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{{Use British English|date=November 2010}}
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[[File:Lennon-McCartney.JPG|thumb|upright=1.5|right|[[John Lennon]] (left) and [[Paul McCartney]] in 1964]]
[[File:1964-Lennon-McCartney (cropped).jpg|thumb|right|[[Paul McCartney]] (left) and [[John Lennon]] (right) in 1964]]


'''Lennon–McCartney''' was the songwriting partnership between English musicians [[John Lennon]] (1940–1980) and [[Paul McCartney]] (born 1942) of [[the Beatles]]. It is the best-known and most successful musical collaboration ever by records sold, with the Beatles selling over 600&nbsp;million records worldwide as of 2004.<ref>{{cite news|url=https://money.cnn.com/2009/09/04/news/companies/beatles_video_game/|title=Beatles' remastered box set, video game out|date=9 September 2009|publisher=[[CNNMoney.com]]|access-date=1 December 2011}}</ref> Between 5 October 1962 and 8 May 1970, the partnership published approximately 180 jointly credited songs, of which the vast majority were recorded by the Beatles, forming the bulk of their catalogue.
'''Lennon–McCartney''' was the [[Songwriter|songwriting]] partnership between the English musicians [[John Lennon]] (1940–1980) and [[Paul McCartney]] (born 1942) of [[the Beatles]]. It is widely considered one of the greatest, best known and most successful musical collaborations ever by records sold, with the Beatles selling over 600&nbsp;million records worldwide {{as of|2004|lc=y}}.<ref>{{cite news|url=https://money.cnn.com/2009/09/04/news/companies/beatles_video_game/|title=Beatles' remastered box set, video game out|date=9 September 2009|publisher=[[CNNMoney.com]]|access-date=1 December 2011|archive-date=15 September 2018|archive-url=https://web.archive.org/web/20180915183858/https://money.cnn.com/2009/09/04/news/companies/beatles_video_game/|url-status=live}}</ref> Between 5 October 1962 and 8 May 1970, the partnership published approximately 180 jointly credited songs, of which the vast majority were recorded by the Beatles, forming the bulk of their catalogue.


Unlike many songwriting partnerships that comprise a separate lyricist and composer, such as [[George Gershwin|George]] and [[Ira Gershwin]], [[Rodgers and Hammerstein|Richard Rodgers and Oscar Hammerstein]], 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.{{sfn|Sheff|2000|p=137}} 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.
Unlike many songwriting partnerships that comprise a separate lyricist and composer, such as [[George Gershwin|George]] and [[Ira Gershwin]], [[Rodgers and Hammerstein|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.{{sfn|Sheff|2000|p=137}} 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 [[cover version]]s. According to ''[[Guinness World Records]]'', "[[Yesterday (Beatles song)|Yesterday]]" has been recorded by more musicians than any other song.<ref name="guinness">{{cite web |url=http://www.guinnessworldrecords.com/content_pages/record.asp?recordid=50867 |title=Most Recorded Song |access-date=12 May 2009 |work=[[Guinness World Records]] |archive-url = https://web.archive.org/web/20060910071729/http://www.guinnessworldrecords.com/content_pages/record.asp?recordid=50867 |archive-date = 10 September 2006}}</ref>
Lennon–McCartney compositions have been the subject of numerous [[cover version]]s. According to ''[[Guinness World Records]]'', "[[Yesterday (Beatles song)|Yesterday]]" has been recorded by more musicians than any other song.<ref name="guinness">{{cite web |url=http://www.guinnessworldrecords.com/content_pages/record.asp?recordid=50867 |title=Most Recorded Song |access-date=12 May 2009 |work=[[Guinness World Records]] |archive-url = https://web.archive.org/web/20060910071729/http://www.guinnessworldrecords.com/content_pages/record.asp?recordid=50867 |archive-date = 10 September 2006}}</ref>


==Meeting==
==Meeting==
Although McCartney had previously seen and noticed Lennon in the local area without knowing who he was,<ref>{{cite AV media | people = [[Paul McCartney]], [[Sean Lennon]] | date = 4 October 2020 | title = Paul McCartney - full interview with Sean Ono Lennon | url = https://www.bbc.co.uk/programmes/p08t4mx9 | access-date = 19 June 2022 | time = 1'45" to 3'00" | publisher = [[BBC Radio 2]]}}</ref> the pair first met on 6 July 1957, at a local church [[fête]], where 16-year-old Lennon was playing with his [[skiffle]] group [[the Quarrymen]]. The 15-year-old McCartney, brought along by a mutual friend, [[Ivan Vaughan]], impressed Lennon with his ability on the guitar and his version of [[Eddie Cochran]]'s "[[Twenty Flight Rock]]". Soon afterward, Lennon asked McCartney if he would join the Quarrymen; McCartney accepted.<ref>Burlingame, Jeff. John Lennon "Imagine." Berkeley Heights: Enslow Publishers, 2011. Print.</ref><ref>Conord, Bruce W. John Lennon. New York: Chelsea House Publishers, 1994. Print.</ref> The duo's first musical idols were [[the Everly Brothers]], [[Little Richard]], [[Chuck Berry]], [[Elvis Presley]], [[Buddy Holly]], and [[The Miracles|Smokey Robinson and the Miracles]], and they learned many of their songs and imitated their sound.{{sfn|Spitz|2005|pp=131–32}} Their first compositions were written at McCartney's home ([[20 Forthlin Road]]), at Lennon's aunt [[Mimi Smith|Mimi]]'s house ([[251 Menlove Avenue]]), or at the [[Liverpool Institute]].{{sfn|Miles|1997|p=34}} They often invited friends—including [[George Harrison]], [[Nigel Walley]], Barbara Baker, and Lennon's [[art school]] colleagues—to listen to performances of their new songs.{{sfn|Spitz|2005|p=135}}
Although McCartney had previously seen and noticed Lennon in the local area without knowing who he was,<ref>{{cite AV media | people = [[Paul McCartney]], [[Sean Lennon]] | date = 4 October 2020 | title = Paul McCartney - full interview with Sean Ono Lennon | url = https://www.bbc.co.uk/programmes/p08t4mx9 | access-date = 19 June 2022 | time = 1'45" to 3'00" | publisher = [[BBC Radio 2]] | archive-date = 19 June 2022 | archive-url = https://web.archive.org/web/20220619144850/https://www.bbc.co.uk/programmes/p08t4mx9 | url-status = live }}</ref> the pair first met on 6 July 1957, at a local church [[fête]], where 16-year-old Lennon was playing with his [[skiffle]] group [[the Quarrymen]]. The 15-year-old McCartney, brought along by a mutual friend, [[Ivan Vaughan]], impressed Lennon with his ability on the guitar and his version of [[Eddie Cochran]]'s "[[Twenty Flight Rock]]". Soon afterwards, Lennon asked McCartney if he would join the Quarrymen; McCartney accepted.<ref>Burlingame, Jeff. John Lennon "Imagine." Berkeley Heights: Enslow Publishers, 2011. Print.</ref><ref>Conord, Bruce W. John Lennon. New York: Chelsea House Publishers, 1994. Print.</ref> The duo's first musical idols were [[the Everly Brothers]], [[Little Richard]], [[Chuck Berry]], [[Elvis Presley]], [[Buddy Holly]], and [[The Miracles|Smokey Robinson and the Miracles]], and they learned many of their songs and imitated their sound.{{sfn|Spitz|2005|pp=131–32}} Their first compositions were written at McCartney's home ([[20 Forthlin Road]]), at Lennon's aunt [[Mimi Smith|Mimi]]'s house ([[251 Menlove Avenue]]), or at the [[Liverpool Institute]].{{sfn|Miles|1997|p=34}} They often invited friends—including [[George Harrison]], [[Nigel Walley]], Barbara Baker, and Lennon's [[art school]] colleagues—to listen to performances of their new songs.{{sfn|Spitz|2005|p=135}} The first song that Lennon and McCartney wrote together, according to [[Mark Lewisohn]], was Too Bad About Sorrows.


==Writing chemistry==
==Writing chemistry==
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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".{{sfn|Compton|2017|p=382}}
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".{{sfn|Compton|2017|p=382}}


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 [[middle eight]] or [[bridge (music)|bridge]] section to the other's verse and chorus.{{sfn|Miles|1997|p=107}} [[George Martin]] attributed the high quality of their songwriting to the friendly rivalry between the two.<ref>{{cite book |last=Coleman |first=Ray |date=1992 |title=Lennon |location=New York, New York |publisher=HarperCollins |pages=363–364 |isbn=0-06-098608-5}}</ref> This approach of the Lennon–McCartney songwriting team—with elements of competitiveness and mutual inspiration as well as straightforward collaboration and creative merging of musical ideas—is often cited{{by whom|date=April 2016}} as a key reason for the Beatles' innovation and popular success.{{citation needed|date=April 2016}}
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 [[middle eight]] or [[bridge (music)|bridge]] section to the other's verse and chorus.{{sfn|Miles|1997|p=107}} [[George Martin]] attributed the high quality of their songwriting to the friendly rivalry between the two.<ref>{{cite book |last=Coleman |first=Ray |date=1992 |title=Lennon |location=New York, New York |publisher=HarperCollins |pages=363–364 |isbn=0-06-098608-5}}</ref> This approach of the Lennon–McCartney songwriting team, with elements of competitiveness and mutual inspiration as well as straightforward collaboration and creative merging of musical ideas, is often cited{{by whom|date=April 2016}} as a key reason for the Beatles' innovation and popular success.{{citation needed|date=April 2016}}


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&nbsp;...") was used to flesh out the middle of Lennon's composition ("I read the news today, oh boy&nbsp;..."). "[[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.<ref>''The Beatles Anthology'' documentary</ref>
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&nbsp;...") was used to flesh out the middle of Lennon's composition ("I read the news today, oh boy&nbsp;..."). "[[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.<ref>''The Beatles Anthology'' documentary</ref>


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.<ref>{{Cite book |last=Sandercombe |first=W. Fraser |title=The Beatles: Press Reports |publisher=Collector’s Guide Publishing, Inc. |year=2007 |isbn=1894959612 |language=English}}</ref>
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."<ref>{{Cite book |last=Sandercombe |first=W. Fraser |title=The Beatles: Press Reports |publisher=Collector's Guide Publishing, Inc. |year=2007 |isbn=978-1894959612 |language=English}}</ref><ref>{{Cite news |last=Fallon |first=B. P. |date=19 April 1969 |title=Will the real John Lennon please stand up? |work=[[Melody Maker]] |url=https://worldradiohistory.com/UK/Melody-Maker/60s/69/Melody-Maker-1969-0419.pdf |access-date=1 December 2022 |archive-date=20 April 2023 |archive-url=https://web.archive.org/web/20230420034320/https://worldradiohistory.com/UK/Melody-Maker/60s/69/Melody-Maker-1969-0419.pdf |url-status=live }}</ref>


==Credit variations and disputes==
==Credit variations and disputes==
===Joint credit===
===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.<ref name="salon1">{{cite web |last=Garcia |first=Gilbert |url=http://dir.salon.com/story/ent/music/feature/2003/01/27/paul_yoko/index.html |title=The ballad of Paul and Yoko |work=salon.com |date=27 January 2003 |access-date=13 December 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090619034926/http://dir.salon.com/story/ent/music/feature/2003/01/27/paul_yoko/index.html |archive-date=19 June 2009 }}</ref> 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".{{sfn|Sheff|2000|p=214}} 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.{{sfn|MacDonald|2005|p=53}} The earliest Beatles recording credited to Lennon–McCartney to be officially released is "[[You'll Be Mine (Beatles song)|You'll Be Mine]]", recorded at home in 1960 and included on ''[[Anthology 1]]'' 35 years later.{{sfn|Unterberger|2006|pp=5–6}}
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.<ref name=salon1>{{cite web |first=Gilbert |last=Garcia |url=http://www.salon.com/2003/01/27/paul_yoko |title=The Ballad of Paul and Yoko |website=[[Salon.com]] |date=27 January 2003 |accessdate=November 29, 2023 |archive-date=7 March 2016 |archive-url=https://web.archive.org/web/20160307090312/http://www.salon.com/2003/01/27/paul_yoko/ |url-status=live }}</ref> 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".{{sfn|Sheff|2000|p=214}} 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.{{sfn|MacDonald|2005|p=53}} The earliest Beatles recording credited to Lennon–McCartney to be officially released is "[[You'll Be Mine (Beatles song)|You'll Be Mine]]", recorded at home in 1960 and included on ''[[Anthology 1]]'' 35 years later.{{sfn|Unterberger|2006|pp=5–6}}


Some other compositions from the band's early years are not credited to the partnership. "[[In Spite of All the Danger]]", a 1958 composition that the band (then [[The Quarrymen]]) paid to record to disc, is attributed to McCartney and [[George Harrison]]. "[[Cayenne (song)|Cayenne]]", recorded at the same time as "You'll Be Mine", is a solo McCartney composition. "[[Cry for a Shadow]]", an instrumental recorded during the Beatles' sessions with [[Tony Sheridan]] in June 1961 (one of the only full instrumentals the group recorded), was written by Harrison and Lennon.{{sfn|MacDonald|2005|p=48}}
Some other songs from the band's early years are not credited to the partnership. "[[In Spite of All the Danger]]", a 1958 song that the band (then [[The Quarrymen]]) paid to record to disc, is attributed to McCartney and [[George Harrison]]. "[[Cayenne (song)|Cayenne]]", recorded at the same time as "You'll Be Mine", is a solo McCartney song. "[[Cry for a Shadow]]", an instrumental recorded during the Beatles' sessions with [[Tony Sheridan]] in June 1961 (one of the only full instrumentals the group recorded), was written by Harrison and Lennon.{{sfn|MacDonald|2005|p=48}}


By 1962, the joint credit agreement was in effect. From the time of the Beatles' [[A&R]] [[The Beatles' Decca audition|Decca audition]] in January that year, until Lennon's announcement in September 1969 that he was leaving the band, virtually all songs by McCartney or Lennon were published with joint credit, although, on a few of their first releases, the order was reversed (see below). The only other exceptions were a handful of the McCartney compositions released by other musicians (viz. "[[Woman (Paul McCartney song)|Woman]]" by [[Peter and Gordon]] in 1966 (McCartney using Bernard Webb as a pseudonym), "Cat Call" by [[Chris Barber]] in 1967, and "Penina" by Carlos Mendes in 1969).{{sfn|Unterberger|2006|p=347-8}}{{sfn|Unterberger|2006|p=244}} Lennon kept the joint credit for "[[Give Peace a Chance]]", his first single with the [[Plastic Ono Band]].
By 1962, the joint credit agreement was in effect. From the time of the Beatles' [[A&R]] [[The Beatles' Decca audition|Decca audition]] in January that year, until Lennon's announcement in September 1969 that he was leaving the band, virtually all songs by McCartney or Lennon were published with joint credit, although, on a few of their first releases, the order was reversed (see below). The only other exceptions were a handful of the McCartney songs released by other musicians (viz. "[[Woman (Paul McCartney song)|Woman]]" by [[Peter and Gordon]] in 1966 (McCartney using Bernard Webb as a pseudonym), "Cat Call" by [[Chris Barber]] in 1967, and "Penina" by Carlos Mendes in 1969).{{sfn|Unterberger|2006|p=347-8}}{{sfn|Unterberger|2006|p=244}} Lennon kept the joint credit for "[[Give Peace a Chance]]", his first single with the [[Plastic Ono Band]].


After the partnership had ended, Lennon and McCartney each gave multiple accounts of their individual contribution to each jointly credited song, and sometimes claimed full authorship. Often their memories of collaboration differed, and often their early and late interviews are in conflict.{{sfn|Compton|2017|pp=5-8}} 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.<ref name="HitPar">{{cite magazine |title=Lennon–McCartney Songalog: Who Wrote What |magazine=[[Hit Parader]] |volume=Winter 1977 [reprint of April 1972] |issue=101 |pages=38–41 |format=PDF |url=https://archive.org/details/JohnLennonInterview1972HitParaderMagazine |access-date=6 June 2017 }}</ref>
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.{{sfn|Compton|2017|pp=5-8}} In 1972, 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.<ref name="HitPar">{{cite magazine |title=Lennon–McCartney Songalog: Who Wrote What |magazine=[[Hit Parader]] |volume=Winter 1977 [reprint of April 1972] |issue=101 |pages=38–41 |format=PDF |url=https://archive.org/details/JohnLennonInterview1972HitParaderMagazine |access-date=6 June 2017 }}</ref>


* '''"[[Help! (song)|Help!]]" (1965)'''
* '''"[[Help! (song)|Help!]]" (1965)'''
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* '''"[[Ticket to Ride (song)|Ticket to Ride]]" (1965)'''
* '''"[[Ticket to Ride (song)|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."<ref>{{Cite news |last=Wilmer |first=Valerie |date=November 1965 |title=How I Write My Songs |work=[[Hit Parader]] |url=https://www.music-journalism-history.com/2020/07/13/john-lennon-on-song-writing/ |access-date=10 November 2022}}</ref> However, in 1980, Lennon said that McCartney's contribution was limited to "the way [[Ringo Starr|Ringo]] played the drums".{{sfn|Sheff|2000|p=196}} In ''Many Years from Now'', McCartney said "we sat down and wrote it together&nbsp;... give him 60 percent of it."{{sfn|Miles|1997|p=193}}
: In 1965, Lennon claimed that the song was "three-quarters mine and Paul changed it a bit. He said let's alter the tune."<ref>{{Cite news |last=Wilmer |first=Valerie |date=November 1965 |title=How I Write My Songs |work=[[Hit Parader]] |url=https://www.music-journalism-history.com/2020/07/13/john-lennon-on-song-writing/ |access-date=10 November 2022 |archive-date=10 November 2022 |archive-url=https://web.archive.org/web/20221110064338/https://www.music-journalism-history.com/2020/07/13/john-lennon-on-song-writing/ |url-status=live }}</ref> However, in 1980, Lennon said that McCartney's contribution was limited to "the way [[Ringo Starr|Ringo]] played the drums".{{sfn|Sheff|2000|p=196}} In ''Many Years from Now'', McCartney said "we sat down and wrote it together&nbsp;... give him 60 percent of it."{{sfn|Miles|1997|p=193}}


* '''"[[In My Life]]" (1965)'''
* '''"[[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.<ref name="HitPar"/> Lennon said that McCartney helped only with "the [[middle eight]]" (a short section) of the song.{{sfn|Miles|1997|p=278}} McCartney said that he wrote the entire melody, taking inspiration from [[Smokey Robinson and the Miracles|Smokey Robinson]] songs.{{sfn|Miles|1997|p=277}}
: Lennon's entry for "In My Life" was the only one that McCartney disputed in his response to the ''Hit Parader'' article.<ref name="HitPar"/> Lennon said that McCartney helped only with "the [[middle eight]]" of the song.{{sfn|Miles|1997|p=278}} McCartney said that he wrote the entire melody, taking inspiration from [[Smokey Robinson and the Miracles|Smokey Robinson]] songs.{{sfn|Miles|1997|p=277}}


* '''"[[Eleanor Rigby]]" (1966)'''
* '''"[[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,{{sfn|Miles|1997|p=281}} and then playing it to [[Donovan]], who supported that the song lacked any serious lyrics at that point.{{sfn|Miles|1997|pp=281–82}} In 1972, Lennon said that he wrote 70 per cent of the lyrics,{{sfn|Miles|1997|p=283}} but [[Pete Shotton]], Lennon's childhood friend, remembered Lennon's contribution as being "absolutely nil".{{sfn|Miles|1997|p=284}} 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.{{sfn|Compton|2017|p=146}} 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.{{sfn|Compton|2017|pp=144, 146}}
: 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,{{sfn|Miles|1997|p=281}} and then playing it to [[Donovan]], who supported that the song lacked any serious lyrics at that point.{{sfn|Miles|1997|pp=281–82}} In 1972, Lennon said that he wrote 70 percent of the lyrics,{{sfn|Miles|1997|p=283}} but [[Pete Shotton]], Lennon's childhood friend, remembered Lennon's contribution as being "absolutely nil".{{sfn|Miles|1997|p=284}} 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.{{sfn|Compton|2017|p=146}} 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.{{sfn|Compton|2017|pp=144, 146}}


* '''"[[And Your Bird Can Sing]]" (1966)'''
* '''"[[And Your Bird Can Sing]]" (1966)'''
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* '''"[[Being for the Benefit of Mr. Kite]]" (1967)'''
* '''"[[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.<ref name="HitPar"/> 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?'"<ref>{{cite magazine|url=https://www.rollingstone.com/music/news/q-a-paul-mccartney-looks-back-on-his-latest-magical-mystery-tour-20130725|title=Q&A: Paul McCartney Looks Back on His Latest Magical Mystery Tour|last=Vozick-Levinson|first=Simon|date=25 July 2013|magazine=[[Rolling Stone]]|access-date=27 July 2013}}</ref>
: 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.<ref name="HitPar"/> 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?'"<ref>{{cite magazine|url=https://www.rollingstone.com/music/news/q-a-paul-mccartney-looks-back-on-his-latest-magical-mystery-tour-20130725|title=Q&A: Paul McCartney Looks Back on His Latest Magical Mystery Tour|last=Vozick-Levinson|first=Simon|date=25 July 2013|magazine=[[Rolling Stone]]|access-date=27 July 2013|archive-date=9 September 2017|archive-url=https://web.archive.org/web/20170909065750/http://www.rollingstone.com/music/news/q-a-paul-mccartney-looks-back-on-his-latest-magical-mystery-tour-20130725|url-status=live}}</ref>


===Lennon–McCartney vs McCartney–Lennon===
===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 (song)|Please Please Me]]", the ''[[Please Please Me]]'' LP, and the single "[[From Me to You]]"), the credit was given as "McCartney–Lennon".{{sfn|Lewisohn|1988|pp=23, 32}} 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 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 (song)|Please Please Me]]", the ''[[Please Please Me]]'' LP, and the single "[[From Me to You]]"), the credit was given as "McCartney–Lennon".{{sfn|Lewisohn|1988|pp=23, 32}} According to McCartney, the decision to consistently order the credit with Lennon first was made at an April 1963 band meeting.<ref name=salon1/> 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 [[Wings (band)|Wings]] released their live album ''[[Wings over America]]'' with songwriting credits for five Beatles songs reversed to place McCartney's name first. Neither Lennon nor [[Yoko Ono]] publicly "voiced a word of disapproval about it".<ref>{{cite web |url=http://www.salon.com/2003/01/27/paul_yoko |title=The Ballad of Paul and Yoko |date=27 January 2003}}</ref> Many years after Lennon's death however, in the late 1990s, McCartney and Ono became involved in a dispute over the credit order.<ref name="McCartneyLennon">{{cite news |url=http://news.bbc.co.uk/1/hi/entertainment/music/2953620.stm |title=McCartney makes up with Ono |work=BBC News |date=1 June 2003}}</ref> McCartney's 2002 live album, ''[[Back in the U.S.]]'', also used the credit "Paul McCartney and John Lennon" for all of the Beatles songs.<ref>{{cite news |url=https://www.independent.co.uk/opinion/columnists/david-lister/let-it-be-sir-paul-as-someone-or-other-once-said-612138.html |title=Let it be, Sir Paul (as someone or other once said) |last=Lister |first=David |date=28 December 2002 |work=The Independent |location=London}}</ref> When Ono objected to McCartney's request for the reversed credit to be used for the 1965 song "[[Yesterday (Beatles song)|Yesterday]]", McCartney said that he and Lennon had agreed in the past that the credits could be reversed, if either of them wanted to, on any future releases.<ref>{{Cite web|last=Bilmes|first=Alex|date=7 February 2015|title=Paul McCartney Is Esquire's August Cover Star|url=https://www.esquire.com/uk/culture/news/a8511/paul-mccartney-interview/|access-date=30 October 2020|website=Esquire}}</ref> In 2003, he relented, saying, "I'm happy with the way it is and always has been. Lennon and McCartney is still the rock 'n' roll trademark I'm proud to be a part of – in the order it has always been."<ref name="McCartneyLennon"/> An in-depth analysis of the legal issues was the subject of a 66-page article in the ''[[Pepperdine Law Review]]'' in 2006.<ref name="landes">{{cite journal |last=Landes |first=Ezra D. |title=I Am the Walrus – No. I Am!: Can Paul McCartney Transpose the Ubiquitous 'Lennon–McCartney' Songwriting Credit to Read 'McCartney/Lennon?" An Exploration of the Surviving Beatle's Attempt to Re-Write Music Lore, as it Pertains to the Bundle of Intellectual Property Rights |journal=Pepperdine Law Review |year=2006 |volume=34 |page=185| url=http://digitalcommons.pepperdine.edu/cgi/viewcontent.cgi?article=1141&context=plr}}</ref>
In 1976, McCartney's band [[Wings (band)|Wings]] released their live album ''[[Wings over America]]'' with songwriting credits for five Beatles songs reversed to place McCartney's name first. Neither Lennon nor his wife [[Yoko Ono]] publicly objected to the flipped credits at the time.<ref name=salon1/>
Many years after Lennon's death however, in the late 1990s, McCartney and Ono became involved in a dispute over the credit order.<ref name="McCartneyLennon">{{cite news |url=http://news.bbc.co.uk/1/hi/entertainment/music/2953620.stm |title=McCartney makes up with Ono |work=BBC News |date=1 June 2003 |access-date=26 November 2006 |archive-date=25 June 2004 |archive-url=https://web.archive.org/web/20040625135105/http://news.bbc.co.uk/1/hi/entertainment/music/2953620.stm |url-status=live }}</ref> McCartney's 2002 live album, ''[[Back in the U.S.]]'', also used the credit "Paul McCartney and John Lennon" for all of the Beatles songs.<ref>{{cite news |url=https://www.independent.co.uk/opinion/columnists/david-lister/let-it-be-sir-paul-as-someone-or-other-once-said-612138.html |title=Let it be, Sir Paul (as someone or other once said) |last=Lister |first=David |date=28 December 2002 |work=The Independent |location=London |access-date=2 September 2017 |archive-date=10 March 2010 |archive-url=https://web.archive.org/web/20100310003454/http://www.independent.co.uk/opinion/columnists/david-lister/let-it-be-sir-paul-as-someone-or-other-once-said-612138.html |url-status=live }}</ref> When Ono objected to McCartney's request for the reversed credit to be used for the 1965 song "[[Yesterday (Beatles song)|Yesterday]]", McCartney said that he and Lennon had agreed in the past that the credits could be reversed, if either of them wanted to, on any future releases.<ref>{{Cite web|last=Bilmes|first=Alex|date=7 February 2015|title=Paul McCartney Is Esquire's August Cover Star|url=https://www.esquire.com/uk/culture/news/a8511/paul-mccartney-interview/|access-date=30 October 2020|website=Esquire|archive-date=22 October 2020|archive-url=https://web.archive.org/web/20201022031234/https://www.esquire.com/uk/culture/news/a8511/paul-mccartney-interview/|url-status=live}}</ref> In 2003, he relented, saying, "I'm happy with the way it is and always has been. Lennon and McCartney is still the rock 'n' roll trademark I'm proud to be a part of – in the order it has always been."<ref name="McCartneyLennon"/>
An in-depth analysis of the legal issues was the subject of a 66-page article in the ''[[Pepperdine Law Review]]'' in 2006.<ref name="landes">{{cite journal |last=Landes |first=Ezra D. |title=I Am the Walrus – No. I Am!: Can Paul McCartney Transpose the Ubiquitous 'Lennon–McCartney' Songwriting Credit to Read 'McCartney/Lennon?" An Exploration of the Surviving Beatle's Attempt to Re-Write Music Lore, as it Pertains to the Bundle of Intellectual Property Rights |journal=Pepperdine Law Review |year=2006 |volume=34 |page=185 |url=http://digitalcommons.pepperdine.edu/cgi/viewcontent.cgi?article=1141&context=plr |access-date=4 July 2012 |archive-date=1 June 2013 |archive-url=https://web.archive.org/web/20130601155233/http://digitalcommons.pepperdine.edu/cgi/viewcontent.cgi?article=1141&context=plr |url-status=live }}</ref>

Subsequent Paul McCartney live albums ''[[Good Evening New York City]]'' (2009) and ''[[Amoeba Gig]]'' (2019) featured original credit to Lennon-McCartney songs. The new [[Paul McCartney and Wings]] live-in-the-studio album ''[[One Hand Clapping (Paul McCartney and Wings album)|One Hand Clapping]]'' (2024) featured reverted credits to the Beatles songs.


===Lennon–McCartney and others===
===Lennon–McCartney and others===
{{More citations needed section|date=September 2011}}<!--Refs needed to show that these were "primarily by the duo" -->
A number of songs written primarily by the duo and recorded by the Beatles were credited as follows:
A number of songs written primarily by the duo and recorded by the Beatles were credited as follows:
*"[[What Goes On (The Beatles song)|What Goes On]]" (1965): Lennon–McCartney–[[Ringo Starr|Starkey]]{{sfn|Lewisohn|1988|p=28}}
*"[[What Goes On (The Beatles song)|What Goes On]]" (1965): Lennon–McCartney–[[Ringo Starr|Starkey]]{{sfn|Lewisohn|1988|p=28}}
*"[[12-Bar Original]]" (1965): Lennon–McCartney–[[George Harrison|Harrison]]–Starkey
*"[[12-Bar Original]]" (1965): Lennon–McCartney–[[George Harrison|Harrison]]–Starkey
*"[[Flying (The Beatles song)|Flying]]" (1967): Harrison–Lennon–McCartney–Starkey<ref>{{cite web|url=http://www.allmusic.com/album/magical-mystery-tour-mw0000651227|title=Magical Mystery Tour - The Beatles |website=AllMusic|access-date=2 August 2016}}</ref>
*"[[Flying (The Beatles song)|Flying]]" (1967): Harrison–Lennon–McCartney–Starkey<ref>{{cite web|url=http://www.allmusic.com/album/magical-mystery-tour-mw0000651227|title=Magical Mystery Tour - The Beatles|website=AllMusic|access-date=2 August 2016|archive-date=23 April 2015|archive-url=https://web.archive.org/web/20150423035932/http://www.allmusic.com/album/magical-mystery-tour-mw0000651227|url-status=live}}</ref>
*"Jessie's Dream" (1967): Lennon–McCartney–Harrison–Starkey
*"Jessie's Dream" (1967): Lennon–McCartney–Harrison–Starkey
*"[[Step Inside Love#McCartney recording|Los Paranoias]]" (1968): Lennon–McCartney–Harrison–Starkey
*"[[Step Inside Love#McCartney recording|Los Paranoias]]" (1968): Lennon–McCartney–Harrison–Starkey
*"[[Dig It (The Beatles song)|Dig It]]" (1969): Lennon–McCartney–Harrison–Starkey<ref>{{cite web|url=http://www.allmusic.com/song/dig-it-mt0010130342|title=Dig It - The Beatles {{!}} Song Info {{!}} AllMusic|website=AllMusic|access-date=2 August 2016}}</ref>
*"[[Dig It (The Beatles song)|Dig It]]" (1969): Lennon–McCartney–Harrison–Starkey<ref>{{cite web|url=http://www.allmusic.com/song/dig-it-mt0010130342|title=Dig It - The Beatles {{!}} Song Info {{!}} AllMusic|website=AllMusic|access-date=2 August 2016|archive-date=7 January 2013|archive-url=https://web.archive.org/web/20130107065658/http://www.allmusic.com/song/dig-it-mt0010130342|url-status=live}}</ref>
*"[[Maggie May (folk song)|Maggie Mae]]" (1969): Arrangement by Lennon–McCartney–Harrison–Starkey
*"[[Maggie May (folk song)|Maggie Mae]]" (1969): Arrangement by Lennon–McCartney–Harrison–Starkey
*"[[Let It Be (1970 film)#Soundtrack|Suzy Parker]]" (1969): Lennon–McCartney–Harrison–Starkey
*"[[Let It Be (1970 film)#Soundtrack|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
*"[[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<ref>{{cite web|url=http://www.allmusic.com/album/ultra-rare-trax-vol-5-mw0000888987|title=Ultra Rare Trax, Vol. 5 - The Beatles |website=AllMusic|access-date=2 August 2016}}</ref>
*"[[Christmas Time (Is Here Again)]]" (1995 edit of 1967 fan club version): Lennon–McCartney–Harrison–Starkey<ref>{{cite web|url=http://www.allmusic.com/album/ultra-rare-trax-vol-5-mw0000888987|title=Ultra Rare Trax, Vol. 5 - The Beatles|website=AllMusic|access-date=2 August 2016|archive-date=30 August 2016|archive-url=https://web.archive.org/web/20160830105002/http://www.allmusic.com/album/ultra-rare-trax-vol-5-mw0000888987|url-status=live}}</ref>
*"[[Now and Then (Beatles song)|Now and Then]]" (2023): Original composition by John Lennon; Beatles version credited to John Lennon, Paul McCartney, George Harrison and Ringo Starr


The [[German language|German-language]] versions of "[[I Want to Hold Your Hand]]" and "[[She Loves You]]" were also credited to additional songwriters for assisting with the translation. "[[Komm, gib mir deine Hand / Sie liebt dich|Komm, Gib Mir Deine Hand]]" was credited to Lennon–McCartney–[[Camillo Felgen|Nicolas]]–Hellmer, and "[[Komm, gib mir deine Hand / Sie liebt dich|Sie Liebt Dich]]" was credited to Lennon–McCartney–Nicolas–Montague.
The [[German language|German-language]] versions of "[[I Want to Hold Your Hand]]" and "[[She Loves You]]" were also credited to additional songwriters for assisting with the translation. "[[Komm, gib mir deine Hand]]" was credited to Lennon–McCartney–[[Camillo Felgen|Nicolas]]–Hellmer, and "[[Sie liebt dich]]" was credited to Lennon–McCartney–Nicolas–Montague.


== Legacy ==
== Legacy ==
===Cultural impact===
===Cultural impact===
{{see also|Cultural impact of the Beatles}}
{{see also|Cultural impact of the Beatles}}
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?"<ref>{{Cite book|title=The Beatles, Popular Music and Society|last=Inglis|first=Ian|publisher=St. Martin's Press|year=2000|isbn=0-312-22236-X|location=New York|page=[https://archive.org/details/beatlespopularmu0000unse/page/53 53]|url=https://archive.org/details/beatlespopularmu0000unse/page/53}}</ref> In 1963, ''[[The Sunday Times]]'' called Lennon and McCartney the greatest composers since [[Ludwig van Beethoven]].<ref>{{cite web|title=Best Overall: The Beatles, The Songwriting Team of Lennon and McCartney|last=Gaar|first=Gillian G. |url=http://www.goldminemag.com/features/best-overall-the-beatles|publisher=Goldmine Magazine|date=8 Feb 2011}}</ref>
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?"<ref>{{Cite book|title=The Beatles, Popular Music and Society|last=Inglis|first=Ian|publisher=St. Martin's Press|year=2000|isbn=0-312-22236-X|location=New York|page=[https://archive.org/details/beatlespopularmu0000unse/page/53 53]|url=https://archive.org/details/beatlespopularmu0000unse/page/53}}</ref> In 1963, ''[[The Sunday Times]]'' called Lennon and McCartney the greatest composers since [[Ludwig van Beethoven]].<ref>{{cite web|title=Best Overall: The Beatles, The Songwriting Team of Lennon and McCartney|last=Gaar|first=Gillian G.|url=http://www.goldminemag.com/features/best-overall-the-beatles|publisher=Goldmine Magazine|date=8 Feb 2011|access-date=10 April 2016|archive-date=7 April 2023|archive-url=https://web.archive.org/web/20230407142413/https://www.goldminemag.com/features/best-overall-the-beatles|url-status=live}}</ref>

The Lennon–McCartney brand would prove to be a model for several other songwriting teams in the [[rock music|rock]] genre, including, according to Lennon, the [[Rolling Stones]]' [[Jagger–Richards]] partnership.<ref name="Beatles-Interviews">{{cite web |last=Sheff |first=David |title=Playboy Interview with John Lennon and Yoko Ono |url=http://www.beatlesinterviews.org/dba02with.html |access-date=2012-02-15 |archive-date=7 October 2011 |archive-url=https://web.archive.org/web/20111007100020/http://www.beatlesinterviews.org/dba02with.html |url-status=live }}</ref> Subsequent [[Beatlesque]] songwriting teams attracted comparisons in the media to Lennon–McCartney. The [[New wave music|new wave]] band [[Squeeze (band)|Squeeze's]] partnership of [[Chris Difford]] and [[Glenn Tilbrook]] was dubbed the "new Lennon–McCartney" by music writers.<ref name="chicago tribune squeeze">{{cite journal |last1=Kot |first1=Greg |title=Fresh Squeze |journal=Chicago Tribune |date=Nov 17, 1989 |url=https://www.chicagotribune.com/news/ct-xpm-1989-11-17-8903100638-story.html |access-date=5 September 2022 |archive-date=5 September 2022 |archive-url=https://web.archive.org/web/20220905200250/https://www.chicagotribune.com/news/ct-xpm-1989-11-17-8903100638-story.html |url-status=live }}</ref><ref name="nyt squeeze">{{cite journal |last1=Holden |first1=Stephen |title=Pop: Difford and Tilbrook |journal=The New York Times |date=3 August 1984 |url=https://www.nytimes.com/1984/08/03/arts/pop-difford-and-tilbrook.html |access-date=5 September 2022 |issn=0362-4331 |archive-date=5 September 2022 |archive-url=https://web.archive.org/web/20220905200250/https://www.nytimes.com/1984/08/03/arts/pop-difford-and-tilbrook.html |url-status=live }}</ref><ref name="yahoo squeeze">{{cite web |last1=Parker |first1=Lyndsey |title=Two side story: Chris Difford and Glenn Tilbrook reflect on 45 years of Squeeze |url=https://www.yahoo.com/entertainment/two-side-story-chris-difford-and-glen-tilbrook-reflect-on-45-years-of-squeeze-190344154.html |website=Yahoo Music |access-date=5 September 2022 |archive-date=5 September 2022 |archive-url=https://web.archive.org/web/20220905200250/https://www.yahoo.com/entertainment/two-side-story-chris-difford-and-glen-tilbrook-reflect-on-45-years-of-squeeze-190344154.html |url-status=live }}</ref> Difford and Tilbrook expressed ambivalence about the comparison: Tilbrook felt that they "got a bit pompous" as a result, while Difford noted that, although the tag was "very useful" to Squeeze for getting the attention of radio programmers, the label "might have been a burden" on Tilbrook "because he had to live up to the challenge of [the Beatles'] kind of songwriting, which he didn't need to do because he's such an incredible songwriter in his own right."<ref name="yahoo squeeze" /> ''[[Record Mirror]]'' pondered in 1980 whether [[Andy McCluskey]] and [[Paul Humphreys]], the founding duo of [[Electronic music|electronic]] band [[Orchestral Manoeuvres in the Dark]], were emerging as "the Lennon and McCartney of the electronic world";<ref>{{cite magazine|last=Hall|first=Philip|title=On the Carpettes|magazine=[[Record Mirror]]|date=15 November 1980|page=21}}</ref> music journalists subsequently began to describe the pair as "the Lennon–McCartney of [[synth-pop]]".<ref>{{cite news|first=Sean|last=O'Neal|title=Paul Humphreys of Orchestral Manoeuvres in the Dark|url=https://www.avclub.com/paul-humphreys-of-orchestral-manoeuvres-in-the-dark-1798214499|newspaper=[[The A.V. Club]]|date=30 July 2008|access-date=20 July 2024|archive-date=27 September 2022|archive-url=https://web.archive.org/web/20220927214814/https://www.avclub.com/paul-humphreys-of-orchestral-manoeuvres-in-the-dark-1798214499|url-status=live}}</ref><ref>{{cite web|url=https://www.scotsman.com/arts-and-culture/music-review-omd-kelvingrove-bandstand-glasgow-268383|title=Music Review: OMD, Kelvingrove Bandstand, Glasgow|date=6 August 2018|website=[[The Scotsman]]|access-date=10 January 2024|archive-date=6 April 2023|archive-url=https://web.archive.org/web/20230406143023/https://www.scotsman.com/arts-and-culture/music-review-omd-kelvingrove-bandstand-glasgow-268383|url-status=live}}</ref><ref>{{cite web|url=https://www.cityweekly.net/utah/live-music-picks-march-15-21/Content?oid=8006807|title=Live Music Picks: March 15–21|last=Hardee|first=Howard|date=14 March 2018|website=[[Salt Lake City Weekly]]|access-date=10 January 2024|archive-date=1 June 2023|archive-url=https://web.archive.org/web/20230601043531/https://www.cityweekly.net/utah/live-music-picks-march-15-21/Content?oid=8006807|url-status=live}}</ref>


The Lennon–McCartney brand would prove to be a model for several other songwriting teams in the [[rock music|rock]] genre, including, according to Lennon, the [[Rolling Stones]]' [[Jagger–Richards]] partnership.<ref name="Beatles-Interviews">{{cite web |last =Sheff |first=David |title=Playboy Interview with John Lennon and Yoko Ono |url=http://www.beatlesinterviews.org/dba02with.html |access-date=2012-02-15 }}</ref> Subsequent [[Beatlesque]] songwriting teams, sometimes featuring former Beatles, attracted comparisons in the media to Lennon–McCartney. The [[New wave music|new wave]] band [[Squeeze (band)|Squeeze's]] partnership of [[Chris Difford]] and [[Glenn Tilbrook]] was infamously dubbed the "new Lennon–McCartney" by music writers.<ref name="chicago tribune squeeze">{{cite journal |last1=Kot |first1=Greg |title=Fresh Squeze |journal=Chicago Tribune |date=Nov 17, 1989 |url=https://www.chicagotribune.com/news/ct-xpm-1989-11-17-8903100638-story.html |access-date=5 September 2022}}</ref><ref name="nyt squeeze">{{cite journal |last1=Holden |first1=Stephen |title=Pop: Difford and Tilbrook |journal=The New York Times |date=3 August 1984 |url=https://www.nytimes.com/1984/08/03/arts/pop-difford-and-tilbrook.html |access-date=5 September 2022 |issn=0362-4331}}</ref><ref name="yahoo squeeze">{{cite web |last1=Parker |first1=Lyndsey |title=Two side story: Chris Difford and Glenn Tilbrook reflect on 45 years of Squeeze |url=https://www.yahoo.com/entertainment/two-side-story-chris-difford-and-glen-tilbrook-reflect-on-45-years-of-squeeze-190344154.html |website=Yahoo Music |access-date=5 September 2022}}</ref> Difford and Tilbrook expressed ambivalence about the comparison: Tilbrook felt that they "got a bit pompous" as a result, while Difford noted that, although the tag was "very useful" to Squeeze for getting the attention of radio programmers, the label "might have been a burden" on Tilbrook "because he had to live up to the challenge of [the Beatles'] kind of songwriting, which he didn't need to do because he's such an incredible songwriter in his own right."<ref name="yahoo squeeze" /> Similarly, 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.<ref name="people mccartney costello">{{cite web |last1=Runtagh |first1=Jordan |title=Paul McCartney and Elvis Costello: Every Song They Wrote |url=https://people.com/music/paul-mccartney-elvis-costello-song-collaboration-guide/ |website=Peoplemag |access-date=5 September 2022 |language=en}}</ref><ref name="rs macca costello">{{cite web |last1=Hiatt |first1=Brian |title=Inside Paul McCartney and Elvis Costello's Prolific Late-Eighties Collab |url=https://www.rollingstone.com/music/music-features/inside-paul-mccartney-and-elvis-costellos-prolific-late-eighties-team-up-126895/ |website=Rolling Stone |access-date=5 September 2022 |date=13 March 2017}}</ref><ref name="as macca costello">{{cite web |title=The Top 50 Elvis Costello Songs |url=https://americansongwriter.com/the-top-20-elvis-costello-songs/5/ |website=American Songwriter |access-date=5 September 2022 |date=1 July 2021}}</ref> McCartney, despite conceding that Costello has "got a bit of Lennon in him", characterized the pairing as "a new thing".<ref name="people mccartney costello" />
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.<ref name="people mccartney costello">{{cite web |last1=Runtagh |first1=Jordan |title=Paul McCartney and Elvis Costello: Every Song They Wrote |url=https://people.com/music/paul-mccartney-elvis-costello-song-collaboration-guide/ |website=Peoplemag |access-date=5 September 2022 |language=en |archive-date=5 September 2022 |archive-url=https://web.archive.org/web/20220905200250/https://people.com/music/paul-mccartney-elvis-costello-song-collaboration-guide/ |url-status=live }}</ref><ref name="rs macca costello">{{cite magazine |last1=Hiatt |first1=Brian |title=Inside Paul McCartney and Elvis Costello's Prolific Late-Eighties Collab |url=https://www.rollingstone.com/music/music-features/inside-paul-mccartney-and-elvis-costellos-prolific-late-eighties-team-up-126895/ |magazine=Rolling Stone |access-date=5 September 2022 |date=13 March 2017 |archive-date=5 September 2022 |archive-url=https://web.archive.org/web/20220905200255/https://www.rollingstone.com/music/music-features/inside-paul-mccartney-and-elvis-costellos-prolific-late-eighties-team-up-126895/ |url-status=live }}</ref><ref name="as macca costello">{{cite web |title=The Top 50 Elvis Costello Songs |url=https://americansongwriter.com/the-top-20-elvis-costello-songs/5/ |website=American Songwriter |access-date=5 September 2022 |date=1 July 2021 |archive-date=5 September 2022 |archive-url=https://web.archive.org/web/20220905200250/https://americansongwriter.com/the-top-20-elvis-costello-songs/5/ |url-status=live }}</ref> McCartney, despite conceding that Costello has "got a bit of Lennon in him", characterized the pairing as "a new thing".<ref name="people mccartney costello" />


===Beatles catalogue===
===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,<ref name="allmusic1">{{cite web |access-date=14 December 2009 |first=Stephen Thomas |last=Erlewine |author-link=Stephen Thomas Erlewine |url={{Allmusic|class=album|id=r1502|pure_url=yes}} |title=Overview of ''Please Please Me'' |work=[[Allmusic]]}}</ref><ref name="allmusic2">{{cite web |access-date=14 December 2009 |first=Stephen Thomas |last=Erlewine |url= {{Allmusic|class=album|id=r1503/review|pure_url=yes}} |title=Review of ''With the Beatles'' |work=Allmusic}}</ref> with one track ("[[Don't Bother Me]]") credited to [[George Harrison]].<ref name="allmusic2"/> Their third UK album, ''[[A Hard Day's Night (album)|A Hard Day's Night]]'' (1964), is the only original Beatles album made up entirely of Lennon–McCartney compositions.<ref name="allmusic3">{{cite web|url={{Allmusic|class=album|id=r1506|pure_url=yes}}|title=Overview of ''A Hard Day's Night'' |work=Allmusic}}</ref> The next album released, ''[[Beatles for Sale]]'' (1964), included six covers and eight Lennon–McCartney originals.<ref name="allmusic4">{{cite web|url={{Allmusic|class=album|id=r1508|pure_url=yes}}|title=Overview of ''Beatles for Sale'' |work=Allmusic}}</ref> 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 (Beatles album)|Let It Be]]'', which included an arrangement of the traditional Liverpool folk song "[[Maggie May (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 (Beatles song)|What Goes On]]"). In addition, "[[Flying (Beatles instrumental)|Flying]]" and "[[Dig It (Beatles song)|Dig It]]" were credited to all four Beatles. The rest of the catalogue came from Lennon and McCartney.
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,<ref name="allmusic1">{{cite web |access-date=14 December 2009 |first=Stephen Thomas |last=Erlewine |author-link=Stephen Thomas Erlewine |url=https://www.allmusic.com/album/r1502 |title=Overview of ''Please Please Me'' |work=[[Allmusic]] |archive-date=5 February 2011 |archive-url=https://web.archive.org/web/20110205065752/http://www.allmusic.com/album/r1502 |url-status=live }}</ref><ref name="allmusic2">{{cite web |access-date=14 December 2009 |first=Stephen Thomas |last=Erlewine |url= {{Allmusic|class=album|id=r1503/review|pure_url=yes}} |title=Review of ''With the Beatles'' |work=Allmusic}}</ref> with one track ("[[Don't Bother Me]]") credited to [[George Harrison]].<ref name="allmusic2"/> Their third UK album, ''[[A Hard Day's Night (album)|A Hard Day's Night]]'' (1964), is the only Beatles album made up entirely of Lennon–McCartney compositions.<ref name="allmusic3">{{cite web|url=https://www.allmusic.com/album/r1506|title=Overview of ''A Hard Day's Night''|work=Allmusic|access-date=1 April 2024|archive-date=3 March 2012|archive-url=https://web.archive.org/web/20120303074503/http://www.allmusic.com/album/r1506|url-status=live}}</ref> The next album released, ''[[Beatles for Sale]]'' (1964), included six covers and eight Lennon–McCartney originals.<ref name="allmusic4">{{cite web|url=https://www.allmusic.com/album/r1508|title=Overview of ''Beatles for Sale''|work=Allmusic|access-date=1 April 2024|archive-date=18 February 2011|archive-url=https://web.archive.org/web/20110218042411/http://www.allmusic.com/album/r1508|url-status=live}}</ref> 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 (album)|Let It Be]]'', which included an arrangement of the traditional Liverpool folk song "[[Maggie May (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 (Beatles song)|What Goes On]]"). In addition, "[[Flying (Beatles instrumental)|Flying]]" and "[[Dig It (Beatles song)|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 (Beatles song)|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).{{sfn|MacDonald|2005|p=128}}<ref>{{cite web|first=Alan W.|last=Pollack|url=http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/elt.shtml |title=Notes on 'Every Little Thing'|year=1992 |publisher=soundscapes.info|access-date=21 April 2016}}</ref> McCartney sings in unison with Lennon on the verses, but Lennon's vocal is more prominent. McCartney sings the high harmony on the chorus.
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 (Beatles song)|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).{{sfn|MacDonald|2005|p=128}}<ref>{{cite web|first=Alan W.|last=Pollack|url=http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/elt.shtml|title=Notes on 'Every Little Thing'|year=1992|publisher=soundscapes.info|access-date=21 April 2016|archive-date=17 April 2012|archive-url=https://web.archive.org/web/20120417195755/http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/elt.shtml|url-status=live}}</ref> 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 [[Sony/ATV Music Publishing]] seeking to reclaim ownership of his share of the Lennon–McCartney song catalogue beginning in 2018. Under US copyright law, for works published before 1978 the author can reclaim copyrights assigned to a publisher after 56 years.<ref>{{cite web |url=https://www.theguardian.com/music/2017/jan/18/paul-mccartney-sue-sony-rights-beatles-songs |title=We can't work it out: Paul McCartney to sue Sony for rights to Beatles classics |work=The Guardian |date=18 January 2017 |access-date=29 August 2018}}</ref><ref>{{cite web |url=https://www.theguardian.com/music/2017/jul/04/beatles-song-rights-dispute-paul-mccartney-and-sony-atv-work-it-out |title=Beatles song rights dispute: Paul McCartney and Sony ATV work it out |work=The Guardian |date=3 July 2017 |access-date=29 August 2018}}</ref> McCartney and Sony agreed to a confidential settlement in June 2017.<ref>{{cite web |url=http://fortune.com/2017/06/30/sony-beatles-copyright/ |title=Sony and Paul McCartney Settle The Beatles Copyright Suit |work=Fortune |date=30 June 2017 |access-date=29 August 2018}}</ref>
In January 2017, McCartney filed a suit in United States district court against [[Sony/ATV Music Publishing]] seeking to reclaim ownership of his share of the Lennon–McCartney song catalogue beginning in 2018. Under US copyright law, for works published before 1978 the author can reclaim copyrights assigned to a publisher after 56 years.<ref>{{cite web |url=https://www.theguardian.com/music/2017/jan/18/paul-mccartney-sue-sony-rights-beatles-songs |title=We can't work it out: Paul McCartney to sue Sony for rights to Beatles classics |work=The Guardian |date=18 January 2017 |access-date=29 August 2018 |archive-date=19 January 2017 |archive-url=https://web.archive.org/web/20170119012029/https://www.theguardian.com/music/2017/jan/18/paul-mccartney-sue-sony-rights-beatles-songs |url-status=live }}</ref><ref>{{cite web |url=https://www.theguardian.com/music/2017/jul/04/beatles-song-rights-dispute-paul-mccartney-and-sony-atv-work-it-out |title=Beatles song rights dispute: Paul McCartney and Sony ATV work it out |work=The Guardian |date=3 July 2017 |access-date=29 August 2018 |archive-date=4 May 2018 |archive-url=https://web.archive.org/web/20180504082753/https://www.theguardian.com/music/2017/jul/04/beatles-song-rights-dispute-paul-mccartney-and-sony-atv-work-it-out |url-status=live }}</ref> McCartney and Sony agreed to a confidential settlement in June 2017.<ref>{{cite web |url=http://fortune.com/2017/06/30/sony-beatles-copyright/ |title=Sony and Paul McCartney Settle The Beatles Copyright Suit |work=Fortune |date=30 June 2017 |access-date=29 August 2018 |archive-date=16 June 2018 |archive-url=https://web.archive.org/web/20180616153758/http://fortune.com/2017/06/30/sony-beatles-copyright/ |url-status=live }}</ref>


==Non-Beatles songs==
==Non-Beatles songs==
Several songs credited to Lennon–McCartney were originally released by bands other than the Beatles, especially those managed by [[Brian Epstein]]. Recording a Lennon–McCartney song helped launch new performing-artists' careers. Many of the recordings below were included on the 1979 compilation album ''[[The Songs Lennon and McCartney Gave Away]]''.<ref>{{cite web |first=Graham |last=Calkin |work=JPGR |url=http://www.jpgr.co.uk/col_nut18.html |title=The Songs Lennon and McCartney Gave Away |access-date=14 December 2009}}</ref> Beatles versions of some of these were recorded; some were not released until after their split, on compilations such as ''[[Live at the BBC (The Beatles album)|Live at the BBC]]'' (1994) and ''[[The Beatles Anthology]]'' (1995–96).
Several songs credited to Lennon–McCartney were originally released by bands other than the Beatles, especially those managed by [[Brian Epstein]]. Recording a Lennon–McCartney song helped launch new performing-artists' careers. Many of the recordings below were included on the 1979 compilation album ''[[The Songs Lennon and McCartney Gave Away]]''.<ref>{{cite web |first=Graham |last=Calkin |work=JPGR |url=http://www.jpgr.co.uk/col_nut18.html |title=The Songs Lennon and McCartney Gave Away |access-date=14 December 2009 |archive-date=6 November 2012 |archive-url=https://web.archive.org/web/20121106212414/http://www.jpgr.co.uk/col_nut18.html |url-status=live }}</ref> Beatles versions of some of these were recorded; some were not released until after their split, on compilations such as ''[[Live at the BBC (The Beatles album)|Live at the BBC]]'' (1994) and ''[[The Beatles Anthology]]'' (1995–96).

In April 2024, the surviving Beatles sons [[James McCartney]] and [[Sean Ono Lennon]] worked together on the song "Primrose Hill" for McCartney's upcoming album.<ref>{{cite web |last1=McCartney |first1=James |title=James McCartney on X: 'Primrose Hill' is here! Today I am so very excited to share my latest song co-written by my good friend @seanonolennon. With the release of this song it feels like we're really getting the ball rolling and I am so excited to continue to share music with you.|url=https://x.com/JamesMcCartney_/status/1778776309558088091|website=X/Twitter |date=April 2024 |access-date=11 April 2024}}</ref>


{| class="wikitable"
{| class="wikitable"
Line 101: Line 111:
|1963 || [[The Rolling Stones]] || "[[I Wanna Be Your Man]]" || style="text-align:center;"| UK #12 || Beatles version released later in 1963 on ''[[With the Beatles]]''
|1963 || [[The Rolling Stones]] || "[[I Wanna Be Your Man]]" || style="text-align:center;"| 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]]" || style="text-align:center;"| ([[A-side and B-side|B-side]]) || Beatles version released on ''Live at the BBC''
|1963 || [[Billy J. Kramer]] with [[The Dakotas (band)|the Dakotas]] || "[[I'll Be on My Way]]" || style="text-align:center;"| ([[A-side and B-side|B-side]]) || Beatles version released on ''Live at the BBC''
|-
|-
|1963 || Billy J. Kramer with The Dakotas || "[[Bad to Me]]" || style="text-align:center;"| UK #1 || Beatles demo was released on iTunes download ''[[The Beatles Bootleg Recordings 1963]]''
|1963 || Billy J. Kramer with The Dakotas || "[[Bad to Me]]" || style="text-align:center;"| UK #1 || Beatles demo was released on iTunes download ''[[The Beatles Bootleg Recordings 1963]]''
Line 117: Line 127:
|1963 || The Fourmost || "[[I'm in Love (Lennon–McCartney song)|I'm in Love]]" || style="text-align:center;"| UK #17 || Beatles demo released on iTunes download ''[[The Beatles Bootleg Recordings 1963]]''
|1963 || The Fourmost || "[[I'm in Love (Lennon–McCartney song)|I'm in Love]]" || style="text-align:center;"| UK #17 || Beatles demo released on iTunes download ''[[The Beatles Bootleg Recordings 1963]]''
|-
|-
|1963 || [[Cilla Black]] || "[[Love of the Loved]]" || style="text-align:center;"| UK #35 || Beatles version released on the unofficial album ''[[I Saw Her Standing There (album)|I Saw Her Standing There]]''
|1963 || [[Cilla Black]] || "[[Love of the Loved]]" || style="text-align:center;"| UK #35 || Beatles version released on [[The Beatles bootleg recordings|bootlegs]] of the [[The Beatles' Decca audition|Decca audition]]
|-
|-
|1964 || Cilla Black || "[[It's for You]]" || style="text-align:center;"| UK #7 ||
|1964 || Cilla Black || "[[It's for You]]" || style="text-align:center;"| UK #7 ||
|-
|-
|1964 || The Strangers with Mike Shannon || "One and One Is Two" || style="text-align:center;"| — || The song was rejected by Billy J. Kramer. The Strangers with Mike Shannon were South African.{{sfn|Winn|2008|p=120}}
|1964 || The Strangers with Mike Shannon || "[[One and One Is Two]]" || style="text-align:center;"| — || The song was rejected by Billy J. Kramer. The Strangers with Mike Shannon were South African.{{sfn|Winn|2008|p=120}}
|-
|-
|1964 || [[Peter & Gordon]] || "[[A World Without Love]]" || style="text-align:center;"| UK #1 ||
|1964 || [[Peter & Gordon]] || "[[A World Without Love]]" || style="text-align:center;"| UK #1 <br /> US #1 || Demo released in bootlegs
|-
|-
|1964 || Peter & Gordon || "[[Nobody I Know]]" || style="text-align:center;"| UK #10 ||
|1964 || Peter & Gordon || "[[Nobody I Know]]" || style="text-align:center;"| UK #10 ||
Line 133: Line 143:
|1965 || [[P.J. Proby]] || "[[That Means a Lot]]" || style="text-align:center;"| UK #30 || Beatles version released on ''Anthology 2''
|1965 || [[P.J. Proby]] || "[[That Means a Lot]]" || style="text-align:center;"| UK #30 || Beatles version released on ''Anthology 2''
|-
|-
|1968 || [[Black Dyke Band|John Foster & Son Ltd Black Dyke Mills Band]] || "Thingumybob" || style="text-align:center;"| — || The eponymous theme to a [[Yorkshire Television]] sitcom. Developed from an early version known as "[[Etcetera (Beatles song)|Etcetera]]", demoed by Paul McCartney during a session for "[[Mother Nature's Son]]" on 20 August 1968.<ref>{{cite web |url=http://www.beatlesbible.com/songs/etcetera/|title=The Beatles Bible|date=15 March 2008}}</ref>
|1968 || [[Black Dyke Band|John Foster & Son Ltd Black Dyke Mills Band]] || "Thingumybob" || style="text-align:center;"| — || The eponymous theme to a [[Yorkshire Television]] sitcom. Developed from an early version known as "[[Etcetera (Beatles song)|Etcetera]]", demoed by Paul McCartney during a session for "[[Mother Nature's Son]]" on 20 August 1968.<ref>{{cite web|url=http://www.beatlesbible.com/songs/etcetera/|title=The Beatles Bible|date=15 March 2008|access-date=11 January 2015|archive-date=4 March 2015|archive-url=https://web.archive.org/web/20150304174021/http://www.beatlesbible.com/songs/etcetera/|url-status=live}}</ref>
|-
|-
|1968 || Cilla Black || "[[Step Inside Love]]" || style="text-align:center;"| UK #8 || Beatles improvisation released on ''Anthology 3''
|1968 || Cilla Black || "[[Step Inside Love]]" || style="text-align:center;"| UK #8 || Beatles improvisation released on ''Anthology 3''
|-
|-
|1969 || [[Mary Hopkin]] || "[[Goodbye (Mary Hopkin song)|Goodbye]]" || style="text-align:center;"| UK #2 || Original demo released in The [[Abbey Road (album)|Abbey Road]] 50th anniversary deluxe edition.<ref>{{cite web |url=https://abbeyroad.thebeatles.com/ |title=The Beatles Revisit Abbey Road with Special Anniversary Releases |author=<!--Not stated--> |date=8 August 2019 |website=thebeatles.com |publisher=Apple Corps |access-date=8 August 2019 }}</ref>
|1969 || [[Mary Hopkin]] || "[[Goodbye (Mary Hopkin song)|Goodbye]]" || style="text-align:center;"| UK #2 || Original demo released in The [[Abbey Road (album)|Abbey Road]] 50th anniversary deluxe edition.<ref>{{cite web |url=https://abbeyroad.thebeatles.com/ |title=The Beatles Revisit Abbey Road with Special Anniversary Releases |author=<!--Not stated--> |date=8 August 2019 |website=thebeatles.com |publisher=Apple Corps |access-date=8 August 2019 |archive-date=8 August 2019 |archive-url=https://web.archive.org/web/20190808103219/https://abbeyroad.thebeatles.com/ |url-status=live }}</ref>
|-
|-
|1969 || [[Plastic Ono Band]] || "[[Give Peace a Chance]]" || style="text-align:center;"| 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.
|1969 || [[Plastic Ono Band]] || "[[Give Peace a Chance]]" || style="text-align:center;"| 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.
Line 155: Line 165:
|1966 || The [[George Martin]] Orchestra || [[The Family Way (soundtrack)|''The Family Way'' soundtrack]] || style="text-align:center;"| — || McCartney composed the melodies while Martin scored and directed the music for the film and album.
|1966 || The [[George Martin]] Orchestra || [[The Family Way (soundtrack)|''The Family Way'' soundtrack]] || style="text-align:center;"| — || McCartney composed the melodies while Martin scored and directed the music for the film and album.
|-
|-
|1967 || The [[Chris Barber]] Band || "Catcall" || style="text-align:center;"| — || Originally known as "Catswalk", performed from 1958 to 1962 and revisited during the [[Let It Be (Beatles album)|''Get Back'' sessions]] in January 1969.<ref>{{cite web|url=http://www.beatleswiki.org/wiki/Catcall|title=Beatles Wiki|access-date=11 January 2015|archive-url=https://web.archive.org/web/20150603105249/http://www.beatleswiki.org/wiki/Catcall|archive-date=3 June 2015|url-status=dead}}</ref>
|1967 || The [[Chris Barber]] Band || "Catcall" || style="text-align:center;"| — || Originally known as "Catswalk", performed from 1958 to 1962 and revisited during the [[Let It Be (album)|''Get Back'' sessions]] in January 1969.<ref>{{cite web|url=http://www.beatleswiki.org/wiki/Catcall|title=Beatles Wiki|access-date=11 January 2015|archive-url=https://web.archive.org/web/20150603105249/http://www.beatleswiki.org/wiki/Catcall|archive-date=3 June 2015|url-status=dead}}</ref>
|-
|-
|1969 || {{ill|Jotta Herre|pt}} || {{ill|"Penina"|pt|Penina (canção)}} || style="text-align:center;"| — || Originally released by Jotta Herre and later covered by [[Carlos Mendes (singer)|Carlos Mendes]].<ref>{{Cite web|url=http://www.45cat.com/record/431923pe|title=Jotta Herre - Penina}}</ref>
|1969 || {{ill|Jotta Herre|pt}} || {{ill|"Penina"|pt|Penina (canção)}} || style="text-align:center;"| — || Originally released by Jotta Herre and later covered by [[Carlos Mendes (singer)|Carlos Mendes]].<ref>{{Cite web|url=http://www.45cat.com/record/431923pe|title=Jotta Herre - Penina|access-date=27 September 2019|archive-date=27 September 2019|archive-url=https://web.archive.org/web/20190927012656/http://www.45cat.com/record/431923pe|url-status=live}}</ref>
|-
|-
|1969 || [[Badfinger]] || "[[Come and Get It (Badfinger song)|Come and Get It]]" || style="text-align:center;"| UK #4 || The original demo was included on ''[[Anthology 3]]'' and 50th Anniversary of ''[[Abbey Road]]'' in 2019.
|1969 || [[Badfinger]] || "[[Come and Get It (Badfinger song)|Come and Get It]]" || style="text-align:center;"| UK #4 || The original demo was included on ''[[Anthology 3]]'' and 50th Anniversary of ''[[Abbey Road]]'' in 2019.
Line 164: Line 174:
==Unreleased songs==
==Unreleased songs==
<!-- linked from redirect [[Unreleased Lennon–McCartney songs]] -->
<!-- linked from redirect [[Unreleased Lennon–McCartney 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 [[Bootleg recording|bootlegs]], an exception being "[[Carnival of Light]]".{{sfn|Shea|Rodriguez|2002|p=301}} 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.{{sfn|Everett|2001|p=25}} Several of these songs were revisited during the [[Let It Be (Beatles album)|''Get Back'' sessions]] of early 1969.{{sfn|Everett|2001|p=27}}
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 [[Bootleg recording|bootlegs]], an exception being "[[Carnival of Light]]".{{sfn|Shea|Rodriguez|2002|p=301}} 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.{{sfn|Everett|2001|p=25}} Several of these songs were revisited during the [[Let It Be (album)|''Get Back'' sessions]] of early 1969.{{sfn|Everett|2001|p=27}}


{| class="wikitable sortable"
{| class="wikitable sortable"
Line 171: Line 181:
! Year
! Year
! style="width:72%"|Notes
! style="width:72%"|Notes
|-
|"[[I Lost My Little Girl]]"
| style="text-align:center;"|1956
|First song ever written by McCartney. Performed by the Beatles (with Lennon on lead vocals) during the [[Let It Be (Beatles album)|''Get Back'' sessions]].<ref>{{cite web | url=https://www.npr.org/programs/asc/archives/live031403/ | title=''Watch the Lost Beatles'' | work=NPR's Online Music Show | access-date=1 November 2006}}</ref> A performance of this song can be heard on McCartney's 1991 album ''[[Unplugged (The Official Bootleg)]]''.
|-
|"Too Bad About Sorrows"
| style="text-align:center;"|1957
|One of the earliest Lennon–McCartney compositions. Briefly sung by Lennon during the ''Get Back'' sessions of 8 January 1969; sung by McCartney during ''Get Back'' sessions of 21 January 1969.{{sfn|MacDonald|2007|p=77}}{{sfn|Sulpy|Schweighardt|1999|p=119}}{{sfn|Unterberger|2006|p=248}}
|-
|"Just Fun"
| style="text-align:center;"|1957
|Played by [[the Quarrymen]] from 1957 to 1959; sung by McCartney during the ''Get Back'' sessions of 6 January 1969 and shown in the ''[[Let It Be (1970 film)|Let It Be]]'' film,<ref>{{cite web |title=1957 - Early Beatles Songs |url=https://earlybeatlessongs.weebly.com/1957.html}}</ref> and briefly by Lennon on 8 January.{{sfn|MacDonald|2007|p=77}}{{sfn|Sulpy|Schweighardt|1999|p=119}}{{sfn|Unterberger|2006|p=242}}<ref>{{cite magazine |url=https://www.rollingstone.com/music/features/paul-mccartney-looks-back-the-rolling-stone-interview-w433437 |title=Paul McCartney Looks Back: The Rolling Stone Interview |last=Fricke |first=David |date=10 August 2016 |magazine=Rolling Stone}}</ref>
|-
|-
|"Keep Looking That Way"
|"Keep Looking That Way"
Line 195: Line 193:
| style="text-align:center;"|1957
| style="text-align:center;"|1957
|Played by the Quarrymen.{{sfn|MacDonald|2007|p=77}}{{sfn|Everett|2001|p=372}}
|Played by the Quarrymen.{{sfn|MacDonald|2007|p=77}}{{sfn|Everett|2001|p=372}}
|-
|"[[Thinking of Linking]]"
| style="text-align:center;"|1957
|Played by the Quarrymen; briefly sung by Lennon during the ''Get Back'' sessions on 29 January 1969;{{sfn|MacDonald|2007|p=77}}{{sfn|Sulpy|Schweighardt|1999|p=297}}{{sfn|Unterberger|2006|p=260}} performed by McCartney, Harrison and Starr for ''[[The Beatles Anthology]]''.
|-
|"Winston's Walk"
| style="text-align:center;"|1957
|Instrumental.{{sfn|Everett|2001|pp=25–6}}{{sfn|Unterberger|2006|p=12}}
|-
|-
|"Years Roll Along"
|"Years Roll Along"
| style="text-align:center;"|1957
| style="text-align:center;"|1957
|Played by the Quarrymen.{{sfn|MacDonald|2007|p=77}}{{sfn|Everett|2001|pp=25–6}}
|Played by the Quarrymen.{{sfn|MacDonald|2007|p=77}}{{sfn|Everett|2001|pp=25–6}}
|-
|"Because I Know You Love Me So"
| style="text-align:center;"|1960
|rowspan=2|[[Country music|Country]]-influenced duets briefly sung by Lennon and McCartney during the ''Get Back'' sessions on 3 January 1969.{{sfn|Sulpy|Schweighardt|1999|p=37}}{{sfn|Unterberger|2006|pp=236–7}}
|-
|-
|"I'll Wait Till Tomorrow"
|"I'll Wait Till Tomorrow"
| style="text-align:center;"|1960
| style="text-align:center;"|1960
| [[Country music|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"
|"I've Been Thinking That You Love Me"
| style="text-align:center;"|1960
| style="text-align:center;"|1960
|Briefly performed during the ''Get Back'' sessions on 3 January 1969.{{sfn|Sulpy|Schweighardt|1999|p=37}}{{sfn|Unterberger|2006|pp=236–7}}
|Briefly performed during the ''Get Back'' sessions on 3 January 1969.{{sfn|Sulpy|Schweighardt|1999|p=37}}{{sfn|Unterberger|2006|pp=236–7}}
|-
|"Won't You Please Say Goodbye"
| style="text-align:center;"|1960
|Briefly sung by Lennon during the ''Get Back'' sessions on 3 January 1969.{{sfn|Sulpy|Schweighardt|1999|p=37}}{{sfn|Unterberger|2006|pp=236–7}}
|-
|-
|"Some Days"
|"Some Days"
Line 238: Line 221:
|"I Don't Know"
|"I Don't Know"
| style="text-align:center;"|1960
| style="text-align:center;"|1960
|-
|"I Fancy Me Chances"
| style="text-align:center;"|1962
|Performed live in 1962 and briefly during the ''Get Back'' sessions; the latter was released as "Fancy My Chances with You" on the bonus disc of ''[[Let It Be... Naked]]''.{{sfn|MacDonald|2007|p=78}}{{sfn|Unterberger|2006|p=254}}
|-
|-
|"Pinwheel Twist"
|"Pinwheel Twist"
Line 257: Line 236:
|"[[Etcetera (Beatles song)|Etcetera]]"
|"[[Etcetera (Beatles song)|Etcetera]]"
| style="text-align:center;"|1968
| style="text-align:center;"|1968
|Recorded by McCartney on 20 August 1968, with "[[Mother Nature's Son]]" and "[[Wild Honey Pie]]".<ref>{{cite web|url=http://www.richieunterberger.com/rumored.html |last=Unterberger |first=Richie |author-link=Richie Unterberger |title=rumored |website=richieunterberger.com |access-date=14 May 2016}}</ref>
|Recorded by McCartney on 20 August 1968, with "[[Mother Nature's Son]]" and "[[Wild Honey Pie]]".<ref>{{cite web |url=http://www.richieunterberger.com/rumored.html |last=Unterberger |first=Richie |author-link=Richie Unterberger |title=rumored |website=richieunterberger.com |access-date=14 May 2016 |archive-date=11 March 2016 |archive-url=https://web.archive.org/web/20160311015505/http://www.richieunterberger.com/rumored.html |url-status=live }}</ref>
|-
|"Commonwealth"
| style="text-align:center;"|1969
|Improvised studio jam satirising [[Enoch Powell]]'s claim in a [[Rivers of Blood speech|1968 speech]] that immigration into the UK would cause a race war. Sung by McCartney during the ''Get Back'' sessions on 9 January 1969.{{sfn|Unterberger|2006|p=242}}{{sfn|Sulpy|Schweighardt|1999|pp=157–8}}{{sfn|MacDonald|2007|p=334}}
|-
|"My Imagination"
| style="text-align:center;"|1969
|Improvised studio jam sung by McCartney; performed during the ''Get Back'' sessions on 6 January 1969.<ref>{{Cite web|url=https://www.beatlesbible.com/1969/01/06/get-back-let-it-be-sessions-day-three/|title=The Beatles Bible - Get Back/Let It Be sessions: day three|date=1969-01-06|website=The Beatles Bible|language=en-GB|access-date=2019-08-19}}</ref><ref>{{Citation|title=The Beatles - My Imagination (jam)|url=https://www.youtube.com/watch?v=k_3zCMuwQWw |archive-url=https://ghostarchive.org/varchive/youtube/20211222/k_3zCMuwQWw |archive-date=2021-12-22 |url-status=live|language=en|access-date=2019-08-19}}{{cbignore}}</ref>
|-
|"Song of Love"
| style="text-align:center;"|1969
|Sung by McCartney; performed during the ''Get Back'' sessions on 14 January 1969.{{sfn|Unterberger|2006|p=247}}
|-
|-
|"[[Watching Rainbows]]"
|"[[Watching Rainbows]]"
Line 275: Line 242:
|Sung by Lennon; performed during the ''Get Back'' sessions on 14 January 1969.{{sfn|Unterberger|2006|p=247}}{{sfn|Sulpy|Schweighardt|1999|p=201}}
|Sung by Lennon; performed during the ''Get Back'' sessions on 14 January 1969.{{sfn|Unterberger|2006|p=247}}{{sfn|Sulpy|Schweighardt|1999|p=201}}
|-
|-
|"[[Madman (song)|Madman]]"
| style="text-align:center;"|1969
|Sung by Lennon; performed during the ''Get Back'' sessions on 14 and 21 January 1969.{{sfn|Unterberger|2006|p=247}}{{sfn|Sulpy|Schweighardt|1999|pp=201–2}}
|}
|}


==See also==
==See also==
* [[Outline of the Beatles]]
* [[The Beatles timeline]]
*[[List of songs recorded by the Beatles]]
*[[List of songs recorded by the Beatles]]
*[[List of songwriter collaborations]]
*[[List of songwriter collaborations]]
Line 294: Line 260:
* {{cite book|last=Compton |first=Todd |year=2017 | title = Who Wrote the Beatle Songs? A History of Lennon-McCartney |publisher=Pahreah Press |location=San Jose |isbn=978-0-9988997-0-1 }}
* {{cite book|last=Compton |first=Todd |year=2017 | title = Who Wrote the Beatle Songs? A History of Lennon-McCartney |publisher=Pahreah Press |location=San Jose |isbn=978-0-9988997-0-1 }}
* {{cite book |last=Everett |first=Walter |year=2001 |title=The Beatles As Musicians: The Quarry Men through Rubber Soul |publisher=Oxford University Press |location=New York |isbn=978-0-19-514105-4 |url=https://archive.org/details/beatlesasmusicia00ever }}
* {{cite book |last=Everett |first=Walter |year=2001 |title=The Beatles As Musicians: The Quarry Men through Rubber Soul |publisher=Oxford University Press |location=New York |isbn=978-0-19-514105-4 |url=https://archive.org/details/beatlesasmusicia00ever }}
* {{cite web|last=Goodman |first=Joan |title=Playboy Interview With Paul and Linda McCartney |work=Beatles Interview Database| year=1984| url=http://www.beatlesinterviews.org/dbpm.int2.html| access-date=6 December 2009}}
* {{cite web |last=Goodman |first=Joan |title=Playboy Interview With Paul and Linda McCartney |work=Beatles Interview Database |year=1984 |url=http://www.beatlesinterviews.org/dbpm.int2.html |access-date=6 December 2009 |archive-date=1 September 2021 |archive-url=https://web.archive.org/web/20210901175905/http://www.beatlesinterviews.org/dbpm.int2.html |url-status=live }}
* {{Cite book | last=Lewisohn | first=Mark | year=1988 | author-link=Mark Lewisohn | title=The Beatles Recording Sessions | publisher=[[Harmony Books]] | location=New York | isbn=0-517-57066-1 }}
* {{Cite book | last=Lewisohn | first=Mark | year=1988 | author-link=Mark Lewisohn | title=The Beatles Recording Sessions | publisher=[[Harmony Books]] | location=New York | isbn=0-517-57066-1 }}
* {{cite book |last=MacDonald |first=Ian |author-link=Ian MacDonald |title=Revolution in the Head: The Beatles' Records and the Sixties |year=2005 |edition=Second Revised |publisher=Pimlico (Rand) |location=London |isbn=1-84413-828-3 }}
* {{cite book |last=MacDonald |first=Ian |author-link=Ian MacDonald |title=Revolution in the Head: The Beatles' Records and the Sixties |year=2005 |edition=Second Revised |publisher=Pimlico (Rand) |location=London |isbn=1-84413-828-3 }}
Line 315: Line 281:
*[http://www.columbia.edu/~brennan/beatles/songs-beatles-didnt-do.html Songs the Beatles Gave Away] compiled by Joseph Brennan; includes Lennon–McCartney songs and others
*[http://www.columbia.edu/~brennan/beatles/songs-beatles-didnt-do.html Songs the Beatles Gave Away] compiled by Joseph Brennan; includes Lennon–McCartney songs and others
*[http://www.beatlesagain.com/breflib/gaveaway.html 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.
*[http://www.beatlesagain.com/breflib/gaveaway.html 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
*Unreleased Beatles compositions showcased in Liverpool and Seattle, and on CD titled ''Off the Beatle Track'' (23 June 2009): [https://web.archive.org/web/20090627212050/http://www.prweb.com/releases/2009/06/prweb2550404.htm]


{{The Beatles main}}
{{The Beatles main}}
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[[Category:History of the Beatles]]
[[Category:History of the Beatles]]
[[Category:The Beatles music]]
[[Category:The Beatles music]]
[[Category:English musical duos]]
[[Category:English rock music duos]]
[[Category:John Lennon]]
[[Category:John Lennon]]
[[Category:Paul McCartney]]
[[Category:Paul McCartney]]
[[Category:Musical groups established in 1962]]
[[Category:Musical groups established in 1962]]
[[Category:Rock music duos]]
[[Category:British songwriting teams]]
[[Category:British songwriting teams]]
[[Category:Male musical duos]]
[[Category:Male musical duos]]

Latest revision as of 13:58, 16 November 2024

Paul McCartney (left) and John Lennon (right) in 1964

Lennon–McCartney was the songwriting partnership between the English musicians John Lennon (1940–1980) and Paul McCartney (born 1942) of the Beatles. It is widely considered one of the greatest, best known and most successful musical collaborations ever by records sold, with the Beatles selling over 600 million records worldwide as of 2004.[1] Between 5 October 1962 and 8 May 1970, the partnership published approximately 180 jointly credited songs, of which the vast majority were recorded by the Beatles, forming the bulk of their catalogue.

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 cover versions. According to Guinness World Records, "Yesterday" has been recorded by more musicians than any other song.[3]

Meeting

[edit]

Although McCartney had previously seen and noticed Lennon in the local area without knowing who he was,[4] the pair first met on 6 July 1957, at a local church fête, where 16-year-old Lennon was playing with his skiffle group the Quarrymen. The 15-year-old McCartney, brought along by a mutual friend, Ivan Vaughan, impressed Lennon with his ability on the guitar and his version of Eddie Cochran's "Twenty Flight Rock". Soon afterwards, Lennon asked McCartney if he would join the Quarrymen; McCartney accepted.[5][6] The duo's first musical idols were the Everly Brothers, Little Richard, Chuck Berry, Elvis Presley, Buddy Holly, and Smokey Robinson and the Miracles, and they learned many of their songs and imitated their sound.[7] Their first compositions were written at McCartney's home (20 Forthlin Road), at Lennon's aunt Mimi's house (251 Menlove Avenue), or at the Liverpool Institute.[8] They often invited friends—including George Harrison, Nigel Walley, Barbara Baker, and Lennon's art school colleagues—to listen to performances of their new songs.[9] The first song that Lennon and McCartney wrote together, according to Mark Lewisohn, was Too Bad About Sorrows.

Writing chemistry

[edit]

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.[10] In Lennon's 1980 Playboy interview, he said of the partnership:

[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 middle eight or bridge section to the other's verse and chorus.[13] George Martin attributed the high quality of their songwriting to the friendly rivalry between the two.[14] This approach of the Lennon–McCartney songwriting team, with elements of competitiveness and mutual inspiration as well as straightforward collaboration and creative merging of musical ideas, is often cited[by whom?] as a key reason for the Beatles' innovation and popular success.[citation needed]

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

[edit]

Joint credit

[edit]

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 songs from the band's early years are not credited to the partnership. "In Spite of All the Danger", a 1958 song that the band (then The Quarrymen) paid to record to disc, is attributed to McCartney and George Harrison. "Cayenne", recorded at the same time as "You'll Be Mine", is a solo McCartney song. "Cry for a Shadow", an instrumental recorded during the Beatles' sessions with Tony Sheridan in June 1961 (one of the only full instrumentals the group recorded), was written by Harrison and Lennon.[22]

By 1962, the joint credit agreement was in effect. From the time of the Beatles' A&R Decca audition in January that year, until Lennon's announcement in September 1969 that he was leaving the band, virtually all songs by McCartney or Lennon were published with joint credit, although, on a few of their first releases, the order was reversed (see below). The only other exceptions were a handful of the McCartney songs released by other musicians (viz. "Woman" by Peter and Gordon in 1966 (McCartney using Bernard Webb as a pseudonym), "Cat Call" by Chris Barber in 1967, and "Penina" by Carlos Mendes in 1969).[23][24] Lennon kept the joint credit for "Give Peace a Chance", his first single with the Plastic Ono Band.

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 1972, 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]

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]
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]
Lennon's entry for "In My Life" was the only one that McCartney disputed in his response to the Hit Parader article.[26] Lennon said that McCartney helped only with "the middle eight" of the song.[34] McCartney said that he wrote the entire melody, taking inspiration from Smokey Robinson songs.[35]
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]
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]
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

[edit]

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 Wings released their live album Wings over America with songwriting credits for five Beatles songs reversed to place McCartney's name first. Neither Lennon nor his wife Yoko Ono publicly objected to the flipped credits at the time.[18]

Many years after Lennon's death however, in the late 1990s, McCartney and Ono became involved in a dispute over the credit order.[45] McCartney's 2002 live album, Back in the U.S., also used the credit "Paul McCartney and John Lennon" for all of the Beatles songs.[46] When Ono objected to McCartney's request for the reversed credit to be used for the 1965 song "Yesterday", McCartney said that he and Lennon had agreed in the past that the credits could be reversed, if either of them wanted to, on any future releases.[47] In 2003, he relented, saying, "I'm happy with the way it is and always has been. Lennon and McCartney is still the rock 'n' roll trademark I'm proud to be a part of – in the order it has always been."[45]

An in-depth analysis of the legal issues was the subject of a 66-page article in the Pepperdine Law Review in 2006.[48]

Subsequent Paul McCartney live albums Good Evening New York City (2009) and Amoeba Gig (2019) featured original credit to Lennon-McCartney songs. The new Paul McCartney and Wings live-in-the-studio album One Hand Clapping (2024) featured reverted credits to the Beatles songs.

Lennon–McCartney and others

[edit]

A number of songs written primarily by the duo and recorded by the Beatles were credited as follows:

  • "What Goes On" (1965): Lennon–McCartney–Starkey[49]
  • "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 German-language versions of "I Want to Hold Your Hand" and "She Loves You" were also credited to additional songwriters for assisting with the translation. "Komm, gib mir deine Hand" was credited to Lennon–McCartney–Nicolas–Hellmer, and "Sie liebt dich" was credited to Lennon–McCartney–Nicolas–Montague.

Legacy

[edit]

Cultural impact

[edit]

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 rock genre, including, according to Lennon, the Rolling Stones' Jagger–Richards partnership.[55] Subsequent Beatlesque songwriting teams attracted comparisons in the media to Lennon–McCartney. The new wave band Squeeze's partnership of Chris Difford and Glenn Tilbrook was dubbed the "new Lennon–McCartney" by music writers.[56][57][58] Difford and Tilbrook expressed ambivalence about the comparison: Tilbrook felt that they "got a bit pompous" as a result, while Difford noted that, although the tag was "very useful" to Squeeze for getting the attention of radio programmers, the label "might have been a burden" on Tilbrook "because he had to live up to the challenge of [the Beatles'] kind of songwriting, which he didn't need to do because he's such an incredible songwriter in his own right."[58] Record Mirror pondered in 1980 whether Andy McCluskey and Paul Humphreys, the founding duo of electronic band Orchestral Manoeuvres in the Dark, were emerging as "the Lennon and McCartney of the electronic world";[59] music journalists subsequently began to describe the pair as "the Lennon–McCartney of synth-pop".[60][61][62]

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

[edit]

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 Sony/ATV Music Publishing seeking to reclaim ownership of his share of the Lennon–McCartney song catalogue beginning in 2018. Under US copyright law, for works published before 1978 the author can reclaim copyrights assigned to a publisher after 56 years.[72][73] McCartney and Sony agreed to a confidential settlement in June 2017.[74]

Non-Beatles songs

[edit]

Several songs credited to Lennon–McCartney were originally released by bands other than the Beatles, especially those managed by Brian Epstein. Recording a Lennon–McCartney song helped launch new performing-artists' careers. Many of the recordings below were included on the 1979 compilation album The Songs Lennon and McCartney Gave Away.[75] Beatles versions of some of these were recorded; some were not released until after their split, on compilations such as Live at the BBC (1994) and The Beatles Anthology (1995–96).

In April 2024, the surviving Beatles sons James McCartney and Sean Ono Lennon worked together on the song "Primrose Hill" for McCartney's upcoming album.[76]

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
Demo released in bootlegs
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 Yorkshire Television sitcom. Developed from an early version known as "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 [pt] "Penina" [pt] 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

[edit]

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.[88][91] "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

[edit]

References

[edit]

Citations

[edit]
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Bibliography

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