The Beatles, You’ve Got To Hide Your Love Away - A Classical Musician’s First Listen and Reaction
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- čas přidán 31. 03. 2024
- #thebeatles #johnlennon #paulmccartney #georgeharrison #ringostarr
Is it okay for my favorite moment of the song to be the “Hey!”? Actually, there’s so much to love in this song that I probably can’t settle on a favorite moment, but still… that “Hey” is arresting!
Here’s the link to the original song by The Beatles:
• You've Got To Hide You...
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Amy Shafer, LRSM, FRSM, RYC, is a classical harpist, pianist, and music teacher, Director of Piano Studies and Assistant Director of Harp Studies for The Harp School, Inc., holds multiple degrees in harp and piano performance and teaching, and is active as a solo and collaborative performer. With nearly two decades of teaching experience, she teaches privately, presents masterclasses and coaching sessions, and has performed and taught in Europe and USA.
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Credits: Music written and performed by The Beatles
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Vlad is correct .. Producer, George Martin had a deep knowledge of classical / orchestral music and instruments, and was a goldmine to The Beatles in providing input regarding arrangements and instrumentation .. A number of various people were given the title "The Fifth Beatle", but George truly was.
Absolutely spot on, George's influence and knowledge had a tremendous effect on the boys, for me Eleanor Rigby portrays his expertise to the full.
For me, there can be no question that George Martin was the fifth Beatle.
Well, it certainly wasn't Yoko Ono. She was just a 5th wheel.
George Martin was/became the 5th Beatle, behind the scenes. He played on several songs and gave so much inspiration and knowledge of classical being woven into rock and roll. He is a big part of the Beatles legacy.
@@danielrockmyer949 Brian Epstein was the first so-called "fifth Beatle".
It was Brian Epstein who went through every possibility -- all the record companies turned "The Beatles" down -- until he got them their contract. And that was because he happened to talk to a music publisher who gave him the information by means of which to contact George Martin. Martin was known to be about the "oddball".
Sixty years later and we are still playing, enjoying, and talking about The Beatles music, it never grows old to those of us who were there at the time but its so good to know this wonderful music is being played and appreciated by a new audience.
As a second generation listener I can assure you, this music never grows old to you if you haven´t been there when it came out, either. By the way, you might like some of the stuff from my own EP (Crocodile Gandhi) - feel free to click on the little cat and check it out!
.. If I could pick only one Beatles song as my very favourite ( an almost impossible task ), I reckon this may be it .. Incredibly charming, melodic and emotional ..Love it totally !👍👍👍
And then you listen to Norwegian Wood.... It is really impossible to pick one favourite.
I love this song. I always did,
and I’m 71 years old.
Ditto. Though I've got 3 years on you.
You were a youngster when this song was released.👍🏻
I've got 5.
I think the quality of John's voice is mesmerizing. His sense of humor: brilliant! Paul's tasteful bass lines: immaculate. ❤
The great gift of George Martin was to recognise the raw talent of four untutored youths and to nurture and encourage it, adding his own skills as an arranger and producer without taking over or getting in the way of their artistic growth.
He contributed a little to song arranging. But John and Paul as songwriters had already been focused on that aspect -- after they became the biggest in the UK, the "Lords of London," John in interview said, "We want to be the Goffin-King of England." Research Goffin-King.
For me, George Martin will always be the "fifth Beatle."
@@alonenjersey Sorting through the several claiming or claimed to be the "fifth Beatle" can be confusing.
The first "fifth Beatle" was Brian Epstein -- it was his efforts that lead to George Martin.
Martin worked for EMI, a corporation that sold recordings for profit. His role as producer was to shape whatever was in front of him -- singer, band, or whatever -- with an eye toward the market and record sales. That is normal, the role for ALL record producers.
For producers to play on sessions, or to hire other session musicians when necessary, has never been unusual.
At the beginning he was the "teacher" and "The Beatles" were the "pupils". By around mid-1965 they were becoming his equal. By the end of their career Martin was trying to keep up
George Harrison once mentioned there was all kinds of instruments in a cupboard next to the studio which they began to raid to add depth to their songs.
Always a pleasure ... Thanks!
This song was an early harbinger of the leap the Beatles were about to take with Rubber Soul.. this seemingly simple song is incredibly haunting and beautiful... at some point is an interesting exercise to step back and add up all the great songs the Beatles wrote in 1964 & 1965
They already took this leap by this point. Rubber Soul is as overrated as help is underrated
You are now reaching the level, How much higher can you go? Excellent!
I'm just starting to watching this video. I'm looking very much forward to it 👍😃
Hey! Great choice. A surprisingly sympathetic song for John.
Lovely piano work Amy!! This is always my favorite part of your videos.
Every time I watch your videos I learn new things that I never thought about before. In this case, how John uses his voice to convey how he felt. I've been playing music for 49 years and I'm still learning, thanks to you. Great video as always.
That's very good to reference British folk singing and music! Even the skiffle phase of British music was mostly folk music and the singer Donovan became popular at this time. With this song the Beatles music begins a new development. Thank you Amy.
PS. Do you ever plan to record some of your favorite new songs? The harp is awesome.
The flutes could have been a suggestion from Martin or they heard that particular instrument on a recording or John said I want a flute but more somber and woody in a lower register and Martin would know what he meant and who to call for the session. Sometimes Martin would write the arrangements for the non band members to play. Sometimes Martin would transpose the parts from the guitar or piano
I hear it in 6:8 too!
I can’t wait to hear Amy’s reaction to “Yesterday.”
*Surely* she has heard that one before! We'll see.
Whether she’s heard it or not, I still am interested in her reaction. 😊
6/8 12/8 yes these are the keys to the kingdom. That triplet feel, that swing, that’s rock and roll. Folk and rock and roll are using a limited pallet of chords and melody, the real substance of these songs are in the lyrics and the character of the singer, the flexible rhythmic feel and shifting nuances of the instruments around the beat is where the magic happens. Less is more kind of thing. I loved what you said about the different meters that could be used to describe it, “you just have to feel the pulse”. That’s rock and roll in a nutshell. Great analysis of another break through song. Thanks Virgin Rock
I love this song. Beautiful!
To me, there is such a thing as classical melody that goes beyond the so-called classical period. A succession of notes that works like a magnetic field, where not a single note could be changed without diminishing its power. This is what sets the Beatles´ best work apart from most other popular artists. The melodic line under the words "Hey! You´ve got to hide your love away" is such an example. It´s a whole musical story told in 9 notes. Dylan wrote the perfect tunes for interpreters of any kind, as they leave a lot of freedom - I just wouldn´t call his melodies classical.
It has almost a Scottish feel to it, you could substitute bagpipes for the flute and it too would be an interesting piece.
The flutes were played by Johnnie Scott. First a tenor and then he overdubbed an alto on top.
Good heavens you maybe correct this time ! 🐨
Way to good Virgin Rock!! Keep doing what you love doing making these videos as well as discussions. Good luck & God bless.
That was a great analysis. You saw it in a way I hadn't noticed before. I just liked the song and the sentiment and the voice. Adding the narrow range of the verse and the impressionism idea and the non-specificity of the lyrics were all great points!
As always, a fantastic evaluation and well thought out. Because of the college degree I received I was required to take a music appreciation class, which mainly involved classical music I've been around a great deal of music since the age of 11, but of course it was mostly pop / Rock / folk music. I have been a massive Beatles fan since February of 1964 when the British Invasion came by way of The Beatles on The Ed Sullivan Show. Is Leonard Bernstein could state that some of the Beatles music was innovative, that's really good enough for me. So many classical performers dismiss all pop and rock music and I'm so pleased that you're willing to take a look at the music without prejudging. I would think that the Beatles did pretty darn good for for guys that had virtually no formal music training whatsoever.
When the Beatles stopped touring in 1966 they had much more time in the studio to experiment with various types of instrumentation. On Rubber Soul and Revolver you see this come into full play. They would feel something more was needed for a song and would have a general idea that brass would help, they would then go to George Martin and he would put together the options for different types of brass. They would go from there. The new extensive remastered releases show how they came up with their final choice, as they often recorded versions using different instruments. On Eleanor Rigby there is a demo of just the string arrangement. There is also a discussion between Martin, Paul and the string players as to the exact sound Paul wanted. Or in the case if a song you've done already, She's leaving Home, the harpist asked Paul what he was looking for. She ran through several options and Paul wasn't satisfied. She finally came up with something he was happy with.
Though the overall concern for "the Beatles" was the SOUND, therefore the lyrics were "secondary," Lennon loved playing with language.
There’s a video on CZcams with Brian May singing this song
George Martin, the producer (arranger, composer, conductor, and musician into classical and Baroque music and I'd suggest you to read his earlier career because is so interesting) who literally loved The Beatles, he was a decided about which could be the right instruments for any song and he also taught to them how to organized songs in the earliest albums... About that, when you said that this song is quite similar to help! you were kinda right, because John Lennon wrote Help! a s a sad slow song about himself, but again George Martin pushed him to speed up the song and he was right because we know the song became a super hit! George Martin adored the talent of the Fab Four and he worked with Paul McCartney during his solo career many times after The Beatles in sings like Live And Let Die and more... Arrangement for piano in F is so deeply relaxing, love it sincerely
I noticed the raspy voice of John back in the seventies when I listened over and over and I mimicked!
One of my favorite songs...what do you think the magic of the Beatles was all about..? I think the cultural climate was just right for the Beatles to make the impact they did....coming out of WW 2..and the impact that African American music had on the youth of the British Isles, produced this musical phenomenon. Thank you Maestro ...I honestly felt when you were describing the lyrics, you were going so say "if she's gone I can't go on....Bla Bla Bla Bla.."..lol
Good to hear your thoughts on this one! Not sure why the piano version was changed to the key of F. Change for the sake of change?
In comments on a previous Beatles song we were talking about things being a bit out of tune sometimes--the flutes are slightly out of tune with each other at the end here.
John Lennon - vocals, 12-string acoustic guitar
Paul McCartney - bass guitar, maracas
George Harrison - classical acoustic guitar, 12-string acoustic guitar
Ringo Starr - brushed snare drum, tambourine
John Scott - tenor and alto flutes
Thanks
28:38 George Martin had a big hand in suggesting the instrumentation, but the Beatles themselves also had ideas. For example, in 1967 Paul McCartney had heard a Bach piece on TV and wanted this type of trumpet in Penny Lane.
Another factor was the EMI studio complex. There were many instruments sitting in those rooms, and the Beatles touched them and were inspired that way to use them in their recordings. I believe this was the case with the sitar on Norwegian Wood.
The Beatles were EXTREMELY lucky to have George Martin as a Producer! The music industry was such a sausage factory in the '60s, they could easily have ended up with an unsophisticated, and unsympathetic producer who would have had no patience for their highfalutin' musical ambitions, they probably would have broken up half way through their third album. With Martin, they could describe what particular musical color they were seeking, and Martin would find it. When you get to "Penny Lane" there is an illustrative anecdote about a Piccolo Trumpet that you should read up on.
While working on "Penney Lane" Paul had watched the BBC Two's Masterworks program featuring Bach's Brandenburg Concerto no. 2 in F Major which featured David Mason on piccolo trumpet. He was immediately taken with its sound and asked George Martin about it. As it happened, Martin was good friends with Mr. Mason and called him up. Martin and McCartney collaborated on the trumpet part, which had notes beyond the accepted range of the instrument - but Mr. Mason nailed it in a bravura performance.
"Penny Lane" - typo
While this is rooted in G, it still has some great chord changes, thank you, very deep lyrics from John - again, the Dylan influence.
George Martin's notes indicate that John overdubbed his lead vocal onto track two, while Ringo added a tambourine, Paul added maracas, and George added a second 12-string guitar simultaneously onto track three. George Martin scribbled on his notes, "Have to use flute on Track 4," which is exactly what was done.
Thank you.
George Martin's notes? From his book 'All You Need Is Ears', yes?
It's secret.
you should watch A Hard Days Night and Help! to experience the songs in context with the films. Help! has always been one of my favorite Beatles albums
This is a very solid song. On the Beatles Anthology CD, when they were doing takes of this, John talked about moving the guitar microphone closer to the bass strings of the guitar. I really like that choice, the guitar has sort of a muted quality to it, it's a great rhythm track, and the song is about the lyrics, so it's smart of him to keep the instrumentation in the background.
I hear it as 6/8. Is it common to write folk songs in 6/8 time? I always think of that as march time, not exactly a waltz. It's more common than you would think in rock n' roll. Elvis Presley's "I Can't Help Falling in Love with You", for one example. Like you demonstrated on the piano, if you can put a half note beat to it and it still sounds good, it's 6/8 vs. 3/4.
"She's Leaving Home" I hear as 3/4, definitely a waltz feel in that song.
Nowhere man and Norwegian wood are other great Beatle songs by John to name a few . I guess you’ll get to them as you move along to the rubber soul album
Flutist Johnnie Scott was paid 6 lbs. for his work. This was the first time the Beatles used a session musician to augment their sound. Andy White was brought in as a replacement drummer, not as an added musician.
Flautist
@@BigSky1 I'm not flauting it, I'm just saying what's true. Name caller!
Oh, you mean 'flautist' instead of 'flutist'. Either word is correct.
@@debjorgo Flautist in England. Flutist in U.S. Being English flutist sounds wrong to me.
@@BigSky1 In 1906, US rich industrialist, Andrew Carnegie, created a 'Simplified Spelling Board' to make spelling easier. Believe it or not, US President Theodore Roosevelt, mandated the new spelling be used for all government documents. It kind of caught on from there.
@@debjorgo Thanks for explaining that.
In interviews on their first visit, they were asked why they didn't sing with a British accent. Paul explained that it was probably because they were fans of US music.
First they recorded a tenor flute part, and then overdubbed an alto flute part.
If you watch the film "Help!" you'll see John perform this song.
I think that singing with the same syllable on several notes is imitating Dylan's melismatic singing style. And he does the same with voice inflections.
Thank you very much for this analysis. I very much enjoyed what you said about the sonic voice quality. But to the story: there is a story here. For this you need to know ... soon after the Beatles started their recording career John got married to Cynthia. The executives of the recording company didn't like that for fear he would lose his attractiveness to female fans. So they told him to hide his love away. As strange as this sounds now at that point in time he was not in a position to pointblank turn down this "advice". These executives are the clowns that he mocks here, and Cynthia comforts him with the words "Love will find a way".
Knowing this makes the lyrics of this great song easily understandable.
The song is about Brian Epstein's homosexuality, this is common knowledge.
@@numsig No, this is a common misunderstanding
Wait until you hear John’s voice on the ode to his mother, “Julia.”
Hi Amy! I love your channel.
Suggestion: While doing the breakdown, whenever there is a pause, why don't you display the time of where you are in the song so we can play along on another device?
George Martin was almost always responsible for choosing what string or orchestral instruments were used and he arranged them. There were times the Beatles would hear some piece and then ask Martin about it. McCartney heard Bach’s Brandenburg concerto II on television and was intrigued by the piccolo trumpet and had it used in the song Penny Lane.
"MISS VIRGIN ROCK" -- I don't do "Telegram" --
George Martin was a record producer within a context. The context was EMI, a corporation which existed to make a profit by selling records. EMI was regimented and had a strict dress code for those working in the studios: suits, ties, and white lab coats.
Martin was in charge of EMI's "Parlophone" label -- a neglected backwater label. It was best known for Martin's "Goon" comedy records. (Richard Lester, the director of "The Beatles'" films "A Hard Day's Night" and "Help!", was an American expatriate who brought the "Goons" from UK radio to UK TV -- so many coincidences. "The world is just a little town." -- John Lennon, "Isolation".)
Martin's job as a producer was to shape whatever was in front of him -- singer, band, whatever -- into recordings for the record market; the idea was to sell records that would make money for EMI. At their audition he evaluated "The Beatles" in keeping with the then-norm: a lead singer with a band. He weighed which of the two singers -- Paul or John -- should be made the lead singer; he leaned toward Paul, who had the conventionally-attractive voice, but he liked something in John's voice. He was something of a maverick so decided to leave it as it was.
At the beginning, of course, he was in charge -- he had them record the song "How Do You Do IT?" because he knew it would be a #1 hit. They obliged, but instead somehow managed to have him release "Love Me Do"/"P.S. I Love You" (two Paul songs). (How Do You Do It?" was subsequently recorded by "Gerry & The Pacemakers" and became, as Martin predicted, a #1.)
But "The Beatles" were sponges, absorbing everything including how recordings are made. And, as Martin said several times, they were easily bored, so were constantly looking for new things. And he knew to LISTEN, and as something of a maverick knew when to stand back and let them explore. By about mid-1965 they were becoming Martin's equal in asserting themselves and asking how to get particular things -- usually sounds -- done.
By "Sgt. Pepper's" they were certainly "in the lead" -- for the song "For the Benefit of Mr. Kite," John told Martin, "I want to smell the sawdust on the floor", and Martin had to figure out how to get that in sound. But Martin was doing as his job required: "shaping" whatever was in front of him. And that is the role of every producer, which can include playing on the sessions, or bringing in other musicians to play on sessions. None of that is actually unusual. Martin did have the advantage of a formal music education.
And yet again: the STANDARD used on the early recordings -- encompassing singles and first 4 LPS -- was to record on a two-track machina -- a second two-track was used for overdubs (such as handclaps): all the instruments on one track, all the vocals on the other track. That was pre-mixed MONO -- because the two tracks were then mixed to single-track MONO, because the promotional medium -- radio -- was MONO -- and the vast majority of record players in homes were MONO. That's why the so-called "stereo" versions have the "hole in the middle" between the two tracks. And there was NO "panning," which requires that a sound to be "panned" be recorded to two (or more) tracks.
All of those facts, and more, can be found in George Martin's _All You Need is Ears_ -- including the fact that he'd been producing recordings for twenty-five years BEFORE "The Beatles" first walked into the studio. It is a MUST READ PRIMARY source.
I'm 70 and as a Beatlemaniac since 1964 I feel (despite the excellent Martin/Beatles production on Hide) and the usual "mess with the formula once it gets boring (such as 3/4 time)" that song approach didn't help Johnny to like this song. Is that convoluted enough? He wrote it, the band recorded it, he didn't like it. I still have a couple of cassette tapes to burn after all these decades, cassettes that include a couple (only 2) of songs I wrote that embarrassing doesn't begin to describe.
I don't suppose you'd listen to the Dylan song you referenced? It's a fun song with a terrific vocal by Bob in his prime. Dylan also made a sneer at Lennon on his 1966 album Blonde on Blonde, but that's another story.
The Beatles themselves had the ideas of putting one instrument or another and how it should sound. George Martin was in charge of writing the arrangements and scores for the musicians to perform.
Definitely 6/8. No doubt.
I'm fairly certain it was 65?
You should definitely try prog. My suggestion would be Dream Dheater. Songs like The Great Debate, or bit heavier like Pull me under. Or folk-heavy like Wintersun song Time. But for both, take studio/official version. More spesific, do not listen shortened versions from DT’s Pull me under
One year later, Dylan released a song called "4th Time Around" on his album "Blonde On Blonde", wich is considered as a response to Lennon's Dylan inspired songwriting, and especially to "Norvegian Wood" I'm sure you'll check out very soon. The Idea was that only Dylan could really write as Dylan, and that he could always raise the bar. He played his song to Lennon the next time he saw him and Lennon told years later that he felt disturbed at the time, and even a bit humiliated. He couldn't understand why Dylan could have done that, playing him this song just to make him feel bad and belittled.
Being French I can't really comment on the poetic quality of these songs, but I know that "You've Got to Hide Your Love Avay" and "Norvegian Wood" are much more famous than "4th Time Around" (which is probably more complex).
Ever see what he did to Donovan in the film "Don't Look Back'? That's the way he rolled.
The interesting thing to me is how such a gifted tunesmith as Lennon could rate words so much higher than music. That he felt humiliated by Dylan´s song shows this very clearly. In terms of melodic substance, there is no comparison between 4th Time Around and Norwegian Wood.
Their producer, George Martin, has long been regarded as the 5th Beatle. He was the one who really wanted to instill classical elements into their songs to attract more "upscale" listeners. The addition of the flute would most likely have been his idea. The Beatles would soon incorporate even more classical instruments into their songs as they matured.
I would add that he had the nous not to throw the baby out with the bathwater. I've heard so many 'interpretations' of rock/pop/folk music by classical musicians that just end up sounding twee & emasculated. They just don't have the feeling for it. Martin's genius was in heightening the existing excitement & immediacy with the right instruments in the right place. Those flutes at the end still give me chills.
Flute (via Mellotron) was on Strawberry fields forever intro.
It is not a Mellotron. It was a flute played by Johnnie Scott.
He played a tenor flute and then overdubbed an alto flute.
@@BigSky1 which song you talking about? I am talking about Strawberry Fields Forever. Was Mellotron played by Macca.
@@Sarvasaha I am talking about the flute at the end of this. I thought you were intimating that the flute here was a Mellotron.
Why would you talk about SFF on this song with flutes.
You should mention that on her SFF video.
@@BigSky1Because in the video she wondered if any other Beatles songs had used a flute and this person was responding to that question by mentioning it is (kinda) used in Strawberry Fields? Seems simple enough to me.
@@Sarvasaha I understand your point now. Apologies.
Walter Everett's two books about The Beatles' music may answer a lot of your questions, such as the matter of the flute. Instinctively, I believe the flute would have been George Martin's idea.
a song you should check out is RC Cola and a Moon Pie, by a group called NRBQ, light hearted lyrics but musically very interesting ,i think you would enjoy it.
I understand the restrictions but I don't know that it's worth playing 2 seconds. It is an interruption that stifles the flow. I prefer it when you just play the part on the harp.
George Martin would regularly get people from the LSO for Beatles sessions
23:55 "It's not a Beatles exclusive."
No, in fact, these little descending melismas are a very Bluesy touch.
The good ones borrow, the great ones steal. Don't know who said it but... The great ones take someone else's music and remake it. It's not really copying. Lennon/McCartney and Dylan could both write a song with the same theme and both would be great. They also say that "great minds think alike". The Beatles in this period really begin to morph into a higher level of songwriting. Not that there aren't some gems in their early albums but they really start to dig deeper and blossom in their songwriting. Growing up I listened to these album as they were released and we had a long time between each to digest the current state of the Beatles song writing. Looking back now in hindsight it's easier to see that the Beatles in the beginning wrote good but rather simplistic songs but that was a reflection of the early sixties. As the decade wore on things got more and more chaotic and the Beatles music became deeper as a reflection of those darker times. George Martin started out recording classical music at Abbey Road studios with a bunch of "high brows" who looked down on pop music. As I understand it EMI took on the Beatles and Martin was given the task of recording them as a kind of one-off thing. Heck they recorded the entire first album in one session. Martin himself got all the music on the first album recorded quickly because he assumed that the project would be a one off thing (little did he know that the Beatles would catch fire!). When they did take off he stayed with them. Coming from a classical music background I assume Martin knew many classical musicians who could easily write arrange and play the little interludes like the flute part on this track. Martin played piano and is said to have played some harpsicord parts on some later tracks. I imagine he was like a music teacher who could take the ideas the Beatles had and translate them into working music. Heck McCartney didn't even read music. The coming together of George Martin and the Beatles is just another one of those serendipitous things that seemed to happen during the 60's and made the music of that time the magical thing it became.
Wait until you hear the Piccolo Trumpet on Penny Lane. Yes they heard a piece of music and said we want that!
Paul McCarteny was the one who asked for that sound, GM said to him it was a Piccolo Trumpet. The musician who played the Piccolo said that was PM to describe the solo to play
To avoid copyright issues, may I suggest to avoid that annoying empty space and allowing you to stop and start the songs wherever you want in Beatles songs, that you use Mike Pachelli's covers. They are note perfect and you can play them here. David Bennett Piano does and no one complains. He gets his point across.
George Martin the 5th Beatle.
I have seen it quoted by John Lennon like this song was somewhat verbatim of a conversation John had with Brian Epstein after he hang me the sexual pass unconfessed his love call John. John was shocked but had some compassion. The she referred to maybe Brian's mother . Sadly a few years later Brian died from an overdose I'm sleeping pills.
Paul's been wearing on my nerves the last few years. Too much of this I may have or did contribute some lines in this song or that song. John and George aren't here to call him out on that BS. Ringo's not gonna say anything as he wasn't involved in the writing process. This song is 100% John. I would recommend the 7:59 book BEATLESONGS written in 1989 and very informative and accurate with the credits percentage of between John and Paul on every Beatles song.
Like a song may credited as 70% Paul/30% John.
Lennon wrote this song for their manager Brian Epstein who was gay and afraid of being outed. Back in 1965 it was illegal to be gay in England and you could be sentenced to prison for up to 7 years believe it or not.
It was a different world back then.
Hence John's chorus
"Hey, you've got to hide your love away"
Peace ❤
I don't think that is true. John is not saying "You've Got to hide your love away " to anybody. These words are being said to John. That's why the lyrics go "Let me hear them say ... Hey You've Got to hide your love away ". John is requested to hide his love - it was Cynthia at the time (newly wed) - so the female fans wouldn't lose interest in the Beatles. The requesters were the recording company executives which John describes as clowns, mocking them this way as Amy rightfully noticed.
I think Paul McCartney knew more about his and John’s shared songwriting ideas than you do, it’s obvious that they looked to each other for opinions and ideas
Some authors think the lyrics were directed at Brian Epstein, who was in love with John. John felt humiliated when, after spending some days with Brian in Spain, the British press suggested there was a homosexual relationship between them.
Yes, some people think so because they think John is saying the words "Hey, you've Got to Hide your Love away" to somebody. Then this seems very plausible. But when you're listening to the lyrics "Let me hear them say .. hey, you've got to hide your love away" then you realize that "them" are the people who say these words to John. And when you know that the recording company executives wanted John to hide his newly wed bride Cynthia from the public, then you understand that this is about those executives who John is mocking here. Amy very well noticed this mocking part here 👍🏻
I have an alternative interpretation of the situation. What if the girl was already in a relationship with another man. This would explain why he has got "to hide his love away" ( so no one finds out). And also why she would say "love will find a way", which does not seem to encourage the singer very much. Greetings from Cologne, Stefan
While it's true that this is the closest The Beatles had ever gotten to straight folk up to this point, what's also interesting is that they don't actually go very far with it (although you could say George started becoming enamored of *Indian* folk music around this time). It's not until 1968 and The White Album that they dabbled in this kind of thing again, although then it's PAUL, not John, who takes it up on songs like "Blackbird". I also agree that John WAS definitely more of a 'sponge' earlier on, but he nonetheless always seemed to have a knack for turning the influence into something new and original, instead of just mimicking it. Sure, the Dylan influence is transparent here, but for me it *really* rears its head on the line "Gather around, all you clowns". 'Clown' is a word not likely to appear in a Beatles song up to this point, but it's all over early Bob Dylan songs.
Except it was in 'I'm A Loser' on the previous album.
Perceptive. John’s songwriting was often described as impressionistic and Paul’s more realistic/storytelling (Eleanor Rigby, She’s leaving home, lady Madonna). As you progress to songs like I am the walrus this will become more apparent
The Ballad of John and Yoko tells a wonderful story ..
@@beatlessteve1010 I think A day in the life tells a more compelling one …
As a non expert in Beatles history but one who has been a fan since the early 70s ..I noticed a lot more cynicism when people talk about Brian, ..I say..he was a great part of their legacy.
This is the album when they took the leap rubber soul kept it, revolver reached peak, and sgt overrated pepper cracked them and crashed them. A hard Day's Night beatles for sale help rubber soul and revolver is beatles as their peak
Te falta escuchar a depeche mode too
Pearl Jam did a cover of this
"Folk-Rock" was a MARKETING term -- even DYLAN rejected it. All it meant was that folk musicians -- the founders of "The Byrds" -- dropped their acoustic guitars and picked up electric guitars.
The song is FOLK -- there is nothing about it that "rocks" -- and US folk music is based almost without modification on British folk.
There was also a "country" music movement in Liverpool -- "country" being a derivation of British folk music.
A good definition of genius is the inability to imitate. With "For No One," on "Revolver,'' McCartney thought he was creating a Motown number, but it sounds nothing like Motown. When "You've Got to Hide Your Love Away" came out, it seemed unmistakably Beatles, though it lacked electric guitars or vocal harmonies. Lennon may have thought he was honoring Dylan--or, just as likely, trying to one-up him--but after Dylan's style had filtered though John's unique sensibility, the song was John's own. As for the flutes, George Martin studied oboe at the Guildhall School of Music with Margaret Eliot Asher, the mother of Paul's girlfriend Jane, in whose home Paul was living. Yes, Martin would have known where to find an alto flutist, but often it was the Beatles themselves who picked up on a stray sound they liked and then asked Martin to implement it.
strange question... seems you wear the same shirt a lot. must be a favorite.
Stop It ....nobody cares about her shirt😢😢
John's inspiration for this song was his empathy for Brian Epstein (Beatles' manager) at a time when being gay wasn't OK.
You had to hide your love away...
I think this is a common misunderstanding. If you think John is telling to somebody "Hey, you've got to hide your love away", then this would make sense. But if you listen to the lyrics, you realize that John says "Let me hear them say, hey, you've got to hide your love away". So someone (them) is telling this to John. And if you know that in the beginning of their recording career John got married and the record company executives wanted John to hide his newly wed wife ( because they were afraid it yould diminish his appeal to the young female fans) it becomes clear that the "clowns" standing around telling him this were those executives. He mocks them as Amy clearly noticed. And his wife Cynthia comforts him with the words "Love will find a way".
@@richardfehlmann4593Although it's obviously a possibility, I'm not aware of any evidence John felt that strongly about briefly having to conceal the fact he and Cynthia were married (The truth was out by 1964, IIRC). And he could have refused to comply with Brian's demand, if he had really wanted to. But I just double checked and realised there is no direct evidence either of the song having been about Brian, so I do apologise for that. I had thought I'd heard it from someone in the know, but must have been mistaken. Perhaps we'll never know for sure, unless Paul has something to say on the subject.
@@papercup2517 Thank you for your answer. I'm happy that you checked the lyrics too. Me too, a few years back I read in a book that this was because of Brian, and I believed it, but when I checked it later, I found nothing in the lyrics that would have substanciated this. Well, of course, for sure we can never know, but the case with Cynthia made everything fall in place so well. Of course, a song could have been made just in the short time that it was bothering John, but we don't know for sure.
"Help!" was John's "fat Elvis" period, and he was depressed. It's no wonder the lack of motivation, or the energy to give more than the basic to the melody.
Dylan's vocal range isn't especially "wide".
The song talks about the impossibility of love between two men due to social censorship, In those days, homosexuality was taboo
For me this Lennon song has a clear influence from Bob Dylan. It's just an opinion.
It doesn't sound like Bob Dylan. It sounds like John Lennon.
Help is not folk rock in the least
This was influenced by Bob Dylan.
You should do more Radiohead reactions they are like the modern Beatles their evoloution is almost the same. I'm curious why you react to so many of the Beatles earlier music which is not nearly as interesting as the later stuff.
She is going through The Beatles music chronologically listening to 150 songs from 1962 -1970. She is now at 1965.
I don't like Radiohead, and I absolutely love the Beatles. I think Radiohead are very overrated... by the music industry i believe (the same case as Led Zeppelin i think). Just my opinion of course.
@@BigSky1yes it's a pity she overlooks so much of their oeuvre from the early days on the BBC and elsewhere! 🐨
But then she's not the only one either !!! 🤡
It's a gay song. It's about Brian I mean. Lovely tune. Thank you.
I don't think it has anything to do with Brian
Please don't share what you are drinking ...
John never talked about the lyrical inspiration for this song. So it's not definitely about this, but I think it would be wrong to say it isn't completely improbable. We know John was getting into the habit of obscuring the real meaning behind his songs (he'd do this in Norwegian Wood, for example). At this point he would have known Epstein for a few years, and the gay rights movement was getting going in the early 1960s, so it's plausible he had some idea. By the mid 1960s, a young John Lennon who would a few years later go on to write about topics like the Vietnam war might have been thinking about Dylan and his writing about political topics, and might have thought about Brian Epstein empathetically, and used him as inspiration to write about this topic obliquely. It's not impossible, but of course there are other reads, say, about the British cultural tendency to be a bit embarrassed by strong shows of emotions and be a bit buttoned up. It could just be a song about that.
The nice thing is that it doesn't really matter, it's a piece of poetry, in some sense it's intentionally vague, he was trying to mirror the ambiguity of Dylan's lyrics. And the thing about poetry is that it's kind of in conversation with the listener. It's valid to think of it as a simple song about hiding one's feelings, it's also valid to think of it about a part of society historically oppressed into hiding their feelings and I doubt that John would have minded either interpretation.
@@fernandodeleon7466 Mantenga la cortesía si es tan amable. Estoy seguro de haberlo leído en alguna parte, no me lo he inventado. No tengo tiempo de comprobarlo ahora...quizá a lo largo del día... Sigo a los Beatles desde mi niñez, hace 40 años. Y me ha extrañado que Amy no señalara este punto sinceramente, tan importante para el asunto de esta tonada tan especial. Gracias.
@@petersilktube I doubt very much John would have welcomed a gay interpretation. I read somewhere that he even started a brawl when someone suggested he had had gay experiences himself. This was in the seventies.
Was soll das sein, 4 oder 5 x den selben Musikteil abzuspielen und vielleicht 2 zusätzliche Teile. Das macht keinen Spass. Andere machen es besser. Oder geht es doch nur darum abzukassieren ?
Your analysis provides nothing insightful or penetrating, the disproportion of opinion to music is intensely irritating. You clearly no nothing about the surrounding culture this music emerges from. We really don't need your analysis to endorse the value of this music. Your own attempts to vocally illustrate aspects of the phrasing and nuance are pathetic... syncopation seems to escape you completely!
Hear "frijolero" from Molotov