riff aside, there is something unappealingly snooty about Day Tripper: the sound of an acid initiate sneering at someone insufficiently hip to have turned on, tuned in and dropped out." "Day Tripper" / "We Can Work It Out" was one of the "Treasure Island" singles listed in Greil Marcus's 1979 book Stranded. It was also included in Marsh's 1989 book The 1001 Greatest Singles Ever Made, ranked at number 382, and in Paul Williams' 1993 book Rock and Roll: The 100 Best Singles of All Time. The NME ranked it at number 25 in the magazine's list of "The Top 100 Singles of All Time" in 1976, and Mojo ranked it 62nd in a similar list compiled in 1997. In 2010, Rolling Stone ranked "Day Tripper" 39th in its list of "The 100 Greatest Beatles Songs". In Mojos list, published in 2006, the track appeared at number 74, a ranking that Keith Cameron bemoaned as too low in his commentary for the magazine. He said it was the most riff-oriented of all the Beatles' songs and praised the group's performance, highlighting Lennon and McCartney's "finest tag vocal melodrama", Starr's effective drum rolls, and Harrison's ascending sequence over the middle eight for "lur[ing] us to the verge of hysteria". "Day Tripper" was ranked the 30th best Beatles song by Ultimate Classic Rock in 2014 and by the music staff of Time Out London in 2017. By November 2012, the single had sold 1.39 million copies in the UK, making it the group's fifth million-seller in that country. As of December 2018, the double A-side was the 54th best-selling single of all time in the UK – one of six Beatles entries in the top sales rankings published by the Official Charts Company. Cover versions and musical references In 1966, the song was covered by Otis Redding, whose version peaked at number 43 on the Record Retailer chart in 1967. According to MacDonald, Redding was delighted by the Beatles' imitation of his sound in "Drive My Car" and responded by recording "his own, madly up-tempo" arrangement of "Day Tripper". Jon Savage cites Redding's covers of "Day Tripper" and the Rolling Stones' "(I Can't Get No) Satisfaction" as part of a trend by Stax artists and other African-American soul musicians that acknowledged the Beatles, the Rolling Stones and Bob Dylan but was "also an assertion of pop equality – 'We're just as good