Side One, Track Five
“Here, There And Everywhere”: In Which Paul McCartney “Obliterates Place”[i]
by Jude Southerland Kessler and Melissa Davis
Through 2023, the Fest for Beatles Fans blog will explore the intricacies of The Beatles’ astounding 1966 LP, Revolver. This month, Melissa Davis will provide our “Fresh New Look” at “Here, There And Everywhere,” the gorgeous song inspired by a particularly happy time in the romance of Paul McCartney and Jane Asher. Melissa was a member of the inaugural class of the world’s first graduate degree program concentrating on the musical and cultural impact of The Beatles, moving to Britain in 2009 and graduating from Liverpool Hope University in 2011. Her dissertation, A Contextual Analysis of the Reception of The Beatles in America, examined the questions: “Why then and why them?” Melissa has co-authored The Beatles Bibliography: A New Guide to the Literature (2012) and its 2013 supplement with Michael Brocken, founder of the first Beatles MA program. She is currently at work on the third volume of the bibliography.
Jude Southerland Kessler is the author of The John Lennon Series and a Guest Speaker at the upcoming Chicago Fest for Beatles Fans, August 11-13. She has written the “What’s Standard” and “What’s New” segments of this blog.
14 June 1966 – EMI, Studio 2 – 7:00 p.m. – 2:00 a.m. On this evening, 4 rhythm track takes were recorded, and vocals were superimposed onto take 4.
16 June 1966 – EMI, Studio 2 – 8:30 p.m. – 3:30 a.m. The decision to start the work over on “Here, There And Everywhere” was made. The boys began anew with take 5. By take 13, John C. Winn tells us “the bass, drums, and electric guitar rhythm track (with a second guitar playing volume pedal ‘swells’ near the end) was perfected.” Winn says Paul was singing a live guide vocal, which may have been redone later. (That Magic Feeling, 25) You can hear that “live guide vocal” on Anthology 2. Backing vocals were added during this session. At the close of this evening, Mark Lewisohn states, “A 14th take was created by reduction, onto which Paul superimposed his live lead vocal…” (The Complete Beatles Chronicle, 226) Womack goes on to say that Paul had varispeed recording applied to his vocal to manipulate the sound. ”Martin and Emerick recorded the track at a slower speed. During playback, varispeed recording [produced] a higher pitch – in this case, with the rendering of McCartney’s vocal at a higher frequency.” (The Beatles Encyclopedia, 386)
17 June 1966 – EMI, Studio 2 – 7:00 p.m. – 1:30 p.m. Paul added a second lead vocal to the final track of the song. He harmonized with himself on the second “love never dies” and “watching her eyes.” George added some lead guitar work. At the conclusion of this session, a rough mono mix was made.
21 June 1966 – further mixing of the song was accomplished.
Of Special Note:
Under the category of “What’s Standard,” we must not neglect to comment on The Beatles’ harmony. Paul, of course, is singing the melody line, but directed by George Martin, John and George are singing what Margotin and Guesdon refer to as “sumptuous vocal parts” (All the Songs, 333) Martin himself arranged these harmony lines, and they are performed beautifully. Such harmony may be standard – perhaps even “expected” – for The Beatles (think “This Boy” and “Yes It Is”), but their work is, nevertheless, breathtaking.
Producer: George Martin
Engineer: Geoff Emerick
Second Engineer: Phil MacDonald
Instrumentation and Musicians:*
Paul McCartney, the composer, sings lead vocal and harmony vocal. He plays his 1962 Epiphone ES-230TD Casino (some sources say “Epiphone Texan”) electric guitar with Selmer Bigsby B7 vibrato and his 1964 Rickenbacker 4001S bass, using his 1963 Fender Bassman 6G6-A amplifier with cabinet.
John Lennon sings backing vocals and adds finger snaps.
George Harrison sings backing vocals, plays lead guitar on his 1965 Rickenbacker 360/12 12-string guitar and adds finger snaps.
Ringo Starr plays his 1964 Ludwig Oyster Black Pearl “Super Classic” drum set, including brushes, and adds finger snaps.
*This information from Hammack’s The Beatles Recording Reference Manual, Vol. 2, 151-152.
Sources: Lewisohn, The Complete Beatles Chronicle, 225-226, Lewisohn, The Recording Sessions, 83, Harry, The Ultimate Beatles Encyclopedia, 304-305, Womack, Long and Winding Roads, 140, Margotin and Guesdon, All the Songs, 332-333, Winn, That Magic Feeling, 25, Hammack, The Beatles Recording Reference Manual, Vol. 2, 151-152, Riley, Tell Me Why, 186-187, Turner, A Hard Day’s Write, 108, Spizer, The Beatles for Sale on Parlophone Records, 214, MacDonald, Revolution in the Head, 168, Davies, The Beatles Lyrics, 158-161, Mellers, Twilight of the Gods: The Music of The Beatles, 74-75, Everett, The Beatles as Musicians, Revolver Through The Anthology, 60, Womack, The Beatles Encyclopedia, 386, Sheff, The Playboy Interviews with John Lennon and Yoko Ono, 152, and McCartney, Paul McCartney: The Lyrics, 272-273.
- A New McCartney “Personal Fav” – Paul states that of all the songs he’s composed “Here, There And Everywhere” is his all-time favorite, “with ‘Yesterday’ a close second.” (McCartney, The Lyrics, 273 and MacDonald, 168) Although MacDonald disagrees with this choice, stating that the sentimental lyrics render the song “chintzy and rather cloying,” McCartney would probably just shrug and respond, “You’d think that people would’ve had enough of silly love songs, but I look around me and I see it isn’t so…” Indeed, John Lennon said of “Here, There And Everywhere”: “That’s Paul’s song completely, I believe. And one of my favorite songs of The Beatles.”
- An “Overture”…or as Tim Riley phrases it, the tune’s “disarmingly simple four-bar introduction” (Tell Me Why, 186) – Many sources indicate that this is the “first time” that The Beatles have opened a song with an introductory melody and lyrics that will not be repeated again within the body of the song. However, that’s not quite true since John Lennon’s composition (performed by George Harrison) “Do You Want to Know a Secret,” opens with a brief overture: “You’ll never know how much I really love you/You’ll never know how much I really care.”
As Hammack points out in The Beatles Recording Reference Manual, Vol. 2, this technique is a throw-back to the classic songs that populated The Beatles’ youth, songs such as Harold Arlen’s “Somewhere Over the Rainbow.” (p. 151) Indeed, Disney’s “I’m Wishing” (from Snow White) and Irving Berlin’s “White Christmas” were familiar “chestnuts” to the lads as well. Both featured preambles. But employed on a 1966 LP by the world’s most famous rock band, the renaissance of the “overture” stands as yet another innovation that makes Revolver so unique.
In Paul McCartney: The Lyrics, Paul reminisces that he was trying to imitate Cole Porter in “Anything Goes.” He explains, “…we were trying to emulate some of our favourite old songs that had a completely rambling preamble.” (p. 272-273) Hammack observes, “John Lennon and Paul McCartney’s ‘Here, There And Everywhere’ served notice that the duo could master any form they chose to explore.” (p. 151)
- Poetically Interlocking Lyrics – In The Beatles Lyrics, Hunter Davies extols the ingenuity of Paul’s manipulation of the words “here,” “there,” and “everywhere.” Davies says, “It’s easy to miss how clever the lyrics are. [McCartney takes] the three adverbs in the title, one by one, structuring the verses around Here, then There, and then Everywhere. He finishes the first line on ‘here’ and then begins the next line with the same word, and then repeats the same trick for the fourth and fifth lines with ‘there.’” (p. 158)
One might more accurately substitute the term “verse” for “line” in Davies’s quote, but whatever terminology one employs, Davies is correct. And in his 1980 interview with David Sheff, John Lennon admiringly noted Paul’s poetic technique. McCartney is consciously and poetically interlinking all space (“I need my love to be here,” “Nobody can deny that there’s something there,” and “I want her everywhere,”) and time (”hoping I’m always there”) into the ideal realm in which he wants his love to exist.
Tim Riley in Tell Me Why points out that when Paul steps into the “everywhere” segment, “the bridge leaps to a new harmonic ground.” (p. 187) This musical shift emphasizes the far-reaching implications of that highest, all-encompassing plane. Indeed, the shift from mere “here” and “there” to “everywhere” evokes a major chord – perhaps indicating that when his love is “everywhere,” all will be resolved.
- Special Effects – There are many brief but elegant “extras” in this song. Just before Paul sings, “but to love her is to need her everywhere,” listeners are treated to a guitar line that sounds very much like a mandolin. MacDonald notes that this was achieved “through the Leslie cabinet.” (Revolution in the Head, 168) And as the song plays out, Riley points out that “a descending French horn figure is added in the right channel.” (Tell Me Why, p. 187) This is achieved, MacDonald explains, “by use of the volume pedal.” (168) The song, of course, would have succeeded without these lagniappe flourishes, but empowered to experiment and embellish, The Beatles were lavish – pulling out all the stops.
- A Nod to Marianne Faithful – Some sources tell us that Paul worked to model his vocals after Marianne Faithfull’s soulful 1964 rendition of “As Tears Go By.” Listen and decide for yourself: https://tinyurl.com/bdy6ju6b
A Fresh New Look:
Jude Southerland Kessler: Although Paul was inspired by several other well-known artists in the creation of this song’s introduction and melody (to be discussed in the next few questions), the “love” to whom Paul writes is his girl, Jane Asher. Throughout 1964 and 1965, his songs for Jane had indicated trouble in paradise. In “You Won’t See Me,” “I’m Looking Through You,” and even “We Can Work It Out,” (“Love has a nasty habit of disappearing overnight”), we got the clear message that the two were at odds. Here, Paul’s message seems gentler and more hopeful. Was there a biographical reason for this change of heart?
Melissa Davis: Well, that sort of tells the tale right there, doesn’t it? As with all relationships over time, you fight, you make up, you break up, you get back together. The infatuation stage fades, and you begin to fully appreciate what the relationship and the other person bring to your life. Some couples get married. To each other. Some don’t. It’s a maturing process both individually and within the relationship.
Paul moved into the London home of Jane’s parents six months after they met in April 1963 when she had just turned 17, and he was not quite 21. While John was already married and a father, George and Ringo shared a bachelor apartment, spending much of their free time enjoying Swinging London. The Asher home was better suited to McCartney in that it offered a combination of the family atmosphere he craved, music (Mrs. Asher had taught George Martin at the Guildhall School of Music) and an introduction to the sophisticated world of London’s theater, art and music scenes.
But despite having a home base, McCartney was still very much a working Beatle contractually committed to writing and recording singles, albums and movie scores, filming a new movie a year, making television appearances, and, of course, touring with his mates – hardly conducive to a steady romantic relationship. Just as in any relationship, especially that of young people still living at home, Jane and Paul would have their ups and downs. Complicating matters was Jane’s desire to pursue her acting career and the added fact that Paul McCartney just happened to be the most eligible bachelor in the world.
The songs noted in the question reflect the spats, fights, break-ups and make-ups that all couples face, but Paul had the gift of being able to use them as inspiration for lyrics to express his emotions almost in real time.
When “Here, There And Everywhere” was written in mid-June 1966, Paul was in the process of rehabbing the home he had purchased at 7 Cavendish Avenue in St. John’s Wood. According to Peter Brown in The Love You Make (2002), “Instead of turning the decoration over to professionals, they decided to furnish it themselves. They took pleasure in shopping for each piece individually, sometimes buying used furniture at secondhand shops…”
So, we can guess that the time around the composing and recording of “Here, There And Everywhere” might have been a particularly happy time for the couple, looking forward to moving out of Mom and Dad’s and into a home of their own!
Kessler: By 1966, the Beach Boys and The Beatles had supposedly entered into a symbiotic-creative relationship. How did that inspirational association affect “Here, There And Everywhere”?
Davis: As an original generation fan, I experienced the Beach Boys and The Beatles contemporaneously. I was a kid, but my college-aged brother had a band that was headquartered at our house and rehearsed in our living room, and I benefitted from exposure to all kinds of great music that most of my friends didn’t have in their home.
The retrospective narrative (with a liberal dose of revisionist history thrown in for good measure) has had the Beach Boys moving from cars, girls, and surfboards to innovation in the studio combined with deep and mature lyrics that not only put them on an equal basis with The Beatles, but inspired Revolver and, according to some, made Sgt. Pepper’s Lonely Hearts Club Band possible. The reality in 1966 might not have matched such generous re-appraisal.
Yes, yes, I know. I’m familiar with Paul McCartney singing the praises of Brian Wilson and Pet Sounds. I also know he has a tendency to sometimes remember things as he wishes they had been rather than as they were or altogether misremembering them, e.g. the origin of the name Eleanor Rigby. But I am sure he feels genuine respect for Brian Wilson’s genius.
No one loves to sing along in the car with “I Get Around” at top volume more than I do, but with all due respect… I have a confession to make: I don’t buy the hyperbole.
The Beach Boys were AM radio; The Beatles were singles, albums, and movies. The Beatles were men; the Beach Boys were… well, boys. Brian Wilson may have been born a mere two days after Paul McCartney in June 1942, but he was still a ‘boy’ in a band with his younger brothers.
1964 was the year of The Beatles. The year of Beatlemania. They came to America, launched The British Invasion, and popular music shifted in a matter of weeks. Billboard’s 1963 Year End Top 100 featured a healthy contingent of R&B and Motown, but otherwise consisted of a mélange of folk, light pop, country (Johnny Cash), crooners (Nat King Cole, Johnny Mathis, Al Martino, Steve Lawrence, and Tony Bennett all had records in the top 100 that year), Henry Mancini instrumentals, foreign language (“Sukiyaki,” and “Dominique” by the Singing Nun) and even novelty (“Hello Muddah, Hello Faddah”). Surf was only a sliver with five records in the Billboard Top 100 for the entire year of 1963; the Beach Boys hadn’t had a #1 at that point, despite releasing singles since 1961.
To say The Beatles dominated the charts in 1964 is an understatement. Much has been made of the fact that by first week of April, The Beatles held the top five singles on the U.S. charts. This overlooks the additional seven Beatle singles in the Top 100 that week; two more records were songs about The Beatles. They also had the top two albums. They replaced themselves at the top of the charts. Three times.
The Beatles set fashion trends around the world and not just with teenagers; the Beach Boys wore dorky clothes and had unfashionably short hair.
The Beatles made movies that premiered with royalty in attendance. They had been recognized by the Queen. Most Americans mistook the MBEs for knighthoods, but it was still a step beyond anything accorded other groups.
Reporters queried The Beatles about the Warren Commission Report and the war in Vietnam. The Beatles forced desegregation at their concerts in the South. No one cared what other groups thought about much of anything.
In the summer of 1964, The Beatles starred in their first movie, garnering unexpected rave critical reviews (and that opening chord in “A Hard Day’s Night!”). Then, they toured internationally (Australia!).
Brian Wilson suffered a nervous breakdown at Christmas 1964, less than ten days after Beatles ’65 was released in the U.S. (Beatles For Sale in the U.K.). I’m not saying the two events are exactly related, but… there is much anecdotal comment from their contemporaries, professional musicians who felt the overwhelming pressure of competing with The Beatles, especially when it came from record label executives or a demanding manager.
The Beach Boys Today! was released in March of 1965, with the singles “Help Me, Rhonda,” “Dance, Dance, Dance,” “Do You Want To Dance?” and “When I Grow Up To Be A Man.” The Beach Boys were singing adolescent lyrics about dancing and growing up like “Wouldn’t it be nice if we were older…”
Beatles For Sale/Beatles ’65 featured “I Feel Fine” and “She’s A Woman,” “No Reply,” “I’ll Be Back,” “I’m A Loser,” and “I’ll Follow The Sun.” All about slightly more mature relationship issues.
The Beatles taped “Yesterday” for The Ed Sullivan Show the day before their August 15, 1965 Shea Stadium appearance. In a genre-shattering 2 minutes and 3 seconds, it blew down the limits of what popular music could be.
The Beach Boys Party! album came out three months later at the end of 1965. It was largely a compilation of covers (“Alley Oop,” “Papa Oom Mow Mow,” “Hully Gully”) and included three Lennon/McCartney compositions: “I Should Have Known Better,” “Tell Me Why,” and “You’ve Got To Hide Your Love Away.”)
Rubber Soul was released at the same time for the holiday season: “Norwegian Wood,” “Girl,” “In My Life,” and “Nowhere Man.”
Influence at the time seemed to be flowing east to west across the Atlantic.
By 1966, Brian Wilson was writing on pot; three of the four Beatles had taken LSD. In fact, when The Beatles were in Los Angeles during a break in their tour, the Byrds were invited over for music and acid. When David Crosby was spotted crouching behind a stage curtain during a press conference, John Lennon identified him to the press as, “our mate, Dave.” It was around that time that The Beatles publicly proclaimed the Byrds as their favorite group.
Despite the growth the Beach Boys were experiencing as Brian Wilson’s severe anxiety took him off tours and put him almost exclusively in the studio when he was able, The Beatles were featuring the sitar on a second song and constructing electronic tape loops for the finale to Revolver. They were grousing about British tax policy, musing about the loneliness of an old woman, and knowing what it’s like to be dead.
The Beach Boys’ Pet Sounds (recorded over a period of nine months from July 12, 1965 through April 13, 1966) was released on May 16, 1966. During that time, they released four singles: “The Little Girl I Once Knew,” “Barbara Ann,” “Sloop John B,” and “California Girls,” the last undoubtedly the one that influenced The Beatles’ “Back In The USSR” in late 1968.
Revolver was recorded from April 6 to June 21, 1966 (11 weeks) and released on August 5 of that year. In addition to “Here There And Everywhere,” Revolver gave us “Taxman,” “Good Day Sunshine,” “Eleanor Rigby,” “Got To Get You Into My Life,” and “Tomorrow Never Knows.” It is simply in a class by itself.
Because the Beach Boys could not create the musical sounds Brian Wilson heard in his head, over 40 session musicians (including 25 members of the Wrecking Crew) and a 10-piece string section are credited with virtually all instrumentation on Pet Sounds. Revolver was recorded by the four Beatles playing their own instruments with the contribution of brass from Sounds Incorporated, an Indian tabla player on “Love You To” and a string octet on “Eleanor Rigby.”
Pet Sounds marked a departure for the Beach Boys from their own style and genre and opened their musical future to new possibilities; Revolver changed music for everyone and forever. The album was considered groundbreaking at the time it was released and influenced the groups and music that followed.
The year 1966 saw an explosion of new and immensely talented groups, many inspired by The Beatles. These groups were releasing innovative and exciting music featuring lyrics of depth, introspection and, in some cases, inexplicable meaning, which were intriguing and engrossing.
It’s important to remember contextually that the year of Pet Sounds was also the year of Simon and Garfunkel’s “I Am A Rock” and “Homeward Bound.” Donovan’s “Sunshine Superman.” Dylan’s “I Want You” and “Rainy Day Woman #12 and #35.” And if it was harmonies you wanted, one could feast on more Simon and Garfunkel, The Mamas and the Papas, The Hollies, The Lovin’ Spoonful, The 5th Dimension, and of course, the Byrds whose “Mr. Tambourine Man,” “Turn, Turn, Turn,” and “Eight Miles High” were massive hits in both the U.S. and the U.K.
The Beatles’ shared love of harmony since their days listening to the Everly Brothers had resulted in years of singing, composing, performing and recording close, three-part harmonies, something The Beach Boys’ gorgeous vocals no doubt reinforced. After all, The Beatles were a group that loved covering girl groups, disregarding any awkwardness in four guys singing about boys with McCartney once saying the fun of it was “singing Bop-shoo-op-um-bop-bop-shoo-op with your mates.”
The Beatles were competitive among themselves, always trying to do better than their last record. That spirit, which Paul has long acknowledged, even vis-á-vis his songwriting partner, John Lennon, would have kicked in when they heard songs and albums they liked or they felt challenged them. So, yes… The Beatles listened intently to what was being recorded by other groups, and Pet Sounds must have been a spur for them, but not on Revolver. And it’s hard to see how Pet Sounds influenced “Strawberry Fields Forever” or “Penny Lane,” their first songs after Revolver, released while Pepper was in the works.
Pet Sounds did not do well commercially upon its release in the U.S. in May 1966; three singles gave it exposure (“Caroline No,” a Brian Wilson solo release that made it to #32; “Sloop John B” at #3, and “Wouldn’t It Be Nice” at #8, with “God Only Knows” originally on the B-side).
As for “God Only Knows,” I’ve no doubt Paul loves it. I’m sure Paul does wish he had written the song. Who wouldn’t?
It’s a beautiful song. Its message is as romantic as “Here, There And Everywhere,” and McCartney is a romantic, “Helter Skelter” notwithstanding.
The song is critically acclaimed and universally loved. Bono says the song is proof of the existence of angels. Pete Townsend says it ‘still sounds perfect.’ Barry Gibb loves it. Jimmy Webb, who knows a little something about songwriting, calls it his favorite song. Even the critics love it.
Artists as diverse as Andy Williams, David Bowie, Glen Campbell, Elvis Costello and the London Symphony Orchestra have covered it. Most recently, someone (or someones) called Dr. Teeth and the Electric Mayhem recorded it. Versions in Spanish, Dutch, Finnish, Swedish, Norwegian, and Icelandic are available.
But the hyperbole, much of it stemming from McCartney’s well-publicized and genuine admiration of Brian Wilson and reverence for Pet Sounds, overstates the influence. I just take the now-assumed symbiotic relationship with a measure of salt.
That’s only my opinion. I love The Beatles, I’ve studied The Beatles, read and written about The Beatles. I’ve played their music (badly). Their music was sung at my wedding. It will probably be played at my funeral. Just a nice bookend. I’ve been steeped in them for almost 60 years. But that doesn’t mean everyone reading this won’t have their own opinions. We’re just lucky to have the music to disagree about!
Kessler: Fantastic observations, and so beautifully said, Melissa. As I researched the “What’s Standard” and “What’s New” segments of this blog, I found these words from Ian MacDonald in Revolution in the Head that second your emotion. He states, “However, while Pet Sounds, conceived of as a ‘reply’ to Rubber Soul deeply impressed McCartney and spurred him to better it in The Beatles’ next album Sgt. Pepper, Wilson’s masterpiece wasn’t issued in Britain until July. Even supposing him to have had an advance copy, no musical link exists between ‘Here, There And Everywhere’ and anything on Pet Sounds…” (p. 168)
So, moving on…
“Here, There And Everywhere,” as we indicated earlier, was one of John Lennon’s favorite songs. In fact, Paul says he received the rare “Lennon face-to-face compliment” for it. What do you think John liked and respected so much about this composition?
Davis: I think John would have noted the very personal lyrics of “Here There, and Everywhere” as this was a direction he had been heading, as well. Paul was writing about his relationship with Jane through good times (“Good Day Sunshine”), not-so-good times (“I’m Looking Through You”) and just plain confusing times (“You Won’t See Me”). John was sharing more of his own feelings in his lyrics (“Norwegian Wood,” “Nowhere Man,” “I’m Only Sleeping,” “Girl,” “In My Life,” and “She Said She Said”) and might have respected Paul doing the same.
John might also have rated the admission by another Liverpool lad that he needed this special woman in his life. Self-improvement would show up in the next album, Sgt. Pepper, in the form of “Getting Better.”
John undoubtedly would have appreciated the song’s melody and loved singing the harmony. It is an exquisitely beautiful piece of music that would have appealed to a man who had “Julia,” “Goodnight,” and “A Day In The Life” inside him, just waiting to be written.
Kessler: And finally, what do YOU like about “Here, There And Everywhere,” Melissa? Nearly sixty years after its release, is it still relevant and effective today?
Davis: I was in middle school (junior-high in those days) when I first heard this song and had been a devout “George Gurl” from the moment I “met” The Beatles on the first Ed Sullivan Show appearance on February 9, 1964. My friends all had their own favorite, of course, including one “Paul Gurl” who could never accept that he had a girlfriend.
We were just beginning to figure out what we would want in a boyfriend, and the song stated it as simply as possible: Paul believed he was better for having his girlfriend in his life. He needed her to be the man he wanted to be. What girl wouldn’t dream about her boyfriend feeling that way about her? What woman wouldn’t want a man thinking and singing those words? “Here, There And Everywhere” helped crystalize the concept of a love beyond “just holding hands.”
A few years later, Paul expressed the same sort of sentiment about another woman, his wife Linda, in the song, “My Love.” It is vastly inferior to “Here, There And Everywhere,” but the feeling behind it is from the same place in his heart. And, not coincidentally, “My Love” remains an unfailingly popular selection in his current touring setlist.
Years later, the introductory phrase (“To lead a better life, I need my love to be here…”) formed the basis of the famous takeaway from the film, As Good As It Gets, when Jack Nicholson tells the Helen Hunt character, “You make me want to be a better man.”
The song was played during a wedding scene on Friends, as certain a sign of cultural significance as any. No doubt it has been a part of many actual weddings and probably played a role in more than a few make-ups and proposals of all kinds in the past nearly sixty years. The emotion behind the singer’s acknowledgement of what his love means in his life and his honest declaration will always be relevant as long as people fall in love.
And then there’s the music.
“Here, There And Everywhere” is quite simply one of the best examples of what I think separates The Beatles from many of the excellent bands of that, or any other, era – the pure alchemy born of musicinstrumentlyricvocalmelodyharmonyemotionrhythmpoetrywitinsightselfawarenessfriendshiploveandjoy in just the right proportions almost every time.
Yes, all one word.
[i] In his work Twilight of the Gods: The Music of The Beatles, Wilfred Mellers pays this lovely homage to Paul McCartney: “If Love You To tells us how the love experience erases time, Here, There And Everywhere obliterates place.” (pp. 74-75)
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