What stands out from the collection of covers on Please Please Me is how little motivation the Beatles got from their cotemporaries to be great writers. In 1962 Bacharach and the other tin Pan Alley/Brill Building composers were writing little more than standard doo-wop numbers like Baby, It’s You, Motown’s ‘golden period’(’64-’69) was still a few years off, Dylan was knocking out folk covers and Brian Wilson was just a three chord surf bum. Songs like Anna (Go To Him) and Chains give no inspiration to rise above the most basic level.
The other thing apparent is what a hard rocking live band they must have been. Boys and Twist And Shout have an energy and drive that is remarkable.
Ronald still hadn't plucked up the courage to tell Clay he wasn't a natural born Isley Brother...
The Isley Brothers' song Twist And Shout is probably the best known Beatle cover and rightly so. Tight as an Emo’s jeans, raw, raucous and recorded live in one take (as was Ringo's feature Boys). The song is notable also for the iconic ending, the ascending chromatic triplets finishing with a ringing D9 chord on the 3rd beat of the bar.
Ticket 18 - We've already noted the Beatles habit of finishing on a single ringing chord. The preceeding ascending (chromatic) triplets also appear elsewhere so I'm calling them Ticket 20. A cool end but taken all together such a well known Beatlesism that it might be hard for anyone else to get away with using it.
(And the ending IS a Beatles creation - the Isley Brothers' single fades out).