beatles

Songs That Should Have Been #1… ‘Please Please Me’, by The Beatles

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The Stargazers, Don Cornell, The Johnston Brothers, The Dream Weavers, Jerry Keller…? Nope, me neither. But they’ve all had the honour of topping the UK singles chart.

How well a single performs in the charts can be influenced by various things… promotion, star power, tastes and trends, time of year… pure luck. And that most fickle, unpredictable of  factors: the general public. Do enough of them like your song to make it a smash? Or will they ignore it, and let it fall by the wayside?

I’m taking a short break from the regular countdown to feature five discs that really should have topped the charts. Be it for their long-reaching influence, their enduring popularity or for the simple fact that, had they peaked a week earlier or later, they might have made it. (I’ll only be covering songs released before 1964, as that’s where I’m up to on the usual countdown.)

Next up… A record that changed the course of popular music?

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Please Please Me, by the Beatles

Reached #2 in February 1963

As with Elvis, I don’t need to go giving The Fab Four any extra number one singles. By the end of their chart careers, they’d had seventeen of them. And as much as I love this single (if it had been one of their #1s it would probably be in my Top 5) , and as much as I wish that this had been their first ever chart-topper, that isn’t why I’m including ‘Please Please Me’ in this mini-countdown.

I touched on it in my last post, on the mega-long running #2 hit ‘Stranger on the Shore’, but the charts of the 1950s and ’60s were a tad confused. There wasn’t just one of them, for a start. You had the ‘Melody Maker’ chart, the ‘NME’ chart, and the ‘Record Retailer’ chart. None of which offered a complete overview of a week’s sales – they all conducted ‘surveys’ of selected record stores over the phone…

‘Please Please Me’ hit #1 in the NME chart (which had the largest circulation) and ‘Melody Maker’ chart, but it only reached #2 in ‘Record Retailer’, which was the one that the UK Singles Chart chose to follow. So, it may well have been the biggest selling single at some point; we’ll just never know for sure… The history books record it as having stalled behind Frank Ifield’s dull-as-dishwater ‘The Wayward Wind’ for two weeks.

It’s far from the only single to have suffered this unfortunate fate – it wasn’t until 1969 that the UK charts were unified into one – but it’s a landmark single from the biggest pop group in history, with one of the very best middle-eights, ever… So enjoy.

166. ‘Can’t Buy Me Love’, by The Beatles

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Our next #1 is a record that wastes no time in getting to the heart of what it’s all about. The song is called ‘Can’t Buy Me Love’, and the intro goes:

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Can’t Buy Me Love, by The Beatles (their 4th of seventeen #1s)

3 weeks, from 2nd – 23rd April 1964

Can’t buy me love…. No-oh…. Can’t buy me lo-ve… It’s a jarring intro – a bit too in your face – but things improve a lot with the verses. I’ve always liked the swinging, bluesy rhythm on this record and today, listening to it for the first time in ages, I still do. Buy you a diamond ring my friend, If it makes you feel alright, I’ll get you anything my friend, If it makes you feel alright…

It’s a song about money not being everything; which is a topic that always sounds a bit off coming from hugely successful and completely loaded musicians. But I think The Beatles were young enough, and sufficiently green behind the ears, in early-’64, to get away with it. Actually, in a similar manner to ‘She Loves You’, Lennon & McCartney take a familiar theme here and add a layer or two. The lyrics aren’t about not needing money; they’re about having money and not really caring what you do with it. I don’t care too much for money, Money can’t buy me love…

It’s also a kind of contradictory message, as they then list the things they’ll give someone – as long as they love them back. Give you all I’ve got to give, If you say you’ll love me too… So money can buy you love…? I’m confused, guys. Perhaps we’re getting a first glimpse, four number #1s into their career, of The Fab Four’s disillusionment with fame and riches…? Especially in the final verse, where they hope that the girl wants the kind of things that money just can’t buy. Had they already been burned by gold-digging groupies…? It ends on what almost sounds like a wistful sigh… Ohhhhh….

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Musically, it’s a little basic. At least, it’s Beatles-basic (which means that most other bands would have bitten your hand off for a chance to record it.) The high points are the ear-splitting shriek before the solo, and the echoey, plucked guitar that follows. It’s never been one of my favourite Beatles songs – I guess I always overlooked it in favour of the ‘bigger’ hits – but it’s been nice to re-discover it for this post. For some reason I will always associate it with an episode of The Simpsons, in which Grandpa and his friends frolic in a meadow (I’m sure I’m not imagining that…)

‘Can’t Buy Me Love’ ensured that The Beatles joined both Elvis and Frank Ifield in scoring 4 #1s in a year (though only Elvis did it in a calendar year.) In fact, this record hit the top simultaneously in the UK and the US and pretty much marks the absolutely demented, scream your head off and throw your panties height of Beatlemania. It was #1 in the week of the famous all-Beatles Top 5 in the Billboard Hot 100, and followed directly on from ‘I Want to Hold Your Hand’ and ‘She Loves You’ in occupying pole position. These three discs hogged the top spot over there for a full fourteen consecutive weeks.

Back on the other side of the Atlantic, though, you could be forgiven for thinking that a three-week stint at the top of the charts seems a little short for a hot new single from The Biggest Band the World Had Ever Seen. Perhaps, but they were about to be replaced at #1 by one of their own songs… again…

Listen to all the #1s so far by following my playlist:

160. ‘I Want To Hold Your Hand’, by The Beatles

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Oh yeah I’ll, Tell you somethin’, I think you’ll understand… Well, what you need to understand is that we end 1963 with the biggest band of the year. Three #1s spread out over a staggering eighteen weeks! The band that would go on to become the biggest band of the decade and then the biggest band of all time.

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I Want to Hold Your Hand, by The Beatles (their 3rd of seventeen #1s)

5 weeks, from 12th December 1963 – 16th January 1964

And what a cheesy wonder this song is. When I wrote about ‘She Loves You’, I mentioned that it was quite a sophisticated pop song, with a pseudo-3rd person narrative and melancholy chord progressions. Well, all that sophistication was dumped at the studio door when the lads turned up to record ‘I Want to Hold Your Hand.’

Oh please, Say to me, You’ll let me be your man, And please, Say to me, You’ll let me hold your hand… It’s so twee, so innocent. Can I be your boyfriend? I just really, really, really want to… hold your hand. I’ve listened to it several times now, scouring the lyrics for a hint of double-entendre, but no. And when I touch you… promising… I feel happy inside… Oh. It’s as chaste and vanilla a record as you’ll find.

This is not to suggest that I don’t like it. Who doesn’t like this record? It’s probably been proven, by a team of crack scientists, that it’s impossible for a fully-functioning human being to dislike this record. You’ve got that intro, for a start. Dun-dan-ding, Dun-dan-ding… And some quality drum fills from Ringo. And that twangy guitar – George Harrison’s, I’m guessing. And some clapping (Yes, clapping!) My personal highlight, though, is the Everly Brothers’ harmonising on the ‘Ha-a-a-a-a-nd’.

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Nope, we’re pretty close to pop-perfection here. It’s not quite in the same league as ‘She Loves You’, but it’s pretty, pretty, pre-tty good. The greatest threat to songs like ‘I Want to Hold Your Hand’ is ubiquity – the fact that most people have heard them three hundred times already. You have to remind yourself that The Beatles were re-inventing pop music as they went here, have to imagine yourself as a sixteen-year-old in the winter of 1963, hearing this for the first time…

I think this might become a theme whenever a Beatles disc crops up on this countdown but, hey: some statistics. The band replaced themselves at #1 with this disc (‘She Loves You’ having returned to #1 after seven weeks, remember) becoming only the second ever act to do this. (Plus, The Shadows replaced themselves with records on which they were the featured, not the lead, artists, so…) ‘I Want to Hold Your Hand’ is their biggest selling record worldwide, having sold 12 million copies.

It also holds an important place in pop-music folklore. Bob Dylan famously thought that they were singing I get high… when they were actually singing I can’t hide… and was shocked to find out that they had never smoked weed. And it was so good that it made Brian Wilson and Mike Love convene a special Beach Boys meeting to discuss the threat The Beatles posed to their position as America’s #1 band. (I love that – pop music meets military strategy.)

In the end, even Sgts Wilson and Love couldn’t hold back the British Invasion. ‘I Want to Hold Your Hand’ was their 1st US #1 a few weeks after it hit the top back home. It was part of the all-Beatles Billboard Top 5 in April ’64. Suddenly they were HUGE. Bigger even – some might have said – than Jesus himself…

Follow along with my Spotify playlist:

157. ‘She Loves You’, by The Beatles

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The record with which The Beatles went stratospheric. Woooosh. That’s them. Off they go. This next song takes everything that was good about their debut chart-topper ‘From Me to You’, everything good about this burgeoning Merseybeat movement, puts it in a rocket, sets engines to warp, and…

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She Loves You, by The Beatles (their 2nd of seventeen #1s)

4 weeks, from 12th September – 10th October / 2 weeks, from 28th November – 12th December 1963 (6 weeks total)

Take the opening drum roll for a start. It takes up less than a second of the song – it is literally a drum roll – but it sets the frantic pace that grips this record and propels it right the way through. And then in thumps the chorus. You’ve heard it, you’ve heard it again, you’ve heard it in German – but it bears repeating: She loves you, Yeah yeah yeah, She loves you, Yeah yeah yeah, She loves you, Yeah, yeah, yeah, yeah… That is it. That is all there is to it. But there’s a manic energy in those ‘Yeahs’ that even today gives you goose-bumps.

Lyrically this is step up from songs like ‘Sweets For My Sweet’ and ‘I Like It’ – a little more complex. It’s about a man convincing his friend that his sweetheart still loves him: She said she loves you! And you know that can’t be bad… She said she loves you! And you know you should be glad… While the second verse shows that the friend has actually been a bit of a dick: She said you hurt her so, She almost lost her mind… And the final verse is a bit of a lecture: You know it’s up to you, I think it’s only fair, Pride can hurt you too, Apologise to her… What all this means, most importantly, is that it’s not a traditional ‘Love Song’. This is a ‘Rock Song’, with all the yelling and thrashing that that entails. There’s a strong hint of The Everly Brothers in the way that the ‘Bads…’ and ‘Glads…’ at the end of the lines in the bridge split into a high note and a low note. And then those ‘Ooohs’. Oh those ‘ooohs’.

One thing I’ve noticed about ‘She Loves You’ after repeated listens (I’m up to six as I write this paragraph, and I’m far from sick of it yet) is how melancholy the chord structures are, especially in the verses. It’s something The Beatles were excellent at early in their careers, combining the majors and the minors, from ‘P.S I Love You’, through ‘All My Loving’ to the pinnacle of sad-pop, ‘Help!’ If you stripped away the frantic drums, and the ‘Yeah Yeah Yeahs’, and the ‘Ooooohs’ from ‘She Loves You’ – you’d have a sad old song on your hands.

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But that’s a big ‘If’. The unhinged energy of this song, the madcap beat and tempo, are a huge part of its charm. It’s unsubtle, it’s cheesy, it’s glorious. It’s Sledgehammer Pop! Actually no, we don’t need another sub-category. I am, though, going to add ‘She Loves You’ to my oh-so-select list of ‘Time Capsule Pop’ records – the discs that need buried in the ground for all eternity so that the aliens can see what all the fuss was about, can see exactly why humans went crazy for this thing called ‘popular music.’ I invented the category for The Everly’s ‘Cathy’s Clown’, and then retrospectively added Johnnie Ray’s ‘Such a Night’, The Crickets ‘That’ll Be the Day’ and Jerry Lee’s ‘Great Balls of Fire.’ ‘She Loves You’, then, becomes the fifth disc in the pod. And I’d say that, while they will better this disc with some of their later chart-toppers (fifteen still to come, folks!), they will never sound more like The Beatles than they do here. This is the Beatlest Beatles #1 single.

Some facts and figures, before I go. ‘She Loves You’ is the band’s biggest seller in the UK. It is the 9th biggest selling hit ever. It was also #1 in the US, where it was part of the famous all-Beatles Top 5 on the Billboard 100 in early 1964. This was ‘Beatlemania’ – bigger than Sinatra in the forties and Elvis in the fifties. This was HUGE. Back in the UK, ‘She Loves You’ dipped down from the top-spot for an amazing seven weeks before returning to the top in late-November. Even today, no record has had a longer gap between stays at number one, without being re-released. It knocked ‘Bad to Me’ – another Beatles composition – off the top and was then itself finally knocked off the summit by ‘I Want to Hold Your Hand’. The charts of autumn ’63 were well and truly owned by The Fab Four. We are in the presence of greatness, here.

I have one personal story to tell involving ‘She Loves You’. Back fifteen years or so ago, I went to see McFly in concert (another of the best bands ever, fight me!) and midway through they announced that they were going to play a song that they’d just written backstage that very night. The twelve-year-old girls screamed. They then launched into a cover of ‘She Loves You’. The twelve-year-old girls still screamed. To this day I still wonder how many of them didn’t work it out…

Follow, and listen to every #1 so far, with this Spotify playlist:

151. ‘From Me To You’, by The Beatles

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Where to start… How do you introduce the most successful, most influential, most important, so on and so forth, band ever? Um….

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From Me to You, by The Beatles (their 1st of seventeen #1s)

7 weeks, from 2nd May – 20th June 1963

Maybe I don’t need to. Anyone with even a passing interest in pop music will have heard this song. Da da da da da dun dun daaa… chiming harmonica and exuberant vocals – you can just picture two mop-heads leaning in towards the mic… If there’s anything that you want, If there’s anything I can dooooo, Just call on me, And I’ll send it along, With love, From me, To You…

Gerry & The Pacemakers set the Merseybeat pace with ‘How Do You Do It?’, but this takes things up another level again – as if someone has just found the warp button and pressed it twice in quick succession, leaving Cliff Richard and Frank Ifield as specks in the distance. There’s a lot of great stuff here: the rasp in John’s voice, the camp little ‘oohs!’ at the end of each line, and Ringo’s drum-fills (I’ve never subscribed to the ‘Ringo wasn’t that good a drummer’ theory – he’s the main man here.) And the saucy line in the bridge: I’ve got lips that long to kiss you, And keep you satisfied… Ooh!

But… ‘From Me to You’ isn’t an amazing, Grade-A, one-of-a-kind, bury it in a time capsule for future generations kind of record. Not quite. They will certainly come for The Beatles, of course; but this isn’t it. It’s a little too cheesy, for a start – a little too close to a nursery rhyme in some of its lyrics: I got everything that you want, Like a heart that’s oh so true… Meh. Plus, they should have brought a guitar in on the solo, rather than reusing the harmonica. It makes the record harmonica-heavy, which is never a good thing. I’d even go so far as suggesting that ‘Please Please Me’ would have made a better first Beatles #1… (in my humble opinion…) It’s funny: criticising anything about The Beatles seems kind of futile, like suggesting Shakespeare should have made ‘King Lear’ a bit shorter, or that Da Vinci should have painted the ‘Mona Lisa’s eyes a little further apart… Futile, and way too late.

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What ‘From Me to You’ is, then, is a rip-roaring intro to the band that will dominate the sixties and beyond. The band that every other rock ‘n’ roll band from now to eternity will rip off, even if they don’t realise it. And, having listened to this record now five or six times in quick succession, it really does sound like a band that knew they were going to be huge. There’s a self-confidence to this record, a swagger and a wink. Maybe that’s just the hindsight talking; though I’m pretty sure it isn’t.

It feels slightly disrespectful to end my first post on The Beatles – my introductory post on the Biggest Band in the History of Popular Music ™ – so quickly. I do usually try to write a bit about the band in these types of posts, a bit of background to the song and so on… Here goes: The Beatles consisted of John Lennon, Paul McCartney, George Harrison and Ringo Starr and you know the rest. Everyone does. I can’t remember the first time I heard them. They were just always there, and I was born fifteen years after they stopped making music, when one of them was already dead and another was narrating ‘Thomas the Tank Engine’ (actually, that was probably my first ever exposure to a Beatle, aged three.) My parents love them. My friends love them. I’ve taught English lessons to young kids in Asia using Beatles songs, and they loved them. I have one friend who claims to not like them; but he’s an idiot.

We will hear from them again soon. Then again. And again until the sixties are out. The Beatles have officially landed, and nothing will ever be the same again…

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