We Can Work It Out (Single):Stevie Wonder

"We Can Work It Out" is a song by the Beatles, written by Paul McCartney and John Lennon, but mainly by Paul McCartney. It was released as a "double A-sided" single with "Day Tripper", the first time both sides of a single were so designated in an initial release. Both songs were recorded during the Rubber Soulsessions.[3]

The song is an example of Lennon–McCartney collaboration[4]  at a depth that happened only rarely after they wrote the hit singles of 1963. This song, "A Day in the Life", "Baby, You're a Rich Man" and "I've Got a Feeling", are among the notable exceptions.[3]



Contents
[hide]  *1 Composition  ==Composition[ edit] == McCartney wrote the words and music to the verses and the chorus, with lyrics that "might have been personal", probably a reference to his relationship withJane Asher.[5]  McCartney then took the song to Lennon:
 * 2 Recording and release
 * 3 Personnel
 * 4 Charts
 * 5 Deep Purple version
 * 6 Stevie Wonder version
 * 7 Other cover versions
 * 8 Cultural references
 * 9 Notes
 * 10 References
 * 11 External links


 * "I took it to John to finish it off, and we wrote the middle together. Which is nice: 'Life is very short. There's no time for fussing and fighting, my friend.' Then it was George Harrison's idea to put the middle into waltz time, like a German waltz. That came on the session, it was one of the cases of the arrangement being done on the session."[5]

With its intimations of mortality, Lennon's contribution to the twelve-bar bridge contrasts typically with what Lennon saw as McCartney's cajoling optimism,[6]  a contrast also seen in other collaborations by the pair, such as "Getting Better" and "I've Got a Feeling". As Lennon told Playboy in 1980:


 * "In We Can Work It Out, Paul did the first half, I did the middle eight. But you've got Paul writing, 'We can work it out / We can work it out'—real optimistic, y'know, and me, impatient: 'Life is very short, and there's no time / For fussing and fighting, my friend.'"[7]

<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">Based on those comments, some critics overemphasised McCartney's optimism, neglecting the toughness in passages written by McCartney,<sup class="reference" id="cite_ref-FOOTNOTEMacDonald2005171.E2.80.93172_6-1" style="line-height:1;unicode-bidi:-webkit-isolate;">[6]  such as "Do I have to keep on talking until I can't go on?". Lennon's middle shifts focus from McCartney's concrete reality to a philosophical perspective in B minor, illustrating this with the waltz-time section suggested by George Harrison that leads back to the verse,<sup class="reference" id="cite_ref-FOOTNOTEMiles1997210_5-2" style="line-height:1;unicode-bidi:-webkit-isolate;">[5]  possibly meant to suggest tiresome struggle.<sup class="reference" id="cite_ref-FOOTNOTEMacDonald2005171.E2.80.93172_6-2" style="line-height:1;unicode-bidi:-webkit-isolate;">[6]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">Music critic Ian MacDonald, said:


 * "[Lennon's] passages are so suited to his Salvation Army harmonium that it's hard to imagine them not being composed on it. The swell-pedal crescendos he adds to the verses are, on the other hand, textural washes added in the studio, the first of their kind on a Beatles record and signposts to the enriched sound-palette of Revolver."<sup class="reference" id="cite_ref-FOOTNOTEMacDonald2005171.E2.80.93172_6-3" style="line-height:1;unicode-bidi:-webkit-isolate;">[6]

==Recording and release<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">The Beatles recorded "We Can Work It Out" on 20 October 1965, four days after its accompanying single track, with an overdub session on 29 October.<sup class="reference" id="cite_ref-FOOTNOTELewisohn198864.2C_66_8-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[8]  They spent nearly 11 hours on the song, by far the longest expenditure of studio time up to that point.<sup class="reference" id="cite_ref-FOOTNOTEMacDonald2005171.E2.80.93172_6-4" style="line-height:1;unicode-bidi:-webkit-isolate;">[6]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">In a discussion about what song to release as a single, Lennon argued "vociferously" for "Day Tripper", differing with the majority view that "We Can Work It Out" was a more commercial song.<sup class="reference" id="cite_ref-FOOTNOTEMiles1997210_5-3" style="line-height:1;unicode-bidi:-webkit-isolate;">[5]  As a result, the single was marketed as the first "double A-side," but airplay and point-of-sale requests soon proved "We Can Work It Out" to be more popular, and it reached No. 1 on both sides of the Atlantic, the Beatles' fastest-selling single since "Can't Buy Me Love", their previous McCartney-led A-side in the UK.<sup class="reference" id="cite_ref-FOOTNOTEMacDonald2005171.E2.80.93172_6-5" style="line-height:1;unicode-bidi:-webkit-isolate;">[6]  It has sold 1.39 million copies in the UK.<sup class="reference" id="cite_ref-guardian_nov2012_9-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[9]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">"We Can Work It Out" was the last of six number one singles in a row on the American charts, a record at the time.<sup class="reference" id="cite_ref-FOOTNOTEFred_Bronson.27s_Billboard_Book_of_Number_1_Hits.2C_5th_Edition_10-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[10]  It was preceded by "I Feel Fine", "Eight Days a Week", "Ticket to Ride", "Help!", and "Yesterday".<sup class="reference" id="cite_ref-FOOTNOTEWallgren198238.E2.80.9345_11-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[11]  The song became the band's 11th number one, accomplished in just under two years time.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">The Beatles made 10 black-and-white promo films for television broadcasters on 23 November 1965, at Twickenham Film Studios in London, as they were often unable to make personal appearances by that time. Three of the films were mimed performances of "We Can Work It Out", in all of which Lennon was seated at a harmonium. The most frequently-broadcast of the three versions was a straightforward performance piece with the group wearing black suits. Another had the group wearing the stage suits from their Shea Stadium performance on 15 August; the third opens with a shot of Lennon with asunflower in front of his eye.<sup class="reference" id="cite_ref-FOOTNOTEThe_Beatles_Bible2008_12-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[12]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">In 1991, McCartney played an acoustic version of the song for his MTV Unplugged performance, memorable for his flubbing the first verse and his good-natured reaction, later released on Unplugged (The Official Bootleg). ==Personnel<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==
 * Paul McCartney – double-tracked vocal, bass
 * John Lennon – harmony vocal, acoustic rhythm guitar, harmonium
 * Ringo Starr – drums, tambourine
 * George Martin – producer
 * Norman Smith – engineer
 * Personnel per MacDonald<sup class="reference" id="cite_ref-FOOTNOTEMacDonald2005171.E2.80.93172_6-6" style="line-height:1;unicode-bidi:-webkit-isolate;">[6]

<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">MacDonald was not sure whether or not Harrison sang a harmony vocal part.<sup class="reference" id="cite_ref-FOOTNOTEMacDonald2005171.E2.80.93172_6-7" style="line-height:1;unicode-bidi:-webkit-isolate;">[6]  MacDonald praised the tambourine playing and noted that some sources attribute it to Harrison, not Starr. He mentions though that Starr is more likely to have played the instrument.<sup class="reference" id="cite_ref-FOOTNOTEMacDonald2005171.E2.80.93172_6-8" style="line-height:1;unicode-bidi:-webkit-isolate;">[6] ==Charts<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ==Deep Purple version<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">Deep Purple covered it on their second album The Book of Taliesyn, from 1968. The band drastically reworked it, as they always did with covers. The first three minutes of the song is a fast, progressive instrumental jam incorporating themes from classical music (notably Tchaicowsky's Romeo and Juliet) called "Exposition," which seamlessly drifts over into the actual Beatles song. Such overblown arrangements and attempts at making a rather simple song sound epic, was normal for Deep Purple in this period, and they had already followed the same structure on their covers on the debut album (such as The Leaves' "Hey Joe"). Reportedly, the band recorded their version of the song because Paul McCartney himself had stated that he was really fond of their previous Beatles cover, "Help!", which was featured on Shades of Deep Purple. It was never performed live again after 1969. ==Stevie Wonder version<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">In 1970, Stevie Wonder covered the song on his album Signed, Sealed, and Delivered, and released it as a single in 1971. That single reached #13 on theBillboard Hot 100. Stevie Wonder's cover version earned his second Grammy Award nomination in 1972, for Best Male R&B Vocal Performance.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">Wonder performed his version of the song for McCartney after the latter was awarded the Grammy Lifetime Achievement Award in 1990.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">In 2010, after McCartney was awarded the Gershwin Prize by the Library of Congress, Wonder (who had himself received the Gershwin Prize the year before) again performed his arrangement of the song at a White House ceremony held in McCartney's honor. Wonder performed it a third time in January 2014 at the 50th anniversary tribute of The Beatles' appearance on The Ed Sullivan Show. ==Other cover versions<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ==Cultural references<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==
 * In 1966, Petula Clark recorded a version for the My Love album.
 * In 1971, Valerie Simpson covered the song on her album Exposed.
 * In 1975, Humble Pie covered the song for their album, Street Rats.
 * In 1975, Mike Harrison covered the song on his album Rainbow Rider.
 * In 1976, The Four Seasons did a cover version of the song for the musical documentary All This and World War II.
 * In 1978, Melanie covered the song on her album Phonogenic – Not Just Another Pretty Face.
 * In 1981, Chaka Khan covered the song on her album "What Cha' Gonna Do for Me".
 * In 1981, Stars on 45 covered it as part of an eight song Beatles medley in their hit "Stars on 45", which hit #1 that June.
 * In 1990, Tesla covered the song on their live album Five Man Acoustical Jam.
 * In 1995, PFR released a cover of the song with Phil Keaggy for the various artists tribute CD Come Together: America Salutes The Beatles.
 * In 2001, Anthony Stewart Head & George Sarah recorded the song on their album Music for Elevators.
 * In 2002, Heather Nova recorded a version for the I Am Sam soundtrack.
 * In 2002, The Punkles recorded a cover version of the song on their second album Punk!.
 * In 2002, Noa and Mira Awad did a cover version together that appears on Noa's album Now.
 * In 2004, Beatallica recorded a mashup of the song and Metallica's "Hit the Lights" called "We Can Hit the Lightz", on their second EP Beatallica.
 * In 2006, Plain White T's recorded a cover of the song for the deluxe version of their album Every Second Counts.
 * In 2007, Shelter recorded a version for a re-release of their 1995 album Mantra.
 * In 2007, Lucy Lawless and Renee O'Connor did their version at Chicago Convention. <sup class="noprint Inline-Template" style="line-height:1;white-space:nowrap;">[clarification needed]
 * In 2008, Chris de Burgh recorded a cover version of the song on his album Footsteps.
 * In 2008, Overboard recorded an a cappella version for their album Castaways.
 * In 2009, The Slackers recorded a reggae version of the song on their album Lost & Found.
 * In 2011, Crooked Still recorded a bluegrass music version of the song for their EP, Friends of Fall.
 * In 2012, Big Time Rush recorded a pop version of this song for their television film Big Time Movie.
 * The song is mentioned in the 1967 film Guess Who's Coming to Dinner, starring Katharine Hepburn, Sidney Poitier and Spencer Tracy.
 * Denis Leary's character in National Lampoon's Loaded Weapon 1 quotes the lyric "life is very short, and there's no time for fighting or fussing, my friend" during a war of words with William Shatner'scharacter.
 * Bad Religion quoted the lyric "there's no time for fussing and fighting, my friend" in their song "You" on the No Control album. The same song references McCartney's solo hit "Maybe I'm Amazed."