Hearing “P.S. I Love You” brings to mind the faulty stereotypes that I once associated with the Beatles’ early songs. Namely that they were mostly negligible from a technical standpoint and didn’t merit much consideration outside the fact that they belonged to a sacred oeuvre and were sometimes impossible to dislike. You know the glib suggestion that the Beatles were basically the Backstreet Boys of the early 1960s, i.e. a group defined by its hysterical popularity, especially among the female youth? In the past, I subscribed to this narrow nonsense and compounded my error by also not crediting the Beatles, circa 1962-1964, with much more than a lowly boy-band level of musical expertise. I failed to appreciate that, from the start, they were gifted individuals equipped with both a studious knowledge of rock ‘n roll and large-scale ambition.
In listening to “P.S. I Love You”, I once again come across the tempting and convincing appearance of fluff that used to distort my understanding of many Beatles songs. That is, the appearance (but not full existence) of an overly simple tune which matches a lightweight lyric with less-than-inspired sonics. Truth be told, “P.S. I Love You” is far from classic and isn’t even terribly memorable. But it’s a song that exudes a likeable, let’s-try-this spirit and shows how the wheels inside the Beatles’ collective head were constantly in motion.
The B-side to “Love Me Do”, “P.S. I Love You” is a lightly melancholic and evenly paced jangler that finds Paul, the song’s writer, pining for a girl from whom he is separated. Contrary to rumors, Paul has insisted that he did not have his then girlfriend, Dorothy “Dot” Rhone, or another love interest in mind when he composed the lyric. What’s more significant, though, is its specific styling – as a letter – which John claims that Paul modeled after the Shirelles’ 1962 hit “Soldier Boy”. Paul opens with “As I write this letter / Send my love to you / Remember that I’ll always / Be in love with you.” From these lines, one can gather a sense that his expressions of love won’t likely come without a tinge of heartache. The distance implied by the letter, then, is taking its toll. While not boldly innovative by any means, the use of this format at least demonstrates that the Beatles were thinking about different ways in which they could depart from the standard lyric. Writing a letter song may have demanded from Paul a certain kind of calculation that he wouldn’t have applied to, say, “Love Me Do”. It’s a minor but not inconsequential point.
“P.S. I Love You” also witnesses more of John and Paul’s developing methods of vocal interaction. Paul is the song’s lead vocalist and, at various times, John joins him in sustained unison, performs spot harmonies, and also fades in and out of several lines, singing every couple words but not harmonizing (or, at least, I don’t think so. On these parts, their voices don’t link up in a way that would highlight any harmony). This last technique creates a melodic texture that softly layers Paul’s vocal. Again, it’s a means to play around with pop convention and produce a sound that emphasizes its makers’ devotion to craft.
Other details to note… As with the album version of “Love Me Do”, Ringo doesn’t perform the drumwork on “P.S. I Love You”. He plays maracas while session musician Andy White is on percussion, anchoring a thin, mechanical rhythm that doesn’t seem to ever shift course. Also, near the end of the song, Paul lets out an amusingly hammed-up “Ooowwww” and “You know I want you to” which don’t yet sound natural coming from him. It’s easy to imagine the young Macca hoping that he might successfully channel one of his soulful heroes of the era, like Little Richard.
The Beatles, after all, did know their rock ‘n roll. They were creators as well as staunch admirers and students of the art. And even songs like “P.S. I Love You”, which are themselves only middling, can still reveal that fact.
// Notes from the Road
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