All You Need Is Love

We had been told we’d be seen recording it by the whole world at the same time. So we had one message for the world – Love. We need more love in the world.

Paul McCartney, 1967- From Beatles Wiki – Interviews, Music, Beatles Quotes

From Wikipedia:

“All You Need Is Love” is a song by the English rock band the Beatles that was released as a non-album single in July 1967. It was written by John Lennon and credited to the Lennon–McCartney partnership. The song was Britain’s contribution to Our World, the first live global television link, for which the band were filmed performing it at EMI Studios in London on 25 June. The programme was broadcast via satellite and seen by an audience of over 400 million in 25 countries. Lennon’s lyrics were deliberately simplistic, to allow for the show’s international audience, and captured the utopian ideals associated with the Summer of Love. The single topped sales charts in Britain, the United States and many other countries, and became an anthem for the counterculture’s embrace of flower power philosophy.

Our World coincided with the height of the Beatles’ popularity and influence, following the release of their album Sgt. Pepper’s Lonely Hearts Club Band. Rather than perform the song entirely live, the group played to a pre-recorded backing track. With an orchestral arrangement by George Martin, the song begins with a portion of the French national anthem and ends with musical quotations from works such as Glenn Miller’s “In the Mood”, “Greensleeves”, Bach’s Invention No. 8 in F major, and the Beatles’ 1963 hit “She Loves You“. Adding to the broadcast’s festive atmosphere, the studio was adorned with signs and streamers and filled with guests dressed in psychedelic attire, including members of the Rolling Stones, the Who and the Small Faces. Brian Epstein, the Beatles’ manager, described the performance as the band’s “finest” moment.

“All You Need Is Love” was later included on the US Magical Mystery Tour album and served as the moral for the Beatles’ 1968 animated film Yellow Submarine. Originally broadcast in black-and-white, the Our World performance was colourised for inclusion in the Beatles’ 1995 Anthology documentary series. While the song remains synonymous with the 1967 Summer of Love ethos and provided the foundation for Lennon’s legacy as a humanitarian, numerous critics found the message naive in retrospect, particularly during the 1980s. Since 2009, Global Beatles Day, an international celebration of the Beatles’ music and social message, takes place on 25 June each year in tribute to their Our World performance.

Background and inspiration

On 18 May 1967, the Beatles signed a contract to appear as Britain’s representatives on Our World, which was to be broadcast live internationally, via satellite, on 25 June. The Beatles were asked to provide a song with a message that could be easily understood by everyone, and using “basic English” terms. The band undertook the assignment at a time when they were considering making a television special, Magical Mystery Tour, and working on songs for the animated film Yellow Submarine, for which they were contractually obliged to United Artists to supply four new recordings. “All You Need Is Love” was selected for Our World for its contemporary social significance over the Paul McCartney-written “Your Mother Should Know“. In a statement to Melody Maker magazine, Brian Epstein, the band’s manager, said of “All You Need Is Love”: “It was an inspired song and they really wanted to give the world a message. The nice thing about it is that it cannot be misinterpreted. It is a clear message saying that love is everything.”

John Lennon later attributed the song’s simple lyrical statements to his liking of slogans and television advertising. He likened the song to a propaganda piece, adding: “I’m a revolutionary artist. My art is dedicated to change.” Author Mark Hertsgaard views it as the Beatles’ “most political song yet” up to 1967 and the origins of Lennon’s posthumous standing as a “humanitarian hero”. The song’s advocacy of the all-importance of love followed Lennon’s introduction of the idea in his lyrics to “The Word” in 1965 and George Harrison’s declaration in “Within You Without You“, from the band’s recently released Sgt. Pepper’s Lonely Hearts Club Band album, that “With our love, we could save the world”.

The Beatles were unimpressed when Epstein first told them that he had arranged for their appearance on Our World, and they delayed choosing a song for the broadcast. In their interviews for The Beatles Anthology in the 1990s, McCartney and Harrison say they were unsure whether “All You Need Is Love” was written for Our World, while Ringo Starr and George Martin, the Beatles’ producer, state that it was. McCartney said: “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 was coming anyway.” In McCartney’s recollection, the song was entirely Lennon’s, with Harrison, Starr and his own contributions confined to “ad-libs” at the end of the recording.

Composition and musical structure – Main portion

“All You Need Is Love” contains an asymmetric time signature and complex changes. Musicologist Russell Reising writes that, although the song represents the peak of the Beatles’ overtly psychedelic phase, the change in metre during the verses is the sole example of the experimental aspect that typifies the band’s work in that genre. The main verse pattern contains a total of 29 beats, split into two 74 measures, a single bar of 84, followed by a one bar return of 74 before repeating the pattern. The chorus, however, maintains a steady 44 beat with the exception of the last bar of 64 (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 metre within a single song: “Love You To” and “She Said She Said” were earlier 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 moves from the tonic (G) note to the root note of the relative minor (E minor), via an F♯, supporting a first inversion D chord. 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 includes 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 the third of the E minor 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.

According to Reising, the lyrics advance the Beatles’ anti-materialistic message and are an “anthemic tribute” to universal love in which “nothing is tempered or modulated”. He says that Lennon favours words such as “nothing”, “no one”, “nowhere” and “all”, thereby presenting a series of “extreme statements” that conclude with “the final reversals of ‘All you need is love’ and ‘Love is all you need'”.

Composition and musical structure – Quotations and coda

On the Beatles’ recording, the song starts with the first few bars of the French national anthem, “La Marseillaise”, and contains elements from other musical works, such as Glenn Miller’s 1939 hit “In the Mood”. This use of musical quotations follows an approach first adopted by the Beatles in Harrison’s composition “It’s All Too Much“, which similarly reflects the ideology behind the hippie movement during the 1967 Summer of Love. George Martin recalled that in “All You Need Is Love” “the boys … wanted to freak out at the end, and just go mad”. During the long coda, elements of other musical works can be heard, including “Greensleeves”, Invention No. 8 in F major (BWV 779) by J. S. Bach, “In the Mood”, and the Beatles’ own songs “She Loves You” and “Yesterday“. The first of these three pieces had been included in the arrangement by Martin, while “She Loves You” and “Yesterday” were the result of improvisation by Lennon during rehearsals.

Like musicologist Alan Pollack, Kenneth Womack views the “She Loves You” refrain as serving a similar purpose to the wax models of the Beatles depicted on the cover of Sgt. Pepper, beside the real-life band members, and therefore a further example of the group distancing themselves from their past. In his book Rock, Counterculture and the Avant-Garde, author Doyle Greene describes the combination of the “Love is all you need” refrain, “She Loves You” reprise, and orchestral quotations from Bach and Miller as “a joyous, collective anarchy signifying the utopian dreams of the counterculture topped off with a postmodern fanfare”.

Recording– Backing track

The Beatles began recording the backing track for the song at Olympic Sound Studios in Barnes, south-west London, on 14 June 1967. The producers of Our World were initially unhappy about the use of a backing track for the broadcast, but Martin insisted, saying, “we can’t just go in front of 350 million people without some work”. The initial line-up was Lennon on harpsichord, McCartney on double bass with a bow, Harrison on violin – three instruments that were unfamiliar to the musicians – while Starr played drums. The band recorded 33 takes, before choosing the tenth take as the best. This performance was transferred onto a new 4-track tape, with the four instruments mixed into one track. The engineers at Olympic thought the Beatles displayed a surprising lack of care during this process, a sign, according to author Ian MacDonald, of the group’s new preference for randomness in contrast to the high production standards of Sgt. Pepper.

From 19 June, working at Studio 2 in EMI Studios (now Abbey Road Studios), the Beatles recorded overdubs including piano (played by Martin), banjo, guitar and some vocal parts. Among the latter were the “Love, love, love” refrains, and a Lennon vocal over the song’s choruses. On 23 June, the band began rehearsing the song with an orchestra, whose playing was also added to the backing track. On 24 June, the day before the broadcast, the Beatles decided that the song would be their next single. Late that morning, a press call was held at EMI Studios, attended by over 100 journalists and photographers, followed by further rehearsals and recording. Publicity photos were taken during the press call and rehearsals, and a BBC television crew blocked the camera angles required for the live performance. As part of this pre-broadcast promotion, the Beatles posed in a yard beside the studio building, wearing boards that together spelt out “All You Need Is Love” and approximations of the song title in three other languages.

Recording– Live broadcast

The Our World broadcast took place in the wake of the Arab–Israeli Six-Day War and, for the Beatles, amid the public furore caused by McCartney’s admission that he had taken LSD. On 25 June, the live transmission cut to EMI 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 to hide the bottle and glasses beneath the mixing desk after being told they were about to go on air.

The Beatles (except for Starr, behind his drum kit) were seated on high stools, accompanied by a thirteen-piece orchestra. The band 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, Pattie Boyd (Harrison’s wife), along with Mike McGear and Jane Asher (McCartney’s brother and girlfriend, respectively). The studio setting was designed to reflect the communal aspect of the occasion while also demonstrating the position of influence that the Beatles held among their peers, particularly following the release of Sgt. Pepper. Many of the invitations were extended through Beatles aides Mal Evans and Tony Bramwell, who had visited various London nightclubs the night before the broadcast.

Also among the studio audience were members of the Small Faces and the design collective the Fool. Balloons, flowers, streamers and “Love” graffiti added to the celebratory atmosphere. The Beatles and their entourage were dressed in psychedelic clothes and scarves; in his report on the performance, Barry Miles likened the setting to a medieval gathering, broken only by the presence of modern studio equipment such as large headphones and microphones. According to Michael Frontani, an associate professor of communications, whereas Sgt. Pepper showed the Beatles as artists and “serious musicians”, Our World emphasised their identity as members of the hippie counterculture.

The segment was directed by Derek Burrell-Davis, the head of the BBC’s Our World project. It opened with the band playing “All You Need Is Love” for about a minute, before Martin, speaking from the studio control room, suggested that the orchestra should take their places for the recording as the tape was rewound. The BBC presenter, Steve Race, announced that the Beatles had just recorded this performance and were about to complete the recording live. In fact, in author John Winn’s description, Race’s statements were part of the “staged” aspect of the segment, which purported to show the Beatles at work in the studio: the opening footage of the band (merely rehearsing over the backing track) had been filmed earlier, and by the time Martin appeared to be issuing instructions, the orchestra were already seated in Studio 1. The Beatles, accompanied by the orchestra and the studio guests, then performed the entire song, overdubbing onto the pre-recorded rhythm track. In addition to the lead and backing vocals and the orchestra, the live elements were McCartney’s bass guitar part, Harrison’s guitar solo and Starr’s drums. In the opinion of music critic Richie Unterberger, the performance of “All You Need Is Love” is “the best footage of the Beatles in the psychedelic period” and “captures Flower Power at its zenith, with enough irreverence to avoid pomposity, what with the sandwich boards of lyrics, the florid clothing and decor, and celebrity guests”.

Final overdubs

Lennon, affecting indifference, was said to be nervous about the broadcast, given the potential size of the international TV audience. Later on 25 June, dissatisfied with his singing, he re-recorded the solo verses for use on the single. On 26 June, in EMI’s Studio 2, Lennon’s vocal was treated with ADT, and Starr overdubbed a drum roll at the start of the track, replacing a tambourine part.

The programme was shown in black-and-white since 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. Over the documentary’s end credits, a snippet of studio conversation from the 25 June overdubbing session includes Lennon telling Martin: “I’m ready to sing for the world, George, if you can just give me the backing …” The colour version of the band’s Our World appearance also appears on the Beatles’ 2015 video compilation 1.

Release and reception

“All You Need Is Love” was issued in the UK on 7 July 1967, on EMI’s Parlophone label, with “Baby, You’re a Rich Man” as the B-side. The US release, on Capitol Records, took place on 17 July. In his contemporary review for Melody Maker, Nick Jones said the Beatles represented the “progressive avant-garde” in their approach to singles releases, and that “All You Need Is Love” was “another milestone in their very phenomenal career”. He described the song as a “cool, calculated contagious Beatles singsong” that was more immediate than “Strawberry Fields Forever“, and concluded: “The message is ‘love’ and I hope everyone in the whole wide world manages to get it.” The single entered the Record Retailer chart (subsequently the UK Singles Chart) at number 2 before topping the listings for three weeks. In the US, it topped the Billboard Hot 100 for a week. The song was a number 1 hit in many other countries. It was also the subject of a copyright dispute between EMI and KPM, the publisher of “In the Mood”, later in July. Since Martin had not checked the copyright status of Miller’s piece before incorporating it into the coda, EMI were obliged to pay royalties to KPM. On 11 September, “All You Need Is Love” was certified Gold by the Recording Industry Association of America.

The single coincided with the height of the Beatles’ popularity and influence during the 1960s, following the release of Sgt. Pepper. In his retrospective feature on the song in Rolling Stone, Gavin Edwards writes that “All You Need Is Love” provided “the sing-song anthem for the Summer of Love, with a sentiment that was simple but profound”. According to historian David Simonelli, such was the band’s international influence, it was the song that formally announced the arrival of flower power ideology as a mainstream concept. The Beatles followed up the utopian spirit of Our World in their activities over July and August, during their first summer free of tour commitments. In late July, the band investigated the possibility of buying a Greek island with a view to setting up a hippie-style commune for themselves and members of their inner circle. After sailing around the Aegean Sea and approving a location on the island of Leslo, the Beatles decided against the idea and returned to London. In early August, Harrison and a small entourage made a well-publicised visit to the international hippie capital of Haight-Ashbury, in San Francisco.

Writing in 2001, Peter Doggett said that the Beatles’ performance on Our World “remains one of the strongest visual impressions of the summer of love”; Womack describes it as “flower power’s finest moment”. Rolling Stone ranks “All You Need Is Love” 370th on its list of the “500 Greatest Songs of All Time” and 21st on its “100 Greatest Beatles Songs” list. Mojo placed it at number 28 on a similar list of the best Beatles songs. In his commentary for the magazine, producer and musician Dave Stewart admired the track’s “jumbled-up mix of music – marching band and rock’n’roll” and recalled the Beatles’ Our World appearance as “a signal for those [of us] who felt we were trapped in a mental hospital in some suburban town to break out”. In 2018, the music staff of Time Out London ranked “All You Need Is Love” at number 4 on their list of the best Beatles songs.

In November 1967, “All You Need Is Love” was included on the American LP version of Magical Mystery Tour, together with the band’s other singles tracks from that year. It was also included on the Yellow Submarine soundtrack album, released in January 1969. As a statement on the power of universal love, the song served as the moral in the Yellow Submarine film; it plays over a scene where Lennon’s character defeats the Blue Meanies by throwing the word “Love” at their evil Flying Glove. The song is also featured in Cirque du Soleil’s show Love, based on the songs of the Beatles. It was sequenced as the closing track of the 2006 soundtrack album.

Cultural responses and legacy – Social relevance

In a 1981 article on the musical and societal developments of 1967, sociomusicologist Simon Frith described “All You Need Is Love” as a “genuinely moving song” and said that, further to the impact of Sgt. Pepper, the international broadcast confirmed “the Beatles’ evangelical role” in a year when “it seemed the whole world was waiting for something new, and the power of music was beyond doubt.” Psychiatrist and New Left advocate R. D. Laing wrote about the song’s contemporary appeal:

The times fitted [the Beatles] like a glove. Everyone was getting the feel of the world as a global village – as us, one species. The whole human race was becoming unified under the shadow of death … One of the most heartening things about the Beatles was that they gave expression to a shared sense of celebration around the world, a sense of the same sensibility.

Doyle Greene writes that because of its presentation as the conclusion to Our World, “All You Need Is Love” provided “a distinctly political statement”. He says that the song was “selling peace” on a programme that aimed to foster international understanding in a climate of Cold War hostility, the Vietnam War and revolutionary unrest in the Third World. By contrast, NME critics Roy Carr and Tony Tyler detected self-parody in the song, saying that the Beatles sought to debunk their elevated status during the Summer of Love.

According to author Jon Wiener, “All You Need Is Love” served as “the anthem of flower power” that summer but also, like Sgt. Pepper, highlighted the ideological gulf between the predominantly white hippie movement and the increasingly political ghetto culture in the US. Wiener says that the song’s pacifist agenda infuriated many student radicals from the New Left and that these detractors “continued to denounce [Lennon] for it for the rest of his life”. He also writes that, in summer 1967, “links between the counterculture and the New Left remained murky”, since a full dialogue regarding politics and rock music was still a year away and would only be inspired by Lennon’s 1968 song “Revolution“.

The Rolling Stones’ 1967 single We Love You was inspired by the message of “All You Need Is Love”, and John Lennon and Paul McCartney appeared on the song, contributing backing vocals

In the mid-1970s, according to Carr and Tyler, it was still “impossible” to hear the start of the French national anthem without launching into “All You Need Is Love”, yet even a contrite “reformed hippie” could “bellow tunelessly along with this glorious, irreverent single without any real embarrassment – a measure of its internal strength and durability”.

In 2005, a handwritten copy of the lyrics sold at auction for $1.25 million (equivalent to $1.73 million in 2021), more than tripling the record for a lyric manuscript previously held by Lennon’s “Nowhere Man“.

Cultural responses and legacy – Retrospective criticism

In the decades following the record’s release, Beatles biographers and music journalists criticised the lyrics as naive and simplistic and detected a smugness in the message; the song’s musical content was similarly dismissed as unimaginative. Ian MacDonald viewed it as “one of The Beatles’ less deserving hits” and, in its apparently chaotic production, typical of the band’s self-indulgent work immediately after Sgt. Pepper. Regarding the song’s message, MacDonald writes:

“During the materialistic Eighties, this song’s title was the butt of cynics, there being, obviously, any number of additional things needed to sustain life on earth. It should, perhaps, be pointed out that this record was not conceived as a blueprint for a successful career. “All you need is love” is a transcendental statement, as true on its level as the principle of investment on the level of the stock exchange. In the idealistic perspective of 1967 – the polar opposite of 1987 – its title makes perfect sense.”

Writing in 1988, author and critic Tim Riley identified the track’s “internal contradictions (positivisms expressed with negatives)” and “bloated self-confidence (‘it’s easy’)” as qualities that rendered it as “the naive answer to ‘A Day in the Life‘”. By contrast, Mark Hertsgaard considers “All You Need Is Love” to be among the Beatles’ finest songs and one of the few highlights among their recordings from the Magical Mystery Tour–Yellow Submarine era. In his opinion, Lennon’s detractors fail to discern between “shallow and utopian” when ridiculing the song as socially irrelevant, and he adds: “one may as well complain that Martin Luther King was a poor singer as criticize Lennon on fine points of political strategy; his role was the Poet, not the Political Organizer.”

Writing in 2017, Ludovic Hunter-Tilney of the Financial Times said that the song “appears hopelessly naive 50 years on” yet its espousal of global connectedness had become increasingly relevant. In his view, through Our World, “‘All You Need Is Love’ marked a new chapter in the world’s colonisation by telecommunications”, and its message inspired the sentiments behind “Love Trumps Hate”, displayed on placards protesting Donald Trump’s 2016 US presidential win, and the One Love Manchester benefit concert.

Validity of message

In Granada Television’s 1987 documentary It Was Twenty Years Ago Today, commemorating two decades since Sgt. Pepper and the Summer of Love, several of the interviewees were asked whether they still believed that “Love is all you need”. Harrison was the only one who unequivocally agreed with the sentiment. Asked why this was, he told Mark Ellen of Q magazine: “They all said All You Need Is Love but you also need such-and-such else. But … love is complete knowledge. If we all had total knowledge, then we would have complete love and, on that basis, everything is taken care of. It’s a law of nature.”

In 2009, George Vaillant, the chief investigator of the Grant Study, which tracked 268 Harvard undergraduates for a period of 80 years with the goal of finding what factors led to longevity, said that happiness had a strong correlation to close relationships, summarising: “Happiness is love. Full stop.” The CBC reported that the “[Grant] study proves Beatles right: All You Need is Love.” […]

‘All You Need Is Love’ was perfect if you’re going to say any message. That’s a fine and wonderful message to say, really. So we just put the track down and then we did the vocal. So we’ve still got mine, ready to do for the next one, which is of a similar nature in its simplicity, but with a different message.

Paul McCartney, 1967 – From Beatles Wiki – Interviews, Music, Beatles Quotes

What happened was, a fellow from the BBC, an organisation which I’m sure you have heard of, asked us to get together a song for this. So we said, ‘We’d get one together, with nice easy words, so that everyone can understand it.’ So he said, ‘Oh, all right then. We’ll see you in a couple of weeks.’ So we went away, and we just played Monopoly for a bit, and then the fellow said, ‘Now, where’s the song?’ So we said, ‘Ah! Don’t worry Derek.’ His name was Derek Burrell-Davis. We’ll soon have a song for you.’ So John and I just got together and thought and I wrote one, and John wrote one, and we went to the session and we just decided to do his first. By the time that we had done the backing track for John’s, we suddenly realised that his was the one.

Paul McCartney – Interview with Kenny Everett – From “The Beatles: Off the Record” by Keith Badman, 2008

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 – From “Paul McCartney: Many Years from Now” by Barry Miles, 1997

When it came to the end of their fade-away as the song closed, I asked them, ‘How do you want to get out of it?’ ‘Write absolutely anything you like, George,’ they said. ‘Put together any tunes you fancy, and just play it out like that.’

George Martin, 1967 – From Beatles Wiki – Interviews, Music, Beatles Quotes

‘All You Need Is Love’ was perfect if you’re going to say any message. That’s a fine and wonderful message to say, really. So we just put the track down and then we did the vocal. So we’ve still got mine, ready to do for the next one, which is of a similar nature in its simplicity, but with a different message.

Paul McCartney – From “The Beatles: Off the Record” by Keith Badman, 2008

We just put a track down, because I knew the chords. I played a harpsichord and George played a violin, because we felt like doing it like that and Paul played a double bass. They can’t play them, so we got some nice noises coming out and then you can hear it going on, because it sounded like an orchestra, but it’s just those two playing the violin. So then we thought, ‘Ah well, we’ll have some more orchestra around this little three-piece with a drum.’ There was no conception about how it should sound like at the end until we did it that day. Until the rehearsal, it still sounded a bit strange then.

John Lennon – From “The Beatles: Off the Record” by Keith Badman, 2008

If you notice at the end of ‘All You Need Is Love,’ there’s ‘Greensleeves’ and “In The Mood’ and all sorts of different tunes coming over the end. I know Paul just thought of it at the time and then just started singing ‘She Loves You.’

George Harrison, 1967 – From Beatles Wiki – Interviews, Music, Beatles Quotes

George Martin always has something to do with it, but sometimes more than others. For instance, he wrote the end of ‘All You Need Is Love’ and got into trouble because the ‘In The Mood’ bit was copyrighted. It was a hurried session and we said (to Martin), ‘There’s the end, we want it to go on and on.’ Actually, what he wrote was much more disjoined, so when we put all the bits together, we said, ‘Could we have “Greensleeves” right on top of that little Bach thing?’ And on top of that, we had the ‘In The Mood’ bit. Sometimes, George (Martin) works with us, and sometimes against us. But he always looks after us. I don’t think he does as much as people think. He sometimes does all the arrangement and we just change them.

Paul McCartney – From “The Beatles: Off the Record” by Keith Badman, 2008

It duly went to number one. Unfortunately, there was a sting in the tail for me. I was being paid the princely sum of fifteen pounds for arranging the music and writing the bits for the beginning and ending, and I had chosen the tunes for the mixture in the belief that they were all out of copyright. More fool me. It turned out that although ‘In the Mood’ itself was out of copyright, the Glenn Miller arrangement of it was not. The little bit I had chosen was the arrangement, not the tune itself, and as a result EMI were asked by its owners for a royalty.

The Beatles, quite rightly I suppose, said: ‘We’re not going to give up our copyright royalty.’ So Ken East, the man who had by then become managing director of EMI Records, came to me and said: ‘Look here, George, you did the arrangement on this. They’re expecting money for it.’ ‘You must be out of your mind,’ I said. ‘I get fifteen pounds for doing that arrangement. Do you mean to say I’ve got to pay blasted copyright out of my fifteen quid?’

His answer was short and unequivocal. ‘Yes.’

In the end, of course, EMI had to settle with the publishers.

George Martin – From “All You Need Is Ears“, 1979

I read that ‘All You Need Is Love’ was performed before a TV audience of over 400 million in 24 countries. Would you say that was a special record to you?

Oh year… it’s a bit like a Live Aid thing… I think this was the very first time they’d actually hooked up all the television networks all over the world. We had this song ‘All You Need Is Love’ and we thought that’d be the perfect one to use… He [the director] gave us quite a free hand, so we invited all our friends round to the studio. We thought, well if it’s the people of the world meeting the people of the world, we might as well have a great big crowd there and just show ’em what our … crowd is like at the moment… They were all very nice people – probably looked a bit weird to some people, ’cause all the fashions were a bit weird.

We had the orchestra there and we’d rehearsed it a couple of days before… eventually it came to it. They cued from another country – ‘from America to London, England’ – the music started and we started singing this thing. We got through it: I’m surprised nobody panicked. It was a fabulous thing… it’s rare when the world gets together over something like that. I think the majority of people do care: they’re great when they’re asked to give… I think everyone would like to see it more. [There’s] this feeling that people do have, like in things like hospital visiting. I think people are great: they do look after each other… all the nurses looking after the patients now and stuff.

Paul McCartney – Interview with Club Sandwich, 1985

From The Usenet Guide to Beatles Recording Variations:

[a] mono 26 Jun 1967.
UK: Parlophone single R5620 1967.
US: Capitol 5964 single 1967, Capitol MAL 2835 Magical Mystery Tour 1967.
CD: EMI single 1989.

[a1] mock stereo made from [a] 1967, by Capitol.
US: Capitol SMAL 2835 Magical Mystery Tour 1967.

[b] stereo 29 Oct 1968.
UK: Apple PCS 7070 Yellow Submarine 1969, Apple PCSP 718 The Beatles 1967-1970 1973.
US: Apple SW 153 Yellow Submarine 1969, Apple SKBO-3404 The Beatles 1967-1970 1973.
CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI CDP 7 46445 2 Yellow Submarine 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

[b1] mono made from [b] 1968.
UK: Apple PMC 7070 Yellow Submarine 1969.

In the intro, the mono version [a] has more horns but less drums, and the piano heard in stereo [b] is not audible. In the guitar solo, the lead guitar is louder in mono [a] and has more flanging, but ends by being cut off awkwardly, while in stereo [b] it fades down but can still be heard during the brass section. The mono version [a] has a longer fade by 10 seconds so that Greensleeves is heard twice. In stereo [b] a voice says “Check!” 25 seconds in.

A new mono mix made 1 November 1967 was used for original film prints of Yellow Submarine.

The live television broadcast on June 25, which has been bootlegged, has a tambourine instead of a drumroll at the opening, and a different lead vocal, and additionally parts of the backing tracks were heard before the performance.

Lyrics

Variations

• A Mono version • From "All You Need Is Love / Baby You're A Rich Man (UK)"
• A1 Mock stereo made from [A]
• A2009 2009 mono remaster • From "The Beatles in Mono (2009)"
• A2014 2014 remaster • From "The Beatles In Mono (Vinyl boxset - 2014)"
• A2019 2019 remaster • From "The Singles Collection"
• B Mono version • From "Yellow Submarine (Stereo)"
• B1 Mono made from [B] • From "Yellow Submarine (Mono)"
• B2000 2000 remaster • From "1"
• B2009 2009 remaster • From "The Beatles • The Original Studio Recordings (2009)"
• B2011 2011 remaster • From "1 (2011 remaster)"
• C 1999 remix • From "Yellow Submarine Songtrack"
• D 2006 "The Beatles Love" mix • From "Love"
• E 2015 stereo mix • From "The Beatles 1+" compilation"
• L1 Live version • "Party At The Palace" • Jun 03, 2002

Officially appears on

Bootlegs

Related film

Live performances

“All You Need Is Love” has been played in 16 concerts and 1 soundchecks.

Latest concerts where “All You Need Is Love” has been played

Going further

• https://en.wikipedia.org/wiki/All_You_Need_Is_Love