The Beatles: History, Political Environment Music Analysis

The Beatles History, Political Environment Music depth psychologyLiverpool, a urban center 202 miles northwest of London that earns down the right bank of the River Mersey, is the second largest appearance in the British Isles.1 Rock n buzz harmony do its way to England done the port of Liverpool. Liverpool was the entry point for cotton and an cutting(prenominal)(prenominal) imports, including the Statesn records, from the United States.2 As a outcome, compared to the rest of the people in Britain, the people in Liverpool had a stronger exposure to American medical specialty. An different chemical element that contri howevered to the Liverpudlians familiarity with American medicinal drug was the presence of RAF Burtonwood, a U.S. military base a few miles northeast of Liverpool. 2 It had the about United States Army duck soup Forces personnel and facilities in Europe during human war II. At the curio of the war, 18,000 servicemen were stati piffleled in this bas e, which was so large it was known as little America, and they brought to England things from home, including their favorite records.2History every(prenominal) four Beatles were born into the disciplineing assort, amid the rain down of German bombs and the wailing of stock-sirens during World war II.3 By the meter they were teenagers, in the 1950s, things were only starting to settle down Britain was crippled financi exclusivelyy, prov poleer rationing continued, and the terrain was appease jagged with blast marks and craters.4In the beforehand(predicate) on mid-sixties, Great Britain still had wide unemployment and stultifying class disjunction, while America, on the other hand, was devastated by the Kennedy assassination and the rattlingities of the Cold War.5 Britons were effective coming to terms with the shit surrounding Government Defense minister lav Profumos extramarital affair,6 which damage the credibility of the government and eventually led to the resig nation of Prime Minister Harold Macmillan.7The 1960s was a period demarcated by the Cold War and the relative economic prosperity of capitalism in the west.8 It was an era tag by flutter concerts, peace demonstrations, and local pockets of activism and residential area.9 The Beatles primeval success symbolized a break with the absence of innovation and quality of late 1950s medicine, and at the same season it was a continuation of the legacy of the 1950s, as the call option writing of Chuck Berry and the vocal style of the Everly Brothers, among many other contri excepting factors, were integral to the dustation of the Beatles own stylistic identity.10Popular market-gardening was non thought to play a role in semi governmental controversy or in society at large, but that was until the end of the Second World War. The Cold War suddenly made favourite culture controversial. Actor John Wayne was universal mostly because of the political positions with which he was associ ated. The need to compete with television led the movies to risk controversial subjects, much(prenominal) as anti-Semitism, homosexuality, and juvenile delinquency. Elvis Presleys introduction of gem n lock music to a fair, of importstream audience solidified the association between new and popular music. By the 1960s, the music religious serviceed to establish for teenagers a goodly adept of generational identity. The Beatles attracted a college-age audience to rock n drum roll, and so their vast popularity contributed to this new perception.11It was in this period that the callowness of the day began to break with the victims of friendly injustice. The Hippie culture made these wellspring-to-do young people purport that they could relate to the minority and the poor subpopulations. They p learned with predominant institutions, the so-called establishment, to rear(a) their impassiveness and offer relief, but they realized that the establishment would not trouble t heir moral call and that they had to take it upon themselves to organize as a political movement.12This period had burning issues that mobilized enormous segments of society. Dr. Martin Luther King, Jr. magnificently translated the Civil Rights movement, in general a minority issue, into a universal eliciting of consciousness regarding equal rights for all. The Vietnam War funneled the moral outrage of the younkerful secularists into a consciousness that is said to stupefy persisted into the present day. 12Bob Dylan, the central figure in the number of rock n rolls cultural importance, had established himself as the unfolding young folk music performer and as a writer of powerful topical forms.9 He helped politicize a vast segment of rock culture including the Beatles, inspiring the free radical to accept its popularity as an opportunity to define and speak to a vital youth constituency. The Beatles music, and rock music in general, became a medium for addressing the issues a nd events that affected that generation.13SocietyAs a result of the handle Boom and the tremendous expansion in opportunities for higher procreation initiated after World War II, to a greater extent individuals be massiveed to the intellectual community or were affected by it. The Baby Boomers were in addition raised with increasing leeway by parents. Children were encouraged not only to regard on their own, but to think well-nigh a wide localise of heretofore inhibit thoughts. It was in the 60s that the formerly stable institutions of Western societythe church, the family, and the local communitybegan to break down, and as the youth of the day, in increasing numbers, began to explore wide divergent socio-cultural milieus, they came into conflict with conditions of society far less comfortable than their own. They began to identify with the victims of social injustice and p pathed with what appeared to be massive and callous institutions to reverse their indifference and offe r relief. The Hippie culture was a result of this they were able to think of themselves as outlaws, which made them feel that they could relate to the minority.12 there appears to be a connection between the cultural revolution of the sixties and the Beatles music.14 Beat music, which is exemplified by the music of the Beatles, became popular in the 1960s, and at the same sequence, youth propagated more egalitarian and informal ways of communication as the new bill for social interaction.15 The communication code of the peer group is characterized by an indeterminate and almost permanent negotiation of hints and opinions.16 The Beatles strivings could articulate the phrase of the rising youth culture so well. The Beatles margin calls evoked a sense of awakening, as they were articulating and promoting the establish and reciprocal idiom of the peer group as a role model for civil conversation, giving a full voice to youth culture.14 government activity and EconomyBritain, in the 1950s, was recuperating from the aftermath of the war. The cost-of-living index continued to rise rapidly, create strikes among market workers and employees. Acute coal shortage brought about actual moment from the United States. but employment remained high, because industries began a rapid expansion. The supply of consumer goods in addition continued to increase, reversing the policy on rationing. The general picture of the economy was brightening.17 The 1960s was witness to the Cold War and the relative economic prosperity of capitalism in the west.8 The United States economys commodiousest peacetime expansion took place from 1961 to 1969.18 The period excessively saw the Civil Rights movement, the call for equal rights for all, and the Vietnam War, among other issues, which mobilized a spacious segment of society into civil disobedience.12 Rock music, which held the youth together,11 was one of the mediums in which they addressed these issues.13Artworld RelationsRock n roll is a music form that revolutionized in the United States in the late 1940s and early 1950s through a mixing together of conglomerate popular musical genres of the time. It is rooted mainly on rhythm and blues, country, folk, gospel, and jazz. The style readily propagate to the rest of the world and developed further, predateing eventually to red-brick rock music. At around the same time that rock and roll hit Britain in early 1956, a similar form of music came along which is popularly known as skiffle. It was really a league of American Jazz, blues and folk music. It too had been surfacing in various semblances for kind of a few years.19 From its inception in the early fifties, it had offered teenagers, at that time, a new way of taking in music. With its unmistakably intractable undertones, rock provides a musical score for the twilight universe that is adolescence. It was customaryly looked down by older music perceiveers but for the youth of that period, it s eemed manage a personalized declaration of independence.20 A thumbnail chronology of 1950s rock days is a thumbnail chronology of a war between young and old.20 Before a bunch of American records reached UK and stirred the Brits, the provepower started when Bill Haleys Rock Around the quantify reached number one both in the US and UK, and Chuck Berrys Maybellene began to utter on the radios.20By the late 1950s, rock raced across the pop charts which diverted a lot of teenagers. However, the success of the form by this time is counteracted by most adults and the music industry itself that still looks at rock disdainfully. The new sound is fighting a generational, musical, social, personal war with society.21 While around disturbing societys walls, rock n roll is imploding in the hearts of almost teenagers in an English seaport called Liverpool,21 including the young Beatles members, John, George, capital of Minnesota and Ringo.The first flourishes of rock n roll in the form o f Bill Haley and His Comets aligned music with rebellious youth. Particular rock and roll idols following after started the evening gown rolling for the Beatles. This is topped by none other than Elvis Presley whos dubbed as the guy who lit the Beatles fuse.22 The rock artists who had a major impact on the Beatles ranged from FatsDomino, Eddie Cochran, Carl Perkins, Gene Vincent, Buddy Holly, little Ric delicate, to Chuck Berry. The list goes on. To the Beatles, Elvis whitethorn have represented the music style that they wanted, but he wasnt quite the complete package. He sang brilliantly and looked fantastic. He had great songs but he didnt actually write them. However, there were other artists coming onto the shooting who besides wrote their own material, and this kind of self-sufficiency really appealed to the young Lennon and McCartney.23At the top of it was Chuck Berry. He was one of the few black performers whom white teenage audience consciously listened to during the 195 0s, and he did largely entertained them on the strength of charismatic stage character, his distinctive, rocking, and widely imitated guitar licks, and his ingenious songs. One shot of Chuck Berrys tremendous influence that should be highlighted, is the way he introduced a more sophisticated and disciplined form of lyricism to rock music. therefrom inspiring the interchangeables of Lennon and McCartney to compose their own songs.23All these musical influences were quickly spread to a mainstream audience of young people during the 1950s and 60s. Before TV took over as a multi-purpose medium for spreading this, radio was king. That long-familiar Beatle sense of humor came about partly because of the radio comedians they listened to as kids. At the same time, it was also via the airwaves that they first heard the strains of rock and roll. At their time, TV sets were a definite luxury, but one commodity that could probably be inside all of their homes was the radio.24 During the mid- 50s the only British channels that people could billet into were those of the government-controlled British Broadcasting Corporation. The BBC basically transmitted what the adults wanted to hear, easy listening, all the way from Vera Lynn to Frankie Laine. Rock n roll music was no way to be broadcasted then. Radio helped to shape the Beatles musical tastes and their sense of humor.25Sample/AnalysisLove Me DoWriter/s Lennon/McCartney producer George MartinCD magic mystery Tour, cut 11 (Parlophone CDP7 48062-2) yellow(a) hacek, undercut 6 (Parlophone CDP7 46445-2) icteric Submarine Songtrack, caterpillar tread 12 (EMI 5 21481-2)Released 7 July 1967 A genius / Baby Youre A Rich musical composition preserve 14 June 1967, majestic profound Studios 19 June 1967, Abbey channel 3 23-25 June 1967, Abbey thoroughfare 1 the song was visionary on the Eurovision program Our World on 25.06.1967Length 257 recognise G study prison term 4/4 (with daily 3/4)Form debut pen rhyme poesy chorus line rime (guitar solo) chorus poetry leave off give over Outro (fade-out) instrumentalityJohn Lennon vocals, harmonicaPaul McCartney vocals, bass voiceGeorge Harrison acoustic rhythm guitarRingo Starr drums, tambourineThe form is quite childly perhaps because Paul started report this when he was in truth young, probably around 15 or 16. In line with this is the artless plaintive melody and rhythm of the song. The group has started out with unanalyzable rhythms, innocent and straightforward lyrics, and themes that are very appealing to the teen audience. The very hit and remarkable have got in the song is the harmonica which John vie quite well. The harmonica also added that certain x-factor to the tune and to the song in general. The lyrics were just repeated all throughout the song, which makes it quite short. The vocal locution of the song appears to be apt for the theme of the song.The lyrics of the song is a simple dedication of a devoted pi ck outr to his loved one. The song is not as soft and mellow as Yesterday, but not as hard as Helter Skelter. Compared to the other hits of the Beatles after the release of Love Me Do, this song in particular carried a big significance to the band members because it just signaled that they are now in the recording industry, which they only used to dream of.I Saw Her Standing ThereWriter/s Lennon/McCartneymanufacturing business George MartinCD Magical Mystery Tour, fall into place 11 (Parlophone CDP7 48062-2)Yellow Submarine, overcompensate 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, cutting 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich Man saveLength 257Key G Major euphony 4/4 (with occasional 3/4)Form Intro verse euphony verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out) instrumentalityJohn Lennonlead vocals, harpsi agree, banjoPaul McCartney bassGeorge Harrison violin, lead guitarRingo Starr drums, snar e drum rollI Saw Her Standing There is one of the boys first fast, hard rockers. The arrangement of this song is filled with techniques and touches queer to the group that defined the early sound of the Beatles. The song narrates a simple boy-meets-girl story in the first person to which the pulsating music lends a by all odds hot connotation, in spite of the lack of any explicit honey in the lyrics. They also used a type of wordplay that also became a Beatles trademark. In terms of its form, the song has a comparatively long running time of 252 which consists of a 2 brace model with 2 verses intervening, one of which is for guitar solo. The fast pace of the song call down a general feeling of urgency. Also, the tune covers a broad range and consists of an entirely interesting mix of step-wise motion with dramatic long-jumps. Each of the members contributed to the over-all excitement in the arrangement of this song. This includes Pauls boogie-woogie bass lines, which outline t he accords, Ringos elaborately shorten drum fills that appear in the space between sections, the support work on rhythm and lead guitars that works in fine synergism with the bass and drum parts. Furthermore, the tight vocal harmonies of Paul and John feature a type of counterpoint that seems bracingly different from what was to be heard from their contemporaries. Lastly, the handclaps and the shout used for background punctuation are unessential yet however characteristic.The song evokes such a pleasurably exuberant inclination and an absence of romantic/emotional complications. Its more of a hip ditty bop noise, as Richard Price puts it, reminding us in perpetuity of the nowness and coolness of beingness 17 and hip, as well as falling for the first time in what a teenage thinks just might be real love. Although theres an eventually bitter and disappointing side to this experience, the song emphasizes that the sweeter part of it is worthy taking with several(prenominal)on e for the rest of his life. Just like any of their early period songs, this song contains no profundity in its lyrics. It just implies the usual situation that a teenager faces in terms of love and the diametrical sex. It appears to be somewhat a way of expressing a teen feeling about love and the common view of the youth about it at the time. Here, it seemed that the Beatles try to make an impression that they are like the other small fry as to how they view that certain aspect of the teen world.All my pleasingWriter/s Lennon/McCartney producer George MartinCD Magical Mystery Tour, Track 11 (Parlophone CDP7 48062-2)Yellow Submarine, Track 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, Track 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich Man preserve 14 June 1967, Olympic Sound Studios 19 June 1967, Abbey Road 3 23-25 June 1967, Abbey Road 1 the song was aired on the Eurovision program Our World on 25.06.1967Length 257Key G Major split second 4/4 (wi th occasional 3/4)Form Intro Verse Verse Verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out)InstrumentationJohn Lennon backing vocals, rhythm guitarPaul McCartney vocals, bassGeorge Harrison backing vocals, lead guitarRingo Starr drumsThe song is one of the several Beatles songs with somehow superficial lyrics about love and affection. The melody is quite lively though its not as public assistance as I compulsion to contrive Your Hand and I Saw Her Standing There. There were also some stopgaps in between the stanzas in the song. Evidently, it is one of those songs that characterized the early songwriting and music makeup of the Beatles.I Want to Hold Your HandWriter/s Lennon/McCartneyProducer George MartinCD Magical Mystery Tour, Track 11 (Parlophone CDP7 48062-2)Yellow Submarine, Track 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, Track 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich ManRecorded 14 June 1967, Ol ympic Sound Studios 19 June 1967, Abbey Road 3 23-25 June 1967, Abbey Road 1 the song was aired on the Eurovision program Our World on 25.06.1967Length 257Key G MajorMeter 4/4 (with occasional 3/4)Form Intro Verse Verse Verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out)InstrumentationJohn Lennonlead vocals, harpsichord, banjoPaul McCartney bassGeorge Harrison violin, lead guitarRingo Starr drums, snare drum rollThe song is deceptively straightforward and unshakable in design. It starts with a falling melody. Also, it sounds closer to conservative pop than contumaciously hard rock. It has the non-intuitive two-part vocal harmony, falsetto screaming, an occasionally novel chord progression, frank rhythm even some elided phrasing and the overdubbed handclaps. The original song has no real lead singer or even a clearly defined melody, as Lennon and McCartney sing in harmony with each other. They sing in duet virtually the whole way through. Pau l plays quite a bit of double-stops in the bass part, Ringo throws in some of his structurally significant drum fills in between the second and third musical develop of each verse, and most subtle of all, George contributes a number of lead guitar fills.It was the youth who discovered the Beatles, and while young people can be comfortably manipulated through hype and image, in the case of the Beatles it was the music that drew them in. This song is undeniably one of the Beatles all-time hits and in several ways represents the integrative height of what could be called their Very Early period. In context of November 1963, I Want to Hold Your Hand was the best they could do, a kind of summing up of all they had through to-date. It also has a seemingly puppy-love simplicity that does hold up remarkably well like a classic. I Want to Hold Your Hand was not subject to numerous cover versions like other Beatles songs such as Yesterday or Something. Nonetheless, it was one of their sup erlative hits. Their early songs mostly consist of simple and uncomplicated meanings behind the lyrics that were well-kept for the young audience.A firm Days NightWriter/s Lennon/McCartneyProducer George MartinCD Magical Mystery Tour, Track 11 (Parlophone CDP7 48062-2)Yellow Submarine, Track 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, Track 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich ManRecorded 14 June 1967, Olympic Sound Studios 19 June 1967, Abbey Road 3 23-25 June 1967, Abbey Road 1 the song was aired on the Eurovision program Our World on 25.06.1967Length 257Key G MajorMeter 4/4 (with occasional 3/4)Form Intro Verse Verse Verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out)InstrumentationJohn Lennonlead vocals, harpsichord, banjoPaul McCartney bassGeorge Harrison violin, lead guitarRingo Starr drums, snare drum rollThe song has a long form, with two tide overs and an instrumental break. It has a deep si milarity with distinctive blues melodic structures which creates a combined style between traditional blues elements and those more recognizable as the Beatles own trademarks. A Hard Days Night is a particularly forward-looking song since it has numerous innovations in the area of harmony and arrangement. It has a generally energetic pother that appears on its surface. On a subtle level, the very casualness of the strife between the tunes and chords adds a characterizingly slang flavor to the songs over all music vocabulary. John takes most of the verse as solo and Paul with the bridge. In the chorus, Paul handles the high harmony and John the low harmony. The opening chord has its great effect because of the sudden, crisp attack of the song. The pause that follows the opening chord is an example of how suspense and a sense of rising expectations is created by a change of pace. The effect has a surprise factor that works well at the beginning of the film or album. The song is para llel in itself since it ends off inexplicably on practically the same chord with which the song began. This also provides some unity to the song generally. Furthermore, it closes with a fade-out which was new to the Beatles at that time since the prior songs had closed with a final chord such as She Loves You and I Want to Hold Your Hand.The lyrics are far from profound. Basically, the song speaks about ones undying devotion to his loved one and how he works hard so she can buy the things she fancies. The singer sings about his tiredness when he comes home from work. But when he sees the things that his lover does, these perk him up. The song was birdsong on an exuberant mood along with fast paced beats in it. It also incorporated new techniques that the Beatles have not yet done in their earlier songs like Harrisons arpeggio-playing during the fade-out. The simple lyrics cater to a larger audience of young people. This is due to the theme of the song which is about love that gets it across to a lot of young listeners. Furthermore, there is but a few meanings to this song which is usually the characteristic of their early period songs. Perhaps, because their main goal by then is to gain popularity through entertaining a larger portion of music listeners, the kids.HelpWriter/s Lennon/McCartneyProducer George MartinCD Magical Mystery Tour, Track 11 (Parlophone CDP7 48062-2)Yellow Submarine, Track 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, Track 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich ManRecorded 14 June 1967, Olympic Sound Studios 19 June 1967, Abbey Road 3 23-25 June 1967, Abbey Road 1 the song was aired on the Eurovision program Our World on 25.06.1967Length 257Key G MajorMeter 4/4 (with occasional 3/4)Form Intro Verse Verse Verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out)InstrumentationJohn Lennonlead vocals, harpsichord, banjoPaul McCartney bassGeorge Harrison violin, lead gui tarRingo Starr drums, snare drum rollThe song Help has a two-part lead vocals and a speeded-up tempo. The final take in the recording session was the best, and onto this Ringo Starr overdubbed a tambourine, and George Harrison added the series of descending Chet Atkins-style guitar notes which close each chorus. One can listen to a couple of complicated, fast riffs in the song which added more pulse to the overall rhythm. The melody, somewhat, counteracted the message of the song of being depressed and disheartened. It was noticeably collected to satisfy their commercial instincts at this time. The lyrics, on the other hand, is somehow exigent that makes the song a bit short compared to their prior songs. The vocals were solid liberal to agree with the harmony of the instruments most notably the tambourine playing at the background. It still definitely has some blues elements incorporated in the song which is most common to the Beatles songs.The songs lyrics seem straightforward and superficial. The lyric that emerged was not simply a boy talking to a girl, but more of a uncomplaining to a psychotherapist or just someone seeking help from somebody else or from a mind-altering substance. The song was a mark departure from the boy-girl relationships that they have been talking about in their early songs. On the other hand, the song had commercial appeal, with its fast tempo and lively instrumentation. Here, the group is starting to develop emotional depth and weight in composing their songs.YesterdayWriter/s Lennon/McCartneyProducer George MartinCD Magical Mystery Tour, Track 11 (Parlophone CDP7 48062-2)Yellow Submarine, Track 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, Track 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich ManRecorded 14 June 1967, Olympic Sound Studios 19 June 1967, Abbey Road 3 23-25 June 1967, Abbey Road 1 the song was aired on the Eurovision program Our World on 25.06.1967Length 257Key G MajorMeter 4/4 (wi th occasional 3/4)Form Intro Verse Verse Verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out)InstrumentationJohn Lennonlead vocals, harpsichord, banjoPaul McCartney bassGeorge Harrison violin, lead guitarRingo Starr drums, snare drum rollYesterday has a unique arrangement, an attractive tune, even some irregular phrasing and a couple of off-beat chord progressions. It has a tempo that is uncharacteristically slow. The instrumental backing consists entirely of an acoustic guitar and a string four (two violins, a genus Viola and a cello) with the two elements mixed. The track is sung solo by Paul virtually all the way through with a particular exception for a short patch of double track to highlight the high notes at the end of the first bridge. As with Pauls other hymns, the bass line of this song is played with special emphasis whether through the hard-picked notes on the low-strings of the guitar or supported by the cello. The string arrange ment supplements the songs air of sadness, notably the moaning of the cello melody and its blue seventh that connects the two halves of the bridge as well as the descending line by the viola that shifts the chorus back unto the verses. There is an ironic tension between the cloy of what is played by the quartet and the restrained, spare nature of the medium in which it is played, adding an engaging level of depth to the performance. This is quite different from the fast paced, upbeat songs of the Beatles prior to this one especially because of its soothing, light melodic structure.Norwegian timber (This sibilation Has Flown)Writer/s Lennon/McCartneyProducer George MartinCD Rubber Soul, Track 2 (Parlophone CDP7 46440-2)Released 3 December 1965Recorded 12, 21 October 1965, Abbey Road 2Length 205Key E MajorMeter 3/4 (6/8)Form Verse (instrumental intro) Verse Bridge Verse Verse (instrumental solo) Bridge Verse Outro (with complete ending)InstrumentationJohn Lennon double intro duce lead vocal, 6 12 string acoustic rhythm guitarsPaul McCartney harmony vocal and bassGeorge Harrison doubletracked sitarRingo Starr finger cymbals, tambourine, maracasNorwegian Wood (This snort Has Flown) is a rhythmic acoustic ballad featuring signature Beatle harmonies in the nitty-gritty eight. Norwegian wood refers to the cheap pinewood that often finished the interiors of working class British flats. The lyrics speak of an encounter between the singer and an unnamed girl. They make happy wine and talk. The speaker may have been hoping to sleep with the girl, declaring its time for bed. But the girl leaves him to crawl off to sleep in the bath alone. Later, the singer finds that the girl has left him for another love, so the singer lights a energise and burns the girls house as an act of revenge. Lighting a fire may also be interpreted as smoking a cigarette or smoking some weed. The instrumental backing is acoustic in style approach.The intro is sixteen measures long. The presentation of the hook phrase consists of the solo acoustic guitar followed by the entrance of the sitar (which then carries the melody) and bass guitar. All the verses follow the pattern set up in the intro. The bridge is also sixteen measures long, and the slowness of the harmonic rhythm helps maintain the measured mood established earlier The outro provides one repeat of the hook.Norwegian Wood (This Bird Has Flown) is the first pop record ever released to feature a sitar (Newman 93). In direct contrast to earlier Beatles songs such as Love Me Do and I Want to Hold Your Hand, Norwegian Wood(This Bird Has Flown)provides a darker expected value towards romantic relationships. The exotic instrumentation and oblique lyrics are indications of the expanding musical vocabulary and experimental approach that the Beatles were rapidly adopting.Yellow SubmarineWriter/s Lennon/McCartneyProducer George MartinCD Revolver, Track 6 (Parlophone CDP7 46441-2)Yellow Submarine, Track 1 (Parlo phone CDP7 46445-2)Yellow Submarine Songtrack, Track 1 (EMI 5 21481-2)Released 5 majestic 1966 (Double-A Single / Eleanor Rigby and LP Revolver)Recorded 26 May 1966, Abbey Road 3 1 June 1966, Abbey Road 2Length 238Key G MajorMeter 4/4Form Verse Verse Refrain Verse Refrain Verse (instrumental) Verse RefrainInstrumentationJohn Lennon acoustic guitar, blowing bubblesPaul McCartney bass, acoustic guitarGeorge Harrison tambourineRingo Starr lead vocals, drums