"Hey Jude" is a song by the English rock band The Beatles.
Credited to Lennon/McCartney, the ballad evolved from "Hey
Jules", a song Paul McCartney wrote to comfort John Lennon's
son Julian during his parents' divorce. "Hey Jude" begins with
a verse-bridge structure based around McCartney's vocal
performance and piano accompaniment; further details are added
as the song progresses to distinguish sections. After the
fourth verse, the song shifts to a fade-out coda that lasts for
more than four minutes.
"Hey Jude" was released in August 1968 as the first single
from The Beatles' record label Apple Records. More than seven
minutes in length, "Hey Jude" was at the time the longest
single ever to top the British charts. It also spent nine weeks
as number one in the United States—the longest run at the top
of the American charts for a Beatles single. The single has
sold approximately eight million copies and is frequently
included on professional lists of the all-time best songs.
In 1968, John Lennon and his wife Cynthia Lennon separated
due to the former's affair with Yoko Ono. Soon afterwards, Paul
McCartney drove out to visit Cynthia and Julian, her son with
Lennon. "We'd been very good friends for millions of years and
I thought it was a bit much for them suddenly to be
personae non grataeand out of my life," McCartney said.
Cynthia Lennon recalled, "I was truly surprised when, one
afternoon, Paul arrived on his own. I was touched by his
obvious concern for our welfare.... On the journey down he
composed 'Hey Jude' in the car. I will never forget Paul's
gesture of care and concern in coming to see us."
The song's original title was "Hey Jules", and it was
intended to comfort Julian Lennon from the stress of his
parents' divorce. McCartney said, "I started with the idea 'Hey
Jules', which was Julian, don't make it bad, take a sad song
and make it better. Hey, try and deal with this terrible thing.
I knew it was not going to be easy for him. I always feel sorry
for kids in divorces ... I had the idea [for the song] by the
time I got there. I changed it to 'Jude' because I thought that
sounded a bit better." Julian Lennon discovered the song had
been written for him almost twenty years later. He remembered
being closer to McCartney than to his father: "Paul and I used
to hang about quite a bit—more than Dad and I did. We had a
great friendship going and there seems to be far more pictures
of me and Paul playing together at that age than there are
pictures of me and my dad."
Although McCartney originally wrote the song for Julian
Lennon, John Lennon thought it had actually been written for
him:
But I always heard it as a song to me. If you think about
it... Yoko's just come into the picture. He's saying. 'Hey,
Jude—Hey, John.' I know I'm sounding like one of those fans who
reads things into it, but you can
hearit as a song to me ... Subconsciously, he was
saying, Go ahead, leave me. On a conscious level, he didn't
want me to go ahead.
Other people believed McCartney wrote the song about them,
including Judith Simons, a journalist with the
Daily Express. Still others, including John Lennon, have
speculated that McCartney's failing long-term relationship with
Jane Asher when he wrote "Hey Jude" was an unconscious "message
to himself". In fact, when Lennon mentioned that he thought the
song was about him, McCartney denied it, and told Lennon he had
written the song about himself.
Writer Mark Hertsgaard noted "many of the song's lyrics do
seem directed more at a grown man on the verge of a powerful
new love, especially the lines 'you have found her now go and
get her' and 'you're waiting for someone to perform with.'" Tim
Riley wrote, "If the song is about self-worth and
self-consolation in the face of hardship, the vocal performance
itself conveys much of the journey. He begins by singing to
comfort someone else, finds himself weighing his own feelings
in the process, and finally, in the repeated refrains that
nurture his own approbation, he comes to believe in
himself."
McCartney changed the title to "Hey Jude" because the name
Jude was easier to sing. Much as he did with "Yesterday",
McCartney played the song for other musicians and friends. Ron
Griffith of Badfinger, the first band to join the Beatles-owned
record label Apple Records, recalled that on their first day in
the studio, "Paul walked over to the grand piano and said, 'Hey
lads, have a listen', and he sat down and gave us a full
concert rendition of 'Hey Jude'. We were gobsmacked."
When McCartney introduced Lennon to his new composition, he
came to "the movement you need is on your shoulder" and told
Lennon "I'll fix that bit." Lennon asked why, and McCartney
answered "...it's a stupid expression; it sounds like a
parrot." Lennon parried with "You won't, you know. That's the
best line in the song." McCartney thus left the line in, and
later said "...when I play that song, that's the line when I
think of John, and sometimes I get a little emotional during
that moment."
"Hey Jude" begins with McCartney singing lead vocals and
playing the piano. The patterns McCartney plays are based on
three chords: F, C and B-flat (I, V and IV); the second verse
adds accompaniment by guitar and a single tambourine. The main
chord progression is "flipped on its head" for the coda, as the
C chord is replaced by E-flat. Writer Tim Riley notes, "As
Ringo offers a restrained tom-tom and cymbal fill, the piano
shifts downward to add a flat seventh to the tonic chord,
making the downbeat of the bridge the point of arrival ('And
any time you feel the
pain')." At the end of each bridge, McCartney sings a
brief phrase ("Na-na-na na . . .") and plays a piano fill which
leads to the next verse; the phrase McCartney sings serves to
"reorient the harmony for the verse as the piano figure turns
upside down into a vocal aside." Additional details, such as
tambourine on the third verse and subtle harmonies that
accompany the lead vocal, are added to sustain the interest of
the listener throughout the four-verse, two-bridge song.
The verse-bridge structure of the song persists for
approximately three minutes, after which the band leads into a
four-minute long coda. During the coda, the rest of band,
backed by an orchestra that also provides backing vocals,
repeat the phrase "Na-na-na na" followed by the words "Hey
Jude" until the song gradually fades out.
Timemagazine described the coda as "a fadeout that
engagingly spoofs the fadeout as a gimmick for ending pop
records." Riley notes the repeated chord progression of the
coda (I-flat VII-IV-I) "answers all the musical questions
raised at the beginnings and ends of bridges," for "The flat
seventh that pose dominant turns into bridges now has an entire
chord built on it." This three-chord refrain allows McCartney
"a bedding [. . .] to leap about on vocally", as he ad-libs his
vocal performance for the rest of the song. Riley concludes
that the song "becomes a tour of Paul's vocal range: from the
graceful inviting tones of the opening verse, through the
mounting excitement of the song itself, to the surging raves of
the coda."
The Beatles recorded 25 takes of "Hey Jude" at Abbey Road
Studios in two nights, 29 July and 30 July 1968. These were
mostly rehearsals, however, as they planned to record the
master track at Trident Studios to utilise their eight-track
recording machine (Abbey Road was still limited to
four-tracks). One take from 29 July is available on the
Anthology 3CD. The master rhythm track was recorded on
31 July at Trident. Four takes were recorded; take one was
selected. The song was completed on 1 August with additional
overdubs including a 36-piece orchestra for the song's long
coda, scored by George Martin. The orchestra consisted of ten
violins, three violas, three cellos, two flutes, one contra
bassoon, one bassoon, two clarinets, one contra bass clarinet,
four trumpets, four trombones, two horns, percussion, and two
string basses. While adding backing vocals, The Beatles asked
the orchestra members if they would clap their hands and sing
along to the refrain in the song's coda. Most complied (for a
double fee), but one declined, saying "I'm not going to clap my
hands and sing Paul McCartney's bloody song!"
Ringo Starr almost missed his drum cue. He left for a toilet
break—unnoticed by the other Beatles—and the Beatles started
recording. In 1994, McCartney said, "Ringo walked out to go to
the toilet and I hadn't noticed. The toilet was only a few
yards from his drum booth, but he'd gone past my back and I
still thought he was in his drum booth. I started what was the
actual take, and 'Hey Jude' goes on for hours before the drums
come in and while I was doing it I suddenly felt Ringo
tiptoeing past my back rather quickly, trying to get to his
drums. And just as he got to his drums, boom boom boom, his
timing was absolutely impeccable."
At 2:58 of the song, McCartney can be heard to say, "Oh,
fucking hell!" Before this, at 2:56, you can hear McCartney say
"hit the wrong chord!" According to sound engineers Ken Scott
and Geoff Emerick, it was Lennon's idea to leave the mistake in
the final mix. "'Paul hit a clunker on the piano and said a
naughty word,' Lennon gleefully crowed, 'but I insisted we
leave it in, buried just low enough so that it can barely be
heard. Most people won't ever spot it…but we'll know it's
there.'"
George Harrison and McCartney had a disagreement over this
song. According to McCartney, during a rehearsal Harrison
played an answer to every line of the vocal. This did not fit
with McCartney's idea of the song's arrangement, and he vetoed
it. In a 1994 interview, McCartney said, "We were joking when
we made the
Anthology: I was saying: 'I realise I was a bossy git.'
And George said, 'Oh no, Paul, you never did anything like
that!' ... But it was essential for me and looking back on it,
I think, Okay. Well, it was bossy, but it was ballsy of me,
because I could have bowed to the pressure." Ron Richards, who
worked for George Martin at both Parlophone at AIR Studios, and
who discovered The Hollies, was present for many Beatle
recording sessions. He said McCartney was "oblivious to anyone
else's feelings in the studio," and that he was driven to make
the best possible record, at almost any cost.
"Hey Jude" was released on 26 August 1968 in the United
States and 30 August in the United Kingdom, backed with
"Revolution" on the B-side of a 7" single. The single was the
debut release of the Beatles' record label Apple Records; in
the US, it was also the first Beatles single to be issued in a
paper sleeve instead of a picture cover. Even though "Hey Jude"
was recorded during the sessions for the album
The Beatles, also known as The White Album, it was
always intended as a single and not an album track. Lennon
wanted "Revolution" to be the A-side of the single, but the
other Beatles did not agree. In his 1970 interview with
Rolling Stone, he said "Hey Jude" was worthy of an
A-side, "but we could have had both." Ten years later in 1980,
he told
Playboyhe still disagreed with the decision.
"Hey Jude" began its sixteen-week run on the British charts
on 7 September 1968, claiming the top spot a week later. It
only lasted two weeks on top before being knocked off by
another single from Apple, Mary Hopkin's "Those Were the Days".
The single was certified gold by the Recording Industry
Association of America on 13 September; that same week
NMEreported that two million copies of the single had
been sold. The song entered the U.S. charts on 14 September
1968, where it stayed for the next nineteen weeks. Two weeks
later, "Hey Jude" was number one in the charts, and held that
position for the following eight weeks, totalling nine weeks.
setting the U.S. record for the longest time spent by a Beatles
single at number one, as well as being the longest-playing
single to reach number one.
American radio stations were averse to playing anything
longer than the usual three to three-and-a-half minutes, and
Capitol Records pressed a shortened version of the song
specifically for airplay. "Hey Jude" clocked in at seven
minutes and eleven seconds. The only other chart-topping song
worldwide in the 1960s that ran over seven minutes was Richard
Harris' "MacArthur Park". In the UK, where "MacArthur Park" did
not top the chart, "Hey Jude" remained the longest number-one
hit for nearly a quarter of a century, until it was surpassed
in 1993 by Meat Loaf's "I'd Do Anything for Love (But I Won't
Do That)", which ran seven minutes fifty-eight seconds as a
single.
On 30 November 1968
NMEreported that sales had reached nearly six million
copies worldwide. "Hey Jude" became the biggest-selling debut
release for a record label ever, selling an estimated eight
million copies worldwide and topping the charts in eleven
countries. It remains the Beatles' most commercially successful
single. "Hey Jude" was the top Billboard Hot 100 single for
1968, according to year-end charts. While the record was
certified gold the day before it entered the U.S. charts, it
took almost thirty years to be certified platinum, on 17
February 1999. The single has since been certified four times
platinum (four million copies shipped) in the United
States.
Upon the release of the "Hey Jude" single,
Timecontrasted it with its B-side "Revolution".
Timewrote, "The other side of the new disk urges
activism of a different sort" as McCartney "liltingly exhorts a
friend to overcome his fears and commit himself in love." Music
analyst Alan Pollack praised "Hey Jude" saying, "it's such a
good illustration of two compositional lessons—how to fill a
large canvas with simple means, and how to use diverse elements
such as harmony, bassline, and orchestration to articulate form
and contrast." He also said it is unusual for a long song
because it uses a "binary form that combines a fully developed,
hymn-like song together with an extended, mantra-like jam on a
simple chord progression." Pollack described the song's long
coda and fadeout as "an astonishingly transcendental effect,"
while Unterberger observed, "What could have very easily been
boring is instead hypnotic".
"Hey Jude" was nominated for the Grammy Awards of 1969 in
the Record of the Year, Song of the Year and Best Pop
Performance by a Duo or Group with Vocal categories, but failed
to win any of them. It did win the 1968 Ivor Novello Award for
"A-Side With the Highest Sales". In the
NME1968 Readers' Poll, "Hey Jude" was named the best
single of the year. In 2001, "Hey Jude" was inducted into the
National Academy of Recording Arts and Sciences Grammy Hall of
Fame. In 2004, it was ranked number 8 on
Rolling Stonemagazine's list of the 500 greatest songs
of all time. It came in third on Channel 4's list of 100
Greatest Singles. The Amusement & Music Operators
Association ranked "Hey Jude" the 11th-best jukebox single of
all time.
The Beatles hired Michael Lindsay-Hogg to shoot the "Hey
Jude" promotional film (he had previously directed a 'promo'
film for "Paperback Writer") and they settled on the idea of
filming with a live, albeit controlled audience. Hogg shot the
film at Twickenham Film Studios on 4 September 1968, with
McCartney himself designing the set. Tony Bramwell, a friend of
the Beatles, later described the set as "the piano, there;
drums, there; and orchestra in two tiers at the back." The
event is also memorable as it marked Starr's return to the
group after a two-week hiatus, during which he had announced
that he had left the band. The eventual, final film was a
combination of several different takes and included filmed
'introductions' to the song by David Frost (who introduced the
Beatles as "the greatest tea-room orchestra in the world") and
Sir Cliff Richard, for their respective, eponymous TV
programmes. As filming wore on, Lennon repeatedly asked
Lindsay-Hogg if he had the footage he needed. After twelve
takes, McCartney said, "I think that's enough" and filming
concluded. It was first aired in the UK on 8 September 1968 and
the film was later broadcast for the United States on
The Smothers Brothers Comedy Houron 6 October 1968.
Footage of the performance can be seen in the
AnthologyDVD series.
In 1996, Julian Lennon paid £25,000 for the recording notes
to "Hey Jude" at an auction. Lennon spent another £35,000 at
the auction buying John Lennon memorabilia. John Cousins,
Julian Lennon's manager, stated, "He has a few photographs of
his father, but not very much else. He is collecting for
personal reasons, these are family heirlooms if you like."
In 2002, the original handwritten lyrics for the song were
nearly auctioned off at Christie's in London. The sheet of
notepaper with the scrawled lyrics had been expected to fetch
up to £80,000 at the auction, which was scheduled for 30 April
2002. McCartney went to court to stop the auction, claiming the
paper had disappeared from his West London home. Richard
Morgan, representing Christie's, said McCartney had provided no
evidence that he had ever owned the piece of paper on which the
lyrics were written. The courts decided in McCartney's favour
and prohibited the sale of the lyrics. They had been sent to
Christie's for auction by Frenchman Florrent Tessier, who said
he purchased the piece of paper at a street market stall in
London for £10 in the early 1970s. In the original catalogue
for the auction, Julian Lennon had written, "It's very strange
to think that someone has written a song about you. It still
touches me."