[8] A cover version by Cliff Bennett and the Rebel Rousers, produced by McCartney, peaked at number six in 1966 in the UK.

[citation needed] Though officially credited to Lennon–McCartney, McCartney was primarily responsible for the writing of the song,[5][6] to which he also contributed lead vocals.

[10] It was recorded at Abbey Road Studios between 7 April and 17 June 1966 and evolved considerably between the first takes and the final version released on album.

[11] The song seems to have been hard to arrange until the soul-style horns, strongly reminiscent of the Stax' Memphis soul and Motown sound, were introduced.

[12] The original version of the track, taped on the second day of the Revolver sessions, featured an arrangement that included harmonium and acoustic guitar, and a partly a-cappella section (repeating the words "I need your love") sung by McCartney, John Lennon and George Harrison.

[13] In the description of author Robert Rodriguez, relative to the "R&B-styled shouter" that the band completed in June, this version was "more Haight-Ashbury than Memphis".

[14] Author Devin McKinney similarly views the early take as "radiat[ing] peace in a hippie vein", and he recognises the arrangement as a forerunner to the sound adopted by the Beach Boys over 1967–1968 on their albums Smiley Smile and Wild Honey.

"[23] Scott Plagenhoef of Pitchfork considers Revolver to be McCartney's "maturation record" as a songwriter in the same way that Rubber Soul had been for Lennon in 1965.

[24] Chris Coplan of Consequence of Sound admires the psychedelic tone of Revolver, but says that this experimentalism renders the more standard pop songs, such as "Got to Get You into My Life" and "Here, There and Everywhere", "seemingly out of place" within the collection.

[25] Musicologist Walter Everett describes "Got to Get You into My Life" as "always ... one of the LP's most popular tracks" due to the success of its cover recordings, the first of which was a 1966 UK top-ten hit by Cliff Bennett and the Rebel Rousers, co-produced by McCartney, and the 1976 single release of the Beatles' original in countries including the United States, Canada, Australia, Germany and Japan.

[17][26] Music critic Tim Riley says the song is the "most derivative cut" on Revolver but nevertheless identifies it as an authentic rhythm and blues track that shows how well the Beatles had mastered the style.

[27] Riley especially praises the song's closing section, introduced by a Harrison guitar break that he describes as "dazzling" in sound and a combination of "crimped energy" and "tasty ornaments", followed by McCartney's vocal interplay with the brass.

[50] Record World said that "Maurice White's signature vocal and instrumental arrangements give extra life to the disc.