It’s the song everyone loves to hate, the one containing squirm-inducing lyrics that are at least politically incorrect, at most misogynistic. Even John Lennon eventually distanced himself from the tune, calling it a “throwaway song.”
Since its 1965 debut on Rubber Soul, “Run for Your Life” has occupied an uneasy place in the Beatles oeuvre. But does it deserve to be permanently buried or tossed into the never-play pile of songs such as “Revolution No. 9”?
Deep Beatles is all about fearlessly exploring the depths of the Beatles catalog, so let’s dig deeper to uncover “Run for Your Life’s” hidden meanings and, yes, charms.
The song’s roots originate with Elvis Presley; his 1955 single “Baby Let’s Play House” (itself loosely based on the country track “I Want to Play House with You” by Eddy Arnold) caught Lennon’s attention, particularly the lines “Now listen to me baby, try to understand. I’d rather see you dead, little girl, than to be with another man.” In his 1970 interview with Rolling Stone, Lennon explained that “I used to like specific lines from songs … so I wrote it around that but I didn’t think it was that important.” Barry Miles’ Many Years from Now offers Paul McCartney’s take on the track: “John was always on the run, running for his life. He was married; whereas none of my songs would have ‘catch you with another man.’” Overall he classified it as a “bit of a macho song.”
[WORST. BEATLES. EVER. AGAIN: We’ve been mercilessly derided ever since compiling our initial list of least-favorite Beatles tunes back in 2011. So, of course we’ve come back for more.]
Although Lennon later dismissed “Run for Your Life,” it became one of the first songs recorded for Rubber Soul. Entering the studio on October 12, 1965, the four worked on his composition with Lennon on acoustic guitar, McCartney playing bass, George Harrison on electric guitar, and Ringo Starr manning the snare drum and tambourine. After four attempts, the Beatles finally finished the backing track on the fifth try. Next they overdubbed more electric guitar parts from Harrison and Lennon, lead vocals, and backing vocals. According to the Beatles Bible website, the entire session lasted four and a half hours. George Martin and engineer Norman Smith commenced mixing mono versions of “Run for Your Life” on November 9, with stereo mixes finished the next day.
“Run for Your Life” received little airplay; in fact, Ottawa radio station CFRA banned the song in 1992, believing its “anti-woman” status too offensive for modern tastes. Strangely, the track did appear on a 1966 episode of the Beatles cartoon series.
Does “Run for Your Life” retain any merit? Harrison apparently thought so, as Lennon once stated that it was one of his favorites from Rubber Soul. From an instrumental perspective, it represents a solid pop song with a catchy, shuffling beat. The driving acoustic rhythm guitar is a constant presence throughout, as is Harrison’s lead guitar. Critics such as Ian MacDonald believe the guitar playing does not represent Harrison’s best work, even suggesting that Lennon actually performed the solo. “The guitar-work, some of which is badly out of tune, is similarly rough, the piercingly simplistic blues solo suggesting that the player was not Harrison but Lennon himself,” MacDonald writes in his book Revolution in the Head: The Beatles’ Records and the Sixties. While not an absolutely perfect example of guitar work, the melody still lingers.
What the track does contain is the Beatles’ patented tight harmonies, most evident in the chorus:
You’d better run for your life if you can, little girl,
Hide your head in the sand, little girl,
Catch you with another man,
That’s the end ah, little girl.
Lennon also turns in an effective vocal, the slight roughness of his voice adding to the words’ sinister connotations. Just listen to how this raspiness lends an ominous tone to already confrontational lines:
Well you know that I’m a wicked guy
And I was born with a jealous mind.
And I can’t spend my whole life
Tryin’ just to make you toe the line.
Lest anyone misinterpret the narrator’s message, Lennon reiterates his argument later: “Let this be a sermon, I mean ev’rything I said,” he sneers. “Baby, I’m determined, that I’d rather see you dead.” The tambourine weaves in and out during the song, taking the place of a harder drumbeat. After returning to the opening verse with the “I’d rather see you dead little girl, than to be with another man” line and a final return to the chorus, Lennon seemingly ad-libs as the song fades.
One is left with a sense of confusion — how can such harsh words be delivered through such an apparently bouncy tune?
Yes, “Run for Your Life” does include some alarmingly chauvinistic imagery. However, Lennon and the Beatles weren’t exactly new to this theme. “You Can’t Do That” contained the lines “If I catch you talkin’ to that boy again, I’m gonna let you down and leave you flat.” As time went on, the Beatles apparently changed with the times, admitting their previous macho attitudes — for evidence, listen to “Getting Better”: “I used to be cruel to my woman. I beat her and kept her apart from the things that she loved. Man, I was mean, but I’m changing my scene,” McCartney and Lennon sing. In his solo career, Lennon addressed his possessive side in tracks like “Jealous Guy” and “Woman.”
While the lyrics may cause today’s audiences discomfort, “Run for Your Life” should still stand as a catchy pop/rock song that effectively utilizes the Beatles’ distinctive harmonies. It may not exemplify the Beatles’ absolute best work, but the track does not deserve complete scorn.
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