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The Beatles Lyrics, album "Anthology 1"

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Cover of the Beatles album - "Anthology 1"
Free As a Bird
(John Lennon)

Free as a bird
It's the next best thing to be
Free as a bird

Home, home and dry
Like a homing bird I'll fly
As a bird on wings

Whatever 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 bird

Home, home and dry
Like a homing bird I'll fly
As a bird on wings

Whatever…

We were four guys … that's all
That'll Be the Day
(Jerry Allison, Buddy Holly, Norman Petty)

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 die

Well, 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 die

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 die

When 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 die

That'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 me

In 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

I'll look after you like I've never done before
I'll keep all the others from knocking at your door

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 me

In 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 so

Every 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 so

When 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 door

In the evening when the sun goes down
And there ain't nobody else around
She kisses…

You'll Be Mine
(John Lennon and Paul McCartney)

Well the stars, always shine
You'll be mine, and I know
You'll be mine
How they shine
You'll be mine

As 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

Cayenne
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

[Instrumental]

First of all … it didn't do a thing here
(John Lennon and Paul McCartney)
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 me

My Bonnie lies over the ocean
My Bonnie lies over the sea
Well my Bonnie lies over the ocean
Yeah bring back my Bonnie to me

Yeah 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 me

Well 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 me

Yeah 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

Ain't She Sweet
(Milton Ager and Jack Yellen)

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

Cry for a Shadow
(George Harrison and John Lennon)

I see you crying
See the pattern
They come and go
Leave you shattered
You've shed for so many untrue

Can 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 to

They don't deserve your priceless tears
You will whisper
Fill your ears
A reflection of a love long due

Can 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 few

Can you cry?
Dry the tears and try

Now stop crying
It doesn't matter
Just lean closer
So I can gather
Every drop of your precious tears

When 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 you

Can you cry?
Dry the tears and try

Now stop your crying
It doesn't matter
Just lean closer
So I can gather
Every drop of your precious tears

When 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 her

Well 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 day

Well 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
(Jerry Leiber and Hike Stoller)

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 cats

Three 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 chicks

Well 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 chicks

Well 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 cats

Three cool cats
Three cool cats

(Three cool cats, oh three cool cats)

The Sheik of Araby
(Harry Bache Smith, Francis Wheeler and Ted Snyder)

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
Aha

The stars that shine above
Will light our way to love
Ah you rule this world with me
I'm the sheik of Araby

The 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 you

And I waited for your kiss
Waited for the bliss
Like dreamers do

And I
Oh I'll be there, yeah
Waiting for you, you, you, you, you, you

You, 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)
JOHN 1980: 'That's another McCartney.
An attempt to write a single.
It wasn't a great piece.
The best bit was at the end, which we all ad-libbed in the studio, where I played the piano.
Like 'Ticket To Ride,' where we just threw something in at the end.'

PAUL circa-1994: ''Hello Goodbye' was one of my songs.
There are Geminian influences here I think – the twins.
It's such a deep theme of the universe, duality – man woman, black white, high low, right wrong, up down, hello goodbye – that it was a very easy song to write.
It's just a song of duality, with me advocating the more positive.
You say goodbye, I say hello.
You say stop, I say go.
I was advocating the more positive side of the duality, and I still do to this day.'

Hello little girl
Hello little girl
Hello little girl

When 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 love

So 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)
Bésame Mucho
(Consuelo Velazquez and Sunny Skylar)

Besame,
Besame mucho
Como si fuera ésta noche
La última vez

Besame, besame mucho
Que tengo miedo a perderte
Perderte después

Besame,
Besame mucho
Como si fuera ésta noche
La última vez

Besame, besame mucho
Que tengo miedo a perderte
Perderte después

Quiero tenerte muy cerca
Mirarme en tus ojos
Verte junto a mi

Piensa que tal vez mañana
Yo ya estaré lejos,
Muy lejos de ti

Besame,
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 do

Love, love me do
You know I love you
I'll always be true
So please, love me do
Whoa, love me do

Someone to love
Somebody new
Someone to love
Someone like you

Love, love me do
You know I love you
I'll always be true
So please, love me do
Whoa, love me do

Love, 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 you

How 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 clue

You 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 you

You 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?

Please Please Me
(John Lennon)
(Officially – John Lennon and Paul McCartney)
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 you

You 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 you

I 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 blue

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 you
(Me) Whoa yeah, like I please you
(Me) Whoa yeah, like I please you

One After 909 (sequence)
(John Lennon and Paul McCartney)
One After 909 (complete)
(John Lennon and Paul McCartney)
Lend Me Your Comb
(Kay Twomey, Fred Wise and Ben Weisman)

Lend me your comb
It's time to go home
I got to go past
My hair is a mess

Your mammie will scold
Your pappie will shout
Unless we come in
The way we went out

Kissing you was fun honey
But thanks for the date
But I must come to run honey
But you know baby it's getting late

Just 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 yeah

Imagine 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 before

It'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

I 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 blue

So 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 yeah

Well, there's gonna be a time
When I'm gonna change/make your mind
So you might as well resign yourself to me
Oh yeah

Imagine 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 before

It'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)
I Saw Her Standing There
(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 there

Well 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 there

Well, my heart went "boom"
When I crossed that room
And I held her hand in mine

Whoah, 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 there

Well, my heart went "boom"
When I crossed that room
And I held her hand in mine

Whoah, 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

From Me to You
(John Lennon and Paul McCartney)
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 da

If 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

I'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 you

I 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, oooh

If 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

From me, to you
Just call on me and I'll send it along
With love from me to you

I 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, oooh

If 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

Money (That's What I Want)
(Berry Gordy and Janie Bradford)

The best things in life are free
But you can keep 'em for the birds and bees

Now 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 want

Your loving give me a thrill,
But your loving don't pay my bills

Now 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 want

Money don't get everything it's true
What it don't get I can't use

Now 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 want

Well, 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 want

Well, 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)

Baby

I 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)

Baby

I love you and all I want you to do
Is just hold me, hold me, hold me, hold me
Tighter
Tighter

I 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)

Baby

I love you and all I want you to do
Is just hold me, hold me, hold me, hold me

You 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 today

You 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 news

I 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 two

Well 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 - Ooo

Well 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 news

You 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

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.'

She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah, yeah

You think you lost your love
Well, I saw her yesterday
It's you she's thinking of
And she told me what to say

She says she loves you
And you know that can't be bad
Yes, she loves you
And you know you should be glad

She said you hurt her so
She almost lost her mind
But now she says she knows
You're not the hurting kind

She says she loves you
And you know that can't be bad
Yes, she loves you
And you know you should be glad, ooh

She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah
And with a love like that
You know you should be glad

You know it's up to you
I think it's only fair
Pride can hurt you too
Apologize to her

Because she loves you
And you know that can't be bad
Yes, she loves you
And you know you should be glad, ooh

She 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 you

There were birds in the sky
But I never saw them winging
No, I never saw them at all
Till there was you

Then there was music and wonderful roses
They tell me in sweet fragrant meadows
Of dawn and dew

There was love all around
But I never heard it singing
No, I never heard it at all
Till there was you

Then there was music and wonderful roses
They tell me in sweet fragrant meadows
Of dawn and dew

There 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

Twist and Shout
(Bert Russell and Phil Medley)
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)

This Boy
(John Lennon)
(Officially – 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.'

That boy took my love away
Though he'll regret it someday
But this boy wants you back again

That boy isn't good for you
Though he may want you too
This boy wants you back again

Oh, and this boy would be happy
Just to love you, but oh my
That boy won't be happy
Till he's seen you cry

This boy wouldn't mind the pain
Would always feel the same
If this boy gets you back again

This boy
This boy
This boy [fade out]

I Want to Hold Your Hand
(John Lennon and Paul McCartney)
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 hand

Oh 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 hand

And 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 hide

Yeah, 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 hand

And 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 hide

Yeah, 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

Boys, what I was thinking…
(John Lennon and Paul McCartney)
Moonlight Bay
(Edward Madden and Percy Wenrich)

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 Bay

Ooohhh
Yeah!
Ha ha!

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

All My Loving
(Paul McCartney)
(Officially – 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.'

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 you

I'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 you

All my loving I will send to you
All my loving, darling I'll be true

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 you

All 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

You Can't Do That
(John Lennon)
(Officially – John Lennon and Paul McCartney)
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 that

Well, 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 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 face

So 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 face

So 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

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

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

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

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 owww

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

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 feel alright
You know I feel alright

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.'

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 can

I wanna be your man, I wanna be your man
I wanna be your man, I wanna be your man

Tell 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 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 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 can

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 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 tonight

I 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 tonight

Well Long Tall Sally's built pretty sweet
She got everything that Uncle John need
Baby, yeah now baby
Woo baby, some fun tonight

Well, 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

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!

I'll Be Back (Take 2)
(John Lennon)
(Officially – John Lennon and Paul McCartney)
I'll Be Back (Take 3)
(John Lennon)
(Officially – John Lennon and Paul McCartney)
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 day

So if you want me just like I need you
You know what to do

I watched you walking by, and you looked alone
I hope that you won't mind if I walk you back home

And if you want me just like I need you
You know what to do

Just call on me when you're lonely
I'll keep my love for you only
I'll call on you if I'm lonely too

Understand I'll stay with you every day
Make you love me more in every way

So if you want me just like I want you
You know what to do

Just call on me when you're lonely
I'll keep my love for you only
I'll call on you if I'm lonely too

Understand I'll stay with you every day
Make you love me more in every way

So 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 window

I saw the light, I saw the light
I know that you saw me
As I looked up to see your face

I 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 door

I nearly died, I nearly died
'Cause you walked hand in hand
With another man in my place

If 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 reply

I'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 door

I nearly died, I nearly died
'Cause you walked hand in hand
With another man in my place

No 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. Moonlight

Mr. 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

And the night you don't come my way
Oh, I'll pray and pray more each day
Cos we love you, Mr. Moonlight
Mr. Moonlight

Mr. 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

Leave My Kitten Alone
(Little Willie John, Titus Turner and James McDougal)

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 alone

You 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 alone

Well 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 alone

Alright
Hey, hey, hey, hey
Hey, hey, hey
Hey hey

Yeah 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 window

I saw the light, I saw the light
I know that you saw me
As I looked up to see your face

I 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 door

I nearly died, I nearly died
'Cause you walked hand in hand
With another man in my place

If 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 reply

I'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 door

I nearly died, I nearly died
'Cause you walked hand in hand
With another man in my place

No reply, no reply

Eight Days a Week
(John Lennon and Paul McCartney)
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 you

Hold 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 time

Hold 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 care

Ooh, I need your love, babe
Guess you know it's true
Hope you need my love, babe
Just like I need you

Hold me, love me, hold me, love me
Ain't got nothing but love, babe
Eight days a week

Eight days a week
I love you
Eight days a week
Is not enough to show I care

Love you every day, girl
Always on my mind
One thing I can say, girl
Love you all the time

Hold 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

Eight Days a Week (complete)
(John Lennon and Paul McCartney)
Kansas City/Hey, Hey, Hey, Hey
(Jerry Leiber, Mike Stoller and Richard Penniman)
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