According to Robert McCrum, writing in The Observer last week, ‘the 60s arrived with the sound of a bluesy ‘dockside harmonica’: the launch of ‘Love Me Do’ on Friday 5 October. The Beatles’ raw working-class candour, mixed with Lennon’s riff, went into the nation’s teenage bloodstream like a drug. Well, we do love our anniversaries, and journalists love a neat turning point.
But it didn’t seem like that at the time – and anyway ‘Love Me Do’ didn’t enter the charts until 15 December, rose only to number 17 and remained in the Top 20 for only two weeks. I had turned 14 that year, addicted to Radio Luxembourg and the pop charts. My memory – for what it’s worth – is that ‘Love Me Do’, while interesting and catchy, didn’t stand out that much from a lot of the other stuff in the charts at the time. It was to be another five years before I came to Liverpool as an undergraduate, but for older teenagers already familiar with the Beatles’ shows at the Cavern, ‘Love Me Do’ was a pale shadow of what they sounded like live.
In fact, the week that ‘Love Me Do’ was released the nation’s teenagers were getting high on the space-age sound of ‘Telstar’ by The Tornados, the record named after the Telstar, the first communications satellite, which had been launched into orbit on 10 July that year. Written and produced by Joe Meek, the effects were created in Meek’s recording studio in a small flat above a shop in Holloway Road, North London. Coincidentally, Our World, the first live, international television broadcast to be relayed by satellite, which was broadcast on 25 June 1967 to what was the largest worldwide TVaudience ever at the time, featured The Beatles performing ‘All You Need Is Love’.
Back in December 1962 when ‘Love Me Do’ entered the charts, the big hits were ‘Lovesick Blues’ by Frank Ifield, ‘Swiss Maid’ by Del Shannon and Elvis’s ‘Return To Sender’ – The Beatles first single sounded fresher than that lot. John Lennon’s wailing harmonica, the first sound we heard on ‘Love Me Do’, was unusual but not unprecedented – it sounded a lot like the one on Bruce Channel’s ‘Hey Baby’ that had risen to number 2 back in April. The harmonica on that record had been played by Delbert McClinton; the Beatles shared a bill with Channel and McClinton at the Tower Ballroom in Wallasey on 21 June 1962.
What I’m getting at here is that, unless you had seen The Beatles live, at the end of 1962 they sounded good – but not that good. All that changed in March 1963 when ‘Please Please Me’ roared up the charts. What I really remember, in the months of Beatlemania that followed, is the truly shocking, raw sound of ‘She Loves You’ and ‘Twist and Shout’ blasting from the radiogram as we listened to Two-Way Family Favourites on the Light Programme. That’s when the sixties began.
According to Ian Macdonald’s brilliant and vital Revolution In The Head, ‘Love Me Do’ was made up by McCartney while sagging off from the Liverpool Institute four years earlier. He wasn’t sure how to finish it and showed it to Lennon, who may have contributed the ‘rudimentary middle eight’. The song was recorded – along with awful Mitch Murray song, ‘How Do You Do It’ (eventually palmed off on Gerry Marsden’s outfit) – in EMI’s Abbey Road studios on 4 September 1962.
George Martin was producing, and liked the sound – apart from Ringo’s drumming, the problem being that his drumming was actually looser than was considered acceptable at the time. So it was re-recorded a week later with an EMI session musician on drums.
Despite what I’ve said about my memory of hearing ‘Love Me Do’ at the time, Ian Macdonald averred that it sounded ‘the first faint chime of a revolutionary bell. A new spirit was abroad: artless yet unabashed – and awed by nothing’. I’ve come across no better description of the spirit of the sixties.