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Emmylou Harris Till I Gain Control Again Other Recordings of This Song

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1966 vocal past the Beatles

1966 song by the Beatles

"Here, There and Everywhere"
Here there and everywhere.jpg

Cover of the Northern Songs sheet music
Song past the Beatles
from the album Revolver
Released 5 Baronial 1966
Recorded xiv June 1966
Studio EMI, London
Genre Soft rock,[i] pop,[2] acoustic pop[3]
Length 2:25
Label Parlophone
Songwriter(s) Lennon–McCartney
Producer(s) George Martin

"Here, There and Everywhere" is a song by the English rock band the Beatles from their 1966 album Revolver. A love carol, it was written by Paul McCartney[4] [5] and credited to Lennon–McCartney. McCartney includes it amidst his personal favourites of the songs he has written.[iv] In 2000, Mojo ranked information technology quaternary in the magazine's listing of the greatest songs of all fourth dimension.[half-dozen]

The Beatles recorded "Here, There and Everywhere" in June 1966, towards the end of the sessions for Revolver. Having recently attended a listening party for the Beach Boys' Pet Sounds anthology, McCartney drew inspiration from Brian Wilson'southward vocal "God Only Knows".

Inspiration and background [edit]

When discussing his vocal "Here, There and Everywhere", Paul McCartney has frequently cited Brian Wilson'south "God Just Knows" as his primary source of inspiration.[7] The latter rail appeared on the Beach Boys' 1966 album Pet Sounds [viii] [9] and was itself inspired past Wilson repeatedly listening to the Beatles' Prophylactic Soul album.[10] On 17 May 1966, the day afterwards the new Beach Boys album had been released in America, McCartney and John Lennon attended a private listening party for Pet Sounds held at London's Waldorf Hotel.[11]

In 1990, McCartney told Embankment Boys biographer David Leaf that it was "just the introduction that's influenced [by the Beach Boys]", referring to the harmonies he and Lennon devised for the opening lines of "Here, There and Everywhere". McCartney added that, with this style of introduction, they wanted to capture the "old-fashioned" thought of a preamble to the vocal.[12]

McCartney began writing "Here, At that place and Everywhere" at Lennon's house in Weybridge, in early June,[12] while waiting for Lennon to wake upward. McCartney recalled: "I sabbatum out past the pool on ane of the sun chairs with my guitar and started strumming in Due east. And before long [I] had a few chords, and I think by the time he'd woken upwards, I had pretty much written the vocal, so we took information technology indoors and finished it upward."[xiii]

Musical structure [edit]

Author Kenneth Womack describes "Here, At that place and Everywhere" as a romantic ballad "most living in the here and at present" and "fully experiencing the conscious moment".[xiv] The poetry is based on an ascending major chord sequence, while the middle eight (beingness 4 bars in fact), which modulates to the relative major of the tonic – if it had been small-scale, creates a telling dissimilarity. The introduction showtime "To pb a ameliorate life" opens in the key of 1000 and involves a I–iii– ♭ III–ii–V7 chord progression. The ♭ III (B ♭ chord) on "I need my honey to be here" (arpeggiated in the tune line) is a dissonant substitute for the more anticipated VI (Due east7) that would normally lead to the ii (Am) chord.[fifteen] Music critic Richie Unterberger considers that this "dramatic opening [lyric]" contains "an well-nigh philosophical undertone of humility, acknowledging that the singer needs his woman not just to be happy, simply also to be a meliorate person".[16]

The verse opens strongly anchored on "Hither" in the key of 1000 (with simultaneous I (Thou chord) and tune G note) and moves equally predictably to a I–ii–iii–IV chord shift (Thou–Am–Bm–C) through "making each twenty-four hour period of the year".[17] This repeats on "Changing my life with a wave"; but immediately after (in bar 5) the song indeed changes on "of her hand". It goes down six semitones from the 4 (C chord) to a seven (F ♯ chiliad) [adding a non-G scale C#] then a V-of-half-dozen (B7) chord [adding a non-G calibration D ♯ ] which briefly modulates towards a new tonic Due east minor. McCartney more often than not sings a B note ("of her paw") over both F ♯ chiliad, where it is the eleventh, and the B7, where it is the tonic. When the sequence is repeated ("nobody can"), McCartney sings both B and C ♮ over the F ♯ m, the C natural producing a tritone.[18]

The harmonic fascination with the span segment showtime "I want her everywhere" is that at that bespeak the central centre does go "everywhere". It shifts via an F7 chord (a ♭ Seven in the old K central and a V7 in the new B ♭ fundamental) to a I–vi–2 (B ♭ –Gm–Cm) chord progression in B ♭ major. Information technology and so shifts once again via a D7 chord (a Threevii in the sometime B ♭ fundamental and a Vvii in the new Gm fundamental) to One thousand minor where we go through a i–iv (Gm–Cm chord) progression. Finally the pivot of Dvii takes us back to the Chiliad major tonic and reinforcing G melody annotation of "Everywhere".[19]

Rolling Stone has noted: "The tune's chord sequence bears Brian Wilson's influence, ambling through three related keys without always fully settling into one, and the modulations – particularly the one on the line 'irresolute my life with a moving ridge of her manus' – deftly underscore the lyrics, inspired by McCartney'due south girlfriend, actress Jane Asher."[thirteen]

Recording [edit]

The Beatles recorded "Here, In that location and Everywhere" towards the end of the sessions for their 1966 album Revolver.[20] The band worked on the vocal at Abbey Road Studios over three session dates – on 14, 16 and 17 June.[21] Before carrying out overdubs, they taped xiii takes before achieving a satisfactory basic track.[22]

The recording is noted for its layered backing vocals,[one] which McCartney, Lennon and George Harrison spent much of the iii days attempting to perfect. McCartney mentioned in the 1989 radio serial McCartney on McCartney that the vocals were meant to have a Beach Boys sound; he has as well said that he was trying to sing it in the style of Marianne Faithfull.[23] McCartney's lead vocal on the recording is multi-tracked.[24] In his book Revolution in the Head, Ian MacDonald also comments on Harrison's pb guitar part being given a mandolin-like tone via a Leslie speaker outcome, before it adopts a "horn-like timbre" for the song's ending.[21]

Release and reception [edit]

"Here, There and Everywhere" was released in August 1966 equally the 5th rails on Revolver, sequenced between Harrison's Indian-styled "Love Y'all To", and the children'due south song "Xanthous Submarine".[25] Writing of its positioning in the running order, music critic Tim Riley says that "Hither, At that place and Everywhere" "domesticates" the "eroticisms" of "Love You To", and he praises the composition as "the most perfect vocal" that McCartney had always written.[26] In his review for AllMusic, Richie Unterberger describes "Here, There and Everywhere" every bit one of its writer'south "outstanding contribution[s]" to the genre of "love ballads", and a vocal with "the sound of an instant standard". Unterberger comments on the recording: "The delicacy of the execution is exquisite, the sensual imagery more than explicit, the sense of desire and fulfillment tangible."[sixteen]

Less impressed, Ian MacDonald admired the "ingenuity of the music", merely concluded that "for all its soft-focus charm, the song's overall event is chintzy and rather cloying."[21] In his affiliate on Revolver in the book The Album, James Perone describes "Here, At that place and Everywhere" as a "mid 1960s love ballad that could find its way into the set list for bands at a senior prom" and a rails that to some listeners appears "syrupy and mushy".[27] Chris Coplan of Event of Sound pairs it with "Got to Get You into My Life" as songs that are "seemingly out of identify" on Revolver amid the overtly psychedelic and experimental music that typifies the album.[28]

In his authorised biography, Many Years from Now, McCartney names "Here, There and Everywhere" as ane of his personal favourites.[4] Beatles producer George Martin also highlighted it amongst his favourite McCartney songs. Lennon reportedly told McCartney that "Hither, In that location and Everywhere" was "the best tune" on Revolver. In a 1980 interview for Playboy mag, Lennon described it equally "i of my favourite songs of the Beatles".[5]

In 2000, Mojo placed "Here, There and Everywhere" at number 4 on its list of the greatest songs of all fourth dimension.[6] In April 2004, Rolling Stone ranked it 25th out of the "100 Greatest Beatles Songs".[thirteen] Art Garfunkel has cited this as his all-fourth dimension favourite popular song.

McCartney re-recorded the vocal for his 1984 soundtrack album Give My Regards to Wide Street and besides performed it for MTV in 1991, released on Unplugged (The Official Bootleg).

Cover versions [edit]

Unterberger highlights Emmylou Harris amidst the notable artists who have recorded "Here, In that location and Everywhere". Harris' version became a small-scale hit in 1976, reaching number 65 on the Billboard Hot 100 and number xiii on the Adult Contemporary chart in the Usa.[16] Other noted performers of the song include Beegie Adair,[29] Dirt Aiken, David Benoit, George Benson,[29] Gina Jeffreys on Old Paint, Peter Breinholt, Petula Clark, Perry Como, Count Basie Orchestra,[29] Darren Day, John Denver, Romina Ability, Céline Dion (for a George Martin/Beatles tribute album),[29] Arik Einstein, Episode 6, Matt Monro, Jose Feliciano (instrumental),[29] The Fourmost, Jerry Garcia and Merl Saunders (instrumental),[thirty] Bobbie Gentry, Stéphane Grappelli,[29] Ofra Harnoy,[29] The Flying Pickets, Jay and the Americans, The Lettermen, Locksley, Kenny Loggins (on Kenny Loggins Alive),[29] Claudine Longet, John McDermott, Carmen McRae,[29] Olivia Ong, Maaya Sakamoto, George Shearing,[29] The Singers Unlimited, Sissel, Göran Söllscher,[29] Marina Verenikina, Jose Mari Chan, Camilo Sesto, John Williams (instrumental),[31] Andy Williams, David Gilmour, Umberto Tozzi and Boulou Ferré (on Cascade Django, instrumental). Frank Ocean interpolated its lyrics on his 2016 anthology Blonde, for which Lennon–McCartney received a writing credit.

Bruce Welch of The Shadows claimed in his autobiography that McCartney offered the tune to Shadows lead guitarist Hank Marvin before the Beatles' recording.[32] Marvin somewhen released an instrumental version of the song on his 2007 album Guitar Man.

In popular civilization [edit]

In the TV series Friends, this song is played on steel drums when Phoebe Buffay walks down the aisle during her wedding. It was the second time a vocal written by McCartney was used in a wedding sequence in the series, the first being "My Honey" when Chandler and Monica married.

Gary Sparrow sings the song at the piano in an episode of Goodnight Sweetheart.

Geoff Emerick, who engineered many of the Beatles' recordings, used the title of the vocal for his 2006 memoir Here, There, and Everywhere: My Life Recording the Music of The Beatles.

Personnel [edit]

Co-ordinate to Ian MacDonald:[24]

  • Paul McCartney – double-tracked lead vocals, rhythm guitar,[22] [33] bass, finger-snaps
  • John Lennon – backing vocals, finger-snaps
  • George Harrison – lead guitar, bankroll vocals, finger-snaps
  • Ringo Starr – drums, finger-snaps

References [edit]

  1. ^ a b Pollack 1994.
  2. ^ Moorefield 2005.
  3. ^ Williams, Stereo (five August 2016). "The Beatles' 'Revolver' Turns 50: A Psychedelic Masterpiece That Rewrote the Rules of Rock". The Daily Beast . Retrieved thirteen May 2021.
  4. ^ a b c Miles 1997, pp. 285–86.
  5. ^ a b Sheff 2000, p. 179.
  6. ^ a b "Mojo lists". Rocklistmusic. Retrieved 21 August 2011.
  7. ^ Rodriguez 2012, p. 78.
  8. ^ MacDonald 1998, pp. 186, 380.
  9. ^ Fletcher, Tony (2000). Dear Male child. United States: Autobus Press. ISBN978-one-84449-807-nine . Retrieved 8 May 2013.
  10. ^ Van Luling, Todd (17 May 2016). "The Embankment Boys Finally Ostend Those Legends Well-nigh 'Pet Sounds'". HuffPost.
  11. ^ Rodriguez 2012, pp. 77–78.
  12. ^ a b Turner 2016, p. 312.
  13. ^ a b c "100 Greatest Beatles Songs: 25 – 'Hither, At that place and Everywhere'". Rolling Stone . Retrieved nineteen March 2015.
  14. ^ Womack 2007, p. 140.
  15. ^ Pedler 2003, pp. 449–450.
  16. ^ a b c Unterbeger, Richie. "The Beatles 'Here, At that place and Everywhere'". AllMusic. Retrieved 19 March 2015.
  17. ^ Pedler 2003, pp. 80–81.
  18. ^ Pedler 2003, pp. 81–82.
  19. ^ Pedler 2003, p. 356.
  20. ^ Everett 1999, pp. 59–60.
  21. ^ a b c MacDonald 1998, p. 186.
  22. ^ a b Rodriguez 2012, p. 145.
  23. ^ Miles 1997, pp. 285–286.
  24. ^ a b MacDonald 2005, p. 210.
  25. ^ Miles 2001, pp. 237–38.
  26. ^ Riley 1988, p. 187.
  27. ^ Perone 2012, p. 85.
  28. ^ Coplan, Chris (20 September 2009). "Album Review: The Beatles – Revolver [Remastered]". Effect of Sound . Retrieved 24 February 2019.
  29. ^ a b c d east f k h i j one thousand "Here, There, and Everywhere". Cover Together. 2009. Retrieved 10 October 2009.
  30. ^ "Jerry Garcia and Merl Saunders – Saturday, May five, 1973". The Jerry Site. Archived from the original on 17 July 2011. Retrieved 21 August 2011.
  31. ^ Classic Guitar Greatest Hits CD
  32. ^ Welch 1989.
  33. ^ Everett 1999, p. sixty.

Bibliography [edit]

  • Everett, Walter (1999). The Beatles as Musicians: Revolver Through the Anthology. New York, NY: Oxford Academy Press. ISBN978-0-19-512941-0.
  • MacDonald, Ian (1998). Revolution in the Caput: The Beatles' Records and the Sixties. London: Pimlico. ISBN978-0-7126-6697-8.
  • MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (2d Revised ed.). London: Pimlico (Rand). ISBNane-84413-828-3.
  • Miles, Barry (1997). Paul McCartney: Many Years From At present. New York: Henry Holt and Company. ISBN0-8050-5249-six.
  • Miles, Barry (2001). The Beatles Diary Book one: The Beatles Years. London: Omnibus Press. ISBN0-7119-8308-9.
  • Moorefield, Virgil (2005). The producer as composer: shaping the sounds of popular music. MIT Press. p. 35. ISBN0-262-13457-8.
  • Pedler, Dominic (2003). The Songwriting Secrets of the Beatles. New York: Music Sales Limited. Charabanc Press.
  • Perone, James E. (2012). The Anthology: A Guide to Popular Music'south Most Provocative, Influential, and Important Creations. Santa Barbara, CA: Praeger. ISBN978-0-313-37906-two.
  • Pollack, Alan W. (1994). Notes on 'Here, In that location, And Everywhere' .
  • Rodriguez, Robert (2012). Revolver: How the Beatles Reimagined Rock 'n' Roll. Milwaukee, WI: Backbeat Books. ISBN978-ane-61713-009-0.
  • Riley, Tim (1988). Tell Me Why: The Beatles: Anthology By Anthology, Song By Vocal, The Sixties And After. Alfred A. Knopf. ISBN978-0-394-55061-9.
  • Sheff, David (2000). All We Are Saying: The Terminal Major Interview with John Lennon and Yoko Ono. New York: St. Martin'southward Press. ISBN0-312-25464-four.
  • Turner, Steve (2016). Beatles '66: The Revolutionary Twelvemonth. New York, NY: HarperLuxe. ISBN978-0-06-249713-0.
  • Welch, Bruce (1989). A Life in the Shadows. Viking Books.
  • Womack, Kenneth (2007). Long and Winding Roads: The Evolving Artistry of the Beatles. Continuum. ISBN978-0-8264-1746-6.

External links [edit]

  • Handwritten lyrics of Hither, At that place and Everywhere by Paul McCartney at the British Library
  • Alan W. Pollack's Notes on "Here There and Everywhere"
  • Sissel'south cover of "Here, There And Everywhere"
  • The Beatles – Here, There and Everywhere on YouTube

lavalleythersellse.blogspot.com

Source: https://en.wikipedia.org/wiki/Here,_There_and_Everywhere

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