Yesterday (Beatles song)

"Yesterday" is a song originally recorded by English rock band the Beatles for their 1965 album Help!. Although credited to "Lennon–McCartney", the song was written solely by Paul McCartney. It remains popular today with more than 2,200cover versions,[3]  and is one of the most covered songs in the history of recorded music.[note 1]  At the time of its first appearance, the song was released by the Beatles' record company as a single in the United States but not in the United Kingdom. Consequently, while it topped the American chart in 1965 the song first hit the British top 10 three months after the release of Help! in a cover version by Matt Monro. "Yesterday" was voted the best song of the 20th century in a 1999BBC Radio 2 poll of music experts and listeners and was also voted the No. 1 Pop song of all time by MTV and Rolling Stone magazine the following year. In 1997, the song was inducted into the Grammy Hall of Fame. Broadcast Music Incorporated (BMI) asserts that it was performed over seven million times in the 20th century alone.

"Yesterday" is a melancholy acoustic guitar ballad about the break-up of a relationship. McCartney is the only member of the Beatles to appear on the recording, and it was the first official recording by the Beatles that relied upon a performance by a single member of the band. He was accompanied by a string quartet. The final recording was so different from other works by the Beatles that the band members vetoed the release of the song as a single in the United Kingdom. (However, it was issued as a single there in 1976.) In 2000 McCartney asked Yoko Ono if she would agree to change the credit on the song to read "McCartney–Lennon" in The Beatles Anthology, but she refused.[5]



Contents
[hide]  *1 Origins  ==Origins[ edit] == According to biographers of McCartney and the Beatles, McCartney composed the entire melody in a dream one night in his room at the Wimpole Street home of his then girlfriend Jane Asher and her family.[6]  Upon waking, he hurried to a piano and played the tune to avoid forgetting it.[7]
 * 2 Recording
 * 2.1 Studio work
 * 2.2 Personnel
 * 2.3 Debate on the release of the song
 * 2.4 Surround mix for the album Love
 * 3 Chart performance
 * 4 Composition and structure
 * 4.1 Resemblance to other songs
 * 5 Release
 * 6 Reception
 * 7 Notes
 * 8 References
 * 9 External links

McCartney's initial concern was that he had subconsciously plagiarised someone else's work (known as cryptomnesia). As he put it, "For about a month I went round to people in the music business and asked them whether they had ever heard it before. Eventually it became like handing something in to the police. I thought if no-one claimed it after a few weeks then I could have it."[7]

Upon being convinced that he had not robbed anyone of their melody, McCartney began writing lyrics to suit it. As Lennon and McCartney were known to do at the time, a substitute working lyric, titled "Scrambled Eggs" (the working opening verse was "Scrambled Eggs/Oh, my baby how I love your legs"), was used for the song until something more suitable was written. In his biography, Paul McCartney: Many Years from Now, McCartney recalled: "So first of all I checked this melody out, and people said to me, 'No, it's lovely, and I'm sure it's all yours.' It took me a little while to allow myself to claim it, but then like a prospector I finally staked my claim; stuck a little sign on it and said, 'Okay, it's mine!' It had no words. I used to call it 'Scrambled Eggs'."<sup class="reference" id="cite_ref-FOOTNOTEMiles1997201.E2.80.93202_9-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[8]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">During the shooting of Help!, a piano was placed on one of the stages where filming was being conducted and McCartney took advantage of this opportunity to tinker with the song. Richard Lester, the director, was eventually greatly annoyed by this and lost his temper, telling McCartney to finish writing the song or he would have the piano removed.<sup class="reference" id="cite_ref-FOOTNOTEMiles1997203_10-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[9]  The patience of the other Beatles was also tested by McCartney's work in progress, George Harrison summing this up when he said: "Blimey, he's always talking about that song. You'd think he was Beethoven or somebody!"<sup class="reference" id="cite_ref-FOOTNOTEColeman199511_11-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[10]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">McCartney originally claimed he had written "Yesterday" during the Beatles' tour of France in 1964; however, the song was not released until the summer of 1965. During the intervening time, the Beatles released two albums, A Hard Day's Night and Beatles for Sale, both of which could have included "Yesterday". Although McCartney has never elaborated on his claims, a delay may have been due to a disagreement between McCartney and George Martin regarding the song'sarrangement, or the opinion of the other Beatles who felt it did not suit their image.<sup class="reference" id="cite_ref-FOOTNOTECross2005464.E2.80.93465_8-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[7]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Lennon later indicated that the song had been around for a while before: <p style="margin-top:0.5em;line-height:inherit;">"The song was around for months and months before we finally completed it. Every time we got together to write songs for a recording session, this one would come up. We almost had it finished. Paul wrote nearly all of it, but we just couldn't find the right title. We called it 'Scrambled Eggs' and it became a joke between us. We made up our minds that only a one-word title would suit, we just couldn't find the right one. Then one morning Paul woke up and the song and the title were both there, completed. I was sorry in a way, we'd had so many laughs about it."<sup class="reference" id="cite_ref-FOOTNOTEHammond2001_12-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[11] <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">McCartney said the breakthrough with the lyrics came during a trip to Portugal in May 1965: <p style="margin-top:0.5em;line-height:inherit;">"I remember mulling over the tune 'Yesterday', and suddenly getting these little one-word openings to the verse. I started to develop the idea ... da-da da, yes-ter-day, sud-den-ly, fun-il-ly, mer-il-ly and Yes-ter-day, that's good. All my troubles seemed so far away. It's easy to rhyme those a's: say, nay, today, away, play, stay, there's a lot of rhymes and those fall in quite easily, so I gradually pieced it together from that journey. Sud-den-ly, and 'b' again, another easy rhyme: e, me, tree, flea, we, and I had the basis of it."<sup class="reference" id="cite_ref-FOOTNOTEMiles1997204_13-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[12] <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">On 27 May 1965, McCartney and Asher flew to Lisbon for a holiday in Albufeira, Algarve, and he borrowed an acoustic guitar from Bruce Welch, in whose house they were staying, and completed the work on "Yesterday".<sup class="reference" id="cite_ref-FOOTNOTEMiles1997204.E2.80.93205_14-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[13]  The song was offered as a demo to Chris Farlowe before the Beatles recorded it, but he turned it down as he considered it "too soft".<sup class="reference" id="cite_ref-FOOTNOTENapier-Bell2001100_15-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[14]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">In a March 1967 interview with Brian Matthew, McCartney claimed that Lennon came up with the song's title:<sup class="reference" id="cite_ref-16" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[15] <p style="margin-top:0.5em;line-height:inherit;">Brian: "Give us the inside story on the song 'Yesterday.'"

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">John: "Ah well, this is John saying I don't know anything about that one. I'll hand you over to Paul."

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">Paul: "[laughs] This is Paul, taking up the story in a holiday villa in Corsica. Strumming away on a medieval guitar, I thought [sings] 'Scrambled Egg.' But I never could finish it, and eventually I took it back in. With the ancient wisdom of the east, John came out with [sings] 'Yesterday'." ==Recording<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ===Studio work<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">The track was recorded at Abbey Road Studios on 14 June 1965, immediately following the taping of "I'm Down", and four days before McCartney's 23rd birthday. There are conflicting accounts of how the song was recorded, the most quoted one being that McCartney recorded the song by himself, without bothering to involve the other band members.<sup class="reference" id="cite_ref-FOOTNOTEOrtiz2005_17-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[16]  Alternative sources, however, state that McCartney and the other Beatles tried a variety of instruments, including drums and an organ, and thatGeorge Martin later persuaded them to allow McCartney to play his Epiphone Texan steel-string acoustic guitar, later on editing-in a string quartet for backup. Regardless, none of the other band members was included in the final recording.<sup class="reference" id="cite_ref-FOOTNOTEMallick2000_18-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[17] <sup class="reference" id="cite_ref-FOOTNOTEUnterberger2006_19-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[18]  However, the song was played with the other members of the band in concert during 1966, in G major instead of F major.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">McCartney performed two takes of "Yesterday" on 14 June 1965.<sup class="reference" id="cite_ref-FOOTNOTELewisohn199410_20-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[19] <sup class="reference" id="cite_ref-FOOTNOTELewisohn198859_21-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[20]  Take 2 was deemed better and used as the master take. On 17 June, an additional vocal track by McCartney and a string quartet were overdubbed on take 2 and that version was released.<sup class="reference" id="cite_ref-FOOTNOTELewisohn198859_21-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[20]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Take 1, without the string overdub, was later released on the Anthology 2 compilation. On take 1, McCartney can be heard giving chord changes to George Harrisonbefore starting, but George does not appear to actually play. Take 2 had two lines transposed from the first take: "There's a shadow hanging over me"/"I'm not half the man I used to be",<sup class="reference" id="cite_ref-FOOTNOTEThe_Beatles20002.E2.80.9310_22-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[21]  though it seems clear that their order in take 2 was the correct one, because McCartney can be heard, in take 1, suppressing a laugh at his mistake.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">In 2006, just before the album Love was released, George Martin elaborated on the recording set-up of the song:<sup class="reference" id="cite_ref-FOOTNOTERees2006_23-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[22] <p style="margin-top:0.5em;line-height:inherit;">"Paul played his guitar and sang it live, a mic on the guitar and mic on the voice. But, of course, the voice comes on to the guitar mic and the guitar comes on to the voice mic. So there's leakage there. Then I said I'd do a string quartet. The musicians objected to playing with headphones, so I gave them Paul's voice and guitar on two speakers either side of their microphones. So there's leakage of Paul's guitar and voice on the string tracks." ===Personnel<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Personnel as given by Mark Lewisohn<sup class="reference" id="cite_ref-FOOTNOTELewisohn199410_20-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[19]  and Ian MacDonald:<sup class="reference" id="cite_ref-FOOTNOTEMacDonald2008157_24-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[23]

===Debate on the release of the song<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Concerning the debate on how the song should be released, Martin later said: ===Surround mix for the album Love<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">The leakage of sound from one track to another was a concern later, when the surround version of the song was mixed for the album Love, but it was decided to include it nevertheless. As Martin explained in the liner notes of Love:<sup class="reference" id="cite_ref-26" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[25] ==Chart performance<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ==Composition and structure<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Ostensibly simple, featuring only McCartney playing an Epiphone Texan steel-string acoustic guitar<sup class="reference" id="cite_ref-FOOTNOTEEverett199912_28-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[27]  backed by a string quartet in one of the Beatles' first use of session musicians,<sup class="reference" id="cite_ref-FOOTNOTEEverett199913_29-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[28]  "Yesterday" has two contrasting sections, differing in melody and rhythm, producing a sense of disjunction.<sup class="reference" id="cite_ref-FOOTNOTEEverett199915_30-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[29]
 * Paul McCartney – lead vocal and acoustic guitar
 * Tony Gilbert – violin
 * Sidney Sax – violin
 * Kenneth Essex – viola
 * Francisco Gabarro – cello
 * George Martin – producer
 * Norman Smith – engineer

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">The first section ("Yesterday, all my troubles seemed so far away ...") opens with an F chord (the 3rd of the chord is omitted), then moving to Em<sub style="line-height:1;font-size:11.1999998092651px;">7 <sup class="reference" id="cite_ref-Pollack_31-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[30]  before proceeding to A<sub style="line-height:1;font-size:11.1999998092651px;">7  and then to D-minor.<sup class="reference" id="cite_ref-FOOTNOTEPollack1993_32-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[31]  In this sense, the opening chord is a decoy; as musicologist Alan Pollack points out, the home key (F-major) has little time to establish itself before "heading towards the relative D-minor."<sup class="reference" id="cite_ref-FOOTNOTEPollack1993_32-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[31]  He points out that this diversion is a compositional device commonly used by Lennon and McCartney, which he describes as "delayed gratification".<sup class="reference" id="cite_ref-FOOTNOTEPollack1993_32-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[31]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">The second section ("Why she had to go I don't know ...") is, according to Pollack, less musically surprising on paper than it sounds. Starting with Em<sub style="line-height:1;font-size:11.1999998092651px;">7 ,<sup class="reference" id="cite_ref-Pollack_31-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[30]  the harmonic progression quickly moves through the A-major, D-minor, and (closer to F-major) B<span class="music-symbol" style="font-family:'ArialUnicodeMS','LucidaSansUnicode';">♭, before resolving back to F-major, and at the end of this, McCartney holds F while the strings descend to resolve to the home key to introduce the restatement of the first section, before a brief hummed closing phrase.<sup class="reference" id="cite_ref-FOOTNOTEPollack1993_32-3" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[31]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Pollack described the scoring as "truly inspired", citing it as an example of "[Lennon & McCartney's] flair for creating stylistic hybrids";<sup class="reference" id="cite_ref-FOOTNOTEPollack1993_32-4" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[31]  in particular, he praises the "ironic tension drawn between the schmaltzy content of what is played by the quartet and the restrained, spare nature of the medium in which it is played."<sup class="reference" id="cite_ref-FOOTNOTEPollack1993_32-5" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[31]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">The tonic key of the song is F major (although, since McCartney tuned his guitar down a whole step, he was playing the chords as if it were in G), where the song begins before veering off into the key of D minor. It is this frequent use of the minor, and the ii-V7 chord progression (Em and A<sub style="line-height:1;font-size:11.1999998092651px;">7  chords in this case) leading into it, that gives the song its melancholy aura. The A<sub style="line-height:1;font-size:11.1999998092651px;">7  chord is an example of a secondary dominant, specifically a V/vi chord. The G<sub style="line-height:1;font-size:11.1999998092651px;">7  chord in the bridge is another secondary dominant, in this case a V/V chord, but rather than resolve it to the expected chord, as with the A<sub style="line-height:1;font-size:11.1999998092651px;">7  to Dm in the verse, McCartney instead follows it with the IV chord, a B<span class="music-symbol" style="font-family:'ArialUnicodeMS','LucidaSansUnicode';">♭. This motion creates a descending chromatic line of C–B–B<span class="music-symbol" style="font-family:'ArialUnicodeMS','LucidaSansUnicode';">♭ –A to accompany the title lyric.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">The string arrangement reinforces the song's air of sadness, in the groaning cello line that connects the two halves of the bridge, notably the "blue" seventh in the second bridge pass (the E<span class="music-symbol" style="font-family:'ArialUnicodeMS','LucidaSansUnicode';">♭  played after the vocal line, "I don't know / she wouldn't say") and in the descending run by the viola that segues the bridge back into the verses, mimicked by McCartney's vocal on the second pass of the bridge.<sup class="reference" id="cite_ref-FOOTNOTECahill2005162_33-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[32] <sup class="reference" id="cite_ref-FOOTNOTEPollack1993_32-6" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[31]  This viola line, the "blue" cello phrase, the high A sustained by the violin over the final verse and the minimal use of vibrato are elements of the string arrangement attributable to McCartney rather than George Martin.<sup class="reference" id="cite_ref-34" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[33]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">When the song was performed on The Ed Sullivan Show, it was done in the above-mentioned key of F, with McCartney as the only Beatle to perform, and the studio orchestra providing the string accompaniment. However, all of the Beatles played in a G-major version which was used in the Tokyo concerts during their 1966 tours.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">When McCartney appeared on The Howard Stern Show, he stated that he owns the original lyrics to "Yesterday" written on the back of an envelope. McCartney later performed the original "Scrambled Eggs" version of the song, plus additional new lyrics, with Jimmy Fallon and The Roots on Late Night with Jimmy Fallon.<sup class="reference" id="cite_ref-35" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[34] ===Resemblance to other songs<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">In 2001, Ian Hammond speculated that McCartney subconsciously based "Yesterday" on Ray Charles' version of "Georgia on My Mind", but closed his article by saying that despite the similarities "Yesterday" is a "completely original and individual [work]."<sup class="reference" id="cite_ref-FOOTNOTEHammond2001_12-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[11]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">In July 2003, British musicologists stumbled upon superficial similarities between the lyric and rhyming schemes of "Yesterday" and Nat King Cole's and Frankie Laine's "Answer Me, My Love" (originally a German song by Gerhard Winkler and Fred Rauch called Mütterlein, it was a No.1 hit for Laine on the UK charts in 1953 as "Answer Me, O Lord"), leading to speculation that McCartney had been influenced by the song. McCartney's publicists denied any resemblance between "Answer Me, My Love" and "Yesterday".<sup class="reference" id="cite_ref-FOOTNOTEBBC_News2003_36-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[35]  "Yesterday" begins with the lines: "Yesterday, all my troubles seemed so far away. Now it looks as though they're here to stay." In its second stanza, "Answer Me, My Love" has the lines: "You were mine yesterday. I believed that love was here to stay. Won't you tell me where I've gone astray". ==Release<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == Eleven years after the US release, EMI released "Yesterday" on a single in the UK<p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Since "Yesterday" was unlike the Beatles' previous work and did not fit in with their image, and was essentially a solo recording, the Beatles refused to permit the release of a single in the United Kingdom. This did not prevent Matt Monro from recording the first of many cover versions of "Yesterday". His version made it into the top ten in the UK charts soon after its release in the autumn of 1965.<sup class="reference" id="cite_ref-FOOTNOTEUnterberger2006_19-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[18]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">The Beatles' influence over their US record label, Capitol, was not as strong as it was over EMI's Parlophone in Britain. A single was released in the US, pairing "Yesterday" with "Act Naturally", a track which featured vocals by Starr.<sup class="reference" id="cite_ref-FOOTNOTEWallgren198243_37-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[36]  The single was released on 13 September 1965 and topped the Billboard Hot 100 chart for four weeks, beginning on 9 October. The song spent a total of 11 weeks on the chart, selling a million copies within five weeks.<sup class="reference" id="cite_ref-FOOTNOTECross2004_38-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[37]  The single was also number one for three weeks on the U.S. Cashbox pop singles chart the same year.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">"Yesterday" was the fifth of six number one singles in a row on the American charts, a record at the time.<sup class="reference" id="cite_ref-39" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[38]  The other singles were "I Feel Fine", "Eight Days a Week", "Ticket to Ride", "Help!", and "We Can Work It Out".<sup class="reference" id="cite_ref-FOOTNOTEWallgren198238.E2.80.9345_40-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[39]  "Yesterday" also marked a turning point in who wrote number one singles for the group. Lennon wrote five through "Help!", whereas afterwards McCartney wrote eight starting with "Yesterday". On 4 March 1966, "Yesterday" was released as an EP in the UK, joined by "Act Naturally" on the A-side with "You Like Me Too Much" and "It's Only Love" on the B-side. By 12 March, it had begun its run on the charts. On 26 March 1966, the EP went to number one, a position it held for two months.<sup class="reference" id="cite_ref-FOOTNOTECross2004_38-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[37]  Later that same year, "Yesterday" was included as the title track for the US-only Yesterday and Today album, which was originally packaged in the "butcher sleeve".

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Ten years later on 8 March 1976, "Yesterday" was released by Parlophone as a single in the UK, featuring "I Should Have Known Better" on the B-side. Entering the charts on 13 March, the single stayed there for seven weeks, but it never rose higher than number 8 (however, by this time the song had been featured on no less than three top 5 albums and an EP which topped the charts). The release came about due to the expiration of the Beatles' contract with EMI, Parlophone's parent. EMI released as many singles by the Beatles as they could on the same day, leading to 23 of them hitting the top 100 in the UK charts, including six in the top 50.<sup class="reference" id="cite_ref-FOOTNOTECross2004_38-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[37]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">In 2006, a version of the song was included on the album Love. The version begins with the acoustic guitar intro from the song "Blackbird" only with "Blackbird" transposed down a whole step to F major from its original key G to transition smoothly into "Yesterday". ==Reception<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">"Yesterday" is one of the most recorded songs in the history of popular music; its entry in Guinness World Records states that, by January 1986, 1,600 cover versions had been made.<sup class="reference" id="cite_ref-FOOTNOTEGuinness_World_Records2009_3-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[3]  The song has been covered by an eclectic mix of artists including Cilla Black, Aretha Franklin, Marianne Faithfull, Tose Proeski, The Mamas and the Papas, Barry McGuire, The Seekers, Joan Baez, Donny Hathaway, Michael Bolton, Royce Campbell, Bob Dylan, Liberace, Bill Champlin, Frank Sinatra, Matt Monro,Elvis Presley, Ray Charles (1967), Marvin Gaye, Daffy Duck, Jan & Dean (1965), The Sylvers, Wet Wet Wet, P. P. Arnold, Plácido Domingo, The Head Shop, Billy Dean, Wing, En Vogue, LeAnn Rimes, Muslim Magomayev, Andy Williams, and Boyz II Men. In 1976, David Essex did a cover version of the song for the ephemeral musical documentary All This and World War II. After Muzak switched in the 1990s to programs based on commercial recordings, Muzak's inventory grew to include about 500 "Yesterday" covers.<sup class="reference" id="cite_ref-FOOTNOTEOwen2006_41-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[40]  At the 2006 Grammy Awards, McCartney performed the song live as a mash-up with Linkin Park and Jay-Z's "Numb/Encore". "Yesterday" was covered by Lea Michele for the Glee Beatles tribute episode "Love Love Love" and subsequently on the Glee tribute album Glee Sings The Beatles. It was also performed by Carrie Underwood at the 65th Primetime Emmy Awards.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">"Yesterday" won the Ivor Novello Award for 'Outstanding Song of 1965', and came second for 'Most Performed Work of the Year', losing out to the Lennon/McCartney composition, "Michelle". The song has received its fair share of acclaim in recent times as well, ranking 13th on Rolling Stone's 2004 list "The 500 Greatest Songs of All Time"<sup class="reference" id="cite_ref-FOOTNOTERolling_Stone2007_42-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[41]  and fourth on the magazine's list "The Beatles 100 Greatest Songs" (compiled in 2010).<sup class="reference" id="cite_ref-FOOTNOTERolling_Stone2010_43-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[42] <sup class="reference" id="cite_ref-RollingStone100_44-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[43]  In 1999, Broadcast Music Incorporated (BMI) placed "Yesterday" third on their list of songs of the 20th century most performed on American radio and television, with approximately seven million performances. "Yesterday" was surpassed only by The Association's "Never My Love" and the Righteous Brothers' "You've Lost That Loving Feeling".<sup class="reference" id="cite_ref-FOOTNOTEBMI2007_45-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[44]  "Yesterday" was voted Best Song of the 20th century in a 1999 BBC Radio 2 poll.<sup class="reference" id="cite_ref-FOOTNOTEBBC_News1999_46-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[45]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">The song was inducted into the Grammy Hall of Fame in 1997. Although the song was nominated for Song of the Year at the 1966 Grammy Awards, it ultimately lost toTony Bennett's "The Shadow of Your Smile."<sup class="reference" id="cite_ref-47" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[46] <sup class="reference" id="cite_ref-48" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[47]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">In an interview with one of McCartney's influences, Chuck Berry said that "Yesterday" was the song that he wished that he had written.<sup class="reference" id="cite_ref-49" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[48]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">"Yesterday", however, has also been criticised for being mundane and mawkish; Bob Dylan had a marked dislike for the song, stating that "If you go into the Library of Congress, you can find a lot better than that. There are millions of songs like 'Michelle' and 'Yesterday' written in Tin Pan Alley". Ironically, Dylan ultimately recorded his own version of "Yesterday" four years later, but it was never released.<sup class="reference" id="cite_ref-FOOTNOTEMallick2000_18-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[17]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:17.9200000762939px;color:rgb(37,37,37);font-family:sans-serif;font-size:14.3999996185303px;">Shortly before his death in 1980, Lennon explained that he thought the lyrics did not "resolve into any sense ... They're good – but if you read the whole song, it doesn't say anything; you don't know what happened. She left and he wishes it were yesterday – that much you get – but it doesn't really resolve. ... Beautiful – and I never wished I'd written it."<sup class="reference" id="cite_ref-FOOTNOTEBeatles_Interview_Database2009_50-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[49]  "Paul wrote this great song, 'Yesterday.' It's a beautiful song. I never wished I'd written it, and I don't believe in yesterday ... Life begins at 40, so they promise and I believe it. What's going to come?"<sup class="reference" id="cite_ref-FOOTNOTENPR_News2010_51-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:11.1999998092651px;">[50]  Lennon made reference to the song on his album Imagine with the song "How Do You Sleep?". The song appears to attack McCartney with the line "The only thing you done was Yesterday, but since you've gone you're just another day". Lennon later said to Playboy that the song reflected a struggle with his own feelings rather than an attack on the apparent target, McCartney. ==Notes<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==
 * 1) <span class="cite-accessibility-label" style="top:-99999px;clip:rect(1px1px1px1px);overflow:hidden;-webkit-user-select:none;position:absolute!important;height:1px!important;width:1px!important;">Jump up ^  At one time, Guinness World Records cited "Yesterday" with the most cover versions of any song ever written – 2,200. However, "Summertime", an aria composed by George Gershwin for the 1935 opera Porgy and Bess has been claimed to have well over 30,000 recorded performances, far more than the 1,600 claimed for "Yesterday".<sup class="reference" id="cite_ref-4" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.3999996185303px;">[4]