The Beatles had one of their most enduring hits with the bewitching balladry of this broad-minded bid for benevolence. The universal message of 'All You Need Is Love' was written to appeal to an international audience for an appearance on the 'Our World' worldwide television special that was broadcast in twenty-four countries over six hours on June 25, 1967. Paul McCartney says: "We had been told we'd be seen recording it by the whole world at the same time. So we had one message for the world-- Love. We need more love in the world."
Since they had not performed live for some time and because their music had become increasingly complex, the band was concerned that the live broadcast might be problematic; so they decided to pre-record a backing track. John Lennon said: "We just put a track down, because I knew the chords. I played a harpsichord and George played a violin, because we felt like doing it like that and Paul played a double bass. They can't play them, so we got some nice noises coming out and then you can hear it going on, because it sounded like an orchestra, but it's just those two playing the violin. So then we thought, 'Ah well, we'll have some more orchestra around this little three-piece with a drum.' There was no conception about how it should sound like at the end until we did it that day. Until the rehearsal, it still sounded a bit strange then."
McCartney admits: "'All You Need Is Love' was John's song. I threw in a few ideas, as did other members of the group, but it was largely ad libs like singing 'She Loves You' or 'Greensleeves' or silly little things like that at the end, and we made those up on the spot."
George Harrison revealed: "If you notice at the end of 'All You Need Is Love', there's 'Greensleeves' and 'In The Mood' and all sorts of different tunes coming over the end. I know Paul just thought of it at the time and then just started singing 'She Loves You.'"
George Martin recalls: "When it came to the end of their fade-away as the song closed, I asked them, 'How do you want to get out of it?' 'Write absolutely anything you like, George,' they said. 'Put together any tunes you fancy, and just play it out like that.'"
McCartney remembers: "George Martin always has something to do with it, but sometimes more than others. For instance, he wrote the end of 'All You Need Is Love' and got into trouble because the 'In The Mood' bit was copyrighted. It was a hurried session and we said, 'There's the end, we want it to go on and on.' Actually, what he wrote was much more disjointed, so when we put all the bits together, we said, 'Could we have 'Greensleeve' right on top of that little Bach thing?' And on top of that, we had the 'In The Mood' bit. Sometimes, George works with us, and sometimes against us. But he always looks after us. I don't think he does as much as people think. He sometimes does all the arrangement and we just change them."
The final mix has John Lennon on lead and backing vocals, harpsichord, and banjo; Paul McCartney on bass, double bass, and backing vocal; George Harrison on lead guitar, violin, and backing vocal; Ringo Starr on drums and percussion; Keith Moon on brush drums; George Martin on piano, orchestration, and production; David Mason on piccolo trumpet; session musicians played strings, brass, woodwind and accordion conducted by Mike Vickers; and various friends and studio people made hand claps and sang background vocals.
The single went to the top of the charts in Australia, Canada, Denmark, Germany, Ireland, the Netherlands, Norway, Spain, Sweden, the UK, and the US.
McCartney considers: "'All You Need Is Love' was perfect if you're going to say any message. That's a fine and wonderful message to say, really. So we just put the track down and the we did the vocal. So we've still got mine, ready to do for the next one, which is of a similar nature in its simplicity, but with a different message."
Lennon would say: "I think if you get down to basics, whatever the problem is, it's usually to do with love. So I think 'All You Need is Love' is a true statement. I'm not saying, 'All you have to do is...' because 'All You Need' came out in the Flower Power Generation time. It doesn't mean that all you have to do is put on a phoney smile or wear a flower dress and it's gonna be alright. Love is not just something that you stick on posters or stick on the back of your car, or on the back of your jacket or on a badge. I'm talking about real love, so I still believe that. Love is appreciation of other people and allowing them to be. Love is allowing somebody to be themselves and that's what we do need."
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Love, love, love.
Love, love, love.
Love, love, love.
There's nothing you can do that can't be done.
Nothing you can sing that can't be sung.
Nothing you can say but you can learn how to play the game.
It's easy.
Nothing you can make that can't be made.
No one you can save that can't be saved.
Nothing you can do but you can learn how to be you in time.
It's easy.
All you need is love.
All you need is love.
All you need is love, love.
Love is all you need.
All you need is love.
All you need is love.
All you need is love, love.
Love is all you need.
Nothing you can know that isn't known.
Nothing you can see that isn't shown.
Nowhere you can be that isn't where you're meant to be.
It's easy.
All you need is love.
All you need is love.
All you need is love, love.
Love is all you need.
All you need is love (all together, now!)
All you need is love. (everybody!)
All you need is love, love.
Love is all you need (love is all you need).
Yee-hai!
Oh yeah!
She loves you, yeah yeah yeah.
She loves you, yeah yeah yeah.
'Baby, You're a Rich Man' was the B-side. It charted at number thirty-four in the US. Lennon said: “In 'Baby You're a Rich Man' the point was, stop moaning. You're a rich man and we're all rich men, heh, heh, baby!...That's a combination of two seperate pieces, Paul's and mine, put together and forced into one song. One-half was all mine: 'How does it feel to be one of the beautiful people/ Now that you know who you are...' Then Paul comes in with: 'Baby you're a rich man,' which was a lick he had around."
Paul remembers: “'Baby, You're A Rich Man' was co-written by John and me at Cavendish Avenue. There was lots of talk in the newspapers about the beautiful people. That was what they called them, so, we figured, 'Well, how does it feel to be one of the beautiful people?'"
How does it feel to be
One of the beautiful people?
Now that you know who you are
What do you want to be?
And have you traveled very far?
Far as the eye can see
How does it feel to be
One of the beautiful people?
How often have you been there?
Often enough to know
What did you see when you were there?
Nothing that doesn't show
Baby you're a rich man
Baby you're a rich man
Baby you're a rich man too
You keep all your money in a big brown bag
Inside a zoo, what a thing to do
Baby you're a rich man
Baby you're a rich man
Baby you're a rich man too
How does it feel to be
One of the beautiful people?
Tuned to a natural E
Happy to be that way
Now that you've found another key
What are you going to play?
Baby you're a rich man
Baby you're a rich man
Baby you're a rich man too
He keeps all his money in a big brown bag
Inside a zoo, what a thing to do
Baby you're a rich man
Baby you're a rich man
Baby you're a rich man too
Baby you're a rich man
Baby you're a rich man
Baby you're a rich man too
Baby you're a rich man
Baby you're a rich man
Baby you're a rich man too
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