Every Beatles fact
All 1525 facts mined from the catalogue, grouped by category. Each links through to the songs, albums, people, and tags it draws on.
Text(380)
Of the Beatles songs released in 1964, 31 of its 35 lean on the Love motif; by 1967 it is 5 of 24.
The Childhood motif is on 14 of the 33 songs the Beatles released in 1965, and 1 of 16 by 1966.
The Relationship motif is on 25 of the 32 songs the Beatles released in 1963, and 3 of 24 by 1967.
The Weather motif is on 1 of the 32 songs the Beatles released in 1963, and 7 of 12 by 1970.
The Music motif is on 1 of the 35 songs the Beatles released in 1964, and 12 of 34 by 1968.
The Character motif is on 1 of the 35 songs the Beatles released in 1964, and 8 of 24 by 1967.
The Numbers motif is on 2 of the 33 songs the Beatles released in 1965, and 5 of 12 by 1970.
The Animals motif is on 2 of the 33 songs the Beatles released in 1965, and 13 of 34 by 1968.
The Death motif is on 7 of the 16 songs the Beatles released in 1966, and 2 of 26 by 1969.
The Question motif is on 16 of the 34 songs the Beatles released in 1968, and 1 of 12 by 1970.
The Real people motif is on 1 of the 35 songs the Beatles released in 1964, and 12 of 34 by 1968.
The Time motif is on 16 of the 24 songs the Beatles released in 1967, and 8 of 26 by 1969.
The Plea motif is on 21 of the 32 songs the Beatles released in 1963, and 4 of 24 by 1967.
The Self reflection motif is on 8 of the 35 songs the Beatles released in 1964, and 9 of 16 by 1966.
The Cultural snapshot motif is on 1 of the 35 songs the Beatles released in 1964, and 8 of 24 by 1967.
The Anatomy motif is on 22 of the 34 songs the Beatles released in 1968, and 2 of 12 by 1970.
The Communication motif is on 23 of the 33 songs the Beatles released in 1965, and 7 of 24 by 1967.
The Street motif is on 1 of the 33 songs the Beatles released in 1965, and 4 of 12 by 1970.
The Loneliness motif is on 15 of the 33 songs the Beatles released in 1965, and 4 of 34 by 1968.
The five most common lyric motifs in the Beatles' catalogue are Love (122), Communication (110), Anatomy (107), Relationship (102), Time (99).
55% of Beatles songs are net-Positive in lyrical tone; the rest split between Negative, Neutral, and Mixed.
The average Beatles song contains about 178 words of lyric.
Love is the dominant theme for the Beatles' main three writers: 53% of Lennon's songs, 58% of McCartney's, and 52% of Harrison's mention it.
Across the four Beatles writers, the Relationship motif appears in 49% of Lennon's songs, 51% of McCartney's, 36% of Harrison's, and 50% of Ringo's.
George Harrison carries the Self reflection motif harder than the others: 52% of his songs touch it, vs 44% Lennon / 27% McCartney / 52% Harrison.
Paul McCartney carries the Communication motif harder than the others: 50% of his songs touch it, vs 46% Lennon / 50% McCartney / 36% Harrison.
Paul McCartney carries the Time motif harder than the others: 51% of his songs touch it, vs 37% Lennon / 51% McCartney / 48% Harrison.
John Lennon carries the Anatomy motif harder than the others: 49% of his songs touch it, vs 49% Lennon / 48% McCartney / 32% Harrison.
Paul McCartney carries the Nostalgia motif harder than the others: 27% of his songs touch it, vs 16% Lennon / 27% McCartney / 12% Harrison.
George Harrison carries the Spiritual motif harder than the others: 28% of his songs touch it, vs 8% Lennon / 4% McCartney / 28% Harrison.
Paul McCartney carries the Loneliness motif harder than the others: 31% of his songs touch it, vs 25% Lennon / 31% McCartney / 20% Harrison.
John Lennon carries the Family motif harder than the others: 10% of his songs touch it, vs 10% Lennon / 10% McCartney / 0% Harrison.
John Lennon carries the Anger motif harder than the others: 10% of his songs touch it, vs 10% Lennon / 7% McCartney / 0% Harrison.
John Lennon carries the Question motif harder than the others: 35% of his songs touch it, vs 35% Lennon / 29% McCartney / 12% Harrison.
Paul McCartney carries the Plea motif harder than the others: 39% of his songs touch it, vs 37% Lennon / 39% McCartney / 24% Harrison.
The Nostalgia motif is rare for George Harrison - it appears in just 9% of his sole-written songs (2 of 22), against 14% for John and 29% for Paul: 'Long, Long, Long' and 'I Need You'.
The Surrealism motif is rare for George Harrison - it appears in just 5% of his sole-written songs (1 of 22), against 17% for John and 5% for Paul: 'It's All Too Much'.
The Travel motif is rare for George Harrison - it appears in just 5% of his sole-written songs (1 of 22), against 12% for John and 14% for Paul: 'Don't Bother Me'.
The Question motif is rare for George Harrison - it appears in just 9% of his sole-written songs (2 of 22), against 37% for John and 29% for Paul: 'Long, Long, Long' and 'Piggies'.
Early-era Beatles songs and late-era ones sit almost on top of each other for words per lyric (175 vs 176) despite arrangements, themes, and studio technique changing dramatically.
John Lennon's most-used lyric motifs: Love (55), Relationship (50), Anatomy (50), Communication (47), Self reflection (45).
Paul McCartney's most-used lyric motifs: Love (52), Time (46), Relationship (46), Communication (45), Anatomy (43).
George Harrison's most-used lyric motifs: Self reflection (13), Love (13), Time (12), Communication (9), Relationship (9).
53% of John Lennon's songs reach for the Love motif - 55 of them.
58% of Paul McCartney's songs reach for the Love motif - 52 of them.
52% of George Harrison's songs reach for the Self reflection motif - 13 of them.
The Drugs motif first appears in the Beatles catalogue on 'She's a Woman' (1964).
The Death motif first appears in the Beatles catalogue on 'Baby's in Black' (1964).
The Political motif first appears in the Beatles catalogue on 'Think for Yourself' (1965).
The Spiritual motif first appears in the Beatles catalogue on 'The Word' (1965).
The Loneliness motif first appears in the Beatles catalogue on 'Hold Me Tight' (1963).
The Nostalgia motif first appears in the Beatles catalogue on 'P.S. I Love You' (1962).
The Surrealism motif first appears in the Beatles catalogue on 'Yellow Submarine' (1966).
The Revolution motif first appears in the Beatles catalogue on 'Revolution 1' (1968).
The Family motif first appears in the Beatles catalogue on 'Long Tall Sally' (1964).
The Sleep motif first appears in the Beatles catalogue on 'A Hard Day's Night' (1964).
The Dreams motif first appears in the Beatles catalogue on 'All My Loving' (1963).
The Money motif first appears in the Beatles catalogue on 'P.S. I Love You' (1962).
The Religion motif first appears in the Beatles catalogue on 'Devil in Her Heart' (1963).
The Madness motif first appears in the Beatles catalogue on 'Another Girl' (1965).
The Travel motif first appears in the Beatles catalogue on 'Don't Bother Me' (1963).
The Childhood motif first appears in the Beatles catalogue on 'Please Please Me' (1963).
The Time motif first appears in the Beatles catalogue on 'P.S. I Love You' (1962).
The Anger motif first appears in the Beatles catalogue on 'Not a Second Time' (1963).
The Sadness motif first appears in the Beatles catalogue on 'There's a Place' (1963).
The Fire motif first appears in the Beatles catalogue on 'Norwegian Wood (This Bird Has Flown)' (1965).
'We Can Work It Out' (1965) is the earliest Beatles song to use antithesis as a lyrical device.
'Norwegian Wood (This Bird Has Flown)' (1965) is the earliest Beatles song to use double meaning as a lyrical device.
The question motif first appears on a Beatles record on 'Please Please Me' (1963).
The Beatles first used the list-song form on 'Bad Boy' (1965).
In 1963, the lyric motifs that showed up on the largest share of the year's songs were Relationship (78%), Love (78%), Plea (66%).
In 1964, the lyric motifs that showed up on the largest share of the year's songs were Love (89%), Relationship (71%), Communication (66%).
In 1965, the lyric motifs that showed up on the largest share of the year's songs were Relationship (73%), Communication (70%), Love (64%).
In 1966, the lyric motifs that showed up on the largest share of the year's songs were Communication (63%), Anatomy (56%), Self reflection (56%).
In 1967, the lyric motifs that showed up on the largest share of the year's songs were Time (67%), Anatomy (46%), Numbers (38%).
In 1968, the lyric motifs that showed up on the largest share of the year's songs were Anatomy (65%), Question (47%), Childhood (41%).
In 1969, the lyric motifs that showed up on the largest share of the year's songs were Anatomy (54%), Communication (50%), Love (50%).
In 1970, the lyric motifs that showed up on the largest share of the year's songs were Weather (58%), Time (50%), Numbers (42%).
Please Please Me's most-used lyric motif is Love - it shows up on 13 of 14 tracks (93%).
With The Beatles's most-used lyric motif is Relationship - it shows up on 11 of 14 tracks (79%).
A Hard Day's Night's most-used lyric motif is Love - it shows up on every one of the album's 13 tracks.
Beatles For Sale's most-used lyric motif is Love - it shows up on 12 of 14 tracks (86%).
Help!'s most-used lyric motif is Love - it shows up on 11 of 14 tracks (79%).
Rubber Soul's most-used lyric motif is Communication - it shows up on 10 of 14 tracks (71%).
Revolver's most-used lyric motif is Anatomy - it shows up on 9 of 14 tracks (64%).
Sgt. Pepper's Lonely Hearts Club Band's most-used lyric motif is Time - it shows up on 10 of 13 tracks (77%).
Magical Mystery Tour's most-used lyric motif is Time - it shows up on 6 of 11 tracks (55%).
The Beatles (The White Album)'s most-used lyric motif is Anatomy - it shows up on 19 of 30 tracks (63%).
Yellow Submarine's most-used lyric motif is Anatomy - it shows up on 3 of 4 tracks (75%).
Abbey Road's most-used lyric motif is Communication - it shows up on 8 of 17 tracks (47%).
Let It Be's most-used lyric motif is Weather - it shows up on 7 of 12 tracks (58%).
Reunion singles's most-used lyric motif is Fragile Lennon – it shows up on every one of them.
'I Am the Walrus' has the richest vocabulary of any Beatles song - 170 distinct words across its lyric.
'Wild Honey Pie' has the sparest vocabulary of any Beatles song with a lyric - just 6 distinct words.
'I Am the Walrus' has the wordiest lyric in the catalogue - 355 words once every repeat is counted.
'Wild Honey Pie' has the shortest lyric of any Beatles song that has one - just 22 words.
John Lennon's default narrative stance is first person - 84 of his songs use it.
Paul McCartney's default narrative stance is first person - 73 of his songs use it.
George Harrison's default narrative stance is conversational - 22 of his songs use it.
John Lennon's songs lean positive more than any other tone (54 songs).
Paul McCartney's songs lean positive more than any other tone (57 songs).
George Harrison's songs lean negative more than any other tone (10 songs).
1964 was the Beatles' biggest year for new lyrical devices since they began recording: 6 debuts that hadn't appeared on a Beatles record before - including Pastiche, Beatles reference, and Rhetorical question.
'If I Needed Someone' (1965) is the only Beatles song with byrds influence as a discernible influence.
Top motifs by writer - Lennon: Anatomy (41), Love (39), Communication (37); McCartney: Time (38), Love (36), Communication (35); Harrison: Love (13), Self reflection (12), Time (12).
Top lyrical devices by writer - Lennon: Anaphora (40), Wordplay (12), Simile (11); McCartney: Anaphora (19), Extended metaphor (8), Pastiche (8); Harrison: Anaphora (11), Extended metaphor (4), Double meaning (3).
Top lyrical tones by writer - Lennon: Positive tone (40), Negative tone (28), Neutral tone (7); McCartney: Positive tone (43), Negative tone (13), Neutral tone (5); Harrison: Negative tone (10), Positive tone (8), Neutral tone (3).
Top narrative stances by writer - Lennon: First person (64), Conversational (57), Second person (46); McCartney: First person (53), Conversational (43), Second person (34); Harrison: Conversational (21), First person (19), Second person (17).
Top repetition devices by writer - Lennon: Recurring line (68), Consecutive line (49), Consecutive verses (34); McCartney: Recurring line (60), Consecutive verses (35), Recurring verse (33); Harrison: Recurring line (18), Consecutive verses (13), Recurring verse (11).
Top rhyme schemes by writer - Lennon: AA (25), ABAB (21), AAAA (16); McCartney: AA (25), ABCB (15), ABAB (14); Harrison: AA (7), AAB (7), AAAA (4).
7% of Beatles songs with lyrics never speak their own title (15 of 217).
23 of the 217 Beatles songs have a long title of six or more words (11% of the catalogue).
John Lennon gives his songs long titles most among the songwriting Beatles: John Lennon 17%, Paul McCartney 9%, George Harrison 0%.
1967 was the Beatles' peak year for long song titles - 5 that year.
90 of the 217 Beatles songs put a personal pronoun (I, you, she...) in the title (41% of the catalogue).
George Harrison leans on pronouns in his titles most among the songwriting Beatles: George Harrison 45%, John Lennon 41%, Paul McCartney 37%.
1963 was the Beatles' peak year for pronoun-driven titles - 21 that year.
Pronoun-in-title songs were more of an early-era habit: 58% of early-era songs (1962-65) vs 28% from Revolver onward (1966-70).
29 of the 217 Beatles songs name a person in the title (13% of the catalogue).
Paul McCartney names people in his titles most among the songwriting Beatles: Paul McCartney 17%, John Lennon 15%, George Harrison 0%.
1968 was the Beatles' peak year for person-in-title songs - 8 that year.
Person-in-title songs were more of a later-era habit: 8% of early-era songs (1962-65) vs 19% from Revolver onward (1966-70).
14 of the 217 Beatles songs are titled simply with a person's name (6% of the catalogue).
Paul McCartney titles songs after a person most among the songwriting Beatles: Paul McCartney 9%, John Lennon 8%, George Harrison 0%.
1968 was the Beatles' peak year for person-name titles - 5 that year.
13 of the 217 Beatles songs give a command in the title (6% of the catalogue).
1969 was the Beatles' peak year for imperative titles - 4 that year.
4 of the 217 Beatles songs carry two titles (a slash or parenthetical alternate) (2% of the catalogue).
Positive-toned Beatles songs lean on the Love motif more than any other (83 of them).
Negative-toned Beatles songs lean on the Relationship motif more than any other (43 of them).
Neutral-toned Beatles songs lean on the Communication motif more than any other (13 of them).
Mixed-toned Beatles songs lean on the Anatomy motif more than any other (6 of them).
The Letter ran through 4 Beatles songs between 1962 and 1963, then disappeared - the band never returned to it.
Beatles songs with 'Stream of consciousness' also have 'Surrealism' about 9.7x as often as the catalogue average (11 of 13, vs an overall rate of 19 in 217 songs).
Beatles songs with 'Vignette' also have 'Royalty' about 8.2x as often as the catalogue average (5 of 19, vs an overall rate of 7 in 217 songs).
Beatles songs with 'Stream of consciousness' also have 'Absurdist humor' about 6.4x as often as the catalogue average (5 of 13, vs an overall rate of 13 in 217 songs).
Beatles songs with 'Observational' also have 'Royalty' about 6.2x as often as the catalogue average (6 of 30, vs an overall rate of 7 in 217 songs).
Beatles songs with 'Light' also have 'add9' about 5.8x as often as the catalogue average (5 of 17, vs an overall rate of 11 in 217 songs).
Beatles songs with 'Stream of consciousness' also have 'Counting' about 5.6x as often as the catalogue average (5 of 13, vs an overall rate of 15 in 217 songs).
Beatles songs with 'Stream of consciousness' also have 'Drugs' about 5.6x as often as the catalogue average (5 of 13, vs an overall rate of 15 in 217 songs).
Beatles songs with 'Spiritual' also have 'add9' about 5.2x as often as the catalogue average (5 of 19, vs an overall rate of 11 in 217 songs).
Beatles songs with 'Vignette' also have 'Clothes' about 5.1x as often as the catalogue average (8 of 19, vs an overall rate of 18 in 217 songs).
Beatles songs with 'Vignette' also have 'Place names' about 5.1x as often as the catalogue average (8 of 19, vs an overall rate of 18 in 217 songs).
Beatles songs with 'Vignette' also have 'Storytelling' about 4.9x as often as the catalogue average (12 of 19, vs an overall rate of 28 in 217 songs).
Beatles songs with 'Character' also have 'B major' about 4.8x as often as the catalogue average (4 of 36, vs an overall rate of 5 in 217 songs).
Beatles songs with 'Stream of consciousness' also have 'Rain' about 4.8x as often as the catalogue average (4 of 13, vs an overall rate of 14 in 217 songs).
Beatles songs with 'Rain' also have 'min6' about 4.8x as often as the catalogue average (4 of 14, vs an overall rate of 13 in 217 songs).
Beatles songs with 'Vignette' also have 'Family' about 4.6x as often as the catalogue average (8 of 19, vs an overall rate of 20 in 217 songs).
Beatles songs with 'Confessional' also have 'Self deprecation' about 4.5x as often as the catalogue average (7 of 34, vs an overall rate of 10 in 217 songs).
Beatles songs with 'Softness' also have 'F major' about 4.4x as often as the catalogue average (5 of 19, vs an overall rate of 13 in 217 songs).
Beatles songs with 'Persona' also have 'Americanism' about 4.4x as often as the catalogue average (4 of 18, vs an overall rate of 11 in 217 songs).
Beatles songs with 'Observational' also have 'War' about 4.1x as often as the catalogue average (4 of 30, vs an overall rate of 7 in 217 songs).
Beatles songs with 'List song' also have 'Real people' about 4x as often as the catalogue average (4 of 8, vs an overall rate of 27 in 217 songs).
Only 2 Beatles recordings are entirely in a non-English language: 'Komm, Gib Mir Deine Hand' and 'Sie Liebt Dich', the band's German-market covers cut in early 1964.
The word "yeah" appears 418 times across the Beatles catalogue, in 64 of 215 songs (30%).
The word "love" appears 535 times across the Beatles catalogue, in 92 of 215 songs (43%).
The word "girl" appears 182 times across the Beatles catalogue, in 42 of 215 songs (20%).
The word "baby" appears 186 times across the Beatles catalogue, in 28 of 215 songs (13%).
The word "day" appears 93 times across the Beatles catalogue, in 40 of 215 songs (19%).
The word "night" appears 80 times across the Beatles catalogue, in 28 of 215 songs (13%).
The word "time" appears 146 times across the Beatles catalogue, in 65 of 215 songs (30%).
The word "home" appears 95 times across the Beatles catalogue, in 31 of 215 songs (14%).
881 distinct words appear in only one Beatles song each across the entire catalogue - the lyrical long tail.
The word "misunderstanding" appears in only one Beatles song across the entire catalogue: 'Strawberry Fields Forever'.
The word "multicoloured" appears in only one Beatles song across the entire catalogue: 'Happiness Is a Warm Gun'.
The word "thoughtlessly" appears in only one Beatles song across the entire catalogue: 'She's Leaving Home'.
The word "grandchildren" appears in only one Beatles song across the entire catalogue: 'When I'm Sixty-Four'.
The word "investigation" appears in only one Beatles song across the entire catalogue: 'You Never Give Me Your Money'.
The word "misunderstood" appears in only one Beatles song across the entire catalogue: 'The Word'.
The word "honeymooning" appears in only one Beatles song across the entire catalogue: 'The Ballad of John and Yoko'.
The word "attractively" appears in only one Beatles song across the entire catalogue: 'Polythene Pam'.
The word "celebrations" appears in only one Beatles song across the entire catalogue: 'Carry That Weight'.
The word "pornographic" appears in only one Beatles song across the entire catalogue: 'I Am the Walrus'.
The word "conversation" appears in only one Beatles song across the entire catalogue: 'Martha My Dear'.
The word "independence" appears in only one Beatles song across the entire catalogue: 'Help!'.
The word "neighborhood" appears in only one Beatles song across the entire catalogue: 'Bad Boy'.
The word "pataphysical" appears in only one Beatles song across the entire catalogue: 'Maxwell's Silver Hammer'.
The word "satisfaction" appears in only one Beatles song across the entire catalogue: 'Magical Mystery Tour'.
The word "bishopsgate" appears in only one Beatles song across the entire catalogue: 'Being for the Benefit of Mr. Kite!'.
The word "butterflies" appears in only one Beatles song across the entire catalogue: 'It's Only Love'.
The word "marshmallow" appears in only one Beatles song across the entire catalogue: 'Lucy in the Sky with Diamonds'.
The word "complaining" appears in only one Beatles song across the entire catalogue: 'Please Please Me'.
The word "photographs" appears in only one Beatles song across the entire catalogue: 'Penny Lane'.
The word "possessions" appears in only one Beatles song across the entire catalogue: 'And Your Bird Can Sing'.
The word "thoughtless" appears in only one Beatles song across the entire catalogue: 'Old Brown Shoe'.
The word "meaningless" appears in only one Beatles song across the entire catalogue: 'Julia'.
The word "california" appears in only one Beatles song across the entire catalogue: 'Get Back'.
The word "balalaikas" appears in only one Beatles song across the entire catalogue: 'Back in the U.S.S.R.'.
The word "department" appears in only one Beatles song across the entire catalogue: 'She Came in Through the Bathroom Window'.
The word "lancashire" appears in only one Beatles song across the entire catalogue: 'A Day in the Life'.
The word "submarines" appears in only one Beatles song across the entire catalogue: 'Yellow Submarine'.
The word "controlled" appears in only one Beatles song across the entire catalogue: 'While My Guitar Gently Weeps'.
The word "determined" appears in only one Beatles song across the entire catalogue: 'Run for Your Life'.
The word "discovered" appears in only one Beatles song across the entire catalogue: 'I'm Happy Just to Dance with You'.
The word "discreetly" appears in only one Beatles song across the entire catalogue: 'Lovely Rita'.
The word "downstream" appears in only one Beatles song across the entire catalogue: 'Tomorrow Never Knows'.
The word "imprisoned" appears in only one Beatles song across the entire catalogue: 'Chains'.
The Relationship motif collapsed from 75% (76 of 102) of songs in the early years (1962-65) to 22% (25 of 112) from Revolver onward (1966-70).
The Love motif collapsed from 77% (79 of 102) of songs in the early years (1962-65) to 37% (41 of 112) from Revolver onward (1966-70).
The Plea motif collapsed from 59% (60 of 102) of songs in the early years (1962-65) to 21% (23 of 112) from Revolver onward (1966-70).
The Weather motif rose from 8% (8 of 102) of songs in the early years (1962-65) to 36% (40 of 112) from Revolver onward (1966-70).
The Communication motif collapsed from 65% (66 of 102) of songs in the early years (1962-65) to 39% (44 of 112) from Revolver onward (1966-70).
The First person narrative collapsed from 95% (97 of 102) of songs in the early years (1962-65) to 72% (81 of 112) from Revolver onward (1966-70).
Music hall influence rose from 1% (1 of 102) of songs in the early years (1962-65) to 22% (25 of 112) from Revolver onward (1966-70).
The Observational narrative rose from 3% (3 of 102) of songs in the early years (1962-65) to 24% (27 of 112) from Revolver onward (1966-70).
The Real people motif rose from 2% (2 of 102) of songs in the early years (1962-65) to 22% (25 of 112) from Revolver onward (1966-70).
John Lennon's most distinctive lyrical device is Simile - it shows up on 15% of his songs (15 of 103), roughly 1.5× the catalogue baseline (9%).
Paul McCartney's most distinctive lyrical device is Onomatopoeia - it shows up on 7% of his songs (6 of 90), roughly 1.6× the catalogue baseline (4%).
The 'Missing Beatle' personnel quirk peaks in 1968: 16 of its 30 songs come from that single year.
Every one of the 15 songs with the 'Written in India' song family comes from 1968.
The 'R&B' cover origin peaks in 1963: 11 of its 15 songs come from that single year.
The 'Bob Dylan' influence peaks in 1965: 10 of its 20 songs come from that single year.
The 'Family' motif peaks in 1968: 10 of its 20 songs come from that single year.
The 'Buddy Holly' influence peaks in 1963: 7 of its 14 songs come from that single year.
The 'Rock and Roll' cover origin peaks in 1964: 7 of its 11 songs come from that single year.
The 'Beatles reference' lyrical device peaks in 1969: 6 of its 12 songs come from that single year.
The 'Political' motif peaks in 1968: 6 of its 8 songs come from that single year.
The 'Medley song' song family peaks in 1969: 6 of its 9 songs come from that single year.
The 'Cover' kind of song clusters in the early years (1962-64): 21 of its 25 songs, 84% against that era's 32% share of the catalogue.
The 'Absurdist humor' motif clusters in the late period (1968-70): 11 of its 13 songs, 85% against that era's 34% share of the catalogue.
The 'Surrealism' motif first surfaces in 1966 and then recurs on 19 songs through 1970; it appears on no earlier Beatles record.
The 'Special guest' personnel quirk first surfaces in 1966 and then recurs on 18 songs through 1970; it appears on no earlier Beatles record.
The 'Character song' song family first surfaces in 1966 and then recurs on 14 songs through 1969; it appears on no earlier Beatles record.
The 'Stream of consciousness' narrative voice first surfaces in 1967 and then recurs on 13 songs through 1970; it appears on no earlier Beatles record.
25 of the 30 Beatle-written songs carrying the 'Confessional' narrative voice are John Lennon's, more than any other Beatle (Paul McCartney has 5).
24 of the 31 Beatle-written songs carrying the 'Dialogue' motif are John Lennon's, more than any other Beatle (Paul McCartney has 10).
22 of the 28 Beatle-written songs carrying the 'Widely covered' cultural mark are Paul McCartney's, more than any other Beatle (John Lennon has 9).
20 of the 26 Beatle-written songs carrying the 'Music hall' influence are Paul McCartney's, more than any other Beatle (John Lennon has 7).
18 of the 25 Beatle-written songs carrying the 'Animals' motif are John Lennon's, more than any other Beatle (Paul McCartney has 5).
16 of the 25 Beatle-written songs carrying the 'Found inspiration' motif are John Lennon's, more than any other Beatle (Paul McCartney has 8).
15 of the 24 Beatle-written songs carrying the 'Food and drinks' motif are John Lennon's, more than any other Beatle (Paul McCartney has 5).
15 of the 19 Beatle-written songs carrying the 'Surrealism' motif are John Lennon's, more than any other Beatle (Paul McCartney has 5).
15 of the 23 Beatle-written songs carrying the 'Autobiography' motif are John Lennon's, more than any other Beatle (Paul McCartney has 6).
14 of the 19 Beatle-written songs carrying the 'Wordplay' lyrical device are John Lennon's, more than any other Beatle (Paul McCartney has 4).
13 of the 16 Beatle-written songs carrying the 'Simile' lyrical device are John Lennon's, more than any other Beatle (Paul McCartney has 6).
12 of the 20 Beatle-written songs carrying the 'Consecutive choruses' repetition device are Paul McCartney's, more than any other Beatle (John Lennon has 6).
12 of the 17 Beatle-written songs carrying the 'Persona' narrative voice are Paul McCartney's, more than any other Beatle (John Lennon has 6).
11 of the 12 Beatle-written songs carrying the 'Piano song' song family are Paul McCartney's, more than any other Beatle (John Lennon has 1).
11 of the 13 Beatle-written songs carrying the 'Stream of consciousness' narrative voice are John Lennon's, more than any other Beatle (Paul McCartney has 3).
11 of the 20 Beatle-written songs carrying the 'Multi-syllabic rhyme' rhyme type are Paul McCartney's, more than any other Beatle (John Lennon has 5).
6 songs use ring composition: a verse opens and closes on the same word or phrase, so the section lands back where it started. Anna (Go to Him), Cry Baby Cry, Doctor Robert, Martha My Dear, Mr. Moonlight, and Yesterday.
Ranked by how often a word turns up in a Beatles song title, the leaders are negation (16), woman (15), love (12), get (10).
Rings and diamonds turn up in 9 Beatles lyrics, from a bought engagement ring to a girl in the sky: Anna (Go to Him), Can't Buy Me Love, I Feel Fine, I'm Down, Komm, Gib Mir Deine Hand, Lucy in the Sky with Diamonds, Ob-La-Di, Ob-La-Da, Old Brown Shoe, and Revolution 9.
The Beatles' commonest chart performance is Number one US, on 22 songs, ahead of Number one UK on 21.
The Beatles' commonest cover origin is R&B, on 15 songs, ahead of Rock and Roll on 11.
The Beatles' commonest cultural impact is Beatles film soundtrack, on 54 songs, ahead of Widely covered on 29.
The Beatles' commonest influence is Blues influence, on 32 songs, ahead of Music hall influence on 27.
The rarest influence choices in the catalogue: Shirelles influence (1), Isley Brothers influence (1), and Carl Perkins influence (1).
The Beatles' commonest lyrical device is Anaphora, on 89 songs, ahead of Wordplay on 21.
The Beatles' commonest motif is Love, on 122 songs, ahead of Communication on 110.
The Beatles' commonest title trait is Pronoun in title, on 90 songs, ahead of Person in title on 29.
The rarest title trait choices in the catalogue: Title in outro (3) and Ringoism (3).
The Beatles' commonest vocabulary trait is Casual language, on 161 songs, ahead of Positive tone on 119.
The Beatles almost always sing to somebody: 100 songs put a first person and a second person together, against 81 where the singer is alone with a thought and never says "you", among them 'The Long and Winding Road', 'Two of Us', 'Free as a Bird', and 'Real Love'.
26 Beatles songs address a "you" without ever saying "I": 'All You Need Is Love', 'Baby, You're a Rich Man', 'Bad Boy', and 'Blackbird'.
The longest phrase the Beatles repeat within a single song is 8 words long: "All I can tell you is brother you", in 'Revolution' (1968).
The line "Come on come on come on come on" turns up in 2 Beatles songs: 'Please Please Me' and 'Everybody's Got Something to Hide Except Me and My Monkey'.
The line "One two three four five six seven" turns up in 2 Beatles songs: 'Don't Pass Me By' and 'You Never Give Me Your Money'.
The line "The words you long to hear" turns up in 2 Beatles songs: 'All I've Got to Do' and 'Do You Want to Know a Secret'.
The line "Believe me when I tell you" turns up in 2 Beatles songs: 'Chains' and 'Oh! Darling'.
The line "She loves you yeah yeah yeah" turns up in 2 Beatles songs: 'She Loves You' and 'All You Need Is Love'.
The line "All I have to do is" turns up in 2 Beatles songs: 'Act Naturally' and 'Something'.
The line "I want you I want you" turns up in 2 Beatles songs: 'Michelle' and 'I Want You (She's So Heavy)'.
The line "Oh yeah oh yeah oh yeah" turns up in 2 Beatles songs: 'Glass Onion' and 'I've Got a Feeling'.
The line "Ha ha ha ha ha ha" turns up in 2 Beatles songs: 'Ob-La-Di, Ob-La-Da' and 'Hey Bulldog'.
The line "You know I love you" turns up in 2 Beatles songs: 'Love Me Do' and 'I Will'.
The line "You know I want you" turns up in 2 Beatles songs: 'P.S. I Love You' and 'I Want You (She's So Heavy)'.
The line "Close your eyes and I'll" turns up in 2 Beatles songs: 'All My Loving' and 'Good Night'.
The line "I'm always thinking of you" turns up in 2 Beatles songs: 'Ask Me Why' and 'You Really Got a Hold on Me'.
The line "I'm in love with you" turns up in 4 Beatles songs: 'Do You Want to Know a Secret', 'I'll Get You', 'I'm Happy Just to Dance with You', and 'Old Brown Shoe'.
The line "I fell in love with" turns up in 2 Beatles songs: 'I Saw Her Standing There' and 'If I Fell'.
The line "Let me be your man" turns up in 2 Beatles songs: 'I Wanna Be Your Man' and 'I Want to Hold Your Hand'.
The line "Yeah yeah yeah yeah yeah" turns up in 2 Beatles songs: 'It Won't Be Long' and 'While My Guitar Gently Weeps'.
The line "Don't you know that it's" turns up in 2 Beatles songs: 'There's a Place' and 'Hey Jude'.
The line "The things that you do" turns up in 2 Beatles songs: 'A Hard Day's Night' and 'Think for Yourself'.
The line "Say you love me too" turns up in 2 Beatles songs: 'Can't Buy Me Love' and 'I Should Have Known Better'.
The line "Love you all the time" turns up in 2 Beatles songs: 'Eight Days a Week' and 'I Need You'.
The line "Five six seven eight nine" turns up in 2 Beatles songs: 'Kansas City / Hey-Hey-Hey-Hey!' and 'All Together Now'.
The line "Let me hear you say" turns up in 2 Beatles songs: 'Words of Love' and 'You've Got to Hide Your Love Away'.
The line "I got something to say" turns up in 2 Beatles songs: 'You Can't Do That' and 'Drive My Car'.
The line "I want you to be" turns up in 2 Beatles songs: 'Dizzy Miss Lizzy' and 'Now and Then'.
The line "I just can't go on" turns up in 2 Beatles songs: 'I Need You' and 'You Won't See Me'.
The line "What you mean to me" turns up in 2 Beatles songs: 'I Need You' and 'Michelle'.
The line "Me but you haven't got" turns up in 2 Beatles songs: 'You Like Me Too Much' and 'Hey Bulldog'.
The line "I don't know why you" turns up in 2 Beatles songs: 'You Won't See Me' and 'Hello, Goodbye'.
The line "In the middle of a" turns up in 2 Beatles songs: 'I'm Only Sleeping' and 'Penny Lane'.
The line "If you want me to" turns up in 2 Beatles songs: 'Love You To' and 'I Will'.
The line "Know what it's like to" turns up in 2 Beatles songs: 'She Said She Said' and 'Hey Bulldog'.
The line "Waiting to take you away" turns up in 2 Beatles songs: 'Lucy in the Sky with Diamonds' and 'Magical Mystery Tour'.
The line "The fool on the hill" turns up in 2 Beatles songs: 'The Fool on the Hill' and 'Glass Onion'.
The line "A long long time ago" turns up in 2 Beatles songs: 'Your Mother Should Know' and 'The Long and Winding Road'.
The line "I can tell you is" turns up in 2 Beatles songs: 'Revolution 1' and 'Come Together'.
The line "Don't you know it's gonna" turns up in 2 Beatles songs: 'Revolution 1' and 'Don't Let Me Down'.
The line "And in the middle of" turns up in 2 Beatles songs: 'Carry That Weight' and 'You Never Give Me Your Money'.
The line "I never give you my" turns up in 2 Beatles songs: 'Carry That Weight' and 'You Never Give Me Your Money'.
The line "Let me tell you" turns up in 3 Beatles songs: 'Anna (Go to Him)', 'Taxman', and 'Back in the U.S.S.R.'.
The line "What can I do" turns up in 3 Beatles songs: 'Baby It's You', 'Baby's in Black', and 'Got to Get You into My Life'.
The line "I know that you" turns up in 3 Beatles songs: 'It Won't Be Long', 'No Reply', and 'Act Naturally'.
The line "I don't want to" turns up in 5 Beatles songs: 'Please Please Me', 'I Don't Want to Spoil the Party', 'I'm Happy Just to Dance with You', 'Another Girl', and 'Something'.
The line "I can't go on" turns up in 3 Beatles songs: 'I Call Your Name', 'We Can Work It Out', and 'You've Got to Hide Your Love Away'.
The line "Well you know that" turns up in 3 Beatles songs: 'Slow Down', 'Run for Your Life', and 'Hey Jude'.
The line "When I think of" turns up in 3 Beatles songs: 'Girl', 'In My Life', and 'The Night Before'.
The line "It's been a long" turns up in 3 Beatles songs: 'Wait', 'Long, Long, Long', and 'Here Comes the Sun'.
The line "If you leave me" turns up in 3 Beatles songs: 'You Like Me Too Much', 'Oh! Darling', and 'I've Got a Feeling'.
"Come on come on come on come on" is repeated in two different Beatles songs: 'Please Please Me' (1963) and 'Everybody's Got Something to Hide Except Me and My Monkey' (1968).
"One two three four five six seven" is repeated in two different Beatles songs: 'Don't Pass Me By' (1968) and 'You Never Give Me Your Money' (1969).
"All I have to do is" is repeated in two different Beatles songs: 'Act Naturally' (1965) and 'Something' (1969).
'Roll Over Beethoven' (1963) is the earliest Beatles song to touch on Real people, which they use on 27 songs in all.
'A Taste of Honey' (1963) is the earliest Beatles song to touch on Food and drinks, which they use on 27 songs in all.
'Ticket to Ride' (1965) is the earliest Beatles song to touch on Transportation, which they use on 18 songs in all.
'Please Mr. Postman' (1963) is the earliest Beatles song to touch on Character, which they use on 36 songs in all.
'Misery' (1963) is the earliest Beatles song to touch on Numbers, which they use on 47 songs in all.
'Little Child' (1963) is the earliest Beatles song to touch on Luck, which they use on 8 songs in all.
'I Feel Fine' (1964) is one of only 3 Beatles songs to draw on Ray Charles.
The line "a long long time" turns up in 4 Beatles songs: 'Please Mr. Postman', 'Kansas City / Hey-Hey-Hey-Hey!', 'Your Mother Should Know', and 'The Long and Winding Road'.
The line "don't you know that" turns up in 5 Beatles songs: 'There's a Place', 'Hey Jude', 'Revolution', 'Revolution 1', and 'Happiness Is a Warm Gun'.
The line "five six seven eight" turns up in 4 Beatles songs: 'Kansas City / Hey-Hey-Hey-Hey!', 'Birthday', 'Don't Pass Me By', and 'All Together Now'.
The line "i don't know why" turns up in 6 Beatles songs: 'Ticket to Ride', 'You Won't See Me', 'Girl', 'I Want to Tell You', 'Hello, Goodbye', and 'While My Guitar Gently Weeps'.
The line "i don't want to" turns up in 5 Beatles songs: 'Please Please Me', 'I Don't Want to Spoil the Party', 'I'm Happy Just to Dance with You', 'Another Girl', and 'Something'.
The line "i want you to" turns up in 6 Beatles songs: 'P.S. I Love You', 'Anna (Go to Him)', 'You Really Got a Hold on Me', 'Dizzy Miss Lizzy', 'Got to Get You into My Life', and 'Now and Then'.
The line "i'm in love with" turns up in 5 Beatles songs: 'I'll Get You', 'Do You Want to Know a Secret', 'I'm Happy Just to Dance with You', 'I Feel Fine', and 'Old Brown Shoe'.
The line "in love with you" turns up in 8 Beatles songs: 'P.S. I Love You', 'Thank You Girl', 'Do You Want to Know a Secret', 'I'll Get You', 'Tell Me Why', 'If I Fell', 'I'm Happy Just to Dance with You', and 'Old Brown Shoe'.
The line "in the middle of" turns up in 4 Beatles songs: 'I'm Only Sleeping', 'Penny Lane', 'You Never Give Me Your Money', and 'Carry That Weight'.
The line "one two three four" turns up in 7 Beatles songs: 'I Saw Her Standing There', 'Kansas City / Hey-Hey-Hey-Hey!', 'Taxman', 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)', 'Don't Pass Me By', 'All Together Now', and 'You Never Give Me Your Money'.
7 Beatles songs name a colour in the title, from 'Baby's in Black' (1964) onward.
In 1969, more of their songs name a colour in the title than in any other year: 3 of them, 'Golden Slumbers', 'Maxwell's Silver Hammer', and 'Old Brown Shoe'.
7 Beatles songs put a day or a night in the title, from 'A Hard Day's Night' (1964) onward.
10 Beatles songs put the word get in the title, from 'All I've Got to Do' (1963) onward.
In 1963, more of their songs put the word get in the title than in any other year: 3 of them, 'All I've Got to Do', 'I'll Get You', and 'You Really Got a Hold on Me'.
13 Beatles songs give an instruction in the title, from 'Don't Bother Me' (1963) onward.
In 1969, more of their songs give an instruction in the title than in any other year: 4 of them, 'Carry That Weight', 'Come Together', 'Don't Let Me Down', and 'Get Back'.
23 Beatles songs carry an unusually long title, from 'Do You Want to Know a Secret' (1963) onward.
In 1967, more of their songs carry an unusually long title than in any other year: 5 of them, 'Being for the Benefit of Mr. Kite!', 'Lucy in the Sky with Diamonds', 'Sgt. Pepper's Lonely Hearts Club Band', and 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)' and 1 more.
12 Beatles songs put love in the title, from 'Love Me Do' (1962) onward.
In 1964, more of their songs put love in the title than in any other year: 3 of them, 'And I Love Her', 'Can't Buy Me Love', and 'Words of Love'.
16 Beatles songs put a negative in the title, from 'Don't Bother Me' (1963) onward.
In 1964, more of their songs put a negative in the title than in any other year: 5 of them, 'Can't Buy Me Love', 'Honey Don't', 'I Don't Want to Spoil the Party', and 'No Reply' and 1 more.
7 Beatles songs put a number in the title, from 'Not a Second Time' (1963) onward.
19 Beatles songs carry a one-word title, from 'Boys' (1963) onward.
29 Beatles songs name a person in the title, from 'Anna (Go to Him)' (1963) onward.
In 1968, more of their songs name a person in the title than in any other year: 8 of them, 'Dear Prudence', 'Hey Jude', 'Honey Pie', and 'Lady Madonna' and 4 more.
90 Beatles songs put a pronoun in the title, from 'Love Me Do' (1962) onward.
In 1963, more of their songs put a pronoun in the title than in any other year: 21 of them, 'All I've Got to Do', 'All My Loving', 'Ask Me Why', and 'Baby It's You' and 17 more.
27 Beatles songs put the title in the chorus, from 'Sie Liebt Dich' (1964) onward.
In 1969, more of their songs put the title in the chorus than in any other year: 12 of them, 'All Together Now', 'Carry That Weight', 'Come Together', and 'Don't Let Me Down' and 8 more.
11 Beatles songs put the title in the refrain, from 'Taxman' (1966) onward.
In 1968, more of their songs put the title in the refrain than in any other year: 5 of them, 'Birthday', 'I Will', 'Julia', and 'Mother Nature's Son' and 1 more.
14 Beatles songs are named after a person, from 'Roll Over Beethoven' (1963) onward.
In 1968, more of their songs are named after a person than in any other year: 5 of them, 'Julia', 'Lady Madonna', 'Martha My Dear', and 'Rocky Raccoon' and 1 more.
8 Beatles songs share their title with the album they open, from 'Please Please Me' (1963) onward.
In 1967, more of their songs share their title with the album they open than in any other year: 3 of them, 'Magical Mystery Tour', 'Sgt. Pepper's Lonely Hearts Club Band', and 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)'.
15 Beatles songs never sing their own title, from 'All My Loving' (1963) onward.
In 1968, more of their songs never sing their own title than in any other year: 5 of them, 'Revolution 9', 'The Continuing Story of Bungalow Bill', 'The Inner Light', and 'Wild Honey Pie' and 1 more.
15 Beatles songs name a woman in the title, from 'Devil in Her Heart' (1963) onward.
In 1963, more of their songs name a woman in the title than in any other year: 4 of them, 'Devil in Her Heart', 'I Saw Her Standing There', 'She Loves You', and 'Thank You Girl'.
161 Beatles songs carry casual language, from 'Love Me Do' (1962) onward.
In 1964, casual language turns up on more of their songs than in any other year: 29 of them, 'A Hard Day's Night', 'Any Time at All', 'Baby's in Black', and 'Can't Buy Me Love' and 25 more.
19 Beatles songs turn dark, from 'Don't Bother Me' (1963) onward.
In 1968, more of their songs turn dark than in any other year: 5 of them, 'Happiness Is a Warm Gun', 'Helter Skelter', 'I'm So Tired', and 'Revolution 9' and 1 more.
10 Beatles songs pack in the most words, from 'Rock and Roll Music' (1964) onward.
In 1968, 4 of their songs pack in the most words, more than in any other year: 'Hey Jude', 'Ob-La-Di, Ob-La-Da', 'Revolution 9', and 'Rocky Raccoon'.
10 Beatles songs sing in a language other than English, from 'Komm, Gib Mir Deine Hand' (1964) onward.
45 Beatles songs work from a deliberately small vocabulary, from 'Love Me Do' (1962) onward.
In 1963, more of their songs work from a deliberately small vocabulary than in any other year: 11 of them, 'All I've Got to Do', 'All My Loving', 'From Me to You', and 'Hold Me Tight' and 7 more.
17 Beatles songs get by on the fewest words, from 'Words of Love' (1964) onward.
In 1969, 7 of their songs get by on the fewest words, more than in any other year: 'Because', 'Carry That Weight', 'Golden Slumbers', and 'Her Majesty' and 3 more.
8 Beatles songs carry mixed tone, from 'Things We Said Today' (1964) onward.
In 1967, mixed tone turns up on more of their songs than in any other year: 3 of them, 'Getting Better', 'Strawberry Fields Forever', and 'The Fool on the Hill'.
66 Beatles songs carry negative tone, from 'Anna (Go to Him)' (1963) onward.
In 1965, negative tone turns up on more of their songs than in any other year: 17 of them, 'Day Tripper', 'Girl', 'Help!', and 'I Need You' and 13 more.
22 Beatles songs carry neutral tone, from 'Money (That's What I Want)' (1963) onward.
In 1965, neutral tone turns up on more of their songs than in any other year: 6 of them, 'Act Naturally', 'Bad Boy', 'Drive My Car', and 'If I Needed Someone' and 2 more.
26 Beatles songs sing nonsense words, from 'A Taste of Honey' (1963) onward.
In 1968, more of their songs sing nonsense words than in any other year: 8 of them, 'Happiness Is a Warm Gun', 'I Will', 'Lady Madonna', and 'Mother Nature's Son' and 4 more.
21 Beatles songs reach for poetic language, from 'A Taste of Honey' (1963) onward.
In 1968, more of their songs reach for poetic language than in any other year: 5 of them, 'Blackbird', 'Julia', 'Mother Nature's Son', and 'The Inner Light' and 1 more.
119 Beatles songs carry positive tone, from 'Love Me Do' (1962) onward.
In 1968, positive tone turns up on more of their songs than in any other year: 22 of them, 'Back in the U.S.S.R.', 'Birthday', 'Blackbird', and 'Dear Prudence' and 18 more.
9 Beatles songs draw on the widest vocabulary, from 'Norwegian Wood (This Bird Has Flown)' (1965) onward.
In 1967, 5 of their songs draw on the widest vocabulary, more than in any other year: 'A Day in the Life', 'Being for the Benefit of Mr. Kite!', 'I Am the Walrus', and 'Lucy in the Sky with Diamonds' and 1 more.
Music(813)
More Beatles love songs are written in G major than in any other key (30).
38 Beatles songs use a non-4/4 time signature at some point, whether waltz time, 6/8, irregular meters, or shifting bars.
More Beatles songs are in A major than any other key - 48 of them.
'A Day in the Life' and 'Here Comes the Sun' share the same descending circle-of-fifths chord shape - a structural cousinship across two otherwise unalike songs.
51 Beatles tracks contain at least one key change - a shift to a new tonal centre at any point in the song.
7 Beatles tracks use a true modulation - the same chord-degree progression replayed in a different key, distinct from a generic key change.
The three most common section-boundary movements in Beatles songs: V to I (89), I to I (80), I to IV (34).
Unsurprisingly, the tonic (I) opens more Beatles songs than any other chord (144). The runner-up is more telling: i opens 18.
Beatles songs almost always close on the tonic (I) - 137 of them do. The most common non-tonic ending is V (10).
Abbey Road has the most tracks woven into a continuous medley, flowing one into the next - 8 of them.
Two section patterns dominate the catalogue: AABABA (26 songs) and ABABAB (16 songs).
Standard verses (2-4) is the most common verse count across Beatles songs (193 tracks).
'Norwegian Wood (This Bird Has Flown)' (1965) is the earliest of their records to feature sitar.
'Tomorrow Never Knows' (1966) is the earliest of their records to feature the Mellotron.
The Beatles first featured tape loops on 'Tomorrow Never Knows' (1966).
The Beatles first featured 6-string bass on 'Helter Skelter' (1968).
'Good Morning Good Morning' (1967) is the first Beatles record to feature baritone saxophone.
The Beatles first featured bass trombone on 'A Day in the Life' (1967).
The Beatles first featured body percussion on 'Norwegian Wood (This Bird Has Flown)' (1965).
'Yesterday' (1965) is the first Beatles record to feature cello.
The Beatles first featured chimes on 'When I'm Sixty-Four' (1967).
'I Am the Walrus' (1967) is the first Beatles record to feature choir.
'When I'm Sixty-Four' (1967) is the first Beatles record to feature clarinet.
'Penny Lane' (1967) is the first Beatles record to feature congas.
'Penny Lane' (1967) is the first Beatles record to feature double bass.
The Beatles first featured electric piano on 'The Night Before' (1965).
'Penny Lane' (1967) is the first Beatles record to feature flugelhorn.
'You've Got to Hide Your Love Away' (1965) is the earliest of their records to feature flute.
'For No One' (1966) is the first Beatles record to feature french horn.
'Only a Northern Song' (1969) is the earliest of their records to feature glockenspiel.
'We Can Work It Out' (1965) is the earliest of their records to feature harmonium.
'A Day in the Life' (1967) is the earliest of their records to feature harp.
The Beatles first featured harpsichord on 'Fixing a Hole' (1967).
The Beatles first featured noises on 'Yellow Submarine' (1966).
'Penny Lane' (1967) is the earliest of their records to feature oboe.
'Got to Get You into My Life' (1966) is the first Beatles record to feature saxophone.
The Beatles first featured sound effects on 'I'm Only Sleeping' (1966).
The Beatles first featured synthesizer on 'I Want You (She's So Heavy)' (1969).
The Beatles first featured tabla on 'Love You To' (1966).
'Tomorrow Never Knows' (1966) is the first Beatles record to feature tack piano.
'Tomorrow Never Knows' (1966) is the earliest of their records to feature tamboura.
'Got to Get You into My Life' (1966) is the first Beatles record to feature tenor saxophone.
'A Day in the Life' (1967) is the first Beatles record to feature trombone.
'Got to Get You into My Life' (1966) is the first Beatles record to feature trumpet.
'Baby, You're a Rich Man' (1967) is the first Beatles record to feature vibraphone.
'Yesterday' (1965) is the first Beatles record to feature viola.
The Beatles first featured violin on 'Yesterday' (1965).
The Beatles first featured whistling on 'Cry Baby Cry' (1968).
The Beatles first used chromatic approach on 'Michelle' (1965).
'The Continuing Story of Bungalow Bill' (1968) is the first Beatles record to use minor circle of fifths.
The Beatles first used hemiola on 'We Can Work It Out' (1965).
The Beatles first used an electric piano solo on 'Get Back' (1969).
The Beatles first used a sitar solo on 'Norwegian Wood (This Bird Has Flown)' (1965).
The Beatles first took an AA form on 'It's Only Love' (1965).
'Blackbird' (1968) is the first Beatles record to take an AABBA form.
'Norwegian Wood (This Bird Has Flown)' (1965) is the first Beatles record to take an ABABA form.
The Beatles first took a Rondo form on 'Good Morning Good Morning' (1967).
'A Day in the Life' (1967) is the earliest of their records to take a Through-composed form.
The Beatles first used chanting on 'Yellow Submarine' (1966).
'Good Morning Good Morning' (1967) is the earliest of their records to use shouted vocals.
'All You Need Is Love' (1967) is the first Beatles record to use spoken melody.
'Bad Boy' (1965) is the first Beatles record to use vocals on outro.
'Revolution 9' (1968) is the first Beatles record to use whisper.
John Lennon's three most-cited musical influences in his Beatles songs: R&B influence (17), Blues influence (16), Bob Dylan influence (14).
Paul McCartney's three most-cited musical influences in his Beatles songs: Music hall influence (21), R&B influence (13), Classical music influence (11).
George Harrison's three most-cited musical influences in his Beatles songs: Indian music influence (9), Eastern philosophy influence (7), Bob Dylan influence (6).
32 Beatles tracks invite group singing, whether through a chorus engineered for crowd participation or a full-band mass vocal.
The Beatles (The White Album) draws on the widest chord vocabulary of any Beatles album, with 44 distinct chords used across its tracks.
'Flying' is the only instrumental in the Beatles' catalogue - a wordless track carried by a chanted melody rather than a lyric.
'Honey Pie' uses more distinct chords than any other Beatles song - 21 of them in one song.
'Tomorrow Never Knows' is the most harmonically spartan Beatles song with chord data - the whole thing runs on just 2 distinct chords.
C♯ major is the rarest key in the catalogue - 'Within You Without You' is the only Beatles song written in it.
'Long Tall Sally' is the fastest Beatles recording - clocking in around 180 BPM.
'The Long and Winding Road' is the slowest Beatles recording - a languid 63 BPM or so.
1964 was the Beatles' biggest year for new chord shapes since they began recording: 193 debuts that hadn't appeared on a Beatles record before - including Am → B, C → E♭ → B♭, and C → B → E.
1964 was the Beatles' biggest year for new chord progressions since they began recording: 239 debuts that hadn't appeared on a Beatles record before - including D → G → C, C → G → D, and Bm → E.
1964 was the Beatles' biggest year for new chord-degree movements since they began recording: 141 debuts that hadn't appeared on a Beatles record before - including IV-♭VII, ♭VI-V, and i-♭VI.
1965 was the Beatles' biggest year for new scale-degree colourings since they began recording: 21 debuts that hadn't appeared on a Beatles record before - including vi7, i7, and iv7.
1964 was the Beatles' biggest year for new musical genres since they began recording: 8 debuts that hadn't appeared on a Beatles record before - including Folk, Folk rock, and Blues.
1967 was the Beatles' biggest year for new instruments since they began recording: 31 debuts that hadn't appeared on a Beatles record before - including Trombone, Double bass, and Clarinet.
1965 was the Beatles' biggest year for new musical influences since they began recording: 10 debuts that hadn't appeared on a Beatles record before - including Music hall influence, Indian music influence, and Drugs influence.
'For You Blue' (1970) is the only Beatles song to feature lap steel guitar.
'You Know My Name (Look Up the Number)' (1970) is the only Beatles song to feature alto saxophone.
'The Fool on the Hill' (1967) is the only Beatles song to feature penny whistle.
'Hey Jude' (1968) is the only Beatles song to feature contrabassoon.
'Come Together' (1969) is the only Beatles song in the Swamp rock style.
'I've Just Seen a Face' (1965) is the only Beatles song in the Bluegrass style.
'Till There Was You' (1963) is the only Beatles song in the Bolero style.
'Good Day Sunshine' (1966) is the only Beatles song that uses vocal canon.
'She Loves You' (1963) is the only Beatles song with isley brothers influence as a discernible influence.
'What Goes On' (1965) is the only Beatles song with carl perkins influence as a discernible influence.
'P.S. I Love You' (1962) is the only Beatles song with shirelles influence as a discernible influence.
'The Inner Light' (1968) is the only Beatles song to feature tar shehnai.
'Real Love' (1996) is the only Beatles song to feature banjolele.
'The Fool on the Hill' (1967) is the only Beatles song with the ABABABCAB song form.
'You've Got to Hide Your Love Away' (1965) is the only Beatles song to feature tenor flute.
'You've Got to Hide Your Love Away' (1965) is the only Beatles song with the ABAB song form.
'No Reply' (1964) is the only Beatles song with a I to III section transition.
'Girl' (1965) is the only Beatles song with the ABABCBABB song form.
'Girl' (1965) is the only Beatles song with a ♭VI to ♭III section transition.
'Girl' (1965) is the only Beatles song that uses bridge in iv.
'Julia' (1968) is the only Beatles song with the AAABAAAA song form.
'Sun King' (1969) is the only Beatles song with the AB song form.
'I'm Looking Through You' (1965) is the only Beatles song with the BAAB song form.
'If I Fell' (1964) is the only Beatles song with a ♭VI to ♭II section transition.
'When I Get Home' (1964) is the only Beatles song with the BABABCAB song form.
'And I Love Her' (1964) is the only Beatles song with a iii to ii section transition.
'And I Love Her' (1964) is the only Beatles song that uses verse in ♭iii.
'You Can't Do That' (1964) is the only Beatles song that uses chorus in iii.
'I'll Be Back' (1964) is the only Beatles song that carries Andalusian cadence.
'Come Together' (1969) is the only Beatles song with a IV to vi section transition.
'Two of Us' (1970) is the only Beatles song that reaches the III7sus4 scale degree.
'Michelle' (1965) is the only Beatles song with the AABABABA song form.
'Michelle' (1965) is the only Beatles song that reaches the IV7♯9 scale degree.
'A Hard Day's Night' (1964) is the only Beatles song that reaches the ♭VII6/9 scale degree.
'You Never Give Me Your Money' (1969) is the only Beatles song with a ♭III to ♭III section transition.
'Because' (1969) is the only Beatles song with a ♭ii° to IV section transition.
'From Me to You' (1963) is the only Beatles song with a vi to v section transition.
'From Me to You' (1963) is the only Beatles song that reaches the II+ scale degree.
'Here, There and Everywhere' (1966) is the only Beatles song with the AABB song form.
'Taxman' (1966) is the only Beatles song with a II to II section transition.
'Strawberry Fields Forever' (1967) is the only Beatles song that reaches the ♭viidim scale degree.
'Sgt. Pepper's Lonely Hearts Club Band (Reprise)' (1967) is the only Beatles song that reaches the I7♯9 scale degree.
'Glass Onion' (1968) is the only Beatles song that reaches the ♭viidim7 scale degree.
'Golden Slumbers' (1969) is the only Beatles song with the ABA song form.
'Carry That Weight' (1969) is the only Beatles song with the BCCB song form.
'Old Brown Shoe' (1969) is the only Beatles song with a vi to V section transition.
'Old Brown Shoe' (1969) is the only Beatles song that reaches the III+ scale degree.
'Happiness Is a Warm Gun' (1968) is the only Beatles song with a i to I section transition.
'Savoy Truffle' (1968) is the only Beatles song with a ♭III to i section transition.
'Something' (1969) is the only Beatles song with the AABCA song form.
'Something' (1969) is the only Beatles song with a VI to VI section transition.
'Lucy in the Sky with Diamonds' (1967) is the only Beatles song with a iv to ♭VII section transition.
'Wait' (1965) is the only Beatles song with the ABABCABCABA song form.
'I'll Get You' (1963) is the only Beatles song with a v to V section transition.
'Anna (Go to Him)' (1963) is the only Beatles song with a vi to IV section transition.
'Ask Me Why' (1963) is the only Beatles song with a I+ to IV section transition.
'A Taste of Honey' (1963) is the only Beatles song with the ABCABC song form.
'Honey Don't' (1964) is the only Beatles song with a ♭VI to V section transition.
'You're Going to Lose That Girl' (1965) is the only Beatles song with the BABABCCBCAB song form.
'Yes It Is' (1965) is the only Beatles song with a IV to v section transition.
'Drive My Car' (1965) is the only Beatles song with a VI to vii section transition.
'She's Leaving Home' (1967) is the only Beatles song with a II to I section transition.
'Doctor Robert' (1966) is the only Beatles song with a VI to I section transition.
'Here Comes the Sun' (1969) is the only Beatles song with the BABABCABB song form.
'Sgt. Pepper's Lonely Hearts Club Band' (1967) is the only Beatles song with the ABCA song form.
'It Won't Be Long' (1963) is the only Beatles song with the BABCABCAB song form.
'Roll Over Beethoven' (1963) is the only Beatles song with the AAABCAA song form.
'I Should Have Known Better' (1964) is the only Beatles song with the AABACAB song form.
'Rock and Roll Music' (1964) is the only Beatles song with the BABABABAB song form.
'Kansas City / Hey-Hey-Hey-Hey!' (1964) is the only Beatles song with the AAB song form.
'Eight Days a Week' (1964) is the only Beatles song with the ABAABBCAABBCCAABB song form.
'Words of Love' (1964) is the only Beatles song with the AAAA song form.
'Everybody's Trying to Be My Baby' (1964) is the only Beatles song with the ABABABABAB song form.
'Nowhere Man' (1965) is the only Beatles song with the AABAABABA song form.
'Run for Your Life' (1965) is the only Beatles song with the ABABCABAB song form.
'Eleanor Rigby' (1966) is the only Beatles song with the BAABA song form.
'Martha My Dear' (1968) is the only Beatles song with the ABBA song form.
'Yer Blues' (1968) is the only Beatles song with the AAAAABB song form.
'She Came in Through the Bathroom Window' (1969) is the only Beatles song with the ABAAB song form.
'Hey Bulldog' (1969) is the only Beatles song with the AABABC song form.
'All Together Now' (1969) is the only Beatles song with the AACBABCB song form.
'Don't Let Me Down' (1969) is the only Beatles song with the BABCBAB song form.
'The Ballad of John and Yoko' (1969) is the only Beatles song with the ABABABCABAB song form.
'Sie Liebt Dich' (1964) is the only Beatles song with the BAABCABC song form.
Top musical influences by writer - Lennon: Blues influence (12), Bob Dylan influence (12), Drugs influence (12); McCartney: Music hall influence (18), Classical music influence (9), R&B influence (8); Harrison: Indian music influence (9), Eastern philosophy influence (7), Bob Dylan influence (5).
Top keys by writer - Lennon: E major (22), G major (16), A major (14); McCartney: A major (15), G major (13), D major (11); Harrison: A major (7), G major (4), C major (3).
Top time signatures by writer (setting aside the obvious near-universals) - Lennon: 3/4 (7), 6/8 (5), Time signature change (5); McCartney: 3/4 (3), 12/8 (1), 2/2 (1); Harrison: 3/4 (3), 3+ time signatures (2), Time signature change (2).
Top instruments by writer (setting aside the obvious near-universals) - Lennon: Percussion (53), Tambourine (33), Organ (18); McCartney: Percussion (50), Other percussion (23), Tambourine (21); Harrison: Percussion (18), Tambourine (13), Organ (10).
Top chord shapes by writer - Lennon: C → F (67), C → G (61), C → D (51); McCartney: C → F (62), C → G (53), C → D (41); Harrison: C → F (14), Am → D (12), C → G (12).
Top section transitions by writer - Lennon: V to I (31), I to I (30), I to IV (13); McCartney: V to I (30), I to I (28), I to IV (12); Harrison: V to I (7), I to I (5), V to i (3).
Classical guitar ran through 7 Beatles songs between 1963 and 1965, then disappeared - the band never returned to it.
Merseybeat ran through 29 Beatles songs between 1962 and 1964, then disappeared - the band never returned to it.
Girl group influence ran through 3 Beatles songs between 1964 and 1965, then disappeared - the band never returned to it.
Beatles songs with 'Indian classical' also have 'Drone' about 7.2x as often as the catalogue average (5 of 5, vs an overall rate of 30 in 217 songs).
Beatles songs with 'Raga rock' also have 'Drone' about 6.2x as often as the catalogue average (6 of 7, vs an overall rate of 30 in 217 songs).
Paul McCartney reaches for the progression "Dm → G → C" on 15% of his sole-written songs (10 of 65) - roughly 36.0× the rate at which the other Beatles do (0% average): 'Can't Buy Me Love', 'Carry That Weight', and 'Golden Slumbers'.
Paul McCartney reaches for the progression "C → A7 → D7" on 12% of his sole-written songs (8 of 65) - roughly 28.8× the rate at which the other Beatles do (0% average): 'Back in the U.S.S.R.', 'Good Day Sunshine', and 'Her Majesty'.
Paul McCartney writes the chord-degree movement IV-I-II into 11% of his sole-written songs (7 of 65) - roughly 25.2× the rate at which the other Beatles do (0% average): 'Blackbird', 'Eight Days a Week', and 'Hold Me Tight'.
Paul McCartney reaches for the progression "B♭ → C → F" on 11% of his sole-written songs (7 of 65) - roughly 25.2× the rate at which the other Beatles do (0% average): 'And I Love Her', 'Blackbird', and 'Hey Jude'.
Paul McCartney reaches for the progression "C → F → F → B♭" on 11% of his sole-written songs (7 of 65) - roughly 25.2× the rate at which the other Beatles do (0% average): 'Carry That Weight', 'Honey Pie', and 'I Will'.
John Lennon reaches for the progression "E → F♯m" on 10% of his sole-written songs (8 of 78) - roughly 20.0× the rate at which the other Beatles do (1% average): 'All I've Got to Do', 'And Your Bird Can Sing', and 'Ask Me Why'.
Paul McCartney writes the chord-degree movement I-IV-iv-I into 12% of his sole-written songs (8 of 65) - roughly 14.4× the rate at which the other Beatles do (1% average): 'Fixing a Hole', 'Her Majesty', and 'Honey Pie'.
Paul McCartney reaches for the progression "C7 → F7 → B♭7" on 11% of his sole-written songs (7 of 65) - roughly 12.6× the rate at which the other Beatles do (1% average): 'Good Day Sunshine', 'Honey Pie', and 'I Saw Her Standing There'.
John Lennon uses the ABABAB song-form on 13% of his sole-written songs (10 of 78) - roughly 12.5× the rate at which the other Beatles do (1% average): 'Across the Universe (Wildlife version)', 'Across the Universe', and 'Dig a Pony'.
Paul McCartney writes the chord-degree movement V-I-IV-I into 20% of his sole-written songs (13 of 65) - roughly 11.7× the rate at which the other Beatles do (2% average): 'Blackbird', 'Hey Jude', and 'I Saw Her Standing There'.
Paul McCartney uses "Minor plagal" on 17% of his sole-written songs (11 of 65) - roughly 9.9× the rate at which the other Beatles do (2% average): 'Blackbird', 'Fixing a Hole', and 'Hello, Goodbye'.
Paul McCartney reaches for the ♭VII7 scale degree on 14% of his sole-written songs (9 of 65) - roughly 8.1× the rate at which the other Beatles do (2% average): 'Carry That Weight', 'Lady Madonna', and 'Sgt. Pepper's Lonely Hearts Club Band'.
Paul McCartney reaches for 6 chords on 15% of his sole-written songs (10 of 65) - roughly 5.1× the rate at which the other Beatles do (3% average): 'And I Love Her', 'Back in the U.S.S.R.', and 'Blackbird'.
Paul McCartney uses "Double plagal" on 11% of his sole-written songs (7 of 65) - roughly 5.0× the rate at which the other Beatles do (2% average): 'Every Little Thing', 'Get Back', and 'Hey Jude'.
John Lennon reaches for aug chords on 12% of his sole-written songs (9 of 78) - roughly 4.5× the rate at which the other Beatles do (3% average): 'And Your Bird Can Sing', 'Ask Me Why', and 'Being for the Benefit of Mr. Kite!'.
John Lennon uses the 12-bar blues song-form on 13% of his sole-written songs (10 of 78) - roughly 3.6× the rate at which the other Beatles do (4% average): 'I'll Cry Instead', 'I'm So Tired', and 'One After 909'.
Paul McCartney reaches for the ♭VI7 scale degree on 11% of his sole-written songs (7 of 65) - roughly 3.3× the rate at which the other Beatles do (3% average): 'And I Love Her', 'Honey Pie', and 'I Will'.
Paul McCartney reaches for the ii7 scale degree on 28% of his sole-written songs (18 of 65) - roughly 2.9× the rate at which the other Beatles do (9% average): 'All My Loving', 'Blackbird', and 'Can't Buy Me Love'.
George Harrison uses the No verse-chorus song-form on 36% of his sole-written songs (8 of 22) - roughly 2.8× the rate at which the other Beatles do (13% average): 'Blue Jay Way', 'For You Blue', and 'Long, Long, Long'.
George Harrison uses "Drone" on 27% of his sole-written songs (6 of 22) - roughly 2.8× the rate at which the other Beatles do (10% average): 'Blue Jay Way', 'If I Needed Someone', and 'It's All Too Much'.
Paul McCartney reaches for min7 chords on 43% of his sole-written songs (28 of 65) - roughly 2.3× the rate at which the other Beatles do (19% average): 'All My Loving', 'Blackbird', and 'Can't Buy Me Love'.
Piano use rose from 25% (26 of 102) of songs in the early years (1962-65) to 55% (62 of 112) from Revolver onward (1966-70).
Organ use rose from 9% (9 of 102) of songs in the early years (1962-65) to 35% (39 of 112) from Revolver onward (1966-70).
Sound effects use rose from 0% (0 of 102) of songs in the early years (1962-65) to 22% (25 of 112) from Revolver onward (1966-70).
Spoken word use rose from 2% (2 of 102) of songs in the early years (1962-65) to 23% (26 of 112) from Revolver onward (1966-70).
12-string guitar use collapsed from 23% (23 of 102) of songs in the early years (1962-65) to 2% (2 of 112) from Revolver onward (1966-70).
Beatles songs with the Sadness motif cluster harder around G major than any other key - 14 of them are in that key.
Beatles songs touching drugs cluster harder around A major than any other key - 4 of them are in that key.
Beatles songs that touch death cluster harder around E major than any other key - 5 of them are in that key.
Beatles songs with the Spiritual motif cluster harder around D major than any other key - 6 of them are in that key.
Beatles songs steeped in Nostalgia cluster harder around A major than any other key - 11 of them are in that key.
Beatles songs about Loneliness cluster harder around A major than any other key - 17 of them are in that key.
Negative-toned Beatles songs cluster harder around A major than any other key - 16 of them are in that key.
Positive-toned Beatles songs cluster harder around A major than any other key - 25 of them are in that key.
Beatles folk-rock tracks cluster harder around A major than any other key - 10 of them are in that key.
Beatles psychedelic tracks cluster harder around G major than any other key - 11 of them are in that key.
Beatles hard-rock tracks cluster harder around A major than any other key - 8 of them are in that key.
Beatles baroque-pop tracks cluster harder around F major than any other key - 4 of them are in that key.
88% of Beatles songs sit in a major key; the remaining 12% in minor (or modal). The split barely moves year to year.
The 'Folk rock' genre peaks in 1965: 16 of its 32 songs come from that single year.
The 'R&B' genre peaks in 1963: 14 of its 26 songs come from that single year.
The 'Medley' song form peaks in 1969: 8 of its 11 songs come from that single year.
The 'Capo' guitar figure peaks in 1965: 6 of its 9 songs come from that single year.
The 'Merseybeat' genre clusters in the early years (1962-64): 29 of its 29 songs, 100% against that era's 32% share of the catalogue.
The 'Heavy hi-hat' drum figure clusters in the early years (1962-64): 5 of its 5 songs, 100% against that era's 32% share of the catalogue.
The 'Singalong' vocal element clusters in the late period (1968-70): 12 of its 13 songs, 92% against that era's 34% share of the catalogue.
The 'Multiple interludes (2+)' sectional shape clusters in the late period (1968-70): 8 of its 9 songs, 89% against that era's 34% share of the catalogue.
The 'Blues rock' genre clusters in the late period (1968-70): 13 of its 15 songs, 87% against that era's 34% share of the catalogue.
The 'Raga rock' genre clusters in the mid-period (1965-67): 6 of its 7 songs, 86% against that era's 34% share of the catalogue.
The 'Baroque' influence clusters in the mid-period (1965-67): 5 of its 6 songs, 83% against that era's 34% share of the catalogue.
The 'Psychedelic' genre first surfaces in 1966 and then recurs on 40 songs through 1970; it appears on no earlier Beatles record.
The 'Brass' instrument family first surfaces in 1966 and then recurs on 26 songs through 1970; it appears on no earlier Beatles record.
The 'Trumpet' arrangement first surfaces in 1966 and then recurs on 19 songs through 1970; it appears on no earlier Beatles record.
The 'Orchestral' instrument family first surfaces in 1967 and then recurs on 16 songs through 1970; it appears on no earlier Beatles record.
The 'Noises' arrangement first surfaces in 1966 and then recurs on 14 songs through 1970; it appears on no earlier Beatles record.
The 'Music hall' genre first surfaces in 1966 and then recurs on 14 songs through 1970; it appears on no earlier Beatles record.
The 'Psychedelia' influence first surfaces in 1966 and then recurs on 14 songs through 1970; it appears on no earlier Beatles record.
21 of the 32 Beatle-written songs carrying the 'Folk rock' genre are John Lennon's, more than any other Beatle (Paul McCartney has 8).
17 of the 18 songs carrying the 'Belted vocals' vocal element are sung by Paul McCartney, more than any other Beatle (John Lennon sings 4).
16 of the 26 Beatle-written songs carrying the 'Brass' instrument family are Paul McCartney's, more than any other Beatle (John Lennon has 8).
15 of the 24 Beatle-written songs carrying the '12-string guitar' arrangement are John Lennon's, more than any other Beatle (Paul McCartney has 7).
13 of the 19 Beatle-written songs carrying the 'Trumpet' arrangement are Paul McCartney's, more than any other Beatle (John Lennon has 4).
12 of the 16 Beatle-written songs carrying the 'Blues' genre are John Lennon's, more than any other Beatle (Paul McCartney has 5).
12 of the 15 Beatle-written songs carrying the 'Blues rock' genre are John Lennon's, more than any other Beatle (Paul McCartney has 3).
12 of the 16 Beatle-written songs carrying the 'Minor plagal' harmony device are Paul McCartney's, more than any other Beatle (John Lennon has 5).
Of the four instrument families, bass is the best covered: 123 songs carry at least one bass tag, against 107 across the other three.
The three commonest traits of the Beatles’ guitar are Fingerpicking (13), Heavy guitars (12), Capo (9).
The three commonest traits of the Beatles’ bass are Stepwise bass line (94), Chromatic bass line (35), Descending bass (26).
The three commonest traits of the Beatles’ drumming are No drums (16), Brushes (10), Prominent drum fills (9).
15 Beatles recordings open on a single instrument playing alone, before any other player or voice comes in: 1 on bass, 6 on drums, 3 on guitar, 5 on keyboards.
6 songs open on drums alone: Birthday, Glass Onion, Savoy Truffle, What You're Doing, Why Don't We Do It in the Road?, and Yer Blues.
3 songs open on guitar alone: Blackbird, Dear Prudence, and Mother Nature's Son.
5 songs open on keyboards alone: Honey Pie, Ob-La-Di, Ob-La-Da, Piggies, Strawberry Fields Forever, and The Continuing Story of Bungalow Bill.
On 52 recordings the sources agree percussion is playing but never say what it is. Shakers, rattles and hand-held oddments went uncredited far more often than the drum kit did.
The Beatles doubled a guitar line on another instrument on 12 tracks: 6 with bass, 6 with piano.
The Beatles reach for 9 harmonic tricks on their 1962 songs and 31 by 1968, having picked up circle of fifths, half cadence, and line cliché along the way.
The Beatles use 1 melodic devices on their 1962 songs and 7 by 1969, having picked up ostinato, musical quotation, and call and response along the way.
The instrument groups the Beatles reach for most are Guitars on 206 songs, Keyboards on 127 songs, and String on 28 songs.
Magical Mystery Tour reaches for String more than any other album does: 6 of its 11 songs, against 13% of the catalogue.
The vocal techniques the Beatles reach for most are Vocal harmonies on 146 songs, Ooh vocals on 54 songs, and Two-part harmony on 38 songs.
Sgt. Pepper's Lonely Hearts Club Band reaches for Aah vocals more than any other album does: 8 of its 13 songs, against 17% of the catalogue.
The rarest arrangement choices in the catalogue: Tenor flute (1), Tar shehnai (1), and Surbahar (1).
The Beatles' commonest bass work is Stepwise bass line, on 94 songs, ahead of Chromatic bass line on 35.
The rarest bass work choices in the catalogue: Bass intro (1), High bass notes (3), and Ascending bass (3).
The rarest chord type choices in the catalogue: add4 (1), 6/9 (1), and 7♭9 (2).
The Beatles' commonest drum work is No drums, on 16 songs, ahead of Brushes on 10.
The Beatles' commonest guitar work is Fingerpicking, on 13 songs, ahead of Heavy guitars on 12.
The rarest guitar work choices in the catalogue: Volume pedal (2), Detuned guitar (2), and Guitar intro (3).
The Beatles' commonest harmony device is Borrowed chord, on 164 songs, ahead of Perfect cadence on 158.
The rarest harmony device choices in the catalogue: Pachelbel's canon (1), Lament/rock descent (1), and Andalusian cadence (1).
The Beatles' commonest key is Key change, on 51 songs, ahead of A major on 48.
The rarest key choices in the catalogue: G minor (1), F♯ major (1), and E♭ minor (1).
The Beatles' commonest melodic device is Call and response, on 50 songs, ahead of Appoggiatura on 41.
The Beatles' commonest music genre is Rock, on 166 songs, ahead of Pop on 104.
The rarest music genre choices in the catalogue: Swamp rock (1), Bolero (1), and Bluegrass (1).
The Beatles' commonest section links is Intro based on verse, on 123 songs, ahead of Outro based on verse on 122.
The rarest section links choices in the catalogue: Outro based on refrain (1), Intro based on interlude (1), and Solo on dedicated section (2).
The Beatles' commonest section traits is Unique outro, on 32 songs, ahead of Chorus before verse on 25.
The rarest section traits choices in the catalogue: Short bridge (2) and Unique pre-chorus (3).
The Beatles' commonest solo / riff is Guitar solo, on 74 songs, ahead of Defining riff on 44.
The rarest solo / riff choices in the catalogue: Strings solo (1), Sitar riff (1), and Saxophone solo (1).
The Beatles' commonest song form is Verse-chorus, on 170 songs, ahead of AABA form on 64.
The Beatles' commonest tempo is Moderate, on 71 songs, ahead of Upbeat on 58.
The rarest time signature choices in the catalogue: 9/8 (1), 7/8 (1), and 6/4 (1).
The Beatles' commonest vocal element is Vocal harmonies, on 146 songs, ahead of Ooh vocals on 54.
The rarest vocal element choices in the catalogue: Vocal canon (1), Vocals on instrumental (2), and Whisper (3).
'Hold Me Tight' plays B♭ → F → B♭ → F → D7 → Gm → C7 → F and 'Mr. Moonlight' plays B → F♯ → B → F♯ → D♯7 → G♯m7 → C♯7 → F♯: the same progression in different keys.
'Hold Me Tight' plays Gm → C7 → F → D7 → Gm → C7 → F → F7 and 'I Will' plays Gm7 → C7 → F → D7 → Gm7 → C7 → F → F7: the same progression in different keys.
'I'll Get You' plays Bm → Em → A → D → B7 → Em → A → D and 'I Will' plays Dm → Gm7 → C7 → F → D7 → Gm7 → C7 → F: the same progression in different keys.
'Money (That's What I Want)' plays E → A → E → A → E → A → E → B7 and 'She's a Woman' plays A7 → D7 → A7 → D7 → A7 → D7 → A7 → E7: the same progression in different keys, which 'What Goes On' and 'Good Morning Good Morning' also make.
'And I Love Her' plays F♯m → C♯m → F♯m → C♯m → F♯m → C♯m → A → B and 'Happiness Is a Warm Gun' plays Dm → Am → Dm → Am → Dm → Am → F → G: the same progression in different keys.
'I'm Happy Just to Dance with You' plays B → C♯m → A → B → C♯m → A6 → B6 → E6 and 'Octopus's Garden' plays B → C♯m → A → B → C♯m → A → B → E: the same progression in different keys.
'What You're Doing' plays G → D → G → D → G → D → G → A and 'Doctor Robert' plays E/B → B → E/B → B → E/B → B → E/B → F♯7: the same progression in different keys, which 'Good Morning Good Morning' also makes.
'You Won't See Me' plays A → B → D → A → B → D → A → D and 'Sgt. Pepper's Lonely Hearts Club Band' plays G → A7 → C7 → G → A7 → C7 → G → C7: the same progression in different keys.
'Got to Get You into My Life' plays G → G7 → C → G7 → C → G7 → C → G7 and 'The End' plays A → A7 → D7 → A7 → D7 → A7 → D7 → A7: the same progression in different keys.
'Being for the Benefit of Mr. Kite!' plays Dm → B♭ → A7 → Dm → B♭ → A → Dm → Gm and 'The Continuing Story of Bungalow Bill' plays Cm → A♭ → G → Cm → A♭ → G → Cm → Fm: the same progression in different keys.
'When I'm Sixty-Four' plays C7 → F → Fm → C → A7 → D7 → G7 → C and 'Honey Pie' plays G7 → C → Cm → G → E7 → A7 → D7 → G: the same progression in different keys, which 'Her Majesty' also makes.
'I Wanna Be Your Man' plays E7 → A7 → E7 → A7 → E7 → B7 → A7 and 'Money (That's What I Want)' plays E → A → E → A → E → B7 → A: the same progression in different keys, which 'She's a Woman' also makes.
'I Wanna Be Your Man' plays E7 → A7 → E7 → A7 → E7 → B7 → A7 and 'She's a Woman' plays A7 → D7 → A7 → D7 → A7 → E7 → D7: the same progression in different keys.
'Thank You Girl' plays G → A → G → A → G → A → D and 'Getting Better' plays F → G → F → G → F → G → C: the same progression in different keys.
'Money (That's What I Want)' plays A → E → A → E → A → E → B7 and 'Thank You Girl' plays G → D → G → D → G → D → A: the same progression in different keys, which 'She's a Woman', 'What Goes On', and 'Good Morning Good Morning' also make.
'Thank You Girl' plays A → D → G → D → G → D → G and 'Drive My Car' plays A → D7 → G7 → D7 → G7 → D7 → G7: the same progression in different keys, which 'Lady Madonna' also makes.
'I Should Have Known Better' plays G7 → C → D → G → Em → C → D and 'Komm, Gib Mir Deine Hand' plays G → C → D → G → Em → C → D: the same progression in different keys.
'Komm, Gib Mir Deine Hand' plays G → Em → C → D → G → C → D and 'I've Just Seen a Face' plays A → F♯m → D → E → A → D → E: the same progression in different keys.
'What You're Doing' plays G → D → G → D → G → A → D and 'Act Naturally' plays G → D7 → G → D7 → G → A7 → D7: the same progression in different keys, which 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)' also makes.
'Bad Boy' plays G7 → C7 → F7 → C7 → G7 → F7 → C7 and 'Dizzy Miss Lizzy' plays E7 → A → D → A → E7 → D → A: the same progression in different keys.
'Wait' plays A → D → A → D → A → C♯7 → F♯m and 'Golden Slumbers' plays C → F7 → C → F7 → C → E7 → Am: the same progression in different keys.
'Got to Get You into My Life' plays C → G7 → C → G7 → C → G → F and 'Get Back' plays D → A → D → A → D → A → G: the same progression in different keys.
'Your Mother Should Know' plays A7 → Dm → G7 → C/B → A7 → D7 → G7 and 'Honey Pie' plays E7 → Am7 → D7 → G → E7 → A7 → D7: the same progression in different keys.
'Hey Jude' plays C → C7 → F → B♭ → F → C7 → F and 'Ob-La-Di, Ob-La-Da' plays F → F7 → B♭ → E♭ → B♭ → F → B♭: the same progression in different keys.
'Martha My Dear' plays F6 → Gm → C → Gm → C → Gm → C and 'Piggies' plays E♭7 → Fm → B♭ → Fm7 → B♭7 → Fm → B♭: the same progression in different keys.
'Piggies' plays Fm → B♭ → Fm7 → B♭7 → E♭ → A♭ → E♭7 and 'Oh! Darling' plays Bm7 → E7 → Bm7 → E7 → A → D → A: the same progression in different keys.
'All I've Got to Do' plays A → C♯m → A → E → A → E and 'What You're Doing' plays G → Bm → G → D → G → D: the same progression in different keys.
'Chains' plays E♭9 → B♭ → F9 → E♭9 → B♭ → F and 'Long Tall Sally' plays C → G → D7 → C7 → G → D7: the same progression in different keys, which 'You Can't Do That' and 'Revolution' also make.
'Komm, Gib Mir Deine Hand' plays D → C → D → C → D → G and 'Thank You Girl' plays A → G → A → G → A → D: the same progression in different keys, which 'Any Time at All', 'We Can Work It Out', and 'Getting Better' also make.
'It Won't Be Long' plays E → C♯m → E → C♯m → A → B and 'When I Get Home' plays C → Am → C → Am → F9 → G: the same progression in different keys.
'Roll Over Beethoven' plays D → D7 → G7 → D → A7 → G7 and 'Kansas City / Hey-Hey-Hey-Hey!' plays G → G7 → C7 → G → D7 → C7: the same progression in different keys, which 'I'm Down' also makes.
'She Loves You' plays D7 → C → D → G → Em → C and 'Octopus's Garden' plays B → A → B → E → C♯m → A: the same progression in different keys.
'Thank You Girl' plays A → D → G → D → G → D and 'What You're Doing' plays A → D → G7 → D → G7 → D: the same progression in different keys, which 'Drive My Car', 'Rain', and 'Lady Madonna' also make.
'Thank You Girl' plays G → D → G → D → A → D and 'I've Just Seen a Face' plays D → A → D → A → E → A: the same progression in different keys, which 'Here Comes the Sun' also makes.
'Baby's in Black' plays D7 → E7 → A → D → A → E and 'You've Got to Hide Your Love Away' plays F → G → C → F → C → G: the same progression in different keys.
'Can't Buy Me Love' plays Em → Am → Em → Am → Dm7 → G and 'I Need You' plays C♯m → F♯m → C♯m → F♯m → Bm → E: the same progression in different keys.
'Honey Don't' plays E → A7 → E → B7 → E → B7 and 'Matchbox' plays A7 → D7 → A7 → E7 → A7 → E7: the same progression in different keys, which 'Rock and Roll Music', 'Here Comes the Sun', and 'I've Got a Feeling' also make.
'Honey Don't' plays A7 → E → B7 → E → B7 → E and 'Rock and Roll Music' plays D7 → A7 → E7 → A7 → E7 → A7: the same progression in different keys, which 'Get Back', 'The Ballad of John and Yoko', and 'I've Got a Feeling' also make.
'I'm a Loser' plays G → Am7 → D → G → Em → Am and 'The Fool on the Hill' plays D6 → Em7/D → A7 → D6 → Bm7 → Em7: the same progression in different keys.
'Long Tall Sally' plays D7 → C7 → G → D7 → C → G and 'Revolution' plays F♯7 → E7 → B → F♯ → E → B: the same progression in different keys, which 'You Never Give Me Your Money' also makes.
'What You're Doing' plays G → Bm → G → Bm → E → A and 'Drive My Car' plays G7 → Bm → G7 → Bm → E → A: the same progression in different keys.
'When I Get Home' plays A → D9 → G → A → G → C and 'The End' plays B → E → A/C♯ → B/F♯ → A7 → D7: the same progression in different keys.
'Another Girl' plays A → C → G → C → G → C and 'You Won't See Me' plays B → D → A → D → A → D: the same progression in different keys.
'Drive My Car' plays A → D/G → A → D7 → G7 → D7 and 'I've Got a Feeling' plays A → D/A → A → D/A → G → D: the same progression in different keys.
'Drive My Car' plays Bm → E → A → D/G → A → D7 and 'Piggies' plays Fm7 → B♭7 → E♭ → A♭ → E♭7 → A♭: the same progression in different keys.
'Drive My Car' plays Bm → G7 → Bm → E → A → D/G and 'Yesterday' plays Dm → B♭ → Dm/A → G7 → C7 → F: the same progression in different keys.
'If I Needed Someone' plays F♯7 → Bm → Em → F♯7 → Bm → E7sus4 and 'Being for the Benefit of Mr. Kite!' plays A → Dm → Gm → A7 → Dm → G: the same progression in different keys.
'We Can Work It Out' plays A → D → C/D → D → C/D → D and 'Martha My Dear' plays F7 → B♭ → A♭add9 → B♭7 → A♭maj7 → B♭7: the same progression in different keys.
'For No One' plays C♯m → G♯7 → C♯m → G♯7 → C♯m → F♯sus4 and 'Honey Pie' plays Em → B7 → Em → B7 → Em7 → A7: the same progression in different keys.
'Got to Get You into My Life' plays G → G7 → C → G7 → C → G7 and 'It's All Too Much' plays Gadd9 → G → C/G → G → C/G → G: the same progression in different keys, which 'The End' also makes.
'I'm Only Sleeping' plays G → C → G → B7 → Em → Am and 'Golden Slumbers' plays C → F7 → C → E7 → Am → Dm9: the same progression in different keys.
'Good Morning Good Morning' plays A → D → E → A → A7 → G and 'You Never Give Me Your Money' plays C7 → F → G7 → C → C7 → B♭: the same progression in different keys.
'Honey Pie' plays B7 → Em → B7 → Em7 → A7 → D7 and 'She Came in Through the Bathroom Window' plays A → Dm → A → Dm → G7 → C: the same progression in different keys.
'I Will' plays Dm → F → B♭ → C7 → F → F7 and 'You Never Give Me Your Money' plays Am → C7 → F → G7 → C → C7: the same progression in different keys.
'I Will' plays Dm → Gm7 → C7 → F → F7 → B♭ and 'Carry That Weight' plays Am → Dm9 → G7 → Csus4 → C → Fmaj7: the same progression in different keys.
'Lady Madonna' plays D/A → F → C → Dm7 → G7 → C and 'You Know My Name (Look Up the Number)' plays E7 → G → D → Em → A7 → D: the same progression in different keys.
'Maxwell's Silver Hammer' plays B7 → Em → A9 → D → A → D and 'She Came in Through the Bathroom Window' plays A → Dm → G7 → C → G7 → C/B: the same progression in different keys.
'P.S. I Love You' plays Em → D → A → Bm → A and 'Hello, Goodbye' plays Dm7/F → C → G → Am → G: the same progression in different keys.
'All I've Got to Do' plays C♯m → A → E → A → E and 'Mr. Moonlight' plays D♯m → B → F♯ → B → F♯: the same progression in different keys, which 'What You're Doing' also makes.
'All My Loving' plays B7 → F♯m7 → B7 → E → C♯m and 'Anna (Go to Him)' plays A → Em → A → D → Bm: the same progression in different keys.
'All My Loving' plays F♯m7 → B7 → E → C♯m → A and 'I'll Get You' plays Em → A → D → Bm → G: the same progression in different keys.
'All My Loving' plays C♯m → E → A → B7 → E and 'I Will' plays Dm → F → B♭ → C7 → F: the same progression in different keys, which 'You Never Give Me Your Money' also makes.
'Anna (Go to Him)' plays G → D → G → Gm → D and 'Nowhere Man' plays A → E → A → Am → E: the same progression in different keys, which 'Fixing a Hole' also makes.
'Anna (Go to Him)' plays Em → A → Em → A → D and 'Glass Onion' plays Gm7 → C7 → Gm7 → C7 → F7: the same progression in different keys, which 'Martha My Dear', 'Piggies', and 'Oh! Darling' also make.
'Anna (Go to Him)' plays A → D → Bm → D → Bm and 'It's Only Love' plays G → C → Am → C → Am: the same progression in different keys.
'Anna (Go to Him)' plays G → Gm → D → E7 → A7 and 'You Won't See Me' plays D → Dm → A → B7 → E7: the same progression in different keys.
'Ask Me Why' plays A → B7 → E → B7 → E and 'I'm Down' plays C → D7 → G → D7 → G: the same progression in different keys, which 'Hey Jude' also makes.
'Chains' plays B♭ → F9 → E♭9 → B♭ → F and 'You Can't Do That' plays G7 → D7♯9 → C7 → G7 → D7: the same progression in different keys, which 'Revolution' also makes.
'Do You Want to Know a Secret' plays A → B → C♯m → F♯m → B7 and 'Tell Me Why' plays G7 → A7 → Bm/F♯ → Em → A7: the same progression in different keys.
'I Saw Her Standing There' plays E7 → B7 → E7 → B7 → A7 and 'Good Day Sunshine' plays B → F♯ → B → F♯ → E7: the same progression in different keys, which 'Got to Get You into My Life', 'Get Back', and 'The End' also make.
'I Saw Her Standing There' plays E7 → A7 → E7 → B7 → E and 'Baby's in Black' plays A7 → D → A → E7 → A: the same progression in different keys, which 'I'm Down', 'Tell Me What You See', 'Revolution 1', and 'Maxwell's Silver Hammer' also make.
'I Saw Her Standing There' plays B7 → E7 → B7 → A7 → E7 and 'Get Back' plays A → D → A → G → D: the same progression in different keys.
'Little Child' plays B → A → F♯9 → B → E and 'Good Day Sunshine' plays E7 → D → B7 → E → A: the same progression in different keys.
'Money (That's What I Want)' plays E → A → E → B7 → A and 'Dizzy Miss Lizzy' plays A → D → A → E7 → D: the same progression in different keys.
'Please Please Me' plays G♯7 → C♯m → A → B → E and 'Yesterday' plays A7 → Dm → B♭ → C7 → F: the same progression in different keys.
'Please Please Me' plays A → E → A → C♯m → F♯m and 'Any Time at All' plays D/A → A/C♯ → D → F♯m/C♯ → Bm: the same progression in different keys.
'She Loves You' plays D7 → C → D → G → Em and 'It's Only Love' plays G → F → G → C → Am: the same progression in different keys, which 'Octopus's Garden' also makes.
'This Boy' plays Bm → Em7 → A7 → D → D7 and 'I Will' plays Dm → Gm7 → C7 → F → F7: the same progression in different keys.
'This Boy' plays Bm → D → D7 → G → E7 and 'You Really Got a Hold on Me' plays F♯m → A → A7 → D → B7: the same progression in different keys.
'This Boy' plays D → D7 → G → E7 → A and 'Something' plays Cmaj7 → C7 → F → D7 → G: the same progression in different keys.
'Till There Was You' plays B♭ → B♭m → F → D7 → Gm and 'I Will' plays B♭ → B♭m6 → F/A → D7 → Gm7: the same progression in different keys.
'Till There Was You' plays Gm7 → F → Gm7 → C7♭9 → F and 'The Fool on the Hill' plays Em7/D → D6 → Em7/D → A7 → D6: the same progression in different keys.
'Twist and Shout' plays A7 → D → G → A → D and 'Hey Jude' plays C7 → F7 → B♭ → C7 → F: the same progression in different keys.
'Any Time at All' plays A → Bm → G → A → D and 'I'm Happy Just to Dance with You' plays B → C♯m → A6 → B6 → E6: the same progression in different keys, which 'Yellow Submarine' and 'Octopus's Garden' also make.
'Any Time at All' plays D → A → Bm → G → A and 'Yellow Submarine' plays G → D → Em → C → D: the same progression in different keys.
'Baby's in Black' plays A7 → D → A → E7 → A and 'I'm Down' plays G7 → C → G → D7 → G: the same progression in different keys, which 'Tell Me What You See' also makes.
'Baby's in Black' plays E7 → A → D → A → E and 'Ob-La-Di, Ob-La-Da' plays F7 → B♭ → E♭ → B♭ → F: the same progression in different keys, which 'Oh! Darling' also makes.
'Can't Buy Me Love' plays Em → Am → Dm7 → G7 → C and 'I Will' plays Am → Dm → Gm7 → C7 → F: the same progression in different keys, which 'Golden Slumbers' also makes.
'Eight Days a Week' plays A → Bm → A → Bm → E and 'The Fool on the Hill' plays D6 → Em7/D → D6 → Em7/D → A7: the same progression in different keys.
'Every Little Thing' plays A → D → E → A → G and 'We Can Work It Out' plays D → G → A → D → C/D: the same progression in different keys.
'Honey Don't' plays C → B7 → E → A7 → E and 'Lady Madonna' plays F7 → E7 → A → D/A → A: the same progression in different keys.
'I'll Be Back' plays Am → G → Fmaj7 → E7 → A and 'Blackbird' plays Dm → C → B♭6 → A7 → D7sus4: the same progression in different keys.
'I'll Cry Instead' plays D → C → G → D → G and 'Dizzy Miss Lizzy' plays E7 → D → A → E7 → A: the same progression in different keys, which 'Get Back' also makes.
'I'll Follow the Sun' plays D7 → G7 → C → F → C and 'Blackbird' plays A7 → D7sus4 → G → C → G/B: the same progression in different keys, which 'The End' also makes.
'I'm Happy Just to Dance with You' plays C♯m → F♯m → G♯ → A → B and 'Piggies' plays Fm → B♭m → C7 → D♭ → E♭: the same progression in different keys.
'I'm a Loser' plays D → G → Em → Am → F and 'Dig a Pony' plays E → A → F♯m → Bm → G: the same progression in different keys.
'If I Fell' plays D9 → G → Gm → D → A7 and 'Magical Mystery Tour' plays D → G/B → Gm/B♭ → D/A → A: the same progression in different keys.
'Long Tall Sally' plays C → G → D7 → C7 → G and 'The Word' plays G7 → D7 → A → G → D7: the same progression in different keys, which 'Revolution' also makes.
'Mr. Moonlight' plays F♯ → D♯m → B → F♯ → B and 'She Came in Through the Bathroom Window' plays A → F♯m → D → A → D: the same progression in different keys.
'Mr. Moonlight' plays F♯/A♯ → B → F♯ → D♯m → B and 'I Need You' plays A → D → A → F♯m → D: the same progression in different keys, which 'She Came in Through the Bathroom Window' also makes.
'She's a Woman' plays E7 → D7 → A7 → D7 → A7 and 'I've Just Seen a Face' plays E → D → A → D → A: the same progression in different keys, which 'Two of Us' also makes.
'She's a Woman' plays A7 → E7 → D7 → A7 → D7 and 'Nowhere Man' plays E → B → A → E → A: the same progression in different keys, which 'Two of Us' also makes.
'Tell Me Why' plays A7 → Bm/F♯ → Em → A7 → D and 'All You Need Is Love' plays D/F♯ → Em → Am → D7 → G: the same progression in different keys.
'What You're Doing' plays D → G → A → D → G7 and 'Her Majesty' plays Asus4 → D → E7 → A → D: the same progression in different keys.
'When I Get Home' plays C → Am → F9 → G → F and 'Strawberry Fields Forever' plays B♭ → Gm → E♭ → F → E♭: the same progression in different keys.
'Another Girl' plays A → G → A → D → E7 and 'We Can Work It Out' plays D → C/D → D → G → A: the same progression in different keys, which 'Good Morning Good Morning' also makes.
'Dizzy Miss Lizzy' plays A → E7 → A → D → A6 and 'Drive My Car' plays D/G → A → D7 → G7 → D7: the same progression in different keys.
'Drive My Car' plays A → D/G → A → D7 → G7 and 'You're Going to Lose That Girl' plays G → C → G → C → F: the same progression in different keys, which 'Doctor Robert', 'Hey Jude', and 'I've Got a Feeling' also make.
'I'm Down' plays G → C → D7 → G → D7 and 'Hey Jude' plays F7 → B♭ → C7 → F → C7: the same progression in different keys.
'I'm Looking Through You' plays D → Dsus4 → D → G → Cadd9 and 'You've Got to Hide Your Love Away' plays D → Dsus2 → D → G → C: the same progression in different keys.
'I'm Looking Through You' plays Dsus4 → D → G → Cadd9 → G/B and 'Hey Jude' plays C → C7 → F → B♭ → F: the same progression in different keys, which 'Ob-La-Di, Ob-La-Da' also makes.
'I'm Looking Through You' plays Am → Cadd9 → G → Cadd9 → G and 'The End' plays Dm7/F → F → C/E → F → C/E: the same progression in different keys.
'Michelle' plays Fm → Fm(maj7) → Fm7 → Fm6/D → D♭maj7 and 'Eleanor Rigby' plays Em → Em7 → Em6 → Em → C: the same progression in different keys, which 'Cry Baby Cry' and 'Glass Onion' also make.
'Tell Me What You See' plays D → G → G7 → C → G and 'Real Love' plays B♭ → E♭ → E♭7/D → A♭ → E♭: the same progression in different keys.
'Tell Me What You See' plays G → C → D → G → G7 and 'Good Morning Good Morning' plays A → D → E → A → A7: the same progression in different keys.
'Wait' plays A → D → A → C♯7 → F♯m and 'I'm Only Sleeping' plays G → C → G → B7 → Em: the same progression in different keys, which 'Golden Slumbers' also makes.
'Wait' plays F♯m → B → E → A → C♯7 and 'Lady Madonna' plays Dm7 → G7 → C → F → A7: the same progression in different keys.
'We Can Work It Out' plays C/D → D → G → A → D and 'Good Morning Good Morning' plays G → A → D → E → A: the same progression in different keys.
'We Can Work It Out' plays D → G → D → A7sus4 → A7 and 'What Goes On' plays E → A → E → Bsus4 → B7: the same progression in different keys.
'What Goes On' plays A → E → Bsus4 → B7 → E and 'Dear Prudence' plays C → G → D → D7/C → Gmaj7/B: the same progression in different keys.
'Yes It Is' plays F♯m7 → B7 → E → A → D and 'Honey Pie' plays Em7 → A7 → D7 → G → C: the same progression in different keys.
'You Like Me Too Much' plays Bm7 → D7 → G → C → D7 and 'For No One' plays G♯m → B/F♯ → E → A → B: the same progression in different keys, which 'Something' also makes.
'You Won't See Me' plays D → A → A7 → D → Dm and 'Dear Prudence' plays G → D → D7/C → Gmaj7/B → Gm(maj7)/B♭: the same progression in different keys.
'You've Got to Hide Your Love Away' plays Dsus4 → D → Dsus2 → D → G and 'Mother Nature's Son' plays D → Dsus4 → D → D7 → G: the same progression in different keys.
'You've Got to Hide Your Love Away' plays C → Dsus4 → D → Dsus2 → D and 'Taxman' plays C7 → D7 → D7♯9 → D7 → D7♯9: the same progression in different keys.
'You've Got to Hide Your Love Away' plays G → C → F → C → D and 'Blackbird' plays D7sus4 → G → C → G/B → A7: the same progression in different keys.
'For No One' plays G♯m → B/F♯ → E → A → B and 'Something' plays F♯m → A/E → D → G → A: the same progression in different keys.
'For No One' plays C♯m → G♯7 → C♯m → F♯sus4 → F♯ and 'Real Love' plays Fm → C7 → Fm → B♭sus4 → B♭: the same progression in different keys.
'I'm Only Sleeping' plays G → C → G → C → A and 'Maxwell's Silver Hammer' plays A9 → D → A → D → B7: the same progression in different keys, which 'She Came in Through the Bathroom Window' also makes.
'Lovely Rita' plays B → C♯m → F♯ → B → E and 'Lady Madonna' plays C → Dm7 → G7 → C → F: the same progression in different keys.
'Lovely Rita' plays B7 → E → A → D → G and 'Honey Pie' plays B7 → E7 → A7 → D7 → G: the same progression in different keys, which 'Lady Madonna' also makes.
'Lovely Rita' plays E → B → C♯m → F♯7 → B and 'You Know My Name (Look Up the Number)' plays G → D → Em → A7 → D: the same progression in different keys.
'Lovely Rita' plays C♯m → F♯ → B → E → D and 'Martha My Dear' plays Gm7 → C7 → F7 → B♭ → A♭add9: the same progression in different keys.
'Sgt. Pepper's Lonely Hearts Club Band' plays C7 → G → C7 → G → G7 and 'It's All Too Much' plays C/G → G → C/G → G → Gadd9: the same progression in different keys.
'The Fool on the Hill' plays Dm → Dm(maj7)/C♯ → Dm7/C → B♭/D → C7 and 'Glass Onion' plays Am7 → Am → Am7 → F7 → G7: the same progression in different keys.
'When I'm Sixty-Four' plays G → E7 → Am → Dm → F and 'I Want You (She's So Heavy)' plays G → E7/G♯ → Am7 → Dm7 → F: the same progression in different keys.
'With a Little Help from My Friends' plays B → F♯m → B → E → D and 'Martha My Dear' plays G9 → Dm → G9 → C7 → B♭: the same progression in different keys.
'Back in the U.S.S.R.' plays A → D → B7 → E7 → D7 and 'Everybody's Got Something to Hide Except Me and My Monkey' plays A → D → B → E → D: the same progression in different keys.
'Glass Onion' plays C7 → F7 → D7 → F7 → D7 and 'You Never Give Me Your Money' plays G7 → C7 → A7 → C7 → A: the same progression in different keys.
'Good Night' plays D7 → G → Bm → Em → C and 'The Long and Winding Road' plays B♭7 → E♭ → Gm → Cm → A♭: the same progression in different keys.
'Honey Pie' plays G → B7 → E7 → A7 → D7 and 'You Never Give Me Your Money' plays C → E → A → D7 → G: the same progression in different keys.
'Honey Pie' plays B7 → E7 → A7 → D7 → G and 'Lady Madonna' plays E7 → A7 → D7 → G7 → C: the same progression in different keys.
'The Continuing Story of Bungalow Bill' plays G → Cm → Fm → B♭ → E♭ and 'Carry That Weight' plays E7 → Am → Dm9 → G7 → Csus4: the same progression in different keys, which 'Golden Slumbers' also makes.
'While My Guitar Gently Weeps' plays A → C♯m → F♯m → Bm → E and 'Golden Slumbers' plays C → Em → Am → Dm9 → G7: the same progression in different keys.
'Yer Blues' plays E7 → G → B7 → E7 → A7 and 'You Never Give Me Your Money' plays A → C → E → A → D7: the same progression in different keys.
'Carry That Weight' plays C → Fmaj7 → Bdim → E7 → Am and 'You Never Give Me Your Money' plays Cmaj7 → Fmaj7 → Bm7♭5 → E7 → Am: the same progression in different keys.
'Golden Slumbers' plays Dm → G7 → C → Em → Am and 'The Long and Winding Road' plays Fm7 → B♭7 → E♭ → Gm → Cm: the same progression in different keys.
'Here Comes the Sun' plays D → A → E7 → A → E7 and 'The Ballad of John and Yoko' plays A → E → B7 → E → B7: the same progression in different keys.
'Maxwell's Silver Hammer' plays D → F♯/A♯ → Bm → D/F♯ → G and 'You Never Give Me Your Money' plays C → E7 → Am → C7 → F: the same progression in different keys.
'Polythene Pam' plays D/E → A → E → D → C♯ and 'Now and Then' plays F → C → G → F → E7: the same progression in different keys.
'P.S. I Love You' plays A → B♭ → C → D and 'Polythene Pam' plays B → C → D → E: the same progression in different keys.
'P.S. I Love You' plays D → A → Bm → A and 'The Inner Light' plays A♭ → E♭ → Fm → E♭: the same progression in different keys.
'All My Loving' plays C♯m → E → A → E and 'I Need You' plays F♯m → A → D → A: the same progression in different keys, which 'Maxwell's Silver Hammer' also makes.
'All My Loving' plays F♯m7 → B7 → E → C♯m and 'This Boy' plays Em7 → A7 → D → Bm: the same progression in different keys, which 'Yes It Is' and 'I Will' also make.
'All My Loving' plays C♯m → A → F♯m → D and 'A Hard Day's Night' plays Bm → G → Em → C: the same progression in different keys.
'All My Loving' plays E → A → E → C♯m and 'Mr. Moonlight' plays F♯/A♯ → B → F♯ → D♯m: the same progression in different keys, which 'I Need You' and 'She Came in Through the Bathroom Window' also make.
'All My Loving' plays E → C♯m → E → A and 'For No One' plays B → G♯m → B/F♯ → E: the same progression in different keys.
'All My Loving' plays B7 → F♯m7 → B7 → E and 'Oh! Darling' plays E7 → Bm7 → E7 → A: the same progression in different keys.
'Ask Me Why' plays E → F♯m7 → G♯m7 → A and 'Please Please Me' plays E → F♯m → G♯m → A: the same progression in different keys, which 'Here, There and Everywhere' and 'Sexy Sadie' also make.
'Ask Me Why' plays E → F♯m7 → G♯m7 → F♯m7 and 'I'm Only Sleeping' plays G → Am → Bm → Am: the same progression in different keys.
'Ask Me Why' plays C♯m → A → F♯ → B7 and 'Help!' plays Bm → G → E7 → A: the same progression in different keys, which 'Dig a Pony' also makes.
'Ask Me Why' plays A → G♯m7 → F♯m7 → E and 'Blackbird' plays Fadd9 → Em → Dm → C: the same progression in different keys, which 'Long, Long, Long' also makes.
'Ask Me Why' plays F♯m7 → E → G♯7 → C♯m and 'Girl' plays Fm → E♭ → G7 → Cm: the same progression in different keys.
'Ask Me Why' plays A → B7 → E → B7 and 'Hey Jude' plays B♭ → C7 → F → C7: the same progression in different keys.
'Ask Me Why' plays F♯ → B7 → E → F♯m7 and 'When I Get Home' plays A → D9 → G → Am: the same progression in different keys.
'Ask Me Why' plays G♯m7 → A → G♯m7 → F♯m7 and 'No Reply' plays Em → Fmaj7 → Em → Dm7: the same progression in different keys.
'Ask Me Why' plays B7 → E → F♯m7 → G♯m7 and 'If I Fell' plays A → D → Em → F♯m: the same progression in different keys.
'Ask Me Why' plays E → F♯m7 → G♯m7 → A and 'Sexy Sadie' plays G → Am7 → Bm7 → C: the same progression in different keys.
'Ask Me Why' plays E → G♯7 → C♯m → A and 'I Should Have Known Better' plays G → B7 → Em → C: the same progression in different keys.
'Baby It's You' plays A7 → Dm → Gm → C7 and 'The Continuing Story of Bungalow Bill' plays G → Cm → Fm → B♭: the same progression in different keys, which 'Carry That Weight' and 'Golden Slumbers' also make.
'Devil in Her Heart' plays G → G7 → C → Cm and 'You Won't See Me' plays A → A7 → D → Dm: the same progression in different keys, which 'Honey Pie' and 'Mother Nature's Son' also make.
'Devil in Her Heart' plays Cm → G → G7 → C and 'I'll Follow the Sun' plays Fm6 → C → C7 → F: the same progression in different keys, which 'Dear Prudence' also makes.
'Do You Want to Know a Secret' plays F♯m → B7 → A → B and 'I'll Be Back' plays Bm → E → D → E: the same progression in different keys, which 'Day Tripper' also makes.
'Do You Want to Know a Secret' plays A → F♯m → C♯m → Bm and 'Across the Universe' plays D → Bm → F♯m → Em7: the same progression in different keys.
'Do You Want to Know a Secret' plays C♯m → Bm → A → F♯m and 'Don't Bother Me' plays Bm → Am → G → Em: the same progression in different keys.
'Do You Want to Know a Secret' plays B → C♯m → F♯m → B7 and 'All You Need Is Love' plays D/F♯ → Em → Am → D7: the same progression in different keys.
'Do You Want to Know a Secret' plays B7 → A → B → C♯m and 'When I Get Home' plays G → F → G → Am: the same progression in different keys.
'Do You Want to Know a Secret' plays F♯m → B7 → E → G♯m and 'Golden Slumbers' plays Dm → G7 → C → Em: the same progression in different keys.
'Do You Want to Know a Secret' plays F♯m → B7 → E → G♯m and 'While My Guitar Gently Weeps' plays Bm → E → A → C♯m: the same progression in different keys, which 'Golden Slumbers' and 'The Long and Winding Road' also make.
'Don't Bother Me' plays Bm → Am → C → Em and 'I'm Only Sleeping' plays Bm → Am → Cmaj7 → Em: the same progression in different keys.
'Don't Bother Me' plays Em → D → Em → Bm and 'And I Love Her' plays C♯m → B → C♯m → G♯m: the same progression in different keys.
'From Me to You' plays C → G7 → C → Am and 'I Should Have Known Better' plays G → D → G → Em: the same progression in different keys.
'From Me to You' plays Am → C → G7 → C and 'I'm Looking Through You' plays Am → Cadd9 → G → Cadd9: the same progression in different keys, which 'Ob-La-Di, Ob-La-Da' and 'The End' also make.
'From Me to You' plays Am → C → G7 → F7 and 'All You Need Is Love' plays Em7 → G/D → D → C: the same progression in different keys, which 'I Want You (She's So Heavy)' also makes.
'Hold Me Tight' plays F → G7 → C → C7 and 'Tell Me What You See' plays C → D → G → G7: the same progression in different keys, which 'Good Morning Good Morning', 'I Will', and 'You Never Give Me Your Money' also make.
'Hold Me Tight' plays Gm → C7 → F → F7 and 'The Long and Winding Road' plays Fm → B♭7 → E♭ → E♭7: the same progression in different keys.
'Hold Me Tight' plays B♭ → F → G7 → C and 'Sgt. Pepper's Lonely Hearts Club Band' plays C7 → G → A7 → D7: the same progression in different keys, which 'Blackbird' and 'One After 909' also make.
'I Saw Her Standing There' plays C → E7 → B7 → E7 and 'Please Please Me' plays C7 → E → B → E: the same progression in different keys.
'I Saw Her Standing There' plays B7 → E7 → A7 → E7 and 'Bad Boy' plays G7 → C7 → F7 → C7: the same progression in different keys, which 'Yer Blues' also makes.
'I Saw Her Standing There' plays A7 → E7 → B7 → E7 and 'Matchbox' plays D7 → A7 → E7 → A7: the same progression in different keys, which 'Rock and Roll Music', 'Bad Boy', and 'Birthday' also make.
'I Wanna Be Your Man' plays F♯7 → B7 → E → D/E and 'Good Day Sunshine' plays F♯7 → B7 → E7 → D: the same progression in different keys, which 'Lovely Rita' and 'Martha My Dear' also make.
'I Wanna Be Your Man' plays C♯7 → F♯7 → B7 → E and 'When I'm Sixty-Four' plays A7 → D7 → G7 → C: the same progression in different keys, which 'Your Mother Should Know', 'Honey Pie', and 'Lady Madonna' also make.
'I Wanna Be Your Man' plays F♯7 → B7 → E7 → C♯7 and 'You Never Give Me Your Money' plays D7 → G7 → C7 → A7: the same progression in different keys.
'Komm, Gib Mir Deine Hand' plays B → C → D → G and 'I'm Happy Just to Dance with You' plays G♯ → A → B → E: the same progression in different keys.
'Komm, Gib Mir Deine Hand' plays G → D → Em → B and 'I Don't Want to Spoil the Party' plays G → D7 → Em → B7: the same progression in different keys.
'I'll Get You' plays A → D → Am → D and 'Maxwell's Silver Hammer' plays E7 → A7 → Em → A: the same progression in different keys.
'It Won't Be Long' plays G♯m → E → G♯m → A and 'Ticket to Ride' plays F♯m → D → F♯m → G: the same progression in different keys.
'It Won't Be Long' plays G♯m → A → F♯m → B7 and 'Got to Get You into My Life' plays Bm → C → Am7 → D7: the same progression in different keys.
'Little Child' plays E → B → A → F♯9 and 'I Want You (She's So Heavy)' plays F → C → B♭ → G5: the same progression in different keys.
'Not a Second Time' plays Em → G → Em → D and 'Long, Long, Long' plays Gm → B♭ → Gm → F: the same progression in different keys, which 'Hey Bulldog' also makes.
'Not a Second Time' plays Em → D → Am → D7 and 'You Like Me Too Much' plays Bm → A → Em7 → A7: the same progression in different keys.
'Not a Second Time' plays Em → D → G → D7 and 'Mr. Moonlight' plays G♯m → F♯/A♯ → B → F♯: the same progression in different keys, which 'Long, Long, Long' and 'The Inner Light' also make.
'Please Please Me' plays G♯m → A → E → F♯m and 'Here, There and Everywhere' plays Bm → C → G → Am: the same progression in different keys, which 'Sexy Sadie' also makes.
'Please Please Me' plays C♯m → G♯7 → C♯m → A and 'Being for the Benefit of Mr. Kite!' plays Dm → A → Dm → B♭: the same progression in different keys.
'Please Please Me' plays B → C♯m → G♯7 → C♯m and 'When I'm Sixty-Four' plays G → Am → E7 → Am: the same progression in different keys.
'Please Please Me' plays F♯m → G♯m → A → E and 'Sexy Sadie' plays Am7 → Bm7 → Cmaj7 → G: the same progression in different keys.
'She Loves You' plays Em → A7 → C → D and 'Baby's in Black' plays F♯m → B7 → D → E7: the same progression in different keys, which 'Eight Days a Week' and 'I Don't Want to Spoil the Party' also make.
'She Loves You' plays A7 → C → D → Em and 'I'm a Loser' plays D → F → G → Am7: the same progression in different keys.
'She Loves You' plays D7 → C → D → G and 'Good Morning Good Morning' plays A7 → G → A → D: the same progression in different keys.
'She Loves You' plays D → Em → C → G6 and 'Let It Be' plays G → Am → F → C: the same progression in different keys, which 'Now and Then' also makes.
'Sie Liebt Dich' plays C → Am → Em → G7 and 'Julia' plays D → Bm7 → F♯m → A: the same progression in different keys, which 'Across the Universe' also makes.
'There's a Place' plays E → B7 → C♯m → G♯m and 'I'm Looking Through You' plays Cadd9 → G/B → Am → Em7: the same progression in different keys.
'There's a Place' plays A → E → B7 → C♯m and 'Lovely Rita' plays A → E → B → C♯m: the same progression in different keys, which 'Let It Be' and 'Now and Then' also make.
'There's a Place' plays C♯m → G♯m → A → G♯m and 'No Reply' plays Am → Em → Fmaj7 → Em: the same progression in different keys.
'This Boy' plays G → E7 → A → A7 and 'Help!' plays G → E7 → A → A6: the same progression in different keys, which 'You Never Give Me Your Money' also makes.
'This Boy' plays A7 → D → Bm → Em7 and 'Yes It Is' plays E7 → A → F♯m → Bm7: the same progression in different keys.
'Till There Was You' plays Gm7 → F → Gm7 → C7♭9 and 'Eight Days a Week' plays Bm → A → Bm → E: the same progression in different keys, which 'The Fool on the Hill' and 'Martha My Dear' also make.
'Till There Was You' plays B♭ → B♭m → F → D7 and 'When I'm Sixty-Four' plays F → Fm → C → A7: the same progression in different keys, which 'Honey Pie', 'I Will', and 'Her Majesty' also make.
'Till There Was You' plays D7 → Gm → Gm(maj7) → Gm7 and 'Michelle' plays C → Fm → Fm(maj7) → Fm7: the same progression in different keys.
'Twist and Shout' plays D → G → A → A7 and 'I'm Looking Through You' plays G → Cadd9 → D → Dsus4: the same progression in different keys, which 'You've Got to Hide Your Love Away' also makes.
'Twist and Shout' plays A → A7 → D → G and 'Ob-La-Di, Ob-La-Da' plays F → F7 → B♭ → E♭: the same progression in different keys.
'Twist and Shout' plays A → D → G → A and 'You've Got to Hide Your Love Away' plays D → G → C → Dsus4: the same progression in different keys.
'Twist and Shout' plays D → G → A → D and 'I Should Have Known Better' plays G7 → C → D → G: the same progression in different keys, which 'Hey Jude', 'Her Majesty', 'Maxwell's Silver Hammer', and 'You Never Give Me Your Money' also make.
'A Hard Day's Night' plays C → D → G → C9 and 'Baby's in Black' plays D7 → E7 → A → D: the same progression in different keys, which 'What You're Doing' also makes.
'Baby's in Black' plays A → E7 → D7 → E7 and 'Another Girl' plays D → A → G → A: the same progression in different keys, which 'All You Need Is Love', 'Octopus's Garden', and 'The End' also make.
'A Hard Day's Night' plays Bm → Em → Bm → G and 'And I Love Her' plays C♯m → F♯m → C♯m → A: the same progression in different keys.
'Any Time at All' plays Bm/F♯ → A/G → G → A and 'Blackbird' plays Dm → C → B♭6 → C: the same progression in different keys.
'Any Time at All' plays Gm/B♭ → D/A → A/C♯ → D and 'Magical Mystery Tour' plays Gm/B♭ → D/A → A → D: the same progression in different keys.
'Baby's in Black' plays E7 → A → D → A and 'I'll Follow the Sun' plays G7 → C → F → C: the same progression in different keys, which 'Dizzy Miss Lizzy', 'I'm Down', 'Ob-La-Di, Ob-La-Da', and 'Oh! Darling' also make.
'Eight Days a Week' plays Bm → Em → Bm → E and 'Martha My Dear' plays Dm → Gm7 → Dm → G9: the same progression in different keys.
'Every Little Thing' plays A → G → D → Bm and 'I'm Happy Just to Dance with You' plays B → A → E → C♯m: the same progression in different keys, which 'I've Just Seen a Face' and 'Let It Be' also make.
'Every Little Thing' plays D → E → A → G and 'The Night Before' plays G → A → D → C: the same progression in different keys, which 'We Can Work It Out' and 'Sgt. Pepper's Lonely Hearts Club Band' also make.
'I Call Your Name' plays E → C♯7 → F♯7 → A and 'Lady Madonna' plays C → A7 → D7 → F7: the same progression in different keys.
'I Call Your Name' plays C♯7 → F♯7 → A → E and 'Helter Skelter' plays E7/D → A/C♯ → C → G: the same progression in different keys, which 'Lady Madonna' also makes.
'I Call Your Name' plays E → C♯7 → F♯7 → B7 and 'Good Day Sunshine' plays A → F♯7 → B7 → E7: the same progression in different keys, which 'Honey Pie' also makes.
'I Don't Want to Spoil the Party' plays Am → D7 → G → F and 'With a Little Help from My Friends' plays F♯m → B → E → D: the same progression in different keys, which 'Martha My Dear' also makes.
'I Don't Want to Spoil the Party' plays D7 → G → F → G and 'We Can Work It Out' plays A → D → C/D → D: the same progression in different keys, which 'Back in the U.S.S.R.' and 'Martha My Dear' also make.
'I Don't Want to Spoil the Party' plays A7 → C → D → G and 'You've Got to Hide Your Love Away' plays D → F → G → C: the same progression in different keys.
'I Should Have Known Better' plays C → G → B7 → Em and 'Wait' plays D → A → C♯7 → F♯m: the same progression in different keys, which 'I'm Only Sleeping', 'Golden Slumbers', and 'Now and Then' also make.
'Wait' plays D → A → C♯7 → F♯m and 'Now and Then' plays F → C → E7 → Am: the same progression in different keys.
'I'll Follow the Sun' plays G → F7 → C → D7 and 'The Night Before' plays D → C → G → A: the same progression in different keys, which 'Sgt. Pepper's Lonely Hearts Club Band' also makes.
'I'll Follow the Sun' plays C → Em/B → D7 → G7 and 'While My Guitar Gently Weeps' plays F → Am → G → C: the same progression in different keys.
'I'll Follow the Sun' plays F7 → C → D7 → C and 'You've Got to Hide Your Love Away' plays F → C → D → Csus2: the same progression in different keys.
'I'll Follow the Sun' plays D7 → G7 → C → F and 'Things We Said Today' plays B7 → E7 → A → D: the same progression in different keys, which 'Honey Pie' and 'Lady Madonna' also make.
'I'm Happy Just to Dance with You' plays E → G♯m → F♯m → B and 'Girl' plays E♭ → Gm/D → Fm/C → B♭7: the same progression in different keys, which 'You're Going to Lose That Girl' and 'Glass Onion' also make.
'Mr. Moonlight' plays F♯ → G♯m → F♯/A♯ → B and 'Hello, Goodbye' plays G → Am → G → C: the same progression in different keys, which 'Blackbird' and 'The Inner Light' also make.
'Mr. Moonlight' plays D♯7 → G♯m7 → C♯7 → F♯ and 'Honey Pie' plays E7 → Am7 → D7 → G: the same progression in different keys, which 'I Will' also makes.
'No Reply' plays F → G7 → C → Am and 'Yesterday' plays B♭ → C7 → F → Dm: the same progression in different keys, which 'I Will' also makes.
'No Reply' plays Am → Em → Fmaj7 → C6 and 'Now and Then' plays Am → Em/G → F → C: the same progression in different keys.
'No Reply' plays A7 → Dm → F → C and 'Being for the Benefit of Mr. Kite!' plays A → Dm → F → C: the same progression in different keys, which 'Honey Pie' also makes.
'Sie Liebt Dich' plays G7 → C → Am → Fm and 'Free as a Bird' plays E7 → A → F♯m → Dm: the same progression in different keys.
'Tell Me Why' plays D7 → G7 → A7 → Bm/F♯ and 'I Will' plays F7 → B♭ → C7 → Dm: the same progression in different keys.
'Tell Me Why' plays Bm → B♭ → A7 → D and 'Free as a Bird' plays F♯m → F → E → A: the same progression in different keys.
'Things We Said Today' plays Em7 → Am → F → B♭ and 'Help!' plays C♯m → F♯m → D → G: the same progression in different keys.
'When I Get Home' plays D9 → G → A → G and 'Don't Pass Me By' plays C → F → G7 → F: the same progression in different keys, which 'The End' and 'Dig It' also make.
'When I Get Home' plays F9 → G → F → G and 'Martha My Dear' plays A♭add9 → B♭7 → A♭maj7 → B♭7: the same progression in different keys.
'When I Get Home' plays F → G → Am → G and 'Real Love' plays A♭ → B♭ → Cm → B♭: the same progression in different keys.
'Act Naturally' plays G → D7 → G → C and 'Dizzy Miss Lizzy' plays A → E7 → A → D: the same progression in different keys, which 'You Like Me Too Much', 'All You Need Is Love', and 'Lovely Rita' also make.
'Another Girl' plays C → E7 → A → E7 and 'Yer Blues' plays G → B7 → E7 → B7: the same progression in different keys.
'Another Girl' plays G → C → E7 → A and 'Lady Madonna' plays C → F → A7 → D7: the same progression in different keys.
'Day Tripper' plays F♯7 → A → G♯ → C♯ and 'Lady Madonna' plays D7 → F7 → E7 → A7: the same progression in different keys.
'Day Tripper' plays A → G♯ → C♯ → B and 'Wild Honey Pie' plays E♭7 → D7 → G7 → F7: the same progression in different keys.
'Drive My Car' plays D7 → G7 → D7 → G7 and 'Hey Jude' plays C7 → F → C7 → F7: the same progression in different keys, which 'Honey Pie', 'Piggies', 'Her Majesty', and 'Maxwell's Silver Hammer' also make.
'Help!' plays F♯m → C♯m → F♯m → A and 'The End' plays Dm → Am7 → Dm7/F → F: the same progression in different keys.
'Help!' plays A → C♯m → F♯m → D and 'Good Night' plays G → Bm → Em → C: the same progression in different keys, which 'Martha My Dear' and 'The Long and Winding Road' also make.
'I Need You' plays A → Asus4 → A → D and 'I'm Looking Through You' plays D → Dsus4 → D → G: the same progression in different keys, which 'Mother Nature's Son' also makes.
'I Need You' plays Asus4 → A → D → F♯m and 'The Long and Winding Road' plays E♭ → E♭7 → A♭ → Cm: the same progression in different keys.
'I Need You' plays Asus4 → A → D → A and 'Got to Get You into My Life' plays G → G7 → C → G7: the same progression in different keys, which 'It's All Too Much' and 'The End' also make.
'I Need You' plays D → A → Asus4 → A and 'It's All Too Much' plays C/G → G → Gadd9 → G: the same progression in different keys.
'I Need You' plays A → D → A → Asus4 and 'Sgt. Pepper's Lonely Hearts Club Band' plays G → C7 → G → G7: the same progression in different keys, which 'It's All Too Much', 'Oh! Darling', and 'Sun King' also make.
'I'm Looking Through You' plays Em7 → D → Dsus4 → D and 'Don't Let Me Down' plays F♯m7 → E → Esus4 → E: the same progression in different keys.
'I'm Looking Through You' plays G → Cadd9 → G/B → Am and 'I'm Only Sleeping' plays G → C → G → Am: the same progression in different keys, which 'Ob-La-Di, Ob-La-Da' and 'The Inner Light' also make.
'If I Needed Someone' plays F♯7 → Bm → E7sus4 → E7 and 'For No One' plays G♯7 → C♯m → F♯sus4 → F♯: the same progression in different keys, which 'Savoy Truffle' and 'Real Love' also make.
'In My Life' plays D → G → A → F♯m and 'Hello, Goodbye' plays F → B♭ → C → Am: the same progression in different keys.
'In My Life' plays E → F♯m → A7 → D and 'I Will' plays C7 → Dm → F → B♭: the same progression in different keys.
'In My Life' plays G → A → F♯m → B and 'Cry Baby Cry' plays F → G → Em7 → A7: the same progression in different keys.
'It's Only Love' plays B♭ → G → C → Am and 'Dig a Pony' plays G → E → A → F♯m: the same progression in different keys.
'Michelle' plays Fm → Fm(maj7) → Fm7 → Fm6/D and 'Cry Baby Cry' plays Em → Em(maj7)/D♯ → Em7/D → Em6/C♯: the same progression in different keys.
'Michelle' plays D♭ → C → Fm → Fm(maj7) and 'Martha My Dear' plays E♭ → D7 → Gm → Gm7: the same progression in different keys.
'Michelle' plays Fm7 → Fm6/D → D♭maj7 → C7 and 'Penny Lane' plays Bm7 → Bm6/G♯ → Gmaj7 → F♯sus4: the same progression in different keys.
'Michelle' plays C7 → F → B♭m7 → E♭ and 'Only a Northern Song' plays C♯7 → F♯7 → Bm7 → E: the same progression in different keys.
'The Night Before' plays D → F → G7 → A7 and 'With a Little Help from My Friends' plays A → C → D → E: the same progression in different keys.
'The Word' plays G → D7 → G7 → D7 and 'Got to Get You into My Life' plays C → G7 → C → G7: the same progression in different keys.
'Think for Yourself' plays C → G → Am → D7 and 'Lovely Rita' plays E → B → C♯m → F♯: the same progression in different keys, which 'Lady Madonna', 'Piggies', 'The Long and Winding Road', and 'You Know My Name (Look Up the Number)' also make.
'Think for Yourself' plays Am → D7 → B♭ → C and 'Cry Baby Cry' plays Em7 → A7 → F → G: the same progression in different keys.
'Wait' plays F♯m → C♯7 → F♯m → B and 'For No One' plays C♯m → G♯7 → C♯m → F♯sus4: the same progression in different keys, which 'Honey Pie', 'She Came in Through the Bathroom Window', and 'Real Love' also make.
'Wait' plays B → E → A → F♯m and 'Good Night' plays D7 → G → C → Am7: the same progression in different keys, which 'Rocky Raccoon' also makes.
'Wait' plays B → E → A → C♯7 and 'Your Mother Should Know' plays D7 → G7 → C → E7: the same progression in different keys, which 'Honey Pie' and 'Lady Madonna' also make.
'We Can Work It Out' plays F♯7 → Bm → G → F♯7sus4 and 'Being for the Benefit of Mr. Kite!' plays A → Dm → B♭ → A7: the same progression in different keys.
'We Can Work It Out' plays Bm → G → F♯7sus4 → F♯7 and 'Penny Lane' plays Bm6/G♯ → Gmaj7 → F♯sus4 → F♯7: the same progression in different keys.
'Yes It Is' plays E → A → D → C♯m and 'Yesterday' plays G7 → C7 → F → Em7: the same progression in different keys.
'Yes It Is' plays E → A → F♯m7 → B7 and 'Good Night' plays G → C → Am7 → D7: the same progression in different keys.
'Yes It Is' plays F♯m7 → B7 → E → A and 'Lady Madonna' plays Dm7 → G7 → C → F: the same progression in different keys, which 'Piggies' and 'Oh! Darling' also make.
'You Won't See Me' plays B → D → A → A7 and 'Savoy Truffle' plays F♯7 → A → E7 → E: the same progression in different keys.
'You're Going to Lose That Girl' plays F♯m7 → D → A → E and 'Good Night' plays Em → C → G/D → D7: the same progression in different keys.
'You've Got to Hide Your Love Away' plays C → D → Csus2 → G/B and 'Strawberry Fields Forever' plays E♭ → F → E♭ → B♭: the same progression in different keys.
'You've Got to Hide Your Love Away' plays F → C → G → D and 'Lovely Rita' plays D → A → E → B: the same progression in different keys, which 'With a Little Help from My Friends' and 'I've Got a Feeling' also make.
'Sgt. Pepper's Lonely Hearts Club Band' plays C7 → F7 → C7 → D7 and 'Blackbird' plays G → C → G/B → A7: the same progression in different keys.
'Here, There and Everywhere' plays F♯m7♭5 → B7 → Em → Am and 'Carry That Weight' plays Bdim → E7 → Am → Dm9: the same progression in different keys.
'I Want to Tell You' plays Bm → E7 → A → B7 and 'Maxwell's Silver Hammer' plays Em → A → D → E7: the same progression in different keys.
'Back in the U.S.S.R.' plays D7 → A → D → B7 and 'Maxwell's Silver Hammer' plays D → A → D → B7: the same progression in different keys, which 'She Came in Through the Bathroom Window' also makes.
'Taxman' plays D7 → D7♯9 → D7 → C7 and 'Savoy Truffle' plays A → Asus4 → A → G: the same progression in different keys.
'Taxman' plays D7♯9 → D7 → C7 → G7 and 'Dear Prudence' plays D → D7/C → C → G: the same progression in different keys, which 'You Never Give Me Your Money' also makes.
'A Day in the Life' plays E → Dsus2 → E → B7sus4 and 'Back in the U.S.S.R.' plays D → C → D → A: the same progression in different keys.
'A Day in the Life' plays E → C → G → D and 'Here Comes the Sun' plays E7 → C → G → D: the same progression in different keys.
'A Day in the Life' plays Asus2 → G → Bm → Em and 'Martha My Dear' plays C7 → B♭ → Dm → Gm7: the same progression in different keys.
'All You Need Is Love' plays Am → G → D7 → G and 'Mother Nature's Son' plays Bm → A → E → A: the same progression in different keys.
'All You Need Is Love' plays Am → D7 → G → D/F♯ and 'With a Little Help from My Friends' plays F♯m → B → E → B: the same progression in different keys, which 'Maxwell's Silver Hammer' and 'She Came in Through the Bathroom Window' also make.
'Being for the Benefit of Mr. Kite!' plays B♭ → Dm → A → Dm and 'I Me Mine' plays F → Am → E7/G♯ → Am: the same progression in different keys.
'Fixing a Hole' plays F → Cm7 → F7 → B♭ and 'Piggies' plays B♭ → Fm7 → B♭7 → E♭: the same progression in different keys.
'Fixing a Hole' plays B♭m6 → F → Cm7 → F7 and 'Hey Bulldog' plays Em → B7 → F♯m → B7: the same progression in different keys.
'Fixing a Hole' plays Cm7 → F7 → B♭ → B♭m6 and 'Penny Lane' plays C♯m7 → F♯7 → B → Bm7: the same progression in different keys.
'Hello, Goodbye' plays F → Fm → C → Am and 'Julia' plays G9 → Gm7 → D → Bm7: the same progression in different keys.
'I Am the Walrus' plays G → F → E → D and 'Polythene Pam' plays E → D → C♯ → B: the same progression in different keys.
'I Am the Walrus' plays E → B → A → G and 'Don't Pass Me By' plays C → G7 → F → E♭: the same progression in different keys.
'I Am the Walrus' plays F → E → E7 → D and 'Penny Lane' plays Gmaj7 → F♯sus4 → F♯7 → E: the same progression in different keys.
'I Am the Walrus' plays A → F♯m7 → F → E and 'Free as a Bird' plays A → F♯m → F → E: the same progression in different keys.
'Sgt. Pepper's Lonely Hearts Club Band' plays A7 → D7 → C7 → G and 'Back in the U.S.S.R.' plays B7 → E7 → D7 → A: the same progression in different keys.
'Sgt. Pepper's Lonely Hearts Club Band' plays G → C7 → G → B♭ and 'Yer Blues' plays E7 → A7 → E7 → G: the same progression in different keys.
'She's Leaving Home' plays C♯m7 → F♯7 → A → E and 'You Know My Name (Look Up the Number)' plays Bm → E7 → G → D: the same progression in different keys.
'The Fool on the Hill' plays C7 → Dm → Dm(maj7)/C♯ → Dm7/C and 'Something' plays G → Am → Am(maj7) → Am7: the same progression in different keys.
'When I'm Sixty-Four' plays Am → Dm → F → G7 and 'Piggies' plays Fm → B♭m → D♭ → E♭: the same progression in different keys.
'When I'm Sixty-Four' plays C → G7 → C → C7 and 'Mother Nature's Son' plays A → E → A → Asus4: the same progression in different keys, which 'She Came in Through the Bathroom Window' also makes.
'When I'm Sixty-Four' plays G → E7 → Am → Dm and 'Martha My Dear' plays C → A7 → Dm → Gm7: the same progression in different keys, which 'I Want You (She's So Heavy)' also makes.
'With a Little Help from My Friends' plays E → B → F♯m → B and 'Long, Long, Long' plays F → C → Gm → C: the same progression in different keys.
'Your Mother Should Know' plays Fmaj7 → A7 → Dm → G7 and 'Savoy Truffle' plays G → B → Em → A: the same progression in different keys.
'Cry Baby Cry' plays Am → F → G → Em7 and 'Dig a Pony' plays Bm → G → A → F♯m: the same progression in different keys.
'Everybody's Got Something to Hide Except Me and My Monkey' plays D → G → E → G and 'Glass Onion' plays C7 → F7 → D7 → F7: the same progression in different keys, which 'You Never Give Me Your Money' also makes.
'Glass Onion' plays Adim7 → A♭dim7 → Gdim7 → F♯dim7 and 'I've Got a Feeling' plays Edim/A → D♯dim/A → Ddim/A → C♯dim/A: the same progression in different keys.
'Good Night' plays D7 → G → Bm → Em and 'Golden Slumbers' plays G7 → C → Em → Am: the same progression in different keys, which 'The Long and Winding Road' also makes.
'Happiness Is a Warm Gun' plays Em → Dm → Am → Dm and 'The End' plays Em → Dm → Am7 → Dm7/F: the same progression in different keys.
'Happiness Is a Warm Gun' plays A7 → C → A7 → G and 'Sun King' plays D7 → F → D7 → C: the same progression in different keys.
'Happiness Is a Warm Gun' plays F → G → Am → C and 'I Will' plays B♭ → C7 → Dm → F: the same progression in different keys.
'Honey Pie' plays Am → C → G/D → D7 and 'Long, Long, Long' plays Gm → B♭ → F → C: the same progression in different keys.
'Honey Pie' plays D7 → G → F♯ → F and 'Sexy Sadie' plays D → G → F♯7 → F: the same progression in different keys.
'Honey Pie' plays Em7 → A7 → D7 → G and 'Martha My Dear' plays Gm7 → C7 → F7 → B♭: the same progression in different keys.
'I Will' plays Gm7 → C7 → F → D♭7 and 'Sun King' plays F♯m7 → B13 → E6 → C: the same progression in different keys.
'I'm So Tired' plays G♯7 → D → E → A and 'Sexy Sadie' plays F♯7 → C → D → G: the same progression in different keys.
'Julia' plays Gm7 → D → Bm7 → F♯m and 'Across the Universe' plays Gm → D → Bm → F♯m: the same progression in different keys.
'Lady Madonna' plays E7 → A → D/A → A and 'The Long and Winding Road' plays B♭7 → E♭ → A♭/E♭ → E♭: the same progression in different keys.
'Long, Long, Long' plays B♭ → Gm → F → C and 'Mother Nature's Son' plays D → Bm → A → E: the same progression in different keys.
'Mother Nature's Son' plays E → A → Asus4 → A and 'You Never Give Me Your Money' plays G7 → C → C7 → C: the same progression in different keys.
'Rocky Raccoon' plays Am7 → D7sus4 → D7 → G7 and 'Across the Universe' plays Em7 → A → A7 → D: the same progression in different keys.
'Sexy Sadie' plays A7 → A♭7 → G → F♯7 and 'Wild Honey Pie' plays F7 → E7 → E♭7 → D7: the same progression in different keys, which 'Mean Mr. Mustard' also makes.
'Wild Honey Pie' plays F7 → E7 → E♭7 → D7 and 'Mean Mr. Mustard' plays D7 → C♯7 → C7 → B7: the same progression in different keys.
'Yer Blues' plays A7 → E7 → G → B7 and 'Polythene Pam' plays A → E → G → B: the same progression in different keys.
'Across the Universe' plays A → A7 → D → Bm and 'Hey Bulldog' plays E → E7 → A → F♯m: the same progression in different keys.
'Here Comes the Sun' plays B7 → A → D/F♯ → A/E and 'The End' plays B/F♯ → A7 → D7 → A: the same progression in different keys.
'I Want You (She's So Heavy)' plays Am7 → Dm7 → F → C and 'The End' plays Am7 → Dm7/F → F → C/E: the same progression in different keys.
'Dig a Pony' plays F♯m → Bm → G → A and 'The Long and Winding Road' plays Gm → Cm → A♭ → B♭7: the same progression in different keys.
'Let It Be' plays F → C → Am → Em and 'Now and Then' plays F → C → Am → Em/G: the same progression in different keys.
'The Long and Winding Road' plays A♭ → Cm → Fm7 → B♭7 and 'You Know My Name (Look Up the Number)' plays D → F♯m → Bm → E7: the same progression in different keys.
'Matchbox' (1964) is the earliest Beatles song to take Strophic, which they use on 16 songs in all.
Scream is on 11 Beatles songs, 'Slow Down' (1964) among them.
'Within You Without You' (1967) is the last of the 7 Beatles songs to use Melisma.
'Flying' (1967) is one of only 6 Beatles songs to use Chanting.
'Maggie Mae' (1970) is one of only 3 Beatles songs to lean on Skiffle.
'Because' (1969) is the last of the 50 Beatles songs to take No verse-chorus.
'Baby It's You' (1963) is the earliest Beatles song to lean on Ballad, which they use on 39 songs in all.
'Across the Universe (Wildlife version)' (1969) is the last of the 8 Beatles songs to use Falsetto.
'Across the Universe (Wildlife version)' (1969) is the last of the 6 Beatles songs to feature Sitar.
Raga rock is on 7 Beatles songs, 'I Want to Tell You' (1966) among them.
'She Said She Said' (1966) is one of only 2 Beatles songs to lean on Acid rock.
'Ticket to Ride' (1965) is one of only 5 Beatles songs to take ABABCABCAB.
'I Me Mine' (1970) is the last of the 37 Beatles songs to lean on Folk.
'Boys' (1963) is the earliest Beatles song to use Interjections, which they use on 4 songs in all.
Doo-wop is on 7 Beatles songs, 'Boys' (1963) among them.
'Please Mr. Postman' (1963) is one of only 2 Beatles songs to take BABAB.
Doo-wop is on 7 Beatles songs, 'Please Mr. Postman' (1963) among them.
'Misery' (1963) is the earliest Beatles song to feature Piano, which they use on 91 songs in all.
Rockabilly is on 7 Beatles songs, 'Everybody's Trying to Be My Baby' (1964) among them.
'Misery' (1963) is the only track on Please Please Me with piano on it, one of 91 across the catalogue.
'Misery' (1963) is the only track on Please Please Me written in the third person, one of 37 across the catalogue.
'There's a Place' (1963) is the only track on Please Please Me that reaches for anaphora, one of 89 across the catalogue.
On With The Beatles, 'You Really Got a Hold on Me' (1963) is the one track made with a reduction mix, out of 81 such recordings across the catalogue.
On Beatles For Sale, 'Words of Love' (1964) is the one track made with a reduction mix, out of 81 such recordings across the catalogue.
'Love Me Do' (1962) is the only track on Please Please Me with tambourine on it, one of 80 across the catalogue.
Please Please Me has a single track that shows Blues influence, and it is 'Love Me Do' (1962), one of 32 across the catalogue.
Magical Mystery Tour has a single track featuring a guitar solo, and it is 'All You Need Is Love' (1967), one of 74 across the catalogue.
Magical Mystery Tour has a single track with a refrain, and it is 'All You Need Is Love' (1967), one of 46 across the catalogue.
Magical Mystery Tour has a single track with two-part harmony, and it is 'All You Need Is Love' (1967), one of 38 across the catalogue.
'All You Need Is Love' (1967) is the only track on Magical Mystery Tour with trombone on it, one of 13 across the catalogue.
Magical Mystery Tour has a single track that reaches for beatles reference, and it is 'All You Need Is Love' (1967), one of 12 across the catalogue.
Beatles For Sale has a single track with ooh vocals, and it is 'I'll Follow the Sun' (1964), one of 54 across the catalogue.
Beatles For Sale has a single track that is a ballad, and it is 'I'll Follow the Sun' (1964), one of 39 across the catalogue.
On Help!, 'Dizzy Miss Lizzy' (1965) is the one track with ooh vocals, out of 54 such recordings across the catalogue.
'Dizzy Miss Lizzy' (1965) is the only track on Help! with organ on it, one of 48 across the catalogue.
On Help!, 'Dizzy Miss Lizzy' (1965) is the one track that is rock and roll, out of 48 such recordings across the catalogue.
Help! has a single track that shows Blues influence, and it is 'Dizzy Miss Lizzy' (1965), one of 32 across the catalogue.
Help! has a single track made with an ADT, and it is 'Dizzy Miss Lizzy' (1965), one of 28 across the catalogue.
Help! has a single track with multiple solos, and it is 'Dizzy Miss Lizzy' (1965), one of 18 across the catalogue.
Revolver has a single track with ooh vocals, and it is 'I'm Only Sleeping' (1966), one of 54 across the catalogue.
'I'm Only Sleeping' (1966) is the only track on Revolver that is folk rock, one of 32 across the catalogue.
Revolver has a single track that shows Bob Dylan influence, and it is 'I'm Only Sleeping' (1966), one of 20 across the catalogue.
'I'm Only Sleeping' (1966) is the only track on Revolver that shows Psychedelia influence, one of 14 across the catalogue.
On Let It Be, 'Two of Us' (1970) is the one track with multiple bridges, out of 32 such recordings across the catalogue.
'Do You Want to Know a Secret' (1963) is the only track on Please Please Me in A major, one of 48 across the catalogue.
On Please Please Me, 'Do You Want to Know a Secret' (1963) is the one track with chromatic bass line, out of 35 such recordings across the catalogue.
Abbey Road has a single track that is rock and roll, and it is 'Come Together' (1969), one of 48 across the catalogue.
'Come Together' (1969) is the only track on Abbey Road made with an ADT, one of 28 across the catalogue.
Abbey Road has a single track that shows Drugs influence, and it is 'Come Together' (1969), one of 18 across the catalogue.
Abbey Road has a single track with electric piano on it, and it is 'Come Together' (1969), one of 18 across the catalogue.
Beatles For Sale has a single track with organ on it, and it is 'Mr. Moonlight' (1964), one of 48 across the catalogue.
On With The Beatles, 'I Wanna Be Your Man' (1963) is the one track with organ on it, out of 48 such recordings across the catalogue.
Help! has a single track made with a fade-out, and it is 'I Need You' (1965), one of 46 across the catalogue.
'When I'm Sixty-Four' (1967) is the only track on Sgt. Pepper's Lonely Hearts Club Band with a refrain, one of 46 across the catalogue.
Rubber Soul has a single track in G major, and it is 'Think for Yourself' (1965), one of 46 across the catalogue.
'Think for Yourself' (1965) is the only track on Rubber Soul made with distortion, one of 16 across the catalogue.
With The Beatles has a single track made with a fade-out, and it is 'Don't Bother Me' (1963), one of 46 across the catalogue.
Let It Be has a single track made with a fade-out, and it is 'Across the Universe' (1970), one of 46 across the catalogue.
Let It Be has a single track that is psychedelic, and it is 'Across the Universe' (1970), one of 41 across the catalogue.
On Let It Be, 'Across the Universe' (1970) is the one track that shows Indian music influence, out of 20 such recordings across the catalogue.
Let It Be has a single track that shows Drugs influence, and it is 'Across the Universe' (1970), one of 18 across the catalogue.
Let It Be has a single track that shows Psychedelia influence, and it is 'Across the Universe' (1970), one of 14 across the catalogue.
On Sgt. Pepper's Lonely Hearts Club Band, 'Getting Better' (1967) is the one track with handclaps on it, out of 44 such recordings across the catalogue.
On Sgt. Pepper's Lonely Hearts Club Band, 'Getting Better' (1967) is the one track with electric piano on it, out of 18 such recordings across the catalogue.
On A Hard Day's Night, 'You Can't Do That' (1964) is the one track with handclaps on it, out of 44 such recordings across the catalogue.
A Hard Day's Night has a single track that is blues, and it is 'You Can't Do That' (1964), one of 18 across the catalogue.
A Hard Day's Night has a single track that is blues rock, and it is 'You Can't Do That' (1964), one of 15 across the catalogue.
On Rubber Soul, 'I'm Looking Through You' (1965) is the one track with handclaps on it, out of 44 such recordings across the catalogue.
'Eight Days a Week' (1964) is the only track on Beatles For Sale made with tape splicing, one of 41 across the catalogue.
On Beatles For Sale, 'Eight Days a Week' (1964) is the one track that is a merseybeat, out of 29 such recordings across the catalogue.
On Abbey Road, 'Sun King' (1969) is the one track that is psychedelic, out of 41 such recordings across the catalogue.
Abbey Road has a single track with bongos on it, and it is 'Sun King' (1969), one of 15 across the catalogue.
Abbey Road has a single track that shows Psychedelia influence, and it is 'Sun King' (1969), one of 14 across the catalogue.
Sgt. Pepper's Lonely Hearts Club Band has a single track that is a ballad, and it is 'She's Leaving Home' (1967), one of 39 across the catalogue.
'She's Leaving Home' (1967) is the only track on Sgt. Pepper's Lonely Hearts Club Band with many verses, one of 35 across the catalogue.
On Sgt. Pepper's Lonely Hearts Club Band, 'She's Leaving Home' (1967) is the one track that shows Literary influence, out of 12 such recordings across the catalogue.
On Revolver, 'And Your Bird Can Sing' (1966) is the one track in E major, out of 39 such recordings across the catalogue.
Revolver has a single track with two-part harmony, and it is 'And Your Bird Can Sing' (1966), one of 38 across the catalogue.
'Magical Mystery Tour' (1967) is the only track on its own album in E major, one of 39 across the catalogue.
'Magical Mystery Tour' (1967) is the only track on its own album with noises on it, one of 14 across the catalogue.
'Magical Mystery Tour' (1967) is the only track on its own album with shouted vocals, one of 12 across the catalogue.
Help! has a single track in E major, and it is 'You're Going to Lose That Girl' (1965), one of 39 across the catalogue.
On Help!, 'You're Going to Lose That Girl' (1965) is the one track with bongos on it, out of 15 such recordings across the catalogue.
'The Fool on the Hill' (1967) is the only track on Magical Mystery Tour that is a ballad, one of 39 across the catalogue.
Magical Mystery Tour has a single track written in the third person, and it is 'The Fool on the Hill' (1967), one of 37 across the catalogue.
Sgt. Pepper's Lonely Hearts Club Band has a single track with three-part harmony, and it is 'With a Little Help from My Friends' (1967), one of 38 across the catalogue.
'With a Little Help from My Friends' (1967) is the only track on Sgt. Pepper's Lonely Hearts Club Band with melodic bass, one of 21 across the catalogue.
On Magical Mystery Tour, 'Blue Jay Way' (1967) is the one track with three-part harmony, out of 38 such recordings across the catalogue.
'Let It Be' (1970) is the only track on its own album with three-part harmony, one of 38 across the catalogue.
'Let It Be' (1970) is the only track on its own album with an interlude, one of 36 across the catalogue.
'Let It Be' (1970) is the only track on its own album that reaches for double meaning, one of 20 across the catalogue.
On Please Please Me, 'P.S. I Love You' (1962) is the one track with maracas on it, out of 37 such recordings across the catalogue.
Please Please Me has a single track with bongos on it, and it is 'P.S. I Love You' (1962), one of 15 across the catalogue.
'And I Love Her' (1964) is the only track on A Hard Day's Night written in the third person, one of 37 across the catalogue.
A Hard Day's Night has a single track that shows Classical music influence, and it is 'And I Love Her' (1964), one of 22 across the catalogue.
Abbey Road has a single track that is folk, and it is 'Here Comes the Sun' (1969), one of 37 across the catalogue.
On Abbey Road, 'Here Comes the Sun' (1969) is the one track that is folk rock, out of 32 such recordings across the catalogue.
'I've Got a Feeling' (1970) is the only track on Let It Be with many verses, one of 35 across the catalogue.
'I've Got a Feeling' (1970) is the only track on Let It Be with shouted vocals, one of 12 across the catalogue.
'Till There Was You' (1963) is the only track on With The Beatles with chromatic bass line, one of 35 across the catalogue.
'Roll Over Beethoven' (1963) is the only track on With The Beatles in D major, one of 32 across the catalogue.
'Roll Over Beethoven' (1963) is the only track on With The Beatles that shows Blues influence, one of 32 across the catalogue.
Help! has a single track in D major, and it is 'The Night Before' (1965), one of 32 across the catalogue.
Help! has a single track with aah vocals, and it is 'The Night Before' (1965), one of 31 across the catalogue.
'Carry That Weight' (1969) is the only track on Abbey Road with multiple bridges, one of 32 across the catalogue.
Magical Mystery Tour has a single track with multiple bridges, and it is 'I Am the Walrus' (1967), one of 32 across the catalogue.
On Magical Mystery Tour, 'I Am the Walrus' (1967) is the one track with electric piano on it, out of 18 such recordings across the catalogue.
'I Am the Walrus' (1967) is the only track on Magical Mystery Tour with french horn on it, one of 12 across the catalogue.
On Magical Mystery Tour, 'I Am the Walrus' (1967) is the one track that shows Literary influence, out of 12 such recordings across the catalogue.
Revolver has a single track built strophically, the same music for every verse, and it is 'Tomorrow Never Knows' (1966), one of 16 across the catalogue.
Magical Mystery Tour has a single track with aah vocals, and it is 'Flying' (1967), one of 31 across the catalogue.
On Magical Mystery Tour, 'Flying' (1967) is the one track that is blues, out of 18 such recordings across the catalogue.
On Revolver, 'Eleanor Rigby' (1966) is the one track with aah vocals, out of 31 such recordings across the catalogue.
Revolver has a single track with string on it, and it is 'Eleanor Rigby' (1966), one of 28 across the catalogue.
On Revolver, 'Eleanor Rigby' (1966) is the one track with cello on it, out of 24 such recordings across the catalogue.
On Revolver, 'Eleanor Rigby' (1966) is the one track with violin on it, out of 22 such recordings across the catalogue.
'Every Little Thing' (1964) is the only track on Beatles For Sale written as an observational, one of 30 across the catalogue.
'I Saw Her Standing There' (1963) is the only track on Please Please Me with spoken word on it, one of 29 across the catalogue.
Beatles For Sale has a single track with spoken word on it, and it is 'Honey Don't' (1964), one of 29 across the catalogue.
On Past Masters, 'Hey Jude' (1968) is the one track with string on it, out of 28 such recordings across the catalogue.
'Hey Jude' (1968) is the only track on Past Masters with brass on it, one of 26 across the catalogue.
Past Masters has a single track with cello on it, and it is 'Hey Jude' (1968), one of 24 across the catalogue.
'Hey Jude' (1968) is the only track on Past Masters with violin on it, one of 22 across the catalogue.
'Hey Jude' (1968) is the only track on Past Masters with trumpet on it, one of 19 across the catalogue.
'Hey Jude' (1968) is the only track on Past Masters with orchestral on it, one of 16 across the catalogue.
On Past Masters, 'Hey Jude' (1968) is the one track with double bass on it, out of 14 such recordings across the catalogue.
Past Masters has a single track with trombone on it, and it is 'Hey Jude' (1968), one of 13 across the catalogue.
Past Masters has a single track with french horn on it, and it is 'Hey Jude' (1968), one of 12 across the catalogue.
On Help!, 'Yesterday' (1965) is the one track with string on it, out of 28 such recordings across the catalogue.
'Yesterday' (1965) is the only track on Help! with cello on it, one of 24 across the catalogue.
'Yesterday' (1965) is the only track on Help! that shows Classical music influence, one of 22 across the catalogue.
'Yesterday' (1965) is the only track on Help! with violin on it, one of 22 across the catalogue.
'Yesterday' (1965) is the only track on Help! that is baroque pop, one of 14 across the catalogue.
'Old Brown Shoe' (1969) is the only track on Past Masters made with an ADT, one of 28 across the catalogue.
On Past Masters, 'Old Brown Shoe' (1969) is the one track with descending bass, out of 26 such recordings across the catalogue.
Rubber Soul has a single track that shows Music hall influence, and it is 'Michelle' (1965), one of 27 across the catalogue.
On Rubber Soul, 'Michelle' (1965) is the one track that reaches for pastiche, out of 13 such recordings across the catalogue.
On Abbey Road, 'Oh! Darling' (1969) is the one track that is R&B, out of 26 such recordings across the catalogue.
Abbey Road has a single track with shouted vocals, and it is 'Oh! Darling' (1969), one of 12 across the catalogue.
'Got to Get You into My Life' (1966) is the only track on Revolver that is R&B, one of 26 across the catalogue.
On Revolver, 'Got to Get You into My Life' (1966) is the one track with trumpet on it, out of 19 such recordings across the catalogue.
Revolver has a single track with descending bass, and it is 'For No One' (1966), one of 26 across the catalogue.
On Revolver, 'For No One' (1966) is the one track with french horn on it, out of 12 such recordings across the catalogue.
Rubber Soul has a single track that shows Literary influence, and it is 'In My Life' (1965), one of 12 across the catalogue.
On Past Masters, 'I Call Your Name' (1964) is the one track with 12-string guitar on it, out of 25 such recordings across the catalogue.
Revolver has a single track with noises on it, and it is 'Yellow Submarine' (1966), one of 14 across the catalogue.
Sgt. Pepper's Lonely Hearts Club Band has a single track with trumpet on it, and it is 'A Day in the Life' (1967), one of 19 across the catalogue.
'A Day in the Life' (1967) is the only track on Sgt. Pepper's Lonely Hearts Club Band with orchestral on it, one of 16 across the catalogue.
On Rubber Soul, 'Norwegian Wood (This Bird Has Flown)' (1965) is the one track that shows Indian music influence, out of 20 such recordings across the catalogue.
With The Beatles has a single track that shows Classical music influence, and it is 'Not a Second Time' (1963), one of 22 across the catalogue.
The Beatles (The White Album) has a single track with melodic bass, and it is 'I Will' (1968), one of 21 across the catalogue.
'Please Please Me' (1963) is the only track on its own album that reaches for wordplay, one of 21 across the catalogue.
On A Hard Day's Night, 'Things We Said Today' (1964) is the one track with melodic bass, out of 21 such recordings across the catalogue.
'Dig a Pony' (1970) is the only track on Let It Be that reaches for wordplay, one of 21 across the catalogue.
Revolver has a single track that is hard rock, and it is 'Taxman' (1966), one of 21 across the catalogue.
On Past Masters, 'Day Tripper' (1965) is the one track that reaches for double meaning, out of 20 such recordings across the catalogue.
'Get Back' (1969) is the only track on Let It Be with multiple solos, one of 18 across the catalogue.
Abbey Road has a single track written as a persona, and it is 'Polythene Pam' (1969), one of 18 across the catalogue.
'Can't Buy Me Love' (1964) is the only track on A Hard Day's Night with belted vocals, one of 18 across the catalogue.
On Sgt. Pepper's Lonely Hearts Club Band, 'Within You Without You' (1967) is the one track with multiple solos, out of 18 such recordings across the catalogue.
On Sgt. Pepper's Lonely Hearts Club Band, 'Within You Without You' (1967) is the one track that shows Eastern philosophy influence, out of 13 such recordings across the catalogue.
'Kansas City / Hey-Hey-Hey-Hey!' (1964) is the only track on Beatles For Sale with belted vocals, one of 18 across the catalogue.
On Beatles For Sale, 'Kansas City / Hey-Hey-Hey-Hey!' (1964) is the one track that reaches for pastiche, out of 13 such recordings across the catalogue.
The Beatles (The White Album) has a single track that shows Drugs influence, and it is 'Happiness Is a Warm Gun' (1968), one of 18 across the catalogue.
On Past Masters, 'You Know My Name (Look Up the Number)' (1970) is the one track that is music hall, out of 14 such recordings across the catalogue.
'Maggie Mae' (1970) is the only track on Let It Be built strophically, the same music for every verse, one of 16 across the catalogue.
Let It Be has a single track that reaches for pastiche, and it is 'Maggie Mae' (1970), one of 13 across the catalogue.
Sgt. Pepper's Lonely Hearts Club Band has a single track made with distortion, and it is 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)' (1967), one of 16 across the catalogue.
Sgt. Pepper's Lonely Hearts Club Band has a single track made with leslie speaker processing, and it is 'Lucy in the Sky with Diamonds' (1967), one of 15 across the catalogue.
'Slow Down' (1964) is the only track on Past Masters taken from R&B, one of 15 across the catalogue.
On Please Please Me, 'Baby It's You' (1963) is the one track with scat singing, out of 14 such recordings across the catalogue.
On Magical Mystery Tour, 'Your Mother Should Know' (1967) is the one track with scat singing, out of 14 such recordings across the catalogue.
'Your Mother Should Know' (1967) is the only track on Magical Mystery Tour that is music hall, one of 14 across the catalogue.
A Hard Day's Night has a single track that is country, and it is 'I'll Cry Instead' (1964), one of 13 across the catalogue.
On Abbey Road, 'Octopus's Garden' (1969) is the one track that is country, out of 13 such recordings across the catalogue.
With The Beatles has a single track that is country, and it is 'All My Loving' (1963), one of 13 across the catalogue.
On Past Masters, 'The Ballad of John and Yoko' (1969) is the one track that reaches for beatles reference, out of 12 such recordings across the catalogue.
A Hard Day's Night has a single track that reaches for beatles reference, and it is 'If I Fell' (1964), one of 12 across the catalogue.
On With The Beatles, 'All I've Got to Do' (1963) is the one track that shows Motown influence, out of 12 such recordings across the catalogue.
Studio(98)
26 Beatles songs were recorded at studios other than EMI Abbey Road: Apple Studios (11 songs), Olympic Sound Studios (6 songs), Trident Studios (6 songs), Pathé Marconi Studios (3 songs), Hog Hill Mill (2 songs).
Non-EMI studios used by the Beatles: Apple Studios (11), Trident Studios (6), Olympic Sound Studios (6), Pathé Marconi Studios (3), Hog Hill Mill (2).
9 Beatles tracks feature audible backwards-tape effects (guitar, vocal, or solo).
10 Beatles recordings feature at least one Indian classical instrument: sitar, tabla, tamboura, swarmandal, dilruba, or others.
About 45% of Beatles recordings (98 of 219) were captured in a single day.
Early on the Beatles cut records fast - 76% of their 1963-65 songs were recorded in a single day - but by 1968-70 that fell to just 25% as productions grew elaborate.
21 Beatles songs have a recording history spanning two months or more, including 'Mr. Moonlight', 'Octopus's Garden', 'Let It Be', 'Now and Then'.
The Beatles first used the Moog synthesizer on 'I Want You (She's So Heavy)' (1969).
The Beatles first used Automatic Double Tracking (ADT) on 'Dizzy Miss Lizzy' (1965).
'Magical Mystery Tour' (1967) is the earliest of their records to use flanging and phasing.
The three most-used orchestral instruments on Beatles recordings: cello (20), violin (18), trumpet (16).
26 Beatles recordings feature a string section. The first was 'Yesterday' (1965); after that, strings became a recurring colour.
24 Beatles recordings feature a brass section. The first was 'Got to Get You into My Life' (1966).
The most-recorded Indian classical instruments on Beatles records: Tamboura (7), Sitar (6), Tabla (3).
Latin hand percussion first appears on a Beatles record on 'P.S. I Love You' (1962), kicking off a quiet sub-tradition that ran through the catalogue.
'Sgt. Pepper's Lonely Hearts Club Band' (1967) is the earliest of their records to use direct injection.
'Think for Yourself' (1965) is the first Beatles record to use distortion.
'Paperback Writer' (1966) is the first Beatles record to use echo chamber.
'Tomorrow Never Knows' (1966) is the earliest of their records to use leslie speaker processing.
'Free as a Bird' (1995) is the earliest of their records to use noise reduction.
The Beatles first used reverse on 'Tomorrow Never Knows' (1966).
'It's Only Love' (1965) is the first Beatles record to use tremolo.
The Beatles first used wall of sound on 'Across the Universe' (1970).
Piano features on 49% of Paul McCartney's sole-written songs (32 of 65).
Piano features on 42% of John Lennon's sole-written songs (33 of 78).
Piano features on 36% of George Harrison's sole-written songs (8 of 22).
Paul McCartney reaches for piano more than the other songwriting Beatles: it appears on 49% of his sole-written songs (Paul McCartney 49%, John Lennon 42%, George Harrison 36%).
'Now and Then' (2023) is the only Beatles song that uses ai vocal extraction as a studio technique.
'Every Little Thing' (1964) is the only Beatles song recorded with Rickenbacker 325/12.
Top studio techniques by writer - Lennon: Double tracked vocal (58), Reduction mix (28), Tape splicing (18); McCartney: Double tracked vocal (44), Reduction mix (30), Close mic'ing (23); Harrison: Double tracked vocal (14), Reduction mix (12), Fade-out (7).
Reduction mix rose from 5% (5 of 102) of songs in the early years (1962-65) to 68% (76 of 112) from Revolver onward (1966-70).
Tape splicing rose from 3% (3 of 102) of songs in the early years (1962-65) to 34% (38 of 112) from Revolver onward (1966-70).
Fade-out rose from 9% (9 of 102) of songs in the early years (1962-65) to 32% (36 of 112) from Revolver onward (1966-70).
ADT rose from 1% (1 of 102) of songs in the early years (1962-65) to 24% (27 of 112) from Revolver onward (1966-70).
Close mic'ing rose from 9% (9 of 102) of songs in the early years (1962-65) to 29% (33 of 112) from Revolver onward (1966-70).
The 'EMI REDD.37 console' piece of gear peaks in 1963: 32 of its 42 songs come from that single year.
The 'Telefunken M10 4-track recorder' piece of gear peaks in 1964: 31 of its 42 songs come from that single year.
The 'EMI BTR2 twin-track recorder' piece of gear peaks in 1963: 30 of its 33 songs come from that single year.
The 'Premier Mahogany Duroplastic' piece of gear peaks in 1963: 14 of its 16 songs come from that single year.
The 'Vox AC30' piece of gear peaks in 1963: 14 of its 24 songs come from that single year.
The 'Gretsch Duo Jet' piece of gear peaks in 1963: 12 of its 13 songs come from that single year.
The 'Ludwig Downbeat' piece of gear clusters in the early years (1962-64): 32 of its 32 songs, 100% against that era's 32% share of the catalogue.
The 'Gretsch 6122 Country Gentleman' piece of gear clusters in the early years (1962-64): 25 of its 25 songs, 100% against that era's 32% share of the catalogue.
The 'Rickenbacker 325' piece of gear clusters in the early years (1962-64): 39 of its 44 songs, 89% against that era's 32% share of the catalogue.
The 'Ludwig Hollywood Maple' piece of gear first surfaces in 1968 and then recurs on 38 songs through 1970; it appears on no earlier Beatles record.
The '3M M23 8-track recorder' piece of gear first surfaces in 1968 and then recurs on 34 songs through 1970; it appears on no earlier Beatles record.
The 'EMI TG12345 console' piece of gear first surfaces in 1969 and then recurs on 19 songs through 1970; it appears on no earlier Beatles record.
The 'Fender Rosewood Telecaster' piece of gear first surfaces in 1969 and then recurs on 19 songs through 1970; it appears on no earlier Beatles record.
The 'Leslie speaker processing' studio technique first surfaces in 1966 and then recurs on 15 songs through 1970; it appears on no earlier Beatles record.
The EMI REDD.51 console runs from 'A Hard Day's Night' (1964) to 'You Know My Name (Look Up the Number)' (1970), 152 songs across 7 years.
The Ludwig Super Classic drum kit runs from 'Any Time at All' (1964) to 'You Know My Name (Look Up the Number)' (1970), 109 songs across 7 years.
The Hofner 500/1 bass runs from 'Love Me Do' (1962) to 'One After 909' (1970), 93 songs across 9 years.
The Rickenbacker 4001S bass runs from 'Day Tripper' (1965) to 'You Know My Name (Look Up the Number)' (1970), 86 songs across 6 years.
The Studer J37 4-track recorder runs from 'Act Naturally' (1965) to 'You Know My Name (Look Up the Number)' (1970), 78 songs across 6 years.
The Gibson J-160E guitar runs from 'Love Me Do' (1962) to 'Maggie Mae' (1970), 66 songs across 9 years.
The Epiphone Casino ES-230TD guitar runs from 'Another Girl' (1965) to 'You Know My Name (Look Up the Number)' (1970), 55 songs across 6 years.
The Rickenbacker 325 guitar runs from 'A Taste of Honey' (1963) to 'What Goes On' (1965), 44 songs across 3 years.
The EMI REDD.37 console runs from 'Love Me Do' (1962) to 'Two of Us' (1970), 42 songs across 9 years.
The Telefunken M10 4-track recorder runs from 'I Want to Hold Your Hand' (1963) to 'You've Got to Hide Your Love Away' (1965), 42 songs across 3 years.
The Sonic Blue Fender Stratocaster guitar runs from 'Another Girl' (1965) to 'It's All Too Much' (1969), 42 songs across 5 years.
The Ludwig Hollywood Maple drum kit runs from 'Glass Onion' (1968) to 'Two of Us' (1970), 38 songs across 3 years.
The 3M M23 8-track recorder runs from 'Birthday' (1968) to 'Two of Us' (1970), 34 songs across 3 years.
The EMI BTR2 twin-track recorder runs from 'Love Me Do' (1962) to 'The Inner Light' (1968), 33 songs across 7 years.
The EMI BTR2 twin-track recorder is on 32 songs up to 1963, then disappears for 5 years before coming back on 'The Inner Light' (1968).
The EMI REDD.37 console is on 34 songs up to 1963, then disappears for 7 years before coming back on 'Dig a Pony' (1970).
The Steinway Vertegrand keyboard is on 17 songs up to 1964, then disappears for 3 years before coming back on 'A Day in the Life' (1967).
The Epiphone Texan FT-79 guitar is on 3 songs up to 1965, then disappears for 4 years before coming back on 'All Together Now' (1969).
The Hofner 500/1 bass is on 88 songs up to 1965, then disappears for 4 years before coming back on 'Don't Let Me Down' (1969).
The Framus Hootenanny guitar is on 6 songs up to 1965, then disappears for 4 years before coming back on 'Polythene Pam' (1969).
The Rickenbacker 325 is on more 1963 songs than any other guitar model (23); a year later the Gibson J-160E has taken over, on 22 songs from 1964.
The Hofner 500/1 is on more 1965 songs than any other bass guitar (19); a year later the Rickenbacker 4001S has taken over, on 14 songs from 1966.
The Hamburg Steinway is on more 1968 songs than any other keyboard (11); a year later the Steinway Vertegrand has taken over, on 9 songs from 1969.
The Ludwig Downbeat is on more 1963 songs than any other drum kit (17); a year later the Ludwig Super Classic has taken over, on 17 songs from 1964.
The Beatles (The White Album) draws on 9 distinct guitar models, more than any other album, among them the Gibson J-160E, the Epiphone Casino ES-230TD, and the Sonic Blue Fender Stratocaster; Please Please Me makes do with 3.
The Beatles (The White Album) draws on 10 distinct keyboards, more than any other album, among them the Steinway Vertegrand, the Hamburg Steinway, and the Hammond RT-3; A Hard Day's Night makes do with 1.
The Beatles reach for 28 distinct instruments across their 1969 songs, their widest year, among them the Fender Rosewood Telecaster, the Fender Rhodes, and the Moog IIIp; in 1962 it is 5.
5 instruments appear on exactly one Beatles recording, among them the Rickenbacker 325/12 on 'Every Little Thing', the Hofner 5140 Hawaiian Standard on 'For You Blue', and the Hammond C-3 on 'It's All Too Much'.
The studio techniques the Beatles reach for most are Double tracked vocal on 139 songs, Reduction mix on 81 songs, and Fade-out on 46 songs.
Magical Mystery Tour reaches for Reduction mix more than any other album does: 11 of its 11 songs, against 42% of the catalogue.
Reverse first turns up on a Beatles record in 1966 and peaks in 1967, when 4 of the year's songs use it.
Leslie speaker processing first turns up on a Beatles record in 1966 and peaks in 1969, when 6 of the year's songs use it.
Distortion first turns up on a Beatles record in 1965 and peaks in 1968, when 7 of the year's songs use it.
The Beatles' commonest equipment is EMI REDD.51 console, on 152 songs, ahead of Ludwig Super Classic on 109.
The rarest equipment choices in the catalogue: Rickenbacker 325/12 (1), Hofner 5140 Hawaiian Standard (1), and Hammond M-102 (1).
The rarest recording location choices in the catalogue: HMV Studios, Bombay (1), De Lane Lea Studios (1), and Chappell Recording Studios (1).
The Beatles' commonest studio technique is Double tracked vocal, on 139 songs, ahead of Reduction mix on 81.
The rarest studio technique choices in the catalogue: AI vocal extraction (1), Noise reduction (3), and Flanging/phasing (3).
'Slow Down' (1964) is the earliest Beatles song to use Gretsch 6119 Tennessean, which they use on 25 songs in all.
'Blue Jay Way' (1967) is one of only 3 Beatles songs to use Flanging/phasing.
'Flying' (1967) is one of only 5 Beatles songs to use Direct injection.
'Only a Northern Song' (1969) is the earliest Beatles song to use Hammond L-100, which they use on 7 songs in all.
'I Want to Tell You' (1966) is one of only 4 Beatles songs to use Fade-in.
Gibson SG is on 9 Beatles songs, 'She Said She Said' (1966) among them.
'Getting Better' (1967) is one of only 3 Beatles songs to use Burns Nu-Sonic.
'Boys' (1963) is the earliest Beatles song to use EMI BTR3 twin-track recorder, which they use on 5 songs in all.
'Misery' (1963) is the earliest Beatles song to use VariSpeed, which they use on 25 songs in all.
'Everybody's Trying to Be My Baby' (1964) is the earliest Beatles song to use Tape echo, which they use on 8 songs in all.
'I Feel Fine' (1964) is one of only 3 Beatles songs to use Feedback.
People(130)
John Lennon played bass on 6 Beatles songs - including 'Fixing a Hole', 'Back in the U.S.S.R.', 'Helter Skelter'.
Paul McCartney played drums on 7 Beatles songs, taking over for Ringo on tracks like 'Wild Honey Pie', 'Don't Pass Me By', 'Mother Nature's Son'.
8 Beatles songs were recorded by a single Beatle with no other band members playing - Paul McCartney owns 5 of them (Paul 5, John 1, George 1, Ringo 1).
30 Beatles songs were recorded without one or more of the four present, among them 'Yesterday' (1965), 'Long, Long, Long' (1968), and 'I Me Mine' (1970).
3 Beatles studio albums have no song with Ringo Starr on lead vocal: A Hard Day's Night, Magical Mystery Tour, Let It Be.
The Beatles chose 9 songs as vehicles for Ringo Starr's lead vocal (excluding songs he wrote alone): 4 covers, 3 Lennon-McCartney co-writes, 1 Lennon-penned, and 1 co-write with Ringo.
George Harrison sings lead on at least one song on every Beatles studio album.
The Beatles chose 6 songs as vehicles for George Harrison's lead vocal (excluding songs he wrote alone): 4 covers, and 2 Lennon-penned.
George Harrison sang lead on 28 Beatles songs: 22 Harrison-penned, 4 covers, and 2 Lennon-penned.
George Harrison's 4 lead-vocal covers all date from 1963-1964. From 1965 onward, every song George Harrison sang lead on was a Beatles original.
Of the songs whose authorship is undivided: Lennon wrote 78, McCartney wrote 65, Harrison wrote 22, and Ringo wrote 2.
Despite the joint credit on nearly every track, only 19 Beatles songs are genuine Lennon-McCartney collaborations where both writers contributed substantially.
More than 244 non-Beatle musicians are credited across the band's recordings.
Billy Preston plays on 10 Beatles recordings: Let It Be, Get Back, Something, I Want You (She's So Heavy), The Long and Winding Road, Dig a Pony, One After 909, I've Got a Feeling, Dig It, and Don't Let Me Down.
Mick Jagger plays on 3 Beatles recordings: Baby, You're a Rich Man, Yellow Submarine, and All You Need Is Love.
Eric Clapton plays on 2 Beatles recordings: While My Guitar Gently Weeps and All You Need Is Love.
Marianne Faithfull plays on 2 Beatles recordings: Yellow Submarine and All You Need Is Love.
Brian Jones plays on 2 Beatles recordings: Yellow Submarine and You Know My Name (Look Up the Number).
5 outside musicians play on more than one Beatles recording; every other guest appears exactly once.
Friends, family and staff sing or play on Beatles records across 6 years, most of them in 1968: Yoko Ono, Mal Evans, Pattie Boyd, Francie Schwartz, Chris O'Dell, Pete Shotton, Maureen Starkey, Alistair Taylor, and John McCartney.
16 people from outside the band play or sing on Magical Mystery Tour, more than on any other album: Eric Clapton, Keith Moon, Graham Nash, Marianne Faithfull, Gary Walker, Mike Pinder, Ray Thomas, Mick Jagger, Keith Richards, Jane Asher, Hunter Davies, Mike McGear, Mal Evans, Neil Aspinall, Pattie Boyd, and Terry Doran.
George Harrison takes the lead vocal on 33 Beatles songs.
Ringo Starr takes the lead vocal on 12 Beatles songs.
George Martin is the most prolific non-Beatle player in the catalogue - credited on 44 different Beatles recordings.
Behind George Martin, Mal Evans is the most prolific non-Beatle player on the catalogue - credited on 13 Beatles recordings.
The most-recorded outside players on Beatles records: George Martin (44), Mal Evans (13), Billy Preston (10), Chris Thomas (6), Neil Aspinall (6).
Most-prolific producers on the Beatles catalogue: George Martin (211), Chris Thomas (15), Phil Spector (12).
Most-prolific recording engineers on Beatles sessions: Norman Smith (102), Geoff Emerick (74), Ken Scott (41).
Most-prolific assistant engineers (second engineers and tape operators) on Beatles sessions: Richard Lush (46), Geoff Emerick (44), Ken Scott (44).
Geoff Emerick came up through the ranks: he was the assistant engineer on 44 of the Beatles' early recordings before taking over as their chief balance engineer from Revolver on (74 recordings).
Two future stars cut their teeth as Beatles tape operators: Ken Scott (later David Bowie's and Supertramp's producer) and Alan Parsons (engineer of Pink Floyd's Dark Side of the Moon and leader of the Alan Parsons Project).
Of the ~168 songs jointly credited to Lennon-McCartney, only 19 (11%) are genuine collaborations; the rest were written solo by one of them.
Beatles roadie and personal assistant Mal Evans contributed handclaps, vocals, and noises to multiple sessions. Credited on 13 Beatles recordings, including 'You Won't See Me', 'Strawberry Fields Forever', 'You Know My Name (Look Up the Number)'.
Long-time Beatles road manager Neil Aspinall. Credited on 6 Beatles recordings, including 'Yellow Submarine', 'Magical Mystery Tour', 'Sgt. Pepper's Lonely Hearts Club Band'.
Engineer Geoff Emerick took over from Norman Smith starting with Revolver, defining the band's mature studio sound. Credited on 74 Beatles recordings, including 'And Your Bird Can Sing', 'Magical Mystery Tour', 'Across the Universe'.
Engineer Ken Scott handled the bulk of the White Album sessions. Credited on 85 Beatles recordings, including 'Eight Days a Week', 'Help!', 'Across the Universe'.
Independent engineer Glyn Johns recorded the Get Back sessions and Let It Be. Credited on 15 Beatles recordings, including 'I Want You (She's So Heavy)', 'One After 909', 'Maggie Mae'.
Producer Chris Thomas stepped in for George Martin during White Album sessions. Credited on 15 Beatles recordings, including 'Cry Baby Cry', 'While My Guitar Gently Weeps', 'Oh! Darling'.
American keyboardist Billy Preston - the 'Fifth Beatle' on Let It Be sessions. Credited on 10 Beatles recordings, including 'Don't Let Me Down', 'Let It Be', 'The Long and Winding Road'.
British session pianist Nicky Hopkins. Heard on the Beatles' 'Revolution' - his only Beatles credit.
Rolling Stones founding member Brian Jones contributed sax and ocarina as a guest. Heard on the Beatles' 'Yellow Submarine' and 'You Know My Name (Look Up the Number)' - his only two Beatles credits.
Cream guitarist Eric Clapton played the lead solo on 'While My Guitar Gently Weeps'. Heard on the Beatles' 'All You Need Is Love' and 'While My Guitar Gently Weeps' - his only two Beatles credits.
Producer George Martin - the Beatles' creative collaborator from 'Love Me Do' through Abbey Road. Credited on 211 Beatles recordings, including 'P.S. I Love You', 'Yellow Submarine', 'Dig It'.
Yoko Ono is credited on 3 Beatles recordings - contributions include backing vocals, tape loops, handclaps, spoken word, and beatles team - including 'Birthday', 'Revolution 9', 'The Continuing Story of Bungalow Bill'.
Every one of Yoko Ono's Beatles credits comes from a single year: 1968.
George Martin produced 97% of the Beatles catalogue (211 of 217 songs). The remainder split between Phil Spector, Chris Thomas, Jeff Lynne, Giles Martin, and the Beatles themselves.
47% of the Beatles catalogue features a non-Beatle musician on the recording (103 of 217 songs). Most of the rest are pure four-Beatle (or solo-Beatle) tracks.
Lead-vocal share across the catalogue: John 45%, Paul 38%, George 13%, Ringo 5%.
Outside songwriters wrote 38% of the Beatles songs released in 1963 (12 of 32).
Lennon wrote or co-wrote 43% of the Beatles songs released in 1964 (15 of 35).
Lennon wrote or co-wrote 39% of the Beatles songs released in 1965 (13 of 33).
Lennon wrote or co-wrote 38% of the Beatles songs released in 1966 (6 of 16).
McCartney wrote or co-wrote 46% of the Beatles songs released in 1967 (11 of 24).
Lennon wrote or co-wrote 41% of the Beatles songs released in 1968 (14 of 34).
McCartney wrote or co-wrote 38% of the Beatles songs released in 1969 (10 of 26).
Lennon wrote or co-wrote 33% of the Beatles songs released in 1970 (4 of 12).
John Lennon was the top-credited writer in 7 of the Beatles' 8 release years (1963-1970) - the only exception was 1967, when Paul McCartney pulled ahead.
In 1969, Chris Blair assisted on 4 Paul McCartney compositions and not a single song by the other Beatles that year.
In 1967, Graham Kirkby assisted on 4 Paul McCartney compositions and only 1 on songs written by the others.
In 1965, Richard Lush assisted on 4 Paul McCartney compositions and only 1 on songs written by the others.
Paul McCartney covers 9 different jobs on 'Real Love' (1996): backing vocals, bass guitar, celesta, double bass, guitar, harmonium, harpsichord, percussion, and synthesizer.
'All You Need Is Love' (1967) is the only Beatles record with Lennon on harpsichord.
'All You Need Is Love' (1967) is the only Beatles record with Harrison on violin.
'All You Need Is Love' (1967) is the only Beatles record with Lennon on banjo.
'Don't Bother Me' (1963) is the only Beatles record with McCartney on claves.
'Across the Universe' (1970) is the only Beatles record with McCartney on tamboura.
'You Can't Do That' (1964) is the only Beatles record with McCartney on cowbell.
'I'm Looking Through You' (1965) is the only Beatles record with Starr on organ.
'The Fool on the Hill' (1967) is the only Beatles record with Harrison on harmonica.
'The Fool on the Hill' (1967) is the only Beatles record with Lennon on celesta.
'The Fool on the Hill' (1967) is the only Beatles record with Lennon on harp.
'The Fool on the Hill' (1967) is the only Beatles record with Lennon on jews harp.
'The Fool on the Hill' (1967) is the only Beatles record with McCartney on penny whistle.
'With a Little Help from My Friends' (1967) is the only Beatles record with Lennon on cowbell.
'Here Comes the Sun' (1969) is the only Beatles record with Harrison on harmonium.
'I Want You (She's So Heavy)' (1969) is the only Beatles record with Lennon on synthesizer.
'I Want You (She's So Heavy)' (1969) is the only Beatles record with Starr on wind machine.
'Strawberry Fields Forever' (1967) is the only Beatles record with Harrison on bongos.
'Strawberry Fields Forever' (1967) is the only Beatles record with Lennon on bongos.
'Strawberry Fields Forever' (1967) is the only Beatles record with Harrison on timpani.
'Strawberry Fields Forever' (1967) is the only Beatles record with McCartney on mellotron.
'Strawberry Fields Forever' (1967) is the only Beatles record with Harrison on mellotron.
'Old Brown Shoe' (1969) is the only Beatles record with Harrison on piano.
'Old Brown Shoe' (1969) is the only Beatles record with Harrison on tack piano.
'Michelle' (1965) is the only Beatles record with McCartney on classical guitar.
'Baby, You're a Rich Man' (1967) is the only Beatles record with Lennon on clavioline.
'Hello, Goodbye' (1967) is the only Beatles record with McCartney on congas.
'I've Just Seen a Face' (1965) is the only Beatles record with Harrison on 12 string acoustic guitar.
'Within You Without You' (1967) is the only Beatles record with Harrison on dilruba.
'Being for the Benefit of Mr. Kite!' (1967) is the only Beatles record with Starr on harmonica.
'Being for the Benefit of Mr. Kite!' (1967) is the only Beatles record with Harrison on bass harmonica.
'Don't Pass Me By' (1968) is the only Beatles record with Starr on tack piano.
'Don't Pass Me By' (1968) is the only Beatles record with Starr on sleigh bells.
'Back in the U.S.S.R.' (1968) is the only Beatles record with Harrison on drums.
'Penny Lane' (1967) is the only Beatles record with Lennon on congas.
'You Never Give Me Your Money' (1969) is the only Beatles record with McCartney on chimes.
'Everybody's Got Something to Hide Except Me and My Monkey' (1968) is the only Beatles record with McCartney on hand bell.
'Everybody's Got Something to Hide Except Me and My Monkey' (1968) is the only Beatles record with McCartney on chocalho.
'Free as a Bird' (1995) is the only Beatles record with Harrison on ukulele.
'Real Love' (1996) is the only Beatles record with McCartney on celesta.
'Real Love' (1996) is the only Beatles record with Harrison on banjolele.
'All Together Now' (1969) is the only Beatles record with Lennon on ukulele.
'All Together Now' (1969) is the only Beatles record with McCartney on french horn.
'She's a Woman' (1964) is the only Beatles record with Starr on chocalho.
'Dear Prudence' (1968) is the only Beatles record with McCartney on flugelhorn.
'Only a Northern Song' (1969) is the only Beatles record with McCartney on trumpet.
'Only a Northern Song' (1969) is the only Beatles record with Lennon on trumpet.
'Only a Northern Song' (1969) is the only Beatles record with Lennon on glockenspiel.
'Helter Skelter' (1968) is the only Beatles record with Lennon on saxophone.
'Helter Skelter' (1968) is the only Beatles record with Lennon on tenor saxophone.
'Tell Me What You See' (1965) is the only Beatles record with Harrison on guiro.
'While My Guitar Gently Weeps' (1968) is the only Beatles record with Starr on castanets.
'For You Blue' (1970) is the only Beatles record with Lennon on lap steel guitar.
Additional musicians sits mostly in 1966 to 1970: 77 songs there against 26 in 1962 to 1965.
More songs with beatles only come from 1965 than from any other year: 26 of the 112.
Beatles only sits mostly in 1962 to 1965: 76 songs there against 36 in 1966 to 1970.
More songs with beatles team come from 1967 than from any other year: 7 of the 21.
More songs with classic formation come from 1963 than from any other year: 27 of the 85.
Classic formation sits mostly in 1962 to 1965: 69 songs there against 16 in 1966 to 1970.
More songs with missing beatle come from 1968 than from any other year: 16 of the 30.
More songs with only one beatle come from 1968 than from any other year: 5 of the 8.
More songs with producer plays come from 1967 than from any other year: 14 of the 66.
Producer plays sits mostly in 1966 to 1970: 44 songs there against 22 in 1962 to 1965.
More songs with role swap come from 1968 than from any other year: 19 of the 79.
Role swap sits mostly in 1966 to 1970: 65 songs there against 14 in 1962 to 1965.
More songs with special guest come from 1970 than from any other year: 7 of the 19.
More songs with true lennon-mccartney come from 1963 than from any other year: 8 of the 19.
True Lennon-McCartney sits mostly in 1962 to 1965: 12 songs there against 7 in 1966 to 1970.
George Harrison sings 6 songs he did not write, from 'Chains' (1963) to 'I'm Happy Just to Dance with You' (1964).
Ringo Starr sings 9 songs he did not write, from 'Boys' (1963) to 'Good Night' (1968).
Info(104)
4 Beatles songs appear on more than one official UK studio LP (or Past Masters) - for example 'Get Back' (Let It Be + Past Masters), 'Let It Be' (Let It Be + Past Masters), and 'Love Me Do' (Past Masters + Please Please Me).
At 8:22, 'Revolution 9' is the longest song the Beatles released.
At 0:23, 'Her Majesty' is the shortest song the Beatles released.
The Beatles released 25 cover songs across their official catalogue.
Cover material vanished as the Beatles took over their own writing: 24% of early-era tracks (1962-65, 24 of 102) were covers, against just 1% from Revolver onward (1966-70, 1 of 112).
5 Beatles songs were performed at the Apple rooftop concert on 30 January 1969, the band's last public performance; three were released as live rooftop recordings.
1965 was the Beatles' peak year for key changes - 9 songs from that year shift to a new tonal centre at some point.
1967 was the Beatles' peak year for true modulation - 2 songs from that year repeat the same chord-degree progression in a new key.
The Beatles first used backwards-tape effects on a record in 1966.
1967 was the Beatles' high-water mark for Indian classical instruments: 4 tracks featuring sitar, tamboura, tabla and the like.
'I Am the Walrus' is the most-annotated song in the catalogue, carrying 729 distinct tags.
The Beatles' 1962-1970 output divides almost evenly across three eras: 69 songs in the early Beatlemania years (1962-64), 73 in the mid studio-pivot period (1965-67), and 72 in the late era (1968-70).
43% of Please Please Me is cover material (6 of 14 tracks) - well above the 12% catalogue-wide rate.
43% of With The Beatles is cover material (6 of 14 tracks) - well above the 12% catalogue-wide rate.
43% of Beatles For Sale is cover material (6 of 14 tracks) - well above the 12% catalogue-wide rate.
1964 was the Beatles' most productive year on record: 35 new songs released.
30 Beatles songs were issued as A-side singles AND included on a studio album, mostly because UK and US release policies disagreed about what belonged where.
Beatles songs grew as the band did: the average runs 2:23 up to 1965 and 3:10 from 1967 on.
The Beatles have 14 songs built around an invented character, including 'Doctor Robert', 'Eleanor Rigby', 'Paperback Writer', 'Lovely Rita', 'Penny Lane', 'She's Leaving Home' and 8 more.
The Beatles have 14 songs built around an invented character, including 'Doctor Robert', 'Eleanor Rigby', 'The Fool on the Hill' and 11 more.
The Beatles have 14 songs built around an invented character, including 'Doctor Robert', 'Eleanor Rigby', 'Ob-La-Di, Ob-La-Da' and 11 more.
The Beatles have 14 songs built around an invented character, including 'Doctor Robert', 'Eleanor Rigby', 'Rocky Raccoon' and 11 more.
The Beatles have 14 songs built around an invented character, including 'Doctor Robert', 'Eleanor Rigby', 'Get Back' and 11 more.
The Beatles have 14 songs built around an invented character, including 'Doctor Robert', 'Eleanor Rigby', 'Maxwell's Silver Hammer' and 11 more.
The Beatles have 14 songs built around an invented character, including 'Doctor Robert', 'Eleanor Rigby', 'Mean Mr. Mustard' and 11 more.
The Beatles have 14 songs built around an invented character, including 'Doctor Robert', 'Eleanor Rigby', 'Polythene Pam' and 11 more.
The Beatles have 14 songs built around an invented character, including 'Doctor Robert', 'Eleanor Rigby', 'The Ballad of John and Yoko' and 11 more.
The Beatles have 8 songs already written or played before the first EMI session, including 'Love Me Do', 'Hold Me Tight', 'I Call Your Name', 'I'll Follow the Sun', 'Michelle', 'What Goes On' and 2 more.
The Beatles have 8 songs already written or played before the first EMI session, including 'Love Me Do', 'Hold Me Tight', 'When I'm Sixty-Four' and 5 more.
The Beatles have 8 songs already written or played before the first EMI session, including 'Love Me Do', 'Hold Me Tight', 'One After 909' and 5 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'There's a Place', 'This Boy', 'I Don't Want to Spoil the Party', 'I'll Be Back' and 14 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'I'll Cry Instead' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'I'm a Loser' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'If I Fell' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'Girl' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'Help!' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'It's Only Love' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'Nowhere Man' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'Yes It Is' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'You've Got to Hide Your Love Away' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'Strawberry Fields Forever' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'I'm So Tired' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'Julia' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'Yer Blues' and 17 more.
The Beatles have 20 songs where Lennon writes from doubt or need rather than from wit, including 'Anna (Go to Him)', 'Not a Second Time', 'Don't Let Me Down' and 17 more.
The Beatles have 9 songs written as music hall pastiche for an older ear, including 'Good Day Sunshine', 'She's Leaving Home', 'When I'm Sixty-Four', 'Your Mother Should Know', 'Honey Pie', 'Martha My Dear' and 3 more.
The Beatles have 9 songs written as music hall pastiche for an older ear, including 'Good Day Sunshine', 'She's Leaving Home', 'Ob-La-Di, Ob-La-Da' and 6 more.
The Beatles have 9 songs written as music hall pastiche for an older ear, including 'Good Day Sunshine', 'She's Leaving Home', 'All Together Now' and 6 more.
The Beatles have 9 songs written as music hall pastiche for an older ear, including 'Good Day Sunshine', 'She's Leaving Home', 'Maxwell's Silver Hammer' and 6 more.
The Beatles have 4 songs that take their instruments or modes from Indian classical music, including 'Love You To', 'Tomorrow Never Knows', 'Within You Without You', and 'The Inner Light'.
The Beatles have 13 songs whose subject is romantic love itself, including 'P.S. I Love You', 'I Want to Hold Your Hand', 'She Loves You', 'Till There Was You', 'And I Love Her', 'Every Little Thing' and 7 more.
The Beatles have 13 songs whose subject is romantic love itself, including 'P.S. I Love You', 'I Want to Hold Your Hand', 'I'm Happy Just to Dance with You' and 10 more.
The Beatles have 13 songs whose subject is romantic love itself, including 'P.S. I Love You', 'I Want to Hold Your Hand', 'If I Fell' and 10 more.
The Beatles have 13 songs whose subject is romantic love itself, including 'P.S. I Love You', 'I Want to Hold Your Hand', 'Words of Love' and 10 more.
The Beatles have 13 songs whose subject is romantic love itself, including 'P.S. I Love You', 'I Want to Hold Your Hand', 'Michelle' and 10 more.
The Beatles have 13 songs whose subject is romantic love itself, including 'P.S. I Love You', 'I Want to Hold Your Hand', 'Here, There and Everywhere' and 10 more.
The Beatles have 13 songs whose subject is romantic love itself, including 'P.S. I Love You', 'I Want to Hold Your Hand', 'I Will' and 10 more.
The Beatles have 13 songs whose subject is romantic love itself, including 'P.S. I Love You', 'I Want to Hold Your Hand', 'Something' and 10 more.
The Beatles have 9 songs that join two distinct songs or fragments into a single track, including 'Kansas City / Hey-Hey-Hey-Hey!', 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)', 'Happiness Is a Warm Gun', 'Carry That Weight', 'Golden Slumbers', 'Mean Mr. Mustard' and 3 more.
The Beatles have 9 songs that join two distinct songs or fragments into a single track, including 'Kansas City / Hey-Hey-Hey-Hey!', 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)', 'She Came in Through the Bathroom Window' and 6 more.
The Beatles have 9 songs that join two distinct songs or fragments into a single track, including 'Kansas City / Hey-Hey-Hey-Hey!', 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)', 'Sun King' and 6 more.
The Beatles have 9 songs that join two distinct songs or fragments into a single track, including 'Kansas City / Hey-Hey-Hey-Hey!', 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)', 'You Never Give Me Your Money' and 6 more.
The Beatles have 8 songs that the 1969 'Paul is dead' rumour combed for clues, including 'A Day in the Life', 'I Am the Walrus', 'Strawberry Fields Forever', 'Don't Pass Me By', 'Glass Onion', 'I'm So Tired' and 2 more.
The Beatles have 8 songs that the 1969 'Paul is dead' rumour combed for clues, including 'A Day in the Life', 'I Am the Walrus', 'Revolution 9' and 5 more.
The Beatles have 8 songs that the 1969 'Paul is dead' rumour combed for clues, including 'A Day in the Life', 'I Am the Walrus', 'Come Together' and 5 more.
The Beatles have 12 songs where the piano carries the track, including 'Good Day Sunshine', 'Lovely Rita', 'The Fool on the Hill', 'Your Mother Should Know', 'Hey Jude', 'Lady Madonna' and 6 more.
The Beatles have 12 songs where the piano carries the track, including 'Good Day Sunshine', 'Lovely Rita', 'Martha My Dear' and 9 more.
The Beatles have 12 songs where the piano carries the track, including 'Good Day Sunshine', 'Lovely Rita', 'Sexy Sadie' and 9 more.
The Beatles have 12 songs where the piano carries the track, including 'Good Day Sunshine', 'Lovely Rita', 'Golden Slumbers' and 9 more.
The Beatles have 12 songs where the piano carries the track, including 'Good Day Sunshine', 'Lovely Rita', 'You Never Give Me Your Money' and 9 more.
The Beatles have 12 songs where the piano carries the track, including 'Good Day Sunshine', 'Lovely Rita', 'Let It Be' and 9 more.
The Beatles have 12 songs where the piano carries the track, including 'Good Day Sunshine', 'Lovely Rita', 'The Long and Winding Road' and 9 more.
The Beatles have 9 songs named or quoted inside another Beatles song, including 'I Want to Hold Your Hand', 'She Loves You', 'Fixing a Hole', 'I Am the Walrus', 'Strawberry Fields Forever', 'The Fool on the Hill' and 3 more.
The Beatles have 9 songs named or quoted inside another Beatles song, including 'I Want to Hold Your Hand', 'She Loves You', 'Lady Madonna' and 6 more.
The Beatles have 9 songs named or quoted inside another Beatles song, including 'I Want to Hold Your Hand', 'She Loves You', 'Ob-La-Di, Ob-La-Da' and 6 more.
The Beatles have 9 songs named or quoted inside another Beatles song, including 'I Want to Hold Your Hand', 'She Loves You', 'You Never Give Me Your Money' and 6 more.
The Beatles have 5 songs played on the Apple roof on 30 January 1969, including 'Don't Let Me Down', 'Get Back', 'Dig a Pony', 'I've Got a Feeling', and 'One After 909'.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'She Loves You', 'This Boy', 'A Hard Day's Night', 'Can't Buy Me Love' and 15 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Komm, Gib Mir Deine Hand' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'No Reply' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Sie Liebt Dich' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Tell Me Why' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Things We Said Today' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Yes It Is' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Eleanor Rigby' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Paperback Writer' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Rain' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Tomorrow Never Knows' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Penny Lane' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Sgt. Pepper's Lonely Hearts Club Band' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Strawberry Fields Forever' and 18 more.
The Beatles have 21 songs that mirror or answer another song in the catalogue, including 'Ask Me Why', 'I Want to Hold Your Hand', 'Mother Nature's Son' and 18 more.
The Beatles have 4 songs written by a Beatle for another artist to record, including 'I Wanna Be Your Man', 'I Call Your Name', 'Come Together', and 'Something'.
The Beatles have 15 songs written during the 1968 stay in Rishikesh, including 'Back in the U.S.S.R.', 'Blackbird', 'Dear Prudence', 'Everybody's Got Something to Hide Except Me and My Monkey', 'I'm So Tired', 'Julia' and 9 more.
The Beatles have 15 songs written during the 1968 stay in Rishikesh, including 'Back in the U.S.S.R.', 'Blackbird', 'Mother Nature's Son' and 12 more.
The Beatles have 15 songs written during the 1968 stay in Rishikesh, including 'Back in the U.S.S.R.', 'Blackbird', 'Ob-La-Di, Ob-La-Da' and 12 more.
The Beatles have 15 songs written during the 1968 stay in Rishikesh, including 'Back in the U.S.S.R.', 'Blackbird', 'Rocky Raccoon' and 12 more.
The Beatles have 15 songs written during the 1968 stay in Rishikesh, including 'Back in the U.S.S.R.', 'Blackbird', 'Sexy Sadie' and 12 more.
The Beatles have 15 songs written during the 1968 stay in Rishikesh, including 'Back in the U.S.S.R.', 'Blackbird', 'The Continuing Story of Bungalow Bill' and 12 more.
The Beatles have 15 songs written during the 1968 stay in Rishikesh, including 'Back in the U.S.S.R.', 'Blackbird', 'While My Guitar Gently Weeps' and 12 more.
The Beatles have 15 songs written during the 1968 stay in Rishikesh, including 'Back in the U.S.S.R.', 'Blackbird', 'Why Don't We Do It in the Road?' and 12 more.
The Beatles have 15 songs written during the 1968 stay in Rishikesh, including 'Back in the U.S.S.R.', 'Blackbird', 'Wild Honey Pie' and 12 more.
The Beatles have 15 songs written during the 1968 stay in Rishikesh, including 'Back in the U.S.S.R.', 'Blackbird', 'Yer Blues' and 12 more.