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I can still hear the nervousness in my voice! Early pressings of the single issued with a red Parlophone label are the 4 September version—minus tambourine—with Starr playing drums. On the version on the PLEASE PLEASE ME album youtube link below , if you listen very carefully to the following you will hear a slight flaw in the pitch on the word DO sung by Paul in one place. Paul McCartney: Many Years From Now.

The model was to write about boy and girl relationships. Retrieved 5 October 2012. In the United States the single was a number one hit in 1964.



When the was originally released in the United Kingdom, it peaked at number seventeen; in 1982 it was re-promoted not re-issued, retaining the same catalogue number and reached number four. In the United States the single was a number one hit in 1964. Composition, recordings and releases The song is an early composition, principally written by in 1958—1959 while playing truant from school at age 16. I think I had something to do with the middle... Love Me Do is Paul's song. He wrote it when he was a teenager. I might have helped on the middle eight, but I couldn't swear to it. John Lennon: All We Are Saying. It might have been my original idea but some of them really were 50-50s, and I think that one was. It was just Lennon and McCartney sitting down without either of us having a particularly original idea. We loved doing it, it was a very interesting thing to try and learn to do, to become songwriters. I think why we eventually got so strong was we wrote so much through our formative period. Paul McCartney: Many Years From Now. This version is available on. Starr is featured on tambourine. It was also later included on the compilation albums American version and. The Andy White version is included on their debut LP , and their Hits LP. The first CD release has both drummers and both versions. In 1969, during the , the Beatles played the song in a slower, more bluesy form than they had in earlier recordings. It is now available on a bootleg version. Background First recording session and use of harmonica On 4 September 1962, paid for the Beatles, along with their new drummer, Ringo Starr, to fly down from Liverpool to London. The Beatles were keen to record their own material, something which was almost unheard of at that time, and it is generally accepted that it is to George Martin's credit that they were allowed to float their own ideas in the first instance. The genius was theirs: no doubt about that. However, Lennon's harmonica part was present on the Anthology 1 version of the song recorded during the 6 June audition with on drums. I felt it had a definite appeal. Lennon had learned to play a chromatic harmonica that his Uncle George late husband of his had given to him as a child. But the instrument being used at this time was one stolen by Lennon from a music shop in Arnhem, the Netherlands, in 1960, as the Beatles first journeyed to Hamburg by road. Lennon was so impressed that night with Channel's harmonica player, Delbert McClinton, that he later approached him for advice on how to play the instrument. Ron Richards, placed in charge of the 11 September re-recording session in George Martin's absence, booked whom he had used in the past. Then I asked him to play maracas on 'P. We even did Please Please Me. I remember that, because while we were recording it I was playing the bass drum with a maraca in one hand and a tambourine in the other. I think it's because of that that George Martin used Andy White, the 'professional', when we went down a week later to record Love Me Do. The guy was previously booked, anyway, because of Pete Best. George didn't want to take any more chances and I was caught in the middle. I was devastated that George Martin had his doubts about me. I came down ready to roll and heard, 'We've got a professional drummer. He only played tambourine. I don't think Ringo ever got over that. He had to go back up to Liverpool and everyone asked, 'How did it go in the Smoke? Early pressings of the single issued with a red Parlophone label are the 4 September version — minus tambourine — with Starr playing drums. But later pressings of the single on a black Parlophone label , and the version used for the album, are the 11 September re-record with Andy White on drums and Starr on tambourine. I didn't think it would do anything. This definitely contradicts Mark Lewisohn's account, as in his book The Complete Beatles Recording Sessions, he has Starr on drums on 4 September and White for the 11 September re-make. In his memoirs, assistant engineer Geoff Emerick supports the Lewisohn version, recounting that Starr played drums at the 4 September session Emerick's second day at EMI , and that Martin, Smith and McCartney were all dissatisfied with the under rehearsed Starr's timekeeping. Emerick places White firmly at the second session, and describes the reactions of and Starr to the substitution. However, at some point the mixdown master tape for this song was also lost, and apparently no backup copies had been made. Thus, for many years the only extant recorded copies were the red label Parlophone 45 rpm vinyl records pressed in 1962. This version was also issued in Canada as Capitol 72076. By the time the tapes had disappeared, the song's 11 September 1962 remake featuring Andy White had been released. EMI would not have been too concerned about the loss of the 4 September take, therefore, as it was now considered obsolete, and they may not have anticipated ever having any use for it again anyway. Mono mixing of the song from an unknown take number. Take 18 used as master. Retrieved on 25 January 2013. Retrieved on 5 October 2012. Retrieved on 5 October 2012. Retrieved on 5 October 2012. Retrieved on 5 October 2012. Retrieved on 5 October 2012. Retrieved on 5 October 2012. Retrieved on 5 October 2012. Retrieved on 5 October 2012. Retrieved on 7 October 2012. Retrieved on 7 October 2012. Retrieved on 7 October 2012. The Beatles Off The Record. San Francisco: Chronicle Books. Retrieved on 14 July 2009. Retrieved on 2 October 2009. Retrieved on 12 November 2009. Here, There and Everywhere: My Life Recording the Music of the Beatles. New York: Penguin Books. Retrieved on 15 January 2011. Love Me Do: Behind the Scenes at the Recording of the Beatles' First Single. The Ultimate Beatles Encyclopedia. The Beatles Recording Sessions. New York: Harmony Books. Revolution in the Head: The Beatles' Records and the Sixties Second Revised ed. Paul McCartney: Many Years From Now. New York: Henry Holt and Company. London: Queen Anne Press. Retrieved on 12 November 2009. The Story of the World's Most Famous Recording Studios. The Beatles: The Biography. Revolution in the Head: The Beatles' Records and the Sixties. The Story of Popular Music - All You Need Is Love.

I then listened to my dad's One between, and there was no turning back after that. Revolution in the Head: The Beatles' Records and the Sixties. I then listened to my dad's One album, and there was no turning back after that. It probably went away and died, but what it meant was that the next u we went to EMI, they were more friendly: 'Oh, hello lads. Love Me Do, P. Were the Beatles subconsiously - or deliberately - paying homage to or imitating Holly with their first single. Along with the harmonica for this song, George Martin always had a smart idea for the caballeros. BTW, there is a great youtube with segments of all 3 versions, comparing them, with some commentary by some drummer. It is now available on a bootleg version.