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"Any Time at All" is a song by the English rock band the Beatles. Credited to the Lennon–McCartney partnership, it was mainly composed by John Lennon, with an instrumental middle eight by Paul McCartney. [2] It first appeared on the Beatles' A Hard Day's Night album.
"You Can't Do That" was recorded on Tuesday, 25 February 1964, in EMI Studios in London. [11] An early take with a guide vocal is included on Anthology 1. [12] It was the first song completed in the week before the Beatles began filming A Hard Day's Night, though "I Should Have Known Better" and "And I Love Her" were also started on the same day.
The opening guitar solo is followed by the chorus in the key of C major, shifting between V (G on "Bungalow") and iv (Fm on "what did you"). [7] What follows is a relative minor bridge starting with Am (on "He went out") then shifting to ♭ VI (F on "elephant") and ♭ VII (G on "gun").
The guitar is called a Rickenbacker 325 1996. Lennon used the guitar for the shows until the other 325 was repaired. In 1968 during the recording of The Beatles, drummer Ringo Starr left the group during tensions and when he returned, Lennon gave the Rickenbacker 325 1996 to Starr. He has had it ever since.
Among musicologists discussing "It's All Too Much", Walter Everett describes it as a two-chord composition, [4] whereas Alan Pollack contends that the song's sole chord is G major, although he concedes that transcribers may well list fleeting changes to C major over the choruses. In Pollack's opinion, these sections appear to employ IV (C major ...
The Beatles recorded "We Can Work It Out" at EMI Studios (later Abbey Road Studios) in London on 20 October 1965, [10] during the sessions for their Rubber Soul album. Along with Lennon's " Day Tripper ", the song was earmarked for a non-album single that would accompany the release of the new LP. [ 11 ]
George Harrison wrote "I Want to Tell You" in the early part of 1966, the year in which his songwriting matured in terms of subject matter and productivity. [2] As a secondary composer to John Lennon and Paul McCartney in the Beatles, [3] Harrison began to establish his own musical identity through his absorption in Indian culture, [4] [5] as well as the perspective he gained through his ...
Although he considers that McCartney "comes off third-string" to Lennon and Harrison, Plagenhoef defends the album's subtle mood; highlighting the influence of cannabis on the Beatles throughout 1965, he writes: "With its patient pace and languid tones, Rubber Soul is an altogether much more mellow record than anything the Beatles had done ...