Faith evans you used to love me guitar
On a Press Conferences on a American Tour it was ask what had inspired “Eleanor Rigby” and John answer “Two Queers”. Also, George Harrison added a line “Ah, Look At All The Lonely People” 10. Paul thought that people will think that Father McCartney was his Dad. Paul McCartney had Father McCartney as a character in “Eleanor Rigby” and decided to change it to Father McKenzie from a phone book. *But, Subconscious Paul made have remember seeing the gravesite of “Eleanor Rigby” when he was just a boy.* 7. And “Rigby” came from the name of a store in Bristol, “Rigby & Evens”. Paul McCartney said that he name the Song “Eleanor Rigby” after Eleanor Bron the leading Actress in “Help”. William Burroughs, a friend of Paul McCartney’s recounts Witnessing McCartney attempting to write lyrics that fit the Song’s “Eleanor Rigby” already-written melody. Did anybody see Lennon work on “Eleanor Rigby”? NO! 5. Where the character name was “Ola Na Tungee”. Donovan claimed that he Witnessed Paul McCartney working on “Eleanor Rigby”. And George Martin is a Extremely Credible Source. Just like he always identified “From Me To You”, “She Love You” and “I Want To Hold Your Hand” as Songs Written by BOTH John Lennon and Paul McCartney. George Martin has always identified “Eleanor Rigby” as a McCartney Song. “John wrote 60 or 70% of the lyric on ‘Eleanor Rigby.’ He just didn’t remember until I sat him down and had him sort through it all.” 3.
In Allen Klein 1971 “Playboy” interview – It was Allen Klein who was the one WHO INITIALLY “REMINDED” Lennon his AUTHORSHIP of “Eleanor Rigby”. Pete Shotton – A lifelong friend of John – He said John contribution on “Eleanor Rigby’ was “Virtually Nil”. Some Points that TELL ME that John Lennon was LYING:ġ. John had claim in his 1972 “Hit Parader” and his 1980 “Playboy” interview. In “Eleanor Rigby”, John Lennon LIED about that he had written 70% of “Eleanor Rigby”. There is more than one Song that Paul and John disagree on “In My Life” AND “Eleanor Rigby”. Regarding “Michelle” Lennon said: “Everyone thinks this is from Paul, it’s not true, we wrote it together.” When Paul McCartney was asked to review the details provided by Lennon, he only disagreed on one song: “In my life.” Taking into account that McCartney himself agreed with Lennon that they had both composed “Michelle”, how is it possible that after the years have passed and once Lennon is dead, he has changed his mind? Misrepresenting reality, accommodating and changing things by taking them to the side that is convenient for someone, in this case Paul McCartney and his fans, constitutes plain and simple a crime, especially considering that Lennon cannot defend himself, for reasons that have been in the public domain for more than 40 years. In these interviews, he was asked to elaborate on his role as a composer within the Lennon / McCartney duo there Lennon provided details of which songs had been composed by him, by Paul McCartney or by both.
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In late 1971 Lennon gave a series of interviews in Tittenhust Park, which appeared a year later on Hit Parader. Whoever did that did it in very bad faith. The general description on the song in question and the quotes made in it are totally partial and provocative, taking into account only McCartney’s point of view and mentioning as the only collaboration of importance that of Jan Vaughan over that of Lennon himself, who is only pitifully cited in the last part of the description. Most often used in jazz and in rock most well known to be used by Jimi Hendrix such as the Purple Haze and Foxy Lady sounding chord. Of course, there is a chord for when you have both the minor and major third at the same time, usually with the major third in the lower register. I suppose you could look at the chord as being every note being played/sung by anybody, but I prefer to think of the melody as more of a separate line on top of the harmony.
It is sort of the mystery of the blues, at least to me, how that actually sounds good. This sort of thing is always happening in blues where you can always choose to play or sing either the minor third or major third against the root of a chord (usually the tonic chord but possibly others as well). I would look at the chord as what is being played/sung by the harmonies and the lead line as being simply a bluesy note s opposed to the expected major third. I wouldn’t look at that as actually making the chord different.