what is the style of this boy by the beatles
This Boy Its composition was an attempt by Lennon [3][4] at writing a song in the style of Motown star Smokey Robinson,[5] specifically his song "I've Been Good To You", which has similar circular doo-wop chord changes, melody and arrangement. The tune and arrangement also draws from "You Don't Understand Me", a B-side to a Bobby Freeman single.[6] Paul McCartney cites the Teddy Bears' 1958 hit "To Know Him Is To Love Him" as also being influential.[4] Lennon, McCartney, and George Harrison join together to sing an intricate three-part close harmony in the verses and refrain (originally the middle eight was conceived as a guitar solo, but altered during the recording process)[7] and a similar song writing technique is exercised in later Beatles songs, such as "Yes It Is" and "Because". The song, in D major, revolves around a 1950s-style I-vi-ii-V doo-wop sequence in 12/8 time before moving to the harmonically complex middle eight (G-F#7-Bm-D7-G-E7-A-A7) and back again for the final verse and fade-out. [4] William Mann describes the song as, "harmonically...one of their most intriguing, with its chains of pandiatonic clusters" [8]
Jimmie Nicol When Ringo Starr collapsed with tonsillitis and was hospitalised on 3 June 1964, the eve of The Beatles' 1964 Australasian tour, the band's manager Brian Epstein and their producer George Martin urgently discussed the feasibility of using a stand-in drummer rather than cancelling part of the tour. Martin suggested Jimmie Nicol as he had recently used him on a recording session with Tommy Quickly.[4] Nicol had also drummed on a 'Top Six' budget label album as part of an uncredited session band, as well as an extended play single (with three tracks on each side) of Beatles cover versions (marketed as 'Teenagers Choice' and entitled Beatlemania) which meant that he already knew the songs and their arrangements. Producer Bill Wellings and Shubdubs trumpeter Johnny Harris (freelancing as an arranger and composer) were responsible for putting together alternative budget cover versions of songs taken from the British Hit Parade aimed at cash-strapped teenagers. Harris said: "The idea was for me to try and guess which six songs would be topping the charts about a month ahead. I would do the arrangements and then go into the studio and record "sound a-likes"; the first EP (extended play) released got to number 30 in the charts. Jimmie was on drums and, as you can imagine, we covered a lot of the Beatles' songs."[5] Although John Lennon and Paul McCartney quickly accepted the idea of using an understudy, George Harrison threatened to pull out of the tour telling Epstein and Martin: "If Ringo's not going, then neither am I. You can find two replacements."[6] Martin recalled: "They nearly didn't do the Australia tour. George is a very loyal person. It took all of Brian's and my persuasion to tell George that if he didn't do it he was letting everybody down."[7] Tony Barrow, who was The Beatles' press officer at the time, later commented: "Brian saw it as the lesser of two evils; cancel the tour and upset thousands of fans or continue and upset the Beatles."[8] Ringo stated that "it was very strange, them going off without me. They'd taken Jimmie Nicol and I thought they didn't love me any more – all that stuff went through my head."[7] The arrangements were made very quickly, from a telephone call to Nicol at his home in West London inviting him to attend an audition/rehearsal at Abbey Road Studios,[9] to packing his bags, all in the same day.[10] At a press conference a reporter mischievously asked John Lennon why Pete Best, who had been The Beatles' previous drummer for two years but dismissed by the group on the eve of stardom, was not being given the opportunity of replacing Ringo, to which Lennon replied: "He's got his own group [Pete Best & the All Stars], and it might have looked as if we were taking him back, which is not good for him."[11] Later, on the subject of remuneration, Nicol recalled: "When Brian [Epstein] talked of money in front of them [Lennon, McCartney and Harrison] I got very, very nervous. They paid me £2,500 per gig and a £2,500 signing bonus. Now, that floored me. When John spoke up in a protest by saying "Good God, Brian, you'll make the chap crazy!", I thought it was over. But no sooner had he said that when he said, "Give him ten thousand!" Everyone laughed and I felt a hell of a lot better. That night I couldn't sleep a wink. I was a fucking Beatle!" These sums of money, which were vast in 1964, are unverified.