The singer is portraying their sadness and despair as a result of their partner's behavior. The singer is questioning their partner's bad treatment towards them. Their partner left them alone despite all the efforts and sacrifices made by the singer. The singer is expressing that they have given everything they had to their partner. The singer is asking their partner to explain the reason behind their tears and dishonesty. Tell me why you cried, and why you lied to me, Overall, "Tell Me Why" is a classic example of The Beatles at their finest - raw, emotional, and honest. The final lines "Is there anything I can do, 'Cause I really can't stand it, I'm so in love with you" show the depth of his love and his unwillingness to give up hope. He is willing to literally beg on his knees if it means that he can get her to hear him out. The final verse is a plea from the narrator to his lover to hear him out and give him a chance to fight for their relationship. The lines "If you don't really can't go on, holding back these tears in my eyes" speak to his own vulnerability and raw emotion. He is willing to apologize for anything he may have done to contribute to the end of their relationship, and he begs for a chance to make things right. The phrase "All I do is hang my head and moan" is particularly poignant, as it suggests a deep sadness and sense of defeat.Īs the song progresses, the narrator becomes increasingly desperate to understand what went wrong. He feels like he has given her everything he had, but she still left him "sitting on his own". The narrator is asking his lover to explain why she has been unfaithful or dishonest, and to own up to her actions. The opening lines already set the mood of the song, with a sense of betrayal and confusion. The narrator wants to know why his lover cried and lied to him, and he is desperate for answers that can help him make sense of his pain. The lyrics are straightforward and simple, yet powerful in their emotional impact. They had certainly never been told that before.The Beatles' song "Tell Me Why" is a heart-wrenching plea from a man who has been left heartbroken by his lover. Just do your own slide up, your own way.’ Needless to say, they were amazed. If he’s a third away from you, and you think he’s going too fast, let him go. I told them ‘I want everyone to be individual. I emphasised that this was exactly what they must not do. They were not to listen to their neighbours.Ī well-schooled orchestra plays, ideally, like one man, following the leader. And in addition to this extraordinary of musical gymnastics, I told them that they were to disobey the most fundamental rule of the orchestra. Everyone was to start as quietly as possible, almost inaudibly, and end in a (metaphorically) lung-bursting tumult. I marked the music ‘pianissimo’ at the beginning and ‘fortissimo’ at the end. With keyed instruments, like clarinet and oboe, they obviously had to move their fingers from key to key as they went up, but they were asked to ‘lip’ the changes as much as possible too. In the case of the stringed instruments, that was a matter of sliding their fingers up the strings. The musicians also had instructions to slide as gracefully as possible between one note and the next. Then I put a squiggly line right through the twenty-four bars, with reference points to tell them roughly what note they should have reached during each bar. At the end of the twenty-four bars, I wrote the highest note each instrument could reach that was near a chord of E major. What I did there was to write, at the beginning of the twenty-four bars, the lowest possible note for each of the instruments in the orchestra. Trombone: Raymond Brown, Raymond Premru, T Moore.Trumpet: David Mason, Monty Montgomery, Harold Jackson.Flute: Clifford Seville, David Sanderman.Double bass: Cyril MacArthur, Gordon Pearce.Cello: Francisco Gabarro, Dennis Vigay, Alan Dalziel, Alex Nifosi.Viola: John Underwood, Gwynne Edwards, Bernard Davis, John Meek.Violin: Erich Gruenberg, Granville Jones, Bill Monro, Jurgen Hess, Hans Geiger, D Bradley, Lionel Bentley, David McCallum, Donald Weekes, Henry Datyner, Sidney Sax, Ernest Scott.Paul McCartney suggested asking the players to build from their instruments’ lowest possible notes to the highest, and George Martin was given the task of turning the vision into reality.įorty orchestral musicians were hired for the session, at a total cost of £367 and 10 shillings: John Lennon had suggested the use of a symphony orchestra to fill the song’s instrumental passages, but was unable to put his ideas into adequate words. One of the most significant Beatles recording sessions took place on this day: the orchestral overdubs for ‘A Day In The Life’. Studio One, EMI Studios, Abbey Road Producer: George Martin Engineer: Geoff Emerick
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