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Hey Jude

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This article is about the song. For the album of the same name, seeHey Jude (Beatles album).For other uses, seeHey Jude (disambiguation).

"Hey Jude"
UK single A-side label
Singlebythe Beatles
B-side"Revolution"
Released26 August 1968
Recorded31 July and 1 August 1968
StudioTrident,London
Genre
Length7:12
LabelApple
Songwriter(s)Lennon–McCartney
Producer(s)George Martin
The Beatlessingles chronology
"Lady Madonna"
(1968) 		"Hey Jude"
(1968) 		"Get Back"/"Don't Let Me Down"
(1969)
Promotional film
"Hey Jude"onYouTube

"Hey Jude"is a song by the Englishrockbandthe Beatlesthat was released as a non-album single in August 1968. It was written byPaul McCartneyand credited to theLennon–McCartneypartnership. The single was the Beatles' first release on theirApplerecord label and one of the "First Four" singles by Apple's roster of artists, marking the label's public launch. "Hey Jude" was a number-one hit in many countries around the world and became the year's top-selling single in the UK, the US, Australia and Canada. Its nine-week run at number one on theBillboardHot 100tied the all-time record in 1968 for the longest run at the top of the US charts, a record it held for nine years. It has sold approximately eight million copies and is frequently included on music critics' lists of the greatest songs of all time.

The writing and recording of "Hey Jude" coincided with a period of upheaval in the Beatles. Theballadevolved from "Hey Jules", a song McCartney wrote to comfortJohn Lennon's young sonJulian,after Lennon had lefthis wifefor the Japanese artistYoko Ono.The lyrics espouse a positive outlook on a sad situation, while also encouraging "Jude" to pursue his opportunities to find love. After the fourth verse, the song shifts to acodafeaturing a "Na-na-na na"refrainthat lasts for over four minutes.

"Hey Jude" was the first Beatles song to be recorded oneight-track recordingequipment. The sessions took place atTrident Studiosin central London, midway through the recording of the group'sself-titled double album(also known as the "White Album" ), and led to an argument between McCartney andGeorge Harrisonover the song's guitar part.Ringo Starrlater left the band only to return shortly before they filmed the promotional clip for the single. The clip was directed byMichael Lindsay-Hoggand first aired onDavid Frost's UK television show. Contrasting with the problems afflicting the band, this performance captured the song's theme of optimism and togetherness by featuring the studio audience joining the Beatles as they sang the coda.

At over seven minutes in length, "Hey Jude" was the longest single to top the British charts up to that time.[1]Its arrangement and extended coda encouraged many imitative works through to the early 1970s. In 2013,Billboardmagazine named it the 10th "biggest" song of all time in terms of chart success.[2]McCartney has continued to perform "Hey Jude" in concert sinceLennon's murder in 1980,leading audiences in singing the coda. Julian Lennon and McCartney have each bid successfully at auction for items of memorabilia related to the song's creation.

Inspiration and writing

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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...[3]

–Paul McCartney,1997

In May 1968,[4]John Lennonand his wifeCynthiaseparated due to his affair with Japanese artistYoko Ono.[5]The following month,Paul McCartneydrove out to visit the Lennons' five-year-old sonJulian,[6]atKenwood,the family's home inWeybridge.[7]Cynthia had been part ofthe Beatles' social circle since before the band's rise to fame in 1963;[8]McCartney later said he found it "a bit much for them suddenly to bepersonae non grataeand out of my life ".[3]Cynthia Lennon recalled of McCartney's surprise visit: "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."[9]The song's original title was "Hey Jules", and it was intended to comfort Julian from the stress of his parents' separation.[5]McCartney said, "I knew it was not going to be easy for him", and that he changed the name to "Jude" "because I thought that sounded a bit better".[3]

According to music journalist Chris Hunt, in the weeks after writing the song, McCartney "test[ed] his latest composition on anyone too polite to refuse. And that meanteveryone."[10]On 30 June, after recording theBlack Dyke Mills Band's rendition of his instrumental "Thingumybob" inYorkshire,[11]McCartney stopped at the village ofHarroldinBedfordshireand performed "Hey Jude" at a local pub.[12]He also regaled members ofthe Bonzo Dog Bandwith the song while producing their single "I'm the Urban Spaceman",in London, and interrupted a recording session bythe Barron Knightsto do the same.[10]Ron Griffith of the group the Iveys – soon to be known asBadfingerand, like the Black Dyke Mills Band, an early signing to the Beatles' new record labelApple Records– recalled that on one of their first days in the studio, McCartney "gave us a full concert rendition of 'Hey Jude'".[13][nb 1]

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 youcanhear it as a song to me. The words "Go out and get her" – subconsciously he was saying, Go ahead, leave me. On a conscious level, he didn't want me to go ahead.[15]

–John Lennon,1980

The intensity of Lennon and Ono's relationship made any songwriting collaboration between Lennon and McCartney impossible.[16][17]In support of his friend nevertheless, McCartney let the couple stay at his house inSt John's Wood,but amidst growing tensions, the couple soon moved out.[18][19]McCartney presented "Hey Jude" to Lennon on 26 July,[20]when he and Ono visited McCartney's home.[21]McCartney assured him that he would "fix" the line "the movement you need is on your shoulder", reasoning that "it's a stupid expression; it sounds like a parrot." According to McCartney, Lennon replied: "You won't, you know. That's the best line in the song."[22]McCartney retained the phrase.[5][nb 2]Although McCartney originally wrote "Hey Jude" for Julian, Lennon thought it had actually been written for him.[20]In a 1980 interview, Lennon stated that he "always heard it as a song to me" and contended that, on one level, McCartney was giving his blessing to Lennon and Ono's relationship, while, on another, he was disappointed to be usurped as Lennon's friend and creative partner.[21]

Yoko OnoandJohn Lennonin Amsterdam in March 1969

Other people believed McCartney wrote the song about them, including Judith Simons, a journalist with theDaily Express.[23]Still others, including Lennon, have speculated that in the lyrics to "Hey Jude", McCartney's failing long-term relationship withJane Asherprovided an unconscious "message to himself".[24]McCartney and Asher had announced their engagement on 25 December 1967,[25]yet he began an affair withLinda Eastmanin June 1968;[26]that same month,Francie Schwartz,an American who was in London to discuss a film proposal with Apple, began living with McCartney in St John's Wood.[27][28]When Lennon mentioned that he thought the song was about him and Ono, McCartney denied it and told Lennon he had written the song about himself.[29][nb 3]

AuthorMark Hertsgaardhas commented that "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.'"[29]Music critic and authorTim Rileywrites: "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."[31]

Production

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EMI rehearsals

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Having earmarked the song for release as a single, the Beatles recorded "Hey Jude" during the sessions for theirself-titled double album,commonly known as "the White Album".[32][33]The sessions were marked by an element of discord within the group for the first time, partly as a result of Ono's constant presence at Lennon's side.[34][35]The strained relations were also reflective of the four band members' divergence following theircommunal trip to Rishikeshin the spring of 1968 to studyTranscendental Meditation.[36]

The Beatles first taped 25takesof the song atEMI Studiosin London over two nights, 29 and 30 July 1968,[32]withGeorge Martinas their producer.[37]These dates served as rehearsals, however, since they planned to record the master track atTrident Studiosto utilise theireight-track recording machine(EMI was still limited to four-tracks).[32]The first two takes from 29 July, which author and criticKenneth Womackdescribes as a "jovial" session,[38]have been released on the50th Anniversary box setof the White Album in 2018 and theAnthology 3compilation in 1996, respectively.[39][40]

The 30 July rehearsals were filmed for a short documentary titledMusic!,[41][42]which was produced by the National Music Council of Great Britain.[43]This was the first time that the Beatles had permitted a camera crew to film them developing a song in the studio.[21]The film shows only three of the Beatles performing "Hey Jude", asGeorge Harrisonremained in the studio control room,[44]with Martin and EMI recording engineerKen Scott.[45][nb 4]During the rehearsals that day,[45]Harrison and McCartney had a heated disagreement over the lead guitar part for the song.[38]Harrison's idea was to play a guitar phrase as a response to each line of the vocal,[47]which did not fit with McCartney's conception of the song's arrangement, and he vetoed it.[48][49]Author Simon Leng views this as indicative of how Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period.[50]In a 1994 interview, McCartney said, "looking back on it, I think, Okay. Well, it was Boss y, but it was ballsy of me, because I could have bowed to the pressure."[49]Ron Richards,a record producer who worked with Martin at bothParlophoneandAssociated Independent Recording,[51]said McCartney was "oblivious to anyone else's feelings in the studio", and that he was driven to making the best possible record, at almost any cost.[52][nb 5]

Trident Studios recording

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The Beatles recorded the master track for "Hey Jude" at Trident, where McCartney and Harrison had each produced sessions for their Apple artists,[56]on 31 July.[41]Trident's founder,Norman Sheffield,recalled thatMal Evans,the Beatles' aide and former roadie, insisted that some marijuana plants he had brought be placed in the studio to make the place "soft", consistent with the band's wishes.[57]Barry Sheffield served as recording engineer for the session. The line-up on the basic track was McCartney on piano and lead vocal, Lennon on acoustic guitar, Harrison on electric guitar, andRingo Starron drums.[48][58]The Beatles recorded four takes of "Hey Jude", the first of which was selected as the master.[48][58]With drums intended to be absent for the first two verses, McCartney began this take unaware that Starr had just left for a toilet break.[56]Starr soon returned – "tiptoeing past my back rather quickly", in McCartney's recollection – and performed his cue perfectly.[49]

The former Trident Studios building atSt Anne's CourtinSoho(pictured in 2018), where "Hey Jude" was recorded

On 1 August, the group carried outoverdubson the basic track, again at Trident. These additions included McCartney's lead vocal and bass guitar; backing vocals from Lennon, McCartney and Harrison; and tambourine,[44]played by Starr.[59]McCartney's vocal over the longcoda,starting at around three minutes into the song, included a series of improvised shrieks that he later described as "Cary Granton heat! "[56]They then added a 36-piece orchestra over the coda, scored by Martin.[48]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.[59]According to Norman Sheffield, there was dissension initially among the orchestral musicians, some of whom "were looking down their noses at the Beatles, I think". Sheffield recalls that McCartney ensured their cooperation by demanding: "Do you guys want to get fucking paid or not?"[60]During the first few takes, McCartney was unhappy about the lack of energy and passion in the orchestra's performance, so he stood up on the grand piano and started conducting the musicians from there.[61]

The Beatles then asked the orchestra members if they would clap their hands and sing along to the refrain in the coda. All but one of the musicians complied (for a double fee), with the abstainer reportedly saying, "I'm not going to clap my hands and sing Paul McCartney's bloody song!"[48]Apple Records assistant Chris O'Dell says she joined the cast of backing singers on the song;[62]one of the label's first signings,Jackie Lomax,also recalled participating.[63]

"Hey Jude" was the first Beatles song to be recorded on eight-track equipment.[58]Trident Studios were paid £25 per hour by EMI for the sessions. Sheffield said that the studio earned about £1,000 in total, but by having the Beatles record there, and in turn raving about the facility, the value was incalculable.[64]The band carried out further work at Trident during 1968,[65]and Apple artists such as Lomax,Mary Hopkin,Billy Prestonand the Iveys all recorded there over the next year.[66][nb 6]

Mi xing

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Scott, Martin and the Beatles mixed the finished recording at Abbey Road.[10]The transfer of the Trident master tape toacetateproved problematic due to the recording sounding murky when played back on EMI's equipment.[10]The issue was resolved with the help ofGeoff Emerick,[68]whom Scott had recently replaced as the Beatles' principal recording engineer.[69]Emerick happened to be visiting Abbey Road,[70]having recently refused to work with the Beatles any longer, due to the tension and abuse that had become commonplace at their recording sessions.[71][72]A stereo mix of "Hey Jude" was then completed on 2 August and the mono version on 8 August.[73][nb 7]

MusicologistWalter Everettwrites that the song's "most commented-on feature" is its considerable length, at 7:11.[20]Like McCartney,[21]Martin was concerned that radio stations would not play the track because of the length, but Lennon insisted: "They will if it's us."[75]According toKen Mansfield,Apple's US manager, McCartney remained unconvinced until Mansfield previewed the record for some American disc jockeys and reported that they were highly enthusiastic about the song.[76]"Hey Jude" was one second longer thanRichard Harris's recent hit recording of "MacArthur Park",[77]the composer of which,Jimmy Webb,was a visitor to the studio around this time.[78]According to Webb, Martin admitted to him that "Hey Jude" was only allowed to run over seven minutes because of the success of "MacArthur Park".[79][nb 8]Pleased with the result, McCartney played an acetate copy of "Hey Jude" at a party held byMick Jagger,at Vesuvio's nightclub in central London, to celebrate the completion ofthe Rolling Stones'Beggars Banquetalbum. The song upstaged the Stones' album and, in author John Winn's description, "reportedly ruin[ed]" the party.[81]

In the song's final bridge section, at 2:58, the spoken phrase "Fucking hell!" appears, uttered by Lennon.[82]Scott admits that although he was told about it, he could not hear the words originally.[10]Malcolm Toft,the mix engineer on the Trident recording,[83]recalled that Lennon was overdubbing his harmony vocal when, in reaction to the volume being too loud in his headphones, he first called out "Whoa!" then, two seconds later, swore as he pulled the headphones off.[84][nb 9]In his 2021 bookThe Lyrics,however, McCartney recalls that he uttered the expletive (rather than Lennon) when he missed a piano chord.[85]

Composition and structure

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"Hey Jude" begins with McCartney singing lead vocals and playing the piano. The patterns he plays are based on three chords: F, C and B♭(I, V and IV).[1]The main chord progression is "flipped on its head", in Hertsgaard's words, for the coda, since the C chord is replaced by E♭.[86]Everett comments that McCartney's melody over the verses borrows in part fromJohn Ireland's 1907liturgicalpieceTe Deum,as well as (with the first change to a B♭chord) suggesting the influence ofthe Drifters' 1960 hit "Save the Last Dance for Me".[20][nb 10]

The second verse of the song adds accompaniment from acoustic guitar and tambourine. Tim Riley writes that, with the "restrained tom-tom and cymbal fill" that introduces the drum part, "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 thepain'). "[88]At the end of each bridge, McCartney sings a brief phrase ( "Na-na-na na…" ), supported by an electric guitar fill,[44]before playing a piano fill that leads to the next verse. According to Riley, this vocal phrase serves to "reorient the harmony for the verse as the piano figure turns upside down into a vocal aside". Additional musical details, such as tambourine on the third verse and subtle harmonies accompanying the lead vocal, are added to sustain interest throughout the four-verse, two-bridge song.[89]

The verse-bridge structure persists for approximately three minutes, after which the band leads into a four-minute-long coda, consisting of nineteen rounds of the song's doubleplagal cadence.[20]During this coda, the rest of the band, backed by an orchestra that also provides backing vocals, repeats the phrase "Na-na-na na" followed by the words "hey Jude" until the song gradually fades out.[nb 11]In his analysis of the composition, musicologistAlan Pollackcomments on the unusual structure of "Hey Jude", in that 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 ".[91]

Riley considers that the coda's repeated chord sequence (I–♭VII–IV–I) "answers all the musical questions raised at the beginnings and ends of bridges", since "The flat seventh that posed 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",[92]so he ad-libs his vocal performance for the rest of the song. In Riley's estimation, 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".[31]

Release

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[The Beatles] are confident and cheerful and the human condition will be thrilled by the coming results of their willing and enduring Beatle bondage… they will give all of us new wonders to soothe our pain.[93]

–Derek Taylor,"Hey Jude" press release, August 1968

"Hey Jude" was released on a 7-inch single on 26 August 1968 in the United States and 30 August in the United Kingdom,[94]backed with "Revolution"on theB-side.[95]It was one of four singles issued simultaneously to launch Apple Records – the others being Mary Hopkin's "Those Were the Days",Jackie Lomax's"Sour Milk Sea",and the Black Dyke Mills Band's" Thingumybob ".[96]In advance of the release date, Apple declared 11–18 August to be "National Apple Week" in the UK,[96][97]and sent gift-wrapped boxes of the records, marked "Our First Four", toQueen Elizabeth IIand other members of theroyal family,and toHarold Wilson,the prime minister.[98]The release was promoted byDerek Taylor,who, in authorPeter Doggett's description, "hyped the first Apple records with typical elan".[99]"Hey Jude" was the first of the four singles, since it was still designated as an EMI/Parlophone release in the UK and aCapitolrelease in the US, but with the Apple Records logo now added.[100][nb 12]In the US, "Hey Jude" was the first Capitol-distributed Beatles single to be issued without a picture sleeve.[102]Instead, the record was presented in a black sleeve bearing the words "The Beatles on Apple".[102]

AuthorPhilip Normancomments that aside from "Sour Milk Sea", which Harrison wrote and produced, the first Apple A-sides were all "either written, vocalised, discovered or produced" by McCartney.[103]Lennon wanted "Revolution" to be the A-side of the Beatles single, but his bandmates opted for "Hey Jude".[104][76]In his 1970 interview withRolling Stone,he said "Hey Jude" was worthy of an A-side, "but we could have had both."[105]In 1980, he toldPlayboyhe still disagreed with the decision.[106]

Doggett describes "Hey Jude" as a song that "glowed with optimism after a summer that had burned with anxiety and rage within the group and in the troubled world beyond".[107]The single's release coincided with the violent subjugation ofVietnam Warprotestors at theDemocratic National Conventionin Chicago, and condemnation in the West of the Soviet-ledinvasion of Czechoslovakiaand its crushing of attempts to introduce democratic reforms there.[108]In this climate, Lennon's espousal of a pacifist agenda over violent confrontation in "Revolution" drew heavy criticism fromNew Leftactivists.[109]By contrast, with its more universal message, "Hey Jude" was adopted as an anthem by Czech citizens in their struggle.[110]

The song was first released on an album in February 1970, as the title track to Capitol's North American compilationHey Jude.[111][112]The album was conceived as a way to generate income for the Beatles byAllen Klein,[113][114]the American businessman who, despite McCartney's strong opposition, the other Beatles had appointed to manage the ailing Apple organisation in 1969. "Hey Jude" subsequently appeared on the compilation albums1967–1970,20 Greatest Hits,Past Masters, Volume Twoand1.[115]

Promotion

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Apple shop window graffiti

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A failed early promotional attempt for the single took place after the Beatles' all-night recording session on 7–8 August 1968.[116]With Apple Boutique having closed a week before, McCartney and Francie Schwartz paintedHey Jude/Revolutionacross its large,whitewashedshop windows.[117][118]The words were mistaken forantisemiticgraffiti (sinceJudemeans "Jew" in German),[117]leading to complaints from the local Jewish community,[96][119]and the windows being smashed by a passer-by.[120]

Discussing the episode inThe Beatles Anthology,McCartney explained that he had been motivated by the location – "Great opportunity.Baker Street,millions of buses going around…"– and added:" I had no idea it meant 'Jew', but if you look at footage ofNazi Germany,'Juden Raus'was written in whitewashed windows with aStar of David.I swear it never occurred to me. "[22]According toBarry Miles,McCartney caused further controversy in his comments to Alan Smith of theNMEthat month, when, in an interview designed to promote the single,[121]he said: "Starvation in India doesn't worry me one bit, not one iota… And it doesn't worry you, if you're honest. You just pose."[96][nb 13]

Promotional film

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The Beatles performing in the "Hey Jude" promotional film, surrounded by members of the studio audience

The Beatles hiredMichael Lindsay-Hoggto shoot promotional clips for "Hey Jude" and "Revolution", after he had previously directed the clips for "Paperback Writer"and"Rain"in 1966.[122][123]For "Hey Jude", they settled on the idea of shooting with a live, albeit controlled, audience.[124]In the clip, the Beatles are first seen by themselves, performing the initial chorus and verses, before the audience moves forward and joins them in singing the coda.[125]The decision was made to hire an orchestra and for the vocals to be sung live, to circumvent theMusicians' Union's ban on miming on television, but otherwise the Beatles performed to a backing track.[126]Lindsay-Hogg shot the clip atTwickenham Film Studioson 4 September 1968.[127]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."[128][124]The event marked Starr's return to the group,[129]after McCartney's criticism of his drumming had led to him walking out during a session for the White Album track "Back in the U.S.S.R."[130][131]Starr was absent for two weeks.[129]

The final edit was a combination of two different takes[125]and included "introductions" to the song byDavid Frost(who introduced the Beatles as "the greatest tea-room orchestra in the world" )[127]andCliff Richard,for their respective TV programmes.[132]It first aired in the UK onFrost on Sundayon 8 September 1968,[126]two weeks after Lennon and Ono had appeared on the show to promote their views onperformance artand theavant-garde.[133]The "Hey Jude" clip was broadcast in the United States onThe Smothers Brothers Comedy Houron 6 October.[134]

According to Riley, theFrost on Sundaybroadcast "kicked 'Hey Jude' into the stratosphere" in terms of popularity.[135]Norman comments that it evoked "palpable general relief" for viewers who had watched Frost's show two weeks before, as Lennon now adopted a supporting role to McCartney, and Ono was "nowhere in sight".[133]Hertsgaard pairs the band's performance with the release of the animated filmYellow Submarineas two events that created "a state of nirvana" for Beatles fans, in contrast with the problems besetting the band regarding Ono's influence and Apple.[136]Referring to the sight of the Beatles engulfed by a crowd made up of "young, old, male, female, black, brown, and white" fans, Hertsgaard describes the promotional clip as "a quintessential sixties moment, a touching tableau of contentment and togetherness".[137]

The 4 September 1968 promo clip is included in the Beatles' 2015 video compilation1,while the three-disc versions of that compilation, titled1+,also include an alternate video, with a different introduction and vocal, from the same date.[138]

Critical reception

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In his contemporary review of the single, Derek Johnson of theNMEwrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment – and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus".[139]Johnson nevertheless concluded that "Hey Jude" and "Revolution" "prove beyond a shadow of a doubt that the Beatles are still streets ahead of their rivals".[140]Chris WelchofMelody Makersaid he had initially been unimpressed, but came to greatly admire "Hey Jude" for its "slow, heavy, piano-ridden beat, sensuous, soulful vocals and nice thumpy drums". He added that the track would have benefited from being edited in length, as the climactic ending was "a couple of minutes too long".[141]

Cash Box's reviewer said that the extended fadeout, having been a device pioneered by the Beatles on "All You Need Is Love","becomes something of an art form "in" Hey Jude ", comprising a" trance-like ceremonial that becomes almost timeless in its continuity ".[142]Timemagazine described it as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The reviewer contrasted "Hey Jude" with "Revolution", saying that McCartney's song "urges activism of a different sort" by "liltingly exhort[ing] a friend to overcome his fears and commit himself in love".[143]Catherine Manfredi ofRolling Stonealso read the lyrics as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Manfredi commented on the duality of the song's eponymous protagonist as a representation of good, inSaint Jude,"the Patron of that which is called Impossible", and of evil, inJudas Iscariot.[144]Other commentators interpreted "Hey Jude" as being directed atBob Dylan,then semi-retired inWoodstock.[145][146]

Writing in 1971,Robert ChristgauofThe Village Voicecalled it "one of [McCartney's] truest and most forthright love songs" and said that McCartney's romantic side was ill-served by the inclusion of "'I Will', a piece of fluff "onThe Beatles.[147]In their 1975 bookThe Beatles: An Illustrated Record,criticsRoy CarrandTony Tylerwrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recordedspecificallyfor the 45s market ". They commented also that" the epic proportions of the piece "encouraged many imitators, yet these other artists" [failed] to capture the gentleness and sympathy of the Beatles' communal feel ".[146]Walter Everett admires the melody as a "marvel of construction, contrasting wide leaps with stepwise motions, sustained tones with rapid movement, syllabic with melismatic word-setting, and tension... with resolution".[20]He citesVan Morrison's "Astral Weeks",Donovan's "Atlantis",the Moody Blues' "Never Comes the Day"andthe Allman Brothers' "Revival" among the many songs with "mantralike repeated sections" that followed the release of "Hey Jude".[73][nb 14]In his entry for the song in his 1993 bookRock and Roll: The 100 Best Singles,Paul Williamsdescribes it as a "song about breathing". He adds: "'Hey Jude' kicks ass likeVan GoghorBeethovenin their prime. It is, let's say, one of the wonders of this corner of creation... It opens out like the sky at night or the idea of the existence of God. "[149]

Alan Pollack highlights the song as "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."[91]Pollack says that the long coda provides "an astonishingly transcendental effect",[91]whileAllMusic'sRichie Unterbergersimilarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock, ranging from mantra-like chants to soulful lines toJames Brownpower screams. "[24]In his bookRevolution in the Head,Ian MacDonaldwrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms".[150]MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired."[145]Lennon said the song was "one of [McCartney's] masterpieces".[15]

Commercial performance

[edit]

The single was a highly successful debut for Apple Records,[151][152]a result that contrasted with the public embarrassment the band faced after the recent closure of their short-lived retail venture,Apple Boutique.[68]In the description of music journalistPaul Du Noyer,the song's "monumental quality... amazed the public in 1968"; in addition, the release silenced detractors in the British mainstream press who had relished the opportunity to criticise the band for their December 1967 television special,Magical Mystery Tour,and their trip to Rishikesh in early 1968.[153]In the US, the single similarly brought an end to speculation that the Beatles' popularity might be diminishing, after "Lady Madonna"had peaked at number 4.[154]

"Hey Jude" reached the top of Britain'sRecord Retailerchart (subsequently adopted as theUK Singles Chart) in September 1968. It lasted two weeks on top before being replaced by Hopkin's "Those Were the Days",[133]which McCartney helped promote.[155]"Hey Jude" was certifiedgoldby theRecording Industry Association of America(RIAA) on 13 September; that same week,NMEreported that two million copies of the single had been sold.[156]The song entered theBillboardHot 100in the US on 14 September, beginning a nineteen-week chart run there.[157]It reached number one on 28 September and held that position for nine weeks,[133]for three of which "Those Were the Days" held the number-two spot.[157]This was the longest run at number one for a single in the US until 1977.[73][115]The song was the 16th number-one hit there for the Beatles.[158]Billboardranked it as thenumber-one song for 1968.[158]In Australia, "Hey Jude" was number one for 13 weeks, which remained a record there untilABBA's "Fernando"in 1976.[149]It also topped the charts in Belgium, Brazil, Canada, Denmark, France, Ireland, Malaysia, the Netherlands, New Zealand, Norway, the Philippines, Singapore, Spain, Sweden, Switzerland andWest Germany.[149]

On 30 November 1968,NMEreported that sales had reached nearly six million copies worldwide.[159][160]By 1999, "Hey Jude" had sold an estimated eight million copies worldwide.[73]That year, it was certified4× platinumby the RIAA, representing four million units shipped in the US.[161]As of December 2018, "Hey Jude" was the 54th-best-selling single of all time in the UK – one of six Beatles songs included on the top sales rankings published by theOfficial Charts Company.[162]It has since been described as an international global hit.[163][164]

Awards and accolades

[edit]

"Hey Jude" was nominated for theGrammy Awards of 1969in the categories ofRecord of the Year,Song of the YearandBest Pop Performance by a Duo or Group with Vocal,but failed to win any of them.[165]In the 1968NMEReaders' Poll, "Hey Jude" was named the best single of the year,[166]and the song also won the 1968Ivor Novello Awardfor "A-Side With the Highest Sales".[167]"Hey Jude" was inducted into theNational Academy of Recording Arts and SciencesGrammy Hall of Famein 2001[82]and it is one of theRock and Roll Hall of Fame's "500 Songs That Shaped Rock & Roll".[149]

In 2001, the 1968 release of "Hey Jude" on Apple Records was inducted into the Grammy Hall of Fame.[168]

In 2004,Rolling Stoneranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time",[82]making it the highest-placed Beatles song on the list;[169]it dropped to number 89 in the 2021 revised list.[170]Among its many appearances in other best-song-of-all-time lists,VH1placed it ninth in 2000[149]andMojoranked it at number 29 in the same year,[82]having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, theNMEranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third onChannel 4's list of the "100 Greatest Singles".[171]The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-bestjukeboxsingle of all time.[172]In 2008, the song appeared in eighth place onBillboard's "All Time Hot 100 Songs".[82]

In July 2006,Mojoplaced "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs".[173]On a similar list compiled four years later,Rolling Stoneranked the song at number seven.[82][75]In 2015, theITVprogramThe Nation's Favourite Beatles Number Oneranked "Hey Jude" in first place.[174]In 2018, the music staff ofTime Out Londonranked it at number 49 on their list of the best Beatles songs. Writing in the magazine, Nick Levine said: "Don't allow yourself to overlook this song because of its sheer ubiquity... 'Hey Jude' is a huge-hearted, super-emotional epic that climaxes with one of pop's most legendary hooks."[175]

Auctioned lyrics and memorabilia

[edit]
Julian Lennon (pictured at theJohn Lennon Peace Monumentin 2010) bid successfully for the Beatles' recording notes for the song at an auction in 1996.

In his 1996 article about the single's release, forMojo,Paul Du Noyer said that the writing of "Hey Jude" had become "one of the best-known stories in Beatles folklore".[176]In a 2005 interview, Ono said that for McCartney and for Julian and Cynthia Lennon, the scenario was akin to adrama,in that "Each person has something to be totally miserable about, because of the way they were put into this play. I have incredible sympathy for each of them."[177]Du Noyer quoted Cynthia Lennon as saying of "Hey Jude", "it always bring tears to my eyes, that song."[176]

Julian discovered that "Hey Jude" had been written for him almost 20 years after the fact. He recalled of his and McCartney's relationship: "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."[178]In 1996, Julian paid£25,000 (equivalent to£45,000 orUS$56,000 in 2023)[179]for the recording notes to "Hey Jude" at an auction.[180]He spent a further£35,000 (equivalent to£63,000 orUS$78,000 in 2023)[179]at the auction, buying John Lennon memorabilia. John Cousins, Julian Lennon's manager, stated at the time: "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."[181]

In 2002, the original handwritten lyrics for the song were nearly auctioned off atChristie'sin London.[115]The sheet of notepaper with the scrawled lyrics had been expected to fetch up to£80,000 (equivalent to£134,000 orUS$167,000 in 2023)[179]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 (equivalent to£128.78 orUS$160.07 in 2023)[179]in the early 1970s.[182]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."[115]

Along with "Yesterday","Hey Jude "was one of the songs that McCartney has highlighted when attempting to have some of the official Beatles songwriting credits changed to McCartney–Lennon.[177][183]McCartney applied the revised credit to this and 18 other Lennon–McCartney songs on his 2002 live albumBack in the U.S.,[184]attracting criticism from Ono, as Lennon's widow,[185]and from Starr, the only other surviving member of the Beatles.[186][187]

In April 2020, the handwritten lyrics used during the original recording sold for $910,000 at auction viaJulien's Auctions(equivalent to $1,070,000 in 2023).[188]

Cover versions and McCartney live performances

[edit]

In 1968, R&B singerWilson Pickettreleased a cover recorded atMuscle Shoals Sound Studio,with a guitar part played by a youngDuane Allman,who recommended the song to Pickett.[189]Eric Claptoncommented, "I remember hearing [it] and calling eitherAhmet ErtegunorTom Dowdand saying, 'Who's that guitar player?'... To this day, I've never heard better rock guitar playing on an R&B record. It's the best. "[190]Session musicianJimmy Johnson,who played on the recording, said that Allman's solo "createdSouthern rock".[191]Pickett's version reached number 23 on the Hot 100 and 13 on theBillboardR&B chart.[192]

"Hey Jude" was one of the few Beatles songs thatElvis Presleycovered, when he rehearsed the track at his 1969Memphis sessionswith producerChips Moman,a recording that appeared on the 1972 albumElvis Now.[193]Amedleyof "Yesterday" and "Hey Jude" was included on the 1999 reissue of Presley's 1970 live albumOn Stage.[194]Katy Perryperformed "Hey Jude" as part of the 2012MusiCaresPerson of the Year concert honouring McCartney.[195]

"All Around the World",a song by British rock bandOasis,features a several minute long outro much in the vein of "Hey Jude".

McCartney played "Hey Jude" throughout his1989–90 world tour,his first tour sinceLennon's murder in 1980.[196]McCartney had considered including it as the closing song on his bandWings' 1975 tours, but decided that "it just didn't feel right."[197]He has continued to feature the song in his concerts,[115]leading the audience in organised singalongs whereby different segments of the crowd – such as those in a certain section of the venue, then only men followed by only the women – chant the "Na-na-na na" refrain.[198]

McCartney played "Hey Jude" onSaturday Night Liveon 2 February 1993, and as the final act during theSuper Bowl XXXIXhalftime show on 6 February 2005.

McCartney performed "Hey Jude" in theWhite HouseEast Room as part of a concert honoring him with theLibrary of Congress Gershwin Prize for Popular Songin June 2010.[199]

McCartney also sang the song in the closing moments of theopening ceremonyof the2012 Summer Olympicshosted in London. On 4 August 2012, McCartney led the crowd in a rendition of "Hey Jude" while watchingcyclingat thevelodrome.[200]

Personnel

[edit]

According to Ian MacDonald[201]andMark Lewisohn:[48]

The Beatles

Additional musicians

Charts

[edit]

Certifications and sales

[edit]
Region Certification Certified units/sales
Australia — 280,000[248]
Canada — 300,000[249]
Denmark (IFPI Danmark)[250] Gold 45,000‡
France — 250,000[251]
Italy (FIMI)[252]
sales since 2009 		Platinum 100,000‡
Netherlands — 100,000[253]
Spain (PROMUSICAE)[254] Platinum 60,000‡
United Kingdom (BPI)[256] Platinum 1,141,635[255]
United States (RIAA)[257] 4× Platinum 4,000,000^
Summaries
Europe & Japan
1968 sales 		— 1,500,000[249]
Worldwide — 8,000,000[73]

^Shipments figures based on certification alone.
‡Sales+streaming figures based on certification alone.

See also

[edit]

Notes

[edit]
  1. ^Griffith added that he and his fellow Iveys were "gob-smacked" by the performance.[14]
  2. ^He later said of his subsequent live performances of the song: "that's the line when I think of John, and sometimes I get a little emotional during that moment."[22]
  3. ^In a 1971 interview withJonathan Cott,Lennon recalled his and McCartney's conversation: "Ah, it's me! I said, it'sme!He says, no it'sme.I said, check, we're going through the same bit. "[30]
  4. ^Released in October 1969,[44]the documentary was shown in UK cinemas as the opening presentation forThe Producers.[42]In the United States, it was broadcast as an episode of theNBCtelevision seriesExperiment in TV[46]in February 1970.[42]
  5. ^Described byIan MacDonaldas "a tense moment",[53]this disagreement between Harrison and McCartney was recalled by the pair in a similar argument they had while filmingLet It Bein January 1969,[44]regarding the lead guitar part on "Two of Us".[54]Partly as a result of McCartney's criticism, Harrison briefly quit the band on 10 January.[44][55]
  6. ^McCartney wrote the foreword to Sheffield's 2013 biographyLife on Two Legsin which he recalls his pleasure in recording the track at Trident.[67]
  7. ^Writing in his 2006 memoir, Emerick says that "Obviously something at Trident had been misaligned", and the solution for "Hey Jude" was to add "massive amounts of trebleequalization".[74]
  8. ^McCartney recalled that the Beatles had not planned for the coda to last four minutes, but he was "having such fun ad-libbing" that they kept the performance going.[80]
  9. ^Toft adds: "because it had been bounced down [mixed] with the main vocal, it could not be removed. I just managed to bring the fader down for a split second on the mix to try to lessen the effect."[84]
  10. ^McCartney later acknowledged that part of the verse for "Hey Jude" originated from "when I was fooling around with 'Save the Last Dance for Me' on guitar".[87]
  11. ^AuthorJohn Kruthwrites that McCartney might have taken the idea for the closing refrain fromCannibal & the Headhunters' 1965 hit "Land of a Thousand Dances",the mainhookof which is a series of "extended 'nah nah nah nah nahs'". This band, whom McCartney nicknamed "the Nah Nah Boys", were his choice for the Beatles' support act on their1965 US tour.[90]
  12. ^The catalogue numbers for "Hey Jude" / "Revolution" – Apple 5722 in the UK and 2276 in the US – were consistent with the numerical sequencing of the Beatles' previous releases on Parlophone and Capitol. Apple's other three debut singles followed a new sequencing, starting with "Those Were the Days", which was issued as Apple 2 and Apple 1801.[101]
  13. ^Having told Smith, "The truth about me is that I'm pleasantly insincere", McCartney said: "You can't pretend to me that anOxfamad can reach down into the depths of your soul and actually make you feel for those [starving] people – more, for instance, than you feel about getting a new car. "[96]
  14. ^The long ending onSimon & Garfunkel's 1969 single "The Boxer"resulted fromArt Garfunkeland producerRoy Haleeseeking to re-create the expansiveness of "Hey Jude" 's coda.[148]

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Sources

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