25 songs by the Beatles to have with you on a desert island

As far as the records show, and if you include the recent combo song “Now and Then” (a very good one at that), there are 214 songs officially released by The Beatles.

Of course, there are music fans out there who would debate whether The Beatles were the best band ever, but one thing that is probably beyond debate is that they were the most influential.

One of the reasons might be the fact that, like every artists out there, they had songs that were flukes, but out of the 214 songs, they probably have the least flukes around.

25 songs by the Beatles to get you through if you are stranded on a desert island

So how would you chose the best out of these, which would be the ones that you would take to a desert island with you, the ones that would be so hard to live without? Some would take all of them, some only a few, but here are 25 of them that everybody should have around.

“A Hard Day’s Night,” A Hard Day’s Night (1964)

The moment you hear that introductory guitar twang by George Harrison as this gem opens (title by Ringo, by the way), you know you are in for something special. With all the pop hits that came before it, this one was a true sign that The Beatles are really turning into something special.

“You’ve Got to Hide Your Love Away,” Help! (1965)

Another album, another film soundtrack, and a true sign that The Beatles can write any type of modern song you like. The McCartney/Lennon songwriting combination was coming into full swing with each of them putting a special personal stamp on a song where they did the main part of writing. Lennon doing it here.

“Ticket to Ride,” Help! (1965)

Here The Beatles become their own masters of perfectly crafted songs, that hardly any band at the time (and so many after that) were so hard to follow. There is just a perfect low to this song, whether it was the instruments, vocal harmonies, or lyrics, yo name it.

“Day Tripper,” single (1965)

In many ways, this was a further development of the songs presented on Help! probably written in the same period, with vocal harmonies going in all directions and guitar touches that were copied over a million times by others and lyrics showing the songwriting flourishing further.

“In My Life,” Rubber Soul (1965)

One of the best ballads Lennon/McCartney wrote, coming from the first of The Beatles’ trio of perfect albums. Lennon leads the way here, making this possibly the best ballad where he is the main songwriter, and possibly one of the best ballads around, period.

“Nowhere Man,” Rubber Soul (1965)

The Beatles as social commentators, without any complicated words and some intricate musicianship that show how far they developed as musicians, and quite an incredible sound of the song as a whole. The brilliance shines.

“Norwegian Wood (This Bird Has Flown),” Rubber Soul (1965)

The Beatles go abstract with the lyrics with a subtle sitar as a perfect touch. Lennon at his songwriting best and the band as a whole showed their inimitable mastery (no matter how many attempted it).

“Paperback Writer,” single (1966)

The Beatles had quite a few songs that never ended up on one of their original albums, this one being one of them. Whatever the reason was, it didn’t matter, as this one could be credited as the keystone in the creation of the power pop sub-genre.

“Rain,” single (1966)

Another, practically perfect song that was originally released as a single and a true sign of the band immersing themselves into psychedelia. It was even a B-side to “Paperback Writer,” making it one of the best singles with two perfect songs ever.

“I’m Only Sleeping,” Revolver (1966)

Lennon at his psych best, with that lazy, morning stretching sound that so many tried to capture, but rarely so good as it was done here. Brilliant use of backward-recorded guitars and other touches showing that The Beatles were becoming masters of the studio

“She Said, She Said,” Revolver (1966)

A song with some incredible touches that make it so great. A guitar sound other bands would kill for and Lennon’s post-modern lyrics that include an acid-infused remark Peter Fonda made to him: “I know what it’s like to be dead…”

“Here, There and Everywhere,” Revolver (1966)

If Lennon was showing his best on “Revolver,” so was McCartney, coming up with one (if not THE one) of his best ballads. A truly complex song, that has such an easy, unsurpassed flow, with Harrison coming up with some incredible guitar licks too.

“Penny Lane,” single (1967)

This one, a true McCartney masterpiece (and its Lennon single masterpiece pair), forms the best single ever released in pop/rock music. McCartney at his arranging best, made this song another sub-genre keystone, this time for baroque pop.

“Strawberry Fields Forever,” single (1967)

Lennon at his psychedelic best, not only musically but lyrically too, with some incredible studio mastery, unprecedented at the time, and not so easy to create even today. But it is the songwriting genius that shines so brightly here.

“A Day in the Life,” Sgt. Pepper’s Lonely Hearts Club Band (1967)

Possibly the best joint Lennon/McCartney song with shared vocals and the crown of one of the best albums in rock music so far. It is a perfect song in every respect, from songwriting to instrumentation, dual vocals, and recording touches that remain unsurpassed to this day.

“I Am the Walrus,” Magical Mystery Tour (1967)

Recorded for one of the most psychedelic films around for which many still have their doubts presents Lennon at his most out-there, but still coming out with something that just gets stuck in your mind, and one of the most memorable moments of the film and the album itself.

“Hello, Goodbye,” Magical Mystery Tour (1967)

A perfect example of McCartney coming up with a brilliant song out of practically nothing - a simple song structure and seemingly nonsensical lyrics which he turns into something totally complex, intriguing and brilliant.

“I Will,” The Beatles (“The White Album”) (1968)

By this time it seems the band as a group was slowly turning itself into a collective of individual artists, but judging by this one and almost all from the self-titled double album, a collective of brilliant individual artists.

“While My Guitar Gently Weeps,” The Beatles (“The White Album”) (1968)

George Harrison brought in Eric Clapton to play guitar on this, one of his best songs for the band, and almost got replaced by Clapton. Yet, it was Harrison’s song itself that Brough out best in Clapton, making this song one of the highlights of the album.

“Dear Prudence,” The Beatles (“The White Album”) (1968)

Many doubted the effects of The Beatles' trip to India and visit to Maharishi Mahesh, yet this  Lennon song devoted to Prudence Farrow, Mia Farrow’s sister) who was part of the same trip just might prove that it resulted in some great songs like this one.

“Because,” Abbey Road (1969)

The later accounts let us know that by the time this was recorded the band members were already drifting apart, but this song and the album it came from hardly show that, with vocal harmonies so sweet and soaring here, that they were hardly matched then or later on.

“Come Together,” Abbey Road (1969)

John Lennon was a true rock man and remained as such throughout his career, here coming up with one of his best true rock songs. Brilliant songwriting, singing, effects, you name it.

“Here Comes the Sun,” Abbey Road (1969)

This is where George Harrison shows that he might have developed his songwriting a bit slower than the band’s songwriting duo and that as time passed he possibly deserved to have more of his songs present on the album, as this was one of Abbey Road’s highlights

“Across the Universe,” Let It Be (1970)

Lennon might have been a rocker at heart, but he had a practically impeccable way with ballads no matter what, this one is one of the best he came up with. The visit to India comes with its best influence here.

“The Long and Winding Road,” Let It Be (1970)

McCartney at his complex songwriting and arranging best Phil Spector or no Phil Spector, and some of his most passionate vocals with the band. In many ways a fitting goodbye (with a hello) from The Beatles.

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