the album is a bit different, and the sound of the guitar on the solo is a bit different. My theory is that the basic track was recorded without the solo, with McGuinn on the Gretsch Tennessean using the Bridge pickup, and then changed to the middle pickup to overdub the solo afterward.
If you need more proof that the guitars were swapped, listen to the playing style on the Byrds' song Have You Seen Her Face. We know that McGuinn is playing Crosby's Gretsch Country Gentleman on this song, and the playing style is very similar to the lead on It's No Use.
I've panned the main Gretsch to the left, the Rickenbacker to the right, and the Gretsch solo in the middle.
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https://www.youtube.com/watch?v=ajSBrEge4jY
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the-hollies-it-s-only-make-believe
This song is the eleventh track off of the Hollies first album, Stay With The Hollies, recorded on 29 October 1963. It’s an interesting choice being a Conway Twitty cover from 1958, and it’s the slowest moving song of their first album, with a tasteful guitar solo by Tony.
Since the last time I recorded a song off of Stay With The Hollies, I’ve realized Tony most likely used his Fender Jazzmaster on the whole album rather than the Cherry Gibson ES-345 he would start using soon after. (In this song Tony is using the bridge pickup.)
The stereo of the song has the guitar more on the right, so I panned the song more to the left, putting my guitar on the right on top of Tony’s.
The current request list is as follows:
The Byrds - So You Want To Be A Rock 'N' Roll Star
The Hollies - Crusader
The Beatles - She Said She Said
...
https://www.youtube.com/watch?v=2tW70DhvYXs
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the-hollies-away-away-away-guitar-cover
Away Away Away was recorded on 5 September and 5 October 1967, and was released as the 2nd track of the Hollies' seventh album Butterfly in November 1967.
Tony's guitar is sort of a support instrument to fill in the mids on this song, and it's pretty low in the mix. (Based on TV performances from around this time, he probably played a Les Paul or Rickenbacker 360.) Bernie's bass is a bit more prominent on the song, and there are a few memorable moments in his playing. (I used my new Bass VI for this to match the tone closer, as Bernie probably used his Fender Jazz Bass. I'm currently waiting on flatwound strings to put on it, and I'll also be switching the pickguard to mint green.)
I recorded the Guild and Bass VI through a Vox AC30CC2X with an SE Electronics 2200aII condenser mic.
Here's the song request list: https://docs.google.com/document/d/1SvfYU4gYdzPSDHx5Uum_aj5eQWAhJ0jvs-9p0iiugSY/edit?usp=sharing
Feel free to comment your song requests, and ask any questions you have about chords or notes. Thanks for watching!
...
https://www.youtube.com/watch?v=AV_9ajfdWfQ
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the-hollies-suspicious-look-in-your-eyes
Suspicious Look In Your Eyes was recorded on 16 August 1966. It was one of the first songs completed for the Hollies' For Certain Because album (except Don't Even Think About Changing which was unused from a year earlier), released on 9 December 1966.
Tony is likely using his Vox Phantom XII here, and the choppy rhythm guitar is likely either the Vox New Escort Graham uses on Beat Club on 28 May 1966 (which was a knock off of a Telecaster) or the black or sunburst Gibson Les Paul which they had at least by February 1967. It seems like Tony virtually replaced his Gibson ES-345 with the Les Paul for a year or two starting around this time.
The way the rhythms of the two guitars and the bass interact on this song is very interesting, and as usual the three part harmony here is phenomenal, especially with the "bop...bop" backing vocals matching the rhythm guitar.
Also of note is that the lyrics for this song show a more mature outlook than a lot of their contemporaries and previous Hollies material, and the sentiment behind them is very nice.
I put a bit of compression on the guitars for this one.
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https://www.youtube.com/watch?v=Yz5Z0eBarHs
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the-byrds-set-you-free-this-time-guitar
The Gene Clark original, Set You Free This Time was recorded on 16 September 1965, to be included as track 3 of the Byrds’ second album, Turn! Turn! Turn! released on 6 December 1965. The song was then chosen as one of the album’s singles and was released on 10 January 1966, with the B-side It Won’t Be Wrong. It only reached #79 on the Billboard Hot 100, and CBS Records re-released the recorded with It Won’t Be Wrong as the A-side, which then made it to #63. I wonder how much this contributed to Gene Clark departure from the band in early 1966.
It’s well crafted lyrically, harmonically, and texturally. David Crosby’s part on the Gretsch Tennessean is fun to play and fits well with the rhythm. Roger McGuinn’s twelve string remains prominent, while also having a nice ambient quality. Gene Clark also plays an acoustic guitar on the song, which is very low in the mix.
I put the acoustic in the center, the Gretsch on the left, and the Rickenbacker on the right. I put the vocals a bit higher than the song in the background.
The current request list is as follows:
The Beatles - She Said She Said
The Beatles – A Hard Day’s Night
The Zombies – She Does Everything For Me
The Zombies – You Make Me Feel Good
...
https://www.youtube.com/watch?v=j587gQ-KgTA
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the-byrds-the-world-turns-all-around-her
Gene Clark's composition, The World Turns All Around Her, was one of the first songs to be recorded for the Turn! Turn! Turn! album, recorded on either August 23rd or August 28th of 1965, and it was released as the sixth track of their second album on 6 December 1965. (3 days after Rubber Soul was released.) There is also an alternate version with bongos. Gene Clark's writing really shines on this song.
It's impressive to me how diverse this song sounds in its different sections despite being only 5 chords, switching back and forth between the keys of G major and D major.
David Crosby's playing on the Gretsch Tennessean is a little odd at times, with his somewhat spastic strumming moments on the Asus2 in the second and third verses.
The complementary nature of Roger McGuinn's Rickenbacker alongside the Tennessean is a clever element in the song, with McGuinn often going to an Asus4 or Dsus4 while Crosby plays an Asus2 or Dsus2, respectively.
I played the guitars through my Vox AC30CC2X on this one.
Here's the song request list: https://docs.google.com/document/d/1SvfYU4gYdzPSDHx5Uum_aj5eQWAhJ0jvs-9p0iiugSY/edit?usp=sharing
Feel free to comment your song requests, and ask any questions you have about chords or notes. Thanks for watching!
...
https://www.youtube.com/watch?v=4mkWMJ-fxT4
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the-beatles-ticket-to-ride-full-band
“Ticket to Ride” was the first song recorded during the sessions for the Beatles fifth album, Help! It was recorded on February 15th, 1965, and was released on April 9th with the three part harmony B-side “Yes It Is”. This song provides an indication of an important new shift in the Beatles career. Following the joyous upbeat 1964 singles of “Can’t Buy Me Love”, “A Hard Day’s Night”, and “I Feel Fine”, with their respective B-sides of “You Can’t Do That”, “Things We Said Today”, and “She’s a Woman”, “Ticket To Ride” showcases a departure from these quick aggressive songs to a very melancholy and sad drama of events exemplified both in the lyrics and instrumentation. “Ticket To Ride” is monumental as a maturity of the Beatles in the studio with multiple overdubbed guitars, tambourine and handclaps. It is arguably the first Beatles song to feature Paul on guitar as well, (There is some dispute as to who plays the acoustic guitar on “I’ll Follow The Sun”), but at the very least it’s certainly the first Beatles song to feature John, Paul and George all on guitar.
John would later call “Ticket To Ride” the first heavy metal record.
Harmonically the song matches it’s lyrics in being filled with longing and ambiguity. We start with a droning A chord, an A in the Bass and a droning A note on Harrison’s overdubbed Strat. The swirling riff on the Rickenbacker 12-string indicates that we are either in the key of A or E but we’re not sure which, since there is a B in the riff. The melody reinforces this by using both D and G notes. D on “go” (from “gonna”), “think”, “to” (from “today”) and G on “girl” which really creates tension. Once the chord finally changes to Bm on “away”, we must be in the key of A. Once we think we’re safe and stable in this key, the hook of the song presents itself to us on “Ride” the second time John says “She’s got a Ticket To Ri---i---ide” which is over a Gmaj7 chord, not in the keys of E or A. We are now centered around the key of D (or the parallel minor of B minor, which is the chord John is playing simultaneously on the rhythm guitar part), with a D in the bass. Up until the Gmaj7 we can sense a partial hopefulness in the melody, which can be especially felt if we swap out the Gmaj7 for an E major. As soon as the Gmaj7 hits us and all the instruments fade away, we are presented with a strong feeling of loss.
A very notable part of the song is that it speeds up for the fade out and at this point all of the instruments are playing at once along with John and Paul singing in falsetto, creating quite a collage of sound compared to their previous releases. This is something that would be built upon in the following year.
It is the one song on the US album which uses the duophonic “fake stereo” created from the mono mix.
Personnel on the Basic Track:
Paul on bass,
George on Rickenbacker 360/12,
John on either Sonic Blue Strat or Rickenbacker 325 (I believe it’s the Strat)
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https://www.youtube.com/watch?v=XDln2TBIOBk
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the-byrds-she-don-t-care-about-time
This song was the B-side to the Byrds Turn! Turn! Turn!, recorded June 6th, and released on October 29, of 1965. It was written by Gene Clark.
The guitar solo is taken from Bach's "Jesu, Joy of Man's Desiring". Chris Hillman also recently recorded this song again on his new album, Bidin My Time.
Roger obviously plays the Rickenbacker 360-12 using his signature banjo rolls, which I've tried to replicate. I assume David Crosby plays his Gretsch Tennessean on this song.
I put the 12-string more on the left and the Gretsch more on the right.
Feel free to ask any question you have about chords or notes or anything, and thanks for watching!
...
https://www.youtube.com/watch?v=ezk63JYJ0sM
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