Written by: Harrison
Recorded: 16 April; 2, 5 May; 11, 16 July; 15 August 1969
Producers: George Martin, Chris Thomas
Engineers: Jeff Jarratt, Glyn Johns, Geoff Emerick, Phil McDonald
Released: 26 September 1969 (UK), 1 October 1969 (US)
Available on:
Abbey Road
1
Anthology 3
Love
Personnel
George Harrison: vocals, lead guitar
John Lennon: piano
Paul McCartney: backing vocals, bass guitar
Ringo Starr: drums
Billy Preston: Hammond organ
Unknown: 12 violins, 4 violas, 4 cellos, double bass
Perhaps George Harrison’s finest moment on the Abbey Road album, ‘Something’ was one of the record’s undisputed highlights, and showed him finally leaving the songwriting shadow of Lennon and McCartney.
‘Something’ was written during the 1968 sessions for The Beatles (White Album), though it wasn’t finished until the following year.
I had written ‘Something’ on the piano during the recording of the White Album. There was a period during that album when we were all in different studios doing different things trying to get it finished, and I used to take some time out. So I went into an empty studio and wrote ‘Something’.
Anthology
A demo version of ‘Something’, recorded by Harrison on 25 February 1969, his 26th birthday, was included on Anthology 3. It was also remixed and reissued on some formats of the 50th anniversary version of Abbey Road.
Although originally offered to Jackie Lomax, the guitar-and-vocals demo was given to Joe Cocker. Cocker’s version was recorded before The Beatles’, but not released until November 1969.
In her autobiography Wonderful Today (Wonderful Tonight in the USA), Harrison’s former wife Pattie Boyd claimed the song was written about her. Harrison downplayed the sentiment, saying it was, in fact, written with Ray Charles in mind.
It has probably got a range of five notes, which fits most singers’ needs best. When I wrote it, in my mind I heard Ray Charles singing it, and he did do it some years later. At the time I wasn’t particularly thrilled that Frank Sinatra did ‘Something’. I’m more thrilled now than I was then. I wasn’t really into Frank – he was the generation before me. I was more interested when Smokey Robinson did it and when James Brown did it. But I’m very pleased now, whoever’s done it. I realise that the sign of a good song is when it has lots of cover versions.I met Michael Jackson somewhere at the BBC. The fellow interviewing us made a comment about ‘Something’, and Michael said: ‘Oh, you wrote that? I thought it was a Lennon/McCartney’.
Anthology
The song took its first line from the James Taylor song ‘Something In The Way She Moves’.
I could never think of words for it. And also because there was a James Taylor song called ‘Something In The Way She Moves’ which is the first line of that. And so then I thought of trying to change the words, but they were the words that came when I first wrote it, so in the end I just left it as that, and just called it ‘Something’.
John Lennon and Paul McCartney both rated the song highly. Lennon said, “I think that’s about the best track on the album, actually,” while McCartney said “For me I think it’s the best he’s written.”
George had a smugness on his face when he came in with this one, and rightly so – he knew it was absolutely brilliant. And for the first time, John and Paul knew that George had risen to their level.
Music Radar
‘Something’ has been recorded by a range of performers, including Elvis Presley, Shirley Bassey, Frank Sinatra, James Brown and Smokey Robinson. It has become the second-most covered Beatles song after ‘Yesterday’. Sinatra called it “the greatest love song ever written,” and made it a fixture of his live set.
I thought it was George’s greatest track – with ‘Here Comes The Sun’ and ‘While My Guitar Gently Weeps’. They were possibly his best three. Until then he had only done one or two songs per album. I don’t think he thought of himself very much as a songwriter, and John and I obviously would dominate – again, not really meaning to, but we were ‘Lennon and McCartney’. So when an album comes up, Lennon and McCartney go and write some stuff – and maybe it wasn’t easy for him to get into that wedge. But he finally came up with ‘Something’ and a couple of other songs that were great, and I think everyone was very pleased for him. There was no jealousy. In fact, I think Frank Sinatra used to introduce ‘Something’ as his favourite Lennon/McCartney song. Thanks Frank.
Anthology
Never liked this song. I don’t like George’s songs in general. What’s funny to me about Geo is that he has two of the biggest Beatles hits with Something and Here Comes the Sun and they are both so granny and mainstream exactly what he complained about with Paul’s music. But here your are….granny music, his words, not mine.
It was actually John who called Paul’s songs, “Granny music”
But George backed John and called Paul’s songs fruity which was just as derisive. I like Something but it’s nowhere near my favourite.
But George backed John and called Paul’s songs fruity which was just as derisive
I disagree. A number of Paul’s songs as a Beatle were “fruity.” It’s not insulting. It describes a certain quality. A jaunty quality. A happy quality. “Fruity” is a very English description. George didn’t write fruity songs in general as a Beatle, because as Hunter Davies put it, “George didn’t write songs, he wrote feelings.” There’s not a great deal of joy or even happiness in George’s songs. Lots of depth, moaning, interesting observations on the human condition.
It’s funny, when I think of fruity, I think of clarinets and bassoons. It’s not a derisive term at all.
I’m pretty sure it was, Lennon who crowned that “Something” would be the first single off of Abbey Road.
“Holly”,
I respect your opinion, but I don’t believe it at all. George is an amazing Songwriter and definitely should have been able to write more Beatles’ songs. I listen to Something literally like EVERY night. It’s beautiful and when I watch the music video I love the part with Maureen and Ringo! They are so cute together
i agree with you holly. the songwriting by harrison is overrated.
I’m sorry but you are very mistaken. If John, and Paul the professional singer/song writers thought it was great. Then simply put, it’s great.
Thanks Holly for turning one of my favorite websites to a negative debate trash can. You should be sent to an desert island with a “best of Paul McCartney” album that only has Maxwell’s Silver Hammer, Ob-ladi-ob-lada and Your Mother Should Know on a loop 😀 And maybe some jam with Kanye.
Seriously there was nothing mainstream or granny in Here comes the sun in 1969. Today it’s mainstream but still not granny. The time signatures on this song makes it rather very progressive, it’s obvious this piece of music would have never been made without the influence of Indian rhythms. But if you can’t understand even the basics of music theory, please stop handing out your opinion on the internet about music. Also I think George was the first one to learn how to use the Moog synthesizer witch was also very progressive thing to do at the time and results can be heard from this lovely tune.
And Something is the song Paul McCartney tried to wrote but didn’t quite make it. I’m referring him trying to make a better song then Beach Boys’ “God only knows”. Well the outcome was pretty good but ultimately it was Harrison who completed this task. Paul came close with Maybe I’m Amazed but still not as legendary song IMHO. Penny Lane and Let it Be are granny stuff compared to Georges stuff.
Also you are putting John’s words in George’s mouth. You probably also think that John said that Ringo isn’t even the best drummer in Beatles LOL. Get your facts straight! Maybe read a bit more Beatles Bible before commenting again!
I’m not a George’s music fan too, in a sense that he was not at Lennon-McCartney’s level. He played a good guitar but I feel he was rather an ordinary songwriter, like some others in t he ’60s. I figure it was pretty hard for him trying to follow genius like L&M: he may have felt put aside at times, but his productions were of lower quality. However, starting with the White Album, I must admit he surprised me with While my guitar gently weeps and Savoy Truffle, then on Abbey Road with Something and Here comes the sun: these songs were far better than his usual productions, showing he had learned from L&M years. Unfortunately, he followed a kind of mystic or religious road that had no interest to me, though My sweet lord was quite good stuff. He appeared much comfortable with the Travelling Wilburys, bringing in Handle me with care, which is a very good song.
“Granny” doesn’t mean mainstream and never did, sorry if that’s confusing for you. Nor does ‘fruity’ which was another pejorative George and John used for McCartney’s songs. It helps to have a working knowledge of the English language to discuss these things, so good luck with that.
A gorgeous song, very nice words, but amazing guitar playing, really exceptional. Thanks George!
This slow ballad was released as a single and was a major hit… Yet a year earlier, “Revolution” (eventually known as “Revolution 1”) was considered to be “too slow” to be released as a single???
Good point. It was then followed up with “Let it Be” !! That wasn’t exactly speed metal !
In response to “Holly,” the harmonies and modulations in “Something” are complex and difficult to master. The chording on guitars is sophisticated and nuanced. I don’t think my granny could master the song and instruments in “Something.”
What a sexist and ageist comment. Many grannies are or have been in the music industry in case you’ve forgotten. Also in theatre, literature, poetry, science, sport and just about everything else. What planet are you on?
What a sexist and ageist comment. Many grannies are or have been in the music industry in case you’ve forgotten. Also in theatre, literature, poetry, science, sport and just about everything else. What planet are you on?
It was a joke.
The ‘I don’t think my granny could master the song and instruments in “Something.”’ statement was a response to Holly saying that “Something” was granny music and was highlighting the fact that Holly got their information totally wrong as it was John that is supposed to have made the statement.
Damn you hit the spot!
100% agreed also definitely won’t tell me granny lol
This article states: “An organ part by Billy Preston was also added at an unknown date”.
But… this date has been well known for several years. Kevin Howlett, in the book included in the Super Deluxe 50th Anniversary Edition of Abbey Road (2019), indicates that it was exactly July 11, 1969 (Studio Two, Abbey Road).
Howlett actually says: “After overdubbing on 5 May at Olympic Sound Studios and further work at Abbey Road on 11 and 16 July, more parts were now present on the eight-track tape, including Billy Preston playing organ.” He doesn’t say that Preston recorded his part on 11 July. Is there other documentation that says so?
Thank you Joe for your response. What you quote is on page 29 of this book. A little earlier, on page 27, there is a text that mentions the date directly:
“Additional instruments:
Billy Preston: organ
Recorded: 11 July 1969 – Studio Two, Abbey Road”.
Below, Howlet also indicates the day the string section was recorded (August 15, 1969).
I can’t believe I missed that! Thank you, I’ll make the corrections now.
Holly, unlike one of the commenters, I can’t even respect an opinion like yours. It’s a blanket statement that George never wrote anything good, and it has false information in it. I will never understand people like you who just say things without knowing (or caring) if they’re true, and worst of all, get on these forums just to hate. to bring negativity. You don’t like it? Then why are you here? Just another village idiot who should have to earn a voice before being allowed to post anything.
I agree with you.
The comments section should not be misused for posting inappropriate or defamatory comments.
I wouldn’t call Holly’s comment defamatory. I don’t agree with what she said but it’s not defamation at all. She’s stirring the pot as an obvious McCartney fan. Forums allow people to speak their mind and this site monitors the comments to keep it in good taste. When people start gathering steam against an opinion it becomes censorship through bullying. Think like us or we will rally against you until you agree or disappear. Just state an opposing view if you don’t agree.
And Kalle- pulling the sexism card on that granny comment? Come on. Macca fans have to come to terms with the fact that only one Beatle made granny music and that would be Paul.
I think this is a really good song and I’ve always liked it. When I first heard it, I recognized it and thought that it was yet another piece that I had known from a little boy that turned out to be from the Beatles.
But it’s part of the lower echelon of George songs for me. Blue Jay Way, Long Long Long and I need You are the only ones of his below the “Something” bar. I’d add “You Know What To Do and Not Guilty, if they had made the cut as Beatle songs.
IDK, I think Long Long Long is an amazing spiritual and moving song. I recently heard a cover of “Don’t Bother Me” by Molly O’Brien, and it really draws an emotion out of that song that I never heard before. Check it out…you can hear in on youtube for free.
Perhaps George Harrison’s finest moment on the Abbey Road album, ‘Something’ was one of the record’s undisputed highlights, and showed him finally leaving the songwriting shadow of Lennon and McCartney.
Almost ever since I first listened to the Beatles with both ears, nearly half a century ago, as a 13-year-old, I’ve disagreed with that sentiment. I guess that’s one of the benefits of youthful naïveté before one gets a chance to be influenced – one makes up one’s own mind and establishes one’s own standards. Whereas, the first time I ever heard of “Tomorrow Never Knows,” it was on a timeline poster that I bought a month or so after first digging their music, and under the “August 1966” bit, it mentioned that song and said something like “First hint of drug influences in ‘Tomorrow Never Knows’.” I didn’t even know what a hint of a drug influence was, but when I first heard the song, I was looking out for whatever it was ! And as I only heard these odd seagull sound effects, assumed that’s what it was !
But as “Rubber Soul” and “Revolver” were the first two actually worked-towards albums of the Beatles I bought and listened to {67-70 and Oldies But Goldies, though heard first, were compilations}, and I heard ‘Pepper’ and ‘Yellow Submarine’ a very short time later, by the time I’d been into the band for 7 months, I’d heard and fallen in love with “Old Brown Shoe,” “Think For Yourself,” “If I Needed Someone,” “Taxman,” “Love You To,” “I Want To Tell You,” “Only a Northern Song,” “Within You, Without You,” and “It’s All Too Much,” as well as being a great admirer of “Here Comes The Sun,” “While My Guitar Gently Weeps” and really liking “Something.” But, significantly, I also felt the same way about most of the songs on those albums; I either liked them a lot, or loved them {with the notable exceptions of “Yesterday,” “Revolution,” “Let it Be,” “The Long and Winding Road,” “Can’t Buy Me Love” and “I Want To Hold Your Hand” which I merely liked and the 2nd side of “Yellow Submarine” which I was no fan of}, and I made no particular differentiation between a John, Paul, George or Ringo song. The songs were the Beatles and that’s all I knew and cared about. I didn’t even really understand the sleeve notes and songwriting credits at first. It wasn’t until much later that these things took on any significance.
And interestingly, when I started to acquire the Beatles’ other albums, I thought the world of “Don’t Bother Me” and “You Like Me Too Much,” as well as “The Inner Light,” “Piggies,” “Savoy Truffle,” “I Me Mine,” and “For You Blue.” I’ve always liked “Blue Jay Way,” even if it never had me dancing in the streets and I’ve never disliked “Long Long Long,” {“I Need You” came close, however} even though it’s the one George song in the canon I wouldn’t cry for if I never heard it again.
But again, I could say that about songs across the Beatles’ canon. I rate Lennon and McCartney as among the greatest songwriters of the ’60s – but George is also in that camp, as well as Todd Rundgren, Jagger and Richards, Eddie and Brian Holland & Lamont Dozier, Pete Townshend, Bob Dylan, Gene Clark, Phil May and Walley Waller, Ray Davies and a host of others. I think it’s a stereotypical trope that has been perpetuated for so long, rather like the way that if you look at World War 2 history, it’s not as clean-cut as to say “Germans and Japs – bad, Brits, Americans and Allies – Good.” As one delves deeper, one discovers that things are not always as they are presented. George has received endless criticism for being resentful at his songs being sidelined for so long, but I’m on his side on this. I think his “Don’t Bother Me” was better than the majority of Lennon-McCartney efforts in ’63 and even though “You Know What To Do” was trash, from ’65, his songs were every bit as good {Hunter Davies pointed out that George’s Rubber Soul efforts were up to the standards as the others on the album – his book was out a year before they even started recording Abbey Road !}, or average or, in very few cases {for all 3, I might add}, poor as the others. I have never seen it as being that John and Paul were miles out there and George was just tolerated, but got a little better each time until John was so bombed out on heroin and Paul was under so much pressure keeping things together that somehow, George magically caught up.
Part of the reason George was in the shadow of John and Paul is the same reason that wherever you go on Beatle fan sites, there are endless John vs Paul arguments. People latch onto a trope and stick with it for life, holding on for dear life. The irony is that the Beatles themselves were partly to blame. Even before he died, John was still pushing the trope of George not having the material and the Beatles having been just as successful and innovative had it been John, Paul and two other guys. This was woeful ignorance in my view – a number of John’s songs from ’66 onwards wouldn’t have existed without George and his acid camaraderie or Indian musical and philosophical influence. Would we have had gems like “She Said, She said” ? No. “Sexy Sadie” ? No. “Norwegian Wood” ? No. “Strawberry Fields Forever” ? No. “Lucy in the Sky With Diamonds” ? No. That is not to say George wrote those songs or even inspired them. Of course he didn’t. But their sonic flavouring, at least in part, were a big part of why the songs were so good and the underlying philosophical ideals were crucial to them.
So I think that George was demonstrably as good a writer of songs as John and Paul early on, yes, not as prolific, but in some ways more effective as he was working without a collaborator in a milieu where he was up against 2 world-beaters that had a 6-year head start on him.
George may not have been the main songwriter, but his interest in other sounds is integral to the Beatles’ music. Without George, we have no sitar on “Norwegian Wood,” no svarmandal on “Strawberry Fields,” or that 12 string adding the amazing overtones on the chord that opens “A Hard Day’s Night.”
His two AR songs are undeniably excellent, but I still don’t jibe with the revisionism of George’s work. It’s really his conceptual and lyrical limitations and some of his attitudes that relegate him to journeyman status. Had he not been in L&M’s presence for all that time, he never would have written/executed anything more than mediocrity, I think. And his solo work post-All Things Must Pass demonstrates this. Also his falling victim to all that pseudo-religious crap shows his limitations rather than his virtues. One quote in particular irks me about him. Paul could certainly be a noodge and a pain in the ass, but he had a much more robust artistic vision and understandably, a strong desire to see that vision fulfilled. At one point George said to him something to the effect of: “It’s just a song” and Macca retorted “But I want to get it right”. I just don’t see George as nearly the intuitive artist as much as the other two, definitely not “under-rated”. I’m sure being a Beatle was not as fun for him as it was for the others who were considered the geniuses by almost everybody including George Martin, but that’s the price you pay for A) Not being as gifted, but also B) Having that kind of meh attitude.