A Hard Day's Night - The Beatles - album analysis

In assessing the back catalogue of The Beatles, one curious thought has assailed my mind. It occurs to me that the album "A Hard Day's Night", though a highly accomplished and engaging work, is somewhat overlooked and underrated, if not exactly forgotten. So why the relative indifference?  This is possibly because the record gets rather lost in the shadow of the film of the same name, which admittedly is a charming and sharp piece. 

For me, the album represents a very definite and solid staging point in the group's maturation and development, but such accolades are normally reserved for the albums which followed it, including "Rubber Soul" and parts of "Help". 

There is a peculiar solidity and compactness about "A Hard Day's Night", insomuch as it has little in the way of egregious filler material (what filler exists is skilfully concealed) or "outlier" tracks. The "holes" which characterize many albums of that era are not perceptible, and the "Merseybeat" elements are slowly evaporating.

The record also possessed a distinct stylistic or sonic unity, and ironically this particular quality may contribute to a perception that it is "samey" and lacking in variety. This impression is actually illusory, but by the same token close scrutiny is required to draw out the material and cut through any misconceptions.

It is noteworthy that this record contains only "Lennon-McCartney" song-writing credits, and this tendency doubtless helps to bolster the feeling of uniformity when regarding the work. One thing which I think can be said for certain is that "A Hard Day's Night" is not a transitional album; it captures The Beatles in a stable, buoyant and self-confident place. 

A point to remember is that the group managed to maintain such excellence and focus amidst a hectic and demanding schedule of touring and other activity. Even the Beatles were human, however, and similar feats proved beyond them in late 1964 and into 1965. The seeds of "Rubber Soul" can be discerned here, I would contend, but the full realisation of that promise would have to wait, delayed by the workload imposed by their commitments.

The burst of creativity and ideas emanating from John Lennon at this time may have saved "A Hard Day's Night" from a fate similar to that which befell "Beatles for Sale" and "Help". Also, the adrenaline and excitement of the first portion of 1964 helped to forestall ennui and world-weariness. This album has a reputation as a "Lennon album", but Paul McCartney's contributions, as composer, vocalist and instrumentalist are impactful and of a high standard.

The earthy and organic textures of this LP are intriguing, and possibly stem in part from the breadth and pervasiveness of the influences which the members of The Beatles were absorbing in 1964, including folk music and the nascent folk-rock scene. 

I feel that the absence of cover versions imbues the record with a forward-looking, streamlined and purposeful identity and momentum. This is almost akin to a crystallization of their development and growth to date. The ascent to the next level was perhaps less smooth and straightforward than they might have envisaged.

"Thinking out loud" slightly now, but this collection inaugurated what I have tended to view as a distinct phase, spanning 1964-65, one of more acoustic-tinged fare, a maturing of the songwriting, and the eventual forsaking of the rock n roll covers. It could be argued that the relatively disjointed nature of the two albums which followed "A Hard Day's Night" was an inevitable consequence of the process of evolution.

As mentioned earlier, it is recognised that John Lennon's personality and song-writing predominate on these sides, but that Paul McCartney's all-round musical panache and exuberance contribute greatly to the overall effect. Additionally, McCartney's own songs make up in interest and quality what they lack in sheer volume. There is an argument for saying that this is the first Beatles album where the complementary strengths and traits of Lennon and McCartney really interact and make their presence felt in a noticeable and meaningful way. Lennon's restless energy and brooding spirit mesh with McCartney's dynamism and optimism, the facets reacting agreeably in elevating the group to new heights.

Examining the record track-by-track, I would say that the title song tends to be taken for granted, but it is very impactful, with its famous opening "chord" and the arpeggiated ending. The music in between those two points is very impressive, having a raw rhythm and blues feel, and in that sense it is a quintessential Lennon song. This number deserves to be re-appraised in isolation from the film of the same name.

"I Should Have Known Better" is eminently likeable, and for me it typifies a slight incongruity with some Beatle songs of the period, that of maturing musical content and aspirations, but progress was not necessarily reflected in correspondingly "advanced" lyrics. However, the Dylanesque harmonica and a pleasing melodic base override any minor reservations.

The next song, "If I Fell", is an example of sumptuous Beatles vocal harmonies of a kind which they should really have tried more often on record. It is also emblematic of the fluent melodicism and musicality which are characteristic of the LP as a whole.

Although George Harrison did not get one of his own compositions on to the album, he was allotted a lead vocal spot on "I'm Happy Just to Dance with You". By no means a masterpiece, but it also emits some of that spark and charm which graced almost everything which they touched around this time.

"And I Love Her" is a number which displays the burgeoning sophistication of The Beatles as song-writers and musicians. There is also a hint of a "confessional" style of lyrics, exploring relationships and personal experiences in a more advanced manner. The song is pleasantly tuneful in the customary McCartney way.

I always found "Tell Me Why" to be filler material of sorts. It sounds good and it helps to fill out the album running order, but the filler here is less jarring and conspicuous than in the releases made by their contemporaries. It has some brio and joie de vivre, and Lennon's vocal is quite forceful and memorable.

"Can't Buy Me Love", one of the record's most famous songs, is another one which illustrates a growing polish and confidence in the group's work. I suspect that tunes such as this one brought more people of the older generations into the Beatles' camp, as it swings like some jazz and "easy listening" recordings. The production is also smooth and clean.

From the same territory as "Tell Me Why" comes "Any Time At All", a song which is not from the top drawer, but which packs quite a punch. It has sufficient atmosphere and melody to maintain the interest and the attention. Lennon once again impresses on vocals, and the piece exudes some assurance.

"I'll Cry Instead" is another of those tracks which is unexceptional, but which blends seamlessly into the fabric of the project. There is a country and western flavour, and this genre crept into the band's output in the period 1964-65, courtesy in part of Ringo Starr's musical leanings. Also, country music is not a great leap from the rockabilly so beloved by all four Beatles. I detect a Rolling Stones vibe in parts of this song, the verses especially.

Another highlight, in a quiet way, of the collection is "Things We Said Today". The lyrics are interesting and the song has an affectingly enigmatic, almost haunting, quality. It signals a shift away from formulaic song-craft.

Probably the weakest effort on the record is "When I Get Home". It is rather uninspired, but never genuinely becomes a "sore thumb", in the sense of tarnishing the overall effect of the album. It is not quite as bad as some reviewers have alleged, and it has a few interesting moments.

"You Can't Do That" performs an important role in the running order. Its R & B flavour imbues the album with some rhythmic incisiveness and breaks up the diet of folk-rock and beat music which pervades the LP. 

The closer, "I'll Be Back", is another slice of "wooden" folk-inflected music, epitomizing the forward-looking dimensions of this work, and anticipating the "Help" and "Rubber Soul" eras to come. 

On reflection, "A Hard Day's Night" is one of The Beatles' most impressive and solid achievements. The hallmarks of the early days are still there, but the future direction and influences are also visible. A crucial and coherent part of the canon.

Now And Then - "new" Beatles song

 I am sure that I was not alone in my eager and curious anticipation of the release of "Now And Then", billed as the last Beatles song. I have to confess that I was there, refreshing the page on my chosen streaming service as the time of release approached. So, what do I make of "Now And Then"?

Inevitably, when appraising the single, people are going to draw comparisons with "Free as A Bird" and "Real Love", the two Beatles tracks which emerged from similar foundations and source material, and which formed part of the Anthology projects in the 1990s.

For me "Now And Then" betrays more signs of its origins than its aforementioned predecessors, but at the same time the production and the arrangement which surround the lead vocal feel more organic and restrained.

The atmosphere of the track is somewhat mournful, enveloped in a kind of wistfulness. My initial reaction was that this is apposite for our times, a sense of melancholy, ennui and nagging anxiety. Was this general tenor intended to tap into the perceived public mood of 2023? I'm not really sure, but it was one of the first characteristics of "Now And Then" which jumped out to me. It may be another case of that perennial Beatles facility for effortlessly evoking the zeitgeist. 

On the face of it the song lacks the "charm" and ebullience of, for instance, "Real Love", and even its musical subtlety, but that may be missing the point; on reflection, "Now And Then" should perhaps be viewed more as a "mood piece", rather than as a hook-laden potboiler. 

In putting the track together, they resisted the temptation to try too hard to make it "exciting", relying instead on the qualities of the basic song, then judiciously embellishing the raw material, as it were.

I think they have done a commendable job in playing to the song's strengths and lyrical direction, as opposed to making it into something that it wasn't. Having suggested that the overall ambience is downbeat, I think that the instrumentation and arrangement are in keeping with the reflective nature of the words. The piano and electric guitars are tastefully done, and Ringo Starr's drumming exhibits his distinctive "feel" to some effect.

So, overall a creditable effort, provided that the listener did not have excessive expectations beforehand. It sounds "modern", which to some degree is inescapable, but it has a personality and an effect. 

Revolution In The Head - The Beatles' Records and The Sixties - Ian MacDonald

The Beatles and their music have probably commanded more acres of print than any other pop-culture phenomenon in human history. However, if you are just looking for one book to condense the relevance, spirit and impact of their music, then Ian MacDonald's Revolution In The Head is the one to go for.

As well as exploring how the Beatles shaped, and were shaped by, the Sixties, this work analyses, song-by-song, the group's discography.  As a consequence, an enhanced and broadened understanding of the decade and The Beatles is imparted, even if this does not claim to be a "biography" as such.

The "Introduction" sets the scene, and it is forcefully but subtly argued, offering some observations and theories about the Sixties, the special qualities of The Beatles and, for example, how the differing styles of Lennon and McCartney came about. There is a detailed and perceptive look at 1967 and the counterculture, and how these phenomena were regarded by subsequent generations. Some might find these passages heavy going, but they are essential to the overall message of the book. For me, the most noteworthy thing to emerge was the notion that The Beatles and their peers were among the first to vigorously harness social and cultural shifts which were probably already in progress even before the Sixties dawned.

The "commentary" on the Beatles is hugely entertaining, engrossing and authoritative, packed with anecdotes and astute insight. The author's knowledge and understanding give the articles a real fluency, and in citing influences for songs, he doesn't always give the "obvious" reference points, so the reader's grasp of Sixties pop will be widened. Lesser-known figures and records are brought in from the historical cold.

It is worth pointing out that the author does not pretend that everything the Beatles recorded was beyond reproach. He speaks out when he feels that something is weak and mediocre, or when a lapse in taste has occurred. Some of his opinions on certain tracks may even be uncomfortable reading for long-term fans (for example, "All You Need Is Love", "Nowhere Man", "Across The Universe"). He also highlights examples where The Beatles were following musical fashions instigated by others, and stages where others had stolen a march on them.

Having read quite a bit about The Beatles over the past couple of decades, it seems to me that it is "fashionable" to deride certain songs, or to excessively laud others. MacDonald advances cogent and carefully argued reasons for his views, aided by his trained and perceptive ears, and this challenges us to be intellectually honest, even with hitherto cherished songs, and this has to be a healthy development.

One of the real delights of Revolution In The Head is the resourcefulness with which MacDonald brings out the nuances in the music, coupled with his keen sense of when The Beatles exhibited that intangible magic which often placed them in the vanguard of things.  He goes well beyond the superficial and the elementary in explaining the and interpreting the meanings and motivations behind the music.

Also, the book is admirably compact and concise, and even though the subject matter is very ambitious in places, the words are usually proportionate. It doesn't pretend that everything was wondrous and epoch-making. It gives a summation, and moves on.  In short, this book is immensely readable and vibrant....

Through the studies of the Beatles' records, we are also able to trace the development of the members, in terms of artistic influences and social outlook. This is most clearly discernible to me in the cases of John Lennon and George Harrison. In addition, the evolution of the "pecking order" within the band is a sub-plot, often related to the waxing and waning in the relative creative vigour of Lennon and McCartney.

As the songs are tackled in the chronological order of the commencement of their recording, we are also able to see the maturing in the songwriting, and the increasing willingness to experiment in the studio. One is also struck by how The Beatles maintained their musical standards, despite being faced with what seems to modern sensibilities to have been an absurdly hectic and gruelling schedule, often recording multiple tracks in a single day. The spur of competition in the creative process is also illustrated, both within the group itself and with their peers on both sides of the Atlantic.

Perhaps the most compelling sections of this book are those which deal with the period when Swinging London was at its height. The feverish energy and excitement of those times is palpable, and one can gain a real feel for the bubbling inventiveness, the exchange of ideas and the sunny optimism.

You possibly won't agree with everything which the author says, but the quality of the writing and the scholarship here wins the day, blending erudition with enthusiasm.  This book will enrich your understanding of the Beatles and that era, and it will also enrich your life.