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3.56am
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27 November 2016
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Today at orchestra, I asked my french horn tutor if he ‘could play the solo to For No One ‘. He picked his horn up, and pretty much got it spot on
*
We then had a talk about Alan Civil, his original ‘mid-range solo’… It was a great 5 minutes. Next week I’ll see about Sgt Pepper …
*turns out he played in a Beatles tribute band, for the 2 songs featuring the horn.
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5.28am
14 June 2016
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Now I feel like listening to the song. Something I love about Beatles songs is that most of them aren’t that long (For No One is 2.01) but they fit so much in during their runtime, and have so much energy, that a second isn’t wasted. They make the most of their time, and every song’s melody is distinct.
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6.48pm
15 November 2018
Offline I’m listening to For No One right now and am reminded what a fantastic song it really is. I think it might be my favorite on Revolver .
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3.21pm
17 September 2021
Offline hi, I would really like to hear this again:
The Beatles – For No One Recording Session 1966
and I don’t know how. Do any of you have it on your laptop, please
3.50pm
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1 May 2011
Offline claudemarley said
hi, I would really like to hear this again:The Beatles – For No One Recording Session 1966
and I don’t know how. Do any of you have it on your laptop, please
Hi Claude. File sharing is not allowed on the forum and any such links will be deleted by the mods.
If you hunt around the net for ‘Revolver ‘ bootlegs you will find the handful of alternate ‘FNO’ outtakes that circulate; Purple Chick, Secret Garden and Cold Turkey are only a few of the many labels who have compiled the sessions; the latter being the most recent.
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6.33pm
26 January 2017
Offline Takes 1, 2 10, and 14 are out there to be heard as well as a rehearsal take from Paul. Well worth the patient work of searching archive.org or other bootleg blogs and drives that exist out there.
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11.43pm
7 November 2022
Offline Zig said
I get chills every time I here the very end. I’m not sure who had the idea to end it with such soft abruptness (Paul? George M.?), but it is brilliant.
Ending the song on Gsus to G, when the song is in the key of C, is an excellently subtle maneuver. Dare I venture to conjecture it’s a paradox, in that Gsus to G lulls the listener into feeling a resolution of a tension — and yet the resolution itself does not resolve back to C: a paradox of resolution/non-resolution.
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12.28am
7 November 2022
Offline About his song, Paul said:
It’s a horrible moment when you’ve broken up with someone, and you look at them – this person you used to be in love with, or thought you were in love with – and none of that old feeling is there. It’s like it just switched off too, and it’s not great to be on the receiving end of that.
I agree, but I think it’s even worse when you still love them after a definitive breakup. As Paul sang with such plaintive emotion a few years later, “How could two rights make a wrong…?”
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5.01pm
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15 February 2015
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I imagine it is worse when you still love them, but I think there is a glut of songs which cover that situation (some people wanna fill the world with heartbreak-breakup songs, and what’s wrong with that?), so it is very interesting to hear a song that covers the other perspective where the love is gone. This is probably more common than its representation in breakup media would suggest, since the emotion is less intense and therefore less likely to inspire artistic expression, but it’s no less sad in its own cold, empty way.
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2.27pm
26 January 2017
Offline Paul Simon wrote Overs which captures this very well. A relationship dying with a whimper. “No good times, no bad times, theres no times at all just the New York Times”
Im Looking Through You might be my favorite lyric of Paul’s because of how brutal it can be to realize and describe this situation. It is almost Dylanesque how biting yet elegant the lyrics of that song are. For No One and I’m Looking Through You are two sides of the same coin.
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3.05pm
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1 May 2011
Offline Take 1 of ‘ILTY’ is far more restrained anger (especially when it hits the instrumental sections which are more unhinged) sounding than the remake on the album which is more upfront yet less vengeful (the middle eighty bit). I think I prefer the former but either way you can tell Paul was pissed off.
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2.47am
14 June 2016
Offline Is this the most serious, mournful type song from the Fabs in terms of sound and lyrics? Could be IMO.
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