Alan W. Pollack talks about the progression this way in his Notes on ... Series. "Harmonically, the song is heavily based upon one of the archetypal Beatles' chord progression; the I -» V-of-V -» IV -» I one first heard back in "Eight Days A Week". The hallmark of this progression is the combined chromatic cross-relation and psychological feeling of deferred gratification created by following V-of-V (with its C#) by IV (with its C-natural). I strongly suspect that this chord progression is the original property of Lennon and McCartney though in terms of pure scholarship I unfortunately cannot vouch for it 100%. I'll tell you this, though: if anyone out there can point me to an example of this progression appearing in a pop song prior to the Beatles, you can call or e-mail me just about any time of the day or night." (Excerpt from Notes on ... Series)

Other examples of the Pop-Rock Lydian II progression include Sgt. Pepper's Lonely Hearts Club Band verse (Beatles - 1967), To Sir With Love verse (Lulu - 1967), Ride Captain Ride verse (Blues Image - 1970), Stay With Me verse/chorus (Faces - 1972), You Won't See Me verse (Anne Murray - 1974), The Boys Are Back In Town chorus (Thin Lizzy - 1975), and All Around The World chorus (Oasis - 1997).