Post by mrmustard on Jul 21, 2013 19:13:27 GMT
If anyone, at the time, had any doubt The Beatles where here to stay then A Hard Days Night would surely eradicate any of that doubt. With the release of this album showed the Beatles as no passing phase, no fad, no five minute wonder. The Beatles now where a totally self-sustainable force. They didn't need to rely on covers or a team of songwriters like other artists. They where now completely unique in the Pop world, pushing the boundaries of current musical limitations. Their songwriting was now beginning to take on a greater depth; moving from Pop to something more meaningful and enduring both lyrically and musically.
All thirteen tracks are well crafted, well played, well produced and all written exclusively by Lennon and McCartney.
The first side of the album contained the tracks in the accompanying film of the same name. The album itself was the first to be recorded, in its entirety, on 4 track recording technology. It definitely benefits from this too.
Lennon dominates this album in terms of songwriting and vocal presence. He is the total driving force of this album although McCartney's contributions should not be overlooked, he sings lead on only three songs and therefore main songwriter on only three tracks.
A Hard Days Night
The opening track, written to order, when the films produced Walter Shenson said they needed a title track for the movie. It was written overnight and played to Shenson the following day by John and Paul on acoustic guitars before recording it in the studio.
Written mostly by Lennon, he sings the verses and hands the middle eight over to McCartney mainly because it was just out of Lennon's natural vocal range. However, in doing so, creates a nice dynamic between the two singers. Lennon's double tracked vocal is fully committed, confident and in complete control. His phrasing and tone fit the song perfectly.
McCartney harmonises with Lennon on part of the verse which heightens the impact of the song even further immediately followed by Lennon's very suggestive 'will make me feel alright' line. No wonder it got the girls screaming!
Harrison's guitar playing is sublime. He plays his new 12 string Rickenbacker to great effect and what he offers up to the guitar world is so unique and influential e.g. Roger McGinn, Johnny Marr to name but two. Along with Lennon's vocal, it's Harrison's guitar that is the other dominant feature of the album. The opening chord of the song (Gm7+11) is a mix of 12 string guitar, six string guitar and piano. That single chord sets the tone for the album. The guitar solo is played on the 12 string and George Martin overdubs an identical part on piano to great effect. It seems Harrison had some problems mastering this solo. On the Live at the BBC version this whole section of the song is edited out and replaced with the officially recorded version. On other later live versions he seems to manage it fine.
The jangly outro Harrison comes up with on his 12 string is a couple of years ahead of its time and conjures up thoughts of the Revolver era.
Ringo's drumming holds down the pace and rhythm. Really nothing else is needed for this song on the drums. Less is more applies here. The middle eight sees the start of someone's love of the cowbell on this album but it does work well. However those bongos in the verses are totally surplus to requirement in my view. There are a number of Beatle songs that have ridiculous percussion instruments going on in the background that actually only serve to distract from the rest of the song.
I Should Have Known Better
Assuming Lennon has purchased a new harmonica since the one he nicked in Arnhem, he puts his skills to great use on this. Lennon was an exceptional harmonica player and this was seriously overlooked, probably because he didn't realise how good he was and he didn't play it that much after this album.
This is quite a stripped down song in terms of instrumentation with no harmonies. Lennon's acoustic guitar, harmonica and vocal (mostly double tracked), bass, 12 string Rickenbacker, Drums.
Again the song centres around Lennon's vocal and Harrison's chiming 12 string guitar chords, together with the harmonica.
The guitar solo is a little unimaginative. I'm sure Harrison had something better in mind but was more likely told to play a complete copy of the verse vocal line.
When all is said and done, if Lennon played this solo on an acoustic guitar and just sang, it still would have sounded just as good.
If I Fell
Probably the best example of Lennon and McCartney's close harmonies recorded to date. The song is all about the harmony between John and Paul. The instrumentation merely supports them.
Lennon sings solo (double tracked) on a kind of prelude to the song proper. McCartney's harmony is exquisite when the song kicks in proper. Throughout the whole song, the harmony never falters between Lennon McCartney. It's a nice touch when they sing half a line in unison.
Some lovely chords throughout. Harrison plays some beautiful guitar arpeggios and finishes with a nice flurry on his 12 string.
The melody of the song is totally original and the harmony makes the song. Again, this song would have sounded just as effective with John and Paul both singing with an acoustic guitar. The melody is that good.
I'm Happy Just To Dance With You
In an album of such quality, there has to be one weak spot. Written by Lennon as a vocal showcase for Harrison, it was a song Lennon was hardly going to sing himself. By giving the song away, even to Harrison, Lennon is effectively admitting its not a great song in his eyes.
Nevertheless, the song is not without its good points. It's upbeat, energetic and finally allows Starr some room to do something with some nice fills. From the second verse onwards there is some rather unimpressive bongo work. Some distinctive guitar triplets from Lennon and some high melodic chords from Harrison. Harrison's vocal is perfunctory at best and is completely outclassed by the backing vocals of Lennon and McCartney who give the song some much needed dynamic and gravitas with their 'oh, oh' vocals.
And I Love Her
The fifth track in and McCartney finally comes to the fore. It's a fine McCartney song but also a fine group effort. A tender ballad arranged and treated perfectly.
At last some percussion that fits and makes sense! It gives the song it's distinctive feel. Harrison's guitar work is superb, ranging from low end riffs to excellent arpeggio work. The solo could have been worked out better rather than copying the vocal melody yet again, however its very well played and the fact the song changes key just for the solo makes the whole solo sequence work well. Lennon underpins the whole song with a tasteful acoustic rhythm guitar and allows Harrison to shine.
A fine McCartney vocal that has a slightly haunting feel to it that works great and finishes off a fine piece of music. With the quality of this song one is left wondering why it took him so long to come to the party and why he didn't contribute more to the album.
Tell Me Why
The intro of this song is basically a re-worked intro of Happy Just To Dance With You. It's a lot more sophisticated though and the song as a whole is much better.
Starr excels effortlessly during the intro as he does throughout this track employing a great amount of shuffley swing to his playing which makes everyone swing and the whole track move with a really great feel.
Again, predominantly a Lennon track, everyone seems to be enjoying this one. There is a joyful three part harmony on the chorus's. Lennon sings one of those 'as if his life depended on it' vocals with McCartney and Harrison harmonising on alternate lines.
A 'go for it' falsetto from all three singers in the middle eight is quite funny.
Nice clanging rhythm guitars from both Harrison and Lennon. McCartney plays a walking bass line that is reminiscent of All My Loving and its presumably him who plays piano as this sounds like an alternative bass line accompaniment.
A well worked out ending that tops off a really exciting song.
Can't Buy Me Love
Interestingly this song started off with the verse until George Martin made the crucial suggestion of beginning it with the chorus. McCartney's song entirely, its recorded sparsely with drums, bass, acoustic guitar, lead guitar and lead vocal. It's a vocal led song with no backing vocals. However, as can be heard on Anthology, there where originally backing vocals but wisely dropped for a double tracked McCartney vocal. It's one of McCartney's best recorded vocals thus far, sung in a soulful rock style that came easily to him. It didn't need any backing vocals.
Harrison's guitar solo is an absolute gem which is also double tracked.
Any Time At All
Side B has all the songs not included in the film. One might think these songs are below par because they didn't make the movie. Well, one would be wrong. With such a wealth of material on offer it must have been difficult for Shenson and Lester to decide the songs to be included in the film. It's hard to imagine the rationale behind omitting the songs on side B and any of them could have easily worked.
Anytime At All could easily have worked in the film. It's in a similar vane to the title track but has more of an edge to it.
A single crack of Ringo's snare drum opens the song. Lennon delivers another exceptional double tracked lead vocal on yet another of his songs. Interestingly Lennon, half way through each verse, can't fit all the words in properly. So on the first verse, for example, the word 'right' is single tracked so Lennon can easily start the next line, the beginning of which is also single tracked 'if you're feeling ' then the double tracking starts again on 'sorry'. This trick is repeated in the second verse as well as many other songs The Beatles recorded. McCartney answers Lennon's 'Anytime At All' line giving a good hook line to the song.
Harrison delivers some nice riffs on his 12 string often accompanied by piano which gives the Rickenbacker a more solid sound. The guitar solo is again doubled by piano to good effect.
Starr hits hell out of his snare drum as does Lennon on his acoustic guitar. McCartney, like most of the album, is very passive on bass and low in the mix. A situation that would drastically reverse over the course of the next few years
I'll Cry Instead
Probably a song Lennon regarded as a piece of trash as he thought so many of his songs, confined to side B and not in the film. Although allegedly was slated for inclusion, due to a problem with the audio track it had to be replaced. It was, with Can't Buy Me Love.
Its a great song and would have fitted great in the film. It see's the band in country mode that suited them well and they would explore a little further on subsequent albums. Again a Lennon song, his lyrics are starting to become more and more introspective. Some great descriptive lines here like 'I got a chip on my shoulder that's bigger than my feet'.
It's got a great feel that the band feel totally comfortable with. Great use of tambourine that really drives the song. Another classic Lennon vocal. No backing vocals required. Some great country guitar playing by Harrison that really defines the track.
Things We Said Today
Supposedly a McCartney classic, for me though I find it boring. That's not going to go down well I know but I have always felt the same about it.
It's overrated in my view.
It's problem centres around the verse of which the melody I find dull and repetitive. A repetitive Am to Em doesn't help matters and limits where the melody can go. McCartney sings it well enough but that still doesn't detract from the repetitive nature of the song.
The only high point of the song is the switch to the A major part. It was probably quite unique for the time but this alone doesn't make for a great song when the rest of its dull.
The songs saving grace is that it is timeless. This could have been written at any time in McCartney's career.
For me, this song is marginally better than Happy Just To Dance With You.
When I Get Home
Another strong Lennon song. Great, high impact three part harmony opening, accented by Starr's crash cymbal. This is repeated throughout the song. Lennon clearly enjoys singing this song. The playful way he incorporates the word 'trivialities' indicates what a wordsmith he is.
Great syncopated guitar chords from both Harrison and Lennon. It's a relief to hear some clanging six strings on an album that is otherwise dominated by acoustic guitars and the 12 string. The songs feel is reminiscent of other Lennon songs like I Call Your Name.
McCartney's bass is oddly right down in the mix again. It was hardly worth getting the Hofner out the case!
You Can't Do That
Surely the best song on the album. A great song and a truly great performance from everyone.
Needless to say, another song written entirely by Lennon. What was up with McCartney on this album? Lennon totally dominates.
Harrison introduces this on his 12 string. It's a killer riff that he manages to keep going throughout most of the song in various incarnations. Lennon bangs away on the offbeat in major sevenths. Lennon comes up with a particularly aggressive guitar solo that works brilliantly with Harrison's jangly 12 string. On closer inspection, Lennon actually overdubs another solo halfway through his first solo. The bit were the big, loud, fast triplet chords come in. You can clearly still hear him playing the first solo underneath.
Drum wise, Starr does a fine job. He lays down a great back beat and adds in a great fill after the line 'because I told you before'.
The cowbell goes into overtime on this track but it works well. However more ridiculous bongo work appears that is totally pointless. Luckily, this time, its fairly low in the mix and doesn't impinge too much.
Lennon turns out yet another vocal that only he could sing. He's clearly relishing singing this. He's all over his vocal range from low bluesy notes to screaming his Liverpudlian head off. Arguably his best vocal performance on the album. The backing vocals of McCartney and Harrison are totally awesome, giving as much to this song as they did on Money. McCartney, awaking from his slumber once again, puts in an exceptionally fine vocal performance that lifts this already great song to even greater heights.
Lennon wrote this as an attempt at being Wilson Pickett. Well luckily it didn't work out quite like that. It's pure Lennon and a fine Beatles performance. Best song on the album.
I'll Be Back
The album finishes, quite rightly, with another Lennon song. Oddly not a rocker but obviously chosen because of the title.
Another often overlooked Lennon gem. The song centres around the melody and, in all honesty, could have easily been a solo Lennon song. Saying that, Starr's drums push the song along at a nice pace. Harrison plays a strong recurrent riff and little flurries. It's all about Lennon's vocal which has so many hooks about it. Another strong vocal by him. He also brilliantly nails the long 'I ' at the beginning of the middle eight and then the 'oh, oh, oh, oh' bit he uses to take the song back down to the verse.
Lennon and McCartney's close harmony work is another striking feature of the song. A beautiful harmony from Paul really enhances the beauty of this song. The song fades out off into the distance but you know they will be back.
All in all this is a tremendous album. Thirteen tracks of original material was unheard of at the time. In truth, if it wasn't for Lennon, and Harrison's distinctive guitar work, its hard to imagine how this album would have turned out. Lennon is the sole driving force and he carries the band on this album. Christ knows what McCartney was doing during the writing and recording process (cavorting around with Jane Asher no doubt). Sure, everyone contributes to the album in their own way and makes the album what it is but in all honesty this could have been a Lennon solo album. I suppose this was just Lennon doing his bit for the band like McCartney would do in the latter years.
All thirteen tracks are well crafted, well played, well produced and all written exclusively by Lennon and McCartney.
The first side of the album contained the tracks in the accompanying film of the same name. The album itself was the first to be recorded, in its entirety, on 4 track recording technology. It definitely benefits from this too.
Lennon dominates this album in terms of songwriting and vocal presence. He is the total driving force of this album although McCartney's contributions should not be overlooked, he sings lead on only three songs and therefore main songwriter on only three tracks.
A Hard Days Night
The opening track, written to order, when the films produced Walter Shenson said they needed a title track for the movie. It was written overnight and played to Shenson the following day by John and Paul on acoustic guitars before recording it in the studio.
Written mostly by Lennon, he sings the verses and hands the middle eight over to McCartney mainly because it was just out of Lennon's natural vocal range. However, in doing so, creates a nice dynamic between the two singers. Lennon's double tracked vocal is fully committed, confident and in complete control. His phrasing and tone fit the song perfectly.
McCartney harmonises with Lennon on part of the verse which heightens the impact of the song even further immediately followed by Lennon's very suggestive 'will make me feel alright' line. No wonder it got the girls screaming!
Harrison's guitar playing is sublime. He plays his new 12 string Rickenbacker to great effect and what he offers up to the guitar world is so unique and influential e.g. Roger McGinn, Johnny Marr to name but two. Along with Lennon's vocal, it's Harrison's guitar that is the other dominant feature of the album. The opening chord of the song (Gm7+11) is a mix of 12 string guitar, six string guitar and piano. That single chord sets the tone for the album. The guitar solo is played on the 12 string and George Martin overdubs an identical part on piano to great effect. It seems Harrison had some problems mastering this solo. On the Live at the BBC version this whole section of the song is edited out and replaced with the officially recorded version. On other later live versions he seems to manage it fine.
The jangly outro Harrison comes up with on his 12 string is a couple of years ahead of its time and conjures up thoughts of the Revolver era.
Ringo's drumming holds down the pace and rhythm. Really nothing else is needed for this song on the drums. Less is more applies here. The middle eight sees the start of someone's love of the cowbell on this album but it does work well. However those bongos in the verses are totally surplus to requirement in my view. There are a number of Beatle songs that have ridiculous percussion instruments going on in the background that actually only serve to distract from the rest of the song.
I Should Have Known Better
Assuming Lennon has purchased a new harmonica since the one he nicked in Arnhem, he puts his skills to great use on this. Lennon was an exceptional harmonica player and this was seriously overlooked, probably because he didn't realise how good he was and he didn't play it that much after this album.
This is quite a stripped down song in terms of instrumentation with no harmonies. Lennon's acoustic guitar, harmonica and vocal (mostly double tracked), bass, 12 string Rickenbacker, Drums.
Again the song centres around Lennon's vocal and Harrison's chiming 12 string guitar chords, together with the harmonica.
The guitar solo is a little unimaginative. I'm sure Harrison had something better in mind but was more likely told to play a complete copy of the verse vocal line.
When all is said and done, if Lennon played this solo on an acoustic guitar and just sang, it still would have sounded just as good.
If I Fell
Probably the best example of Lennon and McCartney's close harmonies recorded to date. The song is all about the harmony between John and Paul. The instrumentation merely supports them.
Lennon sings solo (double tracked) on a kind of prelude to the song proper. McCartney's harmony is exquisite when the song kicks in proper. Throughout the whole song, the harmony never falters between Lennon McCartney. It's a nice touch when they sing half a line in unison.
Some lovely chords throughout. Harrison plays some beautiful guitar arpeggios and finishes with a nice flurry on his 12 string.
The melody of the song is totally original and the harmony makes the song. Again, this song would have sounded just as effective with John and Paul both singing with an acoustic guitar. The melody is that good.
I'm Happy Just To Dance With You
In an album of such quality, there has to be one weak spot. Written by Lennon as a vocal showcase for Harrison, it was a song Lennon was hardly going to sing himself. By giving the song away, even to Harrison, Lennon is effectively admitting its not a great song in his eyes.
Nevertheless, the song is not without its good points. It's upbeat, energetic and finally allows Starr some room to do something with some nice fills. From the second verse onwards there is some rather unimpressive bongo work. Some distinctive guitar triplets from Lennon and some high melodic chords from Harrison. Harrison's vocal is perfunctory at best and is completely outclassed by the backing vocals of Lennon and McCartney who give the song some much needed dynamic and gravitas with their 'oh, oh' vocals.
And I Love Her
The fifth track in and McCartney finally comes to the fore. It's a fine McCartney song but also a fine group effort. A tender ballad arranged and treated perfectly.
At last some percussion that fits and makes sense! It gives the song it's distinctive feel. Harrison's guitar work is superb, ranging from low end riffs to excellent arpeggio work. The solo could have been worked out better rather than copying the vocal melody yet again, however its very well played and the fact the song changes key just for the solo makes the whole solo sequence work well. Lennon underpins the whole song with a tasteful acoustic rhythm guitar and allows Harrison to shine.
A fine McCartney vocal that has a slightly haunting feel to it that works great and finishes off a fine piece of music. With the quality of this song one is left wondering why it took him so long to come to the party and why he didn't contribute more to the album.
Tell Me Why
The intro of this song is basically a re-worked intro of Happy Just To Dance With You. It's a lot more sophisticated though and the song as a whole is much better.
Starr excels effortlessly during the intro as he does throughout this track employing a great amount of shuffley swing to his playing which makes everyone swing and the whole track move with a really great feel.
Again, predominantly a Lennon track, everyone seems to be enjoying this one. There is a joyful three part harmony on the chorus's. Lennon sings one of those 'as if his life depended on it' vocals with McCartney and Harrison harmonising on alternate lines.
A 'go for it' falsetto from all three singers in the middle eight is quite funny.
Nice clanging rhythm guitars from both Harrison and Lennon. McCartney plays a walking bass line that is reminiscent of All My Loving and its presumably him who plays piano as this sounds like an alternative bass line accompaniment.
A well worked out ending that tops off a really exciting song.
Can't Buy Me Love
Interestingly this song started off with the verse until George Martin made the crucial suggestion of beginning it with the chorus. McCartney's song entirely, its recorded sparsely with drums, bass, acoustic guitar, lead guitar and lead vocal. It's a vocal led song with no backing vocals. However, as can be heard on Anthology, there where originally backing vocals but wisely dropped for a double tracked McCartney vocal. It's one of McCartney's best recorded vocals thus far, sung in a soulful rock style that came easily to him. It didn't need any backing vocals.
Harrison's guitar solo is an absolute gem which is also double tracked.
Any Time At All
Side B has all the songs not included in the film. One might think these songs are below par because they didn't make the movie. Well, one would be wrong. With such a wealth of material on offer it must have been difficult for Shenson and Lester to decide the songs to be included in the film. It's hard to imagine the rationale behind omitting the songs on side B and any of them could have easily worked.
Anytime At All could easily have worked in the film. It's in a similar vane to the title track but has more of an edge to it.
A single crack of Ringo's snare drum opens the song. Lennon delivers another exceptional double tracked lead vocal on yet another of his songs. Interestingly Lennon, half way through each verse, can't fit all the words in properly. So on the first verse, for example, the word 'right' is single tracked so Lennon can easily start the next line, the beginning of which is also single tracked 'if you're feeling ' then the double tracking starts again on 'sorry'. This trick is repeated in the second verse as well as many other songs The Beatles recorded. McCartney answers Lennon's 'Anytime At All' line giving a good hook line to the song.
Harrison delivers some nice riffs on his 12 string often accompanied by piano which gives the Rickenbacker a more solid sound. The guitar solo is again doubled by piano to good effect.
Starr hits hell out of his snare drum as does Lennon on his acoustic guitar. McCartney, like most of the album, is very passive on bass and low in the mix. A situation that would drastically reverse over the course of the next few years
I'll Cry Instead
Probably a song Lennon regarded as a piece of trash as he thought so many of his songs, confined to side B and not in the film. Although allegedly was slated for inclusion, due to a problem with the audio track it had to be replaced. It was, with Can't Buy Me Love.
Its a great song and would have fitted great in the film. It see's the band in country mode that suited them well and they would explore a little further on subsequent albums. Again a Lennon song, his lyrics are starting to become more and more introspective. Some great descriptive lines here like 'I got a chip on my shoulder that's bigger than my feet'.
It's got a great feel that the band feel totally comfortable with. Great use of tambourine that really drives the song. Another classic Lennon vocal. No backing vocals required. Some great country guitar playing by Harrison that really defines the track.
Things We Said Today
Supposedly a McCartney classic, for me though I find it boring. That's not going to go down well I know but I have always felt the same about it.
It's overrated in my view.
It's problem centres around the verse of which the melody I find dull and repetitive. A repetitive Am to Em doesn't help matters and limits where the melody can go. McCartney sings it well enough but that still doesn't detract from the repetitive nature of the song.
The only high point of the song is the switch to the A major part. It was probably quite unique for the time but this alone doesn't make for a great song when the rest of its dull.
The songs saving grace is that it is timeless. This could have been written at any time in McCartney's career.
For me, this song is marginally better than Happy Just To Dance With You.
When I Get Home
Another strong Lennon song. Great, high impact three part harmony opening, accented by Starr's crash cymbal. This is repeated throughout the song. Lennon clearly enjoys singing this song. The playful way he incorporates the word 'trivialities' indicates what a wordsmith he is.
Great syncopated guitar chords from both Harrison and Lennon. It's a relief to hear some clanging six strings on an album that is otherwise dominated by acoustic guitars and the 12 string. The songs feel is reminiscent of other Lennon songs like I Call Your Name.
McCartney's bass is oddly right down in the mix again. It was hardly worth getting the Hofner out the case!
You Can't Do That
Surely the best song on the album. A great song and a truly great performance from everyone.
Needless to say, another song written entirely by Lennon. What was up with McCartney on this album? Lennon totally dominates.
Harrison introduces this on his 12 string. It's a killer riff that he manages to keep going throughout most of the song in various incarnations. Lennon bangs away on the offbeat in major sevenths. Lennon comes up with a particularly aggressive guitar solo that works brilliantly with Harrison's jangly 12 string. On closer inspection, Lennon actually overdubs another solo halfway through his first solo. The bit were the big, loud, fast triplet chords come in. You can clearly still hear him playing the first solo underneath.
Drum wise, Starr does a fine job. He lays down a great back beat and adds in a great fill after the line 'because I told you before'.
The cowbell goes into overtime on this track but it works well. However more ridiculous bongo work appears that is totally pointless. Luckily, this time, its fairly low in the mix and doesn't impinge too much.
Lennon turns out yet another vocal that only he could sing. He's clearly relishing singing this. He's all over his vocal range from low bluesy notes to screaming his Liverpudlian head off. Arguably his best vocal performance on the album. The backing vocals of McCartney and Harrison are totally awesome, giving as much to this song as they did on Money. McCartney, awaking from his slumber once again, puts in an exceptionally fine vocal performance that lifts this already great song to even greater heights.
Lennon wrote this as an attempt at being Wilson Pickett. Well luckily it didn't work out quite like that. It's pure Lennon and a fine Beatles performance. Best song on the album.
I'll Be Back
The album finishes, quite rightly, with another Lennon song. Oddly not a rocker but obviously chosen because of the title.
Another often overlooked Lennon gem. The song centres around the melody and, in all honesty, could have easily been a solo Lennon song. Saying that, Starr's drums push the song along at a nice pace. Harrison plays a strong recurrent riff and little flurries. It's all about Lennon's vocal which has so many hooks about it. Another strong vocal by him. He also brilliantly nails the long 'I ' at the beginning of the middle eight and then the 'oh, oh, oh, oh' bit he uses to take the song back down to the verse.
Lennon and McCartney's close harmony work is another striking feature of the song. A beautiful harmony from Paul really enhances the beauty of this song. The song fades out off into the distance but you know they will be back.
All in all this is a tremendous album. Thirteen tracks of original material was unheard of at the time. In truth, if it wasn't for Lennon, and Harrison's distinctive guitar work, its hard to imagine how this album would have turned out. Lennon is the sole driving force and he carries the band on this album. Christ knows what McCartney was doing during the writing and recording process (cavorting around with Jane Asher no doubt). Sure, everyone contributes to the album in their own way and makes the album what it is but in all honesty this could have been a Lennon solo album. I suppose this was just Lennon doing his bit for the band like McCartney would do in the latter years.