A Hard Day's Night UK version - who sings what

[joseph]

I've spoken about this album in the Beatles vs Featles audio thread, but I think this album deserves a thread of its own because it recently occurred to me that the title track has been recorded by The Fetals.

Investigating this mess is like sticking your finger in a plug socket and getting electrocuted. When you listen to a track and think, "damn it's not them" it's a shock and it discourages you from further listening.

I did conclude from my last investigation into AHDN that the whole of the tracks on side a were recorded by The Beatles and the songs recorded by The Fetals were on side b. The shock having worn off I have revisited the album and I can hear Faul's voice when he sings the part, "...feeling you holding me tight ...Tight yeah" you can hear him straining to reach that note which is so typical of him. 

There are no parts in the film where The Beatles actually play the song. It plays on the opening Chase scene and the closing credits. The song could have been retrofitted to the movie without The Beatles knowledge. What we need to find out is if The Beatles ever played the song live on the June world tour before the movie was released.

The Fetals did play AHDN live after the movie came out and after the album version of the song there will be a live version of the song sung in Paris in 1965. You can hear Faul again straining to reach the notes and even missing some altogether - for me it's the same voices as on the album version.

[joseph]

The next song is I Should Have Known Better. The notes reached by John on this track make it easy to tell the vocal difference between him and his imposter replacement. The verses have high points - especially that long "wo wo IIIIIIIIIIIIII" - but it's in the chorus when John sings, "That when I tell you that I love you, ohhh" that you hear the difference, as well as, "and when I ask you to be mi-ha-ha-hinnnne" he holds the note for longer as you will hear Fohn do on later tracks.

Unlike AHDN this song is sung by The Beatles in a scene. It's the one where they're on the train with the schoolgirls.

[joseph]

If I Fell is another by the real Beatles and another they sung in the film. They're miming of course, but it's important because I've never seen the real Beatles moving their lips to A Hard Day's Night - was it ever sung on their June world tour?

This is a three part harmony and you can hear George's part quite well and all three vocals are distinctive.

[joseph]

I'm Happy Just to Dance With You is a George Harrison solo with backing from John and Paul. His scouse accent is detectable in everything he sings.



I searched youtube to see if there was a compilation of music scenes from the move Help! and found this which is Forge doing lead vocals on a song called I Need You



Man it's like chalk and cheese - not even close. The guy who sang I'm Happy Just to Dance With You did not sing My Sweet Lord Hare Krishna.

[joseph]

Ahhh! And after that bombshell, it's time for the dulcet tones of Paul McCartney and the song And I Love Her. Like all but two songs (Can't Buy Me Love and You Can't Do That) on the UK version of AHDN this song was never played live in the concerts that preceded the premiere of the movie. It was never played live afterwards on the North American tour of late 1964, so that was a waste of a song. It was recorded on 27th February 1964, performed in the movie and then completely dropped.



I searched for it live but couldn't find anything. I read up some more about the song and a studio recording for the BBC radio show "Top Gear" was made on the 16th of July. The Bolero style Spanish guitar is dropped for electric and the voice ain't got no dulcet. It's Faul and everyone involved trying to synthesise Paul and the Beatles in one take.



That's the last you hear of that song. It's gone down the memory hole. We're now in a Beatles alternate reality. Between the June world tour and the August North American tour they play some gigs in the UK and a couple in Sweden. They record And I Love Her for the BBC between the first two gigs (Brighton and Blackpool) and it doesn't seem like they're promoting the album or the movie. This is the point where they diverge from the norm. Getting good quality footage of them live from these dates is impossible as well.

[joseph]

I haven't forgotten about this thread, nor have I got stuck thinking about who sung what. It's just that when I got to that point I was looking into the songwriting and recording sessions and I realised that I was looking at the last things they ever did. I'm afraid the magnitude of it all got on top.

Another thing that got to me was that by November 2022 when I started this thread - and I was surprised to see that I'd made all the posts on the same day - I had been doing this for nearly five years and had discovered many more artists had been replaced with imposters, and that those artists had left greater bodies of work than The Beatles at the time of their replacement - and it hasn't stopped there. If I were to rank those artists in terms of what they gave us before being replaced, then I don't think The true Beatles would make the top 20. That tag of "best band in the world" has to be dismissed and dismissed again.

The next song on AHDN is Tell Me Why. This song was written in Paris before they went to America and recorded on February 27th at EMI studios in London. It appears in the movie but was never played live so we can't compare it with any Fetals material. I think if they had survived and did a tour to promote the movie and the album they would have played it. It's classic Beatles live fayre, with the harmony "Is there anything I can do-ooo" so camped up and joyful. The backing vocal is reminiscent of that in "From Me To You" that had the girls screaming.

In a 1980 interview Fohn said of the song,

"'Tell Me Why'...They needed another upbeat song and I just knocked it off. It was like a black, girl-group New York song."

This dismissiveness is seen time and time again from imposters, but remember this is the same imposter who said they were struggling for material when making Beatles For Sale which went into production in August 1964 - why couldn't he just "knock some off?" Tell me why!

That means they only supported the movie and the album to A Hard Day's Night in Sweden in July. That is illogical, Captain! That to me smacks of being swept under the carpet.

Anyway here it is - Tell Me Why recorded by the true Beatles:

[joseph]

The next song is the last song on the A side and probable The Beatles best song - Can't Buy Me Love. This is definitely and definitively by the true Beatles. It reached #1 on the Billboard charts in its second week when The Beatles occupied the top 5 spots on the chart and held the record for the most pre-ordered single in the US until 2006.

It would be difficult for The Fetals to drop such a successful song from their set, so I was confident I'd be able to find something to compare the originals with. I was looking through the song's history on a blog and I saw an album cover that I instantly recognised. I was like, "Hang on, I'm sure that's amongst my dad's laser disks." My dad died in 2009 and when I was clearing out his flat he still had a laser disk player from the 80s and a load of discs. I've not got rid of them either but I knew he had some albums in there as well. I went and had a look and I found The Beatles: Live at the Hollywood Bowl 1977 mint condition. It's got Can't Buy Me Love on it but I've got nothing to play it on.

The sleeve notes are a big write up by George Martin who "polished" the tapes from two different concerts at the same venue in 64 and 65.

Over twelve years ago the Beatles appeared for the first time at The Hollywood Bowl in Los Angeles. It was not long after they had made their first impact on the United States, but already two years after I had signed them to a recording contract for EMI. Frankly, I was not in favor of taping their performance. I knew the quality of recording could not equal what we could do in the studio, but we thought we would try anyhow. Technically, the results were disappointing; the conditions for the engineers were arduous in the extreme. The chaos, I might almost say panic, that reigned at these concerts was unbelievable unless you were there. Only three track recording was possible; the Beatles had no “fold back” speakers, so they could not hear what they were singing, and the eternal shriek from 17,000 healthy, young lungs made even a jet plane inaudible.

A year later, in 1965, John, Paul, George and Ringo appeared again at The Hollywood Bowl and again Capitol taped the show for posterity, and there the tapes remained for over a decade. Neither the boys nor I considered they should be used because they consisted of titles that had already been issued as studio recordings, we often spoke of making a live recording, and in fact the ill-fated “Let It Be” album began as an attempt to make a live record of new material.

It was with some misgivings therefore that I agreed to listen to those early tapes at the request of Bhaskar Menon, Capitol’s president. The fact that they were the only live recordings of the Beatles in existence (if you discount inferior bootlegs) did not impress me. What did impress me, however, was the electric atmosphere and raw energy that came over.

And so, together with my recording engineer, Geoff Emerick, I set to work to bring the performance back to life. It was a labor of love, for we did not know if we could make them good enough for the world to hear – let alone John, Paul, George and Ringo.

We transferred the vintage three track tapes to modern multi-track, remixed, filtered, equalized and generally polished the tapes. Then, by careful editing from the two performances, we produced the performance that you hear now, obviously there has been no overdubbing. All the voices and instruments are the original performance (some of the vocal balances, with three singers on one track are evidence enough). But it is a piece of history that will not occur again.

Those of us who were lucky enough to be present at a live Beatle concert – be it in Liverpool, London, New York, Washigton, Los Angeles, Tokyo, Sydney or wherever – will know how amazing, how unique those performances were. It was not just the voice of the Beatles: it was expression of the young people of the world.

And for the others who wondered what on Earth all the fuss was about, this album may give a little clue. It may be a poor substitute for the reality of those times, but it is now all there is.

In the multiplatinum, sophisticated world we live in today, it is difficult to appreciate the excitement of the Beatles breakthrough. My youngest daughter, Lucy, now nine years old, once asked me about them, “You used to record them, didn’t you, Daddy?” she asked, “Were they as great as the Bay City Rollers?” “Probably not,” I replied. Some day she will find out.

Those who clamour for a Beatle reunion cannot see that it can never be the same again. The boys in their own way gave a great deal of their lives to us by being Beatles. And now they have found their own individual selves. Good luck to them. I am very proud to have been part of their story.

Thank you John, Paul, George and Ringo.

George Martin

All this time on this forum - nearly six years now - and that album was not even in my mind. More than that when I looked at the back cover and saw the sleeve notes by GM I was taken aback by how damning they were. I never would have searched for them.

I picked two other albums up from his flat that I've still got. One is Spandau Ballet, Journeys to Glory and the other was Grant Fraser, Scotland the Brave. I don't know what happened but I distinctly remember him having quite a few albums when I used to go to his bedsit once a week when I was a little boy after he'd been kicked out by my mum. Most memorable was a Billy Conolly album with his banana boots on.

When he died in 2009 I had to organise his funeral myself and I had to pick a song to play as his coffin went into the furnace. He's Scottish and I was debating Mull of Kintyre but I went for Sailing by Rod Stewart. Fast Forward to 2016 and I met a girl on Twitter from Detroit through talking about Black Lives Matter. She was black and her name was Melody and she came over to England to visit me.

Out of the blue I said, "Do you fancy going to Ireland?" I'd never been before so I drove to Holyhead and we got the ferry to Dublin and spent the night there. When we got to the hotel room I was emptying my pockets and I said, "Where are my keys?" I'd lost them and they could have been anywhere from the car park in Wales to Ireland. My head was spinning. I would have had to get a locksmith in Holyhead to recover my car and then another to get back in my flat in Manchester. I was praying, "Please help me please."

We'd gotten a bus from the ferry to the hotel, so we went back to the bus stop where we got off and asked the next bus driver if there's any way they could have been found. He gave us a number of the lost property office at the depot. I called it and they'd just had some handed in that had a Toyota key on. We jumped into a taxi and went to the depot on the outskirts of Dublin. I'd told the driver the story and he waited for me while I picked them up. He's got the radio on, I jump in clutching my keys as happy as can be, give Melody a kiss and what comes on the radio? We Are Sailing! I started crying couldn't help it. She's like, "Are you alright?" and I told her. Got out of the taxi and we're walking around Dublin and I was buzzing. We walk past a busker with an electric guitar and guess what he was playing? Hey Joe! I've got it recorded on my last phone that bricked. My dad's name was Joe as well. How's that for synchronicity?

Anyway I digress. Here's the album version of Can't Buy Me Love, a live version prior to release of AHDN, a raw version from the Hollywood Bowl 1965, and a remaster of GM's 1977 polished version that was done by GM's son recently for the Ron Howard film









Those last two are the same August 1965 gig. I'm flabbergasted... lost for words.

[joseph]

So now we move on to the B side of AHDN and the first song that doesn't appear in the movie - Any Time At All. It can't really be called the soundtrack to AHDN - and officially it isn't. That title goes to the American album of the same name by United Artists:

A Hard Day's Night is the third studio album by the English rock band the Beatles, released on 10 July 1964 by Parlophone, with side one containing songs from the soundtrack to their film of the same name. The American version of the album was released two weeks earlier, on 26 June 1964 by United Artists Records, with a different track listing that included selections from George Martin's film score.

That album also contains one song that wasn't included in the movie, that we'll listen to later. I don't think The US version can be called a soundtrack either, because it omits Beatles songs that appeared in the movie.

I've known for a few years that AHDN  contains recordings from both The Beatles and The Fetals, but yesterday I thought I'd look up what other songs by The true Beatles were in the movie. The proper soundtrack album of the movie would look something like this

1. A Hard Day's Night*
2. I Should Have Known Better 
3. I Wanna Be Your Man
4. Don't Bother Me
5. If I Fell
6. All My Loving
7. Can't Buy Me Love
8. And I Love Her
9. I'm Happy Just to Dance With You
10. This Boy (Ringo's Theme
11. Tell Me Why
12. She Loves You

*I've put AHDN in italics because I think it was at least recorded by The Fetals. Take that away and you have 11 tracks for an album that I believe the true Beatles thought they would be releasing and promoting to coincide with the movie.

I don't think The Beatles were asked to go into the studio on June 1st to record filler songs when they didn't need to. They don't play any of those "new" songs in June either. What's happened is they've got The Fetals to record them so they can mix songs from the two groups on the same album and transition from one group to the other.

On to Any Time At All and this is The Fetals. It makes me feel angry. It starts with Fohn shouting the title then Faul repeating it. He sounds like that nasty little wimp at school who always hung around with the school bully and repeated his threats. His voice is so strained. Just listen to Tell Me Why after this and you can hear the vocal differences because it's about the same tempo:

[joseph]

Even more than the title track to A Hard Day's Night, the second song on side B "I'll Cry Instead" marks the divergence between the true Beatles and The Fetals. We now enter the multiverse with the two groups in play, which makes it difficult to pin down the last date The Beatles existed, but narrows it down to a couple of possibilities. 


The "official" story of this song's history on Wikipedia goes like this:

Both John Lennon and Paul McCartney identified "I'll Cry Instead" as having been written entirely by Lennon. Lennon wrote the song for inclusion in the Beatles' 1964 film, A Hard Day's Night, intended for use in the film's "break out" and open field sequence. Director Richard Lester disliked the song and replaced it in the film with "Can't Buy Me Love", so the band opted to wait on its recording.

I'll Cry Instead was recorded in the June 1st session and was sent to United Artists by George Martin on the 10th. It appears on the US version of AHDN and was released as a single in the US on June 26th and only reached #25 on the Billboard charts. That means it would have been released when The Beatles were flying between their last concert in New Zealand and the second leg of their Australian concerts in Brisbane. It's quite possible then that this recording by The Fetals could have been kept secret from The Beatles, but it also begs the question whether The Beatles actually made it to Brisbane, but more on that in the conclusion.

I've looked to see if this song appears on any of their setlists and despite also being released as a single in the UK on July 10th it doesn't. So much for, "We play the songs that are out in the shops at the time." Reality has not so much entered the multiverse as the faultiverse. The track also appears on the US released album "Something New" which is a bit rich for a title considering most of the songs have been released twice already. Something New is basically this album but with The Fetals on the A side and The Beatles on the B side. There's no song on the album called Something New, so I can reasonably say that the title is referring to four new guys. Gotcha!

There's also conflicting accounts as to when this song was written. Books by Barry Miles and John Winn published in 2007 & 2008 respectively say I'll Cry Instead was written in May when John and George were on holiday in Tahiti. There's so many conflicting stories and such a cover up going on that the citations and references for this song on its Wikipedia entry are an absolute mess. There are 38 references (used multiple times) from 21 books and interviews. This must drive the little Winston Smiths at Wikipedia mad piecing together these stories. They're like toddlers playing with lego bricks - they know what they're doing but the unwitting public don't, "That's a lovely thing you've created, what's it called?" "New World Chaos mummy."

The Fetals songs on this album seem to be analogues of The Beatles songs, at least in tempo. I'll Cry Instead is comparable to You Can't Do That. I think it's how they get the human brain to accept the switch without noticing. That's how they put the spell on people, but for me these analogues act as spellbreakers. These uploads are from remasters so you can hear everything. Listen to this and You Can't Do That alternately a few times and you can hear massive differences in the harmonies. The true Paul and George's voices are really noticeable.




[/span]

[ramone]

It didn't go high on the charts but I thought it was pretty good.
It sounds like maybe John double tracked his vocals.

John sounds like John in these earlier recordings but
I think he sounds different comparing earlier to later on (later 60s and solo.)

[joseph]

I sense a disturbance in the force... can anybody else sense a disturbance in the force or is it just me?

"John sounds like John" is an interesting concept. John is John, yes? Why would he not sound like John? Fohn sounds like John. He wouldn't have got the job if he didn't sound like John. Fohn looks like John - if he didn't they wouldn't have been able to fool the human race for all these years, and I don't think the people behind these imposter replacements see themselves as members of the human race.

"And they're only gonna change this place,
By killing everybody in the human race." Sting, The Police - Invisible Sun.

Just what is your threshold of sufficient reason to say someone has been replaced? What do you expect of an imposter/ impersonator/lookalike/doppelgänger replacement? Are you expecting Stevie Wonder to suddenly appear playing rhythm guitar in The Beatles? "Ooh, I'm in two minds about this one. I hope it's in Mal Evans diary."

We're Splitting the atom here, and that requires bombarding reality with alpha-beatle particles (aka facts) to see if we can dis-CERN any subatomic elementary particles. What we will find is a pro-John and a neu-John, who we will call Fohn (a false John). When you create a Fohn a John is destroyed in the process. But this isn't news, because the Faul was revealed to science in the late 60s.

Faul sounds like Paul, but Paul McCartney is a special case of special relativity and quantum mechanics. The Paul is dead theory is like Schrodinger's cat. With the experiment that's in the box with the cat, the cat can either be dead or alive - you don't find out if the cat is dead or alive until you open the box. Some people have used this thought experiment to popularise quantum mechanics and therefore reality, is being driven by the observer and the cat is both dead and alive at the same time, but the experiment was devised to show that notion is absurd. That absurdity is mirrored in the Paul is dead community in that he is both dead and simultaneously headlining Glastonbury in 2023 with Bruce Springsteen. How Paul McCarntey is relativistic is that it depends on your frame of reference. But we can run this experiment in reverse, after all mc²=E, and observe people's frame of reference. Are they in motion? Standing still? Or going round in circles always coming back to the same spot? Ooh, it's a mystery!

The next song on AHDN is Things We Said Today, a song sung by Faul in his most boring droning voice. He actually had a crack at this one at some live concerts. He mimed it for a few TV appearances in the UK before taking it on the road to America. It was recorded at the Hollywood Bowl but that wasn't good enough for release at the time and they had to wait for technology to catch up and memories to fade before they could polish it and release it to the public.

The song was recorded on June 2nd 1964 and is supposed to have been written on the boat "Happy Days" while Paul, Jane, Ringo and Maureen where on holiday in the Virgin Islands in May. Now that's Paul on that boat, so we've got Faul talking about Paul when he "recollects" the writing of the song.

You learn something new every day and I just learned that they went on that holiday using false passports, so this trip was facilitated by people above the law. Why the cloak and dagger? I lived on the Cayman Islands when Tom Cruise filmed The Firm - no one gave a shit. They had handlers, the boat had a captain. They're in a bubble the can't escape from at this point in their lives.

What I think has happened with this song is that Paul and Jane's cabin was bugged and their conversations recorded and the "things they said" were used in the lyrics.

"You say you'll be mine, girl
Till the end of time"

She said she'd love him 'til the end of time - and why wouldn't she? But someone was eavesdropping on it. Well it was true, because the end of their time on Earth wasn't far away.

"And though we may be blind"

Why are they blind? They don't know what's coming

"Someday when we're dreaming
Deep in love, not a lot to say"

That just speaks to this feeling I've got that The Beatles were dropped into the deep ocean, dreaming, not a lot to say, dead! Possibly a yellow submersible of some kind.

This ballad is an analogue of And I Love Her which I've posted already, but it's got a disturbing j-j-jing on acoustic guitar that changes the pace of the song.

[itsme]

Oct 19, 2023 4:55:43 GMT -5 joseph said:

I sense a disturbance in the force... can anybody else sense a disturbance in the force or is it just me?

"John sounds like John" is an interesting concept. John is John, yes? Why would he not sound like John? Fohn sounds like John. He wouldn't have got the job if he didn't sound like John. Fohn looks like John - if he didn't they wouldn't have been able to fool the human race for all these years, and I don't think the people behind these imposter replacements see themselves as members of the human race.

"And they're only gonna change this place,
By killing everybody in the human race." Sting, The Police - Invisible Sun.

Just what is your threshold of sufficient reason to say someone has been replaced? What do you expect of an imposter/ impersonator/lookalike/doppelgänger replacement? Are you expecting Stevie Wonder to suddenly appear playing rhythm guitar in The Beatles? "Ooh, I'm in two minds about this one. I hope it's in Mal Evans diary."

We're Splitting the atom here, and that requires bombarding reality with alpha-beatle particles (aka facts) to see if we can dis-CERN any subatomic elementary particles. What we will find is a pro-John and a neu-John, who we will call Fohn (a false John). When you create a Fohn a John is destroyed in the process. But this isn't news, because the Faul was revealed to science in the late 60s.

Faul sounds like Paul, but Paul McCartney is a special case of special relativity and quantum mechanics. The Paul is dead theory is like Schrodinger's cat. With the experiment that's in the box with the cat, the cat can either be dead or alive - you don't find out if the cat is dead or alive until you open the box. Some people have used this thought experiment to popularise quantum mechanics and therefore reality, is being driven by the observer and the cat is both dead and alive at the same time, but the experiment was devised to show that notion is absurd. That absurdity is mirrored in the Paul is dead community in that he is both dead and simultaneously headlining Glastonbury in 2023 with Bruce Springsteen. How Paul McCarntey is relativistic is that it depends on your frame of reference. But we can run this experiment in reverse, after all mc²=E, and observe people's frame of reference. Are they in motion? Standing still? Or going round in circles always coming back to the same spot? Ooh, it's a mystery!

The next song on AHDN is Things We Said Today, a song sung by Faul in his most boring droning voice. He actually had a crack at this one at some live concerts. He mimed it for a few TV appearances in the UK before taking it on the road to America. It was recorded at the Hollywood Bowl but that wasn't good enough for release at the time and they had to wait for technology to catch up and memories to fade before they could polish it and release it to the public.

The song was recorded on June 2nd 1964 and is supposed to have been written on the boat "Happy Days" while Paul, Jane, Ringo and Maureen where on holiday in the Virgin Islands in May. Now that's Paul on that boat, so we've got Faul talking about Paul when he "recollects" the writing of the song.

You learn something new every day and I just learned that they went on that holiday using false passports, so this trip was facilitated by people above the law. Why the cloak and dagger? I lived on the Cayman Islands when Tom Cruise filmed The Firm - no one gave a shit. They had handlers, the boat had a captain. They're in a bubble the can't escape from at this point in their lives.

What I think has happened with this song is that Paul and Jane's cabin was bugged and their conversations recorded and the "things they said" were used in the lyrics.

"You say you'll be mine, girl
Till the end of time"

She said she'd love him 'til the end of time - and why wouldn't she? But someone was eavesdropping on it. Well it was true, because the end of their time on Earth wasn't far away.

"And though we may be blind"

Why are they blind? They don't know what's coming

"Someday when we're dreaming
Deep in love, not a lot to say"

That just speaks to this feeling I've got that The Beatles were dropped into the deep ocean, dreaming, not a lot to say, dead! Possibly a yellow submersible of some kind.

This ballad is an analogue of And I Love Her which I've posted already, but it's got a disturbing j-j-jing on acoustic guitar that changes the pace of the song.

I've been looking in to your theory and I can see where your going. I even feel that If I Fell may have been recorded or at least overdubbed by the imposters...if you listen closely at 1:43 or so in the song you can hear "Paul's" voice crack and jarringly halt.

[joseph]

We're getting there. It's taking some time but we're getting there. I would have finished it last October but I got knocked out by another John Lennon time bomb. This one's even better than "We play the songs that are out in the shops." It's a proper spanner in the works.

You see up until last October I was under the impression that the song title "A Hard Day's Night" came from what they called a Ringoism. Ringo was supposed to have said it during the shooting of the movie but it didn't make sense so they used it for a song title. They are down as saying such and it has stuck so much that I wasn't even aware of the true origin of the phrase "a hard day's night" until doing this thread. It's actually come from a nonsense poem by John Lennon that appears in his March 1964 book In His Own Write:

"He'd had a hard day's night that day, for Michael was a Cocky Watchtower." - Sad Michael




The poem was written in 1963 so Ringo couldn't have come up with it during the production of the movie. We even have as late as 1995 AHDN producer Walter Shenson claiming credit for coming up with the title:

"I mentioned to John one night that we needed to have another song, one titled 'A Hard Day's Night.' His reaction was to ask what I was talking about. I explained by asking what kind of a producer would I be to have a film called 'A Hard Day's Night' starring the Beatles, and then not have a Beatles song called 'A Hard Day's Night.' I asked him to please write this new song. The next morning, he and Paul called me into their dressing room - we were still shooting - and they played and sang to me their new song, 'A Hard Day's Night.' Now, think about this: I got a hit song on demand! That's almost impossible. And it was one of their biggest hits ever." Shenson also recollected on another occasion how John initially inquired what the lyrics should be, to which he replied, "A hard day's night, I come home to you," which made Lennon respond, "That's terrible!" Although Shenson then stated, "That's why you're the songwriter and I'm the film producer,"

Maureen Cleave is supposed to have suggested the line "..and my tiredness is through" was weak to John and he changed it to "I know the things that you do.." She also is quoted as saying, "the song materialised out of thin air."

What I think has happened is John has written an outline to the song, Maureen Cleave and Walter Shenson have acted as a go betweens and given a draft of the song to the Fetals who have then altered it and recorded it. Then they've had to make up a story about how they got the title not knowing that it had already been put into print and published. Are we surprised by the title of Fohn's follow up book of nonsense in 1965?


*Bangs gavel*





Two. Different. Guise.

Anyway, let's do another song. This is called "When I Get Home" which I've just this minute realised is also a lyric from AHDN. It was recorded by The Fetals and like I Should Have Known Better which was recorded by The Beatles it contains the hook "wo wo Iiiiiiiii" with the "i" being held for a long duration. I think that little motif in each song displays the differences in John and Fohn's vocal range very clearly so I'll post them both up so you can listen side by side:

When I Get Home- The Fetals


I Should Have Known Better- The Beatles