![\"Paul](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/09\/Paul-McCartney-John-Lennon-Ringo-Starr-George-Harrison-1969-The-Beatles-Far-Out-Magazine-1140x855.jp.jpeg\")
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(Credits: Far Out \/ Alamy)<\/p>\n
Sat 18 October 2025 15:42, UK <\/p>\n
It might feel strange for a band to dislike their own songs, but when you think about it, of course, a quartet of creators wouldn\u2019t equally like everything they made as a group. It won\u2019t take fans of The Beatles<\/a> long to find songs that John Lennon didn\u2019t like. <\/p>\n As much as he may have written phenomenal pieces of work during his time in the Fab Four, Lennon was just as likely to go after one of his songs as he would praise them. Although Lennon remained proud of some of the band\u2019s wilder moments, Paul McCartney wanted no part in one of the group\u2019s final masterpieces.<\/p>\n Then again, McCartney was never one to put down any of his work, even if he thought it was subpar. Throughout most interviews, both then and now, Macca is more than happy to talk about the happy times that he experienced throughout his career, with the lesser moments merely being a footnote in what he was doing.<\/p>\n While making The White Album, McCartney had already become one of the dissenters to Lennon\u2019s constant experimentation. Although McCartney was initially fond of experimentation on albums like Revolver, the cacophony in a song like \u2018Revolution 9\u2019 became too much for him.<\/p>\n Compared to the usual melodicism of Beatles recordings, Lennon\u2019s experiment with Yoko Ono was disapproved by both McCartney and producer George Martin, who thought it shouldn\u2019t have been included on the album. While the band braved the disagreements in the studio, the move to Twickenham Studios to record the beginnings proved disastrous yet again.<\/p>\n Despite the massive creative disagreements between McCartney and George Harrison, the band were still working on the beginnings of a new Lennon tune entitled \u2018I Want You (She\u2019s So Heavy)\u2019. Only containing a few words, the track was considered at the time as a signal that Lennon\u2019s time writing lyrics was coming to an end. It only contains around 13 different words, so it\u2019s not wihtout merit, but Lennon refuted the claim: \u201cA reviewer wrote of \u2018She\u2019s So Heavy\u2019: \u2018He seems to have lost his talent for lyrics, it\u2019s so simple and boring.\u2019 \u2018She\u2019s So Heavy\u2019 was about Yoko. When it gets down to it, like she said, when you\u2019re drowning you don\u2019t say \u2018I would be incredibly pleased if someone would have the foresight to notice me drowning and come and help me,\u2019 you just scream. And in \u2018She\u2019s So Heavy\u2019 I just sang \u2018I want you, I want you so bad, she\u2019s so heavy, I want you,\u2019 like that.\u201d<\/p>\n The finished version of the song on Abbey Road would become The Beatles\u2019 most significant foray into the world of heavy music, featuring a massive fadeout ending with an abrupt cut before flipping the album to the jaunty \u2018Here Comes the Sun<\/a>\u2019.<\/p>\n While the central riff is already harsh, Harrison suggested adding white noise to the final track. Featuring various swooshes of noise, the song\u2019s final seconds see the synthesised sounds almost overtaking the central riff, which reportedly didn\u2019t sit well with McCartney.<\/p>\n![\"The](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/10\/The-reasons-why-John-Lennon-hated-The-Beatles-masterpiece-Abbey-Road.jpg\")
<\/a>Yoko Ono and John Lennon. (Credit: Joost Evers \/ Anefo)<\/p>\n