Eleanor McKenzie is a name linked to a significant song by The Beatles, primarily credited to the Lennon–McCartney partnership. The song, "Eleanor Rigby," marked a shift for the band towards more experimental music, utilizing a string quartet and exploring themes of loneliness. While credited to Lennon–McCartney, there has been debate regarding the primary authorship, with Paul McCartney generally recognized as the main contributor. Eyewitness accounts and later analyses suggest McCartney developed the melody and initial lyrical concepts, with contributions from other band members and associates refining the narrative. The song's structure and lyrical content were unconventional for its time, focusing on the isolation of its titular characters and a priest, Father McKenzie.

The song's genesis involved McCartney experimenting with melodies and names. Initially, the protagonist was named Ola Na Tungee and later Miss Daisy Hawkins, with lyrical themes touching on drug use. The name "Eleanor Rigby" was eventually formed from various inspirations, including an actress and a Bristol shop. McCartney later described an elderly, lonely woman he knew as a key inspiration for the character. The narrative's progression, including the final funeral scene, was suggested by a friend, Pete Shotton, after initial rejection by John Lennon. The song's recording eschewed traditional rock instrumentation, relying entirely on a string octet arranged by George Martin, who drew inspiration from film scores. This departure from conventional pop arrangements contributed to the song's unique and somber atmosphere.

The song "Eleanor Rigby," a notable work from The Beatles' 1966 album "Revolver," is officially credited to the Lennon–McCartney songwriting team. However, the song is one of the few where John Lennon and Paul McCartney later disagreed on who primarily wrote it. Multiple sources, including producer George Martin and John Lennon's friend Pete Shotton, have supported McCartney's claim to the majority of the authorship. McCartney reportedly conceived the melody while experimenting at his piano. Early versions of the song featured different character names, such as Ola Na Tungee and Miss Daisy Hawkins, and lyrics that alluded to drug use. The name "Eleanor" may have been inspired by actress Eleanor Bron, while "Rigby" was derived from a shop sign. McCartney later stated that an elderly, solitary woman he befriended was a significant influence on the character's portrayal, highlighting themes of isolation and quiet lives.

"Eleanor Rigby" represented a significant departure from The Beatles' earlier pop and rock sound, pushing towards a more experimental and studio-focused approach. The song's lyrical content, which focused on themes of loneliness and alienation through the stories of Eleanor Rigby and Father McKenzie, broke from typical love song narratives. The lyrics were written from the perspective of a detached observer, a style that has been compared to literary works and the observational songwriting of Ray Davies. Musically, the song employed a string octet, arranged by George Martin, who took inspiration from film scores, notably Bernard Herrmann's work for "Psycho." This classical arrangement, often played in a staccato manner, contributed to the song's stark and dramatic atmosphere, amplifying the narrative of wasted lives and profound isolation.

The creation of "Eleanor Rigby" involved contributions from several individuals beyond Paul McCartney, who wrote the initial melody and verse. John Lennon, George Harrison, Ringo Starr, and Pete Shotton all offered input. Harrison suggested the iconic hook "Ah, look at all the lonely people," while Starr contributed lyrical ideas and suggested a detail about Father McKenzie darning his socks. Shotton played a crucial role in refining the narrative, proposing the idea of Eleanor Rigby's funeral, which McCartney adopted. Despite these collaborative elements, Lennon later asserted a much larger role in the lyrical creation, claiming to have written a significant percentage of the words, a claim not widely supported by others' recollections. This discrepancy highlights the complexities and differing perspectives on authorship within the band's songwriting process.

“"Eleanor Rigby" sounded natural.”

“"just hearing her stories enriched my soul and influenced the songs I would later write."”

“"Around 50 per cent of the lyrics were written by me at the studios and at Paul's place."”

“"Paul's baby, and I helped with the education of the child ... The violin backing was Paul's idea. Jane Asher had turned him on to Vivaldi, and it was very good."”

“"You're not supposed to do that."”