![]() As we've seen in other ostinato-driven songs of the Beatles, these recurring, motorized little figures seem to create the illusion of being there in the backing track more of the time than is actually so. ![]() The ostinato figure played by the solo twelve-string guitar at the outset provides a great deal of unity to the song. Not only is there an unusual number of ninth chords in the song, but the bare interval is also found within the opening ostinato figure as well as in the repetitious vocal line which takes the song out at the end. In the dissonance department, Major ninths and seconds appear as though a leitmotif. This relatively bland harmonic diet is spiced up by the liberal use of free melodic dissonance and a certain suspense factor created by the exceedingly slow harmonic rhythm. No other more exotic chords show up nor is there any hint of modulation. The special kicks here are to be found in the arrangement, especially in its exploitation of texture, rhythm, and harmonic dissonance.Īlthough the tune does not make a primarily bluesy impression, both the flat seventh and minor third scale degrees do bear some melodic emphasis in the verse and bridge, respectively.įive of the seven chords that naturally occur in the home key as well as the flat-VII chord are used. The form is an ordinary two-bridge model with only one verse in the middle and no instrumental section. US-release: 19th April 1965 (A Single / "Yes It Is")Īfter the folksy originals and nostalgic covers of the "Beatles For Sale" album, "Ticket To Ride" brings with it a measure of tight toughness that is most welcome to those wondering wether this erstwhile sharp edge of the group's attitude and style had fled following the "Hard Day's Night" album. UK-release: 9th April 1965 (A Single / "Yes It Is") Recorded: 15th February 1965, Abbey Road 2 That’s just one more thing in the favor of this album: they were unafraid to experiment and try things with the enthusiasm of (relative) youth.Form: Intro | Verse | Verse | Bridge | Verse | Bridge |ĬD: "Help!", Track 7 (Parlophone CDP7 46439-2) “What’s The Use” is another lead vocal from Richard and “All I Can Do” with its jazz vibe and Karen’s excellent vocal is like nothing else Carpenters ever recorded. Richard’s “Don’t Be Afraid” is a slice of whimsy, but there’s no harm in whimsy when it is so well arranged and with a great chorus to boot. ![]() Side two opens with their hit single, a very singular cover of this Lennon and McCartney classic that Carpenters make their own. You would have been blown away.Ī cover of the Youngbloods hit “Get Together” is next and that’s followed by another Karen ballad, Richard’s solo composition “All of My Life.” Side one of the original album ends with Richard singing “Turn Away.” Imagine that you had bought this album in October 1969 and got to the third track and heard Karen’s lead vocals for the first time. It is another track that belies the youth and relative inexperience of the siblings. Richard and John Bettis, who had originally been in a band called Spectrum that featured Carpenters, wrote “Your Wonderful Parade” and seven other tracks on the album, including the beautiful ballad, “Someday” which is up next. ![]()
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