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The Beatles Lyrics, album "Magical Mystery Tour"
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 Roll up, roll up for the mystery tour Roll up, roll up for the mystery tour Roll up (and that's an invitation), roll up for the mystery tour Roll up (to make a reservation), roll up for the mystery tourThe magical mystery tour is waiting to take you away Waiting to take you awayRoll up, roll up for the mystery tour Roll up, roll up for the mystery tour Roll up (we've got everything you need), roll up for the mystery tour Roll up (satisfaction guaranteed), roll up for the mystery tourThe magical mystery tour is hoping to take you away Hoping to take you awayA mystery tripAaaah... the magical mystery tour Roll up, roll up for the mystery tour Roll up (and that's an invitation), roll up for the mystery tour Roll up (to make a reservation), roll up for the mystery tourThe magical mystery tour is coming to take you away Coming to take you away The magical mystery tour is dying to take you away Dying to take you away, take you today JOHN 1980: 'Now that's Paul. Another good lyric. Shows he's capable of writing complete songs.'PAUL circa-1994: ''Fool On The Hill' was mine and I think I was writing about someone like the Maharishi. His detractors called him a fool. Because of his giggle he wasn't taken too seriously… I was sitting at the piano at my father's house in Liverpool hitting a D6 chord, and I made up 'Fool On The Hill.'' Day after day Alone on a hill The man with the foolish grin Is keeping perfectly still But nobody wants to know him They can see that he's just a fool And he never gives an answerBut the fool on the hill Sees the sun going down And the eyes in his head See the world spinning 'roundWell on the way Head in a cloud The man of a thousand voices Talking perfectly loudBut nobody ever hears him Or the sound he appears to make And he never seems to noticeBut the fool on the hill Sees the sun going down And the eyes in his head See the world spinning 'roundAnd nobody seems to like him They can tell what he wants to do And he never shows his feelingsBut the fool on the hill Sees the sun going down And the eyes in his head See the world spinning 'round, oh oh oh, 'round 'round 'round 'roundHe never listens to them He knows that they're the fools They don't like himThe fool on the hill Sees the sun going down And the eyes in his head See the world spinning 'roundOh, 'round 'round 'round 'round, oh PAUL circa-1994: ''Flying' was an instrumental that we needed for (the film) 'Magical Mystery Tour' so in the studio one night I suggested to the guys that we made something up. I said, 'We can keep it very, very simple, we can make it a 12-bar blues. We need a little bit of a theme and a little bit of a backing.' I wrote the melody, otherwise it's just a 12-bar backing thing. It's played on the mellotron, on a trombone setting. It's credited to all four (Beatles), which is how you would credit a non-song.' [Instrumental] Blue Jay Way (George Harrison) GEORGE 1968: 'Derek Taylor got held up. He rang to say he'd be late. I told him on the phone that the house was in Blue Jay Way. And he said he could find it okay… he could always ask a cop. So I waited and waited. I felt really nackered with the flight, but I didn't want to go to sleep until he came. There was a fog and it got later and later. To keep myself awake, just as a joke to pass the time while I waited, I wrote a song about waiting for him in Blue Jay Way. There was a little Hammond organ in the corner of this house which I hadn't noticed until then… so I messed around on it and the song came.' There's a fog upon L.A. And my friends have lost their way We'll be over soon they said Now they've lost themselves insteadPlease don't be long Please don't you be very long Please don't be long Or I may be asleepWell, it only goes to show And I told them where to go Ask a policeman on the street There's so many there to meetPlease don't be long (don't be long) Please don't you be very long (don't be long) Please don't be long Or I may be asleepNow it's past my bed I know And I'd really like to go Soon will be the break of day Sitting here in Blue Jay WayPlease don't be long (don't be long) Please don't you be very long (don't be long) Please don't be long Or I may be asleepPlease don't be long Please don't you be very long Please don't be longPlease don't be long Please don't you be very long Please don't be longPlease don't be long Please don't you be very long Please don't be longDon't be long, don't be long Don't be long, don't be long Don't be long, don't be long Don't be long Let's all get up and dance to a song That was a hit before your mother was born Though she was born a long long time ago Your mother should know (your mother should) Your mother should knowSing it againLet's all get up and dance to a song That was a hit before your mother was born Though she was born a long long time ago Your mother should know (your mother should) Your mother should knowLift up your hearts and sing me a song That was a hit before your mother was born Though she was born a long long time ago Your mother should know (your mother should) Your mother should knowYour mother should know (your mother should) Your mother should knowSing it againDa da dada da da da dada dada dada da da Da dada da da Though she was born a long long time ago Your mother should know (your mother should) Your mother should knowYour mother should know (your mother should) Your mother should knowYour mother should know (your mother should) Your mother should know, yeah PAUL 1967: 'Everyone keeps preaching that the best way is to be 'open' when writing for teenagers. Then when we do we get criticized. Surely the word 'knickers' can't offend anyone. Shakespeare wrote words alot more naughtier than knickers!'JOHN 1967: 'We chose the word (knickers) because it is a lovely expressive word. It rolls off the tongue. It could 'mean' anything.'GEORGE 1967: 'People don't understand. In John's song, 'I Am The Walrus' he says: 'I am he as you are he as you are me.' People look for all sorts of hidden meanings. It's serious, but it's also not serious. It's true, but it's also a joke.'JOHN 1968: 'We write lyrics, and I write lyrics that you don't realize what they mean till after. Especially some of the better songs or some of the more flowing ones, like 'Walrus.' The whole first verse was written without any knowledge. With 'I Am the Walrus,' I had 'I am he as you are he as we are all together.' I had just these two lines on the typewriter, and then about two weeks later I ran through and wrote another two lines and then, when I saw something, after about four lines, I just knocked the rest of it off. Then I had the whole verse or verse and a half and then sang it. I had this idea of doing a song that was a police siren, but it didn't work in the end (sings like a siren) 'I-am-he-as-you-are-he-as…' You couldn't really sing the police siren.'JOHN 1980: 'The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko. Part of it was putting down Hare Krishna. All these people were going on about Hare Krishna, Allen Ginsberg in particular. The reference to 'Element'ry penguin' is the elementary, naive attitude of going around chanting, 'Hare Krishna,' or putting all your faith in any one idol. I was writing obscurely, a la Dylan, in those days. It's from 'The Walrus and the Carpenter.' 'Alice in Wonderland.' To me, it was a beautiful poem. It never dawned on me that Lewis Carroll was commenting on the capitalist and social system. I never went into that bit about what he really meant, like people are doing with the Beatles' work. Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, Oh, shit, I picked the wrong guy. I should have said, 'I am the carpenter.' But that wouldn't have been the same, would it? (singing) 'I am the carpenter…'' I am he as you are he as you are me and we are all together See how they run like pigs from a gun, see how they fly I'm cryingSitting on a cornflake, waiting for the van to come Corporation tee-shirt, stupid bloody Tuesday Man, you been a naughty boy, you let your face grow long I am the eggman, they are the eggmen I am the walrus, goo goo g'joobMister City Policeman sitting Pretty little policemen in a row See how they fly like Lucy in the Sky, see how they run I'm crying, I'm crying I'm crying, I'm cryingYellow matter custard, dripping from a dead dog's eye Crabalocker fishwife, pornographic priestess Boy, you been a naughty girl you let your knickers down I am the eggman, they are the eggmen I am the walrus, goo goo g'joobSitting in an English garden waiting for the sun If the sun don't come, you get a tan From standing in the English rain I am the eggman, they are the eggmen I am the walrus, goo goo g'joob g'goo goo g'joobExpert textpert choking smokers Don't you think the joker laughs at you? See how they smile like pigs in a sty See how they snide I'm cryingSemolina pilchard, climbing up the Eiffel Tower Elementary penguin singing Hari Krishna Man, you should have seen them kicking Edgar Allan Poe I am the eggman, they are the eggmen I am the walrus, goo goo g'joob g'goo goo g'joob Goo goo g'joob g'goo goo g'joob g'goo JOHN 1980: 'That's another McCartney. An attempt to write a single. It wasn't a great piece. The best bit was at the end, which we all ad-libbed in the studio, where I played the piano. Like 'Ticket To Ride,' where we just threw something in at the end.'PAUL circa-1994: ''Hello Goodbye' was one of my songs. There are Geminian influences here I think – the twins. It's such a deep theme of the universe, duality – man woman, black white, high low, right wrong, up down, hello goodbye – that it was a very easy song to write. It's just a song of duality, with me advocating the more positive. You say goodbye, I say hello. You say stop, I say go. I was advocating the more positive side of the duality, and I still do to this day.' You say, "Yes", I say, "No" You say, "Stop" but I say, "Go, go, go" Oh no You say, "Goodbye", and I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello"I say, "High", you say, "Low" You say, "Why?" And I say, "I don't know" Oh no You say, "Goodbye", and I say, "Hello, hello, hello" (hello, goodbye, hello, goodbye) I don't know why you say, "Goodbye" (hello, goodbye) I say, "Hello, hello, hello" (Hello, goodbye, hello, goodbye, hello, goodbye) I don't know why you say, "Goodbye", I say, "Hello" (hello, goodbye)Why, why, why, why, why, why, do you say, "Goodbye, goodbye, bye, bye" Oh no You say, "Goodbye", and I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello"You say, "Yes", I say, "No" (I say, "Yes", but I may mean, "No") You say, "Stop", I say, "Go, go, go", (I can stay still it's time to go) Oh, oh noYou say, "Goodbye", and I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello-wow, oh hello" Hela, heba, helloa hela, heba, helloa hela, heba, helloa Hela, heba, helloa (hela) hela, heba, helloa hela, heba, helloa Hela, heba, helloa Hela, heba, helloa Hela, heba JOHN 1968: 'Strawberry Fields was a place near us that happened to be a Salvation Army home. But Strawberry Fields – I mean, I have visions of Strawberry Fields. And there was Penny Lane, and the Cast Iron Shore, which I've just got in some song now, and they were just good names – just groovy names. Just good sounding. Because Strawberry Fields is anywhere you want to go.'PAUL 1974: 'That wasn't 'I buried Paul' at all – that was John saying 'Cranberry sauce.' It was the end of Strawberry Fields. Thatīs Johnīs humor. John would say something totally out of sync, like cranberry sauce. If you donīt realize that Johnīs apt to say cranberry sauce when he feels like it, then you start to hear a funny little word there, and you think, 'Aha!''JOHN 1980: 'Strawberry Fields is a real place. After I stopped living at Penny Lane, I moved in with my auntie who lived in the suburbs… not the poor slummy kind of image that was projected in all the Beatles stories. Near that home was Strawberry Fields, a house near a boys' reformatory where I used to go to garden parties as a kid with my friends Nigel and Pete. We always had fun at Strawberry Fields. So that's where I got the name. But I used it as an image. Strawberry Fields Forever. 'Living is easy with eyes closed. Misunderstanding all you see.' It still goes, doesn't it? Aren't I saying exactly the same thing now? The awareness apparently trying to be expressed is – let's say in one way I was always hip. I was hip in kindergarten. I was different from the others. I was different all my life. The second verse goes, 'No one I think is in my tree.' Well, I was too shy and self-doubting. Nobody seems to be as hip as me is what I was saying. Therefore, I must be crazy or a genius – 'I mean it must be high or low,' the next line. There was something wrong with me, I thought, because I seemed to see things other people didn't see. I thought I was crazy or an egomaniac for claiming to see things other people didn't see. I always was so psychic or intuitive or poetic or whatever you want to call it, that I was always seeing things in a hallucinatory way. Surrealism had a great effect on me, because then I realized that the imagery in my mind wasn't insanity; that if it was insane, I belong in an exclusive club that sees the world in those terms. Surrealism to me is reality. Psychic vision to me is reality. Even as a child. When I looked at myself in the mirror or when I was 12, 13, I used to literally trance out into alpha. I didn't know what it was called then. I found out years later there is a name for those conditions. But I would find myself seeing hallucinatory images of my face changing and becoming cosmic and complete. It caused me to always be a rebel. This thing gave me a chip on the shoulder; but, on the other hand, I wanted to be loved and accepted. Part of me would like to be accepted by all facets of society and not be this loudmouthed lunatic musician. But I cannot be what I am not.' Let me take you down 'Cause I'm going to Strawberry Fields Nothing is real And nothing to get hung about Strawberry Fields foreverLiving is easy with eyes closed Misunderstanding all you see It's getting hard to be someone But it all works out It doesn't matter much to meLet me take you down 'Cause I'm going to Strawberry Fields Nothing is real And nothing to get hung about Strawberry Fields foreverNo one I think is in my tree I mean it must be high or low That is you can't, you know, tune in But it's all right That is, I think, it's not too badLet me take you down 'Cause I'm going to Strawberry Fields Nothing is real And nothing to get hung about Strawberry Fields foreverAlways, no, sometimes think it's me But you know I know when it's a dream I think, er, no, I mean, er, yes But it's all wrong That is I think I disagreeLet me take you down 'Cause I'm going to Strawberry Fields Nothing is real And nothing to get hung about Strawberry Fields forever Strawberry Fields forever Strawberry Fields forever JOHN 1968: 'We really got into the groove of imagining Penny Lane – the bank was there, and that was where the tram sheds were and people waiting and the inspector stood there, the fire engines were down there. It was just reliving childhood.'JOHN 1980: 'Penny Lane is not only a street but it's a district… a suburban district where, until age four, I lived with my mother and father. So I was the only Beatle that lived in Penny Lane.'PAUL circa-1994: 'John and I would always meet at Penny Lane. That was where someone would stand and sell you poppies each year on British Legion poppy day… When I came to write it, John came over and helped me with the third verse, as often was the case. We were writing childhood memories – recently faded memories from eight or ten years before, so it was recent nostalgia, pleasant memories for both of us. All the places were still there, and because we remembered it so clearly we could have gone on.' In Penny Lane there is a barber showing photographs Of every head he's had the pleasure to know And all the people that come and go Stop and say helloOn the corner is a banker with a motorcar The little children laugh at him behind his back And the banker never wears a mac In the pouring rain Very strangePenny Lane is in my ears and in my eyes There beneath the blue suburban skies I sit and meanwhile backIn Penny Lane there is a fireman with an hourglass And in his pocket is a portrait of the Queen He likes to keep his fire engine clean It's a clean machinePenny Lane is in my ears and in my eyes Four of fish and finger pies In summer, meanwhile backBehind the shelter in the middle of a roundabout A pretty nurse is selling poppies from a tray And though she feels as if she's in a play She is anywayIn Penny Lane the barber shaves another customer We see the banker sitting, waiting for a trim And then the fireman rushes in From the pouring rain Very strangePenny Lane is in my ears and in my eyes There beneath the blue suburban skies I sit, and meanwhile backPenny Lane is in my ears and in my eyes There beneath the blue suburban skies Penny Lane JOHN 1968: 'In 'Baby You're a Rich Man' the point was, stop moaning. You're a rich man and we're all rich men, heh, heh, baby!'JOHN 1980: 'That's a combination of two seperate pieces, Paul's and mine, put together and forced into one song. One-half was all mine. (sings) 'How does it feel to be one of the beautiful people/ Now that you know who you are…' Then Paul comes in with, (sings) 'Baby you're a rich man,' which was a lick he had around.' How does it feel to be one of the beautiful people? Now that you know who you are What do you want to be? And have you traveled very far? Far as the eye can seeHow does it feel to be one of the beautiful people? How often have you been there? Often enough to know What did you see when you were there? Nothing that doesn't showBaby, you're a rich man Baby, you're a rich man Baby, you're a rich man, too You keep all your money in a big brown bag inside a zoo What a thing to do Baby, you're a rich man Baby, you're a rich man Baby, you're a rich man, tooHow does it feel to be one of the beautiful people? Tuned to a natural E Happy to be that way Now that you've found another key What are you going to play?Baby, you're a rich man Baby, you're a rich man Baby, you're a rich man, too You keep all your money in a big brown bag inside a zoo What a thing to do Baby, baby, you're a rich man Baby, you're a rich man Baby, you're a rich man, too Oh, baby, you're a rich man Baby, you're a rich man Baby, baby you're a rich man, too PAUL 1967: 'We had been told we'd be seen recording it by the whole world at the same time. So we had one message for the world – Love. We need more love in the world.'PAUL circa-1994: ''All You Need Is Love' was John's song. I threw in a few ideas, as did other members of the group, but it was largely ad libs like singing 'She Loves You' or 'Greensleeves' or silly little things like that at the end, and we made those up on the spot.' Love, love, love Love, love, love Love, love, loveThere's nothing you can do that can't be done Nothing you can sing that can't be sung Nothing you can say but you can learn how to play the game It's easyNothing you can make that can't be made No one you can save that can't be saved Nothing you can do but you can learn how to be you in time It's easyAll you need is love All you need is love All you need is love, love Love is all you needLove, love, love Love, love, love Love, love, loveAll you need is love All you need is love All you need is love, love Love is all you needNothing you can know that isn't known Nothing you can see that isn't shown Nowhere you can be that isn't where you're meant to be It's easyAll you need is love All you need is love All you need is love, love Love is all you needAll you need is love (All together, now!) All you need is love (Everybody!) All you need is love, love Love is all you need Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Yee-hai! (Love is all you need) Love is all you need (Love is all you need)Yesterday (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Oh yeah! (Love is all you need) She loves you, yeah yeah yeah (Love is all you need) She loves you, yeah yeah yeah (Love is all you need) |
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