Lennon had read a hagiographic article on the singer, in Esquire magazine, in which Sinatra was lauded as "the fully emancipated male ... the man who can have he wants". "For No One" "For No One" was inspired by McCartney's relationship with English actress Jane Asher. Along with "Good Day Sunshine", which similarly dispensed with guitar parts for Harrison and Lennon, Rodriguez cites the track as an example of McCartney eschewing the group dynamic when recording his songs, a trend that would prove unpopular with his bandmates in later years. The recording features McCartney playing piano, bass and clavichord, accompanied by Starr on drums and percussion. The French horn solo was added by Alan Civil, the principal horn player for the Philharmonia Orchestra, who recalled having to "busk" his part, with little guidance from McCartney or Martin at the overdubbing session. While recognising McCartney's "customary logic" in the song's musical structure, MacDonald comments on the sense of detachment conveyed in the lyrics to this "curiously phlegmatic account of the end of an affair". MacDonald suggests that McCartney was attempting to employ the same "dry cinematic eye" that director John Schlesinger had adopted in his 1965 film Darling. "Doctor Robert" "Doctor Robert" was written by Lennon, although McCartney has since stated he co-authored it. A guitar-based rock song in the style of "And Your Bird Can Sing", its lyrics celebrate a New York physician known for dispensing amphetamine injections to his patients. On the recording, the hard-driving performance is interrupted by two bridge sections where, over harmonium and chiming guitar chords, the group vocals suggest a choir praising the doctor for his services. "I Want to Tell You" Harrison said he wrote "I Want to Tell You" about "the avalanche of thoughts" that he found hard to express in words. Supporting the lyrics, his stammering guitar riff, combined with the dissonance employed in the song's melody, conveys the difficulties of achieving meaningful communication. The prominent backing vocals from Lennon and McCartney include Indian-style gamak ornamentation in McCartney's high harmony, similar to the melisma effect used in "Love You To". Reising and LeBlanc cite the song as an early example of how from 1966 onwards the Beatles' lyrics "adopted an urgent tone, intent on channeling some essential knowledge, the psychological and/or philosophical epiphanies of LSD experience" to their increasingly aware audience. According to author and academic Nick Bromell, "I Want to Tell