On 29 June, Barclays Bank introduced the Barclaycard, which became Britain’s first credit card in November 1967. Four days later, 31 arrests were made outside the US embassy when a protest against the Vietnam War turned violent.
At this point, the Beatles had finally got off the treadmill of one film, two albums and a million tours, when a planned third movie was cancelled. This afforded the Fab Four the chance to finally give album production more care and attention than they were used to. And to say Beatles fans felt the benefit was an understatement. The result was Revolver. John Lennon and George Harrison were now indulging in LSD, and the band entered their peak years of creativity. On April 3 they began the sessions with the album closer, the mind-blowing Tomorrow Never Knows. It had to be the last track, as nothing can follow it.
A week later they set to work on a new single. Paul McCartney’s Paperback Writer was an experiment in writing a pop song that didn’t concern love. There certainly hadn’t been a number 1 about writing a book before. McCartney has said in later years that he was inspired by reading an article in the Daily Mail (name-checked in the song) about an aspiring author. He’d also been considering writing a song based around one chord. He didn’t quite pull it off here, but he did come close. According to Lennon in 1972, he helped with some of the lyrics. He also described it as the ‘son of Day Tripper‘, and considering the similarity of the riff, he had a point.
There’s some dispute over who played what, but either McCartney or Harrison were behind the main riff. What is beyond dispute is Macca’s bass-playing. Lennon had complained about the lack of bass on Beatles records, and wanted to know why they couldn’t make it as loud as it sounded on soul records. They’d even considered recording Revolver at Stax Records’ studio beforehand. According to the late Geoff Emerick, who had just joined the production crew, Paperback Writer became their loudest single to date. They achieved this by using a loudspeaker as a microphone, directly in front of the bass speaker. A new piece of equipment featured in the mastering process too, known as Automatic Transient Overload Control. McCartney clearly decided to go all out, and provided his best bass line to date. It was also a sign of things to come as his bass-playing became busier over the next few years. I do think his bass skills are unsung.
While much more conventional than Tomorrow Never Knows, Paperback Writer is certainly their oddest single up to this point. It may not have the trippy sounds of Revolver‘s closer, or even the pioneering backwards vocals on the B-side, Rain, but few bands did harmonies as well as the Beatles, so to hear them pushed to the foreground so much, with echo laid on top, still sounds exciting. It’s an unusually messy recording by the Beatles’ standards, with Lennon and Harrison laughing their way through ‘Frere Jacques’ in the background. It bears no relation to the theme of the song, but somehow it fits. Apparently it was made up on the spot during recording.
I love this pre-Pepper, jangly era of songs like She Said She Said and And Your Bird Can Sing, and wish there was more of it. If you can, check out the mono version over the stereo, as the extreme separation on the latter spoils the effect, and it’s also missing some of the echo.
Due to the Beatles increasing studio experimentation, live promotion of their singles was becoming increasingly difficult to pull off. Another reason for them to be considering ending touring, no doubt. As with the last few singles, they recorded promotional videos for the A and B-sides. Michael Lindsay-Hogg directed all four, with the most famous being the colour films made around Chiswick House. The Fab Four did attempt a live performance on Top of the Pops that June, but the clip, along with so many, was erased from history.
Also seemingly forgotten about is the fact that EMI used the infamous ‘butcher’ images to promote the single. Later in 1966, Capitol issued a compilation called Yesterday and Today. The original cover was a bizarre photo of John, Paul, George and Ringo in white coats, grinning away with slabs of meat and decapitated baby dolls (an outtake is featured above). It understandably didn’t go down too well, and was quickly replaced. But the image had also been used for Paperback Writer in the UK. What had they been thinking?
Well, they had hired Australian photographer Robert Whitaker for a surreal unfinished project called A Somnanbulant Adventure. McCartney stated on the Anthology television series that they had worked with him before and knew he shared their sense of humour… but he doesn’t know what Whitaker was hoping to achieve. Lennon claimed it was a protest at the Vietnam War, which seems a bold statement for the Fab Four to have made at that point. On Anthology, George Harrison typically got straight to the point and said he found it ‘gross, and stupid’. To be fair to Whitaker, he has since said he agreed with the image being banned in its unfinished state as it wasn’t getting to the point he was trying to make… that the Beatles were ‘flesh and blood’.
No, I’m still no wiser either.
Further controversy was to come for the Beatles. In March, John Lennon had been interviewed by Maureen Cleave for the Evening Standard newspaper. While discussing the decline of Christianity, he said ‘We’re more popular than Jesus now.’ Nothing was said at the time it was published, but it would come back to bite them.
Written by: John Lennon & Paul McCartney
Producer: George Martin
Weeks at number 1: 2 (23 June-6 July)
Writer Margery Allingham – 30 June