With The Beatles album cover

Till There Was You

1963 · With The Beatles

“There were bells on a hill”

Paul's Broadway show-tune cover from Meredith Willson's 'The Music Man' (1957), learned from Peggy Lee's 1961 reading. A bolero-flavored ballad with twin nylon-string guitars and Ringo's bongos - the Beatles' only Broadway cover.

What is unique about this song?

This is one of two that use a seventh flat ninth chord, the other being 'I Want You (She's So Heavy)', and one of the love songs as well. The Beatles went to Meredith Willson for this and for nothing else. Five Beatles records dim7, min(maj7) and dim, 'Glass Onion' and 'Old Brown Shoe' among them, and this one is the earliest. The band reached for the Jose Ramirez classical here for the first time, and used it on seven records after it, such as 'And I Love Her' and 'I'll Be Back'.

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What happened around it?

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The band cut 'You Really Got a Hold on Me' and 'Devil in Her Heart' that day as well. It was recorded on the first day of work on With The Beatles. One other thing, 6 days before the session, the Twist and Shout EP came out. On the day the album reached the shops, President Kennedy was assassinated.

Did you know?more like this →

This song is the only Beatles song in the Bolero style.

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Text107 tags

Some of the imagery comes from nature ('Bells on a hill', 'birds in the sky'), along with the motifs of nostalgia and love, most at home in the Beatles' 1964 writing. The lyric turns to anaphora and personification, and the language is poetic ('Sweet fragrant meadows of dawn and dew').

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Music152 tags

'Till There Was You' runs near 88 BPM in F major, and it is a bolero and ballad piece start to finish, the only Beatles song in this genre. Listen for the guitar solo, a classical guitar. Also, the record leaves out a drum kit altogether, with the bar shifting into 3/4. Fun fact, its B♭ → B♭m → F → D7 → Gm chord progression is the move 'I Will' makes as B♭ → B♭m6 → F/A → D7 → Gm7.

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Studio8 tags

The track came out of EMI Studio 2, three unsatisfactory takes on the first day were abandoned for a complete re-make. Take 8 became the master, with George's jazz-tinged Spanish guitar solo a highlight. The Hofner 500/1 on it was McCartney's bass, a habit that peaked in 1964. That day put four songs on tape, the 19th to the 22nd of their career.

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Info16 tags

This song reached listeners on November 22, 1963, as one track among many on With The Beatles. In America it arrived eight weeks later, on Meet The Beatles!, a Capitol record. This song was the 22nd of the 32 records they released in that year, and the 24th counting from the start.

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Sources & references

Tags on this page are original analysis, transcribed and cross-checked against the fine work of others: Alan W. Pollack's “Notes on…” series, the Beatles Complete Scores (Hal Leonard), Mark Lewisohn's session histories, Ian MacDonald's Revolution in the Head, Dave Rybaczewski's Beatles Music History and Andy Babiuk's Beatles Gear for the instruments and studio equipment, and others besides - then verified by ear against the recordings. Full bibliography: Sources & thanks.

External entity links: Wikipedia · MusicBrainz recording · MusicBrainz work · Wikidata

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