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Other options. In , a birth certificate for the woman buried in the graveyard of St Peter's Church, Woolton, was put up for auction. However, he has conceded in the past the headstone may have influenced him in a subconscious way. Mr Leigh said it was easy to see how McCartney's childhood visits to the churchyard would have been very memorable for him.
His name was George Toogood Smith. John loved the name and quite often he would take his friends into the graveyard to show them. It's just possible that he kept that in his mind. But we actually don't know, and I think McCartney himself doesn't know. Karen Fairweather, from Omega Auctions, conceded the connection between the real Eleanor Rigby and the song was a matter of "folklore", none of which was rooted in "concrete fact".
Yet, whatever the origin of the name, Eleanor Rigby remains an integral part of the band's story and Liverpool's Beatles industry. The gravestone itself is regularly visited by guided tours and an Eleanor Rigby sculpture can be found in Stanley Street. Mr Leigh describes the song as "perfect", both in its melodies and its representation of a typical Liverpudlian woman of the time.
He said the jazz singer George Melly put it best when he said: "Eleanor Rigby seemed to be written out of their experiences in Liverpool. Ringo Starr's Beatle boots up for auction. To some degree, I could understand why they were so upset: they were scared of playing a bum note, and being under a microscope like that meant that any discrepancy in their playing was going to be magnified.
Finally, George Martin told them pointedly to stop moving off mic. Fourteen takes of the song were recorded, there being a familiar request from Paul instituted between takes one and two. Between takes one and two, George Martin asked the players if they could play without vibrato.
Fourteen full takes with no overdubs or edits were needed to get the final result, take fourteen being deemed best. All four tracks of the tape were filled with the string musicians, two per track, which were then mixed down at the close of the session onto another four-track tape, to allow room for the vocal overdubs which were done at the next recording session.
I would go down and say 'hi' and listen to it down there, which is always nice first. They you go up and see what the engineers are making of it. Y'know, they'd put it all together, put the right little bits of fairy dust on it and they now made it like a record! And like idiots we gave them all our ideas for free. I said, 'I'm not singing this well ' He said, 'No, it's ok.
And we double-tracked it, I think probably because I didn't think I'd sung it well. So when we would double-track it, we'd cover any sins. Three mono mixes of the song were then produced by Martin, Emerick and McDonald, although neither of these were ever used.
The reason they were never used was that, on June 6th, , an idea to include an additional vocal passage in the conclusion of the song was recorded, making the previous mono mixes unusable. The lead vocals in the mono mix are somewhat louder than the stereo. The string section was divided into the violins on the left channel and the violas and cellos on the right channel.
All of the vocals were centered in the mix. In , Giles Martin once again turned his attention to the master tapes for "Eleanor Rigby" at Abbey Road Studios to create, along with Sam Okell, an even more vibrant stereo mix of the song for inclusion in the re-released version of the compilation album "Beatles 1.
Song Structure and Style. Without warning, Beatles fans and popular music fans alike were treated to a side-step into Classical music within the two-minute format of AM pop radio in The held out sighing melody line of the cellos and saw-like jumping eighth notes of the violins make for an impressive but busy eight-measure introduction to the song.
The first five-measure verse then begins with Paul singing single-tracked, introducing us to the first character in this sad tale. The second five-measure verse appears immediately thereafter with Paul repeating the exact same melody line. This time, however, the arrangement intensifies with the violins doubling their chorded chops to eighth notes above the cellos quarter notes.
The violas play the raising melody line of the fourth measure this time around instead of the cellos. The violins go back to playing quarter notes while the violas play a twice-repeated four note descending passage above a single bass note being held by the violas.
The next two verses follow the same pattern as the first pair but with instrumental accentuations. These cellists repeat this same line in the fourth verse but are preceded by a detailed passage by the violas that appears through all five measures. All the while the staccato eighth notes are played by the violins and whoever else is not playing the above passages at that time.
This is the last we will hear of the three-part harmonies of Paul, John and George. The fifth verse, while melodically structured the same, shows quite a bit of strategic instrumental differences. While the cellos play a see-saw eighth note pattern for all five measures, the violins hold out a high note throughout all five measures. All in all, this dramatic change in arrangement perfectly suits the poignant mood of the lyrics.
The final repeat of the chorus is quite similar arrangement-wise to the first chorus except for two obvious additions. Additionally, the single violin melody line of the eighth measure is confined to quarter notes and joined in harmony by the rest of the octet to round off the arrangement for a suitable ending. His delivery conveys the despair of his story perfectly. The arrangement scored by George Martin was designed for a string quartet and was doubled for the eight musicians in the double-string quartet, two instrumentalists playing the same part.
This is the pattern used throughout with the exception of the solo violin lines mentioned above. So instrumental and intricate was this arrangement that one asserts dare I say that George Martin should have gotten a songwriting credit. As was his soon-to-be-established habit, Paul took to introducing characters and painting a vivid picture arguably his most vivid of their story.
Then the two characters intermingle but tragically. That seems to me like a good place to start. American Releases. Capitol followed suit in America by issuing both songs on the same disc with encouragement to radio stations to play both sides. Six weeks in the top spot on the Billboard album charts showed that the American public accepted their growth with open arms.
This American version of the " Revolver " album got a compact disc release on January 21st, , with both the mono and stereo versions contained on a single CD. Sometime toward the end of , a new single format was being tested called " Pocket Discs ," which were 3. They were manufactured by Americom with licenses from record labels, such as Capitol, to release new singles in this alternate format. Collectors today will pay thousands of dollars for an existing copy. Sometime in , Capitol released Beatles music on another brand new but short-lived format called " Playtapes.
A small segment of "Eleanor Rigby" is heard in some of these radio spots. This set was released on compact disc on September 20th, and then its remastered version came out on October 19th, This album included "Eleanor Rigby" and was prepared utilizing half-speed mastering technology from the original master tape on loan from EMI.
This version of the album was only available for a short time and is quite collectible today. This was then remastered and re-released on CD on September 9th, and on vinyl on November 13th, This single is quite rare today and is becoming even more so as time marches on.
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