Comments on: What You’re Doing

By: bryan zink

bryan zink — Fri, 02 Nov 2018 05:00:40 +0000

Actually, on the earlier takes the instrumental break is a fourth higher, not an octave higher.

By: Dan Letwin

Dan Letwin — Sat, 22 Sep 2018 03:09:49 +0000

Wow, on your advice, I’ve tracked down and listened to Take 11, and I agree — it really rocks, due to John’s in-your-face lower harmony (which doesn’t show up in the final version). They should have released this take.

By: Teddy Salad

Teddy Salad — Fri, 22 Sep 2017 13:19:04 +0000

Saying he played “some” sounds like he meant there is “some” piano in the song and he played it. If he had said “some of” that would probably mean that he and someone else played piano on it, regardless of how much piano there is.

By: Jennifer

Jennifer — Fri, 01 Jul 2016 17:53:58 +0000

I love this one. I love Paul’s high-pitched vocals – there is a sense of impatience to it that really comes through, which is in keeping with the lyrics. I love the drums. I love the little shouty bits leading into the lines: LOOK what you’re doing; PLEASE stop your lying, etc. The middle eight in this one is a sheer delight, as well. It pleads in desperation, then softens into that long, drawn out ‘me-e-e-e-e’ as the accompaniment drops out. (It’s sort of like he’s giving up on the frustration and impatience and just saying, “Who’m I kidding, baby? I love you.”) George Martin’s undulating piano adds a unique resonance to the instrumental break. That said, as much as I like the song, I think Paul is on point when he says that sometimes the recording is better than the song.

By: Sergioq

Sergioq — Sat, 19 Dec 2015 02:40:48 +0000

In sure how to spell the sound that John and George “sing” in the background. But to me it shows real musical talent. The concept and execution, that little nuance, things that when all added up make a good song.

By: Patricio García

Patricio García — Mon, 11 Aug 2014 20:34:22 +0000

There is an early take, take 11, probably recorded on sept 30th, that sounds SO beautifuly raw. You’ll find it in youtube. I think is better than the final versión. Sometimes George Martin / Paul McCartney tended to over-produce.

By: Bluepepper54

Bluepepper54 — Thu, 19 Jun 2014 22:19:34 +0000

Lots of early tracks had these small imperfections (a sign of the times to get productions out the door while the iron was hot, as well as a nice memory of times when ‘live’ music was not always perfect); great fodder for those who like to read into things that are not really there.

By: Nanche Casas

Nanche Casas — Tue, 27 May 2014 21:55:41 +0000

The sound of this music has , for sure, made an impression upon the west coast boys; The Birds sounds like that, with a Rickenbacker!

By: Julian

Julian — Thu, 06 Feb 2014 13:54:12 +0000

I guess it was one of those times when George & Ringo would first hear the song & then arrange something to it (that’s how GOOD they were). It sounds like George’s Rickenbacker, so maybe it’s him!

By: Dougdenslowe

Dougdenslowe — Thu, 06 Feb 2014 04:40:39 +0000

I came to this site while singing (in my head)the guitar lick.Did Paul write this great guitar lick or did George write it.Anybody with information,that they can trust,please let me know!Thanks!

By: Joe

Joe — Mon, 30 Sep 2013 09:38:40 +0000

My guess is they were in a hurry. There are loads of mistakes on The Beatles’ early recordings (for another example, listen to I’ll Get You, where the vocals simultaneously go “There’s gonna be a time, when I’m gonna change your mind/make you mine”).

By: steve pais

steve pais — Mon, 30 Sep 2013 06:02:54 +0000

I think when Paul sings “you” (at 1.04) someone in the back sings “I” simultaneously… is that correct? If so, why did they leave it unaltered on the track? or was it on purpose?

By: James Ferrell

James Ferrell — Sun, 22 Sep 2013 04:48:25 +0000

+1
Very similar 12 string riff and overall feel. Similar (though less so) to the Searchers’ Needles and Pins (zah).

I never liked this one much but I think it’s an interesting transitional step toward Rubber Soul. Together with It’s Only Love from Help, which I think of as John’s counterpoint to this Paul song.

By: Steve

Steve — Sat, 17 Aug 2013 13:26:38 +0000

In an interview in Disc (14 November 1964), Paul says he played “some” piano on the track. As there isn’t a lot of piano in there, I think it’s likely that he played it all.

By: Matt

Matt — Tue, 23 Jul 2013 17:39:02 +0000

I’m surprised the connection to Jackie DeShannon’s tune “When You Walk In The Room” isn’t more noted – her song came out a year earlier and she did tour with the Beatles prior to their song. “Room” wasn’t as much a hit for Jackie as later the Searchers – but if you listen to slower DeShannon version (appears it was sped up for the single) – there more than a passing influence…just sayin’… http://www.youtube.com/watch?v=QqyKe93eBI4

By: Bruuhn

Bruuhn — Fri, 21 Jun 2013 20:25:30 +0000

Isn’t that a 12 string Rickenbacker? I’ve read that this song, along with Words of Love, Hard Day’s Night and Ticket to Ride popularized that Rickenbacker sound which the Byrds obsessed over and 20 years later was reborn through Peter Buck, Johnny Marr and all the other 80’s guitar-jangle rockers. To me that’s the most lasting aspect of this song.

By: carlos gutman

carlos gutman — Mon, 29 Oct 2012 14:17:37 +0000

Maybe the drum introduction is the hook (as Art Connor says) but please let´s not forget the marvelous guitar riff all along the song (wich dosn´t have anything to do with the melody stucture) which I´m sure is George´s own suggestion and collaboration on the writing of the song

By: T. G.

T. G. — Fri, 07 Oct 2011 10:12:16 +0000

I don’t know, but when I hear Paul singing on What You’re Doing I automatically think it’s Paul’s song because he’s the one putting the groove to it. And for the most part, history has shown that it was mostly his song idea. But also, it can’t be forgotten that none of the Beatles ever sounded the same on their own when they went solo.

By: Cameron McIntosh

Cameron McIntosh — Thu, 28 Apr 2011 17:21:09 +0000

I remember this song from day one in the U.S. The tympani drum in the beginning always made this song stand out. I believe today after understanding the dynamics and chemistry of how The Beatles operated I agree this song is more Paul and John 70/30. John was very bitter in the early Playboy interview but once he calmed down, he became more humble.

By: Art Connor

Art Connor — Tue, 02 Nov 2010 15:35:32 +0000

After ‘re-discovering’ some of the mid-period Beatle songs, I find this one to be a bit of charmer. It really has grown on me. Paul’s vocals are a bit different on this track, you can hear some of the angst and frustration coming out as he sings about his relationship. Time has shown some of these so called ‘fillers’ to be hidden and overlooked gems.

The short drum intro is right from the Phil Spector/Beach Boys songbooks. That’s the hook of the song for me. Great stuff even at this early stage with different instruments being used, and experimenting with recording techniques.