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The Beatles Lyrics, album "Anthology 2"
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All my little plans and schemes Lost like some forgotten dreams Seems that all I really was doing Was waiting for youJust like little girls and boys Playing with their little toys Seems like all they really were doing Was waiting for loveDon't need to be alone No need to be aloneIt's real love It's real Yes, it's real love It's realFrom this moment on I know Exactly where my life will go Seems that all I really was doing Was waiting for love JOHN 1980: 'That's me trying a rewrite of 'This Boy,' but it didn't quite work.'PAUL circa-1994: 'I was there writing it with John, but it was his inspiration that I helped him finish off. 'Yes It Is' is a very fine song of John's.' If you wear red tonight Remember what I said tonight For red is the color that my baby wore And what's more it's true Yes, it isScarlet were the clothes she wore Everybody knows I'm sure I would remember all the things we planned Understand, it's true Yes, it is, it's true Yes, it isI could be happy with you by my side If I could forget her, but it's my pride Yes, it is, yes, it is Oh, yes it is, yeahPlease don't wear red tonight This is what I said tonight For red is the color that will make me blue In spite of you, it's true Yes, it is, it's true Yes, it isI could be happy with you by my side If I could forget her, but it's my pride Yes, it is, yes, it is Oh, yes, it is, yeahPlease don't wear red tonight This is what I said tonight For red is the color that will make me blue In spite of you, it's true Yes, it is, it's true Yes, it is, it's true JOHN 1980: 'That's Paul… with a little help from me, I think.'PAUL circa-1994: 'I could do Little Richard's voice which is a wild, hoarse, screaming thing – It's like an out-of-body experience. You have to leave your current sensibilities and go about a foot above your head to sing it. Alot of people were fans of Little Richard so I used to sing his stuff, but there came a point when I wanted to do one of my own, so I wrote 'I'm Down.'' You telling lies thinking I can't see You don't cry cos you're laughing at me I'm down (I'm really down) I'm down (Down on the ground) I'm down (I'm really down) How can you laugh when you know I'm down (How can you laugh) When you know I'm downMan buys ring woman throws it away Same old thing happens everyday I'm down (I'm really down) I'm down (Down on the ground) I'm down (I'm really down) How can you laugh when you know I'm down (How can you laugh) When you know I'm downWe're all alone and there's nobody else You still moan, "Keep your hands to yourself!" I'm down (I'm really down) Oh baby I'm down (Down on the ground) I'm down (I'm really down) How can you laugh when you know I'm down (How can you laugh) When you know I'm down. Waaaao! Baby I'm downOh baby you know I'm down (I'm really down) Oh yes I'm down (I'm really down) I'm down on the ground (I'm really down) Ahhhh! Down (I'm really down) Oh baby I'm upside down, a yea yea yea yea yea I'm down (I'm really down) Oh baby I'm down (I'm really down) I'm feeling upside down (I'm really down) Ooo! I'm down (I'm really down) Baby I'm down yea Oh baby I'm down yea Baby I'm down (I'm really down) Well baby I'm down (I'm really down) Well baby baby baby (I'm really down) Oh baby I'm down I'm down, down, down Here I stand head in hand Turn my face to the wall If she's gone I can't go on Feeling two-foot smallEverywhere people stare Each and every day I can see them laugh at me And I hear them sayHey You've Got to Hide Your Love Away Hey You've Got to Hide Your Love AwayHow can I even try I can never win Hearing them, seeing them In the state I'm inHow could she say to me Love will find a way Gather round all you clowns Let me hear you sayHey You've Got to Hide Your Love Away Hey You've Got to Hide Your Love Away If you've got trouble Then you got less trouble than me You say you're worried You can't be as worried as me (Oh oh)You're quite contend to be bad With all the vantage you had over me Just cause you're trouble And don't bring your troubles to meI don't think it's funny When you ask for money and things Especially when you're standing there Wearing diamond and rings (Oh oh)You think I'm soft in the head Well try someone softer instead anything It's not so funny When you know what money can bringYou better leave me alone I don't need a thing from you You better take yourself home Go and count a ring or twoIf you've got trouble Then you got less trouble than me You say you're worried You can't be as worried as meYou're quite contend to be bad With all the vantage you had over me Just cause you're trouble And don't bring your troubles to me[Ah rock on, anybody.]You better leave me alone, I don't need a thing from you You better take yourself home Go and count a ring or twoIf you've got trouble Then you got less trouble than me You say you're worried You can't be as worried as me (Oh oh)You're quite contend to be bad With all the vantage you had over me Just cause you're trouble And don't bring your troubles to me Just cause you're trouble And don't bring your troubles to me A friend says that your love Won't mean a lot And you know that your love Is all you've got At times things are so fine And at times they're not But when she says she loves you That means a lotLove can be deep inside Love can be suicide Can't you see you can't hide What you feel when it's realCan't you see, yeah Can't you see, yeah Can't you see, yeah Can't you see, yeah Can't you see, yeah Can't you see, yeah Can't you see, yeah Can't you see, yeah Yesterday JOHN 1972: 'That's the one song I really hate of mine. Terrible lyric.'JOHN 1980: ''It's Only Love' is mine. I always thought it was a lousy song. The lyrics are abysmal. I always hated that song.'PAUL circa-1994: 'Sometimes we didn't fight it if the lyric came out rather bland on some of those filler songs like 'It's Only Love.' If a lyric was really bad we'd edit it. But we weren't that fussy about it, because it's only a rock 'n roll song. I mean, this is not literature.' I get high when I see you go by My oh my When you sigh, my, my inside just flies Butterflies Why am I so shy when I'm beside you?It's only love and that is all Why should I feel the way I do? It's only love, and that is all But it's so hard loving youIs it right that you and I should fight Every night? Just the sight of you makes nighttime bright Very bright Haven't I the right to make it up girl?It's only love and that is all Why should I feel the way I do? It's only love, and that is all But it's so hard loving you Yes it's so hard loving you, loving you JOHN 1964: 'George and I play the same bit on the guitar together – that's the bit that'll set your feet a-tapping, as the reviews say. The middle-eight is the most tuneful part, to me, because it's a typical Beatles bit.'JOHN 1972: 'This was the first time feedback was used on a record. It's right at the beginning.'JOHN 1974: 'I wrote this at a recording session. It was tied together around the guitar riff that opens it.'JOHN 1980: 'That's me completely. Including the guitar lick with the first feedback anywhere. I defy anybody to find a record… unless it is some old blues record from 1922… that uses feedback that way. So I claim it for the Beatles. Before Hendrix, before the Who, before anybody. The first feedback on record.'PAUL circa-1994: 'John had a semi-acoustic Gibson guitar. It had a pick-up on it so it could be amplified… We were just about to walk away to listen to a take when John leaned his guitar against the amp. I can still see him doing it… and it went, 'Nnnnnnwahhhhh!' And we went, 'What's that? Voodoo!' 'No, it's feedback.' Wow, it's a great sound!' George Martin was there so we said, 'Can we have that on the record?' 'Well, I suppose we could, we could edit it on the front.' It was a found object – an accident caused by leaning the guitar against the amp. The song itself was more John's than mine. We sat down and co-wrote it with John's original idea. John sang it, I'm on harmonies.' Baby's good to me, you know She's happy as can be, you know She said so I'm in love with her and I feel fineBaby says she's mine, you know She tells me all the time, you know She said so I'm in love with her and I feel fineI'm so glad that she's my little girl She's so glad, she's telling all the worldThat her baby buys her things, you know He buys her diamond rings, you know She said so She's in love with me and I feel fine, mmmBaby says she's mine, you know She tells me all the time, you know She said so I'm in love with her and I feel fineI'm so glad that she's my little girl She's so glad, she's telling all the worldThat her baby buys her things, you know He buys her diamond rings, you know She said so She's in love with me and I feel fine She's in love with me and I feel fine, mmm, mmm GEORGE 1965: 'We are always worried with each record. With 'Ticket To Ride' we were even more worried. There's bound to be a time when we come in at 19 (on the charts). But this 'number one' business doesn't seem to stop – great while it lasts – but now we'll have to start all over again and people will start predicting funny things for the next one.'JOHN 1970: 'It's a heavy record, and the drums are heavy too. That's why I like it.'JOHN 1980: 'That was one of the earliest heavy-metal records made. Paul's contribution was the way Ringo played the drums.'PAUL circa-1994: 'I think the interesting thing is the crazy ending – instead of ending like the previous verse, we changed the tempo. We picked up one of the lines, 'My baby don't care,' but completely altered the melody. We almost invented the idea of a new bit of a song on the fade-out with this song… It was quite radical at the time.' I think I'm gonna be sad I think it's today, yeah The girl that's driving me mad Is going awayShe's got a ticket to ride She's got a ticket to ride She's got a ticket to ride But she don't careShe said that living with me Is bringing her down, yeah For she would never be free When I was aroundShe's got a ticket to ride She's got a ticket to ride She's got a ticket to ride But she don't careI don't know why she's riding so high She ought to think twice She ought to do right by me Before she gets to saying goodbye She ought to think twice She ought to do right by meI think I'm gonna be sad I think it's today, yeah The girl that's driving me mad Is going away, yeahOh, she's got a ticket to ride She's got a ticket to ride She's got a ticket to ride But she don't careI don't know why she's riding so high She ought to think twice She ought to do right by me Before she gets to saying goodbye She ought to think twice She ought to do right by meShe said that living with me Is bringing her down, yeah For she would never be free When I was aroundAh, she's got a ticket to ride She's got a ticket to ride She's got a ticket to ride But she don't careMy baby don't care, my baby don't care My baby don't care, my baby don't care My baby don't care, my baby don't care (fade out) Yesterday JOHN 1965: 'We think it's one of the best we've written.'JOHN 1980: 'The whole Beatle thing was just beyond comprehension. When 'Help' came out, I was actually crying out for help. Most people think it's just a fast rock 'n roll song. I didn't realize it at the time; I just wrote the song because I was commissioned to write it for the movie. But later, I knew I really was crying out for help. So it was my fat Elvis period. You see the movie: He – I – is very fat, very insecure, and he's completely lost himself. And I am singing about when I was so much younger and all the rest, looking back at how easy it was. Now I may be very positive… yes, yes… but I also go through deep depressions where I would like to jump out the window, you know. It becomes easier to deal with as I get older; I don't know whether you learn control or, when you grow up, you calm down a little. Anyway, I was fat and depressed and I was crying out for help.'PAUL 1984: 'John wrote that… well, John and I wrote it at his house in Weybridge for the film. I think the title was out of desperation.' Help! I need somebody Help! Not just anybody Help! You know I need someone Help!(When) When I was younger (When I was young) so much younger than today (I never need) I never needed anybody's help in any way (Now) But now these days are gone (These days are gone) and I'm not so self assured (And now I find) Now I find I've changed my mind, I've opened up the doorsHelp me if you can, I'm feeling down And I do appreciate you being 'round Help me get my feet back on the ground Won't you please, please help me?(Now) And now my life has changed (My life has changed) in oh so many ways (My independence) My independence seems to vanish in the haze (But) But ev'ry now (Every now and then) and then I feel so insecure (I know that I) I know that I just need you like I've never done beforeHelp me if you can, I'm feeling down And I do appreciate you being 'round Help me get my feet back on the ground Won't you please, please help me?When I was younger, so much younger than today I never needed anybody's help in any way (Now) But now these days are gone (These days are gone) and I'm not so self assured (And now I find) Now I find I've changed my mind, I've opened up the doorsHelp me if you can, I'm feeling down And I do appreciate you being 'round Help me get my feet back on the ground Won't you please, please help me?Help me, help me Ooh Everybody's Trying to Be My Baby (Carl Perkins) Well they took some honey from a tree Dressed it up and they called it meEverybody's trying to be my baby Everybody's trying to be my baby Everybody's trying to be my baby nowWoke up last night, half past four Fifty women knocking on my doorEverybody's trying to be my baby Everybody's trying to be my baby Everybody's trying to be my baby now[Instrumental/solo]Went out last night I didn't stay late 'Fore I got home I had nineteen datesEverybody's trying to be my baby Everybody's trying to be my baby Everybody's trying to be my baby now[Instrumental/solo]Went out last night I didn't stay late 'fore I got home I had nineteen datesEverybody's trying to be my baby Everybody's trying to be my baby Everybody's trying to be my baby nowWell they took some honey from a tree Dressed it up and they called it meEverybody's trying to be my baby Everybody's trying to be my baby Everybody's trying to be my baby now JOHN 1972: 'Me. But Paul helped me on the lyric.'GEORGE 1980: 'I had bought, earlier, a crummy sitar in London… and played the 'Norwegian Wood' bit.'JOHN 1980: ''Norwegian Wood' is my song completely. It was about an affair I was having. I was very careful and paranoid because I didn't want my wife, Cyn, to know that there really was something going on outside of the household. I'd always had some kind of affairs going on, so I was trying to be sophisticated in writing about an affair… but in such a smoke-screen way that you couldn't tell. But I can't remember any specific woman it had to do with.'PAUL 1985: 'It was me who decided in 'Norwegian Wood' that the house should burn down… not that it's any big deal.' I once had a girl Or should I say She once had meShe showed me her room Isn't it good Norwegian woodShe asked me to stay And she told me to sit anywhere So I looked around And I noticed there wasn't a chairI sat on a rug Biding my time Drinking her wineWe talked until two And then she said "It's time for bed"She told me she worked in the morning And started to laugh I told her I didn't And crawled off to sleep in the bathAnd when I awoke I was alone This bird had flownSo I lit a fire Isn't it good Norwegian wood JOHN 1980: 'Paul. He must have had an argument with Jane Asher.'PAUL circa-1994: 'As is one's wont in relationships, you will from time to time argue or not see eye to eye on things, and a couple of the songs around this period were that kind of thing… I would write it out in a song and then I've got rid of the emotion. I don't hold grudges so that gets rid of that little bit of emotional baggage… I think it's my song totally. I don't remember any of John's assistance.' I'm looking through you, where did you go? I thought I knew you, what did I know? You don't look different, but you have changed I'm looking through you, you're not the sameYour lips are moving, I cannot hear Your voice is soothing, but the words aren't clear You don't sound different, I've learned the game I'm looking through you, you're not the sameWhy, tell me why, did you not treat me right? Love has a nasty habit of disappearing overnightYou're thinking of me, the same old way You were above me, but not today The only difference is you're down there I'm looking through you, and you're nowhereWhy, tell me why, did you not treat me right? Love has a nasty habit of disappearing overnightI'm looking through you, where did you go I thought I knew you, what did I know You don't look different, but you have changed I'm looking through you, you're not the sameYeah Oh baby I'm changed Ah I'm looking through you Yeah I'm looking through you [Instrumental] JOHN 1968: ''Tomorrow Never Knows' …I didn't know what I was saying, and you just find out later. I know that when there are some lyrics I dig, I know that somewhere people will be looking at them.'JOHN 1968: 'Often the backing I think of early-on never comes off. With 'Tomorrow Never Knows' I'd imagined in my head that in the background you would hear thousands of munks chanting. That was impractical, of course, and we did something different. It was a bit of a drag, and I didn't really like it. I should have tried to get near my original idea, the munks singing. I realize now that was what I wanted.'JOHN 1972 'This was my first psychedelic song.'JOHN 1980 'That's me in my 'Tibetan Book of the Dead' period. I took one of Ringo's malapropisms as the title, to sort of take the edge off the heavy philosophical lyrics.'PAUL 1984: 'That was one of Ringo's malapropisms. John wrote the lyrics from Timothy Leary's version of the 'Tibetan Book of the Dead.' It was a kind of Bible for all the psychedelic freaks. That was an LSD song. Probably the only one. People always thought 'Lucy in the Sky with Diamonds' was but it actually 'wasn't' meant to say LSD.' Turn off your mind, relax and float down stream It is not dying, it is not dyingLay down all thoughts, surrender to the void It is shining, it is shiningYet you may see the meaning of within It is being, it is beingLove is all and love is everyone It is knowing, it is knowing...... that ignorance and hates may mourn the dead It is believing, it is believingBut listen to the colour of your dreams It is not living, it is not livingSo play the game "Existence" to the end... ... of the beginning, of the beginning Of the beginning, of the beginning Of the beginning, of the beginning Of the beginning, of the beginning JOHN 1968: 'We were doing our Tamla Motown bit. You see, we're influenced by whatever's going. Even if we're not influenced, we're all going that way at a certain time.'JOHN 1972: 'I think George and I helped with some of the lyrics. I'm not sure.'JOHN 1980: 'Paul. I think that was one of his best songs, too, because the lyrics are good and I didn't write them. You see? When I say that he could write lyrics if he took the effort – here's an example.'PAUL 1984: 'That's mine – I wrote it. It was the first one we used brass on, I think. One of the first times we used soul trumpets.'PAUL circa-1994: 'I'd been a rather straight working class lad, but when we started to get into pot it seemed to me to be quite uplifting. It didn't seem to have too many side effects like alcohol or some of the other stuff, like pills, which I pretty much kept off. I kind of liked marijuana and to me it seemed it was mind-expanding, literally mind-expanding. So 'Got To Get You Into My Life' is really a song about that. It's not to a person, it's actually about pot. It's saying, 'I'm going to do this. This is not a bad idea.' So it's actually an ode to pot, like someone else might write an ode to chocolate or a good claret. I haven't really changed my opinion too much, except if anyone asks me for real advice, it would be stay straight. That is actually the best way, but in a stressful world I still would say that pot was one of the best of the tranquilizing drugs. I have drunk and smoked pot and of the two I think pot is less harmful. People tend to fall asleep on it rather than go out and commit murder, so it's always seemed to me to be a rather benign one.' I was alone, I took a ride I didn't know what I would find there Another road where maybe I could see another kind of mind thereOoh, then I suddenly see you Ooh, did I tell you I need you Every single day of my lifeYou didn't run, you didn't lie You knew I wanted just to hold you And had you gone you knew in time we'd meet again For I had told youOoh, you were meant to be near me Ooh, and I want you to hear me Say we'll be together every dayGot to get you into my lifeWhat can I do, what can I be When I'm with you I want to stay there If I'm true I'll never leave And if I do I know the way thereOoh, then I suddenly see you Ooh, did I tell you I need you Every single day of my lifeGot to get you into my life Got to get you into my lifeI was alone, I took a ride I didn't know what I would find there Another road where maybe I could see another kind of mind thereThen suddenly I see you Did I tell you I need you Every single day? JOHN 1972: 'Another horror.'JOHN 1980: 'Another of my throwaways.'GEORGE 1987: 'I think it was Paul and me, or maybe John and me, playing (guitar) in harmony – quite a complicated little line that goes through the middle-eight.'PAUL 1995: 'One of my favorites on the Anthology is, 'And Your Bird Can Sing,' which is a nice song, but this take of it was one we couldn't use at the time. John and I got a fit of the giggles while we were doing the double-track. You couldn't have released it at the time. But now you can. Sounds great just hearing us lose it on a take.' You tell me that you've got everything you want And your bird can sing But you don't get me, you don't get meYou say you've seen Seven Wonders and your bird is green But you can't see me, you can't see meWhen your prized possessions start to weigh you down Look in my direction, I'll be 'round, I'll be 'roundWhen your bird is broken will it bring you down You may be awoken, I'll be 'round, I'll be 'roundYou tell me that you've heard every sound there is And your bird can swing But you can't hear me, you can't hear me GEORGE 1980: ''Taxman' was when I first realized that even though we had started earning money, we were actually giving most of it away in taxes. It was and still is typical.'JOHN 1980: 'I remember the day he (George) called to ask for help on 'Taxman,' one of his first songs. I threw in a few one-liners to help the song along because that's what he asked for. He came to me because he couldn't go to Paul. Paul wouldn't have helped him at that period. I didn't want to do it. I just sort of bit my tongue and said OK. It had been John and Paul for so long, he'd been left out because he hadn't been a songwriter up until then.'PAUL 1984: 'George wrote that and I played guitar on it. He wrote it in anger at finding out what the taxman did. He had never known before then what could happen to your money.'GEORGE 1987: 'I was pleased to have Paul play that bit on 'Taxman.' If you notice, he did like a little Indian bit on it for me.' 1,2,3,4Hrmm!1,2...1,2,3,4.Let me tell you how it will be There's one for you, nineteen for me Cos I'm the taxman, yeah, I'm the taxmanShould five per cent appear too small Be thankful I don't take it all Cos I'm the taxman, yeah I'm the taxmanIf you drive a car, I'll tax the street If you try to sit, I'll tax your seat If you get too cold I'll tax the heat If you take a walk, I'll tax your feetTaxman! Cos I'm the taxman, yeah I'm the taxmanDon't ask me what I want it for (Aahh Mr. Wilson) If you don't want to pay some more (Aahh Mr. Heath) Cos I'm the taxman, yeah, I'm the taxmanNow my advice for those who die Declare the pennies on your eyes Cos I'm the taxman, yeah, I'm the taxmanAnd you're working for no one but me Taxman! PAUL 1966: 'I was sitting at the piano when I thought of it. The first few bars just came to me, and I got this name in my head… Daisy Hawkins picks up the rice in the church. I don't know why. I couldn't think of much more so I put it away for a day. Then the name Father McCartney came to me, and all the lonely people. But I thought that people would think it was supposed to be about my Dad sitting knitting his socks. Dad's a happy lad. So I went through the telephone book and I got the name McKenzie. I was in Bristol when I decided Daisy Hawkins wasn't a good name. I walked 'round looking at the shops, and I saw the name Rigby. Then I took the song down to John's house in Weybridge. We sat around, laughing, got stoned and finished it off.'JOHN 1980: 'Paul's baby, and I helped with the education of the child… The violin backing was Paul's idea. Jane Asher had turned him on to Vivaldi, and it was very good.'PAUL 1984: 'I got the name Rigby from a shop in Bristol. I was wandering round Bristol one day and saw a shop called Rigby. And I think Eleanor was from Eleanor Bron, the actress we worked with in the film 'Help!' But I just liked the name. I was looking for a name that sounded natural. Eleanor Rigby sounded natural.' Ah, look at all the lonely people Ah, look at all the lonely peopleEleanor Rigby picks up the rice in the church where a wedding has been Lives in a dream Waits at the window, wearing the face that she keeps in a jar by the door Who is it for?All the lonely people Where do they all come from? All the lonely people Where do they all belong?Father McKenzie writing the words of a sermon that no one will hear No one comes near Look at him working, darning his socks in the night when there's nobody there What does he care?All the lonely people Where do they all come from? All the lonely people Where do they all belong?Ah, look at all the lonely people Ah, look at all the lonely peopleEleanor Rigby died in the church and was buried along with her name Nobody came Father McKenzie wiping the dirt from his hands as he walks from the grave No one was savedAll the lonely people (Ah, look at all the lonely people) Where do they all come from? All the lonely people (Ah, look at all the lonely people) Where do they all belong? JOHN 1980: 'It's got backwards guitars… that's me dreaming my life away.'PAUL circa-1994: 'It was a nice idea – 'There's nothing wrong with it. I'm not being lazy, I'm only sleeping, I'm yawning, I'm meditating, I'm having a lay-in.' The luxury of all that was what it was all about. The song was co-written but from John's original idea.' When I wake up early in the morning Lift my head, I'm still yawning When I'm in the middle of a dream Stay in bed, float up stream (Float up stream)Please, don't wake me, no, don't shake me Leave me where I am, I'm only sleepingEverybody seems to think I'm lazy I don't mind, I think they're crazy Running everywhere at such a speed Till they find there's no need (There's no need)Please, don't spoil my day, I'm miles away And after all I'm only sleepingKeeping an eye on the world going by my window Taking my timeLying there and staring at the ceiling Waiting for a sleepy feeling...Please, don't spoil my day, I'm miles away And after all I'm only sleepingOoh yeahKeeping an eye on the world going by my window Taking my timeWhen I wake up early in the morning Lift my head, I'm still yawning When I'm in the middle of a dream Stay in bed, float up stream (Float up stream)Please, don't wake me, no, don't shake me Leave me where I am, I'm only sleeping Rock and Roll Music (Chuck Berry) Just let me hear some of that rock and roll music Any old way you choose it It's got a back beat, you can't lose it Any old time you use it It's gotta be rock and roll music If you wanna dance with me If you wanna dance with meI've got no kick against modern jazz Unless they try to play it too darn fast And lose the beauty of the melody Until they sound just like a symphonyThat's why I go for that that rock and roll music Any old way you choose it It's got a back beat, you can't lose it Any old time you use it It's gotta be rock and roll music If you wanna dance with me If you wanna dance with meI took my loved one over across the tracks So she can hear my man awail a sax I must admit they have a rocking band Man, they were blowing like a hurricaneThat's why I go for that that rock and roll music Any old way you choose it It's got a back beat, you can't lose it Any old time you use it It's gotta be rock and roll music If you wanna dance with me If you wanna dance with meWay down South they had a jubilee The jokey folks they had a jamboree They're drinking home brew from a water cup The folks dancing there are all shook upAnd started playing that that rock and roll music Any old time you use it It's got a back beat, you can't lose it Any old time you use it It's gotta be rock and roll music If you wanna dance with me If you wanna dance with meDon't care to hear them play a tango And In the Mood they take a mambo It's way to early for a congo So keep a rocking that pianoThat's why I go for that that rock and roll music Any old time you use it It's got a back beat, you can't lose it Any old time you use it Gotta be rock and roll music If you wanna dance with me If you wanna dance with me JOHN 1980: 'That's Paul with some contribution from me on lines, probably. We put in the words 'turns me on.' We were so excited to say 'turn me on' – you know, about marijuana and all that… using it as an expression.'PAUL circa-1994: 'This was my attempt at a bluesy thing… instead of doing a Little Richard song, whom I admire greatly, I would use the (vocal) style I would have used for that but put it in one of my own songs.' My love don't give me presents I know that she's no peasant Only ever has to give me Love forever and forever My love don't give me presents Turn me on when I get lonely People tell me that she's only Fooling, I know she isn'tShe don't give the boys the eye She hates to see me cry She is happy just to hear me say That I will never leave her She don't give the boys the eye She will never make me jealous Gives me all her time as well as Loving, don't ask me whyShe's a woman who understands She's a woman who loves her manMy love don't give me presents I know that she's no peasant Only ever has to give me love Forever and forever My love don't give me presents Turn me on when I get lonely People tell me that she's only Fooling, I know she isn'tShe's a woman who understands She's a woman who loves her manMy love don't give me presents I know that she's no peasant Only ever has to give me Love forever and forever My love don't give me presents Turn me on when I get lonely People tell me that she's only Fooling, I know she isn'tShe's a woman, she's a woman She's a woman, she's a woman JOHN 1968: 'Strawberry Fields was a place near us that happened to be a Salvation Army home. But Strawberry Fields – I mean, I have visions of Strawberry Fields. And there was Penny Lane, and the Cast Iron Shore, which I've just got in some song now, and they were just good names – just groovy names. Just good sounding. Because Strawberry Fields is anywhere you want to go.'PAUL 1974: 'That wasn't 'I buried Paul' at all – that was John saying 'Cranberry sauce.' It was the end of Strawberry Fields. Thatīs Johnīs humor. John would say something totally out of sync, like cranberry sauce. If you donīt realize that Johnīs apt to say cranberry sauce when he feels like it, then you start to hear a funny little word there, and you think, 'Aha!''JOHN 1980: 'Strawberry Fields is a real place. After I stopped living at Penny Lane, I moved in with my auntie who lived in the suburbs… not the poor slummy kind of image that was projected in all the Beatles stories. Near that home was Strawberry Fields, a house near a boys' reformatory where I used to go to garden parties as a kid with my friends Nigel and Pete. We always had fun at Strawberry Fields. So that's where I got the name. But I used it as an image. Strawberry Fields Forever. 'Living is easy with eyes closed. Misunderstanding all you see.' It still goes, doesn't it? Aren't I saying exactly the same thing now? The awareness apparently trying to be expressed is – let's say in one way I was always hip. I was hip in kindergarten. I was different from the others. I was different all my life. The second verse goes, 'No one I think is in my tree.' Well, I was too shy and self-doubting. Nobody seems to be as hip as me is what I was saying. Therefore, I must be crazy or a genius – 'I mean it must be high or low,' the next line. There was something wrong with me, I thought, because I seemed to see things other people didn't see. I thought I was crazy or an egomaniac for claiming to see things other people didn't see. I always was so psychic or intuitive or poetic or whatever you want to call it, that I was always seeing things in a hallucinatory way. Surrealism had a great effect on me, because then I realized that the imagery in my mind wasn't insanity; that if it was insane, I belong in an exclusive club that sees the world in those terms. Surrealism to me is reality. Psychic vision to me is reality. Even as a child. When I looked at myself in the mirror or when I was 12, 13, I used to literally trance out into alpha. I didn't know what it was called then. I found out years later there is a name for those conditions. But I would find myself seeing hallucinatory images of my face changing and becoming cosmic and complete. It caused me to always be a rebel. This thing gave me a chip on the shoulder; but, on the other hand, I wanted to be loved and accepted. Part of me would like to be accepted by all facets of society and not be this loudmouthed lunatic musician. But I cannot be what I am not.' Let me take you down 'Cause I'm going to Strawberry Fields Nothing is real And nothing to get hung about Strawberry Fields foreverLiving is easy with eyes closed Misunderstanding all you see It's getting hard to be someone But it all works out It doesn't matter much to meLet me take you down 'Cause I'm going to Strawberry Fields Nothing is real And nothing to get hung about Strawberry Fields foreverNo one I think is in my tree I mean it must be high or low That is you can't, you know, tune in But it's all right That is, I think, it's not too badLet me take you down 'Cause I'm going to Strawberry Fields Nothing is real And nothing to get hung about Strawberry Fields foreverAlways, no, sometimes think it's me But you know I know when it's a dream I think, er, no, I mean, er, yes But it's all wrong That is I think I disagreeLet me take you down 'Cause I'm going to Strawberry Fields Nothing is real And nothing to get hung about Strawberry Fields forever Strawberry Fields forever Strawberry Fields forever Strawberry Fields Forever (Take 7 and edit piece) (John Lennon) (Officially – John Lennon and Paul McCartney) JOHN 1968: 'We really got into the groove of imagining Penny Lane – the bank was there, and that was where the tram sheds were and people waiting and the inspector stood there, the fire engines were down there. It was just reliving childhood.'JOHN 1980: 'Penny Lane is not only a street but it's a district… a suburban district where, until age four, I lived with my mother and father. So I was the only Beatle that lived in Penny Lane.'PAUL circa-1994: 'John and I would always meet at Penny Lane. That was where someone would stand and sell you poppies each year on British Legion poppy day… When I came to write it, John came over and helped me with the third verse, as often was the case. We were writing childhood memories – recently faded memories from eight or ten years before, so it was recent nostalgia, pleasant memories for both of us. All the places were still there, and because we remembered it so clearly we could have gone on.' In Penny Lane there is a barber showing photographs Of every head he's had the pleasure to know And all the people that come and go Stop and say helloOn the corner is a banker with a motorcar The little children laugh at him behind his back And the banker never wears a mac In the pouring rain Very strangePenny Lane is in my ears and in my eyes There beneath the blue suburban skies I sit and meanwhile backIn Penny Lane there is a fireman with an hourglass And in his pocket is a portrait of the Queen He likes to keep his fire engine clean It's a clean machinePenny Lane is in my ears and in my eyes Four of fish and finger pies In summer, meanwhile backBehind the shelter in the middle of a roundabout A pretty nurse is selling poppies from a tray And though she feels as if she's in a play She is anywayIn Penny Lane the barber shaves another customer We see the banker sitting, waiting for a trim And then the fireman rushes in From the pouring rain Very strangePenny Lane is in my ears and in my eyes There beneath the blue suburban skies I sit, and meanwhile backPenny Lane is in my ears and in my eyes There beneath the blue suburban skies Penny Lane JOHN 1967: 'I was writing the song with the 'Daily Mail' propped up in front of me on the piano. I had it open to the 'News In Brief' or whatever they call it. There was a paragraph about four thousand holes being discovered in Blackburn Lancashire. And when we came to record the song there was still one word missing from that verse… I knew the line had to go, 'Now they know how many holes it takes to – something – the Albert Hall.' For some reason I couldn't think of the verb. What did the holes do to the Albert Hall? It was Terry Doran who said 'fill' the Albert Hall. And that was it. Then we thought we wanted a growing noise to lead back into the first bit. We wanted to think of a good end and we had to decide what sort of backing and instruments would sound good. Like all our songs, they never become an entity until the very end. They are developed all the time as we go along.'JOHN 1968: ''A Day in the Life' – that was something. I dug it. It was a good piece of work between Paul and me. I had the 'I read the news today' bit, and it turned Paul on. Now and then we really turn each other on with a bit of song, and he just said 'yeah' – bang bang, like that. It just sort of happened beautifully, and we arranged it and rehearsed it, which we don't often do, the afternoon before. So we all knew what we were playing, we all got into it. It was a real groove, the whole scene on that one. Paul sang half of it and I sang half. I needed a middle-eight for it, but Paul already had one there.'JOHN 1980: 'Just as it sounds: I was reading the paper one day and I noticed two stories. One was the Guinness heir who killed himself in a car. That was the main headline story. He died in London in a car crash. On the next page was a story about 4000 holes in Blackburn, Lancashire. In the streets, that is. They were going to fill them all. Paul's contribution was the beautiful little lick in the song 'I'd love to turn you on.' I had the bulk of the song and the words, but he contributed this little lick floating around in his head that he couldn't use for anything. I thought it was a damn good piece of work.'PAUL 1984: 'That was mainly John's, I think. I remember being very conscious of the words 'I'd love to turn you on' and thinking, Well, that's about as risque as we dare get at this point. Well, the BBC banned it. It said, 'Now they know how many holes it takes to fill the Albert Hall' or something. But I mean that there was nothing vaguely rude or naughty in any of that. 'I'd love to turn you on' was the rudest line in the whole thing. But that was one of John's very good ones. I wrote… that was co-written. The orchestra crescendo and that was based on some of the ideas I'd been getting from Stockhausen and people like that, which is more abstract. So we told the orchestra members to just start on their lowest note and end on their highest note and go in their own time… which orchestras are frightened to do. That's not the tradition. But we got 'em to do it.'PAUL 1988: 'Then I went around to all the trumpet players and said, 'Look all you've got to do is start at the beginning of the 24 bars and go through all the notes on your instrument from the lowest to the highest – and the highest has to happen on that 24th bar, that's all. So you can blow 'em all in that first thing and then rest, then play the top one there if you want, or you can steady them out.' And it was interesting because I saw the orchestra's characters. The strings were like sheep – they all looked at each other: 'Are you going up? I am!' and they'd all go up together, the leader would take them all up. The trumpeters were much wilder.' I read the news today, oh boy About a lucky man who made the grade And though the news was rather sad Well, I just had to laugh I saw the photographHe blew his mind out in a car; He didn't notice that the lights had changed A crowd of people stood and stared They'd seen his face before Nobody was really sure if he was from the House of LordsI saw a film today, oh boy; The English army had just won the war A crowd of people turned away But I just had to look Having read the bookI'd love to turn you onWoke up, fell out of bed Dragged a comb across my head Found my way downstairs and drank a cup And looking up, I noticed I was lateFound my coat and grabbed my hat Made the bus in seconds flat Found my way upstairs and had a smoke And somebody spoke and I went into a dreamAh I read the news today, oh boy Four thousand holes in Blackburn, Lancashire And though the holes were rather small They had to count them all Now they know how many holes it takes to fill the Albert HallI'd love to turn you on JOHN 1967: 'I often sit at the piano, working at songs with the television on low in the background. If I'm a bit low and not getting much done, the words from the telly come through. That's when I heard the words, 'Good Morning Good Morning.''JOHN 1968: 'We write about our past. 'Good Morning, Good Morning,' I was never proud of it. I just knocked it off to do a song. But it was writing about my past so it does get the kids because it was me at school, my whole bit.'JOHN 1972: 'A bit of gobbledygook, but nice words.'PAUL 1984: ''Good Morning' – John's. That was our first major use of sound effects, I think. We had horses and chickens and dogs and all sorts running through it.' Good morning, good morning Good morning, good morning Good morning ahNothing to do to save his life call his wife in Nothing to say but what a day how's your boy been Nothing to do it's up to you I've got nothing to say but it's OKGood morning, good morning Good morning ahGoing to work don't want to go feeling low down Heading for home you start to roam then you're in town Everybody knows there's nothing doing Everything is closed it's like a ruin Everyone you see is half asleep And you're on your own you're in the streetAfter a while you start to smile now you feel cool Then you decide to take a walk by the old school Nothing is changed it's still the same I've got nothing to say but it's OKGood morning, good morning Good morning ahPeople running round it's five o'clock Everywhere in town is getting dark Everyone you see is full of life It's time for tea and meet the wifeSomebody needs to know the time, glad that I'm here Watching the skirts you start to flirt now you're in gear Go to a show you hope she goes I've got nothing to say but it's OKGood morning, good morning, good Good morning, good morning, good Good morning, good morning, good Good morning, good morning, good Good morning, good morning, good Good morning, good morning, good Good morning, good morning, good Good morning, good morning, good Good morning, good morning, good Good morning, good morning, good Only a Northern Song (George Harrison) GEORGE 1980: ''Northern Song' was a joke relating to Liverpool, the Holy City in the North of England. In addition, the song was copyrighted Northern Songs LTD, which I don't own.'GEORGE 1999: 'It was at the point that I realized Dick James had conned me out of the copyrights for my own songs by offering to become my publisher. As an 18 or 19-year-old kid, I thought, 'Great, somebody's gonna publish my songs!' But he never said, 'And incidentally, when you sign this document here, you're assigning me the ownership of the songs,' which is what it is. It was just a blatant theft. By the time I realized what had happened, when they were going public and making all this money out of this catalog, I wrote 'Only A Northern Song' as what we call a 'piss-take,' just to have a joke about it.' If you're listening to this song You may think the chords are going wrong But they're not He just wrote it like thatWhen you're listening late at night You may think the band are not quite right But they are They just play it like thatIt doesn't really matter what chords I play What words I say or time of day it is As it's only a Northern songIt doesn't really matter what clothes I wear Or how I fare or if my hair is brown When it's only a Northern songIf you think the harmony Is a little dark and out of key You're correct There's nobody thereAnd I told you there's no one there Being For the Benefit of Mr. Kite! (Takes 1 and 2) (John Lennon) (Officially – John Lennon and Paul McCartney) Being For the Benefit of Mr. Kite! (Take 7) (John Lennon) (Officially – John Lennon and Paul McCartney) JOHN 1980: 'My son Julian came in one day with a picture he painted about a school friend of his named Lucy. He had sketched in some stars in the sky and called it 'Lucy in the Sky with Diamonds,' Simple. The images were from 'Alice in Wonderland.' It was Alice in the boat. She is buying an egg and it turns into Humpty Dumpty. The woman serving in the shop turns into a sheep and the next minute they are rowing in a rowing boat somewhere and I was visualizing that. There was also the image of the female who would someday come save me… a 'girl with kaleidoscope eyes' who would come out of the sky. It turned out to be Yoko, though I hadn't met Yoko yet. So maybe it should be 'Yoko in the Sky with Diamonds.' It was purely unconscious that it came out to be LSD. Until somebody pointed it out, I never even thought it, I mean, who would ever bother to look at initials of a title? It's NOT an acid song. The imagery was Alice in the boat and also the image of this female who would come and save me – this secret love that was going to come one day. So it turned out to be Yoko… and I hadn't met Yoko then. But she was my imaginary girl that we all have.'PAUL circa-1994: 'I went up to John's house in Weybridge. When I arrived we were having a cup of tea, and he said, 'Look at this great drawing Julian's done. Look at the title!' So I said, 'What's that mean?' thinking Wow, fantastic title! John said, 'It's Lucy, a freind of his from school. And she's in the sky.' …so we went upstairs and started writing it. People later thought 'Lucy In The Sky With Diamonds' was LSD. I swear – we didn't notice that when it first came out.' Picture yourself in a boat on a river With tangerine trees and marmalade skies Somebody calls you, you answer quite slowly A girl with kaleidoscope eyesCellophane flowers of yellow and green Towering over your head Look for the girl with the sun in her eyes And she's goneLucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh...Follow her down to a bridge by a fountain Where rocking horse people eat marshmallow pies Everyone smiles as you drift past the flowers That grow so incredibly highNewspaper taxis appear on the shore Waiting to take you away Climb in the back with your head in the clouds And you're goneLucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh...Picture yourself on a train in a station With plasticine porters with looking glass ties Suddenly someone is there at the turnstile The girl with the kaleidoscope eyesLucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh... Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh... Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds [fade out] GEORGE 1967: 'I'm writing more songs now that we're not touring. The words are always a bit of a hangup for me. I'm not very poetic. 'Within You Without You' was written after dinner one night at Klaus Voorman's house. He had a harmonium, which I hadn't played before. I was doodling on it when the tune started to come. The first sentence came out of what we'd been doing that evening… 'We were talking.' That's as far as I got that night. I finished the rest of the words later at home.'JOHN 1967: 'George has done a great indian one. We came along one night and he had about 400 indian fellas playing, and it was a great swinging event, as they say.'JOHN 1980: 'One of George's best songs. One of my favorites of his, too. He's clear on that song. His mind and his music are clear. There is his innate talent. He brought that sound together.' We were talking about the space between us all And the people who hide themselves behind a wall of illusion Never glimpse the truth, then it's far too late, when they pass away We were talking about the love we all could share When we find it, to try our best to hold it there with our love With our love, we could save the world, if they only knewTry to realise it's all within yourself No one else can make you change And to see you're really only very small And life flows on within you and without youWe were talking about the love that's gone so cold And the people who gain the world and lose their soul They don't know, they can't see, are you one of them?When you've seen beyond yourself then you may find Peace of mind is waiting there And the time will come when you see we're all one And life flows on within you and without you Sgt. Pepper's Lonely Hearts Club Band (Paul McCartney) (Officially – John Lennon and Paul McCartney) It was twenty years ago today Sergeant Pepper taught the band to play They've been going in and out of style But they're guaranteed to raise a smile So may I introduce to you The act you've known for all these years? Sergeant Pepper's Lonely Hearts Club BandWe're Sergeant Pepper's Lonely Hearts Club Band We hope you will enjoy the show We're Sergeant Pepper's Lonely Hearts Club Band Sit back and let the evening go Sergeant Pepper's lonely, Sgt. Pepper's lonely Sergeant Pepper's Lonely Hearts Club BandIt's wonderful to be here It's certainly a thrill You're such a lovely audience We'd like to take you home with us We'd love to take you homeI don't really want to stop the show But I thought that you might like to know That the singer's going to sing a song And he wants you all to sing along So let me introduce to you The one and only Billy Shears And Sergeant Pepper's Lonely Hearts Club Band, yeah JOHN 1980: 'That was a piece of unfinished music that I turned into a comedy record with Paul. I was waiting for him in his house, and I saw the phone book was on the piano with the words, 'You know the name, look up the number.' It was like a logo, and I just changed it. It was going to be a four tops kind of song – the chord changes are like that – but it never developed and we made a joke out of it.'PAUL 1988: 'People are only just discovering the B-sides of Beatles singles. They're only just discovering things like 'You Know My Name' – probably my favorite Beatles track! Just because it's so insane. All the memories – I mean, what would you do if a guy like John Lennon turned up at the studio and said, 'I've got a new song.' I said, 'What's the words?' and he replied, 'You know my name look up the number.' I asked, 'What's the rest of it?' '…No. No other words, those are the words. And I wanna do it like a mantra!' We did it over a period of maybe two or three years. We started off and we just did 20 minutes, and we tried it again and it didn't work. We tried it again, and we had these endless, crazy fun sessions. Eventually we pulled it all together and I sang, (sings in jazzy voice) 'You know my name…' and we just did a skit. Mal (Evans) and his gravel. I can still see Mal digging the gravel. And it was just so hilarious to put that record together. It's not a great melody or anything, it's just unique. Some people haven't discovered that song yet.'PAUL circa-1994: 'I remember at one point we asked Mal (Evans) to shovel a bucket of gravel as a rhythmic device. We had a bit of a giggle doing those kind of tracks… Brian Jones (Rolling Stones) plays a funny sax solo. It's not amazingly well played but it happened to be exactly what we wanted. Brian was very good like that.' You know my name Look up the number You know my name Look up the number You you know you know my name You you know you know my nameGood evening and welcome to Slaggers Featuring Denis O'Bell Come on Ringo, let's hear it for DenisGood evening You know my name Look look look up the number You know my name That's right, look up the number You you know you know my name You you know you know my name You know my name Ba ba ba ba ba ba ba ba ba Look up the number You know my name That's right, look up the number Oh you know you know you know my name You know you know you know my name Huh huh huh huh You know my name Ba ba ba pum Look up the number. You know my name Look up the number You-a you know you know my name Baby you-a you know you know my name You know you know my name You know you know my nameGo on Denis, let's hear it for Denis O'BellYou know my name You know you know my name You know you know my name Prrr you know my name and the number You know my name and the number you know you know my name Look up me number You know my number three you know my number two you know my number three you know my number four Oh you know my name you know number too You know my name you know my number What's up with you? You know my name That's right? Yeah PAUL 1967: 'Everyone keeps preaching that the best way is to be 'open' when writing for teenagers. Then when we do we get criticized. Surely the word 'knickers' can't offend anyone. Shakespeare wrote words alot more naughtier than knickers!'JOHN 1967: 'We chose the word (knickers) because it is a lovely expressive word. It rolls off the tongue. It could 'mean' anything.'GEORGE 1967: 'People don't understand. In John's song, 'I Am The Walrus' he says: 'I am he as you are he as you are me.' People look for all sorts of hidden meanings. It's serious, but it's also not serious. It's true, but it's also a joke.'JOHN 1968: 'We write lyrics, and I write lyrics that you don't realize what they mean till after. Especially some of the better songs or some of the more flowing ones, like 'Walrus.' The whole first verse was written without any knowledge. With 'I Am the Walrus,' I had 'I am he as you are he as we are all together.' I had just these two lines on the typewriter, and then about two weeks later I ran through and wrote another two lines and then, when I saw something, after about four lines, I just knocked the rest of it off. Then I had the whole verse or verse and a half and then sang it. I had this idea of doing a song that was a police siren, but it didn't work in the end (sings like a siren) 'I-am-he-as-you-are-he-as…' You couldn't really sing the police siren.'JOHN 1980: 'The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko. Part of it was putting down Hare Krishna. All these people were going on about Hare Krishna, Allen Ginsberg in particular. The reference to 'Element'ry penguin' is the elementary, naive attitude of going around chanting, 'Hare Krishna,' or putting all your faith in any one idol. I was writing obscurely, a la Dylan, in those days. It's from 'The Walrus and the Carpenter.' 'Alice in Wonderland.' To me, it was a beautiful poem. It never dawned on me that Lewis Carroll was commenting on the capitalist and social system. I never went into that bit about what he really meant, like people are doing with the Beatles' work. Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, Oh, shit, I picked the wrong guy. I should have said, 'I am the carpenter.' But that wouldn't have been the same, would it? (singing) 'I am the carpenter…'' I am he as you are he as you are me and we are all together See how they run like pigs from a gun, see how they fly I'm cryingSitting on a cornflake, waiting for the van to come Corporation tee-shirt, stupid bloody Tuesday Man, you been a naughty boy, you let your face grow long I am the eggman, they are the eggmen I am the walrus, goo goo g'joobMister City Policeman sitting Pretty little policemen in a row See how they fly like Lucy in the Sky, see how they run I'm crying, I'm crying I'm crying, I'm cryingYellow matter custard, dripping from a dead dog's eye Crabalocker fishwife, pornographic priestess Boy, you been a naughty girl you let your knickers down I am the eggman, they are the eggmen I am the walrus, goo goo g'joobSitting in an English garden waiting for the sun If the sun don't come, you get a tan From standing in the English rain I am the eggman, they are the eggmen I am the walrus, goo goo g'joob g'goo goo g'joobExpert textpert choking smokers Don't you think the joker laughs at you? See how they smile like pigs in a sty See how they snide I'm cryingSemolina pilchard, climbing up the Eiffel Tower Elementary penguin singing Hari Krishna Man, you should have seen them kicking Edgar Allan Poe I am the eggman, they are the eggmen I am the walrus, goo goo g'joob g'goo goo g'joob Goo goo g'joob g'goo goo g'joob g'goo JOHN 1980: 'Now that's Paul. Another good lyric. Shows he's capable of writing complete songs.'PAUL circa-1994: ''Fool On The Hill' was mine and I think I was writing about someone like the Maharishi. His detractors called him a fool. Because of his giggle he wasn't taken too seriously… I was sitting at the piano at my father's house in Liverpool hitting a D6 chord, and I made up 'Fool On The Hill.'' Day after day Alone on a hill The man with the foolish grin Is keeping perfectly still But nobody wants to know him They can see that he's just a fool And he never gives an answerBut the fool on the hill Sees the sun going down And the eyes in his head See the world spinning 'roundWell on the way Head in a cloud The man of a thousand voices Talking perfectly loudBut nobody ever hears him Or the sound he appears to make And he never seems to noticeBut the fool on the hill Sees the sun going down And the eyes in his head See the world spinning 'roundAnd nobody seems to like him They can tell what he wants to do And he never shows his feelingsBut the fool on the hill Sees the sun going down And the eyes in his head See the world spinning 'round, oh oh oh, 'round 'round 'round 'roundHe never listens to them He knows that they're the fools They don't like himThe fool on the hill Sees the sun going down And the eyes in his head See the world spinning 'roundOh, 'round 'round 'round 'round, oh Let's all get up and dance to a song That was a hit before your mother was born Though she was born a long long time ago Your mother should know (your mother should) Your mother should knowSing it againLet's all get up and dance to a song That was a hit before your mother was born Though she was born a long long time ago Your mother should know (your mother should) Your mother should knowLift up your hearts and sing me a song That was a hit before your mother was born Though she was born a long long time ago Your mother should know (your mother should) Your mother should knowYour mother should know (your mother should) Your mother should knowSing it againDa da dada da da da dada dada dada da da Da dada da da Though she was born a long long time ago Your mother should know (your mother should) Your mother should knowYour mother should know (your mother should) Your mother should knowYour mother should know (your mother should) Your mother should know, yeah 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.' You say, "Yes", I say, "No" You say, "Stop" but I say, "Go, go, go" Oh no You say, "Goodbye", and I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello"I say, "High", you say, "Low" You say, "Why?" And I say, "I don't know" Oh no You say, "Goodbye", and I say, "Hello, hello, hello" (hello, goodbye, hello, goodbye) I don't know why you say, "Goodbye" (hello, goodbye) I say, "Hello, hello, hello" (Hello, goodbye, hello, goodbye, hello, goodbye) I don't know why you say, "Goodbye", I say, "Hello" (hello, goodbye)Why, why, why, why, why, why, do you say, "Goodbye, goodbye, bye, bye" Oh no You say, "Goodbye", and I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello"You say, "Yes", I say, "No" (I say, "Yes", but I may mean, "No") You say, "Stop", I say, "Go, go, go", (I can stay still it's time to go) Oh, oh noYou say, "Goodbye", and I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello-wow, oh hello" Hela, heba, helloa hela, heba, helloa hela, heba, helloa Hela, heba, helloa (hela) hela, heba, helloa hela, heba, helloa Hela, heba, helloa Hela, heba, helloa Hela, heba RINGO 1968: 'It sounds like Elvis, doesn't it? No, it doesn't sound like Elvis… it IS Elvis. Even those bits where he goes very high.'JOHN 1980: 'Paul. Good piano lick, but the song never really went anywhere. Maybe I helped him on some of the lyrics.'PAUL 1986: ''Lady Madonna' is all women. How do they do it? – bless 'em. Baby at your breast, how do they get the time to feed them? Where do they get the money? How do you do this thing that women do?'PAUL circa-1994: 'The original concept was the Virgin Mary, but it quickly became symbolic of every woman – the Madonna image but as applied to ordinary working-class women. 'Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. It reminded me of Fats Domino for some reason, so I started singing a Fats Domino impression. It took my voice to a very odd place.' Lady Madonna, children at your feet Wonder how you manage to make ends meet Who finds the money when you pay the rent Did you think that money was Heaven sent? Friday night arrives without a suitcase Sunday morning creeping like a nun Monday's child has learned to tie his bootlace See how they runLady Madonna, baby at your breast Wonders how you manage to feed the rest?See how they runLady Madonna lying on the bed Listen to the music playing in your headTuesday afternoon is never ending Wednesday morning papers didn't come Thursday night your stockings needed mending See how they runLady Madonna, children at your feet Wonder how you manage to make ends meet JOHN 1972: 'One of my best songs. Not one of the best recordings, but I like the lyrics.'JOHN 1980: 'I was a bit more artsy-fartsy there. I was lying next to my first wife in bed, (song originally written in 1967) you know, and I was irritated. She must have been going on and on about something and she'd gone to sleep – and I kept hearing these words over and over, flowing like an endless stream. I went downstairs and it turned into a sort of cosmic song rather than an irritated song – rather than 'Why are you always mouthing off at me?' or whatever, right? …and I've sat down and looked at it and said, 'Can I write another one with this meter?' It's so interesting. 'Words are flowing out like endless rain into a paper cup/ They slither while the pass, they slip away across the universe.' Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship – it wrote itself. It drove me out of bed. I didn't want to write it… and I couldn't get to sleep until I put it on paper… It's like being possessed – like a psychic or a medium. The thing has to go down. It won't let you sleep, so you have to get up, make it into something, and then you're allowed to sleep. That's always in the middle of the night when you're half-awake or tired and your critical facilities are switched off.' Words are flowing out like endless rain into a paper cup They slither while they pass, they slip away across the universe Pools of sorrow, waves of joy are drifting through my opened mind Possessing and caressing meJai Guru Deva, Om Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my worldImages of broken light which dance before me like a million eyes They call me on and on across the universe Thoughts meander like a restless wind inside a letter box They tumble blindly as they make their way across the universeJai Guru Deva, Om Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my worldSounds of laughter, shades of life are ringing through my open ears Inciting and inviting me Limitless undying love which shines around me like a million suns It calls me on and on across the universeJai Guru Deva, Om Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my worldJai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva |
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