As Christmas 1965 approached, tension increased between the UK and Rhodesia, with Britain beginning an oil embargo on 17 December. America soon followed suit. Supporters of Rhodesian Prime Minister Ian Smith attacked three visiting MPs on 12 January 1966.
22 December saw a temporary maximum speed limit of 70mph on the UK’s motorways. The limit became permanent in 1967. On the same day, Prime Minister Harold Wilson shuffled the cabinet and made Roy Jenkins the Home Secretary and the new Minister of Transport was Barbara Castle. Both MPs would be big names within Labour for many years to come.
It will be no surprise to see the Beatles were Christmas number 1 yet again. This was the third time in a row, and they overtook Cliff Richard as the British act with the most chart-toppers – nine at this point. Since their last single Help!, the Fab Four had met with their old hero Elvis Presley, played their famous Shea Stadium concert, and finally slowed down, with the intention of devoting more time than usual to their new album. With LSD added to their drug intake, in addition to their pot smoking, Rubber Soul was a big step forward. The Beatles drew on their favourite musicians of the time, including Bob Dylan and the Byrds, to create a more introspective sound, combining pop, rock and folk with their most thoughtful, insightful lyrics to date. In addition to album highlights such as Drive My Car, Norwegian Wood (This Bird Has Flown), In My Life and If I Needed Someone, the band also recorded two non-album tracks to release as a single on the same day. Because there were disagreements over which track to prioritise, Day Tripper/We Can Work It Out became the first ‘proper’ double-A-side single. Any followers of this blog will have seen we’ve had double-A-sides before, but in these instances, the second track listed was actually supposed to be a B-side, it’s just that demand resulted in the flip sides being promoted as strongly as the main track. That’s why you’ll see so many from Elvis earlier in the decade.
Day Tripper was recorded at Abbey Road on 16 October. The killer riff and majority of the song came from John Lennon, with Paul McCartney mainly helping with the verses. Seems to me this was Lennon’s attempt at coming up with a hook as good as the Rolling Stones’ (I Can’t Get No) Satisfaction, and he came admirably close with this.
At the time, Lennon and McCartney were debating where to go next with their songwriting, having by and large exhausted the well of first-person love songs. One option, that fortunately didn’t last, was to write ‘comedy songs’. Not necessarily silly songs, but humourous tracks, occasionally with punchlines. Although the world can be glad they didn’t stick with that idea, to be fair, when the examples are Day Tripper, Drive My Car and Norwegian Wood (This Bird Has Flown), maybe it wouldn’t have been such a bad thing after all.
Lyrically, Day Tripper was their first single to mention drugs, albeit hidden in a not-subtle-at-all manner behind travelling references. The female character, perhaps like the one in Ticket to Ride, is sexually confident (in addition to being a ‘weekend hippy’), with the line ‘she’s a big teaser’ famously a cleaner version of the original ‘she’s a prick teaser’.
Although cleaner and sounding more ‘pop’ than (I Can’t get No) Satisfaction, the stereo mix of Day Tripper is rather sloppy. Of course, in 1965 stereo was considered less important than mono, but that’s no excuse for the brief accidental erasing of the guitar and tambourine tracks at 1.50. Once heard it’s impossible to not notice. Thankfully the error was rectified when the track was included on the 1 compilation in 2000 by taking the sounds from elsewhere in the track. Yet another classic mid-60s track, Day Tripper could easily have been a number 1 on its own.
The origins of We Can Work It Out probably came from McCartney’s now-troubled relationship with Jane Asher. He struggled to finish the song and took it to Lennon, whose ‘Life is very short…’ section was the perfect counterpoint to McCartney’s work. I have to agree with Revolution in the Head author Ian MacDonald that this song doesn’t spotlight the difference between Lennon and McCartney’s songwriting as definitively as some suggest. You can hardly call McCartney’s ‘do I have to keep on talking till I can’t go on?’ optimistic, for example. Nonetheless, the instances of the duo working together to such an extent shrank rapidly after We Can Work It Out, and this song is a great example of how well the duo complimented each other.
It was recorded four days after Day Tripper, with the rhythm track laid down in two takes. However, a further 11 hours were spent on the recording – the longest they’d ever spent on one song. During the session, George Harrison came up with the idea for Lennon’s section to be recorded as a waltz. The final ingredient, and the best, was the overdubbing of Lennon on a harmonium. This added texture to the single that pointed the way towards the future of the Beatles.
McCartney, Harrison and Starr felt We Can Work It Out was the better track to feature as an A-side, but Lennon felt strongly they should opt for the harder Day Tripper. EMI even originaly announced We Can Work It Out as the Christmas single, but Lennon’s stubbornness resulted in both tracks being joint headliners. Airplay and point-of-sale requests proved Lennon wrong, but I’m on his side on this one. Having said that, for my money one of the best Beatles covers of all time has to be Stevie Wonder’s We Can Work It Out in 1970.
Although they were at number 1 for the ninth time in a row, alarm bells rang within the media that they were starting to lose some of their popularity because the single didn’t shoot straight to the top in the first week of release, which had become the norm for the Fab Four. Despite this, the record was their best seller since Can’t Buy Me Love in 1964.
Before the release, the band recorded promo films with Joe McGrath to avoid having to appear yet again on Top of the Pops etc. The highlight of these videos is Lennon making McCartney laugh while pulling faces on the harmonium. Four days before the single knocked The Carnival Is Over from number 1, the Beatles performed their final UK gigs at the Capitol in Cardiff.
Also in the news that Christmas and New Year… the oil platform Sea Gem collapsed in the North Sea on 27 December, killing 13 of the 32 men on board. 3 January saw the debut of classic children’s TV series Camberwick Green, shown on BBC One as part of the Watch with Mother strand. The following day, over 4,000 people attended the funeral of BBC broadcaster Richard Dimbleby, who had died on 22 December. Such a gathering for the death of any broadcaster seems hard to believe.
Written by: John Lennon & Paul McCartney
Producer: George Martin
Weeks at number 1: 5 (16 December 1965-19 January 1966)
Northern Irish composer Martin Galway – 3 January
Broadcaster Richard Dimbleby – 22 December
Politician Edward Davey – 25 December