John Lennon released a trio of experimental records before the dawn of the ’70s, but his solo legacy really began after the Beatles split.
There would be just 10 short years before an assassin’s bullets cut short his life and solo career. Fewer than 10 proper songs emerged after that awful day, first on 1984’s gold-certified Milk and Honey and then on posthumous collections like 1986’s Menlove Ave. and 1998’s Anthology.
So, the balance of his 72-song solo career happened in an incredibly short amount of time. Lennon released six albums over five years through 1975, beginning with 1970’s Plastic Ono Band, but 1975’s Rock ‘n’ Roll didn’t include any new songs. Double Fantasy arrived just weeks before Lennon was gunned down in 1980.
READ MORE: Top 10 Beatles Guitar Solos Not By George Harrison
His best-selling album, 1971’s multi-platinum Imagine, was followed by the gold-selling Mind Games in 1973 and Walls and Bridges in 1974. Only 1972’s newsy, overtly political Some Time in New York City sold fewer than a half million copies in the U.S. – and it still nearly broke the Top 10 in Lennon’s native U.K.
We surveyed it all in the following list, which ranks all 72 John Lennon solo songs. The only tracks that have been left aside are covers, meandering Frank Zappa jams, experimental sounds and the pointless “Nutopian International Anthem” – which is, after all, only a few moments of dead silence.
No. 72. “My Mummy’s Dead”
From: Plastic Ono Band (1970)
We all grieve in our own unique ways. But this was just creepy.
No. 71. “Beef Jerky”
From: Walls and Bridges (1974)
This loose jam preceded the main album sessions. It’s only a friendly pastiche, with references 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)
One of just two songs on Some Time in New York City where Lennon didn’t share a writing credit with Yoko Ono, “John Sinclair” underscores the problem with this album’s determined focus on the news of the day. Decades later, Sinclair has probably been forgotten by most – well, except some trusty Wikipedia editor.
No. 69. “The Luck of the Irish”
From: Some Time in New York City (1972)
His heart was in the right place. Lennon clearly felt a kinship with his distant Irish relatives during contemporary clashes between the British Army and protestors in Northern Ireland. That led to not one but two songs on this theme for Some Time in New York City. Neither added much to the debate.
No. 68. “Scared”
From: Walls and Bridges (1974)
Lennon was reaching for the kind of raw emotion that made Plastic Ono Band such a statement of purpose. He didn’t get there with the too-repetitive “Scared.” A hard-living period away from Ono, dubbed the Lost Weekend, was taking its toll.
No. 67. “Sunday Bloody Sunday”
From: Some Time in New York City (1972)
“Sunday Bloody Sunday” dealt with an issue of more historical relevance than the rest of this spotty LP, but Lennon didn’t construct the best vehicle for his message. He was having trouble reconciling his own stance as “The Troubles” continued: “If it’s a choice between the IRA or the British army, I’m with the IRA,” Lennon said back then. “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 instantly dated song, written in support of Black Panther follower Angela Davis after she’d been arrested in connection to the murder of a California judge, started in a much different place: The original demo was called “JJ” and followed the tribulations of a woman who “couldn’t get laid at all.” Davis had already been acquitted before the LP arrived.
No. 65. “Well Well Well”
From: Plastic Ono Band (1970)
Amid a struggle to make sense of the loss of his mother and his band, the complicated politics of the day and a serious drug habit, Lennon decides to scream it out.
No. 64. “God Save Oz”
From: Anthology (1998)
Another song where you’ll need Google. In 1971, an underground London newspaper called Oz was facing obscenity charges. Lennon recorded this obscure single in support of their defense fund, but then erased his guide vocal over issues with his label. The Anthology set finally restored it.
No. 63. “Attica State”
From: Some Time in New York City (1972)
Another Lennon song that’s too rooted in its moment.
No. 62. “I Don’t Want to Be a Soldier”
From: Imagine (1971)
Lennon began sessions for Imagine on a tear, recording this rather unlistenable anti-war screed and the rumbling “It’s So Hard” before settling into a more pop-focused frame of mind.
No. 61. “Oh Yoko!”
From: Imagine (1971)
Lennon took inspiration from childhood favorite Lonnie Donegan’s “Lost John” while playing guitar during the Beatles’ early 1968 sabbatical with Maharishi Mahesh Yogi – then completed this tribute to Ono a few years later with a uniquely Lennon-esque lyrical approach: Everything happens in the middle.
No. 60. “Dear Yoko”
From: Double Fantasy (1980)
Lennon returns to familiar ground with another song explicitly dedicated to Ono, just as he had almost 10 years before on Imagine. Guitarist Hugh McKraken made key contributions as they completed the music, adding four different harmonicas.
No. 59. “You Are Here”
From: Mind Games (1973)
Lennon reached out to Ono with “You Are Here” despite being on the cusp of a turbulent 18-month separation. Turning Rudyard Kipling’s “East is East and West is West” adage on its ear, he plaintively argues (hopes?) that the twain indeed shall meet again.
No. 58. “Move Over Ms. L”
From: Anthology (1998)
The only stand-alone b-side of Lennon’s career was paired with a cover of “Stand By Me” in 1975 after he removed the song from the running order of Walls and Bridges. “Move Over Ms. L” was originally set to appear between “Surprise Surprise (Sweet Bird of Paradox)” and “What You Got” on Side Two.
No. 57. “Steel and Glass”
From: Walls and Bridges (1974)
Lennon never confirmed who he was referring to in “Steel and Glass,” though the popular working theory was Allen Klein, his erstwhile late-Beatles-era manager. “For sure, it isn’t about Paul,” Lennon once confirmed before adding in a typical verbal joust, “and it isn’t about (one-time Catwoman) Eartha Kitt.”
No. 56. “It’s So Hard”
From: Imagine (1971)
There’s a whiff of tragedy in that typically muscular sax solo from R&B ace King Curtis. He collaborated with Lennon in July 1971 and was stabbed to death that August, just before Imagine arrived.
No. 55. “Rock ‘n’ Roll People”
From: Menlove Ave. (1986)
After years of attempts in the early-’70s, Lennon ended up giving this song away to Johnny Winter for 1974’s John Dawson Winter. A Lennon version wouldn’t arrive until six years after his death, combining portions of two takes recorded in August 1973.
No. 54. “Remember”
From: Plastic Ono Band (1970)
Lennon dug out the melody from an unrecorded song called “Across The Great Water” during sessions around his 30th birthday, then the rhythm section of Ringo Starr and Klaus Voorman caught an aquifer-deep groove. The take went to a staggering eight minutes, so Lennon found a choice spot and cut it off with a perfectly placed explosive sound effect.
No. 53. “Intuition”
From: Mind Games (1973)
Lennon doesn’t usually do sunny optimism. The rather saccharine “Intuition” hints at why.
No. 52. “What You Got”
From: Walls and Bridges (1974)
An answer song to Little Richard‘s “Rip It Up,” which Lennon would later update for 1975’s Rock ‘n’ Roll. Except this is from the viewpoint of someone who’s become so detached from their partner that they somehow now dread the weekend.
No. 51. “Woman Is the N—– of the World”
From: Shaved Fish (1975)
As Lennon shed his youthful chauvinism, he kept coming back to something Ono had said not long after they met in 1968 – and that phrase became the controversial title of this song.
No. 50. “Only People”
From: Mind Games (1973)
Lennon is trying for a clarion call toward change, but “Only People” is no anthem. The lyrics are a bit mixed up, too.
No. 49. “Cleanup Time”
From: Double Fantasy (1980)
Lennon had a chuckle with new producer Jack Douglas about how their generation was getting cleaned up. Then it occurred to him that the idea applied to his life as a househusband, too.
No. 48. “I’m Stepping Out”
From: Milk and Honey (1984)
This light-filled song was the first attempted when sessions got underway for Double Fantasy, Lennon’s comeback record after time spent raising his son, Sean. Unfortunately, Lennon never finished the song – and the early take included on the posthumous Milk and Honey is clearly only a rough draft.
No. 47. “Aisumasen (I’m Sorry)”
From: Mind Games (1973)
Lennon reworked an earlier idea titled “Call My Name” to complete one of the saddest, most painfully open songs about his faltering relationship with Ono. The Lost Weekend starts as “Aisumasen (I’m Sorry)” concludes.
No. 46. “(Forgive Me) My Little Flower Princess”
From: Milk and Honey (1984)
Maybe this was for Yoko Ono. Maybe it was for May Pang, Lennon’s mistress during his mid-’70s romantic pause with Ono. What separates “(Forgive Me) My Little Flower Princess” from earlier sentiments like “Aisumasen (I’m Sorry)” is that lithe little groove.
No. 45. “Bless You”
From: Walls and Bridges (1974)
This always sounded like a needed exhale on a sonically overstuffed album. Lennon, then in the midst of his raucous phase away from Yoko Ono, probably needed one in real life, too. Giving himself a moment of introspection, Lennon returned to his estranged wife – though, at this point, only in dreams.
No. 44. “One Day (At a Time)”
From: Mind Games (1973)
“One Day at a Time” sets a tone of duality that plays out elsewhere on Mind Games with songs like “You Are Here.” As Ono drifted further and further from Lennon, he tried to reach out through song. The real world kept getting in the way.
No. 43. “Happy Xmas (War Is Over)”
From: Shaved Fish (1975)
“Happy Xmas (War Is Over)” started as the theme of a quixotic anti-war billboard campaign during the Vietnam era, then become an unlikely modern holiday standard. Oddly enough, it failed to chart upon release.
No. 42. “Meat City”
From: Mind Games (1973)
The wild-eyed rocker “Meat City” was made all the more surprising by its placement at the end of such a contemplative album. As the track careens to a halt, Lennon can be heard saying, “Who is that – who is that and why are they doing those strange things?”
No. 41. “Here We Go Again”
From: Menlove Ave. (1986)
Not much came out of Lennon’s ruined sessions with a whacked-out, gun-toting, now deeply paranoid Phil Spector. They managed to co-compose the leftover but could only salvage three Spector-produced songs for Lennon’s Rock ‘n’ Roll album. “Here We Go Again” wouldn’t surface until after Lennon’s death.
No. 40. “Nobody Loves You (When You’re Down and Out)”
From: Walls and Bridges (1974)
Exiled on the other side of the country from Yoko Ono, Lennon finally opened himself to the fear of isolation he once angrily confronted on Plastic Ono Band. But without the closed-fist bravado that marked Lennon’s recordings of five years before. Instead, he submits to the emotions sparked by endings.
No. 39. “Bring on the Lucie (Freda Peeple)”
From: Mind Games (1973)
Though it appeared on Mind Games, this song grew out of a 1971 demo that heralded Lennon’s bumpy ride toward more radical politics. “Bring on the Lucie (Freda Peeple)” was broadly topical and very sharp witted, however, and that couldn’t be more different than what later arrived on Some Time in New York City.
No. 38. “Borrowed Time”
From: Milk and Honey (1984)
The island influences on this posthumous U.K. Top 40 single reflect its roots in a trip to Bermuda that Lennon took before sessions began for Double Fantasy. Reggae and ska had been major influences earlier his career, but Lennon and his bandmates were still struggling to capably replicate those sounds on this unfinished version. A deranged murderer made sure he never would.
No. 37. “Whatever Gets You thru the Night”
From: Walls and Bridges (1974)
At this point, Lennon’s flinty solo career hadn’t yet produced a No. 1 single. He broke the spell with a song inspired by a cribbed phrase from TV – this time after channel surfing into a late-night evangelist. Lennon’s friend Elton John was so confident the song would hit that he made a now-famous bet that led Lennon to an historic concert performance.
No. 36. “Tight A$”
From: Mind Games (1973)
Lennon cuts loose a little after the temporal didactics of Some Time in New York City. It seems T-Rex helped him get there.
No. 35. “Old Dirt Road”
From: Walls and Bridges (1974)
Lennon’s Lost Weekend shenanigans with Harry Nilsson sometimes came to a very bad end. Even the album they produced together during this era, Nilsson’s Pussy Cats, has its share of questionable moments. Then there’s “Old Dirt Road.” Lennon didn’t think much of this Nilsson co-written deep cut, but it’s a delightful little reverie. Nilsson must’ve thought so, too: He recorded his version for 1980’s Flash Harry, the last studio LP released in Nilsson’s lifetime.
No. 34. “Crippled Inside”
From: Imagine (1971)
What if Lennon had recorded Plastic Ono Band while still in the teenaged thrall of rockabilly. You’d have “Crippled Inside.”
No. 33. “I Know (I Know)”
From: Mind Games (1973)
As Lennon’s relationship with Ono began to falter, he offered a mea culpa in song not unlike “How?” and “Jealous Guy” from Imagine. Curiously, he also might have been reaching out to someone else with whom he was estranged: Paul McCartney debuted his new band Wings with 1971’s Wild Life, and the track list included a song called “Some People Never Know.” The opening riff on “I Know (I Know)” also strongly resembles “I’ve Got a Feeling” from the Beatles’ Spector-produced Let It Be.
No. 32. “Give Peace a Chance”
From: Shaved Fish (1975)
Lennon subsequently made an ill-advised detour into more stringent politics, brushing aside the easy brilliance of more suggestive songs like this one. (“It wasn’t like ‘You have to have peace!’” he told David Scheff. “Just give it a chance.”) He was joined by a cast of dozens on the second-to-last day of his 1969 bed-in for peace in Montreal.
No. 31. “Hold On”
From: Plastic Ono Band (1970)
As tough and scarred and fragile as Plastic Ono Band could be, Lennon cracked the curtains here and there for a few badly needed shards of sunlight in the gloom.
No. 30. “Going Down on Love”
From: Walls and Bridges (1974)
As with “Surprise, Surprise” from elsewhere on Walls and Bridges, “Going Down on Love” started out much differently. Early versions matched the gritty stripped-down honesty of 1970’s Plastic Ono Band. Then Lennon started adding parts, most notably a tough little horn section. A song that was once this bleak exploration of the drama surrounding his love life was transformed – in sound, anyway. A check of the lyric sheet confirms that a directionless Lennon was standing at the very edge of an emotional abyss.
No. 29. “New York City”
From: Some Time in New York City (1972)
Lennon put down the daily paper and put away the activist bromides long enough for a pretty awesome Chuck Berry-inspired ode to his new hometown.
No. 28. “Cold Turkey”
From: Shaved Fish (197t5)
Lennon descended into heroin addiction during the White Album era, only clawing his way back after the Beatles were thudding to a halt. His harrowing journey is depicted on Lennon’s second solo single.
No. 27. “Mind Games”
From: Mind Games (1973)
What if “I Am the Walrus” had an anti-war thread running through it? You’d have the title track from Mind Games, as Lennon tosses off Lewis Carroll-ish references to “druid dudes” and “mind guerillas” while railing against the ongoing conflict in Vietnam. Lennon’s careful balance of fantasy and message likely helped this single into the U.S. Top 20.
No. 26. “Grow Old With Me”
From: Milk and Honey (1984)
Also written during Lennon’s vacation in Bermuda, “Grow Old With Me” was based on a poem by Robert Browning. Ono had challenged Lennon to write the song after she used a sonnet by the poet’s wife Elizabeth Barrett Browning as inspiration for “Let Me Count the Ways.” Lennon created a rough demo but they were up against a holiday deadline for the release of Double Fantasy, so he left it aside. “Grow Old With Me” would go through a radical shift by the time it was finally released. Instead of looking ahead to a sweetly romantic future, this felt like a devastatingly sad message of lost devotion.
No. 25. “I’m Losing You”
From: Double Fantasy (1980)
There’s a crunchy, kinetic sizzle here, with Lennon looking back at his own alcohol-induced mid-’70s dumbassery. Along the way, we get a deeper sense of how his muse returned, as Lennon began trying to find balance between his vibrant, angry yang to his bread-making house-husband yin.
No. 24. “How Do You Sleep?”
From: Imagine (1971)
Half of the Beatles took part in this savage assault on McCartney, as Lennon made biting references to “Yesterday,” Sgt. Pepper’s Lonely Hearts Club Band and McCartney’s solo hit “Another Day.” So, is “How Do You Sleep?” a low point in their very public post-split bickering? Or one of Harrison’s coolest-ever turns on the slide? Answer: yes.
No. 23. “I Don’t Wanna Face It”
From: Milk and Honey (1984)
The track begins with the smeared sound of a tape machine engaging, perhaps the most powerful reminder that Milk and Honey includes the incomplete, posthumous recordings of a murdered genius. Sadness melts away, though, as Lennon works in antithesis, throws away a bit of ageless wisdom and acts a little silly. The result is a half-chiseled monument to creative rebirth.
No. 22. “Look at Me”
From: Plastic Ono Band (1970)
With its searching questions (“who am I supposed to be?,” “what am I supposed to do?“), this leftover from the Beatles’ White Album era was a match fit for Lennon’s first proper solo album.
No. 21. “Nobody Told Me”
From: Milk and Honey (1984)
Nostalgia had everything to do with this song’s posthumous Top 20 finish, and not just because fans missed the late Lennon. His familiar call-and-response approach (“there’s always something happening, but nothing going on … everybody’s smoking but no one’s getting high”) drew a straight line back to the wordplay whimsy of Lennon’s late-Beatles period.
No. 20. “Out the Blue”
From: Mind Games (1973)
Lennon provided a peek into the mounting panic that surrounded his fracturing relationship with Ono on this often-overlooked ballad: “I was born just to get to you. Anyway I survived, long enough to make you my wife.” He completed things with soaring strings that sounded like a sadder, more honest version of Phil Spector’s cloying arrangement for “The Long and Winding Road.”
No. 19. “Isolation”
From: Plastic Ono Band (1970)
“Isolation” is the flipside of “God,” as Lennon admits deep insecurity surrounding his new post-Beatles existence. At one point, everyone but Starr drops out, and his insistent cadence feels like it’s mimicking Lennon’s terrified arrhythmia.
No. 18. “Imagine”
From: Imagine (1971)
Lennon himself actually nailed it: This song 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” provided another preview of the more political bent heard on Some Time in New York City – but with an approach that was similar to his contemporary demo of “Bring on the Lucie (Freda Peeple).” These weren’t determinedly newsy songs, and they boasted huge, hooky choruses that leveraged universal themes. Unfortunately, this song’s theme was already a bit passe, even though Alan White‘s doggedly aggressive rhythm moves everything along. Lennon later acknowledged that “Power to the People” probably arrived about a decade too late.
No. 16. “Working Class Hero”
From: Plastic Ono Band (1970)
Perhaps because it’s sparked by a Bob Dylan-esque three-chord call for a revolution in thought, Lennon’s sharply ironic asides (“if you want to be a hero well just follow me“) are often lost. It’s a shame because this populist message clearly meant a lot to Lennon, as he did hundreds of takes over several days at Abbey Road. Frustrated with the results, Lennon inserted the “tortured and scared you for 20-odd years” verse from a different take to complete “Working Class Hero.”
No. 15. “God”
From: Plastic Ono Band (1970)
In the album’s most important statement, Lennon blithely pushed aside fallen idols – from Dylan to religion to his old band – flatly declaring that “the dream is over.” He was moving on: After naming and then discarding all of those earlier talismans, Lennon concluded with a quiet affirmation of his love for Yoko Ono.
No. 14. “Oh My Love”
From: Imagine (1971)
Lennon takes a moment between excoriating empty-suited politicians and ex-bandmates to lay bare his tender affections for Ono. “Oh My Love” was the only song on Imagine where she initially earned a co-songwriting credit, though Ono’s name was later added to the title track, too.
No. 13. “Surprise, Surprise (Sweet Bird of Paradox)”
From: Walls and Bridges (1974)
One of the first songs attempted for Walls and Bridges, “Surprise, Surprise (Sweet Bird of Paradox)” might find Lennon at his most carnal. It’s certainly Lennon in one of his happiest moments. Ironically, the earliest demos were dark ruminations, almost like a ’50s lost-love ballad. (Lennon later cited “Little Darlin'” by the Diamonds as an inspiration.) Now overcome with lusty desire, he makes an improvised vocal reference to the Beatles’ “Drive My Car” as “Surprise, Surprise (Sweet Bird of Paradox)” fades.
No. 12. “Beautiful Boy (Darling Boy)”
From: Double Fantasy (1980)
There’s no getting away from the awful headlines that followed – no separating this, even decades later, from Lennon’s fate. He’ll always be 40. So, when Lennon whispers “Good night, Sean, see you in the morning,” it’s like a cold hand closing around any fan’s heart.
No. 11. “How?”
From: Imagine (1971)
A song that thematically wouldn’t have felt out of place on Plastic Ono Band, “How” revealed a similar depth of self-doubt and fear, but presented things – like much of the Imagine project – in a sleeker, more approachable way. That doesn’t mean it was boring: Lennon’s jolting syncopations smartly echo his own insecurities.
No. 10. “Love”
From: Plastic Ono Band (1970)
Lennon deftly paints a mirror-image portrait of two lovers responding to one another, in one of his simplest, most touching lyrics. Interestingly, Phil Spector – not Lennon – plays the similarly elliptical piano part. “Love” actually started out as a guitar-based demo.
No. 9. “Gimme Some Truth”
From: Imagine (1971)
Originally tried during the sessions that produced Let It Be, “Gimme Some Truth” melds Lennon’s love of witty banter with a knack for the excoriating take down. As he rails against the hypocrisy and villainy of the day, George Harrison can be found brutally sawing on his guitar.
No. 8. “Woman”
From: Double Fantasy (1980)
Lennon so rarely returned to core approaches from the Beatles era that it gave new gravitas to rare nostalgic returns like 1974’s unabashedly psychedelic “#9 Dream.” But no Lennon solo song ever had the throwback pop smarts of “Woman,” Lennon’s first posthumously released single. He knew it, too. While recording his vocals, Lennon mused: “I feel like I’m still in the f—ing Beatles with this track.”
No. 7. “Mother”
From: Plastic Ono Band 1970
Lennon switched from guitar to piano as he worked out this tortured wail for his missing parents, with Starr providing a smartly economical and fill-free rhythm that only added to the lyric’s stabbing emotion. Lennon recorded the shredding finale in single-line takes to save his voice. His pain is simply excruciating.
No. 6. “Jealous Guy”
From: Imagine (1971)
One of the most covered Lennon tracks, “Jealous Guy” has been reinterpreted more than 100 times — most notably by Roxy Music, who had a huge U.K. hit with it just after Lennon’s murder. And yet this song still completely belongs to its author, who sang with an unmatched fragility here over an atmospheric music bed.
No. 5. “Watching the Wheels”
From: Double Fantasy (1980)
Lennon was clearly still attempting to come to terms with things as they were – with middle age, with a settled life, with love and work and parenthood. How long could it have been before he was ready to push back, and hard? Unfortunately, we never got to hear his next great rock record.
No. 4. “I Found Out”
From: Plastic Ono Band (1970)
Lennon unleashes a series of kill shots aimed at politicians, drugs, religion (“from Jesus to Paul“), parents, society – you name it – and Starr’s rugged cadence boldly echoes every rebuke.
No. 3. “(Just Like) Starting Over”
From: Double Fantasy (1980)
Lennon hadn’t sounded this openhearted since the early days with the Beatles, neither musically (there’s a welcome nod to the music of his youth) nor lyrically (as he looks unabashedly forward). That sense of renewal, when taken in context, can begin to feel like a huge letdown. Don’t let it. This is joy, sheer joy.
No. 2. “#9 Dream”
From: Walls and Bridges (1974)
Lennon never sounded more like his creative apex with the Beatles in 1967 than he did here. But that certainly wasn’t the intention. In fact, the original demo – simply titled “So Long” – was based on a contemporary string arrangement he’d written for Harry Nilsson’s cover of “Many Rivers to Cross” from Nilsson’s 1974 LP Pussy Cats. Still, the narcoleptic mysticism of “#9 Dream” – Lennon said “ah bowakawa pousse, pousse” actually came to him in a dream – would have fit right in on Sgt. Pepper’s or Magical Mystery Tour – and that’s no small thing.
No. 1. “Instant Karma! (We All Shine On)”
From: Shaved Fish (1975)
Lennon felt certain that he had a hit as soon as this song was completed, so much so that (in keeping with its theme) he was determined to rush “Instant Karma!” out to the general public. The song was written, recorded and released over a period of just 10 days. Lennon would subsequently boast, in only a slight exaggeration, that he “wrote it for breakfast, recorded it for lunch and we’re putting it out for dinner.” Despite that short timeline, it somehow became timeless: “Instant Karma!” was the first Beatles solo song to sell 1 million copies in the U.S.
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Gallery Credit: Nick DeRiso
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