207. The Beatles – Day Tripper/We Can Work It Out (1965)

PEG6MOB.jpgAs 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)

Births:

Northern Irish composer Martin Galway – 3 January 

Deaths:

Broadcaster Richard Dimbleby – 22 December
Politician Edward Davey – 25 December 

133. Elvis Presley with the Jordanaires – Rock-A-Hula Baby (“Twist” Special)/Can’t Help Falling in Love (1962)

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So far, the 1960s had seen mixed fortunes for the King. When he was good, he was great (see (Marie’s the Name) His Latest Flame), and when he was bad, he was execrable (see Wooden Heart). He wasn’t always guaranteed to top the charts in the US anymore, but record buyers in the UK were still sending nearly every release to number 1. The problem, in part, was the fact he was stuck on the movie treadmill, forever churning out sugary musicals that also demanded soundtrack albums. In 1960 he tried to wrestle control, starring in the straight drama Flaming Star. He insisted on cutting back on the songs, and it featured only two. However, it performed poorly, and when his next drama, Wild in the Country (1961) did the same, it was back to the light-hearted, song-packed romances that audiences loved.

Blue Hawaii was the first, and most famous, of three Elvis films shot on the island. He starred as former soldier Chadwick Gates (!), and his mother was played by Angela Lansbury. No, Lansbury hasn’t always been old – she was only ten years older than he was, in reality. He arrived in Hawaii to record the soundtrack and shoot location filming in March 1961, and both Rock-A-Hula Baby (“Twist” Special) and Can’t Help Falling in Love were considered the strongest material to release together as singles before the film’s release in late 1961. Eventually they toppled Cliff Richard and the Shadows’ The Young Ones after its six-week run at number 1 on 22 February. This single is perhaps the finest example of just how all-over-the-place quality control had become in the Presley camp.

Rock-A-Hula Baby (“Twist” Special) was written by Ben Weisman, Fred Wise and Delores Fuller. Weisman was nicknamed ‘The Mad Professor’ by Elvis, and held the record for having had the most number of songs recorded by Presley – 57 in total. Fuller was once the girlfriend of cult low-budget film director Ed Wood, and had starred in his 1953 docu-drama Glen or Glenda and this was her first published song. Weisman was keen to combine Hawaiian music with the dance craze ‘the twist’, born via Chubby Checker’s cover of The Twist in 1960.

Hats off to Elvis again for trying different styles, but this is one of his poorer singles. I quite like the initial couplet ‘The way she moves her hips to her finger tips/I feel I’m heaven bound’, but it’s downhill from there. It probably works as a scene in Blue Hawaii (I’m not going to watch it to find out, I doubt I’ll ever watch an Elvis musical), but as a single, it’s ill-judged at best. Unlike the flip side.

Can’t Help Falling in Love fully deserves its classic status, and is Elvis’s finest ballad. It came from the songwriting team of Hugo Peretti, Luigi Creatore and George David Weiss, who were responsible for the 1961 English-language version of Mbube for the Tokens, which they renamed The Lion Sleeps Tonight. 20 years later Tight Fit went to number 1 with their version. Can’t Help Falling in Love wasn’t an entirely original track either – the melody was taken from the 1784 French song Plaisir D’Amour by Jean-Paul Egide-Martini (who was German, despite his name). Apparently, Elvis’s associates and film producers disliked the demo, but he insisted on recording it. Yet another sad example of the fact that Elvis may have been better off without some of his team and allowed to make his own decisions more often.

Elvis purrs the lyrics beautifully, the production is intimate and, well, pretty much perfect. The Jordanaires, often overused, make for the perfect vocal accompaniment. Hal Blaine is the drummer here, and the session drummer went on to become one of the most in-demand session drummers, playing with the Beach Boys and Simon and Garfunkel, among others. The lyrics hint that Elvis is perhaps involved in an illicit relationship (‘Shall I stay?/Would it be a sin?’), but ultimately it doesn’t matter – he’s surrendering to his emotions (‘Take my whole life too’… ‘Some things are meant to be’).     However, in Blue Hawaii, the song features in a scene in which he presents his love interest’s grandmother with a music box for her birthday. This version starts with the music box as the backing, before transforming to the single version.

It soon became apparent this was one of Elvis’s best songs, and Can’t Help Falling in Love became the finale of his live shows in the late 60s and 70s. It lost some of its magic though, as it was played faster than the intimate original recording. It came the last song Elvis performed on TV, closing his 1977 special, Elvis in Concert, and the last song he ever performed, at Market Square Arena in Indianapolis on 26 June that year. Less than two months later, he was dead.

In 1993 it topped the charts once more, via a rubbish reggae-lite cover by UB40. More on that another time. For me, the best use of this song came at the hands of Jason Pierce’s space-rockers Spiritualized. He added it to the end of the title track to his strung-out free-jazz, gospel and psychedelic masterpiece, Ladies and Gentlemen We Are Floating in Space in 1997, mixing it in amongst Pachalbel’s Canon and lyrics of obsessed love, to astounding affect. Unfortunately, the Presley estate objected (perhaps due to the drug overtones of the album?) and blocked the use after the earliest pressings. Pierce was forced to re-record the track, adding his own lyrics, which he now claims to prefer (there’s not a lot in it, but I prefer the original). However, in 2009 Pierce planned to release a deluxe edition of the album, and permission was granted to return the ‘Elvis mix’ to the start of the album, providing he rename the track Ladies and Gentlemen We Are Floating in Space (I Can’t Help Falling in Love). This seems a bit rich, considering Peretti, Creatore and Weiss borrowed so much of the melody in the first place, but that’s the music business for you.

Elvis’s tenth stint at number 1 lasted a month. On 26 February, the Irish Republican Army officially called off its Border Campaign in Northern Ireland, calling to a halt its attempt to halt British rule and unite Ireland. On 15 March, the Orpington by-election marked the start of the Liberal Party’s revival when Eric Lubbock caused an upset by defeating expected winner, Conservative Peter Goldman.

Written by:

Rock-A-Hula Baby (“Twist” Special): Ben Weisman, Fred Wise & Dolores Fuller/Can’t Help Falling in Love: Hugo Peretti, Luigi Creatore & George David Weiss

Producer: Steve Sholes

Weeks at number 1: 4 (22 February-21 March)

Births:

Novelist John Lanchester – 25 February 
Comic book artist Simon Bisley – 4 March 
Altered Images singer Clare Grogan – 17 March