of songs and using single A- and B-sides to create further LP releases – the song appeared on the North American album Beatles '65, released on 15 December 1964. It has since appeared on the 1978 British compilation album Rarities, while the first true stereo mix of the song to be released in the US appeared on the 1988 compilation Past Masters, Volume One. The mono mix was subsequently included on the 2009 Mono Masters compilation. Among contemporaneous reviews, Derek Johnson in the NME described "She's a Woman" as "arresting and ear-catching", and highlighted the track's "pounding beat" and blues-inflected vocal. Billboard predicted an immediate chart hit for both sides of the single and recognised the record as a "gift to Capitol on the group's first anniversary with the label". The UK single release sold 800,000 units within five days and over a million by 9 December. In the US, where five albums and sixteen singles had been released in the first seven months of 1964, the ensuing lull of new Beatles material led to fans highly anticipating the next single's release. The US release sold more than a million copies in its first week. "She's a Woman" became a hit in its own right, mostly on the strength of point of sale requests, peaking at number four on the Billboard Hot 100 and remaining on the chart for nine weeks. In a retrospective review for AllMusic, Stephen Thomas Erlewine says the song demonstrates the Beatles' ability to "rock really, really hard". MacDonald describes the track as "the most extreme sound the Beatles had manufactured to date". Writing that it is the first Beatles song to feature a high profile bass line, he opines that it foreshadows McCartney's later "striving to get his instrument 'up' in volume, tone, and octave". He further characterises the recording as outré, and groups it with "What You're Doing" and "Eight Days a Week" as one of McCartney's late-1964 recording experiments. Everett writes that his piano playing on the song "[took] his keyboard work to a new level", while describing Harrison's guitar solo as rockabilly in style, heavily influenced by guitarist Carl Perkins. Rolling Stone critic Rob Sheffield opines that the song's "power-chord thud" anticipates the sound of the heavy metal band Black Sabbath. Spencer calls the song McCartney's "stoned out-take on his Little Richard legacy", and musicologist Alan W. Pollack describes the song as