Past Masters album cover

Long Tall Sally

1964 · Past Masters

“Saw Uncle John with long, tall Sally”

A blistering cover of Little Richard's 1956 hit, with McCartney delivering an iconic full-throated vocal in a single live take. A staple of the Beatles' live set since the Cavern days, it gave the EP its title and headlined their 1964-66 concerts.

What is unique about this song?

This song was cut as a first take, and it has George Martin playing on it as well as producing. It stands at the far end of the catalogue, the fastest record the Beatles made, at 180 beats a minute.

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What happened around it?

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The same day in the studio produced 'I Call Your Name' and 'I'm Happy Just to Dance with You' too. In the same weeks, the day after the session, filming began on the A Hard Day's Night film, shot in black and white by Richard Lester over seven weeks. And another thing, 3 days later, the Sie Liebt Dich / Komm, Gib Mir Deine Hand single came out. Besides that, 11 days later, the I Call Your Name (UK & US) single also came out, a B-side of the US Capitol single You Can't Do That, which reached the Billboard top ten, in the UK it led the Long Tall Sally EP. On the day of the record's release, the Long Tall Sally EP also came out.

Did you know?more like this →

The Family motif first appears in the Beatles catalogue on 'Long Tall Sally' (1964).

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Text147 tags

This song names real people (Aunt Mary, Uncle John, Sally), and the lyric deals in the motifs of sex and character. The words are observational, watched rather than lived, and the Beatles had done the same on 'Roll Over Beethoven' eight months earlier. It uses alliteration ('Long, tall Sally'), and a multi-syllabic rhyme arrives once, "Sally/alley". Curiously, the title names somebody. Interestingly, the line "Yeah yeah yeah" turns up in 12 Beatles songs, among them 'She Loves You', 'Hey Jude' and 'While My Guitar Gently Weeps'. The Family motif first appears in the Beatles catalogue here.

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Music122 tags

'Long Tall Sally' runs near 180 BPM in G major, and it is a rock and roll piece start to finish. The guitar solo here is two guitar solos - Lennon then Harrison, and the record features a lead sung at full stretch (full-power scream vocal). The harmony takes in a ninth chord, which fourteen Beatles songs use. Underneath it is a plain 12-bar blues, the shape behind 32 of their recordings, such as 'Little Child' and 'Chains'. As it happens, the chords run C → G → D7 → C7 → G → D7, the same shape 'You Can't Do That' plays as C7 → G7 → D7♯9 → C7 → G7 → D7.

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Studio11 tags

The tape rolled at EMI Studio 2, cut live in one take with twin lead-guitar solos from Lennon and Harrison. The band had performed it onstage for years before recording. Lennon brought the Rickenbacker 325, his guitar, something they had reached for on 'Boys' a year earlier. The kit in the room included the Ludwig Downbeat, Starr's own kit since 1963. It shares its session day with two others, the 43rd to the 45th of their career.

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Info15 tags

The record came out on June 19, 1964, and its home now is Past Masters, the 1988 collection of the singles and B-sides. America got it two months earlier, on The Beatles' Second Album, put out by Capitol, with leftover With The Beatles tracks plus singles and EP tracks not on Meet The Beatles!. This song was the 6th of the 35 records they released in 1964, and the 40th 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.

External entity links: Wikipedia · MusicBrainz recording

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