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by: Andy Roman (revolver@bright.net)
She's A Woman (takes 2-7)
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This is the second take of a new Paul McCartney song, destined to share space on the next Beatles' single.
Beatles' producer George Martin announces that this is,
indeed, the second take as the band does a practice run of the song's
intro.
Paul: "Okay?"
John:
"Okay."
The take begins.
During the second stanza, Ringo changes hi-hat
patterns, mid-verse.
Paul starts to laugh on the line
"Only ever has to give me, love forever and forver. ." after a slight
vocal strain on the word "love."
At this point, there is no solo. The chord sequences become a little sloppier after the solo break, the Beatles perhaps realizing that this, in fact, would NOT be the final take. The song's ending has obviously not been worked out completely at this point as the fluency is hesitant and unsure.
A quick halt to take three after a guitar is found to be out of tune. The problem is quickly corrected.
From the top again, and a quickly aborted take as the introduction of the drums after the first two bars is ill-timed.
After the first verse, an attempt on guitar at sliding up, possibly to
the V chord in the pattern, produces rather sloppy results.
Paul, perhaps thrown off a bit by this, sings, "She no
-n't give boys the eye. ."
As the song trudges on ahead to the solo, there is some confusion as to exact chord sequences. More than a few times, bass and guitar are off in different areas.
This take is used for overdubbing in what would be the commercially released version of the song.
In technical terms, there are actually two take sevens, only because no announcement was made by the booth after an immediate halt of the first attempt.
The opening guitar phrase is played slightly different, with an enlongated voicing of the first strum in each double-strummed sequence. This take quickly ends, and a second take seven is attempted.
Again, as in take five, there seems to be slight confusion over the exact chord sequence, this time at the intro.
The entire take lasts well over six minutes as the ending evolves into a
sort-of free-flowing jam session.
Paul shouts out
variations of the line "She's a woman" as well as selected screams for
good measure.
The guitar playing becomes off-key and hectic, with
occassional bursts of chromatic slides and twangy lead phrasings.
The basic
12-bar pattern is more or less followed, but it is clearly without definitive
structure in places. It all amounts to a bit of fun.
As the jam ends,
Ringo declares, "Well, we got a song and an instrumental
there. ."
John: "Aye, you know what happened. .
.half way through it, I dropped me pleck. . ."
August 14, 1964
October 18, 1964 
Behind The
Scenes.
