Although Paul McCartney was branching out in his 1966 song lyrics with "Paperback Writer" and "Eleanor Rigby," he was still capable of turning out fairly straightforward love ballads. "Here, There and Everywhere" was his outstanding contribution to that genre on Revolver, and like "Yesterday" and "And I Love Her," had the sound of an instant standard, although it hasn't become quite as well known as those two hits. It has been alleged that the song was inspired by the kinds of material Brian Wilson crafted for the Beach Boys on the classic Pet Sounds album. While that is not corroborated by McCartney's own recollections of its composition (in his autobiography Many Years From Now), there are similarities to the Beach Boys' approach in the clean cut yet complex vocal harmonies. Lyrically, however, it's a cut above the standard not only of much of Pet Sounds, but also of "And I Love Her." The delicacy of the execution is exquisite, the sensual imagery more explicit, the sense of desire and fulfillment tangible. The dramatic opening line -- not repeated, in word and melody, anywhere else in the song à la earlier Beatles tunes like "Do You Want to Know a Secret?" and "If I Fell" -- has an almost philosophical undertone of humility, acknowledging that the singer needs his woman not just to be happy, but also to be a better person. The sunny melody of the verses is counterbalanced nicely by the far more haunting minor modes of the bridge, though the lyrics never approach sadness or anxiety. This track features one of McCartney's highest and more restrained vocals; he eventually said, again in his autobiography, that he was actually trying to sing it in a Marianne Faithfull style (that's mid-'60s Marianne Faithfull, before her voice lowered an octave). It's interesting that the title is not sung until the very end of the song, although the words "here," "there," and "everywhere" figure prominently in the lyrics elsewhere. The most noted performer to cover "Here, There and Everywhere" was Emmylou Harris.