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sing.
The autocratic but not by any means ungrammatical attitude to tonality (closer to, say, Peter
Maxwell Davies's carols in O Magnum Mysterium than to Gershwin or Loewe or even Lionel Bart);
the exhilarating and often quasi-instrumental vocal duetting, sometimes in scat or in falsetto,
behind the melodic line; the melismas with altered vowels ('I saw her yesterday-ee-ay') which
have not quite become mannered, and the discreet, sometimes subtle, varieties of instrumentation
- a suspicion of piano or organ, a few bars of mouth-organ obbligato, an excursion on the claves or
maraccas; the translation of African Blues or American western idioms (in Baby It's You, the
Magyar 8/8 metre, too) into tough, sensitive Merseyside.
These are some of the qualities that make one wonder with interest what the Beatles, and
particularly Lennon and McCartney, will do next, and if America will spoil them or hold on to them,
and if their next record will wear as well as the others. They have brought a distinctive and
exhilarating flavour into a genre of music that was in danger of ceasing to be music at all.
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