On Beatles for Sale, their fourth album in less than two years, the Fab Four turn inward and evolve their sound.
December 19, 1964: Beatles For Sale reaches number 1 on the British sales charts. There are still seven weeks left.
“They were pretty tired,” said George Martin, describing the Beatles' condition during the recording of their fourth album, Beatles for Sale. “You have to remember that they were very difficult to deal with in 1964 and much of 1963. Success is wonderful, but also tiring. They never stopped.” ✽ From the cover photo – longer hair, sad look, almost knocked out – to the cynical tone of the title to the dark mood of songs like “I'm a Loser” and “Baby's in Black”, the album reveals a Feeling of exhaustion. By 1964, The Beatles had already released two albums and an EP, appeared in their first film, toured North America and Europe, and recorded countless television and radio broadcasts. However, they are scheduled to finish another album for the holidays. ✽ As a result, Beatles for Sale's 14 songs were recorded over a seven-day period, mostly in isolation during breaks in their tour. Between the first day of work, August 11th, and the last day, October 26th, they gave 40 concerts: 26 in the USA and Canada, 14 in England. Press secretary Derek Taylor's liner notes therefore reflect a bit of a defensive side: “This is not a quick mix of everything that sells at Christmas,” he writes. As with other albums, The Beatles went much further than the market generally demanded.”
“Beatles for Sale” proves that stress cannot suppress ever-growing ingenuity. “Some of the Beatles for Sale songs…are just great,” says Ringo Starr in The Beatles Anthology. There was nothing like it.” By drawing on the format of the first two albums, they prove that evolution of music and lyrics within a rigid formula is possible and that they have generally evolved – from more mature feelings to more diverse instrumentation and use of the studio. Taylor is right: What could have been a food record shows that the Beatles are barely capable of making small talk.
This is partly due to their unsinkable energy. Despite the restrictions and her busy schedule, sound engineer Geoff Emerick remembers her good mood during the sessions. “Everyone was happy and chatting,” he wrote in his memoir “Here, There, and Everywhere.” They obviously enjoyed each other’s company and it was a lot of fun.”
The group begins to expand the possibilities of the recording process. “By now we had a lot of hits and a few tours, we felt more relaxed and comfortable in the studio,” said George Harrison. While the band can only spend so many hours at Abbey Road, Beatles for Sale includes details like the fade-in on “Eight Days a Week,” the distorted bass line on “What You're Doing,” and the African drums. Stylish percussion (played by Harrison on “Mr. Moonlight”), the explosive timpani (“Every Little Thing”), the loosely slung suitcase (“Words of Love”) and even Starr's knee on “I'll Follow the Sun” .
“We always liked the varied instrumentation,” assured Paul McCartney. Ringo couldn't modify his drums, but he could hit a box or his knees.” In some cases, the Beatles believe that the production of these songs surpasses their writing.
“'Eight Days a Week' was never a good song,” John Lennon once said. We had a hard time recording it and making it a song.” And McCartney admitted that “What You're Doing” “may be better as a recording than as a song.”
Alain Licht
For the full article on the recording and release of Beatles For Sale, see our special Fab Four issue, available from our online store.