Post by mrmustard on Aug 18, 2013 0:39:32 GMT
Beatles For Sale
World domination achieved by a rigorous touring and recording schedules leads The Beatles to their fourth album. After A Hard Days Night earlier in the year, one is left wondering why they could not maintain a further album of original material. With EMI requiring another album, The Beatles took a backward step in terms of songwriting and released an album peppered with covers, revamped old songs as well as new material. As with A Hard Days Night, Lennon dominates the album. McCartney is again fairly subdued in comparison. He has now taken up permanent residency in the Asher household.
The album doesn't stand up to complete close scrutiny but the overall experience is a great one. Who else was producing albums like this.
No Reply
A truly bizarre opener. However the song builds with lots of dynamic and power in the chorus's. A Lennon song, his loan vocal opens the song and the album. It's a predominantly acoustic guitar track with bass and drums. Ringo lays down a syncopated rumba type beat. They tried straight 4-4 previously as can be heard on Anthology but it didn't work. Lyrically it demonstrates Lennon becoming more and more thoughtful about his lyrics and moving towards imagery. You can actually see the girl peeking through the window in your minds eye when Lennon knocks on the door and fails to get a reply.
The real joy of this song is the chorus. The sheer power of the 'I saw the light' and 'No reply' parts is quite staggering. To get this shift in dynamic, the chorus parts include a double tracked Lennon vocal and a double tracked McCartney harmony, strident piano chords presumably played by George Martin and separately recorded crash cymbals. Then it shifts back to the passive verse.
McCartney's vocal harmony on the chorus is exceptional. He's employing his Money and You Can't Do That style vocal to great effect.
A much over-looked gem of a Beatle song albeit misplaced perhaps on the album.
I'm A Loser
Straight out of the Dylan mould but Lennon makes this his own still. A raspy Lennon vocal starts the track with McCartney harmonising on the word 'loser'. McCartney has said it was hard trying to get the harmony on this when they played it live. Its a lovely moment when the opening harmonies have died down and a single tracked Lennon vocal comes in over a single acoustic guitar. Lennon sings a great vocal and even manages to hit a low G twice on each verse. Normally sung by baritone or bass singers, he repeats this feat later on in Happiness Is A Warm Gun. Lyrically more mature but it's clearly a cry for help from Lennon showing his unhappiness at this point in is life. No one in popular music was writing such lyrics and singing them to such a mass audience.
Musically it's a weld of country, folk and rock. Progressing from some of the musical themes on A Hard Days Night, this is clearly an amalgamation that they feel happy to explore. Starr sets a brisk pace with some really nice hi-hat work and some really good snare fills moving from verse to chorus. McCartney plays a rolling bass line that locks in with Starr's kick drum perfectly. Harrison plays some great Chet Atkins inspired country guitar on his Gretsch. Outside of country music there was no one who could touch Harrison at this time with his standard of playing in this style. Lennon over-blows a great harmonica solo again proving (to everyone else except him) just how good a harmonica player he was. Some people who do not understand good harmonica playing call this out of tune. It's not and they are ignorant.
A classic early-mid Beatles track.
Baby's In Black
Supposedly written about Astrid Kirchherr still mourning the loss of Stuart Sutcliffe. It's another Lennon song played in 6/8 time with a country feel. Harrison starts the song with country riff on his Gretcsh that is repeated throughout the song. A brilliantly worked out and played solo that sounds like he's using a volume pedal on it. Starr holds down the waltz feel perfectly. He was always comfortable with unusual time signatures and he went on to play a lot more difficult time signatures than this on subsequent Beatles albums.
The real highlight of the song is Lennon and McCartney's dual, harmonised lead vocal. Both parts are beautifully sung with neither being the harmony for the other as both parts are lead vocal lines, yet they harmonised perfectly with each other. The closeness of the harmony is exceptional and was achieved by both Lennon and McCartney singing into the same mic simultaneously at their own request rather than singing on separate tracks. The results are stunning and is the main reason why this became one of the most popular Beatle songs of this period that wasn't a single.
Rock 'n ' Roll Music
A Chuck Berry classic that The Beatles made their own and yet another cover version that blows the original to bits. The sheer power of the performance, particularly Lennon's vocal, is incredible. Clearly Lennon sees this song as some sort of holy writ. He sings it like his life depends on it. For me, it's not as good as his Money vocal but that's just a personal preference.
Starr just holds down a solid backbeat. Nothing flashy needed here that could distract from Lennon's vocal. Starr is nicely up in the mix here with his snare really cutting through, forcefully for a change, that sits right in the pocket of the song along with McCartney's bass. Great ride cymbal work on the last verse too where the rhythm changes.
The other highlight of the track is George Martins totally authentic Rock 'n' Roll piano playing. George Martin is a classically trained musician. What could he possibly know about Rock 'n' Roll piano? Well, as it turns out, a hell of a lot! Without George Martins piano, the track wouldn't be half as good as it is. As well as producer, arranger, interpreter and general sound board to The Beatles, his contributions on piano and therefore the sound of the band were immense. If anyone should be given the accolade of '5th Beatle', it's unquestionably George Martin.
I'll Follow The Sun
George Martin stated in an interview this was his favourite off the album. A McCartney song, half written years before and brought out of the attic for this album with a newly written middle eight. Being too short and not suitable for the albums thus far, this fits rather nicely on the album. Nice guitar work from Harrison amiably supported by Lennon on acoustic rhythm. Starr provides percussion allegedly banging his knees with the palm of his hands. McCartney provides bass and unimaginative lead guitar solo.
It's a lovely McCartney vocal with Lennon singing in unison with McCartney on most of the verse leaving McCartney to sing the last line alone which is very affective. A newly written middle eight is a delightful contrast to the old verses in which Lennon provides a wonderful lower register harmony to McCartney. Clocking in at 1 minute 48 seconds, it's short but otherwise perfectly formed.
Mr Moonlight
Given they had the fabulous Leave My Kitten Alone in the can, you can't help but think why they put this track on the album. Vocals apart, musically the song comes across as pretty amateurish sounding. Very unimpressive percussion and African drum. Perfunctory bass line and uninspired Hammond organ from Paul. Bog standard rhythm guitar.
What saves the song from being a total waste of space on the album is Lennon's vocal and backing vocals. The opening line, sung by Lennon, is quite stunning. Lennon sings the song like he holds a special place for it in his heart. Good backing vocals from Paul and George that lift a song that's basically dying on its arse musically. Surely the low point in the entire Beatles catalogue.
I much prefer the Star Club version to be honest.
Kansas City/Hey Hey Hey Hey
If you didn't know it, you wouldn't believe Mr Moonlight and Kansas City where the same band. Moving from the worst cover to one of the best covers they ever did.
They cover Little Richards version of the song and not the original Leiber And Stoller song made famous by Wilbert Harrison. Richards version had different lyrics to the original and also the Richard penned Hey Hey Hey section at the end which wasn't on the original. Hence the Leiber/Stoller/Penniman writing credits on the album. Allegedly, Little Richard made sure he got his name on Beatles For Sale to ensure songwriting royalties.
The whole performance is majestic, real authentic west coast blues but with a Merseybeat edge. Starr lays down a great feel with prominent ride cymbal work throughout accompanied by a nice walking bass line from McCartney. Glorious guitar work from Harrison and Lennon throughout, particularly the three chord to the bar changes that go under McCartney's lead vocal. I think Lennon and Harrison double up on this. Again the rhythm guitars in the final section of the song are very imaginative. A superb solo from Harrison on his Gretsch. George Martin yet again provides some tremendously authentic Rock 'n' Roll piano, playing sixteenths to the bar and the odd Jerry Lee Lewis rip down the whole keyboard. This really adds a lot to the whole majestic feel to the track. ( his hand must have been crippled by the end!)
Finally McCartney's vocal. He emulates his hero Little Richard but were Richard relied on hysterical upper register, McCartney adds depth and more soul than anyone outside the USA (and probably in it). It's an incredible vocal that sends shivers down your spine and gives you goosebumps. As with Long Tall Sally, Kansas City blows Little Richards version off the planet.
When McCartney sings the hell out of 'Hey, Hey, Hey, Hey' straight after Harrison's guitar solo, it's true Beatle magic. John and George add some wonderful, rousing backing vocals in the final section that are several cuts above the backing singers of any rock band in the world at that time and for many years to come.
Along with No Reply, the best track on the album.
Eight Days A Week
According to McCartney the title was inspired by Ringo in another instalment of one of his malapropisms. According to Lennon the phrase came from his chauffeur.
One has to assume it was Lennon's song in the main as why would McCartney write two songs on the same album for Lennon to sing? Saying that the song does sound more McCartney-esque and Paul has played it on his solo tour were he usually plays songs he was the more prominent writer in. Either way it's a good pop song that was considered for single release in the UK at one stage. It went to no.1 in the States when it was released as a single there.
The song marked the first time an unfinished idea was taken into the studio and experimented with on studio time. This would eventually become the norm.
Unusually for the time the song has a very effective and memorable fade in that was decided on during the mixing process.
The opening ascending riff is guitar heavy with Lennon on acoustic guitar, Harrison on electric and McCartney playing a high pitched, fast, repeating note. More guitar overdubs for both the intro and outro sections were done later.
Starr is barely discernible in the mix largely due to all the handclaps but also due to the fact he just gets a bad mix. The best bits are the 'hold me, love me' bits were on the second and forth time of singing McCartney comes up with a very effective and original harmony that gives the song some uniqueness.
It's all well played, well sung, well written and very catchy but when all said and done it was always intended just to be a pop song, no more no less. For any other band this would have been a triumph. For The Beatles it's standard fayre. Lennon didn't think much of it.
Words of Love
A nod to theirs and every bands hero Buddy Holly. It adds nothing to the Holly original and is a straight copy. Lennon and McCartney's harmony work is perhaps a little tighter than the original but that's it. Best described as filler from the point of view it's just a complete copy of the original song and The Beatles aren't adding anything to it. I'll say it again - they left off Leave My Kitten Alone for this? The mind does truly bogle!
Honey Don't
A Carl Perkins song that was usually sung by Lennon but handed to Ringo for his vocal showcase on the album. It's a faithful enough cover. George plays some nice Perkins inspired guitar, John strums away on his acoustic, Paul and Ringo hold down the backbeat well enough. A country sound does actually shine through. Ringo does a decent enough vocal. It's not a patch on Perkins version though and again this falls into the same category as Words of Love i.e. filler. I suppose Ringo needed a song though.
Every Little Thing
Supposedly a McCartney song given to Lennon to sing lead vocal. Really though is this feasible especially if McCartney did indeed write the bulk of Eight Days A Week? Also, once again, Lennon has the dominant presence on the album in terms of original songs and lead vocals. It seems odd that McCartney should hand over another lead vocal to Lennon. McCartney has said in interview that he wrote the song and Lennon confirmed it so it must be true! It does display more of Lennon's writing style though.
McCartney certainly sings on the track but Lennon is the dominant lead vocalist here. It's a good, obscure album track that suggests a more adult way of songwriting rather than pandering to Pop. Lennon and McCartney harmonise nicely on the chorus and sing in unison on the verses. Some nice guitar motifs from Harrison and McCartney adds some single piano notes to give the track a bit of depth. Ringo plays drums and EMI's newly acquired Timpani which he puts to effective use.
In all honesty, it's an ok album track buts it's never going to be in anyone's top 50 Beatle tracks, probably top 100. The performance is lacklustre and this is the main problem. It's a good song if it were just performed on acoustic guitar and, if definitely McCartney penned, demonstrates a writing style that's not usually associated with him. Perhaps why he gave it to Lennon to sing.
As an aside, it's amazing what Yes saw in this song to come up with their version of the song.
I Don't Want To Spoil The Party
Back to the country formula that is working well for the band and a definitive reference for Neil Innes for Rutles songs in terms of songwriting style, guitar licks, lyrics and vocal styling, in fact the whole shebang. You can hear this song in a number of Rutles tracks.
Like Lennon's other songs on the album it's melancholy in nature and again demonstrates inner pain and frustration but set in an upbeat instrumentation. He obviously still wasn't comfortable with laying his balls on the line to tell the world how he really felt so would dress it up in a Pop song. It would actually take him many years and primal scream to get over it.
On the verses Lennon harmonises with himself and McCartney harmonises with him on the middle eight. Some great country guitar from Harrison who excels with this style of playing.
What You're Doing
If ever there was a forced Beatles song, this is it. 100% a McCartney song, he's calling all the shots on his one. The opening drum beat is so contrived (for The Beatles) that you just know McCartney has sat behind the drums and told Ringo exactly what to play. Similarly with Harrison's guitar part. You get the feeling it's like a Let It Be movie moment or a Maxwells Silver Hammer recording session. It's a shame because its a good song and if McCartney would have allowed more band input it could have been a better track on he album.
There's some great chord changes and great melody but it's all overshadowed by a controlling writers hand.
Everybody's Trying To Be My Baby
Another great cover, this time sung by Harrison. This is, without doubt, his best recorded vocal thus far. However what totally ruins his vocal is the complete over-use of echo which subsequently leaks onto the rest of the track. It's a real shame as Harrison is singing his little scouse heart out totally uninhibited. The excessive use of echo was totally uncalled for. He plays some killer rockabilly guitar and I'm so glad he got the double solo. The rest of the band are clearly up for this too. Starr and McCartney further prove what an excellent rhythm section they really were. Lennon generously supports Harrison on acoustic guitar. It's a really appropriate closer to the album.
World domination achieved by a rigorous touring and recording schedules leads The Beatles to their fourth album. After A Hard Days Night earlier in the year, one is left wondering why they could not maintain a further album of original material. With EMI requiring another album, The Beatles took a backward step in terms of songwriting and released an album peppered with covers, revamped old songs as well as new material. As with A Hard Days Night, Lennon dominates the album. McCartney is again fairly subdued in comparison. He has now taken up permanent residency in the Asher household.
The album doesn't stand up to complete close scrutiny but the overall experience is a great one. Who else was producing albums like this.
No Reply
A truly bizarre opener. However the song builds with lots of dynamic and power in the chorus's. A Lennon song, his loan vocal opens the song and the album. It's a predominantly acoustic guitar track with bass and drums. Ringo lays down a syncopated rumba type beat. They tried straight 4-4 previously as can be heard on Anthology but it didn't work. Lyrically it demonstrates Lennon becoming more and more thoughtful about his lyrics and moving towards imagery. You can actually see the girl peeking through the window in your minds eye when Lennon knocks on the door and fails to get a reply.
The real joy of this song is the chorus. The sheer power of the 'I saw the light' and 'No reply' parts is quite staggering. To get this shift in dynamic, the chorus parts include a double tracked Lennon vocal and a double tracked McCartney harmony, strident piano chords presumably played by George Martin and separately recorded crash cymbals. Then it shifts back to the passive verse.
McCartney's vocal harmony on the chorus is exceptional. He's employing his Money and You Can't Do That style vocal to great effect.
A much over-looked gem of a Beatle song albeit misplaced perhaps on the album.
I'm A Loser
Straight out of the Dylan mould but Lennon makes this his own still. A raspy Lennon vocal starts the track with McCartney harmonising on the word 'loser'. McCartney has said it was hard trying to get the harmony on this when they played it live. Its a lovely moment when the opening harmonies have died down and a single tracked Lennon vocal comes in over a single acoustic guitar. Lennon sings a great vocal and even manages to hit a low G twice on each verse. Normally sung by baritone or bass singers, he repeats this feat later on in Happiness Is A Warm Gun. Lyrically more mature but it's clearly a cry for help from Lennon showing his unhappiness at this point in is life. No one in popular music was writing such lyrics and singing them to such a mass audience.
Musically it's a weld of country, folk and rock. Progressing from some of the musical themes on A Hard Days Night, this is clearly an amalgamation that they feel happy to explore. Starr sets a brisk pace with some really nice hi-hat work and some really good snare fills moving from verse to chorus. McCartney plays a rolling bass line that locks in with Starr's kick drum perfectly. Harrison plays some great Chet Atkins inspired country guitar on his Gretsch. Outside of country music there was no one who could touch Harrison at this time with his standard of playing in this style. Lennon over-blows a great harmonica solo again proving (to everyone else except him) just how good a harmonica player he was. Some people who do not understand good harmonica playing call this out of tune. It's not and they are ignorant.
A classic early-mid Beatles track.
Baby's In Black
Supposedly written about Astrid Kirchherr still mourning the loss of Stuart Sutcliffe. It's another Lennon song played in 6/8 time with a country feel. Harrison starts the song with country riff on his Gretcsh that is repeated throughout the song. A brilliantly worked out and played solo that sounds like he's using a volume pedal on it. Starr holds down the waltz feel perfectly. He was always comfortable with unusual time signatures and he went on to play a lot more difficult time signatures than this on subsequent Beatles albums.
The real highlight of the song is Lennon and McCartney's dual, harmonised lead vocal. Both parts are beautifully sung with neither being the harmony for the other as both parts are lead vocal lines, yet they harmonised perfectly with each other. The closeness of the harmony is exceptional and was achieved by both Lennon and McCartney singing into the same mic simultaneously at their own request rather than singing on separate tracks. The results are stunning and is the main reason why this became one of the most popular Beatle songs of this period that wasn't a single.
Rock 'n ' Roll Music
A Chuck Berry classic that The Beatles made their own and yet another cover version that blows the original to bits. The sheer power of the performance, particularly Lennon's vocal, is incredible. Clearly Lennon sees this song as some sort of holy writ. He sings it like his life depends on it. For me, it's not as good as his Money vocal but that's just a personal preference.
Starr just holds down a solid backbeat. Nothing flashy needed here that could distract from Lennon's vocal. Starr is nicely up in the mix here with his snare really cutting through, forcefully for a change, that sits right in the pocket of the song along with McCartney's bass. Great ride cymbal work on the last verse too where the rhythm changes.
The other highlight of the track is George Martins totally authentic Rock 'n' Roll piano playing. George Martin is a classically trained musician. What could he possibly know about Rock 'n' Roll piano? Well, as it turns out, a hell of a lot! Without George Martins piano, the track wouldn't be half as good as it is. As well as producer, arranger, interpreter and general sound board to The Beatles, his contributions on piano and therefore the sound of the band were immense. If anyone should be given the accolade of '5th Beatle', it's unquestionably George Martin.
I'll Follow The Sun
George Martin stated in an interview this was his favourite off the album. A McCartney song, half written years before and brought out of the attic for this album with a newly written middle eight. Being too short and not suitable for the albums thus far, this fits rather nicely on the album. Nice guitar work from Harrison amiably supported by Lennon on acoustic rhythm. Starr provides percussion allegedly banging his knees with the palm of his hands. McCartney provides bass and unimaginative lead guitar solo.
It's a lovely McCartney vocal with Lennon singing in unison with McCartney on most of the verse leaving McCartney to sing the last line alone which is very affective. A newly written middle eight is a delightful contrast to the old verses in which Lennon provides a wonderful lower register harmony to McCartney. Clocking in at 1 minute 48 seconds, it's short but otherwise perfectly formed.
Mr Moonlight
Given they had the fabulous Leave My Kitten Alone in the can, you can't help but think why they put this track on the album. Vocals apart, musically the song comes across as pretty amateurish sounding. Very unimpressive percussion and African drum. Perfunctory bass line and uninspired Hammond organ from Paul. Bog standard rhythm guitar.
What saves the song from being a total waste of space on the album is Lennon's vocal and backing vocals. The opening line, sung by Lennon, is quite stunning. Lennon sings the song like he holds a special place for it in his heart. Good backing vocals from Paul and George that lift a song that's basically dying on its arse musically. Surely the low point in the entire Beatles catalogue.
I much prefer the Star Club version to be honest.
Kansas City/Hey Hey Hey Hey
If you didn't know it, you wouldn't believe Mr Moonlight and Kansas City where the same band. Moving from the worst cover to one of the best covers they ever did.
They cover Little Richards version of the song and not the original Leiber And Stoller song made famous by Wilbert Harrison. Richards version had different lyrics to the original and also the Richard penned Hey Hey Hey section at the end which wasn't on the original. Hence the Leiber/Stoller/Penniman writing credits on the album. Allegedly, Little Richard made sure he got his name on Beatles For Sale to ensure songwriting royalties.
The whole performance is majestic, real authentic west coast blues but with a Merseybeat edge. Starr lays down a great feel with prominent ride cymbal work throughout accompanied by a nice walking bass line from McCartney. Glorious guitar work from Harrison and Lennon throughout, particularly the three chord to the bar changes that go under McCartney's lead vocal. I think Lennon and Harrison double up on this. Again the rhythm guitars in the final section of the song are very imaginative. A superb solo from Harrison on his Gretsch. George Martin yet again provides some tremendously authentic Rock 'n' Roll piano, playing sixteenths to the bar and the odd Jerry Lee Lewis rip down the whole keyboard. This really adds a lot to the whole majestic feel to the track. ( his hand must have been crippled by the end!)
Finally McCartney's vocal. He emulates his hero Little Richard but were Richard relied on hysterical upper register, McCartney adds depth and more soul than anyone outside the USA (and probably in it). It's an incredible vocal that sends shivers down your spine and gives you goosebumps. As with Long Tall Sally, Kansas City blows Little Richards version off the planet.
When McCartney sings the hell out of 'Hey, Hey, Hey, Hey' straight after Harrison's guitar solo, it's true Beatle magic. John and George add some wonderful, rousing backing vocals in the final section that are several cuts above the backing singers of any rock band in the world at that time and for many years to come.
Along with No Reply, the best track on the album.
Eight Days A Week
According to McCartney the title was inspired by Ringo in another instalment of one of his malapropisms. According to Lennon the phrase came from his chauffeur.
One has to assume it was Lennon's song in the main as why would McCartney write two songs on the same album for Lennon to sing? Saying that the song does sound more McCartney-esque and Paul has played it on his solo tour were he usually plays songs he was the more prominent writer in. Either way it's a good pop song that was considered for single release in the UK at one stage. It went to no.1 in the States when it was released as a single there.
The song marked the first time an unfinished idea was taken into the studio and experimented with on studio time. This would eventually become the norm.
Unusually for the time the song has a very effective and memorable fade in that was decided on during the mixing process.
The opening ascending riff is guitar heavy with Lennon on acoustic guitar, Harrison on electric and McCartney playing a high pitched, fast, repeating note. More guitar overdubs for both the intro and outro sections were done later.
Starr is barely discernible in the mix largely due to all the handclaps but also due to the fact he just gets a bad mix. The best bits are the 'hold me, love me' bits were on the second and forth time of singing McCartney comes up with a very effective and original harmony that gives the song some uniqueness.
It's all well played, well sung, well written and very catchy but when all said and done it was always intended just to be a pop song, no more no less. For any other band this would have been a triumph. For The Beatles it's standard fayre. Lennon didn't think much of it.
Words of Love
A nod to theirs and every bands hero Buddy Holly. It adds nothing to the Holly original and is a straight copy. Lennon and McCartney's harmony work is perhaps a little tighter than the original but that's it. Best described as filler from the point of view it's just a complete copy of the original song and The Beatles aren't adding anything to it. I'll say it again - they left off Leave My Kitten Alone for this? The mind does truly bogle!
Honey Don't
A Carl Perkins song that was usually sung by Lennon but handed to Ringo for his vocal showcase on the album. It's a faithful enough cover. George plays some nice Perkins inspired guitar, John strums away on his acoustic, Paul and Ringo hold down the backbeat well enough. A country sound does actually shine through. Ringo does a decent enough vocal. It's not a patch on Perkins version though and again this falls into the same category as Words of Love i.e. filler. I suppose Ringo needed a song though.
Every Little Thing
Supposedly a McCartney song given to Lennon to sing lead vocal. Really though is this feasible especially if McCartney did indeed write the bulk of Eight Days A Week? Also, once again, Lennon has the dominant presence on the album in terms of original songs and lead vocals. It seems odd that McCartney should hand over another lead vocal to Lennon. McCartney has said in interview that he wrote the song and Lennon confirmed it so it must be true! It does display more of Lennon's writing style though.
McCartney certainly sings on the track but Lennon is the dominant lead vocalist here. It's a good, obscure album track that suggests a more adult way of songwriting rather than pandering to Pop. Lennon and McCartney harmonise nicely on the chorus and sing in unison on the verses. Some nice guitar motifs from Harrison and McCartney adds some single piano notes to give the track a bit of depth. Ringo plays drums and EMI's newly acquired Timpani which he puts to effective use.
In all honesty, it's an ok album track buts it's never going to be in anyone's top 50 Beatle tracks, probably top 100. The performance is lacklustre and this is the main problem. It's a good song if it were just performed on acoustic guitar and, if definitely McCartney penned, demonstrates a writing style that's not usually associated with him. Perhaps why he gave it to Lennon to sing.
As an aside, it's amazing what Yes saw in this song to come up with their version of the song.
I Don't Want To Spoil The Party
Back to the country formula that is working well for the band and a definitive reference for Neil Innes for Rutles songs in terms of songwriting style, guitar licks, lyrics and vocal styling, in fact the whole shebang. You can hear this song in a number of Rutles tracks.
Like Lennon's other songs on the album it's melancholy in nature and again demonstrates inner pain and frustration but set in an upbeat instrumentation. He obviously still wasn't comfortable with laying his balls on the line to tell the world how he really felt so would dress it up in a Pop song. It would actually take him many years and primal scream to get over it.
On the verses Lennon harmonises with himself and McCartney harmonises with him on the middle eight. Some great country guitar from Harrison who excels with this style of playing.
What You're Doing
If ever there was a forced Beatles song, this is it. 100% a McCartney song, he's calling all the shots on his one. The opening drum beat is so contrived (for The Beatles) that you just know McCartney has sat behind the drums and told Ringo exactly what to play. Similarly with Harrison's guitar part. You get the feeling it's like a Let It Be movie moment or a Maxwells Silver Hammer recording session. It's a shame because its a good song and if McCartney would have allowed more band input it could have been a better track on he album.
There's some great chord changes and great melody but it's all overshadowed by a controlling writers hand.
Everybody's Trying To Be My Baby
Another great cover, this time sung by Harrison. This is, without doubt, his best recorded vocal thus far. However what totally ruins his vocal is the complete over-use of echo which subsequently leaks onto the rest of the track. It's a real shame as Harrison is singing his little scouse heart out totally uninhibited. The excessive use of echo was totally uncalled for. He plays some killer rockabilly guitar and I'm so glad he got the double solo. The rest of the band are clearly up for this too. Starr and McCartney further prove what an excellent rhythm section they really were. Lennon generously supports Harrison on acoustic guitar. It's a really appropriate closer to the album.