The Beatles Lyrics, album "Reel Music"

Cover of the Beatles album - "Reel Music"

A Hard Day's Night
(John Lennon)
(Officially – John Lennon and Paul McCartney)

RINGO 1964: 'We went to do a job, and we'd worked all day and we happened to work all night.
I came up still thinking it was day I suppose, and I said, 'It's been a hard day…' and I looked around and saw it was dark so I said, '…night!' So we came to 'A Hard Day's Night.''

JOHN 1980: 'I was going home in the car and Dick Lester suggested the title, 'Hard Day's Night' from something Ringo had said.
I had used it in 'In His Own Write,' but it was an off-the-cuff remark by Ringo.
You know, one of those malapropisms.
A Ringo-ism, where he said it not to be funny… just said it.
So Dick Lester said, 'We are going to use that title.' And the next morning I brought in the song… 'cuz there was a little competition between Paul and I as to who got the A-side – who got the hits.
If you notice, in the early days the majority of singles, in the movies and everything, were mine… in the early period I'm dominating the group.
The only reason he sang on 'A Hard Day's Night' was because I couldn't reach the notes.
(sings) 'When I'm home/ everything seems to be right/ when I'm home…' – which is what we'd do sometimes.
One of us couldn't reach a note but he wanted a different sound, so he'd get the other to do the harmony.'

PAUL circa-1994: 'The title was Ringo's.
We'd almost finished making the film, and this fun bit arrived that we'd not known about before, which was naming the film.
So we were sitting around at Twickenham studios having a little brain-storming session… and we said, 'Well, there was something Ringo said the other day.' Ringo would do these little malapropisms, he would say things slightly wrong, like people do, but his were always wonderful, very lyrical… they were sort of magic even though he was just getting it wrong.
And he said after a concert, 'Phew, it's been a hard day's night.''

It's been a hard day's night, and I've been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I find the things that you do
Will make me feel alright

You know I work all day to get you money to buy you things
And it's worth it just to hear you say you're going to give me everything
So why on earth should I moan, cos when I get you alone
You know I feel OK

When I'm home everything seems to be right
When I'm home feeling you holding me tight, tight, yeah

So why on earth should I moan, cos when I get you alone
You know I feel OK

When I'm home everything seems to be right
When I'm home feeling you holding me tight, tight, yeah

I Should Have Known Better
(John Lennon)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: 'That's me.
Just a song – It doesn't mean a damn thing.'

I should have known better with a girl like you
That I would love everything that you do
And I do, hey, hey, hey, and I do

Whoa, oh, I never realized what a kiss could be
This could only happen to me
Can't you see, can't you see

That when I tell you that I love you, oh
You're gonna say you love me too, oh
And when I ask you to be mine
You're gonna say you love me too

So I should have realized a lot of things before
If this is love you've got to give me more
Give me more, hey hey hey, give me more

Whoa, oh, I never realized what a kiss could be
This could only happen to me
Can't you see, can't you see

That when I tell you that I love you, oh
You're gonna say you love me too, oh
And when I ask you to be mine
You're gonna say you love me too
You love me too, you love me too
You love me too

Can't Buy Me Love
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1972: 'John and Paul, but mainly Paul.'

JOHN 1980: 'That's Paul completely.
Maybe I had something to do with the chorus, but I don't know.
I always considered it his song.'

PAUL 1984: 'We recorded it in France, as I recall.
Went over to the Odeon in Paris.
Recorded it over there.
Felt proud because Ella Fitzgerald recorded it, too, though we didn't realize what it meant that she was doing it.'

PAUL circa-1994: ''Can't Buy Me Love' is my attempt to write a bluesy mode.
The idea behind it was that all these material possessions are all very well but they won't buy me what I really want.'

Can't buy me love, love
Can't buy me love

I'll buy you a diamond ring my friend
If it makes you feel alright
I'll get you anything my friend
If it makes you feel alright
'Cause I don't care too much for money
Money can't buy me love

I'll give you all I've got to give
If you say you love me too
I may not have a lot to give
But what I've got I'll give to you
I don't care too much for money
Money can't buy me love

Can't buy me love, everybody tells me so
Can't buy me love, no, no, no, no

Say you don't need no diamond rings
And I'll be satisfied
Tell me that you want the kind of things
That money just can't buy
I don't care too much for money
Money can't buy me love

Can't buy me love, everybody tells me so
Can't buy me love, no, no, no, no

Say you don't need no diamond rings
And I'll be satisfied
Tell me that you want the kind of things
That money just can't buy
I don't care too much for money
Money can't buy me love

Can't buy me love, love
Can't buy me love, oh

And I Love Her
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1972: 'Both of us wrote it.
The first half was Paul's and the middle-eight is mine.'

JOHN 1980: ''And I Love Her' is Paul again.
I consider it his first 'Yesterday.' You know, the big ballad in 'A Hard Day's Night.'

PAUL 1984: 'It's just a love song.
It wasn't for anyone.
Having the title start in midsentence, I thought that was clever.
Well, Perry Como did 'And I Love You So' many years later.
Tried to nick the idea.
I like that… it was a nice tune, that one.
I still like it.'

I give her all my love
That's all I do
And if you saw my love
You'd love her too
I love her

She gives me everything
And tenderly
The kiss my lover brings
She brings to me
And I love her

A love like ours
Could never die
As long as I
Have you near me

Bright are the stars that shine
Dark is the sky
I know this love of mine
Will never die
And I love her

Help!
(John Lennon and Paul McCartney)

JOHN 1965: 'We think it's one of the best we've written.'

JOHN 1980: 'The whole Beatle thing was just beyond comprehension.
When 'Help' came out, I was actually crying out for help.
Most people think it's just a fast rock 'n roll song.
I didn't realize it at the time; I just wrote the song because I was commissioned to write it for the movie.
But later, I knew I really was crying out for help.
So it was my fat Elvis period.
You see the movie: He – I – is very fat, very insecure, and he's completely lost himself.
And I am singing about when I was so much younger and all the rest, looking back at how easy it was.
Now I may be very positive… yes, yes… but I also go through deep depressions where I would like to jump out the window, you know.
It becomes easier to deal with as I get older; I don't know whether you learn control or, when you grow up, you calm down a little.
Anyway, I was fat and depressed and I was crying out for help.'

PAUL 1984: 'John wrote that… well, John and I wrote it at his house in Weybridge for the film.
I think the title was out of desperation.'

Help! I need somebody
Help! Not just anybody
Help! You know I need someone
Help!

(When) When I was younger (When I was young) so much younger than today
(I never need) I never needed anybody's help in any way
(Now) But now these days are gone (These days are gone) and I'm not so self assured
(And now I find) Now I find I've changed my mind, I've opened up the doors

Help me if you can, I'm feeling down
And I do appreciate you being 'round
Help me get my feet back on the ground
Won't you please, please help me?

(Now) And now my life has changed (My life has changed) in oh so many ways
(My independence) My independence seems to vanish in the haze
(But) But ev'ry now (Every now and then) and then I feel so insecure
(I know that I) I know that I just need you like I've never done before

Help me if you can, I'm feeling down
And I do appreciate you being 'round
Help me get my feet back on the ground
Won't you please, please help me?

When I was younger, so much younger than today
I never needed anybody's help in any way
(Now) But now these days are gone (These days are gone) and I'm not so self assured
(And now I find) Now I find I've changed my mind, I've opened up the doors

Help me if you can, I'm feeling down
And I do appreciate you being 'round
Help me get my feet back on the ground
Won't you please, please help me?

Help me, help me
Ooh

You're Going to Lose that Girl
(John Lennon)
(Officially – John Lennon and Paul McCartney)

You're going to lose that girl
You're going to lose that girl
If you don't take her out tonight
She's going to change her mind
And I will take her out tonight
And I will treat her kind

You're going to lose that girl
You're going to lose that girl
If you don't treat her right, my friend
You're going to find her gone
Cos I will treat her right, and then
You'll be the lonely one

You're going to lose that girl
You're going to lose that girl
I'll make a point
Of taking her away from you, yeah
The way you treat her what else can I do?

If you don't take her out tonight
She's going to change her mind
And I will take her out tonight
And I will treat her kind
You're going to lose that girl
You're going to lose that girl
You're going to lose that girl

Ticket to Ride
(John Lennon and Paul McCartney)

GEORGE 1965: 'We are always worried with each record.
With 'Ticket To Ride' we were even more worried.
There's bound to be a time when we come in at 19 (on the charts).
But this 'number one' business doesn't seem to stop – great while it lasts – but now we'll have to start all over again and people will start predicting funny things for the next one.'

JOHN 1970: 'It's a heavy record, and the drums are heavy too.
That's why I like it.'

JOHN 1980: 'That was one of the earliest heavy-metal records made.
Paul's contribution was the way Ringo played the drums.'

PAUL circa-1994: 'I think the interesting thing is the crazy ending – instead of ending like the previous verse, we changed the tempo.
We picked up one of the lines, 'My baby don't care,' but completely altered the melody.
We almost invented the idea of a new bit of a song on the fade-out with this song… It was quite radical at the time.'

I think I'm gonna be sad
I think it's today, yeah
The girl that's driving me mad
Is going away

She's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

She said that living with me
Is bringing her down, yeah
For she would never be free
When I was around

She's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

I don't know why she's riding so high
She ought to think twice
She ought to do right by me
Before she gets to saying goodbye
She ought to think twice
She ought to do right by me

I think I'm gonna be sad
I think it's today, yeah
The girl that's driving me mad
Is going away, yeah

Oh, she's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

I don't know why she's riding so high
She ought to think twice
She ought to do right by me
Before she gets to saying goodbye
She ought to think twice
She ought to do right by me

She said that living with me
Is bringing her down, yeah
For she would never be free
When I was around

Ah, she's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

My baby don't care, my baby don't care
My baby don't care, my baby don't care
My baby don't care, my baby don't care (fade out)

Magical Mystery Tour
(John Lennon and Paul McCartney)

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 tour

The magical mystery tour is waiting to take you away
Waiting to take you away

Roll 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 tour

The magical mystery tour is hoping to take you away
Hoping to take you away

A mystery trip

Aaaah... 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 tour

The 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

I Am the Walrus
(John Lennon)
(Officially – John Lennon and Paul McCartney)

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 crying

Sitting 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'joob

Mister 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 crying

Yellow 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'joob

Sitting 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'joob

Expert 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 crying

Semolina 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

Yellow Submarine
(John Lennon and Paul McCartney)

PAUL 1966: 'It's a happy place, that's all.
You know, it was just… We were trying to write a children's song.
That was the basic idea.
And there's nothing more to be read into it than there is in the lyrics of any children's song.'

JOHN 1972: 'Paul wrote the catchy chorus.
I helped with the blunderbuss bit.'

JOHN 1980: ''Yellow Submarine' is Paul's baby.
Donovan helped with the lyrics.
I helped with the lyrics too.
We virtually made the track come alive in the studio, but based on Paul's inspiration.
Paul's idea.
Paul's title… written for Ringo.'

PAUL 1984: 'I wrote that in bed one night.
As a kid's story.
And then we thought it would be good for Ringo to do.'

PAUL circa-1994: 'I was laying in bed in the Asher's garret, and there's a nice twilight zone just as you're drifting into sleep and as you wake from it – I always find it quite a comfortable zone.
I remember thinking that a children's song would be quite a good idea… I was thinking of it as a song for Ringo, which it eventually turned out to be, so I wrote it as not too rangey in the vocal.
I just made up a little tune in my head, then started making a story – sort of an ancient mariner, telling the young kids where he'd lived.
It was pretty much my song as I recall… I think John helped out.
The lyrics got more and more obscure as it goes on, but the chorus, melody and verses are mine.'

GEORGE 1999: 'Paul came up with the concept of 'Yellow Submarine.' All I know is just that every time we'd all get around the piano with guitars and start listening to it and arranging it into a record, we'd all fool about.
As I said, John's doing the voice that sounds like someone talking down a tube or ship's funnel as they do in the merchant marine.
(laughs) And on the final track there's actually that very small party happening! As I seem to remember, there's a few screams and what sounds like small crowd noises in the background.'

In the town where I was born
Lived a man who sailed to sea
And he told us of his life
In the land of submarines

So we sailed up to the sun
'Til we found the sea of green
And we lived beneath the waves
In our yellow submarine

We all live in a yellow submarine
Yellow submarine, yellow submarine
We all live in a yellow submarine
Yellow submarine, yellow submarine

And our friends are all aboard
Many more of them live next door
And the band begins to play

We all live in a yellow submarine
Yellow submarine, yellow submarine
We all live in a yellow submarine
Yellow submarine, yellow submarine

Full speed ahead, Mr. Boatswain, full speed ahead!
Full speed it is, Sergeant!
Cut the cable, drop the cable!
Aye-aye, sir, aye-aye!
Captain, Captain!

As we live a life of ease (a life of ease)
Everyone of us (everyone of us) has all we need (has all we need)
Sky of blue (sky of blue) and sea of green (sea of green)
In our yellow (in our yellow) submarine (submarine, ah-ha)

We all live in a yellow submarine
Yellow submarine, yellow submarine
We all live in a yellow submarine
Yellow submarine, yellow submarine

All You Need Is Love
(John Lennon)
(Officially – John Lennon and Paul McCartney)

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, love

There'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 easy

Nothing 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 easy

All you need is love
All you need is love
All you need is love, love
Love is all you need

Love, love, love
Love, love, love
Love, love, love

All you need is love
All you need is love
All you need is love, love
Love is all you need

Nothing 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 easy

All you need is love
All you need is love
All you need is love, love
Love is all you need

All 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)

Let It Be
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: 'That's Paul… I think it was inspired by 'Bridge Over Troubled Water.' That's my feeling, although I have nothing to go on.
I know he wanted to write a 'Bridge Over Troubled Water.''

PAUL 1986: 'I had alot of bad times in the '60s.
We used to lie in bed and wonder what was going on and feel quite paranoid.
Probably all the drugs.
I had a dream one night about my mother.
She died when I was fourteen so I hadn't really heard from her in quite a while, and it was very good.
It gave me some strength.'

PAUL circa-1994: 'One night during this tense time I had a dream I saw my mum, who'd been dead ten years or so.
And it was great to see her because that's a wonderful thing about dreams, you actually are reunited with that person for a second… In the dream she said, 'It'll be alright.' I'm not sure if she used the words 'Let it be' but that was the gist of her advice, it was 'Don't worry too much, it will turn out okay.' It was such a sweet dream I woke up thinking, 'Oh, it was really great to visit with her again.' I felt very blessed to have that dream.'

When I find myself in times of trouble
Mother Mary comes to me
Speaking words of wisdom
Let it be

And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

And when the broken-hearted people
Living in the world agree
There will be an answer
Let it be

For though they may be parted there is
Still a chance that they will see
There will be an answer
Let it be

Let it be, let it be, let it be, let it be
Yeah, there will be an answer
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

And when the night is cloudy
There is still a light that shines on me
Shine until tomorrow
Let it be

I wake up to the sound of music
Mother Mary comes to me
Speaking words of wisdom
Let it be

Let it be, let it be, let it be, yeah, let it be
There will be an answer
Let it be

Let it be, let it be, let it be, yeah, let it be
Whisper words of wisdom
Let it be

Get Back
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

PAUL 1969: 'We were sitting in the studio and we made it up out of thin air.
We started to write words there and then… When we finished it, we recorded it at Apple Studios and made it into a song to rollercoast by.'

JOHN 1980: ''Get Back' is Paul.
That's a better version of 'Lady Madonna.' You know, a potboiler rewrite.'

(Rosetta.
Who are you talking about?
Sweet Loretta Fart. She thought she was a cleaner
Sweet Rosetta Martin
But she was a frying pan, yeah
Rosetta
The picker! the picker! Picture the fingers burning!
Oo-wee!
OK?
1, 2, 1, 2, 3, 4)

Jo Jo was a man who thought he was a loner
But he knew it couldn't last
Jo Jo left his home in Tucson, Arizona
For some California grass

Get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged
Get back Jo Jo
Go home

Get back, get back
Get back to where you once belonged
Get back, get back
Back to where you once belonged
Get back, Jo

Sweet Loretta Martin thought she was a woman
But she was another man
All the girls around her say she's got it coming
But she gets it while she can

Oh, get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged
Get back, Loretta

Go home
Oh, get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged

Get back
Woo...

(Thanks, Mo!
I'd like to say "thank you" on behalf of the group
And ourselves and I hope we passed the audition!)

The Long And Winding Road
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

PAUL 1970: 'The album was finished a year ago, but a few months ago American record producer Phil Spector was called in by John Lennon to tidy up some of the tracks.
But a few weeks ago, I was sent a re-mixed version of my song 'The Long And Winding Road' with harps, horns, an orchestra, and a women's choir added.
No one had asked me what I thought.
I couldn't believe it.
The record came with a note from Allen Klein saying he thought the changes were necessary.
I don't blame Phil Spector for doing it, but it just goes to show that it's no good me sitting here thinking I'm in control because obviously I'm not.
Anyway, I've sent Klein a letter asking for some things to be altered, but I haven't received an answer yet.'

JOHN 1980: 'Paul again.
He had a little spurt just before we split.'

PAUL circa-1994: 'It's rather a sad song.
I like writing sad songs, it's a good bag to get into because you can actually acknowledge some deeper feelings of your own and put them in it.
It's a good vehicle, it saves having to go to a psychiatrist.
Songwriting often performs that feat – you say it, but you don't embarrass yourself because it's only a song, or is it? You are putting the things that are bothering you on the table and you are reviewing them, but because it's a song, you don't have to argue with anyone… It's a sad song because it's all about the unattainable; the door you never quite reach.
This is the road that you never get to the end of.'

The long and winding road, that leads, to your door
Will never disappear, I've seen that road before
It always leads me here, lead me to your door
The wild and windy night, that the rain, washed away
Has left a pool of tears, crying for the day
Why leave me standing here, let me know the way

Many times I've been alone, and many times I've cried
Any way you'll never know, the many ways I've tried
And still they lead me back, to the long winding road
You left me standing here a long long time ago
Don't leave me waiting here, lead me to your door

But still they lead me back to the long winding road
You left me standing here, a long long time ago
Don't keep me waiting here (Don't keep me wait), lead me to your door
Yeah, yeah, yeah, yeah