All You Need Is Love by The Beatles Songfacts All You Need Is Love by The Beatles Songfacts Songfacts The Beatles played this for the first time on the "Our World" project, the first worldwide TV special. Broadcast in 24 countries on June 25, 1967, the show was 6 hours long and featured music from 6 continents, with The Beatles representing Britain. The Beatles were supposedly recording this live during the show, but they used a prerecorded backing track and John Lennon's vocal was redone a few hours later. Eric Clapton mimed guitar on this during the special. The concept of the song was born out of a request to bring a song that was going to be understood by people of all nations. The writing began in late May of 1967, with John and Paul working on separate songs. It was decided that John's "All You Need Is Love" was the better choice because of its easy to understand message of love and peace. The song was easy to play, the words easy to remember and it encompassed the feeling of the world's youth during that period. "All You Need Is Love" was a popular saying in the '60s anti-war movement.

The song was released in the middle of the Summer of Love (1967). It was a big part of the vibe. John Lennon wrote this as a continuation of the idea he was trying to express in his 1965 song " The Word ." John was fascinated by how slogans effect the masses and was trying to capture the same essence as songs like "We Shall Overcome." He once stated, "I like slogans. I like advertising. I love the telly." In a 1971 interview about his song "Power To The People," he was asked if that song was propaganda. He said, "Sure. So was 'All You Need Is Love.' I'm a revolutionary artist. My art is dedicated to change." Musically, this song is very unusual. The chorus is only one note, and the song is in a rare 7/4 tempo. >> Suggestion credit: Dwight Rounds, author of The Year The Music Died, 1964-1972 It was not until 1983 and the publication of the in the book John Lennon: In My Life by Pete Shotton and Nicholas Schaffner that it was revealed that John Lennon was the primary composer of the song.

It is typical of Lennon: Three long notes ("love -love -love") and the rise of excitement with at first speaking, then recital, then singing, then the climax and finally the redemption. This as opposed to McCartney's conventional verse, verse, middle part, verse or A,A,B,A. Lennon felt that a good song must have a rise of excitement, climax and redeeming. Ringo's second son, Jason, was born the day this hit #1 in the US. Jason is also a drummer. n the orchestral ending, you can hear pieces of both " Greensleeves ," a Bach two-part invention (by George Martin) and Glen Miller's " In The Mood ." Royalties were paid to Miller for his contribution. McCartney sang the chorus to The Beatles 1963 hit, " She Loves You " at the end: "She loves you yeah yeah yeah... She loves you yeah yeah yeah" John Lennon's hand-written lyrics for this song sold for 1 Million pounds in the summer of 2005. Lennon left them in the BBC studios after The Beatles' last live TV appearance, and they were salvaged by an employee.

>> Suggestion credit: Ryan - Kansas City, MO This begins with a clip from the French national anthem, " La Marseillaise ," written and composed by Claude Joseph Rouget de Lisle in Strasbourg on April 25, 1792. Its original name was "Chant de guerre de l'Armee du Rhin" ("Marching Song of the Rhine Army") and it was dedicated to Marshal Nicolas Luckner, a Bavarian-born French officer from Cham. It became the rallying call of the French Revolution and got its name because it was first sung on the streets by troops from Marseille upon their arrival in Paris. Now the national anthem of France, the song was also once the anthem of the international revolutionary movement, contrasting with the theme of The Beatles song. In the late 1970s, Serge Gainsbourg recorded a Reggae version "Aux Armes et cetera," with Robbie Shakespeare, Sly Dunbar and Rita Marley in the choir in Jamaica, which resulted in him getting death threats from veterans of the Algerian War of Independence. >> Suggestion credit: Bertrand - Paris, France Al and Tipper Gore had this song played at their wedding.

They married in 1970 and separated in 2010. George Harrison mentioned this in his 1981 song " All Those Years Ago " with the line, "But you point the way to the truth when you say 'All you need is love.'" Harrison's song is a tribute to John Lennon, who was killed in 1980. This was used in the climactic final episode of the UK sci-fi series The Prisoner, and was the entrance music for Queen Elizabeth II during the UK Millennial celebrations of 1999. It was also sung by choirs across the kingdom in 2002 during the Queen's Golden Jubilee celebration. >> Suggestion credit: Bertrand - Paris, France In 2007, this was used in an advertising campaign for Luv's diapers with the lyrics changed to "All You Need Is Luv's." While Beatles songs have been used in commercials before, notably " Revolution " in spots for Nike and " Hello Goodbye " for Target, this peace anthem shilling for diapers didn't go over well with fans who thought it sullied The Beatles legacy.

The publishing rights to "All You Need Is Love" and most other Beatles songs are controlled by the Sony corporation and Michael Jackson, which means The Beatles cannot prevent a company from re-recording the song and using it in a commercial. When asked what his favorite lyric is during an interview with NME, John Lennon's son Sean replied: "My list of favorite things changes from day to day. I like when my dad said: 'There's nothing you can know that isn't known/ Nothing you can see that isn't shown/ Nowhere you can go that isn't where you're meant to be.' It seems to be a good representation of the sort of enlightenment that came out of the '60s." All You Need Is Love | The Beatles Wiki | Fandom powered by Wikia All You Need Is Love 669pages on All You Need Is Love All You Need Is Love cover The Beatles 14 and 19–26 June 1967 Length Baby You're a Rich Man ' guide All You Need Is Love is a song written by John Lennon and credited to Lennon/McCartney . It was first performed on Our World, the first live global television program.

It was ranked as number 362 on Rolling Stones' list of the 500 greatest songs of all time. As the song comes to a close, the voice that has increased its presence throughout the song . Orchestral music can be heard similar to Penny Lane and Day in the Life, and also the voice can be heard shouting loudly "Yesterday!" and "She loves you yeah yeah yeah!"- clear references to some of their previous songs. The same can be said for songs such as I am the Walrus , Lady Madonna and Glass Onion . Personnel George Harrison-Backing Vocals,Lead Guitar ( 1961 Fender Stratocaster ) Ringo Starr-Drums Sidney Sax, Patrick Halling, Eric Bowie, John Ronayne-Violin Lionel Ross, Jack Holmes-Cello Rex Morris, Don Honeywill-Tenor Saxophone Stanley Woods, David Mason-Trumpet Evan Watkins, Harry Spain-Trombone Jack Emblow-Accordion Mick Jagger, Keith Richards, Marianne Faithfull, Jane Asher, Mike McCartney, Pattie Harrison, Eric Clapton, Graham Nash, Keith Moon, Hunter Davies and Gary Leeds-Backing Vocals Covers Anything Box on the 1991 album Worth.

Bandged in 2009 as a single for BBC Children in Need. Beatallica released a 2007 parody called "All You Need is Blood". Dana Fuchs & Jim Sturgess for the 2007 film Across the Universe . Echo & the Bunneymen on their 1988 live album New Live & Rare. Eddie Chacon on a 1987 12" single. Ferrante & Teicher on the 1993 album The Greatest Love Songs of All Time. Japan United with Music in 2009 as a single for recovery from the 2011 Tōhoku earthquake and tsunami. Lydeen David Hall on the 2003 album Love Actually. New Musik on he 1982 album Warp. Tears for Fears on the 1990 live DVD Going to California. The 5th Dimension on the 1971 live album The 5th Dimension/Live!. The Undead on the 1998 album Till Death. Tom Jones in 1993 as single. Trivia Edit The song is available for download for The Beatles: Rock Band .

It was released on September 9, 2009 (the same day as the game) exclusively for Xbox 360 to raise money for Doctors Without Borders. The song recieved over $200,000 and recieved 100,000 downloads by the time September ended. It was available for Wii on February 16, 2010 and PlayStation 3 on March 4 of the same year. Al and Tipper Gore played the song as their wedding recessional. The Beatles were sued by the Glenn Miller estate for using a bit of "In the Mood" without permission ( George Martin thought it was in public domain). EMI settled the suit. The opening fanfare of "All You Need is Love" is the "Marseillaise," the French national anthem. It was George Martin's idea to begin the song this way, and it was there from the earliest versions on. John used three different time signatures for the song: 4/4, 3/4, and 2/4. George once commented on John's innate songwriting ability: "John has an amazing thing with his timing - he always comes across with very different time signatures, you know.

For example, on 'All You Need is Love' it just sort of skips a beat here and there and changes time. But when you question him as to what it is he's actually doing, he really doesn't know.

He just does it naturally." All You Need Is Love | The Beatles Bible All You Need Is Love All You Need Is Love Recorded: 14, 19, 23-25 June 1967 Producer: George Martin Engineers: Eddie Kramer, Geoff Emerick Released: 7 July 1967 (UK), 17 July 1967 (US) Sidney Sax, Patrick Halling, Eric Bowie, John Ronayne: violin Lionel Ross, Jack Holmes: cello Rex Morris, Don Honeywill: tenor saxophone Stanley Woods, David Mason: trumpet Evan Watkins, Harry Spain: trombone Jack Emblow: accordion Mick Jagger, Keith Richards, Marianne Faithfull, Jane Asher , Mike McCartney, Pattie Harrison , Eric Clapton, Graham Nash, Keith Moon, Hunter Davies, Gary Leeds and more: chorus Mike Vickers: conductor Love All You Need Is Love was written by John Lennon especially for Our World, the world's first televised satellite link-up between 25 countries worldwide. Its message perfectly encapsulated the optimistic mood of the Summer of Love, with a simplicity perfectly judged for their global audience.

We were big enough to command an audience of that size, and it was for love. It was for love and bloody peace. It was a fabulous time. I even get excited now when I realise that's what it was for: peace and love, people putting flowers in guns. Ringo Starr Anthology The BBC had suggested the idea of using new satellite relays to connect the national television networks of countries across the world, to make a live link-up on a scale previously unknown. The Beatles were the natural choice to represent Britain, and they decided to compose a new song especially for the broadcast. I don't know if they had prepared any ideas but they left it very late to write the song. John said, 'Oh God, is it that close? I suppose we'd better write something.' Geoff Emerick The Complete Beatles Recording Sessions, Mark Lewisohn Our World took place on 25 June 1967 ; The Beatles began recording the backing track just 11 days before the transmission date. Coming just two weeks after the release of Sgt Pepper , The Beatles were clearly full of confidence, and took a the prospect of a potential audience of 400 million people in their stride. All You Need Is Love was John's song.

I threw in a few ideas, as did the other members of the group, but it was largely ad libs like singing She Loves You or Greensleeves or silly things at the end and we made those up on the spot. The chorus, 'All you need is love', is simple, but the verse is quite complex; in fact I never really understood it, the message is rather complex. It was a good song that we had handy that had an anthemic chorus. Paul McCartney Many Years From Now, Barry Miles A remix of All You Need Is Love was the closing track on the Love album. The song's ending featured vocals from Baby You're A Rich Man , Rain and Sgt Pepper's Lonely Hearts Club Band , as well as the guitar riff from Ticket To Ride . The song segues into a brief orchestral snippet from Good Night , accompanied by a snippet of dialogue from The Beatles' 1965 Christmas fan club recording. The time got nearer and nearer and they still hadn't written anything. Then, about three weeks before the programme, they sat down to write. The record was completed in 10 days. This is an inspired song, because they wrote it for a worldwide programme and they really wanted to give the world a message.

It could hardly have been a better message. It is a wonderful, beautiful, spine-chilling record. Anthology In the studio The Beatles began recording All You Need Is Love on 14 June 1967, at Olympic Sound Studios in Barnes, London. The group taped some vocals and played unconventional instruments: Lennon on harpsichord, McCartney on double bass, and Harrison playing a violin. Ringo Starr was the only member to stick to his usual instrument. We just put a track down. Because I knew the chords I played it on whatever it was, harpsichord. George played a violin because we felt like doing it like that and Paul played a double bass. And they can't play them, so we got some nice little noises coming out. It sounded like an orchestra, but it's just them two playing the violin and that. So then we thought, 'Ah, well, we'll have some more orchestra around this little freaky orchestra that we've got.' But there was no perception of how it sounded at the end until they did it that day, until the rehearsal. It still sounded a bit strange then.

John Lennon, 1980 Anthology Five days later, back at Abbey Road, they overdubbed more drums, plus lead and backing vocals, piano played by George Martin and banjo by Lennon. On 23 and 24 June they made last minute rehearsals and additional recording, including an orchestral overdub. There was also a press call on the morning of 24 June, which saw more than 100 journalists and photographers enter Abbey Road. The Beatles' 'All You Need Is Love': A Minute-by-Minute Breakdown - Rolling Stone PHOTOS: 10 Things You Didn't Know About the Beatles' Music Composer and engineer Scott Freiman deconstructs the band's work and unveils some little-known facts The Beatles played for about a minute, simulating a rehearsal or a rough take, and then the broadcast cut to the control room. Martin interrupted the Fab Four (and how many people on the planet would dare to interrupt a Beatles performance?), saying on the intercom, "I think that will do for the vocal backing very nicely. We'll get the musicians in." "Great, great," Lennon replied.

While the tape rewound, thirteen orchestral musicians found their seats and McCartney shook his shoulders to loosen up. Race filled time, saying, "There's several days' work on that tape. For perhaps the hundredth time, the engineer runs it back to the start, to yet another stage in the making of an almost-certain hit record. The supervisor is George Martin, the musical brain behind all the Beatles' records. There's the orchestra coming into the studio now, and you'll notice that the musicians are not rock & roll youngsters. The Beatles get on best with symphony men." Note how as late as 1967, the institutional voice of the BBC was trying to make the Beatles more palatable by claiming their affinity with classical musicians. "Here we go," Martin told the band. "Here comes the tape." 0:00 A quick glimpse of Martin in the control room, looking stylish in a white jacket. "The man upstairs pointed his finger and that was that," Harrison remembered later. "We did it – one take." 0:01 The song began with the orchestra playing "La Marseillaise," the French national anthem.

This nod to the global nature of Our World was the best use of non-French use of the song since Casablanca. It also guaranteed that until the end of time, any Olympic medal ceremony where a French athlete wins gold will sound like a Beatles revival. 0:09 The camera panned over to the Beatles, who were surrounded by balloons and flowers. "Love, love, love," they sang. "Love, love, love." The Our World producers' only request of the Beatles' song selection was to "keep it simple so that viewers across the globe will understand." Mission accomplished: The first time Lennon played the song for the other Beatles, at a crawling tempo, Harrison muttered to McCartney, "Well, it's certainly repetitive." 0:16 McCartney, playing bass and hitting the upper reaches of his vocal range, looked happy to the point of giddiness. The patterns on his shirt were created by the singer himself: "I stayed up all the night before the show, drawing on the shirt that I wore. I had some chemicals called Trichem – you could draw on a shirt with them, and then you could launder the shirt and the pattern stayed on.

I used them a lot; many's the shirt or door I've painted with them. It was good fun. That shirt got nicked after the show. Still, easy come, easy go." 0:27 "There's nothing you can do that can't be done," Lennon sang. The footage shifts from black-and-white to color. The Our World broadcast was monochrome; the color was added digitally in 1995 for the TV broadcast of The Beatles Anthology, using photographs taken on that day as reference. Otherwise, the video footage in this clip is as it was broadcast on June 25th, 1967 (the Beatles did some audio overdubs later that night, with Starr recording a snare drumroll for the song's introduction and Lennon punching up his lead vocal). 1:02 "All you need is love," Lennon declared, reaching the chorus and boiling down the spirit of the Summer of Love to its purest essence. McCartney said later, "The chorus 'All you need is love' is simple, but the verse is quite complex.

In fact, I never really understood it." 1:17 A laid-back Starr played the drums, although for some reason the cameraman didn't want to shoot above his mustache. Starr's outfit was a combination of silk, suede and fake fur. "It was so bloody heavy," he said after. "I had all this beading on, and it weighed a ton." 1:29 McCartney and Lennon bobbed their heads during the guitar solo; throughout the song, McCartney was either chewing gum or vigorously working his jaw. One week before the broadcast, McCartney had admitted his LSD use to the British press, causing a short-lived media sensation: "BEATLE PAUL'S AMAZING CONFESSION," read one headline. "It seemed strange to me," Harrison said, "because we'd been trying to get him to take LSD for about 18 months – and then one day he's on the television talking about it." 1:50 Harrison looked hunky and brooding, perhaps considering whether love was actually all he needed, or whether he also wanted a new guitar and a curry. 2:38 Mick Jagger, sitting on the floor.

Jagger was a semi-regular guest of honor at Beatles sessions: He also turned up for the mixing of Revolver and the recording of the orchestral section of "A Day in the Life." Eric Clapton was also in the crowd – "in full psychedelic regalia and permed hair," Harrison said. Other notables in attendance were Marianne Faithfull, Keith Richards, Keith Moon and Graham Nash, not to mention Mike McCartney (Paul's brother), Patti Boyd Harrison (George's wife) and Jane Asher (McCartney's girlfriend). Moon sat next to Starr's kit, showing allegiance to his fellow drummer. 2:53 The orchestral arrangement in the outro included snatches of Bach's Brandenburg concertos, "Greensleeves" (at half tempo) and Glenn Miller's "In the Mood." Martin had thrown them in, believing that the songs were all old enough to be in the public domain – and although they were, it turned out that the arrangement of Miller's version was not. "The introduction is an arrangement, and it was the introduction that I took," Martin said.

"EMI came to me and said, 'You put this in the arrangement, so now you've got to indemnify us against any action that might be taken.' I said, 'You must be joking. I got fifteen pounds for doing that arrangement.'" EMI didn't make Martin pay and duly compensated the publisher of "In the Mood." 2:58 The trumpeter on the left is David Mason, playing the same piccolo trumpet he used for the solo on "Penny Lane." "I've spent a lifetime playing with top orchestras," he said decades later, "yet I'm most famous for playing on 'Penny Lane'!" 3:08 In addition to the placards translating the word "love" into multiple languages, a sign was held up reading "Come Back Milly." This message was directed at McCartney's aunt, who had gone down to Australia to visit her son and grandchildren. (Aunt Milly, the sister of McCartney's father, was married to Albert Kendall – a.k.a. Uncle Albert of "Uncle Albert/Admiral Halsey" fame.) The McCartney family was worried that Milly might not return but knew that the global broadcast provided a unique opportunity to send her a message.

It worked: Milly saw the sign and came back to England. 3:15 As confetti flew in the air and men with sandwich boards marched through the crowd, the conductor of the orchestra became visible: Mike Vickers, better known as the flutist/saxophonist in Manfred Mann. 3:23 One more musical quote as the song faded out: "She loves you, yeah yeah yeah." Including the chorus of "She Loves You" was a Lennon improvisation in rehearsal that stuck; he had also experimented with throwing in bits of "Yesterday" and "She'll Be Coming Around the Mountain When She Comes." 3:33 Harrison, who had been looking dour the whole song, finally cracked a smile. After their guests left, the Beatles stayed at Abbey Road to do some overdubs. The next day, they remixed the single and sent the tapes off so the single could get a rush release. In July, "All You Need Is Love" hit Number One all over the world, providing the sing-song anthem for the Summer of Love, with a sentiment that was simple but profound.

Eighteen years later, Elvis Costello performed "All You Need Is Love" at Live Aid, a song choice that subtly drew a line between two global telecasts, from Our World to the Live Aid broadcast. "I want you to help me sing this old Northern English folk song," he told the crowd – and that's exactly what the song had become, a tune that had gone around the world and belonged to everybody. The 50 Best Beatles Songs :: Music :: Lists :: Page 1 :: Paste The 50 Best Beatles Songs By Hilary Saunders | August 28, 2015 | 2:57pm Share Tweet Submit Pin The Fab Four. The Lads from Liverpool. The Mop Tops. No band has quite impacted the trajectory of popular music like John Lennon, Paul McCartney, George Harrison and Ringo Starr did in The Beatles. They’ve earned more No. 1 records than any other group in their native England, and sold more records than any other musician in America. They are indisputably one of the greatest acts of all time. But picking the best 50 songs out of the 300+ The Beatles recorded was a project Paste has planned for more than a year.

More than 20 staff members, contributors and interns participated, voting for 98 different songs—nearly a third of the band’s brilliant catalog. And the results are fascinating. We included 26 McCartney songs, 17 Lennon songs, three Harrison songs (two of which made the top 10), and four that were truly co-written by Lennon and McCartney. Below, find our thoughts on the 50 best songs by The Beatles . 50. “The Long And Winding Road” “The Long and Winding Road” begins quietly, but after those first five words when the strings swell up, it gets dramatic pretty quickly. This symphonic track triggers a deep sense of longing and always invokes a sort of empty feeling—fitting, considering it marks the band’s last No. 1 song in the United States. To say the Beatles displayed incredible growth in their 10 years as a band is an enormous understatement, and that musical evolution is apparent in this track, which reveals a maturity that could only exist after years of songwriting. —Annie Black 49. “With a Little Help From My Friends” Ringo, when properly applied, is as indispensable as any other Beatle.

He didn’t write this classic tune (Lennon and McCartney did), but he got to sing it in his own fashion, and it wouldn’t have been nearly as memorable without him. The drummer’s contributions to the group are criminally underrated, but still, it’s tough to imagine Ringo would have ended up an international superstar without a little help from his friends. At least he got to pitch in a few iconic vocals along the way. —Annie Black 48. “From Me To You” Many early Beatles songs were filled with sing-along parts, and those in “From Me To You” are absolutely crucial. The “da da da’s” and structural repetition were easy to latch on to, even among the distinct harmonies, false endings, and other complexities. Ironically, “From Me To You” didn’t really make an impact in the U.S. when it was released in April 1963, but we soon got it across the pond. And even when you aren’t that familiar with a band, being able to sing along with them makes you feel like you’re part of the groundswell, part of the Beatlemania. —Annie Black 47.

“Love Me Do” The Beatles ’ very first single, released in 1962, is still so relevant today. Before this song, the Beatles were just youths from Liverpool who were kicking around Hamburg, Germany in leather jackets, getting into trouble, and trying to make it. What really makes this track is the harmonica, pushing the song forward with every burst of air. Lyrically, it’s like puppy love, when things are overwhelmingly easy and lighthearted, and the catchy combination marked the start of a public persona for The Beatles, one that would quickly blossom. —Annie Black 46. “I’ll Follow The Sun” Some records show that this song began as a track from The Quarrymen, John’s pre-Beatles skiffle band back in 1960. The band shelved this rough sketch of a song, however, releasing it at the end of 1964. “I’ll Follow The Sun” hides lovesick gloom behind optimistic notions of following nature’s guiding light after the rain has passed. Although the imagery now seems cliché, the ballad remains a beloved deep cut from Beatles For Sale. —Hilary Saunders 45.

“She Loves You” The Beatles perfected the concept of concise love song. The lyrics to “She Loves You” are hilariously elementary, and the “yeah, yeah, yeah”s marking the chorus make it one of the easiest in history to sing along to (crazy harmonies aside). The Beatles make love seem so doable and so easy here on one of their earliest singles, reminding us in the most celebratory way that pride is bad, love is good. —Annie Black 44. “Can’t Buy Me Love” Another mid-’60s classic, “Can’t Buy Me Love” is one of those instantly accessible Beatles songs casual fans can immediately dive into. It’s right there with “I Wanna Hold Your Hand” and “Eight Days A Week” in that regard: simple, cheery and still a crowd-pleaser, half a century later. Beatles diehards are never going to cite this as their favorite, but you’d be hard-pressed to find someone who doesn’t enjoy it in their heart of hearts. —Annie Black 43. “Eight Days A Week” Although John once called this song “lousy,” “Eight Days A Week” became The Beatles ’ seventh No.

1 hit in the United States (unreleased as a single in the United Kingdom). A classic of The Beatles ’ early years, “Eight Days A Week” features the band’s punny humor and shared vocals, celebrating the fact that at its core, it’s still a love song. —Hilary Saunders 42. “I Want To Hold Your Hand” I remember the exact moment I found the deeper meaning to “I Want To Hold Your Hand.” I sat in a London hotel room too fancy for two college freshmen to inhabit and babbled to my best friend about how electric the most common tactile gestures become when you fall in love. But even if this 1963 single should actually just be taken at face value, “I Want To Hold Your Hand” exemplifies the era’s joyful pop rock, noted by kitschy handclaps, a swinging backbeat and perfect Fab Four harmonies.&#8212Hilary Saunders 41. “All You Need Is Love” While so many of The Beatles ’ early songs shine in their simplicity, “All You Need Is Love” excels by embracing complex instrumentals and multiple elemental structures.

It encompasses various meters and musical excerpts (including the French national anthem, “Greensleeves,” and of course, the band’s own “She Loves You”), not to mention orchestral instruments from the string and brass sections. Lennon once conceded that “All You Need Is Love” was of course a propaganda song, but its motto remains one of timeless idealism. —Hilary Saunders Previous Learning Globalization from the Beatles » IMPACT | Boston University Learning Globalization from the Beatles BRIAN CULVER New York University My title, “Learning Globalization from the Beatles,” references one of the first essays about the Beatles by a professional academic, Richard Poirier’s “Learning from the Beatles” (1967). I reference it because Poirier argues that the Beatles teach us both how culture needs to be redefined and how disciplines that take culture as their object of study can be reformed. Moreover, Poirier’s analysis of the Beatles’ song “All You Need Is Love” contains prescient hints of this song’s role in the history of contemporary globalization.

1 Consequently, in my essay I would like to expand upon Poirier’s by arguing that the Beatles’ “All You Need Is Love” not only was shaped by geopolitical forces of globalization, but also globalization comments on them. “All You Need Is Love” can teach us how to teach globalization. “All You Need Is Love” was first performed on June 25th 1967 to an estimated audience of a half billion people as part of the first global live satellite television broadcast, “Our World.” The importance of the “Our World” broadcast in the history of globalization was exhaustively documented a decade ago by the media scholar Lisa Parks in her essay “Our World, Satellite Televisuality, and the Fantasy of Global Presence.” Although “Our World” was not the first satellite broadcast, it was the first conceived with a deliberate global reach (Parks 74).

Unsurprisingly given Marshall McLuhan’s prominent role in the program’s introductory segment, “Our World” presented itself as heralding the utopianist promise of the “global village,” one that renders “our world” one world, “interpellating the viewer not only as ‘globally present’ but as ‘culturally worldly’ and ‘geographically mobile’” (Parks 75). But, as Parks shows, this utopianist promise scarcely hides the program’s neocolonialist ideology. “Our World” ’s self-proclaimed “liveness” is a discourse of Western modernization, one that widens the economic and political disparities between the Global North and Global South. The conclusion of the broadcast’s penultimate segment features the Beatles recording “All You Need Is Love” in the Abbey Road studios. Situating this song in the context of the “Our World” broadcast, and this broadcast in the history of contemporary globalization, implicates “All You Need Is Love” in what Doreen Massey has called the inevitable “power geometry” (194) of neoliberal capitalist globalization.

Moreover, this song’s place in the popular imagination as the hippie anthem for the “Summer of Love” seems to make it an affirmation of the utopianist promise of the “global village.” But does “All You Need Is Love” actually make any such affirmation? Let’s begin with the verbal ambiguity of the song’s title and refrain. Does it assert, as is commonly assumed, that love is the only thing ever needed, or that love is the one thing still needed? The refrain’s inversion in the song’s coda, “love is all you need,” puts the emphasis not on love but its need. Perhaps then love is the one thing still needed because it is a need that can never be met. This is precisely Richard Poirier’s reading; he adds that the song’s verses confirm this interpretation of its title. The three verses proceed through a series of the word “nothing” seven times, the first verse beginning “There’s nothing you can do that can’t be done,/Nothing you can sing that can’t be sung.” The lyrics in fact lament the loss of any new possible makings. The musicologist Wilfred Mellers contends that the song is not celebratory but “infinitely sad” (103).

The song’s musical features underscore these ambiguities. The song is in the key of G major, traditionally the most cheerful of keys, but the voice leading produces an E minor chord on the last word of the first two lines of each verse – for example, on the words “done” and “sung” in the first verse (Everett 124). Each verse ends with the phrase “It’s easy,” but the word “easy” is set to an appoggiatura (a dissonant note quickly added and then resolved, like a musical sigh), implying that it’s not so easy after all. The song is most formally ambitious in its coda, comprising a string of musical quotations that includes a two-part invention by J.S. Bach, the opening riff of Glenn Miller’s 1939 hit “In the Mood,” the Renaissance ballad “Greensleeves,” and two self-quotations, the Beatles’ own songs “Yesterday” and “She Loves You.” The recurrent need for love is situated in the history of music about its need. That love is a need that can never be met – that we have never had love and so perhaps never shall – is proclaimed by the recurrence of songs about it.

When we attend to its verbal and musical subtleties , we see “All You Need Is Love” is revealed as highly skeptical of any kind of utopia promised by any kind of new world order. But “All You Need Is Love” is neither cynical nor wholly satirical. In “Learning from the Beatles” Richard Poirier also contends that when the Beatles are allusive they expand a “situation to the simultaneous condition of pathos, because the situation is recurrent and therefore possibly insoluble, and comic, because the recurrence has finally passed into cliché” (120). If the Beatles are skeptical of the promise held out by the new “global village,” they are equally skeptical of rhetoric that simply dismisses it. When I shared some of my ideas in this paper with a joint group of students and faculty, one of my colleagues remarked that in the song’s musically allusive coda she could hear nothing but chaos. I replied that her ear might be recoiling from the song’s polytonality when “Greensleeves” is quoted. Both the Bach and Glenn Miller quotations are transposed from their original keys to the song’s cheerful key of G.

Not so with “Greensleeves,” which is left in its original Dorian mode and so, strictly speaking, is in no key at all. Musicologist Alan Pollock compares the polytonality used here to that often used by the composer Charles Ives, for whom polytonality is not chaos but energy and excitement. “All You Need Is Love” is no naïve hippie love-anthem, but neither is it, contrary to Meller’s suggestion, “infinitely sad.” We still need to consider how “All You Need Is Love” comments on what Lisa Parks calls “Our World” ’s fantasy of “global presence” which imposes neocolonialism. For Parks, this fantasy is maintained by the program’s insistence on its “liveness.” But this insistence is contradicted by what we witness the Beatles doing “live,” which is making a recording. Indeed, during much of the Beatles’ televised segment the mediating presence of the recording studio is highlighted. We often view the Beatles through the window of the recording studio’s control room. The BBC announcer often explains that what we are hearing is not, in fact, “live.” “There’s several days work on that tape,” he declares at one point.

Of course, these “canned” moments equally point up that what the Beatles are making is not just a recording but a commodity, that their efforts are situated within the global marketplace of neoliberal capitalism, one that is decidedly dominated by the modern system of Western nation-states controlling the very broadcast we are viewing. Each of those nation-states participating in the “Our World” broadcast chose a “representative” to showcase its contribution to “world culture.” The Beatles were chosen by the BBC (not without controversy) as Great Britain’s “representative.” But here too ironies proliferate. “All You Need Is Love” is introduced by the opening of the French national anthem, “La Marseilles.” Moreover, the bass part quotes the opening three notes of “La Marseilles” at the end of every line of the verse. Is this recurrent presence of the French national anthem intended as a joke directed at the choice of the Beatles as Great Britain’s representative, or a more general mockery of nationalist pride, or a still more general mockery of musical anthems of any kind?

(Or all three?) Although the song begins with a nod to the French, it does conclude with the quintessential Englishness of “Greensleeves.” But then what are we to make of the jarring polytonality it creates? The song’s most transnational characteristic inheres in its most often remarked upon musical for – it’s shifting meter. The melodic structure of most pop songs is eight measures of four beats each. Each verse of “All You Need Is Love” is likewise eight measures, but it shifts between four and three beats for six of its eight bars. Such a metrical scheme closely resembles that of a tala in Indian raga. That the Beatles were influenced by Indian music (years before their trip to India) is well known. Musical scholarship is only recently, however, beginning to show how much of the Beatles’ metrical innovations were also driven by such influence. So even before it was part of a global television broadcast, “All You Need Is Love” was already the product of globalization. So what can we learn about globalization from the Beatles? Let me preface my answer with a few assertions about globalization, to most of which I suspect we can all readily assent.

First, globalization is a multi-dimensional process or set of processes. That is, globalization takes place in all of the social domains – the economic, the political, and the cultural. Second, while the social domains have always been interdependent, they are made even more so by globalization. Third, although increasingly interdependent with one another, no social domain has causal priority. 2 To these three I would like to add a fourth assertion to which we might not so readily assent: while interdependent with one another, the social domains are also incommensurate. By “incommensurate” I do not mean “autonomous.” In its sense of self-governing, “autonomy” obtains in only one social domain, the political. Consequently, “autonomy” is precisely the kind of term that the incommensurateness of the social domains disavows. If no social domain has causal priority, then we cannot describe globalization in any one social domain using standards of measurement appropriated from the others.

Furthermore, insistence upon the incommensurateness of the social domains has major implications for both the teaching and research of globalization, especially as it addresses three of the thorniest issues of global studies: power, agency, and disciplinarity. Time permits me to address only the third of these. With the theme of interdisciplinarity in mind, let’s return to Richard Poirier on the Beatles: The Beatles are primarily musicians and musical composers…and don’t choose to get stuck even within their most intricate verbal contrivances…[U]ses of words that allude both to the subject of the moment and to their constant subject, musical creation, occur in “All You Need Is Love” (“Nothing you can sing that can’t be sung”)…“All You Need Is Love” is decisive evidence that when the Beatles think together (or apart) about anything they think musically and that musical thinking dictates their response to other things . . . (126-28). I hope that the foregoing analysis of “All You Need Is Love” shows that the song does, in fact, engage with the issues of globalization entailed by its global context. But it is not this context that discloses its meaning.

It is, rather, the context of music-making that situates the song’s engagement with globalization. Per my claim of the incommensurateness of the social domains, globalization manifests itself in this song as a relation between it and other music – including other music by the Beatles themselves. The simultaneous interdependency and incommensurateness of the social domains requires not more interdisciplinarity but more disciplinarity. 3 Lest I be thought to contradict the very premise of the conference for which this paper was originally conceived, let me add that by “more” disciplinarity I mean two things. While I do mean more work on globalization done within the confines of the individual disciplines, I also mean more disciplines working on globalization. What’s needed is not a referendum on the relevance of disciplinarity to a full account of globalization, but an increasingly greater number of disciplines producing increasingly more diverse accounts of globalization. What is needed, in short, is more occasions like the one that has just finished…now.

Notes 1 “Learning from the Beatles” was first published in The Partisan Review in December of 1967 (and so scarcely six months after the release of “All You Need Is Love”), then reprinted (with minor revisions) in Poirier’s essay-collection The Performing Self in 1971. The essay’s re-situation in this collection especially foregrounds its argument about disciplinary reform. 2 That these three assertions are uncontroversial I deduce from their recurrent presence in introductions to global studies, such as (to cite only a couple of the most recent ones) Manfred B. Steger’s introductory essay to Globalization, The Greatest Hits (2010) and Frank J. Lechner’s and John Boli’s to The Globalization Reader (2011). 3 In their essay “Discipline and Freedom,” Amanda Anderson and Joseph Valente argue that “current celebrations of interdisciplinarity often harbor within them a deep – yet insufficiently examined distrust” of what both does and does not constitute an academic discipline. They further demonstrate how historicizing modern disciplinary formation reveals that interdisciplinarity was always “at the heart of disciplinarity itself” (2).

References Anderson, Amanda and Joseph Valente. “Discipline and Freedom.” Disciplinarity at the Fin de Siècle. Princeton University Press, 2002: pp. 1-15. Everett, Walter. The Beatles as Musicians: Revolver through the Anthology. Oxford University Press, 1999. Lechner, Frank J. and John Boli, eds. The Globalization Reader, fourth edition. Wiley-Blackwell, 2011. Massey, Doreen. Space, Place and Gender. Polity Press, 1994. Mellers, Wilfred. The Twilight of the Gods: the Music of the Beatles. Schirmer Books, 1973. Parks, Lisa. “Our World, Satellite Televisuality, and the Fantasy of Global Presence.” Global TV: A Global Television Reader, ed. Lisa Parks and Shanti Kumar. New York University Press, 2003, pp. 74-93. Poirier, Richard. “Learning from the Beatles.” The Performing Self. Rutgers University Press, 1971: pp. 112-40.

Pollock, Alan W. Notes on “All You Need Is Love,” #118. . 1996. Steger, Manfred B., ed. Globalization, The Greatest Hits: A Global Studies Reader. Paradigm Publishers, 2010. Postnational Humanities and the Beatles – Global Studies and the Humanities Postnational Humanities and the Beatles — Brian Culver The touchstone passage from Jan Nederveen Pieterse’s Globalization and Culture highlights three of the reasons that the humanistic disciplines have been largely reluctant to adopt the insights of Global Studies. First, the isomorphism of place, people, and culture (Axford 91) has been exposed by contemporary accelerated globalization as a 19th-century nationalist bias. Second, a history of cultural globalization calls for “a counter narrative to the narrative of imperial history” (Nedeveen Pieterse 82). Unlike Postcolonial Studies, in Global Studies, “crucial as colonialism-postcolonialism might be for understanding contemporary developments, there is no reason to consider it to be pre-eminently and super-determinatively important” (Gupta 110).

Third, demonstrating that “hybridization has been taking place all along but has been concealed” (Nedeveen Pieterse 82) would require, among others, a methodology currently marginalized in humanistic scholarship, namely, formalism. What follows focuses on the Beatles’ “All You Need Is Love” as simultaneously a product of and commentary on the geopolitical forces of contemporary globalization. “All You Need Is Love” was first performed on June 25th 1967 to an estimated audience of a half billion people as part of the first global live satellite television broadcast, “Our World.” Each of the nation-states participating in the “Our World” broadcast chose a “representative” to showcase its contribution to “world culture.” The Beatles were chosen by the BBC (not without controversy) as Great Britain’s “representative.” Media scholar Lisa Parks has shown that “Our World” presented itself as heralding the utopianist promise of, in Marshall McLuhan’s famous phrase, the “global village,” one that renders “our world” one world, “interpellating the viewer not only as ‘globally present’ but as ‘culturally worldly’ and ‘geographically mobile’” (Parks 75).

However, as Parks shows, this utopianist promise scarcely hides the program’s neocolonialist ideology, one that insists upon the economic and political disparities between the Global North and South. Situating “All You Need Is Love” in the context of the “Our World” broadcast, and this broadcast in the history of contemporary globalization, implicates the Beatles’ song in what Doreen Massey has called the inevitable “power geometry” (194) of neoliberal capitalist globalization. Moreover, the song’s place in the popular imagination as the hippie anthem for the “Summer of Love” seems to make it an affirmation of the utopianist promise of the “global village.” But does “All You Need Is Love” actually make any such affirmation? Let’s begin with the verbal ambiguity of the song’s title and refrain. Does it assert, as is commonly assumed, that love is the only thing ever needed, or rather that love is the one thing still needed? The latter reading is borne out by the lyrics of the song’s three verses, repeating the word “nothing” seven times.

The final verse’s variation, “Nowhere you can be that isn’t where you’re meant to be,” comments ironically on the broadcast’s promise of, in Parks works, “interpellating the viewer…as ‘geographically mobile’” (75). The song’s musical features underscore these ironies. The coda, for example, comprises a string of musical quotations that includes a two-part invention by J.S. Bach, the opening riff of Glenn Miller’s “In the Mood,” the Renaissance ballad “Greensleeves,” and two self-quotations, the Beatles’ own songs “Yesterday” and “She Loves You.” As the literary critic Richard Poirier has argued, “All You Need Is Love” is less a song about love than a song about songs about love. The recurrent need for love is situated in the history of music about its need. That love is the one need that can never be fully met is proclaimed by the recurrence of songs about it. Other formal features likewise comment ironically on the nationalism of the program’s presentation of global culture.

Although chosen by the BBC as Britain’s cultural “representative,” the Beatles begin their song by quoting the opening of the French national anthem, “La Marseilles.” Moreover, the bass part quotes the opening three notes of “La Marseilles” at the end of every line of the verse. Like the self-quotation at the song’s conclusion, the recurrent presence of “La Marseilles” is likely intended as self-mockery, but it also might be a more general mockery of nationalistic pride, or even of musical anthems of any kind, including the very one the Beatles are singing. The song’s hidden hybridity inheres in it’s shifting meter, a metrical scheme closely resembling that of a tala in Indian raga, a genre that is a well-documented influence on other Beatles’ songs. Only by attending to its verbal and musical subtleties is “All You Need Is Love” revealed as highly skeptical of any utopianist vision of globalization. While the song is situated in a specific historical moment of postwar technological globalization, its context does not disclose its meaning. Postnational humanities likewise requires abandoning a nationalist basis, foregoing any assumptions about ideological content, and a formalism capable of uncovering concealed hybridization.

Works Cited Axford, Barrie. Theories of Globalization. Polity Press, 2013. Everett, Walter. The Beatles as Musicians: Revolver through the Anthology. Oxford University Press, 1999. Gupta, Suman. Globalization and Literature. Polity Press, 2009. Massey, Doreen. Space, Place and Gender. Polity Press, 1994. Nederveen Pieterse, Jan. Globalization and Culture: Global Mélange, revised edition. Rowman & Littlefield, 2009. Parks, Lisa. “Our World, Satellite Televisuality, and the Fantasy of Global Presence.” Global TV: A Global Television Reader, ed. Lisa Parks and Shanti Kumar. New York University Press, 2003, pp. 74-93. Poirier, Richard. “Learning from the Beatles.” The Performing Self. Rutgers University Press, 1971, pp. 112-40.

The Beatles Songs - All You Need Is Love Lyrics | Songs Lyrics and YT- Youtube Music Videos Songs Lyrics and YT- Youtube Music Videos 1967 All You Need Is Love Lyrics T The Beatles Songs Yellow Submarine The Beatles Songs - All You Need Is Love Lyrics All You Need Is Love Lyrics By The Beatles Songs Album: Yellow Submarine Year: 1967 Love, love, love, love, love, love, love, love, love. There's nothing The Beatles - All You Need Is Love The Beatles - All You Need Is Love Youtube Music Videos and Lyrics All You Need Is Love Lyrics Love, love, love, love, love, love, love, love, love. There's nothing you can do that can't be done. Nothing you can sing that can't be sung. Nothing you can say, but you can learn How to play the game It's easy. Nothing you can make that can't be made. No one you can save that can't be saved. Nothing you can do, but you can learn How to be you in time It's easy. All you need is love, all you need is love, All you need is love, love. Love is all you need.

Love, love, love, love, love, love, love, love, love. All you need is love, all you need is love, All you need is love, love. Love is all you need. There's nothing you can know that isn't known. Nothing you can see that isn't shown. There's nowhere you can be that isn't where You're meant to be All you need is love, all you need is love, All you need is love, love. Love is all you need. All you need is love. (All together now). All you need is love. (Everybody). All you need is love, love. Love is all you need. Love is all you need. Love is all you need (Yesterday) (She love you, yeah, yeah, yeah) (She love you, yeah, yeah, yeah) (Oh, yesterday) Writer/s: LENNON, JOHN / MCCARTNEY, PAUL Publisher: Sony/ATV Music Publishing LLC Lyrics licensed and provided by LyricFind All You Need Is Love Song Chart The Beatles played this for the first time on the "Our World" project, the first worldwide TV special.

Broadcast in 24 countries on June 25, 1967, the show was 6 hours long and featured music from 6 continents, with The Beatles representing Britain. The Beatles were supposedly recording this live during the show, but they used a prerecorded backing track and John Lennon's vocal was redone a few hours later. Eric Clapton mimed guitar on this during the special. The concept of the song was born out of a request to bring a song that was going to be understood by people of all nations. The writing began in late May of 1967, with John and Paul working on separate songs. It was decided that John's "All You Need Is Love" was the better choice because of its easy to understand message of love and peace. The song was easy to play, the words easy to remember and it encompassed the feeling of the world's youth during that period. "All You Need Is Love" was a popular saying in the '60s anti-war movement. The song was released in the middle of the Summer of Love (1967). It was a big part of the vibe.

John Lennon wrote this as a continuation of the idea he was trying to express in his 1965 song "The Word." John was fascinated by how slogans effect the masses and was trying to capture the same essence as songs like "We Shall Overcome." He once stated, "I like slogans. I like advertising. I love the telly." In a 1971 interview about his song "Power To The People," he was asked if that song was propaganda. He said, "Sure. So was 'All You Need Is Love.' I'm a revolutionary artist. My art is dedicated to change." Musically, this song is very unusual. The chorus is only one note, and the song is in a rare 7/4 tempo. (thanks to Dwight Rounds, author of The Year The Music Died, 1964-1972 ) It was not until 1983 and the publication of the in the book John Lennon: In My Life by Pete Shotton and Nicholas Schaffner that it was revealed that John Lennon was the primary composer of the song.

It is typical of Lennon: Three long notes ("love -love -love") and the rise of excitement with at first speaking, then recital, then singing, then the climax and finally the redemption. This as opposed to McCartney's conventional verse, verse, middle part, verse or A,A,B,A. Lennon felt that a good song must have a rise of excitement, climax and redeeming. (thanks to Johan Cavalli, who is a music historian in Stockholm) Ringo's second son, Jason, was born the day this hit #1 in the US. Jason is also a drummer. n the orchestral ending, you can hear pieces of both "Greensleeves," a Bach two-part invention (by George Martin) and Glen Miller's "In The Mood." Royalties were paid to Miller for his contribution. McCartney sang the chorus to The Beatles 1963 hit, "She Loves You" at the end: "She loves you yeah yeah yeah... She loves you yeah yeah yeah" John Lennon's hand-written lyrics for this song sold for 1 Million pounds in the summer of 2005.

Lennon left them in the BBC studios after The Beatles' last live TV appearance, and they were salvaged by an employee. (thanks, Ryan - Kansas City, MO) This begins with a clip from the French national anthem, "La Marseillaise," written and composed by Claude Joseph Rouget de Lisle in Strasbourg on April 25, 1792. Its original name was "Chant de guerre de l'Armee du Rhin" ("Marching Song of the Rhine Army") and it was dedicated to Marshal Nicolas Luckner, a Bavarian-born French officer from Cham. It became the rallying call of the French Revolution and got its name because it was first sung on the streets by troops from Marseille upon their arrival in Paris. Now the national anthem of France, the song was also once the anthem of the international revolutionary movement, contrasting with the theme of The Beatles song. In the late 1970s, Serge Gainsbourg recorded a Reggae version "Aux Armes et cetera," with Robbie Shakespeare, Sly Dunbar and Rita Marley in the choir in Jamaica, which resulted in him getting death threats from veterans of the Algerian War of Independence.

(thanks, Bertrand - Paris, France) Al and Tipper Gore had this song played at their wedding. They married in 1970 and separated in 2010. George Harrison mentioned this in his 1981 song "All Those Years Ago" with the line, "But you point the way to the truth when you say 'All you need is love.'" Harrison's song is a tribute to John Lennon, who was killed in 1980. This was used in the climactic final episode of the UK sci-fi series The Prisoner, and was the entrance music for Queen Elizabeth II during the UK Millennial celebrations of 1999. It was also sung by choirs across the kingdom in 2002 during the Queen's Golden Jubilee celebration.

(thanks, Bertrand - Paris, France) In 2007, this was used in an advertising campaign for Luv's diapers with the lyrics changed to "All You Need Is Luv's." While Beatles songs have been used in commercials before, notably "Revolution" in spots for Nike and "Hello Goodbye" for Target, this peace anthem shilling for diapers didn't go over well with fans who thought it sullied The Beatles legacy. The publishing rights to "All You Need Is Love" and most other Beatles songs are controlled by the Sony corporation and Michael Jackson, which means The Beatles cannot prevent a company from re-recording the song and using it in a commercial. When asked what his favorite lyric is during an interview with NME, John Lennon's son Sean replied: "My list of favorite things changes from day to day.

I like when my dad said: 'There's nothing you can know that isn't known/ Nothing you can see that isn't shown/ Nowhere you can go that isn't where you're meant to be.' It seems to be a good representation of the sort of enlightenment that came out of the '60s." The Beatles - Yellow Submarine Album More Songs Lyrics Beatles Beatles Contacts All You Need Is Love by BEATLES "All You Need Is Love" is a song by the Beatles that was released as a non-album single in July 1967. It was written by John Lennon and credited to Lennon–McCartney. The Beatles performed the song as Britain's contribution to Our World, the first live global television link. Watched by over 400 million in 25 countries, the program was broadcast via satellite on 25 June 1967. "All You Need Is Love" is a song by the Beatles that was released as a non-album single in July 1967. It was written by John Lennon and credited to Lennon–McCartney. The Beatles performed the song as Britain's contribution to Our World, the first live global television link.

Watched by over 400 million in 25 countries, the program was broadcast via satellite on 25 June 1967. The Beatles were asked to come up with a song with a message understood by everyone. "It was an inspired song and they really wanted to give the world a message", said Brian Epstein. "The nice thing about it is that it cannot be misinterpreted. It is a clear message saying that love is everything."According to journalist Jade Wright, "Lennon was fascinated by the power of slogans to unite people and never afraid to create art out of propaganda. When asked in 1971 whether songs like "Give Peace a Chance" and "Power to the People" were propaganda songs, he answered: 'Sure. So was All You Need Is Love. I'm a revolutionary artist. My art is dedicated to change.' " The band started work on recording the song on 14 June 1967, with Lennon playing harpsichord, Paul McCartney on double bass, George Harrison on violin (an instrument he had never previously played), and Ringo Starr on drums. They recorded 33 takes, choosing the tenth take as the best.

Over the following days they recorded overdubs including vocals, piano (played by their producer, George Martin), banjo (by Lennon), guitar and orchestral parts. The interviews on The Beatles Anthology documentary series reveal that McCartney and Harrison were unsure whether "All You Need Is Love" was written for Our World, while Starr and Martin assert that it was. When asked, McCartney replied: "I don't think it was written specially for it. But it was one of the songs we had. ... It was certainly tailored to [the broadcast] once we had it. But I've got a feeling it was just one of John's songs that were coming there." MUSICAL STRUCTURE The song starts with the intro to the French national anthem, "La Marseillaise", and contains elements from Glenn Miller's 1939 hit "In the Mood", as well as elements from Wayne Shanklin's 1958 hit "Chanson D'Amour". The song is notable for its asymmetric time signature and complex changes.

The main verse pattern contains a total of 29 beats, split into two 7/4 measures, a single bar of 8/4, followed by a one bar return of 7/4 before repeating the pattern. The chorus, however, maintains a steady 4/4 beat with the exception of the last bar of 6/4 (on the lyric "love is all you need"). The prominent cello line draws attention to this departure from pop-single normality, although it was not the first time that the Beatles had experimented with varied meter within a single song: "We Can Work It Out" and "Strawberry Fields Forever" are other examples. The song is in the key of G and the verse opens (on "There's nothing you can do") with a G chord and D melody note, the chords shifting in a I-V-vi chord progression while the bass simultaneously follows the tonic (G) to the relative minor (Em), but via an F♯, supporting a first inversion D chord. Indeed, throughout this song McCartney's bass implies many additional harmonies under the chords played by the other instruments.

After the verse "learn how to play the game, it's easy", the bass alters the prolonged V (D) chord with F#, E, C and B notes. The song is notable for a dramatic use of a dominant or V chord (here D) on "It's easy." The "Love, love, love" chant involves chords in a I-V7-vi shift (G-D-Em) and simultaneous descending B, A, G notes with the concluding G note corresponding not to the tonic G chord, but acting as a 3rd of the Em chord; this also introducing the E note of the Em chord as a 6th of the tonic G scale. Supporting the same melody note with different and unexpected chords has been termed a characteristic Beatles technique. George Martin recalled that "the boys ... wanted to freak out at the end, and just go mad". During the long fade-out, elements of various other songs can be heard, including "Greensleeves", Invention No. 8 in F major (BWV 779) by J. S. Bach, "In the Mood", and the Beatles' own 1963 hit "She Loves You".

The first of these three pieces had been included in the arrangement by Martin. "She Loves You" was the result of improvisation by Lennon in rehearsals – he had also experimented with interpolating "Yesterday" and "She'll Be Coming 'Round the Mountain" – although it was McCartney who sang "She Loves You" on the subsequent studio recording. LIVE BROADCAST The Our World broadcast cut to Abbey Road studios at 8:54 PM London time, about 40 seconds earlier than expected. Martin and engineer Geoff Emerick were drinking scotch whisky to calm their nerves for the task of mixing the audio for a live worldwide broadcast, and had to scramble the bottle and glasses beneath the mixing desk when they were told they were about to go on air. For the broadcast, the Beatles (except for Starr) were seated on stools, accompanied by a small studio orchestra. They were surrounded by friends and acquaintances seated on the floor, who sang along with the refrain during the fade-out. These guests included Mick Jagger, Eric Clapton, Marianne Faithfull, Keith Richards, Keith Moon, Graham Nash, Mike McGear, Patti Boyd and Jane Asher.

The performance was not completely live: the Beatles, the orchestra, and guests were overdubbing onto a pre-recorded rhythm track mainly consisting of piano, harpsichord, drums and backing vocals. The producers of Our World were initially unhappy about the use of backing tracks, but it was insisted upon by Martin, who said that "we can't just go in front of 350 million people without some work". The full Our World segment opens with the band and company listening to the raw backing track, as commentator Steve Race explained the process in voiceover. The segment initially showed the band simulating a rehearsal or rough take for about a minute, before Martin suggesting that the orchestral musicians should take their places for the recording as the tape was rewound, followed by the band's performance with the orchestral section. Among a number of placards featuring the word "love" translated into a variety of languages, a sign was held up during the clip with the words "Come Back Milly" – a plea to an aunt of McCartney's who was then in Australia visiting her son and grandchildren. Lennon, affecting indifference, was said to be nervous about the broadcast, given the potential size of the international TV audience.

Dissatisfied with his singing, he rerecorded the solo verses for use on the single. Starr also overdubbed drums before the single was released,[15] fixing the aforementioned timing problems and adding the drum roll. The programme was broadcast in black-and-white (colour television had yet to commence broadcasting in Britain and most of the world). The Beatles' footage was colourised, based on photographs of the event, for the 1995 documentary The Beatles Anthology.[16] The colour version is also included in the Beatles' 2015 video compilation. RELEASE The day before the Our World broadcast, the Beatles decided that the song should be their next single. Released in the UK on 7 July 1967, it went straight to number one and remained there for three weeks. It was similarly successful in the United States after its release on 17 July, reaching number one for a week. "All You Need Is Love" was also included on the American LP version of Magical Mystery Tour in November 1967, as well as in the film, and on the LP Yellow Submarine, released in 1969.

This song is also featured in Cirque du Soleil's show Love, based on the songs of the Beatles. Stay in touch

Question: Which Beatles song begins with the French National Anthem
Answer: All You Need Is Love