| 1 | Love Me Do | 1962 | Please Please Me | Paul, John | 10 pronouns (33%) |
| 2 | P.S. I Love You | 1962 | Please Please Me | Paul | 28 pronouns (65%) |
| 3 | Please Please Me | 1963 | Please Please Me | John, Paul | 11 pronouns (33%) |
| 4 | Do You Want to Know a Secret | 1963 | Please Please Me | George | 16 pronouns (73%) |
| 5 | There's a Place | 1963 | Please Please Me | John, Paul | 6 pronouns (33%) |
| 6 | From Me to You | 1963 | Past Masters | John, Paul | 21 pronouns (51%) |
| 7 | Thank You Girl | 1963 | Past Masters | John, Paul | 14 pronouns (56%) |
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| 8 | I'll Get You | 1963 | Past Masters | John, Paul | 20 pronouns (61%) |
| 9 | She Loves You | 1963 | Past Masters | Paul, John | Addresses the wronged boyfriend |
| 10 | All My Loving | 1963 | With The Beatles | Paul | Addresses absent lover |
| 11 | All I've Got to Do | 1963 | With The Beatles | John | 17 pronouns (45%) |
| 12 | Not a Second Time | 1963 | With The Beatles | John | 10 pronouns (38%) |
| 13 | Little Child | 1963 | With The Beatles | John, Paul | 7 pronouns (33%) |
| 14 | I Wanna Be Your Man | 1963 | With The Beatles | Ringo | 35 pronouns (51%) |
| 15 | It Won't Be Long | 1963 | With The Beatles | John | 7 pronouns (30%) |
| 16 | Hold Me Tight | 1963 | With The Beatles | Paul | 25 pronouns (64%) |
| 17 | This Boy | 1963 | Past Masters | John, Paul, George | 7 pronouns (70%) |
| 18 | I Want to Hold Your Hand | 1963 | Past Masters | John, Paul | 19 pronouns (38%) |
| 19 | Sie Liebt Dich | 1964 | Past Masters | John, Paul | Addresses 'du' throughout |
| 20 | Can't Buy Me Love | 1964 | A Hard Day's Night | Paul | 12 pronouns (32%) |
| 21 | I Call Your Name | 1964 | Past Masters | John | 8 pronouns (31%) |
| 22 | You Can't Do That | 1964 | A Hard Day's Night | John | 26 pronouns (52%) |
| 23 | Tell Me Why | 1964 | A Hard Day's Night | John | 22 pronouns (41%) |
| 24 | Any Time at All | 1964 | A Hard Day's Night | John | 10 pronouns (63%) |
| 25 | I'll Be Back | 1964 | A Hard Day's Night | John | 16 pronouns (50%) |
| 26 | A Hard Day's Night | 1964 | A Hard Day's Night | John, Paul | 18 pronouns (43%) |
| 27 | I'm Happy Just to Dance with You | 1964 | A Hard Day's Night | George | 16 pronouns (44%) |
| 28 | I Should Have Known Better | 1964 | A Hard Day's Night | John | 19 pronouns (41%) |
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| 29 | No Reply | 1964 | Beatles For Sale | John | 17 pronouns (40%) |
| 30 | What You're Doing | 1964 | Beatles For Sale | Paul | 13 pronouns (54%) |
| 31 | I'm Down | 1965 | Past Masters | Paul | 15 pronouns (88%) |
| 32 | I Need You | 1965 | Help! | George | 23 pronouns (46%) |
| 33 | The Night Before | 1965 | Help! | Paul | 21 pronouns (47%) |
| 34 | It's Only Love | 1965 | Help! | John | 9 pronouns (41%) |
| 35 | You're Going to Lose That Girl | 1965 | Help! | John | Speaker addresses 'you' |
| 36 | Tell Me What You See | 1965 | Help! | John, Paul | 25 pronouns (58%) |
| 37 | You Like Me Too Much | 1965 | Help! | George | 28 pronouns (44%) |
| 38 | Run for Your Life | 1965 | Rubber Soul | John | 30 pronouns (81%) |
| 39 | Wait | 1965 | Rubber Soul | John, Paul | 16 pronouns (53%) |
| 40 | If I Needed Someone | 1965 | Rubber Soul | George | – |
| 41 | Drive My Car | 1965 | Rubber Soul | Paul, John | 15 pronouns (41%) |
| 42 | Nowhere Man | 1965 | Rubber Soul | John | Bridge addresses 'nowhere man' directly |
| 43 | Think for Yourself | 1965 | Rubber Soul | George | Addressed entirely to 'you' |
| 44 | You Won't See Me | 1965 | Rubber Soul | Paul | 16 pronouns (36%) |
| 45 | What Goes On | 1965 | Rubber Soul | Ringo | 24 pronouns (52%) |
| 46 | I'm Looking Through You | 1965 | Rubber Soul | Paul | 27 pronouns (68%) |
| 47 | Michelle | 1965 | Rubber Soul | Paul | 13 pronouns (35%) |
| 48 | Rain | 1966 | Past Masters | John | 6 pronouns (32%) |
| 49 | Paperback Writer | 1966 | Past Masters | Paul | 8 pronouns (40%) |
| 50 | Doctor Robert | 1966 | Revolver | John | 'You're a new and better man' |
| 51 | Taxman | 1966 | Revolver | George | 6 pronouns (46%) |
| 52 | Love You To | 1966 | Revolver | George | 6 pronouns (50%) |
| 53 | Tomorrow Never Knows | 1966 | Revolver | John | Addressed to 'you' – instructional |
| 54 | For No One | 1966 | Revolver | Paul | Entire song addresses 'you' as protagonist |
| 55 | Got to Get You into My Life | 1966 | Revolver | Paul | 22 pronouns (39%) |
| 56 | And Your Bird Can Sing | 1966 | Revolver | John | Direct address: 'you don't get me' |
| 57 | Strawberry Fields Forever | 1967 | Magical Mystery Tour | John | 8 pronouns (33%) |
| 58 | Lucy in the Sky with Diamonds | 1967 | Sgt. Pepper's Lonely Hearts Club Band | John | Addresses listener as 'you' |
| 59 | Within You Without You | 1967 | Sgt. Pepper's Lonely Hearts Club Band | George | Addresses listener: 'Try to realise', 'are you one of them?' |
| 60 | When I'm Sixty-Four | 1967 | Sgt. Pepper's Lonely Hearts Club Band | Paul | 16 pronouns (48%) |
| 61 | Good Morning Good Morning | 1967 | Sgt. Pepper's Lonely Hearts Club Band | John | Shifts to 'you' through verses |
| 62 | Sgt. Pepper's Lonely Hearts Club Band | 1967 | Sgt. Pepper's Lonely Hearts Club Band | Paul | 7 pronouns (50%) |
| 63 | All You Need Is Love | 1967 | Magical Mystery Tour | John | Addressed to 'you' – universal/everyperson, not a specific lover |
| 64 | Baby, You're a Rich Man | 1967 | Magical Mystery Tour | John | – |
| 65 | I Am the Walrus | 1967 | Magical Mystery Tour | John | 13 pronouns (30%) |
| 66 | Hello, Goodbye | 1967 | Magical Mystery Tour | Paul | 20 pronouns (41%) |
| 67 | Magical Mystery Tour | 1967 | Magical Mystery Tour | Paul | Addresses listener: 'take you away' |
| 68 | Blue Jay Way | 1967 | Magical Mystery Tour | George | 6 pronouns (38%) |
| 69 | Your Mother Should Know | 1967 | Magical Mystery Tour | Paul | Addresses 'you' and 'your mother' directly |
| 70 | Lady Madonna | 1968 | Past Masters | Paul | Addresses Lady Madonna directly |
| 71 | The Inner Light | 1968 | Past Masters | George | Verse 2 'your door / your window' |
| 72 | Revolution | 1968 | Past Masters | John | – |
| 73 | Hey Jude | 1968 | Past Masters | Paul | Direct address to Jude throughout |
| 74 | Blackbird | 1968 | The Beatles (The White Album) | Paul | Addresses the blackbird directly |
| 75 | Don't Pass Me By | 1968 | The Beatles (The White Album) | Ringo | 23 pronouns (39%) |
| 76 | Martha My Dear | 1968 | The Beatles (The White Album) | Paul | Direct address to Martha throughout |
| 77 | Long, Long, Long | 1968 | The Beatles (The White Album) | George | 12 pronouns (50%) |
| 78 | Piggies | 1968 | The Beatles (The White Album) | George | 4 pronouns (31%) |
| 79 | I Will | 1968 | The Beatles (The White Album) | Paul | 17 pronouns (57%) |
| 80 | Honey Pie | 1968 | The Beatles (The White Album) | Paul | 9 pronouns (33%) |
| 81 | Cry Baby Cry | 1968 | The Beatles (The White Album) | John | 14 pronouns (58%) |
| 82 | Good Night | 1968 | The Beatles (The White Album) | Ringo | – |
| 83 | Back in the U.S.S.R. | 1968 | The Beatles (The White Album) | Paul | 13 pronouns (42%) |
| 84 | Birthday | 1968 | The Beatles (The White Album) | Paul, John | 12 pronouns (55%) |
| 85 | Sexy Sadie | 1968 | The Beatles (The White Album) | John | Directly addresses Sadie |
| 86 | Glass Onion | 1968 | The Beatles (The White Album) | John | 9 pronouns (60%) |
| 87 | Dear Prudence | 1968 | The Beatles (The White Album) | John | Direct address to Prudence |
| 88 | Revolution 1 | 1968 | The Beatles (The White Album) | John | 'You say...', 'You tell me...' |
| 89 | The Continuing Story of Bungalow Bill | 1968 | The Beatles (The White Album) | John | 14 pronouns (56%) |
| 90 | I'm So Tired | 1968 | The Beatles (The White Album) | John | 15 pronouns (44%) |
| 91 | While My Guitar Gently Weeps | 1968 | The Beatles (The White Album) | George | 11 pronouns (38%) |
| 92 | Everybody's Got Something to Hide Except Me and My Monkey | 1968 | The Beatles (The White Album) | John | 8 pronouns (57%) |
| 93 | Helter Skelter | 1968 | The Beatles (The White Album) | Paul | Addressed to "you" – "do you want me", "tell me the answer" |
| 94 | Savoy Truffle | 1968 | The Beatles (The White Album) | George | Addresses Clapton: 'you'll have to have them all pulled out' |
| 95 | Hey Bulldog | 1969 | Yellow Submarine | John | Direct address to 'you' |
| 96 | It's All Too Much | 1969 | Yellow Submarine | George | 12 pronouns (40%) |
| 97 | Only a Northern Song | 1969 | Yellow Submarine | George | 4 pronouns (31%) |
| 98 | Get Back | 1969 | Let It Be | Paul | 9 pronouns (39%) |
| 99 | Old Brown Shoe | 1969 | Past Masters | George | 21 pronouns (60%) |
| 100 | The Ballad of John and Yoko | 1969 | Past Masters | John | 21 pronouns (60%) |
| 101 | Carry That Weight | 1969 | Abbey Road | Paul, John, George, Ringo | Chorus addresses 'Boy, you're gonna...' |
| 102 | Golden Slumbers | 1969 | Abbey Road | Paul | 3 pronouns (50%) |
| 103 | Polythene Pam | 1969 | Abbey Road | John | 'You should see Polythene Pam' |
| 104 | Oh! Darling | 1969 | Abbey Road | Paul | 23 pronouns (48%) |
| 105 | I Want You (She's So Heavy) | 1969 | Abbey Road | John | 26 pronouns (42%) |
| 106 | The End | 1969 | Abbey Road | Paul | 27 pronouns (96%) |
| 107 | You Never Give Me Your Money | 1969 | Abbey Road | Paul | 7 pronouns (50%) |
| 108 | You Know My Name (Look Up the Number) | 1970 | Past Masters | John, Paul | 53 pronouns (61%) |
| 109 | For You Blue | 1970 | Let It Be | George | 13 pronouns (48%) |
| 110 | Dig a Pony | 1970 | Let It Be | John | 34 pronouns (74%) |
| 111 | Now and Then | 2023 | Reunion singles | John | 11 pronouns (41%) |