Released: 4 December 1964 (UK), 14 June 1965 (US)
Inspired by Paul McCartney’s often-stormy relationship with Jane Asher, What You’re Doing saw The Beatles experimenting with arrangement and production in a number of ways.
There are several notable aspects to the song. The first is the four-bar solo drum pattern which introduces the song, which returns again before the coda. It is possible that this, as in Ticket To Ride and Tomorrow Never Knows, was suggested by McCartney.
McCartney deploys an unusual internal rhyming scheme in the verses: ‘doing’ is paired with ‘blue and’, and ‘running’ with ‘fun in’ – an effect also used on She’s A Woman. Additionally, the shouted emphasis of certain words in Lennon and Harrison’s backing vocals – which recall those from PS I Love You – add a sense of urgency.
Most notable, however, is the distortion on the guitar backing and solo – an unusual sound at the time. The piano/bass break before the ending also showed The Beatles testing out ideas and establishing recording techniques which they would later use to dazzling effect.
What You’re Doing was a bit of a filler. I think it was a little more mine than John’s, but I don’t have a very clear recollection so to be on the safe side I’d put it as 50-50. It doesn’t sound like an idea that I remember John offering, so it sounds like a way to get a song started, some of them are just that. ‘Hey, what’cha doing?’ You sometimes start a song and hope the best bit will arrive by the time you get to the chorus… but sometimes that’s all you get, and I suspect this was one of them. Maybe it’s a better recording than it is a song, some of them are. Sometimes a good recording would enhance the song.
Many Years From Now, Barry Miles
What You’re Doing was first released in the UK on Beatles For Sale. US audiences had to wait until June 1965 to hear it, when it appeared on the Beatles VI album.
In the studio
What You’re Doing was recorded over three days at Abbey Road. The first session took place on 29 September 1964, at which The Beatles taped seven takes of the rhythm track.
They recorded another five attempts the following day. At this stage the instrumental break was an octave higher, and there was a brief pause before the coda.
The song was eventually completed on 26 October; the final song to be finished on the final day’s recording for Beatles For Sale. Seven takes were recorded, only three of which were complete. Take 19, the final attempt, was the one used for the album.