Hard Day's Night:
It Again" - The Kinks
opening chord. This song came from around the same time when Ray Davies
was lifting the "Jumping Jack Flash" riff in "Catch Me
Now I'm Falling" (and denying it), so I'm sure he'd say this was
based on something else, too.
Way You Want It" - The Dave Clark Five
Coast To Coast; Dec. 21, 1964
deep within "Any Way You Want It" beats the heart of "A
Hard Day's Night." Same basic chord progression in the verses of
both songs, same one-note melody, same charging 4/4 beat. Add the "Tottenham
Sound" and presto! Here you are. Not many other songs had that
same headlong rush. (However, the 'Hey Hey Hey's' probably came from "I Should Have Known
I'd rate the DC5 as the loudest band ever recorded. No matter what
volume you played them at, they were better than anyone else not from
Seattle at "filling the grooves." (Now, there's an expression
that's losing its meaning.)
Night Long" - The Palace Guard
The same manic 4/4 drive that could only be "A Hard Day's
Night," but in this case melded with an"If I Needed Someone"-style
Must Be In Love" - The Rutles
The Rutles; 1978
song which is actually several Beatles songs in one; this has a "Ticket
To Ride" ending, but of course the drive and the manic bongos are
pure "Hard Day's Night" -- and that's how it's framed in the
film as well. This is the song that really started "Rutlemania,"
in that it was the first one Neil Innes wrote for the Rutland
Weekend Television clip, which let to the Saturday Night
Live skit, which led to the movie.
Should Have Known Better:
A Love" - Los Shakers
Los Shakers; June 1965
Have Known Better" carries on with the insistent 4/4 Mersey-beat
of "Hard Day's Night," although the energy level is somewhat
reduced, and "What A Love" does the same. And "What A Love"
also starts on a single long note, as in
"I-i-i-i-i-i-i-i-i...should have know better"; "O-o-o-o-o-o-o-oh,
what a love."
Meant You" - The Dave Clark 5
Satisfied With You; Aug. 15, 1966
“I meant you, when I said those girls are nice.” Yeah, I’m sure she’ll buy that.
The way this leaps
right into the "Should Have Known" harmonica riff gets it an instant slot here, never mind the fact that the rest of the song goes in a different direction. They "had me at 'hello'", as the
a Girl Like You" - The Rutles
The Rutles; 1978
Do I Have
To Spell It Out?
Always) Something Wrong - Mike Levy
For me, the
Sneetches were one of the best things about the 90s, and Im
sorry they couldnt keep it going. But Mike Levy still is, and
his Fireflies album fits right in with the rest of the Sneetches'
catalog. The verse to this song is the intro of If I Fell,
which is a neat trick I think, because it was just a little snippet
that's thrown away in the first few seconds of If I Fell,
and the song never comes back to it. Somebody should have done something
more with it, and Mike Levy did. Cool.
Us - The Rutles
The Rutles; 1978
always wondered about this song; With a Girl Like You is
clearly If I Fell, so my assumption that Between Us
was supposed to be "And I Love Her." But like many of the examples here, it combines both: The clavas, nylon string guitar solo and arpeggio picking from "And I Love Her," but still more the overall feel of "If I Fell," with its group vocals,
the major chords and fuller, more dynamic arrangement. Kind of a third
genre seems to have come out of the combination of these two songs.
My Love - The SpongeTones
Beat Music; 1982
song, f'rinstance. And like many of these others, this also ends with
a big major 7th chord, which has taken me a while to realize actually comes from "Til There Was You." I've got so much fake Beatles music runnng through my head
these days that I'm forgetting what the real stuff sounds like.
Happy Just To Dance With You:
Dancer" - The Allusions
Single; May 1966
me is really the A-Number One example of what this collection is all
about. Once you get beyond the overt acts like the
Rutles, SpongeTones, Liverpool Echo, etc., you get to this kind of thing, which is so obviously
derivative of a specific song, and yet totally stands up on its own. There
are probably folks in Australia (whence this comes, and where it was
a hit) who remember this song, and aren't aware of its lineage.
it takes the rhythmic motif (Before this dance is through,
I think Ill love you too... which becomes
The Dan-cer, the dan-cer...), the same minor key chord changes and even has
the same dancing theme - it really couldnt get much
closer. This could pass for a Rutles song if only it was funnier.
Kids Are Alright" - The Who
Recorded Oct. 14; 1965
theme is a big hint here, but less obvious is the similarity between the "Other guys dancing with my girl" and "There is really nothing else I'd rather do" melody lines.
More obvious is the fact that "And I know sometimes I must get
out ..." is straight from the verse of "All My Loving." Still, one of my elves had to point that out to me. D'oh!
I Love Her:
Have And To Hold - The Distant Cousins
"Frankenstein vs. The Space Monster"
Quite a few
matchups for And I Love Her. As John said, it was Pauls
early prototype of Yesterday, and so it was another one
that really resonated with a lot of people. Its now a pretty standard
archetype: An affected Spanish sound with nylon-string guitar,
claves and bongos.
This comes from, of all things, a sci-fi movie titled Frankenstein
vs. The Space Monster where its used as the filler music underneath
a sort of travelogue sequence in which the hero and heroine
ride their motor scooter through a Spanish Riviera resort on their way
to rescue their astronaut friend who has been transformed into Frankenstein
in the crash of his spaceship, and...well, you kinda gotta see it.
a cute little number, and the credits say its a Mike Curb song,
so I presume the Distant Cousins were a Mike Curb group as well. (The
movie also features Thats The Way Its Got To Be
by the Poets.)
movie came out in 1966 the Beatle influence is pretty easy to infer.
A gentle, Spanish guitar-based ballad and some
Beatle-esque Aow, aow, aow background vocals. (The trumpet
solo isnt particularly George Martin-esque -- although maybe its
trying to be.) A couple of years earlier and the Distant Cousins would
have been putting out albums just like the Liverpools. Hey, maybe
the Distant Cousins were the Liverpools!
Days Like These - Matt Monro
"The Italian Job" soundtrack; 1969
Comparing the recent remake of the Italian Job with the original, Id just like
to say is that the trio of Mark Wahlberg, Charlize Theron and Edward
Norton do not add up to one Michael Caine. (Mark Wahlberg is just not
a leading man.)
thing I realized is that main melody of the opening theme song is the
same as And I Love Her's guitar riff - and the same two underlying chords as well, especially in the coda. It's only
a few notes, but this is also 1969, so it may be
a little Paul McCartney reference sprouting out of Qunicy Jones subconcious - or concious, as it were.
The scene is in the Italian Alps, so were in that
European mode that Paul was evoking in in the first place -- also the same mode as the Distant Cousins song, so
this would be pretty well triangulated.
Deface The Music; 1980
a Window to a Screen - The dBs
Not a no-brainer. This
is quite a bit further removed from the original, both chronologically and musically,
but there are echoes, in the chord changes and especially in
the opening riff. And with the dBs were in the
right ballpark, anyway. (However, in the CD liner notes Chris Stamey
and Peter Holsapple only talk about the lyrical references in
the song, so they're no help.)
Nadie - Los Relevos
Los Relevos; 1997?
Spanish guitar, and the same arpeggio lick that And I Love Her
uses. With this band were much closer
to the actual source - these guys really are Spanish, so even though
their whole shtick is doing a kind of Beatles pastiche, the style of
"And I Love Her" is really their own territory in the first place.
Take that, Paul.
Yeah - Utopia
Network 9; 1982
Utopias Network 9 album came out a year or two after Deface The Music;
the Beatlesisms are more mainstreamed and not treated as parody here,
creating one of their most accessible albums. This has the same
great rhythmic and harmonic blast of Tell Me Why,* and
there are matchups in the melody, too, especially in the chorus: When
I say whennn = Tell me whyyy. Similar lyrically,
too, both pleading with and chastising the girl.
The Residents recognized what a great groove it was, too; they sampled the opening riff of
Tell Me Why and made an awesome loop out of it on
their Beyond the Valley of A Day in The Life, their amazing montage
of Beatles samples -- way before all the sample and loop products of
today. How did EMI let them get away with it, anyway? "Grey
Feel That Pain - Dalek: The Blackstones
B-Side to "Could Be In Love"; 1965
From the AIP Highs In The Mid Sixties series (Volume 4 - Chicago), and at the very least these
guys should win some kind of Outstanding Achievement in the Use
of Punctuation in an Artists Name award.
love to be able to hear more from these guys; they sound like a very
interesting interpretation of the Beatles -- a la the Shakers, or the
DCoys from Australia -- and their lead singer did a very cool
John Lennon, especially in the Oooh-hooooh bits of this
song, which is the main reason Im listing it here.
Buy Me Love:
Give You Love - The Hatchet Men
Single; November 1964
This can be found on Psychedelic States New York Vol. 2 (Gear Fab Records), which tells us that main man Andy Rose, who was embarking on Beatles-inspired pop with this. It's a potent piece of driving punk with a 4/4 beat, (like a harder "Fortune
Teller") and then the chorus goes into the bridge/outro of "Can't Buy
Me Love," with the same chord changes and reiterations. Lyrically,
the song is a combination of "Can't Buy Me Love" and "I Who Have
Ball - Utopia
Deface The Music; 1980
Back to Deface
the Music here, so theres no question of what this song
is supposed to be. A bit more amped up and keyboard-based than the original,
but otherwise pretty much the same; the bluesy melody in
the verse, the same structure in the chorus, etc.
Time At All:
Heart - The SpongeTones
Oh Yeah!; 1991
I've been trying to
go back and revisit songs which I always knew sounded generally Beatle-esque
but couldn't quite place, to see if I could actually nail them down.
And found a similarity between the verses of these two songs, in the chords, piano-bass line and
What The Little Girls Do - The Knack
Get The Knack; 1979
it's the chorus that's covered. It seems to keep wanting
to go into "..and I'll be there," followed by the guitar lick.
The extra bass note at the very end of the song mirrors the extra
taclked on guitar chords the Beatles do as well. If these two SpongeTones and Knack
songs weren't in different keys, maybe they could be spliced together
and arrive back at the original. I bet George Martin could do it.
I'll Cry Instead:
Try To Hurt Me - Hermans Hermits
On Tour; July 1965
had sung Ill Cry Instead instead of John, this might be how it would have sounded. The Beatles basically
created a whole sub-genre of country-pop (along with all the other sub-genres
they created.) Well, maybe Buck Owens started it, although he was coming
from the other direction, with the results being more pop-ified ("pop-eyed"?) country than countrified pop. But country-rock certainly didn't start with Sweetheart of the Rodeo
or Nashville Skyline. There were a lot of people who did
it earlier than that (Lovin Spoonful, Kinks, Buffalo Springfield,
et al) but it would be just another style of song theyd do and
not their whole shtick, as it would be for later Country-Rock
groups like Poco or the Eagles.
by Hermit Keith Hopwood follows "I'll Cry Instead's" basic blueprint, and more specifically,
has the lyric, "You know I get mad and go bad, and when I get mad,
I do things I really shouldn't do." More
John Lennon than Peter Noone.
We Said Today:
Make You Cry - The Beau Brummels
Introducing; April 1965
Another "stealth" song that might otherwise escape detection, but the elements are there under the surface. Its main hook is a a variation on "Things We Said's" repeated one-chord, minor key guitar flourish, and continues with the same moody feel. A reinterpretation through the pen of Ron Elliot.
- The Rutles
The songs on the Rutles Archaeology
album aren't as easily traceable as are the songs on
their first album -- and some are re-dos of songs from Neil's non-Rutles catalog. But with minor-key songs, the choice of Beatles tunes
is somewhat more limited. This seems right to me, but only Neil Innes knows
I Get Home:
Comes My Way" - The Sneetches
Please Don't Break My Heart EP; 1989
Another of the
Beatles' "triumvirates," if you will, consisted of "I
Call Your Name"; "When I Get Home" and "You Can't
Do That." There's a bunch of overlap among them (maybe it's the
cowbell) so it can be somewhat tricky trying to assign matchups. "Love Comes
My Way" has a good measure of "I Call Your Name" in it, but also some "When
I Get Home"; the opening "Aaahs"; the group vocals in the choruses,
the chord changes in a couple of places; and the lyric even has a "get
you on home" line. Works somewhat, but really, I can't believe the Dave Clark 5 aren't helping us out here; they covered just about everything
else on Hard Day's Night.
Cant Do That:
Dont Feel Too Bad - The Hollies
In The Hollies Style; November 1964
Like "When I Get Home," another
bluesy number with a driving beat, again accented by that cowbell. ("I
need more cowbell!" See The
Cowbell Project for the definitive analysis of that subject.) Please Dont
Feel Too Bad uses the same rhythmic foundation, as well as borrowing a hook
straight from "You Can't Do That's" bridge: Because
Im leeeeeee-eavin = Everybodys
greeeee-eeen." Not easy, that.
Back Again - Mike Furber & The Bowery Boys
Single; June 1966
sounds like it's actually a combination of these final two songs on Hard
Day's Night -- it's got a dark and moody section (with a little George-like
guitar lick) reminiscent of "I'll Be Back," and
a bluesy, off-beat chorus more like "You Can't Do That." And it fits the timeline -- or seems to: These guys were an Australian
group who formed up in 1965, but further research shows
that this was written by Australian rocker Lonnie Lee, who's been in music
since 1959. Oy. But I don't know when he wrote it, so maybe I'll just
leave well enough alone and assume that he wasn't above being influenced
by the Beatles.
You Say Youll Be Mine - The Fourmost
First and Fourmost; November 1965
for our purposes, Jackie DeShannon wrote and recorded this in 1963,
about 6 months before the Beatles did "I'll Be Back." Hmmm.
So maybe John was actually lifting from Jackie, you never know. Jackie
was one of their opening acts on their first U.S. tour, but that wasn't
until August of 1964, which was after both of these songs were done.
The musical similarity I'm picking up on is the descending chord
change in the verse of "I'll Be Back," but I suppose neither John
nor Jackie had a patent on it, so this is could be nothing after all.
the Fourmost's version was released in 1965, and their arrangement is considerably more
Beatl-y, with its prominent "You Can't Do That" style12-String
guitar riff. So it's a pretty good stylistic match, if not a songwriting
copy. That's how I'll rationalize it now.
Singles in German, French, or Italian:
unsre Liebe zahl (It's Love That Really Counts") - The Merseybeats
Par N'importe quelle Fenêtre (Look Through Any Window)" -
ragazza non Viene (Girl Don't Come)" - Sandie Shaw