Chords for The Odd Quirks in The Beatles' Abbey Road Medley
Tempo:
162.3 bpm
Chords used:
E
B
A
D
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The 15 minutes of music that make up the B-side medley of the Beatles' [B] Abbey Road album
[E] is one of the most spectacular, engrossing [Ab] sequences in all of recorded music.
Up there [Bb] with the fourth movement of [E] Beethoven's Ninth Symphony, or Kind of [E] Blue by Miles Davis.
For the fascinating story about [B] how the medley came together, pardon the Abbey Road pun,
check out the link in the [Gbm] description below to watch my first ever collaboration with
Lance [B] Osborne, creator of the very entertaining and very informative [E] Beatles-related channel
Fab Four Archivist.
Over here on [Bb] my channel, as usual, I'm going to point out some of the oddities [A] and anomalies
of the first part of the Abbey Road B-side medley.
And as a [B] fair warning, once I point them out, you [E] can't unhear this.
Curiously, a number of the anomalies I'll point out were eliminated in the 2019 [B] remix of Abbey Road,
[A] which raises an interesting question.
Were these simply [Bb] unintentional mistakes that slipped [B] through back in 1969?
The [A]
[Am] first [Dm] track of the medley, You Never Give Me Your Money, has a couple of [G] weird little
anomalies toward the end.
[C] Starting at around 3 minutes 45 seconds during the outro, [Am]
you can hear random talking in
the [B] background behind the 1-2-3-4-5-6-7 vocals, including someone yelling what sounds like,
Bloody hell, let's hear it [A] first on the original version of Abbey Road.
[C]
[C] Now let's listen to the same section from the 2019 [A] remix.
[C] [B]
[A] [C] You probably noticed that it's gone.
For whatever reason, this ghost vocal, probably left over from one of the instrumental backing
tracks, was either covered up or removed from the 2019 remix.
In its place, there's a series of new guitar notes that weren't audible [Db] in the original mix.
[E] It's a great example of the creative decision-making that goes into a true remix, which involves
taking the [B] original master tracks and creating a mix from them, sometimes altering the way
that a song has been heard [A] for decades.
Was this creative choice [A] the right call?
Let me know what you think in [C] the comments.
[B] As the medley moves along, You Never Give Me Your Money rolls right into the next song,
Sun King, with a tapestry of sound effects.
[D] Birds, bells, wind chimes, and crickets.
[B] These sound effects had actually been recorded by Paul McCartney at his home and brought
into Abbey Road to be assembled into the final mix of the medley.
But there's an interesting oddity here.
In an early version of the medley, the only link between the two songs was a [A] single organ.
[C]
[Bm] [E]
Here's what it originally sounded like.
[B]
I sort of [E] wonder why they didn't combine both, since both sound actually pretty cool.
Which version do you like better?
The organ note or the ambient sounds?
Let me know in the comments.
On the next track in the medley, Mean Mr.
Mustard, pay close attention to the tambourine,
which Ringo begins playing at around 8 seconds.
It starts out sounding [B] pretty normal.
♪ I say, [E] paper, [B]
cheeps in a hole in the ground
♪
After around the 30-second mark, you may notice that the tambourine starts to noticeably drop
in volume [A] whenever anyone is singing.
Thanks to the 2019 5.1 remix, we can listen to the isolated track of the tambourine [C] and
vocals, where this phenomenon is even clearer.
[B] [Ebm] ♪ Such [E] a mean [C] old man,
[B] [Ebm] [E]
his sister found bucks in a shop
♪
So what's going on here?
Well, there's a couple of [Ab] possibilities.
It could be that Ringo was just striking the tambourine with softer hits on the beats that
happen to have vocals.
[Abm] But that seems unlikely, considering that's not how he plays it at all in the first part
of the song.
One theory suggests that it was lowered during the mixing process.
That is, some engineer at the console was lowering the tambourine so as to not overpower
the voice track.
Yet another theory suggests that it's the effect of a limiter or compressor, which is
a piece of studio equipment—today it might be a software plugin—used to flatten or
compress sound above and below a certain decibel level, so that the [B] loud and softer parts are
at a more constant volume.
♪ [Bb] [D]
Only place that he's ever been
♪
[Gb] Whatever the case may be, it's a quirky, organic studio anomaly that probably wouldn't have
ever slid by in a modern recording studio.
Moving on to the next song, Polytheme Pam.
If you listen closely at around 6 seconds, you can hear a ghost or guide vocal bleeding
through quietly in the left channel.
[A] [E] ♪ [D] Where you see [E] Polytheme [D] Pam
♪
Admittedly, it's a bit tough to hear clearly.
But thanks to the new 5.1 remix, if I isolate the channel, it's much clearer.
[A] [E] [D]
[A] [E]
Toward the end of the song, it happens again, as you can hear one of the Beatles counting
the measures of the guitar solo leading up to the outro.
While it's pretty clear even on the final stereo mix of the song, let's listen to the
isolated 5.1 step.
[D]
[E] [D]
[A] [E] [D]
[A] [E] Both of these guide vocals were likely picked up by the microphones used to record the [F] instruments
during the earlier takes of the song, which was [D] a common practice, as the Beatles often
overdubbed their vocal tracks after recording the instrumental backing tracks.
If you're interested in learning more about how guide vocals like these sometimes ended
up in final mixes, check out the other video on my channel about ghost vocals.
As for the last song from the first half of the medley, She Came In Through The Bathroom
Window, I've always wondered exactly what John was saying during that transition from Polytheme [E] Pam.
♪ Oh, listen to that [D] now
[Db] Oh, [B] look out
[E] ♪
Thanks to the new 5.1 release, we can finally hear John loud and clear.
♪ Oh, listen to that [D] now
[Db]
Oh, [B] look out
She [A]
came [D] in through the bathroom window
♪
There's so much more to cover about the medley, but I'm going to save the rest of it for another video.
To learn more about the fascinating story behind the medley, I highly encourage you
to click the link at the end of the video to check out my special collaboration with
fellow Beatles fan Lance Osborne, creator and host of the Fab Four Archivist channel.
As always, thanks for watching, and please subscribe and share for more episodes of You
Can't Unhear This.
[E] is one of the most spectacular, engrossing [Ab] sequences in all of recorded music.
Up there [Bb] with the fourth movement of [E] Beethoven's Ninth Symphony, or Kind of [E] Blue by Miles Davis.
For the fascinating story about [B] how the medley came together, pardon the Abbey Road pun,
check out the link in the [Gbm] description below to watch my first ever collaboration with
Lance [B] Osborne, creator of the very entertaining and very informative [E] Beatles-related channel
Fab Four Archivist.
Over here on [Bb] my channel, as usual, I'm going to point out some of the oddities [A] and anomalies
of the first part of the Abbey Road B-side medley.
And as a [B] fair warning, once I point them out, you [E] can't unhear this.
Curiously, a number of the anomalies I'll point out were eliminated in the 2019 [B] remix of Abbey Road,
[A] which raises an interesting question.
Were these simply [Bb] unintentional mistakes that slipped [B] through back in 1969?
The [A]
[Am] first [Dm] track of the medley, You Never Give Me Your Money, has a couple of [G] weird little
anomalies toward the end.
[C] Starting at around 3 minutes 45 seconds during the outro, [Am]
you can hear random talking in
the [B] background behind the 1-2-3-4-5-6-7 vocals, including someone yelling what sounds like,
Bloody hell, let's hear it [A] first on the original version of Abbey Road.
[C]
[C] Now let's listen to the same section from the 2019 [A] remix.
[C] [B]
[A] [C] You probably noticed that it's gone.
For whatever reason, this ghost vocal, probably left over from one of the instrumental backing
tracks, was either covered up or removed from the 2019 remix.
In its place, there's a series of new guitar notes that weren't audible [Db] in the original mix.
[E] It's a great example of the creative decision-making that goes into a true remix, which involves
taking the [B] original master tracks and creating a mix from them, sometimes altering the way
that a song has been heard [A] for decades.
Was this creative choice [A] the right call?
Let me know what you think in [C] the comments.
[B] As the medley moves along, You Never Give Me Your Money rolls right into the next song,
Sun King, with a tapestry of sound effects.
[D] Birds, bells, wind chimes, and crickets.
[B] These sound effects had actually been recorded by Paul McCartney at his home and brought
into Abbey Road to be assembled into the final mix of the medley.
But there's an interesting oddity here.
In an early version of the medley, the only link between the two songs was a [A] single organ.
[C]
[Bm] [E]
Here's what it originally sounded like.
[B]
I sort of [E] wonder why they didn't combine both, since both sound actually pretty cool.
Which version do you like better?
The organ note or the ambient sounds?
Let me know in the comments.
On the next track in the medley, Mean Mr.
Mustard, pay close attention to the tambourine,
which Ringo begins playing at around 8 seconds.
It starts out sounding [B] pretty normal.
♪ I say, [E] paper, [B]
cheeps in a hole in the ground
♪
After around the 30-second mark, you may notice that the tambourine starts to noticeably drop
in volume [A] whenever anyone is singing.
Thanks to the 2019 5.1 remix, we can listen to the isolated track of the tambourine [C] and
vocals, where this phenomenon is even clearer.
[B] [Ebm] ♪ Such [E] a mean [C] old man,
[B] [Ebm] [E]
his sister found bucks in a shop
♪
So what's going on here?
Well, there's a couple of [Ab] possibilities.
It could be that Ringo was just striking the tambourine with softer hits on the beats that
happen to have vocals.
[Abm] But that seems unlikely, considering that's not how he plays it at all in the first part
of the song.
One theory suggests that it was lowered during the mixing process.
That is, some engineer at the console was lowering the tambourine so as to not overpower
the voice track.
Yet another theory suggests that it's the effect of a limiter or compressor, which is
a piece of studio equipment—today it might be a software plugin—used to flatten or
compress sound above and below a certain decibel level, so that the [B] loud and softer parts are
at a more constant volume.
♪ [Bb] [D]
Only place that he's ever been
♪
[Gb] Whatever the case may be, it's a quirky, organic studio anomaly that probably wouldn't have
ever slid by in a modern recording studio.
Moving on to the next song, Polytheme Pam.
If you listen closely at around 6 seconds, you can hear a ghost or guide vocal bleeding
through quietly in the left channel.
[A] [E] ♪ [D] Where you see [E] Polytheme [D] Pam
♪
Admittedly, it's a bit tough to hear clearly.
But thanks to the new 5.1 remix, if I isolate the channel, it's much clearer.
[A] [E] [D]
[A] [E]
Toward the end of the song, it happens again, as you can hear one of the Beatles counting
the measures of the guitar solo leading up to the outro.
While it's pretty clear even on the final stereo mix of the song, let's listen to the
isolated 5.1 step.
[D]
[E] [D]
[A] [E] [D]
[A] [E] Both of these guide vocals were likely picked up by the microphones used to record the [F] instruments
during the earlier takes of the song, which was [D] a common practice, as the Beatles often
overdubbed their vocal tracks after recording the instrumental backing tracks.
If you're interested in learning more about how guide vocals like these sometimes ended
up in final mixes, check out the other video on my channel about ghost vocals.
As for the last song from the first half of the medley, She Came In Through The Bathroom
Window, I've always wondered exactly what John was saying during that transition from Polytheme [E] Pam.
♪ Oh, listen to that [D] now
[Db] Oh, [B] look out
[E] ♪
Thanks to the new 5.1 release, we can finally hear John loud and clear.
♪ Oh, listen to that [D] now
[Db]
Oh, [B] look out
She [A]
came [D] in through the bathroom window
♪
There's so much more to cover about the medley, but I'm going to save the rest of it for another video.
To learn more about the fascinating story behind the medley, I highly encourage you
to click the link at the end of the video to check out my special collaboration with
fellow Beatles fan Lance Osborne, creator and host of the Fab Four Archivist channel.
As always, thanks for watching, and please subscribe and share for more episodes of You
Can't Unhear This.
Key:
E
B
A
D
C
E
B
A
The 15 minutes of music that make up the B-side medley of the Beatles' [B] Abbey Road album
[E] is one of the most spectacular, engrossing [Ab] sequences in all of recorded music.
_ Up there [Bb] with the fourth movement of [E] Beethoven's Ninth Symphony, or Kind of [E] Blue by Miles Davis.
_ For the fascinating story about [B] how the medley came together, pardon the Abbey Road pun,
check out the link in the [Gbm] description below to watch my first ever collaboration with
Lance [B] Osborne, creator of the very entertaining and very informative [E] Beatles-related channel
Fab Four Archivist.
Over here on [Bb] my channel, as usual, I'm going to point out some of the oddities [A] and anomalies
of the first part of the Abbey Road B-side medley.
And as a [B] fair warning, once I point them out, you [E] can't unhear this.
_ _ _ Curiously, a number of the anomalies I'll point out were eliminated in the 2019 [B] remix of Abbey Road,
[A] which raises an interesting question.
Were these simply [Bb] unintentional mistakes that slipped [B] through back in 1969?
The [A] _ _
[Am] _ _ _ _ _ first [Dm] track of the medley, You Never Give Me Your Money, has a couple of [G] weird little
anomalies toward the end.
_ [C] _ Starting at around 3 minutes 45 seconds during the outro, [Am]
you can hear random talking in
the [B] background behind the 1-2-3-4-5-6-7 vocals, including someone yelling what sounds like,
Bloody hell, let's hear it [A] first on the original version of Abbey Road.
_ _ [C] _
_ _ _ _ _ _ _ _
_ _ _ [C] _ _ Now let's listen to the same section from the 2019 [A] remix. _
_ _ [C] _ _ [B] _ _ _ _
[A] _ _ _ _ [C] You probably noticed that it's gone.
For whatever reason, this ghost vocal, probably left over from one of the instrumental backing
tracks, was either covered up or removed from the 2019 remix. _ _
In its place, there's a series of new guitar notes that weren't audible [Db] in the original mix.
[E] It's a great example of the creative decision-making that goes into a true remix, which involves
taking the [B] original master tracks and creating a mix from them, sometimes altering the way
that a song has been heard [A] for decades. _ _
_ _ _ _ _ _ _
Was this creative choice [A] the right call?
Let me know what you think in [C] the comments.
_ _ [B] _ As the medley moves along, You Never Give Me Your Money rolls right into the next song,
Sun King, with a tapestry of sound effects.
[D] Birds, bells, wind chimes, and crickets. _ _
_ _ _ _ _ [B] _ These sound effects had actually been recorded by Paul McCartney at his home and brought
into Abbey Road to be assembled into the final mix of the medley.
But there's an interesting oddity here.
_ In an early version of the medley, the only link between the two songs was a [A] single organ.
_ _ _ _ _ [C] _
_ [Bm] _ _ _ [E] _ _ _ _
_ Here's what it originally sounded like. _ _
_ _ _ _ _ [B] _ _ _
_ I sort of [E] wonder why they didn't combine both, since both sound actually pretty cool. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ Which version do you like better?
The organ note or the ambient sounds?
Let me know in the comments.
_ _ _ _ On the next track in the medley, Mean Mr.
Mustard, pay close attention to the tambourine,
which Ringo begins playing at around 8 seconds. _ _ _ _ _
It starts out sounding [B] pretty normal.
♪ I say, [E] paper, _ _ _ _ [B] _ _ _
cheeps in a hole in the ground_
♪
After around the 30-second mark, you may notice that the tambourine starts to noticeably drop
in volume [A] whenever anyone is singing.
Thanks to the 2019 5.1 remix, we can listen to the isolated track of the tambourine [C] and
vocals, where this phenomenon is even clearer.
_ [B] _ _ [Ebm] _ ♪ Such [E] a mean [C] old man, _
[B] _ _ _ _ _ [Ebm] _ _ [E]
his sister found bucks in a shop_
♪
So what's going on here?
Well, there's a couple of [Ab] possibilities.
It could be that Ringo was just striking the tambourine with softer hits on the beats that
happen to have vocals.
[Abm] But that seems unlikely, considering that's not how he plays it at all in the first part
of the song.
_ _ One theory suggests that it was lowered during the mixing process.
That is, some engineer at the console was lowering the tambourine so as to not overpower
the voice track.
_ Yet another theory suggests that it's the effect of a limiter or compressor, which is
a piece of studio _ equipment—today it might be a software _ plugin—used to flatten or
compress sound above and below a certain decibel level, so that the [B] loud and softer parts are
at a more constant volume.
♪ [Bb] _ _ [D] _
Only place that he's ever _ been_
♪
_ _ [Gb] _ Whatever the case may be, it's a quirky, organic studio anomaly that probably wouldn't have
ever slid by in a modern recording studio. _ _ _
Moving on to the next song, Polytheme Pam.
If you listen closely at around 6 seconds, you can hear a ghost or guide vocal bleeding
through quietly in the left channel.
[A] _ _ [E] _ ♪ [D] Where you see _ [E] Polytheme [D] Pam_
♪
Admittedly, it's a bit tough to hear clearly.
But thanks to the new 5.1 remix, if I isolate the channel, it's much clearer.
[A] _ _ _ [E] _ _ _ _ [D] _
_ [A] _ _ [E] _ _ _ _ _
_ Toward the end of the song, it happens again, as you can hear one of the Beatles counting
the measures of the guitar solo leading up to the outro.
While it's pretty clear even on the final stereo mix of the song, let's listen to the
isolated 5.1 step.
_ _ _ _ [D] _ _ _
_ [E] _ _ _ _ _ [D] _ _
[A] _ _ [E] _ _ _ [D] _ _ _
[A] _ [E] _ Both of these guide vocals were likely picked up by the microphones used to record the [F] instruments
during the earlier takes of the song, which was [D] a common practice, as the Beatles often
overdubbed their vocal tracks after recording the instrumental backing tracks.
_ If you're interested in learning more about how guide vocals like these sometimes ended
up in final mixes, check out the other video on my channel about ghost vocals.
_ As for the last song from the first half of the medley, She Came In Through The Bathroom
Window, I've always wondered exactly what John was saying during that transition from Polytheme [E] Pam.
♪ Oh, listen to that _ [D] now_ _ _
[Db] _ _ _ Oh, [B] look out_
[E] ♪
Thanks to the new 5.1 release, we can finally hear John loud and clear.
♪ Oh, listen to that _ [D] now_
_ _ [Db] _ _
Oh, [B] look out_
She [A] _ _
came [D] in through the bathroom _ window_
♪
There's so much more to cover about the medley, but I'm going to save the rest of it for another video.
_ _ To learn more about the fascinating story behind the medley, I highly encourage you
to click the link at the end of the video to check out my special collaboration with
fellow Beatles fan Lance Osborne, creator and host of the Fab Four Archivist channel.
_ As always, thanks for watching, and please subscribe and share for more episodes of You
Can't Unhear This. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[E] is one of the most spectacular, engrossing [Ab] sequences in all of recorded music.
_ Up there [Bb] with the fourth movement of [E] Beethoven's Ninth Symphony, or Kind of [E] Blue by Miles Davis.
_ For the fascinating story about [B] how the medley came together, pardon the Abbey Road pun,
check out the link in the [Gbm] description below to watch my first ever collaboration with
Lance [B] Osborne, creator of the very entertaining and very informative [E] Beatles-related channel
Fab Four Archivist.
Over here on [Bb] my channel, as usual, I'm going to point out some of the oddities [A] and anomalies
of the first part of the Abbey Road B-side medley.
And as a [B] fair warning, once I point them out, you [E] can't unhear this.
_ _ _ Curiously, a number of the anomalies I'll point out were eliminated in the 2019 [B] remix of Abbey Road,
[A] which raises an interesting question.
Were these simply [Bb] unintentional mistakes that slipped [B] through back in 1969?
The [A] _ _
[Am] _ _ _ _ _ first [Dm] track of the medley, You Never Give Me Your Money, has a couple of [G] weird little
anomalies toward the end.
_ [C] _ Starting at around 3 minutes 45 seconds during the outro, [Am]
you can hear random talking in
the [B] background behind the 1-2-3-4-5-6-7 vocals, including someone yelling what sounds like,
Bloody hell, let's hear it [A] first on the original version of Abbey Road.
_ _ [C] _
_ _ _ _ _ _ _ _
_ _ _ [C] _ _ Now let's listen to the same section from the 2019 [A] remix. _
_ _ [C] _ _ [B] _ _ _ _
[A] _ _ _ _ [C] You probably noticed that it's gone.
For whatever reason, this ghost vocal, probably left over from one of the instrumental backing
tracks, was either covered up or removed from the 2019 remix. _ _
In its place, there's a series of new guitar notes that weren't audible [Db] in the original mix.
[E] It's a great example of the creative decision-making that goes into a true remix, which involves
taking the [B] original master tracks and creating a mix from them, sometimes altering the way
that a song has been heard [A] for decades. _ _
_ _ _ _ _ _ _
Was this creative choice [A] the right call?
Let me know what you think in [C] the comments.
_ _ [B] _ As the medley moves along, You Never Give Me Your Money rolls right into the next song,
Sun King, with a tapestry of sound effects.
[D] Birds, bells, wind chimes, and crickets. _ _
_ _ _ _ _ [B] _ These sound effects had actually been recorded by Paul McCartney at his home and brought
into Abbey Road to be assembled into the final mix of the medley.
But there's an interesting oddity here.
_ In an early version of the medley, the only link between the two songs was a [A] single organ.
_ _ _ _ _ [C] _
_ [Bm] _ _ _ [E] _ _ _ _
_ Here's what it originally sounded like. _ _
_ _ _ _ _ [B] _ _ _
_ I sort of [E] wonder why they didn't combine both, since both sound actually pretty cool. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ Which version do you like better?
The organ note or the ambient sounds?
Let me know in the comments.
_ _ _ _ On the next track in the medley, Mean Mr.
Mustard, pay close attention to the tambourine,
which Ringo begins playing at around 8 seconds. _ _ _ _ _
It starts out sounding [B] pretty normal.
♪ I say, [E] paper, _ _ _ _ [B] _ _ _
cheeps in a hole in the ground_
♪
After around the 30-second mark, you may notice that the tambourine starts to noticeably drop
in volume [A] whenever anyone is singing.
Thanks to the 2019 5.1 remix, we can listen to the isolated track of the tambourine [C] and
vocals, where this phenomenon is even clearer.
_ [B] _ _ [Ebm] _ ♪ Such [E] a mean [C] old man, _
[B] _ _ _ _ _ [Ebm] _ _ [E]
his sister found bucks in a shop_
♪
So what's going on here?
Well, there's a couple of [Ab] possibilities.
It could be that Ringo was just striking the tambourine with softer hits on the beats that
happen to have vocals.
[Abm] But that seems unlikely, considering that's not how he plays it at all in the first part
of the song.
_ _ One theory suggests that it was lowered during the mixing process.
That is, some engineer at the console was lowering the tambourine so as to not overpower
the voice track.
_ Yet another theory suggests that it's the effect of a limiter or compressor, which is
a piece of studio _ equipment—today it might be a software _ plugin—used to flatten or
compress sound above and below a certain decibel level, so that the [B] loud and softer parts are
at a more constant volume.
♪ [Bb] _ _ [D] _
Only place that he's ever _ been_
♪
_ _ [Gb] _ Whatever the case may be, it's a quirky, organic studio anomaly that probably wouldn't have
ever slid by in a modern recording studio. _ _ _
Moving on to the next song, Polytheme Pam.
If you listen closely at around 6 seconds, you can hear a ghost or guide vocal bleeding
through quietly in the left channel.
[A] _ _ [E] _ ♪ [D] Where you see _ [E] Polytheme [D] Pam_
♪
Admittedly, it's a bit tough to hear clearly.
But thanks to the new 5.1 remix, if I isolate the channel, it's much clearer.
[A] _ _ _ [E] _ _ _ _ [D] _
_ [A] _ _ [E] _ _ _ _ _
_ Toward the end of the song, it happens again, as you can hear one of the Beatles counting
the measures of the guitar solo leading up to the outro.
While it's pretty clear even on the final stereo mix of the song, let's listen to the
isolated 5.1 step.
_ _ _ _ [D] _ _ _
_ [E] _ _ _ _ _ [D] _ _
[A] _ _ [E] _ _ _ [D] _ _ _
[A] _ [E] _ Both of these guide vocals were likely picked up by the microphones used to record the [F] instruments
during the earlier takes of the song, which was [D] a common practice, as the Beatles often
overdubbed their vocal tracks after recording the instrumental backing tracks.
_ If you're interested in learning more about how guide vocals like these sometimes ended
up in final mixes, check out the other video on my channel about ghost vocals.
_ As for the last song from the first half of the medley, She Came In Through The Bathroom
Window, I've always wondered exactly what John was saying during that transition from Polytheme [E] Pam.
♪ Oh, listen to that _ [D] now_ _ _
[Db] _ _ _ Oh, [B] look out_
[E] ♪
Thanks to the new 5.1 release, we can finally hear John loud and clear.
♪ Oh, listen to that _ [D] now_
_ _ [Db] _ _
Oh, [B] look out_
She [A] _ _
came [D] in through the bathroom _ window_
♪
There's so much more to cover about the medley, but I'm going to save the rest of it for another video.
_ _ To learn more about the fascinating story behind the medley, I highly encourage you
to click the link at the end of the video to check out my special collaboration with
fellow Beatles fan Lance Osborne, creator and host of the Fab Four Archivist channel.
_ As always, thanks for watching, and please subscribe and share for more episodes of You
Can't Unhear This. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _