[5] Writer Ian MacDonald describes the song as the first crack in the protective shell Lennon had built around his emotions during the Beatles' rise to fame, and an important milestone in his songwriting style.

The descending lead guitar riff that precedes each verse proved to be difficult, so by take 4 it was decided to postpone it for an overdub.

To guide the later overdub by George Harrison, Lennon thumped the beat on his acoustic guitar body, which can be heard in the final stereo mix.

[14] This film version of the song was only heard on the original VHS releases of the movie, later replaced by the stereo mixes.

It was the fourth of six number 1 singles in a row on the American charts: "I Feel Fine", "Eight Days a Week", "Ticket to Ride", "Help!

The American soundtrack album included a James Bond-type introduction to the song, followed by a caesura just before the opening lyric.

and the honesty it conveyed, he expressed regret that the Beatles had recorded it at such a fast tempo in the interests of giving the track more commercial appeal.

isn't a compromise; it's bursting with vitality … [Lennon] sounds triumphant, because he's found a group of kindred spirits who are offering the very spiritual assistance and emotional support for which he's begging.

Paul's echoing harmonies, Ringo's jaunty drums, the boom of George's guitar speak to the heart of Lennon's passion, and though they cannot cure the wound, at least they add a note of reassurance that he's not alone with his pain.

as a "hard-driving, rollicking ode about a poor lad who loses some of his independence after he becomes involved with a new gal" that is "sure of garnering instantaneous sales acceptance.

Directed by Joseph McGrath, the black-and-white clip shows the group miming to the song while sitting astride a workbench.

According to Ian MacDonald:[8] The song reached number one in several other countries in 1965 according to charts listed in Billboard's "Hits of the World" feature at the time: Australia, Hong Kong, New Zealand, and Sweden.

[64] The song was released in February 1989 as the Red Nose Day single to raise money for Comic Relief.

[66] French said she and Saunders were fans of Bananarama, and researched the sketch by watching interviews and talking to sources close to the band.

[64] After the sketch, Comic Relief decided to get in touch with French and Saunders to ask if they would do a single with Bananarama, so long as the latter would agree to it, which they did "without hesitation".

Two-thirds of money from the sales of the single went to relief work in Africa, with the other third going to fight homelessness and drug and alcohol abuse in the UK and Ireland.

[68][65] This meant it became Bananarama's joint highest-charting song, along with "Robert De Niro's Waiting" and "Love in the First Degree".

For the 7-inch single release in Europe (outside of the UK) and Japan, the sides were switched, with the "Straight Version" of the song on the A-side.

The comedic music video was directed by Andy Morahan[71] and features the members of Bananarama and Lananeeneenoonoo all dressed in matching outfits.

Their choreographed performance of the song is interspersed with scenes of the two groups attempting to ski and ride kick scooters around the film studio.

Several shirtless male backup dancers — credited as Bassie, Norman, and Paul — accompany them as they perform the song.

[71] Lananeeneenoonoo are featured with dialogue in the recording studio, and the production team look on in despair at their attempts at backing vocals.