Love Songs
The Beatles wrote many love songs. Some of them are ballads; some of them are rockers. The Beatles’ love songs go beyond being appealing—they became timeless classics. Some of the songs are lush with vocal harmonies, while others feature solo vocals by one of the Beatles. The melodies, chord progressions, and lyrics that evolve beyond the simplicity of boy meets girl and falls in love are what makes these love songs extraordinary classics.
“Love Me Do,” one of the first love songs written primarily by Paul when he was sixteen, is straightforward, simple, with effective lyrics. John plays a bluesy harmonica, starting with the opening riff, repeated throughout the song, plus a harmonica solo. When John was a child staying at his aunt Mimi’s house, Mimi’s acquaintance Harold Phillips gave John his first harmonica. “Love Me Do” is the first original song on which John played harmonica, but he played it and recorded it on many songs during the next several years. John and Paul harmonize together on the verses, reminiscent of the Everly Brothers’ perfectly blended singing voices. The recording of “Love Me Do” happened on three different dates. On June 6, 1962, with Pete Best on drums, the Beatles recorded their first version. Record producer George Martin was not happy with Pete’s drumming, and he made it clear that going forward he would not record the Beatles with Pete Best. George Martin’s remarks about Pete’s drumming had a significant impact on John, Paul, and George Harrison. They were at a crucial point in their music career, and the three Beatles could not afford to jeopardize their relationship with Martin. Pete was replaced by Ringo Starr, and the Beatles recorded the song again on September 4, 1962. George Martin and Paul were not satisfied with Ringo’s drumming. Another recording date was set for September 11. Not willing to take his chances recording the song with Ringo a second time, Martin and engineer Ron Richards brought in studio drummer Andy White. Ringo was relegated to playing the tambourine, and you can be sure that he was not pleased about Andy playing the drums. The recording with Ringo’s drumming was released as a single in the United Kingdom in October 1962. The version with Andy White on drums and Ringo playing tambourine was released in the United States in April 1964. This was a bumpy start for Ringo’s recording relationship with George Martin, but things quickly improved. At the recording session in November 1962 for their next single, “Please Please Me,” Ringo had secured his position as drummer, and the classic Beatles formation was set. In their wildest dreams when they initially recorded this song, the Beatles could not have imagined the magnitude of the millions of fans throughout the world who would soon love them. The Beatles certainly got what they asked for and much more.
The B-side to the “Love Me Do” single, released in the United States in April 1964, is “P.S. I Love You,” written by Paul when he was in Hamburg, Germany, in 1962. “P.S. I Love You” is a love song with a brisk cha-cha beat. The lyrics are about long-distance treasured love written in a letter. In the verses, John and George sing harmony with Paul on the first few words of each sentence. All three Beatles sing together on the choruses and on the last verse. When Paul sings “I love you,” he emphasizes the word you by repeating it. When you listen to Paul sing that word, it sounds personal, as though he is singing to you. Once again, it’s Andy White playing the drums, with his drumstick placed across the snare drum and hitting the drum’s rim. Recorded the same day that Andy and the Beatles recorded “Love Me Do,” Ringo’s only contribution to the song is playing maracas.
“Do You Want to Know a Secret?” was written by John for the most part. His inspiration to write the song was influenced by “I’m Wishing,” a song from the Disney film Snow White and the Seven Dwarfs. When John was a young boy, his mother, Julia, would sing “I’m Wishing,” which contain the lyrics “Want to know a secret?” and “Promise not to tell?” George sings the lead vocals, and John and Paul sing background vocals bathed in reverb. “Do You Want to Know a Secret?” is a bouncy love song about whispering and falling in love. During the bridge, Ringo plays percussion along with the snare drum, accentuated by a reverb effect, which makes the arrangement more interesting. Recorded in February 1963, Paul’s moving bass lines in “Do You Want to Know a Secret?” demonstrate his natural tendency to play melodic bass lines. The continuity and the powerful effect of singing the word you in so many early Beatles songs is part of the magnetic emotional appeal that attracted millions of listeners to the Beatles. “Do You Want to Know a Secret?” was a Top 10 hit single in the United States in the spring of 1964 and was the first hit single sung by George.
Let’s travel back in time when singles and albums were sold in record shops. . . . You drop a quarter into the coin box on the bus heading downtown. You’re a little nervous and excited because you will be meeting your new girlfriend at the record shop, where you both will buy the Introducing the Beatles album. Once inside the shop, you meet your girlfriend and hold hands while strolling through the record bins. Then you see it and your eyes light up. There they are—the Beatles—smiling at you on the cover of their new album. After purchasing it, you look at the list of songs on the back of the album cover. Your girlfriend tells you that “P.S. I Love You” is her favorite song. You tell her that “Do You Want to Know a Secret?” is yours. You ask her if she wants to know a secret. She does, and you whisper in her ear that you love her. Beatles songs take you to a place where you can go, a place where you feel the passion and excitement of the Beatles. They are now a big, exciting part of your life, and you begin to live and experience what the Beatles are singing about.
While George asks, “Do You Want to Know a Secret?,” John doesn’t ask any questions. When John sings “All I’ve Got to Do,” his crooning, sexy voice underscores the passionate desire to kiss. Written by John, the song begins with a soft, altered chord played by George. “All I’ve Got to Do” has a seductive nature that pulls you into the song. Paul and George sing background ahs and sing harmony on the song’s title and on the lyrics “You just gotta call on me.” During the verse fade-out, John hums the melody instead of singing lyrics. With the lyrics in this song, John makes it sound so easy. To get a kiss, all he has to do is make a phone call and whisper in her ear.
The slow, sultry sounds of “All I’ve Got to Do” fade away and make room for the exciting song “All My Loving.” Written by Paul when he was on a tour bus in England in 1963, this song arouses the desire to kiss. Unlike most of his songs, with “All My Loving” Paul wrote the lyrics first. Invariably, he writes music first and then comes up with the lyrics. Featuring similar “letter” lyrics as “P.S. I Love You,” “All My Loving” sends love in a letter to a faraway girl. John does something different with his rhythm guitar in this song. He plays a rapid, strumming guitar during the verses, which supports Paul’s lead vocals. Paul plays a walking bass line, and George plays a rockabilly guitar solo. During the last verse, Paul overdubbed a higher harmony part to his lead vocals. Paul declares that his loving will be true. In a 1980 Playboy interview, John praised “All My Loving,” saying, “It’s a damn good piece of work.”
In 1964, telephones with a rotating dial were commonplace in most homes. . . . The beige phone hangs quietly on the wall in the kitchen. You met a cute girl the other day, and you bravely gave her your phone number. She smiled at you and said she would call you. You want to speak with her. You want to whisper in her ear. And you really want to kiss her. All she has to do is call you. How you wish you could be like John. How you wish it could be so easy, just pick up the phone and call her. But you can’t because you don’t have her phone number. Eventually, she calls you and she invites you to her house, where together you listen to Beatles records and hold hands. You’re listening to “All My Loving” through a four-inch speaker on the hi-fi. Now it’s time to meet each other’s lips. She closes her eyes. You kiss her. The Beatles were writing the script for an entire generation, and you were captivated, driven to follow that exciting, sensational script.
In 1963, while the Beatles were on tour in England, John wrote “This Boy” with Paul. The clean sound of John strumming his Gibson acoustic guitar takes you in, followed by the full band and the vocals. “This Boy” is modeled after the song “To Know Her Is to Love Her,” a cover song the Beatles played during their Cavern Club days. The tight three-part harmonies, sung by John, Paul, and George, are warm and move along with the chord progression. Paul sings and weaves in some suspended passing notes. Ringo plays the perfect rhythmic pattern on his hi-hat, matching George’s guitar playing. The band opens up on the bridge as it shifts to a different chord progression to match John’s emotionally charged lead vocals about how he could be happy, and it peaks on the word cry. “This Boy” is a song about competitive, determined love, and this boy prevails.
Fueling fantasies about young love, the fast-paced love song “It Won’t Be Long” gives hope to those waiting to be loved. The song begins with the dynamic chorus in which John sings emphatically and repeatedly that it won’t be long before he belongs to you, as Paul and George answer him affirmatively, singing, “Yeah, yeah, yeah.” There are those Beatle yeah, yeah, yeahs again. John endures the waiting, convinced that he will be yours and rejoices singing that “you’re coming home” at the end of the bridge. A clever play with the words be long and belong, the lyrics “be long” will surface again three years later in George’s song “Blue Jay Way.” In “It Won’t Be Long,” George’s low-string guitar riff provides the perfect musical break in the verses. The song ends with three-part harmony on the word you. Once again, the Beatles were singing directly to their audience, telling every boy and girl that it won’t be long before they belong to the Beatles.
“I’ll Get You,” the B-side to “She Loves You,” covered in chapter 2, starts with the confident “oh yeah,” then instantly gets your attention with the opening lyric that asks you to imagine that “I’m in love with you.” The song contains a lyric variation of “yeah, yeah, yeah” from “She Loves You.” John and Paul both sing the lead vocals, sometimes in unison (singing the same note), and other times they harmonize on two different notes. John plays the harmonica throughout “I’ll Get You,” except during the bridge. His harmonica playing demonstrates why the harmonica is also called a mouth organ. John plays long, held sustained notes, like an organ does, which provides a contrast to the vertical rhythm of the song. The Beatles told you that they would get you, and they certainly did.
One of the earlier, obscure love songs, in 1962 John presented “Ask Me Why” to Paul. John was inspired to write this song, having been influenced by the American rhythm-and-blues recording artists Smokey Robinson and the Miracles. “Ask Me Why” begins with the lyrics “I love you.” John sings the lead vocals and reaches up to his falsetto voice at the end of the verses. During the bridge, John and Paul emphasize the lyrics “Can’t conceive of any more misery.” Paul and George sing background vocals and extend the last word in the first line in the verses, such as “you-ooh-ooh-ooh-ooh” and “true-ooh-ooh-ooh-ooh.” George plays a bouncy, rhythmic lead guitar part while Ringo provides a cross-stick cha-cha beat. Recorded on November 26, 1962, “Ask Me Why” spotlights John, Paul, and George’s vocals.
Moving on from being influenced by Smokey Robinson, a fine example of the Beatles’ innovation is the beginning of “Eight Days a Week.” The song begins with a fade-in, as if coming from a distance, and gradually reaches full volume just before John sings the opening lyrics, telling you that he needs your love. Paul harmonizes with John on the choruses and bridges. George plays a syncopated, rhythmic lead guitar part, and all four Beatles overdubbed handclaps. The song ends with the same opening chords played over Paul’s repetitive single-note bass line. This infectious song’s title was what a driver had said to Paul when he was driven to John’s house for a writing session. Paul asked the driver how he was, and the driver replied, “Working eight days a week.” Like the lyrics say, “Hold me, love me.” Seven days in a week was not enough, so the Beatles made it eight. “Eight Days a Week” was a number one hit in the United States in March 1965.
Instead of days, weeks, or months, John reflected on his life when he wrote “In My Life.” Written mostly by John, this is a retrospective song with a moving melody that perfectly matches the lyrics as he remembers people and places from his past. John opens up with lyrics that give the listener insights into what he was thinking when the Beatles recorded the song as part of their Rubber Soul album. A personal song, John sings about people in his life, some who are living and some who are dead. Even though he loved them all, there is no one compared to you—John loves you more. Just before the song ends, John’s vocal jumps up to his falsetto voice, and he sings, “In my life” and repeats that he loves you more. Paul and George harmonize with John on the verses and bridges. Ringo’s drum patterns during the verse and bridge perfectly complement the rhythm of the melody. On the bridge, Ringo adds tambourine to his ringing ride cymbal. George Martin plays a baroque-styled piano solo, giving the song a classic character. Paul and George sing the beautiful backing vocals. The gentle music and sincere vocals make “In My Life” one of the most popular Beatles songs.
“It’s Only Love,” written by John and Paul, is on the American Rubber Soul album. The song is filled with profound lyrics about the complexities and challenges of a loving relationship. While the sight of her lights up the night, the couple fights every night. It’s only love, but it’s so hard. When I first heard this song in December 1965, I didn’t understand the lyrics. How could love be hard? Naively, I thought that love was easy and what everyone wanted. Many years later, I realized what the lyrics meant. John plays an acoustic rhythm guitar and sings the vocal track. The soaring melody peaks in the chorus on the word love. George gives “It’s Only Love” a distinct sound with his lead guitar riff played with a tremolo effect. Several years after the recording of “It’s Only Love,” in a 1980 Playboy interview, John said, “I always thought it was a lousy song. The lyrics are abysmal. I always hated that song.” John was highly critical of himself and his songs.
The complexities of love disappear with Paul’s song “Michelle.” An acoustic guitar song, “Michelle” is a tender love song that originally was an instrumental written by Paul. He was inspired to write the song after attending parties in France. John suggested that Paul write some lyrics to the instrumental. Not knowing how to speak French very well, Paul asked the Beatles’ friend Ivan Vaughan if his wife, Jan, who was a French teacher, could help him. Jan came up with the phrase “Michelle, ma belle,” which are the opening lyrics that Paul sings. John wrote the bridge section with the repetitive “I love you.” Aside from the “Frère Jacques” background vocals in “Paperback Writer,” “Michelle” is the only Beatles song that has lyrics in French. Paul, John, and George play acoustic guitars. John plays a nylon-string classical guitar, and George plays a twelve-string acoustic. The nylon-string guitar has a softer tone than steel-string acoustic guitars. George’s lead guitar part is unusually mellow in tone, adding to the tenderness of the song.
With “Here, There and Everywhere,” Paul claims that life is better when he’s with his love. His love when he wrote the song in 1966 was actress Jane Asher. Paul was inspired to write this vocally rich love song after hearing the Beach Boys’ album Pet Sounds. While waiting for John to wake up for a songwriting session, Paul wrote “Here, There and Everywhere” sitting by the outdoor swimming pool at John’s house. There are only a few instruments played on the recording. John doesn’t play anything, but in addition to singing background vocals with George, John does snap his fingers occasionally. George plays a dreamy electric guitar melody during the bridge. The chord progression in “Here, There and Everywhere” works its way through different tonal centers. When Paul sings, “I want her everywhere” leading into the bridge, the song moves into another key. John and George sing the soft-toned rising and falling backing vocals. In the autobiographical book Paul McCartney: Many Years from Now, written by Barry Miles, Paul said that “Here, There and Everywhere” is one of his favorite Beatles songs. John said the same in his 1980 Playboy interview.
“All You Need Is Love” is a highly influential, idealistic song written by John, who sings the lead vocals. Coming off the heels of the critically acclaimed, top-selling Sgt. Pepper’s Lonely Hearts Club Band album, “All You Need Is Love” was the anthem for the 1967 summer of love, when love-ins were happening in parks at major cities in the United States, the United Kingdom, and throughout Europe. Long-haired hippies came together wearing tie-dyed clothing, some with flowers in their hair and peace signs painted on their bodies, and professed peace and love. This message song encapsulates the spirit of the “flower power” peace/love movement that exploded in 1967. Teenagers throughout the world were enraptured with the euphoria of love, and “All You Need Is Love” was their theme song. The song was premiered on the first live global television broadcast, titled Our World, on June 25, 1967. Musically, it’s complex. The song begins with a brass ensemble playing the French national anthem, “La Marseillaise,” followed by John, Paul, and George singing, “Love, love, love.” The verses alternate between a bar of four-four time and three-four time. Lyrically, the song is irresistibly positive—John sings that you can do anything as long as you have love. He also sings that love is easy. This an about-face from him singing that love is hard in “It’s Only Love.” George plays a note-bending guitar solo, mimicking the opening “love, love, love” melody. Paul invites everyone to sing along with the Beatles when he says, “All together now” and “everybody” in the last chorus. (That three-word phrase is the title to the song “All Together Now,” which was recorded approximately five weeks before “All You Need Is Love.” “All Together Now” was eventually released as part of the soundtrack to the Yellow Submarine movie in July 1968 and on the Yellow Submarine album in January 1969.) Creating a party-like atmosphere and celebration, many of the Beatles’ “beautiful people” friends attended the live-televised broadcast, and they happily complied with Paul’s invitation to join in the singing. Mick Jagger, Keith Richards, Eric Clapton, Keith Moon, Graham Nash, Jane Asher, Pattie Boyd, and Paul’s brother, known as Mike McGear, sang “love is all you need” and clapped during the ending chorus. Paul sings “she loves you” on the long fade-out. The “she loves you” addition cleverly ties one of their first love songs with this 1967 love anthem. Innocently, “All You Need Is Love” is what many teenagers believed to be true. It was a wonderful ideal, which unfortunately couldn’t last. But the song and its love message do stand the test of time.
Trans World Airlines was a popular airline in 1967, and one of their popular destinations was San Francisco. . . . You had saved up enough money from working as a waiter at the local sandwich shop to buy an airline ticket. A big love-in was going to be happening in San Francisco, so you go to the nearest Trans World Airlines ticket counter and buy your ticket to ride. “All You Need Is Love” was playing endlessly in your head, and the San Francisco love-in was where you belonged. Once in San Francisco, it didn’t take long to find the Haight-Ashbury section of the city. As if being pulled by a magnetic force, you follow a crowd of hippies to Buena Vista Park. You had heard rumors that one or two of the Beatles were going to be in San Francisco. You wondered if you were dreaming and then thought, dreams do come true. You hear a band playing “Sgt. Pepper’s Lonely Hearts Club Band.” That’s a good sign. Suddenly, in the distance you see someone wearing heart-shaped sunglasses strumming a guitar. He looks familiar. You make your way through the crowd surrounding him and hear him singing “With a Little Help from My Friends.” It was George Harrison! You try to get closer, but George abruptly stops playing and quickly vanishes into a haze of smoke. Some dreams do come true.
In 1968, John had left his wife Cynthia and began an intimate relationship with Japanese artist Yoko Ono. Paul, who had been friends with Cynthia for years, went to visit her and Julian, Cynthia and John’s son. Feeling sorry for little Julian, whose father had left him, Paul said, “Hey Jules, don’t make it bad.” Paul was giving Julian some emotional support and wanted him to believe that things would get better. As Paul was driving home, he put some of those words to a melody that he had in his head, which would become “Hey Jude.” Initially, it was “Hey Jules,” but Paul changed it to “Hey Jude” because he thought Jude sounded better. John didn’t realize that Paul wrote the song about his son. Instead, John thought Paul wrote the song about him and interpreted the lyrics “go out and get her” as Paul telling John it’s okay to be with Yoko.
The Beatles had used pianos on many of their recordings, but with “Hey Jude” the piano became the centerpiece and featured instrument in the song. The huge popularity of guitars had happened largely because of the Beatles and their guitar-dominated songs. With “Hey Jude,” pianos and piano ballads became a sudden craze. The song begins with Paul singing “Hey Jude, don’t make it bad,” along with his piano accompaniment. The tone of Paul’s vocals are warm and inviting. John and George enter the song on the second verse, singing background ahs, and harmony on the word better. John plays acoustic guitar and Ringo plays tambourine in the second verse. On the transition into the first bridge, Ringo plays a series of drum patterns, and in the bridge Paul begins his overdubbed bass part. During the bridge, Paul sings, “Don’t carry the world upon your shoulder,” and sings about a fool who plays it cool and makes his world a little colder. George’s electric guitar playing in “Hey Jude” is minimal, but you can hear him playing in sections of the bridges. John and George sing more harmony with Paul’s lead vocals in the third and fourth verses. “Hey Jude” illustrates the Beatles using dynamics effectively. By gradually adding instruments, harmonies, and ultimately a thirty-six-piece orchestra, “Hey Jude” builds dynamically and peaks during the end chorus. The first song to be released on the Beatles’ Apple Records label, “Hey Jude” was number one for a staggering nine weeks on the U.S. singles charts from September to November 1968. Its popularity was due in part to the Beatles’ desire to be innovative. “Hey Jude” is a remarkable seven minutes, eleven seconds long. The ending chorus runs four minutes, with Paul scatting a variety of screaming vocals soaring above the orchestral arrangement conducted by George Martin. But primarily, the song’s appeal is about its positive message—turning a sad situation into something better.
Perhaps you have had the unfortunate painful experience of being dumped by a lover. . . . Your girlfriend, who you had intended to marry, had suddenly dropped you when you went out of town for a week. It was a crushing blow, having been committed and dedicated to her for two years. Feeling depressed, you lay in bed, the bed where you made love with her countless times while listening to every Beatles record you own. Tossing and turning, you lament your loss and try unsuccessfully to get her out of your mind. Then you turn on the radio and hear Paul singing a ballad about taking something sad and making it better. Paul’s timely words of wisdom comfort and embrace you. The Beatles and “Hey Jude” make you feel better, better, better.
Soon after the release of “Hey Jude,” the short song “I Will” was released on The Beatles (White Album). Paul had the melody in his head for quite some time and worked on the song when he was in India. But he wasn’t happy with the lyrics. In September 1968, inspired by his new relationship with Linda Eastman, Paul wrote the love lyrics. Being a perfectionist, Paul kept recording the song until he was satisfied and recorded it a staggering sixty-seven times. Paul plays acoustic guitars, sings the lead vocals, and harmonizes with himself during the bridge and at the end of the song. The sound of the acoustic lead guitar parts glisten in “I Will.” Ringo and John play percussion, while George is absent from this recording. If you listen very carefully, you will hear an innovative vocal bass line sung by Paul. A vocal bass line? Yes, and it’s extraordinary.
“Julia,” a tender love song written and sung by John with a dreamy voice, is about his mother, Julia, who was killed by a drunk driver when John was seventeen years old. You can be sure that the death of John’s mother had a long-lasting, devastating effect on him. As an emotional release, he was able to express some of his feelings in the song. But “Julia” is not only about John’s mother. Some of the lyrics are about John’s newfound love for Yoko Ono. When translated from Japanese to English, Yoko means “child of the sea.” John paraphrases those words with the lyrics “ocean child.” A number of songs on The Beatles were performed by solo Beatles. “Julia” is a rare solo performance by John, who fingerpicks the strings on his acoustic guitar. He learned how to play fingerpicking guitar from singer-songwriter Donovan. Donovan was with the Beatles when they were all together studying meditation with the Maharishi in India, and that’s where John wrote “Julia.”
A year later, the song “Because” tantalizes your ears with classical sounding music played on an electric harpsichord by George Martin. Then the same musical notes are doubled on an electric guitar played by John. John, Paul, and George softly sing “ah” before the first verse. “Because,” written by John, is one of the last love songs recorded by the Beatles and appears on the Abbey Road album. The three-part harmony sung by John, Paul, and George is breathtakingly beautiful. Creating a lush, layered effect, they overdubbed their voices twice. George Harrison plays a synthesizer solo toward the end of the song. In 1969, George had recently acquired a Moog synthesizer and used it on a number of songs on Abbey Road. Love may be old, love may be new, but the bottom line is that love is you. A return to personalizing their lyrics, as they did with their earlier love songs, the emphasis is on you, the listener. As if unwilling to end the song, the final chord doesn’t resolve; it leaves you suspended on an unresolved chord. But it does serve as a segue to “You Never Give Me Your Money” on Abbey Road.
With the prevailing dominance and abundance of John’s and Paul’s songwriting output, in comparison, George contributed only a few songs per album. As the Beatles were falling apart in 1969, due in part to growing business differences after the death of their manager, Brian Epstein, George wrote “Something.” Initially, George had presented “Something” to John and Paul during the Beatles’ “Get Back” sessions in January 1969, but John and Paul were not enthused. That all changed when the Beatles got back together for the last time to work on the Abbey Road album. Knowing that it would be their final recording as a four-piece group, their mood and temperament toward each other improved and was amicable. George’s opening lyrics are the same as the song title “Something in the Way She Moves,” a different song written by James Taylor, who at the time was an Apple recording artist. Pattie Boyd, George’s wife in 1969, claims that the lyrics are about her. Initially, George said they were, but years later, after they had divorced, he denied it. “Something” was released as a double-sided A single in October 1969, along with John’s “Come Together.” Harmonically, “Something” is in two entirely different keys, which dramatically delineates the verse from the bridge. The verses and guitar-riff chorus are in C, while the bridge is in A. There is no harmonic relationship between the two different keys, yet the Beatles weave them together seamlessly. The way the Beatles play their instruments on “Something” demonstrates their superb musicianship. George’s critically acclaimed lead guitar solo is considered to be one of his best ever. Paul’s melodic bass part is brilliant—very busy yet perfect with the chord progression and doesn’t step on George’s vocals. Ringo’s drum fills are perfectly placed throughout the song, and his rapid hi-hat playing during the bridge adds to the drama of not knowing if love will grow, as George sings the highest notes in the song. John plays a dramatic descending low piano part after George sings “I don’t know” in the bridge. After the second time John plays it, the song returns to the verse in the key of C, where George plays his heartfelt guitar solo. Adding to the song’s arrangement, Billy Preston played the organ and George Martin wrote and conducted an orchestral score. Frank Sinatra said “Something” was the best love song ever written by John and Paul, not realizing that George had written it. George finally received his long-overdue success as a songwriter with the Beatles and achieved his first number one Beatles hit single.
Suggested Listening: “All My Loving”; “This Boy”; “In My Life”; “Here, There and Everywhere”; “All You Need Is Love”; “Hey Jude”; “Because”; “Something”