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The former sings the verse, gruffly protesting about work, the latter chimes in with the bridge, singing about happy domesticity.Whatever the problems with the notoriously fractious Get Back sessions of 1969, a lack of strong material wasn’t one of them. While McCartney’s song certainly doesn’t have the venomous energy or experimental edge of Lennon’s, it has got a power of its own; as a masterclass in supremely catchy songwriting, it works perfectly.Far more dynamic and electrifying than its predecessor Love Me Do, the Everly Brothers-inspired Please Please Me saw the Beatles harness the raucous power of their live performances in the studio. Its tumbling drums, droning guitars, self-examining lyrics and mood of stoned languor pointed to the way pop would change over the following 18 months.Its satire of Swinging London’s thrusting ambition is very McCartney-esque – gentle and fond, rather than biting – but Paperback Writer may be the most straightforwardly exciting of the Beatles’ mid-60s singles: a supremely tight explosion of distorted guitar riffs, falsetto harmonies and subtle studio tricks. There is something universal about its gentle, urging optimism; something about its all-together-now coda that defies you not to join in.The Beatles’ press officer Derek Taylor wryly noted that, when the band took LSD, “it was a case of four scousers exploring inner space and just finding more and more scouser down there”. That they broke their rule for Revolver’s lovable but slight children’s song Yellow Submarine – rather than Taxman, Here There and Everywhere or Eleanor Rigby, which was relegated to the B-side – seems faintly mind-boggling.Less dramatic and combustible than She Loves You or I Want to Hold Your Hand, Can’t Buy Me Love was key to establishing the Beatles’ cross-generational appeal: on the one hand it had a raw energy that recalled skiffle, on the other, its rhythm vaguely suggested swing, provoking a number of parent-friendly jazz covers, not least by Ella Fitzgerald.Pop’s post-psychedelic mood was set by the earthiness of the Band’s hugely influential debut Music from Big Pink.
On the plus side, Lennon sings the whole thing in a voice far more rasping and anguished than the song warrants, as if he is approaching the lyrics’ cutesy sentiment with a distinct roll of the eyes.It is hard to imagine how raw and unique Love Me Do sounded in late 1962, in a singles chart dominated by “yodeling” Frank Ifield and Acker Bilk: the writer Ian MacDonald compared the impact of its dry, northern British sound to that of kitchen-sink realism in cinema and theatre. Certainly, acid was responsible for history’s most heightened, extraordinary burst of in-my-Liverpool-home sentimentality. A step back from the thrills of Please Please Me, From Me to You was a hit written to order, and it is tempting to say it shows. The release of the Rock Band game today and a series of remastered albums has sparked renewed interest in …
The Beatles' singles – ranked! I … Their license to release Beatles singles was due to expire in October, so they quickly re-released all of their 45s in another cover to make a bit more money.
© 2020 Guardian News & Media Limited or its affiliated companies.
The former sings the verse, gruffly protesting about work, the latter chimes in with the bridge, singing about happy domesticity.Whatever the problems with the notoriously fractious Get Back sessions of 1969, a lack of strong material wasn’t one of them. While McCartney’s song certainly doesn’t have the venomous energy or experimental edge of Lennon’s, it has got a power of its own; as a masterclass in supremely catchy songwriting, it works perfectly.Far more dynamic and electrifying than its predecessor Love Me Do, the Everly Brothers-inspired Please Please Me saw the Beatles harness the raucous power of their live performances in the studio. Its tumbling drums, droning guitars, self-examining lyrics and mood of stoned languor pointed to the way pop would change over the following 18 months.Its satire of Swinging London’s thrusting ambition is very McCartney-esque – gentle and fond, rather than biting – but Paperback Writer may be the most straightforwardly exciting of the Beatles’ mid-60s singles: a supremely tight explosion of distorted guitar riffs, falsetto harmonies and subtle studio tricks. There is something universal about its gentle, urging optimism; something about its all-together-now coda that defies you not to join in.The Beatles’ press officer Derek Taylor wryly noted that, when the band took LSD, “it was a case of four scousers exploring inner space and just finding more and more scouser down there”. That they broke their rule for Revolver’s lovable but slight children’s song Yellow Submarine – rather than Taxman, Here There and Everywhere or Eleanor Rigby, which was relegated to the B-side – seems faintly mind-boggling.Less dramatic and combustible than She Loves You or I Want to Hold Your Hand, Can’t Buy Me Love was key to establishing the Beatles’ cross-generational appeal: on the one hand it had a raw energy that recalled skiffle, on the other, its rhythm vaguely suggested swing, provoking a number of parent-friendly jazz covers, not least by Ella Fitzgerald.Pop’s post-psychedelic mood was set by the earthiness of the Band’s hugely influential debut Music from Big Pink.
On the plus side, Lennon sings the whole thing in a voice far more rasping and anguished than the song warrants, as if he is approaching the lyrics’ cutesy sentiment with a distinct roll of the eyes.It is hard to imagine how raw and unique Love Me Do sounded in late 1962, in a singles chart dominated by “yodeling” Frank Ifield and Acker Bilk: the writer Ian MacDonald compared the impact of its dry, northern British sound to that of kitchen-sink realism in cinema and theatre. Certainly, acid was responsible for history’s most heightened, extraordinary burst of in-my-Liverpool-home sentimentality. A step back from the thrills of Please Please Me, From Me to You was a hit written to order, and it is tempting to say it shows. The release of the Rock Band game today and a series of remastered albums has sparked renewed interest in …
The Beatles' singles – ranked! I … Their license to release Beatles singles was due to expire in October, so they quickly re-released all of their 45s in another cover to make a bit more money.
© 2020 Guardian News & Media Limited or its affiliated companies.