What an unexpected song!
As emblematic of the whole wonder, I admire certain unexpected low notes in the melody. They come at these places in the first verse:
Whenever I, whenever I am away from you (0:28)
I want to die, ’cause you know I want to stay with you (0:37)
And again in the second verse, setting up a special effect that will soon follow:
Whenever I, whenever I am away from you (1:03)
My alibi is telling people I don’t care for you (1:12)
The note of that you is a G, a step down from the easier choice, A. In the accompaniment we’re going back and forth here between an E-minor chord and an A major. The G note belongs to the E-minor, not the A major — that is, to the preparation for the A resolution, a step off from the A resolution itself — so even though it’s in harmony at that moment there’s something stubborn and backward about it. It’s one of the telltales of the unsure undercurrent of love.
This G has made such an impression that it haunts a later note that is fully three steps higher, the note for “who’s”:
Maybe I’m just hanging around with my head up, upside down
It’s a pity, I can’t seem to find someone who’s (1:27)
as pretty and lovely as you
“Who’s” is on C (backed by an F major chord), same as the C of “(some)one,” but it would make so much sense to go down to G again (and “who’s” does rhyme with “you”) that my ear reaches all the way down for it. I’m aided by a blurring of the C and the F-major feeling by a lower harmony-vocal E note dropping in, strange reminder of the old E-minor (and making a spooky major seventh of the F chord, potentially a major ninth including a G). I may also be loosened up by the words “I can’t seem to find someone . . .” The result, for one or more of these numerous reasons, is a definite phantom G. Now that I concentrate fifty years later on hearing what the note actually is, I’m quite surprised it’s way up there at C.
I must now try to erase that knowledge. This is not a hook for which clarity is helpful. Sorry.