Post by The End on Aug 7, 2013 14:27:31 GMT
This was the other LP I obtained from my parents when I was a young kid but when playing it, it always got stuck on one of my then favourite tracks; “I’m Happy Just to Dance With You” - I still remember exactly where it got stuck too: I don’t wanna kiss or hold your hand>kiss or hold your hand>kiss or hold your hand>kiss or hold your hand etc etc! And then I discovered record cleaner!! I was well chuffed when, after a good clean, the track then played through without sticking! I tried the same trick on “Love Me Do” on the Please Please Me LP but it didn’t work and still jumps to this day!
Anyway...
It’s 1964, and having just conquered America, the Beatles are at the beginning of their world domination as they release their third LP in the space of 18 months (PPM 22/03/1963 – WTB 22/11/1963 – AHDN 10/07/1964). Although, back in 1964, it wasn’t unusual for artistes to release this many albums in such a short period, what separated the Beatles’ releases from their contemporaries was the sheer quality and breadth of new material – this album was fully penned by the band’s very own in-house songwriting team: Lennon/McCartney (the first and last time those names would appear against every single song title on one of their LPs). And if critics were slow to catch on that something very important was happening, they certainly knew it now!
But aside from all the tracks being self-penned, this LP was uniquely different in other ways too; it was their first LP to contain no cover versions; side one of the LP was the soundtrack for their first film and side two contained six more Lennon McCartney songs, 5 of which were completely new [and, as this LP contained none of the usual mixture of film score and incidental music, a decision had obviously been made to eschew the regular, formulaic rock film soundtrack LPs and make it an album in its own right, rather than a tie-in]; none of the songs featured Ringo on lead vocals (the only other album which contained no vocal contribution from the drummer was Let It Be); and the LP only had 13 tracks as opposed to the now regular 14;
Although the album appeared to be a song short, a big contender for the 14th track was recorded during the same sessions, namely “I Call Your Name” (another Lennon McCartney track composed in the main by John, which again featured the 4-in-the-bar cow bell already prevalent on much of the album’s tracks), but this song may have been disregarded for a number of reasons; firstly, with the album itself already Lennon-dominated (John taking the key songwriting credits for no less than 10 of the 13 tracks on the album and the lead vocals on 9 of them), this may have been considered one Lennon song too many. Secondly, it had already been recorded and released by Billy J Kramer & the Dakotas. Whatever the reasoning, “I Call Your Name” was instead included as part of the very fine Long Tall Sally EP and released just a couple of weeks before A Hard Day’s Night.
So, with Lennon taking up the lion-share of the songwriting and vocal duties, what was Macca doing at this time? Some people have pointed to Paul’s blossoming relationship with Jane Asher as the reason for his low contribution rate here – but whatever the reason, it’s important to note that never again did Lennon have such a controlling stake in a Beatles album.
Listening to the album, the first thing you note is just how much their sound had changed from their first two LP releases (a trend they would maintain with each subsequent release) and the addition of a 12-string Rickenbacker to the line-up certainly made other musicians across globe suddenly sit up and listen. The Merseybeat movement of the previous year was now no longer something new, as bands across the entire country were now imitating the sound. And sadly, from here on in, the other Liverpool groups struggled to keep up with their old cohorts, The Beatles, many of which having their final chart entries this year. The Beatles had moved on before anyone else even realised what was happening – and so it continued throughout the Sixties, where they led, the others followed, and no one ever caught up.
I should again give special mention to the iconic and much-imitated sleeve. Based on an imagined film contact strip and no doubt influenced by a scene in the actual the film where George pulls a series of faces for a snapping photographer, the same design was used to great effect on the posters for the film (and much later even a Beatle Forum!), which had premiered just 4 days before the LP was released. A true multi-media event then, before the phrase had ever been coined. Grotty, it wasn’t!
Side One
A Hard Day’s Night
With the filming already wrapped, the title of their first film changed at the very last minute from “Beatlemania” to a classic Ringoism instead: A Hard Day’s Night. And Lennon obviously wanted the honour of writing the title song all for himself because he composed it that very night and arrived in the studio with it the next morning! As the opening and closing song for the film, the song had to have a great deal of impact and there has been much debate over what that strident opening chord is and it even recently even underwent digital analysis to determine what notes made up the chord, who played them and on what instruments. However, during an interview some years back, George Harrison matter-of-factly stated it was F with a G on top! Unusually, despite being a Lennon song, Paul takes over during the two refrains and John later went to say this was simply because he couldn’t reach those notes. For such a hastily written, rehearsed and recorded song, the band were really on form with this one, completing it in 9 basic takes (plus overdubs added later) with the song evolving with each. George Harrison in particular is in outstanding form, playing his newly-acquired 12 string Rickenbacker – his guitar solo in the instrumental break is nothing short of incredible and led some detractors to accuse him of either recording it at half speed to be played back at full tempo, or worse, having a session musician play it. All of which was of course complete nonsense as Harrison played the solo during many live performances of the track. John’s vocal here is nothing short of superb, nicely adding a bluesier feel in places and Paul keeps it nice and simple for the two refrains - in earlier takes he was trying different ways of punctuating his vocal, which didn’t quite work – in the finished take, the two vocal styles work perfectly. Ringos drumming is basic but very solid but was the added percussion really necessary – probably not but thankfully it doesn’t detract. A genuinely classic song to open a classic album AND classic film.
I Should’ve Known Better
A similar tempo (and same key?) to the preceding track as John plays a simple but very effective intro on his harp, of which there are actually two different versions (compare the stereo intro with the mono version). Again, John’s vocal (double tracked) is just incredible here, notably during the second bridge, where he sings “you’re gonna say you love me too-oo-oo-oo-o-o-o-o, oh-oh...” just adding another bluesy note to the proceedings to great effect. The Gibson jumbo acoustic really cuts through nicely in this track but again, it’s the Beatles “jangling” thanks to the new Rickenbacker 12 string. Another very simple rhythm that Ringo has no problem holding down – in fact he probably wasn’t taxed too much by any of the tracks on this album, experimental rhythms would come later (but not much later!). For me, one of the highlights among many on this album.
If I Fell
Another Lennon composition but, unusually, it’s Paul that sings the key melody with John harmonising underneath in what is a very nicely worked and quite complicated vocal arrangement (try singing along to Lennon’s part!). The reason for Paul taking lead is very likely for the same reason he sang the two refrains on “A Hard Day’s Night” – it’s too high for John to sing comfortably. In fact, it’s too high for Paul too, as his voice noticeably cracks on the “was in vain” parts (especially noticeable on the stereo version). The chord sequences in this Lennon ballad are just incredible – it sort of doesn’t go where you expect it to, if that makes sense. A bit of an underrated track in my opinion – a very classy ballad probably over-shadowed by Paul’s “And I Love Her”.
I’m Happy Just To Dance With You
George takes the lead vocal on this upbeat number written predominantly by John. For a “work song” this really is of the highest quality, with a great little intro and top-notch vocal support from Lennon & McCartney. Ringo too gets a chance to exercise his snare a bit with some perfectly executed fills and there’s some really nice rhythm guitar throughout as well. And that bassy pulse on the mid-beat and on-beat during the verses makes your speaker cones bounce a bit! Very corny lyrics maybe but who would notice? A great scene in the film precedes this track, with John taking the Micky out of the rock movie genre of that era, declaring in the TV studio “why don’t we do the show right here?” Whether ad-libbed or not it’s a killer line and Macca’s laughter afterwards sounds very genuine!
And I Love Her
The first song by Paul on the album and what a classic as it ended up being one of the most-covered songs in the Beatles’ catalogue. Here it is abundantly obvious why they didn’t need to cover other people’s tunes anymore as this blows similar songs out of the water (A Taste of Honey and Till There Was You for example). The arrangement is quite different to anything they’d tried on a Lennon McCartney song before as well, incorporating a classical guitar arpeggio played brilliantly by George, claves and some very nice percussion from Ringo – a very nice key change for the instrumental break too. A few different mixes exist for this song – some with a double-tracked vocal throughout some without but the strangest mix can be found on the German LP, which had the guitar at the end repeated 6 times as opposed to 4... and no one knows why!
Tell Me Why
Lennon takes over again for what I have always thought of as quite a messy song. The tempo is a bit inconsistent – it slows as the song progresses, and the vocals seem flat during the falsetto parts where they are also cluttered, miss-timed and unclear. Despite the tempo issues, some nice work from Ringo though, especially on the breaks between the verses. For me, this is album’s only low-point but I do feel I may be on my own in that opinion! A true filler song that rocks, but not in a good way.
Can’t Buy Me Love
Released as a single earlier in the year, this side one closer from Paul was already a classic, being the Beatles’ 5th consecutive number one (if you include “Please Please Me”, which I most definitely do!). Recorded mostly in the Marconi studios, Paris (one of only a few songs recorded on foreign soil), it’s pretty much a straight up 12-bar blues rocker (as was the single’s b-side “You Can’t Do That” funnily enough). The song grew in the studio, with earlier takes demonstrating a different key and backing vocals from John and George that were later dropped in favour of no harmonies at all – a first for a Beatles single. The story also goes that George Martin came up with the idea of using lines lifted from the chorus for the uplifting intro and outro. The song was also covered by many well-established artists of the day, including Ella Fitzgerald, who recorded her jazz-flavoured version later that year. Incidentally, the song played over the Beatles’ favourite section of their film – “the bit in the field”.
Side Two
Any Time At All
If side one boasted the impact of that opening chord, side two could counter with that blistering snare crack as Lennon, back on form, takes over again. Ringo really seems to be giving his kit a pounding during this track but is John once again expressing doubts over his vocal range with Paul taking over the second line of each chorus (the third instance of this happening on the LP)? The piano is again teamed with guitar for the instrumental break, as it also was on “A Hard Day’s Night” (a style much-copied by bands looking for a “typical” Beatles sound). It has a moodier feel to the preceding tracks, due to the shift to minor chords during the verses, and adds to the overall slightly darker tone that presides over side two. This for me is one of the highlights of the album and of course a great start to side two.
I’ll Cry Instead
Clocking in at under 2 minutes, this is a very quick teaser as to the slightly countrified musical direction their next album would take. Another upbeat Lennon song, despite the subject matter, this has really grown on me over the years, probably since its inclusion on the VHS video film release back in the Eighties. What’s interesting to note, is that in the US, the United Artists film soundtrack version of the LP featured a longer version of the song as it had a repeat of the first verse rather clumsily grafted on, However, this extra verse featured an entirely different Lennon vocal, so it’s well worth tracking down!
Things We Said Today
Paul returns with his final contribution on the album – the remaining tracks on the album are all John’s - and a track they would often play live during their 1964 tours – the sudden rock out during the “Me I just the lucky kind...” being a particular crowd pleaser (listen to the Hollywood Bowl version). Some really nice strident piano chords punctuate the track and add a very significant punch in what is again an imaginative arrangement. Another song that adds to that darker feel to side 2, this was later released on the B-side of “A Hard Day’s Night”.
When I Get Home
Following a similar trend as a lot of the subject matter on A Hard Day’s Night, this again deals with separation – no doubt brought on by their now constant touring and a plethora of other work commitments. For me this track is spoiled a little by the falsetto harmonies employed on the “Woah-oh-oh I...” sections – they sound a bit strained to me. But for me, what really works is the “when I get home tonight, I’m gonna hold her tight...” section – till then, a more sombre mood pervades but then brightens when the prospect of getting home looks like it’s finally becoming a reality – you can actually feel the optimism.
You Can’t Do That
Released as the B-side to “Can’t Buy Me Love” back in March 1964, this was at one time considered as a serious contender for their next single release, until Paul came up with the alternative. Like it’s A-side though, this was another 12-bar blues rocker with Lennon on very fine vocal form as well as taking lead guitar duties for the first time. A very nice arrangement featuring some brilliantly complex drum breaks from Ringo. Lennon always contended that this was him trying to emulate Wilson Pickett but I’m not sure if the timeline matches up. A staple of their live shows throughout 1964 too. Considering the calibre of the A and B-sides – possibly a contender for one of the greatest rock singles of all time? This track was of course one of the songs filmed for the live finale sequence of the movie but was subsequently dropped.
I’ll Be Back
Following on from “Twist and Shout” and “Money”, John again gets the honour of closing the album – albeit this time with a considerably mellower offering. With its great use of major to minor chords, this for me is one of the stand-out tracks on the album – a true signpost of even greater things to come. Originally attempted with the same sort of waltz time signature later employed on “Baby’s In Black”, Lennon found it a struggle to fit all in the words, particularly during the “I thought that you would realise...” section – listen to the Anthology version – and so it returned to a more standard 4/4 arrangement. Some really nice rhythm guitar on this track too, and seemingly no chorus, which is quite a bold move. And the song fades out with the major to minor chord shifts, which is brilliant. A great track to finish on then...
Apologies for the late submission of this review – I usually prefer writing these up whilst listening to the album but just didn’t get the chance this time as been really busy celebrating my birthday! So please forgive the mistakes, as I had to write this up from memory during my lunch breaks! LOL :-)
Anyway...
It’s 1964, and having just conquered America, the Beatles are at the beginning of their world domination as they release their third LP in the space of 18 months (PPM 22/03/1963 – WTB 22/11/1963 – AHDN 10/07/1964). Although, back in 1964, it wasn’t unusual for artistes to release this many albums in such a short period, what separated the Beatles’ releases from their contemporaries was the sheer quality and breadth of new material – this album was fully penned by the band’s very own in-house songwriting team: Lennon/McCartney (the first and last time those names would appear against every single song title on one of their LPs). And if critics were slow to catch on that something very important was happening, they certainly knew it now!
But aside from all the tracks being self-penned, this LP was uniquely different in other ways too; it was their first LP to contain no cover versions; side one of the LP was the soundtrack for their first film and side two contained six more Lennon McCartney songs, 5 of which were completely new [and, as this LP contained none of the usual mixture of film score and incidental music, a decision had obviously been made to eschew the regular, formulaic rock film soundtrack LPs and make it an album in its own right, rather than a tie-in]; none of the songs featured Ringo on lead vocals (the only other album which contained no vocal contribution from the drummer was Let It Be); and the LP only had 13 tracks as opposed to the now regular 14;
Although the album appeared to be a song short, a big contender for the 14th track was recorded during the same sessions, namely “I Call Your Name” (another Lennon McCartney track composed in the main by John, which again featured the 4-in-the-bar cow bell already prevalent on much of the album’s tracks), but this song may have been disregarded for a number of reasons; firstly, with the album itself already Lennon-dominated (John taking the key songwriting credits for no less than 10 of the 13 tracks on the album and the lead vocals on 9 of them), this may have been considered one Lennon song too many. Secondly, it had already been recorded and released by Billy J Kramer & the Dakotas. Whatever the reasoning, “I Call Your Name” was instead included as part of the very fine Long Tall Sally EP and released just a couple of weeks before A Hard Day’s Night.
So, with Lennon taking up the lion-share of the songwriting and vocal duties, what was Macca doing at this time? Some people have pointed to Paul’s blossoming relationship with Jane Asher as the reason for his low contribution rate here – but whatever the reason, it’s important to note that never again did Lennon have such a controlling stake in a Beatles album.
Listening to the album, the first thing you note is just how much their sound had changed from their first two LP releases (a trend they would maintain with each subsequent release) and the addition of a 12-string Rickenbacker to the line-up certainly made other musicians across globe suddenly sit up and listen. The Merseybeat movement of the previous year was now no longer something new, as bands across the entire country were now imitating the sound. And sadly, from here on in, the other Liverpool groups struggled to keep up with their old cohorts, The Beatles, many of which having their final chart entries this year. The Beatles had moved on before anyone else even realised what was happening – and so it continued throughout the Sixties, where they led, the others followed, and no one ever caught up.
I should again give special mention to the iconic and much-imitated sleeve. Based on an imagined film contact strip and no doubt influenced by a scene in the actual the film where George pulls a series of faces for a snapping photographer, the same design was used to great effect on the posters for the film (and much later even a Beatle Forum!), which had premiered just 4 days before the LP was released. A true multi-media event then, before the phrase had ever been coined. Grotty, it wasn’t!
Side One
A Hard Day’s Night
With the filming already wrapped, the title of their first film changed at the very last minute from “Beatlemania” to a classic Ringoism instead: A Hard Day’s Night. And Lennon obviously wanted the honour of writing the title song all for himself because he composed it that very night and arrived in the studio with it the next morning! As the opening and closing song for the film, the song had to have a great deal of impact and there has been much debate over what that strident opening chord is and it even recently even underwent digital analysis to determine what notes made up the chord, who played them and on what instruments. However, during an interview some years back, George Harrison matter-of-factly stated it was F with a G on top! Unusually, despite being a Lennon song, Paul takes over during the two refrains and John later went to say this was simply because he couldn’t reach those notes. For such a hastily written, rehearsed and recorded song, the band were really on form with this one, completing it in 9 basic takes (plus overdubs added later) with the song evolving with each. George Harrison in particular is in outstanding form, playing his newly-acquired 12 string Rickenbacker – his guitar solo in the instrumental break is nothing short of incredible and led some detractors to accuse him of either recording it at half speed to be played back at full tempo, or worse, having a session musician play it. All of which was of course complete nonsense as Harrison played the solo during many live performances of the track. John’s vocal here is nothing short of superb, nicely adding a bluesier feel in places and Paul keeps it nice and simple for the two refrains - in earlier takes he was trying different ways of punctuating his vocal, which didn’t quite work – in the finished take, the two vocal styles work perfectly. Ringos drumming is basic but very solid but was the added percussion really necessary – probably not but thankfully it doesn’t detract. A genuinely classic song to open a classic album AND classic film.
I Should’ve Known Better
A similar tempo (and same key?) to the preceding track as John plays a simple but very effective intro on his harp, of which there are actually two different versions (compare the stereo intro with the mono version). Again, John’s vocal (double tracked) is just incredible here, notably during the second bridge, where he sings “you’re gonna say you love me too-oo-oo-oo-o-o-o-o, oh-oh...” just adding another bluesy note to the proceedings to great effect. The Gibson jumbo acoustic really cuts through nicely in this track but again, it’s the Beatles “jangling” thanks to the new Rickenbacker 12 string. Another very simple rhythm that Ringo has no problem holding down – in fact he probably wasn’t taxed too much by any of the tracks on this album, experimental rhythms would come later (but not much later!). For me, one of the highlights among many on this album.
If I Fell
Another Lennon composition but, unusually, it’s Paul that sings the key melody with John harmonising underneath in what is a very nicely worked and quite complicated vocal arrangement (try singing along to Lennon’s part!). The reason for Paul taking lead is very likely for the same reason he sang the two refrains on “A Hard Day’s Night” – it’s too high for John to sing comfortably. In fact, it’s too high for Paul too, as his voice noticeably cracks on the “was in vain” parts (especially noticeable on the stereo version). The chord sequences in this Lennon ballad are just incredible – it sort of doesn’t go where you expect it to, if that makes sense. A bit of an underrated track in my opinion – a very classy ballad probably over-shadowed by Paul’s “And I Love Her”.
I’m Happy Just To Dance With You
George takes the lead vocal on this upbeat number written predominantly by John. For a “work song” this really is of the highest quality, with a great little intro and top-notch vocal support from Lennon & McCartney. Ringo too gets a chance to exercise his snare a bit with some perfectly executed fills and there’s some really nice rhythm guitar throughout as well. And that bassy pulse on the mid-beat and on-beat during the verses makes your speaker cones bounce a bit! Very corny lyrics maybe but who would notice? A great scene in the film precedes this track, with John taking the Micky out of the rock movie genre of that era, declaring in the TV studio “why don’t we do the show right here?” Whether ad-libbed or not it’s a killer line and Macca’s laughter afterwards sounds very genuine!
And I Love Her
The first song by Paul on the album and what a classic as it ended up being one of the most-covered songs in the Beatles’ catalogue. Here it is abundantly obvious why they didn’t need to cover other people’s tunes anymore as this blows similar songs out of the water (A Taste of Honey and Till There Was You for example). The arrangement is quite different to anything they’d tried on a Lennon McCartney song before as well, incorporating a classical guitar arpeggio played brilliantly by George, claves and some very nice percussion from Ringo – a very nice key change for the instrumental break too. A few different mixes exist for this song – some with a double-tracked vocal throughout some without but the strangest mix can be found on the German LP, which had the guitar at the end repeated 6 times as opposed to 4... and no one knows why!
Tell Me Why
Lennon takes over again for what I have always thought of as quite a messy song. The tempo is a bit inconsistent – it slows as the song progresses, and the vocals seem flat during the falsetto parts where they are also cluttered, miss-timed and unclear. Despite the tempo issues, some nice work from Ringo though, especially on the breaks between the verses. For me, this is album’s only low-point but I do feel I may be on my own in that opinion! A true filler song that rocks, but not in a good way.
Can’t Buy Me Love
Released as a single earlier in the year, this side one closer from Paul was already a classic, being the Beatles’ 5th consecutive number one (if you include “Please Please Me”, which I most definitely do!). Recorded mostly in the Marconi studios, Paris (one of only a few songs recorded on foreign soil), it’s pretty much a straight up 12-bar blues rocker (as was the single’s b-side “You Can’t Do That” funnily enough). The song grew in the studio, with earlier takes demonstrating a different key and backing vocals from John and George that were later dropped in favour of no harmonies at all – a first for a Beatles single. The story also goes that George Martin came up with the idea of using lines lifted from the chorus for the uplifting intro and outro. The song was also covered by many well-established artists of the day, including Ella Fitzgerald, who recorded her jazz-flavoured version later that year. Incidentally, the song played over the Beatles’ favourite section of their film – “the bit in the field”.
Side Two
Any Time At All
If side one boasted the impact of that opening chord, side two could counter with that blistering snare crack as Lennon, back on form, takes over again. Ringo really seems to be giving his kit a pounding during this track but is John once again expressing doubts over his vocal range with Paul taking over the second line of each chorus (the third instance of this happening on the LP)? The piano is again teamed with guitar for the instrumental break, as it also was on “A Hard Day’s Night” (a style much-copied by bands looking for a “typical” Beatles sound). It has a moodier feel to the preceding tracks, due to the shift to minor chords during the verses, and adds to the overall slightly darker tone that presides over side two. This for me is one of the highlights of the album and of course a great start to side two.
I’ll Cry Instead
Clocking in at under 2 minutes, this is a very quick teaser as to the slightly countrified musical direction their next album would take. Another upbeat Lennon song, despite the subject matter, this has really grown on me over the years, probably since its inclusion on the VHS video film release back in the Eighties. What’s interesting to note, is that in the US, the United Artists film soundtrack version of the LP featured a longer version of the song as it had a repeat of the first verse rather clumsily grafted on, However, this extra verse featured an entirely different Lennon vocal, so it’s well worth tracking down!
Things We Said Today
Paul returns with his final contribution on the album – the remaining tracks on the album are all John’s - and a track they would often play live during their 1964 tours – the sudden rock out during the “Me I just the lucky kind...” being a particular crowd pleaser (listen to the Hollywood Bowl version). Some really nice strident piano chords punctuate the track and add a very significant punch in what is again an imaginative arrangement. Another song that adds to that darker feel to side 2, this was later released on the B-side of “A Hard Day’s Night”.
When I Get Home
Following a similar trend as a lot of the subject matter on A Hard Day’s Night, this again deals with separation – no doubt brought on by their now constant touring and a plethora of other work commitments. For me this track is spoiled a little by the falsetto harmonies employed on the “Woah-oh-oh I...” sections – they sound a bit strained to me. But for me, what really works is the “when I get home tonight, I’m gonna hold her tight...” section – till then, a more sombre mood pervades but then brightens when the prospect of getting home looks like it’s finally becoming a reality – you can actually feel the optimism.
You Can’t Do That
Released as the B-side to “Can’t Buy Me Love” back in March 1964, this was at one time considered as a serious contender for their next single release, until Paul came up with the alternative. Like it’s A-side though, this was another 12-bar blues rocker with Lennon on very fine vocal form as well as taking lead guitar duties for the first time. A very nice arrangement featuring some brilliantly complex drum breaks from Ringo. Lennon always contended that this was him trying to emulate Wilson Pickett but I’m not sure if the timeline matches up. A staple of their live shows throughout 1964 too. Considering the calibre of the A and B-sides – possibly a contender for one of the greatest rock singles of all time? This track was of course one of the songs filmed for the live finale sequence of the movie but was subsequently dropped.
I’ll Be Back
Following on from “Twist and Shout” and “Money”, John again gets the honour of closing the album – albeit this time with a considerably mellower offering. With its great use of major to minor chords, this for me is one of the stand-out tracks on the album – a true signpost of even greater things to come. Originally attempted with the same sort of waltz time signature later employed on “Baby’s In Black”, Lennon found it a struggle to fit all in the words, particularly during the “I thought that you would realise...” section – listen to the Anthology version – and so it returned to a more standard 4/4 arrangement. Some really nice rhythm guitar on this track too, and seemingly no chorus, which is quite a bold move. And the song fades out with the major to minor chord shifts, which is brilliant. A great track to finish on then...
Apologies for the late submission of this review – I usually prefer writing these up whilst listening to the album but just didn’t get the chance this time as been really busy celebrating my birthday! So please forgive the mistakes, as I had to write this up from memory during my lunch breaks! LOL :-)