Lennon–McCartney
Lennon–McCartney was the
Unlike many songwriting partnerships that comprise a separate lyricist and composer, such as George and Ira Gershwin, Richard Rodgers and Oscar Hammerstein II, or Elton John and Bernie Taupin, both Lennon and McCartney wrote lyrics and music. Sometimes, especially early on, they would collaborate extensively when writing songs, working "eyeball to eyeball" as Lennon phrased it.[2] During the latter half of their partnership, it became more common for either of them to write most of a song on their own with minimal input from the other, and sometimes none at all. By an agreement made before the Beatles became famous, Lennon and McCartney were credited equally with songs that either one of them wrote while their partnership lasted.
Lennon–McCartney compositions have been the subject of numerous
Meeting
Although McCartney had previously seen and noticed Lennon in the local area without knowing who he was,
Writing chemistry
Lennon said the main intention of the Beatles' music was to communicate, and that, to this effect, he and McCartney had a shared purpose. Author David Rowley points out that at least half of all Lennon–McCartney lyrics have the words "you" and/or "your" in the first line.
[Paul] provided a lightness, an optimism, while I would always go for the sadness, the discords, the bluesy notes. There was a period when I thought I didn't write melodies, that Paul wrote those and I just wrote straight, shouting rock 'n' roll. But, of course, when I think of some of my own songs—"In My Life", or some of the early stuff, "This Boy"—I was writing melody with the best of them.[11]
Historian Todd Compton has noted that there is some truth to Lennon's statement regarding McCartney's optimism. However, it does not tell the whole story, as some of McCartney's most characteristic songs are tragic, or express themes of isolation, such as "Yesterday", "She's Leaving Home", "Eleanor Rigby" or "For No One".[12]
Although Lennon and McCartney often wrote independently—and many Beatles songs are primarily the work of one or the other—it was rare that a song would be completed without some input from both writers. In many instances, one writer would sketch an idea or a song fragment and take it to the other to finish or improve; in some cases, two incomplete songs or song ideas that each had worked on individually would be combined into a complete song. Often one of the pair would add a
As time went on, the songs increasingly became the work of one writer or the other, often with the partner offering up only a few words or an alternative chord. "A Day in the Life" is a well-known example of a later Beatles song that includes substantial contributions by both Lennon and McCartney, where a separate song fragment by McCartney ("Woke up, fell out of bed, dragged a comb across my head ...") was used to flesh out the middle of Lennon's composition ("I read the news today, oh boy ..."). "Hey Jude" is another example of a later McCartney song that had input from Lennon: while auditioning the song for Lennon, when McCartney came to the lyric "the movement you need is on your shoulder", McCartney assured Lennon that he would change the line—which McCartney felt was nonsensical—as soon as he could come up with a better lyric. Lennon advised McCartney to leave that line alone, saying it was one of the strongest in the song.[15]
Though Lennon and McCartney's collaborative efforts decreased in later years, they continued to influence one another. As Lennon stated in 1969, "We write how we write now because of each other. Paul was there for five or ten years, and I wouldn't write like I write now if it weren't for Paul, and he wouldn't write like he does if it weren't for me."[16][17]
Credit variations and disputes
Joint credit
When McCartney and Lennon met as teenagers and began writing songs together, they agreed that all songs written by them (whether individually or jointly) should be credited to both of them.[18] The precise date of the agreement is unknown; however, Lennon spoke in 1980 of an informal agreement between him and McCartney made "when we were fifteen or sixteen".[19] Two songs written (primarily by Lennon) in 1957, "Hello Little Girl" and "One After 909", were credited to the partnership when published in the following decade.[20] The earliest Beatles recording credited to Lennon–McCartney to be officially released is "You'll Be Mine", recorded at home in 1960 and included on Anthology 1 35 years later.[21]
Some other compositions from the band's early years are not credited to the partnership. "
By 1962, the joint credit agreement was in effect. From the time of the Beatles'
After the partnership had ended, Lennon and McCartney each gave various accounts of their individual contribution to each jointly credited song, and sometimes claimed full authorship. Often their memories of collaboration differed, and often their own early and late interviews are in conflict.[25] In 1977, Lennon offered Hit Parader a list of Beatles songs with comments regarding his and McCartney's contributions to each song. In his response to the article at the time, McCartney disputed only one of Lennon's entries.[26]
- "Help!" (1965)
- Lennon described the song as co-written in 1965 interviews.[27] In late interviews, he claimed full authorship. McCartney's stated help was on the "countermelody", estimating the song as "70–30" to Lennon.[28][29][30] In 1984, McCartney said "John and I wrote it at his house in Weybridge for the film."[30]
- "Ticket to Ride" (1965)
- In 1965, Lennon claimed that the song was "three-quarters mine and Paul changed it a bit. He said let's alter the tune."[31] However, in 1980, Lennon said that McCartney's contribution was limited to "the way Ringo played the drums".[32] In Many Years from Now, McCartney said "we sat down and wrote it together ... give him 60 percent of it."[33]
- "In My Life" (1965)
- Lennon's entry for "In My Life" was the only one that McCartney disputed in his response to the Hit Parader article.Smokey Robinson songs.[35]
- "Eleanor Rigby" (1966)
- In the 1997 biography Many Years from Now, McCartney recalled writing the music to "Eleanor Rigby" on a piano at Jane Asher's family home in Wimpole Street,[36] and then playing it to Donovan, who supported that the song lacked any serious lyrics at that point.[37] In 1972, Lennon said that he wrote 70 percent of the lyrics,[38] but Pete Shotton, Lennon's childhood friend, remembered Lennon's contribution as being "absolutely nil".[39] In 1985, McCartney said that Lennon had contributed "about half a line" to the song, but elsewhere (including a 1966 interview) he describes finishing the song with more substantial collaboration with Lennon.[40] Harrison also contributed to this song. According to journalist Hunter Davies, the last verse was finished with all the Beatles giving suggestions in the studio.[41]
- "And Your Bird Can Sing" (1966)
- McCartney claimed to have helped on the lyric, estimating the song as "80–20" to Lennon.[42] In Hit Parader, Lennon did not acknowledge any contributions from McCartney.[26]
- "Being for the Benefit of Mr. Kite" (1967)
- In Hit Parader, Lennon said he authored the song and took the words from a circus poster. He did not acknowledge McCartney as a contributor.[26] In 2013, McCartney recalled spending an afternoon with Lennon writing the song based on the poster: "I read, occasionally, people say, 'Oh, John wrote that one.' I say, 'Wait a minute, what was that afternoon I spent with him, then, looking at this poster?'"[43]
Lennon–McCartney vs McCartney–Lennon
In October 1962, the Beatles released their first single in the UK, "Love Me Do", credited to "Lennon–McCartney". However, on their next three releases the following year (the single "Please Please Me", the Please Please Me LP, and the single "From Me to You"), the credit was given as "McCartney–Lennon".[44] According to McCartney, the decision to consistently order the credit with Lennon first was made at an April 1963 band meeting.[18] With the "She Loves You" single, released in August 1963, the credit reverted to "Lennon–McCartney", and all subsequent official Beatles singles and albums list "Lennon–McCartney" (UK) or "John Lennon-Paul McCartney" (US) as the author of songs written by the two.
In 1976 McCartney's band
Lennon–McCartney and others
This section needs additional citations for verification. (September 2011) |
A number of songs written primarily by the duo and recorded by the Beatles were credited as follows:
- "
- "12-Bar Original" (1965): Lennon–McCartney–Harrison–Starkey
- "Flying" (1967): Harrison–Lennon–McCartney–Starkey[50]
- "Jessie's Dream" (1967): Lennon–McCartney–Harrison–Starkey
- "Los Paranoias" (1968): Lennon–McCartney–Harrison–Starkey
- "Dig It" (1969): Lennon–McCartney–Harrison–Starkey[51]
- "Maggie Mae" (1969): Arrangement by Lennon–McCartney–Harrison–Starkey
- "Suzy Parker" (1969): Lennon–McCartney–Harrison–Starkey
- "Free as a Bird" (1995): Original composition by John Lennon; Beatles version credited to John Lennon, Paul McCartney, George Harrison and Ringo Starr
- "Christmas Time (Is Here Again)" (1995 edit of 1967 fan club version): Lennon–McCartney–Harrison–Starkey[52]
- "Now and Then" (2023): Original composition by John Lennon; Beatles version credited to John Lennon, Paul McCartney, George Harrison and Ringo Starr
The
Legacy
Cultural impact
Lennon–McCartney, as well as other British Invasion songwriters, inspired changes to the music industry because they were bands that wrote and performed their own music. This trend threatened the professional songwriters that dominated the American music industry. Ellie Greenwich, a Brill Building songwriter, said, "When the Beatles and the entire British Invasion came in, we were all ready to say, 'Look, it's been nice, there's no more room for us… It's now the self-contained group- makes, certain type of material. What do we do?"[53] In 1963, The Sunday Times called Lennon and McCartney the greatest composers since Ludwig van Beethoven.[54]
The Lennon–McCartney brand would prove to be a model for several other songwriting teams in the
When McCartney teamed up with Elvis Costello in 1989, Costello's acerbic style earned him comparisons to Lennon in his role as McCartney's collaborator.[63][64][65] McCartney, despite conceding that Costello has "got a bit of Lennon in him", characterized the pairing as "a new thing".[63]
Beatles catalogue
The Lennon–McCartney songwriting partnership makes up the majority of the Beatles' catalogue. The first two UK studio albums included 12 cover tunes and 15 Lennon–McCartney songs,[66][67] with one track ("Don't Bother Me") credited to George Harrison.[67] Their third UK album, A Hard Day's Night (1964), is the only Beatles album made up entirely of Lennon–McCartney compositions.[68] The next album released, Beatles for Sale (1964), included six covers and eight Lennon–McCartney originals.[69] The subsequent release, Help! (1965), had two covers and two Harrison compositions along with ten Lennon–McCartney tracks; it was the last Beatles album to feature a non-original composition until Let It Be, which included an arrangement of the traditional Liverpool folk song "Maggie Mae". Among the songs in this post-Help! output, Harrison contributed between one and four songs per album, and Starr wrote two songs in total and received a joint credit with Lennon and McCartney for a third ("What Goes On"). In addition, "Flying" and "Dig It" were credited to all four Beatles. The rest of the catalogue came from Lennon and McCartney.
Lennon and McCartney gave songs to Starr to sing, and to Harrison before he started writing his own material. As for the songs they kept for themselves, each partner mostly sang his own composition, often with the other providing harmonies, or they shared lead vocal. If each contributed a fragment to make a whole song, he might sing his portion, as in the case of "I've Got a Feeling" and "A Day in the Life". "Every Little Thing" is a rare example of a Lennon–McCartney song in which one member of the partnership was primary composer (McCartney) but the other sang lead vocal (Lennon).[70][71] McCartney sings in unison with Lennon on the verses, but Lennon's vocal is more prominent. McCartney sings the high harmony on the chorus.
In January 2017, McCartney filed a suit in United States district court against
Non-Beatles songs
Several songs credited to Lennon–McCartney were originally released by bands other than the Beatles, especially those managed by
In April 2024, the surviving Beatles son's
Year | Artist | Song | Peak chart position |
Notes |
---|---|---|---|---|
1963 | The Rolling Stones | "I Wanna Be Your Man" | UK #12 | Beatles version released later in 1963 on With the Beatles |
1963 | Billy J. Kramer with the Dakotas | "I'll Be on My Way" | (B-side) | Beatles version released on Live at the BBC |
1963 | Billy J. Kramer with The Dakotas | "Bad to Me" | UK #1 | Beatles demo was released on iTunes download The Beatles Bootleg Recordings 1963 |
1963 | Billy J. Kramer with The Dakotas | "I Call Your Name" | (B-side) | Beatles version released on The Beatles' Second Album (US) and the Long Tall Sally EP (UK) in 1964 |
1963 | Billy J. Kramer with The Dakotas | "I'll Keep You Satisfied" | UK #4 | |
1964 | Billy J. Kramer with The Dakotas | "From a Window" | UK #10 | |
1963 | Tommy Quickly | "Tip of My Tongue" | — | |
1963 | The Fourmost | "Hello Little Girl" | UK #9 | Beatles version released on Anthology 1 |
1963 | The Fourmost | "I'm in Love" | UK #17 | Beatles demo released on iTunes download The Beatles Bootleg Recordings 1963 |
1963 | Cilla Black | "Love of the Loved" | UK #35 | Beatles version released on bootlegs of the Decca audition |
1964 | Cilla Black | "It's for You" | UK #7 | |
1964 | The Strangers with Mike Shannon | "One and One Is Two" | — | The song was rejected by Billy J. Kramer. The Strangers with Mike Shannon were South African.[77] |
1964 | Peter & Gordon |
"A World Without Love" | UK #1 US #1 |
|
1964 | Peter & Gordon | "Nobody I Know" | UK #10 | |
1964 | Peter & Gordon | "I Don't Want to See You Again" | US #16 | |
1964 | The Applejacks | " Like Dreamers Do " |
UK #20 | Beatles version released on Anthology 1 |
1965 | P.J. Proby |
"That Means a Lot" | UK #30 | Beatles version released on Anthology 2 |
1968 | John Foster & Son Ltd Black Dyke Mills Band | "Thingumybob" | — | The eponymous theme to a Etcetera", demoed by Paul McCartney during a session for "Mother Nature's Son" on 20 August 1968.[78]
|
1968 | Cilla Black | "Step Inside Love" | UK #8 | Beatles improvisation released on Anthology 3 |
1969 | Mary Hopkin | "Goodbye" | UK #2 | Original demo released in The Abbey Road 50th anniversary deluxe edition.[79]
|
1969 | Plastic Ono Band | "Give Peace a Chance" | UK #2 | Although composed alone by Lennon, McCartney was credited as co-composer on the single appearance and on Lennon's compilation albums Shaved Fish and The John Lennon Collection. The credit was revised in the 1990s to cite only Lennon. |
Four songs and a soundtrack album were released during this period but credited solely to Paul McCartney:
Year | Artist | Recording | Peak chart position |
Notes |
---|---|---|---|---|
1966 | Peter & Gordon | "Woman" | UK #28; US #14 | McCartney is credited as "Bernard Webb". |
1966 | The George Martin Orchestra | The Family Way soundtrack | — | McCartney composed the melodies while Martin scored and directed the music for the film and album. |
1967 | The Chris Barber Band | "Catcall" | — | Originally known as "Catswalk", performed from 1958 to 1962 and revisited during the Get Back sessions in January 1969.[80] |
1969 | Jotta Herre | "Penina" | — | Originally released by Jotta Herre and later covered by Carlos Mendes.[81] |
1969 | Badfinger | "Come and Get It" | UK #4 | The original demo was included on Anthology 3 and 50th Anniversary of Abbey Road in 2019. |
Unreleased songs
The following compositions are believed to have been written by Lennon and McCartney, but never officially released by the Beatles or any other artist except as noted below. Many have appeared on Beatles bootlegs, an exception being "Carnival of Light".[82] The list of unreleased songs includes some of the earliest Lennon–McCartney joint works dating back to the Quarrymen, the group that evolved into the Beatles.[83] Several of these songs were revisited during the Get Back sessions of early 1969.[84]
Title | Year | Notes |
---|---|---|
"Keep Looking That Way" | 1957 | Played by the Quarrymen.[85] |
"Looking Glass" | 1957 | Instrumental. Mentioned in 1969 film outtakes; unknown if performed during Get Back sessions.[86] |
"That's My Woman" | 1957 | Played by the Quarrymen.[85][87] |
"Years Roll Along" | 1957 | Played by the Quarrymen.[85][88] |
"I'll Wait Till Tomorrow" | 1960 | Country-influenced duet briefly sung by Lennon and McCartney during the Get Back sessions on 3 January 1969. |
"I've Been Thinking That You Love Me" | 1960 | Briefly performed during the Get Back sessions on 3 January 1969.[89][90] |
"Some Days" | 1960 | Speculative titles based on taped works-in-progress. You'll Be Mine", also recorded at the time, was released on Anthology 1 .
|
"You Must Write Everyday" | 1960 | |
"Well Darling" | 1960 | |
"Come on People" | 1960 | |
"I Don't Know" | 1960 | |
"Pinwheel Twist" | 1962 | Performed live in 1962.[92] |
"Carnival of Light" | 1967 | Recorded on 5 January 1967; nearly 14-minute-long experimental collage.[82][93] |
"Shirley's Wild Accordion" | 1967 | Recorded on 12 October 1967; instrumental intended for Magical Mystery Tour film.[94] |
" Etcetera "
|
1968 | Recorded by McCartney on 20 August 1968, with "Mother Nature's Son" and "Wild Honey Pie".[95] |
"Watching Rainbows" | 1969 | Sung by Lennon; performed during the Get Back sessions on 14 January 1969.[96][97] |
See also
- Outline of the Beatles
- The Beatles timeline
- List of songs recorded by the Beatles
- List of songwriter collaborations
- The Beatles bootleg recordings
- Jagger–Richards
References
Citations
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Bibliography
- Compton, Todd (2017). Who Wrote the Beatle Songs? A History of Lennon-McCartney. San Jose: Pahreah Press. ISBN 978-0-9988997-0-1.
- Everett, Walter (2001). The Beatles As Musicians: The Quarry Men through Rubber Soul. New York: Oxford University Press. ISBN 978-0-19-514105-4.
- Goodman, Joan (1984). "Playboy Interview With Paul and Linda McCartney". Beatles Interview Database. Archived from the original on 1 September 2021. Retrieved 6 December 2009.
- ISBN 0-517-57066-1.
- ISBN 1-84413-828-3.
- MacDonald, Ian (2007). Revolution in the Head: The Beatles' Records and the Sixties. Chicago: Chicago Review Press. ISBN 978-1-55652-733-3.
- ISBN 0-8050-5249-6.
- Rowley, David (2008). Help! 50 Songwriting, Recording and Career Tips used by the Beatles. ISBN 978-1-906221-37-9.
- Shea, Stuart; Rodriguez, Robert (2002). Fab Four FAQ: Everything Left to Know About the Beatles ... and More!. New York: Hal Leonard Corporation. ISBN 978-1-4234-2138-2.
- Sheff, David (2000). All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono. New York: St. Martin's Press. ISBN 0-312-25464-4.
- ISBN 0-316-80352-9.
- Sulpy, Doug; Schweighardt, Ray (1999). Get Back: The Unauthorized Chronicle of the Beatles' 'Let It Be' Disaster. New York: St. Martin's Griffin. ISBN 978-0-312-19981-4.
- Unterberger, Richie (2006). Unreleased Beatles Music and Film. San Francisco: Backbeat Books. ISBN 978-0-87930-892-6.
- Wiener, Allen J. (1994). The Beatles: The Ultimate Recording Guide. Holbrook, Mass.: Adams Media. ISBN 978-1-55850-414-1.
- Winn, John C. (9 December 2008). Way Beyond Compare: The Beatles' Recorded Legacy, 1957–1965. Three Rivers Press. ISBN 978-0-307-45157-6.
External links
- "Two of Us: Inside the Lennon/McCartney Connection", by Joshua Wolf Shenk, Slate.com
- The Lennon-McCartney Songwriting Partnership
- An Introduction to Compton's Who Wrote the Beatle Songs? A History of Lennon-McCartney, with a list of his ascriptions of all the songs written by the Beatles
- Songs the Beatles Gave Away compiled by Joseph Brennan; includes Lennon–McCartney songs and others
- A list of the songs John Lennon and Paul McCartney gave to other artists during the Beatle years originally posted on Usenet rec.music.beatles 9 November 1994.
- Unreleased Beatles compositions showcased in Liverpool and Seattle, and on CD titled Off the Beatle Track (23 June 2009): http://www.prweb.com/releases/2009/06/prweb2550404.htm