Love contains elements from 130 individual commercially released and demo recordings of The Beatles,[12] and is a complex remix and polymix of multiple songs known as a mashup.[13] While a complete list has not been disclosed, highlights of how the elements were mixed have been noted by the press.
"Because" – An interview in Entertainment Weekly revealed that the opening track includes the bird sounds used in the World Wildlife Fund version of "Across the Universe".[14] In addition, a new recording of a Wood Pigeon was implemented "to make it more British," according to George Martin.[14]
"Get Back" – As reported, the track utilises the opening guitar from "A Hard Day's Night", the drum and guitar solos from "The End", percussion from "Sgt. Pepper's Lonely Hearts Club Band (Reprise)", and the orchestral swell from "A Day in the Life".[15][16]
"I Want to Hold Your Hand" – An interview with George and Giles Martin stated that elements from both the studio recording and the Hollywood Bowl live performance were mixed to create this version.[14]
"Drive My Car"/"The Word"/"What You're Doing" – As reported, the medley features the guitar solo from "Taxman" and the horns section from "Savoy Truffle".[17]
"Gnik Nus" – As suggested in its title, the track contains the vocal arrangement of "Sun King" played in reverse.[17]
"Something" (with "Blue Jay Way" transition) – The track contains vocal elements from "Nowhere Man".[13]
"Strawberry Fields Forever" – A review of the album noted that this version builds from an acoustic demo.[18] It includes the orchestral section from "Sgt. Pepper's Lonely Hearts Club Band", the piano solo from "In My Life", the brass included in "Penny Lane", the cello and harpsichord arrangement from "Piggies" and the coda of "Hello, Goodbye".[17]
"Within You Without You"/"Tomorrow Never Knows" – This track combines the vocals from "Within You Without You" with the bass and drums from "Tomorrow Never Knows."[16]
"Octopus's Garden" – According to USA Today and PopMatters, this track contains the string arrangement from "Good Night", sound effects and vocal elements from "Yellow Submarine" and elements from "Lovely Rita" and "Helter Skelter".[16][17]
"Lady Madonna" – The song includes the percussion intro from "Why Don't We Do It in the Road?", the guitar riff from "Hey Bulldog", Eric Clapton's guitar solo from "While My Guitar Gently Weeps" and Billy Preston's organ solo from "I Want You (She's So Heavy)".[19][20]
"Here Comes the Sun" (with "The Inner Light" transition) – As mentioned by Giles Martin, the track includes backing vocals from "Oh! Darling" and a bass line from "I Want You (She's So Heavy)".[21]
"While My Guitar Gently Weeps" – A BBC article reported that George Martin chose to use an early version of the recording for the album and wrote a new orchestral backing for the track; the demo version used is found on Anthology 3. This was also stated in the fifth chapter of The Beatles 'LOVE' Podcast.[18][22]
"The Fool On The Hill" – This track includes sitar from "Sea of Holes", piano from "Dear Prudence" and vocals and horns from "Mother Nature's Son".
"Girl" – This track includes sitar from "Within You Without You", guitar from "And I Love Her" and drums from "Being For The Benefit of Mr. Kite"".

嘿，你听我说：那天你出门时，发现最喜欢的银灰色手套只剩了一只，于是换了另一双红色手套，第二天再出门时，红色手套也只剩了一只。手脚怕冷的你于是着一红一灰手套招摇过市。一路上好风借力，很是逍遥。回来时，你突然想起，路人并未因你反差极大的手套而讶异。也许是你未曾留意，也许是他们未曾留意，你关注的，是沿途的风景，他们关注的，是你，衣着入时的你。即使他们真的注意到了你奇异的手套，他们也未必相信那是你马虎大意、棒打鸳鸯的结果，他们看到的，是卓尔不群的你，他们或许会以为，那是你刻意为之，也或许会认为：那是新一季的流行趋势。学过格式塔心理学的你相信，整体大于部分之和，1+1＞2，神的失误令神更可爱；魔的行善却令魔更可怕----当然，你不是神，更不是魔，你只是一个糊涂大意、丢三落四、偶尔可爱，时常可恨的平凡女子。

嘿，你听我说：虽然你已忘记从什么时候起，你便战战兢兢如履薄冰如临深渊地面对生命中的一切喜出望外，读过《哲学的慰藉》后，你更相信，快乐是暂时的，不幸却是永恒的，即使这一次逃过了天外横祸，下一次，却难免在劫难逃。你不敢放声不敢大笑不敢享受不敢沉湎，再大的喜从天降，你也以为那是回光返照。其实，不幸和幸福的区别只在于，前者看到了好苹果中的烂苹果，后者看到了烂苹果中的好苹果。你无法改变既成事实，却可以改变对事实的诠释----如果品貌乏善可陈却立誓颠倒众生，除了自怨自艾外，你还可以选择做积极的成全，众生眼里，芙蓉姐姐固然可笑，芙蓉姐姐眼里，众生未必可敬。很多时候，自大比自卑更容易带来积极的后果----至少，自大的人是快乐的，哪怕这快乐虚妄而轻薄。

嘿，你听我说：许多年以前，你已习惯了日日自省：今天发生了什么，有没有比昨天知道得更多，有没有比昨天做更多事，有没有比昨天收获更丰？你称自己为“杞人”----那个担心天崩地裂的人。你拼命读书，拼命工作，拼命地想要让自己更好，更加接近你想要达到的完美。然而，完美是不存在的，即使真有完美那回事，完美本身也就是不完美----完美，可远观而不可亵玩，可膜拜但不可拥有。而自省，却是自我否定的根源：自省的目的是臻于至善，臻于至善的前提是，你远未至善。追求至善与不尽完美的自相残杀后，劫后余生的你即使会如愿地更“好”些，却也会不如愿地更“不快乐”些---世人多羡慕曾国藩功德圆满，却很少去追究，他是不是真的快乐。自省的结果，固然可能是自我实现，却更可能是自我毁灭。许多时候需要自我批评，更多时候，需要自我欣赏。

嘿，你听我说：这些年来，你真的很辛苦，你希望照顾到周围所有人的情绪，你不想伤害任何人，你希望所有认识你的人，都喜欢你----至少不讨厌你。你总是微笑着，因为微笑是最动人的表情。你几乎从不说NO，你总在说好的好的。然而，你或许可以在所有时候讨好一些人，也或许可以在一些时候讨好所有人，你却无法做到，在所有时候讨好所有人----人和人的需求是不一样的，甲所谓赏心乐事谁家院，乙却大可以看做粪土之墙不可朽。试图令所有人满意的结果，往往是，所有人都不满；试图取悦所有人的结果，常常是，遭到所有人的唾弃。有好篱笆才会有好邻居，与其费尽心思空自惆怅，不如亮出招牌爱憎分明----孔子云，以德报怨，何以报德？以德报德，以直抱怨。喜欢的，自可继续喜欢，不喜欢的，公平对待即可，你活着不是为了要讨人喜欢，而是为了，要走出自己的路，撑起自己的天，活出独一无二的自己。

嘿，你听我说：电视真的不是那么面目可憎，言语无味。知识饥渴的你，总是拒绝看电视，以为那是玩物丧志，你要求自己将有限的生命投入到无限的知识摄取当中去。你对心理学感兴趣、你对哲学感兴趣、你对传统文学感兴趣、你对音乐感兴趣、你对伦理学感兴趣、你对社会学感兴趣、你对经济学感兴趣、你对法律感兴趣……即使研究的专业是电视艺术美学，你却固执地将专业形而上在媒介仪式----与此在相比，你关心的，更在彼岸。于是，在别人看电视的时候，你听讲座、你读书、你听音乐、你学英语、你看电影、你写文章、你上网，你出门时包里总会带一本、甚至两本书----你生怕有一分、哪怕一秒时间空荡荡过去。你不知道中华神曲是什么调子、不知道龚琳娜是何方神圣，地铁广告上那一张张黄头发黑眼睛的人总令你莫名其妙----直到春节回家，你陪着家人在电视前度过一个又一个白天黑夜，你突然醒悟，电视，并不是洪水猛兽罪不可赦，娱乐节目尽管愚乐，你却无法否认，那些貌似恶俗的愚乐，也让你笑了，这种欢笑，也分泌了多巴胺，也对健康有益。

嘿，你听我说：你总是将太多目光投注在过去，又将太多深思抛洒在将来，你总在为已失去而痛苦，又总在为求不得而担心。其实，你更应该看到的，是现在，所有的过去都曾是将来，所有的将来都终是过去。你所拥有的，只是现在，如果，你真的用了全部心情体味现在，用了全部心力抓紧现在，那么，你就不会失去，更不会后悔。所有的后悔，只因为当时不珍惜，所有的失去，只源于当时的不投入。所谓缘分也罢，所谓天意也好，只是不够争取的托辞。

嘿，你听我说：前些日子听哈佛讲座，那个曾经死去活来惨遭抑郁蹂躏的教授告诉你，懂得什么是积极心理，明白怎样实现积极心理的知识固然重要，将这些知识付诸实践，却更为重要，甚至，才真的重要。许多年来，你也有过痛不欲生，也有过生不如死，你甚至以为，这就是你了，自卑的、消极的、自闭的、抑郁的你，你却在某一个自己也不知道的时刻，完成了浴火的涅槃，这固然是你读书修炼的结果，但更是你积极行动的成就。坐而思不如起而行，行动，减少的不止是脂肪，更是焦虑，大多数无可奈何花落去都只因坐地神游八万里，困难，更多存在于想象中而不是行动里。未来的日子里，你当然还要读不少书，也勿忘行不少路，行路的时候，要记得随时给自己补充养料：红牛或者巧克力，为了有力，更为了奖励。

嘿，你听我说，又是新的一年了，你不知道将要发生什么事，今天下午你却在路旁的玻璃橱窗中看到了明亮衣装下明亮眼睛的自己，你更在广场大屏幕中看到了明亮的方向，你知道，接下来的一年，你还是会有不开心，还是会有失望，但是，你已今非昔比，你敢于承担，乐于挑战，愿意幸福，这是所有陪伴过你的人留下的痕迹，为此，你要感激所有的伤心，感激所有的失望，你会在深海最深处提醒自己，至少，你还在，所以，要幸福，因为，所有的过往告诉你：生命会在最绝望的深海，昭示你最美丽的星光----只要，你相信。

http://new.music.yahoo.com/blogs/chart_watch/61973/chart-watch-extra-was-it-john-or-paul/

Who was the foremost member of the foremost group of all time? Was Paul McCartney or John Lennon the real driving force behind the Beatles? That question has ignited debates for decades. Rolling Stone's new special issue, The Beatles' 100 Greatest Songs, doesn't answer the question (nothing ever will), but it sheds some light on it.

Of the 100 songs, which were ranked by the editors of Rolling Stone, 40 were written by Lennon, 35 by McCartney, 17 by the two men working together and eight by George Harrison, who came into his own as a songwriter on the Beatles' final albums.

So it's fairly close, but Lennon was the key Beatle? Not so fast. In the high-rent district, McCartney leads. McCartney has three songs in the top 10 ("Yesterday" at #4, "Hey Jude" at #7 and "Let It Be" at #8), to just two for Lennon ("Strawberry Fields Forever" at #3 and "Come Together" at #9). Three songs in the top 10 are Lennon/McCartney collaborations: "A Day In The Life" at #1, "I Want To Hold Your Hand" at #2 and "In My Life" at #5. Harrison wrote the two remaining songs in the top 10 ("Something" at #6 and "While My Guitar Gently Weeps" at #10).

And Lennon's five-song lead over McCartney would have evaporated if the voters had found room on the list for these famous McCartney songs: "The Fool On The Hill," "Magical Mystery Tour," "Michelle," "When I'm Sixty-Four" and "Ob-La-Di, Ob-La-Da." Here are a few more notable McCartney songs they left off: "Birthday," "Fixing A Hole," and "I'm Looking Through You."

By contrast, the only Lennon songs that really surprised me by their omission were "This Boy" and "Good Night." Other Lennon songs that they left off include "I Should Have Known Better," "Being For The Benefit Of Mr. Kite!" and "I'll Cry Instead."

Here's another indication that the voters favored Lennon. In three cases, they flipped a Beatles single over and ranked a B side written by Lennon over an A side written by McCartney. The voters ranked "Strawberry Fields Forever" (#3) over "Penny Lane" (#32); "If I Fell" (#26) over "And I Love Her" (#65); and "I Am The Walrus" (#33) over "Hello Goodbye" (#100). The voters also placed Lennon's "Please Please Me" (#20) ahead of its A side, the Lennon/McCartney collabo "From Me To You" (#72).

Why do critics tend to favor Lennon? There are two main reasons. Lennon was edgier and more envelope-pushing, and rock critics tend to favor those qualities over McCartney's more tradition-bound, pop-minded virtues. Also, Lennon died at 40, shot to death outside of his apartment. McCartney is 68. He has lived to receive all the awards and honors a man could ever want. To cite just one example, both Lennon and McCartney were voted Lifetime Achievement Awards from the Recording Academy, but only McCartney lived to receive it.

It's just human nature that critics will tend to favor the one whose life was cut short so senselessly.

I imagine that McCartney occasionally chafes when critics habitually favor Lennon, but I assume he understands the reasons for it.
And while part of me would have liked to see a tie between Lennon and McCartney for most songs on the list (reflecting their equal contributions to the Beatles legacy), it would have looked a little suspect; as if the panelists had contrived to get that result.

The special issue strives for parity between the two songwriters. It features a list of five of Lennon's favorite Beatles songs, including two that were written by McCartney, "Hey Jude" and "Why Don't We Do It In The Road."

It also features a list of six of McCartney's favorite Beatles songs, including two that were written by Lennon, "Nowhere Man" and "I Am The Walrus."

An editor's note in the issue explains, "Lennon and McCartney, by mutual agreement, let all of their songs be co-credited ‘Lennon/McCartney' on their records. We have named the ‘main writer' wherever possible."

There is some subjectivity in assigning credit for songs. There were songs, especially early on, that were true collaborations. And there were songs that one man or the other wrote entirely alone. But there were a lot of songs where one man took the lead in writing the song, but the other added a little something that made all the difference. That, of course, was the magic of the Beatles.

As you read the essays about each song, the main thing you come away with is the sense that it was the combination of the two men-each with his own distinctive strengths, perfectly complementing the other-that made the Beatles the greatest group of all time.

The Beatles had 20 #1 hits on Billboard magazine's Hot 100, which is, to this day, the record for any artist in the rock era. All 20 of these songs made the list. The three that rank the highest are "I Want To Hold Your Hand" (#2), "Yesterday" (#4) and "Hey Jude" (#7). The three that rank the lowest are "Love Me Do" (#87), "The Long And Winding Road" (#90) and "Hello Goodbye" (#100).

Of the Beatles' 34 hits that made the top 10 on the Hot 100, all but five made the list. The group's cover version of the Isley Brothers' hit "Twist And Shout" wasn't eligible because the Beatles didn't write it. The group's four top 10 hits that were eligible but didn't make the list are "Do You Want To Know A Secret?," "P.S. I Love You," "She's A Woman" and "Free As A Bird," the group's 1996 "reunion" hit.

The voters also found room for 58 album tracks that were never released as singles. Several factors explain this: the richness of the Beatles catalog; the fact that in the Beatles' heyday, often only one or two (or even no!) songs were released as singles from each album; and the tendency of critics to like to show off a little by putting more obscure songs ahead of the expected, obvious choices.

Here are the five non-singles that ranked the highest on the list: "A Day In The Life" (#1), "In My Life" (#5), "While My Guitar Gently Weeps" (#10), "Norwegian Wood (This Bird Has Flown)" (#12) and "Tomorrow Never Knows" (#18).

The Beatles' strongest double-sided hit, in the estimation of these voters, was "Come Together"/"Something." Both sides of the 1969 smash made the top 10 on the Rolling Stone list.

The list includes four of the five Beatles songs that received Grammy nominations for Song of the Year, but it omits the only Beatles song ever to win that award: "Michelle," which was voted Song of the Year for 1966. (The ballad won because it had strong adult contemporary appeal. The Grammys were still coming to terms with rock at the time.)

The issue documents Harrison's emergence as a songwriter. After being overshadowed by Lennon/McCartney through most of the Beatles' run, Harrison came into his own as a writer with "While My Guitar Gently Weeps," from 1968's The Beatles (which is better known as The White Album). His 1969 ballad "Something" became one of the Beatles' most covered songs ever, topped only by McCartney's "Yesterday."

Frank Sinatra recorded "Something" in 1970. As the issue points out, Sinatra often sang the song in concert, introducing it as one of the best love songs ever written. Yet, in doing so, Sinatra often mistakenly credited it to Lennon/McCartney. That's an indication of how strong the Lennon/McCartney "brand" was. (I hope Harrison had a sense of humor about that.)

Two musicians contributed pieces to the issue. Elvis Costello, who collaborated with McCartney on a dozen songs in the late ‘80s, wrote the introduction. Max Weinberg, the drummer for Bruce Springsteen & the E Street Band, wrote a piece about Ringo Starr's greatest drumming performances.

The back page is devoted to statistics. The album with the most songs on the list is The Beatles, with 13. (Of course, as a double album, it had an advantage.) Runners-up are Revolver, with 11 songs on the list; and A Hard Day's Night and Rubber Soul, with eight each.

The issue demonstrates that the Beatles sustained their creativity throughout their short career. The list includes at least a dozen songs from each of their six prime years, 1964 through 1969. The years with the greatest representation are 1965 and 1966, with 17 songs from each year.

The John vs. Paul debate will, no doubt, continue. The debate over which was the greatest group of all time is just about closed.