Talk:Day Tripper

Otis Redding cover

The 2005 Rhino Special Products album Day Trippers: An R&B Tribute To The Beatles (ISBN 0-7694-2853-3) has a cover of "Day Tripper" recorded by Otis Redding. Now, obviously, he died well before 2005, but the CD insert doesn't give any info on when these tracks might have been recorded and whether they're collected from other sources, or what. If we could track down this info, it would be worth inclusion in the table of cover versions.Lawikitejana (talk) 04:30, 9 November 2008 (UTC)

Teaser

In the clips of their performing this song (see youtube), Lennon and McCartney always seem to smile at each other when they sing "she's a big teaser", strongly suggesting that the "prick teaser" lyric is in their minds. But "she" doesn't seem to be a classic "teaser". She "goes all the way" once, but refuses to take it further. Seeming to promise a long term relationship, she in fact acts like a "typical male". Lots more could be, and probably has been, written about the theme of "feminisation" and "unmanning" in Lennon's lyrics. Tsinfandel (talk) 22:47, 19 September 2009 (UTC)

Use of the riff in "Hell Freezes Over" by the Eagles

Does the use of the riff by Glenn Frey and Joe Walsh in the 1994 show by the Eagles need to be mentioned? -- Jarash (talk) 21:14, 20 July 2011 (UTC)

Oasis and Eddie Vedder?

I received a copy of a live recording of this song credited to Oasis and Eddie Vedder but I can't find a credible source to confirm it. I keep seeing "free mp3" download sites on Google searches and nothing more reliable than that. I'm hoping someone out there might happen to know the right credits or where to point to find a real recording. Medleystudios72 (talk) 19:49, 26 July 2012 (UTC)

Tray Dipper parody

The Bicycling Guitarist does a parody of this song that makes a Spoonerism of the title and then talks about a woman at a buffet who likes the cheese. The lyrics sound very close to the original song. On The Bicycling Guitarist's lyrics page for this song, he quotes G.K. Chesterton "The poets have been mysteriously silent on the subject of cheese." There is a video on YouTube of a recent live performance of this song at http://www.youtube.com/watch?v=ZG1EEtnZO2o — Preceding unsigned comment added by 100.42.166.39 (talk) 14:53, 29 October 2012 (UTC)

Epiphone Casino

What is the source for John playing a Casino on this track? He is not known to have owned a Casino at the time (he and George both bought Casinos in early 1966), and Paul's had been modified to be played left-handed (which probably required replacing the nut, so playing it right-handed would have been impractical). I'm inclined to take out the reference to the Casino unless it can be substantiated.

John's rhythm chords sound more like his usual (at that time) Rickenbacker 325, and George's playing of the main riff has been conjectured (there being no direct evidence, as far as I know) to be on either a Gretsch Tennessean or a Gibson ES-345 (both of which he owned at about that time). Additionally, the riff is double-tracked, so it's possible that the second guitar is different; it could be Paul on his Casino.

Although John says 'the guitar break' is his, the solo in that song sounds much more like Paul's lead playing; compare it to Paul's lead fills in 'Ticket to Ride', for example. I wish someone would ask Paul about this. -- Craig418 (talk) 19:07, 23 January 2014 (UTC)

I've listened to the guitar solo and it resembles more the tone of a Fender Stratocaster than Epiphone Casino, so since Paul didn't own a left-handed Fender Stratocaster or a restrung lefty one, it's more likely to be George playing the solo, not Paul. As far as I'm concerned, Paul has never publicly said that he played lead guitar on "Day Tripper", so I don't know where people are getting that idea from. 61.69.217.3 (talk) 22:27, 17 December 2017 (UTC)

Ian MacDonald

Ian MacDonald should do less critique and more music study. The song has no chorus ffs. And it's not a relative minor there anyway. Boundless stupidity. Whoever cited him falls into the same category.

Yeah, relative minor? The chords are F#7 for four bars, followed by one bar each of A7, G#7, C#7, and B. Anyway, Ian MacDonald's days of both critique and study are over, since he committed suicide in 2003. https://en.wikipedia.org/wiki/Ian_MacDonald#Death John Link (talk) 18:22, 16 May 2018 (UTC)

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Music video

George's joking remarks need a citation 2A02:908:13C3:7C40:59C5:EFA3:90EC:8DE6 (talk) 17:10, 6 September 2017 (UTC)

Chorus section

Pedler shows the chords as F#7 – A7 – G#7 – C#7 – B7,[1] as do two Hal Leonard chord books[2][3] (access to Leonard's The Beatles Complete Scores is limited). Also, he discusses the chords and identifies the C#7 as a major chord rather than the relative minor as MacDonald seems to. If the chords were to stay, it would make more sense to write out the bars to give an idea of their duration. [looks like this has been commented on before, see the "Ian MacDonald" section above] —Ojorojo (talk) 18:36, 4 September 2019 (UTC)

Update: Yep, and further to the discussion above, I suggest we ignore MacDonald's description, at least with regard to this chord. It's not just Pedler and the Hal Leonard scores that identify it as C#7; so does Walter Everett, Alan W. Pollack and, I've just discovered, the Beatles 1965 songbook published by Music Sales Limited. (Not that our ears have any bearing on anything here, but I think it's clear from listening to the recording that while Harrison [on the right] plays only the bass strings in the barre chord, Lennon [on the left] strums the full chord, up-down, and it's not a minor at all.)

As the decades go by, the usefulness of MacDonald's Revolution in the Head does diminish. His opinion of whether a song is good or bad is still a valid inclusion, because of the notability of his book, but its real strength will always be locating the Beatles within the era's sociocultural developments (some would say "revolution"). In fact, that's the book's only strength nowadays, imo, and one sees his comments and insights on that topic cited and quoted in many studies of 1960s pop culture and society. Hundreds of Beatles books have been published since MacDonald last made a genuine "revised" edition of Revolution in the Head (in 1997), some of them very good. And it's not as if we're obliged to include his take on a particular chord sequence just because he's Ian MacDonald, and especially when he appears to be in a minority of one. JG66 (talk) 08:15, 9 October 2020 (UTC)

Incomprehensible

Under "Composition" it says:

"Under the pressure of needing a new single for the Christmas market,[8] John Lennon wrote much of the music and most of the lyrics, while Paul McCartney worked on the verses."

Could someone please clarify? (BTW, I bought the single when it was released.)2001:7E8:C9B8:4E00:FD20:A079:539B:B86A (talk) 09:03, 13 December 2019 (UTC)

The statement's unsourced and has been for a while. From reading Walter Everett's description, I think it's a case of a musicologist's description being misunderstood – Everett uses "verse" to mean words (lyrics). He writes that Lennon said he wrote all of "Day Tripper" but "attributed some of the verse to his partner [McCartney]". I'll fix it on the page. JG66 (talk) 10:18, 13 December 2019 (UTC)

Riff

JG66: Hello there. One of your edit summaries mentioned Buffalo Springfield – I remember seeing the DT riff mentioned while doing some research for Bluebird. Einarson writes in his group bio that Young does "cop" the riff during "Baby Don't Scold Me".[p. 135] Apparently, their record company didn't think that highly of the song and replaced it with For What It's Worth for the second pressing on their first album.

I also saw April Wine mentioned, which I vaguely remember with Satisfaction. I thought about the two riffs recorded around the same time, which led me to this mention: "Lennon and McCartney's DT may be heard as a direct response to Satisfaction, with DT's riff topping the Stones ..."[eBook] Use/abuse as you see fit. —Ojorojo (talk) 15:28, 16 December 2019 (UTC)

Hey Ojorojo, thanks for that. Much appreciated. Will take a look – it'll be good to reinstate mention of the Springfield track. JG66 (talk) 15:52, 16 December 2019 (UTC)

The Bleriot XI aeroplane

The aeroplane in the video is pretty clearly a circa 1909 Bleriot

please compare the plane in the video to this:

https://en.wikipedia.org/wiki/Bl%C3%A9riot_XI

Tupelo the typo fixer (talk) 14:52, 18 December 2021 (UTC)

First UK double A-side

The Billboard article does state "EMI settled for a double-side promotion campaign—unique in Britain" and OCC includes "The first official double A-side was released by The Beatles in 1965, when Day Tripper/We Can Work It Out spent five weeks at Number 1 at Christmas." However, it appears that there was at least one prior double-A in 1965, the Yardbirds "Evil Hearted You" / "Still I'm Sad". Biographer Greg Russo, who is usually dependable, writes:

It was finally time to release their next British single: "Evil Hearted You" b/w "Still I'm Sad" in early October 1965. "Evil Hearted You" and "Still I'm Sad" formed a double A-sided hit single in England thanks to [manager Giorgio] Gomelsky's insistence: Record Retailer charted it as one release, peaking at #3, while N.M.E. listed "Evil Hearted You" (peak #10) and "Still I'm Sad" (peak #9) separately."[The Ultimate Rave-Up (2016) p.50]

The current OCC web page lists it as "20.10.1965 EVIL HEARTED YOU/STILL I'M SAD Peak Pos 03".[4] This is the same format it uses for DT: "15.12.1965 DAY TRIPPER/WE CAN WORK IT OUT Peak Pos 01".[5] Is there some explanation for the discepency?

—Ojorojo (talk) 17:16, 1 May 2023 (UTC)

I was skeptical when the only example of previous double A-sides were listings on the OCC website, but it is interesting that a reliable source (Greg Russo) says that the Yardbirds' management specifically intended for "Evil Hearted You" / "Still I'm Sad" to be a double A-side. It would be extra helpful if we could find a contemporary advertisement indicating the novelty of the release.

Reading through different Beatles sources, most write that it was the first time a 45 was released as a double A-side:

• Mark Lewisohn 1988, p. 69: "And the single 'We Can Work It Out'/'Day Tripper was one of the highlights of the group's career, a record so strong on both sides that, for the first time, it was officially released as a double A-side."
• Mark Hertsgaard, 1996, pp. 152, 374: "'Day Tripper,' the companion song issued with 'We Can Work It Out' as a double A-sided single, a rarely employed category that indicated both songs were deemed strong enough to become hits. ... Note: That 'We Can Work It Out' and 'Day Tripper' were issued as a double A-sided single is confirmed on page 69 of [Mark Lewisohn's book] Recording Sessions, which notes that this was the first instance of such a release."
• Steve Turner 2016, p. 28: George Harrison ... felt [the new single not making number one on every British chart] was the result of marketing the single as a double A-side, the first time any artist had done so."

Walter Everett, Peter Doggett, Jonathan Gould and Barry Miles write that it was a double A-side without mentioning it being the first ever of its kind.

I think Lewisohn could also be read as saying that it was the first time that the Beatles had done it, even if it maybe was not the first ever double A-side. Tkbrett (✉) 19:19, 1 May 2023 (UTC)

A 7 October ad in Record Mirror shows "A New Single! Yardbirds Evil Hearted You / Still I'm Sad Columbia DB 7706 EMI"p. 2 Other singles advertised in the same issue only list one song title, so the idea that the YB single was promoted as a double A is plausible. As you mention, another interpretation of the Beatles' claim may be "the first time the Beatles had released and/or promoted a single as a double A"; or "the first time a double A reached number one" (if true).

Anyway, without some other sources, "The single was the first example of a double A-side in Britain" should probably be removed from the lead and "the first of its kind in the UK" in the "A-side status and promotional clips" section could be moved to an efn with an explanation that at least one other double A had been previously released and apparently promoted as such in Britain.

—Ojorojo (talk) 14:57, 2 May 2023 (UTC)

Alex Petridis quote

"Alex Petridis of The Guardian finds the song inferior to "We Can Work It Out", writing: "Its addictive riff aside, there is something unappealingly snooty about Day Tripper: the sound of an acid initiate sneering..." This seems strange after the praise of the previous comments which are specifically about the musicality. Is Petridis complaining only of the lyrics specifically? What is the "sound" of sneering??? I guess it's helpful to have a contradictory opinion, but it seems whiney and low quality, searching for faults that don't really exist, but have just triggered someone who is insecure about their own disdain for psychedelics. We get that you don't like LSD, Alex, but is this just making up stuff? I hear the "sound of sneering, but it's not from the song, it's from the critic with an agenda! Cuvtixo (talk) 20:01, 20 December 2023 (UTC)

Covers

Needs to list the cover by Daniel Ash of Love & Rockets. 76.205.180.44 (talk) 19:11, 4 January 2024 (UTC)