The second verse of each pair ends with that startling and unprecedented tape echo effect in measure 12.
You'd think that the singers held their notes all the way through the end of the measure, and that the special effect consists of distortion being applied to what they had sung in real time.
Pepper's Lonely Hearts Club Band" LP is the other major single of theirs to have this level of potent prescience in terms of an album in progress.
The other important angle to a study of this pair of songs is the extreme to which they bear comparison and contrast with each other.
And then again, there are those yin-yang/John-versus-Paul points of contrast between the two songs, and what's particularly delicious about some of these is that they are embedded within factors that would otherwise seem at a superficial level to be common denominators rather than points of departure: Key: G Major Meter: 4/4 Form: Intro | Verse | Verse' | Refrain (intro) | | Verse | Verse' | Refrain (intro) | Outro (fade-out) CD: "Past Masters", Volume 2, Track 3 (Parlophone CDP 90044-2) Recorded: 13th, 14th April 1966, Abbey Road 3 UK-release: 10th June 1966 (Double-A Single / "Rain") US-release: 30th May 1966 (Double-A Single / "Rain") This song is definitely in the top tier of Beatles' hardest rocking cuts.
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In addition to the fast tempo and gutsy backing track, the melodic flat seventh of the Mixolydian mode and the twelve-measure verse lengths add a touch of the Blues.Alas, the vocal parts don't sound quite as well rehearsed as they are ambitious.After repeated close listenings to the recording you can't help notice the often ragged ensemble cutoffs at phrase endings or entrances.Each of these songs reflects so clearly its respective composer, and yet at the same time, there are similarities galore which reflect not only cross-influence, but I suspect, a subtle element of competitive looking over each other's shoulders.We've explored this notion several times before in this series, most notably in connection with "All My Loving" / "It Won't Be Long" and "She Said She Said" / "Good Day Sunshine".The large number of overdubs makes it sound as though many more than just three people were singing; a modest anticipation of what would surface much later in the likes of "Because".In the second half we suddenly are faced with almost the entire instrumental backing ensemble executing a double-barreled iteration of a really knockout ostinato riff for lead guitar and bass drum; one that I'd say is easily way up in there the same class with the one from "Day Tripper" in terms of both its distinctive melodic contour and craggy syncopations that extend over one and a half of the ostinato's two-measure length.For starters, the bassline gives a pedal tone-like stress to the note G throughout the first eight measures, placing the C chord in the extremely weak 6/4 (also known as "second") inversion.Secondarily, the melody stresses the note D during measures 2 and 6, creating a sense of the C and G chords being superimposed over one another.The bass drumming that backs the lead guitar riff is so sharp that when the bass guitar finally enters at the tail end of this intro with a pickup to the intro you think for a second that maybe you're hearing an overdubbed second bass part; but it's not so.The C chord in measures 2 and 6 is elusive, indeed.