Written by: Lennon-McCartney
Recorded: 17, 20 March 1967
Producer: George Martin
Engineer: Geoff Emerick
Released: 1 June 1967 (UK), 2 June 1967 (US)
Paul McCartney: lead vocals, backing vocals
John Lennon: vocals, backing vocals
Erich Gruenberg, Derek Jacobs, Trevor Williams, José Luis Garcia: violin
John Underwood, Stephen Shingles: viola
Dennis Vigay, Alan Dalziel: cello
Gordon Pearce: double bass
Sheila Bromberg: harp
Available on:
Sgt Pepper's Lonely Hearts Club Band
Inspired by a story in the Daily Mail about a teenage runaway, She's Leaving Home was described by George Martin as "not, strictly speaking, a Beatles song at all," and "pure McCartney, from start to finish".
In February 1967 McCartney read about Melanie Coe, a 17-year-old A-level schoolgirl from Stamford Hill, north London. She went missing without her car, cheque book and spare clothes. Her father was quoted as saying, "I cannot imagine why she should run away. She has everything here."
Coe briefly rented a flat in Paddington with a croupier she had met in a nightclub, and returned home around 10 days after the newspaper report was published.
McCartney wrote the music and the initial lyrics, which were later completed with John Lennon.
The amazing thing about the song was how much it got right about my life. It quoted the parents as saying 'We gave her everything money can buy,' which was true in my case. I had two diamond rings, a mink coat, handmade clothes in silk and cashmere and even my own car.
Then there was the line 'After living alone for so many years,' which really struck home to me because I was an only child and I always felt alone. I never communicated with either of my parents. It was a constant battle...
I heard the song when it came out and thought it was about someone like me but never dreamed it was actually about me. I can remember thinking that I didn't run off with a man from the motor trade, so it couldn't have been me! I must have been in my twenties when my mother said she'd seen Paul on television and he'd said that the song was based on a story in a newspaper. That's when I started telling my friends it was about me.
A Hard Day's Write, Steve Turner
Coincidentally, Coe had met The Beatles some time before. On 4 October 1963 she won a miming competition on the TV music show Ready Steady Go. The Beatles were making their first appearance on the show that day, and Paul McCartney presented her with the award.
A Hard Day's Write, Steve Turner
The 'man from the motor trade' in She's Leaving Home was taken by some to be Terry Doran, Brian Epstein's partner in Brydor Cars, an automobile company operating from Hounslow. Others took it as a euphemism for an abortionist. In fact it was neither of these.
It was just fiction, like the sea captain in Yellow Submarine; they weren't real people. The man from the motor trade was just a typical sleazy characer, the kind of guy that could pull a young bird by saying, 'Would you like a ride in my car, darlin'?' Nice plush interior, that's how you pulled birds. So it was just a nice little bit of sleaze.
Many Years From Now, Barry Miles
In the studio
Like Eleanor Rigby before it, She's Leaving Home did not feature any musical instruments played by The Beatles. Instead it had a string backing, with a harp, violins, violas, cellos and a double bass. It was scored by Mike Leander, a freelance producer and arranger, because George Martin was unavailable at the short notice demanded by McCartney.
I rang him and I said, 'I need you to arrange it.' He said, 'I'm sorry, Paul, I've got a Cilla [Black] session.' And I thought, Fucking hell! After all this time working together, he ought to put himself out. It was probably unreasonable to expect him to. Anyway, I said, 'Well, fine, thanks George,' but I was so hot to trot that I called Mike Leander, another arranger. I got him to come over to Cavendish Avenue and I showed him what I wanted, strings, and he said, 'Leave it with me.'
Many Years From Now, Barry Miles
George Martin saw McCartney's actions as a slight and was very hurt, although he did produce the session and conduct the players.
I couldn't understand why he was so impatient all of a sudden. It obviously hadn't occurred to him that I would be upset.
Recording took place over two days. The first was on 17 March 1967, which featured just the strings. Six takes were recorded, and it is unlikely that The Beatles were present.
On 20 March it was decided that take one had been the best, and so Paul and John's vocals were recorded, twice over to give the impression of more voices.
Related articles:
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- Recording, mixing: She's Leaving Home
- Mixing: Getting Better, She's Leaving Home, When I'm Sixty-Four, Lovely Rita
- George Harrison pays a surprise visit to his family
- When I Get Home
George Martin may have called it "pure McCartney, from start to finish" but it's not true. Paul is on record stating John actually wrote the part where Paul sings the high extended notes (She... is leaving... home... etc.) with John singing the father/mother part (we gave her most of our lives, sacrificed most of our lives etc.)
Paul called this part the Greek chorus, not really sure why (Greek tragedy?)
This song is actually a proper Lennon-McCartney composition although not generally acknowledged as such.
I believe that what Sir George Martin meant by « Pure McCartney » was in the song's essence not in writing contribution strictly speaking.
It does reflect a stronger ( if not total ) McCartney feel... Of course, John contributed — as stated by Paul himself — with his very Lennonesque « Greek chorus » lines. Nonetheless, it was still created from Paul's inspiration and very much reflects his brand and that's what Martin was making reference to in his comment.
paul wrote the part with the high extend notes(she ... is... leaving... home). lennon's contribution was the countermelody and the lyrics from the father and mother part(we gave her most our lives...).
The song is mostly written by mccartney, but its true that lennon helped on it
i read somewhere that David Crosby on tour there with the Byrds also sand harmony on this song
David Crosby didn't sing on this song for sure!!
Maybe they did their own version?
Isn't there also George Harrison in backing vocals?
Hi Pascal,
I believe its just Paul and John doing backround vocals in the format that is described in the aforementioned comments. I think Paul and John sat across from one another in the studio and recorded thier parts at the same time. Sorry no George on this one.
I just listened to this song in both mono and stereo versions; there is a slight difference between the two tracks. One is either speeded up or the other one is a lower pitch or something; it's hard to pinpoint since I was listening on my laptop.
This is song is stunning. Haunting. Alluring beauty. John's (fantastic!) incredibly sweet voice in the "Greek chorus" gives you shivers. More so than in A Day in the Life… A masterpice.
@marie...you're totally right. the mono version is 10 secs shorter since it's basically running faster than the stereo version. the mono version sounds cuter though hehe while the stereo version sounds and feels just right for the song.
Something hat i recently discovered. The mono version IS the original speed of the song.
The stereo version is the altered one, the slower and one semitone lower in pitch.
This info you can find it on the booklet acompanning ''The Beatles In Mono'' box set, but no reason is given.
How did you discover that?
Listning to the original recordings (4 track) the stereo one is the original speed.
Sorry I didn't read!!!
Stil the stereo one is same speed as 4 track. And less chipmunk sound. And same speed as the vinyl record...
I always thought the vocals on the stereo version sounded a bit dragging. Not as extreme as Strawberry Fields, but still.
The correct mono-version which I heard two days ago for the first time finally sounds right.
On the other hand, the slower version sounds a bit more sad and fits the song not that bad.
Yeah i have the four track master too, and it's on the stereo speed, but i don't know, in the mono box booklet says that it was slowed down on stereo of the original speed that is in mono.
I prefer the lower tune of Stereo, but there's some sadness also on mono.
The mono version sounds like chipmunks on a drug trip. The Beatles were in a phase where they liked speeding things up during remix, just as much as they liked slowing them down. For instance, When I'm 64 on the same album is speeded up, and The Fool On the Hill later featured a speeded-up vocal (over normal instruments).
It is most plausible that the stereo mix retains the original speed and key (E) of the performances, the more so if that is what the 4-track says, and that the mono was speeded up during remix. Which to call "correct" is another question, essentially a religious argument.
As much as I enjoy the song, it does have a lyrical gaffe which I always took to be McCartney's. Fun can absolutely be bought with money. ("Fun was the one thing that money can't buy") Love, maybe not so much.
True enough, money probably can buy fun. A more accurate sentiment would have been "Love is the one thing that money can't buy" but we already learned that back in '64.
I'm an oldie and I fortunately have the 2 versions on vinyl (original ODEON POPS black label in Argentina 1967 mono & the stereo mix of 1980s). The speed is exactly the same in both cases. But it changed when EMI reedited all the band's catalogue on CD. The 2009 remastered version has the same length as the CD of that period (1980s)but it really sounds different. By the way what would you say about John's vocals? Only vocals, background vocals or lead vocals? In my opinion he sings background.
I've always found this song dragging and dreary, although the counterpoint vocals, the complexity of the melody and the orchestral arrangement are to be admired. Then I heard the mono version - which, incidentally, is the actual speed/key in which the song was recorded - and it suddenly made sense. I can even say I like it now - rather than just admiring its musicality of the piece.
I could agree more. The mono version is really nice. The song no longer drags.
George Martin was very critical of the orchestral arrangement - of course because he didn't do it. Sour grapes!
Paul McCartney:
"John and I wrote 'She's Leaving Home' together...when I showed it to John, he added the long sustained notes, and one of the nice things about the structure of the song is that it stays on those chords endlessly..."