Editing Paperback Writer (section)

==Release and reception==
"Paperback Writer" was issued as a single in the US by [[Capitol Records]] on 30 May 1966, with the catalogue number 5651 and "Rain" as the B-side.{{sfn|Castleman|Podrazik|1976|pp=53–54}} The UK release, on EMI's [[Parlophone]] label, took place on 10 June, with the catalogue number R 5452.{{sfn|Lewisohn|2005|pp=83, 200–01}} It was the Beatles' first UK single since the "Day Tripper" / "[[We Can Work It Out]]" double A-side in December 1965.{{sfn|Turner|2016|p=150}} Other than their brief performance at the annual ''NME'' Pollwinners Concert on 1 May, promotion for the new record was also the first sign of public activity by the band since the start of the year.{{sfn|Savage|2015|pp=316, 321}}

Reviewing the single for the ''NME'', Derek Johnson said that "Paperback Writer" "swings along at a thundering pace", with McCartney's lead vocal "aided by some startling chanting". He admired Starr's "cymbal bashing" and concluded, "those sudden breaks in tempo help to increase the impact."<ref>{{cite book|editor=Sutherland, Steve|title=[[NME|NME Originals]]: Lennon|year=2003|publisher=IPC Ignite!|location=London|page=36}}</ref> In ''[[Disc and Music Echo]]'', [[Penny Valentine]] said the song had a "marvellous dance beat" and was "very striking" due to its "break-up drumming and ethereal surf chorus".{{sfn|Savage|2015|p=318}} ''[[Record World]]''{{'}}s reviewer wrote that with a new Beatles single, "the rush is on", and commented on the band's use of "interesting electronic effects to good effect",<ref>{{cite magazine|title=Single Picks of the Week|magazine=[[Record World]]|date=4 June 1966|page=1}}</ref> while ''[[Cashbox (magazine)|Cash Box]]'' predicted that the group would easily continue their run of "blockbuster" singles and described the A-side as "a rhythmic, pulsating ode with an infectious repeating riff all about the creative urge".<ref>{{cite magazine|title=Record Reviews|magazine=[[Cashbox (magazine)|Cash Box]]|date=4 June 1966|page=8}}</ref> A later review in 2016 by ''[[Rolling Stone]]'' lauded the song's innovation in paving the way to ''[[Revolver (Beatles album)|Revolver]]'', opining that "from the get-go, there is something otherworldly about Paperback Writer."<ref>{{Cite magazine |last=Fleming |first=Colin |date=2016-05-30 |title=How Beatles' Game-Changing 'Paperback Writer' Paved Way for 'Revolver' |url=https://www.rollingstone.com/music/music-news/how-beatles-game-changing-paperback-writer-paved-the-way-for-revolver-182879/ |access-date=2024-08-01 |magazine=Rolling Stone |language=en-US}}</ref>

The more widely held view was one of disappointment, according to author [[Peter Doggett]], and dismissal as "a brash, insubstantial throwaway".{{sfn|Miles|2001|p=233}} Writing in ''[[The Beatles: An Illustrated Record]]'', ''NME'' critics [[Roy Carr]] and [[Tony Tyler]] described "Paperback Writer" as "the first Beatles single to receive less-than-universal acclaim", saying that it was "perhaps a trifle too 'clever'" and criticism was focused on "the triviality of the lyric and a slight nagging suspicion that the Beatles were playing at 'being songwriters' at a time when the world was waiting for The Word".{{sfn|Carr|Tyler|1978|p=52}} The band's apparent aloofness also alienated many of their fans, who wrote into ''[[Record Mirror]]'' to disparage the group's new music.{{sfn|Savage|2015|pp=317–18}}{{refn|group=nb|Patrick Doncaster, the ''[[Daily Mirror]]''{{'}}s show business reporter, commented that neither side of the single "had any romance about them. Gone, gone, gone are the days of luv, luv, luv." He quoted McCartney as saying: "It's not our best single by any means, but we're very satisfied with it. We are experimenting all the time with our songs ... Our new LP is going to shock a lot of people."{{sfn|Turner|2016|p=213}}}} The UK music press were similarly offended by the ads for the single,{{sfn|Miles|2001|p=232}} which included a second "butcher" photo appearing in full colour on the cover of ''Disc and Music Echo'', accompanied by the caption "Beatles: What a Carve-Up!"{{sfn|Rodriguez|2012|pp=22–23, 155}}{{sfn|Turner|2016|p=201}} In author [[Nicholas Schaffner]]'s description, this image led "one crusty columnist to rail against the importation of American 'sick humor' into the United Kingdom".{{sfn|Schaffner|1978|p=55}}

Such was the Beatles' status, they were scrutinised in the press when, like "Day Tripper" / "We Can Work It Out", the single failed to top all of the UK's sales charts straightaway.{{sfn|Turner|2016|pp=27–28, 213}}{{sfn|Rodriguez|2012|p=164}} On the ''[[Record Retailer]]'' chart (subsequently adopted as the [[UK Singles Chart]]), "Paperback Writer" entered at number 2, behind [[Frank Sinatra]]'s "[[Strangers in the Night]]", before taking the top position the following week.{{sfn|Turner|2016|p=213}} On the national chart compiled by ''[[Melody Maker]]'', the song debuted at number 1,{{sfn|Castleman|Podrazik|1976|pp=337–38}} remaining there for a total of four weeks.{{sfn|Everett|1999|pp=xiii, 68}} Amid a climate of failing domestic economy, despite the country's strong exports through music,{{sfn|Philo|2015|p=102}} the record's UK sales were the lowest for any Beatles single since "[[Love Me Do]]" in 1962.{{sfn|Lewisohn|2005|p=83}}

In the US, "Paperback Writer" topped the [[Billboard Hot 100|''Billboard'' Hot 100]] for two non-consecutive weeks.{{sfn|Castleman|Podrazik|1976|p=349}} It replaced [[the Rolling Stones]]' "[[Paint It Black]]"{{sfn|Rodriguez|2012|p=164}} and was then deposed by Sinatra's single for a week before returning to number 1.<ref>"July 1–23, 1966". In: {{harvnb|''Mojo Special Limited Edition''|2002|p=54}}.</ref> It was certified as a gold record by the [[Recording Industry Association of America]] on 14 July.{{sfn|Castleman|Podrazik|1976|p=331}} The single also topped the charts in Australia, West Germany{{sfn|Turner|2005|p=101}} and many other countries around the world.{{sfn|Lewisohn|2005|p=83}}

The song's release coincided with London being feted by the US media as the "[[Swinging London|Swinging City]]" of international culture.{{sfn|Philo|2015|pp=100–01}}{{sfn|Turner|2016|pp=152–53}} In his book on the 1960s, social historian [[Arthur Marwick]] says the Beatles represented the popular image of a phenomenon in which "hitherto invisible swathes of British society became visible and assertive" and "Paperback Writer" was the song that best conveyed "the new class-defying tide of individualistic enterprise".{{sfn|Marwick|2012|pp=415–16}}

"Paperback Writer" was the only new song the Beatles included in their 1966 tour setlist.{{sfn|Zolten|2009|p=47}} Their inability to reproduce the layered vocal effect of the studio recording was a source of embarrassment for the group, however.<ref>Shaar Murray, Charles. "Revolver: Talking about a Revolution". In: {{harvnb|''Mojo Special Limited Edition''|2002|p=72}}.</ref>{{refn|group=nb|Harrison recalled that they took to waving at the audience – which he likened to the band's "Elvis legs" moment – eliciting screams that covered the poor performance.{{sfn|The Beatles|2000|p=214}}}}

In addition to moulding their characters and sound on the Beatles, [[the Monkees]] used "Paperback Writer" as the basis for their debut single, "[[Last Train to Clarksville]]".{{sfn|Savage|2015|pp=339–40}}{{sfn|Rodriguez|2012|pp=177–79}}