Frank Sinatra called it the greatest love song of the last fifty years. He also famously, and somewhat hilariously, used to introduce it on stage as his favorite Lennon-McCartney composition.
George Harrison just sat there and took it.
The quiet Beatle had finally outwritten the two most famous songwriters on the planet, and yet, half the world didn't even realize he'd done it. When you look at Something by George Harrison lyrics, you aren't looking at a complicated poetic treatise. You're looking at a guy trying to figure out why he’s so obsessed with someone. It’s hesitant. It’s unsure. It’s perfect.
The Song That Almost Didn't Belong to George
Most people think George wrote this as a grand tribute to his then-wife, Pattie Boyd. Pattie certainly thought so. She said as much in her autobiography, Wonderful Tonight. But George, ever the seeker, used to pivot on that story. Sometimes he'd say it was about her; other times he’d say he was thinking of Krishna or just "love" in a general, ephemeral sense.
The song’s origins are actually kind of messy.
He started writing it in 1968 during the White Album sessions. He was sitting at a piano in Abbey Road while the others were doing something else. The opening line wasn't even his. He pinched "Something in the way she moves" from the title of a James Taylor song. Taylor was signed to Apple Records at the time. George didn't think much of it—he thought it was too simple. He actually offered the song to Joe Cocker first.
Think about that. One of the most iconic songs in history almost became a B-side for a guy from Sheffield because George Harrison was too humble to realize he’d struck gold.
Why the Lyrics Work (Even When They’re Simple)
If you analyze Something by George Harrison lyrics under a microscope, they’re deceptively plain. There are no "marmalade skies" or "newspaper taxis."
It’s just "Something in the way she moves / Attracts me like no other lover."
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It’s conversational. It sounds like something you’d say to a mate at a pub when you’re three pints in and trying to explain why you’re head-over-heels. The brilliance isn't in the vocabulary. It’s in the doubt.
Most love songs are definitive. "I will always love you." "You're amazing." George doesn't do that. He says, "You're asking me will my love grow / I don't know, I don't know."
That’s a bold move.
Most pop stars would never admit they don't know if their love will last. But George was obsessed with the idea of the present moment. He wasn't promising 2060; he was talking about now. That honesty is why the song doesn't feel like a cheesy Valentine’s card. It feels like a real human relationship. It’s vulnerable.
The Bridge That Changes Everything
The "I don't know" section—the bridge—is where the song shifts from a folk ballad into a rock masterpiece. The music gets aggressive. The drums hit harder.
He’s basically saying: Look, I’m sticking around for now. Don't crowd me. It reflects the tension in his life at the time. The Beatles were falling apart. His marriage was complicated. He was discovering Eastern philosophy which taught that attachment is a trap. All of that is baked into those few lines. He isn't just a guy in love; he’s a guy trying to understand the nature of attraction itself.
The McCartney and Lennon Factor
John Lennon said "Something" was the best track on Abbey Road. That’s high praise coming from a guy who wasn't exactly known for handing out compliments to his bandmates. Paul McCartney, on the other hand, gave George the ultimate "backhanded" compliment by contributing what is arguably the greatest bassline in pop history.
If you listen to the isolated bass track, Paul is playing a lead instrument. He’s all over the place.
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Some critics say Paul was trying to upstage George. Others say he was just inspired. Either way, the interaction between the lyrics and that wandering, melodic bassline created a tension that makes the song feel alive. It’s not static. It’s moving.
The Mystery of the "Attracts Me Like a Pomegranate" Version
Here’s a bit of trivia most casual fans miss.
When George was first demoing the song, he couldn't find the right words to finish the opening verse. He was stuck on "Attracts me like..."
John Lennon told him to just say whatever came to mind. "Just say 'pomegranate,'" John suggested. "Whatever comes out, just keep it moving." For a while, the working lyrics were "Attracts me like a pomegranate."
Thankfully, that didn't stick.
But it shows the creative process wasn't this divine lightning bolt. It was a grind. George had to fight for his space on Beatles albums. He was usually limited to two songs per record. When he showed up with "Something," the power dynamic in the band shifted forever. He wasn't just the "kid brother" anymore. He was a heavyweight.
How to Truly Appreciate the Song Today
If you want to understand the impact of Something by George Harrison lyrics, you have to look at who covered it. Elvis Presley. Ray Charles. James Brown. Smokey Robinson.
It’s one of the most covered songs of all time.
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Each artist brings something different to it because the lyrics are a blank canvas. When Ray Charles sings it, it sounds like a soul lament. When Elvis did it in his 1973 satellite special, it was a sweeping, Vegas-style anthem.
The song survives because it’s not tied to 1969. It doesn't mention bell-bottoms or Vietnam or Woodstock. It mentions a "way she moves." That’s timeless.
Modern Interpretations
Even now, in the age of TikTok and streaming, "Something" consistently ranks as one of the most-played Beatles tracks. Younger generations find it through films or their parents' vinyl collections, but they stay for the vibe. It has this "lo-fi" chillness that pre-dates the term by four decades.
Actionable Insights for Music Lovers
To get the most out of this track, don't just stream it on crappy phone speakers.
- Listen to the 2019 Anniversary Mix: Giles Martin (George Martin’s son) did a phenomenal job cleaning up the separation. You can hear the grit in George’s voice and the specific way he slides his fingers across the guitar strings.
- Watch the "Concert for George" version: Shortly after George passed, Paul McCartney performed the song on a ukulele. It starts small and intimate—just like George wrote it—before swelling into a full orchestral arrangement. It’ll give you chills.
- Pay attention to the Cmajor to Cmaj7 transition: If you play guitar, look at the chord progression. The way the chords "descend" while the melody stays hopeful is a masterclass in songwriting. It mimics the feeling of falling—both in love and into doubt.
George Harrison eventually moved on from the song, often getting annoyed that people focused so much on his early work rather than his later, more spiritual solo stuff. But "Something" remains his calling card. It’s the moment the world realized that the guy standing in the shadows of John and Paul was actually a giant in his own right.
Check out the Anthology 3 version if you want to hear it in its rawest form—just George and a guitar. No bells, no whistles. Just a man and a feeling he couldn't quite put into words, even though he ended up writing the perfect ones.
Invest some time in the All Things Must Pass box set next. It’s the natural evolution of the songwriting style George perfected with "Something." It’s where he finally let all those pent-up lyrics out into the world. You’ll see the same DNA: the honesty, the "I don't know" attitude, and that unmistakable slide guitar that sounds like it’s weeping and cheering at the same time.