The Thrilling Story Behind the Beatles’ “Twist and Shout”

Slate's Culture Blog
Feb. 25 2013 5:06 PM

The Beatles Race Against the Clock

130204_bloggingTheBeatles_firstAlbum

As part of our series Blogging the Beatles, we’re featuring occasional excerpts from Ian MacDonald’s Revolution in the Head, a thrilling song-by-song history of the Beatles’ records which Slate’s Stephen Metcalf has called “one of the best, if not the best, work of pop culture criticism I’ve ever read.” MacDonald was a British music critic; he died in 2003.

50 years ago this month, the Beatles entered Abbey Road studios to begin a marathon session to record their first albumPlease Please Me. We’ve already discussed some of the other recordings from the session. Below, MacDonald tells the thrilling story behind the final track they recorded, “Twist and Shout.” We quoted a portion of this section in a post about the anniversary last year; here's the passage in full.

With “Baby It’s You” in the can, the clock in Studio 2 showed 10 p.m. The Beatles had been recording for twelve hours and time was officially up. George Martin, though, needed one more number—something to send the album out with a bang. Accordingly he and his team retired with the group to the Abbey Road canteen for a last cup of coffee (or, in Lennon’s case, warm milk for his ragged throat). They knew what they had to do—the wildest thing in The Beatles’ act: “Twist and Shout,” their cover of a 1962 U.S. hit by black Cincinnati family act The Isley Brothers. An out-and-out screamer, it was always demanding. That night it was a very tall order indeed.

Back in Studio 2, the group knew they had at most two chances to get this arduous song on tape before Lennon lost his voice. At around 10:30 p.m., with him stripped to the waist and the others ‘hyping’ themselves by treating the control room staff as their audience, they went for it. The eruptive performance that ensued stunned the listening technicians and exhilarated the group (as can be heard in McCartney’s triumphant “Hey!” at the end). Trying for a second take, Lennon found he had nothing left and the session stopped there and then—but the atmosphere was still crackling. Nothing of this intensity had ever been recorded in a British pop studio.

As in their version of the Shirelles’ “Boys,” The Beatles’ arrangement of “Twist and Shout” makes the original bass line more explicit by formalizing it into a riff and doubling it with Harrison’s lead guitar. Starr’s tremendous hammering drums—his best playing on the album—are crucial to what is, in effect, a prototype of the heavy metal idiom, the group self-transformed into a great battering machine. On the Isley Brothers’ version, the bass is looser and the conception more spontaneously chaotic, with saxes and trumpets joining in on what is basically a party record with Latin overtones. Transposing the key down, Lennon moves away from the demented airborne shriek of Ronald Isley’s extraordinary performance towards something less sensual, more devilishly challenging. With his hoarse “C’mon, c’mon, c’mon, c’mon, baby, now!” he shrewdly adapts the song to a white female audience for whom such primal abandon was frenziedly thrilling in 1963.

Those who knew the group in their club days maintain that George Martin never captured their live sound. To the extent that this is true, it was largely due to the inability of contemporary British studios to cope with the bass amplitudes essential to rock-and-roll. On “Twist and Shout,” he goes some way to rectifying this by turning up the drums and pushing the gain to get more ambience, but even so the band’s authentic powerhouse sound, achieved through overdriving the Top Boost tone of their Vox AC30 amps, is only partly conveyed. Yet the result is remarkable for its time: raw to a degree unmatched by other white artists—and far too wild to be acceptable to the older generation. As such, it became a symbolic fixture of the group’s act during Beatlemania: the song where parents, however liberal, feared to tread.

Read more from 
Blogging the Beatles
The Beatles Bring Back Rock Rawness
The Forgotten Songwriter Who Inspired the Beatles
The Beatles Record Their Debut Album
The Beatles Are an Opening Band

Ian MacDonald was a British music critic and the author of Revolution in the Head. He died in 2003.

TODAY IN SLATE

Politics

Don’t Worry, Obama Isn’t Sending U.S. Troops to Fight ISIS

But the next president might. 

The Extraordinary Amicus Brief That Attempts to Explain the Wu-Tang Clan to the Supreme Court Justices

Amazon Is Officially a Gadget Company. Here Are Its Six New Devices.

The Human Need to Find Connections in Everything

It’s the source of creativity and delusions. It can harm us more than it helps us.

How Much Should You Loathe NFL Commissioner Roger Goodell?

Here are the facts.

Altered State

The Plight of the Pre-Legalization Marijuana Offender

What should happen to weed users and dealers busted before the stuff was legal?

Surprise! The Women Hired to Fix the NFL Think the NFL Is Just Great.

You Shouldn’t Spank Anyone but Your Consensual Sex Partner

Moneybox
Sept. 17 2014 5:10 PM The Most Awkward Scenario in Which a Man Can Hold a Door for a Woman
  News & Politics
Altered State
Sept. 17 2014 11:51 PM The Plight of the Pre-Legalization Marijuana Offender What should happen to weed users and dealers busted before the stuff was legal?
  Business
Business Insider
Sept. 17 2014 1:36 PM Nate Silver Versus Princeton Professor: Who Has the Right Models?
  Life
Outward
Sept. 17 2014 6:53 PM LGBTQ Luminaries Honored With MacArthur “Genius” Fellowships
  Double X
The XX Factor
Sept. 17 2014 6:14 PM Today in Gender Gaps: Biking
  Slate Plus
Slate Fare
Sept. 17 2014 9:37 AM Is Slate Too Liberal?  A members-only open thread.
  Arts
Brow Beat
Sept. 17 2014 8:25 PM A New Song and Music Video From Angel Olsen, Indie’s Next Big Thing
  Technology
Future Tense
Sept. 17 2014 9:00 PM Amazon Is Now a Gadget Company
  Health & Science
Medical Examiner
Sept. 17 2014 11:48 PM Spanking Is Great for Sex Which is why it’s grotesque for parenting.
  Sports
Sports Nut
Sept. 17 2014 3:51 PM NFL Jerk Watch: Roger Goodell How much should you loathe the pro football commissioner?