She’s a Woman was one of Paul’s big personal triumphs. Not only was it a staple of the Beatles’ stage repertoire for the season of 1965, but as the “Unplugged Special” in 1991, it was clearly on the composer’s own short list of Beatles’ songs he’s proud to still play in public.At the time of its initial release, “She’s A Woman” was Paul’s most outrageous vocal performance since his earlier rendition of “Long Tall Sally”, and it was also his first foray into this genre with an original. The underlying gesture of this stylistic masquerading would have far-reaching repercussions for the Beatles in mid-to-late career. In terms of Paul’s own contribution, we can trace a relatively direct line between our current song and the likes of “Get Back”and “Oh! Darling”.This song would be just about the Beatles’ most blues-like number to date on compositional grounds, as well as those of performance style. The tune and the chord choices are bluesy in flavor, and the instrumental break and outro sections even sport a true-blue twelve-bar form. Even the verses turn out to be in a subtly disguised expanded variation on the standard twelve-bar framework.
