Comments on: I Call Your Name

By: EricO

EricO — Wed, 19 Dec 2018 12:01:01 +0000

In my mind Call Your Name is definitely directed toward Cynthia or “Cyn” as he called her; think about it. The topic came up when Paul penned Hey Jude … if John ever wrote a song for her. Well, this is it. The only debatable thing is whether it was John’s subconscious at work as he applied…C.Y.N.
I also believe Cynthia factored into “In My Life” to some degree.

By: Robert

Robert — Sat, 14 Apr 2018 20:24:52 +0000

Mike-I know. Rarely did he reply to my counter comments but I got so tired of his one sided bashing and his repetitive comments that I thought I had nothing to lose by stating my side. I know I am not the only one who felt this way about his bias. He hasn’t contributed anything in quite a while so I figure he shared what he needed to say and is content to leave it at that. I am too unless he returns with more of the same old stuff.

By: MikeP

MikeP — Sun, 08 Apr 2018 15:38:47 +0000

LOL! Wow…….I do hear a similar “shuffle” thing there.
I think we’re both getting a bit old in that we even remember that song!

By: MikeP

MikeP — Sun, 08 Apr 2018 15:33:58 +0000

Robert, you will never get a response from Johan. He never supplies quotes or credible sources for his drivel- he simply spews it and runs.
I’ve chosen to ignore his posts now and not even bother- nothing of value there.

By: Trixie

Trixie — Wed, 18 Oct 2017 03:57:46 +0000

I just read an interview with Michelle Phillips and she verfied that Cass Elliot
did whisper “I love you John ” in their version of I call your name. She was a major John Lennon fan

By: guitsy

guitsy — Tue, 22 Aug 2017 20:55:28 +0000

Seems like it was handed to him (actually, first to John) very early February 1964 (8th maybe 9th), before this song was recorded (March 1, 1964 according to this current Bible page).
One source – Guitar World:
http://www.guitarworld.com/beatles-secret-weapon-george-harrison-s-1963-rickenbacker-36012

By: Dennis

Dennis — Sat, 19 Aug 2017 14:30:11 +0000

Primrose Lane. I Call Your Name. SKA instrumentals on both.

By: Slave

Slave — Sun, 04 Jun 2017 23:46:52 +0000

I agreed that Paul generously inserts himself into many of John songs and never seems to give John the same when it comes to his songs. Its not a matter of bias it’s Paul’s subtle tone in his recollections, They were both geniuses for sure but only Paul lovers defend him in this area. For this song Paul could have said – That’s John’s song that he wrote before the Beatles and I helped with the middle eight years later. Instead he says it in a way where his role seems greater than it may be.

By: Travis

Travis — Tue, 11 Apr 2017 19:38:35 +0000

It totally makes sense that he wrote the bridge many years later – taking something that was decent from, as he says, his earliest experiments in songwriting and then writing a new part after becoming a master at song craft. The quality of the middle eight over the verses is striking. A Hard Day’s Night is among Lennon’s highest peaks of creativity, just churning out great tune after tune. So it’s no wonder that for me, when I listen to the song, I’m always waiting for “I don’t know who can! I’m not gonna make it” and my favorite – “I’m not that kind of maa-ooh-aan”. Such a great hook.

By: A Montreal Paul

A Montreal Paul — Sat, 08 Apr 2017 00:39:07 +0000

Speaking of ska, Millie Small’s version of “My Boy Lollipop” was a UK hit in 1964. Might that have been an influence?

By: Wade Phillips

Wade Phillips — Fri, 07 Apr 2017 23:31:30 +0000

I believe George got the 12 string handed to him a few years after this song

By: boudin

boudin — Tue, 22 Nov 2016 20:41:26 +0000

Call me crazy, but at the 1:27 mark on the Mamas and Papas version a female voice whispers “John”. It sounds just like May Pang’s whispered “John” on #9 Dream.

By: Young Fred

Young Fred — Tue, 22 Nov 2016 03:39:20 +0000

Great song! That beat during the solo goes away from a typical Beatles formula, so to say. Paul’s bass is great as well. You can feel Jonh’s anguish singing to the one gone away. One of those jewels in the catalogue which are not well known and that proves the band’s strength in those years and the ones to come.

By: Robert

Robert — Tue, 15 Nov 2016 13:52:24 +0000

When did Paul tell you he was very, very embarrassed about John being the dominant composer in the Beatles in the time 1963-1965 or before Yesterday 1965?
I have never read or heard that comment anywhere or from any other source, and I’d be interested in learning more about it.

By: David Reynolds

David Reynolds — Tue, 12 Jul 2016 12:14:57 +0000

Well if it didn’t make the cut for A Hard Days Night it should have made the cut for the next album. Here in Aus land would have been Beatles for Sale. Great track.

By: lillo78

lillo78 — Fri, 15 Jan 2016 07:54:48 +0000

the chord progression is really nice for being a first attempt kinda song. It’s very enjoyable, it’s amazing how good they were in the early days, without any musical knowledge or anybody guiding their steps as later did George Martin. They did just by ear, instinct and good taste.

By: August lake

August lake — Tue, 05 Jan 2016 15:12:36 +0000

Entirely too much analyzing what everyone remembers from 50 years ago. Nit picky,,omg

By: Mike

Mike — Mon, 23 Nov 2015 13:42:29 +0000

There were several points in the late ’50s when Paul and John knew and worked with each other but there was no group.
Also, John EXPLICITLY says he wrote the middle part later for the recording, and Paul certainly could have worked on that. You’re one of these people that just looks for something – anything – to slag-off someone you don’t like, in this case Paul. (Do you also know that John was notable for getting details wrong AND embellishing his stories to make himself look better?)

By: Johan cavalli

Johan cavalli — Tue, 26 May 2015 17:51:54 +0000

In the time 1963-1965, or before Yesterday 1965, Lennon was the dominant composer in the Beatles. And that is very, very embarrasing for McCatney. Sometimes he is bluffing and claimed the composed a song that Lennon had composed. But mostly this: If Lennon composed the melody and McCartney helped a little with the harmonies, McCartney said we “wroted it together” in a way that the establishment interpreted is as a co-composition, and that was what McCartney intended, a PR genius.
After MacDonald´s book Revolution in the Head 1994, McCartney stoped a lot of his half lies.

By: Good ol Boy

Good ol Boy — Sat, 07 Mar 2015 17:22:19 +0000

you are right – they are different. Actually the Mono version is played at a slower pace too. I prefer the mono version on this song – when it is slightly slow, you can really here the pain in Lennon voice. It sounds bluesy’er with that hint of country – luv luv this song!