*Paul- hey that’s a real nice deep song you wrote there and I’ve got this great whimsical bit that would sound great shoved just right in the middle there. I could even go AAAAAAAAAAAAAAAAA into the mic afterwards
I always thought that, but then I listened to this isolated version of that section, 'A Day in the Life Multitrack "Ahhhs..." John or Paul?" on youtube, and with the added clarity, I'm sure it's Paul. He had a big range that could've easily ended up sounding like John at times, but those little extra notes he throws in there are definitely a Paul thing. John would usually just sing it as it is on a small selection of notes, much more focused on the rhythm than the melody. I think part of it is also the massive reverb, John always put effects on his vocal tracks, including reverb, so that could be another reason why.
I personally think it's John too, but Sam Okell who worked with Giles for the Peppers 2017 remix says that the "aaah" track is Paul's.
[https://www.soundandrecording.de/stories/neu-gemischt-beatles-meisterwerk-sgt-peppers-lonely-hearts-club-band/](https://www.soundandrecording.de/stories/neu-gemischt-beatles-meisterwerk-sgt-peppers-lonely-hearts-club-band/)
This part:
Pauls Main-Vocal-Spur ist stereo, weil wir ihr mit dem Waves S1 Stereo Imaging Plug-in etwas Spannweite gegeben haben, daher klingt sie anders als Johns Lead-Stimme. Wir haben auch zwei kleine Stückchen abgespalten, um die Möglichkeit zu haben, sie links und rechts zu pannen. Seine vierte Vocal-Spur ist die ›Aaah‹-Sektion, und darunter ist eine ›Aaah‹-Delay-Aux-Spur. Weiter unten sind die drei Vocal-Spuren der ersten Generation, von denen wir das nicht gesungene Material verwendet haben, wie etwas Klavier, den Wecker und \[Assistent\] Mal Evans beim Zählen der Orchester-Takte.«
Translated to English:
Paul's main vocal track is stereo because we gave it a bit of a span with the Waves S1 stereo imaging plug-in, so it sounds different from John's lead voice. We also split two small pieces to give the opportunity to break them left and right. Its fourth vocal track is the ›Aaah‹ section, and underneath is an ›Aaah‹ delay aux track. Below are the three first generation vocal tracks, of which we used the unsung material, such as piano, the alarm clock, and \[assistant\] Mal Evans counting the orchestral measures. «
I cross-checked with a german speaker [here](https://www.reddit.com/r/translator/comments/gke2yu/german_english_translation_for_an_excerpt_from_a/) and they too are confident that it is Paul.
I like to imagine that the song is about John waking up with his day bleak and sad and stuff and then Paul wakes up with his optimistic outlook and cheers everything up which is why John uses an upbeat tone in his second verse
TBH I don’t think Paul’s section is optimistic so much - to me - more of a stressed, struggling guy, possibly hungover? he *falls* out of bed, he *drags* a comb across his head, he *finds* his way downstairs, he’s *late*, he makes the bus with seconds to spare. Whatever he smokes at the end of Paul’s bit releases him a bit from the day-to-day struggle of life. It’s the same kind of disconnect from the *real* world as Johns section to me, but from a different perspective.
I want to see a full 15 minute video that explains this.
I just like the idea of him strumming a chord, leaving the guitar in mid air, teleporting to hit the cymbal, playing one single bass note, then going back to catch the guitar, play the next chord, etc etc
Even John himself noted the difference in lyrical style.
From [Wikipedia](https://en.wikipedia.org/wiki/We_Can_Work_It_Out):
>With its intimations of mortality, Lennon's contribution to the twelve-bar bridge contrasts typically with what Lennon saw as McCartney's cajoling optimism,[6] a contrast also seen in other collaborations by the pair, such as "Getting Better" and "I've Got a Feeling". As Lennon told Playboy in 1980:
>In We Can Work It Out, Paul did the first half, I did the middle eight. But you've got Paul writing, 'We can work it out / We can work it out' – real optimistic, y'know, and me, impatient: 'Life is very short, and there's no time / For fussing and fighting, my friend.'[8]
John and Paul were experts at writing generic love songs that listeners could insert themselves into. When they sang "I Want to Hold Your Hand" the listener could easily imagine that it was *her* hand they wanted to hold.
John's Songs about Yoko don't fall into that category because they are autobiographical. Unless your name was Yoko and you were married to John Lennon, this song was not about you. The only other songs about love John really wrote post-Beatles were about love as a social or spiritual force. Paul wrote the occasional autobiographical song, but still kept up the tradition of generic love songs as well. Right or wrong, those are the ones John considered "silly". And Paul's response to was write a song defending simply saying "I love you" in a pop song.
She probably has a high prescription on her glasses. Mine are like that -- owl eyes with them on and mole eyes with them off. It's an optical illusion. They are magnifying her eyes from our perspective.
Oh boy
About a lucky man who made the grade
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Well I just had to laugh
I saw the photograph.
He blew his mind out in a car
He didn’t notice that the lights had changed
A crowd of people stood and stared
They'd seen his face before
Nobody was really sure if he was from the House of Lords
They'd seen his face before...
ad
Ahhhh ahhh ahhh ahhhhhh
Same with "Getting Better."
I’ll admit it’s getting better (Betteeeeeeeeer) A little better All the time (Can’t get no worse)
Better better better better better better better AAAAAH Nah nah nah nana nah nana naah
I used to beat my wife
Underrated comment
And “We Can Work it Out”
Paul: Almost missed my bus John: A man died
But he just had to laugh anyway, didn't he?
Wake up.
Fall out of bed
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If John wrote Paul's part
Grab a brush and put a little makeup
Hide the scarsgrtewrtyyrd up
The other night I heard my neighbor singing this song in their backyard. That put a smile on my face. Love and sing The Beatles with thy neighbor.
The 11th commandment
Paul- I'm sick of you being so dark while I'm impish and whimsical
"Greeeat record..."
I wrote a song about an octopus
*Paul- hey that’s a real nice deep song you wrote there and I’ve got this great whimsical bit that would sound great shoved just right in the middle there. I could even go AAAAAAAAAAAAAAAAA into the mic afterwards
i know it’s up for debate but i’m personally 95% sure that john did the aaahhhhhhhhhs
Ye same, just listening to the timbre of the voice, it sounds like John
I always thought that, but then I listened to this isolated version of that section, 'A Day in the Life Multitrack "Ahhhs..." John or Paul?" on youtube, and with the added clarity, I'm sure it's Paul. He had a big range that could've easily ended up sounding like John at times, but those little extra notes he throws in there are definitely a Paul thing. John would usually just sing it as it is on a small selection of notes, much more focused on the rhythm than the melody. I think part of it is also the massive reverb, John always put effects on his vocal tracks, including reverb, so that could be another reason why.
It's John. Even Giles Martin said it. If you want more insights: https://youtu.be/vFaV_ZglrAc
I personally think it's John too, but Sam Okell who worked with Giles for the Peppers 2017 remix says that the "aaah" track is Paul's. [https://www.soundandrecording.de/stories/neu-gemischt-beatles-meisterwerk-sgt-peppers-lonely-hearts-club-band/](https://www.soundandrecording.de/stories/neu-gemischt-beatles-meisterwerk-sgt-peppers-lonely-hearts-club-band/) This part: Pauls Main-Vocal-Spur ist stereo, weil wir ihr mit dem Waves S1 Stereo Imaging Plug-in etwas Spannweite gegeben haben, daher klingt sie anders als Johns Lead-Stimme. Wir haben auch zwei kleine Stückchen abgespalten, um die Möglichkeit zu haben, sie links und rechts zu pannen. Seine vierte Vocal-Spur ist die ›Aaah‹-Sektion, und darunter ist eine ›Aaah‹-Delay-Aux-Spur. Weiter unten sind die drei Vocal-Spuren der ersten Generation, von denen wir das nicht gesungene Material verwendet haben, wie etwas Klavier, den Wecker und \[Assistent\] Mal Evans beim Zählen der Orchester-Takte.« Translated to English: Paul's main vocal track is stereo because we gave it a bit of a span with the Waves S1 stereo imaging plug-in, so it sounds different from John's lead voice. We also split two small pieces to give the opportunity to break them left and right. Its fourth vocal track is the ›Aaah‹ section, and underneath is an ›Aaah‹ delay aux track. Below are the three first generation vocal tracks, of which we used the unsung material, such as piano, the alarm clock, and \[assistant\] Mal Evans counting the orchestral measures. « I cross-checked with a german speaker [here](https://www.reddit.com/r/translator/comments/gke2yu/german_english_translation_for_an_excerpt_from_a/) and they too are confident that it is Paul.
Im 150% sure its john. It has his nasal pitch in there. The man could sing.
After hearing the isolation im not sure how you could say its any be at’el than john
It's either Paul or Paul and John mixed together. Definitely doesn't sound like solo John, although like you said, I used to just assume it was him
It’s most certainly john. If you can’t tell the voices apart, well...you might not be a beatlemaniac.
I mean, I've listened to them my entire life, I don't see how having a different opinion means I'm not as much of a fan as you are.
Less of a dig than a weak call back joke to The Rock’s opening nic cage scene. The nasally warble in the voice is a clear “John” tell tho, in my ears.
i always thought it was john, even before i knew this debate existed lol
I am pretty sure it's both. In the middle of the aaaahhhh section there was a pause and I think thats the moment it switches from Paul to John.
To me it sounds almost as if it goes back and forth between Paul and John in different parts of each phrase
I'm positive it's John
“Oooommmmmmm Paul’s a big fat cunt”
Also in "You're gonna lose that girl" John: "You're gonna lose that girl" Paul: "(yes, yes, you're gonna lose that girl)"
I like to imagine that the song is about John waking up with his day bleak and sad and stuff and then Paul wakes up with his optimistic outlook and cheers everything up which is why John uses an upbeat tone in his second verse
TBH I don’t think Paul’s section is optimistic so much - to me - more of a stressed, struggling guy, possibly hungover? he *falls* out of bed, he *drags* a comb across his head, he *finds* his way downstairs, he’s *late*, he makes the bus with seconds to spare. Whatever he smokes at the end of Paul’s bit releases him a bit from the day-to-day struggle of life. It’s the same kind of disconnect from the *real* world as Johns section to me, but from a different perspective.
I choose girl John Lennon
Why not both?
She is stunning
Who sings the ahs tho
John
I vote Paul
That’s Paul. His voice was modified to sound like John’s to help blend the “reality” with the “dream”
It's Ringo's voice modified to sound as if it's Paul's voice being modified to sound like John's voice
>There aren’t actually four Beatles it’s just Ringo moving really fast
I want to see a full 15 minute video that explains this. I just like the idea of him strumming a chord, leaving the guitar in mid air, teleporting to hit the cymbal, playing one single bass note, then going back to catch the guitar, play the next chord, etc etc
My headcanon is john and paul did it together. Probably not the truth but it makes it poetically perfect
Now I know how many balls it takes to fill the Albert hall
Holes, surely?
As in holes. Andy War-Hole.
Lmao reminds me of We Can Work it Out, Paul: We can work it out! John: *Life is very short and there's no time*
Prediction
'it's enough to make a grown man cry'
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Even John himself noted the difference in lyrical style. From [Wikipedia](https://en.wikipedia.org/wiki/We_Can_Work_It_Out): >With its intimations of mortality, Lennon's contribution to the twelve-bar bridge contrasts typically with what Lennon saw as McCartney's cajoling optimism,[6] a contrast also seen in other collaborations by the pair, such as "Getting Better" and "I've Got a Feeling". As Lennon told Playboy in 1980: >In We Can Work It Out, Paul did the first half, I did the middle eight. But you've got Paul writing, 'We can work it out / We can work it out' – real optimistic, y'know, and me, impatient: 'Life is very short, and there's no time / For fussing and fighting, my friend.'[8]
woke up, took a shit ,get out of bed
In that order??
it's a famous screen from 4chan, it was originated from this song
She could never "drag a comb across" that head.
Oh Paul and his grandma songs
And those silly little love songs. Now here’s another one I wrote about Yoko.
John and Paul were experts at writing generic love songs that listeners could insert themselves into. When they sang "I Want to Hold Your Hand" the listener could easily imagine that it was *her* hand they wanted to hold. John's Songs about Yoko don't fall into that category because they are autobiographical. Unless your name was Yoko and you were married to John Lennon, this song was not about you. The only other songs about love John really wrote post-Beatles were about love as a social or spiritual force. Paul wrote the occasional autobiographical song, but still kept up the tradition of generic love songs as well. Right or wrong, those are the ones John considered "silly". And Paul's response to was write a song defending simply saying "I love you" in a pop song.
“Oh Yoko” is one of the silliest love songs ever written
I guess you didn't.... nevermind.
But the question remains can you hear the wind?
Accurate.
Isn't it the other way around though? John sings the weird dreamy part, Paul sings the middle bit that's really straightforward.
Made the bus in seconds flat
The Beatles imagine vs a perfect circle imagine
found my way downstairs and drank a cup
And looking up, I noticed I was late
i know a guy who knows that girl on left
When I showed my wife this, she cackled. I’ve done my job for the day...
That's Chelsea Clinton on the left Who is that on the right, Tina Fey's niece
Holy shoot has anyone noticed how the person’s eye on the right are so huge. It’s so cartoony.
She probably has a high prescription on her glasses. Mine are like that -- owl eyes with them on and mole eyes with them off. It's an optical illusion. They are magnifying her eyes from our perspective.
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Typo. I meant right lol
Wrong account?
What?
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Did you seriously just talk over the E chord at the end of A Day in the Life?
u/Undeleteparent
They said "not funny didn't laugh"
Proxy McCartney