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4.01pm
18 November 2011
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Are there any live performances where Ringo plays the “What’d I Say” beat like he does on the record?
For the record, I’ve never bought the asinine conspiracy theory that he’s not playing on the record, his ability to play that drum line was what got him into the band, and he clearly plays a similar line in “The Night Before “. I’d always assumed he simplified it in concert because it wasn’t worth the effort when he couldn’t be heard, and the simplified version was easier for the other 3 to hear.
6.54am
27 December 2012
Offline RunForYourLife said
Are there any live performances where Ringo plays the “What’d I Say” beat like he does on the record?
For the record, I’ve never bought the asinine conspiracy theory that he’s not playing on the record, his ability to play that drum line was what got him into the band, and he clearly plays a similar line in “The Night Before “. I’d always assumed he simplified it in concert because it wasn’t worth the effort when he couldn’t be heard, and the simplified version was easier for the other 3 to hear.
Interesting theory. I think so, nobody could really hear him live, especially with the screams. I still believe that he plays on the record.
1.18pm
Reviewers
29 November 2012
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I was watching the Anthology again last night and Ringo mentions how by that point, all he could do on the drums in concerts was keep the steady 4-beat on the snare because they couldn’t hear a damn thing and if he tried to do anything more complex or go to the tom-toms, it just got lost in the noise. I also have read that he had to watch the other 3’s movements and lips to try and guess where in the song they were because they couldn’t hear anything.
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4.19pm
3 May 2012
Offline It´s ridiculous, when you think about it. No artist should have to perform under those circumstances.
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4.39pm
Reviewers
29 November 2012
Offline fabfouremily said
It´s ridiculous, when you think about it. No artist should have to perform under those circumstances.
Granted, they were severely limited by the equipment at the time. The real shame is that, right when they quit touring in ’66, that’s when The Who, Cream, and Hendrix were working with Jim Marshall to help invent the more powerful amplification that became standard by the late 60s.
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9.45am
3 May 2012
Offline DrBeatle said
fabfouremily said
It´s ridiculous, when you think about it. No artist should have to perform under those circumstances.Granted, they were severely limited by the equipment at the time. The real shame is that, right when they quit touring in ’66, that’s when The Who, Cream, and Hendrix were working with Jim Marshall to help invent the more powerful amplification that became standard by the late 60s.
Talk about bad timing. But all they really needed was for the audience to quiten down a bit (I understood why they all screamed so much, but it was disrespectful to the boys).
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6.23am
27 December 2012
Offline fabfouremily said
DrBeatle said
fabfouremily said
It´s ridiculous, when you think about it. No artist should have to perform under those circumstances.Granted, they were severely limited by the equipment at the time. The real shame is that, right when they quit touring in ’66, that’s when The Who, Cream, and Hendrix were working with Jim Marshall to help invent the more powerful amplification that became standard by the late 60s.
Talk about bad timing. But all they really needed was for the audience to quiten down a bit (I understood why they all screamed so much, but it was disrespectful to the boys).
It was obvious that most of their listeners weren’t interested in their music lol.
2.45pm
Reviewers
29 November 2012
Offline ^certainly not until the direction of their music changed enough (as well as their appearances) that the teenyboppers were left behind.
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3.22pm
12 November 2012
Offline If he ever performed it live, then it would’ve been on their final Ed Sullivan appearance. I haven’t seen it in a while, but the Beatles’ music sounds pretty good compared to some of their other concerts from 1965 and especially their 1966 concerts.
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1.36pm
26 January 2017
Offline Another great song. I can’t get over how the riff is pulled out of the feedback like a magician pulling flowers out of his sleeve. My one issue with the song is that the lyrics feel insecure. I Feel Fine seems as upbeat as can be, but John’s borderline psycho insecurity flashes through.
She’s happy as can be, you know
She said so
I’m in love with her and I feel fine
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10.39pm
Moderators
15 February 2015
Offline 
I agree with you there @sir walter raleigh. I never really thought of it that way till I saw your post (no I never heard it at all, Till There Was You ), but I was listening to it today and was struck by how insecure a song it is. He’s trying to convince himself that he’s in this relationship and feels fine, using her words about his buying her things as proof. 
What really struck me was the contrast between this, John’s song, and the B-side, Paul’s song. She’s A Woman is utterly assured: in the very first verse, he sings, ‘My love don’t give me presents / I know that she’s no peasant / All she ever has to give me, love forever and forever…’
It’s a highly succinct example out of many of the contrast between John’s and Paul’s romantic relationship views at the time, as they expressed them in their songs.
Beatles are damn awesome moment #1,564 
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1.12pm
9 March 2017
Offline Anyone here know how to get that opening note right with just 1 guitar. I have a semi acoustic that I just got up and running and wanted to play I Feel Fine on it but although I can play everything else, even the solo, I can’t get the intro right. When I used to play it, I’d just strum the open A string on my guitar but I’m hoping of finding a better way to get that feedback. This is the only song I can think of where the hardest note to play is the first one.
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5.44am
19 January 2017
Offline Dark Overlord said
Anyone here know how to get that opening note right with just 1 guitar. I have a semi acoustic that I just got up and running and wanted to play I Feel Fine on it but although I can play everything else, even the solo, I can’t get the intro right. When I used to play it, I’d just strum the open A string on my guitar but I’m hoping of finding a better way to get that feedback. This is the only song I can think of where the hardest note to play is the first one.
Looking at tabs people generally agree that it is the open A string. I guess it heavily depends on what amp you’re using since semi acoustics are obviously pretty good for feedback. Are you playing the note up close to the amp speaker? Valve amps are usually better for feedback as well.
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6.22am
9 March 2017
Offline I’m using a modified First Act Discovery with a Strat pickup in the neck position through a Fender Mustang.
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8.32am
Moderators
15 February 2015
Offline @Dark Overlord I find I have to turn the volume on my Fender Mustang up pretty high before I can get any decent sort of feedback. If the volume’s high enough to feed back but not loud enough, then the only sounds I can get are awful high-pitched squeals; but it it’s really loud, then I can get lower feedback and more control.
Unfortunately I normally don’t like playing that loud… I only do it in a noisy band setting. 
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3.43am
19 January 2017
Offline Yeah, a lot of feedback can be generated by the volume of the amplifier mainly. Also where you are standing after playing the note 
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4.02pm
Moderators
27 November 2016
Offline I was listening to take 6 (as I do) and the noodling around at the start is so familiar but I can’t remember the song!
Also interesting that I prefer the feedback on this take. It sounds much throatier and it’s longer
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5.17pm
1 December 2009
Offline Yeah, that feedback is fiiine!
And I think that George is practicing his “She’s A Woman ” solo. (Is it that one?)
GEORGE: In fact, The Detroit Sound. JOHN: In fact, yes. GEORGE: In fact, yeah. Tamla-Motown artists are our favorites. The Miracles. JOHN: We like Marvin Gaye. GEORGE: The Impressions PAUL & GEORGE: Mary Wells. GEORGE: The Exciters. RINGO: Chuck Jackson. JOHN: To name but eighty.
6.05pm
Moderators
27 November 2016
Offline Aha, that could be the song… I Feel Fine was recorded 18 October 1964 and She’s A Woman on the 8th October 1964, so that could check out.
It’s a bit different though?
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7.21am
30 April 2019
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I love this song. It is my favorite Beatles song and it’s yet to get a full page on here, so I’m gonna fix that.
I’m glad I’m not the only one who noticed how that song has such an uncertain undercurrent running through it. Most discussion of the song I’ve seen describe it as being this unambiguously happy song or only mentioned the feedback and the riff and drum patterns they used.
I think because of how happy the bridge sounds musically, people sometimes forget just how melancholy the verses sound. The lyrics are supposed to be happy and reassuring but the music counters this and shows the sarcasm behind it.
Melodically at least things are structured to sound uncertain. I’m about to get into some music theory so bear with me. When John sings “she said so” he’s singing it on the 5th scale degree which has a strong pull to 1st scale degree, and because this is at the end of the phrase, it sounds unresolved. This adds in the insecurity to a line that is assumed to be reassuring. Another line is when the title appears. The line “I feel fine” is the first introduction of the flat 3rd scale degree borrowed from minor. The minor sounding resolution brings in some bluesiness and adds to the insecurity that’s hidden with musical sarcasm.
So … Yeah.
Love this song!
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