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The Beatles Lyrics, album "Anthology 1"
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 Free As a Bird (John Lennon) Free as a bird It's the next best thing to be Free as a birdHome, home and dry Like a homing bird I'll fly As a bird on wingsWhatever happened to The life that we once knew? Can we really live without each other?Where did we lose the touch That seemed to mean so much? It always made me feel so...Free as a bird Like the next best thing to be Free as a birdHome, home and dry Like a homing bird I'll fly As a bird on wingsWhatever… We were four guys … that's all Well, that'll be the day when you say good-bye Yes, that'll be the day when you make me cry You say you're going to leave, but you know it's a lie 'Cause that'll be the day when I dieWell, you give me all your loving and your turtle doving All your hugs and kisses and your money too You say you love me baby, until you tell me baby That some day, well, I'll be through'Cause that'll be the day that you make me cry That'll be the day when you say good-bye You say you're going to leave, but you know it's a lie 'Cause that'll be the day when I dieWell, that'll be the day when you say good-bye Yes, that'll be the day when you make me cry You say you're going to leave, but you know it's a lie 'Cause that'll be the day when I dieWhen Cupid shot his dart, he shot it at your heart So if we ever part and I leave you And, you say you told me, and you tell me boldly That some day well, I'll be through'Cause that'll be the day, when you say good-bye, yes That'll be the day, when you make me cry You say you're going to leave, but you know it's a lie 'Cause that'll be the day when I dieThat'll be the day, ooh-ooh That'll be the day, ooh-ooh That'll be the day, ooh-ooh That'll be the day In Spite of All the Danger (John Lennon) (Officially – John Lennon, Paul McCartney, George Harrison, John Lowe and Colin Hanton) In spite of all the danger In spite of all that may be I'll do anything for you, anything you want me to If you'll be true to meIn spite of all the heartache that you may cause me I'll do anything for you, anything you want me to If you'll be true to meI'll look after you like I've never done before I'll keep all the others from knocking at your doorIn spite of all the danger In spite of all that may be I'll do anything for you, anything you want me to If you'll be true to meIn spite of all the heartache that you may cause me I'll do anything for you, anything you want me to If you'll be true to me Sometimes I'd borrow … those still exist (Officially – John Lennon and Paul McCartney) Hallelujah, I Love Her So (Ray Charles) Let me tell you about a girl I know She's my baby and I love her soEvery morning when the sun comes up She brings me coffee in my favorite cup That's why I know, yes I know Hallelujah I just love her soWhen I call her on the telephone She says: baby, I'm all alone By the time I count from one to four She'll be knocking on my doorIn the evening when the sun goes down And there ain't nobody else around She kisses… Well the stars, always shine You'll be mine, and I know You'll be mine How they shine You'll be mineAs the stars (as the stars) Always shine (always shine) You'll be mine (you'll be mine) You'll be mine And the stars (and the stars) Always shine (always shine) You'll be mine Now, ah, ah, ah, ah...(My darling When you brought me that toast the other morning I, I looked into you eyes And I could see that National Health eyeball And I loved you, like I've never done Like I've never done before!)Well the stars (well the stars) They shine (oh, they shine) And you'll be mine Oh, you will be mine You'll be mine At the star (at the star) Always shining [Instrumental] My Bonnie (Tony Sheridan) My Bonnie lies over the ocean My Bonnie lies over the sea My Bonnie lies over the ocean Oh bring back my Bonnie to meMy Bonnie lies over the ocean My Bonnie lies over the sea Well my Bonnie lies over the ocean Yeah bring back my Bonnie to meYeah bring back, ah bring back Oh bring back my Bonnie to me to me Oh bring back, oh bring back Oh bring back my Bonnie to meWell my Bonnie lies over the ocean My Bonnie lies over the sea Yeah my Bonnie lies over the ocean Oh I said bring back my Bonnie to meYeah bring back, ah bring back Oh bring back my Bonnie to me to me Oh bring back, ah bring back Oh bring back my Bonnie to me Oh ain't she sweet, Well see her walking down that street. Yes I ask you very confidentially: Ain't she sweet?Oh ain't she nice, Well look her over once or twice. Yes I ask you very confidentially: Ain't she nice?Just cast an eye In her direction. Oh me oh my, Ain't that perfection?Oh I repeat Well don't you think that's kind of neat? Yes I ask you very confidentially: Ain't she sweet?Oh ain't she sweet, Well see her walking down that street. Well I ask you very confidentially: Ain't she sweet?Oh ain't that nice, Well look it over once or twice. Yes I ask you very confidentially: Ain't she nice?Just cast an eye In her direction. Oh me oh my, Ain't that perfection?Oh I repeat Well don't you think that's kind of neat? Yes I ask you very confidentially: Ain't she sweet?Oh ain't she sweet, Well see her walking down that street. Well I ask you very confidentially: Ain't she sweet? Well I ask you very confidentially: Ain't she sweet I see you crying See the pattern They come and go Leave you shattered You've shed for so many untrueCan you cry for a shadow? Can you cry for a heart crying out for you? Can you cry for a shadow? No one asked you toThey don't deserve your priceless tears You will whisper Fill your ears A reflection of a love long dueCan you cry for a shadow? Can you cry for a heart crying out for you? Can you cry for a shadow? I cried for a fewCan you cry? Dry the tears and tryNow stop crying It doesn't matter Just lean closer So I can gather Every drop of your precious tearsWhen you're crying for a shadow When you're crying for a heart crying out for you When you're crying for a shadow Like I cried for youCan you cry? Dry the tears and tryNow stop your crying It doesn't matter Just lean closer So I can gather Every drop of your precious tearsWhen you're crying for a shadow Crying, crying for a shadow When you're crying for a shadow Crying, crying Like I cried for you Brian was a beautiful guy … he presented us well (Officially – John Lennon and Paul McCartney) I secured them … a Beatle drink even then (Officially – Brian Epstein) Going to find her, going to find herWell searching Yeah I'm going to searching Searching every which a-way yeah yeah Oh lord I'm searching Ny good lord, searching You know honey Searching every which a-way yeah yeah yeah But I'm like that northwest Mountie You know I'll bring her in some dayWell Charlie Chan, Simon Smith Got nothing, child, on me Sgt. Friday, Peter Gunn And ooo Alan B No matter where she's hiding She's going to see me coming I'm going to walk right down that street Like a Bulldog Drumming Three cool cats Three cool cats Are coming up in a beat up car Spitting up a lift of candy bar Talking on about how sharp they are Three cool catsThree cool chicks Are walking down the street Swinging their hips Splitting up a bag of potato chips I think cool cats really did flip Three cool chicks Yeah three cool chicksWell up came that first cool cat He said, "Man look at that Man, do you see what I see?" "Well I want that middle chick" "I want that little chick" "Hey man save one chick for me" Hey, well three cool chicks Three cool chicksWell they love like angels from up above And three cool cats really fell in love But three cool chicks Made three fools out of three cool cats Three cool catsThree cool cats Three cool cats(Three cool cats, oh three cool cats) Well I'm the sheik of Araby Your love belongs to me Well at night where you're asleep Into your tent I'll creep AhaThe stars that shine above Will light our way to love Ah you rule this world with me I'm the sheik of ArabyThe sun that shines above Will light our way to love You rule this world with me I'm the sheik of Araby Well I'm the sheik of Araby Well I'm the sheik of Araby, yeah Like Dreamers Do (Paul McCartney) I, I saw a girl in my dreams And so it seems that I will love her Oh you, you are that girl in my dreams And so it seems that I will love youAnd I waited for your kiss Waited for the bliss Like dreamers doAnd I Oh I'll be there, yeah Waiting for you, you, you, you, you, youYou, you came just one dream ago And now I know that I will love you Oh I knew when you first said hello That's how I know that I will love you Hello Little Girl (John Lennon) Hello little girl Hello little girl Hello little girlWhen I see you everyday I say, "Mm mm hello little girl" When you're passing on your way I say, "Mm mm hello little girl" When I see you passing by I cry, "Mm mm hello little girl" When I try to catch your eye I cry, "Mm mm hello little girl"I send you flowers but you don't care You never seem to see me standing there I often wonder what you're thinking of I hope it's me and love love loveSo I hope there'll come a day When you'll say, "Mm you're my little girl"It's not the first time that it's happened to me, It's been… Well, the recording test … by my artists (Officially – Brian Epstein) Besame, Besame mucho Como si fuera ésta noche La última vezBesame, besame mucho Que tengo miedo a perderte Perderte despuésBesame, Besame mucho Como si fuera ésta noche La última vezBesame, besame mucho Que tengo miedo a perderte Perderte despuésQuiero tenerte muy cerca Mirarme en tus ojos Verte junto a miPiensa que tal vez mañana Yo ya estaré lejos, Muy lejos de tiBesame, Besame mucho Como si fuera ésta noche La… 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.' Love, love me do You know I love you I'll always be true So please, love me do Whoa, love me doLove, love me do You know I love you I'll always be true So please, love me do Whoa, love me doSomeone to love Somebody new Someone to love Someone like youLove, love me do You know I love you I'll always be true So please, love me do Whoa, love me doLove, love me do You know I love you I'll always be true So please, love me do Whoa, love me do Yeah, love me do Whoa, oh, love me do How Do You Do It (Mitch Murray) How do you do what you do to me? I wish I knew If I knew how you do it to me I'd do it to youHow do you do what you do to me? I'm feeling blue Wish I knew how you do it to me But I haven't a clueYou give me a feeling in my heart (ooh-la-la) Like an arrow piercing through it I suppose that you think you're very smart But won't you tell me how do you do it?How do you do what you do to me? I wish I knew If I knew how you do it to me I'd do it to youYou give me a feeling in my heart, ooh-la-la Like an arrow piercing through it I suppose that you think you're very smart But won't you tell me how do you do it? JOHN 1963: 'Our recording manager (George Martin) thought our arrangement was fussy, so we tried to make it simpler. We were getting tired though, and just couldn't seem to get it right. In the following weeks we went over it again and again. We changed the tempo a little, we altered the words slightly, and we went over the idea of featuring the harmonica just as we'd done on 'Love Me Do.' By the time the session came around we were so happy with the result, we couldn't get it recorded fast enough.'JOHN 1980: ''Please Please Me' is my song completely. It was my attempt at writing a Roy Orbison song, would you believe it? I wrote it in the bedroom in my house at Menlove Avenue, which was my auntie's place. I heard Roy Orbison doing 'Only The Lonely' or something. That's where that came from. And also I was always intrigued by the words of 'Please Lend Your Ears To My Pleas,' a Bing Crosby song. I was always intrigued by the double use of the word 'please.' So it was a combination of Bing Crosby and Roy Orbison.'PAUL 1988: 'It's very Roy Orbison when you slow it down. George Martin up-tempo'd it. He thought it was too much of a dirge, and probably too like Orbison. So he cleverly speeded us up… and we put in the little scaled riff at the beginning, which was very catchy.' Last night I said these words to my girl I know you never even try, girl C'mon (C'mon), c'mon (C'mon), c'mon (C'mon), c'mon (C'mon) Please please me, oh yeah, like I please youYou don't need me to show the way, love Why do I always have to say "love" C'mon (C'mon), c'mon (C'mon), c'mon (C'mon), c'mon (C'mon) Please please me, oh yeah, like I please youI don't wanna sound complaining But you know there's always rain in my heart (In my heart) I do all the pleasing with you, it's so hard to reason With you, oh yeah, why do you make me blueLast night I said these words to my girl I know you never even try, girl C'mon (C'mon), c'mon (C'mon), c'mon (C'mon), c'mon (C'mon) Please please me, oh yeah, like I please you (Me) Whoa yeah, like I please you (Me) Whoa yeah, like I please you Lend me your comb It's time to go home I got to go past My hair is a messYour mammie will scold Your pappie will shout Unless we come in The way we went outKissing you was fun honey But thanks for the date But I must come to run honey But you know baby it's getting lateJust wait till I say "My darling Lend me your comb We got to go home"Whoa! Ow! JOHN 1963: 'The B-side of 'She Loves You' was meant to be the A-side.'PAUL 1963: 'If we write one song, then we can get going after that and get more ideas. We wrote 'I'll Get You,' which is the B-side, first. And then 'She Loves You' came after that. You know – We got ideas from that. Then we recorded it.'JOHN 1980: 'That was Paul and me trying to write a song… and it didn't work out.'PAUL circa-1994: 'It's got an interesting chord in it – 'It's not easy/ To pre-TEND…' That was nicked from a song called 'All My Trials' which is on an album I had by Joan Baez.' Oh yeah, oh yeah Oh yeah, oh yeahImagine I'm in love with you It's easy cos I know I've imagined I'm in love with you Many, many, many times beforeIt's not like me to pretend But I'll get you, I'll get you in the end Yes I will, I'll get you in the end Oh yeah, oh yeahI think about you night and day I need you and it's true When I think about you, I can say I'm never, never, never, never blueSo I'm telling you, my friend That I'll get you, I'll get you in the end Yes I will, I'll get you in the end Oh yeah, oh yeahWell, there's gonna be a time When I'm gonna change/make your mind So you might as well resign yourself to me Oh yeahImagine I'm in love with you It's easy cos I know I've imagined I'm in love with you Many, many, many times beforeIt's not like me to pretend But I'll get you, I'll get you in the end Yes I will, I'll get you in the end Oh yeah, oh yeah Oh yeah, oh yeah Whoa yeah We were performers … in Britain (Officially – John Lennon and Paul McCartney) 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. Well, she was just seventeen You know what I mean And the way she looked was way beyond compare So how could I dance with another (Ooh) When I saw her standing thereWell she looked at me, and I, I could see That before too long I'd fall in love with her She wouldn't dance with another (Whooh) When I saw her standing thereWell, my heart went "boom" When I crossed that room And I held her hand in mineWhoah, we danced through the night And we held each other tight And before too long I fell in love with her Now I'll never dance with another (Whooh) When I saw her standing thereWell, my heart went "boom" When I crossed that room And I held her hand in mineWhoah, we danced through the night And we held each other tight And before too long I fell in love with her Now I'll never dance with another (Whooh) Since I saw her standing there Oh since I saw her standing there Oh since I saw her standing there PAUL 1964: ''From Me To You.' It could be done as an old Ragtime tune… especially the middle-eight. And so, we're not writing the tunes in any particular idiom. In five years time, we may arrange the tunes differently. (jokingly) But we'll probably write the same old rubbish!!'JOHN 1980: 'We were writing it in a car, I think… and I think the first line was mine. I mean, I know it was mine. (humms melody) And then after that we just took it from there. We were just writing the next single. It was far bluesier than that when we wrote it. The notes, today… you could rearrange it pretty funky.'PAUL circa-1994: 'The thing I liked about 'From Me To You' was it had a very complete middle. It went to a surprising place. The opening chord of the middle section of that song heralded a new batch for me. That was a pivotal song. Our songwriting lifted a little with that song. It was very much co-written.' Da da da da da dum dum da Da da da da da dum dum daIf there's anything that you want If there's anything I can do Just call on me and I'll send it along With love from me to youI've got everything that you want Like a heart that's oh so true Just call on me and I'll send it along With love from me to youI got arms that long to hold you And keep you by my side I got lips that long to kiss you And keep you satisfied, ooohIf there's anything that you want If there's anything I can do Just call on me and I'll send it along With love from me to youFrom me, to you Just call on me and I'll send it along With love from me to youI got arms that long to hold you And keep you by my side I got lips that long to kiss you And keep you satisfied, ooohIf there's anything that you want If there's anything I can do Just call on me and I'll send it along With love from me to you To you, to you, to you The best things in life are free But you can keep 'em for the birds and beesNow give me money (that's what I want) That's what I want (that's what I want) That's what I want (that's what I want) yeah That's what I wantYour loving give me a thrill, But your loving don't pay my billsNow give me money (that's what I want) That's what I want (that's what I want) That's what I want (that's what I want) yeah That's what I wantMoney don't get everything it's true What it don't get I can't useNow give me money (that's what I want) That's what I want (that's what I want) That's what I want (that's what I want) yeah That's what I wantWell, now give me money (that's what I want) Whole lot of money (that's what I want) Whoah yeah, I wanna be free (that's what I want) Oh, money (that's what I want) That's what I want, yeah (that's what I want) That's what I wantWell, now give me money (that's what I want) Whole lot of money (that's what I want, whoo) Whoah, yeah, you know I need money (that's what I want) Now give me money (that's what I want, whoo) That's what I want, yeah (that's what I want) That's what I want You Really Got a Hold on Me (Smokey Robinson) I don't like you But I love you Seems that I'm always Thinking of you Oh, oh, oh You treat me badly I love you madly You've really got a hold on me (You really got a hold on me) You really got a hold on me (You really got a hold on me)BabyI don't want you But I need you Don't want to kiss you But I need to Oh, oh, oh You do me wrong now My love is strong now You've really got a hold on me (You really got a hold on me) You really got a hold on me (You really got a hold on me)BabyI love you and all I want you to do Is just hold me, hold me, hold me, hold me Tighter TighterI want to leave you Don't want to stay here Don't want to spend Another day here Oh, oh, oh, I want to split now I just can't quit now You've really got a hold on me (You really got a hold on me) You really got a hold on me (You really got a hold on me)BabyI love you and all I want you to do Is just hold me, hold me, hold me, hold meYou really got a hold on me (You really got a hold on me) You really got a hold on me (You really got a hold on me) Roll Over Beethoven (Chuck Berry) Well gonna write a little letter Gonna mail it to my local D.J. It's a rocking little record I want my jockey to play Roll over Beethoven Gotta hear it again todayYou know my temperature's rising And the jukebox blows a fuse My heart beating rhythm While my soul keeps singing the blues Roll over Beethoven And tell Tchaikovsky the newsI got a rocking pneumonia I need a shot of rhythm and blues I think I caught it off the writer Sittin' down by the rhythm reviews Roll over Beethoven We're rockin' in two by twoWell if you feel it and like it Well get your lover and reel and rock it Roll it over and move on up Just triffle further and reel and rock it Roll it over Roll over Beethoven A rocking in two by two - OooWell early in the morning I'm a giving you the warning Don't you step on my blue suede shoes Hey diddle diddle I'll play my fiddle Ain't got nothing to lose Roll over Beethoven And tell Tchaikovsky the newsYou know she wiggles like a glow worm Dance like a spinning top She's got a crazy partner Oughta see them reel an rock Long as she's got a dime The music will never stop Roll over Beethoven Roll over Beethoven Roll over Beethoven Roll over Beethoven Roll over Beethoven Dig to these rhythm and blues 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.' She loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah, yeahYou think you lost your love Well, I saw her yesterday It's you she's thinking of And she told me what to sayShe says she loves you And you know that can't be bad Yes, she loves you And you know you should be gladShe said you hurt her so She almost lost her mind But now she says she knows You're not the hurting kindShe says she loves you And you know that can't be bad Yes, she loves you And you know you should be glad, oohShe loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah And with a love like that You know you should be gladYou know it's up to you I think it's only fair Pride can hurt you too Apologize to herBecause she loves you And you know that can't be bad Yes, she loves you And you know you should be glad, oohShe loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah With a love like that You know you should be glad With a love like that You know you should be glad With a love like that You know you should be glad Yeah, yeah, yeah Yeah, yeah, yeah, yeah Till There Was You (Meredith Willson) There were bells on a hill But I never heard them ringing No, I never heard them at all Till there was youThere were birds in the sky But I never saw them winging No, I never saw them at all Till there was youThen there was music and wonderful roses They tell me in sweet fragrant meadows Of dawn and dewThere was love all around But I never heard it singing No, I never heard it at all Till there was youThen there was music and wonderful roses They tell me in sweet fragrant meadows Of dawn and dewThere was love all around But I never heard it singing No, I never heard it at all Till there was you Till there was you JOHN 1963: 'I always hate singing the song, 'Twist And Shout' when there's a colored artist on the bill with us. It doesn't seem right, you know. I feel sort of embarrassed… It makes me curl up. I always feel they could do the song much better than me.'JOHN 1971: 'The more interesting songs to me were the black ones because they were more simple. They sort of said shake-your-arse, or your prick, which was an innovation really. The blacks were singing directly and immediately about their pain, and also about sex, which is why I like it.'JOHN 1976: 'The last song nearly killed me. My voice wasn't the same for a long time after – everytime I swallowed it was like sandpaper. I was always bitterly ashamed of it because I could sing it better than that, but now it doesn't bother me. You can hear I'm just a frantic guy doing his best.'PAUL 1988: 'There's a power in John's voice there that certainly hasn't been equaled since. And I know exactly why – It's because he worked his bollocks off that day. We left 'Twist And Shout' until the very last thing because we knew there was one take.'RINGO 1994: 'We started (recording the album) about noon and finished it at midnight, with John being really hoarse by 'Twist And Shout.'' Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C'mon c'mon, c'mon, c'mon, baby, now (Come on baby) Come on and work it on out (Work it on out)Well, work it on out, honey (Work it on out) You know you look so good (Look so good) You know you got me goin' now (Got me goin') Just like I knew you would (Like I knew you would)Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C'mon, c'mon, c'mon, c'mon, baby, now (Come on, baby) Come on and work it on out (Work it on out)Well, you twist, you little girl (Twist, little girl) You know you twist so fine (Twist so fine) Come on and twist a little closer now (Twist a little closer) And let me know that you're mine (Let me know you're mine)Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C'mon, c'mon, c'mon, c'mon, baby, now (Come on, baby) Come on and work it on out (Work it on out)Well, you twist, you little girl (Twist, little girl) You know you twist so fine (Twist so fine) Come on and twist a little closer now (Twist a little closer) And let me know that you're mine (Let me know you're mine)Well, shake it, shake it, shake it, baby, now (Shake it up baby) Well, shake it, shake it, shake it, baby, now (Shake it up baby) Well, shake it, shake it, shake it, baby, now (Shake it up baby) 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.' That boy took my love away Though he'll regret it someday But this boy wants you back againThat boy isn't good for you Though he may want you too This boy wants you back againOh, and this boy would be happy Just to love you, but oh my That boy won't be happy Till he's seen you cryThis boy wouldn't mind the pain Would always feel the same If this boy gets you back againThis boy This boy This boy [fade out] PAUL 1964: 'Let's see, we were told we had to get down to it. So we found this house when we were walking along one day. We knew we had to really get this song going, so we got down in the basement of this disused house and there was an old piano. It wasn't really disused, it was rooms to let. We found this old piano and started banging away. There was a little old organ too. So we were having this informal jam and we started banging away. Suddenly a little bit came to us, the catch line. So we started working on it from there. We got our pens and paper out and just wrote down the lyrics. Eventually, we had some sort of a song, so we played it for our recording manager and he seemed to like it. We recorded it the next day.'JOHN 1980: 'We wrote alot of stuff together, one on one, eyeball to eyeball. Like in 'I Want To Hold Your Hand,' I remember when we got the chord that made the song. We were in Jane Asher's house, downstairs in the cellar playing on the piano at the same time. And we had, 'Oh you-u-u/ got that something…' And Paul hits this chord, and I turn to him and say, 'That's it!' I said, 'Do that again!' In those days, we really used to absolutely write like that – both playing into each other's noses.'PAUL circa-1994: ''Eyeball to eyeball' is a very good description of it. That's exactly how it was. 'I Want To Hold Your Hand' was very co-written.' Oh yeah, I'll tell you something I think you'll understand Then I'll say that something I wanna hold your hand I wanna hold your hand I wanna hold your handOh please, say to me You'll let me be your man And please, say to me You'll let me hold your hand Now let me hold your hand I wanna hold your handAnd when I touch you I feel happy Inside It's such a feeling that my love I can't hide I can't hide I can't hideYeah, you got that something I think you'll understand Then I'll say that something I wanna hold your hand I wanna hold your hand I wanna hold your handAnd when I touch you I feel happy Inside It's such a feeling that my love I can't hide I can't hide I can't hideYeah, you got that something I think you'll understand When I feel that something I wanna hold your hand I wanna hold your hand I wanna hold your hand I wanna hold your hand We were sailing along (Twist and shout) On Moonlight Bay (Ooh) We could hear the voices singing (I like it!) They seemed to say (Keep on, Bongo) You have broken my heart (Oh, twist and shout) So go away(Are the Beatles gone? No, they're here Oh)With you big, far, hairy legs On Moonlight Bay On Moonlight BayOoohhh Yeah! Ha ha! 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 loveI'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 loveI'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 loveCan't buy me love, everybody tells me so Can't buy me love, no, no, no, noSay 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 loveCan't buy me love, everybody tells me so Can't buy me love, no, no, no, noSay 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 loveCan't buy me love, love Can't buy me love, oh 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.' Close your eyes and I'll kiss you Tomorrow I'll miss you Remember I'll always be true And then while I'm away I'll write home every day And I'll send all my loving to youI'll pretend that I'm kissing The lips I am missing And hope that my dreams will come true And then while I'm away I'll write home every day And I'll send all my loving to youAll my loving I will send to you All my loving, darling I'll be trueClose your eyes and I'll kiss you Tomorrow I'll miss you Remember I'll always be true And then while I'm away I'll write home every day And I'll send all my loving to youAll my loving I will send to you All my loving, darling I'll be true All my loving, all my loving ooh All my loving I will send to you JOHN 1964: 'I'd find it a drag to play rhythm all the time, so I always work myself out something interesting to play. The best example I can think of is like I did on 'You Can't Do That.' There really isn't a lead guitarist and a rhythm guitarist on that, because I feel the rhythm guitarist role sounds too thin for records. Anyway it drove me potty to play chunk-chunk rhythm all the time. I never play anything as lead guitarist that George couldn't do better. But I like playing lead sometimes, so I do it.'JOHN 1980: 'That's me doing Wilson Pickett. You know, a cowbell going four-in-the bar, and the chord going 'chatoong!'' I got something to say that might cause you pain If I catch you talking to that boy again I'm gonna let you down And leave you flat Because I told you before, oh You can't do thatWell, it's the second time I've caught you talking to him Do I have to tell you one more time, I think it's a sin I think I'll let you down (Let you down) Leave you flat (Gonna let you down and leave you flat) Because I've told you before, oh You can't do thatEverybody's green Cos I'm the one who won your love But if they'd seen You're talking that way they'd laugh in my faceSo please listen to me, if you wanna stay mine I can't help my feelings, I'll go out of my mind I'm gonna let you down (Let you down) And leave you flat (Gonna let you down and leave you flat) Because I've told you before, oh You can't do that, oh(You can't do that You can't do that You can't do that You can't do that You can't do that)Everybody's green Cos I'm the one who won your love But if they'd seen You're talking that way they'd laugh in my faceSo please listen to me, if you wanna stay mine I can't help my feelings, I'll go out of my mind I'm gonna let you down (Let you down) And leave you flat (Gonna let you down and leave you flat) Because I've told you before, oh You can't do that 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 herShe gives me everything And tenderly The kiss my lover brings She brings to me And I love herA love like ours Could never die As long as I Have you near meBright are the stars that shine Dark is the sky I know this love of mine Will never die And I love herBright are the stars that shine Dark is the sky I know this love of mine Will never die And I love her 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 alrightYou 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 OKWhen I'm home everything seems to be right When I'm home feeling you holding me tight, tight, yeahIt'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 owwwSo why on earth should I moan, cos when I get you alone You know I feel OKWhen I'm home everything seems to be right When I'm home feeling you holding me tight, tight, yeahIt'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 feel alright You know I feel alright 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.' I wanna be your lover baby I wanna be your man I wanna be your lover baby I wanna be your man Love you like no other baby Like no other can Love you like no other baby Like no other canI wanna be your man, I wanna be your man I wanna be your man, I wanna be your manTell me that you love me baby Let me understand Tell me that you love me baby I wanna be your man I wanna be your lover baby I wanna be your man I wanna be your lover baby I wanna be your manI wanna be your man, I wanna be your man I wanna be your man, I wanna be your manI wanna be your lover baby I wanna be your man I wanna be your lover baby I wanna be your man Love you like no other baby Like no other can Love you like no other baby Like no other canI wanna be your man, I wanna be your man I wanna be your man, I wanna be your man I wanna be your man, I wanna be your man I'm gonna tell Aunt Mary 'bout Uncle John He said he had the misery but he got a lot of fun Baby, yeah now baby Woo baby, some fun tonightI saw Uncle John with Long Tall Sally He saw Aunt Mary coming and he ducked back in the alley Oh, baby, yeah now baby Woo baby, some fun tonightWell Long Tall Sally's built pretty sweet She got everything that Uncle John need Baby, yeah now baby Woo baby, some fun tonightWell, we're gonna have some fun tonight Have some fun tonight Everything's all right Have some fun tonight Have some fun Yeah, yeah, yeah, We're gonna have some fun tonight Have some fun tonight Everything's all right Have some fun tonight Yeah, we'll have some fun Some fun tonight Boys (Percy Wenrich) I been told when a boy kiss a girl Take a trip around the world Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)My girl says when I kiss her lips Gets a thrill through her fingertips Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)Well, I talk about boys Don't ya know I mean boys Well, I talk about boys, now Aaahhh, boys Well, I talk about boys, now What a bundle of joy! (Alright, George!)My girl says when I kiss her lips Gets a thrill through her fingertips Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)Well, I talk about boys Don't ya know I mean boys Well, I talk about boys, now Aaahhh, boys Well, I talk about boys, now What a bundle of joy!Oh, oh, ah yeah boys Don't ya know I mean boys? Ooh, boys Ah ha Well I talk about boys now Shout (Jackie Wilson) You know you make me want to Shout! Click my finger! Shout! Throw my hands back! Shout! Kick my heels up! Shout! Come on now! Shout! Take it easy! Shout! Take it easy! Shout! Take it easy! Shout! A little bit softer now Shout! A little bit softer now Shout! A little bit softer now Shout! A little bit softer now Shout! A little bit softer now Shout! A little bit softer now Shout! A little bit softer now Shout! A little bit softer now Shout! A little bit louder now Shout! A little bit louder now Shout! A little bit louder now Shout! A little bit louder now Shout! A little bit louder now Shout! A little bit louder now Shout! A little bit louder now Shout! A little bit louder now Shout! Hey hey hey hey! Hey hey hey hey! Hey hey hey hey! Hey hey hey hey! Hey hey hey hey! Hey hey hey hey! Hey hey hey hey! Hey hey hey hey! Shout!A little bit louder now Shout! Jump up and shout now! Shout! Jump up and shout now! Shout! Jump up and shout now! Shout! Everybody shout now! Shout! Everybody shout now! Shout! Everybody jump up now! Shout! Everybody jump up now! Shout! Everybody jump up now! Shout! Everybody shout now! Shout! Everybody shout now! Shout! Everybody shout now! Shout! Shout! Shout! Shout! Shout! Shout! Shout! Shout! Shout! You Know What to Do (George Harrison) When I see you, I just don't know what to say I like to be with you every hour of the daySo if you want me just like I need you You know what to doI watched you walking by, and you looked alone I hope that you won't mind if I walk you back homeAnd if you want me just like I need you You know what to doJust call on me when you're lonely I'll keep my love for you only I'll call on you if I'm lonely tooUnderstand I'll stay with you every day Make you love me more in every waySo if you want me just like I want you You know what to doJust call on me when you're lonely I'll keep my love for you only I'll call on you if I'm lonely tooUnderstand I'll stay with you every day Make you love me more in every waySo if you want me just like I want you You know what to do JOHN 1972: 'I remember (Beatles music publisher) Dick James coming up to me after we did this one and saying, 'You're getting better now – that was a complete story.' Apparently, before that, he thought my songs wandered off.'JOHN 1980: 'That's my song. That's the one where Dick James the publisher said, 'That's the first complete song you've written that resloves itself,' you know, with a complete story. It was sort of my version of 'Silhouettes.' (sings) 'Silhouettes, silhouettes, silhouettes…' I had that image of walking down the street and seeing her silhouetted in the window and not answering the phone, although I never called a girl on the phone in my life. Because phones weren't part of the English child's life.'PAUL circa-1994: 'We wrote 'No Reply' together but from a strong original idea of his. I think he pretty much had that one, but as usual, if he didn't have a third verse and the middle-eight, then he'd play it to me pretty much formed. Then we'd shove a bit in the middle or I'd throw in an idea.' This happened once before When I came to your door No reply They said it wasn't you But I saw you peep through your windowI saw the light, I saw the light I know that you saw me As I looked up to see your faceI tried to telephone They said you were not home That's a lie 'Cause I know where you've been I saw you walk in your doorI nearly died, I nearly died 'Cause you walked hand in hand With another man in my placeIf I were you I'd realize that I Love you more than any other guy And I'll forgive the lies that I Heard before when you gave me no replyI've tried to telephone They said you were not home That's a lie 'Cause I know where you've been I saw you walk in your doorI nearly died, I nearly died 'Cause you walked hand in hand With another man in my placeNo reply, no reply Mr. Moonlight (Roylee Johnson) Mr. Moonlight You came to me one summer night And from your beam you made my dream And from the world you sent my girl And from above you sent us love And now she is mine I think you're fine Cos we love you, Mr. MoonlightMr. Moonlight, come again please Here I am on my knees Begging if you please And the night you don't come my way I'll pray and pray more each day Cos we love you, Mr. MoonlightAnd the night you don't come my way Oh, I'll pray and pray more each day Cos we love you, Mr. Moonlight Mr. MoonlightMr. Moonlight, come again please Here I am on my knees Begging if you please And the night you don't come my way I'll pray and pray more each day Cos we love you, Mr. Moonlight Mr. Moonlight Mr. Moonlight Mr. Moonlight You better leave my kitten all alone You better leave my kitten all alone But I told you big fat bulldog You better leave her aloneYou better leave my kitten all alone You better leave my kitten all alone This dog is going to get you If you don't leave her aloneWell Mr.Dog I'm going to hit you On the top of your head That child is going to miss you You going to wish that you were dead If you don't leave my kitten all alone Well I told you big fat bulldog You better leave her aloneAlright Hey, hey, hey, hey Hey, hey, hey Hey heyYeah hey you better leave, you better leave You better leave, yeah you better leave You better leave, oh you got to leave Hey hey, well I told you big fat bulldog JOHN 1972: 'I remember (Beatles music publisher) Dick James coming up to me after we did this one and saying, 'You're getting better now – that was a complete story.' Apparently, before that, he thought my songs wandered off.'JOHN 1980: 'That's my song. That's the one where Dick James the publisher said, 'That's the first complete song you've written that resloves itself,' you know, with a complete story. It was sort of my version of 'Silhouettes.' (sings) 'Silhouettes, silhouettes, silhouettes…' I had that image of walking down the street and seeing her silhouetted in the window and not answering the phone, although I never called a girl on the phone in my life. Because phones weren't part of the English child's life.'PAUL circa-1994: 'We wrote 'No Reply' together but from a strong original idea of his. I think he pretty much had that one, but as usual, if he didn't have a third verse and the middle-eight, then he'd play it to me pretty much formed. Then we'd shove a bit in the middle or I'd throw in an idea.' This happened once before When I came to your door No reply They said it wasn't you But I saw you peep through your windowI saw the light, I saw the light I know that you saw me As I looked up to see your faceI tried to telephone They said you were not home That's a lie 'Cause I know where you've been I saw you walk in your doorI nearly died, I nearly died 'Cause you walked hand in hand With another man in my placeIf I were you I'd realize that I Love you more than any other guy And I'll forgive the lies that I Heard before when you gave me no replyI've tried to telephone They said you were not home That's a lie 'Cause I know where you've been I saw you walk in your doorI nearly died, I nearly died 'Cause you walked hand in hand With another man in my placeNo reply, no reply JOHN 1972: 'Both of us wrote it. I think we wrote this when we were trying to write the title song for 'Help!' because there was at one time the thought of calling the film, 'Eight Arms To Hold You.''JOHN 1980: 'Eight Days A Week' was never a good song. We struggled to record it and struggled to make it into a song. It was his (Paul's) initial effort, but I think we both worked on it. I'm not sure. But it was lousy anyway.'PAUL 1984: 'Yeah, he (Ringo) said it as though he were an overworked chauffeur: (in heavy accent) 'Eight days a week.' (Laughter) When we heard it, we said, 'Really? Bing! Got it!'' (Laughs) Ooh, I need your love, babe Guess you know it's true Hope you need my love, babe Just like I need youHold me, love me, hold me, love me Ain't got nothing but love, babe Eight days a week.Love you every day, girl Always on my mind One thing I can say, girl Love you all the timeHold me, love me, hold me, love me Ain't got nothing but love, girl Eight days a week.Eight days a week I love you Eight days a week Is not enough to show I careOoh, I need your love, babe Guess you know it's true Hope you need my love, babe Just like I need youHold me, love me, hold me, love me Ain't got nothing but love, babe Eight days a weekEight days a week I love you Eight days a week Is not enough to show I careLove you every day, girl Always on my mind One thing I can say, girl Love you all the timeHold me, love me, hold me, love me Ain't got nothing but love, babe Eight days a week Eight days a week Eight days a week |
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