“Working for peanuts is all very fine”
What is unique about this song?
Among the 217, it is one of two in all that show the mark of Stax, in company with 'Got to Get You into My Life'. It also came from Lennon and McCartney jointly, rather than from one of them. This is the only one of the fourteen songs on Rubber Soul with cowbell on it, and they had done the same on 'You Can't Do That' a year earlier. Six Beatles records have guitar and bass playing the same line, and this one is the earliest.
What happened around it?
see full timeline →'Run for Your Life' and 'Norwegian Wood (This Bird Has Flown)' were on the tape around then too. As it happened, 12 days before the session, Dolby A Noise Reduction was launched.
This song is the only Beatles song with a VI to vii section transition.
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Text247 tags
This song is a character song (Aspiring starlet, unnamed), written about somebody in particular, and it deals in the motifs of social commentary and storytelling, which also turns up in 'Long Tall Sally', a year earlier. It uses onomatopoeia ('Beep-beep'm-beep-beep'). The title issues a command, and the language is tonally neutral. The writing draws on Chuck Berry and R&B. One for the curious, the line "I got something to say" turns up in one other Beatles song, 'You Can't Do That'.
Recurring words
Cover-shared words
Lyric shape
Cover-shared shape
Distinctive word
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Music151 tags
'Drive My Car' is a rock and R&B song, written in D major and taken at about 103 BPM, with Stax and Motown influences. The guitar riff here is doubled by bass. Then, listen to slide guitar (McCartney solo overdub) and a melodic bass (the bass line is lifted from Otis Redding's 'Respect'). Whether it was meant or not, the harmony moves D7 → G7 → D7 → G7 → D7 → G7 → A, the same shape 'Good Morning Good Morning' takes as A → D → A → D → A → D → E.
Chord shape
Chord literal
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Studio10 tags
The song came out of EMI Studio 2, cut in four takes with overdubbed piano and slide guitar from McCartney. The bassline borrows directly from Otis Redding's 'Respect'. They reached for the Ludwig Super Classic, Starr's own kit since 1964, 1965 being the year he used it most. Among the 33 songs they recorded in 1965 this was the 21st, and the 90th of the career.
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People14 tags
McCartney and Lennon wrote it, the two of them share the lead, as they do on 'I've Got a Feeling' and 'We Can Work It Out'. There is a role swap on it, McCartney on slide lead guitar solo, with cowbell among the instruments. He wrote the tune and called it one of the stickiest writing sessions the two of them had. Lennon rejected McCartney's first lyric and the pair rewrote it together, the title credited to him by Bob Spitz.
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Info17 tags
The record reached listeners on December 3, 1965, as one track among many on Rubber Soul. In the running order it starts the album. In America it arrived six months later, on Yesterday and Today, a Capitol record. This song was the 18th of the 33 records the Beatles released in that year, and the 87th of their career.
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Sources & references
Tags on this page are original analysis, transcribed and cross-checked against the fine work of others: Alan W. Pollack's “Notes on…” series, the Beatles Complete Scores (Hal Leonard), Mark Lewisohn's session histories, Ian MacDonald's Revolution in the Head, Dave Rybaczewski's Beatles Music History and Andy Babiuk's Beatles Gear for the instruments and studio equipment, and others besides - then verified by ear against the recordings. Full bibliography: Sources & thanks.
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