#68: Everybody's Trying To Be My Baby

Written by: Carl Perkins
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: George

Carl Perkins makes another appearance on Beatles For Sale in the guise of "Everybody's Trying To Be My Baby", the closing number on the album. Now, the original is a great song, but the Beatles performance is lacking a little power. I think part of that is that they used it as the closer after the powerhouse duo of "Money" and "Twist And Shout" and the brooding "I'll Be Back". This song just isn't the type of song that could have been the closer. Personally, I think "Kansas City/Hey, Hey, Hey, Hey" would have been better here than at the end of side one. 

I also think the Beatles were a little trigger-happy with the technical wizardry here. The double-tracking of George's vocal is just useless. It doesn't add anything to the song, which in reality is just a straight up rock song. If you want to hear the song without double-tracked vocals, there's a take of it on Live at the BBC that proves how great the song is without having to hear two George vocals at once. Considering how well George sings the song ("Well, they took some honey from a treeeeeeeee..." I love that part when he drags that line out towards the end), I can't figure out why they thought it was necessary. It's also kind of sad that the only thing they could find George to sing on Beatles For Sale is a cover that they'd been doing since Hamburg. 

In the US, it was used as the closer for Beatles '65 and was performed at the Shea Stadium show in 1965 (that performance is on Anthology 2). 

Next up: "Oh...she's got a ticked to ride, and she don't care!"   

#67: What You're Doing

Written by: John Lennon & Paul McCartney
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: Paul


Hear that drum into? That is the start of one unique Beatles song. 
"What You're Doing" is really the start of Paul's mean streak. His relationship with Jane Asher was already pretty much on the rocks, although they didn't officially break up until 1968. So, many of Paul's songs up to Revolver deal with loneliness and feeling apart from the girl in the song. This reaches an all-time high with "For No One", but "What You're Doing" is really just the start of this. This also allows for Paul to have more emotional songs. This one is very much like John's songs on the album and so it feels at home on Beatles For Sale.

As the last original, it is only bettered by the opening number on the album, "No Reply". 
Again, this one got held over until Beatles VI in the US. 

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

Written by: John Lennon & Paul McCartney
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: John 


"I Don't Want To Spoil The Party" is like the reject of the opening trilogy of Beatles For Sale. It's a song about rejection, much like the first three songs on the record, but this time, it's in public and at a party. I always think that when something like that happens it public, it's more embarrassing. 
This song reflects that. 
The reason why it's placed so far removed from those songs, too, is pretty obvious. Could you imagine a Beatles record opening with four straight songs about rejection? Thankfully, the Beatles and George Martin were smart enough not to have us sit through that. (Not that it would be torture of course...I think we all agree that if the Beatles released a song of two-minutes of coughing, the Beatles would be coughing better than anyone else.)
Anyway, I like "I Don't Want To Spoil The Party", especially John's really subdued vocal. I mean, he just sounds disappointed. There's also a great harmony vocal by Paul. 
Also, as John's last song, this really represents the end of John's dominance as 'head' songwriter. From now on, Paul's contributions will be as important as - and as many as - John's. 


In the US, Capitol held the song back for Beatles VI and was first used as the B-Side to "Eight Days A Week" in the US.

#65: Every Little Thing

Written by: John Lennon & Paul McCartney
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: John (& Paul)


This blog's namesake is an interesting song, primarily because the writer of the song is not the lead vocal. Both John and Paul have said that the song is Paul's, but John sings lead, with Paul on harmonies. Why this decision was made was a mystery, but the song is fantastic. Ringo's use of a timpani is a great idea that makes the song unique. ("Every little thing she does....BUM-PUM!...She does for me, yeah!" What's not to like about that?)
While it is hardly one of the Beatles' most popular songs, it still works and is one of my favorite originals on the album.  It's kind of unfortunate that there's not much to say about it except that listening to it is a good way to spend two minutes. 


In the US, this was another track that got held-over for some reason until Beatles VI and was used as the closing number. 

#64: Honey Don't

Written by: Carl Perkins
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: Ringo


Back when I wrote about "Matchbox", I mentioned that it was one of two songs the Beatles recorded where they switched vocalists. "Honey Don't" is the other. John had been singing this Carl Perkins number (here's the awesome original) as late as August, 1963 when they recorded it for the BBC. This version featuring John is on 'Live At The BBC'. 
Since Ringo hadn't been given an original song to sing since "I Want To Be Your Man", John & Paul obviously felt that there was no reason to break Ringo's streak of covers. So, John gave up "Honey Don't" to Ringo. Of course, hearing John do it is great, but again, nobody sings rockabilly like Ringo. 
The song is a lot of fun and you can tell that they had fun making it. Ringo gets to yell "Rock on, George, for Ringo one time!" Still, it's impossible not to get that same feeling you get from all the other covers here - that they feel forced to do these old songs after an album full of originals. 


In the US, the song came up on Beatles '65. 
It's kind of funny how Ringo still does this at every single show he does. He also felt that it was necessary to do it at The Concert For George, even though it might have been classier for him to find another Perkins song to do.  

#63: Words Of Love

Written by: Buddy Holly
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: John, Paul & George



Despite their love of Buddy Holly, they had yet to cover the master until "Words Of Love". In fact, this is the only Holly cover they ever recorded in the studio for EMI. "That'll Be The Day", Holly's signature tune, was covered by them when they were still the Quarrymen and it appeared on their home-made 45 (that's currently in Paul's possession, as far as I know) that's on Anthology 1. 
The original version of "Words of Love" (heard here) was first released on Brunswick's Buddy Holly LP in 1958.  
Now, the interesting thing about the Beatles' version is that they copied Holly almost note-for-note. Ringo even went as far as playing a suitcase to get the sound of Holly's percussion right. This makes it a real rarity in the Beatles' catalog. Most of their covers add something unique, but here The Beatles copy an already perfect song. 
Sure, it's entirely possible that it was recorded because they needed to fill a slot on the LP...but, I like to think that it's the Beatles making sure that their single-most important influence is finally represented on one of their records.  

In the US, this was another song that got held over until Beatles VI, but it was not issued on a 45. 

#62: Eight Days A Week

Written by: John Lennon & Paul McCartney
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: John & Paul

When the time came for The Beatles to issue a 45 for the Christmas, 1964 season, "Eight Days A Week" was the obvious choice. However, John came up with "I Feel Fine", letting "Eight Days A Week" become a simple album track.

The title is another example of how John and Paul were always listening to the odd ball things that people say and looked for ways to incorporate them into songs. Paul says in the Anthology book that when they asked their chauffeur how he was doing, he commented that he had been working hard, like 'eight days a week'! So, that's where the title comes from.

The song is one of those interesting joint Lennon/McCartney numbers, where they actually worked together on the song. If you look at the song technically, it is the most difficult number on the album, from it's fade-in intro to the intricate vocal arrangement.

It's also the happiest original song on the record. Aside from the title, it is, lyrically, the simplest song. The singer loves the girl so much, that not even eight days a week would be enough to show it.

It's a good, fun song, especially when you can stop whatever you're doing to stamp your feet and clap when the song tells you to. That's another cool part - audience participation. The Beatles were certainly the best in that regard!

In the US, the song was issued as a single and hit #1 for just a week. Capitol issued the incredibly radio-friendly song on Beatles VI. The song just begged to be released as a single, so you really can't blame Capitol for that decision.


Beatles T-Shirts

#61: Kansas City/Hey, Hey, Hey, Hey

Written by: Jerry Leiber & Mike Stoller [Kansas City]/Richard Penniman [Hey, Hey, Hey, Hey]

Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: Paul

"Kansas City" is probably one of the most well-known Leiber/Stoller songs they ever wrote. It was first written back in 1952, although no one would have a national hit with it until 1959. After that, the song became a rock standard.

"Hey, Hey, Hey, Hey" is a simple call-response chant that Little Richard wrote and recorded in 1956 as the B-Side to "Good Golly Miss Molly".

Of course, as a showman, Little Richard found that the best way to perform the two songs was to make them a medley. He performed it live and it obviously translated into a 45. (You can hear that here.)

The Beatles used to actually perform the entirety of "Kansas City" in the Cavern Club and in Hamburg. However, when the Beatles were required to do BBC shows, by then, they started just doing Little Richard's medley. Thus, this is what we have recorded on Beatles For Sale.

Since it's a Little Richard number, Paul takes the lead vocal. He does a wonderful job and, on an album where the covers really don't stick out that much, this is easily the best. It's also a fantastic Side One closer.

The Beatles recorded two takes, but like "Twist And Shout", the first take was the one that was issued. The second take is on Anthology 1, where it's used as the closer for that set. For some strange reason, Capitol used it as the opener for Beatles VI. So, the track was held over in the US, as Beatles VI was not released until June, 1966. It's a good song, but I think it works as a closer better. (Capitol was also stupid enough to just call the medley "Kansas City" and only gave credit to Leiber/Stoller, even on the label. It wasn't until the publisher's lawyer let them know that it was, in fact a medley, that they tried to change it. They never did change the title on the cover, but they did eventually on the label.)

As a side note, Paul did go back to the full "Kansas City" by recording it for Choba b CCCP - The Russian Album in 1988, showing that things do come full circle, especially in the Beatles universe.

#60: Mr. Moonlight

Written by: Roy Lee Johnson
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: John

"MIIISSSSSTTEEEERRRR MMMOOOOONLIGHT!!!!!"

From the start of their career, the Beatles made it pretty clear that even if the song wasn't a hit, they'd still cover it. "Mr. Moonlight" was originally recorded by Piano Red under the name "Dr. Feelgood And The Interns". It was released as a B-Side in 1962 and somehow, it quickly became a favorite of a certain group of Liverpudlian rockers.

I have no idea what made the Beatles want to actually record the song. It's cheesy beyond all reason, but their cover seems to make fun of that aspect. John seems to purposefully pull off the worst vocal of his career and Paul's organ solo seems to make the song sound older than it is. The song was only two years old when they covered it, but the Beatles make it sound as if it was written as a 1940's show-tune. In fact, if you go back and listen to Piano Red's original, it sounds like a silly, throwaway rock song.

It really is one of the worst covers the Beatles ever did and probably in the same class as "Devil In Her Heart", but through practically satirizing the song, the Beatles still keep it interesting.

The Beatles needed just four takes to get it right and an edit of Takes 1 and 4 is on Anthology 1. In the US, it was on Beatles '65.

#59: I'll Follow The Sun

Written by: John Lennon & Paul McCartney
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: Paul

I've always thought of "I'll Follow The Sun" as a dry run for "Yesterday". Although the song is hardly a solo track (John is featured prominently on backup vocals) the acoustic, somber nature of the track definitely allows itself to be compared to Paul's later masterpiece.

"I'll Follow The Sun" is Paul's first spotlight on the LP and shows The Beatles' growing desire to let their emotions hang out for all to see. However, Paul first wrote the song four years earlier (and a recording can actually be found on bootlegs and here). As you can probably hear in that recording, when The Quarrymen recorded it, they probably thought of the song as just another little 'rock thing', but when Paul resurrected it for Beatles For Sale, it became the quiet, delicate ballad that we all love today.

Like the majority of Beatles For Sale, it landed on the US LP Beatles '65 and (also like practically all of Beatles For Sale) has never appeared elsewhere. It's a shame, because if you could ever call a Beatles song 'underrated', "I'll Follow The Sun" is one of them.

#58: Rock And Roll Music

Written by: Chuck Berry

Released: December 4, 1964

Appears on: Beatles For Sale

Lead vocal: John

In 1957, Chuck Berry wrote the theme song for the genre of music he was defining. "Rock And Roll Music" is the one song that sums up Rock 'n' Roll in a way that no other single song does. Chuck Berry's original is as good as it gets.

Leave it to John Lennon to push it even further.

The Beatles' take is more raucous and it just goes to show how much rock 'n' roll evolved in just the seven years between the two recordings. However, later recordings of the song would show none of the evolution that rock went through after The Beatles. Maybe it just proves that once The Beatles defined what rock 'sounds' like, that rock stopped evolving and everyone just spent their time trying to be The Beatles. That's not true, obviously, but in the case of "Rock And Roll Music", no one ever did it better than the Beatles.

"Rock And Roll Music", as the first cover on Beatles For Sale proves that touring was really taking a toll on them. Despite all the covers on the album being really good, there's a sense of reluctance and almost boredom that runs through all of them. It's hard to believe that the Beatles were happy that they had to fall back on the old crutch of recording covers. It's also as clear as day on the cover that they needed more time before recording yet another album. The extra time would have allowed for more originals...but, of course, even as the most popular foursome in the world, anything less than two LPs and five to six 45s a year was unacceptable.

This particular cover appeared on Capitol's Beatles '65 in the US and acted as the title track to the superfluous compilation Rock And Roll Music in 1976.

#57: Baby's In Black

Written by: John Lennon & Paul McCartney

Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: John, Paul & George

Harmony exercises were usually kept to B-Sides for the Beatles, but for the final part of John's opening trilogy, they chose to use probably their best three-part harmony as the closer. It's probably one of the most melancholy songs in the Beatles' catalog (aside from the song that proceeds it), but it certainly is a thing of beauty. Aside from the vocals on the track, put your ear's attention to George's clunky, sorrowful guitar, especially during the solo. It definitely optimizes the sadness that John's lyrics show. My favorite part is the bridge sequence. Sure, Paul sounds like he's straining his voice when they sing "Oh, how long will it take?", but the fact is that it shows the Beatles at the height of their harmonic powers.

The Beatles' harmonies in their early period is one of the reasons why I prefer to this time period to the latter years. The Beatles' three-part harmonies would get just two more great showcases, so I can't write an obituary for it just yet.

Where else can you find "Baby's In Black"? Well, as one of the best Beatles songs, it's surprising to know that the only release of the song, aside from it's appearance on Beatles For Sale, was on Capitol's Beatles '65. A live take was issued on the "Real Love" CD single, but that's it. Oh well...I don't need alternate versions to prove that this is one of the Beatles' best songs.

#56: I'm A Loser

Written by: John Lennon & Paul McCartney
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: John

It's kind of difficult to think that one of the most successful (and rich) men in the world at the time would call himself a loser, but that's exactly what John does with "I'm A Loser".

The song is the first instance of John's "Dylania", as Tony Barrow called it on the sleeve note for the Beatles For Sale EP. As we all know, Dylan was a huge influence on the Beatles, particularly John and George. However, at this point if you were told that one of the Beatles would be in a group with Dylan, you probably would guess John would be the one.

The two wrote remarkably similar love songs, even before the two finally met during the Beatles' first US tour. Both wrote songs about rejection and it's easy to see the parallels between "I Don't Believe You (She Acts Like We Never Have Met)" and "You Can't Do That", where both singers deal with wild girls who can't seem to control themselves within set boundaries.

With "I'm A Loser", though, John touches on the psyche, looking inwards to find reasons why a girl would be so mean to him. It's kind of like "It Ain't Me Babe", except in John's song, he admits to trying to be able to impress, but fails. In Dylan's song, the singer doesn't even make an attempt. He just brushes the girl away..."...But it ain't me babe. No, no, no, it ain't me you're lookin' for babe!" John's "I'm A Loser" features a guy who wants the girl, even though he knows that she'll just put him down. He knows that it ain't me, but he still goes after her, almost getting a high out of being turned down (OK, maybe that's going a little far, but you can see where I get that...I hope).

I always find part twos of any good trilogy to be the best parts and "I'm A Loser" is certainly the best of the opening trilogy.

#55: No Reply

Written by: John Lennon & Paul McCartney
Released: December 4, 1964
Appears on: Beatles For Sale
Lead vocal: John

"This happened once before

When I came to your door...

No reply..."

And thus begins the most powerful trilogy of songs to open an album. The needle drops on the first band and there is no introduction, nothing. Just John..."This happened once before..."

"No Reply" is not just another John song where he seeks our pity because he knows he has lost his girl. He goes even further - revealing that he has been stalking this girl and has found out that she is seeing another man. In fact, this is a complete story. The singer realizes that the relationship is over by the end of the song. The last verse is most telling to this idea. He is in so much pain that he sings "I nearly died! I nearly died/'Cause you walked hand in hand/With another man/In my place!"

The song not only reveals that the Beatles are looking far more inward than any other pop/rock group did in 1964, but also that their recording techniques had taken leaps and bounds in the just-over-a-year time period between "Love Me Do" and Beatles For Sale. John's vocal is double-tracked throughout the entire song. John and George play acoustic guitars. George Martin adds piano. Paul adds the higher harmony parts. Ringo's drumming is getting more unconventional ("No reply!" CRASH! "No reply!" BANG!).

The Beatles are getting better and "No Reply", the opening song on Beatles For Sale, is one hell of a way to show it.