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Eleanor Rigby
From Wikipedia, the free encyclopedia
| "Eleanor Rigby" | ||
|---|---|---|
 |
||
| Single by The Beatles | ||
| from the album Revolver | ||
| A-side(s) | "Yellow Submarine" | |
| Released | 1966-08-05 (UK) 1966-08-08 (U.S.) |
|
| Format | 7" | |
| Recorded | Abbey Road: 28-29 April and 9 June 1966 | |
| Genre | Pop | |
| Length | 2:06 | |
| Label | Parlophone (UK) Capitol (U.S.) |
|
| Writer(s) | Lennon-McCartney | |
| Producer(s) | George Martin | |
| Chart positions | ||
|
||
| The Beatles singles chronology | ||
| "Paperback Writer" (1966) |
"Eleanor Rigby" / "Yellow Submarine" (1966) |
"Strawberry Fields Forever" / "Penny Lane" (1967) |
| Music sample | ||
|
"Eleanor Rigby" (file info) |
||
| Revolver track listing | ||
|
||
| Love track listing | ||
| "Glass Onion" (3) |
"Eleanor Rigby/Julia (transition)" (4) |
"I Am the Walrus" (5) |
"Eleanor Rigby" is a song by the Beatles, originally released on the 1966 album Revolver. The song was primarily written by Paul McCartney,[1] although in an interview conducted with Playboy magazine in 1980 shortly before he died, John Lennon claimed that "the first verse was his and the rest are basically mine."[2] Pete Shotton, a close friend of Lennon who was present at the time, said "Though John (whose memory could be extremely erratic) was to take credit, in one of his last interviews, for most of the lyrics, my own recollection is that 'Eleanor Rigby' was one 'Lennon-McCartney' classic in which John's contribution was virtually nil."[3] McCartney also says that John helped on about "half a line". It remains one of the Beatles' most recognizable and unique songs, with an eight-person string section working from a score by George Martin and its striking lyrics about the loneliness of old age, continuing the transformation of the Beatles started in Rubber Soul from a mainly pop-oriented act to a more serious and experimental studio band.
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As is true of many of McCartney's songs, the melody and first line of the song came to him as he was playing around on his piano. The name that came to him, though, was not Eleanor Rigby but Miss Daisy Hawkins. In 1966, McCartney recalled how he got the idea for his song:
| “ | I was sitting at the piano when I thought of it. The first few bars just came to me, and I got this name in my head... 'Daisy Hawkins picks up the rice in the church'. I don't know why. I couldn't think of much more so I put it away for a day. Then the name Father McCartney came to me, and all the lonely people. But I thought that people would think it was supposed to be about my Dad sitting knitting his socks. Dad's a happy lad. So I went through the telephone book and I got the name McKenzie.[4] | ” |
Others believe that Father McKenzie refers to 'Father' Tommy McKenzie, who was the compere at Northwich Memorial Hall[5][6]
McCartney originally imagined Daisy as a young girl, but anyone who cleaned up in churches would probably be older. If she were older, she might have missed not only the wedding she cleans up after but also her own. Gradually, McCartney developed the theme of the loneliness of old age, morphing his song from the story of a young girl to that of an elderly woman whose loneliness is worse for having to clean up after happy couples.
McCartney said he came up with the name Eleanor from actress Eleanor Bron, with whom he had starred in the film Help! Rigby came from the name of a store in Bristol, Rigby & Evens Ltd, Wine & Spirit Shippers, that he noticed while seeing his then-girlfriend Jane Asher act in The Happiest Days Of Your Life. He recalled in 1984, "I just liked the name. I was looking for a name that sounded natural. Eleanor Rigby sounded natural."[7]
In the 1980s, a grave of an Eleanor Rigby was discovered in the graveyard of St. Peter's Parish Church in Woolton, Liverpool, and a few yards away from that, another tombstone with the last name McKenzie scrawled across it.[8][9] During their teenage years, Paul and John [Lennon] spent time "sunbathing" there; within earshot distance of where the two had had met for the first time during a fete in 1957. Many years later McCartney stated that the strange coincidence between reality and lyric could be a product of his subconsciousness, rather than being a meaningless fluke.[8] The actual Eleanor Rigby was born in 1895 and lived in Liverpool, possibly in the suburb of Woolton, where she married a man named Thomas Woods. She died on 10 October 1939 at age 44. Whether this Eleanor was the inspiration for the song or not, her tombstone has become a landmark to Beatles fans visiting Liverpool. A digitized version was added to the 1995 music video for the Beatles' reunion song "Free as a Bird". (Interestingly enough, if we consider that 1940 was a leap year, then the real Eleanor Rigby died exactly one year to the day before John Lennon was born.)
The Beatles finished off the song in the music room of John Lennon's home at Kenwood. John Lennon, George Harrison, Ringo Starr, and their friend Pete Shotton all listened to McCartney play his song through and contributed ideas. Someone suggested introducing a romance into the story, but this was rejected because it made the story too complicated. Starr contributed the line "writing the words of a sermon that no one will hear " and suggested making "Father McCartney" darn his socks, which McCartney liked, and Harrison came up with the line "Ah, look at all the lonely people". Shotton then suggested that McCartney change the name of the vicar, in case listeners mistook the fictional character in the song for McCartney's own father.[10]
McCartney couldn't decide how to end the song, and Shotton finally suggested that the two lonely people come together too late as Father McKenzie conducts Eleanor Rigby's funeral. At the time, Lennon rejected the idea out of hand, but McCartney said nothing and used the idea to finish off the song, later acknowledging Shotton's help.[10]
"Eleanor Rigby" does not have a standard pop backing; none of the Beatles played instruments on it, though John Lennon and George Harrison did contribute harmony and backing vocals. Instead, McCartney used a string octet of studio musicians, composed of four violins, two cellos, and two violas all working off a score written by producer George Martin which had been influenced by Bernard Herrmann's driving, strings-only score for Alfred Hitchcock's Psycho. (It had previously been reported that Martin was influenced by François Truffaut's film Fahrenheit 451, but the release date of the film and the recording sessions for the song render this scenario virtually impossible). For the most part, the instruments "double up"—that is, they serve as two string quartets with two instruments playing each part in the quartet. Microphones were placed close to the instruments to produce a more vivid and raw sound. George Martin asked the musicians if they could play without vibrato and recorded two versions, one with and one without, the latter of which was used. McCartney's choice of a string backing may have been influenced by his interest in the composer Vivaldi. Lennon recalled in 1980 that "Eleanor Rigby" was:
- "Paul's baby, and I helped with the education of the child ... The violin backing was Paul's idea. Jane Asher had turned him on to Vivaldi, and it was very good."[11]
The octet was recorded on 28 April 1966 in Studio 2 at Abbey Road Studios and completed in Studio 3 on 29 April and on 6 June. Take 15 was selected as the master.[12]
The original stereo mix had Paul's voice only in the right channel during the verses, with the string octet mixed to one channel, while the mono single and mono LP featured a more balanced mix. On the Yellow Submarine Songtrack and Love versions, McCartney's voice is centered and the string octect appears in stereo in an attempt to create more "modern" sounding mix.
"Eleanor Rigby" was released simultaneously on 5 August 1966 on both the album Revolver and on a double A-side single with "Yellow Submarine" on Parlophone in the United Kingdom and Capitol in the United States.[13] It spent four weeks at number one on the British charts,[14] but in America it only reached the eleventh spot.[15]
The song was nominated for three Grammies and won the 1966 Grammy for Best Contemporary Rock and Roll Vocal Performance, Male for McCartney. Thirty years later, George Martin's isolated string arrangement (without the vocal) was released on the Beatles' Anthology 2. A remixed version of the track was included in the 2006 album Love.
Though "Eleanor Rigby" was not the first pop song to deal with death and loneliness, it was certainly among the first to present such a serious attitude. The Shangri-Las' 1964 hit "Leader of the Pack" gave a rendition of star-crossed lovers ending in one of their deaths, but the subject matter was purely in a romantic vein and far from a serious look at loss.[14] In fact, in the mid-1960s, the pop format hardly seemed the right vehicle for such a message. Folk tunes might be full of depression and death, like Simon and Garfunkel's "The Sound of Silence", released in the same year, but pop consistently had a more rosy outlook on life. Nevertheless, "Eleanor Rigby" took a message of depression and desolation, written by a famous pop band, with a somber, almost funeral-like backing, to the number one spot of the pop charts.[14] Other acts soon followed in a similar vein, like The Rolling Stones with "Paint It Black".
"Eleanor Rigby" marks a midpoint of sorts in the Beatles' evolution from a pop, live-performance band to a more experimental, studio-oriented band though the track contains no obvious studio trickery. Whereas many of the other tracks on Revolver lend themselves to a rock group, "Eleanor Rigby" in a sense is a precursor to the psychedelic tracks of Sgt. Pepper's Lonely Hearts Club Band. The subject matter also reflects a band in transition. The bleak lyrics were not The Beatles' first deviation from love songs, but were some of the most explicit. Eleanor Rigby's lonely existence shares more in tone with the sense of detachment of "A Day in the Life" than with "I Want to Hold Your Hand".
It is the second song to appear in the Beatles' 1969 animated film Yellow Submarine, after "Yellow Submarine," the only songs in the film where the Beatles are not seen to be singing. Eleanor Rigby is introduced just before we see the Beatles in the film in their hometown, Liverpool, and its poignancy ties in quite well with Ringo Starr (the first member of the group to encounter the submarine) who is represented as quietly bored and depressed.
In some reference books on classical music, Eleanor Rigby is included and considered comparable to art songs (lieder) by the great composers.
In 2004, this song was ranked number 137 on Rolling Stone magazine's list of the 500 greatest songs of all time.[16]
Numerous artists have covered "Eleanor Rigby" in a variety of styles, at least 61 released on albums by one count:[17]
- Joan Baez's 1967 version was sung to classical orchestration.
- Ray Charles also released a famous cover version as a single and on the album A Portrait of Ray. This soul cover one steers closer to the original, retaining a string section, but adds a driving drum part and a more subdued chorus.
- Aretha Franklin, on the album This Girl's In Love With You and as a single, released one of the more notable covers, switching the song to first person and replacing the string quartet with a driving soul backing, complete with a chorus.
- The Fray (band) covered the song during their Stripped Music Sessions.[18]
- The band Panic! at the Disco covered the song during their American Nothing Rhymes with Circus tour.
- The French folk-singer Tété covered the song in his debut album L'Air de Rien in a guitar-voice only version.
- Other notable artists who have covered "Eleanor Rigby" include Tony Bennett, Boston Pops, John Denver, The Four Tops, Bobbie Gentry, Godhead, Richie Havens, Kansas, Louis XIV, Me First and the Gimme Gimmes, Pain, Diana Ross & the Supremes, Dee Snider with Eddie Ojeda, The Temptations, Thrice, Vanilla Fudge, Rare Earth, Violet Burning, and Zoot.
- Jellyfish, an early 90's power pop band covered the song in their live show, which can be heard on the group's boxset "Fanclub"
- Realm, a technical thrash band, covered the song on their 1988 album Endless War.
- James Booker recorded a piano solo of Eleanor Rigby without vocals on his album "Spiders on the Keys".
- Jazz musicians such as Wes Montgomery, Stanley Jordan, and John Pizzarelli covered it as an instrumental, with lead-guitar taking over the vocal line.
- The Crusaders also covered it as an instrumental with an extended piano solo by Joe Sample as lead.
- Another very interesting and quite unusual instrumental version of the song was released by German synthesizer pioneers Tangerine Dream in 1998 on the album Dream Encores.
- Post-hardcore band Thrice covered this song in their style on their retrospective CD and DVD compilation If We Could Only See Us Now.
- bond, a classical crossover string quartet plays an acoustic string version of this song in many of their concerts.
- Rick Wakeman plays an instrumental version in the style of Prokofiev, his favourite composer.
- In 2002, Claudio O'Connor recorded an Argentinian heavy metal version included on his album "Dolorización".
- It has been remixed by Team 9 with Queen's of the Stone Age's, "In my Head" and becoming an internet bootleg phenomenon.
- Sinéad O'Connor used the chorus of "Eleanor Rigby" for a song called "Famine" from the 1995 album "Universal Mother".
- "Eleanor Rigby" was sampled by Talib Kweli for his song "Lonely People".
- "Eleanor Rigby" has been used as background music in a few episodes of the cartoon Dr. Snuggles. In the Yellow Submarine movie, the song was played during the sequence when the submarine was floating through the streets of Liverpool.
- In the computer game Guild Wars, there is a woman who walks around Ascalon City named Ellie Rigby.
- There is a two part episode in the series Z-Cars fro 1970 named "Eleanor Rigby slept here" co-starring Anna Cropper and Michael Gwynne.
- ^ Miles, Barry (1997). Paul McCartney: Many Years From Now. New York: Henry Holt & Company, 281. ISBN 0-8050-5249-6.
- ^ Sheff, David (2000). All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono. New York: St. Martin's Press, 139. ISBN 0-312-25464-4.
- ^ Shotton, Pete; Nicholas Schaffner (1983). John Lennon: In My Life. New York: Stein and Day. ISBN 0-8128-6185-X.
- ^ Revolver: Eleanor Rigby. The Beatles Interview Database. Retrieved on 2007-03-09.
- ^ BEATLES' TRIBUTE TO 'FATHER MCKENZIE'. Northwich Guardian (2000-06-98). Retrieved on 2007-01-15.
- ^ Item 934 - Beatles: Father McKenzie Catalog 292 (Dec 2004). rrauction.com. Retrieved on 2007-01-17.
- ^ Goodman, Joan (December 1984). "Playboy Interview with Paul McCartney". Playboy.
- ^ a b The Beatles (2000). The Beatles Anthology. San Francisco: Chronicle Books, 208. ISBN 0-8118-2684-8.
- ^ Gravestone of an "Eleanor Rigby" in the graveyard of St. Peter's Parish Church in Woolton, Liverpool. Retrieved on 2007-03-09.
- ^ a b Turner, Steve (1994). A Hard Day's Write: The Stories Behind Every Beatles' Song. New York: Harper.
- ^ Sheff, David (2000). All We Are Saying, 140.
- ^ Lewisohn, Mark (1988). The Beatles Recording Sessions. New York: Harmony Books, 77, 82. ISBN 0-517-57066-1.
- ^ Lewisohn, Mark (1988). The Beatles Recording Sessions, 200.
- ^ a b c MacDonald, Ian (1994). Revolution in the Head: The Beatles' Records and the Sixties. New York: Henry Holt and Company, 162-163. ISBN 0-8050-2780-7.
- ^ Wallgren, Mark (1982). The Beatles on Record. New York: Simon & Schuster, 48. ISBN 0-671-45682-2.
- ^ The Rolling Stone 500 Greatest Songs of All Time. Retrieved on 2007-03-07.
- ^ Beatles Cover List.
- ^ http://www.strippedmusic.com/arch_TheFray.html
- The Eleanor Rigby statue in Liverpool, England
- Songfacts on "Eleanor Rigby"
- Interpretation
- Alan W. Pollack's Notes on "Eleanor Rigby"