One of rock’s most formidable bassists and melodic pianists delivers a timeless guitar progression, and marries it contrapuntally to one of his most filigreed melodies. But this is, in the end, a John Lennon song. 1 for the band in ’69, is the Beatles track that remains the band’s most perennially popular, a rock radio behemoth that is played more often even than “Stairway to Heaven.”This was recorded late in the evening of the Beatles’ first recording session. “I should have never played Nina.” Too many of this album’s tracks aren’t good enough.The first version of this song Lennon brought to the group was a slow groove; no one was particularly happy with it, but it ended up being on the album anyway. McCartney sings the heck out of it; the manic instrumental breaks lack rock-and-roll bite, but for a pop song they are pretty lively.Things are getting better. I think it’s too similar to “Blackbird,” and another sign of the unnecessary bloat of “The White Album.” The lyrics are among McCartney’s worst.The band had to catch its breath in ‘64; they had dominated the singles charts at the beginning of the year, and were just beginning to envision what they could do. They might have a record contract.You can hear some harmonies coming together on this, but otherwise it’s a forgettable song from the band’s first album.Some melodic lines of interest here, but not much else. Outsiders had never been allowed in Beatles recording sessions, and Ono — ten years older, supposed to be a substantive artist in her own right and a pioneering feminist figure — sat silently by Lennon’s side, even following him to the bathroom.

While Harrison caused his own trouble with 1970’s “My Sweet Lord,” which he consciously pattered on the Chiffons’ “He’s So Fine,” the coincidence here of the first line being the same as the title of a much different James Taylor song is beside the point.
If someone has a contemporaneous TV interview in which McCartney explains the civil-rights connection to this song, I’ll take it back, but I think it’s bullshit.

Paul McCartney, two years his junior, had a rapidly evolving understanding of music and a slightly younger guitarist schoolmate named George Harrison. This early song was an oddity; the structure, rhymes, and subject all seem years ahead of the pair’s painfully monosyllabic initial work together.
It’s an indestructible song. I mean, besides projection. They weren’t unfair; he had three songs on As the group’s interior dynamics broke down in the wake of One wants simply to answer, “No.” Notable for being George Harrison’s vocal debut; while Harrison’s voice wasn’t always showcased on the band’s records correctly, as part of the group’s early, bruising three-part harmonies he was extremely valuable, a third lead voice just similar enough to keep the band’s sound unified but just different enough to provide some rough texture.The band had already written “She Loves You” and “Please Please Me,” “Can’t Buy Me Love” and “I Saw Her Standing There.” Why were they filling out their fourth album with more R&B covers? Here are some of the best tracks from the only Beatles album that touched the 70’s – The ending track of the album originated from an impromptu jam, with McCartney saying, Originally intended as a guitar-rock song, McCartney deemed the demo to be too “chunky”, so they opted for an acoustic arrangement. One assumes this was a live crowd-pleaser, because its charms are elusive on disc. 1-2: The Story of the Beatles, which had appeared early in 1973. He was also — how to put this? Filler from the second album.A highly derivative track shoved onto the second non-soundtrack side of the record from the band’s second movie.Doggerel from Lennon. The B side of the single was “Day Tripper,” a weirder and better song.A crisp and clean take on the Chuck Berry classic. This is one of them.Harrison’s first writing credit, and it’s not bad; the sulky melody and abrupt shifts in tone bring new dynamics to the group’s sound on the second album.A Smokey Robinson workout, and a favorite of the band from the start. Just before the band returned to the studio, he called an emergency meeting at the band’s Apple headquarters. The verses are just pointless variations on a theme that goes nowhere. It’s not a profound song, though I suppose one can project a mystery into why the woman wouldn’t say why she was leaving, and what it was the singer said that was “wrong.” Internal politics prevented the song from being released as a single in Britain, a fact Paul McCartney probably has not forgotten; it was thrown onto side two of Paul McCartney has scores of them: Pops songs that are smart, ridiculously catchy, and varied in their instrumentation, tone, arrangements, melodies, and vocal performance. Four songs have only appeared in two of the groups' films: one in Due to an agreement the two made before the Beatles became famousLead vocal credits per Castleman and Podrazik's 1976 book "Across the Universe" originally appeared on the charity album Originally released in 1969 as a single (with "Get Back") and credited to "the Beatles with Originally released in 1969 as a single (with "Don't Let Me Down") and credited to "the Beatles with Three different versions of "Love Me Do" exist.