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I've Just Seen a Face

April 12, 2024

"I've Just Seen a Face" is a song by the English rock band the Beatles. It was released in August 1965 on their album Help!, except in North America, where it appeared as the opening track on the December 1965 release Rubber Soul. Written and sung by Paul McCartney, the song is credited to the Lennon–McCartney partnership. The song is a cheerful love ballad, its lyrics discussing a love at first sight while conveying an adrenaline rush the singer experiences that makes him both enthusiastic and inarticulate.

"I've Just Seen a Face"
Cover of the Northern Songs sheet music
Song by the Beatles
from the album Help!
Released6 August 1965 (1965-08-06)
Recorded14 June 1965 (1965-06-14)
StudioEMI, London
GenreFolk rock, country and western, pop rock
Length2:02
LabelParlophone
Songwriter(s)Lennon–McCartney
Producer(s)George Martin
Licensed audio
"I've Just Seen A Face" on YouTube

The song began as an uptempo country and western-style piano piece, originally titled "Auntie Gin's Theme". McCartney then added lyrics that may have been inspired by his relationship with actress Jane Asher. The Beatles completed the track on 14 June 1965 at EMI Studios in London on the same day they recorded "I'm Down" and "Yesterday". The recording fuses country and western with several other musical genres, including folk rock, folk, pop rock and bluegrass. With no bass guitar, it features three acoustic guitars, a brushed snare and maracas.

Several reviewers have described "I've Just Seen a Face" in favourable terms, highlighting its rhyming lyricism and McCartney's vocal delivery, and described it as an overlooked song. Its replacement of "Drive My Car" on the North American version of Rubber Soul advanced the album's identity as a folk rock work, although some commentators view this change as masking the band's late-1965 creative developments. It was among the first Beatles songs McCartney played live with his group Wings, and versions from their 1975–76 world tour appear on the 1976 live album Wings over America and in the 1980 concert film Rockshow. The song has been covered by several bluegrass bands, including the Charles River Valley Boys, the Dillards and the New Grass Revival with Leon Russell. George Martin, Holly Cole and Brandi Carlile are among the other artists who have covered it.

Background and inspiration edit

 
Paul McCartney wrote the song in the basement music room of 57 Wimpole Street, central London (pictured in 2018), the family home of his girlfriend, Jane Asher.

Although the song is credited to the Lennon–McCartney songwriting partnership,[1] John Lennon and Paul McCartney each identified "I've Just Seen a Face" as having been written entirely by McCartney.[2] McCartney recalled writing it in the basement music room at 57 Wimpole Street in central London.[3] The house was the family home of his girlfriend, actress Jane Asher, where McCartney lodged from November 1963.[4] Working on a piano, he composed the melody first, beginning it as an uptempo country and western-inflected piece.[5] After he played it on the piano at a family gathering,[6] his aunt Gin enjoyed the tune, prompting him to give it the working title "Auntie Gin's Theme".[7][note 1] He added fast-paced lyrics which may have been inspired by his relationship with Asher, turning the song into a cheerful love ballad.[11]

McCartney completed "I've Just Seen a Face" too late for inclusion in the Beatles' second feature film, Help!,[1] most of the songs for which were recorded in February 1965.[12] He presented it to the band in mid-June,[13] soon after returning from holidaying in Portugal with Asher.[14] During the holiday, he also wrote the lyrics to his ballad "Yesterday".[15] Author Ian MacDonald comments that, since writing "Can't Buy Me Love" in early 1964, McCartney had fallen behind Lennon in output, Lennon being the primary writer of the Beatles' next four singles.[1][note 2] Most of the sessions for the band's Help! album had also focused on Lennon compositions.[19] In MacDonald's view, given McCartney's absorption in his relationship with Asher and the contrasting depth and originality of Lennon's writing since 1964, McCartney was motivated by the need to apply a renewed focus in his writing on Help!, to regain his equal status in the songwriting partnership.[1]

Composition edit

Music edit

"I've Just Seen a Face" is in the key of A major and is in 2/2 (cut time).[20][21][note 3] The song begins with a ten measure intro.[20] Split into three phrases,[20] the intro uses triplets that are slower than the rest of the song to create a sense of acceleration,[23] reinforced by a shortened third phrase which quickens the first verse's arrival.[20] McCartney used the effect of slow triplets again later that year in "We Can Work It Out".[20] The song's first chord is F-sharp minor, slightly away from the home key, and is similar to "Help!" in leaving its harmonic grounding ambiguous until the end of the intro.[20] Following the intro, the song speeds up in tempo to what music scholar Terence J. O'Grady calls "an undanceable speed".[24]

The song uses four chords total; the twelve-measure verses use the common pop chord progression I–vi–IV–V, while the eight-measure refrains use the blues progression V–IV–I.[20] The latter progression simulates descent (suggested by the lyrics: "[V] falling, yes I am [IV] falling, and she keeps [I] calling ..."),[25] and the inclusion of a melodic minor third on the first syllable of "calling" gives the refrain section a blues sound.[20] Structurally, the song includes three different verses, an instrumental break and a reprise of the first verse. After the second verse, each section is separated from the other by a chorus.[26] Like other Beatles songs, a triple repeat of the chorus signals the end of the song, though Pollack writes "[t]he repeat here of an entire eight bar chorus is rather unprecedented." The outro finishes by repeating a phrase from the end of the intro to provide a feeling of symmetry.[20]

Genre edit

By this point [the Beatles] had been freely borrowing and blending various stylistic elements of pop, rock, folk, blues, and still other styles for quite a while. Still, this otherwise sweetly simple "folk rock" song really pushes the envelope in terms of the sheer number of diverse styles juggled simultaneously as well as the effortlessly seamless manner in which they are fused.[20]

– Musicologist Alan W. Pollack on "I've Just Seen a Face", 1993

The composition fuses several different styles and is difficult to categorise.[20] Musicologist Alan W. Pollack describes the song on the whole as folk rock,[20] as does MacDonald,[27] though Pollack characterises parts of the song differently, describing the first two verses as "pure pop-rock", the changes between verse and refrain in the second half as "folksy" and the triplet refrain in the outro as like an "R&B rave-up".[20] Musicologist Walter Everett describes it as both folk and a "bluegrass-tinged ballad",[28] suggesting it anticipates the "simple folk style" of McCartney's 1968 composition "Mother Nature's Son".[29] O'Grady similarly highlights the song's folk-styled guitar contribution with underlying hints of bluegrass, comparing it to another of McCartney's 1965 compositions, "I'm Looking Through You".[30] He writes that both songs "[demonstrate] a split personality" through joining pop-rock with either folk or country-western.[31]

Author Chris Ingham writes "I've Just Seen a Face" indicates the Beatles' continued interest in country music,[32] and music critic Richie Unterberger describes the "almost pure country" song as a continuation on the band's country-influenced work from the previous year, such as their album Beatles for Sale and the song "I'll Cry Instead" from A Hard Day's Night.[33] At the same time, Unterberger counts the song as one of several Help! tracks that display the influence of folk rock on the Beatles.[34] By contrast, O'Grady writes that the song's country-influenced vocals are sung over an instrumental accompaniment "devoid of any specific rock and roll gesture", and concludes it is the Beatles' "first authentically country-western (as opposed to country-rock or rockabilly) song".[24]

Lyrics edit

Written in a conversational style,[35] the lyrics of "I've Just Seen a Face" describe a love at first sight.[36] Sung without pauses for breath or punctuation, the song conveys an adrenaline rush the singer experiences[37] that makes him both enthusiastic and inarticulate.[20] Author Jonathan Gould groups "I've Just Seen a Face" with several of McCartney's 1965 compositions that deal with face-to-face encounters, including "Tell Me What You See", "You Won't See Me", "We Can Work It Out" and "I'm Looking Through You".[38] Musicologist Naphtali Wagner instead categorises it with later McCartney compositions that "explore ambiguous, elusive and altered states of consciousness", such as "Got to Get You into My Life" from Revolver (1966) and "Fixing a Hole" from Sgt. Pepper's Lonely Hearts Club Band (1967).[39]

The lyrics are constructed using an irregular rhyme scheme,[40] using both run-on verses and alliterations.[23] McCartney later described them as insistent in quality, "dragging you forward ... pulling you to the next line".[41] Rhyming every two beats,[22] the lyrics use a series of cascading rhymes ("I have never known/The like of this/I've been alone/And I have missed").[35][note 4] Appoggiaturas are used throughout for rhymes to line-up, such as "face" and "place" in the song's intro.[20] The ends of stanzas are wordless,[23] using vocal cadences like "lie-die-die-dat-'n'-die"[22] that echo the descent of the song's instrumental intro (scale degrees  – – – – – ).[20][22]

Production edit

Recording edit

Having completed the filming of Help! on 11 May 1965,[45] the Beatles recorded "I've Just Seen a Face" during the first of three sessions dedicated to filling out the album with songs not in the film.[46] The session took place in EMI's Studio Two (now part of Abbey Road Studios) on 14 June, George Martin producing with assistance from balance engineer Norman Smith.[47] During the same afternoon session, the band recorded McCartney's new rock and roll song "I'm Down" before breaking for dinner and returning to begin work on "Yesterday".[48] The three songs of divergent styles reflected the range of McCartney's compositional abilities;[49][50] author and musician John Kruth calls it "McCartney's famous marathon session".[6][note 5]

Taped on four-track recording equipment,[6] the song consists of two backing tracks.[22] On the first, George Harrison plays Lennon's Framus Hootenanny acoustic twelve-string guitar, McCartney his Epiphone Texan nylon-string guitar and Ringo Starr a snare drum with brushes.[53] The second includes a lead vocal from McCartney and Lennon playing rhythm guitar with his Gibson J-160E acoustic.[54]

Overdubbing and mixing edit

The band taped the basic track in six takes,[47] overdubbing new parts onto take six.[46] McCartney played a higher section in the intro with his Epiphone Texan and added a descant vocal,[55] providing a contrapuntal backing during the refrains in a nasally country and western tone, similar to his backing vocal on another Help! track, "Act Naturally".[20] Adding texture normally achieved with a tambourine,[23] Starr overdubbed maracas on the choruses,[56] while Harrison added a twelve-string acoustic guitar solo.[57][note 6]

 
Harrison's guitar solo from "I've Just Seen a Face", June 1965
Another acoustic guitar plays during George Harrison's twelve-string guitar solo to provide a contrasting effect.
Problems playing this file? See media help.

Employing a technique used extensively during the Help! sessions, another guitar plays simultaneously during the guitar solo to provide a contrasting sound.[59][note 7] Gould writes that, in shifting from cut time to common time during the solo, Harrison's playing is reminiscent of both jazz guitarist Django Reinhardt and the French jazz organisation Le Hot Club.[37] Pollack characterises the solo as a "'countrified', rhythmically flat rendering",[20] and O'Grady writes it "approximates Bluegrass style in rhythmic regularity".[24] "I've Just Seen a Face" features no bass guitar part.[10][note 8] Music critic Tim Riley suggests the instrument's absence, together with the guitar solo being played on the low-end of the guitar, keeps the song rooted in the country genre.[23]

On 18 June, Martin and Smith mixed several songs on Help! for mono and stereo, including "I've Just Seen a Face".[62] The two mixes of the song are nearly identical to one another.[46] As was typical for their pre-Rubber Soul work, the Beatles participated minimally in the album's mixing process.[63] In 1987, for Help!'s first CD release, Martin remixed the song for stereo, adding a small amount of echo.[46][note 9]

Release edit

EMI's Parlophone label released the Help! LP on 6 August 1965.[65] "I've Just Seen a Face" appeared on side two along with six other tracks not in the film, sequenced between "Tell Me What You See" and "Yesterday".[66] McCartney was pleased with the finished recording and it became one of his favourite Beatles songs.[41]

In keeping with the company's policy of reconfiguring the Beatles' albums,[67] Capitol Records removed "I've Just Seen a Face" and the other non-film songs from the North American version of Help!, replacing them with several orchestral pieces from the film's soundtrack.[68] On the band's next album, Rubber Soul, Capitol again altered the track listing; in addition to omitting four songs they deemed "electric", the company selected "I've Just Seen a Face" and Lennon's "It's Only Love" as the opening tracks of side one and side two, respectively.[69] Capitol's approach was motivated by the popularity of folk rock in the United States,[70] with singles such as Sonny & Cher's "I Got You Babe", Barry McGuire's "Eve of Destruction",[71] the Byrds' cover of Bob Dylan's "Mr. Tambourine Man", Simon & Garfunkel's "The Sound of Silence" and the Mamas & the Papas' "California Dreamin'" all representative of the style in 1965.[72] "I've Just Seen a Face" thereby replaced the Memphis sound-inspired "Drive My Car" and was followed by the acoustic song "Norwegian Wood (This Bird Has Flown)".[73]

Released on 6 December 1965,[74] Capitol's version of Rubber Soul was dominated by acoustic-based songs.[75] Many North American listeners therefore erroneously assumed that the Beatles had focused on folk music for an entire LP.[76] Opening with "I've Just Seen a Face" gave Rubber Soul more conceptual unity,[77] which reinforced perceptions of it as a folk or folk rock centred LP,[78] at the cost of distorting the band's late-1965 creative developments and their original artistic intentions.[79][note 10]

Retrospective assessment and legacy edit

Reviewing Help! for AllMusic, Stephen Thomas Erlewine describes "I've Just Seen a Face" as "an irresistible folk-rock gem" that is much better than two of McCartney's other contributions to the album, "The Night Before" and "Another Girl",[81] a sentiment author Andrew Grant Jackson echoes.[82] Journalist Alexis Petridis also disparages McCartney's other Help! contributions as filler – in particular, "Another Girl" and "Tell Me What You See" – but describes "I've Just Seen a Face" as the album's "one genuine overlooked gem".[83] He sees it as "an English inversion of Help!'s much-noted Dylan influence", existing partway between the folk sound of Greenwich Village and that of skiffle.[83]

Writing for Pitchfork, Tom Ewing pairs the song with "Yesterday", describing both as a "personal breakthrough for McCartney", with each achieving a "deceptive lightness that would become trademark and millstone for their writer". He recognises "I've Just Seen a Face" as "a folksy country song [that demonstrates] the gift for pastiche that would help give the rest of the Beatles' career such convincing variety".[84] Music critic Allan Kozinn groups it with "Yesterday", "It's Only Love" and "Wait" as songs recorded near the end of the Help! sessions that were a stylistic break from the rest of the album, their "sophistication, spirit and complexity of texture" having more in common with Rubber Soul.[85]

In 2010, Rolling Stone ranked "I've Just Seen a Face" at number 58 in a list of the Beatles' 100 greatest songs,[35][86] and a 2014 readers' poll conducted by the magazine ranked it as the tenth best Beatles song from the pre-Rubber Soul era.[87] McCartney biographer Peter Ames Carlin calls the song one of McCartney's most overlooked Beatles contributions, yet also one of his best,[88] and Riley similarly counts it as McCartney's second best contribution to Help! after "Yesterday".[23] Riley, Carlin and Everett each praise the song's lyricism,[89] MacDonald commenting that its internal rhyming and fast-paced delivery "complements the music perfectly".[1] In MacDonald's opinion the song elevates the second side of Help! with its "quickfire freshness" and he describes it as a "pop parallel" to several 1965 Swinging London films, such as The Knack ... and How to Get It, Darling and Catch Us If You Can.[1] Music critic Rob Sheffield describes the North American Rubber Soul's sequencing of "I've Just Seen a Face" and "Norwegian Wood (This Bird Has Flown)" as a "magnificent one-two punch" which results in "the only case where the shamefully butchered U.S. LP might top the U.K. original".[90] He judges the song the "most romantic [ever]", while managing to be "almost as funny as 'Drive My Car'".[91] Describing the song as "fetching, vintage McCartney" and a "warm, cheerful folk-rock treasure", journalist Mark Hertsgaard admires its "thigh-slapping beat, sing-along melody, and cheerful, isn't-love-great lyrics"; he deems it "the musical equivalent of an armful of freshly picked daisies".[92]

Unterberger describes "I've Just Seen a Face" as "probably the most bluegrass-soaked rock song of the 1960s".[93] John Kruth says its influence can be heard on "Go and Say Goodbye", the original opening track of Buffalo Springfield's 1966 debut album. Kruth argues that both songs helped acquaint rock fans with small doses of country music, setting up the turn from folk rock to country by the Byrds with their 1968 album Sweetheart of the Rodeo;[94] in Kruth's opinion, the song's "deep wooden timbre" can be heard in the music of Crosby, Stills & Nash; James Taylor and Jackson Browne.[95] Reflecting in 2006 on the Beatles' legacy and influence, journalist Greg Kot views the song's folk styling as exemplifying the Beatles' musical fluency and ability to master genres far removed from their rock music origins.[96]

McCartney live versions edit

 
McCartney performing during the Wings Over the World tour, 1976. He included "I've Just Seen a Face" during an acoustic section of the tour's setlist.

The song has remained a favourite of McCartney's in his post-Beatles career and is one of the few Beatles songs he played with his later band, Wings.[41] An acoustic rendition of "I've Just Seen a Face" was among the five Beatles songs McCartney played during the 1975–76 Wings Over the World tour,[97] being the first time he included Beatles songs in his live setlist.[98][note 11] Beatles author Robert Rodriguez calls the pick unexpected,[100] and McCartney explained contemporaneously that he picked the songs "at random ... I didn't want to get too precious about it".[101] Journalist Nicholas Schaffner writes that their inclusion "electrified audiences", and Rodriguez similarly describes the Beatles section of the setlist as the "emotional highlight for most attendees".[102] McCartney reflected at the time, "They're great tunes ... So I just decided in the end, this isn't such a big deal, I'll do them."[101] In a retrospective assessment, Riley lauds McCartney for performing the song during the tour as though he were "sitting around on a porch harmonizing to a good old rural favorite".[23] Live versions of the song from the tour were later included on the 1976 triple live album Wings over America and in the 1980 concert film Rockshow.[103]

McCartney performed "I've Just Seen a Face" in a 25 January 1991 set,[104] played on acoustic and filmed by MTV for their series Unplugged.[105] The performance was later included on his 1991 album Unplugged (The Official Bootleg).[106] He has played the song live on several other occasions, including it in the setlist of his 2004 Summer Tour and 2011–12 On the Run tour, and it was included on the 2005 DVD Paul McCartney in Red Square.[86] In 2015, during the Saturday Night Live 40th Anniversary Special, he and musician Paul Simon played an impromptu duet of the song.[107]

Cover versions edit

Charles River Valley Boys edit

"I've Just Seen a Face"
Song by Charles River Valley Boys
from the album Beatle Country
ReleasedNovember 1966 (1966-11)
RecordedSeptember 1966 (1966-09)
StudioColumbia, Nashville
GenreBluegrass
Length2:39
LabelElektra
Songwriter(s)Lennon–McCartney
Producer(s)
Licensed audio
"I've Just Seen A Face" on YouTube

The Cambridge, Massachusetts-based Charles River Valley Boys (CRVB) recorded a cover of "I've Just Seen a Face" for their 1966 album, Beatle Country, a collection of Lennon–McCartney compositions played as bluegrass and sung in a high lonesome style.[108] James Field of the group later recalled hearing the song on the radio in the lead up to the US release of Rubber Soul and thinking "it instantly felt like bluegrass".[109] In particular, the I–vi–IV–V progression and the chorus beginning on the dominant had "a drive perfectly suited for a straight-ahead bluegrass trio".[109] He added: "The tempo (for us) is about 115 bpm, and if you listen to many bluegrass standards, a lot of them are in that range. Why? Because it's perfect for the banjo. You get a nice, bouncy roll, and you can make it ring."[109] Banjoist Bob Siggins stated: "I think the instantaneous 'feel' of the song was the tipoff for me ... additionally, the lyrics could easily be (and in fact became) bluegrass lyrics."[109] With their usual setlist made up of old and new bluegrass and country songs, the band added an arrangement of "I've Just Seen a Face" to their set, along with the country-inflected Beatles song "What Goes On".[110]

Produced by Paul A. Rothchild and co-produced by Peter K. Siegel, recording for Beatle Country took place in September 1966 at Columbia's studio in Nashville, Tennessee.[111] The CRVB's cover of "I've Just Seen a Face" changes the composition in several ways, including transposing it from the key of A to G. Structurally, the CRVB add extra instrumental breaks for banjo, mandolin and fiddle – a typical feature of bluegrass music, where each musician is allowed the chance to solo – as well as repeating the chorus an extra time, which musicologist Laura Turner writes serves to emphasise the "quintessential bluegrass technique" of close three-part harmonies.[112] She describes the biggest differences between versions as their different textures and timbres, in particular the "incessant, 'walking' upright bass line that provides energetic drive, sparking mandolin tremolo, rolling banjo figures, and intricate, often double-stopped fiddle motifs that permeate the texture."[26]

Elektra released Beatle Country in November 1966.[113] "I've Just Seen a Face" was the LP's opening track, and Field later characterised the song as the foundation piece of the entire album.[114] A contemporary review in Cash Box magazine counts the cover as one of the five best tracks on the album,[115] and a retrospective assessment by John Paul of the online magazine Spectrum Culture describes it as "like a lost bluegrass standard".[116] When the Boston Bluegrass Union awarded the CRVB the Heritage Award in 2013, "I've Just Seen a Face" was among the songs the band performed during the award ceremony at the city's annual Joe Val Bluegrass Festival.[117]

Bluegrass groups edit

 
New Grass Revival mandolinist Sam Bush in 2012, who described "I've Just Seen a Face" as the first song by the Beatles to which he could relate.

Besides the Charles River Valley Boys, numerous bluegrass groups have covered the song.[95] Doggett writes the tempo and chord changes of "I've Just Seen a Face" "[cry] out for a banjo and mandolin",[118] and Turner argues it has been "key in stimulating a relationship between bluegrass and the music of the Beatles".[119] The progressive bluegrass band the Dillards recorded a cover of the song between the British release of Help! and the North American release of Rubber Soul; they had hoped to issue the song in the US before the Beatles, though the recording went unreleased.[120] They later recorded a cover for their 1968 album Wheatstraw Suite.[121] Joining elements of traditional mountain music and modern country music, their version includes high harmonies, a banjo and a pedal steel guitar.[95] Unterberger calls it "a respectable version" which "completed [the Dillards'] move from bluegrass into folk-country-rock",[33] while Turner describes it as "relaxed in tempo and wistful", writing that its use of a pedal steel guitar is "a clear salute to the flourishing folk-rock scene".[119] Kruth suggests that the finished recording influenced bands like the Byrds, the Grateful Dead and the Eagles.[95]

Sam Bush, mandolinist for the progressive bluegrass band New Grass Revival, recalled being uninterested in rock music before the mid-1960s, but found that "I've Just Seen a Face" allowed him to "relate to the Beatles for the first time", agreeing with a characterisation of it as "bluegrass without a banjo".[122] New Grass Revival subsequently covered the song with musician Leon Russell for their 1981 live album, The Live Album, a version Turner calls "hard driving" and "erratic".[123] Bush later covered the song as a solo artist for the 2013 Americana tribute album, Let Us in Americana: The Music of Paul McCartney.[124] The group Bluegrass Association recorded the song for their 1974 album Strings Today ... And Yesterday, basing their arrangement on the Charles River Valley Boys' version.[125]

Other artists edit

George Martin recorded an orchestral version of the song for his 1965 easy listening album, George Martin & His Orchestra Play Help!, credited under its original working title, "Auntie Gin's Theme".[126] In a review of the album for AllMusic, Bruce Eder describes Martin's recordings as "tasteful but otherwise largely undistinguished". He credits the release of tracks under their working titles as one of the album's unique selling points, being "details that Beatles fanatics of the time simply devoured".[127] The Grateful Dead performed the song in concert on 11 June 1969 in San Francisco, playing pseudonymously as Bobby Ace and the Cards from the Bottom of the Deck, and former Grateful Dead keyboardist Tom Constanten recorded a cover for his 1993 album Morning Dew.[128] Hank Crawford, the alto saxophonist of Ray Charles, recorded a funk and reggae-inspired version of the song for his 1976 album Tico Rico.[95]

Canadian jazz singer Holly Cole covered the song for her 1997 album Dark Dear Heart.[129] Released with a noir-style music video,[129] the version reached number seven on Canada's RPM Top Singles Chart in November 1997.[130]

The 2007 jukebox musical romantic drama film Across the Universe features a cover of the song,[129] later included on its associated soundtrack album.[131] In the film, the lead character, Jude (Jim Sturgess), sings about Lucy (Evan Rachel Wood) at a bowling alley in what Kruth terms a "somewhat bizarre love-fantasy scene".[129] Reviewing the soundtrack for AllMusic, Erlewine writes that Sturgess does "a credible job" on the song's "rockabilly revamp".[131]

American singer Brandi Carlile occasionally sings the song during live shows.[129] Though Kruth disparages Carlile's version as "[not] particularly different or innovative",[129] a 2010 ranking by Paste magazine of the 50 best Beatles covers placed it at 46, writing that she transforms the song into a "sing-along hoe-down".[132] Kruth designates "I'll Just Bleed Your Face" as the song's "most bizarre" cover,[129] recorded by Beatallica – a mashup group of heavy metal band Metallica and the Beatles – for their 2009 album Masterful Mystery Tour.[133]

Personnel edit

According to Walter Everett,[22] except where noted:

Notes edit

  1. ^ Virginia "Gin" Harris was the younger sister of McCartney's father, Jim McCartney.[8] McCartney later referenced her in the song "Let 'Em In",[9] released on the 1976 album Wings at the Speed of Sound.[10]
  2. ^ The four A-sides were "A Hard Day's Night", "I Feel Fine", "Ticket to Ride" and "Help!"[16] The pair co-wrote "Eight Days a Week",[17] released as a single in the United States in February 1965.[18]
  3. ^ Everett writes the song is in cut time.[22] Pollack writes that the song can be counted in either 2/2 or 4/4 (common time), but that if counted in the former, the listener can "more easily grasp the extent to which the underlying tempo is constant".[20]
  4. ^ Recorded a day after "I've Just Seen a Face",[42] the song "It's Only Love" sometimes employs similar phrasing patterns.[43] Everett hypothesises that Lennon composed "It's Only Love" in an attempt to match the rhyming effect of "I've Just Seen a Face", but ultimately finds it "Lennon's most forced effort at rhyming".[44]
  5. ^ Author Adam Gopnik describes the day as "a memorable high-water mark in musical history",[51] while Sheffield and McCartney each comment that it provides a sense of the Beatles' quick recording practices.[52]
  6. ^ Among Beatles authors, Gould and John C. Winn each say that Harrison played the solo.[58] Jean-Michael Guesdon & Philippe Margotin write McCartney played it with his Epiphone Texan, but express general uncertainty over what guitar parts McCartney and Harrison contributed.[10]
  7. ^ The effect appears on their covers of "Dizzy, Miss Lizzy" and "Bad Boy", as well as on "Yes It Is", "The Night Before", "Help!", "It's Only Love" and "Ticket to Ride", where Harrison's opening twelve-string ostinato contrasts with three overdubbed guitars.[59]
  8. ^ Guesdon and Margotin state the song is the first by the Beatles to not feature a bass guitar.[10] Everett writes the previous year's "I'll Follow the Sun" does not feature the instrument,[60] while Pollack identifies a bass on "Sun".[61]
  9. ^ When the Beatles' catalogue was remastered for stereo in 2009, the Help! CD retained Martin's 1987 remix. The original stereo mix was included as a bonus on the companion release The Beatles in Mono.[64]
  10. ^ The album was a commercial success and, according to Gould, served to attract folk-music enthusiasts towards pop music.[80]
  11. ^ The other picks included "Lady Madonna", "The Long and Winding Road", "Yesterday" and "Blackbird".[99]

References edit

Citations edit

  1. ^ a b c d e f MacDonald 2007, p. 155.
  2. ^ Sheff 2000, p. 195: Lennon; Miles 1997, p. 200: McCartney.
  3. ^ Miles 1997, pp. 107–108.
  4. ^ Miles 1997, pp. 103–104; Shea & Rodriguez 2007, p. 363.
  5. ^ Davies 2019, p. 320: piano; Everett 2001, p. 299: melody first; Miles 1997, p. 200: uptempo country and western-inflected.
  6. ^ a b c Kruth 2015, p. 51.
  7. ^ Badman 2001, p. 97; Turner 2005, p. 83; Shea & Rodriguez 2007, p. 285.
  8. ^ Womack 2014, p. 484; Turner 2005, p. 83; Lewisohn 2013, pp. 10, 25, 906.
  9. ^ Turner 2005, p. 83; Shea & Rodriguez 2007, p. 285.
  10. ^ a b c d Guesdon & Margotin 2013, p. 248.
  11. ^ MacDonald 2007, p. 155: fast-paced lyrics added; Hertsgaard 1995, p. 132: cheerful love ballad; Guesdon & Margotin 2013, p. 248; Norman 2016, p. 196 and Davies 2019, p. 320: Asher possible inspiration.
  12. ^ Everett 2001, pp. 280, 296, 304–305.
  13. ^ Lewisohn 2000, p. 195; Miles 1997, p. 205.
  14. ^ Miles 2001, pp. 197, 198; Miles 1997, pp. 204–205.
  15. ^ Sounes 2010, p. 125; Miles 2001, p. 196.
  16. ^ Castleman & Podrazik 1976, pp. 34, 40, 46, 47; Womack 2009, p. 286.
  17. ^ MacDonald 2007, pp. 132, 155.
  18. ^ Castleman & Podrazik 1976, p. 45; Womack 2009, p. 290.
  19. ^ MacDonald 2007, p. 155; Doggett 2005, p. 65.
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Sources edit

External links edit

 
Wikiquote has quotations related to Help! (album).
  • Full lyrics for the song at the Beatles' official website
  • Paul McCartney – I've Just Seen A Face (Live / Wings over America / Remastered) on YouTube
  • Paul McCartney – I've Just Seen a Face (Live / Unplugged (The Official Bootleg)) on YouTube
  • The Dillards – I've Just Seen a Face on YouTube
  • Hank Crawford – I've Just Seen a Face on YouTube
  • Holly Cole – I've Just Seen a Face on YouTube
  • Hosts Monologue – Saturday Night Live 40th Anniversary Special, including Paul McCartney and Paul Simon playing "I've Just Seen a Face" on YouTube
  • Jim Sturgess – I've Just Seen A Face (From "Across The Universe" Soundtrack) on YouTube
  • Leon Russell and New Grass Revival – I've Just Seen a Face (Live / The Live Album) on YouTube

April 12, 2024
just, seen, face, song, english, rock, band, beatles, released, august, 1965, their, album, help, except, north, america, where, appeared, opening, track, december, 1965, release, rubber, soul, written, sung, paul, mccartney, song, credited, lennon, mccartney,. I ve Just Seen a Face is a song by the English rock band the Beatles It was released in August 1965 on their album Help except in North America where it appeared as the opening track on the December 1965 release Rubber Soul Written and sung by Paul McCartney the song is credited to the Lennon McCartney partnership The song is a cheerful love ballad its lyrics discussing a love at first sight while conveying an adrenaline rush the singer experiences that makes him both enthusiastic and inarticulate I ve Just Seen a Face Cover of the Northern Songs sheet musicSong by the Beatlesfrom the album Help Released6 August 1965 1965 08 06 Recorded14 June 1965 1965 06 14 StudioEMI LondonGenreFolk rock country and western pop rockLength2 02LabelParlophoneSongwriter s Lennon McCartneyProducer s George MartinLicensed audio I ve Just Seen A Face on YouTubeThe song began as an uptempo country and western style piano piece originally titled Auntie Gin s Theme McCartney then added lyrics that may have been inspired by his relationship with actress Jane Asher The Beatles completed the track on 14 June 1965 at EMI Studios in London on the same day they recorded I m Down and Yesterday The recording fuses country and western with several other musical genres including folk rock folk pop rock and bluegrass With no bass guitar it features three acoustic guitars a brushed snare and maracas Several reviewers have described I ve Just Seen a Face in favourable terms highlighting its rhyming lyricism and McCartney s vocal delivery and described it as an overlooked song Its replacement of Drive My Car on the North American version of Rubber Soul advanced the album s identity as a folk rock work although some commentators view this change as masking the band s late 1965 creative developments It was among the first Beatles songs McCartney played live with his group Wings and versions from their 1975 76 world tour appear on the 1976 live album Wings over America and in the 1980 concert film Rockshow The song has been covered by several bluegrass bands including the Charles River Valley Boys the Dillards and the New Grass Revival with Leon Russell George Martin Holly Cole and Brandi Carlile are among the other artists who have covered it Contents 1 Background and inspiration 2 Composition 2 1 Music 2 1 1 Genre 2 2 Lyrics 3 Production 3 1 Recording 3 2 Overdubbing and mixing 4 Release 5 Retrospective assessment and legacy 6 McCartney live versions 7 Cover versions 7 1 Charles River Valley Boys 7 2 Bluegrass groups 7 3 Other artists 8 Personnel 9 Notes 10 References 10 1 Citations 10 2 Sources 11 External linksBackground and inspiration edit nbsp Paul McCartney wrote the song in the basement music room of 57 Wimpole Street central London pictured in 2018 the family home of his girlfriend Jane Asher Although the song is credited to the Lennon McCartney songwriting partnership 1 John Lennon and Paul McCartney each identified I ve Just Seen a Face as having been written entirely by McCartney 2 McCartney recalled writing it in the basement music room at 57 Wimpole Street in central London 3 The house was the family home of his girlfriend actress Jane Asher where McCartney lodged from November 1963 4 Working on a piano he composed the melody first beginning it as an uptempo country and western inflected piece 5 After he played it on the piano at a family gathering 6 his aunt Gin enjoyed the tune prompting him to give it the working title Auntie Gin s Theme 7 note 1 He added fast paced lyrics which may have been inspired by his relationship with Asher turning the song into a cheerful love ballad 11 McCartney completed I ve Just Seen a Face too late for inclusion in the Beatles second feature film Help 1 most of the songs for which were recorded in February 1965 12 He presented it to the band in mid June 13 soon after returning from holidaying in Portugal with Asher 14 During the holiday he also wrote the lyrics to his ballad Yesterday 15 Author Ian MacDonald comments that since writing Can t Buy Me Love in early 1964 McCartney had fallen behind Lennon in output Lennon being the primary writer of the Beatles next four singles 1 note 2 Most of the sessions for the band s Help album had also focused on Lennon compositions 19 In MacDonald s view given McCartney s absorption in his relationship with Asher and the contrasting depth and originality of Lennon s writing since 1964 McCartney was motivated by the need to apply a renewed focus in his writing on Help to regain his equal status in the songwriting partnership 1 Composition editMusic edit I ve Just Seen a Face is in the key of A major and is in 2 2 cut time 20 21 note 3 The song begins with a ten measure intro 20 Split into three phrases 20 the intro uses triplets that are slower than the rest of the song to create a sense of acceleration 23 reinforced by a shortened third phrase which quickens the first verse s arrival 20 McCartney used the effect of slow triplets again later that year in We Can Work It Out 20 The song s first chord is F sharp minor slightly away from the home key and is similar to Help in leaving its harmonic grounding ambiguous until the end of the intro 20 Following the intro the song speeds up in tempo to what music scholar Terence J O Grady calls an undanceable speed 24 The song uses four chords total the twelve measure verses use the common pop chord progression I vi IV V while the eight measure refrains use the blues progression V IV I 20 The latter progression simulates descent suggested by the lyrics V falling yes I am IV falling and she keeps I calling 25 and the inclusion of a melodic minor third on the first syllable of calling gives the refrain section a blues sound 20 Structurally the song includes three different verses an instrumental break and a reprise of the first verse After the second verse each section is separated from the other by a chorus 26 Like other Beatles songs a triple repeat of the chorus signals the end of the song though Pollack writes t he repeat here of an entire eight bar chorus is rather unprecedented The outro finishes by repeating a phrase from the end of the intro to provide a feeling of symmetry 20 Genre edit By this point the Beatles had been freely borrowing and blending various stylistic elements of pop rock folk blues and still other styles for quite a while Still this otherwise sweetly simple folk rock song really pushes the envelope in terms of the sheer number of diverse styles juggled simultaneously as well as the effortlessly seamless manner in which they are fused 20 Musicologist Alan W Pollack on I ve Just Seen a Face 1993 The composition fuses several different styles and is difficult to categorise 20 Musicologist Alan W Pollack describes the song on the whole as folk rock 20 as does MacDonald 27 though Pollack characterises parts of the song differently describing the first two verses as pure pop rock the changes between verse and refrain in the second half as folksy and the triplet refrain in the outro as like an R amp B rave up 20 Musicologist Walter Everett describes it as both folk and a bluegrass tinged ballad 28 suggesting it anticipates the simple folk style of McCartney s 1968 composition Mother Nature s Son 29 O Grady similarly highlights the song s folk styled guitar contribution with underlying hints of bluegrass comparing it to another of McCartney s 1965 compositions I m Looking Through You 30 He writes that both songs demonstrate a split personality through joining pop rock with either folk or country western 31 Author Chris Ingham writes I ve Just Seen a Face indicates the Beatles continued interest in country music 32 and music critic Richie Unterberger describes the almost pure country song as a continuation on the band s country influenced work from the previous year such as their album Beatles for Sale and the song I ll Cry Instead from A Hard Day s Night 33 At the same time Unterberger counts the song as one of several Help tracks that display the influence of folk rock on the Beatles 34 By contrast O Grady writes that the song s country influenced vocals are sung over an instrumental accompaniment devoid of any specific rock and roll gesture and concludes it is the Beatles first authentically country western as opposed to country rock or rockabilly song 24 Lyrics edit Written in a conversational style 35 the lyrics of I ve Just Seen a Face describe a love at first sight 36 Sung without pauses for breath or punctuation the song conveys an adrenaline rush the singer experiences 37 that makes him both enthusiastic and inarticulate 20 Author Jonathan Gould groups I ve Just Seen a Face with several of McCartney s 1965 compositions that deal with face to face encounters including Tell Me What You See You Won t See Me We Can Work It Out and I m Looking Through You 38 Musicologist Naphtali Wagner instead categorises it with later McCartney compositions that explore ambiguous elusive and altered states of consciousness such as Got to Get You into My Life from Revolver 1966 and Fixing a Hole from Sgt Pepper s Lonely Hearts Club Band 1967 39 The lyrics are constructed using an irregular rhyme scheme 40 using both run on verses and alliterations 23 McCartney later described them as insistent in quality dragging you forward pulling you to the next line 41 Rhyming every two beats 22 the lyrics use a series of cascading rhymes I have never known The like of this I ve been alone And I have missed 35 note 4 Appoggiaturas are used throughout for rhymes to line up such as face and place in the song s intro 20 The ends of stanzas are wordless 23 using vocal cadences like lie die die dat n die 22 that echo the descent of the song s instrumental intro scale degrees nbsp nbsp nbsp nbsp nbsp nbsp 20 22 Production editRecording edit Having completed the filming of Help on 11 May 1965 45 the Beatles recorded I ve Just Seen a Face during the first of three sessions dedicated to filling out the album with songs not in the film 46 The session took place in EMI s Studio Two now part of Abbey Road Studios on 14 June George Martin producing with assistance from balance engineer Norman Smith 47 During the same afternoon session the band recorded McCartney s new rock and roll song I m Down before breaking for dinner and returning to begin work on Yesterday 48 The three songs of divergent styles reflected the range of McCartney s compositional abilities 49 50 author and musician John Kruth calls it McCartney s famous marathon session 6 note 5 Taped on four track recording equipment 6 the song consists of two backing tracks 22 On the first George Harrison plays Lennon s Framus Hootenanny acoustic twelve string guitar McCartney his Epiphone Texan nylon string guitar and Ringo Starr a snare drum with brushes 53 The second includes a lead vocal from McCartney and Lennon playing rhythm guitar with his Gibson J 160E acoustic 54 Overdubbing and mixing edit The band taped the basic track in six takes 47 overdubbing new parts onto take six 46 McCartney played a higher section in the intro with his Epiphone Texan and added a descant vocal 55 providing a contrapuntal backing during the refrains in a nasally country and western tone similar to his backing vocal on another Help track Act Naturally 20 Adding texture normally achieved with a tambourine 23 Starr overdubbed maracas on the choruses 56 while Harrison added a twelve string acoustic guitar solo 57 note 6 nbsp Harrison s guitar solo from I ve Just Seen a Face June 1965 source source Another acoustic guitar plays during George Harrison s twelve string guitar solo to provide a contrasting effect Problems playing this file See media help Employing a technique used extensively during the Help sessions another guitar plays simultaneously during the guitar solo to provide a contrasting sound 59 note 7 Gould writes that in shifting from cut time to common time during the solo Harrison s playing is reminiscent of both jazz guitarist Django Reinhardt and the French jazz organisation Le Hot Club 37 Pollack characterises the solo as a countrified rhythmically flat rendering 20 and O Grady writes it approximates Bluegrass style in rhythmic regularity 24 I ve Just Seen a Face features no bass guitar part 10 note 8 Music critic Tim Riley suggests the instrument s absence together with the guitar solo being played on the low end of the guitar keeps the song rooted in the country genre 23 On 18 June Martin and Smith mixed several songs on Help for mono and stereo including I ve Just Seen a Face 62 The two mixes of the song are nearly identical to one another 46 As was typical for their pre Rubber Soul work the Beatles participated minimally in the album s mixing process 63 In 1987 for Help s first CD release Martin remixed the song for stereo adding a small amount of echo 46 note 9 Release editEMI s Parlophone label released the Help LP on 6 August 1965 65 I ve Just Seen a Face appeared on side two along with six other tracks not in the film sequenced between Tell Me What You See and Yesterday 66 McCartney was pleased with the finished recording and it became one of his favourite Beatles songs 41 In keeping with the company s policy of reconfiguring the Beatles albums 67 Capitol Records removed I ve Just Seen a Face and the other non film songs from the North American version of Help replacing them with several orchestral pieces from the film s soundtrack 68 On the band s next album Rubber Soul Capitol again altered the track listing in addition to omitting four songs they deemed electric the company selected I ve Just Seen a Face and Lennon s It s Only Love as the opening tracks of side one and side two respectively 69 Capitol s approach was motivated by the popularity of folk rock in the United States 70 with singles such as Sonny amp Cher s I Got You Babe Barry McGuire s Eve of Destruction 71 the Byrds cover of Bob Dylan s Mr Tambourine Man Simon amp Garfunkel s The Sound of Silence and the Mamas amp the Papas California Dreamin all representative of the style in 1965 72 I ve Just Seen a Face thereby replaced the Memphis sound inspired Drive My Car and was followed by the acoustic song Norwegian Wood This Bird Has Flown 73 Released on 6 December 1965 74 Capitol s version of Rubber Soul was dominated by acoustic based songs 75 Many North American listeners therefore erroneously assumed that the Beatles had focused on folk music for an entire LP 76 Opening with I ve Just Seen a Face gave Rubber Soul more conceptual unity 77 which reinforced perceptions of it as a folk or folk rock centred LP 78 at the cost of distorting the band s late 1965 creative developments and their original artistic intentions 79 note 10 Retrospective assessment and legacy editReviewing Help for AllMusic Stephen Thomas Erlewine describes I ve Just Seen a Face as an irresistible folk rock gem that is much better than two of McCartney s other contributions to the album The Night Before and Another Girl 81 a sentiment author Andrew Grant Jackson echoes 82 Journalist Alexis Petridis also disparages McCartney s other Help contributions as filler in particular Another Girl and Tell Me What You See but describes I ve Just Seen a Face as the album s one genuine overlooked gem 83 He sees it as an English inversion of Help s much noted Dylan influence existing partway between the folk sound of Greenwich Village and that of skiffle 83 Writing for Pitchfork Tom Ewing pairs the song with Yesterday describing both as a personal breakthrough for McCartney with each achieving a deceptive lightness that would become trademark and millstone for their writer He recognises I ve Just Seen a Face as a folksy country song that demonstrates the gift for pastiche that would help give the rest of the Beatles career such convincing variety 84 Music critic Allan Kozinn groups it with Yesterday It s Only Love and Wait as songs recorded near the end of the Help sessions that were a stylistic break from the rest of the album their sophistication spirit and complexity of texture having more in common with Rubber Soul 85 In 2010 Rolling Stone ranked I ve Just Seen a Face at number 58 in a list of the Beatles 100 greatest songs 35 86 and a 2014 readers poll conducted by the magazine ranked it as the tenth best Beatles song from the pre Rubber Soul era 87 McCartney biographer Peter Ames Carlin calls the song one of McCartney s most overlooked Beatles contributions yet also one of his best 88 and Riley similarly counts it as McCartney s second best contribution to Help after Yesterday 23 Riley Carlin and Everett each praise the song s lyricism 89 MacDonald commenting that its internal rhyming and fast paced delivery complements the music perfectly 1 In MacDonald s opinion the song elevates the second side of Help with its quickfire freshness and he describes it as a pop parallel to several 1965 Swinging London films such as The Knack and How to Get It Darling and Catch Us If You Can 1 Music critic Rob Sheffield describes the North American Rubber Soul s sequencing of I ve Just Seen a Face and Norwegian Wood This Bird Has Flown as a magnificent one two punch which results in the only case where the shamefully butchered U S LP might top the U K original 90 He judges the song the most romantic ever while managing to be almost as funny as Drive My Car 91 Describing the song as fetching vintage McCartney and a warm cheerful folk rock treasure journalist Mark Hertsgaard admires its thigh slapping beat sing along melody and cheerful isn t love great lyrics he deems it the musical equivalent of an armful of freshly picked daisies 92 Unterberger describes I ve Just Seen a Face as probably the most bluegrass soaked rock song of the 1960s 93 John Kruth says its influence can be heard on Go and Say Goodbye the original opening track of Buffalo Springfield s 1966 debut album Kruth argues that both songs helped acquaint rock fans with small doses of country music setting up the turn from folk rock to country by the Byrds with their 1968 album Sweetheart of the Rodeo 94 in Kruth s opinion the song s deep wooden timbre can be heard in the music of Crosby Stills amp Nash James Taylor and Jackson Browne 95 Reflecting in 2006 on the Beatles legacy and influence journalist Greg Kot views the song s folk styling as exemplifying the Beatles musical fluency and ability to master genres far removed from their rock music origins 96 McCartney live versions edit nbsp McCartney performing during the Wings Over the World tour 1976 He included I ve Just Seen a Face during an acoustic section of the tour s setlist The song has remained a favourite of McCartney s in his post Beatles career and is one of the few Beatles songs he played with his later band Wings 41 An acoustic rendition of I ve Just Seen a Face was among the five Beatles songs McCartney played during the 1975 76 Wings Over the World tour 97 being the first time he included Beatles songs in his live setlist 98 note 11 Beatles author Robert Rodriguez calls the pick unexpected 100 and McCartney explained contemporaneously that he picked the songs at random I didn t want to get too precious about it 101 Journalist Nicholas Schaffner writes that their inclusion electrified audiences and Rodriguez similarly describes the Beatles section of the setlist as the emotional highlight for most attendees 102 McCartney reflected at the time They re great tunes So I just decided in the end this isn t such a big deal I ll do them 101 In a retrospective assessment Riley lauds McCartney for performing the song during the tour as though he were sitting around on a porch harmonizing to a good old rural favorite 23 Live versions of the song from the tour were later included on the 1976 triple live album Wings over America and in the 1980 concert film Rockshow 103 McCartney performed I ve Just Seen a Face in a 25 January 1991 set 104 played on acoustic and filmed by MTV for their series Unplugged 105 The performance was later included on his 1991 album Unplugged The Official Bootleg 106 He has played the song live on several other occasions including it in the setlist of his 2004 Summer Tour and 2011 12 On the Run tour and it was included on the 2005 DVD Paul McCartney in Red Square 86 In 2015 during the Saturday Night Live 40th Anniversary Special he and musician Paul Simon played an impromptu duet of the song 107 Cover versions editCharles River Valley Boys edit I ve Just Seen a Face Song by Charles River Valley Boysfrom the album Beatle CountryReleasedNovember 1966 1966 11 RecordedSeptember 1966 1966 09 StudioColumbia NashvilleGenreBluegrassLength2 39LabelElektraSongwriter s Lennon McCartneyProducer s Paul A Rothchild Peter K SiegelLicensed audio I ve Just Seen A Face on YouTubeThe Cambridge Massachusetts based Charles River Valley Boys CRVB recorded a cover of I ve Just Seen a Face for their 1966 album Beatle Country a collection of Lennon McCartney compositions played as bluegrass and sung in a high lonesome style 108 James Field of the group later recalled hearing the song on the radio in the lead up to the US release of Rubber Soul and thinking it instantly felt like bluegrass 109 In particular the I vi IV V progression and the chorus beginning on the dominant had a drive perfectly suited for a straight ahead bluegrass trio 109 He added The tempo for us is about 115 bpm and if you listen to many bluegrass standards a lot of them are in that range Why Because it s perfect for the banjo You get a nice bouncy roll and you can make it ring 109 Banjoist Bob Siggins stated I think the instantaneous feel of the song was the tipoff for me additionally the lyrics could easily be and in fact became bluegrass lyrics 109 With their usual setlist made up of old and new bluegrass and country songs the band added an arrangement of I ve Just Seen a Face to their set along with the country inflected Beatles song What Goes On 110 Produced by Paul A Rothchild and co produced by Peter K Siegel recording for Beatle Country took place in September 1966 at Columbia s studio in Nashville Tennessee 111 The CRVB s cover of I ve Just Seen a Face changes the composition in several ways including transposing it from the key of A to G Structurally the CRVB add extra instrumental breaks for banjo mandolin and fiddle a typical feature of bluegrass music where each musician is allowed the chance to solo as well as repeating the chorus an extra time which musicologist Laura Turner writes serves to emphasise the quintessential bluegrass technique of close three part harmonies 112 She describes the biggest differences between versions as their different textures and timbres in particular the incessant walking upright bass line that provides energetic drive sparking mandolin tremolo rolling banjo figures and intricate often double stopped fiddle motifs that permeate the texture 26 Elektra released Beatle Country in November 1966 113 I ve Just Seen a Face was the LP s opening track and Field later characterised the song as the foundation piece of the entire album 114 A contemporary review in Cash Box magazine counts the cover as one of the five best tracks on the album 115 and a retrospective assessment by John Paul of the online magazine Spectrum Culture describes it as like a lost bluegrass standard 116 When the Boston Bluegrass Union awarded the CRVB the Heritage Award in 2013 I ve Just Seen a Face was among the songs the band performed during the award ceremony at the city s annual Joe Val Bluegrass Festival 117 Bluegrass groups edit nbsp New Grass Revival mandolinist Sam Bush in 2012 who described I ve Just Seen a Face as the first song by the Beatles to which he could relate Besides the Charles River Valley Boys numerous bluegrass groups have covered the song 95 Doggett writes the tempo and chord changes of I ve Just Seen a Face cry out for a banjo and mandolin 118 and Turner argues it has been key in stimulating a relationship between bluegrass and the music of the Beatles 119 The progressive bluegrass band the Dillards recorded a cover of the song between the British release of Help and the North American release of Rubber Soul they had hoped to issue the song in the US before the Beatles though the recording went unreleased 120 They later recorded a cover for their 1968 album Wheatstraw Suite 121 Joining elements of traditional mountain music and modern country music their version includes high harmonies a banjo and a pedal steel guitar 95 Unterberger calls it a respectable version which completed the Dillards move from bluegrass into folk country rock 33 while Turner describes it as relaxed in tempo and wistful writing that its use of a pedal steel guitar is a clear salute to the flourishing folk rock scene 119 Kruth suggests that the finished recording influenced bands like the Byrds the Grateful Dead and the Eagles 95 Sam Bush mandolinist for the progressive bluegrass band New Grass Revival recalled being uninterested in rock music before the mid 1960s but found that I ve Just Seen a Face allowed him to relate to the Beatles for the first time agreeing with a characterisation of it as bluegrass without a banjo 122 New Grass Revival subsequently covered the song with musician Leon Russell for their 1981 live album The Live Album a version Turner calls hard driving and erratic 123 Bush later covered the song as a solo artist for the 2013 Americana tribute album Let Us in Americana The Music of Paul McCartney 124 The group Bluegrass Association recorded the song for their 1974 album Strings Today And Yesterday basing their arrangement on the Charles River Valley Boys version 125 Other artists edit George Martin recorded an orchestral version of the song for his 1965 easy listening album George Martin amp His Orchestra Play Help credited under its original working title Auntie Gin s Theme 126 In a review of the album for AllMusic Bruce Eder describes Martin s recordings as tasteful but otherwise largely undistinguished He credits the release of tracks under their working titles as one of the album s unique selling points being details that Beatles fanatics of the time simply devoured 127 The Grateful Dead performed the song in concert on 11 June 1969 in San Francisco playing pseudonymously as Bobby Ace and the Cards from the Bottom of the Deck and former Grateful Dead keyboardist Tom Constanten recorded a cover for his 1993 album Morning Dew 128 Hank Crawford the alto saxophonist of Ray Charles recorded a funk and reggae inspired version of the song for his 1976 album Tico Rico 95 Canadian jazz singer Holly Cole covered the song for her 1997 album Dark Dear Heart 129 Released with a noir style music video 129 the version reached number seven on Canada s RPM Top Singles Chart in November 1997 130 The 2007 jukebox musical romantic drama film Across the Universe features a cover of the song 129 later included on its associated soundtrack album 131 In the film the lead character Jude Jim Sturgess sings about Lucy Evan Rachel Wood at a bowling alley in what Kruth terms a somewhat bizarre love fantasy scene 129 Reviewing the soundtrack for AllMusic Erlewine writes that Sturgess does a credible job on the song s rockabilly revamp 131 American singer Brandi Carlile occasionally sings the song during live shows 129 Though Kruth disparages Carlile s version as not particularly different or innovative 129 a 2010 ranking by Paste magazine of the 50 best Beatles covers placed it at 46 writing that she transforms the song into a sing along hoe down 132 Kruth designates I ll Just Bleed Your Face as the song s most bizarre cover 129 recorded by Beatallica a mashup group of heavy metal band Metallica and the Beatles for their 2009 album Masterful Mystery Tour 133 Personnel editAccording to Walter Everett 22 except where noted Paul McCartney lead and harmony vocals nylon string guitar John Lennon acoustic rhythm guitar George Harrison acoustic twelve string guitar Ringo Starr drums with brushes 134 maracas 135 Notes edit Virginia Gin Harris was the younger sister of McCartney s father Jim McCartney 8 McCartney later referenced her in the song Let Em In 9 released on the 1976 album Wings at the Speed of Sound 10 The four A sides were A Hard Day s Night I Feel Fine Ticket to Ride and Help 16 The pair co wrote Eight Days a Week 17 released as a single in the United States in February 1965 18 Everett writes the song is in cut time 22 Pollack writes that the song can be counted in either 2 2 or 4 4 common time but that if counted in the former the listener can more easily grasp the extent to which the underlying tempo is constant 20 Recorded a day after I ve Just Seen a Face 42 the song It s Only Love sometimes employs similar phrasing patterns 43 Everett hypothesises that Lennon composed It s Only Love in an attempt to match the rhyming effect of I ve Just Seen a Face but ultimately finds it Lennon s most forced effort at rhyming 44 Author Adam Gopnik describes the day as a memorable high water mark in musical history 51 while Sheffield and McCartney each comment that it provides a sense of the Beatles quick recording practices 52 Among Beatles authors Gould and John C Winn each say that Harrison played the solo 58 Jean Michael Guesdon amp Philippe Margotin write McCartney played it with his Epiphone Texan but express general uncertainty over what guitar parts McCartney and Harrison contributed 10 The effect appears on their covers of Dizzy Miss Lizzy and Bad Boy as well as on Yes It Is The Night Before Help It s Only Love and Ticket to Ride where Harrison s opening twelve string ostinato contrasts with three overdubbed guitars 59 Guesdon and Margotin state the song is the first by the Beatles to not feature a bass guitar 10 Everett writes the previous year s I ll Follow the Sun does not feature the instrument 60 while Pollack identifies a bass on Sun 61 When the Beatles catalogue was remastered for stereo in 2009 the Help CD retained Martin s 1987 remix The original stereo mix was included as a bonus on the companion release The Beatles in Mono 64 The album was a commercial success and according to Gould served to attract folk music enthusiasts towards pop music 80 The other picks included Lady Madonna The Long and Winding Road Yesterday and Blackbird 99 References editCitations edit a b c d e f MacDonald 2007 p 155 Sheff 2000 p 195 Lennon Miles 1997 p 200 McCartney Miles 1997 pp 107 108 Miles 1997 pp 103 104 Shea amp Rodriguez 2007 p 363 Davies 2019 p 320 piano Everett 2001 p 299 melody first Miles 1997 p 200 uptempo country and western inflected a b c Kruth 2015 p 51 Badman 2001 p 97 Turner 2005 p 83 Shea amp Rodriguez 2007 p 285 Womack 2014 p 484 Turner 2005 p 83 Lewisohn 2013 pp 10 25 906 Turner 2005 p 83 Shea amp Rodriguez 2007 p 285 a b c d Guesdon amp Margotin 2013 p 248 MacDonald 2007 p 155 fast paced lyrics added Hertsgaard 1995 p 132 cheerful love ballad Guesdon amp Margotin 2013 p 248 Norman 2016 p 196 and Davies 2019 p 320 Asher possible inspiration Everett 2001 pp 280 296 304 305 Lewisohn 2000 p 195 Miles 1997 p 205 Miles 2001 pp 197 198 Miles 1997 pp 204 205 Sounes 2010 p 125 Miles 2001 p 196 Castleman amp Podrazik 1976 pp 34 40 46 47 Womack 2009 p 286 MacDonald 2007 pp 132 155 Castleman amp Podrazik 1976 p 45 Womack 2009 p 290 MacDonald 2007 p 155 Doggett 2005 p 65 a b c d e f g h i j k l m n o p q r s Pollack Alan W 1993 Notes on I ve Just Seen a Face soundscapes info Archived from the original on 12 June 2021 Retrieved 28 July 2021 Everett 2001 p 299 cut time MacDonald 2007 pp 155 495 A major a b c d e f Everett 2001 p 299 a b c d e f g Riley 2002 p 148 a b c O Grady 1979 p 88 O Grady 1983 p 80 Everett 2009 p 228 a b Turner 2016 p 85 MacDonald 2007 p 156 Everett 2001 pp 299 337 Everett 1999 p 186 O Grady 2008 p 24 O Grady 1979 p 89 Ingham 2009 p 34 a b Unterberger Richie The Beatles I ve Just Seen a Face AllMusic Archived from the original on 15 October 2014 Retrieved 28 July 2021 Unterberger 2002 p 272 a b c 100 Greatest Beatles Songs 58 I ve Just Seen a Face Rolling Stone 10 April 2020 Archived from the original on 13 July 2021 MacDonald 2007 p 155 Gould 2007 p 278 a b Gould 2007 p 278 Gould 2007 p 302 Wagner 2008 p 89 Everett 2001 p 403n137 a b c Miles 1997 p 200 Everett 2001 pp 299 303 Pollack Alan W 1993 Notes on It s Only Love soundscapes info Archived from the original on 20 October 2021 Retrieved 22 January 2022 Everett 2001 p 303 Lewisohn 2000 p 193 a b c d Winn 2008 p 324 a b Lewisohn 1988 p 59 Lewisohn 2000 p 195 Lewisohn 1988 p 59 Lewisohn 1988 p 59 Hertsgaard 1995 p 132 Guesdon amp Margotin 2013 pp 248 266 Shea amp Rodriguez 2007 p 285 Pollack Alan W 1992 Notes on I m Down soundscapes info Archived from the original on 30 November 2020 Retrieved 22 October 2021 Gopnik Adam 5 September 2011 Decline Fall Rinse Repeat The New Yorker Archived from the original on 2 July 2021 Sheffield 2017 p 96 Babiuk 2002 p 162 Everett 2001 pp 299 346 instrumentation and personnel on first basic track MacDonald 2007 p 155 Starr on brushed snare Womack 2014 p 484 and Guesdon amp Margotin 2013 p 248 Epiphone Texan Everett 2001 p 299 personnel Womack 2014 p 484 Gibson J 160E Everett 2001 p 299 higher section with nylon string acoustic descant vocal Guesdon amp Margotin 2013 p 248 Epiphone Texan Baur 2017 p 182n5 Everett 2009 pp 61 346 and Everett 2006 p 79 twelve string acoustic solo Winn 2008 p 324 and Gould 2007 p 278 solo by Harrison Gould 2007 p 278 Winn 2008 p 324 a b Everett 2006 p 79 Everett 2001 p 269 Pollack Alan W 1992 Notes on I ll Follow the Sun soundscapes info Archived from the original on 19 October 2021 Retrieved 19 May 2021 Lewisohn 1988 p 60 Everett 2001 pp 304 408n84 Erlewine Stephen Thomas The Beatles The Beatles Stereo Box Set AllMusic Archived from the original on 19 October 2021 Retrieved 7 November 2021 Castleman amp Podrazik 1976 p 47 Womack 2009 p 288 Lewisohn 1988 p 62 Miles 2001 p 203 Everett 2001 pp 304 305 Frontani 2007 pp 53 116 Rodriguez 2012 pp 24 25 Miles 2001 p 206 Kimsey 2009 pp 233 234 Kruth 2015 p 7 MacDonald 2007 p 156 Gould 2007 p 296 MacDonald 2007 p 154 Kruth 2015 p 49 Kimsey 2009 p 235 Memphis sound Jackson 2015 p 181 replacement as opening track to make album sound folk rock Turner 2016 p 83 before Norwegian Wood Castleman amp Podrazik 1976 p 50 Womack 2009 p 292 Kimsey 2009 p 235 Rodriguez 2012 p 75 Frontani 2007 p 116 Womack 2014 p 794 Gould 2007 p 296 Kimsey 2009 p 235 Unterberger 2002 p 180 Sheffield 2004 p 52 O Grady 1979 pp 87 88 O Grady 1983 pp 79 80 and Marsh 2007 p 122 Hamilton 2016 p 148 Philo 2014 p 88 Courrier 2009 p 114 Gould 2007 p 296 Fusilli 2005 p 78 and Marsh 2007 pp 122 177 Gould 2007 p 296 Erlewine Stephen Thomas The Beatles Help AllMusic Archived from the original on 21 July 2021 Retrieved 28 July 2021 Jackson 2015 p 181 a b Petridis 2004 p 176 Ewing Tom 8 September 2009 The Beatles Help Pitchfork Archived from the original on 25 February 2021 Kozinn 1995 p 129 a b Womack 2014 p 484 10 Great Early Beatles Songs Rolling Stone 12 February 2014 Archived from the original on 28 July 2021 Carlin 2009 p 117 Riley 2002 p 148 Carlin 2009 p 117 Everett 2001 p 403n137 Sheffield 2017 p 90 Sheffield 2017 pp 15 16 Hertsgaard 1995 pp 127 132 133 Unterberger 2002 p 181 Kruth 2015 p 52 a b c d e Kruth 2015 p 54 Kot 2006 p 326 Badman 2001 pp 165 182 183 Rodriguez 2010 pp 63 173 Norman 2016 p 516 Ingham 2009 p 66 Schaffner 1977 p 182 Rodriguez 2010 pp 172 173 Rodriguez 2010 p 173 a b Schaffner 1977 p 182 Schaffner 1977 p 182 Rodriguez 2010 p 63 Womack 2014 pp 961 962 1203 1204 Badman 2001 p 459 Ingham 2009 p 111 Ingham 2009 p 111 Badman 2001 p 462 Blistein Jon 16 February 2015 Paul McCartney Miley Cyrus Paul Simon Captivate at SNL 40 Rolling Stone Archived from the original on 15 April 2021 Kruth 2015 pp 30 54 169 a b c d Turner 2016 p 84 Turner 2016 p 85 normal setlist added I ve Just Seen a Face and What Goes On Frontani 2007 p 117 What Goes On being country inflected Turner 2016 p 87 Turner 2016 pp 84 86 Turner 2016 p 90 Turner 2016 pp 79 88 Cash Box Review Panel 3 December 1966 Album Reviews PDF Cash Box p 62 Archived PDF from the original on 4 January 2022 Paul John 12 October 2016 Bargain Bin The Charles River Valley Boys Beatle Country Spectrum Culture Archived from the original on 4 February 2017 Turner 2016 p 80 Doggett 2001 p 306 a b Turner 2016 p 83 Einarson 2001 p 46 Unterberger 2003 p 186 Harris 2018 p 244 Turner 2016 pp 78 84 Zolten 2021 p 242 Hambly 1976 p 509 Castleman amp Podrazik 1976 p 278 1965 album Schaffner 1977 p 213 orchestral easy listening Everett 2001 p 299 George Martin amp His Orchestra Play Help Eder Bruce George Martin amp His Orchestra George Martin Plays Help AllMusic Archived from the original on 5 April 2017 Retrieved 29 July 2021 Trager 1997 pp 209 269 a b c d e f g Kruth 2015 p 55 Top RPM Singles Issue 3389 RPM Library and Archives Canada 17 July 2013 Retrieved 30 July 2021 a b Erlewine Stephen Thomas Various 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514105 4 Everett Walter 2006 Painting Their Room in a Colorful Way The Beatles Exploration of Timbre In Womack Kenneth Davis Todd F eds Reading the Beatles Cultural Studies Literary Criticism and the Fab Four Albany State University of New York Press pp 71 94 ISBN 0 7914 6716 3 Everett Walter 2009 The Foundations of Rock From Blue Suede Shoes to Suite Judy Blue Eyes Oxford Oxford University Press ISBN 978 0 19 531024 5 Frontani Michael R 2007 The Beatles Image and the Media Jackson University Press of Mississippi ISBN 978 1 57806 966 8 Fusilli Jim 2005 The Beach Boys Pet Sounds 33 New York Bloomsbury Publishing doi 10 5040 9781501397400 ISBN 978 1 4411 1266 8 Gould Jonathan 2007 Can t Buy Me Love The Beatles Britain and America New York Three Rivers Press ISBN 978 0 307 35338 2 Guesdon Jean Michel Margotin Philippe 2013 All the Songs The Story Behind Every Beatles Release New York Black Dog amp Leventhal Publishers ISBN 978 1 57912 952 1 Hambly Scott 1976 Bluegrass Records A Review Article Journal of American Folklore 89 354 501 511 doi 10 2307 539307 ISSN 0021 8715 JSTOR 539307 Hamilton Jack 2016 Just Around Midnight Rock and Roll and the Racial Imagination Cambridge Harvard University Press doi 10 4159 9780674973541 ISBN 978 0 674 97356 5 Harris Craig 2018 Bluegrass Newgrass Old Time and Americana Music Gretna Arcadia Publishing ISBN 978 1 4556 2402 7 Hertsgaard Mark 1995 A Day in the Life The Music and Artistry of the Beatles New York Delacorte Press ISBN 0 385 31377 2 Ingham Chris 2009 The Rough Guide to the Beatles 3rd ed London Rough Guides ISBN 978 1 84836 525 4 Jackson Andrew Grant 2015 1965 The Most Revolutionary Year in Music New York Macmillan Publishers ISBN 978 1 4668 6497 9 Kozinn Allan 1995 The Beatles London Phaidon Press ISBN 0 7148 3203 0 Kimsey John 2009 An abstraction like Christmas the Beatles for sale and for keeps In Womack Kenneth ed The Cambridge Companion to the Beatles Cambridge Cambridge University Press pp 230 254 doi 10 1017 CCOL9780521869652 015 ISBN 978 0 521 68976 2 Kot Greg 2006 Toppermost of the Poppermost In Sawyers June Skinner ed Read the Beatles Classic and New Writings on the Beatles Their Legacy and Why They Still Matter New York Penguin Books pp 322 326 ISBN 978 0 14 303732 3 Kruth John 2015 This Bird Has Flown The Enduring Beauty of Rubber Soul Fifty Years On Milwaukee Backbeat Books ISBN 978 1 61713 573 6 Lewisohn Mark 1988 The Complete Beatles Recording Sessions New York Harmony Books ISBN 978 0 600 63561 1 Lewisohn Mark 2000 1992 The Complete Beatles Chronicle The Only Definitive Guide to the Beatles Entire Career London Hamlyn ISBN 0 600 60033 5 Lewisohn Mark 2013 The Beatles All These Years Volume One Tune In New York Three Rivers Press ISBN 978 1 101 90329 2 MacDonald Ian 2007 Revolution in the Head The Beatles Records and the Sixties Third ed Chicago Chicago Review Press ISBN 978 1 55652 733 3 Marsh Dave 2007 The Beatles Second Album New York Rodale ISBN 978 1 59486 426 1 Miles Barry 1997 Paul McCartney Many Years from Now New York Henry Holt ISBN 0 8050 5249 6 Miles Barry 2001 The Beatles Diary Volume 1 The Beatles Years London Omnibus Press ISBN 978 0 7119 8308 3 Norman Philip 2016 Paul McCartney The Life New York Little Brown and Company ISBN 978 0 316 32796 1 O Grady Terence J 1979 Rubber Soul and the Social Dance Tradition Ethnomusicology 23 1 87 94 doi 10 2307 851340 ISSN 0014 1836 JSTOR 851340 O Grady Terence J 1983 The Beatles A Musical Evolution Boston Twayne ISBN 0 8057 9453 0 O Grady Terence J 2008 Sgt Pepper and the diverging aesthetics of Lennon and McCartney In Julien Olivier ed Sgt Pepperand the Beatles It was Forty Years Ago Today Aldershot Ashgate Publishing pp 23 32 doi 10 4324 9781315608532 3 ISBN 978 0 7546 6708 7 Petridis Alexis 2004 Help Period of adjustment In Trynka Paul ed The Beatles Ten Years that Shook the World London Dorling Kindersley pp 176 177 ISBN 0 7566 0670 5 Philo Simon 2014 British Invasion The Crosscurrents of Musical Influence Lanham Rowman amp Littlefield ISBN 978 0 8108 8627 8 Riley Tim 2002 Tell Me Why The Beatles Album by Album Song by Song the Sixties and After Revised and Updated ed Cambridge Da Capo Press ISBN 978 0 306 81120 3 Rodriguez Robert 2010 Fab Four FAQ 2 0 The Beatles Solo Years 1970 1980 New York Backbeat Books ISBN 978 0 87930 968 8 Rodriguez Robert 2012 Revolver How the Beatles Re Imagined Rock n Roll Montclair Backbeat Books ISBN 978 1 61713 009 0 Schaffner Nicholas 1977 The Beatles Forever Harrisburg Cameron House ISBN 0 8117 0225 1 Shea Stuart Rodriguez Robert 2007 Fab Four FAQ Everything Left to Know About the Beatles and More New York Hal Leonard Books ISBN 978 1 4234 2138 2 Sheff David 2000 1981 Golson G Barry ed All We Are Saying The Last Major Interview with John Lennon and Yoko Ono New York St Martin s Griffin ISBN 0 312 25464 4 Sheffield Rob 2004 The Beatles In Brackett Nathan Hoard Christian eds The New Rolling Stone Album Guide 4th ed New York Fireside Simon amp Schuster pp 51 54 ISBN 0 7432 0169 8 Sheffield Rob 2017 Dreaming the Beatles The Love Story of One Band and the Whole World New York HarperCollins ISBN 978 0 06 220765 4 Sounes Howard 2010 Fab An Intimate Life of Paul McCartney London HarperCollins ISBN 978 0 00 723705 0 Trager Oliver 1997 The American Book of the Dead The Definitive Grateful Dead Encyclopedia New York Simon amp Schuster ISBN 978 0 684 81402 5 Turner Laura 2016 Beatle Country A Bluegrass Concept Album from 1966 In Womack Kenneth ed New Critical Perspectives on the Beatles Things We Said Today London Palgrave Macmillan pp 77 94 doi 10 1057 978 1 137 57013 0 5 ISBN 978 1 137 57013 0 Turner Steve 2005 A Hard Day s Write The Stories Behind Every Beatles Song New and Updated ed New York HarperCollins ISBN 978 0 06 084409 7 Unterberger Richie 2002 Turn Turn Turn The 60s Folk Rock Revolution San Francisco Backbeat Books ISBN 0 87930 703 X Unterberger Richie 2003 Eight Miles High Folk Rock s Flight from Haight Ashbury to Woodstock San Francisco Backbeat Books ISBN 0 87930 743 9 Wagner Naphtali 2008 The Beatles psycheclassical synthesis psychedelic classicism and classical psychedelia in Sgt Pepper In Julien Olivier ed Sgt Pepperand the Beatles It was Forty Years Ago Today Aldershot Ashgate Publishing pp 75 90 doi 10 4324 9781315608532 7 ISBN 978 0 7546 6708 7 Winn John C 2008 Way Beyond Compare The Beatles Recorded Legacy Volume One 1957 1965 New York Three Rivers Press ISBN 978 0 307 45157 6 Womack Kenneth ed 2009 Beatles Discography 1962 1970 The Cambridge Companion to the Beatles Cambridge Cambridge University Press pp 286 293 doi 10 1017 CCOL9780521869652 017 ISBN 978 0 521 68976 2 Womack Kenneth 2014 The Beatles Encyclopedia Everything Fab Four Santa Barbara Greenwood ISBN 978 0 313 39171 2 Zolten Jerry 2021 On the Record Dis Covering the Beatles In Womack Kenneth ed The Beatles in Context New York Cambridge University Press pp 230 244 doi 10 1017 9781108296939 024 ISBN 978 1 108 40952 0 S2CID 213470647 External links edit nbsp Wikiquote has quotations related to Help album Full lyrics for the song at the Beatles official website Paul McCartney I ve Just Seen A Face Live Wings over America Remastered on YouTube Paul McCartney I ve Just Seen a Face Live Unplugged The Official Bootleg on YouTube The Dillards I ve Just Seen a Face on YouTube Hank Crawford I ve Just Seen a Face on YouTube Holly Cole I ve Just Seen a Face on YouTube Hosts Monologue Saturday Night Live 40th Anniversary Special including Paul McCartney and Paul Simon playing I ve Just Seen a Face on YouTube Jim Sturgess I ve Just Seen A Face From Across The Universe Soundtrack on YouTube Leon Russell and New Grass Revival I ve Just Seen a Face Live The Live Album on YouTube Retrieved from https en wikipedia org w index php title I 27ve Just Seen a Face amp oldid 1214990649, wikipedia, wiki, book, books, library,

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