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This song would eventually be released on Beatles For Sale. The verses of the original are basically the same, but the bridge is totally different (lyrics and melody).
But the bassline is the same.
This is really interesting, because while the bassline in this version isn’t very loud, once you hear it, it is noticeably more complex than Stu’s usual playing. It’s not a very difficult line to play, so we assume it is being played by Stu, but was more than likely written by Paul. This is suggested by the complexity, and supported by the fact that he kept that bassline for the album version of the song.
The lyrics of the original bridge are:
Well don’t leave me alone out here
Have courage and follow me my dear
(Both lines do not end in "my dear" as previously assumed, more on that later).
This is thematically very similar to In Spite Of All the Danger and You Must Write Every Day: needing courage, and being left alone. We believe that John living in Gambier terrace was looming large for Paul at this time, so that may be related. It also has an interesting echo in a much later song.
Here is the Beatles For Sale version for comparison:
If Paul was already writing basslines at this stage then maybe he was more familiar with the instrument than is usually assumed. This may be an early example of him “muscling in” on another band member’s territory, and could have contributed to the tensions between Paul and Stu. It is also possible that Paul is actually playing the bass here, but we can’t know whether this line was within Stu’s capabilities. Klaus, Pete, and Paul have all defended Stu’s playing, while acknowledging that it was basic.
Paul writing basslines and giving them to Stu could also have fed the idea that he was trying to take over the bass player role. We believe Paul when he says he didn’t want to play bass, but it could have looked a certain way to others.
Mike can also be heard playing ‘drums’ on a guitar case.
There's a short clip that precedes this song on the 2007 bootleg called Strong Before Our Birth, included here for interest:
As far as we can tell this is John (though we considered Paul) putting on a Spike Milligan style silly voice, saying "I need de sun, I do". The "I do" could be Paul, even if the beginning is John.
I suppose they all were teaching Stu to play bass.
When I was with Rory (Rory Storm and the Hurricanes) the Beatles were nothing. They weren't even formed, you know. And later on when we went professional…. I stopped work at twenty and went to Butman's holiday camp to play in the Rockin' Calypso. Usually every night they [the Cavern] had a steel band. Well, we went down this one afternoon and there's John and Paul, and they were teaching Stuart Sutcliffe how to play bass.
(Ringo Starr, August 1977, interview with Elliot Mintz for the program 'Inner-view' on American radio)
He wasn’t really a very good musician. In fact, he wasn’t a musician at all until we talked him into buying a bass. We taught him to play twelve-bars, like Thirty Days by Chuck Berry. That was the first thing he ever learnt. He picked up a few things and he practised a bit until he could get through a couple of other tunes as well. It was a bit ropey, but it didn’t matter at that time because he looked so cool. We never had many gigs in Liverpool before we went to Hamburg, anyway.
(George Harrison in Anthology)
And I can't remember but Mike somewhere said Paul could play bass (and drums) and he was teaching Stu to play bass. If Paul knew how to play bass why he couldn't write basslines?
Peter Brown on being in Paris with Paul in January 1968. Paul asked Peter if he was going back to the hotel after dinner and Peter said he was off to a gay bar. Paul took a taxi to “Find his own fun” and this is later that night/morning.
“In the wee hours of the morning. I was in bed with a handsome Parisian I’d met at the bar, when Paul returned to the hotel suite. He knocked on my bedroom door and entered without waiting for a response. He was totally nonchalant when he saw me in bed with my friend.
He came over and sat down on the edge of the bed next to us. ‘How was the rest of your evening?’ he asked. We chatted for a bit about travel plans the next day and he left. I’m sure my young Parisian friend told this story many times in his life, and no one believed him.”
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