Editing Beatles for Sale (section)

===="What You're Doing"====
The lyrics of "[[What You're Doing]]" concern McCartney's relationship with Jane Asher{{sfn|Spencer|2002|p=131}} and demonstrate an aggrieved tone that was uncharacteristic of his writing.{{sfn|MacDonald|2005|p=131}}{{refn|group=nb|Asher was also the muse for McCartney compositions such as "[[I'm Looking Through You]]" and "[[You Won't See Me]]", from ''[[Rubber Soul]]'', "[[We Can Work It Out]]",{{sfn|MacDonald|2005|pp=131, 180}} and "[[For No One]]", from ''[[Revolver (Beatles album)|Revolver]]''.{{sfn|Sounes|2010|p=144}}}} Author Simon Philo identifies the song's combination of musical arrangement, "sonic texture" and lyrics as an early example of the influence of cannabis on McCartney, who said the drug made him start "really thinking for the first time".{{sfn|Philo|2015|pp=84–85}} The recording features a syncopated drum pattern and a jangly Rickenbacker guitar [[riff]],{{sfn|Everett|2001|p=260}} as well as an instrumental [[Coda (music)|coda]] that McCartney introduces by playing high up on the neck of his [[Höfner]] bass.{{sfn|Spencer|2002|pp=131–32}} A satisfactory arrangement proved elusive until the band remade the track on the final day of the ''Beatles for Sale'' sessions.{{sfn|Miles|2001|p=181}}{{sfn|Lewisohn|2005|pp=49, 51}} While highlighting the studio techniques used to achieve the completed recording, MacDonald considers "What You're Doing" to be a possible rival to "I Feel Fine" as the Beatles' "first sound experiment".{{sfn|MacDonald|2005|pp=130–31}}{{refn|group=nb|McCartney later dismissed the track as "a bit of filler", however, saying, "Maybe it's a better recording than it is a song&nbsp;..."{{sfn|Miles|1997|pp=175–176}}}}