Written by: Lennon-McCartney
Recorded: 18, 22 October 1965
Producer: George Martin
Engineer: Norman Smith
Released: 3 December 1965 (UK), 6 December 1965 (US)
John Lennon: vocals, rhythm guitar
Paul McCartney: harmony vocals, bass
George Harrison: harmony vocals, lead guitar
Ringo Starr: drums
George Martin: piano, tambourine
Available on:
Rubber Soul
One of the highlights of the Rubber Soul album, In My Life was written mostly by John Lennon, and started out as a nostalgic set of memories of Liverpool.
There was a period when I thought I didn’t write melodies, that Paul wrote those and I just wrote straight, shouting rock ‘n’ roll. But of course, when I think of some of my own songs – In My Life, or some of the early stuff, This Boy – I was writing melody with the best of them.
All We Are Saying, David Sheff
For In My Life, I had a complete set of lyrics after struggling with a journalistic vision of a trip from home to downtown on a bus naming every sight. It became In My Life, which is a remembrance of friends and lovers of the past. Paul helped with the middle eight musically. But all lyrics written, signed, sealed, and delivered. And it was, I think, my first real major piece of work. Up till then it had all been sort of glib and throwaway. And that was the first time I consciously put my literary part of myself into the lyric. Inspired by Kenneth Alsopf [sic], the British journalist, and Bob Dylan.
All We Are Saying, David Sheff
He first had the idea for the song in 1964, when journalist Kenneth Allsop asked Lennon why his songs were less revealing and challenging than his books. Musing on this, Lennon decided to take a nostalgic look at specific places and memories from his Liverpool past.
I think In My Life was the first song that I wrote that was really, consciously about my life, and it was sparked by a remark a journalist and writer in England made after In His Own Write came out. I think In My Life was after In His Own Write… But he said to me, ‘Why don’t you put some of the way you write in the book, as it were, in the songs? Or why don’t you put something about your childhood into the songs?’ Which came out later as Penny Lane from Paul – although it was actually me who lived in Penny Lane – and Strawberry Fields.
All We Are Saying, David Sheff
In the same interview, Lennon described how the song’s early draft was significantly different from the final version.
In My Life started out as a bus journey from my house on 250 [sic] Menlove Avenue to town, mentioning every place I could remember. And it was ridiculous. This is before even Penny Lane was written and I had Penny Lane, Strawberry Fields, Tram Sheds – Tram Sheds are the depot just outside of Penny Lane – and it was the most boring sort of ‘What I Did On My Holidays Bus Trip’ song and it wasn’t working at all. I cannot do this! I cannot do this!But then I laid back and these lyrics started coming to me about the places I remember. Now Paul helped write the middle-eight melody. The whole lyrics were already written before Paul had even heard it. In In My Life, his contribution melodically was the harmony and the middle eight itself.
All We Are Saying, David Sheff
The original draft mentioned a list of Liverpool landmarks, including Penny Lane, the Abbey pub in Childwall, the Old Dutch café, and the Dockers’ Umbrella – the colloquial name for the Liverpool Overhead Railway, now demolished.
Penny Lane is one I’m missing
Up Church Road to the clock tower
In the circle of the abbey
I have seen some happy hoursPast the tram sheds with no trams
On the 5 bus into town
Past the Dutch and St Columbus
To the Dockers Umbrella that they pulled down
I love this song and I adore these comments as well. May I please try to clarify this issue. I believe they are referring to the musical link created by the melody of “With lovers and friends… ” heading back to … “In my life”. That may be considered the “middle 8” here, and it is genius. The song is genius, combining classical music with popular music and coming up with something unique and beautiful.
Paul is only writing that he took the musical ideas John handed him, told him to go have a cup of tea, sat down and put it all together. John is only saying he wrote the lyrics and had the general musical idea beginning with “There are places I remember…”. They really do not disagree that much. Both could be basically right. Paul could feel he tied it all together musically and John could remember that he had the musical idea and Paul tied it together with a twist on “With lovers and friends…”. Both agree on George Martin’s classical music input on the piano… Are they so far apart? I don’t think so. John certainly did not have a complete musical composition when he went to Paul. Paul certainly did not say he came up with the basic idea… they both deserve credit, and we may accept both 80 % to 90 % of both accounts.
Peace and love to all.
Cheers.
Vive les Beatles pour une éternité !
Umm… not quite. John is saying that all Paul contributed (musically) was the instrumental middle 8 bars, and some harmony ideas. This is a Lennon song musically and lyrically through and through.
Paul disagrees, read Many Years From Now
There seems to be disagreement about what constitutes the middle 8 in this song. In And I Love Her, the middle 8 is “a love like ours, could never die…etc” In that sense, this song has no middle 8. George Martin seems to be taking full credit for the piano break, so I don’t think John is referring to that when crediting Paul.
well, with the proviso that none of us were there, the disagreements are interesting. Basically Lennon is saying the melody is his and Paul helped tie the song together musically. Basically 80% Lennon and 20% Paul. Paul is saying that he wrote the intro bit and the music for the song…more of a 50/50 mix…Similar to their disagreement on Rigby…Lennon says he wrote about 50% of the lyrics…Paul said Lennon contributed about 20% with George, Ringo and Pete Shotten all helping with lyrics…So, who’s right? Who knows?
The song belongs to John. Sorry, Paul.
Considering the number of songs they worked on and the fact that people’s memories can be unreliable,if they only disagreed on who wrote two of those songs, I’d say that ain’t bad at all. In both cases they agree that there was some collaboration; the disagreement is over the extent. I can easily imagine how such disagreements arise- they frequently arise in other bands. That’s one reason why crediting all the songs they wrote to Lennon-MccCartney was a good idea: there was no need to argue over the precise amount of credit each one should have for each song. At some points John wrote more; at others Paul wrote more. It seems to have more less evened out over time.
Of all the Beatles songs I love, know by heart, and have played for decades (which is almost all of them), this is, at once, the most heartbreaking and exhilarating.
Whenever I hear this track (and I’ve heard it thousands of times) images of people always flash through my mind. Like a dream, almost. But not a dream, just memories crowding one upon the other that feel dream-like at this point.
Sadness. Happiness. Melancholy. Wishfuillness. All of it in a rush.
Only music (lyrics, melody, and arrangement) can do that to a human. Nothing else.
This is the all time best “life” song that has ever been written. The words the melody the feeling. My wife and I walked my daughter down the isle to an amazing piano player do this in slow tempo. Hope some of you Beatle fans can one day do the same at your daughters wedding.
This song ranks up with the greatest Beatles tunes, Strawberry Fields, I Am The Walrus, Elanor Rigby, and A Day In The Life. Those songs were all masterpieces, the kind of songs where you could say, even if a person never did anything else in life, that song alone made them great.
In My Life has now been analysed sylistically, mathematically, by structure, tone, melody etc, by some Harvard people, and they found a very high probability for who made this song (the music that is).
You’ll find the allegedly convincing result here: https://phys.org/news/2018-07-lennon-mccartney-statistical-analysis-authorship.html
The so-called scientific study “proves” Paul’s contribution to “In My Life” was minimal which is at variance with his recollection. I hope Paul doesn’t give in to any possible urge he may have to publicly respond to this. The song is a Lennon/McCartney masterpiece and let’s leave it at that.
All that matters is it’s a great Lennon / McCartney song as so many of them are. Just let it be.
If you meant to tell people to “just let it be”, as it’s a bad thing to try and seek the truth about these things, I think that appears as kind of an arrogant thing to say. It being a “great Lennon / McCartney song” isn’t necessarily “all that matters” for everyone. But maybe I misinterpreted you (sorry if that’s the case, then I’ll stand corrected). Anyway, it’s perfectly legitimate and actually very interesting for many Beatles-fans to get knowledge about these things.
About the study – which of course isn’t 100% scientific in itself – personally, I don’t think Paul didn’t contribute to this song. He clearly did. Far more than 0.018% or whatever that meant (I don’t think that’s what it actually meant..). What seems to be a reasonable reading of it though, is that John’s recollection of this is more believable than Paul’s. Nothing more.
PS I’m the same guy as “Vince”, had to create a new account.
That article misrepresents the actual findings of the study https://hdsr.mitpress.mit.edu/pub/xcq8a1v1
“Our model produces a probability of 18.9% that McCartney wrote the verse, and a 43.5% probability that McCartney wrote the bridge, with a large amount of uncertainty about the latter. Because it is known that Lennon wrote the lyrics, it would not be surprising that he also wrote the music. Lennon claimed (Compton, 1988) that McCartney helped with the bridge, but that was the extent of his contribution. Breaking apart the song into the verse and the bridge separately, it is apparent that the verse is much more consistent stylistically with Lennon’s songwriting. Thus, a conclusion by our model is that the verse is consistent with Lennon’s songwriting style, but the bridge less so. The bridge having a probability that McCartney wrote the song closer to 0.5 may be indicative of their collaborative nature, as suggested by Lennon, of this part of the song.”
However they do not see the findings as clear proof of authorship: “While it is tempting to interpret the results of our model as revelations of a song’s true author, other interpretations are just as compelling. For example, a disputed song such as “In My Life” which according to our model has a high probability of the verse and bridge each being written by Lennon, may in fact have been written by McCartney who stated he composed the song in the style of Smokey Robinson and the Miracles (Turner, 1999), but actually wrote in the style of Lennon, whether consciously or subconsciously.”
Not that all the calculations are completely reliable anyway – they have the bridge to And I Love Her – clearly based on a Lennon idea – as 26% likely to be written by McCartney, while the bridge to Norwegian Wood – clearly a McCartney idea and acknowledged as such by Lennon – is only 33% likely to be written by McCartney. Similarly, Thank You Girl is listed as 10% likely to be written by McCartney despite that it was a co-write, certainly Lennon started it but McCartney contributed more than 10%. So while this study is helpful and illuminating, it shouldn’t be used as “proof” of anything.
Overall, yes, it’s definitely a Lennon song.
But I don’t doubt for a second that McCartney contributed to it
– on the “though I know I’ll never lose affection” section
– possibly when creating their vocal harmony, slight changes in the melody became necessary
Although the mathematical approach sounds appealing to me, it appears they are concluding that Paul contributed less than John even said he did. And they then add that Paul wrote The Word, and John said he wrote it. So, I’m going to choose to believe that John wrote the verses melody, and Paul wrote the middle 8 melody. And then I’ll repeat my mantra that part of the magic of the early and mid Beatles was that they didn’t worry much about who was contributing what, and their surrendering of their individual egos was what made them so much better together than they were apart. They completed each other artistically in such a perfect way. It was only later after the bond was broken that they started worrying about individual credit. In the early days they spoke in terms of “we” I think.
It’s wrong that Lennon claimed that he wrote The Word all by himself. At least, in the BBC interview he did on Desember 6, 1980, he said it was a Lennon/McCartney collaboration. He listed every single Beatles song with their respective writer/composer(s) in this interview.
I never liked the melody that much, and the harmonies are harsh to my ears. All I can contribute is that the melody goes up at the end: I loved YOU MORE steps up in a way very similar to: I believe in YesTERDAY, which might be a bit of evidence in favor of Paul. In John’s favor, the word “life” is straggled over several notes: all my li-uy-uy-ife, though some have changed. Like: and when I ask you to be my hi hi hine in ISHKB.
I heard this song recently after many a year and it kind of resonated with me. My takeaway is that a current “love” was John’s inspiration for writing it. But I can’t seem to find anything that talks about who that is. Does anyone know who John is referring too?
I thought the lyric is I love you more, but it’s I’ll love you more???
The mathematical approach fails to take into account Paul and John spent 10’s of thousands of hours together playing, writing, traveling, and come form the same background. Paul knew John and John knew Paul. Relationships build similarities far too complex for mathematical interpretation. The song is brilliant in almost every sense of the word. John and Paul, 50/50, 80/20, 60/40 in any order or any percentage, are complimentary. Two distinct voices and minds coming together to create something greater than each individually. The combination is what makes the Beatles songs, along with George and Ringo, the masterpieces they are.