John, Paul, George, Ringo, and Epiphone!!!!!!!!!!

[byrds1965]

 

Billybob may have a point here.

 

This situation may be like that of the 'A Hard Day's Night' opening chord which all the books' date=' and even Gary Moore (when talking to George Harrison) got wrong. George always described it as an F with a G on top, or something, meaning that he played a (barred, I think) F chord at the first fret on his 12 string Rickenbacker, and put his little finger on the G note (1st. string 3rd. fret).

 

I think that people kept on getting this chord wrong because there were several instruments playing at the same time there, so giving a different impression. That other chord (C Major 7? Know the fingering, don't know the name) sounds more 'right' than the 'F with a G on top' if you're playing by yourself, but it is, nevertheless, the wrong chord.

 

One of the many things that I find fascinating about the Fabs is that while they may have used many conventional chords, the way they used them, and the melodies and harmonies they created, were totally original. Also, from very early on they strayed from the 3 chord rock song formula - 'If I Fell' has (if memory serves) 12 chords - a mite unusual for 1964.

 

As somebody else said many, many years ago, The Beatles were technically conservative, and artistically revolutionary.

 

GVDV[/quote']

 

I was thinking of the C (A shaped root) barre chord and making a C7 moving it up to 5 makes that a D7 and the easy way to play it.

 

Harrison and Lennon I forgot until now liked the C barre shape. Yes you can play the C barred at the 2nd and get a D. Just a pain to finger. I don't know of any shape that is going to make a D at the 4th fret though. A C barred at the 4th fret is going to make an E.

 

In the opening to Help when they play Help watch Harrison play the D change in Help using the C shape on the 2nd fret. They do a lot of closeups of his hands. I just play it as an open D shape.

 

They seem to have gotten some of the chord shapes they used staight out of the Mel Bay book. They stayed pretty close to the standard shapes all the/for the times.

 

The intro to "If I Fell" sets up a very complex song then changes to more standard regular changes. Had to watch AHDN over and over to figure out what Lennon was doing at the beginning.

[byrds1965]

 

No' date=' D7#9 can be played at 4th fret. See this chord chart:

 

http://jguitar.com/chordsearch/D7%239

 

 

[/quote']

 

I don't know the theory of that one but I guess your right. Like a Abm7 with a A# and an F on top.

[Vic Flick]

 

I have talked to my buddy' date=' the one who does session work, and Tom Hartman though the Google Groups and this has been argued about for years. Hartman is at the end of the Beatles Gear book met them looked into their storage locker at Abbey Road and has owned all the same gear at some point.

 

There are bootlegs with the backing track. The amps are AC100s, John Ric 325, Paul Hofner bass, Harrison his Tennessean Ringo drums. They played the backing track live so there is no doubt Harrison plays the riff and the volume swells during the solo bit as Lennon just slams on the B chord. The riff is overdubbed a second time and the same guitar plays the solo now over the volume swells played by guitar and riff number 1.

 

I would say it is the 345. I don't care what the books say about when he got the guitar it is a HB guitar. This is the loud guitar with some distortion that doubles the riff and I say it is Harrison. Maybe Lennon came up with the riff and the solo, but I would say Harrison played it. Plus the solo does not sound like Lennon no matter what he later said in interviews. Harrison's solo starts on the riff on B in a different voicing then goes to runs and bends. I just don't see Lennon pulling that off in 65. Lennon plays lead on Get Back and is pretty basic stuff plus his The End solo pretty much matches his early style of rhythm based bashing.

 

The loud riff guitar number 2 is not a Casino, J160E, strat, it could be his Country Gent but I would say the ES345. Unless Norman Smith writes a book or the track sheets surface like they did for the Help album which puts the strats on Ticket To Ride thus making the book dates of the strats arrival off by months there is no reason to think Harrison did not get the 345 sooner than the books claim also.[/quote']

 

From The history of this classic Beatles song by Robert Fontenot

 

Day Tripper

Written by: John Lennon (60%), Paul McCartney (40%) (credited as Lennon-McCartney)

Recorded: October 16, 1965 (Studio 2, Abbey Road Studios, London, England)

Mixed: October 25, 1965; November 10, 1966

Length: 2:47

Takes: 3

Musicians: John Lennon: harmony vocals, rhythm guitar (1964 Rickenbacker 325)

Paul McCartney: lead vocals, bass guitar (1961 Hofner 500/1)

George Harrison: harmony vocals, lead guitar (Gibson ES-345)

Ringo Starr: drums (Ludwig), tambourine

First released: December 3, 1965 (UK: Parlophone R5389), December 6, 1965 (US: Capitol 5555) (double a-side with "We Can Work It Out")

Available on: (CDs in bold)

 

* Yesterday and Today, (US: Capitol (S)T 2553)

* The Beatles 1962-1966, (UK: Apple PCSP 717, US: Apple SKBO 3403, Apple CDP 0777 7 97036 2 3)

* Past Masters Volume Two, (Parlophone CDP 7 90044 2)

* The Beatles 1, (Apple CDP 7243 5 299702 2)

 

Highest chart position: 5 (US: December 18, 1965), 1 (UK: five weeks beginning January 28, 1966)

History:

 

* Based on a John guitar riff and vocal pattern and completed by both John and Paul quickly in an attempt to create a matching b-side to the band's latest single. The rushed nature of its completion led John to pronounce himself somewhat dissatisfied with the song in later interviews, but it has stood the test of time with both fans and critics -- indeed, it's the song that, in most minds, marks the beginning of the group's fabled "middle period."

* The song was historically important in other ways, as well: along with "We Can Work It Out," it was the first song released (through not the first recorded) from the historic Rubber Soul sessions.

* The meaning of the song's title has been debated endlessly by fans. Although the Beatles had tried LSD (or tripped) by the time this song was written, the song is not so much about drugs than dilletantism or being a poser. A "day trip," in British parlance, is a short holiday, so the pun "day tripper," in the LSD context, would refer to someone who works only part-time at being cool or hip.

* This single also claims the distinction of being the first "double a-side" single in rock history. 45 rpm records usually featured the potential hit on the a-side, but John argued that "Day Tripper" was the song with the most potential. The compromise reached with Paul's "We Can Work It Out" meant that there would be no designated "b" side, and both songs were eventually counted as Number One singles. (When listing Beatles singles, most discographies designate "We Can Work It Out" as the a-side, but only because it's billed first on the 45 sleeve.)

* This song was completed in one day -- with enough time left over to begin work on "If I Needed Someone."

* It's been confirmed that the phrase "She's a big teaser" was a soundalike stand-in for "She's a prick teaser," a line Lennon knew he couldn't get on the radio.

* There are two different stereo mixes for "Day Tripper"; one by Capitol for inclusion on the Yesterday and Today compilation and one by Parlophone in 1966 for the UK-only compilation A Collection of Beatles Oldies.

* In addition, the mix found on Beatles 1 "fixes" several mistakes in the original stereo mixes: two lead-guitar dropouts during the lines "tried to please her" in the last verse, a right pan of the lead guitar in the intro, and a stray "yeah" from John which appears just before the fade-out begins.

 

Live versions: June 24, 1966 (Circus-Krone-Bau, Munich, Germany), June 25, 1966 (Grugahalle, Essen, Germany), June 26, 1966 (Ernst Merck Halle, Hamburg, Germany), June 30 - July 2, 1966 (Budokan Hall, Tokyo, Japan), July 4, 1966 (Rizal Memorial Football Stadium, Manila, Philippines), August 12, 1966 (International Amphitheatre, Chicago, IL), August 13, 1966 (Olympia Stadium, Detroit, MI), August 14, 1966 (Municipal Stadium, Cleveland, OH), August 15, 1966 (Washington Stadium, Washington, DC), August 16, 1966 (Philadelphia Stadium, Philadelphia, PA), August 17, 1966 (Maple Leaf Gardens, Toronto, Canada), August 18, 1966 (Suffolk Downs Racecourse, Boston, MA), August 19, 1966 (Mid-South Coliseum, Memphis, TN), August 21, 1966 (Crosley Field, Cincinnati, OH), August 21, 1966 (Busch Stadium, St. Louis, MO), August 23, 1966 (Shea Stadium, New York, NY), August 25, 1966 (Seattle Coliseum, Seattle, WA), August 28, 1966 (Dodger Stadium, Los Angeles, CA), August 30, 1966 (Candlestick Park, San Francisco, CA)

Trivia:

 

* In America, the "We Can Work It Out / Day Tripper" single was released on the same day as the Rubber Soul album, although neither song was ever present on that album.

* A short film of the Beatles lip-synching this song was made for promotional purposes and first broadcast, along with a similar lip-synch clip for "Day Tripper," on the Granada Television special "The Music Of Lennon and McCartney," which first aired December 17, 1965 in the UK. Since these performances were not filmed in front of an audience, they can be considered the world's first music videos as we understand the format today.

 

Covered by: Bad Brains, Booker T. and the MGs, Brinsley Schwartz, Cheap Trick, Electric Light Orchestra, Jose Feliciano, The Flamin' Groovies, Jimi Hendrix, Ian Hunter, Julian Lennon, Ramsey Lewis, Lulu, Herbie Mann, Ricky Martin, Sergio Mendes & Brasil '66, Anne Murray, Ocean Colour Scene, Domingo Quinones, Otis Redding, Mongo Santamaria, Sham 69, Nancy Sinatra, Spirit, James Taylor, Type O Negative, Mae West, Whitesnake

[gvdv]

 

I was thinking of the C (A shaped root) barre chord and making a C7 moving it up to 5 makes that a D7 and the easy way to play it.

 

Harrison and Lennon I forgot until now liked the C barre shape. Yes you can play the C barred at the 2nd and get a D. Just a pain to finger. I don't know of any shape that is going to make a D at the 4th fret though. A C barred at the 4th fret is going to make an E.

 

In the opening to Help when they play Help watch Harrison play the D change in Help using the C shape on the 2nd fret. They do a lot of closeups of his hands. I just play it as an open D shape.

 

They seem to have gotten some of the chord shapes they used staight out of the Mel Bay book. They stayed pretty close to the standard shapes all the/for the times.

 

The intro to "If I Fell" sets up a very complex song then changes to more standard regular changes. Had to watch AHDN over and over to figure out what Lennon was doing at the beginning.

 

When I get home I'll grab a guitar and post the chord I usually play for this.

 

Talking of all of this, aren't the major to minor changes of the same chords in 'In My Life' and 'If I Fell' absolutely wonderful? C - Cm, I think in 'In My Life'.

[Billybob Dylan]

* A short film of the Beatles lip-synching this song was made for promotional purposes and first broadcast' date=' along with a similar lip-synch clip for "Day Tripper," on the Granada Television special "The Music Of Lennon and McCartney," which first aired December 17, 1965 in the UK. Since these performances were not filmed in front of an audience, they can be considered the world's first music videos as we understand the format today. [/quote']

I saw them filming that in Chiswick Park when I was but a wee lad. My parents and I also saw them filming a scene from Help!, also in Chiswick, down by the river at the City Barge pub.

[charlie brown]

"We're not going there, we only put it 'round were going there!"

 

CB

[cookieman15061]

Is that where they sang famous Beethoven's famous ninth symphony?

[charlie brown]

"All you have to do is sing Beethoven's "Ode to Joy" from the famous Ninth Symphony,

in D minor!" "Of Course! Why didn't you think of that, you twit!"

 

CB

[cookieman15061]

HA HA HA They were the best I miss em

[charlie brown]

HA HA HA They were the best I miss em

 

Couldn't agree more, cookieman...couldn't agree more!

 

CB

[gvdv]

I saw them filming that in Chiswick Park when I was but a wee lad. My parents and I also saw them filming a scene from Help!' date=' also in Chiswick, down by the river at the City Barge pub.[/quote']

 

To say that I'm jealous would be the understatement of the millenium.

 

By the way, the 'A Hard Day's Night' chord that I talked about in an earlier message being a good 'fake' of George's 'F with a G on top' is barred third fret with fingers on A and G strings at the fifth fret.

[gvdv]

I know that this is going way beyond the subject of Epiphone guitars, but this thread has veered wonderfully all over the place already, so I'll risk asking this.

 

As a preamble to working out the 'One After 909' (rooftop) solo, I wanted to get the chords to the song down. It seems to be fairly straightforward. For the verses B7 - E(7) - B7 - F#7 - B7, and for the chorus E7 - B7 - C#7 - F#7.

 

However, John seems to be playing some of the chords in ways with which I'm not familiar (I'm talking about the performance in the 'Let It Be' film here). For example, he seems to be holding down (or maybe muting) the F# note at the second fret of the low E string when playing the B7 chord. Also, although it sounds mostly right, the fingering he uses for the C#7 seems to not be a straight C7 slid up to the second fret.

 

Can anyone help me with this?

 

Oh, and is what John is playing for the very first, introductory chord something like g string second fret, and b string third fret?

 

thanks

[charlie brown]

Well, I haven't seen the "Let It Be" film in so long...because they won't release it

on DVD...yet! But, what you say sounds plausible. John & George often (as many

rhythm & lead players do) played the same chords in different positions...John in

open positions, George in barre positions, or vica versa....or both in barre positions,

but different areas of the fret board. Also, if he's gripping the B7, his thumb is probably

fretting (not muting) that F#, because is sounds like it's going back and forth, on the

bass strings from B (5th string 2nd fret) to F# (6th String, 2nd fret)...mimicing Paul's

bass line, that way. He could also be doing that back and forth using his middle finger...

 

Forgive me, I'm doing this from memory (with a guitar in my hand)

..so it's largely supposition. As to the C#7...yeah, that's possible, as well. He might

be (again) using his thumb to fret the Ab (6th string, 4th fret) or he may just be fingering

the standard C7, in the second fret position, and muting or not hitting the high or low E

strings.

[Roswell]

They released the film on DVD in Japan awhile back. A friend who was visiting the country picked up a copy for me

[Billybob Dylan]

I saw them filming that in Chiswick Park when I was but a wee lad. My parents and I also saw them filming a scene from Help!' date=' also in Chiswick' date=' down by the river at the City Barge pub.[/quote'']

To say that I'm jealous would be the understatement of the millenium.

It was simply a matter of being in the right place at the right time!

[gvdv]

It was simply a matter of being in the right place at the right time!

 

And I rarely have been. That's part of my point ' alt='default_eusa_clap.gif' alt='=D>'> '>

 

I was living a mile away when the 'Carl Perkins: A Rockabilly Session' took place in the East End (of London), and I knew people who used that complex to record music.

 

I moved back to Canada before George began making appearances again.

 

I was, however, lucky enough to be present at the Live Aid concert, which was special enough in itself, but my main reason for going was because Paul topped the bill (it's a shame that the DVD's have a re-recorded vocal of 'Let It Be' because we in the crowd cheered loudly when the sound was restored to his microphone mid-song; with the re-recorded, audible, vocal, this cheer becomes meaningless and loses context. Why do they insist on overdubbing on live performances???)

[gvdv]

Well' date=' I haven't seen the "Let It Be" film in so long...because they won't release it

on DVD...yet! But, what you say sounds plausible. John & George often (as many

rhythm & lead players do) played the same chords in different positions...John in

open positions, George in barre positions, or vica versa....or both in barre positions,

but different areas of the fret board. Also, if he's gripping the B7, his thumb is probably

fretting (not muting) that F#, because is sounds like it's going back and forth, on the

bass strings from B (5th string 2nd fret) to F# (6th String, 2nd fret)...mimicing Paul's

bass line, that way. He could also be doing that back and forth using his middle finger...

 

Forgive me, I'm doing this from memory (with a guitar in my hand)

..so it's largely supposition. As to the C#7...yeah, that's possible, as well. He might

be (again) using his thumb to fret the Ab (6th string, 4th fret) or he may just be fingering

the standard C7, in the second fret position, and muting or not hitting the high or low E

strings. [/quote']

 

Thanks, CB.

 

I'm slowly getting to grips with that solo. It's a lot of fun.

[gvdv]

They released the film on DVD in Japan awhile back. A friend who was visiting the country picked up a copy for me :-

 

What?!!!

 

Are you sure it's a bona fide release? I'd love to get hold of a copy because my copy suffers from not being colour timed, and (I'm sure in comparison to an official release) having inferior sound quality.

 

Anybody seen this anywhere like ebay or anything?

[charlie brown]

The only thing I get, when I go to any sites that sell DVD's is that it's in "pre-release" status,

and that you can pre-order it, but that's been like that...for over a year, at least. So.....

Don't think they'd release it, in Japan, before England/Europe or the US. But..who knows?!

I'd guess, that when it IS released, it will be at the same time, all over. Of course, that's

just suposition, at this point.

 

CB

[charlie brown]

 

Thanks' date=' CB.

 

I'm slowly getting to grips with that solo. It's a lot of fun.[/quote']

 

Yeah, and I love Lennon's tone with the Casino going into that Twin Reverb!

Growling...and "creamy" at the same time! Casino's are awesome!

 

CB

[Red 333]

The only thing I get' date=' when I go to any sites that sell DVD's is that it's in "pre-release" status,

and that you can pre-order it, but that's been like that...for over a year, at least. So.....

Don't think they'd release it, in Japan, before England/Europe or the US. But..who knows?!

I'd guess, that when it IS released, it will be at the same time, all over. Of course, that's

just suposition, at this point.

 

CB[/quote']

 

Paul and Ringo suppossedly nixed the planned Let It Be release just a couple of weeks ago. Google and you will find the news articles.

[charlie brown]

 

Paul and Ringo suppossedly nixed the planned Let It Be release just a couple of weeks ago. Google and you will find the news articles.

 

Well, I did just that...and there's an article mentioning what you've said...but, there's another one,

where an "Apple" official, has debunked that. He says there ARE plans to release it, just not right

at this time. He said the idea that Paul and Ringo nixed the release is completely untrue. This article

was dated Aug 4, 2008. So...there's still hope, boys and girls! I mean...why NOT release it, we all

know what happened, and the "Rooftop Concert" alone...would be worth the price. Especially if it

is remixed, and "in synch!" Can you imagine...that would be SO awesome!!!

 

CB

[JefferySmith]

After reading a few Beatles bios (well, about 6-7 of them), the Beatles seemed so fragmented at the time of the Let It Be session, I'm almost afraid to watch it. Apparently nothing was worse than the White Album recording period (fortunately, those sessions are only in memories, not film).

[charlie brown]

After reading a few Beatles bios (well' date=' about 6-7 of them), the Beatles seemed so fragmented at the time of the Let It Be session, I'm almost afraid to watch it. Apparently nothing was worse than the White Album recording period (fortunately, those sessions are only in memories, not film). [/quote']

 

Well, I remember going to see "Let It Be," in the theater..when it was first released.

It was an interesting experience, on several levels (for me, anyway). One, any film

about "my boys," was always appreciated. Two, it was a never before seen, inside

look, at what took place while they recorded. It wasn't what they had HOPED for,

but it was what happened. I was, in one sense...saddened by their bickering, etc.

On the other hand, it was a "Shot in the arm" for me, as a musician...because I realized

EVERYONE in a band, fights! That was incredibly "freeing' to me, for some reason. It

was like "they really are 'just like us,' in that regard." (Talent wise, of course...way

beyond anything most of us would enjoy.) But, it was so worth the price of admission,

and subsequent viewings/purchases of that film on VHS/Beta. So, as difficult as it may

be, at times, to watch...I think it's an accurate history, of that period, and as mentioned

before...the "Roof Top Concert," alone...would justify it...IMHO.

 

Edit: Plus, there is constant mentioning, of extra footage that could be put together for

and even better edited, more complete or less fragmented version. That would be awesome,

too.

 

CB

[cookieman15061]

Look for the most part Let It Be is a real drag. Its so hard to watch these 4 brothers (who in our minds eye will forever be running and jumping in a field to Cant Buy Me Love) try to get it together when they clearly are not into it. The film certainly takes a turn for the better once they get on the roof and suddenly something you thought would never end, you wish could go on forever. That being said I have read many things lately on the unseen footage and its been stated that much of what was cut out was excellent. All four working together on songs as a unit and having fun doing it. I just hope that whenever it does come out there will be a second disc with this additional footage with voiceovers from paul and ringo.