On! - Hermans Hermits
Hold On!; March 1966
take Song Titles Starting with H and Ending with Exclamation
Point, Which Were Also The Title Track to a Sixties Beat Groups
Second Feature Film for 500, Alex. And which also have a driving
backbeat and group vocals that answer the lead vocals in the
- The Rutles
The Rutles; 1978
Say no mo-ah!
say a little more, on the Rutles DVD alternate soundtrack Eric Idle tells
about the time when George, Ringo, Neil Innes were all over at his house and George and Ringo were singing Ouch! Eric and Neil -- the
Paul and John of the Rutles. Eric suggested they all form a group and call
themselves the Brutles.
Had No Right - The Redcoats
Meet The Redcoats...Finally!; Recorded
were the story of a misfired career, aborted due to a nightmarish management
agreement which left most of their recorded output unreleased until issued
recently by Dionysus Records (www.dionysusrecords.com).
The driving force of this band (John Spirit) was the guy who had done
Martian Hop a couple of years earlier, which is a pretty cool
credential, and the Redcoats did a great Beatles cop (as well as a great
Hermans Hermits cop, when the need presented itself); they actually
sound something like the Choir at times. This song has 'Help's' trademark
backbeat, descending chord structure and echoed vocals.
Love, Not War - The Tea Company
Come And Have Some Tea; 1968
Wow, tune in,
turn on, drop out, man. These guys were obviously into "Tea"
long before the Rutles. The whole album is absolutely drenched in reverb and other effects,
and their version of "You Keep Me Hanging On" is very Vanilla
Fudge, when it isn't quoting "Pictures of Matchstick Men." The
psychedlic production spills over into this song, too, but the resemblance
to Help! is still apparent in the one-note melody and the descending
Me - The Shakers
Break It All; February 1966
piano/guitar combination of The Night Before has a rather unique quality,
and to my ears its echoed somewhat in this Shakers song. In other
words, Im still looking for the perfect match here.
Got To Hide Your Love Away:
Hard Year - The Hollies
Would You Believe?; June 1966
3/4 time on
acoustic guitar, tambourine, Dylan-esque lyric. It has an absolutely scorching
guitar solo, though, which as far as I can tell was strictly of Tony Hicks
"Why? Why? Why?" - Paul Revere & The Raiders
The Spirit of ‘67; November 1966
Jing, jinga-jinga, jing, jinga-jinga. Dylan caps and Beatle boots.
“I’ll Get Around To It When And If I Can” - Chad Stuart & Jeremy Clyde
Of Cabbages And Kings; Recorded Nov. 1, 1966
Theyre a quartet now, apparently.
Are You - The Bee Gees
Spicks And Specks; Recorded April 1966
This period of Bee Gees was a treasure trove of the Beatles' "mid-period" sound. As we shall see. Not sure of the source of
Barrys pronuciation of Back (Back-Ah!),
though. Maybe Jackie DeShannon.
Girl I Knew Somewhere" - The Monkees
Unissued Single; Recorded January 1967 ("Headquarters" CD bonus track)
For all the
talk about how the Monkees were "Beatles Lite," surprisingly
little of their music seems to have been Beatles-derived. It was more
the attitude they copied. (Plus, there were all those professional New
York songwriters to dilute the effect.) This Mike Nesmith song has one
of the few Beatles traces, the guitar/harpsichord
figure being a reworking of the "I Need You"
riff. I can't believe this wasn't on the Headquarters album (it is on
the expanded Rhino reissue); except forJohn London on bass, it's actually
"all Monkees", and features a great harpsichord solo by Peter.
It would have been a great single -- as the group wanted -- but Don Kirschner
put out "A Little Bit Me, A Little Bit You" instead, thereby
bringing about his own demise with the group. This ultimately came out
as the B-side. Speaking as one of their target market, I can categorically
state that this certainly would have established them as a valid musical
unit in my mind (assuming I'd known anything about the controversy when
I was 10); even now I'd put it -- nearly -- up there with "Pleasant
Valley Sunday." What do I know.
In Pocket" - The Pretenders
Not exactly a Beatles imitation, but this is certainly the "I Need You" riff.
She Is - The Lovin Spoonful
Daydream; Recorded December 1965
-- one of several contenders for the crown of American Beatles.
But they had so many other influences, what with John Sebastian being
such an American musicologist, that the Beatles influence often shows
up more in their attitude than in their music. But there are a couple
that bear a Beatles stamp, such as this one. In the liner notes to the
Daydream CD re-release on BMG, John Sebastian mentions trying
to keep up with the Beatles specifically in relation to this song,
and if you imagine this as a little less country and a little more rock
and roll you can hear the melodic similarities (like the way the opening
guitar is the same line as Another Girls opening vocal)
and in the rubbery, snakefinger lead guitar licks. (Yay Zally!) Theres
also a similarity between the melody of the verse here and the chorus
of "The Night Before, and what with the sort of rockabilly
feel of Act Naturally, this song is kind of like the Help!
album in a nutshell. (No, this is Help! in a nutshell: Help!
I'm in a nutshell! How did I get into this bloody great big nutshell..? Careful. Copyright, Johnny, copyright...)
Girl I Want - Revolver
Not much more
I can think of to say about the band Revolver, except that maybe youd have to get
in touch with Jonathan Lea (www.jigsawseen.com)
to find out about getting any of their stuff. Or Bomp. (www.bomp.com)
Going To Lose That Girl:
Go Of You Girl - The Left Banke
The Left Banke; 1967
The Left Banke
are another group whose influences were pretty durned clear, and the way
Steve Martin sings Youre gonna cry-y-y-y-y on this is
very John-like. Youre Going To Lose That Girl always
seemed to me like the best match for this song, although I was never exactly
sure why - but then I read in a recent interview in The Big Takeover with
these guys where George Cameron mentioned that it was their very favorite
Beatles song, and that they used to sing it all the time. (Score!)
A note on the title: On the Help! album jacket, the song is called Youre Going To Lose That Girl even though the lyric plainly says
gonna; it must have been result of that proper Brian Epstein/EMI
influence. It's not that way these days. I tell ya, the Empires
gonna rack and ruin.
Day All Night" - The Oranges
Young Now!; 2001
make "the ultimate Japanese Bubblegum Powerpop," according to
Smile Records, their label. (www.smilerecords.homestead.com)
The connection here is the"echo" line in the verses which comes
directly from Paul & George's "She's gonna change her mind"
lines in the original. This song also mixes in "Cruel To Be Kind"
in the chorus, and the "What Is Life" guitar lick in the solo,
just to help spread it around a bit.
Dont Tell Me - The Beach Boys
Summer Days (And Summer Nights!); Recorded
April 30, 1965
I really like
the ones by the major groups - the Beatles had kind of a Mutual
Admiration Society thing going on with several other artists, and sometimes the references are very self-concious. This
song doesnt lift the most obvious thing about Ticket To Ride--
the drum pattern -- but theres a nice little 12-String reference
in between verses, and there are several lyrical parallels as well; Im
the guy-hi-hi and Dont tell me youll wri-hi-hite,
which are dead giveaways. This is one of the Beach Boys most un-Beach
Boys-like sounding songs; there are no harmonies, and it generally has
kind of an unfinished sound to it; if you didnt recognize Carl Wilsons
voice, Im not sure you would even pick it as being the Beach Boys.
As I said, maybe Brian felt a little awkward about this one. Note that "Ticket To Ride" had been released on April 9 -- 3 weeks earlier. Not the first or last time we'd see such quick action from Brian.
La Bien" - Los Relevos
Me Daras La Razon; 1999?
same guitar lick, drum pattern, cadence and verse structure, culminating
in the same high note. Just no great harmonies to seal the deal. Ill
have to get a translation and see if the lyric matches up as well.
Not Bad - The Shakers
Break It All; February 1966
as the previous, but a step further removed, asShakers songs were wont
to be. But it hits that characteristic high note inthe verses, this time
with the harmonies.
Years Girl - Elvis Costello
This Year's Model; 1979
Disguises - The Jam
B-side to 'Funeral Pyre'; 1981
"Two Heads" - Jefferson Airplane
After Bathing At Baxter's; 1968
"Imitation Jewelry" - The Records
I've contended that the drum pattern is the most recognizable thing about
Ticket To Ride these are songs where the drum pattern is the
main, sometimes only, reference. I specify the Jams version of "Disguises"
as opposed to the original by the Who, because the Jam bring Ringos
(okay, it was really Pauls) rhythm home in a way the Who didnt.
Perhaps deliberately; I wonder. The Zombies nearly made an entire career
out of that beat (or something close to it), but they did it first, so
perhaps "Ticket To Ride" was Paul doing the Zombies in the first place.
Nice And Gentle - The Kinks
B-side to "Waterloo Sunset"; Recorded
this is defnitely in the ballpark, and the title really helps, too. But
heres also a real Ringo-like quality to Rays vocal and the
lyric here. Mick Avorys drum fills get irritating, though; they're
much more Pete Best than Ringo.
Me Too! - The SpongeTones
Beat Music; 1982
a similarity in the way the chord progression goes to the relative minor,
and the deliberate pace of the melody line matches up, too. My gut says
Like Me Too Much:
of Blue - The Bee Gees
Spicks And Specks; Recorded April 1966
The rhythm really sells it; and it's accentuated by some nice
tremelo rhythm guitar. Great block harmonies, too. (I also notice that
the chorus of You Like Me Too Much is the same as the verse
of I Dont Want To Spoil The Party. Well, George had
good influences, too.)
Call Out Her Name" - Hermans Hermits
Blaze; October 1967
in the first part of the chorus here matches up to the Youll
never leave me and you know its true part, and, a little less
obviously, the verse matches pretty closely with its original couterpart
as well -- in "You Like Me Too Much" the verse is a series of
4 descending notes done 3 times and ending on a single note, and in "I
Call Out Her Name" it's virtually the same thing. This album,
Blaze, has several nice matches for our
collection, and, tellingly, they were all written by the band. Four more
examples to validate that theory.
Me What You See:
Line - Hermans Hermits
Blaze; October 1967
Boy, this really
is the album of Herman, isnt it? This is another that kind of works
on the gut level for me, but I do believe its melody is something of a
boiled-down version of Tell Me What You See, with the one-chord
motif that John was prone to use at the time. (The lyric, however, is
- Steely Dan
Pretzel Logic; 1974
ot this one isnt a boiled down version - its virtually identical.
Just fancier chord changes. This was always one of my favorite Steely
Dan songs, but I never heard the resemblance (no, I never heard it before)
until just recently. Maybe because I never actually heard Tell Me What
You See until about the 1990s, but still, I you'd think I might have figured
it out in 10 years... Anyway, Fagen & Becker are two of the cleverest
guys this side of Godley & Creme (or Difford & Tilbrook, or Flo
& Eddie) so I suspect they may well have been aware of what they were
doing, but who knows. I really like this kind of example, though, because
its a real fish out of water; youd hardly mistake
the song for the Beatles stylistically. Keeps the collection honest.
Just Seen a Face:
Between - The Byrds
Younger Than Yesterday; Recorded Nov.
with whom the Beatles traded the occasional musical compliment. Roger
McGuinn got the 12-String idea from George, and George got the If
I Needed Someone riff from Rogers Bells of Rhymney
lick. As far as this song is concerned, its one of the first Chris
Hillman songs the Byrds ever recorded (when Gene Clark left the Byrds
it created a huge hole in their songwriter lineup, and Hillman stepped up with 4 songs
on Younger Than Yesterday); as weve noticed, its
those First Songs that are likely to show a Beatles influence. "Time Between" doesnt really require a lot of explanaition.
Girl Who Had No Name - The Byrds
Younger Than Yesterday; Recorded Dec.
Very much the
same thing. What Time Between didnt cover, this does.
The most covered Beatles song ever, but not necessarily the most copied. I have to confess that I haven’t had a lot of luck at finding songs that borrow easily identifiable melodic lines from “Yesterday,” but there does seem to be a whole school of pensive, reflective, rueful songs that followed in its wake, usually with a descending melody or chord progression, and always a mournful string section. And pret-near all of these seem to make some mention of “Yesterday,” “Today” or some other “day.”
"As Tears Go By" - The Rolling Stones
December’s Children; December 1965
The “evening” of the day.
"Without Her" - Nilsson
Single; Pandemonium Shadow Show; Recorded Feb. 17, 1967
"Like The Seasons" - The Turtles
Happy Together; April 1967
“I know you had to go.” An early number by fellow White Whale-labelmate Warren Zevon, of whose songs the Turtles did several.
"Raven" - The Paper Garden
The Paper Garden Presents...; Autumn 1968
Departing from the template by using a full string section instead of just a quartet. Watch it.
"Simplicity" - The Buckinghams
In One Ear And Gone Tomorrow; 1968
“What will you say...today?”
“All The Love In The World” - Consortium
Single; January 1969
The first line of the verse is the “Now I need a place to hide away” melody.
“Beautiful Daughter” - The Move
Made me younger “yesterday.” Given that this came out in 1970, it doesn't seem obvious to attribute this to “Yesterday.” But in a recent radio interview, Roy told us that he wrote this when he was 18. Roy was born in 1947, which gives a creation date for this song of...1965. And with those strings, well... But Roy was the only one here who could play ‘em himself, I’ll wager.
Now, it is also interesting to note the resemblance of the guitar intro of Paul's "The World Tonight" to the opening of "Beautiful Daughter," almost as if to return the favor. You don't suppose...
“Long Long Time” - Linda Ronstadt
Silk Purse; 1970
“Wait for the day you’ll go away.”
Way Love Used To Be - The Kinks
'Percy' soundtrack; 1971
You mean, the
way it used to be...yesterday? String quartet (with the no-vibrato
sound specified by Paul) and no band. Like Roy Wood, and even the Beatles
themselves, Ray Davies could try as hard as hewanted to imitate
somebody else and theres still no mistaking him.
“Waiting” - The Raspberries
“That was yesterday...another day.”
Better Word For Love - NRBQ
Message For The Mess Age; 1994
Cool, now I
get to talk about NRBQ. These guys should get some kind of medal; theyre
a national treasure, and a sure cure for whatever ails you. What a crime
that they arent better known. Guess they never wanted to make the
compromises theyd have to make in order to achieve greater stardom.
Oh well, those of us who know, know.
Days - The Dave Clark 5
Single; Sept. 30, 1966
to the same characteristic lead guitar parts (played rather more wildly),
the vocals cover them, too. And the vocals also cover the requisite shouting,
so this is one raucous song.
In Love - The Pleasers
but a hard rocker that sounds rather like a son of Lizzy.
B-side to "Help!";
July 19, 1965
Not Disturb - The Shakers
Break It All; February 1966
The stops and
starts in this song make this unmistakeable (even if it does borrow Dont
Bother Mes lyrical theme); its virtually the same structure,
and features electric piano, too. As we mentioned above, the great ones
still sound like themselves no matter what, and the Shakers always did.
But as usual, they bring something else to the party, too: The Do-oo-not-disturb-me
coda takes it beyond Im Down; Paul would approve.
Can Work It Out:
Single; Dec. 3,
Night - Emitt Rhodes
The American Dream; 1970
here, mores the pity, but its still unmistakable what this
is. Another terrific example of Emmitt's 'Paul' impression. Like Roy Wood,
Ray Davies, etc., the great ones always put their own stamp, blah blah
Not Time Now - The Lovin Spoonful
Daydream; Recorded December 1965
With this collection
what Im trying to do is find songs that match up to Beatles songs
musically, but this one gets in more for its lyric - the lets work out where we're going wrong
theme is a little too coincidental for a song recorded within weeks of the release of "We Can Work It Out" -- the kind of thing that nobody had really done before the Beatles. Actually, there might be a little musical relationship, too; within the Nashville-Cats groove, there's a similarity between
the chords and descending melody of the And if you think to stop it now section and the chorus
of We Can Work It Out. Whad'ya know.
Single; Dec. 3,
Greatest riff in rock’n’roll? Maybe your opinion would depend on whether you’re a Beatles or a Stones -- or a Kinks -- person, for that matter. (I suppose I’m also making certain generational assumptions here.) In May of 1965, “Satisfaction” created probably the most enduring template for riff-rock, with its 3-note lick, E-to-D chord change and pounding, Motown “4 on the Floor” snare.* And “Day Tripper” would be John’s version, set to a Mersey -- as opposed to a Motown -- beat. And speaking of Motown, if you take “Satisfaction,” change the middle note so that the riff hooks around from above instead of climbing up from below, you’ve pretty much got Stevie Wonder’s “Uptight” (released Nov. 22, 1965), complete with 4/4 beat and E-to-D chord change. So these three form a trio that would be the basis for a whole school of songs.
“Day Tripper” has a much more complex riff,** but the “Satisfaction” E-to-D thing is still in there; it climbs up for the first 5 notes to an E, and then the 6th note is a D -- right at the halfway point of the riff, just as in “Satisfaction.” And the rhythm guitar in “Day Tripper” does a kind of vamp between E and E7, which gives it some of that same E-to-D feel. April Wine’s “I Like To Rock,” helpfully pointed out the similarity between the two songs for us by quoting both riffs simultaneously and showing how well they interlock.
Most of the songs listed below share the same characteristic E-to-D element, whether it’s in their chords or riffs, or both. A few are in here for other reasons, such as the big climactic vocal crescendo in the bridge.
* If that term isn’t familiar to you, do yourself a favor and watch “Standing in the Shadows of Motown,” about the collective of musicians who created the Motown sound.
** As mentioned previously, there’s a school of thought that “Day Tripper,” like "I Feel Fine," was also derived from Bobby Parker’s “Watch Your Step” riff. I disagree. Obviously, it had been in John’s head, and it seems intuitive that it played a part ("Day Tripper" does share "Watch Your Step's" same last three turnaround notes), but there’s so much more going on in “Day Tripper” that I have a hard time hearing how the one would lead directly to the other. “Day Tripper” starts with a rising, sliding lick, while “Watch Your Step” is a repetition of three descending notes. The rhythm patterns of the two riffs are quite different, and the same goes for the two songs as a whole: One is a driving backbeat groove; the other is staccato and offbeat.
But there's a solution to this dilemma: The first verse of “Watch Your Step” is instrumental, and in the turnaround at the end, the whole band drops out and Bobby fills in with a guitar lick which is...the exact first half of the “Day Tripper” riff, note-for-note. And it really doesn't make sense that John would go through exertions to rework a piece of music and somehow arrive at a lick which already existed ready-made elsewhere in the same song. So maybe we can all be happy -- “Watch Your Step” was indeed the source of “Day Tripper,” but it comes just from that one lick, not the main riff of the song. Hey, ya gotta listen.
“Straight Shooter” - The Mamas & The Papas
If You Can Believe Your Eyes And Ears; March 1966
An amalgam of a bunch of Beatles songs from the period. The riff is a one of a group that might fall under the “Run For Your Life” school, and the bridge is borrowed from “Ticket To Ride.” But the title is a bit o f a giveaway, and also puts a more explicitly drug-related spin on John’s title.
“Louie, Go Home” - Paul Revere & The Raiders
Midnight Ride; May 9, 1966
Slower, pounding beat which, in keeping with its title, melds “Louie Louie” with the “Day Tripper” and “Satisfaction.”
Dont Scold Me" - Buffalo Springfield
Buffalo Springfield (original release); Recorded July 1966
Not sure what
I would have made of this if Stephen didnt drop the "Day Tripper"
lick into the end of the song. The song isnt a blantant cop (as
opposed to the way Neils Mr. Soul is "Satisfaction"),
but it does have the same groove as "Day Tripper" - as filtered through
the Springfield collective. Thats the way rewrites usually are,
“Your Own Love” - The Association
And Then...Along Comes The Association; Recorded June 1966
Uh oh. The riff has the rhythm of “I Feel Fine” but the E-to-D element of “Day Tripper,” bridging the gap between the two. Are they trying to make a liar out of me? But definitely a “Day Tripper” vocal build in the bridge and again at the end of the song, where they also sing some of the other key notes from the riff.
“Up And Down” - John Fred & His Playboy Band
Agnes English; 1967
Not again. Here’s almost the exact same riff as the Association song, with its combination of “I Feel Fine” and “Day Tripper” elements. Duly noted.
“Valleri” - The Monkees
The Birds, The Bees & The Monkees; Recorded Dec. 26, 1967
Amidst all that Spanish guitar, there’s the riff again, a combinaton of “Satisfaction” and “Day Tripper.”
“Don’t Take It So Hard” - Paul Revere & The Raiders
Something Happening; 1968
Paul & Co. take another crack at it, this time with a snappy Beatle beat. This time they cover the early climbing part of the riff instead of the E-to-D notes.
Jack Flash - The Rolling Stones
Single; Recorded March 1968
Everything we ever did they tried to copy, isnt that what John said? No, wait, that was National Lampoon.* Same difference. Anyway, I had always presumed that Jumpin Jack
Flash was simply Satisfaction Mark II, but sing the
Day Tripper riff along with it and its a perfect interlock.
What really sells it is the way Bill and Charlie lock into Paul and Ringos rhythmic groove.
* "Magical Misery Tour" from Radio Dinner; 1972
Alright Now" - Hermans Hermits
B-side to "Here Comes The Star"; 1969
The riff to this song actually might be just as much Paperback Writer, but the pounding rhythm is all
(Its also got more than a little of the Kinks Its
Alright, for good measure.) Incidentally, this is a bonus cut on
the Blaze CD on Repertoire, and beyond the fact that its
a Peter Noone song (Bingo!), I don't have any great insights which I
might have gleaned from the liner notes, because theyre in the smallest
darned print Ive ever seen. I miss LPs.
It Home" - Utopia
Deface The Music; 1980