The Beatles’ “Chains” (“Chains of Love”) is a wonderful early song, very rock-and-roll, totally C-F-G (or I-IV-V) in chording, energetic and catchy. It’s from their first album, Please Please Me.
It’s also a great Carole King song. Wikipedia (my emphasis):
Carole King (born February 9, 1942) is an American songwriter and singer-songwriter. King and her former husband Gerry Goffin wrote more than two dozen chart hits for numerous artists during the 1960s, many of which have become standards. As a singer-songwriter, her Tapestry album topped the U.S. album chart for 15 weeks in 1971, and remained on the charts for more than six years.
Her main success as a performer was in the first half of the 1970s, when she would sing her own songs, accompanying herself on the piano, in a series of albums and concerts; although she had been a successful songwriter for a decade previous, and has continued writing for others since. She had her first number 1 hit as a songwriter in 1960 at age 18, with “Will You Love Me Tomorrow”, which she wrote with Goffin. …
In 2000, Joel Whitburn, a Billboard Magazine pop music researcher, named her the most successful female songwriter of 1955–99, because she wrote or co-wrote 118 pop hits on the Billboard Hot 100. …
She has won four Grammy Awards and was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame for her songwriting.
The Beatles’ cover of this song is probably its most popular version. Listen:
This song is completely conventional in every aspect but one. It’s totally C-F-G (or I-IV-V if you will). It’s got the classic blues harmonic structure, three phrases, imported into rock-n-roll, like this:
Almost every rock song of that era has that blues harmonic structure. But the phrasing — now that’s interesting. Most pop songs have four-bar phrases, divide at the bar line. That means, for example, in this excellent song from the musical South Pacific:
Bali- [upbeat before the primary downbeat]
hai may call you … Any
Night any day … In your
Heart you hear it call you … Come a-
-way, come away. …
I’ve bolded the primary downbeat in the phrases. The upbeats are relatively short relative to the downbeats phrases — for example, “any” or “Bali”. The bulk of the phrase starts at the downbeat.
Not so Carole King’s “Chains”. The bulk of the phrase ends at the downbeat:
Chains … My baby’s got me
Locked up in chains … And they ain’t the
Kind … that you can
See … Oh-oh these [etc.]
See where the phrase breaks are? Shortly after the primary downbeat. (In poetry, this is called “enjambment.”) This is not new in American or British popular music, but it’s new in rock-n-roll. Not long after this, Paul McCartney makes this “trick,” his signature. Consider a piece like “Yesterday”:
Yesterday … All my troubles seemed so
Far away … Now it seems as though they’re
Here to stay …
Fun? I hope so. Musicologically yours, I remain ever faithfully
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