You Like Me Too Much - The Beatles (Guitar, Pianet, and Piano Cover)

Special thanks to my girlfriend, Elena, for not only providing the use of her electric piano, but also for helping out with the tremolando piano part! Without her, this video would not have been possible! (Also enjoy her playing of Bach at the end!) Frequently cited as one of the least favourite songs of not only the Help! album, but in the bands career in general, You Like Me Too Much is personally an interesting song. Though this period is said by John and George himself to be one of lazy, unenthused writing, I find joy not in the lyricism, but the instrumentation. A song lacking in much lead guitar, save for the solo, the song is mostly driven by George's double tracked lead vocals, but instrumentally, it's led by Lennon's sometimes harsh, and a little abrasive, Pianet playing. On the original recording, recorded 17th February, 1965, the instrumentation on the basic track is rather debated. Most agree with Ringo on Ludwig Kit, of course, George on Gibson J-160e, and John on Tambourine. However, McCartney's role, and George Martin's on the basic track is rather debated. Some claim George Martin provided the Piano Intro on the basic track, while Paul was on Bass, while some claim that Paul played the piano introduction AND bass. As well as this, the notion that Martin and McCartney both played simultaneously on the solo is thrown around, however as you can see, the part is perfectly doable with 1 pair of hands! For our cover, for the keyboard parts, we are using a Yamaha CVP303 Clavinova on the Grand Piano setting for the intro, outro, and solo parts, and the Vintage Electric Piano setting for the Pianet. For my Guitar parts, I am using my 2015 Epiphone EJ-160e mic'ed with my Rode NT1-A Condensor Microphone, and my 2023 Gretsch G6122T-62 Country Gentleman, plugged into my Vox AC30-VR, and close mic'ed with a Shure SM57 Dynamic Microphone. 0:00 - The song begins with George Martin's intro on the Piano, going up chromatically on G, he plays with a fast tremolando fingering. John plays the Hohner Pianet C with the Tremolo setting activated. George plays open chords on his Gibson J-160e. 0:09 - John deactivates the tremolo effect, shown here with a foot pedal, however, the actual Pianet C features an activator switch for the tremolo effect on the side of the keyboard. 0:30 - John plays between a D chord and G/D. 0:32 - John changes his chordal style, adding more inversions, Am then C all over G, then to Em/C 0:41 - John plays a Bdim chord, rather than his previous G chord. He then plays simply a Bm7 chord, rather than the Bm - Bm7 of before, He retains these new voicings for the rest of the song. 0:47 - John accidentally hits the A key on the D7 chord, followed by only playing the root and third of the next C chord. 0:53 - Two mistakes occur, George plays an E major chord, but quickly corrects himself. John accidentally plays the root and third of the Bdim chord, but corrects himself, playing the root and third of the Em 1:02 - In both versions of the bridge, despite the differing rhythms of the Pianet, George plays an E major chord on his J-160e, whilst John seems to play an E7sus2 chord, which together creates an E9. John plays very harsh and slightly staccato block chords. 1:05 - John's playing becomes more erratic and unpredictable, his rhythm has again changed, keeping most of the inversions, but instead playing a syncopated vamp. 1:15 - George's Rhythm slightly goes out of time with John's Pianet but quickly recovers. 1:21 - John plays a three note G major chord, rather than the regular G7 chord. 1:25 - George's overdubbed lead enters, possibly played on the Tennessean, but it was probably the Country Gentleman based on the more quacky sound. He was plays a trading solo, alternating between himself and Paul's piano, again played with tremolando accents, but this time adding a semitone slide into the initial G. John's Pianet plays and interesting line, ascending in major thirds up the respective G, C, and D chords. 1:42 - John adds a brilliant, Jerry Lee Lewis style glissando 1:49 - John voices an Em7 chord 1:55 - John's rhythm now follows more closely to that of George's melody, playing syncopated chords to the bass notes. 2:04 - John again fumbles the inversions, hitting some random keys, most noticeably the F# key. 2:13 - John accents the root and third of the G chord, in a rhythm which follows the vocal melody, with a D in the bass, this creates a G6/D chord) 2:20 - John switched back to his rhythm from the start of the song, block chords. 2:22 - Recovering from the G7 chord, John mistakenly plays an Am/C chord. 2:28 - In the outro, whilst following the chord changes in the right hand on the Pianet, John keeps the bass note of G going over the Bb chord. On the D chord, the opposite, he plays a D in the bass, but keeps playing the Bb chord for the first beat before quickly correcting to a D chord. He doesn't hold for long on the final G chord. #thebeatles #music #guitar