"We wrote that two days before we recorded it, actually." This quote from John Lennon in 1963 about the song "She Loves You" may be an exaggeration, but only slightly so. Four days after the two completed the tune at Paul's Forthlin Road home on June 27th, they premiered the song to George Martin and the recording staff at EMI studio two, July 1, 1963.
Engineer Norman Smith remembers his first impression of the song. "I was setting up the microphone when I saw the lyrics on the music stand. I thought I'll just have a quick look. 'She loves you yeah yeah yeah, she loves you yeah yeah yeah, she loves you yeah yeah yeah yeah.' I thought 'Oh my God, what a lyric! This is going to be one that I do not like.' But when they started to sing it - bang, wow, terrific. I was up at the mixer jobbing around."
George Martin recalls being impressed as well, but with one particular concern. "I was sitting in my usual place on a high stool in studio two when John and Paul first ran through the song on their acoustic guitars, George joining in on the choruses. I thought it was great but was intrigued by the final chord, an odd sort of major sixth, with George doing the sixth and John and Paul the third and fifths, like a Glenn Miller arrangement. They were saying 'It's a great chord! Nobody's ever heard it before!' Of course, I knew that wasn't quite true."
Paul adds a little more detail to this interchange with George Martin on this day. "We rehearsed the end bit of 'She Loves You' and took it to George (Martin). And he just laughed and said, 'Well you can't do the end, of course...that sixth...it's too like The Andrew Sisters.' We just said, 'Alright, we'll try it without' and we tried it, and it wasn't as good. Then he conceded, 'You're right, I guess.'...We loved that bit, and we rehearsed it a lot."
Regarding George Martin's suggestions, McCartney continues, "He would often give us parameters, like, 'You mustn't double a 3rd,' or, 'It's corny to end with a 6th, and a 7th is even cornier.' We'd say, 'We like it, man, it's bluesy.' It was good that we could override a lot of his so-called professional decisions with our innocence. If anyone now asks, 'What is the sign of a great songwriter?' I say, 'If the songs sound good.' So we never listened to any rules."
Young Geoff Emerick, a teenager at the time, was privileged to be secured as second engineer for this session. He describes his first impression of "She Loves You" as "a fantastic song, with a powerhouse beat and a relentless hook. Norman (Smith) and I immediately agreed that it was destined to be a hit, for sure. But there was also a level of intensity in the performance that I had not heard before."
Emerick concludes that this "level of intensity" was brought on by the first duty of business on this day. This entailed removing dozens of hysterical teenage fans who had stormed the doors of EMI studios to get at The Beatles. Before the recording session began at 2:30 pm, The Beatles met in the alleyway outside the studios for a photo shoot. The usual group of Beatle fans could climb on top of the walls around the studio perimeter to see that they were there, which led them to alert more friends and increase in number.
Once The Beatles were inside for their recording session, the 'barbarians stormed the walls,' as Lennon joked, one of them even managing to get inside Studio Two, where The Beatles were. After being tackled by roadie Mal Evans and escorted out, he discovered that fans were swarming all through the building. Police were enlisted to handle the matter, but the flattery and the adrenaline rush, no doubt, spurred The Beatles on to the performance of their life
Before the session began, Norman Smith tried a couple of new things to get a better sound. "This old dog still has a few tricks up his sleeve, mate," he told Geoff Emerick that day. One thing that he did was use a compressor to reduce the dynamic range of the drums and bass guitar independently, instead of together as was the usual practice. Next, he suspended an overhead microphone over the drums to acquire a "more prominent, driving rhythm sound," as Emerick explained it. Together, these two elements created a sound unlike all of their earlier recordings, but which continued throughout the rest of their recording career.
"She Loves You" was recorded during the afternoon session that day, which ran from 2:30 to 5:30 pm. Both Ringo and George Harrison, while barely acquainted with this newly written song, were no doubt pumped up about this session since they both had just acquired brand new instruments; Ringo's first Ludwig drum kit and George's Chet Atkins-style Gretsch "Country Gentleman." George experimented with a recently acquired Gibson Maestro Fuzz-Tone pedal for this recording but later removed from the final take. John used his Gibson J160E acoustic/electric guitar plugged into his Vox amplifier which resulted in quite an electric sound for an acoustic based guitar. The number of takes needed to complete the song, as well as if any performed overdubs remain unknown because the recording details no longer exist. We do know that three reels of tape were filled on this day, which comprises the recording of "She Loves You" and its B-side "I'll Get You."
Another thing that isn't known is how drastically the arrangement of the song changed as they recorded it. It was the habit of The Beatles to come up with new ideas while recording the song or to take suggestions from George Martin for improving the arrangement, even altering the structure of a song for greater effect. Johnny Dean, editor of The Beatles Book, happened to be there on that day and he remembers the song being altered dramatically as the session went on. Starting the song out with an altered version on the refrain was a suggestion of George Martin, which was an alteration that was done for other Beatles songs as well, such as "P.S. I Love You" and even "Strawberry Fields Forever."
Some have speculated that many of George Harrison's guitar fills were either overdubbed or even recorded on a separate tape and remixed in the editing stage. An edit made just before the third verse shows the rhythm track momentarily drop out during George's guitar flourish, which doesn't drop out. Either way, it appears that at least this guitar fill was recorded after the rest of the song was recorded.
Geoff Emerick suggests that the vocals were also overdubbed after they recorded the rhythm track, although this was not standard practice for The Beatles until much later. Their usual pattern, which continued through the next couple of albums, was to record the rhythm track with all instruments and vocals as if performing live, and then overdubbing extra elements afterward, such as handclaps, added harmonies, double-tracked vocals, etc. But since Emerick was present and involved in the recording process on this day, we'll assume that he's correct. After all, documentation regarding this song is now lost, as are the actual master tapes.
"During the playback of the final recording up in the control room," Emerick continues, "all four Beatles were beaming, and Norman Smith was more hyped up and excited than I'd ever seen him before. He was actually dancing around the console in glee. From a chair in the back of the room, George Martin looked on in pride. 'Nice job lads,' was all he said to us, but you could tell he was elated."
Three days later, on July 4, 1963, it took a three-hour session (10 am to 1 pm) to perform the editing work and the mono mix of the song. "I'll Get You" was also mixed on this day but, since no editing work was necessary for this song, most of these three hours were devoted to "She Loves You." Since all documentation is now lost, there is no way of knowing which takes were edited together on this day.
The trouble spot of the song seemed to be in the area of the third verse. As stated earlier, an edit occurred just before this verse starts during a small guitar flourish from George. The second half of the verse, encompassing the lyrics "pride can hurt you too, apologize to her," apparently needed polish from a different take of the song, so this was edited into the final mix. The obvious difference is noticeable by the intensified treble in Ringo's open hi-hats during this segment of the verse.
On April 19th, 1964, The Beatles entered IBC Studios in London to record a five-song medley onto three-track tape for them to mime to on an upcoming British TV Special entitled "Around The Beatles." This medley included segments of all five British Beatles singles to date, "She Loves You" being the fourth. Terry Johnson was balance engineer on the session while Glyn Johns (future producer for the "Let It Be" project) was second engineer and tape operator.
The next time "She Loves You" was heard at EMI studios was on June 3, 1964, but this was for rehearsal purposes only. With Ringo having tonsillitis and pharyngitis, Jimmy Nicol was recruited to replace him on their first world tour which started the next day. After rehearsing six songs, Nicol passed the audition and off they went to Copenhagen.
While on this tour, they performed at the Hollywood Bowl in Los Angeles, California on August 23, 1964. This is noteworthy because the performance was recorded for a possible live album to be released in the US by Capitol Records in 1964. While this didn't happen at that time, this performance did eventually get released on "The Beatles At The Hollywood Bowl" on May 4, 1977. The session was originally produced by Capitol vice president Voyle Gilmore and George Martin plus engineered by Hugh Davies. On August 27th, a rough stereo remix of the song was performed by Gilmore and Davies with added equalization, reverb, and limiting.
Since The Beatles did not have an album to release for Christmas of 1966 (as was their custom for that time of year), EMI prepared a compilation package which became "A Collection Of Beatles Oldies." Since stereo mixes bypassed the effort of many of their earlier singles, it was the job of EMI staff to create them. While most of these songs posed no particular problem, "She Loves You" was the exception. Since the original two-track tapes went missing, all that survived was the mono master tape. George Martin (lovingly) gave the duty of creating a pseudo-stereo mix of the song to engineer Geoff Emerick.
Emerick entered room 53 at Abbey Road on November 8, 1966, and spent an hour and a half (4 to 5:30 pm) constructing two mixes of the song. The first one was made by cutting all the high frequencies from the left channel and cutting all the low frequencies from the right channel. This is the one that made it onto the album, which the record label released only in Britain on December 9, 1966. The second mix had Emerick shift the track from channel to channel during different portions of the song, which got rejected.
Although the recording history of "She Loves You" ends at this point, it is a noteworthy mention that its legacy lived on later in The Beatles recording career. The song was vocally reprised during the recording of "All You Need Is Love" on June 25, 1967, as well as the "yeah, yeah yeah" lyrics heard in "Polythene Pam," vocals recorded on July 28th and 30th, 1969.
Song Structure and Style
For the first time in a Lennon/McCartney composition, we see the use of a refrain. Their usual 'verse/ verse/ bridge/ verse' formula (or aaba), so common in their early rock and roll roots, were expanded upon starting with this song. They continued the use of the refrain shortly thereafter with songs like "All My Loving" and then with "Eleanor Rigby," although they remained loyal to the aaba format throughout most of their career.
"She Loves You," however, comprises a 'verse/ verse/ refrain/ verse/ refrain' formula (or aabab). An intro and outro section also appear in the song, but bypasses any need for an instrumental, or solo section.
To introduce the eight-measure intro section, we hear a quick, disjointed drum fill from Ringo, which creates the feeling that we're entering into a song already in progress. This effect seems partially created because the intro sounds quite similar in structure to the refrain we'll hear a little later, where Ringo always performs a similar drum fill.
The intro then proceeds with the whole band performing full throttle, three-part harmonies and all, repeating three times the lyrical hook-line of the song, "she loves you, yeah, yeah, yeah." Whenever the refrain pattern occurs, which include the intro and outro sections because of their close similarities, Ringo avoids the use of cymbals. Therefore, the drums are very tom-heavy until the final two measures, which is where we first hear the extra "yeah" with Harrison's added 6th note. Also noteworthy in the intro is the syncopated drum accents at the ends of the second, fourth and sixth measures. These accents are not unlike those heard in "Ticket To Ride" nearly two years later. Since McCartney suggested these accents for the latter song, many conclude that he must have suggested them here as well.
With Ringo's open hi-hat at full volume, we enter into the first sixteen measure verse. Lennon and McCartney go out of their way to avoid using the same tired chord patterns so prominent in early rock and roll, so we see here the beginnings of the expansive imagination these songwriters were to continue to develop. John and Paul switch back and forth between singing in unison and harmony throughout the verse, while the chords change every measure for the first half of the verse and every two measures for the second half. The full octave range of the songs' melody line is displayed in the verses, the high end heard climactically with the title phrase "she loves you" in the ninth measure.
The phrase "yeah yeah yeah" is really emphasized throughout the song, even when they don't sing it. Notice George Harrison playing the "yeah yeah yeah" progression in each verse after the words "can't be bad." Also of interest is the accent the band hits in each verse after they state the title of the song in the ninth measure. This accent always occurs on the off-beat between the two and three count, which gives us a stumbling feeling. The obvious purpose of this trick is to drive home the title of the song in our minds. Curiously they never do it when they repeat the title in the fifteenth measure of the verse, proving the old adage that "less is better."
The second verse occurs after a small guitar line from George which contains some impressive minor touches. This second verse mimics the first in structure, except for the Isley Brothers' "Wooh" in the final measure, which was the built-in opportunity for shaking heads during their performance of the song and, therefore, screaming girls.
We then progress into the first eight measure refrain, which welcomes George into the fold vocally, as well as Ringo's return to tom-heavy percussion for the first half. We also see a strategic '1-2-3' accent occurring on the words "love like that" followed by the customary 'Beatles break' before the band continues in full swing for the final three measures.
After a structural repeat of the verse, we dive into another refrain, which has all the same dynamic tricks that we heard the first time. A new trick is then introduced for the first time in The Beatles canon, this being the driving home of the '1-2-3' accent and the 'Beatles break' three times in a row. And, to top it all off, the music suddenly comes to a grinding halt to showcase the three-part harmony of the line "you know you should..." leaving us breathlessly awaiting the resolve. When it finally comes with the lyrics "...be glad", which is triumphantly at the top of the octave again, we delve straight into the eight-measure outro. Ringo flails away on his toms again as George plays the first "yeah yeah yeah" instrumentally, only to be followed by the three-part harmony of the final two "yeah yeah yeah"s. The final occurrence of the 6th note chord ends the song and resonates well after the actual instruments die out. This arrangement can only be described as a classic pop masterpiece!
Lyrically, the singer appears to be confiding in a friend about some inside information he received from this friend's former girl. His friend "thinks" he doesn't have her as a girlfriend anymore, but the singer had a conversation with her, and she instructed him "what to say" to her former boyfriend. After informing him that she still loves him, the singer can't help but add his own encouragement, such as "you should be glad." The friend probably cheated on the girl, as is revealed by the "hurt" she felt that made her 'almost lose her mind.' She now has regained trust and wants him to know how she feels.
Many have suggested that there is a tone of competition in the lyrics, especially with lines like "it's up to you / I think it's only fair," insinuating that if he doesn't want her, the singer will pursue her. While this isn't clearly stated, the overall theme is sincere. After all, the singer is encouraging him to "apologize to her."
Lennon's stellar performance definitely scores to the fore, with his prominent vocals and full rhythm guitar work. McCartney is next, commended for his pitch-perfect vocals and his altering bass lines, which are not unlike his contribution many years later in "All Together Now."
Ringo's insistent attention to details, from his accents to his structural consistencies, shows him at the top of his game, as well as his dependability to do what it takes to get it right, even without much time to rehearse as in this case. Harrison also comes through with flying colors, with his classy minor guitar fills and accent runs throughout the song, as well as his harmonic 6th note that adds the perfect nuance to the final moments of the song.
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