How the Beatles Wrote Their Songs: From Early Demos to Final Recordings

More than a few of us can claim, with some confidence, to know every Beatles song. And indeed it may be true, in that we’ve heard every track of all their studio albums. But as decade after decade of Beatles scholarship has demonstrated, there’s knowing their songs, and then there’s knowing their songs. Musician and YouTuber David Bennett has made it his project to attain the second kind of knowledge, and on his dedicated series UnBeatled, to share it with the public. In each UnBeatled video he analyzes just one song — “Help!,” “Here Comes the Sun,” “Penny Lane,” and so on — at a level of detail fine enough to necessitate not just breaking it down to its component tracks, but also examining the demos and unreleased takes recorded in the studio.

This process can reveal a great deal about the Beatles’ songwriting process, as Bennett explains in the video at the top of the post. In the course of twenty minutes, he covers eleven songs, a selection not necessarily limited to the group’s universally praised compositions.

Take the first, “Yellow Submarine,” whose early recordings differ both lyrically, melodically, and in time signature from the version we know (and may or may not love), beginning with an idea of John’s and being further shaped by Paul through its iterations. Another of John’s musical seeds is “Everybody Had a Hard Year,” whose fingerpicking pattern (originally learned from Donovan in India) is also heard in “Julia” and “Dear Prudence,”  and which evolved, with different chords, into the middle section of “I’ve Got a Feeling.”

Such interconnections come as rewards of close and deep listening to the Beatles canon. And certain songs turn out to be worlds of their own: “Strawberry Fields Forever,” for instance, was assembled out of two completely different recordings, then adjusted in tempo and pitch to match in the middle. One of those takes includes the voice of producer George Martin counting in the orchestra, the pitch of which suggests that its members had originally played in a different key than the one we hear. As Bennett notes, using the then relatively novel technology of “vari-speed” had become practically standard in the Beatles’ studio process, as such technological layering and adjustment itself became a key part of their songwriting process. It contributed much to their signature “vibey, psychedelic, uncanny sound”: sought after by many bands over the past six decades, but never truly replicated.

Related Content:

How John Lennon Wrote the Beatles’ Best Song, “A Day in the Life”

“Tomorrow Never Knows”: How The Beatles Invented the Future With Studio Magic, Tape Loops & LSD

Is “Rain” the Perfect Beatles Song?: A New Video Explores the Radical Innovations of the 1966 B‑Side

The “Strawberry Fields Forever” Demos: The Making of a Beatles Classic (1966)

How the Beatles Experimented with Indian Music & Pioneered a New Rock and Roll Sound

How George Martin Defined the Sound of the Beatles: From String Quartets to Backwards Guitar Solos

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. He’s the author of the newsletter Books on Cities as well as the books 한국 요약 금지 (No Summarizing Korea) and Korean Newtro. Follow him on the social network formerly known as Twitter at @colinmarshall.