example of the Beatles breaking free of their producer's control for the first time. To achieve the desired swelling effect, Lennon knelt on the studio floor and altered the volume control on Harrison's Gretsch as he played. "I'll Follow the Sun" "I'll Follow the Sun" was a reworking of an old song. McCartney recalled in a 1988 interview: "I wrote that in my front parlour in Forthlin Road. I was about 16 ... We had this R&B image in Liverpool, a rock and roll/R&B/hardish image with the leather. So I think songs like 'I'll Follow the Sun', ballads like that, got pushed back to later." Author Mark Hertsgaard cites its inclusion as a reflection of the shortage of original material available to the band, since McCartney acknowledged that the song "wouldn't have been considered good enough" for their previous releases. Martin nevertheless later named it as his favourite song on Beatles for Sale. "Eight Days a Week" "Eight Days a Week" marked the first time the Beatles brought a partly formed song into the studio and completed the writing process as they recorded it. Two recording sessions, totalling nearly seven hours, on 6 October were devoted to the song, during which Lennon and McCartney experimented with various techniques before settling on a final structure and arrangement. Each of the first six takes featured a strikingly different approach to the beginning and end sections of the song; the eventual chiming guitar-based introduction was recorded during a different session and edited in later. The song's opening fade-in served as a counterpoint to pop songs that close with a fade out. Hertsgaard writes that the surprise provided by the fade-in was heightened for LP listeners due to the track being sequenced at the start of side two. Lennon was later highly dismissive of "Eight Days a Week", referring to it in a 1980 interview as "lousy". "Every Little Thing" The dark theme of the album was balanced by "Every Little Thing", which Unterberger describes as a "celebration of what a wonderful girl the guy has". McCartney said of the song: "'Every Little Thing', like most of the stuff I did, was my attempt at the next single ... but it became an album filler rather than the great almighty single. It didn't have quite what was required." Musicologist Walter Everett says the chorus' incorporation of "leaden" parallel fifth harmonies, supported by Starr's timpani,