"Got to Get You into My Life" is a song by the English rock band the Beatles, first released in 1966 on their album Revolver. It was written by Paul McCartney and credited to Lennon–McCartney. "It's actually an ode to pot," McCartney explained.

A cover version by Cliff Bennett and the Rebel Rousers, produced by McCartney, peaked at number six in 1966 in the UK. The original Beatles version was issued in several countries as a single from the Rock 'n' Roll Music compilation album in 1976, six years after the Beatles disbanded, and reached number one in Canada. Another cover version by Earth, Wind & Fire from the Sgt. Pepper's Lonely Hearts Club Band film soundtrack peaked at number nine in the US in 1978.

Though officially credited to Lennon–McCartney, McCartney was primarily responsible for the writing of the song, to which he also contributed lead vocals. It was recorded at Abbey Road Studios between 7 April and 17 June 1966 and evolved considerably between the first takes and the final version released on album. The song seems to have been hard to arrange until the soul-style horns, strongly reminiscent of the Stax' Memphis soul and Motown sound, were introduced. The original version of the track, taped on the second day of the Revolver sessions, featured an arrangement that included harmonium and acoustic guitar, and a partly a-cappella section (repeating the words "I need your love") sung by McCartney, John Lennon and George Harrison. In the description of author Robert Rodriguez, relative to the "R&B-styled shouter" that the band completed in June, this version was "more Haight-Ashbury than Memphis". Author Devin McKinney similarly views the early take as "radiat[ing] peace in a hippie vein", and he recognises the arrangement as a forerunner to the sound adopted by the Beach Boys over 1967–1968 on their albums Smiley Smile and Wild Honey.

The brass was close-miked in the bells of the instruments, then put through a limiter. This session, on 18 May, marked the first time that the Beatles had used a horn section.

The song starts with a blaring brass fanfare, McCartney's vocals entering at 0:07. The chorus of the song appears at 1:04, with the song's title sung. The song then switches between a verse and the refrain. A short electric guitar solo appears at 1:53 and at 2:10 the horn fanfare re-enters. The song closes with fading vocals of McCartney.

In Barry Miles' 1997 book Paul McCartney: Many Years from Now, McCartney disclosed that the song was about marijuana. "'Got to Get You into My Life' was one I wrote when I had first been introduced to pot ... So [it's] really a song about that, it's not to a person." Many lyrics from the song suggest this: "I took a ride, I didn't know what I would find there / Another road where maybe I could see some other kind of mind there.",'"What can I do? What can I be? When I'm with you, I want to stay there / If I am true, I will never leave and if I do, I'll know the way there." "It's actually an ode to pot," McCartney explained, "like someone else might write an ode to chocolate or a good claret."

Parlophone released Revolver on 5 August 1966 with "Got to Get You into My Life" sequenced as the penultimate track, between Harrison's "I Want to Tell You" and Lennon's "Tomorrow Never Knows". According to Devin McKinney, while McCartney's songs can be heard individually as "simple affirmations", in the context of their placement on Revolver, "each song gains" from the reflected depth of the Lennon and Harrison compositions. McKinney writes that "Got to Get You into My Life" "is notable for being as expressive of a simple livid frustration as any McCartney music to date: its two minutes are a tight mass of constipated fury, an existential annoyance expressing itself as romantic confusion".

In his review of the song for AllMusic, Thomas Ward writes: "McCartney's always been a great vocalist, and this is perhaps the best example of his singing on Revolver. One of the overlooked gems on the album." Scott Plagenhoef of Pitchfork considers Revolver to be McCartney's "maturation record" as a songwriter in the same way that Rubber Soul had been for Lennon in 1965. He highlights "Got to Get You into My Life" as one of McCartney's "most demonstrative songs" on the album and a reflection of his innate "optimism and populism". Chris Coplan of Consequence of Sound admires the psychedelic tone of Revolver, but says that this experimentalism renders the more standard pop songs, such as "Got to Get You into My Life" and "Here, There and Everywhere", "seemingly out of place" within the collection.