July 1, 1963, was the date scheduled for The Beatles to record their fourth single. They entered EMI Studio Two for the afternoon session, 2:30 to 5:30 pm, to record what they decided would be the A-side of this single, the newly written "She Loves You." Having completed the song in these three hours, the evening session, 7 to 10 pm, would be devoted entirely to the B-side of the single, which was entitled "Get You In The End" at this early stage.
The number of takes needed for The Beatles to complete the song is not known, although engineer Geoff Emerick remembers "it took quite a bit of time to record, and the session ran a little overtime." Examining the finished product reveals that they recorded the song live with all instruments and vocals performed simultaneously. The only exception would be John's harmonica, which is heard almost throughout the whole song, even while John was singing. Since this task proves impossible, the overdubbed harmonica certainly took place afterward.
One thing superficial on the finished recording is the vocal mistakes they made, which are especially noticeable in the song's bridge. Given the band's extremely busy touring schedule, as well as the fact that they had just finished pouring their hearts out on "She Loves You" moments before (not to mention having to escape many hysterical, screaming girls that broke into the studio earlier in the day), everyone involved probably just 'made do' with the frazzled performance. Geoff Emerick concludes that George Martin had just "let it go, on the theory that most listeners wouldn't hear it. That plus the studio clock always ticking away time cost money." Although these mistakes are much more noticeable on CD than on the old records, they still add an interesting "character" to the song.
Three days later, July 4th, 1963, saw the mono mix of the song, which was performed in EMI Studio Two by George Martin and Geoff Emerick. The title was still "Get You In The End," even at this point, so sometime between July 4th and when the single arrived in Britain shops on August 23rd they had decided to rename the song "I'll Get You."
Since the song’s only intended purpose points toward a single release, no stereo mix ever occurred. It did appear in the US as well as other countries on albums, but duophonic (fake stereo) versions helped create a simulate stereo (bass on one channel, treble on the other).
The Beatles did record "I'll Get You" once more, this as an impromptu performance on January 23rd, 1969 at Apple Studios during sessions for what became the "Let It Be" album. This, of course, never saw the light of day.
Song Structure and Style
Strictly speaking, "I'll Get You" follows a 'verse/ verse/ bridge/ verse' pattern (or aaba), not unlike earlier Lennon/McCartney collaborations such as "Please Please Me" and "Do You Want To Know A Secret." This is not to say there aren't a few surprises along the way, which is evidence of the growth of their songwriting and an indication of many more structural surprises in the coming years.
First off, we see a four-measure introduction that also appears as the conclusion of the song. There is also a reoccurrence of this introduction in a two-measure form at the end of the first and second verses. This introduction comprises the use of the purposely included 'Americanism' "oh yeah," no doubt in imitation of their hero Elvis Presley's 1962 hit "Good Luck Charm."
We then proceed into the first verse, which totals a whopping sixteen measures. These measures divide into four distinct sections. The main section consists of the first eight measures, which fulfill the usual role of setting the stage for the song lyrically. The second section of the verse is two measures long, which include the purpose of exhibiting McCartney's "All My Trials" chord change and melody line. This section momentarily interrupts the flow and acts as a small bridge, per se, into the refrain section of the verse, which is a predictable four measures long and repeats the lyrical hook of the song, similar to "Please Please Me." The final two measures of the verse hit us with the "oh yeah" introduction, but in a shortened form.
After a second verse is heard, which is structurally identical to first except for different lyrics, we go into a straightforward eight-measure bridge, which segues nicely back into a repeat of the first verse. This repeated verse is extended three more measures so as to reprise the full four measure introduction, adding a final "oh yeah" to conclude the song. There is no solo or instrumental section to the song, so the structure stays compact within the aaba format.
Lennon appears to take command throughout, singing lead vocals and playing harmonica for the entire song (except for the bridge). His harmonica work plays more than a rhythmic role in the song since no riff or solo makes way (such as in "Love Me Do" or "Little Child"). Both his and Harrison's guitar work are strictly rhythms, emphasizing the swing style heard in "Misery." Because only a mono version of the song exists, it is barely discernable that there are even two guitars in the song at all. Ringo's role appears to be nothing more than a metronome, except for the small fill that introduces the first verse and an open hi-hat in the 11th measure of each verse.
McCartney's harmonies are brilliantly arranged (possibly with George Martin's assistance) to appear sporadically throughout the verses and continually in the bridge. Otherwise, Paul sings in unison during the verses, making it almost sound as if John's vocals were double-tracked. In fact, opinions vary as to which melody line, John's or Paul's, is actually the lead melody line. Since either could be true, both are credited here as "lead vocalist" on this song.
A clever melody line in the bridge shows the nuances that were beginning to creep into the Lennon/McCartney arsenal even at this early date. A descending three-note pattern dominates as the lead melody line, which is then repeated three times over three different chords. McCartney and Harrison alter their background vocals strategically during these lines to create an irresistible interplay of Beatles voices.
As for the vocal flub during the bridge, one of the vocalists sings "I'm gonna make you mine" instead of the correct lyric, which is "change your mind." George Martin may have thought that no one would notice, but that wasn't the case. A British fan, Margaret from Bristol, went as far as writing EMI to point out the error, asking them to "put this in order." The studio responded with a letter of apology, dated September 2nd, 1963.
The lyrics appear to be more than just a self-pep talk, but an assurance that the singer will acquire what he wills. The positive major key paired with the confident display of bravado suggests playful desire, not a threat. The singers' 'imagining' and 'pretending' will, without doubt, bring her to him, even though she doesn't feel the same as he does at present. "There's gonna be a time when I'm gonna change your mind," Lennon predicts. She may as well give up now ("resign herself") because it's definitely going to happen. She apparently has no say in the matter. Call it fate or the 'law of attraction'; either way, it's a done deal.
While many authors have noted a similarity between the first line in "I'll Get You" ("Imagine I'm in love with you, it's easy 'cause I know") and the first line of his 1971 classic "Imagine" ("Imagine there's no heaven, it's easy if you try"), coincidence may actually be at play here. One thing that can be said is that his style of writing, as well as his train of thought, was striking a pattern even from these early beginnings.
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great article on the Beatles who I will always admire for their huge talent
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