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Author Topic: The Like in I Love you, lyrics, chords???  (Read 4014 times)
wallabie
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« on: July 31, 2010, 09:38:16 AM »

Hello,

I know, this question does not have much to do with the Beach Boys, but I was just wondering... has anyone here already found the chords for "The Like in I love you"? I listened to it several time - I still have problems to "hear" the whole lyric (I cannot find the First line in the 2nd Verse) and from the chord-progression, its a typical Gershwin Song... way too complicated for me Smiley

Because Id love to make a cover of it, but somehow I am stucked Sad
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the captain
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« Reply #1 on: July 31, 2010, 09:53:12 AM »

(I cannot find the First line in the 2nd Verse)
If you mean starting at 1:21, I believe it is: "When you connect the dots, I see your picture coming through: the star is always you. It's more than harmony when you sing with me. It's an entire symphony."
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the captain
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« Reply #2 on: July 31, 2010, 10:29:49 AM »

OK, here are the chords as I hear them. Please note, this is just me messing around and I'm not intending to include every extension, passing tone, etc. (To get a basic feel for those kinds of things, you can often move the chord one beat later than you're moving the bass notes below. Because it's a lot of ii-V type progressions, that results in suspensions.) But the basic chord structure seems to be along these lines. Others' thoughts or corrections more than welcome--this ain't gospel.

Intro
Ab-7  Db7 / Gbmaj7  Bmaj7 / F-7  Bb7 / Ebmaj7 ' /
D-7  G / C-7  A-7(b5) / F-7 ' / Bb7sus   Bb7 /

Verse
Ebmaj7 ' / Ab ' / F-7 ' / Bb13 ' / Ebmaj7 ' / Ab ' / G- ' / Bb7 ' /
Ebmaj7 ' / Ab ' / F-7 ' / G ' / C-7 ' / F-7 ' / Bb7 /

Pre-chorus: first half emphasizes just two notes, fifth in bass and third on top. (ie the notes C/Eb and D/F)
Ab/Eb ' / Ab/Eb Bb7/F / Ab/Eb Bb7/F / Ab/Eb  Bb7/D 
G-7 ' / C-7 ' / F-7 ' / B7 ' /

Refrain
Ebmaj7 ' / Ab ' / F-7 ' / G  C-7 / F-7 ' / Bb7 ' / Ebmaj7 ' /  
« Last Edit: August 02, 2010, 01:39:04 PM by Luther » Logged

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wallabie
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« Reply #3 on: July 31, 2010, 12:38:03 PM »

Wow, thank you so much Luther. You are too good!!

I always have problems to "hear" the Gershwin Songs. They are crazy, I worked over a week just to get the chords for "Someone to watch over you" and in the end I did not get them right.

A real big and warm thank you man. "When we connect the dots" my gosh. I listened to the song so many times on my Ipod and I always thought he was singing "We we met the dance" and was wondering: "Gosh, this does not make any sence at all"  Grin


So, do you think the lyrics are OK that way - because I am not a native speaker, there is a huge possibility that Ive mist a spot Smiley


You reached into my heart
And found the music of my soul
The melody unfold (?) for you

Ive never danced before
Until you asked me
The magic lights lead up the floor

Lighting in the starless sky
Til weve found the inner light
Now we can duplicate the universe

The pain in painting, the muse in music
The Like in I love you

When you connect the dots
I see your picture coming through
The star is always you

Its more than harmony
When you sing with me
Its an entire symphony

Lighting in the starless sky
Til weve found the inner light
Now we can duplicate the universe

The pain in painting, the muse in music
The Like in I love you
« Last Edit: July 31, 2010, 12:55:33 PM by wallabie » Logged

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Wirestone
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« Reply #4 on: July 31, 2010, 12:59:35 PM »

This is what I hear --

You reached into my heart
And found the music of my soul
The melodies unfolds for you

Ive never danced before
Until you asked me
Then magic lights lit up the floor

Gliding in a starless sky
Til we found the inner light
Now we can duplicate the universe

The pain in painting, the muse in music
The like in I love you

When you connect the dots
I see your picture coming through
The story's always you

Its more than harmony
When you sing with me
Its an entire symphony

Gliding in a starless sky
Til we found the inner light
Now we can duplicate the universe

The pain in painting, the muse in music
The Like in I love you

Don't be afraid, love
We can take it from
The happy ending

The great in grateful the faith in faithful
The like in I love you
« Last Edit: July 31, 2010, 01:07:22 PM by Wirestone » Logged
the captain
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« Reply #5 on: July 31, 2010, 03:09:22 PM »


The story's always you

That's what I was thinking first, but then switched to "star is always." Frankly I could see it either way on that line. And wallabie, no problem. It's good exercise to try to work out songs on occasion, and my lazy ass (ear) needs it from time to time.
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« Reply #6 on: July 31, 2010, 03:49:06 PM »

Luther -- I'm curious. Do the chords strike you as very un-Brian? Or do they show his touch? I only wonder because I've heard the original and the chords sound pretty similar, although the structure and melody differ.
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the captain
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« Reply #7 on: July 31, 2010, 04:07:25 PM »

I'd say the chord progression is pretty typical of pre-Brian pop, of which Gershwin, of course, is a part. And Brian worked that type of chordal structure into a lot of his non-Chuck Berryish music. I am not familiar with the original, but I'd say the part that would be least likely in something from Gershwin's time might be the pre-chorus where the chords are just implied (the C/Eb... bit, where you'd expect more fully fleshed-out harmonies instead of stark 2-note parts). The G major chord in the second line of the verse, which is a III chord, is also a little bit unusual. In a major key, the chord built on the third is typically a minor chord (or, "iii"). So to go from Imaj7 - IV - ii7 to III could be considered a little out of character, though it makes sense in that it acts as V of the C-7 (vi-7) that follows. So it's not especially odd, in that adding a secondary dominant (i.e. the "5" chord of the next chord as if you were in the key of that next chord) is common in functional harmony. The two things that are most commonly associated with Brian don't really happen: (1) the "wtf" chord(s), where you just don't know what they're doing there, and (2) significant use of inversions or non-chord tones as bass parts (i.e. "slash" chords, such as an A major chord over a B in the bass).
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wallabie
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« Reply #8 on: July 31, 2010, 10:54:24 PM »

Thank you again luther and wirestone Smiley. Uh, I really missed some spots... could be the ear, could be the lack of vocabulary Smiley


Thank you my friends Smiley


First I thought it is "The story is always you",.. hmm... can be both, cant it....  Brian does not pronounce it very well.... Smiley
« Last Edit: August 01, 2010, 01:04:45 AM by wallabie » Logged

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the captain
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« Reply #9 on: August 08, 2010, 01:55:22 PM »

This afternoon I've been bored, hating the heat, and awaiting friends who are stopping over for dinner. I decided to try to quickly record the intro to "The Like In I Love You," a capella, just for the hell of it. Not following the recorded arrangement, just quickly whipping out the changes. I have to say, while I only spent maybe half an hour on it, it only adds to my respect for the arranger and performers. Some of the changes seem to lead to voice-leading issues, and of course tight harmonies are always tricky enough.
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