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“HERE, THERE AND EVERYWHERE”
(John Lennon – Paul McCartney)
For the third album in a row, Paul McCartney continued his habit of writing a tender love ballad, forever cementing in people’s minds that he was the balladeer of the group. John Lennon even bought into this premise for awhile. “There was a period when I thought I didn’t write melodies,” he stated in 1980, “that Paul wrote those and I just wrote straight, shouting rock’n’roll. But of course, when I think or 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.”
Paul’s previous two efforts, “Yesterday” and “Michelle,” made a huge splash on the airwaves and with record sales worldwide, the former released as an American Beatles single reaching the top spot for four weeks, and the latter becoming the featured track on their multi-million selling album “Rubber Soul,” not to mention garnishing successful cover versions on both sides of the Atlantic. “Here, There And Everywhere,” on the other hand, was the least popular of the three, not hitting the singles charts by The Beatles or any other artists and also being overshadowed on the “Revolver” album by other startling contributions such as “Yellow Submarine” and “Eleanor Rigby.”
However, Paul has gone on record as claiming “Here, There And Everywhere” as one of the songs he was most proud of in his career. In fact, after Michael Jackson bought the rights to the “Lennon / McCartney” catalog in August of 1985, Paul had expressed a wish (during an interview) that he could at least own a couple that he was particularly fond of. “Here, There And Everywhere” was one of these.
John Lennon's swimming pool where Paul sat outside and wrote "Here, There And Everywhere"
“I wrote that by John’s pool one day,” Paul remembered in 1984. In his book “Many Years From Now,” Paul explains how he showed up at John’s Kenwood home to write songs one day and, while John was still in bed, asked someone there for a cup of tea and went with his guitar to sit alongside John’s swimming pool. “I sat out by the pool on one of the sun chairs with my guitar,” Paul relates, “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…John might have helped with a few last words…But it’s very me, it’s one of my favorite songs that I’ve written…So I would credit me pretty much 80-20 on that one.”
John was pretty sketchy on his actual input on the writing of the song, although very complimentary, saying in 1980: “’Here, There And Everywhere’ was Paul’s song completely, I believe – and one of my favorite songs of The Beatles.”
Their assistant road manager Mal Evans also claims a piece of the songwriting pie. “At the time, (road manager) Neil Aspinall and I were staying in a hotel in London and we had been up rather late, until about seven o’clock in the morning, and we were really whacked out. And at nine o’clock, there is a bang at the door and jolly ol’ Paul comes in with a smile from ear to ear. ‘Good morning, lads. Thought we’d come and have breakfast with you.’ ‘Oh, sure, Paul,’ we replied.’ Then he said, ‘I’ve got this song of mine and I’m stuck for a line,’ So, he sits down, plays it for us and sings it, and the line I came up with was ‘watching her eyes, hoping I’m always there.’ I’m very eye conscious.”
One other sketchy, but important, detail is when the song was written. The book “Many Years From Now” describes the songwriting session at Kenwood as “a nice June day,” which would make sense since Paul wrote most of the song by the pool and the first recording session for this composition was on June 14th, 1966, while the song was fresh in his mind.
In order to ascertain the songwriting facts concerning this composition, check out this quote from Paul found in the “Beatles Anthology” book: “One of my special memories is when we were in Obertauern, Austria, filming for ‘Help!’ 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.”
The Beatles were in Obertauern, Austria working on the ‘Help!’ movie from March 14th through 20th, 1965! If we were to try to combine both of Paul’s vivid recollections concerning the writing of this song, it would have to date back to June of 1964. However, the group was embroiled in their first international tour from June 4th through till the month’s end, not arriving back in London until July 2nd. The first three days of June were spent in the recording studio finishing up the “A Hard Day’s Night” album and the “Long Tall Sally” EP, not to mention auditioning Jimmy Nicol as a last minute replacement for an ailing Ringo before they left for their first concert date in Denmark. Hardly time to convene at John’s house to write a song and record a demo on cassette! It also seems unlikely that, since both Paul and John loved the song so much, they would have held it back until four albums later!
One can surmise that Paul must have remembered the account in Austria concerning a different composition of his (possibly “Yesterday”?) and exchanged the details to that song. One thing that we do know is that both stories can’t be correct, the June 1966 account being much more feasible.
Lyrically, the song is presumed to be inspired by Paul’s then current girlfriend Jane Asher. Musically, a 1989 interview with Paul mentions The Beach Boys as inspiration. Having been treated to an early listen of their soon-to-be-released album “Pet Sounds” at a listening party in London in May of 1966, he reportedly took to emulating the innovative chord structures and melody lines heard on that album while relaxing at John’s pool in June.
The Beatles in EMI Studio 2, circa 1966
“We devoted three full days to it, which in that era was a lot of time,” remembers engineer Geoff Emerick. While the third session he mentions was not a “full day,” comprising only an approximate hour to do a vocal harmony overdub, they did rack in a substantial sixteen-and-a-half hours in entirety to complete the finished song.
This beautiful track was the next-to-last song recorded for the “Revolver” album, recording of this composition starting on June 14th, 1966. They entered EMI Studio Two on this date at 7 pm for a seven hour session devoted entirely to the song. Much time was no doubt used to run through and perfect the arrangement with only four takes of the rhythm track being recorded on this day. The rhythm track consisted of Paul on rhythm guitar, Ringo on drums and George playing a simple lead guitar part in the bridges of the song. These early takes were much faster than the finished song as we know it and didn’t feature any vocals. The first three of these takes were breakdowns, the fourth being the only one that made it all the way through to the end.
Considering this fourth take to be the keeper at that point, they took to overdubbing the distinctive harmony “oohs” with John, Paul and George undoubtedly huddled around a single microphone as in earlier sessions. Even with this overdub, only two of the four tracks were filled. “We also planned the track layout very carefully,” Geoff Emerick continues, “so that there was a completely separate track that we could dedicate to bass, allowing Paul to focus on each and every note when he recorded the overdub.”
A good amount of time must have been spent on these Beach Boys-like harmonies, arranging and coaxing being done by producer George Martin. Geoff Emerick explains: “George’s real expertise was and still is in vocal harmony work, there’s no doubt about that. That is his forte, grooming and working out those great harmonies.” George Martin humbly acknowledges: “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.”
At 2 am the next morning, seven hours of work being done, they called it a day. However, they decided to scrap it all and start again fresh two days later. At least they figured out how to approach the song and worked out the harmonies, so it wasn’t a total loss.
June 16th, 1966 was that next session, which again started at 7 pm in EMI Studio Two. Deciding to slow the tempo down somewhat, they recorded nine more takes of the rhythm track (takes 5 through 13) with the same instrumentation as before. John once again sat out musically on these rhythm tracks, take 13 being the best. The only difference this time around was that Paul sang lead vocals while playing the guitar, possibly as a guide on a separate track that would be replaced later. Take 7 from this session can be heard (with the block harmonies added in) as a bonus track on the “Real Love” CD single released in 1996.
Onto take 13, they layered a good amount of overdubs, these including two sets of block harmonies by John, Paul and George (snapping their fingers toward the end), George Harrison double-tracking and extending his lead guitar passages in the bridges, and Paul’s bass guitar. Since the bass guitar overdub took up one of the four tracks by itself, all four tracks on the tape were full. A “tape reduction” of take 13 was then made to create one more open track, thereby turning take 13 into take 14.
Paul then recorded his stunning lead vocals on the open track. Paul remembers this vocal session: “When I sang it in the studio I remember thinking, I’ll sing it like Marianne Faithfull; something no one would ever know. You get these little things in your mind, you think, I’ll sing it like James Brown might, but of course it’s always you that sings it, but in your head there’s a little James Brown for that session. If you can’t think how to sing the thing, that’s always a good clue: imagine Aretha Franklin to come and sing it, Ray Charles is going to sing it. So that one was a little voice, I used an almost falsetto voice…My Marianne Faithfull impression.”
What also helped to get the desired Marianne Faithfull sound was the recording technique. As Mark Lewisohn explains in “The Beatles Recording Sessions,” his vocals were “slowed down on the tape to sound speeded up on playback.” The vocal track was complete by 3:30 am the next morning and they once again called it a day, confident the song was complete.
Nearly complete, anyway, as it turned out. At 7 pm the next day (June 17th, 1966), they again entered EMI Studio Two at 7 pm to put the finishing touch on the song. By about 8 pm, Paul had double-tracked his lead vocals, further enhancing the desired Marianne Faithfull affect. A couple subtle differences can easily be noted between the two lead vocal tracks. The first is Paul’s downward melodic lines in the last verse on the words “love never dies, watching her eyes.” The second is Paul singing “I’ll be there” during the conclusion instead of “You’ll be there” as he had sung the previous day. After doing a little more work on the previously recorded song “Got To Get You Into My Life,” the first mono mix of “Here, There And Everywhere” was created by George Martin, Geoff Emerick and 2nd engineer Phil McDonald, although this was never released.
Both the mono and stereo mix that were released were created on June 21st, 1966 in the control room of EMI Studio Three by the same Martin, Emerick and McDonald team. The stereo mix was created first, which separates the double-tracked lead vocals entirely, one on the left and the other on the right. The same is done with the double-tracked lead guitar passages from George Harrison. The rhythm track is mostly in the right channel while the block harmonies are primarily in the left channel.
The mono mix has some subtle differences in the final chord of the song. First is the absence of the block harmonies and the second is the quick fade-out as compared to the more natural-sounding fade appearing in the stereo mix.
A further mix of this song, as mentioned above, was done in preparation for the Anthology project of the mid 90’s. A mono mix of the original take 7 was combined with the stereo block harmonies for a pseudo stereo mix, this not making the grade for the “Anthology 2” set, but added as a bonus track on the “Real Love” CD single as an afterthought.
Paul has recorded the song on different occasions as well, the first being a new studio rendition for his “Give My Regards To Broad Street” soundtrack album and film. This recording was done between November 1982 and July of 1983. Differences from the original song include his introductory lyrics, singing “I need a love of my own” instead of “I need my love to be here.” A small horn section is included to replace the block harmonies and George Harrison’s lead guitar passages while the second verse and the repeat of the bridge and final verse are completely omitted.
On January 25th, 1991, Paul performed the song for “MTV Unplugged,” the recording of which was released on the album “Unplugged (The Official Bootleg).” The full song is performed this time around with Paul “Wix” Wickens simulating the block harmonies and guitar leads on accordion.
Sometime between March 22nd and June 15th, 1993, Paul performed the song live resulting in the recording that appeared on the album “Paul Is Live.” A further recording was made between April 1st and May 18th, 2002 during a live performance that was released on the double-disc “Back In The U.S.” and the internationally released “Back In The World.”
Song Structure and Style
The structure of this song demonstrates how one can take the essential standard formula of a pop song and weave it into an imaginative and beautiful piece of work. Hardly just another cranked-out filler for an album, but a masterful display of maturity in songwriting within the bounds of the usual ‘verse/ verse/ bridge/ verse/ bridge/ verse’ format (or aababa). A brief introduction and conclusion rounds out the arrangement with no solo or instrumental section needed.
Like “Do You Want To Know A Secret?” from three years previous, an adlib introduction begins the proceedings without any true sense of meter, although it roughly is captured in an estimated four measures. The elements of this introduction comprise Paul on rhythm guitar while setting the stage lyrically: “To lead a better life, I need my love to be here.” The double-tracked block harmonies from John, Paul and George enter at this early stage as well, adding an air of richness right off the bat.
A couple of tom beats from Ringo set the meter for the entrance of the first verse, which is eight measures long. The jazzy chord pattern of the rhythm guitar, which also harkens back to the early Beatle years (reminiscent of “Ask Me Why” but also pre-shadowing the bridge of “Sexy Sadie”) is joined on the downbeat by Paul’s overdubbed bass and Ringo’s gentle drum work. The building three-part harmonies of the first half of the verse cover nearly two measures each before they take their collective breath. However, the second half of the verse shows them harmonizing by single measures, taking a breath at the end of each measure. Ringo ends the verse with a subdued but engaging tom break. The entire arrangement just described is repeated identically for the second verse.
The background harmonies take a break for the four-measure bridge that follows which begins with a gentle but highly compressed cymbal crash from Ringo. Immediately after the first line, namely “I want her everywhere,” Paul performs a serious squeak on guitar while switching between the first two chords. As his line “I need never care” is being completed, George begins his double-tracked rising-and-falling lead guitar passage which appears rushed in the third measure. It then stabilizes for the fourth measure as it is reduced to a single tracked performance, this finishing up the bridge.
The third verse then commences with the same instrumentation as the previous two including the reemergence of the lush harmonies. In the repeat of the bridge that comes immediately afterwards, Paul makes sure his guitar doesn’t squeak this time around. George also makes sure his guitar passage in the last two measures isn’t rushed. I guess practice makes perfect.
The repeat of the third verse then appears with Paul somehow forgetting to accent the two- and four- beat in his guitar rhythm like the rest of the song, this time accenting all four beats for the first measure. He then remembers his pattern and plays it correctly for the remainder of the song. One might suggest that an edit occurred at the beginning of the final verse with Paul coming in cold at that point and momentarily forgetting the pattern he played, although no edits are indicated on the available documents. Another difference in this verse is the appearance of finger snaps in the third measure audible from the harmony track, these snaps continuing for the remainder of the song. The third measure also reveals the clever double-tracking effect of Paul harmonizing with himself on the lines “love never dies, watching her eyes.”
A simple four measure conclusion of the song next occurs, which finally puts together the lyrical content of the verses to form the title of the song “here, there and everywhere.” The same chord pattern of the first four measures of the verse is used as a backdrop for this conclusion, block harmonies and all, with George playing a falling five-note passage with his volume pedal to bring things to a close on the final ringing chord.
There are no pretenses made at this point in their career regarding who plays guitar. John and George may have been the guitarists in the band throughout the years but, since this is primarily a Paul creation, he may as well play guitar himself instead of going through the motions of teaching it to someone else. And a fine job he did.
His bass guitar work was done simply but appropriately, being put down on its own designated track to get the right timbre. Laying down the lead vocals separately as an overdub was also a good idea, his guide vocal on take 7 (as released on the “Real Love” CD single) not quite making the grade because of being performed while playing the guitar. The finesse needed to capture the mood and hit the notes with the desired accuracy could only be done with the utmost attention to detail, not to mention with the use of double-tracking and vari-speed. Paul’s vocals on the George Martin-arranged harmonies are also done superbly.
The rest of the band were minor players on this track, but their contributions were nonetheless essential. Both John and George cooperated nicely on the vocal harmonies, the finger snaps probably being an adlib addition at this stage that was kept because of being embedded on this track. While George’s lead guitar work is very simple, their appearances in the song stand out as an important ingredient that would surely be missed had they not been there. And Ringo’s restraint on the drum kit suits the song very well; his light drum fills fit perfectly in the arrangement.
“’Here, There And Everywhere’ has a couple of interesting structural points about it,” Paul himself explains. “Lyrically the way it combines the whole title: each verse takes a word. ‘Here’ discusses here. Next verse, ‘there’ discusses there, then it pulls it all together in the last verse, with ‘everywhere.’ The structure of that is quite neat.”
Adding to this examination of Paul’s lyrics is the observation of ending every verse with the word “there,” which leads perfectly into what follows. The first verse (aka, the “here” verse) ends with the phrase “nobody can deny that there’s something there,” which segues nicely into the second verse (or, the “there” verse). This verse ends with the phrase “someone is speaking, but she doesn’t know he’s there,” transcending nicely into the bridge, which begins the emphasis on the word “everywhere,” although it will receive its own full treatment in the “everywhere” verse that follows it. This final verse concludes with the line “hoping I’m always there,” moving back into the “everywhere” bridge with perfect uniformity. Quite “neat” indeed!
The poetic phrases that make up the lyrics, while pigeonholed into this framework and rhyme scheme, transcend cliché and reveal some touching depictions of romanticism. “Changing my life with the wave of her hand,” one of the composers’ favorites, explains the realization that a shy wave ‘hello’ from this woman was the start of a move from bachelorhood and freedom to marital bliss. His life would never be the same after that small gesture. Of course, a failed engagement to Jane Asher and three marriages later, I guess that “wave of her hand” changed his life only for a few years.
August 8th, 1966 was the first US release date for the song on the album “Revolver.” A startling but compelling contrast resulted as the extremely Eastern flavor of “Love You To” faded out to reveal the tender introduction to “Here, There And Everywhere,” showing the expanding versatility of the band. This American version of the "Revolver" album got a compact disc release on January 21st, 2014, with both the mono and stereo versions contained on a single CD.
Over eleven years later, on October 21st, 1977, the song got its second release on the compilation album “Love Songs.” Appearing in the midst of the popular disco craze, it still managed to peak at #24, “Here, There And Everywhere” closing out side one of this two disc set.
On April 30th, 1987, the original British version of the “Revolver” album with all fourteen tracks was first released on compact disc. It was re-mastered and re-released on September 9th, 2009.
Many may not know that the song was released as a single on January 24th, 1996. This was on the Capitol Cema series with the legend “For Jukeboxes Only” printed on the label, not to mention being printed on yellow vinyl, making it quite rare today. Another “Revolver” track, “Good Day Sunshine,” was positioned as the b-side.
Also the same year, on March 4th, 1996, the CD single for “Real Love” was released which featured “take 7” of “Here, There And Everywhere” as recorded on June 16th, 1966 with digitally re-mastered block harmonies tacked onto the final verse to create a never-before-heard version of the song. In this primitive state, the beauty of an excellently written song shines through.
September 9th, 2009 was the release date for the box set “The Beatles In Mono” which marks the first CD release of the original mono mix of “Here, There And Everywhere” not available since the 60’s.
Paul McCartney’s solo releases of the song begin with the soundtrack album to his film “Give My Regards To Broad Street,” released on October 22nd, 1984. Then on May 20th, 1991, the album “Unplugged (The Official Bootleg)” came out which featured his acoustic rendition of the song as witnessed on “MTV Unplugged.” His live album “Paul Is Live” also featured the song, this being released on November 15th, 1993. Then came “Back In The U.S.” on November 11th, 2002.
The Beatles opted not to promote any “Revolver” songs on their final American tour despite the fact that it had just been released and could have been easily promoted in this way. The band couldn’t be bothered to work up any of these songs for their final shows, “Here, There And Everywhere” being a good possible addition to their set because of its minimal instrumentation. The album was wildly successful anyway so I guess it didn’t really need promoting.
The first time we would ever see a performance of this incredible song was in Paul’s movie “Give My Regards To Broad Street.” Performed as the middle song in-between “Yesterday” and “Wanderlust,” Paul is seen playing the song on acoustic guitar in a recording studio accompanied by a trio of horn players interspersed with scenes of George Martin and Geoff Emerick in the control room and Ringo hurriedly fumbling through assorted percussion instruments searching for brushes so as to join him in playing the song. He finds the brushes, but only after the truncated version of the song ends.
This being proclaimed by Paul as one of his all-time proudest moments as a songwriter, it was inevitable that it be included in his solo live performances through his later years. His first surprise performance of the song was on the cable television program “MTV Unplugged,” filmed on January 25th, 1991 and aired on April 3rd of that year. In promotion of this event, Paul and his acoustic group did six international “secret gigs” from May 8th to July 24th of 1991, the set list including “Here, There And Everywhere.”
Paul then included the song in his worldwide “New World Tour” of 1993, which February 18th to December 16th of that year. His “Driving USA” tour of 2002 also included the song, which ran from April 1st to May 18th. Then his “Back In The U.S.” tour featured the song, running from September 21st to October 29th of 2002. His “Driving Mexico” tour (November 2nd through 5th, 2002) and “Driving Japan” tour (November 11th through 18th, 2002) also included the song. His international “Back In The World” tour of 2003 (March 25th to June 1st) also included the song, he then deciding to retire the song from his stage act for his various tours that followed.
With his reputation as the “balladeer” of The Beatles fully cemented by this point, Paul continued to display his capableness with this genre of music with each successive album, although not always with the romantic sentimentality of “Here, There And Everywhere.” “She’s Leaving Home” and “The Fool On The Hill” put unpredictable lyrical spins on his melodic ballads, while “Golden Slumbers” and “The Long And Winding Road” insert more of a poetic vagueness into his standard “love song” model. Not to be forgotten is “I Will” which, while written in 1968, captures the sweet sincerity of his earlier 60’s ballads.
However you slice it, Paul just has the knack for putting together a lyrically convincing and melodic love song. Yes, he can rock like the best of them, but the likes of “Helter Skelter” have never been considered his strong suit. To this day, the most cherished pieces from the McCartney pen are songs such as “Here, There And Everywhere.” I assume it will always be that way.
“Here, There And Everywhere”
Written by: John Lennon / Paul McCartney
Song Written: June, 1966
Song Recorded: June 16 & 17, 1966
First US Release Date: August 8, 1966
First US Album Release: Capitol #ST-2576 “Revolver”
US Single Release: Capitol Cema #S7-18897
Highest Chart Position: n/a
British Album Release: Parlophone #PCS 7009 “Revolver”
Key: G major
Producer: George Martin
Engineers: Geoff Emerick, Phil McDonald
Instrumentation (most likely):
Paul McCartney - Lead and Harmony Vocals, Rhythm Guitar (1962 Epiphone Casino ES-230TD), Bass Guitar (1964 Rickenbacker 4001S), finger snaps
George Harrison – Lead Guitar (1961 Sonic Blue Fender Stratocaster), Harmony Vocals, finger snaps
Ringo Starr – Drums (1964 Ludwig Super Classic Black Oyster Pearl)
John Lennon - Harmony Vocals, finger snaps
Written and compiled by Dave Rybaczewski
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