text:
AND THE BAND BEGINS TO PLAY
Part Four – The Definitive Guide to the Beatles' BEATLES FOR SALE

by

Steve Lambley

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Published by SLIDE Books

Version 2.0

© Steve Lambley 2014

All song lyrics remain the copyright of their respective owners, and are quoted for the purposes of scholarship, under fair dealing and fair usage laws. No infringement is intended.

No part of this book may be reproduced in any form without written permission from the copyright holder.

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### Table of Contents

Single release

I Feel Fine

She's A Woman

Beatles For Sale LP

No Reply

I'm A Loser

Baby's In Black

Rock And Roll Music

I'll Follow The Sun

Mr Moonlight

Kansas City/Hey, Hey, Hey, Hey

Eight Days A Week

Words Of Love

Honey Don't

Every Little Thing

I Don't Want To Spoil The Party

What You're Doing

Everybody's Trying To Be My Baby

Beatles For Sale EP

Beatles For Sale (No. 2) EP

Notes

Recording and Mixing Details

Discography

Bibliography

Copyrights

## Single release

######  Parlophone R 5200 – Released 27 November 1964

I Feel Fine

#####  [Lennon-McCartney]

####  Recorded 18 October
Mixed 21 October (mono), 4 November (stereo)

John – lead vocals, lead/rhythm guitar
Paul – harmony/backing vocals, bass
George – harmony/backing vocals, lead/rhythm guitar
Ringo – drums

So, how do you follow up an intro as extraordinary as that of 'A Hard Day's Night'? With...

"the record with the first feedback anywhere. I defy anybody to find a record – unless it's some old blues record in 1922 – that uses feedback that way. I mean, everybody played with feedback on stage, and the Jimi Hendrix stuff was going on long before. In fact, the punk stuff now is only what people were doing in the clubs. So I claim it for the Beatles. Before Hendrix, before The Who, before anybody. The first feedback on any record."

A characteristically extravagant claim from John, but as far as commercial releases are concerned, he is right. But, of course, there's much more to the song than an audio gimmick. John seems to have been going all out to yet again bag the next single – although he was pushing at a slightly open door because so far only 'Love Me Do' and 'Can't Buy Me Love' had been predominantly Paul single releases. So the song is unusually straightforward in its message of being happy being in love. The closest to its soaring sentiment had probably been 'I Want To Hold Your Hand', but that still evinced a yearning to get even closer. 'I Feel Fine', for all the laid back understatement of its title, was about how things couldn't really get much better. Set against the magical combination of John and George's jagged guitar duetting and Ringo's deft, light touch, together with some wonderfully matched vocal harmonies, the song still sounds years ahead of its time.

But while 'I Feel Fine' is a thoroughly individual single, it is also built around a number of Beatle clichés and is, on paper, in many ways relatively standard fare. This is particularly true of the melodic and harmonic form of the song, which is based around a narrow range of notes and chords. Most of the song is contained within a range of about four notes, and the song comprises essentially only four chords, rooted in its key of G major. Blue notes are also used fairly predictably, with flattened sevenths prominent near the beginning of the verse, and a flattened third providing the pivot for the climax.

The strong presence of the fourth (C) in both the guitar riff and the melody of the verse creates a dynamic that the Beatles were to exploit more and more.

Harmonically, the verse's six-bar G–D (I–V) is capped by a four-bar D–C–G (V–IV–I). The bridge adds a little extra variety, though not a great deal, throwing in a Bm (iii) to heighten the "glad"ness. But essentially – and unusually – the whole song, verse and bridge, is in the key of G. The repeated Cs that John sings in the verse creates a certain dissonance with the G chord that leads to a feeling of urgency. The introductory feedback, incidentally, also provides a degree of added (probably unintentional) harmonic interest. The note plucked is an A, which is followed the D chord – and A is the dominant of D, which is the dominant of G.

The deceptively complex riff is based on the track 'Watch Your Step' by the American R&B singer/songwriter Bobby Parker, released in 1961. John acknowledged that he also used the riff to produce licks for 'Ticket To Ride' and 'Day Tripper'.

Encouraged to write a song around the riff, John was initially uncertain of the merits of 'I Feel Fine'. "I've written this song," he recalled telling Ringo on entering the studio, "but it's lousy".

George has cited the song as an example of a communally written song for which he received no credit. "We were crossing Scotland in the back of an Austin Princess, singing 'Matchbox' in three-part harmony. And it turned into 'I Feel Fine'. The guitar part was from Bobby Parker's 'Watch Your Step', just a bastardised version. I was there for the whole creation – but it's still a Lennon-McCartney."

Ringo's contribution should not be forgotten – something of a hi-hat/tom-tom duet with a hint of the calypso. His development into a key player in the creation of the Beatles sound did not go unnoticed by George Martin. "He was always trying out different ideas, to give a little piquancy to the arrangements."

But the character of the song is immediately laid on the line by that introductory feedback, and theories abound as to where the idea came from. Described at the time as an accident in the studio, Mark Lewisohn points out that take 1 of the recording had the feedback intro – and the timing and sound quality is identical to the final release – indicating the idea was already in place when recording began. But it could nevertheless have initially been an accident in the studio, as the Beatles did at various times capitalise on musical accidents. Geoff Emerick remembers being told by Norman Smith that they had chanced upon the sound when recording 'Eight Days A Week', twelve days earlier (during a session in which John can be heard for the first time working through the riff to 'I Feel Fine'). "During a break, John had leaned his guitar against his amp, but had neglected to turn down the volume of the pickup. Just at that moment, for no particular reason, Paul had plucked a low 'A' on his bass and, from across the room, the sound waves set John's guitar feeding back." Paul, in turn, clearly remembers John resting his guitar on the amp, ("I can still see him doing it") but without the plucked 'A'. The phenomenon of feedback itself was obviously well known at the time, being a hazard of playing live. And, as John said, "everybody" was using it on stage. But did John consciously "steal" the idea from the likes of the Who, as some commentators claim, or was it truly serendipitous, as the insiders would have it? Who knows. Either way, 'I Feel Fine' kicks in with a plucked A on Paul's bass, followed by the resonance an octave higher of the guitar's A string, driven by the sound from the bass amplifier.

And that first take of the song also neatly points up the danger of over-analysis. We can happily deconstruct the song decades later and marvel at how John piled dominant upon dominant at the beginning of the song to produce harmonic interest – and that even this was done intuitively. But the inconvenient truth is that take 1 of the song was in the key of A, the same as the plucked bass note. It was then lowered to the key of G all the better to suit John's vocal range.

(On the LPs _1962–1966_ and Capitol's _20 Greatest Hits_ , the feedback is preceded by a couple of second's studio noise – what sounds like a click of drumsticks and George or John saying something like "It's not enough", although it's really not possible to make it out for sure. This is trimmed from other stereo releases, including the CD versions of these albums.)

The early takes of the song have John singing along, but on take 6, they decide to record the basic rhythm track and dub the vocals on later. This they finally nailed, overdubbing lead and backing vocals to produce take 9.

_Live At The BBC Volume 2_ contains an interesting outtake from the _Top Gear_ version of the track, recorded on 17 November 1964 and unearthed in 1988. The lack of multi-track recording facilities at the BBC meant very little overdubbing was possible, but here the track is presented prior to John simultaneously double-tracking his vocal while a copy is made of the tape.

For the American single and album releases, both 'I Feel Fine' and 'She's A Woman' were mixed with an astonishing degree of reverb. This was certainly done by Capitol themselves, because, notwithstanding 'Everybody's Trying To Be My Baby' (coincidentally recorded on the same day as 'I Feel Fine'), George Martin would surely never have sanctioned the murky sound it produced. It's true that George Martin made separate mono mixes of both tracks for the UK and US singles, but Capitol then clearly piled on another shovelful of reverb for their own audience, supposedly to give the sound greater depth. It's notable that the other mono _Beatles '65_ tracks are much clearer.

Oddly, Capitol created mock stereo versions of both songs for the LP _Beatles '65_ , whereas the rest of the album consists of true stereo mixes (created by George Martin). This may have been because a stereo 'I Feel Fine' was not produced until 4 November, which may have been too late for production of the stereo LP (although this was not released until 15 December), whereas the mono and stereo versions of 'She's A Woman' were mixed on the same day, 12 October. Nevertheless, the amount of reverb plastered onto these two tracks is truly outrageous.

Like the two previous singles and their B-sides, the Beatles recorded performances of both 'I Feel Fine' and 'She's A Woman' for broadcast on the BBC's weekly TV show _Top Of The Pops_. A year later, the Beatles had hit upon the idea of filming what were effectively music videos for their single releases – short promotional films of them in various situations miming to a backing track of the song. The first session was for 'Day Tripper'/'We Can Work It Out', and the process repeated for Paperback Writer'/'Rain', 'Strawberry Fields Forever'/'Penny Lane', 'Hello, Goodbye', 'Lady Madonna' and 'Hey Jude'/'Revolution'. Also filmed during the first session were retrospective promos for 'Help!', 'Ticket To Ride' and the earliest song deemed fit for promotion, 'I Feel Fine'. Two versions of 'I Feel Fine' were made, one featuring gym equipment, which was used, and one in which the group spent most of the song eating fish and chips out of newspaper, making little effort to even pretend to be singing, which was not.

The single became the group's second Christmas number one, spending five weeks atop the UK charts and toppling the Rolling Stones' 'Little Red Rooster' from the top slot. The friendly rivalry between the two groups was surely being tested – the London group's first two number ones had now been ejected from the top after just one week by the young bucks from the North.

In the US, Beatle releases were starting to slow from the hysterical to the mere extravagant. Capitol alone had released seven singles in 1964, with Vee Jay, Tollie, Swan and others releasing the same number between them. There were five releases in 1965, all from Capitol and all number ones.

This run of six consecutive _Billboard_ number ones was a record at the time, pipping the Supremes' impressive achievement of five straight chart toppers. The record would be equalled by the Bee Gees in 1979, and finally bettered by Whitney Houston in 1988. More impressive is that 'I Feel Fine' was the Beatles' sixth US number one in 1964, a record that's unlikely to be beaten.

Oh, and for good measure, 'I Feel Fine' walked off with the Ivor Novello Award for the highest British sales of 1965.

### She's A Woman

#####  [Lennon-McCartney]

####  Recorded 8 October
Mixed 12 October (mono, stereo)

Paul – lead vocals, bass, piano
John – rhythm guitar
George – lead guitar
Ringo – drums, chocalho

As unique and instantly recognisable as is the feedback that introduces the A-side, so are the syncopated, stabbing guitar chords that open the B-side. John's idea of giving Paul's song an angularity rather than what Paul called a "watercolour wash" met with the composer's approval. As apparently happened at regular intervals with Paul, he seems to have set himself the target of writing a song to a very specific set of parameters. In this case a Little Richard-style blues number, but with a McCartney twist – so, 'She's A Woman', not 'She's A Girl'. Paul was in awe of his hero's ability to effortlessly – or so it seemed – knock off a series of songs in this style. Not so easy for the Beatles, "being white boys who'd not been to a gospel church in our lives".

Nevertheless, the song illustrates well both Paul's keen awareness of the blues genre, and his ability to write to (self-imposed) order.

Before playing 'I Feel Fine' on BBC's _Top Gear_ on 26 November, a performance later released on _Live At The BBC_ , host Brian Matthew was discussing both sides of the new single with the group, and at one point John quips that it was written quickly "in the studio". This gem has passed into Beatle legend and it is still often stated as fact. In fact, Paul wrote the song on the morning of the session, finalising the details while walking the streets near the studios in Abbey Road. He then ran it past John – as usual – before polishing it off at the session. Hard as it is to imagine such a piece having been written from scratch in the studio – particularly in 1964 when they would still be starting and finishing more than one song in a single session – such are the seeds from which many a Beatles myth has been nurtured, and, no doubt, ever more shall be so.

During the _Top Gear_ banter, Brian Matthew happened to mention that he preferred 'She's A Woman' to 'I Feel Fine', which riled John a little, prompting him to comment that they had "about one verse and we had to finish it off rather quickly, and that's why they're such rubbishy lyrics!"

Clearly not the case, we can see Paul working near the top of his lyrical game, writing efficiently and imaginatively. He is developing his love of language, and starting to come up with playful rhymes and interesting scansion. Pitching 'jealous' to rhyme with 'well as' is nicely bold – though the repeated 'she's no peasant' doesn't really cut the mustard. The back-handed compliment that this line imparts seems to be deliberate as it's often repeated in different styles and with different emphasis. The song also shows an early case of the McCartney trick of spilling a word over to an adjacent line – 'give me all her time as well as / loving, don't ask me why'.

The bridge is a perfect example of how less is more, and how effective a fleeting but significant change in tone and harmony can be. For four brief bars we move from a very blues-structured I, IV, V (A, D, E) concoction, complete with a melody full of blue notes, to iii–VI–iii–IV–V (C#m–F#–C#m–D–E), and a non-bluesy melody. The cymbal and slightly altered drum pattern complete the transformation, which is gone almost as quickly as you register it.

The day's recording was spent working on this one song, with seven takes being recorded in two hours during the afternoon session and overdubs added between 7 pm and 10 pm that evening. The first take was in rockabilly style, with the stabbing chords being introduced on take 2 to produce the structure of the released version. The final take cut loose into a jam making the take last nearly twice the length of the finished song. "We've got a song _and_ an instrumental there," observes Ringo. However, take 6 was deemed to be the best. George's lead solo was overdubbed onto this take as he does not appear on the rhythm track – in fact it was overdubbed twice as the stereo mix of the song shows up the fact that the guitar solo was double-tracked, which works well. Also onto take 6 were overdubbed Paul's piano part, and an instrument called a chocalho – a tube containing pellets or dried seeds to make what is essentially a shaker – which, for its first appearance on a Beatles recording, was shaken by Ringo. It has been suggested that the guitar was played by Paul, the argument going that since George does not appear on the basic track he may not have been present at all that day. This seems unlikely because the guitar, piano and chocalho overdubbing was likely done at the same time by Paul, Ringo and George – from the stereo mix it's fairly clear that all three were recorded onto the same track of the four-track tape. Also, George replicates the solo perfectly on the version recorded for the BBC on 17 November.

At the time, the song was evidently destined for the next album, as both mono and stereo mixes were made the following week, with 'I Feel Fine' not being recorded until six days after that. Were 'She's A Woman' recorded with the intention of gracing a single only, a stereo version would be unnecessary. On 21 October, a second mono mix was made, this time expressly for the US market. As ever, Capitol drenched the carefully crafted George Martin mix with inordinate quantities of echo. (And to compound the sin, used the mono version they had made to create a mock-stereo mix for the stereo version of the LP _Beatles '65_.)

As for the stereo version, for many years that was only available on the Australian _Greatest Hits 2_ compilation issued in 1967. Then in 1981, Parlophone released _The Beatles EP Collection_ , containing all the group's EPs (including both mono and stereo versions of _Magical Mystery Tour_ ) together with a new EP simply called _The Beatles_. This bonus EP included a slightly different mix of 'She's A Woman', which included Paul's count-in. This was also used for the CD release of _The Beatles EP Collection_ in 1992, but the original, trimmed version appears on the _Past Masters_ CD releases from 1988 and 2009.

The song was used a number of times as incidental music in the film _Help!_ – including a version in Indian style as the group approach the Rajahama restaurant and an action sequence on the Alps. It is also on the decoy tape Eleanor Bron uses in the Salisbury Plain sequence.

In concert, the song became a staple, often following a truncated 'Twist And Shout', the opening number. It features as such on _The_ _Beatles At The Hollywood Bowl_ LP, but was cut out of the filmed _Beatles At Shea Stadium_.

'I Feel Fine', backed with 'She's A Woman', was released in the US on 23 November – like 'Can't Buy Me Love', Capitol contrived to issue the single in the US a few days ahead of Parlophone in the UK. However, 'She's A Woman' became far and away the most successful Capitol B-side, reaching the dizzy heights of number four in the _Billboard_ chart on 26 December. The only Beatles B-side to come close to this was 'P.S. I Love You', the B-side to 'Love Me Do' on the Tollie label, which had reached number ten the previous June. The chart success of 'She's A Woman' must be as much due to the timing of the release as the song's inherent merits and the airplay it received. Throughout 1964, the US public had been eagerly devouring a surfeit of Beatle product – astonishingly, 'I Feel Fine' was the twenty-eighth Beatles title to make the _Billboard_ top 100 that year. But by that stage, the rate of Beatles releases had slowed down considerably – after three singles in July, and 'Matchbox'/'Slow Down' in August... nothing. It's not hard to imagine that both sides of the single that broke the drought would have been lapped up.

For fans of the totally trivial, 'She's A Woman' was the only Beatles song chosen by Brian Epstein for his BBC _Desert Island Discs_. "It has a lot of feeling and soul about it and marks a tremendous change in their recorded sound."

# Beatles For Sale LP

######  Parlophone PMC 1240/PCS 3062 – Released 4 December 1964

The Beatles set out on their first world tour on 4 June 1964, the first leg taking in concerts in Denmark, the Netherlands, Hong Kong, Australia and New Zealand over 27 days. The second half of the tour began on 18 August, with 25 dates across North America. In between, towards the end of July, the group flew to Stockholm to give four concerts on two consecutive days – their first overseas concert appearances had taken place in Sweden just ten months earlier. Also between the two halves of the world tour, the group also attended the London and Liverpool premieres of _A Hard Day's Night_ , recorded a number of TV and radio appearances, and staged a handful of UK concerts. They also began work on their fourth LP.

Little wonder the strain on the group was beginning to tell, as _Beatles For Sale_ , in spite of a few spectacular high points and a magnificent contemporaneous single, shows the group pausing for breath. Even taking account of the greater number of downbeat tracks on the LP, and with the notable exception of 'Rock And Roll Music', the energy of the recording doesn't quite match that of _A Hard Day's Night_. Not that the Lennon-McCartney songs on the _Beatles For Sale_ album are by any means weak, but inspiration for new material was having to bide its time. The eighteen original compositions recorded and released in 1963 increased to twenty-four in 1964 – and clearly the songwriting was going flat out. Interviewed by Larry Kane in New York, Paul confessed "John and I have got to do a lot of writing... we haven't written many yet". John acknowledged the pressure just before the album's release: "We're really pleased with ['I Feel Fine'] and the new LP. There was a lousy period when we didn't seem to have any material for the LP and didn't have a single. Now we're clear of things and they're due out, it's a bit of a relief."

Indeed, looking at the recording schedule, they did cut it rather fine. The album was recorded in a total of seven sessions, spread over eleven weeks – which is fewer sessions than either of the two previous LPs, and of course any of the subsequent seven. What's more, with just two sessions to go, the group had completed only five of the required 14 tracks. And so, following the unique wholly Lennon-McCartney _A Hard Day's Night_ , they reverted to the 1963 practice of eight originals and six covers. The albums sixth session, on 18 October, saw eight songs through to completion, five of which were covers. The presence of these cover versions went some way to masking John's songwriting dominance of the album, which was so noticeable on _A Hard Day's Night_. While there were more collaborations than before, Paul only offered two of his own songs to the album, including 'I'll Follow The Sun', which was already five years old. John's original compositions, however, were starting to explore a far more personal standpoint, and were not afraid to express much darker emotions.

As with its predecessors, the mono version of the album was deemed most important, stereo still being regarded as a niche format. It wasn't until 1968, for instance, that the four-inch reel-to-reel tape versions of the albums became available in stereo – until then all tape releases were mono only. When it came to the CD release of the Beatle catalogue in 1987, the four LPs up to and including _Beatles For Sale_ were issued in mono only. And to highlight the lack of importance given to stereo, on 27 October 1964, five _Beatles For Sale_ tracks were mixed for stereo in just half an hour.

Robert Freeman was once again approached to produce the LP cover. The plan was for a gatefold sleeve, and the group wanted colour shots at an outside location at around sunset. The photographs were taken in Hyde Park on the evening of 24 October, as the sun was going down. Front and back feature four unsmiling faces staring into the camera, black hair, black coats and black scarves blending in with the deep soft-focus, autumnal background. The black-and-white inside spread does little to lighten the mood. A concert shot, taken in Washington DC in February has a grainy, archive quality to it that seems to speak of former glories, and in the full-size portrait of the group opposite, only John and Ringo are smiling; Paul and George are not. The shot was taken in the lobby of the Viewing Theatre at Twickenham film studios during the shooting of _A Hard Day's Night_. The group stand before a collage of images of movie and music hall stars, giving the picture an oddly cold, artificial atmosphere.

As with the previous albums, the cover featured a set of sleeve notes, but this time written by Derek Taylor. Taylor had been a show-business correspondent for the _Daily Express_ , where, having befriended Brian Epstein and the group, he had been writing a regular column on the Beatles' activities, purportedly penned by George Harrison. Having ghost-written Epstein's autobiography _A Cellarful Of Noise_ , Taylor became his assistant and the Beatles' press officer in April 1964. Within six months, however, Epstein and Taylor had found it hard to work together. After an argument, ostensibly over the use of a limousine at the end of the American tour, they agreed to part company. In 1968, Taylor returned to the fold to work as Apple's press officer. His musings on _Beatles For Sale_ were the last sleeve notes to grace a Beatles album, with the exception of the curious addition of Tony Barrow's review of the White Album that was reprinted on the back of _Yellow Submarine_ , with an introduction by Taylor himself.

_Beatles For Sale_ marked something more than a pause for breath as far as chart activity was concerned. It got to number one, of course, replacing _A Hard Day's Night_ , but whereas the previous three LPs had stayed at the top for 30, 21 and 21 weeks respectively, _Beatles For Sale_ managed just seven weeks before being toppled by the Rolling Stones' second LP. It reached the number one slot again for a week in February, and for three further weeks in May, but from here on in only _Sgt. Pepper_ and _Abbey Road_ would manage more than ten consecutive weeks at number one.

### No Reply

#####  [Lennon-McCartney]

####  Recorded 30 September
Mixed 16 October (mono), 4 November (stereo)

John – lead vocals, acoustic guitar
Paul – harmony vocals, bass
George – acoustic guitar
Ringo – drums
George Martin – piano

"They were rather war weary during _Beatles For Sale_ ," George Martin told Mark Lewisohn in 1988. The point of view is underlined by the very first line John sings on the new album. Not only is the lyric jaundiced and downbeat, it is sung with a dejection and flatness that is extraordinary for an album opener. Not even _Let It Be_ starts on such a grudging note. Nevertheless, it gives the album a characteristic start, and the energy of the bridge, and of the jolting contrast of "I nearly died", makes it one of the stronger tracks on the LP.

It is the first of the very few of John's songs that tell a story, and a story that has a resolution. So far, the scenarios he had built up had been more like snapshots of events than any substantial production, the lyrics dwelt more on raw emotions and gave little in the way of background or plot. Now he began to experiment with the telling of stories, be they as yet rather shallow – but 'The Ballad Of John And Yoko' was still some way off.

John's inspiration was the song 'Silhouettes' by the Rays, an American _Billboard_ top 5 hit from 1957. "I had that image of walking down the street and seeing her silhouetted in the window and not answering the phone, although I never called a girl on the phone in my _life_." 'Silhouettes' does bear more than a passing resemblance to John's song –

Took a walk and passed your house late last night

All the shades were pulled and drawn way down tight

From within a dim light cast

Two silhouettes on the shade...

The inspiration for John's "I nearly died" is also apparent in the line "I couldn't hide / the tears in my eyes". However, the Rays' singer then took a less passive approach, threatening to beat down the door. (Happily he had the wrong house and it transpired that the silhouettes were two strangers...)

John remembers being approached by publisher Dick James after they had recorded the track, who praised his improved songwriting, telling him "'that was a complete story.' Apparently before that he thought my songs tended to sort of wander off."

The sound of 'No Reply' is rather different from what has gone before, most notably in the use of the Abbey Road echo chamber, which was introduced when the song was mixed. Although the echo is quite primitive at this stage, it was one way by which John could disguise his voice, which he was always keen to do. The whole album was given an echo treatment, culminating in the immense amount plastered onto 'Everybody's Trying To Be My Baby'. John also shunned a Beatle trademark for this track, when he would surely have been tempted to use it. This was the famed "melismas with altered vowels" that William Mann spoke of, and which would previously have been a certainty for "no reply-ee-y"

John's voice was apparently fading after a long day in the studio, and Paul's harmony vocal gives his a boost. The first take was aborted on "I saw the light" when both John and Paul were reaching for the high note. "Just can't get anywhere near 'light' now," John remarks, "so he'll have to do it." A hasty rearrangement of the vocals left John with a more comfortable lower harmony. However, the arrangement of the song would possibly had differed little even if John were on top vocal form, as the high harmonies would have taxed his range. The recording was nailed by take 8.

John's inattention produces a slip during the double-tracking of the first "in my place", as he misses the note. The error is fixed by briefly fading out the double-tracking in mono, but is there for all to hear in stereo, and his weariness is somehow fitting.

Although the song is somehow closely associated with John – more so than many of the songs to date, possibly because his vocal grabs possession of the song even before it really gets going – Paul's contribution is crucial. While he maintains a generally low profile, his harmonies really lift the song in two critical places. The first is the sudden switch to Am on "I saw the light", which is linked to the change in drum textures from syncopated rim shots to a full bodied cymbal, snare and bass drums, and bass and acoustic guitar patterns. (The stereo mix shows that the bass drum and cymbal were overdubbed at this point.) This is soon topped on its repeat by the same harmony, but with the E driving home the highly potent Fmaj7 chord. In a parallel harmonic movement in the bridge, but this time in A major, Paul lifts the key word in a sequence of personal pronouns – "If I were you I'd realise that _I_ ".

The double-time bridge also has its own feel provided by the arrangement, with handclaps and a booming piano.

This major-minor alternation keeps wrongfooting us throughout the song. The initial F–G–C (IV–V–I) turns to the Am–Em–F maj7 (vi–iii–IV∆7) illustrated before reverting to a related Dm7–G–C (ii7–V–I). The bridge switches the minor to major C–E–A (I–III–VI) until ("love you more") it moves back to Dm. This manoeuvring is capped by a wonderfully indecisive final C6add9.

The track was first recorded by the Beatles on 3 June 1964, the day the group auditioned Jimmy Nicol to fill in for the ailing Ringo on the first part of their forthcoming world tour. Having satisfied themselves of Nicol's abilities, the remaining Beatles taped a couple of demo songs that evening – George's 'You Know What To Do' and John's 'No Reply'. John's song was intended for Tommy Quickly, but it was never released by him. Quickly was Brian Epstein's least successful signing, and was the first signal to Brian that his judgement might not be rock-solid, and that the public would not embrace performers simply because they were managed by him. In spite of costly and extensive promotion, and a Paul-penned debut single, 'Tip Of My Tongue', Quickly managed only one top 40 single in his career – 'Wild Side Of Life' struggled to number 33 in the summer of 1964.

The demo of 'No Reply', along with George's unreleased 'You Know What To Do', can be heard on the _Anthology 1_ compilation. As the album notes point out, the identity of the drummer is a bit of a mystery as Jimmy Nicol had gone home and Ringo was ill. Paul was therefore the only "drummer" present but the bass playing also sounds like him. However, there does seem to be only one guitarist...

(It has been suggested that this demo was recorded later, during the album track sessions, but this is unlikely.)

Interestingly, the _Anthology_ version also plays down Paul's two dramatic harmonies that were mentioned before – there is no repeat of the "I saw the light" line, and he joins John in a downward movement on "I'd realise that I". The group were clearly in end-of-term mood and not taking the recording too seriously, at one point offering "I saw you walk in your face". The second of the eight takes that were subsequently recorded on 30 September is also on _Anthology 1._ This has most of the elements of the final version in place, although the drumming is a little wayward. It also gives a hint of an intermediate take where they extended the song by repeating the middle section for a second time (John starts to do this as Paul wraps up the song). Although the section is very strong and ranks among John's best work, the consensus was apparently that to repeat it would overplay the trick (it is after all sixteen bars long), and they wisely decided on the succinct format of the released track.

'No Reply' was one of the few tracks to open both a Parlophone and a Capitol LP as it also kicked off _Beatles '65_ – in fact the Capitol album mirrored _Beatles For Sale_ right through to 'Mr Moonlight'.

### I'm A Loser

#####  [Lennon-McCartney]

####  Recorded 14 August
Mixed 26 October (mono), 4 November (stereo)

John – lead vocals, acoustic guitar, harmonica
Paul – backing vocals, bass
George – lead guitar
Ringo – drums, tambourine

"Part of me suspects I'm a loser and part of me thinks I'm God almighty!"

'I'm A Loser' was one of the first songs written and recorded by John under the influence of the folk style of Bob Dylan. This helped him to express the first rumblings of his dissatisfaction with Beatledom, albeit still in a very coded form, and only clearly recognisable with a degree of hindsight. Even Paul assumed at the time that John was writing another country and western song about sadness and "I lost my truck", having no idea the words were straight from the heart. "It's only later you think, God! I think it was pretty brave of John."

It was indeed a brave move to expose himself in that way. To the world he was the confident, sharp-tongued, know-it-all Lennon – who could have known whether puncturing that illusion would bring the whole artifice of Beatlemania tumbling down. And who knows if part of John's thinking was that, at the time, that may not have been such a bad idea. But no-one looked below the surface – as Ray Coleman puts it, "it seemed liked an ironic comment coming from a man with the world at his feet".

Whatever the root of his insecurity, John is beginning to examine his own emotions. He later played down Dylan's influence on his writing, and it's true that there is little to connect 1967 Dylan with 1967 Lennon. But at about the time of Dylan's conversion to a more electric rock style on his 1965 _Bringing It All Back Home_ album (due in part to the Animals' version of 'The House Of The Rising Sun' and in part to the Beatles' own 'I Want To Hold Your Hand'), John was clearly changing his own musical direction as a result of Dylan's earlier articulation. He realised through Dylan that he could truly express himself through his songs. "I remember the early meetings with Dylan, he was always saying 'Listen to the words, man' and I said, 'I can't be bothered. I listen to the sound of it, the overall sound.'" But his respect for Dylan allowed him to overcome his own reservations in songwriting, such as using the word "clown": "I objected to the word 'clown', because that was always artsy-fartsy, but Dylan had used it so I thought it was all right, and it rhymed with whatever I was doing."

Although Dylan's acoustic folk influence on the group may not have been broad or lasting (the notable tracks being 'I'm A Loser', 'You've Got To Hide Your Love Away' and to a lesser extent 'Norwegian Wood'), possibly due to Dylan's own change of direction, its presence is undeniable.

John considered this to be one of the best of his early songs, personal and autobiographical, even if, as with 'Help!' its message is swamped by the turmoil of Beatlemania. Yet the message could not have been any clearer, with another direct vocal introduction – "I'm a loser, I'm a loser / And I'm not what I appear to be". Nevertheless, in spite of his later complaints at not being taken seriously, John himself tried to take the public's eye off the ball by his treatment of the song. On one of the two occasions the group performed the song for the BBC (on the laboriously entitled _The Beatles Invite You To Take A Ticket To Ride_ in July 1965), he altered the one line that separates this song from songs like 'Misery' – "Although I laugh and may act like a clown / Beneath this wig I am wearing a tie". Nevertheless, the recorded track has moments of devastating self-awareness, both for the benefit of the audience ("Although I laugh... I am wearing a frown") and for John himself ("Is it for her or myself that I cry"). Not only does the song hit the bottom of John's register with its descent of a fifth to a low G, it also hits rock bottom emotionally.

The track begins in a way that is unusual among Beatles songs in that the vocal intro is taken at a slower, ad-libbed pace, and then the band wait for the end of the first two-bar phrase at the correct tempo before joining in the fray. The verse features the Fadd9 chord (G–D–Fadd9–G, I–V–bVII–I), a hallmark of folk songs, and one that predominates in songs like 'I Don't Want To Spoil The Party'.

The chorus adds some interesting harmonic moments. The repeated Am–D (ii–V) we saw in the intro is followed by G–Em–Am–F–D (I–vi–ii–bVII–V), with a touch of dissonance courtesy of the vocal harmony's E–D over G–Em.

The Carl Perkins-type guitar solo helps cement the song within its country genre, setting the tone for the album. The lack of Paul's vocal harmony in the final line of the section is a nice touch, as it emphasises John's vulnerability and brings home the line "I'm not what I appear to be". Inevitably though, the effect of showing up the line in this way is a happy accident and, from listening to early takes, seems to be nothing more than a result of Paul failing to find a satisfactory harmony for that particular line.

The early takes are also interesting for showing the work in progress of the arrangement. The first full take has no "ad libitum" intro, nor a guitar/harmonica solo in the middle, the guitar then the harmonica being introduced one take at a time. However, comments made by Paul early on, to the effect that his count-in is shortened to "one, two" because "that's where you'll come in with the mouth organ", indicate that there was a planned harmonica intro, though this never materialised. The intro as we recognise it today was introduced on take 3.

The released take was the eighth and last to be recorded, although half of those were incomplete. Onto this was overdubbed the tambourine and a little extra electric guitar, including the brief solo. The vocal is notable for the popping of the "p" in "appear to be" – equally notable for its removal on the 2009 CD remaster. George Martin had suggested a spit screen, but John, for whatever reason, decided it didn't need one.

### Baby's In Black

#####  [Lennon-McCartney]

####  Recorded 11 August
Mixed 26 October (mono), 4 November (stereo)

John – lead vocals, acoustic guitar
Paul – harmony vocals, bass, tambourine
George – lead guitar
Ringo – drums

As if to drive a point home, the album's third song is also decidedly downbeat, but 'Baby's In Black' is lyrically much less assured than 'No Reply' or even than 'I'm A Loser'.

It was composed jointly, "in the same room", which, already in 1964, was quite rare. Competitiveness between John and Paul had become evident on _A Hard Day's Night_ – the days of 50:50 collaboration had gone with the arrival of the first film and the recognition achieved by the sales of the group's singles. The "eyeball-to-eyeball" 'I Want To Hold Your Hand' had been superseded by pitching 'Can't Buy Me Love' against 'You Can't Do That', and 'If I Fell' against 'And I Love Her'.

'Baby's In Black' was the first song to be taped for the new album, sessions for which began just a month after the release of _A Hard Day's Night_. After just two sessions for what would become _Beatles For Sale_ , the group were off on the second half of their world tour, just over a month of concerts throughout Canada and the US. The pressures of touring and composing show in the lyric – both in its subject of lost love and in its merely competent execution. The love triangle (appropriately presented here in triple time) had been explored before, in songs such as 'Misery' and more directly in 'This Boy', but the tone has never been as dark and despairing. 'Baby's In Black' does not work as well as those earlier songs because of the distancing effect of the unpolished lyric, but while the expression of "baby's in black and I'm feeling blue" may not be original and is a little laboured, it is at least succinct. Likewise the couplet "though he'll never come back / she's dressed in black" is poetically efficient and provides strong imagery. Where the lyric falls down is in the rather clunky line in the second verse – the ill-advised "though it's only a whim" to rhyme with "him". Such a match should have been weeded out during an early run-through of the song, but it is easy to see how the dictates of writing to demand could rule out any fine-tuning of the lyrics for the album, and the blemish was left unsmoothed.

The song's opening "Oh dear what can I do" is reminiscent in its lilting 6:8 time signature of 'Oh Dear What Can The Matter Be', having a childlike simplicity coupled with a gently driving melody. Paul remembers that it was a conscious decision to write a song in triple time. Back in 1962 they had included in their live playlist the song 'If You Gotta Make A Fool Of Somebody', a minor US hit by James Ray, which was "a cool three-four blues thing. And other bands would notice that and say, 'Shit man, you're doing something in three-four'. So we'd got known for that. And I think also John and I wanted to do something bluesy, a bit darker, more grown-up, rather than just straight pop."

('If You Gotta Make A Fool Of Somebody', incidentally, was written by the American songwriter Rudy Clark, whose 'Got My Mind Set On You' was a massive comeback hit for George Harrison in 1987. He was also responsible for the Betty Everett hit 'The Shoop Shoop Song (It's In His Kiss)', covered by Linda Lewis in 1975, and by Cher in 1990.)

In keeping with the disorientation of the lyric, the structure of the piece is slightly out of kilter. Although the chorus and bridge are based around phrases of a comfortable number of measures – six and four respectively – the verse pulls us up early, being an uneven seven bars long.

Paul resists the temptation, as he would later do with 'Yesterday', to pad out the verse with an eighth bar. Therefore, when this leads into the bridge ("Oh, how long will it take") and the related key of F#m (vi), the effect, for from being predictable, is refreshing. After the unsurprising A–E–D (I–V–IV) dominated key changes of the verse, the bridge moves back to the keynote through F#m–B7–D–E (vi–II7–IV–V).

For the final verse, guitars, bass and drums pull way back, the guitars playing off each other on just a single beat of the bar so that the accompaniment becomes almost devoid of rhythm, just triplets and a rim-shot from Ringo.

The memorable feature of the song, though, is the continuous, flowing vocal harmony.

"Sometimes the harmony that I was writing in sympathy to John's melody would take over and become a stronger melody. Suddenly a piebald rabbit came out of the hat! When people wrote out the music score they would ask, 'Which one is the melody?' because it was so co-written that you could actually take either."

The magic of the song is the ease with which the harmonising moves from major and minor thirds to fourths to fifths, even flirting with a couple of wider intervals of a sixth and a seventh.

And it's true that, for this song above all others, the melody and harmony are quite indistinguishable.

Having completed the basic recording, George tried out various guitar sounds for the introduction to the song, bending the strings and stretching the notes. After a take for one such edit piece, George Martin can be heard on tape to ask, rather doubtfully, "You want the beginning like that, do you?" This shows the change in the relationship between artists and producer in the two short years they had been working together, as George Martin found himself guided more and more by the wishes and requests of the group. The subtle swelling sound of the guitar in the intro was apparently achieved by John kneeling in front of George and manually adjusting the volume control. Colin Manley of the Remo Four had tried to teach George how to control the pedal himself while playing, but without success. "I could never coordinate it," he later confessed. By the time 'I Need You' and 'Yes It Is' were recorded, practice had made perfect.

A report and pictures of the session, including of John altering the volume of George's guitar, featured in the October 1964 edition of _Beatles Book_ (further photos from the session appear in the 2000 _Anthology_ book). Although the song being recorded is not specified, it is clearly 'Baby's In Black'. Interestingly, the report states that the session "produced the Beatles' newest single", suggesting the song may have originally been in the running for single release.

In spite of the fact that the song was not performed for BBC radio, it was obviously one of the group's quiet favourites, as it was performed live from their 1964 Christmas shows at the Hammersmith Odeon, on their British, European and world tours in 1965 and 1966, right up until they finally quit touring altogether. Of the other tracks on _Beatles For Sale_ , only 'Rock And Roll Music' (which they had been playing since 1959 anyway) was still part of their repertoire for their final series of American concerts in 1966.

### Rock And Roll Music

#####  [Berry]

####  Recorded 18 October
Mixed 26 October (mono), 4 November (stereo)

John – lead vocals, rhythm guitar, piano
Paul – bass, piano
George – possibly acoustic guitar
Ringo – drums
George Martin – piano

If one song from the Beatles entire catalogue serves to affirm John's love of music and underlines the tragic loss caused by his senseless murder in 1980, it is their version of Chuck Berry's iconic, towering 'Rock And Roll Music'. Nowhere does he sound more at home, more ebullient, more searing. Rock and roll was John's lifeblood, as he would constantly stress, for example to _Rolling Stone_ in 1970 –

"I always liked simple rock and nothing else. I was influenced by acid and got psychedelic, like the whole generation, but really, I like rock and roll and I express myself best in rock.... That's the music that inspired me to play music. There is nothing conceptually better than rock and roll.... It gets through; it got through to me, the only thing to get through to me of all the things that were happening when I was 15. Rock and roll then was real, everything else was unreal. The thing about rock and roll, good rock and roll – whatever good means and all that shit – is that it's real and realism gets through to you despite yourself."

And of course Berry's song is the definition of rock 'n' roll.

Although played at exactly the same tempo as Berry's original (both tracks are just two-and-a-half minutes long), the Beatles' cover is pitched three whole tones higher, raising the temperature, the energy and the passion. If you don't believe he means it, listen again to that last blistering chorus.

The song was supposedly recorded straight, with no overdubs. The Beatles had performed the song in their live shows every year since 1959, and so needed no second take. George Martin turns in a fine performance rocking that piano, there from the start but not sneaking into our consciousness until the end of the second chorus. His perfectly judged glissandi get better and better throughout the song, and he's spurred on by the energy from the band to provide a splendid series of triplets in the last chorus.

At least, that's the assumption. Derek Taylor's sleeve notes for the album state that "George Martin joins John _and_ Paul on one piano". This is borne out by Paul's song-by-song commentary on the LP for _Disc_ at the time, "George Martin, John and I on the keyboard all at once!", and a reply (supposedly by Paul) to a reader's question to _Beatles Book_ , stating that the three of them had a go on the piano on 'Rock And Roll Music'. However, George Martin seems to be the main pianist on the track, as "Paul" adds "George M. is the real piano player – John and I just bash away". Geoff Emerick writes in his 2006 memoir that it was Paul on piano but that George Harrison played Paul's Hofner bass. It would be strange indeed for George to be playing bass on the track – the first time he tackled the instrument is generally felt to be 'She Said She Said'. Small touches such as the lovely little pre-chorus plunge after "blowing like a hurricane" certainly point towards Paul's playing. (It's worth bearing in mind that Emerick also writes that the only overdub on the track was John's double-tracked vocal, whereas the vocal is clearly not double-tracked, merely treated to a generous amount of echo.) Although the piano performance does seem to be more George Martin than Paul McCartney, there is apparently no acoustic guitar on the track.

As far as the lack of overdubs are concerned, however, the final nail in the coffin comes with the last verse. Although Mark Lewisohn categorically states there are no overdubs on the recording, there is clearly an additional piano and Latin-tinged drum recording in the left channel for this one verse. For the rest of the song, the left channel is the sole reserve of bass and drums, and the piano takes centre stage. But for this verse, the left channel includes piano and an enhanced drum track. Could the overdub feature the threesome on the same piano? All very subtle, but not impossible. (And for some reason, the piano seems to have been mixed out of second half of penultimate chorus in stereo only.)

The Chuck Berry original was released in 1957, reaching number eight on the _Billboard_ chart. The record wasn't a hit in the UK, but, like so many US R&B hits that didn't trouble the UK charts, fell into the hands of the Beatles. However, unlike many of the group's influences – such as Buck Owens, the Rays, Bobby Freeman, Wilbert Harrison and even the Marvelettes – Chuck Berry's name would, of course, be fairly well known to the broader public. And it seems fitting that, as Berry himself had evolved from the rhythm and blues of 'Roll Over Beethoven' in 1956 to 'Rock And Roll Music' in 1957, the Beatles would follow him, recording their version of his rock 'n' roll anthem a year after _With The Beatles_. In fact, the group recorded 'Rock And Roll Music' just a year after Berry's release from a 20-month prison sentence, which coincided with his first UK top ten hit, the 1958 recording of 'Memphis Tennessee'.

The song was recorded immediately after 'Everybody's Trying To Be My Baby' in this penultimate session for the album (coincidentally, taking place on Chuck Berry's 38th birthday). Both tracks were recorded in a single take, and both tracks were treated to a new effect for the Beatles, repeat echo on the vocal. This effect, designed to give reverberation to the vocal to replicate the sound of a live performance in a concert hall, was added using a dedicated tape machine while the vocals were being recorded. Unlike the recording of the previous track, the effect is very well judged for 'Rock And Roll Music', and John's biting delivery reacts well to the broadening effect of the echo. (Specifically, it is evident on the sibilance of the first "dance" – to the extent that we can hear the echo delay is about an eighth of a second, meaning the tape was running at 30 inches/second.)

The Beatles recorded the track just once for the BBC (omitting the final verse), for the Boxing Day 1964 edition of _Saturday Club_. This is strange, given that it was a staple of their live act right up until the final tour in 1966 – it opened the show at their last ever concert at Candlestick Park, San Francisco on 29 August.

### I'll Follow The Sun

#####  [Lennon-McCartney]

####  Recorded 18 October
Mixed 21 October (mono), 4 November (stereo)

Paul – lead vocals, acoustic guitar
John – harmony vocals, rhythm guitar
George – lead guitar
Ringo – percussion

Pete Best, interviewed for the American radio programme _Ticket To Ride_ , remembered that in the Hamburg days, Paul was playing around with 'I'll Follow The Sun' and 'When I'm Sixty-Four'. "Trying to impress people he'd say, 'Look, I've written a song. What do you think of it?' That would give him the chance to play the piano and vocalise."

Paul remembers writing 'I'll Follow The Sun' in the front room at his home in Forthlin Road when he was about 16, although not really finishing it up until later. In fact, the song became a sporadic part of the Quarry Men's live set in 1959, although in a somewhat different format to that on _Beatles For Sale_. Paul's early interpretation, recorded on a tape in 1960, most probably at Forthlin Road, is much sprightlier, its tempo and style being closer to 'Words Of Love'. The song's lyrics are rather different, also rather sporadic, and include an interesting middle section in place of "And now the time has come...", which is a little hard to interpret, but goes something like –

Well don't leave me alone, my dear

Have courage and follow me, my dear

These extra two lines put a different gloss on the song, and introduce an element of compassion into what is otherwise a pretty heartless song. It may have been to reinforce the rancour of the lyric and increase the contrast between the song's sound and content that Paul and John decided to rewrite these lines, apparently shortly before recording the song. What remains appears to be a tender ballad, but the lyrics display a self-seeking independence that we are not accustomed to from Paul, and however glossy they may be in their talk of sunshine and friendship, they deal a definite snub.

The only clue that he may not be leaving entirely of his own volition lies in "Someday you'll know I was the one". It could be that she's forcing his hand, that it is her behaviour bringing the rain into his life which he can no longer stand, and that she'll soon realise what she has lost. But then again, he's probably just a callous bastard who's loving her, leaving her, and trying to make her feel responsible.

The Beatles played the song off and on until 1961, but felt that it did not generally fit in with the character they wanted to project. So, as to why such a fine song wasn't recorded until October 1964: "It wouldn't have been considered good enough. I wouldn't have put it up... we had this R&B image in Liverpool, a rock 'n' roll, R&B, hardish image with the leather. So I think that songs like 'I'll Follow The Sun', ballads like that, got pushed back to later." Paul's comment at the time of recording maintained the Lennon-McCartney illusion, "John and I wrote this some while ago, but we changed the middle eight bars before we actually recorded it."

Although the song seems to be slightly self-consciously a vehicle for Paul's talents, it is indeed very impressive. After a brief introduction in the tonic, C, the song progresses through G7–F7–C–D (V7–IV7–I–II) before returning via a more conventional C–Em–D–G–C (I–iii–II–V–I). This G7–F7–C sequence evidently triggered something with Paul when he disinterred 'I'll Follow The Sun' for _Beatles For Sale_ , because used the same sequence as the introduction to 'She's A Woman', which they had recorded ten days previously.

'I'll Follow The Sun' is built around continued ascents in fourths, perfect and augmented, capped by a drop of a fifth.

The bridge sequence, with its chromatic descent, is also pure Paul, and very appealing. It is John's harmony that gives the section its colour: as Paul cheerfully announces his departure, John quietly reflects on what will be missing.

Each time we return to the verse with a resigned, falling "oh". The aspiring fourths again begin their reach for the sun.

The song's instrumentation is very sparse, and its folky style is predominantly acoustic. John and Paul both play acoustic guitars, and George's occasional contributions are almost apologetic. His eight-note break in the four instrumental bars gives the impression that he too is playing an acoustic guitar. This solo only appeared on the last of the eight takes recorded that day, John having previously filled the gap on his acoustic. It's possible that George's brief contribution is an overdub.

Quite what Ringo is playing while all this is going on was for a long time uncertain. Something bongo-like? Or his regular tom-toms? Or maybe he is hitting the suitcase that Derek Taylor's sleeve notes have him playing on 'Words Of Love'. However, in his 2007 book _Here, There And Everywhere_ , Geoff Emerick remembers that Paul wanted something more subtle than any regular percussive instrument, and hit upon the idea of having Ringo slap his thighs. With some equalisation skilfully applied by Norman Smith in the control room, the resulting sound fits the bill perfectly. (The recording sheet for the session notes that track 1 of the tape is assigned to "acoustic & drum".)

The song was recorded in two complete takes, out of eight attempts, and its finely judged 1'46" length is just sufficient for the song not to outstay its welcome. The Beatles recorded it once for BBC radio, for the late-night _Top Gear_ , which appears on the 'Baby It's You' single and _Live At The BBC Volume 2_. A 30-minute recording of the BBC session was auctioned for £9,800 in 2008, after a reel-to-reel tape was discovered where all such discoveries are made, in the obligatory loft in the north of England.

The song was also recorded by a 22-year-old musician called Glyn Johns, later to be engineer/producer on the _Get Back_ sessions, but his version failed to chart. In fact, the Beatles had already worked with Johns on 19 April 1964, when recording the music for a TV special, _Around The Beatles_ , at the independent IBC studios in London. The young Johns was tape operator/second engineer at the session. He was to become an acclaimed producer in the 1970s and onwards, working with the Rolling Stones, the Eagles, Joan Armatrading and Bob Dylan. He also produced the Who's _Who's Next_ and, in 1977, Eric Clapton's _Slowhand_.

### Mr Moonlight

#####  [Johnson]

####  Recorded 14 August, 18 October
Mixed 27 October (mono), 4 November (stereo)

John – lead vocals, acoustic guitar
Paul – backing vocals, bass, Hammond organ
George – backing vocals, lead guitar, African drum
Ringo – percussion

In later years, when John was asked about the Beatles getting back together, he would be genuinely bemused. "Don't you think the Beatles gave every sodding thing they had to be the Beatles? That took a whole section of our youth – the period when everyone was just goofing off, we were working twenty-four hours a day." It's true the work schedule for the Beatles in the early years was astonishing. According to Mark Lewisohn's painstaking research, in 1963 for example, the list of engagements – concerts, recording sessions, and radio and TV work – adds up to the equivalent of more than six days a week for every week of the year. Between 1 January and 1 May (when Paul, George and Ringo flew to Tenerife for a twelve-day holiday and John went on his infamous trip to Spain with Brian Epstein), the group had only ten days off.

Inevitably, this took its toll in the quality of their recorded work, but, surprisingly, not until the latter part of 1964. The _Beatles For Sale_ album is certainly the one where the artistic fatigue begins to show, no doubt because recording sessions for the album took place either side of a 26-date American tour and during breaks in the group's subsequent British tour. In fact, George Martin saw Abbey Road as a refuge for the group.

"It was the time and place when nobody could get at them. The strange hours for their recording were really necessary because of the frenetic life they were forced into. Just look at what they used to pack into a year – tours here and overseas, TV, radio, press and general promotion. Recording was important but it had to be squeezed in between everything else, and they enjoyed recording much more than touring. They got fed up with the vulnerability of it all – the continual pawing – and needed to escape from time to time."

The sleeve notes of the album, written by the faithful Derek Taylor, pointedly deny a "potboiling quick-sale any-old-thing-will-do-for-Christmas mixture", but, with hindsight, this is exactly what parts of _Beatles For Sale_ sound like. It seems more than just a pause in the development of the group, as for the first time the music-making almost sounds like a chore. The pace was such that at one session, four songs were remixed for stereo in half an hour. The choice and execution of the track 'Mr Moonlight' is manifestly the lowest part of the dip. If it is a parody, it is taken too seriously, the melodrama not being quite distinguished enough. If it is designed to show the range and depth of obscurity of Beatle covers, it should have followed straight on from 'Rock And Roll Music'. As it is, it precipitately dispels the mood of 'I'll Follow The Sun', without replacing it with anything of equal cohesion. The contrast between this song and both sides of the previous brilliant single is particularly marked.

The group first tackled 'Mr Moonlight' in four takes on 14 August, just before leaving for the US. Not happy with the best take on that day, they recorded another four takes on 18 October. A sticking point seems to have been what to play during the instrumental break, as the Hammond organ didn't make an appearance until take 7. The released version is a composite of John's scorching intro from take 4, recorded in August – as heard on _Anthology 1_ – tacked onto the beginning of take 8, recorded the following month.

Mark Lewisohn in his extremely sober and balanced _The Complete Beatles Recording Sessions_ suggests that 'Leave My Kitten Alone', a Little Willie John song that was covered by Johnny Preston in 1961, would have made a better LP track. This was also recorded by the Beatles on 14 August, just after their first attempt at 'Mr Moonlight'. Like 'Mr Moonlight' mark one, 'Leave My Kitten Alone' appears on the 1995 _Anthology 1_ compilation. 'Leave My Kitten Alone' would certainly have sat more easily than 'Mr Moonlight' among 'Rock And Roll Music' and 'Kansas City/Hey, Hey, Hey, Hey' on this side of the album.

'Mr Moonlight' itself is rather obscure. Written by Roy Lee Johnson, it was the B-side of 'Doctor Feel-Good' by Dr Feelgood and the Interns. Nothing to do with the British R&B band of the early seventies, this Dr Feelgood was the pseudonym of Willie Perryman (also known as Piano Red), a blues pianist from Atlanta, Georgia. 'Doctor Feel-Good' (the song) was a minor hit in America in January 1962. The main difference between the Beatles' version of 'Mr Moonlight' and the original is the addition of that Hammond organ, the solo being played by the acoustic guitar on the earlier version, which, it must be said, seems more in keeping with the calypso-tinged ballad. The Beatles had tried recording the piece using only guitars (which can be heard on _Anthology 1_ ), but their decision to include the Hammond seems to have resulted from George Martin's dissatisfaction with what John and George Harrison at least regarded as an effective guitar middle eight. Comparing the _Anthology_ and _Beatles For Sale_ versions, it's likely that most listeners would side with John and George on this one. A small but strange difference is the apparent decision by the Beatles to nudge the song down by a semitone, landing in the unusual key of F# major, with its six-sharp key signature. No problem for the guitarists of course, who could use a capo, but a bit of a challenge for Paul. The pitch change could have been the result of varying the tape speed, but this technique, although used at Abbey Road since the 1950s, was not employed on Beatle tracks until 'Rain'.

The song begins promisingly enough with John belting out the title with remarkable passion. The thump on the drum is also an improvement on the original. But, with the exception of some outstanding moments of Lennon vocalising, things go downhill from then. John and Paul's duet is somewhat reminiscent of drunken, three o'clock in the morning harmonising, with the low-pitched and downbeat delivery highlighting the confusion in the song's lyric. Mr Moonlight seems to have sent him the girl of his dreams (in fact, presumably sent her to him in his dreams). Anyway, it appears that she is no longer with us, sent from the world. Yet he says that she is still his – but wants Mr Moonlight to return, because... well, because they love him. Very strange.

The instrumentation of the track is masked somewhat by the atmospheric murkiness that pervades much of the album, most notably 'No Reply' and 'Everybody's Trying To Be My Baby'. While George's thumps on the African drum are clear enough, once again it is less certain what Ringo is up to. As with 'I'll Follow The Sun', something rhythmic is afoot, but this time the evidence does point to bongos. The session's recording sheet for this track specifically mentions bongos, as do Derek Taylor's sleeve notes. The cleaner production of the _Anthology 1_ version seems to reinforce this, but is not wholly conclusive. Paul's comment to _Disc_ at the time sheds the merest glimmer of light, "Ringo got hold of a sort of horn-shaped conga drum for this with good effect."

The impression of heavy melodrama given by the vocal harmonising is accentuated by the heavy organ that cements the middle eight to the spot. The stodgy, immutable rendition ensures the song remains lying face down until John's vocal begins to soar and hauls it on its feet for the last few bars.

### Kansas City/Hey, Hey, Hey, Hey

#####  [Leiber/Stoller/Penniman]

####  Recorded 18 October
Mixed 26 October (mono, stereo)

Paul – lead vocals, bass, possibly piano
John – backing vocals, rhythm guitar
George – backing vocals, lead guitar
Ringo – backing vocals, drums

'Kansas City' was one of Jerry Leiber and Mike Stoller's earliest compositions, recorded in 1952 by Little Willie Littlefield, but with the title 'KC Loving'. Although a local hit at the time for Littlefield, it was Wilbert Harrison who took it to the top of the _Billboard_ chart in 1959, under its original Leiber and Stoller title. Since then, it has been extensively covered, by everyone from Julie London and Peggy Lee to Alexis Korner and James Brown. A year before Harrison's number one, Little Richard recorded a version that segued into his own 'Hey, Hey, Hey, Hey', although his own song was not credited in the title of the release. While it was not a hit in the US, the song made it into the UK top 30 in the summer of 1959, coming to attention of the fledgling Beatles, and becoming part of their stage act in 1961.

Mind you, very little of the original remained in Little Richard's version in terms of lyrics. Leiber and Stoller had written of "Going to Kansas City, Kansas City here I come / They got some crazy little women there, I'm gonna get me one".

Leiber and Stoller were of course well-known to the Beatles, who played a raft of their songs live, including 'Hound Dog', 'Jailhouse Rock' and 'Three Cool Cats'. In fact, only Chuck Berry was a greater source of songs for their concert repertoire. The Little Richard song was the B-side to his 1958 hit 'Good Golly Miss Molly', and the full title heads off in a slightly different direction to the Leiber and Stoller song – 'Hey, Hey, Hey, Hey (Going Back To Birmingham)'. Indeed the song starts with the line "Going back to Birmingham, way down in Alabam'...". With similar lyrics and identical chords, it's likely that Little Richard's song was inspired by the earlier Leiber and Stoller number.

The Beatles had dropped 'Kansas City' from their live shows by 1962, although they had recorded it three times for their BBC shows. However, they reintroduced it for one night only in 1964, under rather unusual circumstances.

Their 1964 tour of North America was planned with 30 shows on 24 nights across the USA and Canada, followed by a charity event in New York in aid of cerebral palsy. This punishing schedule included a day off towards the end of the tour following the concert in New Orleans, so the group could take a look round the city. However, Charlie O Finley, president of the Kansas City Athletics baseball team, having promised the good folk of Kansas City that he would bring the Beatles to play in their baseball stadium, was disappointed to see that his home town was not on the tour. He therefore made it his mission to get the Beatles to play in Kansas City. Brian Epstein was unwilling to deny his boys their day off, but faced with a check for $150,000 – a record fee at the time for a single show – Epstein and the Beatles agreed. And so of course, 'Kansas City' was dusted off for this one show, and naturally received a riotous reception. Although not then reintroduced into their touring repertoire, this reception must have gone some way to precipitating the decision to record the track for the album.

The song was completed in a single take, although it was then recorded a second time for good measure. But the second attempt, available on _Anthology 1_ , didn't match up to the energy and fire of that first take. Nevertheless, it seems from the _Anthology_ track, that backing vocals and handclaps were overdubbed onto this second take before it was rejected. In both versions, Paul reverses Little Richard's verse order, and the instrumental break is moved from after the first 'Hey, Hey, Hey, Hey' verse to a place that divides the two songs. The piano is normally credited to George Martin, but may well be Paul. It is part of the backing vocal and handclap overdub, which sound to have been provided by John and George only, and indeed, Paul told _Disc_ at the time that he had done some piano playing on the song. The overdub, a barrage of triplets, is almost indiscernible, even sounding as if it were unmiked.

This 18 October session saw something of a race for the finishing tape to complete the album as it included four more cover versions as well as 'I'll Follow The Sun' and the single 'I Feel Fine'. The covers included the one-take recordings of 'Everybody's Trying To Be My Baby' and 'Rock And Roll Music'. One more session saw recordings for _Beatles For Sale_ completed.

The song was recorded for the BBC once more for good measure, this fourth and final outing being for the Boxing Day 1964 edition of _Saturday Club_ , released on _Live At The BBC Volume 2_. Unusually, all but one of the other Beatles tracks played in this edition had already been broadcast in the previous month's _Top Gear_.

Although the performance of the _Beatles For Sale_ track is energetic and Paul's brings off a terrific vocal, its inclusion on the album speaks volumes about how the cycle of concerts was taking its toll on the group's recorded output. It obviously went down a storm when performed live, but does seem a little out of place on a Beatles studio album in 1964. It is a good closing number for side one of the album, but does highlight the group's lack of original material at this stage, simply through not having the time to write.

Following on the heels of 'Mr Moonlight', it's clear that the Beatles, for now, were having to dip into their concert catalogue to gather enough tracks together to produce an album. For the second year they fulfilled the aim of producing two albums a year – and would do again in 1965 with _Help!_ and _Rubber Soul_ – but for this one album in particular, achieving this particular goal seems to have been at some cost.

Early copies of the _Beatles For Sale_ album omitted to credit 'Hey, Hey, Hey, Hey' on the label or the inner sleeve. Although later pressings of the album label corrected this, the sleeve artwork remained unchanged.

### Eight Days A Week

#####  [Lennon-McCartney]

####  Recorded 6, 18 October
Mixed 27 October (mono, stereo)

John – lead vocals, acoustic guitar
Paul – harmony vocals, bass
George – harmony vocals, lead guitar
Ringo – drums

The second side of _Beatles For Sale_ begins on a more positive note. All the Lennon-McCartney originals so far on the album have been about loss – either by voluntary means ('I'll Follow The Sun'), or, more often, not. Now the fade-in of Paul's 'Eight Days A Week' ushers in a new emotion, and the territory of 'Can't Buy Me Love' and 'Things We Said Today' is revisited.

Nevertheless, the title is also a reflection of the exhausting pace of life for the group in late 1964, as is the fact that on the day they finished recording the song, they also started and finished seven other tracks. War weary they truly were, on a juggernaut that showed no signs of stopping, with little time for anything other than work, and travel from one commitment to the next. "Success is a wonderful thing," George Martin observed, "but it is very, very tiring."

The song marks the first time that the Beatles carried out any kind of experimentation in the studio. The earlier takes – a selection of which appear on _Anthology 1_ – show that a fade-in was not the original intention for the song. After a straight run-through of the song, take 2 introduced descending harmonised "oohs" from John, anticipating the first line of the melody, against Paul's held F#.

John added his acoustic guitar to this in take 3, but take 4 simplified the idea with John and Paul holding "oohs" to F#. Take 5 experimented with "oohs" at the end, but the whole idea was dispensed with on take 6, which was more or less identical to the released track. At the end of the session there were just a couple of things needed to be cleaned up – the beginning was a little ragged and the end a little abrupt, but they could be fixed with edit pieces. And so a few days later, the group recorded a new intro, once more experimenting with a cappella vocals, and a stronger outro piece of strummed lead and acoustic guitars with Paul hammering out triplets on the bass. Although the outro worked perfectly (despite a sudden change in the stereo picture as the instruments change places and the drums jump from left to right), the vocal intro was deemed to be too weak. Norman Smith then hit upon the idea of fading the song in, avoiding the heavy entrance to the recording. And so, the distinctive fade-in was finally introduced when the track was mixed on 27 October.

Coincidentally, also on 27 October, the Supremes' 'Come See About Me' was released in America, which also featured a fade-in and was one of the very few commercially successful releases to do so up to that point (notwithstanding such rarities as Chuck Berry's 'Downbound Train', the B-side to his 1955 single 'No Money Down'). And just to bind the fortunes of the Liverpool lads and the Detroit girls more tightly together at this point, both records spent two weeks at the top of the _Billboard_ chart – the Supremes' two weeks being interrupted by the three weeks that 'I Feel Fine' spent at number one, and the Beatles' two weeks being followed by the Supremes' follow-up, 'Stop! In The Name Of Love'.

But back to 'Eight Days A Week' and its intro. The D–E–G6–D (I–II–IV6–I) forms the structure of the verse, interspersed with the "hold me, love me" interlude. The melody consists of straightforward harmonic steps and jumps, over this unusual chord sequence. On closer analysis, what makes the sound fresh and exciting is the minor third switch from E to G in the middle of the sequence, rather than a standard movement up a fourth to A. While John has used a similar movement before, in 'I'm A Loser' for example, he normally followed the minor third switch with a resolution to the fourth (in that case, in the verse, G–D–F9–G, D to F being the minor third switch, resolving to G). Here, the resolution never comes – or at least, we have to wait until the bridge for it. After A–Bm (V–vi), the second line of the bridge guides the song nicely back to the verse with the missing E–G–A (II–IV–V) movement. The main feature of the bridge itself is that the harmony is in fourths as well as open fifths, with a wonderfully snaking melisma in Bm for "I lo-o-o-ove you".

These fourths sound particularly arresting – not only because of the lack of instrumentation at this point, but because fourths in themselves have a dissonance that is at odds with the straightforward declaration "I love you". They never make things simple, these boys.

The structure of the song's lyrics shows that Paul has learned the lessons of the past two years well. Having an arrangement involving two verses followed by the bridge, followed by a repeat of the verses interspersed with the bridge, maximises the appeal of the song by giving it familiarity without making it become tedious, as 'Love Me Do' had a tendency to do. More than this, the changes of texture that occur within the verses and on the bridge keep the suspense alive without resorting to an instrumental break. The lyrics do not say a lot, but they do it in an appealing way.

John told _Playboy_ in 1980 that he thought that 'Eight Days A Week' was "lousy" – and he already seems to have felt this about the song soon after it was recorded. In 1966, he told the magazine _Music Maker_ that he had gone off many early Beatles tracks, and cited two interesting examples. "Songs like 'Eight Days A Week' and 'She Loves You' sound like big drags to me now. I turn the radio off if they're ever on."

Although John remembered working on the song himself, Paul was the driving force behind it. The style, sentiment and harmonic arrangement all contain Paul's hallmarks. But the track is unusual because it is John who handles the lead vocal, and the reasons for this are not obvious. Singing a song nearly always implied ownership of it, any exceptions being mainly Paul singing the lead part because it was out of John's range. A clue may be in the track's position on the album. Putting it as the opener to side two, rather than using it to kick the whole album off to a joyous, rollicking start, may indicate that the group were wanting to move away from what their public expected of them. It may also be that, in spite of his later rejection of the song, John actually persuaded Paul to let him sing lead. He certainly gives his vocal performance an energy and enthusiasm that belie his later dismissal of the song.

It is widely held that Paul based the title for the song on a comment Ringo had made about the pace of life for the group in 1964. Linda had said as much when discussing Ringoisms in an interview with _Playboy_ in 1984, and Paul had agreed. But interestingly he remarked that Ringo had said it "as though he were an overworked chauffeur: [heavy accent] 'Eight days a week.' When we heard it, we said, 'Really? Bing! Got it!'". It could have been that he didn't want to contradict Linda – who was probably thinking of 'A Hard Day's Night' – but in an interview with _Disc_ back in November 1964, and much later in the Barry Miles book _Many Years From Now_ , and again in the _Anthology_ book, Paul states that he was being driven to John's house one day and it was the driver who came out with the phrase, "saying how hard his boss worked the staff – so hard they seemed to do eight days a week". Ever ready to tap into any kind of inspiration for a song, the two quickly exploited the hook. "When I arrived at John's house I said, 'Hey, this fella just said, "eight days a week".' John said, 'Right...'." The driver could well have been Alf Bicknell, who started work on 1 October and remained chauffeur by appointment to the Beatles until 1966. Bicknell lived near Paul's base with the Ashers on Wimpole Street and would ferry him out to John's house in Surrey if Paul didn't fancy the drive in his own Aston Martin. (Paul's licence had been suspended for a year in August 1963 following his third conviction for speeding, so it's also possible he didn't want to take any chances in that department.) But whoever came up with the lyrical hook, in writing the song, Paul also seems to have had Brian Epstein in mind, who was putting in tremendous hours, tirelessly promoting his boys.

Paul wrote the track in an attempt to capture the credit for the title track for the Beatles' second film, which had the working title _Eight Arms To Hold You_. 'Eight Days A Week' was also recorded at the time that the group needed to produce the Christmas single for 1964, and so became a strong contender. Unfortunately for Paul, John pipped him at the post with 'Help!' for the next film and with 'I Feel Fine' for the next single, which was recorded on the same day as the edit pieces for 'Eight Days A Week'.

However, Paul's song was held off _Beatles '65_ , the American version of _Beatles For Sale_ , and released as a Stateside single in February 1965. Unlike many Beatles singles released only in the States (such as 'And I Love Her' and 'Nowhere Man') it climbed all the way up to number one. (The other notable success for an American-only single was Paul's 'Yesterday', which stayed at number one for four weeks.)

### Words Of Love

#####  [Holly]

####  Recorded 18 October
Mixed 26 October (mono), 4 November (stereo)

John – vocals, rhythm guitar
Paul – vocals, bass
George – lead guitar
Ringo – drums, percussion

There are two main stories relating to the origin of the name "Beatles". George Harrison believed it to have originated from the 1954 film _The Wild One_. John and Stuart Sutcliffe were Marlon Brando fans and George believed that they picked up on a scene from the film in which Lee Marvin, referring to the motorbike girls that would hang around with his gang, says to Brando, "the Beetles missed you, all the Beetles missed you".

An alternative, and more credible scenario also involves John and Sutcliffe. This suggests that while toying with ideas for a new name for the Quarry Men early in 1960, Sutcliffe suggested that they take a leaf out of Buddy Holly's book. Holly was a musical idol of both John and Paul, and so a name like Beetles or Beatals would pay homage to Holly's group, the Crickets. John thought that Beatals would tie in well with beat music, but was persuaded by Liverpool singer Brian Cassar (of Cass and his Cassanovas) that it was fashionable to have rather longer names. Cassar's suggestion of Long John and the Silver Beetles didn't find complete favour with John, and so the group settled on the Silver Beetles. Within two months, John, who as Michael Braun points out "couldn't leave a word alone", changed the name again.

(John himself gave an account of the derivation of the name as part of a biography of the band in _Mersey Beat_ in 1961. Unfortunately for posterity, this account does not quite have the ring of truth about it – "Why Beatles? Ugh, Beatles. How did the name arrive? So we will tell you. It came in a vision – a man appeared on a flaming pie and said unto them 'From this day on you are Beatles with an A'. Thank you, Mister Man, they said, thanking him.")

Even Hunter Davies's 1968 biography of the group does not give a definite origin for the name. Paul and George are cited as remembering John arriving with it one day, although John is quoted as saying "The idea of beetles came into my head. I decided to spell it BEAtles to make it look like beat music, just as a joke." The likelihood, therefore, is that we can take John's comments at face value and that the name paid homage to Buddy Holly. However, even if Brando rather than the Crickets was instrumental in the renaming of the Quarry Men, the second explanation is entirely credible and shows the significant influence Holly had on the music of the Beatles. His lyrical and vocal style, reminiscent of the Everly Brothers, can be seen in the lead-and-response songs of Lennon-McCartney, particularly songs like 'If I Fell'.

Buddy Holly was born Charles Hardin Holley on 7 September 1936. His first stage appearance was aged five, winning a talent contest with his two brothers. After recording a handful of songs for Decca in 1956, he began recording with the newly formed Crickets at Norman Petty's NorVaJak studios in New Mexico in 1957. His first Petty-produced release, 'That'll Be The Day', hit number one in the US and the UK. This marked the start of a run of hits on both sides of the Atlantic, although, with the exception of 'Peggy Sue', his chart success in the UK eclipsed that of the US. In late 1958, Holly parted company with Petty, and to his surprise the Crickets elected to stay with Petty rather than continue with Holly.

In January 1959, he began the 'Winter Dance Party' tour of the US Midwest, together with Ritchie Valens, the Big Bopper and Dion and the Belmonts, amongst others. Following the concert on 2 February, Holly, Valens and the Big Bopper chartered a small plane to take them to the next gig, rather than travel on the unreliable tour bus. The plane crashed shortly after take-off, killing the pilot and all three musicians. Holly was just 22 years old.

Buddy Holly's popularity grew even stronger in the wake of his death, and his influence, both as one of the first of rock's singer-songwriters and as a performer, was felt for decades to come. In spite of releasing only three LPs in his lifetime, he left a legacy of evergreen songs, including 'Oh Boy', 'Rave On', 'Heartbeat' and 'It Doesn't Matter Anymore', which have been covered by a raft of artists from Linda Ronstadt and the Rolling Stones to Blondie and Erasure.

'Words Of Love', Holly's follow-up to 'That'll Be The Day' (which was credited to the Crickets whereas 'Words Of Love' was credited to Buddy Holly himself), had not been a hit when it was released in 1957. The B-side was 'Mailman, Bring Me No More Blues', one of the many songs busked by the Beatles during the _Get Back_ sessions, which was eventually released on _Anthology 3_. The Quarry Men/Beatles had played 'Words Of Love' live from 1958 until 1962, with John and George sharing the vocals. (It has even been suggested that it is George and not Paul who duets with John on the _Beatles For Sale_ track.)

In 1965, when asked about any unrecorded songs they had up their sleeves, John admitted there were about twenty very early songs, but that they were unusable because they were so derivative – "every one of them was Buddy Holly". Even 'Love Me Do' was in part inspired by Holly, having the same three chords as 'Words Of Love'.

But rather than any specific song, Holly's influence was as much as anything that he was a singer/songwriter, which particularly appealed to Paul. "One of the main things about The Beatles is that we started out writing our own material. People these days take it for granted that you do, but nobody used to then. John and I started to write because of Buddy Holly. It was like, 'Wow! He writes and is a musician'."

In spite of him being such an influence, frequently acknowledged by both John and Paul, and the fact that the group performed a dozen songs written or originally recorded by Buddy Holly as part of their live act between 1957 and 1963, 'Words Of Love' was the only Buddy Holly song recorded by the Beatles. Just one other Holly song was performed by the band for BBC radio – 'Crying, Waiting, Hoping' featured in _Pop Go The Beatles_ in August 1963.

'Words Of Love' uses a similar arrangement to the original, and was perfect for the up-and-coming Quarry Men, containing as it did the same three chords (A–D–E, I–IV–V) repeated relentlessly over two bars. As Paul explained to George Martin, "In this early partnership... mainly it was a Buddy Holly kind of influence. For one reason: we knew three chords, A, D and E, and all his stuff was in A, D and E so no wonder we were influenced."

Vocally, John and Paul closely mimic Holly's intonation ("How-ld me close..."). Holly's original has his voice double-tracked so that he duets with himself – a rare technique for 1957, although it was one that had been pioneered by Patti Page and her producer Mitch Miller. However, Holly emphasises the lower of the two voices, whereas John and Paul give prominence to the upper part.

This first line provides a nice link to the "Hold me, love me, hold me, love me" of the previous song.

The song was recorded at the end of the penultimate _Beatles For Sale_ session, along with 'Everybody's Trying To Be My Baby' and 'Rock And Roll Music'. Like those other covers, it was wrapped up quickly, this time in just two completed takes, onto the second of which were overdubbed handclaps and... well, "Ringo on packing case", according to the album sleeve. (This is a nice echo of the Crickets' drummer Jerry Allison slapping his thighs rather than play the drums on the 1957 song 'Everyday', the B-side of 'Peggy Sue'.)

Also overdubbed was George's acoustic guitar riff, a feature of the original. As Paul remarked at the time, "there was a fabulous guitar bit on the Holly disc, sounding almost like bells. George took the same riff and double-tracked it."

Although, as was mentioned, 'Words Of Love' is the only Buddy Holly track recorded by the Beatles, three members of the group had produced recordings of two other Holly songs. On 1 January 1962, the Beatles auditioned for Decca records. John, Paul George and Pete Best ran through 15 songs, including 'Crying, Waiting, Hoping', a song they had been playing since 1960, and one of the last songs written by Buddy Holly before his death in February 1959. (Holly's demo of 'Crying, Waiting, Hoping' was overdubbed by two sets of musicians after his death, for release as the B-side to 'Peggy Sue Got Married' in 1959 and again by his manager and producer Norman Petty in 1964.)

And in mid-1958, John, Paul and George, together with piano player John Lowe and drummer Colin Hinton made a 10-inch 78rpm shellac disc of Holly's 'That'll Be The Day', a number one for the Crickets the previous November, and 'In Spite Of All The Danger', written by Paul and George. The recording was made in a private home in south Liverpool, and, as the shellac disc was cut while the group were playing, only one copy was made, which Paul still possesses. Both of these first "Beatle" tracks appear on _Anthology 1_.

### Honey Don't

#####  [Perkins]

####  Recorded 26 October
Mixed 27 October (mono, stereo)

Ringo – lead vocals, drums
John – acoustic rhythm guitar, tambourine
Paul – bass
George – lead guitar

Ringo's second Carl Perkins cover – the first, 'Matchbox', having been recorded five months previously – was one that had also been sung on stage by John. It had been part of the group's live act since 1962, and a version recorded for _Pop Go The Beatles_ on 1 August 1963 can be heard on the _Live At The BBC_ album, with John singing lead. According to the BBC book _The Beatles At The BBC_ , John also sang on the bank holiday _From Us To You_ on 18 May 1964, with Ringo taking over the vocals for subsequent sessions broadcast on 26 November (and released on _Live At The BBC Volume 2_ ) and 7 June the following year. We can assume that John handed the song over to Ringo when it came to record _Beatles For Sale_ , from which point on, Ringo claimed the song very much as his own.

In fact, 'Honey Don't' was popular with the Mersey groups – as Ringo remembers, "it was one of those songs that every band in Liverpool played". As such, when it came to Ringo's showcase for _Beatles For Sale_ , little deliberation was needed. Although Paul later stated that 'I Don't Want To Spoil The Party' was written for Ringo, the Perkins track suits him down to the ground. The country rock style of the song was a favourite of his, which explains why the Beatles' treatment of the song is strikingly similar to Perkins' own version. Of the three Perkins covers, this is also lyrically closest to the original, although for some reason, Ringo persists in singing "I" instead of the more logical " _you_ say you will when you won't" of the original. He makes a fair shot at imitating Perkins' delivery, though John's _Live At The BBC_ rendition has greater depth and range, and is bouncier, with scat ad-libbing.

'Honey Don't' was the B-side of Carl Perkins' 'Blue Suede Shoes', his most famous single (and only UK hit), which got to number two on the _Billboard_ charts in 1956. However, it was of course Elvis Presley who drove 'Blue Suede Shoes' into the world's consciousness with his version recorded later the same year.

The song throws an unusual chord into the standard Perkins mix – compare it with 'Matchbox' and the 12-bar A7–D7–A7–E7–A7 (I7–IV7–I7–V7–I7), 'Honey Don't' seems to incorporate a nod towards Buddy Holly's 'Peggy Sue' with a bVI instead of the IV: E–C–E–C–B7–E (I–bVI–I–bVI–V7–I). Legend has it that when Perkins came to record his own version, accompanied by his two brothers and a drummer, his guitarist brother Jay found the bVI chord so odd that he refused to play it, and had to be persuaded by Carl. Naturally, the Beatles borrowed this flattened submediant chord for their own ends – it's what gave the first line of 'It Won't Be Long' such power and sparkle.

The song was wrapped up in a couple of hours in the afternoon of the seventh and last _Beatles For Sale_ session. The last sessions for the album took place, as usual, amid a busy concert tour. In the eight days since the previous recording session, which had taken place on Sunday 18 October during what was meant to be a rare weekend off, the group had played every night at venues from Edinburgh to Brighton. Interviewed on the Monday, Ringo confirmed his was the one outstanding track left to tackle: "I haven't learnt the words properly yet. But I'm thinking about it." Before recording started on this final session, all four group members also sat in on the mixing session – one of the first times they had done this. Half a dozen songs were mixed for mono and one for stereo in the morning, and after a short break, recording got under way at 4.30 in the afternoon. The group perfected the song in just five takes over the course of a couple of hours, culminating in the addition of the tambourine overdub. They went on to start and finish the remake of 'What You're Doing' later that evening, and then to tape their annual dollop of festive nonsense, the four minutes of borderline chaos that was destined for the official Fan Club members in the form of the flexidisc 'Another Beatles Christmas Record'.

Paul's own music publishing company, MPL Communications, which he founded in 1970 at the height of the Apple/Allen Klein unpleasantness, administers the rights to 'Honey Don't', along with the rest of Perkins' catalogue. MPL Communications also controls the songs of Buddy Holly, so that, ironically, Paul could be said to own the rights to three of the tracks on _Beatles For Sale_ , none written by him.

### Every Little Thing

#####  [Lennon-McCartney]

####  Recorded 29, 30 September
Mixed 27 October (mono, stereo)

John – lead vocals, lead guitar
Paul – harmony vocals, bass, piano
George –acoustic guitar
Ringo – drums, timpani

The ownership of 'Every Little Thing' was for a long time disputed by John and Paul – but unlike the battle for possession of 'Eleanor Rigby', Paul initially disclaimed sole credit for this song. John told _Playboy_ it was "his song; maybe I threw something in". In an interview in 1964, Paul states he and John wrote the song, along with 'What You're Doing', in August 1964 while in Atlantic City as part of their North American tour.

The verse does seem decidedly Johnish – with shades of 'It's Only Love', which could explain his distancing himself from it – and the chorus rather Paulesque, particularly the arching melody and the use of the timpani, new to Beatles recordings. Although John takes the lead vocal, Paul eventually acknowledged authorship in _Many Years From Now_ – "like most of the stuff I did, [it] was my attempt at the next single... It didn't quite have what was required", although he then added that he wrote the song alone – once again at Jane Asher's Wimpole Street family home.

The song seems to sum up his life with Jane at the time – she an accomplished young actress of stage and screen and he one of the most famous musicians in the world – as a cycle of plays, galleries, clubs, first nights, openings. As Cynthia Lennon observed: "Paul fell like a ton of bricks for Jane... Paul was obviously as proud as a peacock with his new lady".

The lyric waxes... well, lyrical about the virtues of the lady in question, reflecting well in its predictable phrasing the stupid thrill of being utterly in love. But there's also a nice McCartney twist in using the negative to reinforce the positive in "I remember the first time I was lonely without her". It also rounds off a small oasis of positivity on the album – an out and out love song, reminiscent of earlier Lennon-McCartney compositions, following a little behind 'Eight Days A Week' and 'Words Of Love'. It raises our hopes that the tone set by the first three tracks on the album has finally been dispersed... only to have them dashed with the appearance of the next track.

The structure of the verse matches two apparently short phrases with a long one. The progression of the shorts – A–D–E, A–G–D (I–IV–V, I–bVII–IV) – is embellished during the long – A–B–B7–E–A (I–II–II7–V–I). But the effect is illusory, for the twelve-bar verse is in fact evenly divided. The arching "long" phrase is deceptive as it conjures up a sense of space that is not there. Its central triplet rounds off the phrase melodically and rhythmically and satisfactorily resolves the preceding couple of lines.

For the chorus John is joined by Paul, and together they produce a characteristically interesting set of harmonies. The parallel fourths and fifths overbalance the melody without masking the heavy pull to the subtonic G (bVII).

In an early take, Paul and John harmonised the first line of the verse, but later simplified the arrangement and kept the harmonising for the chorus. The timpani adds an extra dynamic to the interest that this technique engenders. Furthermore, it is Ringo, one of the group, who does the honours, and not George Martin, who up to now would usually elect to tackle any non-Beatle instrumentation.

The song ends with a brilliantly catchy, simple (and short-lived) coda. The 12-string intro is repeated with an insistent and emphatically regular chant of the title.

It is generally accepted that the lead guitar is handled by George with John on acoustic, but Paul's commentary on the LP for _Disc_ in November 1964 states the opposite.

The song was the first to be tackled on the group's return from their first North American tour (as opposed to their very first visit to the USA in February). They had recorded 'Baby's In Black' and 'I'm A Loser' the previous month, and now set about finishing the album in six sessions over three weeks. 'Every Little Thing' was recorded in nine takes over two days – although George was late for recording on the first day and so didn't appear on the first four takes – with the guitar intro, piano and timpani introduced only for the final take.

Before the second day's session for the song, Ringo took part in a recording session that was a little out of the ordinary. His old band, Rory Storm and the Hurricanes, were recording what was to be their second and last single, and Ringo was sitting in to add a touch of percussion and backing vocals. Ringo's presence seems to have been the result of a guilty conscience – he had had to disclose his earnings while in the group to the Inland Revenue, who as a result were showing unwelcome interest in the band's financial affairs. What makes the session unusual is that not only was the song being recorded the unlikely choice of 'America' from _West Side Story_ , but that it was produced by none other than Brian Epstein.

### I Don't Want To Spoil The Party

#####  [Lennon-McCartney]

####  Recorded 29 September
Mixed 26 October (mono), 4 November (stereo)

John – lead and harmony vocals, acoustic guitar
George – harmony and backing vocals, lead guitar
Paul – lead and backing vocals, bass
Ringo – drums, tambourine

George, and to a greater extent Ringo, were strongly influenced by country and western music in general, and by Carl Perkins in particular. Between the two of them they recorded all three of the Perkins songs that were covered by the Beatles. John and Paul were rather less enthusiastic about this style of music, although John remembered, "I heard country and western music in Liverpool before I heard rock 'n' roll. The people there – the Irish in Ireland are the same – they take their country and western music very seriously." However, both John and Paul held the rockabilly singer Buddy Holly in high esteem.

Nevertheless, the effect of the Beatles' adoption of the country and western style – particularly on this album – was to bring about an increase in the popularity of that style of music with the record-buying public. Many of George's solos in the early Beatles songs owe a large debt to Perkins' characteristic rocking country guitar style. 'I Don't Want To Spoil The Party' is the Beatles' most country-and-western song (with the inevitable soupçon of rockabilly) on the their most country-and-western album. The new direction was clearly intentional, as John said at the time, "The numbers on this LP are different from anything we've done before, and you could call our new one a 'Beatles Country and Western LP'."

Yet it is clear that, to John at least, country music meant unhappiness (and it is notoriously difficult to name any country music song with positive sentiments). So although the song is musically up-tempo, its lyric is decidedly downbeat. The John who wrote _In His Own Write_ for himself and the one who wrote 'I Want To Hold Your Hand' for the "meat market" were beginning to join forces and come up with songs that were close to home for both of them. John commented that 'I Don't Want To Spoil The Party' was very personal, which was certainly a comment on the style of writing rather than the fact that the lyric represented a specific incident when he left a party. This much is clear from the delivery as well as the content of the song. His voice is drained and his emotions are all over the place as he sings of a face-saving exit, tinged with an involuntary note of optimism as he asks to be told if she shows up. He's been drinking, but doesn't care... and yet will still go out to look for her. He makes it more than simply having been stood up. The rather trite nature of the bridge's lyrics is masked by the appealing delivery, as the spotlight moves to Paul and the weariness turns to hope.

The song therefore follows on from the sentiments expressed in 'I'll Cry Instead', as well as being very similar in structure and style. It is, however, more interesting than the earlier track both musically and lyrically. Both songs have a rockabilly, music-hall sense, and are made up of verse-verse-break-verse-break-verse. The structure of the verse of the both songs is identical, having an almost limerick-style construction. Both songs are in G and have verses predominantly based around the tonic. But the later song holds the interest with its more unusual and unexpected harmonic touches.

After an introduction based around G with falling and rising bass notes, the verse holds the tonic key for two lines before a move to D (V). The move to the relative minor, underlining what went wrong, and then B7–Am7–D (vi–III7–ii7–V) is standard, but on "take a _walk_ ", Paul suddenly throws in an F natural, which alerts us to reality and the cold night outside the party where John is going to try to find her. The relative minor also appears in the bridge, which repeats its six bars, and so is longer than expected because of the extravagantly sustained semibreves of "I— still— love— her—", held maybe four times longer than expected, and giving the sentiments unquestionable veracity. The Em–A (vi–II) pull of "I still" also nicely matches the lyric's meaning. The contrast of the choppy melodic "Though tonight she's made me sad" with the even, drawn-out next line adds a level of interest that is missing from the earlier song.

The vocal arrangement of 'I Don't Want To Spoil The Party' is also interesting, as John, Paul and George seem to swap roles throughout the song. The verse is usually taken to be John's voice double-tracked (although even if both voices are John, what we have here is not strictly double-tracking), but it sounds in places more like George is supplying the harmony. During the third line of the verse, George and Paul provide "ooh-ooh" backing vocals. The bridge suddenly takes on a different feel as Paul provides a fine upbeat lead vocal, with John now providing the harmony. As with 'A Hard Day's Night' and a string of other tracks, this handing over of the lead from John to Paul was more to do with the melody falling more comfortably within Paul's register than any compositional contribution he may have made. What also makes the bridge work so well is the space between the harmonies – Paul and John producing evocative fourths, fifths and sixths, moving around the register with an appealing recklessness.

Although the 19 takes needed for the recording of the song – seven in the afternoon session and twelve in the evening – seems quite high, only five of these were complete, indicating a little difficulty in getting to grips with the arrangement. Once the basic track was recorded, all that was needed was to overdub the harmony and backing vocals, and the tambourine. Due to the nature of the stereo mix, with the lead and acoustic guitars in opposite channels, the lead guitar is noticeably louder than in the mono mix.

When discussing the song in the ghost-written memoir of his time with the Beatles, _Many Years From Now_ , Paul talks at some length about how 'I Don't Want To Spoil The Party' was a vehicle for Ringo. There appears to be no other evidence that the song was originally intended to be sung by Ringo – the range of the melody alone would surely seem to rule it out – and yet it is not obvious which other song Paul could have been thinking of, so it must indeed be the case.

However, the style of the song is certainly more reminiscent of Ringo than John (though that, of course, is not in itself a bad thing), and it is surrounded by more weak tracks than is usual for a song on a Beatles album. As a result, 'I Don't Want To Spoil The Party' is one Lennon song that tends to get lost or overlooked. Dealing with rejection in a typically frank and forthright way, with a captivating musical arrangement and execution, and with deft touches that are confidently handled, it is a hidden gem that deserves to be dusted off a little more often.

### What You're Doing

#####  [Lennon-McCartney]

####  Recorded 26 October
Mixed 27 October (mono, stereo)

Paul – lead vocals, bass, piano
John – backing vocals, acoustic guitar
George – backing vocals, lead guitar
Ringo – drums

Although Paul is somewhat dismissive of his efforts on 'What You're Doing', describing it as "a bit of a filler" that didn't really gel, it is certainly not devoid of interest. While he felt that, having come up with the title and hook, the song didn't progress, the recording of it showed a degree of inventiveness for the group.

It was also something of a departure for Paul in terms of the sentiment of the lyric – the bitterness and hectoring of the song would be expected more of John than Paul, though it paves the way for future outbursts such as 'I'm Looking Through You' or even 'We Can Work It Out'. However, he is continuing his experimentation with how words and their sounds can be matched. The internal rhymes of the first two verses are inventive without being contrived – with "doing" pitted against "blue and", and "running" against "fun in". The effect is slight spoiled as the straightforward "lying" / "crying" of the final verse gives the impression that he simply ran out of inspiration and gave up on the idea. Which is surely not the case.

Interestingly, it seems to have been quite problematic to record. A first attempt was made on 29–30 September, when twelve takes were recorded over two evening sessions. By the end of the second evening, the "best" version had a different bridge to the released version, and two full bars' rest before a final instrumental coda.

A snippet of the evening's work appears on the _Anthology_ DVD – after the intro for take 5, there is a short, gabbled interchange between Paul and George Martin: "George, what did it sound like with the bass doing a funny thing did it sound any good or did it sound just all ugly crap?" "It sounded rather magnificent." "Did it? Well see told you nerr hello to you and see how you like it."

The remake, though taken at the same tempo and similar in arrangement to the original, is smoother and has a rather less rock-oriented feel. The recording took place from 7.30 pm on the final day of the _Beatles For Sale_ sessions.

There is some evidence that, being taped on the day of the deadline for completing the album, the song was recorded at a bit of a lick. The backing vocals unravel in the third verse, singing "you" and "and" (or possibly "ooh") instead of "please" and "you". Happily, the boys are back on track by the time this is repeated in the final verse. As was the case with 'Kansas City/Hey, Hey, Hey, Hey', the identity of the piano player is up for debate. Again, George Martin is usually held responsible, but again, from his comments to _Disc_ at the time, Paul may well have been playing it himself during the recording of the backing vocal and guitar overdubs.

Although the form of the song and the basic harmonic structure are fairly standard (two verse – bridge – verse, instrumental – bridge – verse and out, using just five chords), there is an unusual amount of dissonance in the song, and the use of the drums and guitar riff make it worth a bit of analysis.

The 'Be My Baby'-style drum intro, repeated near the end, captures the rhythm of the title nicely, and works well against the repeated Buddy Holly guitar figure – which also syncopates well with the fully on-beat rhythm of the melody. Instances of where the notes of the melody lie outside the relevant chords abound – the first two lines alone contain no less than nine such delightful dissonances, thanks in part to a couple of jazzy flattened sevenths:

This is all the more remarkable for the fact that the range of the verse is essentially just a fifth, between D and A. The most indulgent occasion for the harmonic conflict, though, is long melisma at the end of the bridge – "it's me-e-e-e-e-e-e". This starts off with a held F# on the A chord as the section winds down, making an A6 – the same effect as John pulls off in 'This Boy' on "till he's seen you _cry-y-_ y-y". With the basic chord structure of the song being very much based on D–G–Bm (I–IV–vi), and the dominant not appearing until the end of the bridge (G–Bm–E–A, IV–vi–II–V), this continual dissonance is all the more noticeable.

Although often cited as a solely McCartney composition, not least by John, this may be the result of some revisionism. Questioned about authorship by _Playboy_ in 1980, John said of 'What You're Doing', "his song; I might have done something", and of 'Every Little Thing', "his song, maybe I threw something in". However, interviewed in 1964, Paul sourced the writing of 'What You're Doing', like 'Every Little Thing', to Atlantic City in August 1964. "It's not that Atlantic City is particularly inspiring, it's just that we happened to have a day off tour there." The group had spent the time between concerts in Atlantic City on 30 August and in Philadelphia on 2 September holed up at the Lafayette Motel. Paul also passed the time by calling up Elvis Presley on the phone. As Ringo said at the time, Elvis and the Colonel were generous with gifts for the group. "These include some very expensive silver guns and holsters which the four of us and our manager Brian received."

### Everybody's Trying To Be My Baby

#####  [Perkins]

####  Recorded 18 October
Mixed 21 October (mono), 4 November (stereo)

George – lead vocals, lead guitar
Paul – backing vocals, bass
John – acoustic guitar, tambourine
Ringo – drums

A name that is invariably and unjustly absent from Beatles reference works is that of Rex Griffin. Griffin is one of a host of singer songwriters of the early twentieth century whose names have sadly, for one reason or another, been all but forgotten, but who made an important contribution to popular music. In Griffin's case, it was to have written a number of fine songs, including 'Everybody's Trying To Be My Baby'.

Griffin was born and raised in Alabama, but escaped life on the family farm and working in the local factory by developing and exploiting a talent for music, initially the harmonica and then the guitar. He had a particular love of the music of the "Singing Brakeman", country music star Jimmie Rodgers. In the late 1930s and early 1940s, Griffin made a number of recordings, many of them his own original songs, including 'The Last Letter' and 'Everybody's Tryin' To Be My Baby', and their inevitable sequels 'Answer To The Last Letter' and 'Nobody Wants To Be My Baby'. But the privations of war and Griffin's own health problems cut short his career, and he eventually died of tuberculosis in 1959, aged 47.

A couple of years before Griffin's death, Carl Perkins recorded a song for Sun records called 'Everybody's Trying To Be My Baby', for which he claimed authorship. Unfortunately, Griffin's health and financial situation prevented him or his family from protecting his copyright, thus eventually depriving his daughters of hundreds of thousands of dollars in royalty payments.

The fact that Perkins appropriated Griffin's composition does not necessarily reflect so badly on Perkins. It was not uncommon at the time for musicians to take an existing work and tailor it to such an extent that they felt it to be more their own song than the original author's. It was then surely more convenient to claim authorship rather than muddy the waters with joint credits. And Perkins did indeed replace many of Griffin's lyrics with his own words. Many of Griffin's lyrics actually had little to do with being a babe-magnet, and indeed the first verse is fairly straightforward text-book misogyny –

You can always tell if you gal is mean

Nothing cooked and nothing cleaned

Although he did conclude with –

Woke up this morning at a half past four

Fifteen women coming knocking on my door

Perkins opted for something a little more explicit in the area of sex with a group of women at the same time –

I don't guess daddy's a movie star

They wanna ride in my big blue car

...

Well, they're squalling and balling, running down the hall

I guess old daddy's got a light on them all

Interesting also that the Griffin song has the more logical "took some honey from a bee" – Perkins' reasons for electing for the more problematic task of getting honey from a tree are not at all clear.

The Beatles had been performing the song since 1961 and had recorded it for the first of the BBC's _Pop Go The Beatles_ programmes back in May 1963. So by the time they came to make the _Beatles For Sale_ recording they could play it in their sleep.

Unfortunately, it sounds as if that's how it was recorded. For some reason, this track was treated to an inordinate amount of echo delay. There is sometimes a little confusion over the various delay techniques used by EMI. In the late 1950s, a company engineer had invented a technique for applying an echo effect called STEED (Single (or Send) Tape Echo/Echo Delay), which involves using a tape deck to introduce a delay before sending a sound into an echo chamber. Two microphones then pick up the sound in the chamber and send it back to the mixing desk. Another technique used was repeat echo, whereby the separate record and play heads of a tape machine were used to delay a signal by recording it and immediately playing it back, with a portion of the signal fed back for further echo. This produced a repeated delay of a quarter or eighth of a second, depending on the tape speed. The STEED effect was very subtle, and was applied to virtually all EMI recordings to give an almost imperceptible degree of added strength and body. The repeat echo was an audio effect that was more noticeable and was first used on a Beatles recording for 'Everybody's Trying To Be My Baby'. And used with a vengeance.

Quite why this track should have been singled out for such overkill in the echo department is anybody's guess. The effect goes way beyond giving the track a "live" feel, to the point where it stands out from the rest of the album for all the wrong reasons. Capitol would, of course, subject Beatles material to such treatment with impunity, most notably the soon-to-be-released US version of 'I Feel Fine', but 'Everybody's Trying To Be My Baby' needed no interference from them. The double-tracked chorus vocal, with both vocal tracks treated to repeat echo, sounds particularly overwhelmed. In fact, if we want to enjoy a reasonably clean 'Everybody's Trying To Be My Baby', we have to turn to the superior _Live At The BBC_ version, recorded the following month and broadcast on both November's _Top Gear_ and December's _Saturday Club_ shows. (In a nice moment of self-deprecation, George tells Brian Matthew, host of _Top Gear_ , "I didn't write it, even though it is conceited...".)

The _Beatles For Sale_ version was recorded in one take, the group rattling through the E–A–B7 (I–IV–V7) song, then overdubbing the tambourine and double-tracked vocal on the chorus. 'Rock And Roll Music', another song built solely on I–IV–V7, was recorded immediately after it, and even though it also featured tape echo, it couldn't be more different in terms of recording quality. This may give us a clue as to why 'Everybody's Trying To Be My Baby' is so echo-laden – George was notoriously unsure about his singing voice, and would have encouraged a degree of echo to sweeten it. It's just that it was rather overdone, that's all. The echo was added as the track was being recorded, and so could not be removed in the mixing stage. And time was against them – the latest UK tour had started nine days earlier, and the album deadline was looming, and so there was no time to redo the track. After this session, they managed to squeeze in just one more day in the studio (so that two out of three of the tour's "rest" days were spent at Abbey Road) before the recording for _Beatles For Sale_ was wrapped up.

# Beatles For Sale EP

######  Parlophone GEP 8931 – Released 6 April 1965

######

No Reply

[see above]

I'm A Loser

[see above]

Rock And Roll Music

[see above]

Eight Days A Week

[see above]

# Beatles For Sale (No. 2) EP

######  Parlophone GEP 8938 – Released 4 June 1965

I'll Follow The Sun

[see above]

Baby's In Black

[see above]

Words Of Love

[see above]

I Don't Want To Spoil The Party

[see above]

###  Notes

"the record with the first feedback anywhere...", _Playboy Interviews_ (Golson), 1980

"I've written this song...", _Anthology_ (Beatles), 2000

"We were crossing Scotland...", _Musician_ , March 1990

"George and I play the same bit...", _Anthology_ (Beatles), 2000

"He was always trying out different ideas...", _Rolling Stone_ , 1 March 2001

"During a break, John had leaned his guitar...", _Here, There And Everywhere_ (Emerick et al.), 2006

"I can still see him doing it", _Many Years From Now_ (Miles), 1997

"watercolour wash", _Many Years From Now_ (Miles), 1997

"being white boys who'd not been...", _Many Years From Now_ (Miles), 1997

"about one verse and we had to finish it off...", _Beatles At The BBC_ (Howlett), 1996

"It has a lot of feeling and soul...", _The Brian Epstein Story_ (Geller), 2000

"John and I have got to do a lot of writing...", _Beatles As Musicians_ (Everett), 2001; interview Delmonico Hotel, New York, 28 August 1964

"We're really pleased with ['I Feel Fine']...", _Off The Record_ (Badman), 2000

"They were rather war weary...", _Complete Beatles Recording Sessions_ (Lewisohn), 1988

"I had that image of walking down the street...", _Playboy Interviews_ (Golson), 1980

"'that was a complete story'...", _Hit Parader_ , April 1972

"melismas with altered vowels", _The Times,_ 27 December 1963

"Part of me suspects I'm a loser...", _Playboy Interviews_ (Golson), 1980

"It's only later you think, God!...", _Many Years From Now_ (Miles), 1997

"it seemed liked an ironic comment...", _John Lennon_ (Coleman), 1984

"I remember the early meetings with Dylan...", _John Lennon_ (Coleman), 1984

"I objected to the word 'clown'...", _Anthology_ (Beatles), 2000

"Although I laugh and may act like a clown...", _Live At The BBC_ CD notes, 1994

"in the same room", _Playboy Interviews_ (Golson), 1980

"a cool three-four blues thing...", _Anthology_ (Beatles), 2000

"Sometimes the harmony that I was writing...", _Many Years From Now_ (Miles), 1997

"You want the beginning like that, do you?", _Complete Beatles Recording Sessions_ (Lewisohn), 1988

"I could never coordinate it...", _Guitar Player_ , 1987; _Beatles Gear_ (Babiuk), 2002

"produced the Beatles' newest single", _Beatles Book_ 15, October 1964

"I always liked simple rock and nothing else...", _Lennon Remembers_ (Wenner), 1973

"George Martin, John and I on the keyboard...", _Disc_ , 14 November 1964

"George M. is the real piano player...", _Beatles Book_ 22, May 1965

"Trying to impress people he'd say...", _Ticket To Ride_ (Muni et al.) _,_ 1989

"It wouldn't have been considered good enough...", _Complete Beatles Recording Sessions_ (Lewisohn), 1988

"John and I wrote this some while ago...", _Disc,_ 14 November 1964

"Don't you think the Beatles gave every sodding thing...", _Playboy Interviews_ (Golson), 1980

"It was the time and place...", _Abbey Road_ (Southall), 1982

"Ringo got hold of a sort of horn-shaped conga drum...", _Disc_ , 14 November 1964

"Success is a wonderful thing...", _Complete Beatles Recording Sessions_ (Lewisohn), 1988

"Songs like 'Eight Days A Week'...", _Beatles Forever_ (Schaffner), 1977

"as though he were an overworked chauffeur...", _Anthology_ (Beatles), 2000

"saying how hard his boss worked the staff...", _Disc_ , 14 November 1964

"When I arrived at John's house...", _Anthology_ (Beatles), 2000

"couldn't leave a word alone", _'Love Me Do!'_ (Braun) _,_ 1964

"Why Beatles? Ugh, Beatles...", _John Lennon_ (Coleman), 1984

"The idea of beetles came into my head...", _The Beatles_ (Davies), 1985

"every one of them was Buddy Holly", _Podcast #20_ , interview with Jerry G Bishop

"One of the main things about The Beatles...", _Anthology_ (Beatles), 2000

"In this early partnership...", _Making Music_ (Martin), 1983

"there was a fabulous guitar bit on the Holly disc...", _Disc_ , 14 November 1964

"it was one of those songs that every band...", _Anthology_ (Beatles), 2000

"I haven't learnt the words properly yet...", _NME_ , 23 October 1964; _Beatles Book_ 39, October 1966

"his song; maybe I threw something in", _Playboy Interviews_ (Golson), 1980

"like most of the stuff I did...", _Many Years From Now_ (Miles), 1997

"Paul fell like a ton of bricks for Jane...", _Twist Of Lennon_ (Lennon), 1978

"I heard country and western music in Liverpool...", _Lennon Remembers_ (Wenner), 1973

"The numbers on this LP are different...", _Beatles Book_ 17, December 1964

"meat market", _Lennon Remembers_ (Wenner), 1973

"That was a very personal one of mine...", _Beatles In Their Own Words_ (Miles) _,_ 1978

"a bit of a filler", _Many Years From Now_ (Miles), 1997

"his song; I might have done something...", _Playboy Interviews_ (Golson), 1980

"It's not that Atlantic City is particularly inspiring...", _Disc_ 14 November 1964

"These include some very expensive silver guns...", _Diary_ (Miles), 2002

### Recording and Mixing Details

Dates and take numbers of all recordings listed in this book. Recording dates are included even if the track was remade and those recordings or overdubs were not used. Mixes that are not specific to a given recording – such as those destined for the US, or stereo mixes of singles that would appear on releases such as _Past Masters_ or the _1962–1966_ and _1967–1970_ "Red" and "Blue" compilations – are in square brackets.

Single

I Feel Fine

Recorded 18/10/1964 – takes 1–9

Mono mix 21/10/1964 from take 9

[Stereo mix 4/11/1964 from take 9]

She's A Woman

Recorded 8/10/1964 – takes 1–7

Mono [& stereo] mix 12/10/1964 from take 6

[Stereo mix 12/10/1964, 21/10/1964 from take 6]

Beatles For Sale LP

No Reply

Recorded 30/9/1964 – takes 1–8

Mono mix 16/10/1964 from take 8

Stereo mix 4/11/1964 from take 8

I'm A Loser

Recorded 14/8/1964 – takes 1–8

Mono mix 26/10/1964 from take 8

Stereo mix 4/11/1964 from take 8

Baby's In Black

Recorded 11/8/1964 – takes 1–14

Mono mix 26/10/1964 from take 14

Stereo mix 4/11/1964 from take 14

Rock And Roll Music

Recorded 18/10/1964 – take 1

Mono mix 26/10/1964 from take 1

Stereo mix 4/11/1964 from take 1

I'll Follow The Sun

Recorded 18/10/1964 – takes 1–8

Mono mix 21/10/1964 from take 8

Stereo mix 4/11/1964 from take 8

Mr Moonlight

Recorded 14/8/1964 – takes 1–4

Remade 18/10/1964 – takes 5–8

Mono mix 27/10/1964 from takes 4, 8

Stereo mix 4/11/1964 from takes 4, 8

Kansas City/Hey, Hey, Hey, Hey

Recorded 18/10/1964 – takes 1–2

Mono & stereo mix 26/10/1964 from take 1

Eight Days A Week

Recorded 6/10/1964 – takes 1–13

Edit pieces recorded 18/10/1964 – takes 14–15

Mono & stereo mix 27/10/1964 from take 13, 15

Words Of Love

Recorded 18/10/1964 – takes 1–3

Mono mix 26/10/1964 from take 3

Stereo mix 4/11/1964 from take 3

Honey Don't

Recorded 26/10/1964 – takes 1–5

Mono & stereo mix 27/10/1964 from take 5

Every Little Thing

Recorded 29/9/1964 – takes 1–4

Recorded 30/9/1964 – takes 5–9

Mono & stereo mix 27/10/1964 from take 9

I Don't Want To Spoil The Party

Recorded 29/9/1964 – takes 1–19

Mono mix 26/10/1964 from take 19

Stereo mix 4/11/1964 from take 19

What You're Doing

Recorded 29/9/1964 – takes 1–7

Recorded 30/9/1964 – takes 8–12

Remade 26/10/1964 – takes 13–19

Mono & stereo mix 27/10/1964 from take 19

Everybody's Trying To Be My Baby

Recorded 18/10/1964 – take 1

Mono mix 21/10/1964 from take 1

Stereo mix 4/11/1964 from take 1

###  Discography

UK Singles

1. 'Love Me Do'/'P.S. I Love You', 5 October 1962, Parlophone 45-R 4949

2. 'Please Please Me'/'Ask Me Why', 11 January 1963, Parlophone 45-R 4983

3. 'From Me To You'/'Thank You Girl', 11 April 1963, Parlophone R 5015

4. 'She Loves You'/'I'll Get You', 23 August 1963, Parlophone R 5055

5. 'I Want To Hold Your Hand'/'This Boy', 29 November 1963, Parlophone R 5084

6. 'Can't Buy Me Love'/'You Can't Do That', 20 March 1964, Parlophone R 5114

7. 'A Hard Day's Night'/'Things We Said Today', 10 July 1964, Parlophone R 5160

8. 'I Feel Fine'/'She's A Woman', 27 November 1964, Parlophone R 5200

9. 'Ticket To Ride'/'Yes It Is', 9 April 1965, Parlophone R 5265

10. 'Help!'/'I'm Down', 23 July 1965, Parlophone R 5305

11. 'Day Tripper'/'We Can Work It Out', 3 December 1965, Parlophone R 5389

12. 'Paperback Writer'/'Rain', 10 June 1966, Parlophone R 5452

13. 'Eleanor Rigby'/'Yellow Submarine', 5 August 1966, Parlophone R 5493

14. 'Strawberry Fields Forever'/'Penny Lane', 17 February 1967, Parlophone R 5570

15. 'All You Need Is Love'/'Baby You're A Rich Man', 7 July 1967, Parlophone R 5620

16. 'Hello, Goodbye'/'I Am The Walrus', 24 November 1967, Parlophone R 5655

17. 'Lady Madonna'/'The Inner Light', 15 March 1968, Parlophone R 5675

18. 'Hey Jude'/'Revolution', 30 August 1968, Apple R 5722

19. 'Get Back'/'Don't Let Me Down', 11 April 1969, Apple R 5777

20. 'The Ballad Of John And Yoko'/'Old Brown Shoe', 30 May 1969, Apple R 5786

21. 'Something'/'Come Together', 31 October 1969, Apple R 5814

22. 'Let It Be'/'You Know My Name (Look Up The Number)', 6 March 1970, Apple R 5833

Other UK Singles

'My Bonnie'/'The Saints (When The Saints Go Marching In)', (Tony Sheridan And The Beatles), 5 January 1962, Polydor NH 66833

'Cry For A Shadow' (The Beatles)/'Why (Can't You Love Me Again)' (Tony Sheridan With The Beatles), 28 February 1964, Polydor NH 52275

'Ain't She Sweet' (The Beatles)/'If You Love Me, Baby' (The Beatles With Tony Sheridan), 29 May 1964, Polydor NH 52317

UK EPs

_Twist And Shout_ , 12 July 1963, Parlophone GEP 8882

A: 'Twist And Shout', 'A Taste Of Honey'

B: 'Do You Want To Know A Secret', 'There's A Place'

_The Beatles' Hits_ , 6 September 1963, Parlophone GEP 8880

A: 'From Me To You', 'Thank You Girl'

B: 'Please Please Me', 'Love Me Do'

_The Beatles (No. 1)_ , 1 November 1963, Parlophone GEP 8883

A: 'I Saw Her Standing There', 'Misery'

B: 'Anna (Go To Him)', 'Chains'

_All My Loving_ , 7 February 1964, Parlophone GEP 8891

A: 'All My Loving', 'Ask Me Why'

B: 'Money (That's What I Want)', 'P.S. I Love You'

_Long Tall Sally_ , 19 June 1964, Parlophone GEP 8913

A: 'Long Tall Sally', 'I Call Your Name'

B: 'Slow Down', 'Matchbox'

_Extracts From The Film 'A Hard Day's Night'_ , 4 November 1964, Parlophone GEP 8920

A: 'I Should Have Known Better', 'If I Fell'

B: 'Tell Me Why', 'And I Love Her'

_Extracts From The Album 'A Hard Day's Night'_ , 6 November 1964, Parlophone GEP 8924

A: 'Any Time At All', 'I'll Cry Instead'

B: 'Things We Said Today', 'When I Get Home'

_Beatles For Sale_ , 6 April 1965, Parlophone GEP 8931

A: 'No Reply', 'I'm A Loser'

B: 'Rock And Roll Music', 'Eight Days A Week'

_Beatles For Sale (No. 2)_ , 4 June 1965, Parlophone GEP 8938

A: 'I'll Follow The Sun', 'Baby's In Black'

B: 'Words Of Love', 'I Don't Want To Spoil The Party'

_The Beatles' Million Sellers_ , 6 December 1965, Parlophone GEP 8946

A: 'She Loves You', 'I Want To Hold Your Hand'

B: 'Can't Buy Me Love', 'I Feel Fine'

_Yesterday_ , 4 March 1966, Parlophone GEP 8948

A: 'Yesterday', 'Act Naturally'

B: 'You Like Me Too Much', 'It's Only Love'

_Nowhere Man_ , 8 July 1966, Parlophone GEP 8952

A: 'Nowhere Man', 'Drive My Car'

B: 'Michelle', 'You Won't See Me'

_Magical Mystery Tour_ , 8 December 1967, Parlophone MMT-1 (mono), SMMT-1 (stereo)

A: 'Magical Mystery Tour', 'Your Mother Should Know'

B: 'I Am The Walrus'

C: 'The Fool On The Hill', 'Flying'

D: 'Blue Jay Way'

UK Albums

_Please Please Me_ , 22 March 1963, Parlophone PMC 1202 (mono), PCS 3042 (stereo)

A: 'I Saw Her Standing There', 'Misery', 'Anna (Go To Him)', 'Chains', 'Boys', 'Ask Me Why', 'Please Please Me'

B: 'Love Me Do', 'P.S. I Love You', 'Baby It's You', 'Do You Want To Know A Secret', 'A Taste Of Honey', 'There's A Place', 'Twist And Shout'

_With The Beatles_ , 22 November 1963, Parlophone PMC 1206 (mono), PCS 3045 (stereo)

A: 'It Won't Be Long', 'All I've Got To Do', 'All My Loving', 'Don't Bother Me', 'Little Child', 'Till There Was You', 'Please Mister Postman'

B: 'Roll Over Beethoven', 'Hold Me Tight', 'You Really Got A Hold On Me', 'I Wanna Be Your Man', 'Devil In Her Heart', 'Not A Second Time', 'Money (That's What I Want)'

_A Hard Day's Night_ , 10 July 1964, Parlophone PMC 1230 (mono), PCS 3058 (stereo)

A: 'A Hard Day's Night', 'I Should Have Known Better', 'If I Fell', 'I'm Happy Just To Dance With You', 'And I Love Her', 'Tell Me Why', 'Can't Buy Me Love'

B: 'Any Time At All', 'I'll Cry Instead', 'Things We Said Today', 'When I Get Home', 'You Can't Do That', 'I'll Be Back'

_Beatles For Sale_ , 4 December 1964, Parlophone PMC 1240 (mono), PCS 3062 (stereo)

A: 'No Reply', 'I'm A Loser', 'Baby's In Black', 'Rock And Roll Music', 'I'll Follow The Sun', 'Mr Moonlight', 'Kansas City/Hey, Hey, Hey, Hey'

B: 'Eight Days A Week', 'Words Of Love', 'Honey Don't', 'Every Little Thing', 'I Don't Want To Spoil The Party', 'What You're Doing', 'Everybody's Trying To Be My Baby'

_Help!_ , 6 August 1965, Parlophone PMC 1255 (mono), PCS 3071 (stereo)

A: 'Help!', 'The Night Before', 'You've Got To Hide Your Love Away', 'I Need You', 'Another Girl', 'You're Going To Lose That Girl', 'Ticket To Ride'

B: 'Act Naturally', 'It's Only Love', 'You Like Me Too Much', 'Tell Me What You See', 'I've Just Seen A Face', 'Yesterday', 'Dizzy Miss Lizzy'

_Rubber Soul_ , 3 December 1965, Parlophone PMC 1267 (mono), PCS 3075 (stereo)

A: 'Drive My Car', 'Norwegian Wood (This Bird Has Flown)', 'You Won't See Me', 'Nowhere Man', 'Think For Yourself', 'The Word', 'Michelle'

B: 'What Goes On', 'Girl', 'I'm Looking Through You', 'In My Life', 'Wait', 'If I Needed Someone', 'Run For Your Life'

_Revolver_ , 5 August 1966, Parlophone PMC 7009 (mono), PCS 7009 (stereo)

A: 'Taxman', 'Eleanor Rigby', 'I'm Only Sleeping', 'Love You To', 'Here, There And Everywhere', 'Yellow Submarine', 'She Said She Said'

B: 'Good Day Sunshine', 'And Your Bird Can Sing', 'For No One', 'Doctor Robert', 'I Want To Tell You', 'Got To Get You Into My Life', 'Tomorrow Never Knows'

_A Collection Of Beatles Oldies_ , 9 December 1966, Parlophone PMC 7016 (mono), PCS 7016 (stereo)

A: 'She Loves You', 'From Me To You', 'We Can Work It Out', 'Help!', 'Michelle', 'Yesterday', 'I Feel Fine', 'Yellow Submarine'

B: 'Can't Buy Me Love', 'Bad Boy', 'Day Tripper', 'A Hard Day's Night', 'Ticket To Ride', 'Paperback Writer', 'Eleanor Rigby', 'I Want To Hold Your Hand'

_Sgt Pepper's Lonely Hearts Club Band_ , 1 June 1967, Parlophone PMC 7027 (mono), PCS 7027 (stereo)

A: 'Sgt Pepper's Lonely Hearts Club Band', 'With A Little Help From My Friends', 'Lucy In The Sky With Diamonds', 'Getting Better', 'Fixing A Hole', 'She's Leaving Home', 'Being For The Benefit Of Mr Kite!'

B: 'Within You Without You', 'When I'm Sixty-Four', 'Lovely Rita', 'Good Morning Good Morning', 'Sgt Pepper's Lonely Hearts Club Band (Reprise)', 'A Day In The Life'

_The Beatles_ , 22 November 1968, Apple PMC 7067–7068 (mono), PCS 7067–7068 (stereo)

A: 'Back In The U.S.S.R.', 'Dear Prudence', 'Glass Onion', 'Ob-La-Di, Ob-La-Da', 'Wild Honey Pie', 'The Continuing Story Of Bungalow Bill', 'While My Guitar Gently Weeps', 'Happiness Is A Warm Gun'

B: 'Martha My Dear', 'I'm So Tired', 'Blackbird', 'Piggies', 'Rocky Raccoon', 'Don't Pass Me By', 'Why Don't We Do It In The Road', 'I Will', 'Julia'

C: 'Birthday', 'Yer Blues', 'Mother Nature's Son', 'Everybody's Got Something To Hide Except Me And My Monkey', 'Sexy Sadie', 'Helter Skelter', 'Long Long Long'

D: 'Revolution 1', 'Honey Pie', 'Savoy Truffle', 'Cry Baby Cry', 'Revolution 9', 'Good Night'

_Yellow Submarine_ , 17 January 1969, Apple PMC 7070 (mono), PCS 7070 (stereo)

A: 'Yellow Submarine', 'Only A Northern Song', 'All Together Now', 'Hey Bulldog', 'It's All Too Much', 'All You Need Is Love'

B: 'Sea Of Time', 'Sea Of Holes', 'Sea Of Monsters', 'March Of The Meanies', 'Pepperland Laid Waste', 'Yellow Submarine In Pepperland' [all by the George Martin Orchestra]

_Abbey Road_ , 26 September 1969, Apple PCS 7088

A: 'Come Together', 'Something', 'Maxwell's Silver Hammer', 'Oh! Darling', 'Octopus's Garden', 'I Want You (She's So Heavy)'

B: 'Here Comes The Sun', 'Because', 'You Never Give Me Your Money', 'Sun King'/'Mean Mr Mustard', 'Polythene Pam'/'She Came In Through The Bathroom Window', 'Golden Slumbers'/'Carry That Weight', 'The End', 'Her Majesty'

_Let It Be_ , 8 May 1970, Apple PCS 7096/PXS 1

A: 'Two Of Us', 'Dig A Pony', 'Across The Universe', 'I Me Mine', 'Dig It', 'Let It Be', 'Maggie Mae'

B: 'I've Got A Feeling', 'The One After 909', 'The Long And Winding Road', 'For You Blue', 'Get Back'

US Singles

1. 'Please Please Me'/'Ask Me Why', 25 February 1963, Vee Jay VJ 498

2. 'From Me To You'/'Thank You Girl', 27 May 1963, Vee Jay VJ 522

3. 'She Loves You'/'I'll Get You', 16 September 1963, Swan 4152

4. 'I Want To Hold Your Hand'/'I Saw Her Standing There', 26 December 1963, Capitol 5112

5. 'Please Please Me'/'From Me To You', 30 January 1964, Vee Jay VJ 581

6. 'Twist And Shout'/'There's A Place', 2 March 1964, Tollie 9001

7. 'Can't Buy Me Love'/'You Can't Do That', 16 March 1964, Capitol 5150

8. 'Do You Want To Know A Secret'/'Thank You Girl', 23 March 1964, Vee Jay VJ 587

9. 'Love Me Do'/'P.S. I Love You', 27 April 1964, Tollie 9008

10. 'Sie Liebt Dich'/'I'll Get You', 21 May 1964, Swan 4182

11. 'A Hard Day's Night'/'I Should Have Known Better', 13 July 1964, Capitol 5222

12. 'I'll Cry Instead'/'I'm Happy Just To Dance With You', 20 July 1964, Capitol 5234

13. 'And I Love Her'/'If I Fell', 20 July 1964, Capitol 5235

14. 'Matchbox'/'Slow Down', 24 August 1964, Capitol 5255

15. 'I Feel Fine'/'She's A Woman', 23 November 1964, Capitol 5327

16. 'Eight Days A Week'/'I Don't Want To Spoil The Party', 15 February 1965, Capitol 5371

17. 'Ticket To Ride'/'Yes It Is', 19 April 1965, Capitol 5407

18. 'Help!'/'I'm Down', 19 July 1965, Capitol 5476

19. 'Yesterday'/'Act Naturally', 13 September 1965, Capitol 5498

20. 'We Can Work It Out'/'Day Tripper', 6 December 1965, Capitol 5555

21. 'Nowhere Man'/'What Goes On', 21 February 1966, Capitol 5587

22. 'Paperback Writer'/'Rain', 30 May 1966, Capitol 5651

23. 'Eleanor Rigby'/'Yellow Submarine', 8 August 1966, Capitol 5715

24. 'Strawberry Fields Forever'/'Penny Lane', 13 February 1967, Capitol 5810

25. 'All You Need Is Love'/'Baby You're A Rich Man', 17 July 1967, Capitol 5964

26. 'Hello, Goodbye'/'I Am The Walrus', 27 November 1967, Capitol 2056

27. 'Lady Madonna'/'The Inner Light', 18 March 1968, Capitol 2138

28. 'Hey Jude'/'Revolution', 26 August 1968, Apple 2276

29. 'Get Back'/'Don't Let Me Down', 5 May 1969, Apple 2490

30. 'The Ballad Of John And Yoko'/'Old Brown Shoe', 4 June 1969, Apple 2531

31. 'Something'/'Come Together', 6 October 1969, Apple 2654

32. 'Let It Be'/'You Know My Name (Look Up The Number)', 11 March 1970, Apple 2764

33. 'The Long And Winding Road'/'For You Blue', 11 May 1970, Apple 2832

Other US Singles

'My Bonnie'/'The Saints (When The Saints Go Marching In)', (Tony Sheridan And The Beat Brothers), 11 April 1962, Decca 31382

'My Bonnie (My Bonnie Lies Over The Ocean)'/'The Saints (When The Saints Go Marching In)', (The Beatles With Tony Sheridan), 27 January 1964, MGM K13213

'Why'/'Cry For A Shadow', (The Beatles With Tony Sheridan), 27 March 1964, MGM K13227

'Sweet Georgia Brown'/'Take Out Some Insurance On Me Baby', (The Beatles With Tony Sheridan), 1 June 1964, Atco 45-6302

'Ain't She Sweet' (The Beatles)/'Nobody's Child' (The Beatles With Tony Sheridan), 6 July 1964, Atco 45-6308

'Twist And Shout'/'There's A Place', 11 October 1965, Capitol Starline 6061

'Love Me Do'/'P.S. I Love You', 11 October 1965, Capitol Starline 6062

'Please Please Me'/'From Me To You', 11 October 1965, Capitol Starline 6063

'Do You Want To Know A Secret'/'Thank You Girl', 11 October 1965, Capitol Starline 6064

'Roll Over Beethoven'/'Misery', 11 October 1965, Capitol Starline 6065

'Kansas City/Hey, Hey, Hey, Hey'/'Boys', 11 October 1965, Capitol Starline 6066

US EPs

_Meet The Beatles!_ , February 1964, Capitol SXA-2047

A: 'It Won't Be Long', 'This Boy', 'All My Loving'

B: 'Don't Bother Me', 'All I've Got To Do', 'I Wanna Be Your Man'

_The Beatles' Second Album_ , April 1964, Capitol SXA-2080

A: 'Thank You Girl', 'Devil In Her Heart', 'Money (That's What I Want)'

B: 'Long Tall Sally', 'I Call Your Name', 'Please Mister Postman'

_Four By The Beatles_ , 11 May 1964, Capitol EAP 1-2121

A: 'Roll Over Beethoven', 'All My Loving'

B: 'This Boy', 'Please Mister Postman'

_Something New_ , July 1964, Capitol SXA-2108

A: 'I'll Cry Instead', 'And I Love Her', 'Slow Down'

B: 'If I Fell', 'Tell Me Why', 'Matchbox'

_4 – By The Beatles_ , 1 February 1965, Capitol R-5365

A: 'Honey Don't', 'I'm A Loser'

B: 'Mr Moonlight', 'Everybody's Trying To Be My Baby'

US Albums

_Introducing... The Beatles_ , 22 July 1963, Vee Jay VJLP 1062 (mono), VJSR 1062 (stereo)

A: 'I Saw Her Standing There', 'Misery', 'Anna (Go To Him)', 'Chains', 'Boys', 'Love Me Do'

B: 'P.S. I Love You', 'Baby It's You', 'Do You Want To Know A Secret', 'A Taste Of Honey', 'There's A Place', 'Twist And Shout'

_Meet The Beatles!_ , 20 January 1964, Capitol T-2047 (mono), ST-2047 (stereo)

A: 'I Want To Hold Your Hand', 'I Saw Her Standing There', 'This Boy', 'It Won't Be Long', 'All I've Got To Do', 'All My Loving'

B: 'Don't Bother Me', 'Little Child', 'Till There Was You', 'Hold Me Tight', 'I Wanna Be Your Man', 'Not A Second Time'

_Introducing... The Beatles_ , 27 January 1964, Vee Jay VJLP 1062 (mono)

A: 'I Saw Her Standing There', 'Misery', 'Anna (Go To Him)', 'Chains', 'Boys', 'Ask Me Why'

B: 'Please Please Me', 'Baby It's You', 'Do You Want To Know A Secret', 'A Taste Of Honey', 'There's A Place', 'Twist And Shout'

_The Beatles' Second Album_ , 10 April 1964, Capitol T-2080 (mono), ST-2080 (stereo)

A: 'Roll Over Beethoven', 'Thank You Girl', 'You Really Got A Hold On Me', 'Devil In Her Heart', 'Money (That's What I Want)', 'You Can't Do That'

B: 'Long Tall Sally', 'I Call Your Name', 'Please Mister Postman', 'I'll Get You', 'She Loves You'

_A Hard Day's Night_ , 26 June 1964, United Artists UAL 3366 (mono), UAS 6366 (stereo)

A: 'A Hard Day's Night', 'Tell Me Why', 'I'll Cry Instead', 'I Should Have Known Better' [George Martin & Orchestra], 'I'm Happy Just To Dance With You', 'And I Love Her' [George Martin & Orchestra]

B: 'I Should Have Known Better', 'If I Fell', 'And I Love Her', 'Ringo's Theme (This Boy)' [George Martin & Orchestra], 'Can't Buy Me Love', 'A Hard Day's Night' [George Martin & Orchestra]

_Something New_ , 20 July 1964, Capitol T-2108 (mono), ST-2108 (stereo)

A: 'I'll Cry Instead', 'Things We Said Today', 'Any Time At All', 'When I Get Home', 'Slow Down', 'Matchbox'

B: 'Tell Me Why', 'And I Love Her', 'I'm Happy Just To Dante With You', 'If I Fell', 'Komm, Gib Mir Deine Hand'

_The Beatles' Story_ , 23 November 1964, Capitol TBO-2222 (mono), STBO-2222 (stereo)

A: Interviews and commentary plus extracts from 'I Want To Hold Your Hand', 'Slow Down', 'This Boy'

B: Interviews and commentary plus extracts from 'You Can't Do That', 'If I Fell', 'And I Love Her'

C: Interviews and commentary plus extracts from 'A Hard Day's Night', 'And I Love Her'

D: Interviews and commentary plus extracts from 'Twist And Shout' (live), 'Things We Said Today', 'I'm Happy Just To Dance With You', 'Little Child', 'Long Tall Sally', 'She Loves You', 'Boys'

_Beatles '65_ , 15 December 1964, Capitol T-2228 (mono), ST-2228 (stereo)

A: 'No Reply', 'I'm A Loser', 'Baby's In Black', 'Rock And Roll Music', 'I'll Follow The Sun', 'Mr Moonlight'

B: 'Honey Don't', 'I'll Be Back', 'She's A Woman', 'I Feel Fine', 'Everybody's Trying To Be My Baby'

_The Early Beatles_ , 22 March 1965, Capitol T-2309 (mono), ST-2309 (stereo)

A: 'Love Me Do', 'Twist And Shout', 'Anna (Go To Him)', 'Chains', 'Boys', 'Ask Me Why'

B: 'Please Please Me', 'P.S. I Love You', 'Baby It's You', 'A Taste Of Honey', 'Do You Want To Know A Secret'

_Beatles VI_ , 14 June 1965, Capitol T-2358 (mono), ST-2358 (stereo)

A: 'Kansas City/Hey, Hey, Hey, Hey': 'Eight Days A Week', 'You Like Me Too Much', 'Bad Boy', 'I Don't Want To Spoil The Party', 'Words Of Love'

B: 'What You're Doing', 'Yes It Is', 'Dizzy Miss Lizzy', 'Tell Me What You See', 'Every Little Thing'

_Help!_ , 13 August 1965, Capitol MAS-2386 (mono), SMAS-2386 (stereo)

A: 'Help!', 'The Night Before', 'From Me To You Fantasy' [George Martin & Orchestra], 'You've Got To Hide Your Love Away', 'I Need You', 'In The Tyrol' [George Martin & Orchestra]

B: 'Another Girl', 'Another Hard Day's Night' [George Martin & Orchestra], 'Ticket To Ride', 'The Bitter End'/'You Can't Do That' [George Martin & Orchestra], 'You're Going To Lose That Girl', 'The Chase' [George Martin & Orchestra]

_Rubber Soul_ , 6 December 1965, Capitol T-2442 (mono), ST-2442 (stereo)

A: 'I've Just Seen A Face', 'Norwegian Wood (This Bird Has Flown)', 'You Won't See Me', 'Think For Yourself', 'The Word', 'Michelle'

B: 'It's Only Love', 'Girl', 'I'm Looking Through You', 'In My Life', 'Wait', 'Run For Your Life'

" _Yesterday"... And Today_ , 20 June 1966, Capitol T-2553 (mono), ST-2553 (stereo)

A: 'Drive My Car', 'I'm Only Sleeping', 'Nowhere Man', 'Doctor Robert', 'Yesterday', 'Act Naturally'

B: 'And Your Bird Can Sing', 'If I Needed Someone', 'We Can Work It Out', 'What Goes On', 'Day Tripper'

_Revolver_ , 8 August 1966, Capitol T-2576 (mono), ST-2576 (stereo)

A: 'Taxman', 'Eleanor Rigby', 'Love You To', 'Here, There And Everywhere', 'Yellow Submarine', 'She Said She Said'

B: 'Good Day Sunshine', 'For No One', 'I Want To Tell You', 'Got To Get You Into My Life', 'Tomorrow Never Knows'

_Sgt Pepper's Lonely Hearts Club Band_ , 2 June 1967, Capitol MAS-2653 (mono), SMAS-2653 (stereo)

[Identical to UK version]

_Magical Mystery Tour_ , 27 November 1967, Capitol MAL-2835 (mono), SMAL-2835 (stereo)

A: 'Magical Mystery Tour', 'The Fool On The Hill', 'Flying', 'Blue Jay Way', 'Your Mother Should Know', 'I Am The Walrus'

B: 'Hello, Goodbye', 'Strawberry Fields Forever', 'Penny Lane', 'Baby You're A Rich Man', 'All You Need Is Love'

_The Beatles_ , 25 November 1968, Apple SWBO-101

[Identical to UK version]

_Yellow Submarine_ , 13 January 1969, Apple SW-153

[Identical to UK version]

_Abbey Road_ , 1 October 1969, Apple SO-383

[Identical to UK version]

_Hey Jude_ , 26 February 1970, Apple SW-385

A: 'Can't Buy Me Love', 'I Should Have Known Better', 'Paperback Writer', 'Rain', 'Lady Madonna', 'Revolution'

B: 'Hey Jude', 'Old Brown Shoe', 'Don't Let Me Down', 'The Ballad Of John And Yoko'

_Let It_ _Be_ , 18 May 1970, Apple AR-34001

[Identical to UK version]

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Sulpy, Doug, and Ray Schweighardt, _Get Back. The Beatles' Let It Be Disaster_ (Helter Skelter, 2003)

Swami Krishnananda, The Mandūkya Upanishad (eBook, 1996)

Taylor, Derek, _It Was Twenty Years Ago Today_ (Bantam, 1987)

Thomson, Elizabeth, and David Gutman (eds), _The Lennon Companion_ (Macmillan, 1987)

Trynka, Paul, (ed.), _The Beatles. 10 Years That Shook The World_ (Dorling Kindersley, 2006)

Turner, Steve, _A Hard Day's Write. Stories Behind Every Beatles Song_ (Carlton, 1999)

Tynan, Kenneth, _Tynan Right And Left_ (Longman, 1967)

Unterberger, Richie, _The Unreleased Beatles_ (Backbeat, 2006)

Weinberg, Max, _The Big Beat. Conversations With Rock's Greatest Drummers_ (Contemporary Books, 1984)

Wenner, Jay, _Lennon Remembers_ (Penguin, 1973)

White, Charles, _The Life And Times Of Little Richard_ (Da Capo, 1994)

White, Timothy, _Rock Lives. Profile And Interviews_ (Omnibus, 1990)

Wiener, Allen J., _The Beatles. The Ultimate Recording Guide_ (Aurum, 1993)

Winn, John C., _The Beatles' Recorded Legacy_. 3 vols (Three Rivers, 2008, 2009; Multiplus, 2005)

Newspapers, Magazines & Periodicals

Bass Player

Beatles Book

Billboard

Crawdaddy

Creem

Daily Mirror

Daily Telegraph

Disc / Disc Weekly

Evening Standard

Flip

Guitar Player

Guitar World

Hit Parader

Life

The Listener

Melody Maker

Modern Drumming

Mojo

Music Echo

Musician

New Musical Express

New York Times

New Yorker

The Observer

Playboy

Premier Guitar

Q

Radio Times

Record Retailer

Rolling Stone

Sound On Sound

The Spectator

Sunday Times

Time

The Times

TV Times

Uncut

_Uncut 'NME Originals'_ 1:1, 2002

Washington Post

Film, Radio & TV

_Anthology_ (ITV), 1995

_Arena: Produced By George Martin_ (BBC), 2011

Armed Forces Network, Paris, 24 January 1964

_The Beatles – By George Martin_ (BBC Radio One)

_The Beatles Abroad_ (BBC Light Programme)

_The Beatles On Record_ (BBC), 2009

_The Compleat Beatles_ (video), 1982

_Dancing In The Street_ (BBC), 1995

_A Degree Of Frost_ (BBC)

_The Dick Cavett Show_ (ABC)

_The Ed Sullivan Show_ (CBS), 9, 16 & 23 February 1964, 12 September 1965

_40th Anniversary Of White Album_ (BBC Radio Two), 22 November 2008

_George Martin: The Fifth Beatle_ (Swedish TV)

_A Hard Day's Night_ , 1964

_Help!_ , 1965

Interview with Bob Hieronimus, 12 November 1995

Interview with Klas Burling, Bournemouth, 23 August 1963

Interview with Larry Kane, 20 August 1965

Interview with Tony MacArthur (Radio Luxembourg), 20 November 1968

Interview with Tony MacArthur (Radio Luxembourg), 27 September 1969

Ivor Novello Award ceremony, 27 March 1967

_Let It Be_ , 1970

_Living In The Material World_ , 2011

_Magical Mystery Tour_ , 1967

_The Making Of Sgt Pepper_ (The South Bank Show, ITV), 1992

Press conference, 12 August 1966

Press conference, 29 August 1965

_Record Breakers_ (BBC)

_Scene And Heard_ (BBC Radio One)

_Sounds Of The Sixties_ (BBC Radio Two)

_Sounds Of The Sixties, A-Z of the Beatles_ (BBC Radio Two)

_The South Bank Show_ (ITV)

_Standing In The Shadows Of Motown_ , 2002

_The Unseen Beatles_ , 1996

_Yellow Submarine_ , 1968

_You Can't Do That. Making Of A Hard Day's Night_ (video), 1995

_You Probably Think This Song Is About You_ (BBC Radio Four)

Other

The Beatles Bible, www.beatlesbible.com

_TheBeatleSource_ , www.beatlesource.com

_The Beatles Tapes_ , interviews with David Wigg

_The Buck Owens Collection_ CD notes, 1992

_Capitol Albums Vol. 2_ CD notes, 2006

_DM's Beatles Forums_ , www.dmbeatles.com

_Electronic Musician_ , www.emusician.com

_George Martin And The Beatles_ , interview on CD release of "Red"/"Blue" (CD), 1993

_A Hard Day's Night_ DVD extras, 2011

_Help!_ DVD extras, 2007

_Hitsville USA_ CD notes, 1992

Interview with Ritchie York (Podcast #102)

_Live At The BBC_ CD notes, 1994

Lost Lennon Tapes (Westwood One Radio), 1988–1992

_Magical Mystery Tour_ DVD extras, 2012

_Mix_ magazine, www.mixonline.com

Notes on... by Alan W. Pollack, www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-notes_on.shtml

_Produced By George Martin_ CD notes, 2001

_The Pet Sounds Sessions_ CD notes, 1996

_Steve Hoffman Music Forums_ , www.stevehoffman.tv

Undercover.fm

The Usenet Guide to Beatles Recording Variations, www.columbia.edu/~brennan/beatles/index.html

_WogBlog_ , wogew.blogspot.com

www.beatlesebooks.com

www.jpgr.co.uk

www.thebeatlesrarity.com

www.45cat.com

### Copyrights

_All songs_ : Words and music by John Lennon, Paul McCartney. © Northern Songs. All rights reserved. International Copyright Secured.

_Except_ :

'Everybody's Trying To Be My Baby'. Words and music by Carl Perkins. © 1957 Knox Music. All rights reserved. International Copyright Secured.

'Honey Don't'. Words and music by Carl Perkins. © 1955 Carl Perkins Music. All rights reserved. International Copyright Secured.

'Kansas City/Hey, Hey, Hey, Hey'. Words and music by Jerry Leiber, Mike Stoller, Richard Penniman. © 1959 Peter Morris Music/ATV Music. All rights reserved. International Copyright Secured.

'Mr Moonlight'. Words and music by Roy Lee Johnson. © 1964 Lowery Music. All rights reserved. International Copyright Secured.

'Rock And Roll Music'. Words and music by Chuck Berry. © 1957 Arc Music. All rights reserved. International Copyright Secured.

'Silhouettes'. Words and music by Frank C. Slay Jr, Bob Crewe. © 1957 Regent Music. All rights reserved. International Copyright Secured.

'Words Of Love'. Words and music by Buddy Holly. © 1957 MPL Communications. All rights reserved. International Copyright Secured.

# And the Band Begins to Play

The full list of titles in the _And the Band Begins to Play_ series:

_Part One – The Definitive Guide to the Beatles' Please Please Me
Part Two – The Definitive Guide to the Beatles' With The Beatles
Part Three – The Definitive Guide to the Beatles' A Hard Day's Night
Part Four – The Definitive Guide to the Beatles' Beatles For Sale
Part Five – The Definitive Guide to the Beatles' Help!
Part Six – The Definitive Guide to the Beatles' Rubber Soul
Part Seven – The Definitive Guide to the Beatles' Revolver
Part Eight – The Definitive Guide to the Beatles' Sgt Pepper
Part Nine – The Definitive Guide to the Beatles' White Album
Part Ten – The Definitive Guide to the Beatles' Yellow Submarine
Part Eleven – The Definitive Guide to the Beatles' Let It Be
Part Twelve – The Definitive Guide to the Beatles' Abbey Road
_
The entire series is available in one print volume:
_And the Band Begins to Play: The Definitive Guide to the Songs of the Beatles_ by Steve Lambley, SLIDE Books, ISBN 978-94-91868-01-6 (hardback), 978-94-91868-00-9 (paperback).

redpajama_set_name: RedPajamaBook