Yes, there are a few repetitions of doo-wop, but that is intentionally meant to be exaggerated and reinforce the black humor of the song. Now the end of the little “Happiness is a Warm Gun” mini-opera is a different story. So for me, no, it doesn’t sound like a “doo-wop” tune - but that’s just me.

Let me offer this analogy: do the melodies of the first line and second line sound very different to you, as sung? The corresponding chords sound that different to me. A trade with “Sexy Sadie” would do both songs good! What it comes down to: I’d be more able to give “I’m So Tired” the appreciation it deserves if it appeared elsewhere on the White Album, most preferably on the second disc. The fact that the “…Tired” change isn’t just the same old C-Am-F-G is irrelevent – it still REMINDS me of it, and the fact that it shows up a mere two songs after the real thing is a big reason why. And it’s not that there’s anything WRONG with that change, or similar variations – it’s just that I personally have a limited capacity and prefer it in small doses. But you do see the similarity: think of Paul and George’s “Bang bang/Shoot shoot” choruses, and notice how they could be added to “I’m So Tired” and not sound harmonically out of place at all. (That’s what was on my copy, anyway.)Īppreciate the info – you obviously know a lot more than I do, so I’ll defer to your knowledge and agree that the “I’m So Tired” chord change isn’t exactly identical to the “classic” doo-wop change – I-vi-IV-V – like in the final section of “Happiness is a Warm Gun” and a billion other songs. The ironic thing about this is that forwards, it was incomprehensible gibberish, while backwards it was not only perfectly clear, but said with appropriate intonation. Thinking back to 1969 or thereabouts, the putative “Monsieur” mumbling after the song was “Paul is dead now, miss him, miss him,” when played backwards. I will probably settle on A to A diminished first line, A to F# minor for the second line, and I’m thinking that’s what I’m hearing on the White Album.įor the easily amused, I play “Here Comes the Sun” and “Blackbird” on, search for maxmoose10. The next time through the bass plays the A followed by an F#, indicating the sort of 4-chord turn-around you are talking about. The first chord appears to be an A, with the bass playing an A, but the next bass note is a G#, making the G# chord a candidate, but the A diminished chord sounds fantastic, even with the G# bass. In fact, the chords are clearly not the same in the first and second “I’m so tired” of each verse. I have to take a closer listen to this, but it’s NOT a “doo-wop” progression. Maybe our brains’ just trying to make sense of senselessness? We’ll never know

Still, that’s a pretty weird coincidence.

John was always spouting gobbledegook(his books, Live at Shea), I think that’s all this is ultimately. Certainly sounds a lot more like “Paul is dead…” backwards than all that “…Monsieur” nonsense forwards ppl are claiming. Having said all this, I have no explanation for this. All that stuff at the very end of “A Day In The Life” alone is a perfect example, certainly piqued the curiosity of fans of the day even more than now. Just an extreme case of serendipity? It’s no wonder all these myths got started, even one as ridiculous as “Paul Is Dead”, when the Beatles have admitted to putting in all sorts of purposeful odd bits, “just to see if anyone would notice” as John said. I know Paul isn’t dead, so that makes this even more mysterious. Let me first say i approached listening to your video w my usual skepticism, and the first time through i didnt hear it, but then! On second take, I’ll be damned if that doesn’t sound exactly like “Paul is dead man miss him miss him miss him”! This actually gave me chills.

Im sotired