Harper Hall
12 Songs You Didn’t Know Were Written by the Beatles
Most people know the Beatles for their own classic hits, but what many fans don’t realize is that John Lennon, Paul McCartney, and George Harrison wrote songs for plenty of other artists too.
From pop stars to rock bands, the Beatles quietly shaped the sound of the 1960s far beyond their own recordings.
Some of these songs became massive hits, while others are hidden gems waiting to be discovered.
Get ready to hear some familiar tunes in a whole new way.
1. I Wanna Be Your Man by The Rolling Stones (1963)
Before the Rolling Stones were rock legends, they got a helping hand from the Beatles.
Lennon and McCartney literally finished writing this song in front of the Stones, handing it over on the spot.
That kind of generosity was rare in the music business.
The track became one of the Stones’ earliest singles and gave the band a much-needed boost during their climb to fame.
It showed that the Beatles weren’t just focused on their own success.
They genuinely wanted to lift up other British acts around them, sharing their songwriting gifts freely and confidently.
2. Come and Get It by Badfinger (1969)
Paul McCartney recorded a near-perfect demo of this song and then handed it to Badfinger with one clear instruction: play it exactly like this.
The band followed his direction closely, and the result was a crisp, catchy pop hit that climbed the charts quickly.
What makes this story fascinating is how McCartney essentially gift-wrapped a hit song for another group.
Badfinger was signed to the Beatles’ own Apple Records label, so there was a real family connection.
The song was also featured in the film “The Magic Christian,” giving it extra visibility right from its release.
3. Bad to Me by Billy J. Kramer with the Dakotas (1963)
John Lennon reportedly wrote this song while on holiday, dashing it off quickly as a favor to fellow Liverpool artist Billy J. Kramer.
Despite being written so casually, it became a chart-topping hit in the UK during the peak of Beatlemania.
George Martin produced the track, giving it that polished Merseybeat sound that audiences absolutely loved at the time.
Kramer’s smooth vocal style worked perfectly with the upbeat melody Lennon had crafted.
It’s a great reminder that even a quickly written song, when built on real talent, can connect deeply with listeners and stand the test of time.
4. Love of the Loved by Cilla Black (1963)
Long before Cilla Black became a beloved TV presenter, she was a rising pop singer from Liverpool with powerful vocal chops and a bright future.
Lennon and McCartney had actually performed this song themselves during early Beatles stage shows before passing it along to her.
Giving away a song they had already road-tested was a real act of confidence in Cilla’s talent.
It became her debut single and set her career in motion.
The song has a lively, optimistic energy that matched her bubbly personality perfectly.
Without this Lennon-McCartney connection, her story might have looked very different.
5. Step Inside Love by Cilla Black (1968)
McCartney wrote this song specifically as a TV theme, which makes it stand out from most pop hits of the era.
It was crafted to open Cilla Black’s BBC variety series, and its warm, welcoming melody did exactly what a theme song should do: it pulled viewers right in.
The track has a lounge-jazz smoothness that feels almost timeless, different from the typical bubbly pop of the period.
McCartney reportedly wrote it quite quickly, but you would never guess from how polished it sounds.
It became one of Cilla’s most recognized recordings and remained associated with her for decades afterward.
6. A World Without Love by Peter and Gordon (1964)
McCartney actually wrote this one as a teenager and originally thought it wasn’t good enough to record.
John Lennon reportedly called it silly, yet somehow it became a worldwide No. 1 hit.
Sometimes the songs you doubt the most surprise everyone.
Peter Asher, one half of the duo, was the brother of McCartney’s then-girlfriend Jane Asher, which is how the song landed in their hands.
Peter and Gordon took the track and turned it into a transatlantic smash, topping charts in both the UK and the United States.
It proved the Lennon-McCartney name carried serious commercial power even when attached to other artists.
7. Goodbye by Mary Hopkin (1969)
Mary Hopkin had already scored a massive hit with “Those Were the Days” when McCartney sat down and wrote her this follow-up.
He clearly had a feel for her voice and crafted something that suited her airy, delicate style beautifully.
“Goodbye” hit the top of the charts in several countries, proving that McCartney’s outside songwriting was just as sharp as anything he wrote for the Beatles.
Hopkin was signed to Apple Records, and McCartney took a personal interest in developing her career.
The song has a bittersweet charm that still feels fresh and emotionally honest more than fifty years later.
8. Sour Milk Sea by Jackie Lomax (1968)
George Harrison wrote this track after returning from studying Transcendental Meditation with Maharishi Mahesh Yogi in India.
The lyrics carry a spiritual message about finding peace within yourself rather than seeking it through drugs, which was a bold statement for 1968.
What makes this recording even more special is that several Beatles played on it alongside Jackie Lomax.
Harrison, McCartney, and others contributed their talents to the session.
Despite having such impressive backing, the single didn’t perform well commercially.
Still, it remains a fascinating piece of Beatles history and a window into Harrison’s evolving spiritual worldview during one of music’s most experimental periods.
9. That Means a Lot by P.J. Proby (1965)
The Beatles actually recorded this song themselves but couldn’t get a version they were happy with.
After multiple attempts in the studio, they decided to hand it off rather than let it disappear completely.
That decision turned out to be the right one.
P.J. Proby gave the song a dramatic, emotional delivery that suited its heartfelt lyrics perfectly.
His version became a respectable hit in the UK, showing that even a rejected Beatles recording could find new life with the right singer.
It’s a rare peek behind the curtain at the songs that almost made it onto a Beatles album but never did.
10. I’ll Be on My Way by Billy J. Kramer with the Dakotas (1963)
This is one of the quieter, more tender songs the Lennon-McCartney team produced during their incredibly productive early years.
Written for Billy J. Kramer, it showcases a softer, more reflective side of their songwriting that sometimes gets overlooked in favor of their bigger, bolder hits.
It appeared as the B-side to “Do You Want to Know a Secret,” which meant it reached a wide audience without needing its own promotional push.
Kramer’s warm vocal tone suited the song’s gentle farewell theme perfectly.
The track is a small but charming example of how versatile Lennon and McCartney were, even at the very start of their careers.
11. It’s for You by Cilla Black (1964)
Lennon and McCartney wrote this one with Cilla Black’s big, expressive voice specifically in mind.
It has a dramatic, almost theatrical quality that sets it apart from the lighter pop songs of the time.
George Martin produced it, giving the track a lush, orchestrated feel.
The song climbed into the UK Top 10 and helped solidify Cilla’s reputation as one of Britain’s most capable pop vocalists.
There’s a real emotional weight to the melody that pushes beyond typical early-1960s pop territory.
Hearing it today, you can understand why the Beatles trusted her with such a rich, mature composition so early in her career.
12. Hello Little Girl by The Fourmost (1963)
John Lennon wrote this song when he was still a teenager, making it one of the earliest compositions ever linked to his name.
The Beatles actually performed it themselves during their early club days before eventually passing it to fellow Liverpool act The Fourmost.
The Fourmost took it straight into the UK Top 10, which was a remarkable achievement for any debut single.
There’s a playful, almost cheeky charm to the song that feels very true to the young Lennon’s personality.
Knowing it was written by a teenager makes the song’s commercial success even more impressive and speaks to the raw, natural talent Lennon had from a very young age.
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