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The Beatles, album "Live at the BBC"

Lyrics of the album - Listen the album

Rare albums - Studio Apple Corps - 1994
stereo: 30.11.1994

Live at the BBC

  1. 00:13 Beatles Greetings - диалог - 03.11.1963

  2. 00:29 From Us to You - Джон и Пол - 20.10.1963

  3. 00:54 Riding On a Bus - диалог - 26.11.1964

  4. 02:48 I Got a Woman (Ray Charles and Renald Richard) - Джон - 13.08.1963

  5. 02:07 Too Much Monkey Business (Chuck Berry) - Джон - 10.09.1963

  6. 02:31 Keep Your Hands Off My Baby (Jerry Goffin and Carol King) - Джон - 26.01.1963

  7. 01:57 I'll Be On My Way (Paul McCartney – John Lennon and Paul McCartney) - Пол и Джон - 24.06.1963

  8. 01:55 Young Blood (Jerry Leiber and Hike Stoller) - Джордж - 11.06.1963

  9. 02:16 A Shot of Rhythm And Blues (Terry Thompson) - Джон - 27.08.1963

  10. 02:08 Sure to Fall (In Love With You) (Carl Perkins, Bill Cantrell and Quinton Claunch) - Пол - 18.06.1963

  11. 02:01 Some Other Guy (Jerry Leiber, Mike Stoller and Richie Barrett) - Джон и Пол - 23.06.1963

  12. 02:04 Thank You Girl (John Lennon and Paul McCartney) - Джон и Пол - 23.06.1963

    JOHN 1980: ''Thank You Girl' was one of our efforts at writing a single that didn't work.
    So it became a B-side or an album track.'

    PAUL 1988: 'We knew that if we wrote a song called, 'Thank You Girl' that alot of the girls who wrote us fan letters would take it as a genuine thank you.
    So alot of our songs were directly addressed to the fans.'

  13. 00:28 Sha La La La La! - диалог - 11.06.1963

  14. 02:43 Baby It's You (Burt Bacharach, Luther Dixon and Mack David) - Джон - 11.06.1963

  15. 02:55 That's All Right (Mama) (Buddy Holly) - Пол - 16.07.1963

  16. 02:36 Carol (Chuck Berry) - Джон - 16.07.1963

  17. 00:31 What Is It, George? - диалог - 16.07.1963

  18. 01:59 Soldier of Love (Buzz Cason and Tony Moon) - Джон - 16.07.1963

  19. 00:25 A Little Rhyme - диалог - 16.07.1963

  20. 02:39 Clarabella (Frank Pingatore) - Пол - 16.07.1963

  21. 02:02 I'm Gonna Sit Right Down And Cry (Over You) (Joe Thomas and Howard Biggs) - Джон и Пол - 06.08.1963

  22. 02:11 Crying, Waiting, Hoping (Buddy Holly) - Джордж - 06.08.1963

  23. 00:42 Dear Wack! - диалог - 24.08.1963

  24. 02:38 You Really Got a Hold On Me (Smokey Robinson) - Джон - 24.08.1963

  25. 02:50 To Know Her Is to Love Her (Phil Spector) - Джон - 06.08.1963

  26. 01:58 A Taste of Honey (Bobby Scott and Ric Marlow) - Пол - 23.07.1963

  27. 01:53 Long Tall Sally (Richard Penniman, Enotris Johnson and Robert Blackwell) - Пол - 13.08.1963

  28. 02:35 I Saw Her Standing There (John Lennon and Paul McCartney) - Пол - 20.10.1963

    JOHN 1980: 'That's Paul doing his usual job of producing what George Martin used to call a 'potboiler.' I helped with a couple of the lyrics.'

    PAUL 1988: 'I wrote it with John.
    We sagged off school and wrote it on guitars.
    I remember I had the lyrics, 'Just seventeen/Never been a beauty queen,' which John… it was one of the first times he ever went, 'What? Must change that!' And it became, 'you know what I mean.''

    PAUL circa-1994: 'Sometimes we would just start a song from scratch, but one of us would nearly always have a germ of an idea, a title, or a rough little thing they were thinking about and we'd do it.
    'I Saw Her Standing There' was my original.
    I'd started it and I had the first verse, which therefore gave me the tune, the tempo, and the key.
    It gave you the subject matter, alot of information, and then you had to fill in.
    So it was co-written… and we finished it that day.

  29. 01:39 The Honeymoon Song (Mikis Theodorakis and William Sansom) - Пол - 06.08.1963

  30. 02:51 Johnny B Goode (Chuck Berry) - Джон - 15.02.1964

  31. 02:15 Memphis, Tennessee (Chuck Berry) - Джон - 30.07.1963

  32. 01:50 Lucille (Richard Penniman and Al Collins) - Пол - 05.10.1963

  33. 02:07 Can't Buy Me Love (Paul McCartney – John Lennon and Paul McCartney) - Пол - 10.03.1964

    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.'

  34. 00:28 From Fluff to You - диалог - 10.03.1964

  35. 02:17 Till There Was You (Meredith Willson) - Пол - 10.03.1964

  36. 01:09 Crinsk Dee Night - диалог - 16.07.1964

  37. 02:43 A Hard Day's Night (John Lennon – John Lennon and Paul McCartney) - Джон и Пол - 16.07.1964

    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.''

  38. 00:13 Ringo? Yep! - диалог - 30.03.1964

  39. 02:09 I Wanna Be Your Man (John Lennon and Paul McCartney) - Ринго - 30.03.1964

    JOHN 1972: 'Both of us wrote it, but mainly Paul.
    I helped him finish it.'

    JOHN 1980: ''I Wanna Be Your Man' was a kind of lick Paul had – 'I wanna be your lover, baby.
    I wanna be your man.' I think we finished it off for the Stones.
    We were taken down to meet them at the club where they were playing in Richmond by Brian and some other guy.
    They wanted a song and we went to see what kind of stuff they did.
    Mick and Keith heard we had an unfinished song – Paul just had this bit and we needed another verse or something.
    We sort of played it roughly to them and they said, 'Yeah, OK, that's our style.' But it was only really a lick, so Paul and I went off in the corner of the room and finished the song off while they were all still sitting there talking.
    We came back, and that's how Mick and Keith got inspired to write… because, 'Jesus, look at that.
    They just went in the corner and wrote it and came back!' You know, right in front of their eyes we did it.
    So we gave it to them.
    It was a throw-away.
    The only two versions of the song were Ringo and the Rolling Stones.
    It shows how much importance we put on them.
    We weren't going to give them anything great, right? I believe it was the Stones' first record.'

    PAUL 1984: 'I wrote it for Ringo to do on one of the early albums.
    But we ended up giving it to the Stones.
    We met Mick and Keith in a taxi one day in Charing Cross Road and Mick said, 'Have you got any songs?' So we said, 'Well, we just happen to have one with us!' I think George had been instrumental in getting them their first record contract.
    We suggested them to Decca, 'cuz Decca had blown it by refusing us, so they had tried to save face by asking George, 'Know any other groups?' He said, 'Well, there is this group called the Stones.' So that's how they got their first contract.
    Anyway, John and I gave them maybe not their first record, but I think the first they got on the charts with.
    They don't tell anybody about it these days; they prefer to be more ethnic.
    But you and I know the real truth.'

  40. 00:20 Just a Rumour - диалог - 30.03.1964

  41. 02:16 Roll Over Beethoven (Chuck Berry) - Джордж - 30.03.1964

  42. 02:06 All My Loving (Paul McCartney – John Lennon and Paul McCartney) - Пол - 30.07.1963

    JOHN 1972: 'This was one of his first biggies.'

    JOHN 1980: ''All My Loving' is Paul, I regret to say.
    Because it's a damn fine piece of work.
    But I play a pretty mean guitar in back.'

    PAUL 1984: 'Yeah, I wrote that one.
    It was the first song I ever wrote where I had the words before the music.
    I wrote the words on a bus on tour, then we got the tune when I arrived there.
    The first time I've ever worked upside down.'

    PAUL 1988: 'I think that was the first song where I wrote the words without the tune.
    I wrote the words on the tour bus during our tour with Roy Orbison.
    We did alot of writing then.'

    PAUL circa-1994: 'It was a good show song.
    It worked well live.'

  43. 02:17 Things We Said Today (Paul McCartney – John Lennon and Paul McCartney) - Пол - 16.07.1964

    JOHN 1980: 'Paul's.
    Good song.'

    PAUL circa-1994: 'I wrote 'Things We Said Today' on acoustic (guitar).
    It was a slightly nostalgic thing already, a future nostalgia: we'll remember the things we said today, sometime in the future, so the song projects itself into the future and then is nostalgic about the moment we're living now, which is quite a good trick.'

  44. 03:18 She's a Woman (Paul McCartney – John Lennon and Paul McCartney) - Пол - 26.11.1964

    JOHN 1980: 'That's Paul with some contribution from me on lines, probably.
    We put in the words 'turns me on.'
    We were so excited to say 'turn me on' – you know, about marijuana and all that… using it as an expression.'

    PAUL circa-1994: 'This was my attempt at a bluesy thing… instead of doing a Little Richard song, whom I admire greatly, I would use the (vocal) style I would have used for that but put it in one of my own songs.'

  45. 02:21 Sweet Little Sixteen (Chuck Berry) - Джон - 23.07.1963

  46. 00:10 1822! - диалог - 23.07.1963

  47. 02:36 Lonesome Tears In My Eyes (Johnny Burnette, Dorsey Burnette, Paul Burlison and Al Mortimer) - Джон - 23.07.1963

  48. 02:59 Nothin' Shakin' (But the Leaves on the Trees) (Eddie Fontaine, Cirino Colacrai, Diane Lampert and John Gluck Jr.) - Джордж - 23.07.1963

  49. 01:50 The Hippy Hippy Shake (Chan Romero) - Пол - 30.07.1963

  50. 01:52 Glad All Over (Aaron Schroeder, Sid Tepper and Roy Bennett) - Джордж - 20.08.1963

  51. 02:47 I Just Don't Understand (Marijohn Wilkin and Kent Westberry) - Джон - 20.08.1963

  52. 01:55 So How Come (No One Loves Me) (Boudleaux Bryant) - Джордж и Джон - 23.07.1963

  53. 02:15 I Feel Fine (John Lennon – John Lennon and Paul McCartney) - Джон - 17.11.1964

    JOHN 1964: 'George and I play the same bit on the guitar together – that's the bit that'll set your feet a-tapping, as the reviews say.
    The middle-eight is the most tuneful part, to me, because it's a typical Beatles bit.'

    JOHN 1972: 'This was the first time feedback was used on a record.
    It's right at the beginning.'

    JOHN 1974: 'I wrote this at a recording session.
    It was tied together around the guitar riff that opens it.'

    JOHN 1980: 'That's me completely.
    Including the guitar lick with the first feedback anywhere.
    I defy anybody to find a record… unless it is some old blues record from 1922… that uses feedback that way.
    So I claim it for the Beatles.
    Before Hendrix, before the Who, before anybody.
    The first feedback on record.'

    PAUL circa-1994: 'John had a semi-acoustic Gibson guitar.
    It had a pick-up on it so it could be amplified… We were just about to walk away to listen to a take when John leaned his guitar against the amp.
    I can still see him doing it… and it went, 'Nnnnnnwahhhhh!' And we went, 'What's that? Voodoo!' 'No, it's feedback.' Wow, it's a great sound!' George Martin was there so we said, 'Can we have that on the record?' 'Well, I suppose we could, we could edit it on the front.' It was a found object – an accident caused by leaning the guitar against the amp.
    The song itself was more John's than mine.
    We sat down and co-wrote it with John's original idea.
    John sang it, I'm on harmonies.'

  54. 02:32 I'm a Loser (John Lennon – John Lennon and Paul McCartney) - Джон - 26.11.1964

    JOHN 1980: 'That's me in my Dylan period.
    Part of me suspects I'm a loser, and part of me thinks I'm God almighty.' (laughs)

    PAUL circa-1994: 'We used to listen to alot of country and western songs and they were all about sadness and 'I lost my truck' so it was quite acceptable to sing 'I'm a loser.' You really didn't think about it at the time, it's only later you'd think, God! That was pretty brave of John.
    'I'm a Loser' was very much John's song and there may have been a dabble or two from me.'

  55. 02:22 Everybody's Trying to Be My Baby (Carl Perkins) - Джордж - 26.11.1964

  56. 02:02 Rock and Roll Music (Chuck Berry) - Джон - 26.12.1964

  57. 02:59 Ticket to Ride (John Lennon and Paul McCartney) - Джон - 07.06.1965

    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.'

  58. 02:43 Dizzy Miss Lizzy (Larry Williams) - Джон - 10.05.1965

  59. 02:39 Kansas City/Hey, Hey, Hey, Hey (Jerry Leiber, Mike Stoller and Richard Penniman) - Пол - Medley - 06.08.1963

  60. 00:27 Set Fire to that Lot! - диалог - 30.07.1963

  61. 01:58 Matchbox (Carl Perkins) - Ринго - 30.07.1963

    RINGO 1964: 'I'm featured on it.
    Actually it was written by Carl Perkins about six years ago.
    Carl came to the session.
    I felt very embarrassed.
    I did it just two days before I went in the hospital (with tonsilitis) so please forgive my throat.'
  62. 02:06 I Forgot to Remember to Forget (Stan Kesler and Charlie Feathers) - Джордж - 18.05.1964

  63. 00:27 Love These Goon Shows! - диалог - 11.06.1963

  64. 01:57 I Got to Find My Baby (Adam Charles Clayton) - Джон - 11.06.1963

  65. 01:37 Ooh! My Soul (Richard Penniman) - Пол - 27.08.1963

  66. 00:35 Ooh! My Arms - диалог - 27.08.1963

  67. 02:05 Don't Ever Change (Gerry Goffin and Carole King) - Джордж и Пол - 27.08.1963

  68. 02:37 Slow Down (Larry Williams) - Джон - 20.08.1963

  69. 02:12 Honey Don't (Carl Perkins) - 03.09.1963

  70. 02:29 Love Me Do (John Lennon and Paul McCartney) - Пол и Джон - 23.07.1963

    JOHN 1963: 'It came to the charts in two days.
    And everybody thought it was a 'fiddle' because our manager's stores send in these… what is it… record returns.
    And everybody down south thought, 'Aha! He's just fiddling the charts.' But he wasn't.'

    JOHN 1972: 'Paul wrote the main structure of this when he was sixteen, or even earlier.
    I think I had something to do with the middle.'

    RINGO 1976: 'The first record, 'Love Me Do,' for me that was more important than anything else.
    That first piece of plastic.
    You can't believe how great that was.
    It was so wonderful.
    We were on a record!'

    JOHN 1980: ''Love Me Do' is Paul's song.
    He had the song around in Hamburg even, way, way before we were songwriters.'

    PAUL 1982: 'In Hamburg we clicked… At the Cavern we clicked… but if you want to know when we 'knew' we'd arrived, it was getting in the charts with 'Love Me Do.' That was the one.
    It gave us somewhere to go.'

    PAUL 1984: ''Love Me Do' …the first song we recorded, like, for real.
    First serious audition.
    I was very nervous, I remember.
    John was supposed to sing the lead, but they changed their minds and asked me to sing lead at the last minute, because they wanted John to play harmonica.
    Until then, we hadn't rehearsed with a harmonica; George Martin started arranging it on the spot.
    It was very nerve-wracking.'

    PAUL 1988: ''Love Me Do' was us trying to do the blues.
    It came out whiter because it always does.
    We're white, and we were just young Liverpool musicians.
    We didn't have the finesse to be able to actually sound black.
    But 'Love Me Do' was probably the first bluesy thing we tried to do.'

    PAUL circa-1994: 'George Martin said, 'Can anyone play a harmonica? It would be rather nice.
    Couldn't think of some sort of bluesy thing, could you John?' John played a chromatic harmonica… I actually had one too but he'd been clever – he learned to play it.
    John expected to be in jail one day and he'd be the guy who played the harmonica.
    The lyric crossed over the harmonica solo, so I suddenly got thrown the big open line, 'Love me do,' where everything stopped.
    Until that session John had always done it.
    I didn't even know how to sing it… I can still hear the nervousness in my voice.'

  71. 00:38 From Us to You - диалог - 20.10.1963

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