Etcetera

AUTHORSHIP McCartney (1.00)
McCARTNEY: "I knew Marrianne Faithfull so it was natural that I would be asked to write a song at some point. I did write a song but it was not a very good one. It was called 'Etcetera' and it's a bad song. I think it's a good job that it's died a death in some tape bin. Even then I seem to remember thinking it wasn't very good. There was always the temptation to keep your better songs for yourself and then give your next-best songs to other established people, so when it was someone like Marianne, who at that time was a newcomer, those people would tend to end up with fairly dreadful offerings of mine.
"I suppose, thinking back on it, after 'As Tears Go By' maybe they were looking for more sort of a 'Yesterday', something more poignant, more baroque. I probably thought, well, this is really all I've got at the moment. I'll send it round and hope it's all okay, and maybe they'll put a baroque thing on it and that'll make it okay. She probably did 'Yesterday' because they figured, 'Well at least it's better than "Etcetera"'." Paul McCartney: Many Years from Now

Back In The U.S.S.R.

AUTHORSHIP McCartney (1.00)
McCARTNEY: "'Back in the USSR' was my take-off of Chuck Berry's 'Back in the USA'. It's a typical American thing to say when they're away: 'I miss my doughnuts and my Howard Johnson's and my launderettes and I miss the convenience of the Hyatt Hilton and it's just so much better back home and the TV's got more channels ...' So I thought, Great, I'll do a spoof on that. This'll be someone who hasn't got a lot but they'll still be every bit as proud as an American would be. It's tongue in cheek. This is a travelling Russkie who has just flow in from Miami Beach; he's come the other way. He can't wait to get back to the Georgian mountains: 'Georgia's always on my mind'; there's all sorts of little jokes in it. It's a jokey song, but it's also become a bit of an anthem now. Every time Billy Joel goes to Russia, he plays it. Probably my single most important reason for going to Russia would be to play it. It was a good song and I liked it a lot. I remember trying to sing it in my Jerry Lee Lewis voice, to get my mind set on a particular feeling. We added Beach Boys style harmonies." Paul McCartney: Many Years from Now

MIKE LOVE: "I was sitting at the breakfast table and McCartney came down with his acoustic guitar and he was playing 'Back in the USSR', and I told him that what you ought to do is talk about the girls all around Russia, the Ukraine and Georgia. He was plenty creative not to need any lyrical help from me but I gave him the idea for that little section ... I think it was light-hearted and humorous of them to do a take on the Beach Boys." Paul McCartney: Many Years from Now

LENNON: "Paul [wrote it]. Maybe I helped a bit, but I don't think so . . ." Hit Parader (April 1972)

McCARTNEY: "I wrote that as a kind of Beach Boys parody. And 'Back In The U.S.A.' was a Chuck Berry song, so it kinda took off from there. I just liked the idea of Georgia girls and talking about places like the Ukraine as if they were California, you know?" Playboy (December 1984)
Mike Love, of the Beach Boys (who did their own pastiche of "Back In The U.S.A."), contributed the chorus while he was with McCartney in India in early 1968.

McCARTNEY: "It was also hands across the water, which I'm still conscious of. 'Cause they like us out there, even though the bosses in the Kremlin may not. The kids do. And that to me is very important for the future of the race." Playboy (December 1984) McCartney would later record a solo album, with this as its title song, and release it only in the Soviet Union.

RECORDED
August 22, 1968, at Abbey Road, without Starr. Overdubs were added August 23.

George arrived back from Greece on August 21, but the next day, as they began to lay down the backing track for 'Back In The USSR', Paul ticked Ringo off over a fluffed tom-tom fill. They had already argued about how the drum part should be played. Ringo was unhappy with the atmosphere in the studio; he did not like Yoko being there, and Paul's criticisms finally brought matters to a head. Announcing that he couldn't take any more, Ringo quit the group. He flew down to the Mediterranean and spent a fortnight on Peter Sellers' yacht, thinking about his future. Paul McCartney: Many Years from Now

INSTRUMENTATION
McCARTNEY: lead guitar, piano, drums, lead and backing vocal
LENNON: 6-string bass (Bass VI), backing vocal
HARRISON: jazz bass, backing vocal
basses from Guitar (November 1987)

McCARTNEY: ". . . I'm sure it pissed Ringo off when he couldn't quite get the drums to 'Back In The U.S.S.R.,' and I sat in. It's very weird to know that you can do a thing someone else is having trouble with. If you go down and do it, just bluff right through it, you think, 'What the hell - at least I'm helping.' Then the paranoia comes in: 'But I'm going to show him up!' I was very sensitive to that . . ." Musician (October 1986)

MISCELLANEOUS
Billy Joel performed this song as an encore to a Moscow concert in late July 1987 to thunderous applause and thousands in the audience singing along. AP (July 27, 1987)

COMMENTS BY OTHERS
BRIAN WILSON, of the Beach Boys, on this song being a parody/tribute to his group: "I didn't even recognize that until someone said something. I thought that was really adorable." Crawdaddy (July 1976)

Do You Want To Know A Secret

CHART ACTION
UNITED STATES: Also issued as a single more than a year after it was recorded, during the frenzied days of Beatlemania in the United States. The song, on Vee Jay, entered the Top 40 in mid-April 1964, hitting No. 2 during its nine-week run. Vee Jay re-released it August 10, 1964, but it didn't chart. The Long and Winding Road: An Intimate Guide to the Beatles

AUTHORSHIP Lennon (.5) and McCartney (.5)
It would be some time before George began writing his own material and 'Do You Want To Know A Secret' was written for him. Based on an original idea by John, it was essentially what Paul calls a 'hack song', a 50-50 collaboration written to order. John says that he based the tune on 'Wishing Well' from Walt Disney's 1937 cartoon Snow White And The Seven Dwarfs. Paul McCartney: Many Years from Now

LENNON: "I wrote this one. I remember getting the idea from a Walt Disney film - Cinderella or Fantasia. It went something like: "D'you wanna know a secret, promise not to tell, standing by a wishing well." Beatles in Their Own Words

LENNON: "[My mother] used to do this little tune when I was just a one- or two-year-old. . . . The tune was from the Disney movie. . . . So, I had this sort of thing in my head and I wrote it and just gave it to George to sing." September 1980, All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono

LENNON: "I wrote that one, but I can't say I wrote it for George. I was in the first apartment I'd ever had that wasn't shared by fourteen others. I'd just married Cyn and Brian Epstein gave us his secret little apartment that he kept in Liverpool for his sexual liaisons separate from his home life. He let Cyn and I have that apartment. Now my mother was a singer, not professional, but she used to get up in pubs and things like that. She had a good voice, and she used to do a little tune when I was one or two years old. The tune was from a Walt Disney film, Cinderella or Fantasia. It went something like, 'Do you wanna know a secret, promise not to tell, standing by a wishing well.' So, I had this sort of thing in my head and I wrote it and just gave it to George to sing. I thought it would be a good vehicle for him, because it only had three notes and he wasn't the best singer in the world. In those days, his singing ability was very poor because he hadn't the opportunity and he concentrated more on guitar. So I wrote that one, not for him, as I was writing it, but when I had written it, I thought he could do it." The Beatles Off the Record: Outrageous Opinions & Unrehearsed Interviews

Harrison said this song (or its recording) was inspired, to some extent, by "I Really Love You," a rhythm and blues hit for the Stereos in 1961. Musician (November 1987)

RECORDED
February 11, 1963, at Abbey Road

INSTRUMENTATION
McCARTNEY: bass, backing vocal
LENNON: rhythm guitar, backing vocal
HARRISON: lead guitar, lead vocal
STARR: drums

MISCELLANEOUS
This song was part of the Beatles' concert repertoire in 1963. The Complete Beatles Chronicle
Billy J. Kramer and the Dakotas, also managed by Brian Epstein, recorded a version of this song. It was released in Britain on April 26, 1963 (backed with a McCartney song, "I'll Be on My Way"), and was a big hit: No. 1 for two weeks. Although it bombed in the United States, Kramer's U.K. success proved for the first time that Lennon-McCartney songs could be hits for other artists. That began a long and fruitful career for the pair as songwriters for other artists. The Long and Winding Road: An Intimate Guide to the Beatles
Lennon, solo on acoustic guitar, recorded the demo of this song for Billy J. Kramer in a lavatory. The toilet was flushed at the end of the tape. Lennon told Kramer that the lavatory was the quietest place he could find to make the recording. Lennon : The Definitive Biography

Baby's In Black

AUTHORSHIP Lennon (.5) and McCartney (.5)
Written by John and Paul at Kenwood. Paul McCartney: Many Years from Now
LENNON: "[We wrote it] together, in the same room."
September 1980, All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono

McCARTNEY: "We wanted to write something a little bit darker, bluesy, the title's dark anyway. It's in 3/4 time, one of the first waltzes we wrote, which was interesting for us because most of our stuff's in 4/4. It was very much co-written and we both sang it. Sometimes the harmony that I was writing in sympathy to John's melody would take over and become a stronger melody. Suddenly a piebald rabbit came out of the hat! When people wrote out the music score they would ask, 'Which one is the melody?' because it was so co-written that you could actually take either. We rather liked this one. It was not so much a work job, there was a bit more cred about this one. It's got a good middle." Paul McCartney: Many Years from Now

RECORDED
August 11, 1964, at Abbey Road. It was the first song recorded for the album.

INSTRUMENTATION
McCARTNEY: bass, lead vocal
LENNON: acoustic guitar, lead vocal
HARRISON: lead guitar
STARR: drums, tambourine

MISCELLANEOUS
This song was in the Beatles' live repertoire from 1964 to 1966. The Complete Beatles Chronicle
McCARTNEY: " 'Baby's In Black', we used to put that in there, and think, 'Well, they won't know quite what to make of this but it's cool." Paul McCartney: Many Years from Now

Day Tripper

CHART ACTION
UNITED KINGDOM: Released as a single December 3, 1965, backed with "We Can Work It Out." Both were hits, but "Day Tripper" was considered the stronger of the two. Five days after release, it entered the chart at No. 1, where it stayed for five weeks. The Long and Winding Road: An Intimate Guide to the Beatles

UNITED STATES: Released as a single December 6, 1965, backed with "We Can Work It Out," which got more airplay. "Day Tripper" was in the Top 40 for eight weeks beginning on December 25, 1965, and peaked at No. 5. The Long and Winding Road: An Intimate Guide to the Beatles and Billboard
The monthly Beatles Book revealed in its January 1966 issue that the Beatles preferred "We Can Work It Out" as the A side, but others preferred "Day Tripper."

AUTHORSHIP Lennon (.6) and McCartney (.4)
Lennon and McCartney said in a 1966 interview that "Day Tripper" was a "forced" composition, needed quickly for a new single. The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962-1970

Co-written in October 1965 at Kenwood.
McCARTNEY: "This was getting towards the psychedelic period when we were interested in winking to our friends and comrades in arms, putting in references that we knew our friends would get but that the Great British Public might not. So 'she's a big teaser' was 'she's a prick teaser'. The mums and dads didn't get it but the kids did. 'Day Tripper' was to do with tripping. Acid was coming in on the scene, and often we'd do these songs about 'the girl who thought she was it'. Mainly the impetus for that used to come from John; I think John met quite a few girls who thought they were it and he was a bit up in arms about that kind of thing. 'She Said' was another one. But this was just a tongue-in-cheek song about someone who was a day tripper, a Sunday painter, Sunday driver, somebody who was committed only in part to the idea. Whereas we saw ourselves as full-time trippers, fully committed drivers, she was just a day tripper. That was a co-written effort; we were both there making it all up but I would give John the main credit. Probably the idea came from John because he sang the lead, but it was a close thing. We both put a lot of work in on it. I remember with the prick teasers we thought, 'That'd be fun to put in'. That was one of the great things about collaborating, you could nudge-nudge, wink-wink a bit, whereas if you're sitting on your own, you might not put it in. You know, 'I'd love to turn you on', we literally looked at each other like, 'Oh, dare we do this?' It was a good moment, there was always good eye contact when we put those things in." Paul McCartney: Many Years from Now

LENNON: "Me [I wrote it], but I think Paul helped with the verse." Hit Parader (April 1972)

LENNON: "That's mine, including the lick, the guitar break, and the whole bit. It's just a rock 'n' roll song. Day trippers are people who go on a day trip, right? Usually on a ferryboat or something. But it was kind of - you know, 'you're just a weekend hippie.' Get it?" September 1980, All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono

RECORDED
October 16, 1965, at Abbey Road

INSTRUMENTATION
McCARTNEY: bass, lead vocal
LENNON: rhythm guitar, tambourine, lead vocal
HARRISON: lead guitar
STARR: drums

MISCELLANEOUS
This song was part of the Beatles' live repertoire in 1965 and 1966. The Complete Beatles Chronicle

Being For The Benefit Of Mr. Kite!

AUTHORSHIP Lennon (.8) and McCartney (.2)
This song was taken almost entirely from a Victorian circus poster. The poster, advertising a performance by Pablo Fanque's Circus Royal to be held at the Town Meadows, Rochdale, on February 14, 1843, was bought by John from an antique shop in Sevenoaks, Kent, when the Beatles were filming a promotional clip for "Strawberry Fields Forever" on January 31, 1967. All the main characters of the song feature on the poster: for example, Mr. Henderson, who announced his intention to leap "through a hogshead of real fire . . . Mr. H. challenges the World!" The evening was advertised as "Being For The Benefit Of Mr. Kite".

LENNON: " 'Mr. Kite' was a straight lift. I had all the words staring me in the face one day when I was looking for a song. It was from this old poster I'd bought at an antique shop. We'd been down in Surrey or somewhere filming a piece. . . . There was a break, and I went into this shop and bought an old poster advertising a variety show which starred Mr. Kite. It said the Hendersons would also be there, late of Pablo Fanques Fair. There would be hoops and horses and someone going through a hogshead of real fire. Then there was Henry the Horse. The band would start at ten to six. All at Bishopsgate. Look, there's the bill, with Mr. Kite topping it. I hardly made up a word, just connecting the lists together. Word for word, really." The Beatles: Illustrated and Updated Edition

PETE SHOTTON: "John composed 'Mr. Kite' squinting across the room at the framed poster, while his fingers found suitable melodic patterns." John Lennon: In My Life

McCARTNEY: " 'Mr. Kite' was a poster that John had in his house in Weybridge. I arrived there for a session one day and he had it up on the wall in his living room. It was all there, the trampoline, the somersets, the hoops, the garters, the horse. It was Pablo Fanque's fair, and it said 'being for the benefit of Mr. Kite'; almost the whole song was written right off this poster. We just sat down and wrote it. We pretty much took it down word for word and then just made up some little bits and pieces to glue it together. It was more John's because it was his poster so he ended up singing it, but it was quite a co-written song. We were both sitting there to write it at his house, just looking at it on the wall in the living room. But that was nice, it wrote itself very easily. Later George Martin put a fairground sound on it." Paul McCartney: Many Years from Now

McCARTNEY: ". . . 'The Hendersons' - you couldn't make that up." Own Words
The poster was bought during the filming of the "Penny Lane" and "Strawberry Fields Forever" film clips. The performance it advertised was for February 14, 1843. It Was Twenty Years Ago Today

LENNON: "I wasn't very proud of that. There was no real work. I was just going through the motions because we needed a new song for Sgt. Pepper at that moment." The Beatles: Illustrated and Updated Edition

RECORDED
February 17, 1967, at Abbey Road, with overdubbing February 20 and March 28, 29, and 31

MARTIN: "Paul would sit down and ask what I planned to do with his songs, every note virtually. . . . Lots of the arrangements of his songs were very much his ideas which I would have to implement. John would be more vague in what he wanted. He would talk in metaphors about his ideas. I'd have to get inside his brain to find out what he wanted. It would be more of a psychological approach.
"He'd say - for example, on 'Being For The Benefit Of Mr. Kite!' - 'This song's about a fairground. A little bit mystified. I want to get the feeling of the sawdust and the feel of the ring. Can you do something about it?' I'd then have to think how that imagery could be transformed into sound." Lennon : The Definitive Biography

Lennon wanted the authentic sound of a steam organ, but Martin told him none that existed could be played by hand (they were all played by punched cards). The Long and Winding Road: An Intimate Guide to the Beatles

So Martin took tapes of old Victorian steam organs and asked the engineer to cut them into small sections, about a foot long. Then he told him to fling them up into the air and put them back together again at random. The result, of course, made no sense in strictly musical terms, but it did produce the kind of aural wash Martin was looking for. The Long and Winding Road: An Intimate Guide to the Beatles

GEORGE MARTIN: " 'Geoff,' I said, 'we're going to try something here; I want you to cut that tape there up into sections that are roughly fifteen inches long.' Geoff reached for the scissors and began snipping.
"In no time at all we had a small pyramid of worm-like tape fragments piled up on the floor at our feet. 'Now,' I said, 'pick them all up and fling them into the air!' He looked at me. Naturally, he thought I'd gone mad . . .
"'Now, pick 'em up and put them together again, and don't look at what you're doing,' I told Geoff . . . When I listened to them, they formed a chaotic mass of sound . . . it was unmistakably a steam organ. Perfect! There was a fairground atmosphere we had been looking for. John was thrilled to bits with it." Summer of Love: The Making of Sgt. Pepper

INSTRUMENTATION
McCARTNEY: bass, lead guitar
LENNON: Hammond organ (main melody), lead vocal
HARRISON: harmonica
STARR: drums
GEORGE MARTIN: Wurlitzer organ (countermelody), piano
MAL EVANS: harmonica
NEIL ASPINALL: harmonica

The last half of McCartney's guitar solo was on an acoustic with its tone altered. The Long and Winding Road: An Intimate Guide to the Beatles with Guitar (November 1987)

McCARTNEY: "I remember we had one thing that required a sustained organ note, 'Being for the Benefit of Mr. Kite', so I said to Mal, 'Look, that's the note. I'll put a little marker on it. When I go "There", hit it.' Which he did. And I said, 'When I shake my head, take your finger off.' So for that kind of a part, he was very helpful." Paul McCartney: Many Years from Now

COMMENTS BY BEATLES
LENNON: "People want to know what the inner meaning of 'Mr. Kite' was. There wasn't any. I just did it. I shoved a lot of words together, then shoved some noise on. I just did it. I didn't dig that song when I wrote it. I didn't believe in it when I was doing it. But nobody will believe it. They don't want to. They want it to be important." The Beatles: Illustrated and Updated Edition

LENNON: "The story that Henry the Horse meant heroin was rubbish." Hit Parader (April 1972)

LENNON: "Everything in the song is from that poster, except the horse wasn't called Henry. Now, there were all kinds of stories about Henry the Horse being heroin. I had never seen heroin in that period. No, it's all just from that poster. The song is pure, like a painting, a pure watercolour." September 1980, All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono

Doctor Robert

AUTHORSHIP Lennon (.75) and McCartney (.25)
On the release of the album there was considerable speculation about the identity of "Dr. Robert," with many of the London cognoscenti taking it as a reference to Robert Fraser, who was always a walking pharmacy. In fact, the name was based on the New York Dr. Feelgood character Dr. Robert Freymann, whose discreet East 78th Street clinic was conveniently located for Jackie Kennedy and other wealthy Upper East Siders from Fifth Avenue and Park to stroll over for their vitamin B-12 shots, which also happened to contain a massive dose of amphetamine. Dr. Robert's reputation spread and it was not long before visiting Americans told John and Paul about him.

McCARTNEY: "John and I thought it was a funny idea: the fantasy doctor who would fix you up by giving you drugs, it was a parody on that idea. It's just a piss-take. As far as I know, neither of us ever went to a doctor for those kind of things. But there was a fashion for it and there still is. Change your blood and have a vitamin shot and you'll feel better." Paul McCartney: Many Years from Now

LENNON: "Me [I wrote it]. I think Paul helped with the middle." Hit Parader (April 1972)

LENNON: "It was about myself. I was the one that carried all the pills on tour and always [dispensed] them . . . in the early days. Later on, the roadies did it." September 1980, All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono

McCARTNEY: "Well, he's like a joke. There's some fellow in New York, and in the States we'd hear people say: 'You can get everything off him; any pills you want.' It was a big racket, but a joke too about this fellow who cured everyone of everything with all these pills and tranquillisers, injections for this and that; he just kept New York high. That's what 'Dr. Robert' is all about, just a pill doctor who sees you all right. It was a joke between ourselves, but they go in in-jokes and come out out-jokes because everyone listens and puts their own thing on it, which is great. I mean, when I was young I never knew what 'gilly gilly elsa feffer cats . . .' was all about, but I still enjoyed singing it. You put your own meaning at your own level to our songs and that's what's great about them." Beatles in Their Own Words

RECORDED
April 17, 1966, at Abbey Road, with vocals overdubbed April 19

INSTRUMENTATION
McCARTNEY: bass, harmony vocal
LENNON: harmonium, maracas, lead vocal (double-tracked)
HARRISON: lead guitar
STARR: drums

MISCELLANEOUS
PETE SHOTTON: "When John first played me the acetate of 'Doctor Robert,' he seemed beside himself with glee over the prospect of millions of record buyers innocently singing along." John Lennon: In My Life

Beatles For Sale LP

A Hard Day's Night, composed of all Lennon and McCartney originals, had been out for only two months when the Beatles began recording this album. Although some of its songs were more sophisticated - "I'm A Loser," "No Reply" - Lennon and McCartney were just not able to write a whole album's worth. They did come up with eight originals, however, and padded otu the album with Beatles versions of six of their stage favorites.

CHART ACTION
UNITED KINGDOM: Released December 4, 1964, and five days later it was No. 1, replacing A Hard Day's Night. It was No. 1 for nine weeks. The Long and Winding Road: An Intimate Guide to the Beatles

UNITED STATES: The U.S. equivalent, Beatles '65, was released December 15, 1964. It contained eight songs from the U.K. album, one from A Hard Day's Night, and both sides of a single. It sold more than a million copies in its first week of release. The Long and Winding Road: An Intimate Guide to the Beatles

RECORDED
August 11 to October 26, 1964, at Abbey Road

ALBUM PACKAGE
MARTIN: "They were rather war-weary during Beatles For Sale. One must remember that they'd been battered like mad throughout 1964, and much of 1963. Success is a wonderful thing but it is very, very tiring. They were always on the go. Beatles For Sale doesn't appeal to me very much now, it's not one of their most memorable ones. They perked up again after that." The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962-1970

"We're really pleased with the single and with the new LP. There was a lousy period when we didn't seem to have any material for the LP and didn't have a single. Now, we're clear of things and now that they're due out, it's a bit of a relief." The Beatles Off the Record: Outrageous Opinions & Unrehearsed Interviews

Don't Pass Me By

AUTHORSHIP Starr (1.00)
STARR: "No, I haven't really got round to the idea of composing. I did think up one called 'Don't Pass Me By', but every time I played it to the lads, they would just laugh." (August, 1963) The Beatles Off the Record: Outrageous Opinions & Unrehearsed Interviews

STARR: "I'd write tunes that were already written and just change the lyrics, and the other three would have hysterics just tellin' me what I'd rewritten." Beatles Forever

RECORDED
June 5, 1968, at Abbey Road, with overdubbing June 6 and July 12 and an edit piece (the tinkling piano intro) recorded July 22

INSTRUMENTATION
McCARTNEY: bass
LENNON: acoustic guitar, tambourine
STARR: drums, piano, lead vocal (double-tracked)
SESSION MUSICIAN: country fiddle

"PAUL IS DEAD" Hysteria: This song contains lyrics about a car crash, which some people contrued as alluding to McCartney's supposed fatal crash in which he was decapitated.

This was a No. 1 hit in Scandinavia, where it was released as a single. Beatles Forever

Bad Boy

RELEASED
UNITED KINGDOM: Unreleased in Britain until the Collection Of Beatles Oldies album was issued December 9, 1966. The Complete BEATLES Recording Sessions; The Official Story of the Abbey Road Years 1962-1970

UNITED STATES: Originally released on the Beatles VI LP June 14, 1965. The Long and Winding Road: An Intimate Guide to the Beatles

AUTHORSHIP Larry Williams (1.00)

RECORDED
May 10, 1965, at Abbey Road, between sessions for the Help! LP
The session lasted three and a half hours and yielded several songs. The Complete BEATLES Recording Sessions; The Official Story of the Abbey Road Years 1962-1970

INSTRUMENTATION
McCARTNEY: bass
LENNON: rhythm guitar, Hammond organ, lead vocal
HARRISON: lead guitar
STARR: drums, tambourine

MISCELLANEOUS
This song was originally recorded by Larry Williams, who released it as a single January 19, 1959. It was not a Top 40 hit. The Long and Winding Road: An Intimate Guide to the Beatles and Billboard
This song was part of the Beatles' live repertoire from 1960 to 1962. The Complete Beatles Chronicle