The most successful recording was performed by Tom Jones , and released at the beginning of It is Jones’ highest-charting single in the U. Anka rewrote the first verse of the song recorded with Jones for his Duets album, because he disliked its chauvinistic sentiments. From Wikipedia, the free encyclopedia.
She’s the Woman
John Lennon – Paul McCartney. Most songwriters will explain the moment of inspiration as an exhilarating experience. Paul McCartney explains it this way: It’s like sex. You’re filled with a knowledge that you’re right, which, when much of your life is filled with guilt and the knowledge that you’re probably not right, is a magic moment When this inspiration hits you, the immediate tendency is to record it while the enthusiasm is high.
Otherwise, if a good degree of time goes by, the resulting recording may suffer from lessened interest from the songwriter. So the best case scenario would usually be for the songwriter to record the song as soon as he’s finished writing it, if those circumstances present themselves. In the case of the song “She’s A Woman,” the circumstances were perfect.
Songwriting History. In his book “Many Years From Now” he elaborates further: John’s Wood with that in my mind so I might have written it at home and finished it up on the way to the studio, finally polished it in the studio, maybe just taken John aside for a second and checked it with him, ‘What d’you think? Let’s do it! Lennon himself verifies his input to the song, saying in , “We had one verse and we had to finish it off quickly.
That’s why it’s got such rubbishy lyrics. That’s Paul with some contribution from me on lines, probably. We put in the words ‘turns me on. As to the style of the song, McCartney gives us some detail as to inspiration. We always found it very hard to write the more rock’n’roll things. It seemed easy for Little Richard to knock ’em off, penny a dozen, but for us it wasn’t quite so easy, being white boys who’d not been to a gospel church in our lives.
So instead of doing a Little Richard song, whom I admire greatly, I would use the style I would have used for that but put it in one of my own songs, so this was about a woman rather than a girl. Bluesy melody is quite hard to write so I was quite pleased to get that. Take one listen to the overall feel, and especially the introduction, of their single “Sugar Bee” and you’ll see how The Beatles, who were always keen to “pinch” a good idea from the current music scene, might very well have been inspired by the Sir Douglas Quintet.
Interestingly, McCartney credits John for this ingredient of the song. Ringo would play the snare and John did it with the guitar, which was good, it left a lot of space for the rest of the stuff. That was a distinctive sound on that. Recording History. Since their next recording session didn’t occur until October 18th, it’s quite likely that they didn’t really have anything planned for this day and welcomed any new ideas that would fill either the new album or single that was due out before the end of the year.
An interesting observance is that, while listening to all of the seven takes of the rhythm track of the song performed on this day, George Harrison appears to have not participated. All of the takes contain only three instruments, which were John on guitar, Ringo on drums and Paul on bass guitar and lead vocals. The lead guitar solo was never present in these takes but was added as an overdub onto the take that was chosen as best.
Some claim that George simply was not present on this day, Paul adding the guitar solo himself as an overdub. However, there is no evidence of Paul having an electric guitar that was strung for a left-handed player at hand in the studio at this time, he not acquiring his Epiphone Casino that was used during the ” Help! Therefore, it is more likely that it was indeed George that performed this solo as an overdub later in the session, his arrival at the studio on this day possibly not occuring until after the rhythm track was complete.
Take One of the recording session is noteworthy because John’s syncopated guitar part did not exist yet. He seemed to be experimenting with different rhythm styles, starting out with one not unlike what George Harrison played on ” Eight Days A Week ” during their last recording session on October 6th. Take Two saw John settle into the syncopated guitar rhythm for the first time, although it was quite unrefined at that point.
Ringo was also experimenting with different variations of playing during different parts of the song, suggesting that he wasn’t quite familiar with the song yet. They were getting closer though. Takes three through five, some of them false starts, saw them refine their ideas further while Take Six was the keeper. They did one more for good measure, but Take Seven showed their playing getting a little sloppier, especially John’s guitar work. This take lasted nearly six minutes, ending with a long impromptu ending with the three of them cutting loose and Paul screaming at the top of his lungs.
After the song finally ends, Ringo says “We got a song and an instrumental there. Recognizing Take Six as the best, they took to adding overdubs. Paul overdubbed a piano through the entire song starting at the second verse as well as double-tracked his vocals during both bridges. As stated above, it was probably George who filled the instrumental gap of the song with a guitar solo, which he then double-tracked to add more depth. By 6 pm, the recording session and the song were complete.
Since both a mono and stereo mix was made this early on, they probably had intended the song to be on the upcoming “Beatles For Sale” album. Both of these mixes have a touch of reverb and fades the song after we hear ” she’s a woman ” repeated five times at the end. Neither of these mixes were heard in the US for many years, the stereo mix first released only on an Australian album in The Past Masters CD of finally made the stereo mix available to all. The second mono mix of the song was made on October 21st, specifically for the US single, which indicates that sometime between October 12th and then the decision was made as to its being issued as the b-side to their next single.
They added a little more reverb to the song since they knew Capitol liked it that way, but the song faded a little earlier after ” she’s a woman ” is heard only three times at the end. To the surprise of the EMI staff, Capitol decided to add even more reverb to the song for its single release, making a very noticeable difference between the British and American singles. Nonetheless, this is how American audiences were familiar with the song for over two decades.
More recordings were made of the song in from their concert performances at the Hollywood Bowl in Los Angeles, California. August 29th was their first show, but this recording never saw the light of day due to technical difficulties during the show. This version, of course, never saw an official release. There apparently was another stereo mix of the song made some time around since it has surfaced on the British “Beatles EPs Collection” in and its counterpart on compact disc in During the August and September recording sessions for John’s classic album “Double Fantasy,” jammed versions of the song surfaced.
Guitarist Hugh McCracken recalls: On the guitar it sits well in the key of E, but that wasn’t the key the song was originally recorded in by The Beatles. Sadly, the evidence of this is gone forever because of John himself. Assistant engineer Jon Smith relates: He told us that he pulled the tape out of their shells and flushed them down the toilet. Song Structure and Style. The bar blues progressions and chord changes are on full display but with some usual Beatles modifications.
Add to this an introduction and a faded conclusion and you have what McCartney called “a real screaming rocker for the live act. From the quick paced count-in from Paul we see that the verses are actually 24 measures long instead of the standard 12 bars that are thought customary for this kind of song. First, though, we hear the eight measure introduction with John’s double-tracked guitar stabs on the off-beats played without the band for the first four measures.
The last four measures of the introduction brings Paul’s grounding bass line and Ringo’s drums with sizzling open hi-hats and chocalho to stabilize the song, which allows the listener to get his bearings as to where the down-beat actually is. The first 24 measure verse begins as Ringo closes his hi-hats and Paul begins his vocals simultaneously on the down-beat. Paul’s melody line starts out with the hook-phrase that is repeated four times within the verse, beginning with a near-octave jump to the higher reaches of his vocal register.
The second verse is identical structurally to the first but with different lyrics and the entrance of McCartney’s overdubbed piano. The piano work cleverly repeats the vocal hook-phrase in the gaps between Paul’s vocal lines. One subtle change in this second verse is that the segueing chord is dropped since the bridge, which occurs next, begins with a distinctive new chord.
This quick four-measure bridge deviates from the usual blues format and creates a bit more tension through some changes in the musical arrangement. For instance, Ringo returns to his sizzling open hi-hats and Paul’s vocals are double-tracked, the only place in the song where they are. As a repeat of the first verse begins, Ringo immediately closes his hi-hats again and Paul begins to take liberties singing his melody line, which is very uncharacteristic for him up to this point in The Beatles career.
John begins to show some fatigue on his guitar chops, first evident in the fourth measure where he practically misses the first chop entirely. For the ninth measure he forgot to change chords, and the twenty-third measure contains what sounds like a muffled miss-hit of the chord. After the segue chord and ” whoo ” from Paul at the end of this verse, the solo section begins.
This is the first time an actual bar blues pattern actually appears in the song. The guitar solo is double-tracked and perfectly performed. The only noticeable flaw is Lennon accidentally playing the segue chord at the end of the solo which wasn’t needed because we were immediately going into another bridge, not a verse.
After the second bridge, which was identical to the first, they repeat the first verse a third time with Paul ad-libbing his vocal melody line even more. Without a need to use the segue chord, they enter straight into the conclusion of the song, which takes the same bar-blues form that was used in the solo. Ringo rides the bell of his cymbal for the first time in the song as Paul belts out ” she’s a woman ” a few times during the fade out.
The song disappears just as the three minute mark appears, allowing it to be within the suitable time frame for radio airplay in the 60’s. Regarding Paul’s vocal work on the song, many fans didn’t like it. It sounded as though I was screeching, but it was on purpose, it wasn’t a mistake. His vocals may have been at the top of his register and at the point of cracking, but that was a purposeful attempt of emulating his hero Little Richard, which in effect pushed the tension of the song to an exciting place.
Although it was nice to hear McCartney resurrect the song in his ” MTV Unplugged ” performance in , his lowering the key to accommodate a maturing singer reduced the song to a mellow groove. Although McCartney had graced the keyboards before this time see ” Little Child ” and ” Any Time At All ” , he played with impressive rhythmic fluidity for a song he had just written that day.
George’s double-tracked guitar solo if it was indeed him was highly crafted and beautifully executed. Also, Paul’s flowing bass work drove the song nicely from start to finish. Paul was definitely on top of his game for “She’s A Woman. Although John’s rhythm guitar chops were awkward for him to master, he ended up getting through it in a masterful way, albeit with a few acceptable flaws. It ends up being the most outstanding instrumental ingredient of the track, especially with the layers of reverb on the American release.
Written primarily by Paul McCartney, the bluesy She’s A Woman was first released as the b-side of the I Feel Fine single. Played on the off-beat, Lennon’s choppy guitar chords drive the song, although McCartney’s roaming bass and soulful vocals make it a strong team effort. She’s a Woman by The Beatles song meaning, lyric interpretation, video and chart with Shabba Ranks, which peaked at #20 on the UK singles charts in
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In my previous article, I discussed 12 signs from the Bible that may guide single ladies in choosing the right guy to marry. The article received positive feedback and became quite popular so I think it would be nice to also write something for single men this time — an article that will guide them in finding the right woman to be their wife.
She’s the Woman
The single was released online and to radio stations February 28, The song dates back to a demo written in In , bassist Wolfgang Van Halen , son of guitarist Eddie Van Halen , picked up the tapes for the song from the Studios archives looking for tracks to record with his father and his uncle, drummer Alex Van Halen. The song was one of six new songs in the album A Different Kind of Truth that originated from older material, making it one of the more prototypical Van Halen songs on the album. Released as a single on February 28, , through Interscope Records,  it peaked at No. From Wikipedia, the free encyclopedia.
She’s a Lady
John Lennon – Paul McCartney. Most songwriters will explain the moment of inspiration as an exhilarating experience. Paul McCartney explains it this way: It’s like sex. You’re filled with a knowledge that you’re right, which, when much of your life is filled with guilt and the knowledge that you’re probably not right, is a magic moment When this inspiration hits you, the immediate tendency is to record it while the enthusiasm is high. Otherwise, if a good degree of time goes by, the resulting recording may suffer from lessened interest from the songwriter. So the best case scenario would usually be for the songwriter to record the song as soon as he’s finished writing it, if those circumstances present themselves. In the case of the song “She’s A Woman,” the circumstances were perfect.
John Lennon contributed to the lyrics and middle eight the bridge. The song was finished in the studio the morning of the session.
Консьерж бросил внимательный взгляд в его спину, взял конверт со стойки и повернулся к полке с номерными ячейками. Когда он клал конверт в одну из ячеек, Беккер повернулся, чтобы задать последний вопрос: – Как мне вызвать такси.
She’s a Woman
В его ушах звучали слова Стратмора: Не звони, пока не добудешь кольцо. Внезапно он почувствовал страшный упадок сил. Если Меган продала кольцо и улетела, нет никакой возможности узнать, где оно. Беккер закрыл глаза и попытался сосредоточиться. Итак, каков следующий шаг. Он решил подумать об этом через минуту. Сейчас ему надо было совершить давно уже откладываемую прогулку в туалетную комнату. ГЛАВА 64 Сьюзан осталась одна в тишине и сумерках Третьего узла.
Стоявшая перед ней задача была проста: войти в компьютер Хейла, найти ключ и уничтожить все следы его переписки с Танкадо. Нигде не должно остаться даже намека на Цифровую крепость. Сьюзан снова завладели прежние сомнения: правильно ли они поступают, решив сохранить ключ и взломать Цифровую крепость. Ей было не по себе, хотя пока, можно сказать, им сопутствовала удача.
She’s A Woman
То есть к понедельнику, с самого утра. – Она бросила пачку компьютерных распечаток ему на стол. – Я что, бухгалтер. – Нет, милый, ты директорский автопилот. Надеюсь, не забыл.
She’s a Lady
Беккер нахмурился. – У меня только песеты. – Какая разница. Давай сотню песет. Обменные операции явно не относились к числу сильных сторон Двухцветного: сто песет составляли всего восемьдесят семь центов.
20 Signs She’s the Woman You Should Marry According to the Bible
Что, черт возьми, делает Фонтейн? – Смяв в кулаке бумажный стаканчик, она с силой швырнула его в бачок для мусора. – В шифровалке творится нечто непонятное. Я чувствую. Она знала, что есть только один способ доказать свою правоту – выяснить все самой, а если понадобится, то с помощью Джаббы. Мидж развернулась и направилась к двери. Откуда ни возьмись появился Бринкерхофф и преградил ей дорогу. – Куда держишь путь. – Домой! – солгала Мидж.
She’s a Woman
Затем он его уничтожит, и Цифровая крепость навсегда исчезнет из Интернета. – Действуй своим маячком очень осторожно, – сказал Стратмор. – Если Северная Дакота заподозрит, что мы его ищем, он начнет паниковать и исчезнет вместе с паролем, так что никакая штурмовая группа до него не доберется. – Все произойдет, как булавочный укол, – заверила его Сьюзан. – В тот момент, когда обнаружится его счет, маяк самоуничтожится. Танкадо даже не узнает, что мы побывали у него в гостях.
ГЛАВА 34 Сьюзан сидела одна в помещении Третьего узла, ожидая возвращения Следопыта. Хейл решил выйти подышать воздухом, за что она была ему безмерно благодарна. Однако одиночество не принесло ей успокоения. В голове у Сьюзан беспрестанно крутилась мысль о контактах Танкадо с Хейлом. Кто будет охранять охранников. – подумала.
Quis custodiet ipsos custodes.
The Beatles HD – She is A Woman (Remastered)