McCartney began writing "Here, There and Everywhere" at Lennon's house in Weybridge, in early June,[7] while waiting for Lennon to wake up. McCartney recalled: "I sat out by the pool on one of the sun chairs with my guitar and started strumming in E. And soon [I] had a few chords, and I think by the time he'd woken up, I had pretty much written the song, so we took it indoors and finished it up."[8]
When discussing his song "Here, There and Everywhere", McCartney has often cited the Beach Boys' "God Only Knows", his favourite pop song of all time, as a source of inspiration.[9] In 1990, McCartney told Beach Boys biographer David Leaf that it was "just the introduction that's influenced [by the Beach Boys]", referring to the harmonies he and Lennon devised for the opening lines of "Here, There and Everywhere". McCartney added that, with this style of introduction, they wanted to capture the "old-fashioned" idea of a preamble to the song.[7]
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The recording is noted for its layered backing vocals,[1] which McCartney, Lennon and George Harrison spent much of the three days attempting to perfect. McCartney mentioned in the 1989 radio series McCartney on McCartney that the vocals were meant to have a Beach Boys sound; he has also said that he was trying to sing it in the style of Marianne Faithfull.[19] McCartney's lead vocal on the recording is multi-tracked.[20] In his book Revolution in the Head, Ian MacDonald also comments on Harrison's lead guitar part being given a mandolin-like tone via a Leslie speaker effect, before it adopts a "horn-like timbre" for the song's ending.[17]
"Here, There and Everywhere" was released in August 1966 as the fifth track on Revolver, sequenced between Harrison's Indian-styled "Love You To", and the children's song "Yellow Submarine".[21] Writing of its positioning in the running order, music critic Tim Riley says that "Here, There and Everywhere" "domesticates" the "eroticisms" of "Love You To", and he praises the composition as "the most perfect song" that McCartney had ever written.[22] In his review for AllMusic, Richie Unterberger describes "Here, There and Everywhere" as one of its author's "outstanding contribution[s]" to the genre of "love ballads", and a song with "the sound of an instant standard". Unterberger comments on the recording: "The delicacy of the execution is exquisite, the sensual imagery more explicit, the sense of desire and fulfillment tangible."[12]
Less impressed, Ian MacDonald admired the "ingenuity of the music", but concluded that "for all its soft-focus charm, the song's overall effect is chintzy and rather cloying."[17] In his chapter on Revolver in the book The Album, James Perone describes "Here, There and Everywhere" as a "mid 1960s love ballad that could find its way into the set list for bands at a senior prom" and a track that to some listeners appears "syrupy and mushy".[23] Chris Coplan of Consequence of Sound pairs it with "Got to Get You into My Life" as songs that are "seemingly out of place" on Revolver amid the overtly psychedelic and experimental music that typifies the album.[24]
In his authorised biography, Many Years from Now, McCartney names "Here, There and Everywhere" as one of his personal favourites.[4] Beatles producer George Martin also highlighted it among his favourite McCartney songs. Lennon reportedly told McCartney that "Here, There and Everywhere" was "the best tune" on Revolver. In a 1980 interview for Playboy magazine, Lennon described it as "one of my favourite songs of the Beatles".[5]
In 2000, Mojo placed "Here, There and Everywhere" at number 4 on its list of the greatest songs of all time.[6] In April 2004, Rolling Stone ranked it 25th out of the "100 Greatest Beatles Songs".[8] Art Garfunkel has cited this as his all-time favourite pop song.
Bruce Welch of the Shadows claimed in his autobiography that McCartney offered the tune to Shadows lead guitarist Hank Marvin before the Beatles' recording.[26] Marvin eventually released an instrumental version of the song on his 2007 album Guitar Man.
In the TV series Friends, this song is played on steel drums when Phoebe Buffay walks down the aisle during her wedding. It was the second time a song written by McCartney was used in a wedding sequence in the series, the first being "My Love" when Chandler and Monica married.
In the personnel list, there is no mention of who is playing the percussive electric rhythm guitar on 2 and 4; is it all George on the 12 string? That sound is one of my favorite, distinctive features of the song.
I just saw your reply. Not having logged in here for many, many, months (October?), I decided to see if anybody came up with the tapes. I did find the book, it was in the storage locker, but, alas, not the cassettes.
The strange thing is that this song was not performed live by the man who says he is Paul McCartney for decades. Being that this is the last great Beatle ballad, one would have expected to hear it respectfully showcased at the Macca wings shows, just like Yesterday..I guess he needed room for c moon
Yes a great song but I always thought that the rhythm guitar part was terribly out of place. When Paul re-recorded it for the soundtrack to Give My Regards to Broad Street, he used a brass ensemble. That sounded great, more suitable arrangement to my ears.
As lovely as this song is, Take 14 is even more charming. It is a touch rocky at first, and then settles down into what sounds like a quieter singing. I believe the harmony triads come in later as well. Absolutely lovely.
Enlighten me here.
After watching McCartney 3 2 1 paul talks about how he wrote this song and then during the production of help (movie) john praises paul for this song. now help came out in 1965 but here there and everywhere is on revolver in 1966. is this paul skewing his timings or was this song written much earlier?
Paul McCartney: One of my special memories is when we were in Obertauern, Austria, filming for Help!. John and I shared a room and we were taking off our heavy ski boots after a day's filming, ready to have a shower and get ready for the nice bit, the evening meal and drinks. We were playing a cassette of our new recordings and my song 'Here, There and Everywhere" was on. And I remember Jogn saying, "You know, I probably like that better than any of my songs on the tape".Coming from John, that was high praise indeed.
Paul wrote this tune while sitting by John's pool in Weybridge. It's been suggested (too often) that Paul was inspired by Brian Wilson's 'Pet Sounds'. Well, sorry folks but this song was recorded in June 1966 and 'Pet Sounds' wasn't released in Britain until July 1966. Even if Paul had an advance copy, there isn't any musical link between this song and anything from 'Pet Sounds'.
Do you realize you said, "she was always with him when they were together"? Think about it!I agree thought it is a good song. Linda Aasher was his girlfriend for a while.............when they were together ;)
Definitely my favourite love song by the Beatles, and probably my favourite all time love song. It's just gorgeous, and it's the kind of love everyone should experience. I love how the lyrics blend into each other like it's just a stream of his feelings, and he doesn't notice anyone else but her. That's so beautiful. Anyone who thinks Paul only writes sacchrine songs should listen to this and hear the REAL sentiments! Jane Asher's one lucky girl to have this song written about her...
it has been said that paul was inspired by God Only Knows off the beach boys Pet Sounds album. Paul, apparently, loved the way Brian Wilson wrote about the idea of being unable to live without someone and wrote this as his response
my favourite album of the beatles, by far, and this song is one of the reasons why. it is gorgeous in every aspect and i can only hope to find a girl that i will feel this way about someday. this will be my wedding song.
Let's face it, I can't be objective about this review. As the lead singer of one of my favorite bands of all time, Led Zeppelin, I've shared more good times and bad times with this man's voice than any other. It's admirable that he resists the constant pull of doing another re-union with that band and continues to forge on, building a creative solo career that has spanned eleven albums now.
In interviews he's quick to give credit to his band The Sensational Shape Shifters, who all work on other projects in his down time and come together with him to compose as a band. They do a great job here, weaving the many musical influences that he's used in the past, a strand of Americana, rhythms from North Africa and the Middle East, and even a searing guitar riff that his buddy Jimmy Page might be proud of on the second track, "New World". Robert's voice sounds awesome and his writing is spot on, dealing with romance in a non-cliched way, the process of aging and sharing of wisdom and on two tracks in particular, "Carving Up The World Again" and "Bones of Saints" struggling to understand the geo-political mess that we're in right now.
It's also noticeable that the record is paced and laid out to be listened to as a whole, an old school album that will definitely find its way on to my Top Ten of the year. It starts with perhaps the best track, although I find myself wondering if I say that because it sounds like one of Zep's pastoral acoustic songs, which I always enjoyed. There's that riffage on track two designed, perhaps, to suck in the doubting Zep fan. Then it builds majestically through the next four songs, where he shows his "way with words", on the beautiful piano ballad of the same name and culminates in the title track #7 which vies, appropriately, for best song honors. The only misstep is a lyric that does sound a little cliched on #10 'Bluebirds Over The Mountain', so tightened up by one track and it would have been perfect!
At 69 he is certainly deserving of The Lifetime Achievement Award that has just been announced by the Americana Music Association UK. Think about it, who else of his generation is still making new music as vital and accomplished as this? He now has an enormously deep back catalog, including some of those hoary old Zep tunes which he has been known to spike into his live set. This should make for a spectacular show for all those who snapped up the tickets to his Orpheum Theater show on February 22, 2018, which sold out in a matter of minutes. 152ee80cbc
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