Talk:List of songs recorded by the Beatles/Archive 2

Archive 1

Archive 2

Archive 3

Archive 4

Archive 5

I Feel Fine

I can't find any evidence that McCartney contributed to I Feel Fine, so I ascribed it now to solely Lennon. Can anyone else find anything about whether or not he contributed? I don't want him to be excluded from credit if he did indeed have input on the song.

CinnamonCinder 20:05, 10 October 2007 (UTC)

There is no 'evidence' that Paul did this, other than he says so in his book. He doesn't really specify what part of the song he helped create, but the thing that gives him some credibility, is the point(fact?) that both 'I Feel Fine' and 'She's a Woman' were at least partly written in the studio. Lennon didn't mention any help from Paul concerning this song in any of his two major interviews(1970-Rolling Stone/1980-Playboy), but as John so eloquently put it in the Playboy interview just before he died: ...it's easier to say what what my contribution was to him than what he gave to me. And he'd say the same.

In order to get as close as possible to the truth(which is what I want, anyway), you'll have to treat Lennon's interviews and McCartney's 'Many Years From Now'-book as EQUALLY valid. Of course, many of Paul's claims contradict what through years and years has been accepted as FACT, but that fact is 99,9% based on John's interviews anyway, so it shouldn't be dismissed out of hand.

I think we'll agree that John had at least an equal amount of Lennon-bias as McCartney has a McCartney-bias. The truth often lies somewhere in-between.--84.208.240.143 07:36, 2 December 2007 (UTC)

Recent edits

I'd like to see how people think of these recent edits by Allon Fambrizzi, particularly JohnCardinal.

I disagree with almost all of these changes, I'll enumerate the ones I particularly disagree with:

"Getting Better" and "Drive My Car": I disagree with these being "Lennon and McCartney." I believe it's safe to say McCartney was the main writer of both. Lennon only helped some with the lyrics for Getting Better--his main contribution (according to both) was the legendary "Can't Get No Worse." Lennon helped rework "Drive My Car"'s lyrics, but he did that with McCartney, and the music is all Paul's. "McCartney with Lennon"

(I couldn't agree more.--84.208.240.143 08:14, 2 December 2007 (UTC))

"A Hard Day's Night": John's song. Paul claims to have wrote the middle eight ("When I'm home...") but John and others say he just sang that because John couldn't reach the notes.

(In the book 'Many Years From Now' Paul makes NO claim to having written ANY part of 'A Hard Day's Night', so I wouldn't take that bit of information seriously.--84.208.240.143 07:41, 2 December 2007 (UTC))

"Girl": At most, that was "Lennon with McCartney," not "Lennon and McCartney"; Macca only wrote a few lines, and even that's in contention (Lennon claims he wrote "Pain would lead to pleasure," etc).

(I have yet to see any source where John claims those exact words, but I'll be glad if you can show me. Paul claims this one was written at a writing session out at Kenwood, but from John's original idea. Paul also takes credit for the 'greek' ending, not that it matters much, because now we're entering the wonderful world of arranging, leaving songwriting behind. At the same time, Paul DOES refer to 'Girl' as John's song. 'With' is probably accurate enough. --84.208.240.143 08:14, 2 December 2007 (UTC))

"I'm Only Sleeping": Pretty sure this was almost solely John.

(According to Paul, the song was written and arranged in one writing session, co-written but from John's original idea.--84.208.240.143 08:14, 2 December 2007 (UTC))

"Eleanor Rigby": Numerous sources (Paul and I believe Pete Shotten) say that Lennon did practically nothing for this song. His "70% claim" is very dubious. I think this should be solely Paul.

(I agree, but I think giving John a small piece of the action, somehow helps justify Paul's inclusion as equal partner on 'In My Life', which is something I have been fighting for lately.--84.208.240.143 08:14, 2 December 2007 (UTC))

"I Saw Her Standing There": Nowhere have I seen Lennon take any credit for this one. Sole Paul, I believe.

(Paul: Co-written, my idea, and we finished it(...)--84.208.240.143 08:14, 2 December 2007 (UTC))

"Hey Jude": This one is the most ridiculous. Lennon's only contribution was telling Paul to keep "The moment is on your shoulder." Lennon frequently ascribes this solely to Paul, in the 1970 Rolling Stone interview he calls it "The best thing Paul ever wrote" (I believe it was that interview).

(Agree. Ridiculous to include John's name for NOT writing anything.)

"I'm a Loser": Sole John, don't see where Paul comes in.

(Paul says, "...there may have been a dabble or two from me", but he's not being specific, so I think his name shouldn't be included.)

"I'm Down": Pure Paul.

(Paul: I'm not sure if John had any input on it, in fact I don't think he did. But not wishing to be churlish, with most of these I'll always credit him with 10% just in case he fixed a word or offered a suggestion. But at least 90% of that would be mine.--84.208.240.143 08:28, 2 December 2007 (UTC))

"Lady Madonna": Pure Paul, no Lennon at all--Lennon disliked the song, in fact.

John referred to 'Get Back' as an improved version of 'Lady Madonna'(or something like that). I don't think he ever expressed any particular dislike for it. It was not a favourite, to put it like that. --84.208.240.143 08:28, 2 December 2007 (UTC) John was apparently responsible for the 'See how they run'-line, since it appeared on 'I Am The Walrus' a couple of months earlier.192.153.194.200 (talk) 16:54, 17 December 2007 (UTC)

"Lucy in the Sky with Diamonds": Paul contributed "Newspaper taxis." That's about it. Pure Lennon.

(Paul: John had the title and the first verse(...) I sat there and wrote it with him: I offered 'cellophane flowers' and 'newspaper taxis', and John replied with 'kaleidoscope eyes'. I remember which was which because we traded words off each other, as we always did.--84.208.240.143 08:14, 2 December 2007 (UTC))

"Michelle": That's "McCartney with Lennon." Entirely McCartney's sans Lennon's middle-eight.

Lennon's suggestion was the 'I love you x3'-bit. Don't think he claimed the whole middle eight, but McCartney, with Lennon is accurate enough, anyway.--84.208.240.143 08:28, 2 December 2007 (UTC)

"Norwegian Wood": Should be "Lennon with McCartney," Macca only wrote middle-eight.

As well as having the idea to burn the house down. The title may also be his, as John had no recollection where NORWEGIAN WOOD came from in the Playboy interview.--84.208.240.143 08:14, 2 December 2007 (UTC))

I think almost everything should be reverted back to John Cardinal's last revision. Most of the aforementioned are downright ridiculous and I strongly disagree with leaving them for any prolonged period of time.

CinnamonCinder 01:49, 13 October 2007 (UTC)

I actually logged in especially to make a comment on some of these inaccuracies, but I see you beat me to it--and saved me a lot of typing in the process! Thank you! Anyway, I do agree that the JohnCardinal revision is a good place to go back to (even though there are still a small handful of minor inaccuracies/incomplete credits, it's a good starting point and the most factually correct). I also advocate reverting the language in the beginning that distinguishes what "Lennon and McCartney," "Lennon with McCartney," etc mean. Woohoo5241 19:23, 13 October 2007 (UTC)

First, I am entirely sure I didn't change "Hey Jude" to "with Lennon." I also didn't change the credit on "A Hard Day's Night" or "I'm A Loser". Second:

1. John sang the "can't get no worse" part on "Getting Better," but wrote most of the verses, including the "I used to be cruel to my woman/I beat her and kept her apart from the things that she loved"

2. As for "Drive My Car" and "Girl," the guidelines have always said that songs written "eyeball to eyeball" are counted as "Lennon and McCartney." The evidence is that both of these were written in such a manner. Paul has also said that "Lucy in the Sky with Diamonds" was written in such a manner.

3. As for "Michelle," John wrote the middle eight. On other songs where one just wrote the middle eight (i.e. "We Can Work It Out") the credit is to both. And the middle eight is a major part of the song.

4. As for "Norwegian Wood," John Cardinal specifically chided me for changing that to "Lennon with McCartney," so I changed it back.

5. The article was very inconsistent before I made the revisions that I did. Sometimes minor contributions were credited (usually to McCartney), but sometimes they weren't (usually when they involved Lennon). I think the safest approach is to go as follows:

1. Songs written "eyeball-to-eyeball" or where one contributed a middle eight, are credited to both

2. Songs where one made some contribution, however minor, are credited as "with"

3. Only songs written solely by one are credited to one singly.

This is because we don't know all the details about the process. Remember, the songs were originally credited to both songwriters, so it is better and fairer to err on the side of including minor suggestions and revisions than excluding them. For "I Saw Her Standing There," John rewrote the opening line. On "Lady Madonna," John helped write the verses (and only commented that he didn't like the song after the band broke up). John also said he helped write the verse to "I'm Down." Paul said that "I'm Only Sleeping" was "co-written, but from John's original concept." On "Eleanor Rigby," the evidence seems to be clear that Paul turned to the band to help finish the song off, and I think we should err on the side of believing John's account because the credit did say "Lennon-McCartney." Allon Fambrizzi 03:07, 14 October 2007 (UTC)Allon Fambrizzi::

Honestly, I think with songs where we know one or the other was the primary composer, the attribution should read "____ with ____." Which would make "Drive My Car" and "Michelle" McCartney with Lennon and "Norwegian Wood" and "Girl" Lennon with McCartney. Never has there been any dispute about who was the primary composer of any of these four songs, and while the middle-eight is certainly a major contribution, I think it's incorrect to say that Lennon's contribution to Michelle or McCartney's contribution to Norwegian Wood constitutes a co-writing credit. So, with these four where facts and evidence are solid, I am reverting them to what I have stated above. As it happens, it's two songs becoming "Lennon with McCartney" and two becoming "McCartney with Lennon," so there should be no accusations of Beatle favoritism. I would make cases for the other songs, but with these four the evidence is irrefutable. I also think an "accuracy disputed" header may be appropriate at the top of the page.

CinnamonCinder 05:50, 14 October 2007 (UTC)

Also, I personally don't think something like "I Saw Her Standing There" should be "with Lennon." Does one line really count as a major contribution? Should "Eleanor Rigby" be "with Harrison and Starr" because Harrison contributed "All the lonely people" and Starr the line about McKenzie darning his socks? I think it's a little ridiculous. I've also never heard Lennon lay claim to anything else more than "Can't get no worse" and the "I used to be cruel to my woman..." stanza. I think that should be "McCartney with Lennon." While I agree there was a McCartney bias going on this page (and in Wikipedia in general), I don't think we should similarly perpetuate a Lennon bias just to even it out; we should work on eliminating the McCartney bias.

CinnamonCinder 05:55, 14 October 2007 (UTC)

(outdent) I am not going to respond in detail, partly because there are many comments above and many changes to the article, and partly because I don't want to heat up anything that doesn't need it! In general, for songs officially credited to Lennon/McCartney, I think we should err on the side of inclusiveness. For example, if Lennon added lyrics to a McCartney song, that's "with Lennon", even if he contributed a line or two. Why? Partly because the two of them gave each other official credit, but perhaps more importantly, nearly all of their songs were discussed in joint writing sessions. They really did collaborate and while the contributions of one or the other might be minor, the two of them continued to have those writing sessions until at least the White Album. They saw the value in it, and who are we to argue?

Regarding the distinction between "A, with B" and "A and B", well, it's a matter of opinion. If L&M agree that one helped a little (or something similar) then I'd say the "with" version is appropriate. If L or M asserts that he helped a lot, then I'd say "A and B". If there is an absence of evidence, I think we should fall back to the formal credits and say "A and B".

I think the evidence bar should be higher in cases where a person is not officially credited. So, for example, adding "with Lennon" to "Taxman" may not be appropriate. Personally, I've only seen evidence that Lennon says he added/changed "Taxman" lyrics. I've never seen evidence where Harrison agrees that Lennon added/changed lyrics. (I've read far more about L/M and certainly may have missed a statement about this by Harrison.) So, absent acknowledgment by Harrison either formally (composer credits) or informally, then we only have Lennon's claim. That claim should be in the "Taxman" article but probably not in this list. By the way, I believe that Lennon did help with Taxman and in general, deserves some credit, but WP is not about what editors believe. It's about evidence. If other editors believe that one person's claim is enough to say "with B", then they should make a case for that.

The main thing here is to make the list reflect the evidence. We've got official credits. We've got joint acknowledgment of hundreds of L&M writing sessions. We've got the Miles book and the Playboy interviews, and many, many songs are covered by those sources. Obviously, there are also other credible sources. If editors here are going to take exception to the list content, they should be prepared to cite evidence. If we can focus our discussions on interpreting that evidence, then we'll probably do a good job. John Cardinal 16:42, 14 October 2007 (UTC)

I agree that the point is to make the list reflect the evidence, and I'm concerned that if we don't look closely at the sources on this page, it will end up simply reflecting popular stereotypes of each song being a characteristically "Lennon song" or a "McCartney song." We have to remember that the songs Lennon and McCartney wrote for the Beatles in many ways have more in common with each other than they do with the solo output of either. The evidence from the Rubber Soul period is that songs like "Norwegian Wood" and "Michelle" were written eyeball-to-eyeball almost to the extent of the early days, so I am now against changing those back. Indeed, Rubber Soul is one of the most harmonious Beatles albums-- Mike Wilson said the 12 songs on the U.S. version sound like they were meant to be played together-- and I think a big reason why, as we look back at the sources, is the extent of the collaboration between John and Paul. Allon Fambrizzi 03:20, 15 October 2007 (UTC)Allon Fambrizzi

I don't know that they were written eyeball to eyeball. Where's the evidence? From what Lennon's said in interviews and McCartney as well, Paul had written most of Michelle and went to John for suggestions on flow, and John came up with "I love you" from a song he had heard. And for Norwegian Wood, Lennon had nearly all the lyrics down and the basic tune, but brought it to Paul and he helped with/co-wrote the middle-eight. While both are definitively collaborative efforts, all the evidence (Lennon Rolling Stone interviews, Paul's Playboy interview, etc--http://www.geocities.com/~beatleboy1/dba06soul.html is a good source) suggests that in each case, one had the idea and the basic tune, and brought it to the other for help. So I think it's fair (and most accurate) to give primary credit to the originator of the idea, but ensuring that the other partner gets credit for an important contribution. These songs differ from songs like "She Loves You" and "I Want to Hold Your Hand" (literally written "eyeball-to-eyeball") or "A Day in the Life" and "I've Got a Feeling" (songs not written eyeball-to-eyeball but where both had an equal or near-equal contribution-- a contribution that changed the song, not merely a change within the confines of the song's existing context). The latter four songs are the ones that should be credited as "Lennon and McCartney" (and perhaps songs like "In My Life" which are heavily disputed); with the rest, I think it's appropriate to give slightly more credit where more credit is due-- to the originator and primary composer. CinnamonCinder 23:49, 15 October 2007 (UTC)

Examining only "Norwegian Wood", the evidence is more complicated than you describe. In Many Years from Now, McCartney says Lennon had a stanza, but nothing else, when their writing session began. he goes on to say, "It's 60-40 to John because it's John's idea and John's tune." In his 1980 Playboy interview, Lennon says it is "my song completely." Are they agreeing or disagreeing? Lennon could certainly say it was his song (given he had the idea, the tune, and some lyrics) even though McCartney contributed lyrics and the middle eight. How do we credit that? At 60-40, I think "Lennon and McCartney" is proper. At 80-20, "Lennon, with McCartney" seems right. At 70-30, hard to say. John Cardinal 02:48, 16 October 2007 (UTC)

I suppose this is where we differ. I was aware of these facts concerning Norwegian Wood, particularly McCartney's comment that it was "Lennon's idea and tune" (along with the fact that he had a stanza written). To me, that's sufficient enough to give him credit as primary composer, since McCartney contributed to a piece that already had been established--with a tune and some lyrics written. This, along with the fact that both credit Lennon as the main writer ("60/40" and "my song completely"), I'd say this should be Lennon, with McCartney. I think what this boils down to is: what are people using this page for? Readers aren't perusing this article to see the same old "Lennon/McCartney" credit that they could get on the packaging of the album. They want to know which songwriter was most responsible for a song. So when there's an instance where it's clear that the idea (specifically when it includes the tune and some lyrics) originated with one or the other, I think we should give credit to that member as the one primarily responsible. It also adds greater credence to the "Lennon and McCartney" credits on this page that truly were collaborative efforts (like the four I mentioned earlier), rather than merely one contributing ideas within an already-established melody and lyric structure. CinnamonCinder 03:18, 16 October 2007 (UTC)

(outdent) At 60/40, I think it should say "A and B", and you'd prefer to credit the composer with the original idea, "A, with B". I don't think there is any right answer. I understand that readers might want to know who had the original idea, but I think drawing a distinction at that level of collaboration doesn't acknowledge the importance of the collaborative process. It's incredibly important not to lose how well they complemented each other; there are few examples that compare. They both spawned new song ideas, lyrics, and tunes. They both could add a little, or a lot, to a song, based on the need. They trusted each other's judgment. They were secure enough to help each other and compete with each other. They were different enough without being too different.

In the end, this list is a summary, and readers can get a more complete understanding from the song articles, so perhaps it doesn't matter which way we go. Whatever is decided, the rules ought to be applied to all songs in the same way. John Cardinal 12:46, 16 October 2007 (UTC)

'This Boy'...

...according to McCartney('Many Years From Now'), was VERY co-written.

He refers to it as: "...another hotel-bedroom song, twin beds, one afternoon somewhere. Rather like the hotel where we wrote 'She Loves You'. It's funny, I remember the room and the position of the beds: John and I sitting on twin beds, the G-Plan furniture, the British hotel with olive green and orange everywhere, that marvellous combination, the colours of vomit. (...)We wanted to do a close-harmony thing, we liked harmonies and we were quite good at them. We wrote it in two-part harmony and then put the third part in for George to sing. That was quite a departure for us, the close-harmony thing; we'd never actually tried to write something like that. Nice middle, John sang that great, then we'd go back into the close-harmony thing..." --84.208.240.143 08:56, 2 December 2007 (UTC)

'And your bird can sing'...

...is a song Paul refers to as John's song, but... Paul: I suspect that I helped with the verses because the songs were nearly always written without second and third verses. I seem to remember working on that middle-eight with him, but it's John's song, 80/20 to John. --84.208.240.143 09:05, 2 December 2007 (UTC)

'Being for the benefit of Mr. Kite'...

Paul: 'Mr. Kite' was a poster that John had in his house in Weybridge. I arrived there for a session one day and he had it up on the wall in his living room. (...)almost the whole song was written right off this poster. We just sat down and wrote it.(...)It was more John's because it was his poster so he ended up singing it, but it was quite a co-written song. We were both sitting there to write it at his house, just looking in at it on the wall in the living room. But that was nice, it wrote itself very easily.

(One point I'd like to make concerning this song, is if you listen to it on Anthology2, you can hear them starting a take which almost immediately breaks down, whereupon Paul is heard humming the melody to John(I expect), as if he's teaching it to him. That is my interpretation, anyway.)--84.208.240.143 09:20, 2 December 2007 (UTC)

'Getting Better'

There should be no dispute as to whether John contributed to this song, because both the second and third verse show obvious signs of his input(Paul gives support to this, although he refers to both verses as co-written), and of course he supplied the famous 'it couldn't get much worse'-countermelody, but isn't an equal credit for John a little too much? The music is nearly totally Paul's, and it seems that John could hardly be responsible for MORE than 50% of the lyrics(the first verse being entirly Paul's), so 'McCARTNEY, WITH LENNON' would seem like an obvious choice.--84.208.240.143 09:39, 2 December 2007 (UTC)

'Good Day Sunshine'

Paul refers to this song as: ...me trying to write something similar to 'Daydream'(Lovin' Spoonful). John and I wrote it together at Kenwood, but it was basically mine, and he helped me with it.

Lennon should get a 'with'-credit on this one. Generally, if John OR Paul credits the OTHER guy for contributing to his own song, there should be NO doubt that there is some truth to it. It's when they want to include their OWN name on the other's song, that the situation may become slightly....messy...--84.208.240.143 09:53, 2 December 2007 (UTC)

'Day Tripper'

On one occasion(Rolling Stone-1970), John DOES mention Paul having had an input on the writing of this song, although he does so mid-sentence, so bringing an actual quote is a bit hard. Paul also refers to this one as co-written, although...

Paul: We were both there making it all up, but I would give John the main credit. Probably the idea came from John because he sang the lead(sic), but it was a close thing. We both put a lot of work in on it.--84.208.240.143 10:03, 2 December 2007 (UTC)

'We can work it out'

There is no doubt that John contributed to this song. Paul admits this in his book. However, he claims that he and John wrote the middle-eight TOGETHER, NOT that John wrote it all on his own, as John has been interpreted to saying in the Playboy interview.

And when you think about it... Would an egomaniac -- as Paul often has been portrayed as(by John, for one)-- write a couple of verses of a song(as well as the chorus), and then bring it to the other guy and just let HIM write the rest ON HIS OWN? I do not think so.

And even if John DID write the middle-eight on his own, giving him an equal credit would seem greatly exaggerated to me, because although John claimed Paul wrote 'the first HALF', and he himself the middle-eight, the middle-eight could only constitute about 40% of the total in my view. AT MOST! So, McCartney, WITH LENNON it is.--84.208.240.143 10:30, 2 December 2007 (UTC)

'Here, There and Everywhere'

I don't think John ever took much credit for this one, but Paul in his book acknowledges that 'John might have helped with a few last words'. He finally credits the song as a 80/20 in his own favour. I don't know if Paul's account is sufficient to give John a co-credit, but when the main author GIVES credit to the other guy, there is usually SOMETHING to it, you know...--84.208.240.143 11:02, 2 December 2007 (UTC)

'Free as a Bird'...

...is of course a song John started long ago and far away, which was finished in the early 90s(not quite as long ago or far away) for the Anthology project. But if I'm not mistaken, the song is credited to all four of them, and if I'm(again)not mistaken there is some extra material footage on the Anthology-DVD where we see Paul, George and Ringo working on the composition. So only including John and Paul's names as writers seems a bit unfair to me. --84.208.240.143 11:22, 2 December 2007 (UTC)

'Hey Bulldog'

Paul: I remember 'Hey Bulldog' as being one of John's songs, and I helped him finish it off in the studio, but it's mainly his vibe.

Paul doesn't give any percentages on this one, so I dunno... Maybe he deserves SOME recognition?...--84.208.240.143 11:31, 2 December 2007 (UTC)

'I don't want to spoil the party'

Paul makes a slightly odd claim on this one, because in addition to claiming 20% co-writer's credit, he says he and John wrote it as a country and western for Ringo, and ends the discussion with the notion that 'Ringo did a good job on it'.

Now, I don't think he meant they wrote it specifically for drums as the solo instrument(there are no drum solos), but if that ISN'T the case, why on earth is JOHN doing the lead vocals? Because it is he. Did Ringo do this one in the live shows perhaps?--84.208.240.143 11:58, 2 December 2007 (UTC)

'It's only love'

Paul, in his book 'Many Years From Now', doesn't just claim authorship on GOOD John Lennon songs, because he claims to have co-written this one with Lennon as well. 60/40 in John's favour, as a matter of fact. It was John's original idea, and Paul helped him finish it on yet another one of their writing sessions at Weybridge.

Although Lennon later showed a strong dislike for this song, he still didn't put the blame on McCartney, which I guess -- had he known the latter would take credit for it years and years later-- he might have done in order to avoid embarrassment.

But that is only me speculating...--84.208.240.143 12:18, 2 December 2007 (UTC)

'Lady Madonna'

Paul commits a whole page in his book to this song, but doesn't mention John's name a single time. John says(Playboy) he 'maybe' helped on some of the lyrics, but he's not being at all specific, so I don't think John should be included as a writer on this song. —Preceding unsigned comment added by 84.208.240.143 (talk) 06:58, 6 December 2007 (UTC)

'Rain'...

...is a song McCartney remembers as John and himself sitting down trying to write together(meaning: John didn't bring the original idea to the writing session), but when they got started, it was John who 'kicked it off'. 70/30 in John's favour. —Preceding unsigned comment added by 84.208.240.143 (talk) 07:33, 6 December 2007 (UTC)

'Wait'

Now, if anyone could get hold of a Lennon-quote on this one, it would be really cool, because neither Jann Wenner nor David Sheff talked to John about the origins of this song. It is usually regarded as a prime example of a Lennon/McCarteny collaboration(and is given a Lennon and McCartney credit here), which could of course be the case. The problem, however, is that Paul doesn't remember John having had ANY input in the writing of this song, which means giving them an equal credit is a bit problematic, for me anyway. But I've decided not to edit, in case someone comes along with a brilliant Lennon-quote... —Preceding unsigned comment added by 84.208.240.143 (talk) 07:53, 6 December 2007 (UTC)

'Norwegian Wood'...

...has already been talked about here, but let's get the main points down. In the Rolling Stone interview(1970), John credits Paul with the middle-eight(musically, I would assume. He does the same with 'In My Life' -- in the same sentence, as a matter of fact.) Ten years later, in the Playboy interview, he's obviously changed his mind, because now he refers to 'Norwegian Wood' as "my song completely".

Paul basically takes credit for the middle-eight, as well as coming up with the idea to burn down the house at the end.(According to him, Lennon only had written the opening line "I once had a girl -- or should I say -- she once had me" when Paul got involved.)

In 1980, John didn't remember where the title came from, so that might also be Paul's.

It seems obvious to me that John didn't have a lot of this song before Paul got involved, so a Lennon AND McCartney credit could be justified, but all in all -- John's conviction that he did it all on his own considered -- a Lennon, with McCartney sounds sufficient to me. The idea being, of course, entirely John's. —Preceding unsigned comment added by 192.153.194.200 (talk) 14:17, 6 December 2007 (UTC)