Guitarist Randy Bachman Demystifies the Opening Chord of The Beatles’ ‘A Hard Day’s Night’

You could call it the magical mystery chord. The opening clang of the Beatles’ 1964 hit, “A Hard Day’s Night,” is one of the most famous and distinctive sounds in rock and roll history, and yet for a long time no one could quite figure out what it was.

In this fascinating clip from the CBC radio show, Randy’s Vinyl Tap, the legendary Guess Who and Bachman-Turner Overdrive guitarist Randy Bachman unravels the mystery. The segment (which comes to us via singer-songwriter Mick Dalla-Vee) is from a special live performance, “Guitarology 101,” taped in front of an audience at the Glenn Gould Studio in Toronto back in January, 2010. As journalist Matthew McAndrew wrote, “the two-and-a-half hour event was as much an educational experience as it was a rock’n’roll concert.”

One highlight of the show was Bachman’s telling of his visit the previous year with Giles Martin, son of Beatles’ producer George Martin, at Abbey Road Studios. The younger Martin, who is now the official custodian of all the Beatles’ recordings, told Bachman he could listen to anything he wanted from the massive archive–anything at all.

Bachman chose to hear each track from the opening of “A Hard Day’s Night.” As it turns out, the sound is actually a combination of chords played simultaneously by George Harrison and John Lennon, along with a bass note by Paul McCartney. Bachman breaks it all down in an entertaining way in the audio clip above.

You can read about some of the earlier theories on The Beatles Bible and Wikipedia, and hear a fascinating account of one scholar’s mathematical analysis of the component sounds of the chord from a few years ago at NPR.

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Related Content:

Here Comes The Sun: The Lost Guitar Solo by George Harrison

Peter Sellers Reads “A Hard Day’s Night” in Shakespearean Mode

Jimmy Page Tells the Story of Kashmir

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Comments (91)
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  • There additional two other additional elements to the original chord, which actually features all four Beatles and George Martin.
    If you listen carefully, the chord starts with the single strike of a snare drum, and George Martin plays a piano chord underneath as well.
    Martin also doubled George Harrison’s guitar solo on piano, which is why it sounds the way it does.

  • Mike Springer says:

    Maybe that’s true, Dougald. Anyone who wants to learn about some of the various theories can follow the links in the last paragraph. But what Bachman is saying here is that he had an opportunity to listen to all the source material–to hear each of the component tracks in isolation–and that the chord breaks down as he says.

  • Cool. Thanks for sharing.

    I just wonder if anyone who isn’t a baby boomer cares. (Since I *am* a boomer, I’m in no position to say.)

  • Douglas Kwan says:

    @Richard: oh yeah there are a lot of us (non baby boomers)who appreciate the magic and genius of the music and the era and movement it started. There are only so many firsts in the world and the Beatles were one of the pioneers of music. Whether people understand or want to understand how to make that first chord, once it’s played it resonates with a lot of people and just makes you wanna sing and play.

  • Rob Britt says:

    I think the music of the Beatles transcends generations somehow. It’s magic. I am a late Boomer (born 1963) and love their music, my youngest daughter born in 1991 has a tattoo’d Beatles sleeve and “All you need is love” tattoo’d on her back. Then again maybe it’s genetic. Nature vs nurture. whatever it is, that chord is awesome and totally unique. Thanks for sharing this!

  • Bozo says:

    Home boy hit the nail on the head. That’s that, next…

  • Weez says:

    It’s a little more complicated than Mike Springer suggests. The song was originally recorded on a four-track recorder, and there were no “component” tracks of the individual instruments making that chord. The entire band was recorded on track 1, with vocals on track 2. Track three was acoustic guitar and percussion, and track 4 was the solo with guitar/piano. See Recording the Beatles book for more.

    What Giles Martin apparently did for the One album and Cirque du Soleil show, was to use new digital technology that could separate the individual musical instrument components out of single tracks. This is how he was able to do the mashups on that album. Bachman mentions being invited to go and listen to the ProTools files.

  • Mike Springer says:

    By “component tracks” I meant the individual tracks that make up the record. Nothing more. Thanks very much for the helpful input. (And for citing your source; it sounds like an interesting book.)

  • Joe Wealth says:

    The Beatles have brought class and style to many generations. The Beatles at least for me can relate to today’s youth just like back then. Just my opinion.

  • Bryan Smith says:

    Do younger people care about this or the Beatles in general? I’m 40, was born after The Beatles broke up and recognize their genius with regular plays of their albums. My SEVEN year old son loves them as well. A Hard Days Night being one of his favorite films and Beatles RockBand – we play as a family. The Beatles will live on.

  • David says:

    I am a substitute teacher and from my experience most kids elementary school age love love love melodic music like the Beatles, the Beach Boys, Elvis, etc.
    It’s when they get older in that terrible teen & pre-teen phase when they’re going through all those hormonal changes and they (most it seems) subconciously feel the need to totally overhaul practically everything they liked as a small child.
    Many times I think it’s just an act of rebellion. You know the old adage: “You’re not suppose to like your parents’s not cool.” And others simply succumb to peer pressure that permeates all around them.
    I don’t have hard evidence to back this up, it’s just my determination from years of observation and interaction.

  • Here is a poor man’s version that we did back in the 1960s with a band I had.
    Play B on the A string ( 2nd fret) and A ( second fret) on the G string. All other strings are open. On a 12 string it is fairly effective.

  • eagleash says:

    I have always thought it to be a Gm7 with some addition I can’t quite remember. In terms of “tab” from high “E” (1st string) 335353.

  • Boyd Williamson says:

    I was 11 when the Beatles appeared on the Ed Sullivan Show, and it was an absolute epiphany for me. I spent most of the rest of my life as a musician. There’s no doubt in my mind that George Martin was the 5th Beatle, and much more. The Hard Day’s Night chord was played by him, as well as the solo in the song. George would cover it live on a 12-string Rickenbacker. It’s a suspended 4th chord of some kind.

  • Boyd Williamson says:

    Martin knew of these “electric piano” sounds that were some kind of a cross between a piano and a harpsichord. I’m not sure where he got them, but there they are on the Beatles’ recordings, with Martin playing them so very tastefully.

  • Paul Besterman says:

    E minor 7th sus4

  • Paul says:

    That is the chord that the person said they played with the B on the A string and so on I hadn’t heard the video yet.

  • Paul says:

    After hearing the video all the notes included would be GFACDand F# the latter producing the characteristic dissonance. Only my Opinion !

  • E.Morneau says:

    Another poor man’s approach is to learn the song in open D tuning and play the opening chord on the fifth fret as you would play an A7th chord in regular tuning, barring it, of course. It’s basic, but it works.

  • Bobby Beatroot says:


  • Barry K. says:

    First, I love Randy and was fortunate enough to meet him in the 80s. But on the 1st chord of AHDN, there is absolutely a piano chord (played by GM), as stated by Doug L. in a previous reply I’ve been a collector and also have access to several of the isolated tracks. I just did a YT vid last week of the instrumental-only tracks of AHDN song (under “Louie Nye”) I also have alternate takes and studio chatter vids I made, as well.

  • Ralph Notaro says:

    What a revelation! Today’s digital technology is amazing. The chord I have played in the past was the one that Bobby B. tabbed above, which is a G7sus4. Does anyone know the piano chords hat George Martin played?

  • John McManus says:

    The G7sus4 is also the chord I still use to play AHDN!

  • stevie says:

    saw the Beatles 150times at the Cavern and Paul gave me the chords to ‘Till there was you’ after they finished a session after John was er, busy putting a new string on. In early 61 Bob Wooler got me up and I sang 3 songs with the \Beatles, that was when Pete was still on drums. I sang 3 early Elvis songs as I knew George and John really rated early Elvis stuff and didn’t really dig his later stuff. My Aunt lived right opp Paul’s house in Forthlin road so I saw him quite a lot, the reason I saw them so much is because I knew they were gonna be the biggest thing ever, just knew it and I am blessed that I saw them so much and although they went on to conquer the world I am glad the world knew them as I did way back then

  • Chris Rowe-Wilson says:

    Noooo! all wrong completely. My mother , a Professor of Music worked with me on getting that chord immediately after getting the record in 64 and we played it that way always.Basically F6 triad with wrap over G muting A and open D on 12 string guitar. D7 sus4 played on 3rd fret for rhythm,Bass D+ Doctave played with plectrum,Strike on bell of large cymbal and hi tom rim shot. Piano is low chord same as 12 string chord with hi Dsus + F note. That,s it. Ending run out is F6 to F triad picked in arpeggio! So the sum of ‘THE CHORD’ is based around a D sus Chord and as D is the 5th, and dominant note of the G tonic scale it all makes sense. I play 26 instruments and have played since 1957 sooooo!??

  • Chris Rowe-Wilson says:

    So I listened to Randy now, and we totally agree!! We,ve been playing it Right for all these years. Good for u Randy. Dooley Mason comes from the same town in SA as me! We had great bands there in the 60,s!

  • Warren says:

    Respect both RB and the Beatles….it still amazes me how many artists, song writers that were born after George and John passed away, still point to the Beatles as a major influence….

  • Colin says:

    Interestingly enough, the guitar solo on this was too hard for george harrison to play, so they had to slow it down, then speed it up for the recording. So the solo is recorded a few steps down, then sped up to be both the correct speed, and in key.

  • MacBratt says:

    Well, George Harrison would know it. And he has been recorded of stating it’s “an F with a G under” or in simple terms an Fadd9 (which is also used in the ending, alternating with a F chord). The trick is to play the bass F with the thumb and mute the A-string.

    Fadd9 : 1X3213.

    It’s close to the G7sus4 I have switched from playing that chord to an Fadd9.

  • Gerald says:

    So…….instead of all this conjecture,experimentation, gnashing of teeth and speculation over the years, why didn’t somebody just ask one of these guys how they did it? ;o)

  • Steve says:

    Is it just me, or isn’t Randy’s chord quite different from the video chord? It sounds transposed.

  • Christopher Louviere says:

    The chord is an F Maj 2nd. It’s an F with a G note on top. I figured this out a long time ago and had it confirmed when I read an interview with John Lennon who says the same thing.

  • Mr Mojo says:

    It’s impossible to reproduce without all the instruments, but the campfire version I have always used is: 5355333

  • John S. Allen says:

    In response to Steve: You can verify by comparing with other versions of the recording that the video embedded on thsi page is transposed because it is simply speeded up: the original 24 FPS film was played through a telecine at 25 FPS. Horrible as that is, it is the standard way to play film over television in countries with 50 Hz electrical power. That is unnecessary with online video, but whoever posted the YouTube video just used a dub made for TV, and didn’t know, or didn’t care.

  • MacBratt says:

    @Christopher : you have a weird way naming chords. As far as I know, 2 and 4 are only used in chords where you change the 3rd to a 2 (sus2) or a 4 (sus4). Technically it’s a nine. It’s an added 9 because there’s no flatted 7th. I could be wrong, but a Major Chord would be a chord with a 7th (iso the standard flatted 7), minor chord is where the 3rd is flatted.

    @Gerald : they did ask, and they both (apparantly, I only knew of George Harrison’s answer) state it’s a F with a G on top (a Fadd9). They both played the same chords, George on the 12 string Rick, John on his electo acoustic Gibson.

    Back to the chord itself, the trick to the chord is the embedded C5 on top. This can both be found in the G7sus4 some prefer (but the open chord will sound a lot better than the barré, provided you fret it correctly) and the actual Fadd9. I bet you can just play the C5 to get the chime the chords evokes. I suspect an F5add9 would sound even better (1X3X13). The most important thing is to strike and fret it correctly, make sure you get the C5 (B and E string notes) to sound out.

  • George Nose says:

    As seen in a facebook post of Mike Isenberg:

    “George Harrison described the chord himself – Bachman is wrong. I’ve studied The Beatles since 1963 and I’ll take George’s version any day. Here is the way it actually goes on the twelve string – anyone can do it and hear perfectly that it’s absolutely correct as George described it. Add onto it Paul’s bass note of D and George Martin’s piano chord and there you have it. Of course everyone will believe as they wish, but that IS the chord, and again, I’ll take George’s word over Randy Bachman, who doesn’t seem to add into the mix the fact that A Hard Day’s Night was recorded on a four track machine that would make it impossible to pull out separate tracks. Here is the chord – try it. You’ll hear the proof. First finger on the first fret of the sixth string. Second finger on the first fret of the second string (it’s a stretch). Little finger on the third fret of the first string. Strum all of the strings – and there you have it. It’s the same way George did the song in concert with The Beatles, and he said it was the same chord he used when they recorded the song.”

  • George Nose says:

    Essentially, Randy Bachman may or may not be accurate in saying how Giles Martin or someone else in post-Beatles times re-created the sound. But, he is certainly wrong in saying that what he describes is how The Beatles made the sound.

  • MacBratt says:

    @George Nose : if you’re implying it’s 100013, that doesn’t make any sense. However if it’s 1XXX13, you get the F5add9 I mention and that does make an awful lot of sense as it’s basically two powerchords on top of each other (F5 and C5) and would sound like that. It’s not what notes are fretted, it’s what notes are actually played. I can imagine they muted the open strings with the index finger though.

  • epenguin says:

    I always thought it wa a dfad, not that i know anything about music, but from all i have read, thats what it is.

  • Tony says:


    It’s not so much the chord itself that’s the mystery, but how it was voiced (especially with the 12 string). Cool stuff!

  • joemichaels says:

    Always thought this song was in Bb. ;-)

  • Mike Wattie says:

    There is a snare drum also with that chord.

  • Jon Dinerstein says:

    Has anyone ever listened to the Beatle’s “Black Album”? It has a different version of A Hard Day’s Night on it. The solo is quite different.

  • Mike Bollinger says:

    I’ve been to your store serial times. Bought an Godin guitar from you several years ago. Loved that guitar. I’m ready for a Lavirree guitar now. I really love those guitars. I have a Taylor 410 and Martin D-18. I think the Lavirree beats both those guitars hands down. I’m looking for a L-03R or a L-05R. Can you help me out? Thanks..Mike

  • greg says:

    I think a lot of the general public havent heard all the wealth of obscure songs on any of the 4 lads albums . . . they never get played in Aus on mainstream radio . . . :)

  • Bert says:

    Great work from Randy and answers a question for my band we’ve been asking for a while. What baffles me is that in the comments above there are still people demonstrating stupidity in maintaining their own wrong opinion about what the content of the chord should be while Randy was able to analyze the Original tapes. Shut up you guys and play it like Randy analyzed! Thanks Randy!

  • Al rizzolo says:

    WOW!!! That’s AMAZING!!!

  • Zastava says:

    ……I don’t think so Randy…………….

  • bilrux says:

    Duh, it’s a sus4 on the V in whichever key you choose to play it in.

  • Grant Wiggins says:

    Does anyone have access to the full video of this audio? It used to be on YouTube but got taken down. You can watch Randy build it.

    It is odd that George disagrees, given that Randy & Giles went over all the layers on the tape…

  • Bob Ruzzo says:

    I agree with bilrux……BIG DEAL…a sus chord….I really don’t care….I think now after all this I will go back to de-mystifying something useful.

  • Glenn Stockley says:

    headline should read “Giles Martin demystifies ……….. chord for randy Bachman……lol…..

  • Mick Wagner says:

    Aaahh…folks? I think something that everybody is forgetting, is that what we hear as the final, recorded product, is usually a half-step to a full step higher than the original recording. The first thing that George Martin brought to the Beatles’ recording process (other than getting Pete best canned), was the classical recording trick of recording the original source at a slightly lower key and slower tempo, and then speeding up the tape for the final, master recording. So if you’re basing your analysis on the record, you’ll never get it right!

  • Joe Randazzo says:

    George Martin plays:

    D2, G2, D3, G3 and C4 (middle C).

    If you don’t play it that way on the piano, it will definitely sound like its missing something

    Paul’s D is not open. It’s the fifth fret on The A string.

  • goog mead says:

    You guys are hilarious. A suspended 4th chord a Big Mystery to Rockin’ guitarists… “Ooooo, what is that Strange Sound?” Hahaha

    Try listening to some Jazz. open up youre ears to something else besides 3 chord Rock tunes. Try a sharp 11 on for size. You’ll lose a little sleep for a few days, but it will be worth it!

  • Tix says:

    yes ….. I was hoping someone would say what goog mead said so I wouldn’t have to.

  • Dee says:

    Play the chords in the two videos.
    They’re not even the same note.
    What a complete waste of time.
    Also, this long, incorrect interpretation also wrongly excludes the BASS and the DRUM, which contribute to the SOUND of the ORIGINAL CHORD.

    This is the most intellectualized fail I’ve seen in a while. Congrats.

  • FryThePanda says:

    Putting all that together – D G C F A C G – makes Dm11 me thinks. Or F9/D or even Gsus9/D depending on the weather.

  • Andy says:

    The chord is done on a 12 string electric and in standard tuning. High E third fret. B string first fret. Low E string 1st fret. A, D, and G string open. Don’t believe me but I have it in all my recorded tabs books.

  • Clint Ballinger says:

    Yes – we care!

  • Bob Cooley says:

    “he had an opportunity to listen to all the source material–to hear each of the component tracks in isolation”

    This is slightly over-stating things. The Beatles only had 2 tracks available to them in 1964. Sadly, they did not keep individual overdub tracks they used to build the songs. They recorded the instrumental section ‘live’, playing as a band, then added vocals and overdubs, layering onto two tracks. So “component tracks” as we understand them today are not really available.

  • Jake Gerber says:

    Your absolutely correct. George Martin actually only played one note on the piano. The guitar chords are basically a G sus 4 chord over an F9 chord with George Martin letting the single A note sustain along with that guitars .
    So it is G/D/F/C/D/G for the sus chord and G/F/A/C/G for the 9 chord,Lennon only played five notes. If you add the sustained acoustic piano note,that is what they did and it sounds like it …

  • Jake Gerber says:

    I already replied …

  • Jake Gerber says:

    In respect to what bag Martin played,I just listened again to the original UK stereo mix. It is in fact a D note he played. I knew it had to be an A or a D note. It is the D …
    What I don’t understand is why people can’t accept the fact that it is the 12 string Rick playing the G7 sus 4 and John playing a six string F9, of F add the 9 ( G ) on top,as well as the bottom. The D and A notes are the difference …

  • jj doe says:

    I think it is every generation’s duty to somehow come up with something their parent’s will hate! Or even their older sibling.
    Beatles, then, late 60’s rock, then punk, disco … eventually rap. PLEASE, where is the next generation? (but it rarely gets better, as you get older. You have to find your own music. I’m happily listening to so much new music. Americana, Irish, other music… I can hardly keep up with it!)
    And it seems young people today want ‘the show’. They don’t care if anyone is playing, or even really singing. If they are happy with a floor show, it’s not for me to tell them they are wrong. Plenty of adults told me the Beatles were ‘wrong’. They changed my life! (but at 14, that didn’t take much!)

  • jj doe says:

    I still remember struggling with those Mickey Baker jazz books!
    (RIP Dan Hicks!)

  • Ron says:

    This is why I read comments.
    For all the negativity there is posted in comment sections across the internet, sometimes someone writes something as you did above which makes it all worth while.
    Thank you for sharing your remembrances of a magical time.

  • Michael Gormly says:

    Thanks David, that works well!

  • drummer, Tim Andrew says:

    Well, with all the speculation…lets ask Paul

  • Kim Shaheen says:

    It’s quite simple and you can play bass note at the same time. 1st/John’s guitar didn’t make it to the final mix. Tune low E to D, then play Fadd9 tab=0 0 3 2 1 3

  • Gary Lee says:

    Whomever posted this video cut some of the dialog that Randy had about the different players and Dougald is right. George Martin played the piano part and doubled George’s solo.
    I heard all of this on the original recording. He actually had every player play their part as he introduced it and then they all played it together.
    All I remember was getting chills. That band was so freaky creative. I don’t think I could handle growing up without the Beatles. When I was 11 my brother shoved a guitar in my hands and said, “here, now you’ll never be a bore at parties”.
    The original vid was about 7min.

  • HH says:

    Yes. I thought G-C-F-C-D-G


    but it does appear to be a 3rd fret bar chord. The chord RB is suggesting is unplayable.

  • Mike says:

    This is the ONLY way to play this chord if you have only one guitar at your disposal. It’s the only way to get all the notes of the chord in, including the lower A (open 5th string).

    However, it’s not the way it was played in the studio. As others have correctly pointed out (and Randy Bachman, sadly, missed entirely), it’s a combination of all four Beatles plus George Martin playing very specific chords and notes.

    The 353533 formation is a fudge if you’re playing out live, and is the closest combination you can get with a standard-tuning guitar (which you’ll obviously want to play the rest of the song!). But you’re still missing notes that are present in the chord if you only play this.

  • Mike says:

    Note…I thought I was replying to Kim Shaheen’s message, but it didn’t appear below it. When I say the “this is the only way to play the chord on one guitar,” I’m referring to Kim’s method of tuning the low E string down to D and playing 003213.

  • stitchgrimly says:

    But Melodyne makes it possible to isolate the different elements. I know it’s crazy, but that’s what they do now.

  • stitchgrimly says:

    #11 and lydian mode in general is pretty damn common in pop music dude. Anyone who’s ever played an F on guitar has probably opened the B string up. I think perhaps you’re being a bit arrogant.

  • Peter K says:

    It’s a G7sus played in 3rd position. 353533.

  • Tom Grose says:

    I think Paul played the D in the bass up an octave

  • Jake Gerber says:

    In respect to the opening chord of a HDN. I’m telling you exactly what it was. John was not playing a D suspended 4. Admittedly it sounded great,but was off a hair.
    This is the breakdown.
    George 12 playing a G sus 4
    John F9 ( F chord with an added G on top and bottom )
    George Martin did not play a chord.
    Both him and Paul played a sustained D note . Just ONE sustained note,not a chord.
    Obviously,the piano sustained ,much longer than Pauls note,but by Paul adding the D note as wel,it really packs a punch,on the attack.
    Try this. You’ll love it.

  • PhotoRick says:

    The 60s were my formative years: jr. high, high school, and college and I learned to play guitar (only for myself!) via Beatles’ songs. I just spent some time Googling that chord and saw all sorts of variations. Last night I saw “1964 The Tribute” at a theater (they were note-for-note amazing). The four came out afterward to talk to us and I asked “John” about that chord (which they played during the concert). He said to Google Randy Bachman and “The Chord” which is how I got here. I should have just asked the three of them what they actually played for that chord last night. :)

  • waltineattle says:

    goog mead and tix roger that.
    lyrical as they were it was I think all by trial and error like all rock started. The ear knows what works even when the player can’t explain it all. pity all we get here is tab notation. These guys would die looking at some tatum or a ornette combos “chords” somebody said tatum could tell you the dominant and root in a toilet flush. after my first encounter with orntteI could not “hear: music for over a week. even kindergarden tune made no sense. that is transformation.
    as for all the speed up eetc of the reecording gear. thats all seondary if you start with the relations and work back to transcribing so its playable on the frets . does no one own a spectrographic machine to look at whats actually there? and even the chimes can be sussed out if you filter the results by the reinforced timbres as they ring . is there a Tatum ear alive on the planet?

  • Rob McKay says:

    Fabulous Randy! Would have loved to hear you guys finish the whole song – cheers from a NZ Beatle fan

  • I have the hots for Britt Ekland says:

    Plenty of songs have an opening chord or two that automatically identify them. “A Hard Day’s Night” is one of the best examples.

  • Sal torneo says:

    It’s the last chord that nobody plays right. It’s a F chord just listen very close. F chord with little finger hitting G letting up hitting F going back and forth. Try it hit the G then B sting then G again back and forth. Been playing that song for over 50 years. I’m 73 now. I like playing music the right chords. The right way. Thanks try it. Remember listen to the ending with earphones 🎸🎸👍👍

  • Motown says:

    And yet, here you are saying it just the same.

  • Terry Reilly says:

    George’s clanging chord served a radio purpose back in its time. It was a conversation stopper and Beatles’ fans immediately listened to the song. Dylan did something similar — but maybe not as effective — with the snare hit at the start of “Like a Rolling Stone”. Again, ideal for radio. There would be more throughout music history and I have heard Santana do something similar before some of their songs, usually with a combined guitar chord and a percussive strike.

  • Dutch Peter says:

    The man said, it comes to a Dm11, which is the same as G7sus4/A (X00011).
    I could agree except for F on the first, for me that must be a G.
    After looking at Andy’s suggestion I’m convinced.
    His chord and mine come very close, but I love all six strings better on Andy’s chord (although a bit harder for the thump). So that’s it: 100013 (or X00013, easy version).

  • Ed says:

    You’re going to argue with Randy Bachman’s recording at the top of this page?

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