One of the more unlikely twists in the Beatles saga—even after it was clear by late 1964 that the group was the real damn deal—was that George somehow did the not just improbable but damn near impossible and managed to become a legitimate songwriting peer of the greatest pair of songwriters in rock history. By the time of the White Album and Abbey Road it was undeniable—you can't seriously argue "Something" and "Here Comes the Sun" aren't the equal, at the very least, of anything else on that brilliant album—and yet for my money, with the handy benefit of 20/20 hindsight, it was clear far earlier, when his finest Rubber Soul song stood proudly shoulder to shoulder with the likes of such masterpieces as "Norwegian Wood," "Nowhere Man," and "Girl" and quite frankly showed "Michelle" up.
And the lads required all of one take for the basic track, and then about an hour the next session to add all the vocals. I mean just stop it. There's being the best and then there's just rubbing it in.
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