Paperback Writer/Got To Get You...

I just realized that the little guitar break at the end of "Got To Get
You Into My Life" is almost identical to the bass riff at the start of
the verses of "Paperback Writer". I always figured that George played

Yourimageunreals...

Is that all the guitar that is in this song..that starts at this
point..or is the guitar playing the entire time..but lowered in the mix,
previous to what you're talking about?

the guitar break, but this suggests that it may have been scripted by
Paul. (The basic riff in "Taxman" also seems related to these, although
the similarity is not nearly as close.)

ian...

It may have been flavour of the month. The same basic idea fuels the
opening riff of "I Want To Tell You".

Manco...

Strange and wonderful things were happening with the Fabs in early 1966...

gofab.com...

And Rain... and the vocal from TNK is based on a similar series of notes... and
the main melody from
Within You Without You...

There's a reason for all this similarlity of course.

ian...

British Milk has a lot to answer for :-)

Chris Jepson

John Gutglueck...

That's a nice catch, Chris. But don't you mean the *guitar* riff
heard before the verses of Paperback Writer (played on the lower
strings)? It goes

GGGG
The upper voice of the Got To Get You Into My Life solo goes

GGC C
Pretty much the same thing played an octave higher.

The basic track of Got To Get You Into My Life was recorded on April 8,
1966--six days before recording began on Paperback Writer--but
Harrison's guitar solo was not recorded until June 17. It was
McCartney himself who played the guitar riff on Paperback Writer, so it
seems that Harrison's GTGYIML solo was, if not "scripted," at
least inspired by McCartney.

What these riffs have in common with the Taxman riff--and with the I
Want To Tell You riff as well--is that they're built around the notes
of a tonic chord with a flattened seventh and a "suspended" fourth
instead of a third: 1 - 4 - 5 - b 7 - 8. In each case, the lower tonic
(1) provides a kind of pedal point, while the upper tonic (8) enters
into a melodic relationship with b7. McCartney used the same technique
to produce the stunning bass line of Rain. It's a technique that
goes a long way toward defining the "new sound" of the 1966
Beatles.