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The Beatles, album "A Hard Day's Night"

Lyrics of the album - Listen the album

Music movies - Studio United Artists - 1964
stereo: 06.07.1964; CD: 15.01.2002

A Hard Day's Night

  1. A Hard Day's Night (John Lennon – 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.''

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

    JOHN 1980: 'That's me.
    Just a song – It doesn't mean a damn thing.'
  3. I Wanna Be Your Man (John Lennon and Paul McCartney)

    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.'

  4. Don't Bother Me (George Harrison)

    GEORGE 1980: 'The first song that I wrote… as an exercise to see if I could write a song.
    I wrote it in a hotel in Bounemouth, England, where we were playing a summer season in 1963.
    I was sick in bed… maybe that's why it turned out to be 'Don't Bother Me.' I don't think it's a particularly good song… It mightn't even be a song at all, but at least it showed me that all I needed to do was keep on writing, and then maybe eventually I would write something good.'

    PAUL 1988: 'I think John and I were really concentrating on – 'We'll do the 'real' records,' but because the other guys had alot of fans we wrote for them too.
    George eventually came out with his own, 'Don't Bother Me,' but until then he hadn't written one.'

  5. All My Loving (Paul McCartney – John Lennon and Paul McCartney)

    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.'

  6. If I Fell (John Lennon – John Lennon and Paul McCartney)

    JOHN 1980: 'That was my first attempt at a ballad proper.
    That was the precursor to 'In My Life.' It has the same chord sequences as 'In My Life' – D and B minor and E minor, those kinds of things.
    And it's semi-autobiographical, but not consciously.
    It shows that I wrote sentimental love ballads – silly love songs – way back when.'

    PAUL 1984: 'This was our close-harmony period.
    We did a few songs… 'This Boy,' 'If I Fell,' 'Yes It Is' …in the same vein, which were kind of like the Fourmost – an English vocal group, only not really.'

  7. Can't Buy Me Love (Paul McCartney – 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.'

  8. And I Love Her (Paul McCartney – 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.'

  9. I'm Happy Just to Dance With You (John Lennon – John Lennon and Paul McCartney)

    JOHN 1980: ''I'm Happy Just To Dance With You,' that was written for George to give him a piece of the action.
    I couldn'ta sung it.'

    PAUL circa-1994: 'We wrote 'I'm Happy Just To Dance With You' for George in the film.
    It was a bit of a formula song.
    We knew that in (the key of) E if you went to an A-flat-minor, you could always make a song with those chords… that change pretty much always excited you.'

  10. This Boy (John Lennon – John Lennon and Paul McCartney)

    JOHN 1980: 'Just my attempt at writing one of those three-part harmony Smokey Robinson songs.
    Nothing in the lyrics… just a sound and a harmony.
    There was a period when I thought I didn't write melodies… that Paul wrote those and I just wrote straight, shouting rock 'n roll.
    But of course, when I think of some of my own songs – 'In My Life,' or some of the early stuff – 'This Boy,' I was writing melody with the best of them.'

    PAUL 1988: 'Fabulous. And we just loved singing that three-part too.
    We'd learned that from: (sings) 'To know know know her is to love love love her…' We learned that in my dad's house in Liverpool.'

  11. Can't Buy Me Love (Paul McCartney – 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.'

  12. Tell Me Why (John Lennon – John Lennon and Paul McCartney)

    JOHN 1980: ''Tell Me Why…' they needed another upbeat song and I just knocked it off.
    It was like a black, New York girl-group song.'

    PAUL circa-1994: 'I think alot of these songs like 'Tell Me Why' were based in real life experiences… but it never occured to us until later to put that slant on it all.'

  13. She Loves You (John Lennon and Paul McCartney)

    JOHN 1963: 'We wrote that two days before we recorded it, actually.'

    PAUL 1963: 'John and I wrote it together.
    We were in a van up in Newcastle somewhere, and we'd just gone over to our hotel.
    I originally got an idea of doing one of those answering songs, where a couple of us sing about 'she loves you' …and the other one sort of says the 'yes, yes' bit.
    You know, 'yeah yeah' answering whoever is saying it.
    But we decided that was a crummy idea anyway.
    But we had the idea to write a song called 'She Loves You' then.
    And we just sat up in the hotel bedroom for a few hours and wrote it, you know.'

    JOHN 1963: ''Yeah.' That's sort of the main catch phrase from 'She Loves You.' We'd written the song, and then suddenly realized we needed more… so we added 'yeah, yeah, yeah' and it caught on.'

    JOHN 1980: 'It was written together (with Paul) and I don't remember how.
    I remember it was Paul's idea – instead of singing 'I love you' again, we'd have a third party.
    The 'Woooo' was taken from the Isley Brothers 'Twist And Shout,' which we stuck into everything.'

    PAUL 1982: 'Occasionally, we'd overrule George Martin, like on 'She Loves You,' we end on a sixth chord, a very jazzy sort of thing.
    And he said, 'Oh, you can't do that! A sixth chord? It's too jazzy.'
    We just said, 'No, it's a great hook, we've got to do it.''

    PAUL 1988: 'We rehearsed the end bit of 'She Loves You' and took it to George.
    And he just laughed and said, 'Well, you can't do the end of course… that sixth… it's too like the Andrew Sisters.' We just said, 'Alright, we'll try it without,' and we tried it and it wasn't as good.
    Then he conceded, 'You're right, I guess.' But we were both very flexible.
    We would listen to George's ideas too, because he was a producer and a musician, and he obviously knew what he was talking about.
    There was good to-and-fro.
    We loved that bit, and we rehearsed it alot.
    John and I wrote that in a hotel room, on twin beds during an afternoon off – I mean, God bless their little cotton socks, those boys WORKED! Here I am talking about an afternoon off, and we're sitting there writing! We just loved it so much.
    It wasn't work.'

  14. A Hard Day's Night (John Lennon – 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.''


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