Years ago, my Auntie Lil said to me, вЂWhy do you always write songs about love all the time? CanвЂ™t you ever write about a horse or the summit conference or something interesting?вЂ™ So, I thought, вЂAll right, Auntie Lil.вЂ™ And recently, weвЂ™ve not been writing all our songs about love.вЂќД«ritish disc jockey Jimmy Savile claims that he was present when, backstage after a show, the inspiration hit for writing the song. вЂњWe always try to do something different,вЂќ related McCartney back in 1966.

вЂњItвЂ™s not one of our best songs,вЂќ Lennon dryly explained at the time, вЂњbut it was the only one we had ready for the record release date.вЂќ While his second comment may be true, his first could easily be contested by fans around the world that have grown to love the song, to this day being considered an undeniable staple of their catalog. Instead of romance, the only mention of a relationship was of вЂњ a dirty manвЂќ whose вЂњ clinging wife doesnвЂ™t understand.вЂќ Nonetheless, вЂњPaperback WriterвЂќ was rushed out as their next single, topping the charts internationally. While it did have many of the usual hallmarks of a hit pop record of the time, such as the catchy melody line and a melodic guitar riff, the lyrical content was very much out in left field forВ 1966. The fourth song they set out to record, however, was more quickly completed and deemed suitable for immediate release as a single. Preliminary tracks were also laid down for вЂњ Got To Get You Into My Life,вЂќ but it was nowhere near ready for release. Much work was also done on the psychedelic experiment that was to be entitled вЂњ Tomorrow Never Knows,вЂќ although even this was yet to be completed. They began recording their next album on April 6th, 1966 and were concentrating more on studio technique than 'cranking out hits.' By April 13th, the only song they had completed was the Indian influenced George Harrison track вЂњ Love You To,вЂќ which obviously wouldnвЂ™t fit the bill for their nextВ single (as good of a song as it was). вЂњWhoever wrote the stronger song вЂ“ with George Martin as referee вЂ“ would win the prize: the prestigious A-side.вЂќ вЂњJohn and Paul were immediately put to work,вЂќ Emerick continues. вЂњGeorge Martin received a memo from the EMI brass,вЂќ recalls engineer Geoff Emerick, вЂњreminding him that a new Beatles single was soon due.вЂќ Since their last British single, вЂњ We Can Work It Out/ Day Tripper,вЂќ was released way back in early December of 1965 and the group was on hiatus for a few months to rest up from their incredibly hectic scheduleВ the previous year, pressure was high to get a new Beatles single in the shops. While the influence of marijuana has been widely credited as the catalyst to the maturity of their songwriting in the later months of 1965, as contained on вЂњ Rubber Soul,вЂќ the influence of both LSD and Eastern music had a great impact on their output during mid 1966, the results evident on вЂњ Revolver.вЂќ Therefore, within less than a year's time, The Beatles songwriting had changed dramatically as all audiences couldnвЂ™t help but notice.ДЄs was usual during the recording of an album, the group needed to identify which song had the commercial appeal to be earmarked as their next single, and thereby omitted from the album. However, subject matter for singles was in the process of changing at the time, such as with Bob Dylan's hit 'Like A Rolling Stone,' a fact that didn't go unnoticed by The Beatles.

It needed to have a catchy melody line that would stick in your mind, a melodic hook or riff that would identify the song, and the content of the lyrics would have to be about love, since that subject was determined to be the most accessible to pop audiences of the time. While much care was taken when Lennon and McCartney wrote album tracks, special attention was usually the norm when creating what would be a contender for their next single. Unconventionality had become the trend of 1966 for The Beatles вЂ“ even when it came to writing songs for the worldwide singles market.

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