معنی all you need is love

“All You Need Is Love” is a song by the English rock band the Beatles that was released as a non-album single in July 1967. It was written by John Lennon[2] and credited to Lennon–McCartney. The song served as Britain’s contribution to Our World, the first live global television link, when the Beatles were filmed performing it at EMI Studios in London on 25 June 1967. The programme was broadcast via satellite and seen by an audience of over 400 million in 25 countries. Lennon’s lyrics, which were deliberately simplistic to allow for the show’s international audience, captured the utopian sentiments of the Summer of Love era. The single topped sales charts in Britain, the United States and many other countries, and became an anthem for the counterculture’s embrace of flower power philosophy.

Rather than perform the song entirely live on Our World, the Beatles played to a pre-recorded backing track. The released recording featured a new lead vocal by Lennon but was otherwise little changed from this performance. With an orchestral arrangement by George Martin, the song opens with a portion of the French national anthem and ends with musical quotations from works such as Glenn Miller’s “In the Mood”, “Greensleaves”, and Bach’s Invention No. 8 in F major, as well as the chorus of the Beatles’ 1963 hit “She Loves You”. Adding to the festive atmosphere of the broadcast, the studio was adorned with signs and streamers, and filled with guests dressed in psychedelic attire, including members of the Rolling Stones, the Who and the Small Faces. The performance followed shortly after the release of the Beatles’ album Sgt. Pepper’s Lonely Hearts Club Band and was described by Brian Epstein, their manager, as the group’s “finest” moment.[3]

“All You Need Is Love” was later included on the US Magical Mystery Tour album. It also appears in a sequence in the Beatles’ 1968 animated film Yellow Submarine and on the accompanying soundtrack album. Originally broadcast in black-and-white, the Our World performance was colourised for inclusion in the Beatles’ 1995 Anthology documentary series. While the song remains synonymous with the 1967 Summer of Love ethos, this quality led to criticism from several commentators, particularly during the 1980s, that the lyrics and general sentiment are naive.

On 18 May 1967, the Beatles signed a contract to appear as Britain’s representatives on Our World, which was to be broadcast live internationally, via satellite, on 25 June.[2] The Beatles were asked to provide a song with a message that could be easily understood by everyone.[5] The band undertook the assignment at a time when they were considering making a television special, Magical Mystery Tour,[6] and working on songs for the animated film Yellow Submarine, for which they were contractually obliged to United Artists to supply four new recordings.[7] “All You Need Is Love” was selected for Our World for its contemporary social significance over the Paul McCartney-written “Your Mother Should Know”.[8][nb 1] In a statement to Melody Maker magazine, Brian Epstein, the band’s manager, said of “All You Need Is Love”: “It was an inspired song and they really wanted to give the world a message. The nice thing about it is that it cannot be misinterpreted. It is a clear message saying that love is everything.”[10][11]

معنی all you need is love

Lennon later attributed the song’s simple lyrical statements to his liking of slogans and television advertising.[12] He likened the song to a propaganda piece,[13] adding: “I’m a revolutionary artist. My art is dedicated to change.”[12] Author Mark Hertsgaard views it as the Beatles’ “most political song yet” up to 1967 and the origins of Lennon’s posthumous standing as a “humanitarian hero”.[14] The song’s advocacy of the all-importance of love followed Lennon’s introduction of the idea in his lyrics to “The Word” in 1965[15][16] and George Harrison’s declaration in “Within You Without You”, from the band’s recently released Sgt. Pepper’s Lonely Hearts Club Band album, that “With our love, we could save the world”.[17][18]

The Beatles were unimpressed when Epstein first told them that he had arranged for their appearance on Our World, and they delayed choosing a song for the broadcast.[19] In their interviews for The Beatles Anthology in the 1990s, McCartney and Harrison say they were unsure whether “All You Need Is Love” was written for Our World, while Ringo Starr and George Martin, the Beatles’ producer, assert that it was.[20] McCartney said: “It was certainly tailored to [the broadcast] once we had it. But I’ve got a feeling it was just one of John’s songs that was coming anyway.”[21][nb 2]

“All You Need Is Love” is notable for its asymmetric time signature and complex changes.[23] Musicologist Russell Reising writes that, although the song represents the peak of the Beatles’ overtly psychedelic phase, the change in metre during the verses is the sole example of the experimental aspect that typifies the band’s work in that genre.[24] The main verse pattern contains a total of 29 beats, split into two 74 measures, a single bar of 84, followed by a one bar return of 74 before repeating the pattern. The chorus, however, maintains a steady 44 beat with the exception of the last bar of 64 (on the lyric “love is all you need”). The prominent cello line draws attention to this departure from pop-single normality, although it was not the first time that the Beatles had experimented with varied metre within a single song: “Love You To” and “She Said She Said” were earlier examples.[25]

The song is in the key of G and the verse opens (on “There’s nothing you can do”) with a G chord and D melody note, the chords shifting in a I–V–vi chord progression while the bass simultaneously moves from the tonic (G) note to the root note of the relative minor (E minor), via an F♯,[26] supporting a first inversion D chord. After the verse “learn how to play the game, it’s easy”, the bass alters the prolonged V (D) chord with F♯, E, C and B notes.[27] The song includes a dramatic use of a dominant or V chord (here D) on “It’s easy.”[28] The “Love, love, love” chant involves chords in a I–V7–vi shift (G–D–Em)[29] and simultaneous descending B, A, G notes with the concluding G note corresponding not to the tonic G chord, but acting as the third of the E minor chord; this also introducing the E note of the Em chord as a 6th of the tonic G scale. Supporting the same melody note with different and unexpected chords has been termed a characteristic Beatles technique.[30]

According to Reising, the lyrics advance the Beatles’ anti-materialistic message and are an “anthemic tribute” to universal love in which “nothing is tempered or modulated”.[31] He says that Lennon favours words such as “nothing”, “no one”, “nowhere” and “all”, thereby presenting a series of “extreme statements” that conclude with “the final reversals of ‘All you need is love’ and ‘Love is all you need’”.[24] In the Grace Potter version, the “tra-la-la-la-la” lyrics replaced the horn section.

On the Beatles’ recording, the song starts with the intro to the French national anthem, “La Marseillaise”, and contains elements from other musical works, such as Glenn Miller’s 1939 hit “In the Mood”. This use of musical quotations follows an approach first adopted by the Beatles in Harrison’s composition “It’s All Too Much”,[32] a song that similarly reflects the ideology behind the hippie movement during the 1967 Summer of Love.[33] George Martin recalled that in “All You Need Is Love” “the boys … wanted to freak out at the end, and just go mad”.[34] During the long coda, elements of various other songs can be heard, including “Greensleeves”, Invention No. 8 in F major (BWV 779) by J. S. Bach, “In the Mood”, and the Beatles’ own songs “She Loves You” and “Yesterday”.[35] The first of these three pieces had been included in the arrangement by Martin. “She Loves You” and “Yesterday” were the result of improvisation by Lennon during rehearsals.[36][nb 3]

Like musicologist Alan Pollack, Kenneth Womack views the “She Loves You” refrain as serving a similar purpose to the wax models of the Beatles depicted on the cover of Sgt. Pepper, beside the real-life band members, and therefore a further example of the group distancing themselves from their past.[38] In his book Rock, Counterculture and the Avant-Garde, author Doyle Greene describes the combination of the “Love is all you need” refrain, “She Loves You” reprise, and orchestral quotations from Bach and Miller as “a joyous, collective anarchy signifying the utopian dreams of the counterculture topped off with a postmodern fanfare”.[39]

The Beatles began recording the backing track for the song at Olympic Sound Studios in south-west London on 14 June 1967.[2][40] The producers of Our World were initially unhappy about the use of a backing track, but it was insisted upon by Martin, who said that “we can’t just go in front of 350 million people without some work”.[36] The line-up was Lennon on harpsichord, McCartney on double bass, Harrison on violin – three instruments that were unfamiliar to the musicians[41] – while Starr played drums.[42] The band recorded 33 takes, before choosing the tenth take as the best. This performance was transferred onto a new 4-track tape, with the four instruments mixed into one track.[42] The engineers at Olympic thought the Beatles displayed a surprising lack of care during this process,[2] a sign, according to author Ian MacDonald, of the group’s new preference for randomness in contrast to the high production standards of Sgt. Pepper.[43]

From 19 June, working at Studio 2 in EMI Studios (now Abbey Road Studios),[44] the Beatles recorded overdubs including piano (played by Martin), banjo, guitar and some vocal parts.[36] Among the latter were the “Love, love, love” refrains, and a Lennon vocal over the song’s choruses.[45] On 23 June, the band began rehearsing the song with an orchestra, whose playing was also added to the backing track.[44] On 24 June, the day before the broadcast, the Beatles decided that the song would be their next single.[44] Late that morning, a press call was held at EMI Studios, attended by over 100 journalists and photographers, followed by further rehearsals and recording.[44]

– Barry Miles, 2007

The Our World broadcast took place in the wake of the Arab–Israeli Six-Day War and, for the Beatles, amid the public furore caused by McCartney’s admission that he had taken LSD.[47] On 25 June, the live transmission cut to EMI Studios at 8:54 pm London time, about 40 seconds earlier than expected. Martin and engineer Geoff Emerick were drinking scotch whisky to calm their nerves for the task of mixing the audio for a live worldwide broadcast, and had to scramble the bottle and glasses beneath the mixing desk when they were told they were about to go on air.[36][3]

The Beatles (except for Starr, behind his drum kit) were seated on high stools, accompanied by a thirteen-piece orchestra. The band were surrounded by friends and acquaintances seated on the floor, who sang along with the refrain during the fade-out. These guests included Mick Jagger, Eric Clapton, Marianne Faithfull, Keith Richards, Keith Moon, Graham Nash, Mike McGear, Pattie Boyd and Jane Asher.[36] The studio setting was designed to reflect the communal aspect of the occasion while also demonstrating the position of influence that the Beatles held among their peers, particularly following the release of Sgt. Pepper.[48][nb 4] Many of the invitations were extended through Beatles aides Mal Evans and Tony Bramwell, who visited various London nightclubs the night before the broadcast.[53]

Also among the studio audience were members of the Small Faces[22] and the design collective the Fool.[55][nb 5] Balloons, flowers, streamers and “Love” graffiti added to the celebratory atmosphere. The Beatles and their entourage were dressed in psychedelic clothes and scarves; in his report on the performance, Barry Miles likened the setting to a medieval gathering, broken only by the presence of modern studio equipment such as large headphones and microphones.[57] According to Michael Frontani, an associate professor of communications, whereas Sgt. Pepper had showed the Beatles as artists and “serious musicians”, Our World emphasised their identity as members of the hippie counterculture.[58][nb 6]

The segment was directed by Derek Burrell-Davis, the head of the BBC’s Our World project.[59] It opened with the band playing “All You Need Is Love” for about a minute, before Martin, speaking from the studio control room, suggested that the orchestral musicians should take their places for the recording as the tape was rewound.[36] The BBC presenter, Steve Race, announced that the Beatles had just recorded this performance and were about to complete the recording live.[45] In fact, in author John Winn’s description, Race’s statements were part of the “staged” aspect of the segment, which purported to show the Beatles at work in the studio: the opening footage of the band (merely rehearsing over the backing track) had been filmed earlier, and by the time Martin appeared to be issuing instructions, the orchestra were already seated in Studio 1.[45][nb 7] The Beatles, accompanied by the orchestra and the studio guests, then performed the entire song, overdubbing onto the pre-recorded rhythm track. In addition to the lead and backing vocals and the orchestra, the live elements were McCartney’s bass guitar part, Harrison’s guitar solo and Starr’s drums.[37][60] In the opinion of music critic Richie Unterberger, the performance of “All You Need Is Love” is “the best footage of the Beatles in the psychedelic period” and “captures Flower Power at its zenith, with enough irreverence to avoid pomposity, what with the sandwich boards of lyrics, the florid clothing and decor, and celebrity guests”.[61]

– Ringo Starr, 2000

Lennon, affecting indifference, was said to be nervous about the broadcast, given the potential size of the international TV audience. Later on 25 June, dissatisfied with his singing, he re-recorded the solo verses for use on the single.[37][60] On 26 June, in EMI’s Studio 2, Lennon’s vocal was treated with ADT,[62] and Starr overdubbed a drum roll at the start of the track, replacing a tambourine part.[60][63]

The programme was shown in black-and-white since colour television had yet to commence broadcasting in Britain and most of the world. The Beatles’ footage was colourised, based on photographs of the event, for the 1995 documentary The Beatles Anthology.[64] Over the documentary’s end credits, a snippet of studio conversation from the 25 June overdubbing session includes Lennon telling Martin: “I’m ready to sing for the world, George, if you can just give me the backing …”[65] The colour version of the band’s Our World appearance also appears on the Beatles’ 2015 video compilation 1.[66]

“All You Need Is Love” was issued in the UK on 7 July 1967, on EMI’s Parlophone label, with “Baby, You’re a Rich Man” as the B-side.[67] It entered the Record Retailer chart (subsequently the UK Singles Chart) at number 2 before topping the listings for three weeks.[68] The single was released in the United States on 17 July,[69] on Capitol Records, and went on to top the Billboard Hot 100 for a week.[70][71] In his feature on the song in Rolling Stone, Gavin Edwards writes that “All You Need Is Love” “hit Number One all over the world, providing the sing-song anthem for the Summer of Love, with a sentiment that was simple but profound”.[36] According to historian David Simonelli, such was the Beatles’ international influence, it was the song that formally announced the arrival of flower power ideology as a mainstream concept.[72] The single was certified gold by the Recording Industry Association of America on 11 September 1967.[73]

According to author Jonathan Gould, the Beatles “bask[ed] in the glow of their artistic achievements” while enjoying their first summer free of tour commitments,[74] having quit performing concerts the previous year.[75][76] In late July, the band investigated the possibility of buying a Greek island with a view to setting up a hippie-style commune for themselves,[77] their partners and children,[78] and members of their inner circle such as Neil Aspinall, Evans, Epstein and Derek Taylor. After sailing around the Aegean Sea and approving a location on the island of Leslo,[78] the Beatles decided against the idea and returned to London.[79][80] In early August, Harrison, accompanied by a small entourage including Taylor and Aspinall,[81] made a highly publicised visit to the international hippie capital of Haight-Ashbury, in San Francisco.[5][82]

Writing in 2001, Peter Doggett said that the Beatles’ performance on Our World “remains one of the strongest visual impressions of the summer of love”;[54] Womack describes it as “flower power’s finest moment”.[83]Rolling Stone ranks “All You Need Is Love” 370th on its list of the “500 Greatest Songs of All Time”[84] and 21st on its “100 Greatest Beatles Songs” list.[20]Mojo placed it at number 28 on a similar list of the best Beatles songs. In his commentary for the magazine, producer and musician Dave Stewart admired the track’s “jumbled-up mix of music – marching band and rock’n’roll” and recalled the Beatles’ Our World appearance as “a signal for those [of us] who felt we were trapped in a mental hospital in some suburban town to break out”.[85] In 2018, the music staff of Time Out London ranked “All You Need Is Love” at number 4 on their list of the best Beatles songs.[86]

In November 1967, “All You Need Is Love” was included on the American LP version of Magical Mystery Tour,[87] together with the band’s other singles tracks from that year.[88] It was also included on the Yellow Submarine soundtrack album, released in January 1969.[89] As a statement on the power of universal love, the song served as the moral in the Yellow Submarine film;[90][91] it plays over a scene where Lennon’s character defeats the Blue Meanies by throwing the word “Love” at their evil Flying Glove.[92][nb 8] In a rare example of the Beatles licensing their music for use in another artist’s film or television project, in February 1968 the song was played in the “Fall Out” episode of the TV series The Prisoner, directed by Patrick McGoohan.[93] The track is also featured in Cirque du Soleil’s show Love, based on the songs of the Beatles, and is the closing track of the 2006 soundtrack album.[62] Remixed by Giles and George Martin, this version includes elements from “Baby, You’re a Rich Man”, “Sgt. Pepper’s Lonely Hearts Club Band”, “Good Night” and The Beatles’ Third Christmas Record.[62]

In a 1981 article on the musical and societal developments of 1967, sociomusicologist Simon Frith described “All You Need Is Love” as a “genuinely moving song” and said that, further to the impact of Sgt. Pepper, the international broadcast confirmed “the Beatles’ evangelical role” in a year when “it seemed the whole world was waiting for something new, and the power of music was beyond doubt.”[94] Psychiatrist and New Left advocate R.D. Laing wrote about the song’s contemporary appeal:

The times fitted [the Beatles] like a glove. Everyone was getting the feel of the world as a global village – as us, one species. The whole human race was becoming unified under the shadow of death … One of the most heartening things about the Beatles was that they gave expression to a shared sense of celebration around the world, a sense of the same sensibility.[95]

According to author Jon Wiener, “All You Need Is Love” served as “the anthem of flower power” that summer but also, like Sgt. Pepper, highlighted the ideological gulf between the predominantly white hippie movement and the increasingly political ghetto culture in the United States.[96] Wiener says that the song’s pacifist agenda infuriated many student radicals from the New Left and that these detractors “continued to denounce [Lennon] for it for the rest of his life”.[97][nb 9] Wiener also writes that, in summer 1967, “links between the counterculture and the New Left remained murky”, since a full dialogue regarding politics and rock music was still a year away and would only be inspired by Lennon’s 1968 song “Revolution”.[100] Doyle Greene writes that because of its presentation as the conclusion to Our World, “All You Need Is Love” provided “a distinctly political statement”. He says that the song was “selling peace” on a program that aimed to foster international understanding in a climate of Cold War hostility, the Vietnam War and revolutionary unrest in the Third World.[13]

– John Lennon, 1980

In the decades following the release of “All You Need Is Love”, Beatles biographers and music journalists have criticised the lyrics as naive and simplistic and detected a smugness in the message; the song’s musical content has also been dismissed as unimaginative.[102] Writing in 1988, author and critic Tim Riley identified the track’s “internal contradictions (positivisms expressed with negatives)” and “bloated self-confidence (‘it’s easy’)” as qualities that rendered it as “the naive answer to ‘A Day in the Life’”.[103] By contrast, Mark Hertsgaard considers “All You Need Is Love” to be among the Beatles’ finest songs and one of the few highlights among their recordings from the Magical Mystery Tour–Yellow Submarine era.[8] In his opinion, Lennon’s detractors fail to discern between “shallow and utopian” when ridiculing the song as socially irrelevant, and he adds: “one may as well complain that Martin Luther King was a poor singer as criticize Lennon on fine points of political strategy; his role was the Poet, not the Political Organizer.”[102] For his part, Lennon said in a 1971 interview: “I think if you get down to basics, whatever the problem is, it’s usually to do with love. So I think ‘All You Need Is Love’ is a true statement … It doesn’t mean that all you have to do is put on a phoney smile or wear a flower dress and it’s gonna be alright … I’m talking about real love … Love is appreciation of other people and allowing them to be. Love is allowing somebody to be themselves, and that’s what we do need.”[9]

Ian MacDonald views the song as “one of The Beatles’ less deserving hits” and, in its apparently chaotic production, typical of the band’s self-indulgent work immediately after Sgt. Pepper.[43] Regarding the song’s message, McDonald writes:

During the materialistic Eighties, this song’s title was the butt of cynics, there being, obviously, any number of additional things needed to sustain life on earth. It should, perhaps, be pointed out that this record was not conceived as a blueprint for a successful career. “All you need is love” is a transcendental statement, as true on its level as the principle of investment on the level of the stock exchange. In the idealistic perspective of 1967 – the polar opposite of 1987 – its title makes perfect sense.[104]

In 1978, the Rutles parodied “All You Need Is Love” in their song “Love Life”[89] and titled their television film satirising the Beatles’ history All You Need Is Cash. According to New York Times journalist Marc Spitz, writing in 2013, this title was “really an attack” on the commercialisation of rock music by the late 1970s.[105] In July 1985, during his solo performance at Live Aid, Elvis Costello performed “All You Need Is Love”[106] before a television audience estimated at up to 1.9 billion.[107] Costello introduced it as an “old Northern English folk song”[108] and sang with a “vitriolic snarl”, in Riley’s description, that suggested “how far there still was to go rather than how far we’d come” in terms of realising the song’s message.[109]

In Granada Television’s 1987 documentary It Was Twenty Years Ago Today, commemorating two decades since Sgt. Pepper and the Summer of Love, several of the interviewees were asked whether they still believed that “Love is all you need”.[110] Harrison was the only one who unequivocally agreed with the sentiment.[111] Asked why this was, he told Mark Ellen of Q magazine: “They all said All You Need Is Love but you also need such-and-such else. But … love is complete knowledge. If we all had total knowledge, then we would have complete love and, on that basis, everything is taken care of. It’s a law of nature.”[111][nb 10]

In 2009, George Vaillant, the chief investigator of the Grant Study, which tracked 268 Harvard undergraduates for a period of 80 years with the goal of finding what factors led to happiness, stated that its findings could be summarized as “Happiness is love. Full stop.”[113] When pressed for being sentimental or too general, he revisited his findings and again stated, “the short answer is L-O-V-E.”[114] The CBC claimed that the “[Grant] study proves Beatles right: All You Need is Love.”[114]

According to Ian MacDonald:[40]

The Beatles

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معنی all you need is love

*sales figures based on certification alone^shipments figures based on certification alone

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Meaning and Translation of All You Need Is Love in Urdu Script and Roman Urdu with Short Information in Urdu, Urdu Machine Translation, Related, Wikipedia Reference,

آل يو نيڈ اِس لو
– ایک گانا ہے

سب آپ ضرورت ہے محبت

“All You Need Is Love” is a song by the Beatles that was released as a non-album single in July 1967. It was written by John Lennon and credited to Lennon–McCartney.

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Sorry, but I see it as such: There’s nothing you can do that can’t be done, nothing you can sing that can’t be sung… all you need is love. It means more than just “you can do anything” It means, “you can do anything, but anyone can do it. So, that doesn’t make you special. You can sing anything , but so can everyone else. So, that doesn’t get you by. All you Need is Love because that is what makes every one of us special.”

I think it’s not as simple as saying “there’s nothing you can do that can’t be done” = “you can do anything”. Grammatically, they don’t mean the same thing anyway.
More literally – it just means you can do things that can’t be done. Eg it’s not possible to walk to the Moon, so you can’t walk to the Moon.
The point is, then, I think – he’s saying “you can’t do the impossible” – all you can do is things that can be done. But that’s ok – the important thing is love – that’s all you need.
So I think it’s meant to be about accepting yourself and loving yourself and everyone else. That loving people is the most important thing – he’s saying don’t worry about the rest.
This makes more sense when you move beyond the early part of the lyrics and notice:
“Nothing you can do but you can learn how to be you
in time – It’s easy:
and
“Nowhere you can be that isn’t where you’re meant to be.
It’s easy.”
So he’s ending the song saying just try to be you, just let yourself be where you are meant to be, and let it happen by letting love happen.

معنی all you need is love

I think it means, with Love, you can do anything. The Lyrics are saying…All you need is Love and with Love, you can do anything that you put your mind to doing. Nothing you can do, that can’t be done means…there is NOTHING that you can’t accomplish through LOVE. LOVE MAKES ALL THINGS POSSIBLE!

Who cares about the meaning? All you need is love – love yourself (learn about you in time), love others (explanation soon), love your situation (nowhere you can be that isn’t where you’re meant to be), love/respect other’s individuality and togetherness (nothing you can do that can’t be done), believe in / love your abilities, and love that you can improve or achieve what you need/want(nothing you can do that can’t be done). But, also remember that you don’t need your wants and that it’s important to establish your own meanings and priorities (love is all you need). Love makes the world go ’round; love is the basis of many things (peace, freedom, security, beauty, truth); and even though some people have love, they still need to work to re-establish it every so often. Love is not a fairy-tale, but it’s harder to find a story without love than without violence.
Many/all (?) religions are based on this, including the path to God through love in Hinduism (one of the religions in India, where the Beatles visited).
Maybe this was The Beatles being mocking, but if so the song grew into something bigger than that – so what’s the right interpretation: the original meaning, your interpretation, or the interpretation by people growing up with this song being new?
Enough times listening to this song and it sounds like Hippie stupidity, but sometimes going back and listening to it makes it a nice pick-me-up, bringing sunshine to a cloudy day.

Iam on the same page as Homer who did a previous great interpretation.
Once you get your head around Quantum Physics, Eckhart Tolle, Eastern Philosphy, Budhism, the real teachings of Christ ( nothing to do with religion), the real meaning behind the movie The Matrix, The Cosmic Giggle, What the bleep do we know and Ho’opnopno ( Dr Hew Len), you will begin to understand.
My brain is slowly starting to get it after years of research, and the scary thing is, once you get it, “its easy”.
God is love, we are all particles of God, everything is God. God/Love is the Matrix we live in, we just have to understand this. We are all one, and everyone you see is just another part of you, a reflection of you.
You are part of the Hologram that is the Universe and like a Hologram, it ALL exists in your mind, every touch, smell, sight, emotion can only exist and be experienced in your mind, in the present moment, The Now. If you are existing in a state of love, than it will be reflected in all you experience…. good and bad.

It’s all in the title “All You Need Is Love”. It’s a definition of “love”. Love is what you “need” and thereby can never be attained. If you had it you wouldn’t need it.

It’s quite obvious what the song means. Did you not listen to the song or what? There is no way for it to be misinterpreted. It has a clear straight out meaning for those people that devote their life to interpreting Beatles songs. It means, “All you need is love”. You can’t make it any more simpler than that.

It’s saying love will bring you far.

I think the point is in the paradox: since, if you’ve done it, it by definition CAN be done, you might as well try. It takes the power out of “can’t be done” by putting the focus on the doing.

The most philosophical song by them. Words are inspired by the Pible, Old Testament, prophets. Words “Nothing you can…” tells us, that we live in this limited world our limited lives and we’re like prisoners here. The only way out to unlimited life and bliss is love. Love is all you need. It is so easy – to be loved and to love. This is the teaching of Buddha, the teaching of Jesus.
(Harri Kingo, Estonia)

Its a tribute to secularism and we dont need God but love for each other. Before the jesuit order introduced secularism in 1798 everyone believed in a god of some discription.

Without love, nothing can’t be done.
If you don’t have love, you can’t do anything.

I read John Lennon say that the title and chorus of the song are a joke; that they expected everyone knew they weren’t serious and they were making fun of the “flower power” culture that was going on in the US at the time.
Note that accounts of people who saw George Harrison come to the Haight-Ashbury during the “Summer of Love” say he was shocked and dismayed at how dirty everything was that day, and had it not been for some prodding by people around him telling him how bad it would look if people just saw him drive away, he got out of the car and went through the drill with all his fans, but he even said afterward that he expected the neighborhood to be populated by shopkeepers and more middle class types of people, not filthy drug dealers, homeless people and beggars.
John Lennon was one who came over and became a part of the US scene, but the rest of them never did that.
In fact, various actors, musicians and artists from the US tried to connect with the Beatles by going over to the Apple offices and the Beatles kept them at arm’s length, not wanting to be involved.
That might have had something to do with the song.
The lyrics “nothing you can do that can’t be done” and “xxxxx(something) you can do that can’t be xxxx (something)” in every verse, they seem to be saying “Hey, you’re not really giving us any unique truth here, Mr. Hippie Man. We’ve seen this before. You’re not all that.”
I think the song was a putdown of American Bohemian culture…shortly followed by “Revolution” which was more of the same.
The Beatles were not hippies. They grew up working class, but had middle class values. Kids with left wing values in this country (the US) grew their hair long and worshipped the Beatles, but there was a huge misconception here about what the Beatles politics were.
Most British kids were criticizing their own nation for being too controlled, with their high taxes and conservative ways. They looked at the US as an escape from that. I believe that was the Beatles position, until John Lennon became an anti-war activist, but then that was pretty much after the group broke up.

All you ever need in life is LOVE, LOVE, LOVE..i’m bad bitch for you, destructive and evil witch. I could eat your heart out. Now run…!
I love this song and Beatles rock… yeah!

All you need is love. Love is a believing creature. Self explanatory.
E.

I think we are all missing the very first part of the song which was the french national anthem. The English never liked the french much and the french hate everyone. One interpretation from the french states that they are being mocked in the song, by how the french think they are so much better than everyone and the song is stating that they are not and to quit thinking so highly of themselves and that they need love and all we all need is love. Listen to the anthem in the beginning and then see it from this perspective and listen. Makes a lot of sense.

Simple really, you can’t do anything that someone else can’t do, so stop argueing and have peace. A true statement.

 

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Song meanings ©2003-2019 lyricinterpretations.com

Written by: Lennon-McCartneyRecorded: 14, 19, 23-25 June 1967 Producer: George Martin Engineers: Eddie Kramer, Geoff Emerick

Released: 7 July 1967 (UK), 17 July 1967 (US)

John Lennon: vocals, harpsichord, banjoPaul McCartney: vocals, bass, double bassGeorge Harrison: vocals, guitar, violinRingo Starr: drums George Martin: piano
Sidney Sax, Patrick Halling, Eric Bowie, John Ronayne: violin
Lionel Ross, Jack Holmes: cello
Rex Morris, Don Honeywill: tenor saxophone
Stanley Woods, David Mason: trumpet
Evan Watkins, Harry Spain: trombone
Jack Emblow: accordion
Mick Jagger, Keith Richards, Marianne Faithfull, Jane Asher, Mike McCartney, Pattie Harrison, Eric Clapton, Graham Nash, Keith Moon, Hunter Davies, Gary Leeds and more: chorus
Mike Vickers: conductor

Contents

معنی all you need is love

All You Need Is Love was written by John Lennon especially for Our World, the world’s first televised satellite link-up between 25 countries worldwide. Its message perfectly encapsulated the optimistic mood of the Summer of Love, with a simplicity perfectly judged for their global audience.

The BBC had suggested the idea of using new satellite relays to connect the national television networks of countries across the world, to make a live link-up on a scale previously unknown. The Beatles were the natural choice to represent Britain, and they decided to compose a new song especially for the broadcast.

Our World took place on 25 June 1967; The Beatles began recording the backing track just 11 days before the transmission date. Coming just two weeks after the release of Sgt Pepper, The Beatles were clearly full of confidence, and took a the prospect of a potential audience of 400 million people in their stride.

All You Need Is Love was John’s song. I threw in a few ideas, as did the other members of the group, but it was largely ad libs like singing She Loves You or Greensleeves or silly things at the end and we made those up on the spot.

The chorus, ‘All you need is love’, is simple, but the verse is quite complex; in fact I never really understood it, the message is rather complex. It was a good song that we had handy that had an anthemic chorus.

A remix of All You Need Is Love was the closing track on the Love album. The song’s ending featured vocals from Baby You’re A Rich Man, Rain and Sgt Pepper’s Lonely Hearts Club Band, as well as the guitar riff from Ticket To Ride. The song segues into a brief orchestral snippet from Good Night, accompanied by a snippet of dialogue from The Beatles’ 1965 Christmas fan club recording.

This is an inspired song, because they wrote it for a worldwide programme and they really wanted to give the world a message. It could hardly have been a better message. It is a wonderful, beautiful, spine-chilling record.

The Beatles began recording All You Need Is Love on 14 June 1967, at Olympic Sound Studios in Barnes, London. The group taped some vocals and played unconventional instruments: Lennon on harpsichord, McCartney on double bass, and Harrison playing a violin. Ringo Starr was the only member to stick to his usual instrument.

Five days later, back at Abbey Road, they overdubbed more drums, plus lead and backing vocals, piano played by George Martin and banjo by Lennon.

On 23 and 24 June they made last minute rehearsals and additional recording, including an orchestral overdub. There was also a press call on the morning of 24 June, which saw more than 100 journalists and photographers enter Abbey Road.

I’m afraid the mono mix of All You Need is Love didn’t appear on Yellow Submarine Mono LP because it’s a fold-down mix.

What if Ringo sang backing vocals on the Song? I would have loved it

The finest of songs to a world so in need of a totally committed, unconditional and heart felt sincere statement of ‘LOVE’. When I first heard this song I was so impressed by the ( professional ease), as it we’re, of The Beatles! Absolutely one of the greatest songs of ‘ love on love’ ever! Going far beyond the same type of song; ‘The Word’, Johns’ ability to literally syncopate poetry and preaching in a manner so effortlessly fluid, it surprises us it’s how truly hard this is to do sucessfully without being demeaning or demanding of our sensibilities. The Beatles truely came full circle ‘Yeah, Yeah, Yeah; reinventing even the pop beginnings of their own careers. The B-side ‘Baby Your A Rich Man’ even overflows with so much swagger and confidence we are literally cheering our ‘Pop-Heroes’ on! The sound produced by these songs is extremely inspiring, driving us all to believe we too can achieve our hearts desires when we believe and trust in the power of’ LOVE!’

I think McCartney ad-libed from She Loves You.

McCartney didn’t sing She Loves You in All You Need Is Love, Mick Jagger did.

No, McCartney sang those lines.

Clearly on audio and during the visual broadcast one can tell that it is John Lennon ad-libing She Loves You.

There’s actually a huge amount of debate over who ad-libs She Loves You during the broadcast, as most if not all of the Beatles are singing at that point; the real question is whose voice ended up on the recording.

On the visual broadcast, it’s difficult to decipher who is singing what. But audio? Every hardcore Beatle fan knows the distinctive timbres of the voices of John and Paul; it’s Paul singing the “She Loves You” bit.

Not only does it sound exactly like Paul, but John couldn’t sing that high. Indeed, John actually has said in interviews that there are songs HE wrote, where he had Paul sing, simply because he couldn’t hit the notes (the middle 8 of “A Hard Day’s Night, the lead of “Day Tripper,” the high melody of “If I Fell.”) And Paul has been quoted (indeed, earlier in this very article) that his contribution to the song was the She Loves You bit. FWIW, I think it’s a rare Paul misstep, and actually kind of detracts from the message of the song.

Umm Minus John they’re lip-syncing right? i don’t understand how people don’t see that. Pretty clear when paul “sings” All together now. And his bass track is NOT the same as on ideo. hence the need for Ringo’s headphones… there are definatley tracks being played that they aren’t playing live. hence the need for Ringo’s headphones.. ignore my horrible grammar please. 1 hour of sleep 🙁

Most people have never seen the complete clip of the performance. Before the song starts, George Martin is shown in the control booth starting a playback tape machine. The Beatles were playing over and singing over a pre-recorded backing track. The only things that were done live were the orchestra, Paul’s Rickenbacker bass, Ringo adding a back beat and all the vocals.

I see.
Comments and debate are one thing, but you insinuate that anyone who believes the opposite of your opinion here is not only incorrect, but also, in your humble opinion, that person is not a “hardcore Beatle fan”.
What tommyrot!

I have always thought it was Paul, as when it first starts it sounds like him. However, as it goes on, it begins to sound more like John. To me it literally sounds like the voice morphed Paul to John, which obviously didn’t happen, but it is confusing. If I had to choose, I’d say John. Listen to the first “Yeah” the second time he says “She loves you YEAH yeah yeah”..It has a roughness to it much like John’s voice.

Hi Jake!
Check out the site Joe suggests and you’ll find you’re totally correct:
Paul starts alone, John joins in.

I agree 100% with Joe. Paul starts and John joins in right away no question.

I think it was John.

The ad-libs are from John, because that tune that is reached in the record ”saying Yesterday and She Loves You Yeah yeah, she loves you yeah yeah yeah”.
And in the complete full 7 minute version John is rehearshing saying fast ”She loves you yeah yeah, she loves you yeah yeah”.

Can anyone actually hear the banjo that John is supposedly playing?

Since I was “looking” for it I think I found it at around 2.09 doing the bass line after the “it’s easy”.

I think the banjo is pretty clear and audible throughout the last verse (from 1:56 to 2:10) intertwining with both harpsichord and bass. Sounds like a Brian Wilson-y thing.

Here in Canada,’All You Need is Love’ was the theme song for a show in the seventies. It was on the weekends (I can’t remember exactly when). The show featured kids that were available for adoption. Does anyone know the name of that show? It was on either ‘Global TV’, CBC or TVO. I’ve been racking my brains for a long time trying to figure this out.

I remember that show being here in Australia as well and cannot for the life of me remember the name of it. I do remember the island and a bouncing ball on the ocean. It was rather a strange show but we were addicted to it.
I seem to remember some plot about mind games or something. it is all a bit vague now.

The show with the giant ball was “The Prisoner,” a celebrated series from the 60s; AYNIL featured in the final episode. As for Canadian adoption programs, that’s beyond my ken.

JP: I’ve been trying to think of the name of this show for years! I remember the show. What a strange idea for a tv show lol.

معنی all you need is love

I think it’s Paul singing the “she loves you” part and here’s why. In the second or third “she loves you” there’s a vocal trill that sounds like a technique that only Paul does. It’s on the “loves you” part – takes you and makes it two sylabbles long.

Also, I wonder if this is one of those moments John was referring to when he said that while Paul’s songs kept to a tight script – on his songs a whole air of experimentation seemed to open up and that John believed Paul would sabotage John’s songs in this way.

Could be. Or not.

I think this has been debated widely elsewhere on the web, so I’m slightly wary of having another discussion about it here (though the forum is always open). Have you seen this page? It suggests that it’s both John and Paul.

Cool!
That guy explains very eloquently my excact thoughts:
Paul started it, John joined in.
Please correct it.

Oh, this song brings me such joy!

Late to the party here but yes that link settles it. It is both of them. Great shout.

having listened to the audio clip separated out -it is both – without doubt it’s both – Paul starts it and John joins right in.

Martin’s arrangement on this has been a profound influence on my entire approach to songwriting and production.

He is a master of this kind of pastiche, and I wish it was used more in popular music today.

Have never seen this written anywhere but I think it’s very interesting that they used La Marseillaise at the beginning. Given each country had a segment on the broadcast that was supposed to showcase their own country (e.g. Australia and trams in Melbourne I think), to start with the definitive French song I think must have been their sense of humor at work. You can imagine the broadcast saying, “And now from the United Kingdom…” and the first thing being the opening bars to the French national anthem.

THANK YOU for mentioning “La Marseillaise!” this song was the first time I had ever heard it, and ever since I found out what it was, I’ve wondered why they used it in this song. The explanation of John’s sense of humor makes good sense to mw.

That’s a good point, Johan, and certainly fits with John’s humor, and the general anti-French attitude by many Brits. But all the bits of other songs included on the track relate to the song’s general theme of “Love”: “Greensleeves”, “In The Mood”, “She Loves You”, etc. As for “La Marseillaise”, is not France supposed to be the world capital of romance? Or is this an expression of love from the Beatles (Britain) towards France…for the sake of peace? I can’t say I’ve ever read the definitive explanation.

I think your final thoughts are correct. I would think it is included to stress that the message of the song is international.

First let me express how I love the arrangement. Everything, starting with John’s harpsichord to the orchestra and the song snippets and the wonderful backing vocals is just mindblowingly beautiful and rich.

I never thought they really took the live recording for the single.
But in fact you can actually hear Lennon’s chewing throughout the song, most prominently at around 0.43!

And my thoughts on ANOTHER “Paul or John” debate (wich I LOVE!):
It’s clearly not John alone. Right before it there’s “Oh yeah” which is clearly Paul. The “She loves you part” sounds exactly like the “Oh yeah”, so it’s Paul doing it.
Seeing both of them singing it together there may very well be an addition of John, especially in the second “She loves you”.

Watch the original broadcast and note the 2:04-2:06 mark and you can see John practicing singing “she loves you.” Again at about the 6:05 you can clearly see him singing it and Paul is smiling off mic.

I totally agree with you. to me it is obvius it was john and not paul, and whoever thinks the first bit of ‘she loves you’ sounds the same as the ‘oh yeh’ bit sang by paul does not have a good ear. No offense to anyone but there’s no doubt it’s john. You can even clearly see it on the video, plus when he sings the she loves you bit you cannot hear his voice at the back singing ‘love is all you need’ which you can when he’s not doing the ad libs. No doubt to me it’s john.
Cheers

Did you read the article that Joe posted earlier?

Does John play an Elecric baldwin harpsichord or a regular one?

>>>>> 7/8 ! <<<<<

Didn’t ANYbody notice the VERY unusual and remarkable metrics in this song???

Immediately after the horn-intro at 2:40 you can only count 4/4 + 3/4 = 7/8
And later on in ALL 3 verses were John sings these 2 lines at 3:59
“There’s nothing you can do that can’t be done.
Nothing you can sing that can’t be sung”
The next line is the normal 8/8: (“Nothing you can say but you can learn how to play the game”)
JUST COUNT with them and be astonished!!

In here Ringo can’t play a pattern and is forced to beat on EVERY bar….

Must be rehearsed intensely because NOBODY makes the easy -1 bar too long- mistake.

THIS is all extremely RARE in music-history and another prove of their genius!

—–

I think my remarks are important enough to mention within the data of the song (at the studio or so) “build in 2/4, 3/4 and 4/4”

(sorry for my poor english, I am dutch – please improve)

The Beatles used odd time signatures many times in their songs – possibly more often than you realise. There’s a thread on the subject in the Fab Forum.

Thanks for pointing that forum – very interesting!

Yes, those of us that were adults at the time when this song came out did notice at least some of the time signatures.

You’re correct that the time signature in the verses alternate between 4/4 and 3/4, but that is NOT the same as 7/8. Just saying.. 😉

Hello Beatle Detailists!

So here’s my question to you all: I KNOW I read somewhere (it could’ve been a sound interview but I feel like I read it…) that John said he began writing this lyric from a SARCASTIC point-of-view! Like “Oh yeah, ALL your problems will be solved with ‘love’…HA!”….. AND HE/I/YOU COULD SEE THAT! John was often sarcastic and he was quick to notice and talk (or sing) about various ironies in life. In that unknown/forgotten interview, he said that either after he wrote AYNIL, or perhaps during the process, he then looked at the lyric and realized that a more literal interpretation of the lofty concepts in AYNIL’s lyrics made amazing poetic sense, and, consequently, John had an about-face regarding the song’s meaning. As time went on, as I understand it, John came to view AYNIL as, in many respects, his SIGNATURE song, at least in terms of a message describing his deepest values and ideals (probably along with Give Peace A Chance). Ironic, no?!

However, has anyone else seen that interview?! I really don’t think I’m making this up or imagining it. Beatle sleuths: do your work!

Listen very carefully to near the end of the song – just before the opening notes of Green Sleeves (or Love is Blue) starts up. John distinctly says something that sounds like “Yes, he’s dead”. I have heard the song for years but didn’t notice it until now. It is eerie that once that statement is made Green Sleeves or Love is Blue (a popular hit at the time) dominates the end of the song changing it from happy, silly and hopeful to sad and melancholy.

That’s “Yesterday”, as in the Beatles song.

Hmmm… Possible, but I have my doubts. Like John’s statement “cranberry sauce” at the end of “Strawberry Fields Forever” this may be open to interpretation. I am intrigued by how clever they were with the PID “clues” in their music and graphics. Great web-site Joe – glad I found it.

Billy, give it a rest. Joe told you clearly what John sang. Its clear as a bell.

wow, how could ANY of you think that it is john singing the “she loves you” at the end..that’s paul..I’ve known that since i was 10

Give it a rest. I’ve known the last part sounds exactly like John since I was 8. Now, what?

It’s been explained above…

Yes, he’s dead, all my troubles seemed so far away

I always thought he said “yes, you get it”

I have always heard “Guess again”. Seems like the perfect Lennon-esque moment to me…?

I hear, Yes it is.

Always sounded like “get together” to me. There was a song out around that time with that title. Who knows….

I found your comment as I’m researching the same subject. I, too, remember either reading or hearing John say words to the effect that AYNIL was meant as sarcasm. I think the rather mocking-sounding descending chromatic horn lick in the chorus reinforces this attitude, the implied idea being: “yeah, sure — love, HARD WORK, AND / OR A LOT OF LUCK, is all you need!” Also, I’ve always felt John’s meaning in every verse line is INCORRECTLY perceived by most listeners to be encouraging, when it is actually a rather cynical, fatalistic message; i.e., taken literally, (and John seems usually very careful about every word he writes) “There’s nothing you can do that can’t be done” does NOT mean ‘There’s nothing you can’t do’, but rather ‘If it can’t be done, you, or anyone, is not going to be able to do it.” This carries all the way to the last line, “…nowhere you can be that isn’t where you’re meant to be”, meaning, ‘Wherever you are is where you’re supposed to be, so don’t try to change it’ (sort of a predestination statement). (the tails of the third lines, “…learn how to play the game” and “…learn how to be you inside” lead perfectly to the more encouraging idea of the Chorus.) I suppose the Chorus (“It’s easy, AYNIL”) is not sarcastic if taken to mean, “Life’s easy, if you don’t concern yourself with anything except having love in your life, because you can’t change the other circumstances”. (or, put another way, “Don’t fret over things over which you have no control; but you can ‘learn the game’ and ‘be yourself’ and be content with your station in life and focus on doing good to others (love)”.

I don’t mean to be nit-picky but I couldn’t help but notice that during this article’s description of the band’s friends who were invited to the “Our World” session Keith Richards’s name is spelled Keith Richard. It’s really Keith Richards.

Yes, but at the time he was known as Keith Richard.

I think John Lennon´s All You Need Is Love is the Beatles best song. The more you listen, the more you love it. It is seemingly simple. It starts with long anthemic so wonderful notes, it´s more like a hymn than pop music. Lennon could have been inspired by the divine service music he loved as a child. Then follows that for Lennon typical hammering on the same note in the refrain. Some people think it is repetitive, but the point is that this is a condition for fully appreciate the sudden following arise of two notes, the marvellous climax. Then the resolve. According to Albert Goldman, Lennon said that a good song must have a climax and a resolve. The ending is not good when everybody sings the refrain, the song loses a bit of it´s stringency.
Everybody who works with that song says the more you listen the more you love it.

George Martin had never quit the same understanding for Lennon´s music, than for McCartney´s. When Martin heard it the first time he leaned toward Paul and muttered: “Well, it´s certainly repetitive”, according to Bob Spitz´s book about the Beatles.

This song has less to do with divine service music than it does with Gene Vincent. The chorus is just a re-write of “Ain’t She Sweet” from the Bluejean Bop album.

Not sure where you get the ‘divine service’ info from. Coukd you oblige and post a link to your source?

Hey Slipper of the Yard.
Just listen. The hymns or psalms you sing in the church, on the divine services, are always melodies with long notes, like the bit “…love love love…” and more, in All You Need Is Love.
For me I cannot hear any song in “pop” music resembling this melody. As a matter of fact I even think that All You Need Is Love has big similarities with Wagners overtyre to Tannhäuser. Both melodies are magnificent and grand. And In Tannhäuser there are repeating three long notes in differrent shapes, very very typical for Lennon i many songs.

Like Yellow Submarine, the song sounds deceptively simple, yet is a stunningly complex composition. The orchestration, the harmonies, the time-changes… It’s so clever. It took me a few listens to appreciate that. John saying ‘I suppose we’d better write something,’ then coming up with this says it all, really.

I always heard it as “Yes, you can” but now that you have brought up Yes, he’s dead” I know that is how I am going to hear it from now until the end of time. Great tune.

I saw a rare recording of the song and saw john practicing the “she loves you” part. But when I listened to the song, it sounded like Paul… IDK guys it can be both of them xD

Not much more to be said, but I will add a couple of observations after watching the wonderful video of this song:

1) There’s a shot of Mick Jagger joylessly singing and clapping along. I may be imagining this but I get the feeling he is jealous of all the attention the Beatles are getting at this new career peak.

2) George’s solo has a distinctly slide-y feel. No doubt, its just the way he’s bending the notes, but it really does sound like his later slide work to me.

I share your perception of Jagger’s jealousy.

Peace and love, peace and love! That’s what Ringo would say! ????????

The perfect anthem for 1967, but this song is timeless as well. John Lennon custom made this for the TV broadcast. From the French national anthem to the great fade out this is a classic.

I knew Evan Watkins in the seventies when he was in Southampton as a Brass teacher and conductor of the Southampton Youth Orchestra. I didn`t realise until years after he died that he was part of this live studio performance with the Beatles.
He certainly never mentioned it as far as I know – but then he was the sort of musician and person who wouldn`t need to,
really!

Re the comment regarding the 4/4 – 3/4 content. I don’t know if anyone knows whether Ringo found that a problem or not – I suppose one could ask him – but that would not be showing love. I would have thought that he would cope, especially when you think of the number of times they must have gone through the number – albeit with the recording date drawing near. Is it not possible that Ringo was asked to keep the 4/4 going so that you had a gentle clash – then coming into sync again later when the 3/4 bars have actually “caught up”, so to speak, without going into the maths of it. Does anyone know the different influences that brought that alternate rhythm about? Could it have been John himself – I`d like to think so! He might have been going through it to himself and thought “to much gap – start a beat earlier” or even just find himself playing it like that without thinking, because it fitted better – then realised it was now a bar of 4 – then 3!. I suppose the possibilities are endless – but maybe someone else can clarify what actually happened. A very similar thing happens (for example) in “Carmina Burana” by Carl Orff.

No, cdesim, you are not absolutely right. The interval between two two first notes in the chorus in “Aint She Sweet” is half, but in All You Need Is Love it is whole.

In his book about The Beatles, Jonathan Gould (2007) describes the year 1967 with The Beatles great singles: Strawberry Fields Forver, All You Need Is Love and I Am The Walrus — all are, as we know today, Lennon compositions.
But 1968
Ned Rorum in New York Review of Books, January 1968,
Readers Digest 1968,
The Pengiun Stereo Record Guide first edition,
and Das Grosse Lexikon der Musik 1978,
and many many others for many many years wrote that McCartney was the songwriter, or melody composer in The Beatles, not Lennon.
How could this happen? That contributed to the split of The Beatles.

Oh Johan, Johan, you are repeating yourself my friend. You said the same things in your post for “Across The Universe.” We get it, John was short changed and Paul unfairly received the lion’s share of credit for making The Beatles so great.
Both men were/are what made The Beatles along with George and Ringo. Minus any one of them and we have a very different history. John and Paul brought out the worst in each but, more importantly, the very best in each other. Enjoy their music and just Let It Be.

Great UK single. I love collecting the original UK stuff

I remember reading in a book that both John and Paul were asked to submit s song for the telecast. We obviously know the song that John submitted but did Paul offer Your Mother Should Know or was it Altogether Now or Hello Goodbye? If I’m wrong on all three songs,which song did Paul offer? I’ve read in one book that it may have been Your Mother Should Know. Would love someone to answer this one for me Thanks.

To Marc Pepin. It was Your Mother Should Know, according to Mark Hertsgaard in his book A Day In The Life, 1995.

Superficially heard the chorus “all you need is love” is monotonic, Lennon is singing on the same note, a little anthemic-like. But the point is that these same notes are necessary to fully to take part in the following little step upwards, a half interval, or a so called second, up.The effect is deeply moving, a cry from heart.
In Music history this step is called “the lamentation second”. You can hear it in the “tutti e finito-motif” in Macbeth by Verdi. The lamentation second is known since the baroque-period.

Lennon´s All You Need Is Love is The Beatles best song. It is moving and hypnotic.

When the Swedish king recently was honoured on his birthday, they were singing this melody. It was wunerful.

It’s a very fine song but I don’t know if it’s their very best. A great choice to play for the Swedish king I agree as “I Am The Walrus” or “Run For Your Life” would not have been as appropriate, though I dare say John Lennon himself would disagree and enjoy the laugh.

Actually, Cavalli has a point concerning Lennon’s inclination to write quite monotonous songs, or rather parts of songs to achieve a contrast between, say, verse and chorus. This is fairly common in pop music, and emanates from the classical tradition of composing; either a horizontal melody set to vertical harmonies, or the other way around: a vertical melody to horizontal harmonies. The chorus of “All You Need Is Love” and the verses of “I Am the Walrus”, for instance, are typical examples of the former, while a song like “Your Mother Should Know” is a good example of the latter.
Of course there are exceptions, and quite a lot of them in The Beatles’ catalogue; John’s “This Boy”, “If I Fell” and “I’ll Be Back” are certainly vertical melodies, for instance.
It’s harder to find horizontal (monotonous) melodies in Paul’s songs, but on the other hand he often achieved amazing results composing “the hard way” flawlessly; vertical melodies to vertical harmonies.
If anybody here doesn’t really understand my reasoning about this, I will try to explain i further 🙂

I don’t think you meant to use the word monotonous in your thoughtful explanation. Certainly, Mr. Cavalli would never, ever deem any of John’s music as monotonous, he might use it to describe Paul’s music which would also be a mistake.

Well, I’m not trying to diminish the value of a song because of it being monotonous in parts (like monotonous=boring). I believe a song like “Come Together”, for instance, owes its instant impact to the one note repetition in the verses, among other things, especially set in juxtaposition to the chorus.
But I admit, I’m trying to find redeeming factors in the very one-sided posts of mr Cavalli.. I have nothing but love and admiration for the works of all four Beatles.
I’m a Beatles fan, not a Lennon or McCartney fan 😉

I am with you. I have enjoyed/loved their music collectively and individually forever. I don’t care if its montonic or Greek chorus; who wrote which verse or that line, etc., etc. knowing that information is interesting but the bitter competition between some John/Paul and to a lesser extent George fans seems to take the fun out of it. My only regret is The Beatles disbanded so soon, though for them they had already been together a small lifetime and they never had an opportunity to consider getting back together due to John’s death. Otherwise all of their music is wonderful and great fun-even their “clunkers” -which are still pretty darn good. Continue to enjoy!!

Great point, in fact the melody to ‘If I Fell’ is arguably the most melodious song the Beatles ever recorded.

Thank you Hennyon. Your comment is the most interesting I´ve read here. I would really appreciate if you could give me some example on horizontal melodies to vertical harmonies. I have only one example, for the moment, except Lennon: In Puccinis Tosca there are several — opposed to Boheme — melodies with that structure. It´s wunderful.

Who cares who sang what and where it’s a beautiful song and will still be played long after we are all long gone.

Has anybody made a comment on Paul’s mistake in bass at the end if the song? Which he played live. As soon as he makes a mistake, he repeats it in order to get back on
1. Paul makes mistake with wrong note
2. John says “yesterday”
3. Paul repeats wrong note
4. Paul says “woh”

Hah, well spotted, though it sounds more like the bass was ‘dropped out’ at these points rather than a wrong note.

You’re wrong. Paul didn’t say “woh”, is John. And, John didn’t say “he’s dead”?

Sorry for the conspiration. I share the perception of Slipper.

Why is the Our World video not available on U Tube ?

I know this is one of the Fabs’ most iconic songs… But I kind of hate it. From the Marseillaise at the beginning to the never-ending and far too busy outro, it’s too much of an assault to really enjoy it. This’ll probably earn me the scorn of Beatles fans the world over, but to me, this isn’t anywhere near the best song they ever made.

Never one of my favorites, either. It was simply a case of “right song, right time”.

Hey, just noticed a young Eddie Kramer engineered on this session. He went on to Engineer for Jimmy Page on Led Zeppelin sessions

Important note, according to John Ringo never actually played drums on this song. Apparently one of the Beatles held an upright bass while Ringo hit the strings with his drumsticks and another Beatle hit a tambourine. If you isolate one side of the record you can hear the wood of the drumsticks hitting the wood of the bass.

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