A Little Help From the Flip Side
Everyone knows the Beatles’ A-sides—the songs that stormed the charts and rewrote pop history. But here’s the thing: their B-sides weren’t throwaways. Far from it. Flip over those 45s and you’ll find plenty of hidden (and not so hidden) gems.
And just so we’re clear on the rules: we’re only counting official B-sides released in the UK or US. No deep cuts or double A-side tracks sneaking in—only the real flips. Here are the 26 best Beatles B-sides—ranked—straight from the flip side of history.
26: “P.S. I Love You” (B-side of "Love Me Do" UK, 1962)
The Beatles’ very first B-side showed Paul’s hopeless romantic streak from the start. It’s sweet and unpolished, like a love letter scribbled in the margins. Producer Ron Richards famously told Paul, “You can have it as a B-side, but not an A-side.” Fans ended up treasuring it anyway.
The Beatles Love Me Do/PS I Love You 60th Anniversary Special Video, Beatlevinyl85
25: “Ask Me Why” (B-side of "Please Please Me" UK, 1963)
Ask Me Why is the Beatles before the storm—jangly guitars, smooth harmonies, and lyrics dripping with innocence. It’s the sound of a band still climbing, still figuring it out, but already charming enough to win over Britain.
The Beatles - Ask Me Why (1963 Vinyl-Rip, HQ), Random Music Stuff
24: “Thank You Girl” (B-side of "From Me to You" UK/US, 1963)
This one was a direct love note to their fans. Packed with harmonica flourishes and hooks, it’s not groundbreaking, but it made sure audiences knew the Beatles didn’t take their screaming devotion for granted. A thank-you pressed into vinyl.
The Beatles - From Me To You / Thank You Girl - The Retutn, livegigvideo1
23: “I’ll Get You” (B-side of "She Loves You" UK/US, 1963)
On the flip of one of their biggest smashes, I’ll Get You still managed to carve out a place in fan hearts. That hypnotic “Oh yeah!” refrain was made for shouting in concert, a chorus as rowdy as the crowds themselves.
Paul McCartney - I'll Get You, Simon Delorme
22: “This Boy” (B-side of "I Want to Hold Your Hand" UK, 1963)
Three-part harmonies and Lennon’s aching lead gave This Boy an emotional punch few pop groups could touch. John later admitted it was “just my attempt at writing one of those three-part harmony Smokey Robinson songs.” If that was just an attempt, it worked out pretty well.
The Beatles This Boy (1964), Cruisin' FM with Good Time Oldies (GTO)
21: “You Can’t Do That” (B-side of "Can’t Buy Me Love" UK/US, 1964)
Jealousy never sounded so electric. Lennon snarls through the vocal while George’s 12-string riff cuts sharp. The contrast with the sunny A-side is jarring, and that’s exactly why fans loved flipping it over.
The Beatles - You Can't Do That [Festival Hall, Melbourne, Australia], HDBeatles
20: “Things We Said Today” (B-side of "A Hard Day’s Night" UK, 1964)
Paul’s darker side peeked out here, with minor chords and wistful lyrics about love and memory. On the back of a poppy film anthem, it felt like a secret message. The Beatles were already outgrowing the bubblegum.
Paul McCartney - Things We Said Today (Live), Macca Live Archives
19: “I’m Happy Just to Dance with You” (B-side of "I’ll Cry Instead" US, 1964)
George steps into the spotlight, and it’s all about innocence and puppy love. Simple, yes, but that’s what makes it fun. It gave fans another reason to cheer for Harrison long before his full songwriting power kicked in.
18: “Slow Down” (B-side of "Matchbox" US, 1964)
John grabs Larry Williams’ tune and attacks it like it’s 2 a.m. in a Hamburg dive. It’s ragged, maybe even sloppy, but bursting with energy. The raw edge reminds you these guys started as a bar band.
Slow Down - The Beatles, Lorcana Collectors
17: “If I Fell” (B-side of "And I Love Her" US, 1964)
Lennon’s fragile, pleading ballad paired with McCartney’s elegant And I Love Her made for a stunning single. Two future classics for the price of one. US fans must have felt like they’d won the lottery when they flipped this record.
THE BEATLES IF I FELL rare clip from
16: “She’s a Woman” (B-side of "I Feel Fine" UK/US, 1964)
Paul roars like Little Richard, the rhythm drives hard, and suddenly the Beatles sound dirtier than ever. This was a flip built for the stage. No wonder it became a concert staple—McCartney’s voice nearly rips the speakers.
The Beatles - She's A Woman (Music Video), Carter’s Remasters
15: “I Don’t Want to Spoil the Party” (B-side of "Eight Days a Week" US, 1965)
Country shuffle meets Lennon vulnerability. It’s an odd pairing, but it works—a sad heart hiding behind a smile. For American fans who flipped Eight Days a Week, it must have felt like stumbling onto another side of John entirely.
THE BEATLES - I DON'T WANT TO SPOIL THE PARTY REACTION, THE JAYY SHOW
14: “Yes It Is” (B-side of "Ticket to Ride" UK/US, 1965)
Another ballad in the This Boy mold, but still gorgeous. Lennon downplayed it, but Paul called it “a very fine song.” He wasn’t wrong. Those harmonies shimmer, George’s guitar sighs, and the mood lingers. Failure never sounded so gorgeous.
Yes It Is - Beatles, James James
13: “I’m Down” (B-side of "Help!" UK/US, 1965)
Paul howls and hollers his way through this barnburner, channeling his rock ’n’ roll idols. Lennon clowning on organ live made it unforgettable. As B-sides go, this one was built to blow the roof off.
The Beatles - I'm Down (live Germany) [alt audio, *COLORIZED*], Carter’s Remasters
12: “Act Naturally” (B-side of "Yesterday" US, 1965)
Ringo’s wink to the camera: a country tune about becoming a movie star, released just before he actually started acting. His comic timing was perfect. The contrast with McCartney’s tearjerker A-side couldn’t have been funnier.
The Beatles - Act Naturally (Live), BeatlesBootlegsBrazil
11: “The Inner Light” (B-side of "Lady Madonna" UK/US, 1968)
George used this chance to bring Indian instruments and philosophy onto a Beatles single. For casual fans, it was a curveball. For others, it was a spiritual surprise hidden on the back of a boogie-woogie hit.
The Beatles Lady Madonna Review 45rpm, The Vinyl Verdict
10: “Revolution” (B-side of "Hey Jude" UK/US, 1968)
This was Lennon raw and political, fuzz guitar blazing. He warned, “Count me out if it’s for violence. Don’t expect me on the barricades unless it’s with flowers.” Paul later said it was “a great song, basically John’s… an overtly political song about revolution.” Few B-sides ever carried so much weight.
The Beatles - Revolution, The Beatles
9: “Old Brown Shoe” (B-side of "The Ballad of John and Yoko" UK/US, 1969)
George described writing it on piano—“which I don’t really play”—using opposites like yes/no and up/down. That explains the quirky energy. It’s funky, oddball Harrison, and it’s aged into a cult favorite among Beatles diehards.
The Beatles - Old Brown Shoe, Jacob K
8: “Misery” (B-side of "Roll Over Beethoven" US, 1964)
An early Lennon-McCartney composition, tucked onto a US single, but brimming with promise. Melancholy lyrics, tight harmonies, and a sophistication that set them apart from other pop groups of the time. Already, they were writing at a higher level.
UNBOXING Vintage UK BEATLES Vinyl Collection - Over 50 Records!, Parlogram
7: “Baby, You’re a Rich Man” (B-side of "All You Need Is Love" UK/US, 1967)
A trippy groove built around a clavioline riff, playful lyrics, and psychedelic swagger. Paired with the Summer of Love anthem, it was like a wink on the flip side—the Beatles being cheeky even while leading a cultural movement.
Beatles - Baby You're a Rich Man, dylbiebee
6: “The Fool on the Hill” (B-side of "Hello, Goodbye" US, 1967)
Paul’s dreamy ballad floated out of radios with a wistful sadness. Americans who flipped the single got melancholy to balance the cheer. The contrast worked beautifully, turning the record into a two-for-one emotional journey.
The Fool On The Hill, The Beatles
5: “Baby’s in Black” (B-side of "Words of Love" US EP, 1964 / later singles)
Dark, waltzing, and a little eerie, Baby’s in Black showed the Beatles weren’t afraid of shadows even in their early days. Sweet harmonies over somber lyrics made it a fascinating flip—one that felt unusually daring for 1964.
The Beatles - Baby's In Black - 1966, Beat Room - Glory1Dx
4: “Across the Universe” (B-side of "Let It Be" UK, 1970)
John’s cosmic lullaby ended up as a flip almost by accident. Its drifting melody and poetic lyrics made it otherworldly and timeless. Paired with Let It Be, it turned a single into a small universe.
Review of The Beatles Let It Be, Top 5 Records
3: “She’s Leaving Home” (B-side of "Lucy in the Sky with Diamonds" US, 1978)
This wasn’t a throwaway—it was one of McCartney’s most dramatic ballads. The orchestration, the aching lyrics about a runaway daughter, the heartbreak—it was all here. Imagine flipping over a psychedelic anthem and finding this gut punch.
UNBOXING Vintage UK BEATLES Vinyl Collection - Over 50 Records!, Parlogram
2: “Don’t Let Me Down” (B-side of "Get Back" UK/US, 1969)
It’s rare for a B-side to feel this essential. John pleads with every ounce of his voice: don’t betray me, don’t break me. Emotional, raw, unforgettable—one of the greatest flips in rock history.
The Beatles - Don't Let Me Down, The Beatles
1: “Rain” (B-side of "Paperback Writer" UK/US, 1966)
Psychedelia before it was cool. Lennon said it was about “people always moaning about the weather.” Paul marveled at the recording tricks. Ringo proudly declared, “I know me and I know my playing… and then there’s Rain.” A B-side so good, there are those who will even argue it's their best track outright.
The Beatles - Rain, The Beatles
You Might Also Like:
Songs That Totally Changed The Music Industry
Beatles Quiz: Can You Match These Lyrics To The Right Beatles Song?
Facts About The Beatles Most Beatlemaniacs Probably Don't Even Know
