Released: 5 August 1966 (UK), 8 August 1966 (US)
Paul McCartney’s favourite among his own compositions, Here, There And Everywhere is widely held to be his finest love song.
It was written alongside John Lennon’s swimming pool in Weybridge, while McCartney waited for Lennon to wake up.
I sat out by the pool on one of the sun chairs with my guitar and started strumming in E, and soon 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.
Many Years From Now, Barry Miles
Paul’s song completely, I believe. And one of my favourite songs of The Beatles.
All We Are Saying, David Sheff
Interestingly, McCartney claims to have had a demo version in March 1965, while The Beatles filmed Help! in Obertauern, Austria.
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 the drinks. We were playing a cassette of our new recordings and my song Here, There And Everywhere was on. And I remember John saying, ‘You know, I probably like that better than any of my songs on the tape.’ Coming from John, that was high praise indeed.
While the song was written with Jane Asher in mind, McCartney found inspiration for his vocals from a less likely source.
When I sang it in the studio I remember thinking, I’ll sing it like Marianne Faithfull; something no one would ever know… So that was a little voice, I used an almost falsetto voice and double-tracked it. My Marianne Faithfull impression.
In the studio
Recording for Here, There And Everywhere took place over three days. On 14 June 1966 The Beatles recorded four takes, only the final one of which was complete and with vocals. The group overdubbed the first of the harmony vocals that would be so important to the final sound.
The harmonies were performed by Paul, John and George, and were arranged by George Martin, who was somewhat modest about his contribution.
The harmonies on that are very simple, just basic triads which the boys hummed behind and found very easy to do. There’s nothing very clever, no counterpoint, just moving block harmonies. Very simple to do… but very effective.
The Complete Beatles Recording Sessions, Mark Lewisohn
On 16 June they recorded takes 5-13 of the rhythm track, the last of which was deemed to be the best. Onto this they overdubbed more harmony vocals along with Paul’s lead vocals and bass guitar. The following day Paul double-tracked his lead vocals, and the song was complete.
In 1996 the Real Love single featured a composite of take 7, featuring McCartney’s guide vocals, and the harmonies overdubbed onto take 13. This version is unavailable on any official Beatles album.