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“YOU REALLY GOT A HOLD ON ME”

(William Robinson)

One of many type of amazing characteristics that The Beatles possessed was their capability to analyze a song that they had a passion for through exuberance and flair in order to create a distinctively distinct cover variation.Their second British album “With The Beatles” has six such examples.Arguably, this album incorporates the group's top at these interpretations.You deserve to tell from listening to these tracks, also years later, that they thoapproximately delighted in recording them, possibly even even more than the original songs they recorded for this album.

You are watching: You got a hold on me meaning

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Of all the cover songs The Beatles taped for this album, “You Really Got A Hold On Me” hosted a unique place in their hearts.It was newly tape-recorded by its writer William “Smokey” Robinson and his team The Miracles and also first hit the charts only earlier that year, debuting on the Billboard singles chart on January 12, 1963.Yet simply over 6 months later on, The Beatles made a decision to analyze the song themselves.In reality, this was the first song they determined to record for the album.

The Beatles had a distinct attachment to the music of The Miracles.Many kind of impacts deserve to be cited that have actually added to the sound and style of The Beatles music, but Smoessential Robinboy and also The Miracles were definitely on the top of that list in the time of the latter half of 1963.Many type of of the Lennon / McCartney songs appearing in the time of this duration were sassist, by the authors themselves, to have actually been influenced by Smokey, including “This Boy,” “All I’ve Got To Do” and also “Not A 2nd Time.”So engrossed as they were through catching the feel of The Miracles music, they determined to cover one of their songs themselves.

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In retrospect, an occasion arising in 1980 in the time of the recording of Lennon’s “Double Fantasy” album sheds some light on the affect of The Miracles music on the career of The Beatles.While recording the vocal track for the hit song “Woman,” Yoko commented that John sounded choose a Beatle.Lennon corrected her by saying, “Actually I’m intended to be Smoessential Robinson at the moment, my dear, because The Beatles were always supposing that they were Smoessential Robinboy.”

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The admiration The Beatles hosted for Smokey can likewise be viewed as recently as the 2009 Grammy Awards.When Smokey appeared on stage to honor fellow Motown artists The Four Tops, Paul McCartney, that remained in the audience, jumped to his feet and admiringly provided him a thunderous standing ovation, as if to honor the guy that was among the biggest impacts of his career.


Songwriting History

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William “Smokey” Robinson was born on February 19, 1940 in Detroit, Michigan.An uncle offered him the nickname “Smovital Joe” (later shortened to “Smokey”) at a young age because of his love for cowboy movies.In 1955, Smokey created a vocal group dubbed “The Five Chimes” and also then, via some personnel changes, it ended up being “The Matadors.”Among the new members of this group was Claudette Rogers that later came to be Smokey’s wife.

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As the lead singer of “The Matadors,” Smovital started touring local hot spots in Detroit and also, in 1958 under their new name “The Miracles,” released documents on End Records and also Chess Records via his connection with his recently uncovered friend Berry Gordy.When Smocrucial argued to Berry the idea of creating his very own record label, “The Miracles” were among the first acts signed to his Tamla label (which soon advanced right into Motown Records).

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Smokey’s close friendship via Berry caused his being appointed vice-president of Motvery own Records in 1961, as well as functioning as a effective artist, producer and also songwriter for the label.The Miracles single “Shop Around” ended up being the first number one single on the Billboard R&B charts for Motown (#2 on the pop charts).Their career through Smoessential as lead singer/songwriter on Motown’s “Tamla” label covered twelve years and also 27 peak 40 hits on the Billboard pop charts, six of which got to the height ten, consisting of “Mickey’s Monkey” (#8), “I Second That Emotion” (#4) and “Baby, Baby Don’t Cry” (#8). Their 1970 release “The Tears Of A Clown” was the only number one of Smokey’s career, solo or otherwise.

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The Miracles fourth optimal 40 pop hit was likewise their second height ten (peaking at #8), the self-penned classical “You’ve Really Got A Hold On Me.”The single was released in Britain on the Oriole label yet faibrought about make the charts, although it did gain the attention of John Lennon who loved it sufficient to scarf it up for The Beatles to occupational up a powerful rendition.

The song has actually likewise been extended by many kind of various other artists, including Eddie Money and Greg Allman and also Cher, and is likewise a 1998 Grammy Hall Of Fame inductee.The song has likewise been had in many motion photos, such as “Nothing But A Man” (1964), “More American Graffiti” (1979), “Mermaids” (1990) and “Striptease” (1996).Smokey himself also did a rendition of the song on Sesame Street, highlighting just how the letter “U” had actually such a hold on him.

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Smokey’s career as songwriter at Motown had a huge variety of hits for other artists, consisting of both “My Guy” by Mary Wells and also “My Girl” by The Temptations.Other notable examples are “The Way You Do The Things You Do” and “Get Ready” by The Temptations, “Ain’t That Peculiar” and “I’ll Be Doggone” by Marvin Gaye and also “Don’t Mess With Bill” by The Marvelettes.His tremendous contribution to the Motown label has earned him the title “The King Of Motvery own.”

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Smovital left The Miracles in 1972 to pursue a solo career, his final concert appearance with the team being July 16, 1972. While continuing his duties as vice-president of Motvery own, he scored three top 40 hits in 1975 prior to returning to the Billboard optimal 5 via “Cruisin’” (#4 in 1979) and also the million offering “Being With You” (#2 in 1981).After a well documented cocaine addiction and divorce from Claudette, his career slowed, just to re-arise in 1987 with two extra peak 10 hits, the Grammy Award winning “Just To See Her” (#8) and “One Heartbeat” (#10).

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As Smoessential proceeds to record and perdevelop periodically, one cannot underestimate the affect he has had actually on the music market.Among many type of of his honors, he has got a star on the “Hollytimber Walk Of Fame.”Bob Dylan has referred to him as “America’s biggest living poet.”The 80’s pop team ABC scored a #5 hit via a tribute song “When Smokey Sings,” which charted in the peak ten via Smokey’s “One Heartbeat” single in 1987.

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His affect on The Beatles has also been noteworthy. The Miracles’ song “I’ve Been Good To You” has actually been revealed by John Lennon to be one of his all-time favorite songs, which lyrically affected his 1968 song “Sexy Sadie.”Lennon likewise reportedly offered lyrical principles from Smokey’s song “You Can Depfinish On Me” in creating his 1963 ballad “All I’ve Got To Do.”Even "I Am The Walrus" has the "I'm crying" lyric taken from Smokey's "Ooh Baby Baby."George Harrison videotaped the tribute song “Pure Smokey” on his 1976 album “Thirty-Three And 1/3," and also included the lyric "and you've really got a host on me" on his 1987 hit "When We Was Fab.”All in all, the delicately fragile vocal style of the “King Of Motown” has had and still has actually a incredible influence on the music industry.


Recording History

Just seventeen days after recording what wregarding be their next single “She Loves You,” manager Brian Epstein had actually them back in EMI studio two recording their following album.Having probably remained in the mood for performing cover versions (they had actually just videotaped thirty-6 of them for broadactors on BBC radio between the days of July second and 16th), The Beatlesbegan proceedings for their second album on July 18th, 1963, by recording this current favorite of John Lennon's.

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Running from 7 to 10:45 pm, the session started through “You Really Got A Hold On Me” (inadvertently changing the title from the original “You’ve”).Seven live performances of the song were initially taped, featuring all four Beatles playing their usual instruments and also singing without overdubs, accompanied by producer George Martin on piano. Only four of these performances were finish (3 of them being false starts), take seven being the keeper.

They immediately videotaped 4 edit pieces for the song,concentrating on the word “baby” uncovered in the last verse, andon the finishing riffs of the song. Take 10 finalized the ending riff of the song, while take 11 perfected the “baby.”This completed the recording of the finished version of the song as we recognize it.Completed by around 8:00 pm, it took an estimated hour to totally record this remarkable rendition of an exceptional song.The remainder of the day entailed recording the bulk of “Money (That’s What I Want)”, the whole recording of “Devil In Her Heart,” and an early attempt at “Till Tright here Was You.”

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August 21st was the date preferred by George Martin to modify takes 7, 10 and 11 to make the final master, and also to produce the mono mixes for this song and all of the other completed songs videotaped hence much for the album.This ‘control room only’ session was attended just by Martin and also engineers Norman Smith and also Geoff Emerick. The stereo mix of the song,alengthy withthe rest of the album, was hurriedly done on October 2nine, 1963, by Martin, Smith and also Emerick and also the mysterious engineer via the initials B.T.

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This is not to say that The Beatles were done via the song at this point.Being that they were ultimately granted the use of four-track recording tools on October 17th of that year, John Lennon insisted that they take one more stab at the song on this day.Geoff Emerick defines, “Perhaps, in his naivete, (John) thought that simply recording it on four-track instead of two-track would certainly somehow make it sound much better, yet after one whack at it, the concept was abandoned.” George Martin at that point insisted that they relocate on, explaining that the recording they made on July 18th was enough.Lennon then exdeclared, “All right, George, we provide up,” and also then presented them to their following single, “I Want To Hold Your Hand,” which was taped next.

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The Beatles did record the song aget in the studio, yet this time it remained in their newly created Apple Studios on January 26th, 1969, during sessions for the “Get Back” project (released as “Let It Be”).The current purchase of Smocrucial Robinson documents by George Harriboy inspired The Beatles (via Billy Preston) to go via two takes of “You Really Got A Hold On Me” as well as the even more recent Miracles hit “Tracks Of My Tears.”The first attempt was believed amazing enough to be maintained on film and released in the “Let It Be” movie. Although producer Glyn Johns deemed it worthy sufficient to perform a mix of the song in March of 1969 for intended release, this never experienced the light of day.


Tune Structure and Style

The framework of “You Really Got A Hold On Me” is fairly complicated and left to different interpretations.This thumping ballad in 6/8 time shows up to follow the same fundamental pattern as a long-standing song in their collection, “A Taste Of Honey,” which would certainly make up a 'verse/ verse/ refrain' formula, yet via included characteristics.

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After this initial pattern, a bridge appears (which includes the repeated words “tighter”), before delving earlier into another verse and refrain.Then we go right into a unique conclusion, which sounds similar to the last eight bars of the verse but then ends with an critical coda to end up off the song.This conclusion dispenses of the fade-out finishing of the original in favor of a automobile suitable for concert performances.After all is shelp and also done, we check out a 'verse/ verse/ refrain/ bridge/ verse/ refrain/ conclusion' pattern, translatable as aabcabd.The song does begin, though, via a similar eight-measure introduction as heard on the original, which creates a suitable anticipatory feeling and also gets the sphere rolling.This lengthy 22-bar verse, which suitably ends with the repeat of the title of the song 4 times, segues into a 2nd verse of equal length and style, differing only by a brand-new collection of lyrics.

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We then go right into the eight-meacertain refrain which is the true attention-getter of the song, although the song’s title does not show up in its lyrics.Instead, we hear The Beatles voices repeat the words “organize me” 4 times in the last 4 actions while the band accentuates each time through a thunderous ‘break’ on each one-beat.The last of these 4 times puts the song in suspended animation, holding in the air without the moment clock going, only to resume once the advent of the song reappears to set the song in activity aget.This unique characteristic, as replicated from the original, celebprices the brilliance of the song’s writer and arranger.

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We then delve right into the eight-meacertain bridge which showcases some sophisticated drum-work-related from Ringo during the fourth and eighth measure while the words “tighter” are heard.This creates a perfect segue back into a 3rd verse, which is similar to the first 2 various other than different lyrics.At the finish of this verse we hear the excited “baby” overdub The Beatles insisted on including in to complete the recording of the song.

This takes us to the last refrain to round off the compowebsite framework of the song, differing from the initially just by the words “please” and also “squeeze” heard in the initially 2 dramatic breaks of the final 4 actions.After the repeat of the ‘suspended animation’ facet of the refrain, we conclude the song with a seeming repeat of the final eight actions of the verse, just it actually differs in the placement of the chord alters within the sentence structure of the title of the song as it’s recurring four times.We then finish the proceedings through two actions arranged especially by The Beatles to develop a performance finishing to the song.These two procedures accentuate each beat of the time signature in triplet notes, which are recurring 4 times before ending via a breath-taking last chord and cymbal crash.Top-notch!

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Performance wise, this is a prime instance of the synergy The Beatles produce as all 4 of them perform at the top of their game, one member not shining over the others.John and also George develop the perfect vocal harmonic pressure that drives the song throughout.George, as it has actually been said about his beforehand Beatle years, may have actually struggled with a minimal vocal selection, yet sheer enthusiasm and also devotion to The Miracles’ original variation wins the day.John's portrayal of reluctant infatuation created via strength and also strongly raw sincerity provides up for the subtle nuance of Smocrucial Robinson's brilliant original performance. Vocal toughness alone wins out on this song.

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But the musical performance brings it all house.The combination of George Harrison’s lead guitar occupational and also George Martin’s piano vamping develop a perfect blfinish, specifically remarkable during the recurring introductory riff heard periodically in the song.Lennon’s rhythm guitar occupational is painstakingly exact, as is Ringo’s excellent analysis of the original.Uniquely, McCartney doesn’t pine for the spotlight in this song; instead he lays ago, adds periodic harmony vocals and also plays rudimentary however specific bass lines which show up low in the mix.

Lyrically, the song is distinctive for its time in showing the singer’s dependence on a connection that is obviously not in his finest interest.He might be ‘done wrong’ and ‘treated badly,’ however he can’t aid yet ‘love her madly’ just the very same.In the last verse he also threatens to end the connection, saying he wants to “split,” however still acquiesces to his dependence on her.An exciting play on words is heard in the song, not unprefer what Lennon and also McCartney were prone to put in their very own songs, centering on the word “hold.”The power that the female character has actually on the singer is illustrated throughout as the “hold” it has on him, while the refrain explains that all he wants her to execute physically is to “hold” him.No doubt, examples like this spurred the Lennon / McCartney songcomposing partnership to seek comparable concepts, as we deserve to watch throughout the Beatle years.


Amerideserve to Releases

The primary Amerideserve to release of “You Really Got A Hold On Me” came in the form of “The Beatles’ 2nd Album” on Capitol Records, released on April 10th, 1964.Its place on this album as the third track on side one, in comparikid to its British equivalent of third track on side two of the “With The Beatles” album, put deoffered prominenceon a superb song. On January 21st, 2014, "The Beatles' Second Album" was released as an individual compact disc for the initially time, the mono and also stereo mixes being consisted of on a solitary CD.

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Sometime in 1967, Capitol released Beatles music on a brand new yet short-lived format called "Playtapes." These tape cartidges did not have the capability to include whole albums, so 2 truncated four-song versions of "The Beatles Second Album" were released in this portable format, this song incorrectly titled as "You Really Get A Hold On Me" on one of these releases. These "Playtapes" are very collectable this day.
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The initially time the original British "With The Beatles" album was made accessible in the US was the "Initial Master Recording" vinyl edition released via Mobile Fidelity Sound Lab in January of 1987. This album included "You Really Got A Hold On Me" and was all set making use of half-speed mastering modern technology from the original master tape on loan from EMI. This title had a restricted production, reportedly bereason of a damaged metal component that was essential for pressing the vinyl. As such, this album is shelp to be the raremainder and also many valuable Beatles album in the “Initial Master Recording” series.

February 26th, 1987 was the nextUS release of the song, on the CD "With The Beatles" in mono. A vinyl edition of this album came out on July 2first, 1987. The stereo version was finallyremastered and also released on September ninth, 2009 on CD, the vinyl edition coming out on November 13th, 2012.

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The 90’s saw 2 even more official versions of the song released.“Live At The BBC” appeared on December sixth, 1994, the first album released on the Apple label in practically 2 decades.The version appearing on this doubledisc was the 3rd time the song was tape-recorded for the BBC, which was on July 30th, 1963 for the radio show “Saturday Club.”The song aired on British radio on August 2fourth. A remastered and also re-packaged variation of this album was released on November 11th, 2013.

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November 2first, 1995 saw the release of “Anthology 1”, which included a live variation of the song as perdeveloped on October 24th, 1963 prior to a studio audience at Karlaplansstudion in Stockholm, Sweden, which was aired on Sveriges Radio on November 11th.

Not to be forobtained is the November 15th, 2004 released box collection “The Capitol Albums, Vol. 1,” which functions the stereo and mono versions of the song as initially heard on "The Beatles' Second Album."

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The box set “The Beatles In Mono” was released on September 9th, 2009. This all-inclusive set contained the entire “With The Beatles” album consisting of a fantastic remastered mono version of "You Really Got A Hold On Me."

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Live Performances

The first confirmed performance of “You Really Got A Hold On Me” by The Beatles was on May 1fifth, 1963, at the Royalty Theatre, Chester, Cheshire.The Miracles’ variation was released in Britain only 6 months prior yet did not chart, so The Beatles did their part in presenting a great brand-new song to British audiences.The Beatles, particularly John Lennon, loved this unrecognized song so much that the group continued to percreate it among their establimelted hits, such as “Please Please Me” and also “From Me To You,” months prior to they tape-recorded it themselves.

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The Beatles continued to percreate the song periodically throughout 1963, such as in Sweden on October 2fourth, and also during their “Autumn Tour,” which started on November 1st in Cheltenham, Gloucestershire and also continued on till December 13th in Southampton.Even though this was just three weeks after The Beatles’ variation of the song was released in Britain, it was the last time the song showed up in the group's collection list.Because of this, American audiences never obtained to hear the song percreated live.

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The Beatles perdeveloped "You Really Got A Hold On Me" four times for BBC radio, all recorded prior to the song was released by the team. The first was on May 2fourth, 1963, for the first edition of “Pop Goes The Beatles,” which aired on June fourth.The second was recorded on July 16th for another edition of “Pop Goes The Beatles," airing on August 13th.The third variation, which appeared on the “Live At The BBC” album, was recorded for the “Saturday Club” present on July 30th and aired on August 2fourth.The final variation was videotaped on September 9th, likewise for “Pop Goes The Beatles,” which was broadactors on September 17th.

See more: How Much Of A Sinner Are You Quiz, How Much Of A Sinner Are You

The just time The Beatles ever returned to the song was the couple of rehearsal absorbs Apple studios on January 2sixth, 1969 throughout the recording of the “Get Back / Let It Be” task.


Conclusion

Many type of sources rightfully claim The Beatles version of “You Really Got A Hold On Me” as among the ideal cover songs of their career.Many type of descriptive words have actually been provided by these resources to solidify this claim.It deserve to ideal be summed up by the words of Paul McCartney:“A lot of our tracks might not have actually been ‘cool’…however that was a good aspect of us.John would do…’You Really Got A Hold On Me’- you can speak to that ‘cool’.”

Simply put, the song is just simple “cool.”

Tune Summary

"You Really Got A Hold On Me

Written by: William Robinson

Tune Written:October, 1962 (approx.)Song Recorded:July 18, 1963First US Release Date:April 10, 1964US Single Release:n/aHighest Chart Position:n/aBritish Album Release:Parlophone # PCS 3045 “With The Beatles”Length:2:36Key:A majorProducer:George MartinEngineers:Norguy Smith, Ricdifficult Langham

Instrumentation (most likely):

John Lennon -Lead Vocals, Rhythm Guitar (1958 Rickenbacker 325)George Harriboy –Harmony Vocals, Lead Guitar (1962 Gretsch 6122 Country Gentleman)Paul McCartney -Harmony Vocals, Bass Guitar (1961 Hofner 500/1)Ringo Starr –Drums (1963 Ludwig Downbeat Oyster Babsence Pearl)George Martin -Piano (Baldwin Satin Ebody Grand)

Written and compiled by Dave Rybaczewski