Tuesday October 20, 2009
The Beatles third album (in under 18 months), Hard Day’s Night, opens with one of the most instantly recognizable guitar chords of all time. George Harrison’s Rickenbacker shimmers and dissolves into the furious title track that must have echoed the Beatles intense schedule. Lennon lets everyone know how hard his band has been working, and how – despite conquering America a few months earlier – the only real satisfaction in life is being with his lover at the end of the day. The vocals and guitars scream across Ringo’s shaking bed of drums, and the song ends just as it came in: a gleaming fade out.
This time around, the boys tossed their catalogue of covers aside, and stuck with Lennon McCartney originals: seven featured in the film, and six more to fill out the album (and thank God the UK version of Hard Day’s Night left off “Ringo’s Theme (This Boy)” (the absolute worst Beatles song of all time)). Still, despite being mega busy rock’n’rollers, the Beatles managed to write some catchy songs – songs that skate the line between progressive and throwback rockers. “Tell Me Why,” feels like a Buddy Holly throwback, with Ringo providing a swinging beat behind John, Paul, and George’s seamless harmonies. It harkens back to the boy’s girl-group covers, a cohesive pop song flirting with those Motown ladies on the other side of town. “Any Time at All” similarly echoes some of the covers found on previous albums, but only because it falls a bit short of capturing the Beatles. Oh, it’s rocking, but now quite Beatles rocking.
“I’ll Cry Instead” nods it’s head towards rockabilly, sounding like an Elvis cover. George’s guitar giddy-ups behind the country-flavored song, while John’s reverb kissed double vocals incites some angry threat to “show you what your lovin’ man will do.” It’s a catchy hidden gem, and an under looked John classic.
Don’t worry, moms. McCartney proves his own on both “Things We Said Today,” and (of course) “Can’t Buy Me Love.” “Things We Said Today” moves past McCartney’s cheesy tendencies into what sounds like genuine heartache. George Martin is getting damn good at doubling vocals, and here we find the best example on Hard Day’s Night. It’s a dark, sexy little number, and Paul owns every part of it.
“Can’t Buy Me Love,” on the other hand, feels like a Cavern stomper. It’s fun, catchy, and jiving. This is pop Paul, and it’s phenomenal. George’s quick, rapid-fire guitar solo allows a brief breath before diving back into McCartney’s trademark bouncing bass and mop top. The song turns around to close it out, and the listener is left spinning.
“I’m Happy Just to Dance With You” gives George his shot on the mic, but it feels a bit empty - possibly because it’s a Lennon McCartney penned number. Regardless, it peels back more of the mystery around George. He’s a heartbroken wound licker. There’s some weird floor tom thumping throughout the whole ditty that can be a bit distracting, but hot DAMN! those reverb drenched background vocals are signature George Martin. And let’s not forget the quick, razor sharp chord progression. It jangles the song forward, and ending at 1:56, leaves us wanting more.
How anyone could expect four lads to not just carry the momentum of their first two albums into a film and third album, but to actually build upon it is beyond us here at HardTimes. But the Beatles rise to the occasion. Hard Day’s Night thickens the Beatles catalogue while expanding their sound. It offers the first real glimpse at how incredibly talented the Beatles are (were?). Yes, Please Please Me and With the Beatles showed raw talent, but Hard Days Night screams, “we’re not only here to stay, but we’re going to.” Hard Days Night is the shift into the more introspective and diversified song writing that would fill the Beatles later work.
