Friday, 24 May 2019

Dear Prudence: Anniversary Edition Notes


Dear Prudence was written in Rishikesh in dropped D (DADGBE) but the Esher demo is pitched almost a full tone down from that (CGCFAD). Lennon is having fun dragging out the 's' in "Dear Prudenssssssss..." every chance he gets. On this unplugged version you can clearly hear Lennon continue the drone bass note under the menacing out of key chords at the end of the bridge. A nasty discordant effect thankfully disguised by the bass on the studio version.

At 4:13 Lennon launches into a semi-audible exposition

Prudence was struck by an illness in the middle of her meditation course in Rishikesh, India. No one was to know that [laughs] sooner or later, she was to go completely berserk under the care of Maharishi Mahesh Yogi. All the people around were very worried about the girl, because she was going insane.So we sang to her. Thank you.

The Giles Martin mix is gloriously clear but misses the first few notes (which now reside on the end of USSR). Given that he fixed so many of the previous mix's faults it's a shame that this edition creates a new one. But at least we've lost that crappy jet sound. Swings and roundabouts...

Johnny Lennon is singing bass BVs (again!) along with Mal Evans, Jackie Lomax and John McCartney (cousin) mucking in on BVs and handclaps. Paul is on drums – the outtake ('Vocal, Guitar and Drum') helps to show how average the drum performance is. Not only is Paul clearly NOT Ringo, Paul isn't even the best drummer in the er... Paul... The finished version of Prudence is glorious, but the whole is greater than the sum of it's parts – especially the two drum tracks combined on the final verse.

Wikipedia: “although some commentators list this sound [in the bridge] as a flugelhorn, it is in fact Harrison's lead guitar, played on his Gibson Les Paul”.

Wikipedia are talking out of their flugelhorn. You can hear it clearly on the 'almost' isolated track here (along with the drum solo).

Join the mailing list to get the free, exclusive, Beatles Songwriting Academy podcast!

Monday, 20 May 2019

Back In The USSR: Anniversary Edition Notes



Update: I realised I'm doing this all wrong. These notes will be most helpful (to me and anyone else) if I arrange them by song. So here we go. Take 2!

The White Album: 50th Anniversary edition gives us an interesting window into the development of the songs via the facsimiles of Paul's “Spring Songs: Rishikesh 1968” (PM:RM) and the (probably) post-Rishikesh lyric manuscripts (PRM), the Esher demos (ED), the track listings (TL) and the outtakes.

Thursday, 18 April 2019

White Album 50th Anniversary Notes (pt.2) - Later Lyrics

More Lyric Facsimiles (Probably Post Rishikesh)




Performance Notes

Several of John's songs have some kind of vocal performance direction above the title.

I'm So Tired - “Smokey then heavy voice” a reference to Smokey Robinson?

Revolution - “Marha [?] - Diana - light voice” perhaps another Motown reference - Martha Reeves and Diana Ross?

Bungalow Bill “Band (Water Melon). children!” possibly a (faintly racist?) reference to the band singing backing vocals?


Lyrical Evolution


I'm So Tired

Verse 2, line 2: my mind is set on you is missing.
Verse 3, line 2: Although I'm so tired > Although I'm choked – Lennon obviously later went back to his first choice.
Verse 3, line 3: I believe Sir Walter Raleigh he was > And curse Sir Walter Raleigh he was

When I wrote about this song I was unsure whether to call the “You'd say I'm putting you on” section a chorus or a bridge but it's labelled “8” so in Lennon's mind it was a middle eight – a bridge.


Don't Pass Me By

Penned in purple felt-tip are (unused) lines that Hunter Davis calls “funny in their awfulness” dubbing Ringo “a modern day William McGonagall”

I feel a little foolish sitting here alone
Instead of eating crackers I think I'll just get stoned

You came all wrapped in cellophane
With purple bursting free
The card said open carefully
And pay for C.OD [sic]


Yer Blues

My Mother was of the earth > My Mother was of the sky
My Father was of the sky > My Father was of the earth
But I am of the underworld > But I am of the universe

I'm feeling so uptight now just Dylan's Mr Jones > I feel so suicidal just Dylan's Mr Jones


Back In The USSR

The final verse is added. The last line is initially missing then added as

Let me hear your balalaika working out > Let me see your balalaika working out

Recorded as Let me hear your balalaika ringing out


While My Guitar Gently Weeps



Written on 'NEMS London' headed paper While My Guitar Gently Weeps begins with a list of rhymes

Tampering – tapering, Tempering – thundering,
Tittering – Tottering, Towering, Toppling [TICK]
Wandering - Watering, Wavering, Weathering
Whimpering, wintering, whispering, Wondering [TICK]

and later on the manuscript

Burning
churning
learning
yearning

adding further supporting evidence that Harrison was suffering from a bad case of rhyme's disease when he penned this otherwise excellent song. The manuscript gives a window into the lyrical development. Verse 1 is fully formed but verse 2 develops from

I look at the sky and I notice it's clouding

which is then replaced by

I look at the world and I notice it's turning
While my guitar gently weeps
I'm wondering why your nigars[?*] keep on burning
still your guitar gently weeps! > still my guitar gently weeps!

[*Everett has it as 'cigars' but it certainly doesn't look like a 'c'!]


After the Burning/churning/learning/yearning list the lyric takes it's final form as

I look at the world and I notice it's turning
While my guitar gently weeps
With every mistake we must surely be learning
Still my guitar gently weeps!

I don't know how, someone controlled you, how they
blindfolded you.

Then the bridge undergoes a minor change

I don't know how
You were perverted – you were diverted too
I don't know why you got inverted
No one alerted you

as 'why' and 'how' change places

I don't know why
You were perverted – you were diverted too
I don't know how you got inverted
No one alerted you

George makes a number of attempts to start verse 3

I look at the powers around

I look at the wars of the world that are raging

I'm thinking of wars everywhere that is raging

I look at the trouble and hate that is raging

none of which he seems as happy with as verse 3 line 3

While I'm sitting here doing nothing but ageing

which is tweaked to

As I'm sitting here doing nothing but ageing

This verse survived to the Esher demo

I look at the trouble and pain that is raging
While my guitar gently weeps
As I'm sitting here doing nothing but ageing
Still my guitar gently weeps

by the time they got to Abbey Road (the 'Version 1' acoustic guitar/harmonium 'demo' that appears on Anthology 3 and 'Love') it's become

I look from the wings at the play you are staging
While my guitar gently weeps
As I'm sitting here, doing nothing but ageing
Still my guitar gently weeps

By the final version it's been replaced by a restatement of the first verse

I look at you all see the love there that's sleeping
While my guitar gently weeps
Look at you all
Still my guitar gently weeps



Birthday

After the section marked “SOLO” [1:28] is one called “STAGGERS” – the guitar/bass solo break [1:48]

Helter Skelter


An embryonic version of the 'jazz-style intro verse' is written after the 'do you don't you' verse supporting my theory that the intro was originally the chorus and the chorus was originally the bridge (or 'middle' as Paul notates it)

I go back to the top of the hill (ride)
And I stop and I turn and I give you a thrill
Till I see you again


Piggies

This is a post Esher version (in pencil) as it containing Lennon's line "Clutching forks and knives to eat their bacon" (Harrison had sung "Clutching forks and knives to cut their pork chops" on the demo). Mrs. Harrison's line "what they need's a damn good whacking!" is overwritten in red pen for emphasis!

There is also a cut 4th verse that George reinstated on the 1992 Live In Japan album.

Everywhere there's lots of piggies
Playing piggy pranks
You can see them on their trotters
At the piggy banks
Paying piggy thanks
To THEE pig Brother


Revolution

contains a Harrison-style list of rhymes

constitution
institution
desolation
revelation
pollution
dissolution
confusion
intrusion
distribution [?]
Constitution [?]




Glass Onion

Written on the back of an envelope, Glass Onion omits the word 'man' from the Walrus and me/close as can be lines and reveals that Lennon was even more ambitious about trying to cram in self-references

Trying to make a dovetail joint for a yellow submarine


The Continuing Story of Bungalow Bill

is titled '(the continuing story of) BUNGALOW BILL'


Hey Jude

She has found you now go and get her > You have found her now go and get her

The final version was only settled on very late in the recording sessions


Next: Recording Notes



Join the mailing list to get the free, exclusive, Beatles Songwriting Academy podcast!

Friday, 5 April 2019

White Album 50th Anniversary Notes (part 1)


Here's my notes from the book that came with the The Beatles (White Album) 50th Anniversary Reissue Deluxe Edition. This is not a review (the whole package is very good) but I thought you might like to see what I learned from it. All of this will end up in the posts on the songs themselves eventually, no apologies for presenting it in a raw form here. I might post notes on the Esher Demos and outtake discs too if I have the time.

Thanks so much to my buddy Neil Barrett for the loan of his copy. (Neil has an Elton John focused podcast that's recommended if you dig Elton). On that score if anyone has a copy of Recording The Beatles that they'd be willing to loan me let me know!

Facsimile of Paul's “Spring Songs: Rishikesh 1968”




Gives lots of clues to the development of songs. Must be his 'best copy' version. It's a nice old manuscript. Very clean.

Ob-La-Di Ob-La-Da is titled Obla Dee Obla Da

Back In The USSR has alternate line (as heard on Esher) 1st verse.

Man it was an awful flight > Man I had a dreadful flight

And the last verse doesn't exist yet.

Rocky Racoon is missing the intro verse (clearly improvised in studio as the Anthology alternate take shows).

Honey Pie has no intro verse – but there's blank page left at beginning so there was always supposed to be one.

The notebook also contains Junk and an untitled version of Maxwell's Silver Hammer in scruffier handwriting and different ink (possibly written later?).

Context of the White Album

John Harris: “Side 4 … was like some dark attic that you had to summon the courage to peer into, let alone explore.” There's nothing scary about Honey Pie and Good Night. Perhaps the legend of Revolution 9 looms large...

Has a running time of 93 minutes. Too long to fit on a C90 cassette. This marked it out as special to 10 year old me.

1968 was a time of going back to basics. The stripped down approach most notably embodied in Dylan/The Band.

Q: What was the timeline/chronology of John Wesley Harding, Music From Big Pink, The White Album?

Q: How stripped down was WA compared to SPLHCB? Compare the number of tracks featuring guest musicians - Indian musicians, classical musicians, horn sections etc, George Martin and friends – between WA and Pepper. [I'm working on a post about this]

Side 3 was “The Heavy Side” - Helter Skelter, Monkey, Yer Blues, Birthday. (but it also has Mother Nature's, Sadie and Longx3).

The subject of Julia is a composite of Mother/Lover, Julia/Yoko. Evidence? The name Yoko translates as 'child of the ocean'.

Can You Take Me Back is referred to as 'an improvised piece'.

There is some evidence that the sessions were not as grim as received wisdom would have it. I'm still not convinced that Geoff Emerick and Ringo quit because everyone was having so much fun but there is some supporting evidence

Recording Happiness Is A Warm Gun:

John: “Is anybody finding it easier? It seems a little easier … it's just no fun, but it's easier”
George: “Easier and fun”
John: “Oh all right. If you insist”

But then Paul says “I think it was a very good album. It stood up, but it wasn’t a pleasant one to make”. [Anthology]

Another example of Lennon and McCartney 'mirroring' each other. Inspired by the Maharishi's lectures John writes Child Of Nature; Paul writes Mother Nature's Son.



Join the mailing list to get the free, exclusive, Beatles Songwriting Academy podcast!

Monday, 18 February 2019

Under The Influence: Buddy Holly



John Lennon

I only saw [Buddy Holly] on the London Palladium [TV show] … He was great. It was the first time I saw a Fender guitar being played. While the singer sang! (Also the 'secret' of the drumming on Peggy Sue was revealed - live).

The name BEATLES was directly inspired by CRICKETS. I think the greatest effect was on the songwriting (especially mine and Paul's). We [performed] practically everything he put out, what he did with three chords made a songwriter out of me. He was the first guy I ever saw with a capo, he made it OK to wear glasses. I was Buddy Holly.


John Lennon answering a Sept 1974 questionnaire by Jim Dawson The Elvis Forum. I've edit some of Lennon's punctuation for clarity and my own sanity!



Lennon quoted/paraphrased Holly's song (written by Felice and Boudleaux Bryant) in Dear Prudence

Dear Prudence: “The sun is up, the sky is blue/It's beautiful and so are you”
Raining In My Heart: “The sun is out, the sky is blue/There's not a cloud to spoil the view”

George Harrison

One of the greatest people for me was Buddy Holly, because first of all he sang, wrote his own tunes and was a guitar player, and he was very good. Buddy Holly was the first time I heard A to F#m. Fantastic—he was opening up new worlds there. And then A to F, A, D, E, F and F#m. He was sensational. I no longer had the fear of changing from A to F.

Quoted in Mark Lewisohn: The Beatles - All These Years: Volume One: Tune In (p.150)

Paul McCartney



Buddy Holly/The Crickets songs covered by The Beatles

Words of Love - Beatles for Sale
Crying, Waiting, Hoping - Live at the BBC
That'll Be the Day - Anthology 1


More Under The Influence posts
Further Reading: Aaron Krerowicz: Influence of Buddy Holly on The Beatles

Join the mailing list to get the free, exclusive, Beatles Songwriting Academy podcast!

Friday, 18 January 2019

(Don't) Wait - The Forgotten Secret To Writing A Timeless Album


On the 21st April 1967 The Beatles put the final touches to Sgt Pepper's Lonely Hearts Club Band bringing to a close almost six months of ground breaking work. What would their next move be? A long holiday? Side projects? A world tour?

Four days later they started recording Magical Mystery Tour.

FOUR DAYS.

Pepper wouldn't even hit the stores for another six weeks and they were already working on the next project.

This was by no means unusual. From the beginning George Martin and Brian Epstein had a masterplan built upon a new release every three months (single, album, single, album). That meant on average they started recording a new album two months after the previous one had been released. The longest break they took was the eleven months between Pepper and The White Album1- during which they recorded 16 songs for the Magical Mystery Tour TV show, The Yellow Submarine film and a handful of singles.

The Production Line



The band were able to achieve this because Lennon and McCartney (and later Harrison) were always in writing mode. Writing happened on tour, and while the Beatles were in the studio cutting other tracks. An early take of Let It Be appears on the White Album anniversary edition, even though the finished track didn't appear till the final album. One After 909 was first attempted in 1963 (7 years before Let It Be) as was Hold Me Tight (With The Beatles). Wait (Rubber Soul) was recorded in large part during Help! The Fool On The Hill was written during Sgt Pepper and Something (Abbey Road) was completed during the White Album, as was Polythene Pam, The Long And Winding Road and Maxwell’s Silver Hammer. If the Beatles hadn't split in 1970 the next album was pretty much written with solid tunes like Maybe I'm Amazed, All Things Much Pass and Instant Karma in the works.


Though the Beatles excelled at this rolling program of releases but they weren't unique. David Bowie started recording The Rise and Fall of Ziggy Stardust and the Spiders from Mars a mere two months after recording Hunky Dory and one month before that album was released. Bowie producer Ken Scott sees this punishing schedule as a Darwinian filtering process “One of the great things for me about that time was that the recording contracts were such that the artist had to come up with an album every six months. Now, to keep that kind of pressure up, only the top artists are gonna be able to keep it going – only the most talented people. And they’re the ones that we still listen to today.”

The production line mentality worked because the support network was as efficient as the band. The Fabs didn't even attend mixing sessions prior to Beatles For Sale let alone take part, and mixes were usually completed a couple of days after the band's final session. This was possible because mixing was taking place while the album was still being recorded. How? Because the band worked on one song to completion before moving on to the next. They maintained this practice strictly up until Sgt Pepper and broadly worked in this manner till the end.


The production line was familiar to Stevie Wonder too, who grew up on a record label literally modelled on the car industry. Having already released thirteen albums for Motown, “Stevie Wonder made what felt like a lifetime’s worth of music...between 1972 and 1976”2 producing five classics in an unprecedented creative streak - Music of My Mind, Talking Book, Innervisions, Fulfillingness' First Finale and Songs in the Key of Life (a double album plus EP package). And Stevie didn't achieve this by becoming a studio hermit. He spent the summer of '72 touring with the Rolling Stones and produced, co-wrote, and played most of the instruments on his wife's debut album. In '76 Wonder was in a life-threatening car accident that left him in a coma for several days. And did I mention he was blind!? What's your excuse?

Slow Down

The Beatles worked fast. Rubber Soul and Revolver were recorded and mixed in one month. Beatles for Sale took two. With The Beatles three. Even with extensive blocks of time off for filming, A Hard Day's Night and Help only took five and six months respectively3.


And those months weren't spent holed up at EMI Studios. The Beatles hardly every recorded on consecutive days. Their touring schedule wouldn't allow it. So even though Please Please Me took four months to complete, the recording was actually done in four days (not one as is often claimed)4. With The Beatles took six working days and the numbers gradually rose to the ten days spent on Help and fifteen spent on Rubber Soul.


Again, The Beatles weren't unique in this. Another Side Of Bob Dylan was recorded in a single six hour session and Bringing It All Back Home, which featured a full band, was done and dusted in three days. Even in the 80s this kind of speed work was still possible. Bowie's LP Let's Dance was recorded and mixed in 17 days.

When they got to Revolver things changed. Though it took the same amount of time to make as Rubber Soul, Revolver had double the number of recording sessions. This was only possible because a contractually obligated third film never happened5. Revolver also marked the start of late night sessions and longer recording blocks. Sessions continued on past the midnight hour and they began working in 2-4 day recording blocks followed by 1-2 days off. But though 'office hours' were becoming a thing of the past The Beatles still took weekends off, even to the end. After this things multiplied again - Sgt Pepper and Abbey Road both took 40 recording days and The White Album took 72 (for twice as many songs).

Small Print

It's perhaps worth noting that, though the later albums are rightly regarded as more impressive artistic statements it's not entirely due to the longer time spent on them. Pepper took four months to record but much of December 66's sessions were devoted to Strawberry Fields Forever which didn't end up on the album6. And the sessions would have wrapped three weeks earlier if the band hadn't decided to add some hidden 'easter eggs' at the 11th hour7.

Likewise The White Album was filled with holidays8 and sessions that contributed nothing to the finished album. Three and a half days wasted on Not Guilty, two days on aborted versions of Sexy Sadie, two and a half on the pre-Clapton version of While My Gently Weeps and half a day on the first attempt at Helter Skelter. The band even blew three whole days on Ob La Di version 1, made a second abandoned version, then spent a further half a day on version 3 before returning to (and completing) version 2.

Now And Then


Times have undoubtedly changed. In the 60s, once albums began to overtake singles as the main musical statement every band worked hard to remain relevant and stay in the spotlight.

From 1962 Bob Dylan released 11 albums in 9 years (including a double album), three classic albums9 arriving in one fertile 15 month period. The Rolling Stones released 12 albums in their first 11 years, Joni Mitchell 10 in 11 and Elton John 11 in 8. Chicago released 3 double albums and a quadruple live album in only 2½ years.

Things began to slow in the 80s and only a small minority of artists maintained the old fashioned work ethic. Prince's 1978 debut began a run of 10 albums in 11 years but his productivity stood out like a quadruple live album in a punk rock singles bin. In their first ten years as recording artists Rihanna and Van Halen released seven albums, U2 six, Arctic Monkeys, Oasis, Green Day, Bon Jovi and Metallica all managed five, Arcade Fire, Coldplay, Mumford And Sons, Black Eyed Peas and Lady Gaga four10. And Adele and Take That could only scrape together three.

Quality and Quantity?

It's easy to assume that any artist constantly churning out new material with barely any time to revise or recharge must be operating far below their best. The evidence would suggest otherwise.

After producing so many albums in such a short space of time Stevie Wonder's Songs in the Key of Life went straight to no. 1 and stayed there for three months, selling 10 million copies, producing two No. 1 singles and earning Stevie his third Grammy in four years.


In 1967-68 Aretha Franklin, who'd already recorded eleven albums, released four more in 15 months, filled with top 10 hits like Respect, Chain of Fools, Think, I Never Loved a Man (The Way I Loved You) and (You Make Me Feel Like) A Natural Woman. This kind of creative spurt is how many major artists produce their most enduring work, “each of the 10 albums topping Rolling Stone's 500 Greatest Albums of All Time list … arrived no more than one calendar year after the artist's previous album”11.

Songwriters, like any other craftsperson, improve with practice and more writing produces better writing. Constantly returning to the studio breaks the monotony of touring. Mark Caro is right to wonder “whether the years now … taken between albums is resulting in stunted artistic development and a shortfall of great music”. Longer gaps turn each release into a major event rather than just the next step. Ken Scott: “I fear that … coming out with a new album, somewhere between three and five years after a successful album, [is] watering everything down. They’re trying to second guess themselves too much. It just becomes robotic”. Rehashing the old hits night after night only digs the creative rut deeper.

Another hinderance is tracking multiple songs, one instrument at a time. Recording one song to completion (as the Beatles did for most of their career) not only allows greater focus but it gives those who oversee the project (whether producer, manager or label) more chance of enforcing deadlines and even the option to say “screw it, we're just going to release what we've got 'in the can'”. Which is impossible if all you have in the can are 40 drum solos.

It's Only The Sistine Chapel

Painting by Yuriy Shevchuk

It sounds counter-intuitive but perhaps the best way to create timeless music is to treat it with less reverence. Ken Scott expressed amazement that people were still talking about Ziggy Stardust forty years later because “It was never meant that way … we thought that an album would have a six-month life span.” The Beatles worked as though they were replaceable artists working in a disposable medium. 'Beat music' was a flash in the pan - the next craze - and the Beatles just transient foam on the latest wave. All evidence pointed to them being washed up by the age of 25. A Hard Day's Night was rushed into production for fear that the beat boom would be over by the time the film hit cinemas.

So I guess the takeaway lesson is:

The key to writing a 'timeless' album is - spend less time on it.


[Thanks to Rod Johnson and Lee Pat for title suggestions].

Footnotes:

1 Which happened after Epstein's death.
2 Jack Hamilton: Slate.com.
3 The Beatles took six weeks off mid-recording to film A Hard Day's Night and Help was recorded at the same time as filming in the UK, Austria and the Bahamas, allowing them only one recording session per month in April - May '65.
4 The bulk of the album was completed in a single day but because the four previously recorded single tracks were included on the album, the laborious early sessions for Love Me Do and Please Please Me account for the extra time spent on the album.
5The Beatles rejected every option from a western to a version of Lord Of The Rings.
6Penny Lane and Only A Northern Song also failed to make the cut.
7A dog whistle and some gibberish for the run-out groove.
8During this period George Martin took three weeks off, Paul went to the U.S. (twice), as did George (who also popped over to Greece). Ringo visited the U.S. and Sardinia and quit the band as did engineer Geoff Emerick. Ringo came back after a week and a half; Emerick took a lot longer.
9Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde.
10Not counting Gaga's album of covers with Tony Bennett.
11Mark Caro: Chicago Tribune. The Rolling Stone Top 10 are as follows:

  1. Sgt. Pepper's Lonely Hearts Club Band - The Beatles (1967)
  2. Pet Sounds - Beach Boys (1966)
  3. Revolver - The Beatles (1966)
  4. Highway 61 Revisited - Bob Dylan (1965)
  5. Rubber Soul - The Beatles (1965)
  6. What's Going On - Marvin Gaye (1971)
  7. Exile On Main St. - Rolling Stones (1972)
  8. London Calling - The Clash (1979)
  9. Blonde On Blonde - Bob Dylan (1966)
  10. The Beatles - The Beatles (1968)
Sources:

Mark Caro: Chicago Tribune: Why Do Albums Take So Long To Make? Jun 28 2016
Slate.com The Greatest Creative Run in the History of Popular Music
Ken Scott: Abbey Road To Ziggy Stardust and Forbes
Let's Dance: Wikipedia

Links:

Join the mailing list to get the free, exclusive, Beatles Songwriting Academy podcast!


Thursday, 29 November 2018

Ticket 43 Playlist: Use The Fourths Luke!




  • In order to better understand the influence of ideas on and by the Beatles songs are laid out in chronological order.
  • Songs written or performed by the Beatles are in bold.
  • Songs covered by the Beatles, or to known to have had an influence on them, are in italics.
  • Songs written by Matt Blick can be found at www.mattblick.com/songs
This page is still under construction. Errors? Typos? Suggestions? Did I miss an example? Leave a comment below!

For more on this songwriting tip go here


1964 Can’t Buy Me Love - The Beatles
1965 Yesterday - The Beatles
1968 Honey Pie - The Beatles
1968 Rocky Raccoon - The Beatles (verse)
1969 The Long And Winding Road - The Beatles
1969 Carry That Weight - The Beatles
1969 Golden Slumbers - The Beatles
1969 You Never Give Me Your Money - The Beatles
1971 (Where Do I Begin?) Love Story - Andy Williams (1:18)
1982 Carnation - The Jam (0:25)
1999 Unintended - Muse (0:14)

All The Things You Are - Kern/Hammerstein
Autumn Leaves - Mercer/Prevert/Kosma
Be My Baby - Ronettes (verse)
Carrying Cathy - Ben Folds (chorus)
Dime (Feelings) - Morris Albert (bridge)
Falling In Love Again - Marlene Dietrich (bridge)
Five Foot Two, Eyes Of Blue - Henderson/Lewis/Young
Fly Me To The Moon - Bart/Howard
Glory Of Love - Peter Cetera
Goodbye Yellow Brick Road - Elton John
Hello - Lionel Richie
I Can Cook Too (On The Town) - Leonard Bernstein (“I'm a man's ideal...”)
I Got Rhythm - Gershwin/Gershwin (bridge)
I Will Survive - Gloria Gaynor
Isn't She Lovely - Stevie Wonder (verse)
Killing Me Softly With His Song - Roberta Flack
Mister Sandman - The Chordettes
My Favourite Things - Rodgers/Hammerstein
No Matter What - Badfinger (chorus)
Perfect Day – Lou Reed
Rhythm Of Life (Sweet Charity) - Sammy Davis Jr
Spinning Wheel - Blood, Sweat & Tears
Sweet Georgia Brown – Bernie/Pinkard/Casey (A section)
The Windmills of Your Mind - Legrand/Marnay/Bergman/Bergman (verse)
Those Were The Days - Mary Hopkins (chorus)
Try To Remember - Jones/Schmidt (middle 8 iii, vi, ii, V, I, IV, bVII)
You Can't Hurry Love - The Supremes (bridge)

Thanks to Rich Scott for examples

See also

Ticket 25: Transplant Cliches From Other Genres
Ticket 28: Use At Least One Out Of Key Chord 
Ticket 48: Static Melody/Changing Chords
Ticket 53: Write A 'Jazz-Style Intro' Verse
Ticket 60: Drop to the 7th Chord
Ticket 65: Build Up On The V Chord

See the full list of songwriting tips here - Tickets To Write

Further Reading:

Circle Progressions by Rich Scott


Check out music by Matt Blick

Join the mailing list to get the free, exclusive, Beatles Songwriting Academy podcast!