By the end of 1964 The Beatles were the trailblazers for what would be called the British Invasion. The Rolling Stones released their first two albums (those you probably haven’t listened to), The Kinks were laying the ground work for garage and punk music, and The Animals were helping to build the house on the rising sun of folk rock. The next year a little band called The Who would release their first album that detailed the mantra of this new generation of rock stars. It was the beginning of great time for British rock that in has never since been equaled. Meanwhile, the Beatles were tired.
Much as been made of the dark clothing and sheer expression of dourness each band member wears on the ironically titled Beatles for Sale. But Robert Freeman’s photography itself seems tired. The picture is blown out, with grain and slightly out of focus, as though the picture was taken on a whim. That is not true of course, but one wouldn’t be surprised if that was true. Between television appearances, starring in what would be two movies in two years, and the constant touring to crowds where they couldn’t hear themselves play, Epstein and the band had worked themselves to the point of exhaustion.
This feeling leaks to many songs on the album. For one thing, because of how much they had been overworked, the band had moved back to covers after the all original material of A Hard Day’s Night. But particularly in the three self penned songs that open this album, each deal with a cynicism and resentment. The biggest contribution on that part was from John Lennon; the B-Sides of A Hard Day’s Night had hinted at the jaggedness, self critique and the darker elements of his life, but it is here when he releases songs like “I’m a Loser” with the explicit purpose of exposing that side to his song writing. Given this kind of self loathing amidst such catchy melodies, it makes perfect sense to me that, of all the Beatles albums in the world, this was the one that Kurt Cobain chose as among his favourite of all time.
This is not the case for most writers and critics, many of whom highlight this as among the most uneven works the bands career, even if it is important as the transitional record between the band’s pop and introspective periods. There is definitely truth to the uneven quality of the record, with the melancholy folk and country tones being broken intermittently by classic rock covers (though ten years before Johnny Cash was considered “too rock” for country). But compared to With the Beatles, in its own ways a transitional record between Beatles the band and Beatles the phenomena, it has a more distinctive voice, one born of the ever changing voice of rock music at the time.
Most people will tell you about the friendly and mutually beneficial competition between the Beatles and the Beach Boys (descriptions of which will come soon), but the Byrds’ influence on Beatles for Sale is particularly noteworthy when the 12 string tones of George Harrison and his Rickenbacker would also change much of that band’s sound. Then of course there is Bob Dylan, the man not only influenced the band’s more introspective style, but introduced them to the marijuana that helped them mellow out on tour. In a year those tour and that drug would have a major influence on the band’s artistic mindset, and Bob Dylan would release Highway 61 Revisted, and the formula that we know as folk rock would emerge. But here on Beatles for Sale the elements are there, immature, sitting without being fully crystallised. And it’s more the interesting for it.
Track by Track
“No Reply”: When I listen to this song, I always picture that scene in a romantic comedy where the man has lost the woman, comes to the window with chocolate and flowers to try and win her back, but it turns out she has already moved on. That is essentially the subject of this song penned by John, told from a more jaded perspective, but the claps and acoustic melody really give a jovial tone to the underlying sadness and anger.
“I’m a Loser”: This is the song most Beatles scholars point to as the moment where the Beatles seemed to address more serious topics than young love. Whilst there is definitely a hint of that in the the first verse, the song soon moves on to John’s anger and self loathing. In that chorus line “I’m a loser/ and I’m not what I appear to be”, we see him tear apart the image of the smiles and mop haircuts just six months prior to something darker and more fragile (which, as we know now, we based on his own abusive tendencies). The Dylan influence is obvious, with even the harmonica playing being more Zimmerman than Lennon, but George’s solo guitar helps to make this a quintessential Beatles song. The lyrics are also not as poetic as Dylan’s (though that’s an unfair criticism to label on anyone), but the simple, blunt nature of the songwriter makes the emotions feel all the more revealing.
“Baby’s in Black”: From folk to the waltz, Paul and John write this song to feel like a dance for the self. Listed as primarily blues, the band’s harmonies along with the acoustic rhythm push this more to the side of a country ballad, though both genres can include the subjects of lost women and the colour black without much problem. George’s guitar solo is the conversion point, both as rocking and as biting as the narrator.
“Rock and Roll Music”: Like With the Beatles this album also has a Chuck Berry cover, but this is my personal favourite of the two. The sounds much fuller in the mid range, with George Martin’s just plain rocking the piano, and they allow Ringo to more prominently use the drums to give the song “backbeat you can’t lose it”. But the main preference is down to John’s voice, more forceful and experienced, and after three songs of dejection a nice (if abrupt) change of pace.
“I’ll Follow the Sun”: After a big slant towards John, Paul gets his chance to shine with this beautiful melody that experiences the same thoughts about being unappreciated by a woman, but Paul’s delivery just naturally treats it as a more tender aware (there’s a reason this writing pair was made for each other). And though the guitars are delicately structured, and Ringo gives the song atmosphere with singular taps, the sparse notes make room for Paul’s bass to shine, as bright and as deliberate as anything else in the song.
“Mr Moonlight”: God John just belts those first two words doesn’t he? In fact he seems to stay on that range for the entire song (Paul and Harrison’s harmonies following suit), only getting quieter and more vulnerable with his declaration of love. Though the most memorable part of this song is probably Paul McCartney at the Hammond organ. Light at the beginning, like he’s at service, but in the solo rumbles and hammers down as though the narrator’s prayers are going unanswered.
“Kansas City/ Hey-Hey-Hey-Hey”: Side One of Beatles for Sale just screams classic rock and roll, right down to the riff. The fact they had been playing this cover of Little Richard since their pre-fame days at Hamburg does kind of show itself, but as a conclusion to side its a joyous ode to the kinds of cities that influenced their own music. Actually, when I think about it, it was much better that the Beatles and most of the British Invasion were influenced far more by what they were hearing on American Radio than Britain. The rock landscape would be a much different place if they had switch the dial on their radio
“Eight Days A Week”: Based on another Ringo malapropism, this is just a classic Beatles song, with a beautiful structure and sentiment, that kicks the second side off to an amazing start. But when you think about it, considering its tone and poppier sensibilities does this song really feel like it belongs on this album? No use arguing about it though. When you are listening to it as the opener to the second side, that fade-in is just pure elation, the second song ever to use the technique (beaten to the peg by The Supremes by just under a month).
“Words of Love”: A Buddy Holly classic that’s pretty hard to mess up, so as a result John and Paul do their best to match Buddy’s self made harmonies as close as they possibly could (and George Harrison to match his guitar slides). Though the most obvious difference is where the The Crickets really went to town on the percussion, Ringo is just playing a packing case. And there is nothing wrong with that.
“Honey Don’t”: So I think this might be the worst song that the band ever got Ringo to sing for an album. This was the B-Side to Carl Reiner’s “Blue Suede Shoes”, and it actually sounds so much like “Blue Suede Shoes” that it has always distracted me. Still, the self referential calls to the band have always been very charming to me. Then again, I always find Ringo charming. Yay Ringo!
“Every Little Thing”: If there’s two instruments that when played I love just on principle, it is the clarinet and the timpani. Ringo adds the latter here to give this rocker a little extra kick, otherwise this a mellow number that is among the most romantic songs on album with, for the most part, a bitter edge. The fact that McCartney was the main songwriter, but John ended up being the singer, probably explains this dissonance.
“I Don’t Want to Spoil the Party”: We’re back to the country tinged depression about getting stood up! The harmonies with John’s help to create a contrast between the vulnerable and the confident, both feelings one is bound to have when sloshed at a party. When Paul comes to the forefront for the “I still love her’ chorus, it is as though he is offering a consoling shoulder, him being there to show the more positive side. The pair’s relationship in a song, I reckon.
“What You’re Doing”: God, even when Paul tried to sound angrier on an early Beatles song, he always sounded so lush and pleasant. The song lacks a chorus, so all these queries don’t sound like someone prepared, but of someone who is unsure of themselves and their relationship. Allegedly this song was about his relationship with Jane Asher, so if “I’m A Loser” is John’s transition to more introspective and autobiographical content, this is the parallel (and, for my money, equal) for Paul.
“Everybody’s Trying to Take My Baby”: Ahhh, sorry that I’ve neglected talking you about you on this album George, but in fairness they left your lead vocal until the very end of the album. I think John and Paul realised they hogged all the songs on an album again, grabbed a Carl Perkins LP and said “fuck it, give them one each”! This one still has that Perkins rockabilly edge, but George’s bright guitars and double track vocals make this feel more like the band. Each side ended with a track from their Hamburg days, almost like they were trying to go back to a time when things were simpler (be careful what you wish for, boys!) Also, the mantra of everyone trying to take their partners seems to have also been the mantra for the whole of Beatles for Sale, thus making it an appropriate close
The Beatles pop tendencies get in the way of this being the “country and western” LP John Lennon has so often , but when you write pop songs as good as “Eight Days a Week” there is no reason not to really. But it also acts as the perfect hangover to A Hard Day’s Night’s honeymoon, with positivity still there but signs that all might not be what they seem. It would be a while before they could take any drastic action for that, though. For now, they would just have to call for help…sorry for that…
What did you think, though?
The Beatles Album Rankings
- A Hard Day’s Night
- Beatles for Sale
- Please Please Me
- With the Beatles