Paperback Writer

From Wikipedia:

“Paperback Writer” is a song by the English rock band the Beatles. Written primarily by Paul McCartney and credited to the Lennon–McCartney partnership, the song was released as the A-side of their eleventh single in May 1966. It topped singles charts in the United Kingdom, the United States, Ireland, West Germany, Australia, New Zealand and Norway. On the US Billboard Hot 100, the song was at number one for two non-consecutive weeks, being interrupted by Frank Sinatra’s “Strangers in the Night”.

“Paperback Writer” was the last new song by the Beatles to be featured on their final tour in 1966.

Background and inspiration

“Paperback Writer” was largely written by Paul McCartney, who based the lyrics on a challenge made to him by his Aunt Lil. McCartney said in 1966: “Years ago, my Auntie Lil said to me, ‘Why do you always write songs about love all the time? Can’t you ever write about a horse or the summit conference or something interesting?’ So, I thought, ‘All right, Auntie Lil.'” According to Radio Luxembourg DJ Jimmy Savile’s recollection, the inspiration for the song came backstage at a concert venue when McCartney, mindful of his aunt’s request, saw Ringo Starr reading a book and declared his intention to write a song about a book.

The lyrics are in the form of a letter from an aspiring author addressed to a publisher. McCartney completed the song with John Lennon in response to pressure from EMI for a new Beatles single in April 1966, early on in the sessions for the band’s Revolver album. Intrigued by the rhythmic possibilities of the phrase “paperback writer”, McCartney came up with the framework for the song during his hour-long drive from London to Lennon’s house in Surrey.

Discussing “Paperback Writer” with Alan Smith of the NME that year, McCartney recalled that he and Lennon wrote the lyrics in the form of a letter beginning with “Dear Sir or Madam”, but that the song was not inspired by “any real-life characters”. However, according to a 2007 piece in The New Yorker, McCartney said he started writing the song in 1965 after reading in the Daily Mail about an aspiring author, “possibly Martin Amis” (who would have been a teenager at the time). The Daily Mail was Lennon’s regular newspaper and copies were in Lennon’s Weybridge home when Lennon and McCartney were writing songs.

Aside from deviating from the subject of love, McCartney had it in mind to write a song with a melody backed by a single, static chord. “John and I would like to do songs with just one note like ‘Long Tall Sally.’ We got near it in ‘The Word.'” McCartney claimed to have barely failed to achieve this goal with “Paperback Writer”, as the verse remains on G until the end, at which point it pauses on C.

Lennon told Hit Parader in 1972 that “Paperback Writer” was primarily written by McCartney: “I think I might have helped with some of the lyrics. Yes, I did. But it was mainly Paul’s tune.” Speaking in 1980, Lennon described “Paperback Writer” as “son of ‘Day Tripper‘ – meaning a rock’n’roll song with a guitar lick on a fuzzy, loud guitar – but it is Paul’s song”.

Recording

The Beatles recorded “Paperback Writer” at EMI Studios in London on 13 and 14 April 1966. The 14 April session was attended by a photographer from Beatles Monthly, while EMI engineer Phil McDonald’s handwritten notes similarly documented the band’s experimentation with overdubs on the basic track. In the search for a suitable arrangement, George Harrison briefly switched to bass guitar, and producer George Martin contributed on tack piano, sent through a Leslie speaker, and on Vox Continental organ, neither of which were retained in the completed track.

“Paperback Writer” is marked by the boosted bass guitar sound, which was partly in response to Lennon demanding to know why the bass on a certain Wilson Pickett record exceeded that on any Beatles records. Geoff Emerick, who had been promoted to the role of the Beatles’ recording engineer for Revolver, later said: “‘Paperback Writer’ was the first time the bass sound had been heard in all its excitement. Paul played a different bass, a Rickenbacker. Then we boosted it further by using a loudspeaker as a microphone. We positioned it directly in front of the bass speaker and the moving diaphragm of the second speaker made the electric current.” McCartney’s playing was also more melodic and busy than on previous tracks.

According to McCartney, the harmony vocals on the track were arranged during the recording session. Martin later commented: “The way the song itself is shaped and the slow, contrapuntal statements from the backing voices – no one had really done that before.” In their backing vocals over the third verse, Lennon and Harrison sing the title of the French nursery rhyme “Frère Jacques“.

Emerick stated that the “Paperback Writer” / “Rain” single was cut louder than any other Beatles record up to that time, due to a new piece of equipment used in the mastering process, referred to as “Automatic Transient Overload Control”, which was devised by the EMI maintenance department.

Promotion

In Britain, the single was promoted with a photograph depicting the Beatles draped with pieces of raw meat and decapitated baby dolls. This photograph was later used, albeit briefly, as the Yesterday and Today album cover in the US, and in that capacity it became known as the “butcher cover”. For the American release of the single, the picture sleeve showed the Beatles playing live, but with Lennon and Harrison’s images reflected so that it appeared they were playing left-handed.

Michael Lindsay-Hogg directed four promotional films for the song shot on 19 and 20 May 1966. On the first day they recorded a colour performance at EMI Studios, for The Ed Sullivan Show, which was shown on 5 June, and two black-and-white performance clips for British television. The latter aired on Ready Steady Go! and Thank Your Lucky Stars on 3 and 25 June, respectively. The Beatles also filmed a personal introduction to Ed Sullivan with their faces hidden behind colour transparencies of the butcher cover.

On 20 May, a second colour film was made at Chiswick House in west London. The Beatles mimed to the song, and they were shown in a statue garden and inside the conservatory in the grounds of the house. The clip was first broadcast in black and white on BBC-TV’s Top of the Pops on 2 June. The 20 May promo clip was included in the Beatles’ 2015 video compilation 1, and both the 19 May colour film and the 20 May film were included in the three-disc versions of the compilation, titled 1+.

The Beatles appeared on Top of the Pops to mime to “Paperback Writer” and “Rain” on 16 June. This television appearance – which was the Beatles’ only “in person” appearance on the BBC’s flagship pop music show of the era – was subsequently lost due to the BBC’s habit of wiping expensive video tape for reuse, leading to efforts by the corporation to find an original copy. In 2019, a collector unearthed 11 seconds of the performance; a longer 92 seconds’ worth was found later in the year.

Release and reception

“Paperback Writer” was issued as a single in the US by Capitol Records on 30 May 1966, with the catalogue number 5651 and “Rain” as the B-side. The UK release, on EMI’s Parlophone label, took place on 10 June, with the catalogue number R 5452. It was the Beatles’ first UK single since the “Day Tripper” / “We Can Work It Out” double A-side in December 1965. Other than their brief performance at the annual NME Pollwinners Concert on 1 May, promotion for the new record was also the first sign of public activity by the band since the start of the year.

Reviewing the single for the NME, Derek Johnson said that “Paperback Writer” “swings along at a thundering pace”, with McCartney’s lead vocal “aided by some startling chanting”. He admired Starr’s “cymbal bashing” and concluded, “those sudden breaks in tempo help to increase the impact.” In Disc and Music Echo, Penny Valentine said the song had a “marvellous dance beat” and was “very striking” due to its “break-up drumming and ethereal surf chorus”. Record World‘s reviewer wrote that with a new Beatles single, “the rush is on”, and commented on the band’s use of “interesting electronic effects to good effect”, while Cash Box predicted that the group would easily continue their run of “blockbuster” singles and described the A-side as “a rhythmic, pulsating ode with an infectious repeating riff all about the creative urge”.

The more widely held view was one of disappointment, according to author Peter Doggett, and dismissal as “a brash, insubstantial throwaway”. Writing in The Beatles: An Illustrated Record, NME critics Roy Carr and Tony Tyler described “Paperback Writer” as “the first Beatles single to receive less-than-universal acclaim”, saying that it was “perhaps a trifle too ‘clever'” and criticism was focused on “the triviality of the lyric and a slight nagging suspicion that the Beatles were playing at ‘being songwriters’ at a time when the world was waiting for The Word”. The band’s apparent aloofness also alienated many of their fans, who wrote into Record Mirror to disparage the group’s new music. The UK music press were similarly offended by the ads for the single, which included a second “butcher” photo appearing in full colour on the cover of Disc and Music Echo, accompanied by the caption “Beatles: What a Carve-Up!” In author Nicholas Schaffner’s description, this image led “one crusty columnist to rail against the importation of American ‘sick humor’ into the United Kingdom”.

Such was the Beatles’ status, they were scrutinised in the press when, like “Day Tripper” / “We Can Work It Out”, the single failed to top all of the UK’s sales charts straightaway. On the Record Retailer chart (subsequently adopted as the UK Singles Chart), “Paperback Writer” entered at number 2, behind Frank Sinatra’s “Strangers in the Night”, before taking the top position the following week. On the national chart compiled by Melody Maker, the song debuted at number 1, remaining there for a total of four weeks. Amid a climate of failing domestic economy, despite the country’s strong exports through music, the record’s UK sales were the lowest for any Beatles single since “Love Me Do” in 1962.

In the US, “Paperback Writer” topped the Billboard Hot 100 for two non-consecutive weeks. It replaced the Rolling Stones’ “Paint It Black” and was then deposed by Sinatra’s single for a week before returning to number 1. It was certified as a gold record by the Recording Industry Association of America on 14 July. The single also topped the charts in Australia, West Germany and many other countries around the world.

The song’s release coincided with London being feted by the US media as the “Swinging City” of international culture. In his book on the 1960s, social historian Arthur Marwick says the Beatles represented the popular image of a phenomenon in which “hitherto invisible swathes of British society became visible and assertive” and “Paperback Writer” was the song that best conveyed “the new class-defying tide of individualistic enterprise”.

“Paperback Writer” was the only new song the Beatles included in their 1966 tour setlist. Their inability to reproduce the layered vocal effect of the studio recording was a source of embarrassment for the group, however.

In addition to moulding their characters and sound on the Beatles, the Monkees used “Paperback Writer” as the basis for their debut single, “Last Train to Clarksville”.

Subsequent releases and other versions

A stereo mix of “Paperback Writer” was first carried out in late October 1966 for inclusion on the UK compilation album A Collection of Beatles Oldies and then appeared in an alternate stereo mix on the 1970 US compilation album Hey Jude. Following the Beatles’ break-up, the song was included on compilations such as 1962–1966 (1973), Past Masters, Volume Two (1988) and 1 (2000). In 1995, a mix featuring only vocals was among several tracks that were in the running for inclusion on the three Beatles Anthology compilation albums but were ultimately passed over.

The single was released as part of a Record Store Day reissue in 2010.[citation needed] “Paperback Writer” was included on the Beatles’ 2012 iTunes compilation Tomorrow Never Knows, which the band’s website described as a collection of “the Beatles’ most influential rock songs”.

Other artists who have recorded the track include the Bee Gees, the Charles River Valley Boys, the Cowsills, Floyd Cramer, Eric Johnson, Kris Kristofferson, Kenny Rogers, the Shadows, Sweet, Tempest and 10cc. McCartney has often played the song in concert. Live versions appear on his 1993 album Paul Is Live and 2009 album Good Evening New York City.

Personnel

There is some dispute over who played what on “Paperback Writer”. In the July 1990 and the November 2005 issues of Guitar Player magazine, McCartney stated that he played the song’s opening riff on his Epiphone Casino guitar, and photos from the recording session seem to be consistent with this. In the 2005 edition of his book Revolution in the Head, Ian MacDonald gives Harrison as the sole lead guitarist, and Kenneth Womack similarly lists McCartney only on bass and lead vocal. Robert Rodriguez and Walter Everett each credit McCartney as the player of the song’s main guitar riff, and state that Harrison added lead guitar “fills” over his initial rhythm part. […]

Well, this came about because I love the word ‘paperback’. When we did the song, we wrote the words down like we were writing a letter. We sort of started off, ‘Dear Sir or Madam,’ then carried on from there. If you look at the words, I think you’ll see what I mean, you know, the way they flow like a letter. But that’s it really, there’s no story behind it and it wasn’t inspired by any real-life characters.

Paul McCartney – From “The Beatles: Off The Record” by Keith Badman, 2008

You knew, the minute you got there, cup of tea and you’d sit and write, so it was always good if you had a theme. I’d had a thought for a song and somehow it was to do with the Daily Mail so there might have been an article in the Mail that morning about people writing paperbacks. Penguin paperbacks was what I really thought of, the archetypal paperback.

I arrived at Weybridge and told John I had this idea of trying to write off to publishers to become a paperback writer, and I said, ‘I think it should be written like a letter.’ I took a bit of paper out and I said it should be something like ‘Dear Sir or Madam, as the case may be…’ and I proceeded to write it just like a letter in front of him, occasionally rhyming it. And John, as I recall, just sat there and said, ‘Oh, that’s it,’ ‘Uhuh,’ ‘Yeah.’ I remember him, his amused smile, saying, ‘Yes, that’s it, that’ll do.’ Quite a nice moment: ‘Hmm, I’ve done right! I’ve done well!’ And then we went upstairs and put the melody to it. John and I sat down and finished it all up, but it was tilted towards me, the original idea was mine. I had no music, but it’s just a little bluesy song, not a lot of melody. Then I had the idea to do the harmonies and we arranged that in the studio.

Paul McCartney – From “Paul McCartney: Many Years from Now” by Barry Miles, 1997

We always try to do something different. The idea’s a bit different. Years ago, my Auntie Lil said to me, ‘Why do you always write songs about love all the time? Can’t you ever write about a horse or the summit conference or something interesting?’ So, I thought, ‘All right, Auntie Lil.’ And recently, we’ve not been writing all our songs about love.

Paul McCartney – From “The Beatles: Off The Record” by Keith Badman, 2008

‘Paperback Writer’ was, as far as I can remember, not specifically recorded as a single. The thing was, we knew that we had to make an album and a single, and the single was more urgent, and we picked out ‘Paperback Writer’. Yet, as far I’m concerned, there are other tracks I much prefer to it. I’m sure any one of them would have done well. I think with ‘Paperback Writer’, it is the first time that we have had echo on a Beatles track. I also like the ‘Frère Jacques’ refrain towards the end. You can’t really hear the words because they are so soft. I must confess, I didn’t spot this little diversion on the number, but George reassured me that it was just one of those weird things that happened for the sake of it. There was no connection whatever between the famous Brother Jack and the knack of writing paperbacks.

George Martin – From “The Beatles: Off The Record” by Keith Badman, 2008

In this period ‘Paperback Writer’ and ‘Rain’ were also recorded. John and I wrote together. I remember showing up at his house with the idea for ‘Paperback Writer’. Because I had a long drive to get there, I would often start thinking away and writing on my way out, and I developed the whole idea in the car. I came in, had my bowl of cornflakes, and said, ‘How’s about if we write a letter: “Dear Sir or Madam,” next line, next paragraph, etc? I wrote it all out and John said, ‘Yeah, that’s good.’ It just flowed.

Paul McCartney – From “The Beatles Anthology” book, 2000

I would often start thinking on my way out and I developed the whole idea in the car. Somehow it was to do with the Daily Mail so there might have been an article in the Mail that morning about people writing paperbacks. I came in, had my bowl of cornflakes and said, “How’s about if we write a letter?” Dear Sir or Madam, next line, next paragraph. We went upstairs and put the melody to it. But it’s just a little bluesy song, not a lot of melody. John and I sat down and finished it all up. Then I had the idea to do the harmonies and we arranged that in the studio.

Paul McCartney – From “Revolver (2022)” book

The first thing that happened with the new album was that Paul and I decided we’d have to get together. We’d been seeing each other socially, but we decided we’d have to get down to some serious work. Getting down together is the first step, and it’s not always the easiest. Then, when we’ve got together, either at my place or at Paul’s home, we start thinking about the songs. One of us usually thinks of a musical phrase or part of a tune in our heads, like Paul did with ‘Paperback Writer’. He thought that out in the car on his way to my house.

John Lennon – From “The Beatles: Off the Record” by Keith Badman, 2008

From The Usenet Guide to Beatles Recording Variations:

[a] mono 14 Apr 1966.
UK: Parlophone R5452 single 1966, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5651 single 1966.
CD: EMI single 1989.

[b] stereo 31 Oct 1966.
UK: Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973.
CD: EMI CDP 7 90044 2 Past Masters 2 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

[c] stereo 31 Oct 1966.
US: Apple SW-385 Hey Jude 1970, Apple SKBO-3404 The Beatles 1962-1966 1973.

The mono mix [a] is more powerful, with louder drums and a compressed dynamic range. Ringo’s drum tapping during the a capella “paperback writer” can be heard a little in mono [a], fading up a few taps before the guitars come back in. The backup vocal track is unusually “dirty”, and in stereo [b] [c] unintended sound can be heard at a few points– particularly, before the last “paperback writer” (about 1:45), a hrrmph and then very quiet tries at the right note (earlier in the song, a miscue starting the second group of “Frere Jacques” is noticeable even in mono). Mono [a] has more echo, notably a long “write write write” after the last verse. Lastly, the mono mix fades later, after the 6th “paperback writer” instead of near the start of the 5th one.[b] and [c] are probably two of three stereo mixes made the same day. The obvious difference is that left-right is reversed, and the only other difference noted is that [c] has the backing vocals a little louder. It could be they are the same mix with both stereo reversal and a slight change in balance that makes the side with the backup vocals louder.

Lyrics

Variations

• A Mono version • From "Paperback Writer / Rain (UK)"
• A2009 2009 remaster • From "The Beatles in Mono (2009)"
• A2014 2014 remaster • From "The Beatles In Mono (Vinyl boxset - 2014)"
• A2019 2019 remaster • From "The Singles Collection"
• A2022 Original mono mix remastered • From "Revolver (Stereo - 2022)"
• B Stereo version • From "A Collection of Beatles Oldies (Stereo)"
• B2000 2000 remaster • From "1"
• B2009 2009 remaster • From "The Beatles • The Original Studio Recordings (2009)"
• B2011 2011 stereo remaster • From "1 (2011 remaster)"
• C 2015 stereo mix • From "The Beatles 1+" compilation"
• D 2022 stereo mix • From "Revolver (Stereo - 2022)"
• E Takes 1 and 2 – Backing track • From "Revolver (Stereo - 2022)"
• F 2022 Dolby Atmos mix • From "Revolver (Dolby Atmos - 2022)"
• L1 Live version • Charlotte • Blockbuster Pavilion • USA • Jun 15, 1993 • From "Paul Is Live"
• L1.2019 Live version • Charlotte • Blockbuster Pavilion • USA • Jun 15, 1993 • From "Paul Is Live (2019 remaster)"
• L2 Live version • New York • Citi Field • USA • Jul 17, 2009 • From "Good Evening New York City"

Officially appears on

Bootlegs

Related films

Videos

Live performances

“Paperback Writer” has been played in 297 concerts and 2 soundchecks.

Latest concerts where “Paperback Writer” has been played

Going further

This site uses Akismet to reduce spam. Learn how your comment data is processed.