example of the Beatles' "comedy song" approach, which, in a contemporary interview, McCartney had suggested was a possible new direction for the group. In Womack's view, the French phrases in the lyrics accentuate the premise whereby a language barrier separates two lovers, and the narrative conveys an acceptance that their relationship is doomed to fail, such that the singer is already looking back nostalgically at what could have been. Gould describes the performance as "sentimental … French cabaret" which, following McCartney's declaration of "I love you", leads into a guitar solo by Harrison that represents "one of Jean-Paul Sartre's existential café workers". Side two "What Goes On" The Beatles had attempted to record an early version of Lennon's "What Goes On" in 1963. With little time to complete Rubber Soul, the song was reworked by Lennon and McCartney as a vocal spot for Starr, who also received his first songwriting credit, as co-composer. The song is in the country style favoured by Starr, and in its lyrics the singer laments his lover's deceit. In Everett's description, the arrangement includes Harrison's rockabilly-inflected lead guitar, played on his Gretsch Tennessean, contrasting with Lennon's "Steve Cropper-styled Memphis 'chick' rhythm part". "Girl" Lennon said he wrote "Girl" about an archetypal woman he had been searching for and would finally find in Yoko Ono, the Japanese artist he met in November 1966. In the lyrics, he also expresses his disdain for Christian moral values. The song was the final track recorded for the album. The composition incorporates aspects of Greek folk music, while the arrangement includes an instrumental passage set as a German two-step and an acoustic guitar part played to sound like a Greek bouzouki. High equalisation was applied to Lennon's vocal over the choruses to capture the hissing sound as he drew breath – an effect that also suggested he was inhaling on a marijuana joint. McCartney recalled that he and Harrison sang "Tit-tit-tit" on the middle eights to capture the "innocence" of the Beach Boys singing "La-la-la" on one of their recent songs. Riley likens the musical arrangement to a "scene from the old world" and he concludes of the song: "The old-fashioned atmosphere conveys desire and deception, and Lennon sings it as much to console himself as to make sense of its bewildering proportions ('And she promises the earth to me and I believe her/After all this time I don't know