When most fans think of John Lennon’s musical footprint, they immediately conjure the revolutionary soundscapes of The Beatles or his provocative solo work. But between those familiar chapters lies a fascinating subplot: the songs Lennon crafted for other artists while still navigating Beatlemania. These shadow hits—songs that carried Lennon’s unmistakable DNA but were voiced by others—offer a unique window into his creative process during the height of the British Invasion.
4. I‘m In Love (The Fourmost, 1963)
Lennon’s knack for crafting songs that played to other groups’ strengths is especially evident in the way he wrote “I’m In Love” for The Fourmost—a Liverpool band whose tight harmonies differed from The Beatles’ own rawer approach. This adaptability was crucial within a vibrant scene teeming with forgotten groups of the 1960s who also contributed to the British Invasion’s unique soundscape.
The Fourmost recorded the track on July 3rd, 1963, at Abbey Road, with George Martin producing. The arrangement features the tight harmonies that were The Fourmost’s trademark, complementing Lennon’s ascending melody line. What’s particularly notable is how this demonstrates Lennon’s ability to tailor material to another group’s strengths. The song feels custom-built for The Fourmost’s vocal blend, like a bespoke suit that wouldn’t quite fit The Beatles’ more ragged harmonic approach. This adaptability shows Lennon wasn’t just writing songs—he was crafting vehicles specifically designed for their drivers.
3. One and One Is Two (The Strangers with Mike Shannon, 1964)
This McCartney-Lennon composition traveled a particularly winding path to release. Originally offered to Billy J. Kramer, who rejected it, the song eventually landed with The Strangers featuring Mike Shannon, becoming their debut single in March 1964.
The song’s mathematical title reflects its straightforward structure—a direct, uncomplicated pop composition that lacks the innovative touches becoming standard in Beatles recordings by 1964. This simplicity explains why it found a home with a lesser-known act rather than one of Epstein’s premier artists. “One and One Is Two” functions as a time capsule of early Lennon-McCartney commercial songwriting—the type of material they were rapidly outgrowing. It’s like finding an early sketch from a master painter who would soon abandon representational art for experimental forms—valuable precisely because it shows the creative journey’s starting point.
2. Bad To Me (Billy J. Kramer with The Dakotas, 1963)
Lennon penned “Bad To Me” during a Spanish holiday in 1963, and the track became Billy J. Kramer’s first UK number one single that July. The song showcases early Lennon hallmarks—a deceptively simple melody masking emotional complexity, with a bridge that elevates the entire composition.
The recording session on July 1st, 1963, at Abbey Road’s Studio Two, captured the track in just two takes with George Martin producing. During this period, the UK charts were a battlefield of British Invasion acts, making Kramer’s #1 achievement particularly impressive. What makes this track fascinating is how it represents the road not taken for The Beatles themselves. “Bad To Me” stands as a poignant reminder of Lennon’s early melodic gifts—tracks that, had they remained with The Beatles, might have reshaped our sense of their catalog. For more musical gems from this prolific era, revisit these underrated 1960s songs that deserve another listen.
1. I’ll Keep You Satisfied (Billy J. Kramer with The Dakotas, 1963)
This McCartney-Lennon composition traveled a particularly winding path to release. Originally offered to Billy J. Kramer, who rejected it, the song eventually landed with The Strangers featuring Mike Shannon, becoming their debut single in March 1964.
“I’ll Keep You Satisfied” was actually recorded by Billy J. Kramer with The Dakotas and released as a single in late 1963. It reached #4 on the UK charts, marking another hit for the duo and showcasing Lennon’s knack for writing accessible, catchy pop. The song’s memorable hook and polished arrangement made it a favorite among fans of the era, further highlighting Lennon’s ability to craft hits for others.
