How the Fab Four’s generosity—and perfectionism—turned their cast-offs into other artists’ biggest hits

The Beatles’ songwriting partnership between John Lennon and Paul McCartney was remarkably prolific, even by the standards of the hit-driven 1960s. Between 1963 and 1966 alone, they released six UK albums, multiple non-album singles, and still had songs left over. This wasn’t just quantity—their hit rate was extraordinary. Nearly everything they touched turned to gold, which meant they had more quality material than they could reasonably use.

This abundance created an unusual problem: what to do with perfectly good songs that weren’t “Beatles songs” because they didn’t quite fit their current direction? Enter Brian Epstein’s stable of artists. The Beatles’ manager represented numerous acts who desperately needed hit material, and the Beatles—particularly in their early years—were happy to help. Sometimes these were older songs from their Hamburg days or Quarrymen era that Paul had lying around. Other times they were newer compositions that simply didn’t feel right for the band’s evolving sound.

Some of the giveaways were written quickly as favors and never seriously considered for Beatles albums. Others were attempted in the studio but abandoned when they couldn’t capture the right feel—a testament to the band’s perfectionism ✨. A few were simply deemed too conventional or not adventurous enough as the Beatles pushed into new sonic territory. What’s remarkable is that these “rejects” became major hits for other artists, proving just how high the Beatles’ standards were for their own work.

Here are the three most significant songs the Beatles gave away and never properly recorded themselves:

1. “World Without Love” 🌍 (Peter & Gordon, 1964) This is probably the most successful Beatles giveaway – it hit #1 in multiple countries. Paul wrote it when he was about 16, and it’s a genuinely great song with a memorable melody. The fact that he considered it not good enough for the Beatles (or just wanted to help Peter Asher, Jane’s brother) is remarkable. It would’ve fit just fine on one of the early Beatles albums. However, Lennon cracked up laughing when he heard Paul’s opening line for the song: “Please, lock me away. …”

2. “Bad to Me” 💔 (Billy J. Kramer, 1963) A Lennon composition that’s quintessentially early Beatles – catchy, melancholic, with that ascending melody in the chorus. It went to #1 in the UK. John apparently wrote it quickly during a Spanish vacation with Brian Epstein. The Beatles recorded a demo, but it’s striking they never properly released it given its quality.

3. “That Means a Lot” 🎹 (P.J. Proby, 1965) This one’s particularly interesting because the Beatles actually tried recording it during the Help! sessions but abandoned it. Paul’s composition has that mid-period Beatles sophistication, and their dissatisfaction with their own version (you can hear it on Anthology) makes this a revealing choice – it shows their perfectionism.

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All The Songs: The Story Behind Every Beatles Release

In this lively and fully-illustrated work, two music historians break down every album and every song ever released by the Beatles, from “Please Please Me” (U.S. 1963) to “The Long and Winding Road” (U.S. 1970).

All the Songs delves deep into the history and origins of the Beatles and their music. This first-of-its-kind book draws upon decades of research, as music historians Margotin and Guesdon recount the circumstances that led to the composition of every song, the recording process, and the instruments used.

Here are five strong honorable mentions for Beatles songs given to other artists:

1. “Step Inside Love” (Cilla Black, 1968) Paul wrote this specifically for Cilla Black’s TV show theme, and it became a UK Top 10 hit. It’s quintessential late-60s McCartney—melodic, optimistic, with that music hall influence he loved. The Beatles never recorded it, though Paul did perform it live in later years. It would’ve fit beautifully on albums like “The White Album” era.

2. “Goodbye” (Mary Hopkin, 1969) Another Paul composition, written and produced for Mary Hopkin (whom the Beatles discovered on a talent show and signed to Apple Records). It’s a gorgeous, wistful ballad that hit #2 in the UK. Paul played on the recording himself, and the song has that classic McCartney melancholy that made “Yesterday” and “The Long and Winding Road” so powerful.

3. “Come and Get It” (Badfinger, 1969) Paul wrote and demoed this in under an hour during the “Abbey Road” sessions, then gave it to Badfinger with specific instructions on how to perform it. It became their breakthrough hit. The Beatles’ demo (available on “Anthology 3”) shows it was a fully realized McCartney pop gem—he just had no room for it on Beatles albums at that point.

4. “I’m in Love” (The Fourmost, 1963) A Lennon composition from the peak Beatlemania era that went to #17 in the UK. It’s pure early Beatles energy—driving rhythm, catchy hook, harmony vocals. John apparently wrote it quickly as a favor to Brian Epstein, and it captures that 1963 raw excitement perfectly. The Beatles never needed it because they had dozens of similar songs at their disposal.

5. “Love of the Loved” (Cilla Black, 1963) Paul’s first major song donation, written even earlier than the others—possibly during the Cavern Club days. Cilla’s version was produced by George Martin and became her debut single. It’s early McCartney through and through: earnest, melodic, with those ascending chord progressions he favored. The Beatles recorded a BBC version in 1963, but never released it officially.

What’s remarkable about all five of these is that they were genuinely good songs that became hits for other artists—further proof of just how much quality material Lennon and McCartney were generating during those years.