This song is frequently referred to as one of John’s earliest examples of autobiographical songwriting. While it is still packaged in the up-tempo, “Buck Owens meets Motown” early Beatles sound, just beneath the surface there are real tears of desperation. I love when a song can work on two levels, and you hear more with each listen. It’s a “coming of age” tale of growing up and realizing you don’t have all the things figured out that you thought you would. In hindsight it’s easy to see this as Lennon’s cry for help as the first thrust of Beatlemania grinds on.
(click
HERE to watch a clip of HELP! on YouTube)
Structure-wise this song has been a huge influence on many songs of mine. First off, it starts on the very startling chorus, which is still not very common with pop songs. Typically you get some sort of musical intro, followed by a verse or two, and usually a pre-chorus before you get the pay-off (the chorus), but this song starts right with the hook. So when the first verse hits “When I was younger, so much younger than today…” it acts like a cinematic flashback. While Lennon was the force of energy behind this song, it’s Paul contribution that makes this song a pop masterpiece. Paul and George sing a counter-point melody “when… when I was young… I never need” throughout the verse that helps the listener forget that this is a serious cry for help, and contributes to the masterful arrangement.
The other structural device that I’ve borrowed time and time again, is the “break-down” final verse, which repeats the first verse, but with limited drums, it gives John a chance to be more intimate with the listener. Gradually the band joins back in, and they end with another great surprise – an A6 chord, which leaves it on a more mysterious note than just a traditional solid A chord.
Off the top of my head here’s few songs of mine that borrow from this mighty song (click the title to stream the song)
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Cleopatra Eyes – this was one of my first stabs at writing a “traditional Beatles-esque pop song.” I start with the chorus, I break down for the last verse, and I end on an A6 chord - the song is even in the same key!
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A Billion Odd People – Again, this song starts on the hook, has a break-down during the last verse, and ends with a “maj7” chord (slight variation on my part, but the same effect).
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Death & Texas – This is the most recent example of the good ole Help! structure finding its way into my writing. The broken-down last verse is there, and the odd last chord (this time ending on the “relative minor”).
