"Think for Yourself" is a song by English rock bandthe Beatles which first appeared on their 1965 album Rubber Soul. Written and sung by George Harrison, it is a warning against listening to lies, and the first of Harrison's songs not to be a love song. In his book I, Me, Mine he writes, "But all this time later, I don't quite recall who inspired that tune. Probably the government." As the song was recorded about six weeks after Pete Best's libel suit against Ringo, the Beatles, and Playboy magazine was filed, and contains such lyrics as "you're telling all those lies about the good things that we can have if we close our eyes," "I left you far behind, the ruins of the life that you have in mind" and "I know your mind's made up, you're gonna cause more misery," some have speculated that it might be about Best -- which Harrison likely would have been reluctant to ever admit. In a departure from all precedent at the time, the song has two bass lines, a normal one and one created by Paul McCartney's then-unique application of a fuzzbox to his bass.
The song is in the key of G major, but its musical premise appears to be permanent tonic key ambiguity and restless root movement (musically echoing the title) through extensive borrowing from the parallel G minor. Thus, the G7 introduction appears to ground us in G major (G Mixolydian); yet the verse soon opens ("I've got a word or two") with a ii chord (Am) that suggests we are in A Dorian mode or even A Aeolian mode with the following move to a Dm chord on "word or two" being a iv rather than a v in G major. The immediate shift to B♭ chord (♭III in G major) on "to say" and the C chord (IV in G major) on "about the things" again confuses as the Bb and C chords seem to hint at a ♭Vi- ♭VII rock run in D Aeolian. When we arrive at the chorus ("Think for yourself...") the anticipated tonic-identifying V-I (D7 chord-G7 chord) shift, is preceded (pointedly on "Think") with a strange ♭VI (E♭/B♭) chord in second inversion that undermines its tonal direction. This overlapping of major and minor harmony and restless root movement is an intriguing characteristic of Harrison's songwriting as far back as "Don't Bother Me".