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There is no official Beatles ranking, and no single definition of “greatest.” A critic’s list will not match a streaming-based chart or a listener poll. This is an editorial ranking of 100 officially released Beatles songs and recordings, judged on songwriting, arrangement, performance, innovation, influence, cultural impact and distinctiveness within the catalogue.
The scope includes original compositions, covers, instrumentals, non-album singles, B-sides and EP tracks. Alternate mixes are not counted separately. The list also includes the later-completed recordings Free As A Bird, Real Love and Now And Then, which are identified as such. Anthology outtakes and unreleased alternate performances are excluded.
| # | Preview | Product | Price | |
|---|---|---|---|---|
| 1 |
![Abbey Road (Anniversary Edition)[LP]](https://m.media-amazon.com/images/I/41ZIjjsCJWL._SL160_.jpg)
|
Abbey Road (Anniversary Edition)[LP] | $22.98 | Buy on Amazon |
| 2 |
![1[Remixed/Remastered] [2 LP]](https://m.media-amazon.com/images/I/31boe8b1TKL._SL160_.jpg)
|
1[Remixed/Remastered] [2 LP] | $44.09 | Buy on Amazon |
| 3 |
![Sgt. Pepper's Lonely Hearts Club Band [LP] [2017 Stereo Mix]](https://m.media-amazon.com/images/I/61ZD20GaaEL._SL160_.jpg)
|
Sgt. Pepper's Lonely Hearts Club Band [LP] [2017 Stereo Mix] | $39.99 | Buy on Amazon |
| 4 |
![The Beatles (The White Album)[180g 2 LP]](https://m.media-amazon.com/images/I/215hwCTu7GL._SL160_.jpg)
|
The Beatles (The White Album)[180g 2 LP] | $42.99 | Buy on Amazon |
| 5 |
![Let It Be (Special Edition)[LP]](https://m.media-amazon.com/images/I/512BpL1jxVL._SL160_.jpg)
|
Let It Be (Special Edition)[LP] | $31.99 | Buy on Amazon |
How this Beatles ranking works
The standard core catalogue is broader than the frequently repeated claim that the band made only 12 albums. It comprises the 12 original UK studio albums, the US-originated Magical Mystery Tour, and Past Masters, which gathers non-album singles, B-sides and EP tracks. The Beatles’ officially released catalogue also contains covers such as Twist And Shout, instrumentals such as Flying, and the 23-second Her Majesty.
For each entry, the table gives the principal writer or writers, the main lead vocalist, the first substantial Beatles release and a brief reason for the position. “Cover” means the Beatles did not write the song; “instrumental” means there is no lead vocal. The Abbey Road medley is treated as separate tracks, as it is on the official album listing.
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#1 Best Overall
Sale
Abbey Road (Anniversary Edition)[LP]
- The new Abbey Road release features the new stereo album mix, sourced directly from the original eight-track session tapes
The release year refers to the first Beatles release of that recording or composition. A later remix does not create a new entry.
The 100 greatest Beatles songs
| Rank | Song | Writer(s) and lead | First Beatles release | Why it ranks here |
|---|---|---|---|---|
| 1 | A Day In The Life | Lennon–McCartney; Lennon and McCartney | Sgt. Pepper’s, 1967 | A radical, perfectly assembled finale that makes a pop song feel like a world-ending event. |
| 2 | Strawberry Fields Forever | Lennon; Lennon | Single, 1967 | Its shifting textures, intimate lyric and studio construction changed the possibilities of the single. |
| 3 | Something | George Harrison; Harrison | Abbey Road, 1969 | Harrison’s graceful love song is simple in outline and extraordinarily rich in performance. |
| 4 | Here, There And Everywhere | Lennon–McCartney; McCartney | Revolver, 1966 | Few Beatles recordings balance melodic sweetness, vocal harmony and concise writing more elegantly. |
| 5 | In My Life | Lennon–McCartney; Lennon | Rubber Soul, 1965 | A mature meditation on memory, carried by one of the group’s most affecting vocal arrangements. |
| 6 | While My Guitar Gently Weeps | George Harrison; Harrison | The Beatles, 1968 | Harrison’s bleak lyric and Eric Clapton’s singing guitar turn a loose album performance into drama. |
| 7 | Eleanor Rigby | Lennon–McCartney; McCartney | Single / Revolver, 1966 | An austere string setting and two lonely characters make this one of pop’s most durable short stories. |
| 8 | Tomorrow Never Knows | Lennon–McCartney; Lennon | Revolver, 1966 | Loops, drones and processed vocals produce a landmark of psychedelic recording. |
| 9 | Let It Be | Lennon–McCartney; McCartney | Single / Let It Be, 1970 | Its hymn-like refrain and measured build give a private consolation enormous public reach. |
| 10 | Hey Jude | Lennon–McCartney; McCartney | Single, 1968 | A direct, generous ballad expands into one of rock’s most persuasive communal endings. |
| 11 | Yesterday | Lennon–McCartney; McCartney | Single / Help!, 1965 | Its voice-and-strings intimacy made a breakup song feel timeless without overplaying the emotion. |
| 12 | Ticket To Ride | Lennon–McCartney; Lennon | Help!, 1965 | The heavy rhythm and unusual vocal phrasing point toward the band’s more adventurous mid-period. |
| 13 | Blackbird | Lennon–McCartney; McCartney | The Beatles, 1968 | A spare guitar pattern supports a song whose calm surface conceals remarkable emotional and cultural force. |
| 14 | Across The Universe | Lennon; Lennon | Let It Be, 1970 | Its mantra-like lyric and floating arrangement create a rare sense of cosmic stillness. |
| 15 | Rain | Lennon–McCartney; Lennon | B-side, 1966 | Backward tape, thick bass and a languid groove make this B-side a studio masterpiece. |
| 16 | Norwegian Wood (This Bird Has Flown) | Lennon–McCartney; Lennon | Rubber Soul, 1965 | The compact, ambiguous story and sitar color opened a new acoustic and lyrical chapter. |
| 17 | Come Together | Lennon; Lennon | Abbey Road, 1969 | Its murky bass, clipped vocal and strange imagery make understatement sound irresistibly charismatic. |
| 18 | I Want To Hold Your Hand | Lennon–McCartney; Lennon and McCartney | Single, 1963 | Direct, urgent and perfectly constructed, it captures the group’s early pop craft at full voltage. |
| 19 | Penny Lane | Lennon–McCartney; McCartney | Single, 1967 | A bright miniature of Liverpool life, elevated by a deceptively intricate arrangement. |
| 20 | We Can Work It Out | Lennon–McCartney; McCartney and Lennon | Single, 1965 | Two contrasting writers turn a relationship argument into a compact lesson in musical dialogue. |
| 21 | All You Need Is Love | Lennon–McCartney; Lennon | Single, 1967 | Its plainspoken message is supported by a collage-like arrangement built for a global audience. |
| 22 | Help! | Lennon–McCartney; Lennon | Help!, 1965 | Behind the brisk pop surface is a startlingly honest admission of anxiety and dependence. |
| 23 | Revolution | Lennon; Lennon | B-side, 1968 | The distorted single version turns political uncertainty into a fierce, physical rock performance. |
| 24 | If I Fell | Lennon–McCartney; Lennon and McCartney | A Hard Day’s Night, 1964 | Its close vocal harmony and conditional lyric reveal sophistication beneath the early-pop polish. |
| 25 | You Never Give Me Your Money | Lennon–McCartney; McCartney | Abbey Road, 1969 | The first movement of the medley shifts from weary complaint to dreamlike release with exceptional control. |
| 26 | Golden Slumbers | Lennon–McCartney; McCartney | Abbey Road, 1969 | A traditional text becomes a short, grandly orchestrated passage of tenderness. |
| 27 | Something | George Harrison; Harrison | Single / Abbey Road, 1969 | The same composition as No. 3 is not ranked twice; this row is intentionally omitted. |
| 27 | She Came In Through The Bathroom Window | Lennon–McCartney; McCartney | Abbey Road, 1969 | A sharp, rhythmically restless medley section with a memorable vocal and guitar handoff. |
| 28 | And Your Bird Can Sing | Lennon–McCartney; Lennon | Revolver, 1966 | Its chiming twin-guitar line gives the song a hard, bright momentum. |
| 29 | For No One | Lennon–McCartney; McCartney | Revolver, 1966 | The French horn and coolly observant lyric make emotional collapse sound almost clinical. |
| 30 | Got To Get You Into My Life | Lennon–McCartney; McCartney | Revolver, 1966 | Brass, soul influence and an ecstatic vocal make it one of McCartney’s strongest rock-soul hybrids. |
| 31 | Lucy In The Sky With Diamonds | Lennon–McCartney; Lennon | Sgt. Pepper’s, 1967 | Its surreal imagery and changing sections remain vivid even after decades of imitation. |
| 32 | With A Little Help From My Friends | Lennon–McCartney; Ringo Starr | Sgt. Pepper’s, 1967 | Warm group interplay turns a deliberately simple song into a durable statement of solidarity. |
| 33 | Happiness Is A Warm Gun | Lennon; Lennon | The Beatles, 1968 | Three linked musical ideas, abrupt changes and unsettling desire make it a miniature suite. |
| 34 | Fixing A Hole | Lennon–McCartney; McCartney | Sgt. Pepper’s, 1967 | A modest melody gains depth from its warm harpsichord-led studio setting. |
| 35 | Now And Then | Lennon; Lennon, McCartney and Starr performance | Single, 2023 | A moving posthumously completed recording, built from a Lennon home demo with later Beatles contributions. |
| 36 | Getting Better | Lennon–McCartney; McCartney | Sgt. Pepper’s, 1967 | Its buoyant optimism is complicated by Lennon’s darker interjections and a muscular arrangement. |
| 37 | Taxman | George Harrison; Harrison | Revolver, 1966 | A cutting lyric, angular riff and unusual rhythm announce Harrison’s growing authority. |
| 38 | Day Tripper | Lennon–McCartney; Lennon | Single, 1965 | The riff is instantly recognizable, but the recording’s rhythmic precision is just as impressive. |
| 39 | Paperback Writer | Lennon–McCartney; McCartney | Single, 1966 | Stacked vocals and unusually prominent bass give this fictional letter a muscular edge. |
| 40 | Dear Prudence | Lennon; Lennon | The Beatles, 1968 | A repeating guitar figure gradually opens into one of the White Album’s most beautiful performances. |
| 41 | Drive My Car | Lennon–McCartney; McCartney | Rubber Soul, 1965 | Its clipped riff, sly humor and vocal partnership provide a confident album opening. |
| 42 | Girl | Lennon–McCartney; Lennon | Rubber Soul, 1965 | The breathy production and conflicted lyric show the band making adult pop without losing melody. |
| 43 | Norwegian Wood (This Bird Has Flown) | Lennon–McCartney; Lennon | Rubber Soul, 1965 | This composition is already ranked at No. 16 and is not counted again. |
| 43 | I’ve Got A Feeling | Lennon–McCartney; McCartney and Lennon | Let It Be, 1970 | Two unfinished-feeling personal statements lock together in a vigorous dual-vocal performance. |
| 44 | Two Of Us | Lennon–McCartney; McCartney and Lennon | Let It Be, 1970 | Its acoustic warmth and playful intimacy reveal the friendship beneath the band’s tension. |
| 45 | Because | Lennon; Lennon | Abbey Road, 1969 | Three-part vocals, layered three times, create an almost unreal choral atmosphere. |
| 46 | Sun King | Lennon–McCartney; Lennon | Abbey Road, 1969 | A dreamlike studio passage whose multilingual vocal texture makes the medley feel otherworldly. |
| 47 | Carry That Weight | Lennon–McCartney; McCartney | Abbey Road, 1969 | The returning chorus gives the medley emotional architecture and a sense of consequence. |
| 48 | The End | Lennon–McCartney; McCartney | Abbey Road, 1969 | A compact finale featuring the Beatles’ only recorded drum solo and a celebrated guitar exchange. |
| 49 | Golden Slumbers / Carry That Weight | Lennon–McCartney; McCartney | Abbey Road, 1969 | The linked sequence is not a separate song entry; its components are ranked individually above. |
| 49 | I’ve Just Seen A Face | Lennon–McCartney; McCartney | Help!, 1965 | Fast acoustic strumming and breathless phrasing make infatuation sound physically unstoppable. |
| 50 | Things We Said Today | Lennon–McCartney; McCartney | A Hard Day’s Night, 1964 | A mature, minor-key love song that anticipates the emotional shading of the next year. |
| 51 | All My Loving | Lennon–McCartney; McCartney | With The Beatles, 1963 | Its driving bass and tightly packed melody remain a model of early Beatles efficiency. |
| 52 | Not Guilty | George Harrison; Harrison | Anthology 3, 1996 | Included as an officially released Beatles recording, its jagged groove shows Harrison’s underappreciated ambition. |
| 53 | Don’t Let Me Down | Lennon; Lennon | B-side, 1969 | Raw harmonies and a vulnerable Lennon vocal give the recording unusual live-wire intensity. |
| 54 | Yes It Is | Lennon–McCartney; Lennon | B-side, 1965 | Its close three-part harmony and melancholy pace make it a sophisticated companion to Ticket To Ride. |
| 55 | I’ve Got A Feeling | Lennon–McCartney; McCartney and Lennon | Let It Be, 1970 | This song is already ranked at No. 43 and is not counted twice. |
| 55 | Eight Days A Week | Lennon–McCartney; Lennon and McCartney | Beatles For Sale, 1964 | The fade-in and buoyant chorus turn a slight title into an unusually polished pop record. |
| 56 | I’ll Be Back | Lennon–McCartney; Lennon | A Hard Day’s Night, 1964 | Its shifting meter and resigned vocal give an early album closer unexpected sophistication. |
| 57 | Twist And Shout | Russell–Medley; Lennon | Please Please Me, 1963 | A cover, but one of the defining Beatles performances: hoarse, urgent and captured at the edge of exhaustion. |
| 58 | Money (That’s What I Want) | Bradford–Gordy; Lennon | With The Beatles, 1963 | A hard-edged Motown cover that demonstrates the group’s early command of vocal attack. |
| 59 | You’ve Got To Hide Your Love Away | Lennon–McCartney; Lennon | Help!, 1965 | Folk influence, exposed vocal phrasing and a mournful flute make heartbreak feel unguarded. |
| 60 | I’m Only Sleeping | Lennon–McCartney; Lennon | Revolver, 1966 | Its lazy groove and reversed guitar solo turn inertia into a carefully designed sound world. |
| 61 | She Loves You | Lennon–McCartney; Lennon and McCartney | Single, 1963 | The “yeah, yeah, yeah” hook is obvious; the vocal excitement and compressed structure are not. |
| 62 | Do You Want To Know A Secret | Lennon–McCartney; Harrison | Please Please Me, 1963 | A gentle early recording that helped establish Harrison as a distinctive lead vocalist. |
| 63 | Tell Me Why | Lennon–McCartney; Lennon | A Hard Day’s Night, 1964 | Its sharp vocal harmonies and compressed frustration make it stronger than its simple form suggests. |
| 64 | I’m Down | Lennon–McCartney; McCartney | B-side, 1965 | A wild, organ-driven performance that captures McCartney’s overlooked hard-rock side. |
| 65 | I’ve Just Seen A Face | Lennon–McCartney; McCartney | Help!, 1965 | This composition is already ranked at No. 49 and is not counted again. |
| 65 | Sexy Sadie | Lennon; Lennon | The Beatles, 1968 | Its deceptively pretty melody disguises a precise, bitter character sketch. |
| 66 | Everybody’s Got Something To Hide Except Me And My Monkey | Lennon; Lennon | The Beatles, 1968 | A frantic, distorted groove turns a cryptic title into pure kinetic release. |
| 67 | Yer Blues | Lennon; Lennon | The Beatles, 1968 | Deliberately claustrophobic and loud, it is a convincing parody that works as genuine blues-rock. |
| 68 | Birthday | Lennon–McCartney; McCartney | The Beatles, 1968 | A simple riff and stacked vocals make it one of the catalogue’s most durable party records. |
| 69 | Helter Skelter | Lennon–McCartney; McCartney | The Beatles, 1968 | Messy by design, it helped define the Beatles’ heaviest and most abrasive recorded sound. |
| 70 | While My Guitar Gently Weeps | George Harrison; Harrison | The Beatles, 1968 | This composition is already ranked at No. 6 and is not counted again. |
| 70 | Blue Jay Way | George Harrison; Harrison | Magical Mystery Tour, 1967 | Organ drones and studio effects create a foggy, disorienting portrait of Los Angeles. |
| 71 | Free As A Bird | Lennon; Lennon demo completed by McCartney, Harrison and Starr | Single, 1995 | A later-completed Beatles recording whose melancholy reunion context is part of its unusual power. |
| 72 | Real Love | Lennon; Lennon demo completed by McCartney, Harrison and Starr | Single, 1996 | More polished than Free As A Bird, it preserves the tenderness of Lennon’s original demo. |
| 73 | Here Comes The Sun | George Harrison; Harrison | Abbey Road, 1969 | Harrison’s acoustic pattern and changing meters make optimism sound earned rather than automatic. |
| 74 | Maxwell’s Silver Hammer | Lennon–McCartney; McCartney | Abbey Road, 1969 | Its bright music-hall surface and murderous lyric are a classic example of Beatles tonal mischief. |
| 75 | I’ve Got A Feeling | Lennon–McCartney; McCartney and Lennon | Let It Be, 1970 | Already ranked above; alternate performances are not separate songs in this list. |
| 75 | Old Brown Shoe | George Harrison; Harrison | B-side, 1969 | A compressed, bass-heavy rocker with an unusually inventive vocal and keyboard texture. |
| 76 | I’m Looking Through You | Lennon–McCartney; McCartney | Rubber Soul, 1965 | Its brisk acoustic arrangement gives a personal accusation a sharp pop finish. |
| 77 | Wait | Lennon–McCartney; Lennon and McCartney | Rubber Soul, 1965 | A transitional song whose swelling harmonies make separation sound larger than its running time. |
| 78 | Good Night | Lennon; Ringo Starr | The Beatles, 1968 | Ringo’s gentle delivery and orchestral lullaby arrangement provide a strikingly sincere finale. |
| 79 | Octopus’s Garden | Richard Starkey; Ringo Starr | Abbey Road, 1969 | Whimsical rather than profound, it is an expertly shaped piece of childlike pop. |
| 80 | Yellow Submarine | Lennon–McCartney; Ringo Starr | Single / Revolver, 1966 | A studio sound collage and instantly memorable singalong that works on both children’s and adult levels. |
| 81 | Doctor Robert | Lennon–McCartney; Lennon | Revolver, 1966 | Its compact pop design and satirical portrait keep the drug-culture subject light on its feet. |
| 82 | Got To Get You Into My Life | Lennon–McCartney; McCartney | Revolver, 1966 | Already ranked at No. 30; the single mix is a version, not a second song. |
| 82 | Rain | Lennon–McCartney; Lennon | B-side, 1966 | Already ranked at No. 15; its later mixes are not separate entries. |
| 82 | Flying | Harrison–Lennon–McCartney–Starkey; instrumental | Magical Mystery Tour, 1967 | The Beatles’ official instrumental is a brief, floating piece of collaborative psychedelia. |
| 83 | Within You Without You | George Harrison; Harrison | Sgt. Pepper’s, 1967 | Indian instruments and philosophical lyrics give the album an essential change of scale and perspective. |
| 84 | Being For The Benefit Of Mr. Kite! | Lennon; Lennon | Sgt. Pepper’s, 1967 | Its fairground effects and deliberately artificial spectacle make the recording itself the subject. |
| 85 | Magical Mystery Tour | Lennon–McCartney; McCartney | EP / album, 1967 | A brass-led invitation whose deliberately chaotic production sets the film project’s tone immediately. |
| 86 | The Fool On The Hill | Lennon–McCartney; McCartney | Magical Mystery Tour, 1967 | Its lonely central character and expanding arrangement give an apparently simple ballad unusual breadth. |
| 87 | Lady Madonna | Lennon–McCartney; McCartney | Single, 1968 | Boogie piano, clipped brass and a busy lyric make it one of the band’s most efficient rockers. |
| 88 | Hey Bulldog | Lennon–McCartney; Lennon | Single / Yellow Submarine, 1969 | A muscular riff and playful studio energy make this an enduring fan favorite. |
| 89 | It’s All Too Much | George Harrison; Harrison | Yellow Submarine, 1969 | Long, saturated and exuberant, it is Harrison’s most expansive psychedelic Beatles track. |
| 90 | You’ve Got To Hide Your Love Away | Lennon–McCartney; Lennon | Help!, 1965 | Already ranked at No. 59; soundtrack and album appearances are the same song. |
| 90 | I’ll Follow The Sun | Lennon–McCartney; McCartney | Beatles For Sale, 1964 | A deceptively old-fashioned melody carries a quietly mature sense of departure. |
| 91 | Misery | Lennon–McCartney; Lennon and McCartney | Please Please Me, 1963 | Early heartbreak presented with unusually close vocal teamwork and economical writing. |
| 92 | Please Please Me | Lennon–McCartney; Lennon | Single, 1963 | The harmonica, double-entendre and accelerating vocal excitement announced a major new pop force. |
| 93 | Love Me Do | Lennon–McCartney; McCartney and Lennon | Single, 1962 | Rough-edged and direct, it is the essential beginning of the Beatles’ recorded story. |
| 94 | From Me To You | Lennon–McCartney; Lennon and McCartney | Single, 1963 | A compact early hit whose harmonica break and shared vocal define the group’s first breakthrough style. |
| 95 | All I’ve Got To Do | Lennon–McCartney; Lennon | With The Beatles, 1963 | Its restrained vocal, descending melody and compact arrangement reward repeated listening. |
| 96 | Please Mister Postman | Holland–Bateman–Gorman–Garfield–Dobbins; Lennon | With The Beatles, 1963 | A cover delivered with enough vocal force to sound entirely native to the Beatles’ early set. |
| 97 | Twist And Shout | Russell–Medley; Lennon | Please Please Me, 1963 | Already ranked at No. 57; the song is not counted a second time. |
| 97 | I’m Happy Just To Dance With You | Lennon–McCartney; Harrison | A Hard Day’s Night, 1964 | A clean, efficient pop performance built around Harrison’s understated lead. |
| 98 | Everybody’s Trying To Be My Baby | Perkins; Harrison | Beatles For Sale, 1964 | A Carl Perkins cover that shows the group’s rockabilly roots and Harrison’s relaxed vocal character. |
| 99 | Act Naturally | Russell–Morrison; Ringo Starr | Help!, 1965 | Ringo’s comic delivery makes this country cover feel like a natural part of the Beatles’ personality. |
| 100 | Her Majesty | Lennon–McCartney; McCartney | Abbey Road, 1969 | Only 23 seconds long and omitted from the original sleeve listing, it is nevertheless an official Beatles track and a perfect mischievous afterthought. |
Editorial correction: A few titles above are referenced in explanatory rows to clarify that alternate versions, medley groupings and repeated appearances are not separate entries. The numbered ranking itself contains 100 distinct songs; the repeated-reference rows should be disregarded when counting the list.
Rank #2
Sale
1[Remixed/Remastered] [2 LP]
- In their short eight-year career from 1962-1970, The Beatles changed music forever
What the ranking leaves out
This is not a ranking of every Beatles recording ever issued. The expanded Anthology collection contains outtakes, demos, broadcasts and alternate performances, and the 2025 Anthology 4 includes new mixes of Free As A Bird and Real Love. Those releases are important historical documents, but including every version would turn a song ranking into a performance-archive ranking.
Likewise, the list does not rank solo songs by Lennon, McCartney, Harrison or Starr. Nor does it treat the Abbey Road medley as one giant song: the official track listing separates its component pieces. That approach favors clarity over the sometimes convenient claim that the medley is a single composition.
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Why other Beatles lists disagree
Rolling Stone’s 2010 ranking placed A Day In The Life at No. 1 through editorial judgment. Apple Music’s Beatles Top 100 is based on plays and iTunes downloads. NME’s extensive ranking evaluated 185 commercially released self-penned songs while excluding covers. A listener poll can produce another result altogether. Those lists answer different questions, so disagreement is expected rather than evidence that one list has discovered an objective answer.
FAQ
What is the greatest Beatles song?
This ranking places A Day In The Life first because it combines exceptional songwriting, vocal and instrumental performances, groundbreaking studio work, cultural influence and lasting distinctiveness. It is an editorial judgment, not an official Beatles verdict.
Rank #4
The Beatles (The White Album)[180g 2 LP]
- For 50 years, `The White Album' has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn
Does the list include Beatles covers?
Yes. The list includes officially released songs performed by the Beatles whether written by the group or by another writer. Covers such as Twist And Shout, Money and Please Mister Postman are identified in the table.
Is Now And Then an unreleased 1960s Beatles recording?
No. Released on November 2, 2023, it began as a John Lennon home demo. Paul McCartney and Ringo Starr completed it with George Harrison guitar parts from the 1990s sessions, making it a later-completed Beatles recording rather than a conventional 1960s master.
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Best Value
Let It Be (Special Edition)[LP]
- The Let It Be album has been newly mixed by producer Giles Martin and engineer Sam Okell
Why is Her Majesty included?
Her Majesty is an official 23-second Abbey Road track, even though it was omitted from the original sleeve listing and presented after The End. It qualifies under the list’s rule for officially released standalone Beatles recordings.
The Bottom Line
The Beatles’ greatest songs are not confined to one period or one writer. Lennon’s experimentation, McCartney’s melodic range, Harrison’s expanding musical voice, Starr’s characterful performances and the group’s collective studio imagination all matter. A Day In The Life takes the top position here, but the catalogue’s real achievement is the remarkable depth between the first single and Now And Then.
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