In the period leading up to the 1970s, John Lennon unveiled a series of experimental albums, yet it was after the iconic Beatles disbanded that his true solo legacy began to take shape. The unfortunate reality is that just ten years later, his vibrant life and burgeoning solo career were tragically cut short by an assassin’s gunfire. Following that devastating day, only a handful of tracks—fewer than ten—were released, appearing first on the 1984 gold-certified album Milk and Honey, and subsequently in posthumous collections such as 1986’s Menlove Ave. and 1998’s Anthology.

The majority of his illustrious 72-song solo catalog was created within a remarkably brief timeframe. Between 1970 and 1975, Lennon released six albums, starting with the groundbreaking Plastic Ono Band in 1970, although his 1975 album Rock ‘n’ Roll featured no new material. The last album he completed, Double Fantasy, was released just weeks before his untimely death in 1980.

READ MORE: Discover the Top 10 Beatles Guitar Solos Not Featuring George Harrison

His most acclaimed work, the 1971 multi-platinum album Imagine, was succeeded by the gold-selling Mind Games in 1973 and Walls and Bridges in 1974. The politically charged Some Time in New York City from 1972 was the only album to sell below half a million copies in the U.S., yet it still managed to nearly break into the Top 10 in the U.K., which is a testament to his enduring popularity.

We have compiled an extensive list to rank all 72 of John Lennon‘s solo songs. The only exclusions are covers, sprawling jams inspired by Frank Zappa, avant-garde pieces, and the utterly superfluous “Nutopian International Anthem,” which consists solely of moments of silence.

No. 72. “My Mummy’s Dead”
From: Plastic Ono Band (1970)

Everyone processes grief in their own distinct manner; however, this track leans towards the unsettling.

No. 71. “Beef Jerky”
From: Walls and Bridges (1974)

This improvisational jam session occurred prior to the main album recordings. It’s merely a light-hearted pastiche, featuring nods to George Harrison‘s “Savoy Truffle” and Paul McCartney‘s “Let Me Roll It.”

No. 70. “John Sinclair”
From: Some Time in New York City (1972)

As one of the few tracks on Some Time in New York City that Lennon wrote without the collaboration of Yoko Ono, “John Sinclair” exemplifies the issue of the album’s concentrated focus on contemporary events. Over the decades, Sinclair has likely faded from public memory—except for perhaps a few dedicated Wikipedia editors.

No. 69. “The Luck of the Irish”
From: Some Time in New York City (1972)

Lennon’s heart was undoubtedly in the right place. He felt a deep connection to his Irish heritage during the turbulent times marked by conflict between the British Army and protesters in Northern Ireland. This sentiment inspired not one, but two tracks on Some Time in New York City, neither of which contributed significantly to the ongoing dialogue.

No. 68. “Scared”
From: Walls and Bridges (1974)

In “Scared,” Lennon sought to evoke the raw emotions that made Plastic Ono Band such a powerful statement. However, the repetition in the track detracted from this goal. The effects of his tumultuous period, known as the Lost Weekend, were clearly evident.

No. 67. “Sunday Bloody Sunday”
From: Some Time in New York City (1972)

This track tackled a subject with historical significance, unlike much of the rest of this uneven album. Unfortunately, Lennon struggled to articulate his stance as “The Troubles” unfolded: “If it’s a choice between the IRA or the British army, I’m with the IRA,” he proclaimed at the time. “But if it’s a choice between violence and non-violence, I’m with non-violence.”

No. 66. “Angela”
From: Some Time in New York City (1972)

This song, which has not aged well, was written in support of Angela Davis, a follower of the Black Panther movement who was arrested in connection with the murder of a California judge. Interestingly, the original demo was entitled “JJ” and chronicled the struggles of a woman who “couldn’t get laid at all.” By the time the album was released, Davis had already been acquitted.

No. 65. “Well Well Well”
From: Plastic Ono Band (1970)

Amidst his efforts to process the profound loss of his mother, the dissolution of his band, and the turbulent political climate of the era, coupled with a serious struggle with substance abuse, Lennon opted to express his feelings through raw vocalization.

No. 64. “God Save Oz”
From: Anthology (1998)

This track will likely require some research. In 1971, an underground newspaper in London called Oz faced obscenity charges. Lennon recorded this obscure single in support of their defense fund but later retracted his vocal track due to disputes with his label. The Anthology compilation finally restored the song.

No. 63. “Attica State”
From: Some Time in New York City (1972)

This song is another example of Lennon’s work that is too deeply anchored in a specific moment in history.

No. 62. “I Don’t Want to Be a Soldier”
From: Imagine (1971)

Lennon kicked off the sessions for Imagine with fervor, producing this challenging anti-war anthem alongside the heavy “It’s So Hard” before shifting his focus to a more pop-oriented sound.

No. 61. “Oh Yoko!”
From: Imagine (1971)

Inspired by his childhood favorite, Lonnie Donegan‘s “Lost John,” Lennon crafted this homage to Yoko Ono during the Beatles’ early 1968 retreat with Maharishi Mahesh Yogi and completed it a few years later, employing his signature lyrical style: Everything occurs in the middle of life.

No. 60. “Dear Yoko”
From: Double Fantasy (1980)

Returning to familiar territory, Lennon penned another track dedicated to Ono, reminiscent of his earlier work on Imagine. Guitarist Hugh McKraken made significant contributions to the song’s completion, incorporating four distinct harmonica parts.

No. 59. “You Are Here”
From: Mind Games (1973)

Despite being on the brink of an emotionally tumultuous 18-month separation from Ono, Lennon extended a heartfelt message to her through “You Are Here.” He cleverly reinterpreted Rudyard Kipling’s adage about East and West, expressing a longing for their paths to converge once more.

No. 58. “Move Over Ms. L”
From: Anthology (1998)

The only standalone b-side from Lennon’s career was paired with a cover of “Stand By Me” in 1975 after he decided to exclude it from Walls and Bridges. Initially, “Move Over Ms. L” was intended to follow “Surprise Surprise (Sweet Bird of Paradox)” on the album’s second side.

No. 57. “Steel and Glass”
From: Walls and Bridges (1974)

Lennon never confirmed the identity of the individual referenced in “Steel and Glass,” though speculation points to Allen Klein, his manager during the later Beatles years. “For sure, it isn’t about Paul McCartney,” Lennon once stated in a typical verbal retort, adding lightheartedly that it also wasn’t about Eartha Kitt.

No. 56. “It’s So Hard”
From: Imagine (1971)

There’s a palpable sense of tragedy woven into the powerful saxophone solo by R&B legend King Curtis. He collaborated with Lennon in July 1971 but was tragically murdered that August, shortly before the release of Imagine.

No. 55. “Rock ‘n’ Roll People”
From: Menlove Ave. (1986)

After numerous attempts in the early 1970s, Lennon ultimately gave this song to Johnny Winter for his 1974 album John Dawson Winter. The Lennon version didn’t surface until six years posthumously, merging elements from two takes recorded in August 1973.

No. 54. “Remember”
From: Plastic Ono Band (1970)

Lennon unearthed the melody from an unreleased track titled “Across The Great Water” during the recording sessions around his 30th birthday. The rhythm section, featuring Ringo Starr and Klaus Voorman, created a deeply resonant groove. The take extended beyond eight minutes, prompting Lennon to select a compelling point to conclude with an explosive sound effect.

No. 53. “Intuition”
From: Mind Games (1973)

Typically, Lennon didn’t lean towards sunny optimism, and the somewhat saccharine “Intuition” illustrates why.

No. 52. “What You Got”
From: Walls and Bridges (1974)

This track serves as a response to Little Richard‘s “Rip It Up,” which Lennon would later reinterpret for 1975’s Rock ‘n’ Roll. However, it presents the perspective of someone who has become so distant from their partner that they now dread the arrival of the weekend.

No. 51. “Woman Is the N—– of the World”
From: Shaved Fish (1975)

As Lennon evolved beyond his youthful chauvinism, he revisited a phrase that Ono had shared shortly after their initial meeting in 1968, which ultimately became the provocative title of this song.

No. 50. “Only People”
From: Mind Games (1973)

In an attempt to issue a rallying cry for change, “Only People” falls short of being an anthem. The lyrics exhibit a lack of coherence as well.

No. 49. “Cleanup Time”
From: Double Fantasy (1980)

Lennon shared a light-hearted moment with new producer Jack Douglas about how their generation was undergoing a transformation. He later realized that this notion also applied to his own life as a househusband.

No. 48. “I’m Stepping Out”
From: Milk and Honey (1984)

This uplifting track marked the initial attempt as sessions commenced for Double Fantasy, his comeback album following his time dedicated to raising his son, Sean. Regrettably, Lennon never finalized the song, and the early version included in the posthumous Milk and Honey is unmistakably a rough draft.

No. 47. “Aisumasen (I’m Sorry)”
From: Mind Games (1973)

Lennon reimagined an earlier concept known as “Call My Name” to craft one of the most poignant and vulnerable tracks about his struggling relationship with Ono. The Lost Weekend begins where “Aisumasen (I’m Sorry)” concludes.

No. 46. “(Forgive Me) My Little Flower Princess”
From: Milk and Honey (1984)

This song could have been intended for Yoko Ono or for May Pang, Lennon’s lover during his mid-’70s separation from Ono. What distinguishes “(Forgive Me) My Little Flower Princess” from earlier expressions like “Aisumasen (I’m Sorry)” is its delicate groove.

No. 45. “Bless You”
From: Walls and Bridges (1974)

This track has always felt like a necessary release on an album that was sonically dense. At that time, Lennon, who was in the midst of a tumultuous phase away from Ono, likely needed a moment of introspection in real life, as he returned to thoughts of his estranged wife—albeit only in dreams.

No. 44. “One Day (At a Time)”
From: Mind Games (1973)

“One Day at a Time” establishes a duality that resonates throughout Mind Games with tracks like “You Are Here.” As Ono grew increasingly distant, Lennon sought to reconnect through his music, even as the realities of life kept intervening.

No. 43. “Happy Xmas (War Is Over)”
From: Shaved Fish (1975)

“Happy Xmas (War Is Over)” originated as part of a whimsical anti-war billboard campaign during the Vietnam period, eventually evolving into an unlikely holiday classic. Ironically, it failed to chart upon its initial release.

No. 42. “Meat City”
From: Mind Games (1973)

The exuberant rocker “Meat City” was a surprising addition at the end of such a contemplative album. As the track comes to a close, Lennon can be heard exclaiming, “Who is that – who is that and why are they doing those strange things?”

No. 41. “Here We Go Again”
From: Menlove Ave. (1986)

Little fruitful material emerged from Lennon’s disrupted sessions with a paranoid Phil Spector. They managed to co-write some leftover tracks, salvaging only three Spector-produced songs for Lennon’s Rock ‘n’ Roll album. “Here We Go Again” wouldn’t be released until after Lennon’s death.

No. 40. “Nobody Loves You (When You’re Down and Out)”
From: Walls and Bridges (1974)

In exile from Ono, Lennon opened himself up to the reality of isolation—a fear he had confronted with anger in Plastic Ono Band. However, this time, he approached the subject without the bravado that characterized his earlier recordings. Instead, he surrendered to the emotions surrounding endings.

No. 39. “Bring on the Lucie (Freda Peeple)”
From: Mind Games (1973)

Although this track appeared on Mind Games, it stemmed from a demo created in 1971 that indicated Lennon’s turbulent journey towards more radical political views. “Bring on the Lucie (Freda Peeple)” was broadly topical and sharply witty, contrasting sharply with the content that later emerged on Some Time in New York City.

No. 38. “Borrowed Time”
From: Milk and Honey (1984)

The island influences evident in this posthumous U.K. Top 40 single reflect its origins in a trip to Bermuda that Lennon took before commencing sessions for Double Fantasy. While reggae and ska had profoundly influenced his earlier work, Lennon and his collaborators struggled to effectively capture those sounds in this unfinished track, a challenge that was tragically cut short by a deranged murderer.

No. 37. “Whatever Gets You thru the Night”
From: Walls and Bridges (1974)

At this juncture, Lennon’s solo career had yet to yield a No. 1 single. He broke that streak with a track inspired by a phrase overheard on television after stumbling upon a late-night evangelist. Lennon’s friend Elton John was so confident in the song’s success that he made a famous wager, which led Lennon to an iconic concert performance.

No. 36. “Tight A$”
From: Mind Games (1973)

Following the didactic approach of Some Time in New York City, Lennon loosened up a bit with “Tight A$,” which appears to have been influenced by T-Rex.

No. 35. “Old Dirt Road”
From: Walls and Bridges (1974)

During his Lost Weekend escapades with Harry Nilsson, some experiences culminated in regrettable outcomes. Even the album they collaborated on during this time, Nilsson‘s Pussy Cats, contains its fair share of questionable material. “Old Dirt Road,” however, is a charming little daydream. Nilsson evidently appreciated it too, as he recorded his own version for 1980’s Flash Harry, the last studio LP released in his lifetime.

No. 34. “Crippled Inside”
From: Imagine (1971)

What if Lennon had recorded Plastic Ono Band while still captivated by rockabilly? The result would be “Crippled Inside.”

No. 33. “I Know (I Know)”
From: Mind Games (1973)

As his relationship with Ono began to falter, Lennon delivered a heartfelt apology in song, reminiscent of tracks like “How?” and “Jealous Guy” from Imagine. Interestingly, he may have also been reaching out to another estranged individual: Paul McCartney, who had debuted his new band Wings with the 1971 album Wild Life, which featured a track titled “Some People Never Know.” The opening riff of “I Know (I Know)” bears a striking resemblance to “I’ve Got a Feeling” from the Beatles’ Spector-produced Let It Be.

No. 32. “Give Peace a Chance”
From: Shaved Fish (1975)

Lennon took a regrettable turn towards more rigid politics, overshadowing the effortless brilliance of more subtle songs like this one. (“It wasn’t like ‘You have to have peace!’” he told David Scheff. “Just give it a chance.”) During his famous bed-in for peace in Montreal in 1969, he was joined by a multitude of supporters.

No. 31. “Hold On”
From: Plastic Ono Band (1970)

Despite the heavy themes present in Plastic Ono Band, Lennon managed to let in moments of light, providing essential rays of hope amidst the darkness.

No. 30. “Going Down on Love”
From: Walls and Bridges (1974)

Similar to “Surprise, Surprise” from the same album, “Going Down on Love” began with a far different concept. Early iterations matched the raw honesty of 1970’s Plastic Ono Band. However, as Lennon began to add new elements, particularly a vibrant horn section, the track transformed—what began as a bleak exploration of his love life evolved into a more upbeat sound. Yet, a glance at the lyrics reveals a directionless Lennon teetering on the brink of emotional collapse.

No. 29. “New York City”
From: Some Time in New York City (1972)

Lennon momentarily set aside the daily headlines to craft a magnificent tribute to his new home, drawing inspiration from Chuck Berry.

No. 28. “Cold Turkey”
From: Shaved Fish (1975)

Lennon’s struggle with heroin addiction during the White Album era is vividly portrayed in this harrowing track, which chronicles his arduous journey to recovery following the Beatles’ disbandment.

No. 27. “Mind Games”
From: Mind Games (1973)

Imagine if “I Am the Walrus” contained an anti-war narrative; the result would be the title track from Mind Games, where Lennon weaves whimsical references to “druid dudes” and “mind guerillas,” all while passionately opposing the Vietnam conflict. This intricate blend of fantasy and message likely propelled the single into the U.S. Top 20.

No. 26. “Grow Old With Me”
From: Milk and Honey (1984)

Written during his stay in Bermuda, “Grow Old With Me” was inspired by a poem penned by Robert Browning. Ono had challenged Lennon to create a song after she drew inspiration from a sonnet by Browning’s wife, Elizabeth Barrett Browning, for her own track “Let Me Count the Ways.” Lennon produced a rough demo, but due to a looming holiday deadline for Double Fantasy, he set it aside. When “Grow Old With Me” was eventually released, it took on a heart-wrenching tone, transforming from a hopeful vision of future romance to a profoundly sad reflection on lost love.

No. 25. “I’m Losing You”
From: Double Fantasy (1980)

This track reverberates with vibrant energy, as Lennon reflects on his past alcohol-fueled missteps in the mid-1970s. In the process, he conveys a deeper understanding of his creative resurgence, striving to balance the vibrant, fiery side of himself with his more domestic, nurturing role as a househusband.

No. 24. “How Do You Sleep?”
From: Imagine (1971)

Featuring contributions from half of the Beatles, this cutting critique of McCartney is laced with pointed references to “Yesterday,” Sgt. Pepper’s Lonely Hearts Club Band, and McCartney’s solo hit “Another Day.” The question remains: Is “How Do You Sleep?” a low point in their public post-split feud, or one of George Harrison‘s most impressive slide guitar performances? The answer is both.

No. 23. “I Don’t Wanna Face It”
From: Milk and Honey (1984)

The track opens with the unmistakable sound of a tape machine initiating, serving as a poignant reminder that Milk and Honey features the unfinished, posthumous recordings of a remarkable artist. Yet, any sadness dissipates as Lennon contrasts serious reflections with moments of playful wisdom, resulting in a partially completed tribute to creative renewal.

No. 22. “Look at Me”
From: Plastic Ono Band (1970)

With its probing inquiries (“who am I supposed to be?,” “what am I supposed to do?“), this track, a remnant from the Beatles’ White Album period, fits seamlessly within Lennon’s inaugural solo album.

No. 21. “Nobody Told Me”
From: Milk and Honey (1984)

Nostalgia plays a significant role in this song’s posthumous success, not merely because fans mourned Lennon’s absence. His familiar call-and-response style (“there’s always something happening, but nothing going on … everybody’s smoking but no one’s getting high”) evokes the playful wordplay reminiscent of his late Beatles era.

No. 20. “Out the Blue”
From: Mind Games (1973)

This often-overlooked ballad offers a glimpse into the growing anxiety surrounding Lennon’s crumbling relationship with Ono: “I was born just to get to you. Anyway I survived, long enough to make you my wife.” The song closes with soaring strings that evoke a more melancholic, yet sincere, alternative to Phil Spector‘s lush arrangement for “The Long and Winding Road.”

No. 19. “Isolation”
From: Plastic Ono Band (1970)

“Isolation” serves as the counterpart to “God,” as Lennon openly expresses his insecurities regarding his new life post-Beatles. At one point, every musician except Ringo Starr drops out, and Lennon’s urgent rhythm mirrors his own anxious heartbeat.

No. 18. “Imagine”
From: Imagine (1971)

Lennon encapsulated the essence of this song perfectly: it is “anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic – but because it is sugarcoated, it is accepted.”

No. 17. “Power to the People”
From: Shaved Fish (1975)

“Power to the People” hinted at the more political direction explored on Some Time in New York City, yet presented with a more accessible approach akin to his contemporary demo of “Bring on the Lucie (Freda Peeple).” These songs didn’t dwell on hard news; instead, they featured catchy choruses that tapped into universal themes. Unfortunately, the song’s message had already begun to feel outdated, despite Alan White’s relentlessly energetic rhythm driving it forward. Lennon later admitted that “Power to the People” likely arrived about ten years too late.

No. 16. “Working Class Hero”
From: Plastic Ono Band (1970)

Inspired by a Bob Dylan-esque three-chord call to revolutionize thought, Lennon’s incisive irony often gets overshadowed by his sharp critiques (“if you want to be a hero well just follow me”). It’s unfortunate since this message clearly resonated with Lennon; he recorded hundreds of takes over several days at Abbey Road. Frustrated with the outcome, he included the “tortured and scared you for 20-odd years” verse from a different take to finalize “Working Class Hero.”

No. 15. “God”
From: Plastic Ono Band (1970)

In the most significant statement of the album, Lennon boldly dismisses fallen idols—ranging from Dylan to religion and even to the Beatles themselves—stating that “the dream is over.” He was moving forward: after naming and discarding these earlier symbols, Lennon ends with a quiet assertion of his love for Yoko Ono.

No. 14. “Oh My Love”
From: Imagine (1971)

In between his critiques of superficial politicians and former bandmates, Lennon takes a moment to express his deep affection for Ono. “Oh My Love” is unique in that it’s the only track on Imagine for which she initially received a co-writing credit, although her name was later added to the title track as well.

No. 13. “Surprise, Surprise (Sweet Bird of Paradox)”
From: Walls and Bridges (1974)

One of the earliest songs conceived for Walls and Bridges, “Surprise, Surprise (Sweet Bird of Paradox)” captures Lennon in a state of unadulterated joy. Ironically, earlier demos were more somber and introspective, resembling a ’50s lost-love ballad. (Lennon later cited “Little Darlin'” by the Diamonds as an influence.) Now filled with lustful excitement, he even cheekily references the Beatles’ “Drive My Car” as “Surprise, Surprise (Sweet Bird of Paradox)” fades.

No. 12. “Beautiful Boy (Darling Boy)”
From: Double Fantasy (1980)

It’s impossible to detach this song from the tragic headlines that followed—Lennon will forever be 40. So, when he tenderly whispers “Good night, Sean, see you in the morning,” it feels like a chilling reminder of any fan’s heartbreak.

No. 11. “How?”
From: Imagine (1971)

This track, thematically akin to Plastic Ono Band, exposes a similar depth of self-doubt and fear, yet presents it in a more polished and approachable format, characteristic of much of the Imagine project. However, it remains anything but dull: Lennon’s sharp syncopations cleverly mirror his own vulnerabilities.

No. 10. “Love”
From: Plastic Ono Band (1970)

Lennon skillfully crafts a reflective portrait of two lovers resonating with one another in one of his simplest and most poignant lyrics. Interestingly, it was Phil Spector—not Lennon—who contributed the similarly elusive piano parts. “Love” originally began as a guitar-based demo.

No. 9. “Gimme Some Truth”
From: Imagine (1971)

This track, initially attempted during the sessions that culminated in Let It Be, merges Lennon’s sharp wit with incisive commentary. As he critiques the hypocrisy of his time, George Harrison‘s guitar work provides a raw edge to the narrative.

No. 8. “Woman”
From: Double Fantasy (1980)

Lennon rarely revisited the core sounds of the Beatles era, making nostalgic returns like 1974’s unapologetically psychedelic “#9 Dream” particularly impactful. However, no Lennon solo track matched the pop sophistication of “Woman,” which became his first posthumously released single. He recognized this, exclaiming during recording, “I feel like I’m still in the f—ing Beatles with this track.”

No. 7. “Mother”
From: Plastic Ono Band (1970)

Lennon transitioned from guitar to piano to pour his anguished cries for his absent parents into this heart-wrenching ballad, with Ringo Starr‘s minimalist rhythm adding to the song’s emotional impact. Lennon recorded the powerful conclusion in single takes to preserve his voice, and the resulting raw emotion is simply devastating.

No. 6. “Jealous Guy”
From: Imagine (1971)

This track, one of the most frequently covered of Lennon’s works, has seen over 100 reinterpretations—most notably by Roxy Music, who scored a major U.K. hit shortly after Lennon’s murder. Yet, the song remains firmly within its creator’s domain, as he delivers it with an unparalleled fragility against an atmospheric backdrop.

No. 5. “Watching the Wheels”
From: Double Fantasy (1980)

Lennon was clearly still trying to reconcile various aspects of his life—middle age, stability, love, work, and fatherhood. Just how long could it have been before he was ready to push back against these forces? Unfortunately, we never had the opportunity to witness his next significant rock endeavor.

No. 4. “I Found Out”
From: Plastic Ono Band (1970)

Lennon unleashes a barrage of critiques aimed at politicians, addiction, religion (“from Jesus to Paul“), parents, and society—levying sharp rebukes that Ringo Starr‘s powerful cadence robustly underscores.

No. 3. “(Just Like) Starting Over”
From: Double Fantasy (1980)

Lennon had not sounded this open-hearted since the Beatles’ early days, both musically (with nostalgic nods to his youth) and lyrically (as he unabashedly looks forward). When placed into context, this sense of renewal could evoke a bittersweet feeling. However, it’s essential to embrace the joy that emanates from this track—a celebration of pure happiness.

No. 2. “#9 Dream”
From: Walls and Bridges (1974)

Lennon encapsulated the essence of his creative pinnacle with the Beatles in 1967 through this track, although that was not his intention. The original demo, simply titled “So Long,” was inspired by a contemporary string arrangement he crafted for Harry Nilsson‘s cover of “Many Rivers to Cross” from Nilsson’s 1974 album Pussy Cats. Nevertheless, the dreamlike quality of “#9 Dream”—with the phrase “ah bowakawa pousse, pousse” having reportedly come to him in a dream—would have felt right at home on Sgt. Pepper’s or Magical Mystery Tour—and that’s no small feat.

No. 1. “Instant Karma! (We All Shine On)”
From: Shaved Fish (1975)

Confident that he had produced a hit, Lennon rushed to release “Instant Karma!” to the public in record time. The song was written, recorded, and released within a mere ten days. Lennon would later humorously claim that he “wrote it for breakfast, recorded it for lunch, and we’re putting it out for dinner.” Despite the pressure of that swift timeline, the song has achieved timelessness: “Instant Karma!” became the first solo release by a member of the Beatles to sell 1 million copies in the U.S.

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