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The Beatles Lyrics, album "Anthology 3"

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Cover of the Beatles album - "Anthology 3"
A Beginning
(George Martin)

[Instrumental]

Happiness Is a Warm Gun
(John Lennon)
(Officially – John Lennon and Paul McCartney)
PAUL 1968: 'The idea of 'Happiness Is A Warm Gun' is from an advert in an American paper.
It said, Happiness is a warm gun, and it was 'Get ready for the long hot summer with a rifle,' you know, 'Come and buy them now!' It was an advert in a gun magazine.
And it was so sick, you know, the idea of 'Come and buy your killing weapons,' and 'Come and get it.' But it's just such a great line, 'Happiness Is A Warm Gun' that John sort of took that and used that as a chorus.
And the rest of the words… I think they're great words, you know.
It's a poem.
And he finishes off, 'Happiness Is A Warm Gun, yes it is.' It's just good poetry.'

JOHN 1972: 'Thay all said it was about drugs, but it was more about rock 'n roll than drugs.
It's sort of a history of rock 'n roll… I don't know why people said it was about the needle in heroin.
I've only seen somebody do something with a needle once, and I don't like to see it at all.'

JOHN 1980: 'A gun magazine was sitting around and the cover was the picture of a smoking gun.
The title of the article, which I never read, was 'Happiness Is a Warm Gun.' I took it right from there.
I took it as the idea of happiness after having shot somebody.
Or some animal.'

She's not a girl who misses much
Do do do do do do do do, oh yeah
She's well acquainted with the touch of the velvet hand
Like a lizard on a window pane
The man in the crowd with the multicoloured mirrors
On his hobnail boots
Lying with his eyes while his hands are busy
Working overtime
A soap impression of his wife which he ate
And donated to the National Trust

Down
I need a fix 'cause I'm going down
Down to the bits that I left uptown
I need a fix 'cause I'm going down

Mother Superior jump the gun
Mother Superior jump the gun
Mother Superior jump the gun
Mother Superior jump the gun
Mother Superior jump the gun
Mother Superior jump the gun

Happiness is a warm gun (Happiness bang, bang, shoot, shoot)
Happiness is a warm gun, mama (Happiness bang, bang, shoot, shoot)
When I hold you in my arms (Oo-oo oh yeah)
And I feel my finger on your trigger (Oo-oo oh yeah)
I know nobody can do me no harm (Oo-oo oh yeah)

Because happiness is a warm gun, mama (Happiness bang, bang, shoot, shoot)
Happiness is a warm gun, yes it is (Happiness bang, bang, shoot, shoot)
Happiness is a warm, yes it is, gun (Happiness bang, bang, shoot, shoot)
Well, don't you know that happiness is a warm gun, mama? (Happiness is a warm gun, yeah)

Helter Skelter
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
PAUL 1968: 'Umm, that came about just 'cuz I'd read a review of a record which said, 'And this group really got us wild, there's echo on everything, they're screaming their heads off.' And I just remember thinking, 'Oh, it'd be great to do one.
Pity they've done it.
Must be great – really screaming record.' And then I heard their record and it was quite straight, and it was very sort of sophisticated.
It wasn't rough and screaming and tape echo at all.
So I thought, 'Oh well, we'll do one like that, then.' And I had this song called 'Helter Skelter' which is just a ridiculous song.
So we did it like that, 'cuz I like noise.'

JOHN 1980: 'That's Paul completely.
All that (Charles) Manson stuff was built 'round George's song about pigs and this one… Paul's song about an English fairground.
It has nothing to do with anything, and least of all to do with me.'

PAUL 1985: 'The Who had made some track that was the loudest, the most raucous rock 'n roll, the dirtiest thing they'd ever done.
It made me think, 'Right.
Got to do it.' I like that kind of geeking up.
And we decided to do the loudest, nastiest, sweatiest rock number we could.'

When I get to the bottom I go back to the top of the slide
Where I stop and I turn and I go for a ride
Till I get to the bottom and I see you again
Yeah yeah yeah hey

Do you, don't you want me to love you
I'm coming down fast but I'm miles above you
Tell me tell me tell me come on tell me the answer
Well you may be a lover but you ain't no dancer

Now helter skelter helter skelter
Helter skelter yeah
Ooh!

Will you, won't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer

Look out helter skelter helter skelter
Helter skelter ooh

Look out, cos here she comes

When I get to the bottom I go back to the top of the slide
And I stop and I turn and I go for a ride
And I get to the bottom and I see you again
Yeah yeah yeah

Well do you, don't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer

Look out helter skelter helter skelter
Helter skelter

Look out helter skelter
She's coming down fast
Yes she is
Yes she is coming down fast

(My head is spinning, ooh...

Ha ha ha, ha ha ha, alright!

I got blisters on my fingers!)

Mean Mr. Mustard
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'I'd read somewhere in the newspaper about this mean guy who hid his five-pound notes, not up his nose but 'somewhere else.' No, it had nothing to do with cocaine.'

Mean Mister Mustard sleeps in the park
Shaves in the dark trying to save paper
Sleeps in a hole in the road
Saving up to buy some clothes
Keeps a ten-bob note up his nose
Such a mean old man
Such a mean old man

His sister Pam works in a shop
She never stops, she's a go-getter
Takes him out to look at the queen
Only place that he's ever been
Always shouts out something obscene
Such a dirty old man
Dirty old man

Polythene Pam
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'That was me, remembering a little event with a woman in Jersey, and a man who was England's answer to Allen Ginsberg, who gave us our first exposure… I met him when we were on tour and he took me back to his apartment, and I had a girl and he had one he wanted me to meet.
He said she dressed up in polythene, which she did.
She didn't wear jackboots, and kilts, I just sort of elaborated.
Perverted sex in a polythene bag – Just looking for something to write about.'

Well you should see Polythene Pam
She's so good-looking but she looks like a man
Well you should see her in drag dressed in her polythene bag
Yes you should see Polythene Pam
Yeah yeah yeah

Get a dose of her in jackboots and kilt
She's killer-diller when she's dressed to the hilt
She's the kind of a girl that makes the "News of the World"
Yes you could say she was attractively built
Yeah yeah yeah

Glass Onion
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'That's me, just doing a throwaway song, a la 'Walrus' a la everything I've ever written.
I threw in the line 'The walrus was Paul' just to confuse everybody a bit more.
It could've been the fox terrier is Paul, you know.
I mean, it's just a bit of poetry.
It was just thrown in like that… The line was put in because I was feeling guilty because I was with Yoko and I was leaving Paul.
I was trying… I don't know.
It's a perverse way of saying to Paul, you know, 'Here, have this crumb, this illusion, this stroke, because I'm leaving.'

I told you about strawberry fields
You know the place where nothing is real
Well here's another place you can go
Where everything flows
Looking through the bent backed tulips
To see how the other half live
Looking through a glass onion

I told you about the walrus and me, man
You know that we're as close as can be, man
Well here's another clue for you all
The walrus was Paul
Standing on the cast iron shore, yeah
Lady Madonna trying to make ends meet, yeah
Looking through a glass onion

Oh yeah
Oh yeah
Oh yeah
Looking through a glass onion

I told you about the fool on the hill
I tell you man he living there still
Well here's another place you can be
Listen to me
Fixing a hole in the ocean
Trying to make a dove-tail joint, yeah
Looking through a glass onion

Motorcars
Handlebars
Bicycles for two
Broken hearted jubilee

Parachutes
Army boots
Sleeping bags for two
Sentimental jamboree

Buy buy
The shop window
Why why, says the sign
In the yard

Buy buy, says the sign
In the shop window
Why why, says the junk
In the yard

Piggies
(George Harrison)
GEORGE 1980: ''Piggies' is a social comment.
I was stuck for one line in the middle until my mother came up with the lyric, 'What they need is a damn good whacking' which is a nice simple way of saying they need a good hiding.
It needed to rhyme with 'backing,' 'lacking,' and had absolutely nothing to do with American policemen or Californian shagnasties!'

JOHN 1980: 'I gave George a couple of lines about forks and knives and eating bacon.'

Have you seen the little piggies
Crawling in the dirt?
And for all the little piggies
Life is getting worse
Always having dirt to play around in

Have you seen the bigger piggies
In their starched white shirts?
You will find the bigger piggies
Stirring up the dirt
Always have clean shirts to play around in

In their styes with all their backing
They don't care what goes on around
In their eyes there's something lacking
What they need's a damn good whacking

Everywhere there's lots of piggies
Living piggy lives
You can see them out for dinner
With their piggy wives
Clutching forks and knives to eat their bacon

(One more time...)

Honey Pie
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
PAUL 1968: 'My dad's always played fruity old songs like that, you know.
And I liked 'em.
I like the melody of old songs, and the lyrics actually as well.
There's some old lyrics, like, you know – the woman singing about the man, and she's saying something about 'I wanna have his initial on my monogram.' You know what I mean? There's good lyrics and just good thoughts that you don't sort of hear so much these days, you know.
And so, I would quite like to have been a 1920's writer, 'cuz I like that thing, you know.
Umm, you know, up in top hat and tails and sort of coming-on to 'em.
So this kind of number, I like that thing.
But, uhh… So this is just me doing it, pretending I'm living in 1925.'

GEORGE 1987: 'John played a brilliant solo on 'Honey Pie' – sounded like Django Reinhardt or something.
It was one of them where you just close your eyes and happen to hit all the right notes… sounded like a little jazz solo.'

PAUL circa-1994: 'I very much liked that old crooner style – the strange fruity voice that they used, so 'Honey Pie' was me writing one of them to an imaginary woman, across the ocean, on the silver screen, who was called Honey Pie.
It's another of my fantasy songs.
We put a sound on my voice to make it sound like a scratchy old record.
So it's not a parody, it's a nod to the vaudville tradition that I was raised on.'

She was a working girl
North of England way
Now she's hit the big time
In the USA
And if she could only hear me
This is what I'd say

Honey pie you are making me crazy
I'm in love but I'm lazy
So won't you please come home

Oh honey pie my position is tragic
Come and show me the magic
Of your Hollywood song

You became a legend of the silver screen
And now the thought of meeting you
Makes me weak in the knee

Oh honey pie you are driving me frantic
Sail across the Atlantic
To be where you belong

Honey pie come back to me, oh

Yeah
I like it like that, oh ah
I like this kind of hot kind of music
Hot kind of music
Play it to me, play it to me, honey, the blues

Will the wind that blew her boat
Across the sea
Kindly send her sailing back to me

Honey pie you are making me crazy
I'm in love but I'm lazy
So won't you please come home
Come, come back to me, honey pie

Oooooooooooh oh
Oh oh oh oh oh oh oh
Honey pie, honey pie

Don't Pass Me By
(Richard Starkey)
JOHN 1968: 'We've just done two tracks, both unfinished.
The second one is Ringo's first song that we're working on this very moment.
He composed it himself in a fit of lithargy.'

I listen for your footsteps
Coming up the drive
Listen for your footsteps
But they don't arrive
Waiting for your knock, dear
On my old front door
I don't hear it
Does it mean you don't love me any more?

I hear the clock are ticking
On the mantel shelf
See the hands are moving
But I'm by myself
I wonder where you are tonight
And why I'm by myself
I don't see you
Does it mean you don't love me any more?

Don't pass me by, don't make me cry, don't make me blue
Cause you know darling I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by, don't make me cry

I'm sorry that I doubted you
I was so unfair
You were in a car crash
And you lost your hair
You said that you would be late
About an hour or two
I said that's alright I'm waiting here
Just waiting to hear from you

Don't pass me by, don't make me cry, don't make me blue
Cause you know darling I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by, don't make me cry

Ob-La-Di, Ob-La-Da
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'I might've given him a couple of lyrics, but it's his song, his lyric.'

PAUL 1984: 'A fella who used to hang around the clubs used to say, (Jamaican accent) 'Ob-la-di, ob-la-da, life goes on,' and he got annoyed when I did a song of it, 'cuz he wanted a cut.
I said, 'Come on, Jimmy, it's just an expression.
If you'd written the song, you could have had a cut.' He also used to say, 'Nothin's too much, just outta sight.' He was just one of those guys who had great expressions, you know.'

Desmond has a barrow in the market place
Molly is the singer in a band
Desmond says to Molly, "Girl, I like your face"
And Molly says this as she takes him by the hand

Ob-la-di ob-la-da life goes on bra
La-la how their life goes on
Ob-la-di ob-la-da life goes on bra
La-la how their life goes on

Desmond takes a trolley to the jeweler's stores
Buys a twenty carat golden ring (Golden ring?)
Takes it back to Molly waiting at the door
And as he gives it to her she begins to sing (Sing)

Ob-la-di ob-la-da life goes on bra
La-la how their life goes on
Ob-la-di ob-la-da life goes on bra
La-la how their life goes on, yeah (No)

In a couple of years they have built
A home sweet home
With a couple of kids running in the yard
Of Desmond and Molly Jones
(Ah ha ha ha ha ha)

Happy ever after in the market place
Desmond lets the children lend a hand (Arm! Leg!)
Molly stays at home and does her pretty face
And in the evening she still sings it with the band

Yes, ob-la-di ob-la-da life goes on bra
La-la how their life goes on (Ha ha ha)
Hey, ob-la-di ob-la-da life goes on bra
La-la how their life goes on

In a couple of years they have built
A home sweet home
With a couple of kids running in the yard
Of Desmond and Molly Jones
(Ha ha ha ha ha ha ha ha ha ha)

Yeah, happy ever after in the market place
Molly lets the children lend a hand (Foot!)
Desmond stays at home and does his pretty face
And in the evening she's a singer with the band

Yeah, ob-la-di ob-la-da life goes on bra
La-la how their life goes on
Yeah, ob-la-di ob-la-da life goes on bra
La-la how their life goes on

And if you want some fun
Take ob-la-di ob-la-da

(Thank you, uh, ha ha ha!)

Good Night
(John Lennon)
(Officially – John Lennon and Paul McCartney)
RINGO 1968: 'Everybody thinks Paul wrote 'Goodnight' for me to sing, but it was John who wrote it for me.
He's got a lot of soul, John has.'

PAUL 1968: 'John wrote it, mainly.
It's his tune, uhh, which is surprising for John – 'cuz he doesn't normally write this kind of tune.
It's a very sweet tune, and Ringo sings it great, I think.
The arrangement was done by George Martin, uhh, 'cuz he's very good at that kind of arrangement, you know – very sort of lush, sweet arrangement.'

JOHN 1980: ''Good Night' was written for Julian, the way 'Beautiful Boy' was written for Sean… but given to Ringo and possibly overlush.'

PAUL circa-1994: 'I think John felt it might not be good for his image for him to sing it, but it was fabulous to hear him do it, he sang it great.
We heard him sing it in order to teach it to Ringo and he sang it very tenderly.
John rarely showed his tender side, but my key memories of John are when he was tender, that's what has remained with me – those moments where he showed himself to be a very generous, loving person.
I always cite that song as an example of the John beneath the surface that we only saw occasionally… I don't think John's version was ever recorded.'

Now it's time to say good night
Good night, sleep tight
Now the sun turns out his light
Good night, sleep tight
Dream sweet dreams for me (Dream sweet)
Dream sweet dreams for you

Close your eyes and I'll close mine
Good night, sleep tight
Now the moon begins to shine
Good night, sleep tight
Dream sweet dreams for me (Dream sweet)
Dream sweet dreams for you

Mmmmmm
Mmmmmm
Mmmmmmmmmm

Close your eyes and I'll close mine
Good night, sleep tight
Now the sun turns out his light
Good night, sleep tight
Dream sweet dreams for me (Dream sweet)
Dream sweet dreams for you

Good night, good night, everybody
Everybody everywhere
Good night

JOHN 1968: 'I've got another one here… a few words… I think I got them from an advert.
'Cry baby cry, make your mother BUY.' I've been playing it over and over on the piano.
I've let it go now, but it will come back if I really want it.
Sometimes I get up from the piano as if I've been in a trance, and I know I have let a few things slip away which I could have caught had I wanted something.'

JOHN 1980: 'A piece of rubbish.'

Cry baby cry
Make your mother sigh
She's old enough to know better

The king of Marigold was in the kitchen
Cooking breakfast for the queen
The queen was in the parlour
Playing piano for the children of the king

Cry baby cry
Make your mother sigh
She's old enough to know better
So cry baby cry

The king was in the garden
Picking flowers for a friend who came to play
The queen was in the playroom
Painting pictures for the childrens holiday

Cry baby cry
Make your mother sigh
She's old enough to know better
So cry baby cry

The duchess of Kircaldy always smiling
And arriving late for tea
The duke was having problems
With a message at the local bird and bee

Cry baby cry
Make your mother sigh
She's old enough to know better
So cry baby cry

At twelve o'clock a meeting round the table
For a seance in the dark
With voices out of nowhere
Put on specially by the children for a lark

Cry baby cry
Make your mother sigh
She's old enough to know better
So cry baby cry cry cry cry baby
Make your mother sigh
She's old enough to know better
Cry baby cry

Cry cry cry
Make your mother sigh
She's old enough to know better
So cry baby cry

Blackbird
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
PAUL 1968: 'It's simple in concept because you couldn't think of anything else to put on it.
Maybe on 'Pepper' we would have sort of worked on it until we could find some way to put violins or trumpets in there.
But I don't think it needs it, this one.
You know, it's just… There's nothing to the song.
It is just one of those 'pick it and sing it' and that's it.
The only point where we were thinking of putting anything on it is where it comes back in the end… sort of stops and comes back in… but instead of putting any backing on it, we put a blackbird on it.
So there's a blackbird singing at the very end.
And somebody said it was a thrush, but I think it's a blackbird!'

JOHN 1980: 'I gave him (Paul) a line on that one.'

PAUL circa-1994: 'The original inspiration was from a well-known piece by Bach, which I never know the title of, which George and I had learned to play at an early age – he better than me actually.
Part of its structure is a particular harmonic thing between the melody and the bass line which intrigued me… I developed the melody based on the Bach piece and took it somewhere else, took it to another level, then I just fitted words to it.
I had in my mind a black woman, rather than a bird.
Those were the days of the civil-rights movement, which all of us cared passionately about.
So this was really a song from me to a black woman, experiencing these problems in the states… 'Let me encourage you to keep trying, to keep your faith, there is hope.' As is often the case with my things, a veiling took place.
So, rather than say 'Black woman living in Little Rock' and be very specific, she became a bird, became symbolic, so you could apply it to your particular problem.'

Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise

Blackbird singing in the dead of night
Take these sunken eyes and learn to see
All your life
You were only waiting for this moment to be free

Black bird fly, black bird fly
Into the light of the dark black night

Black bird fly, black bird fly
Into the light of the dark black night

Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise
You were only waiting for this moment to arise
You were only waiting for this moment to arise

Sexy Sadie
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'That was inspired by Maharishi.
I wrote it when we had our bags packed and we're leaving.
It was the last piece I wrote before I left India.
I just called him, 'Sexy Sadie,' instead of (sings) 'Maharishi what have you done, you made a fool…' I was just using the situation to write a song, rather calculatingly but also to express what I felt.
I was leaving the Maharishi with a bad taste.
You know, it seems that my partings are always not as nice as I'd like them to be.'

Sexy Sadie what have you done
You made a fool of everyone
You made a fool of everyone
Sexy Sadie ooh what have you done

Sexy Sadie you broke the rules
You layed it down for all to see
You layed it down for all to see
Sexy Sadie oooh you broke the rules

One sunny day the world was waiting for a lover
She came along to turn on everyone
Sexy Sadie the greatest of them all

Sexy Sadie how did you know
The world was waiting just for you
The world was waiting just for you
Sexy Sadie oooh how did you know

Sexy Sadie you'll get yours yet
However big you think you are
However big you think you are
Sexy Sadie oooh you'll get yours yet

We gave her everything we owned just to sit at her table
Just a smile would lighten everything
Sexy Sadie she's the latest and the greatest of them all

She made a fool of everyone
Sexy Sadie

However big you think you are
Sexy Sadie

While My Guitar Gently Weeps
(George Harrison)
GEORGE 1980: 'I had a copy of the I Ching – the Book of Changes, which seemed to me to be based on the Eastern concept that everything is relative to everything else, as opposed to the Western view that things are merely coincidental.
The idea was in my head when I visited my parents' home in the North of England.
I decided to write a song based on the first thing I saw upon opening any book – as it would be relative to that moment, at that time.
I picked up a book at random, opened it – saw 'gently weeps' – than laid the book down again and started the song.
Some of the words to the song were changed before I finally recorded it.'

GEORGE 1987: 'I worked on that song with John, Paul, and Ringo one day, and they were not interested in it at all.
And I knew inside of me that it was a nice song.
The next day I was with Eric Clapton, and I was going into the session, and I said, 'We're going to do this song.
Come and play on it.' He said, 'Oh no.
I can't do that.
Nobody ever plays on the Beatles records.' I said, 'Look, it's my song, and I want you to play on it.' So Eric came in, and the other guys were as good as gold – because he was there.
Also, it left me free to just play the rhythm and do the vocal.
So Eric played that, and I thought it was really good.
Then we listened to it back, and he said, 'Ah, there's a problem though; it's not Beatley enough.' So we put it through the ADT (automatic double-track) to wobble it up a bit.'

I look at you all, see the love there that's sleeping
While my guitar gently weeps
I look at the floor and I see it needs sweeping
Still my guitar gently weeps

I don't know why nobody told you
How to unfold your love
I don't know how someone controlled you
They bought and sold you

I look at the world and I notice it's turning
While my guitar gently weeps
With every mistake we must surely be learning
Still my guitar gently weeps

Well...

I don't know how you were diverted
You were perverted too
I don't know how you were inverted
No one alerted you

I look at you all, see the love there that's sleeping
[LOVE version:] I look from the wings at the play you are staging.
While my guitar gently weeps
Look at you all
[LOVE version:] As I'm sitting here doing nothing but aging
Still my guitar gently weeps

Oh, oh
Oh, oh, oh, oh, oh, oh, oh
Oh, oh, oh, oh

Yeah, yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah, oh, ooh

Hey Jude
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1968: 'Well, when Paul first sang 'Hey Jude' to me… or played me the little tape he'd made of it… I took it very personally.
'Ah, it's me,' I said, 'It's me.' He says, 'No, it's me.' I said, 'Check.
We're going through the same bit.' So we all are.
Whoever is going through a bit with us is going through it, that's the groove.'

JOHN 1972: 'That's his best song.'

PAUL 1974: 'I remember I played it to John and Yoko, and I was saying, 'These words won't be on the finished version.' Some of the words were: 'The movement you need is on your shoulder,' and John was saying, 'It's great!' I'm saying, 'It's crazy, it doesn't make any sense at all.' He's saying, 'Sure it does, it's great.''

JOHN 1980: 'He said it was written about Julian.
He knew I was splitting with Cyn and leaving Julian then.
He was driving to see Julian to say hello.
He had been like an uncle.
And he came up with 'Hey Jude.' But I always heard it as a song to me.
Now I'm sounding like one of those fans reading things into it… Think about it: Yoko had just come into the picture.
He is saying.
'Hey, Jude' – 'Hey, John.' Subconsciously, he was saying, 'Go ahead, leave me.' On a conscious level, he didn't want me to go ahead.
The angel in him was saying, 'Bless you.' The devil in him didn't like it at all, because he didn't want to lose his partner.'

PAUL 1985: 'I remember on 'Hey Jude' telling George not to play guitar.
He wanted to do echo riffs after the vocal phrases, which I didn't think was appropriate.
He didn't see it like that, and it was a bit of a number for me to have to 'dare' to tell George Harrison – who's one of the greats – not to play.
It was like an insult.
But that's how we did alot of our stuff.'

PAUL circa-1994: 'There is an amusing story about recording it… Ringo walked out to go to the toilet and I hadn't noticed.
The toilet was only a few yards from his drum booth, but he'd gone past my back and I still thought he was in his drum booth.
I started what was the actual take – and 'Hey Jude' goes on for hours before the drums come in – and while I was doing it I suddenly felt Ringo tiptoeing past my back rather quickly, trying to get to his drums.
And just as he got to his drums, boom boom boom, his timing was absolutely impeccable.'

Hey, Jude, don't make it bad
Take a sad song and make it better
Remember to let her into your heart
Then you can start to make it better

Hey, Jude, don't be afraid
You were made to go out and get her
The minute you let her under your skin
Then you begin to make it better

And anytime you feel the pain,
Hey, Jude, refrain
Don't carry the world upon your shoulders
For well you know that it's a fool
Who plays it cool
By making his world a little colder

Nah, nah nah, nah nah, nah nah, nah nah

Hey, Jude, don't let me down
You have found her, now go and get her
Remember to let her into your heart
Then you can start to make it better

So let it out and let it in,
Hey, Jude, begin
You're waiting for someone to perform with
And don't you know that it's just you,
Hey, Jude, you'll do
The movement you need is on your shoulder

Nah, nah nah, nah nah, nah nah, nah nah yeah

Hey, Jude, don't make it bad
Take a sad song and make it better
Remember to let her under your skin
Then you'll begin to make it better, better, better, better, better... oh!

Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude (Jude)
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude (yeah, yeah, yeah)
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude (don't make it bad, Jude)
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude (take a sad song and make it better)
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude (oh, Jude)
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude (Jude, hey, Jude, whoa)
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude (ooh)
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude
Nah, nah nah, nah nah, nah, nah, nah nah,
Hey, Jude [fade out]

Not Guilty
(George Harrison)

Not guilty
For getting in your way, while you try to steal the day
Not guilty
I'm not nodding for the rest, I'm not trying to steal you vest
I am not trying to be smart I only want what I can get
I'm really sorry for your aging head, but like you heard me said
Not guilty

Though you signing me a writ, while I'm trying to do my bit
I don't expect to take your heart I only want what I can get
I'm really sorry that you're underfed, but like you heard me said
Not guilty

Not guilty
For looking like a freak, making friends with every Sikh
Not guilty
For leading you astray, on the road to Mandalay
I won't upset the apple cart I only want what I can get
I'm really sorry that you've been mislead, but like you heard me said
Not guilty

Mother Nature's Son
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
PAUL 1968: 'It says 'Born a poor young country boy' and I was born in Woolton hospital actually – so it's a dirty lie.'

JOHN 1980: 'Paul.
That was from a lecture of Maharishi where he was talking about nature, and I had a piece called 'I'm Just A Child Of Nature,' which turned into 'Jealous Guy' years later.
Both inspired from the same lecture of Maharishi.'

PAUL circa-1994: 'I seem to remember writing 'Mother Nature's Son' at my dad's house in Liverpool… I've always loved the song called, 'Nature Boy' …'Mother Nature's Son' was inspired by that song.
I'd always loved nature, and when Linda and I got together we discovered we had this deep love of nature in common.
There might have been a little help from John with some of the verses.

Born a poor young country boy, Mother Nature's son
All day long I'm sitting singing songs for everyone

Sit beside a mountain stream, see her waters rise
Listen to the pretty sound of music as she flies

Doo doo doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo

Find me in my field of grass, Mother Nature's son
Swaying daisies sing a lazy song beneath the sun

Doo doo doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo
Yeah yeah yeah

Mm mm mm mm mm mm mm
Mm mm mm, ooh ooh ooh
Mm mm mm mm mm mm mm
Mm mm mm mm, wah wah wah

Wah, Mother Nature's son

Glass Onion
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'That's me, just doing a throwaway song, a la 'Walrus' a la everything I've ever written.
I threw in the line 'The walrus was Paul' just to confuse everybody a bit more.
It could've been the fox terrier is Paul, you know.
I mean, it's just a bit of poetry.
It was just thrown in like that… The line was put in because I was feeling guilty because I was with Yoko and I was leaving Paul.
I was trying… I don't know.
It's a perverse way of saying to Paul, you know, 'Here, have this crumb, this illusion, this stroke, because I'm leaving.'

I told you about strawberry fields
You know the place where nothing is real
Well here's another place you can go
Where everything flows
Looking through the bent backed tulips
To see how the other half live
Looking through a glass onion

I told you about the walrus and me, man
You know that we're as close as can be, man
Well here's another clue for you all
The walrus was Paul
Standing on the cast iron shore, yeah
Lady Madonna trying to make ends meet, yeah
Looking through a glass onion

Oh yeah
Oh yeah
Oh yeah
Looking through a glass onion

I told you about the fool on the hill
I tell you man he living there still
Well here's another place you can be
Listen to me
Fixing a hole in the ocean
Trying to make a dove-tail joint, yeah
Looking through a glass onion

Rocky Raccoon
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
PAUL 1968: 'I was sitting on the roof in India with a guitar – John and I were sitting 'round playing guitar, and we were with Donovan.
And we were just sitting around enjoying ourselves, and I started playing the chords of 'Rocky Raccoon,' you know, just messing around.
And, oh, originally it was Rocky Sassoon, and we just started making up the words, you know, the three of us – and started just to write them down.
They came very quickly.
And eventually I changed it from Sassoon to Raccoon, because it sounded more like a cowboy.
So there it is.
These kind of things – you can't really talk about how they come 'cuz they just come into your head, you know.
They really do.
And it's like John writing his books.
There's no… I don't know how he does it, and he doesn't know how he does it, but he just writes.
I think people who actually do create and write… you tend to think, 'Oh, how did he do that,' but it actually does flow… just flows from into their head, into their hand, and they write it down, you know.
And that's what happened with this.
I don't know anything about the Appalachian mountains or cowboys and indians or anything.
But I just made it up, you know.
And the doctor came in stinking of gin and proceeded to lie on the table.
So, there you are.'

PAUL circa-1994: 'I like talking-blues so I started off like that, then I did my tongue-in-cheek parody of a western and threw in some amusing lines.
The bit I liked about it was him (Rocky) finding Gideon's Bible and thinking, 'Some guy called Gideon must have left it for the next guy.' I like the idea of Gideon being a character.
You get the meaning, and at the same time get in a poke at it.
All in good fun.'

Now somewhere in the Black Mountain Hills of Dakota
There lived a young boy named Rocky Raccoon
And one day his woman ran off with another guy
Hit young Rocky in the eye Rocky didn't like that
He said "I'm gonna get that boy"
So one day he walked into town
Booked himself a room in the local saloon

Rocky Raccoon checked into his room
Only to find Gideon's Bible
Rocky had come, equipped with a gun
To shoot off the legs of his rival

His rival, it seems, had broken his dreams
By stealing the girl of his fancy
Her name was Magill, and she called herself Lil
But everyone knew her as Nancy

Now she and her man, who called himself Dan
Were in the next room at the hoedown
Rocky burst in, and grinning a grin
He said, "Danny boy, this is a showdown"

But Daniel was hot, he drew first and shot
And Rocky collapsed in the corner, ah

D'da d'da d'da da da da
D'da d'da d'da da da da
D'da d'da d'da da d'da d'da d'da d'da
Do do do do do do

D'do d'do d'do do do do
D'do d'do d'do do do do
D'do d'do d'do do do d'do d'do d'do d'do
Do do do do do do

Now, the doctor came in, stinking of gin
And proceeded to lie on the table
He said, "Rocky, you met your match"
And Rocky said, "Doc, it's only a scratch
And I'll be better, I'll be better, Doc, as soon as I am able"

And now Rocky Raccoon, he fell back in his room
Only to find Gideon's Bible
Gideon checked out and he left it no doubt
To help with good Rocky's revival, ah
Oh yeah, yeah

D'do d'do d'do do do do
D'do d'do d'do do do do
D'do d'do d'do do do d'do d'do d'do d'do
Do do do do do do

D'do d'do d'do do do do, come on, Rocky boy
D'do d'do d'do do do do, come on, Rocky boy
D'do d'do d'do do do d'do d'do d'do d'do
The story of Rocky there

What's the New Mary Jane
(John Lennon)
(Officially – John Lennon and Paul McCartney)

She looks as an African Queen
She eating twelve chapattis and cream
She tastes as Mongolian lamb
She coming from out of Bahran

What a shame Mary Jane had a pain at the party
What a shame Mary Jane what a shame Mary Jane had a pain at the party

She like to be married with Yetti
He grooving such cookie spaghetti
She jumping as Mexican bean
To make that her body morphine

What a shame Mary Jane had a pain at the party
What a shame Mary Jane what a shame Mary Jane had a pain at the party

She catch Patagonian pancake
With that one and gin party makes
She having always good contact
She making with Apple and contract

What a shame Mary Jane had a pain at the party
What a shame Mary Jane what a shame Mary Jane had a pain at the party
All together now

What a shame Mary Jane had a pain at the party
What a shame what what a shame Mary Jane had a pain at the party
What a shame what a shame what a shame what a shame
Mary Jane had a pain at the party
What a shame what a shame what a shame what a shame
Mary Jane had a pain at the party
What a shame what a shame Mary Jane had a pain at the party
What a shame what a shame what a shame
Mary Jane had a pain at the party
What a shame Mary Jane Mary Jane had a pain at the party
What a shame Mary Jane what a shame Mary Jane had a pain at the party
What a shame Mary Jane what a shame

She looks as an African Queen
She tastes as Mongolian lamb

What a shame Mary Jane what a shame Mary Jane had a pain at the party
All together now
What a shame Mary Jane had a pain at the party
What a shame what what a shame Mary Jane had a pain at the party
What a shame what a shame what a shame what a shame

Let's hear it
Before we get taken away-

Step Inside Love / Los Paranoias
(John Lennon and Paul McCartney)
I'm So Tired
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: ''I'm So Tired' was me, in India again.
I couldn't sleep, I'm meditating all day and couldn't sleep at night.
The story is that.
One of my favorite tracks.
I just like the sound of it, and I sing it well.'

PAUL circa-1994: 'It has that very special line, 'And curse Sir Walter Raleigh/ He was such a stupid git.' That's a classic line and it's so John that there's no doubt who wrote it.
I think it's 100 percent John.'

I'm so tired, I haven't slept a wink
I'm so tired, my mind is on the blink
I wonder should I get up and fix myself a drink
No, no, no

I'm so tired I don't know what to do
I'm so tired my mind is set on you
I wonder should I call you but I know what you would do

You'd say I'm putting you on
But it's no joke, it's doing me harm
You know I can't sleep, I can't stop my brain
You know it's three weeks, I'm going insane
You know I'd give you everything I've got
For a little peace of mind

I'm so tired, I'm feeling so upset
Although I'm so tired I'll have another cigarette
And curse Sir Walter Raleigh
He was such a stupid git

You'd say I'm putting you on
But it's no joke, it's doing me harm
You know I can't sleep, I can't stop my brain
You know it's three weeks, I'm going insane
You know I'd give you everything I've got
For a little peace of mind
I'd give you everything I've got
For a little peace of mind
I'd give you everything I've got
For a little peace of mind

(Monsieur, Monsieur, Monsieur, how about another one?)

I Will
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
PAUL 1968: 'We're not just completely rock & roll.
We're not just completely one kind of group.
'Cuz like, when we played in Hamburg, we didn't just do rock all evening 'cuz we had to have these sort of fat old businessmen coming in and saying… (jokingly) or THIN old businessmen, as well, were coming in and saying 'Play a mambo.
Can you do a rhumba?' And we couldn't just keep saying no, you know, so we had to get into mambos and rhumbas a bit.
So this kind of thing is like a pretty sort of smootchy ballad – 'I Will.' I don't know if it's getting off the subject, but that's why there's great variety in this LP – 'cuz in everything we do, you know, we just haven't got one bag, you know.
And 'cuz on one hand you'll get something like 'I Will' and then you'll get 'Why Don't We Do It In The Road,' you know.
Just completely different things – completely different feelings… But it's me singing both of them.
It's the same fella.
Uhh, and I've wrote both of them, you know.
So you can't explain it.
I don't know why I do 'Why Don't We Do It In The Road' shouting it like that… and then do this sort of smootchy laughing American 'Girl From Ipenema.''

PAUL circa-1994: 'I was doing a song, 'I Will,' that I had as a melody for quite a long time but I didn't have lyrics to it.
I remember sitting around (in India) with Donovan, and maybe a couple of other people.
We were just sitting around one evening after our day of meditation and I played him this one and he liked it, and we were trying to write some words.
We kicked around a few lyrics, something about the moon, but they weren't very satisfactory and I thought the melody was better than the words… it's still one of my favorite melodies that I've written.
You just occasionally get lucky with a melody and it becomes rather complete and I think this is one of them – quite a complete tune.'

Who knows how long I've loved you
You know I love you still
Will I wait a lonely lifetime
If you want me to, I will

For if I ever saw you
I didn't catch your name
But it never really mattered
I will always feel the same

Love you forever and forever
Love you with all my heart
Love you whenever we're together
Love you when we're apart

And when at last I find you
Your song will fill the air
Sing it loud so I can hear you
Make it easy to be near you
For the things you do endear you to me
Oh, you know I will
I will

Mm mm mm mm mm mm mm mm mm
Da da da da da da da

Why Don't We Do It in the Road?
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1972: 'Paul.
One of his best.'

JOHN 1980: 'That's Paul.
He even recorded it by himself in another room.
That's how it was getting in those days.
We came in, and he'd made the whole record.
Him drumming, him playing the piano, him singing.
But he couldn't… maybe he couldn't make the break from the Beatles.
I don't know what it was, you know.
I enjoyed the track.
Still I can't speak for George, but I was always hurt when Paul would knock something off without involving us.
But that's just the way it was then.'

PAUL 1981: 'There's only one incident I can think of, which John has publically mentioned.
It was when I went off with Ringo and did 'Why Don't We Do It In The Road.' It wasn't a deliberate thing, John and George were tied up finishing something, and me and Ringo were free, just hanging around, so I said to Ringo, 'Let's go and do this.' I did hear John some time later singing it.
He liked the song, and I suppose he wanted to do it with me.
It was a very John sort of song anyway.
That's why he liked it, I suppose.
It was very John, the idea of it, not me.
I wrote it as a ricochet off John.'

Why don't we do it in the road? Mm
Why don't we do it in the road? Ah
Why don't we do it in the road? Mm
Why don't we do it in the road? Mm
No one will be watching us
Why don't we do it in the road?

Why don't we do it in the road?
Why don't we do it in the road?
Why don't we do it in the road?
Why don't we do it in the road?
No one will be watching us
Why don't we do it in the road?

Ooh

Why don't we do it in the road?
Why don't we do it in the road?
Why don't we do it, do it in the road?
Why don't we do it in the road?
No one will be watching us
Why don't we do it in the road?

Julia
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1972: 'Me.
Yoko helped me with this one.'

JOHN 1980: 'Julia was my mother.
But it was sort of a combination of Yoko and my mother blended into one.
That was written in India… We wrote tons of songs in India.'

PAUL circa-1994: 'The interesting thing for me on 'Julia' is the finger-picking (guitar) style.
He learned to fingerpick off Donovan or Gypsy Dave… That was John's song about his mum, folk finger-picking style, and a very good song.'

Half of what I say is meaningless
But I say it just to reach you, Julia

Julia, Julia, oceanchild, calls me
So I sing a song of love, Julia
Julia, seashell eyes, windy smile, calls me
So I sing a song of love, Julia

Her hair of floating sky is shimmering, glimmering
In the sun

Julia, Julia, morning moon, touch me
So I sing a song of love, Julia

When I cannot sing my heart
I can only speak my mind, Julia

Julia, sleeping sand, silent cloud, touch me
So I sing a song of love, Julia
Hum hum hum hum... calls me
So I sing a song of love for Julia, Julia, Julia

I've Got a Feeling
(John Lennon and Paul McCartney)
PAUL 1969: (describing a guitar lick for the middle-eight, during the recording sessions) 'It's coming down too fast – the note.
There shouldn't be any recognizable jumps.
Falling… Falling…'

I've got a feeling, a feeling deep inside
Oh yeah, oh yeah, that's right
I've got a feeling, a feeling I can't hide
No no no, oh no, oh no
Yeah yeah I've got a feeling yeah

Oh please believe me, I'd hate to miss the train
Oh yeah, yeah, oh yeah
And if you leave me I won't be late again
Oh no, oh no, oh no
Yeah yeah I've got a feeling yeah
I've got a feeling

All these years I've been wandering around
Wondering how come nobody told me
All that I was looking for was somebody
Who looked like you

I've got a feeling, that keeps me on my toes
Oh yeah, oh yeah

I've got a feeling, I think that everybody knows
Oh yeah, oh yeah, oh yeah
Yeah yeah I've got a feeling yeah
Yeah

Everybody had a hard year
Everybody had a good time
Everybody had a wet dream
Everybody saw the sunshine
Oh yeah, (oh yeah) oh yeah, oh yeah
Everybody had a good year
Everybody let their hair down
Everybody pulled their socks up
Everybody put their foot down
Oh yeah
Yeah I've got a feeling
A feeling deep inside
Oh yeah

Oh yeah

I've got a feeling
A feeling I can't hide
Oh no

Oh no no no

Yeah yeah yeah yeah
I've got a feeling

I've got a feeling

Everybody had a good year
Everybody had a hard time

Everybody had a wet dream

Everybody saw the sunshine

Everybody had a good year
Everybody let their hair down

Everybody pulled their socks up

Everybody put the foot down
Oh yeah

Oh yeah

I've got a feeling
Yeah yeah yeah yeah

[Oh my soul, so hard.]

She Came In Through the Bathroom Window
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
GEORGE 1969: 'A very strange song of Paul's with terrific lyrics, but it's hard to explain what they're all about.'

JOHN 1980: 'He wrote that when we were in New York announcing Apple and we first met Linda.
Maybe she's the one that came in the window.'

(Gonna come out now
Ha ha ha
Wow look out.)

She came in through the bathroom window
Protected by a silver spoon
But now she sucks her thumb and wonders
By the banks of her own lagoon

Didn't anybody tell her?
Didn't anybody see?
Sunday's on the phone to Monday
Tuesday's on the phone to me

She said she'd always been a dancer
She worked at fifteen clubs a day
And though she thought I knew the answer
Well, I knew what I could not say

And so I quit the police department
And got myself a steady job
And though she tried her best to help me
She could steal, but she could not rob

Didn't anybody tell her?
Didn't anybody see?
Sunday's on the phone to Monday
Tuesday's on the phone to me, oh yeah

Dig a Pony
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1972: 'I was just having fun with words.
It was literally a nonsense song.
You just take words and you stick them together, and you see if they have any meaning.
Some of them do and some of them don't.'

JOHN 1980: 'Another piece of garbage.'

I dig a pony
Well you can celebrate anything you want
Well you can celebrate anything you want

I do a road hog
Well you can penetrate any place you go
Yes you can penetrate any place you go
I told you so, all I want is you
Everything has got to be just like you want it to
Because...

I pick a moon dog
Well you can radiate everything you are
Yes you can radiate everything you are

Oh now
I roll a stoney
Well you can imitate everyone you know
Yes you can imitate everyone you know
I told you so, all I want is you
Everything has got to be just like you want it to
Because...

Ooh now
I feel the wind blow
Well you can indicate everything you see
Yes you can indicate everything you see

Oh now
I dug a pony
Well you can syndicate any boat you row
Yeah you can syndicate any boat you row
I told you so, all I want is you
Everything has got to be just like you want it to
Because...

Two of Us
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
PAUL AND GEORGE 1969: (arguing during the recording of the song 'Two Of Us')

PAUL: 'It's complicated now.
We can get it simpler, and then complicate it where it needs complications.'

GEORGE: 'It's not complicated.'

PAUL: 'This one is like, shall we play guitars through 'Hey Jude' …well, I don't think we should.'

GEORGE: 'Ok well I don't mind… I'll play, you know, whatever you want me to play, or I wont play at all if you don't want to me to play.
Whatever it is that will please you… I'll do it!'

JOHN: 'I wish that we could start hearing the tapes now.
Like – Do it, and then hear what it is.
Is it just 'cuz we don't feel like it, or is it 'Does the guitar sound alright, really.''

JOHN 1969: (ad-libbing during the recording sessions) ''Two of us wearing postcards.''

Two of us riding nowhere
Spending someone's
Hard earned pay
You and me Sunday driving
Not arriving
On our way back home
We're on our way home
We're on our way home
We're going home

Two of us sending postcards
Writing letters
On my wall
You and me burning matches
Lifting latches
On our way back home
We're on our way home
We're on our way home
We're going home

You and I have memories
Longer than the road that stretches out ahead

Two of us wearing raincoats
Standing solo
In the sun
You and me chasing paper
Getting nowhere
On our way back home
We're on our way home
We're on our way home
We're going home

You and I have memories
Longer than the road that stretches out ahead

Two of us wearing raincoats
Standing solo
In the sun
You and me chasing paper
Getting nowhere
On our way back home
We're on our way home
We're on our way home
We're going home

[We're going home, you better believe it. Goodbye.]

For You Blue
(George Harrison)
GEORGE 1980: ''For You Blue' is a simple twelve-bar song following all the normal twelve-bar principles, except that it's happy-go-lucky!'

Because you're sweet and lovely girl I love you
Because you're sweet and lovely girl it's true
I love you more than ever girl I do
I want you in the morning girl I love you
I want you at the moment I feel blue
I'm living every moment girl for you

(Walk, walk cat walk.
Go, Johnny, go.
Same old the twelve bar blues.

Elmore James got nothing on this baby.)

I've loved you from the moment I saw you
You looked at me that's all you had to do
I feel it now I hope you feel it too

Because you're sweet and lovely girl I love you
Because you're sweet and lovely girl it's true
I love you more than ever girl I do
Rhythm and blues

Teddy Boy
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

This is the story
About a boy named Ted
If his mother said (Said)
"Ted, be good (Be good, Ted)," he would (Alright)

She told him tales
About his soldier dad
But it made her sad
Then she cried, oh my

Ted used to tell her
He'd be twice as good
And he knew he could
Because in his head he said
"Mummy don't worry
Your mblmblmbl's here
Taking good care of you
Mama don't worry
Your Teddy boy's here
Teddy's going to see you through"

And she said
"Teddy don't worry
Your mummy's here
Taking good care of you"
She said, "Teddy don't worry
Your mummy's here
Teddy's going to see you through"

Rip It Up / Shake, Rattle and Roll / Blue Suede Shoes
(Robert Blackwell and John Marascalco)
The Long and Winding Road
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
PAUL 1970: 'The album was finished a year ago, but a few months ago American record producer Phil Spector was called in by John Lennon to tidy up some of the tracks.
But a few weeks ago, I was sent a re-mixed version of my song 'The Long And Winding Road' with harps, horns, an orchestra, and a women's choir added.
No one had asked me what I thought.
I couldn't believe it.
The record came with a note from Allen Klein saying he thought the changes were necessary.
I don't blame Phil Spector for doing it, but it just goes to show that it's no good me sitting here thinking I'm in control because obviously I'm not.
Anyway, I've sent Klein a letter asking for some things to be altered, but I haven't received an answer yet.'

JOHN 1980: 'Paul again.
He had a little spurt just before we split.'

PAUL circa-1994: 'It's rather a sad song.
I like writing sad songs, it's a good bag to get into because you can actually acknowledge some deeper feelings of your own and put them in it.
It's a good vehicle, it saves having to go to a psychiatrist.
Songwriting often performs that feat – you say it, but you don't embarrass yourself because it's only a song, or is it? You are putting the things that are bothering you on the table and you are reviewing them, but because it's a song, you don't have to argue with anyone… It's a sad song because it's all about the unattainable; the door you never quite reach.
This is the road that you never get to the end of.'

The long and winding road, that leads, to your door
Will never disappear, I've seen that road before
It always leads me here, lead me to your door
The wild and windy night, that the rain, washed away
Has left a pool of tears, crying for the day
Why leave me standing here, let me know the way

Many times I've been alone, and many times I've cried
Any way you'll never know, the many ways I've tried
And still they lead me back, to the long winding road
You left me standing here a long long time ago
Don't leave me waiting here, lead me to your door

But still they lead me back to the long winding road
You left me standing here, a long long time ago
Don't keep me waiting here (Don't keep me wait), lead me to your door
Yeah, yeah, yeah, yeah

Oh! Darling
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: ''Oh! Darling' was a great one of Paul's that he didn't sing too well.
I always thought that I could've done it better – it was more my style than his.
He wrote it, so what the hell, he's going to sing it.
If he'd had any sense he should have let me sing it.' (laughs)

PAUL circa-1994: 'I mainly remember wanting to get the vocal right, wanting to get it good, and I ended up trying each morning as I came into the recording session.
I tried it with a hand mike, and I tried it with a standing mike, I tried it every which way, and finally got the vocal I was reasonably happy with.
It's a bit of a belter and if it comes off lukewarm then you've missed the whole point.
It was unusual for me – I would normally try all the goes at a vocal in one day.'

Oh! Darling, please believe me
I'll never do you no harm
Believe me when I tell you
I'll never do you no harm

Oh! Darling, if you leave me
I'll never make it alone
Believe me when I beg you, ooh
Don't ever leave me alone

When you told me
You didn't need me anymore
Well you know I nearly broke down and cried
When you told me
You didn't need me anymore
Well you know I nearly broke down and died

Oh! Darling, if you leave me
I'll never make it alone
Believe me when I tell you
I'll never do you no harm
Believe me darling

When you told me, ooh
You didn't need me anymore
Well you know I nearly broke down and cried
When you told me
You didn't need me anymore
Well you know I nearly broke down and died

Oh! Darling, please believe me
I'll never let you down
Oh, believe me darling
Believe me when I tell you, ooh
I'll never do you no harm

All Things Must Pass
(George Harrison)

Sunrise doesn't last all morning,
a cloudburst doesn't last all day
Seems my love is up
and has left you with no warning
But it's not always going
to be this grey

All things must pass,
all things must pass away

Sunset doesn't last all evening,
a mind can blow those clouds away
after all this my love is up
and must be leaving
It has not always
been this grey

All things must pass,
all things must pass away

All things must pass
none of life's strings can last
So I must be on my way
and face another day

Now the darkness only stays at nighttime,
in the morning it will fade away
Daylight is good
at arriving at the right time
It's not always
going to be this grey

All things must pass,
all things must pass away
All things must pass,
all things must pass away

Mailman, Bring Me No More Blues
(Ruth Roberts, Bill Katz and Stanley Clayton)

She wrote me only one sad night
Told me she's no longer mine
Sue sue mailman, that will do for sometime

Mailman, bring me no more blues
Mailman, bring me no more blues
One more heartache is all I can use

Get Back
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
PAUL 1969: 'We were sitting in the studio and we made it up out of thin air.
We started to write words there and then… When we finished it, we recorded it at Apple Studios and made it into a song to rollercoast by.'

JOHN 1980: ''Get Back' is Paul.
That's a better version of 'Lady Madonna.' You know, a potboiler rewrite.'

(Rosetta.
Who are you talking about?
Sweet Loretta Fart. She thought she was a cleaner
Sweet Rosetta Martin
But she was a frying pan, yeah
Rosetta
The picker! the picker! Picture the fingers burning!
Oo-wee!
OK?
1, 2, 1, 2, 3, 4)

Jo Jo was a man who thought he was a loner
But he knew it couldn't last
Jo Jo left his home in Tucson, Arizona
For some California grass

Get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged
Get back Jo Jo
Go home

Get back, get back
Get back to where you once belonged
Get back, get back
Back to where you once belonged
Get back, Jo

Sweet Loretta Martin thought she was a woman
But she was another man
All the girls around her say she's got it coming
But she gets it while she can

Oh, get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged
Get back, Loretta

Go home
Oh, get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged

Get back
Woo...

(Thanks, Mo!
I'd like to say "thank you" on behalf of the group
And ourselves and I hope we passed the audition!)

Old Brown Shoe
(George Harrison)

I want a love that's right but right is only half of what's wrong
I want a short haired girl who sometimes wears it twice as long
Now I'm stepping out this old brown shoe, baby, I'm in love with you
I'm so glad you came here, it won't be the same now, I'm telling you

You know you pick me up from where some try to drag me down
And when I see your smile replace every thoughtless frown
Got me escaping from this zoo, baby, I'm in love with you
I'm so glad you came here, it won't be the same now when I'm with you

If I grow up I'll be a singer wearing rings on every finger
Not worrying what they or you say I'll live and love and maybe someday
Who knows, baby, you may comfort me

I may appear to be imperfect, my love is something you can't reject
I'm changing faster than the weather if you and me should get together
Who knows, baby, you may comfort me

I want that love of yours, to miss that love is something I'd hate
I'll make an early start, I'm making sure that I'm not late
For you sweet top lip I'm in the queue, baby, I'm in love with you
I'm so glad you came here, it won't be the same now when I'm with you
I'm so glad you came here, it won't be the same now when I'm with you

Octopus's Garden
(Richard Starkey)
GEORGE 1969: ''Octopus's Garden' is Ringo's song.
It's only the second song Ringo has ever written, mind you, and it's lovely.
Ringo gets bored with just playing drums all the time, so at home he sometimes plays a bit of piano, but unfortunately he only knows about three chords.
He knows about the same on guitar too.
This song gets very deep into your consciousness, though because it's so peaceful.
I suppose Ringo is writing cosmic songs these days without even realizing it.'

RINGO 1981: 'He (a ship captain) told me all about octopuses – how they go 'round the sea bed and pick up stones and shiny objects and build gardens.
I thought, 'How fabulous!' because at the time I just wanted to be under the sea, too.
I wanted to get out of it for a while.'

I'd like to be under the sea
In an octopus's garden in the shade
He'd let us in, knows where we've been
In his octopus's garden in the shade

I'd ask my friends to come and see
An octopus's garden with me
I'd like to be under the sea
In an octopus's garden in the shade

We would be warm below the storm
In our little hideaway beneath the waves
Resting our head on the sea bed
In an octopus's garden near a cave

We would sing and dance around
Because we know we can't be found
I'd like to be under the sea
In an octopus's garden in the shade

We would shout and swim about
The coral that lies beneath the waves
(Lies beneath the ocean waves)
Oh what joy for every girl and boy
Knowing they're happy and they're safe
(Happy and they're safe)

We would be so happy you and me
No one there to tell us what to do
I'd like to be under the sea
In an octopus's garden with you
In an octopus's garden with you
In an octopus's garden with you

Maxwell's Silver Hammer
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
GEORGE 1969: 'The song 'Maxwell's Silver Hammer' is one of Paul's which we've been trying to record for ages.
It's one of those instant whistle-along tunes which some people hate, and other people really like.
It's a fun song, but it's kinda sick because Maxwell keeps on killing everyone.'

PAUL circa-1994: ''Maxwell's Silver Hammer' is my analogy for when something goes wrong out of the blue, as it so often does, as I was beginning to find out at that time in my life.
I wanted something symbolic of that, so to me it was some fictitious character called Maxwell with a silver hammer.
I don't know why it was silver, it just sounded better than Maxwell's hammer.
It was needed for scanning.
We still use that expression now when something unexpected happens.'

Joan was quizzical, studied pataphysical
Science in the home
Late nights all alone with a test-tube ohh oh oh oh
Maxwell Edison majoring in medicine
Calls her on the phone
Can I take you out to the pictures, Joan?
But as she's getting ready to go
A knock comes on the door

Bang, bang, Maxwell's silver hammer
Came down upon her head
Bang, bang, Maxwell's silver hammer
Made sure that she was dead

Back in school again Maxwell plays the fool again
Teacher gets annoyed
Wishing to avoid an unpleasant scene
She tells Max to stay when the class has gone away
So he waits behind
Writing 50 times "I must not be so" oh oh oh
But when she turns her back on the boy
He creeps up from behind

Bang, bang, Maxwell's silver hammer
Came down upon her head
Do do do do do
Bang, bang, Maxwell's silver hammer
Made sure that she was dead

P.C. Thirty-One said "We caught a dirty one"
Maxwell stands alone
Painting testimonial pictures ohh oh oh oh
Rose and Valerie screaming from the gallery
Say he must go free (Maxwell must go free)
The judge does not agree and he tells them so oh oh oh
But as the words are leaving his lips
A noise comes from behind

Bang, bang, Maxwell's silver hammer
Came down upon his head
Do do do do do
Bang, Bang, Maxwell's silver hammer
Made sure that he was dead
Wow wow wow oh!
Do do do do do

Silver hammer Max

Something
(George Harrison)
PAUL 1969: 'I like George's song 'Something.' For me I think it's the best he's written.'

GEORGE 1969: 'I wrote the song 'Something' for the album before this one, but I never finished it off until just recently.
I usually get the first few lines of words and music together, both at once… and then finish the rest of the melody.
Then I have to write the words.
It's like another song I wrote when we were in India.
I wrote the whole first verse and just said everything I wanted to say, and so now I need to write a couple more verses.
I find that much more difficult.
But John gave me a handy tip.
He said, 'Once you start to write a song, try to finish it straight away while you're still in the same mood.' Sometimes you go back to it and you're in a whole different state of mind.
So now, I do try to finish them straight away.'

GEORGE 1980: ''Something' was written on the paino while we were making the White Album.
I had a break while Paul was doing some overdubbing so I went into an empty studio and began to write.
That's really all there is to it, except the middle took some time to sort out.
It didn't go on the White Album because we'd already finished all the tracks.'

Something in the way she moves
Attracts me like no other lover
Something in the way she woos me

I don't want to leave her now
You know I believe and how

Somewhere in her smile she knows
That I don't need no other lover
Something in her style that shows me

Don't want to leave her now
You know I believe and how

You're asking me will my love grow
I don't know, I don't know
You stick around, now it may show
I don't know, I don't know

Something in the way she knows
And all I have to do is think of her
Something in the things she shows me

I don't want to leave her now
You know I believe and how

Come Together
(John Lennon)
(Officially – John Lennon and Paul McCartney)
PAUL 1969: 'On the new album I like 'Come Together,' which is a great one of John's.'

JOHN 1980: ''Come Together' is me – writing obscurely around an old Chuck Berry thing.
I left the line 'Here comes old flat-top.' It is nothing like the Chuck Berry song, but they took me to court because I admitted the influence once years ago.
I could have changed it to 'Here comes old iron face,' but the song remains independent of Chuck Berry or anybody else on earth.
The thing was created in the studio.
It's gobbledygook – 'Come Together' was an expression that Tim Leary had come up with for his attempt at being president or whatever he wanted to be, and he asked me to write a campaign song.
I tried and I tried, but I couldn't come up with one.
But I came up with this, 'Come Together,' which would've been no good to him – you couldn't have a campaign song like that, right? Leary attacked me years later, saying I ripped him off.
I didn't rip him off.
It's just that it turned into 'Come Together.' What am I going to do, give it to him? It was a funky record – it's one of my favorite Beatle tracks, or, one of my favorite Lennon tracks, let's say that.
It's funky, it's bluesy, and I'm singing it pretty well.
I like the sound of the record.
You can dance to it.
I'll buy it!' (laughs)

Here come old flat top
He come grooving up slowly
He got joo joo eyeball
He one holy roller
He got hair down to his knee
Got to be a joker he just do what you please.

He wear no shoe shine
He got toe jam football
He got monkey finger
He shoot Coca-Cola
He say I know you, you know me
One thing I can tell you is you got to be free
Come together right now over me

He bag production
He got walrus gumboot
He got Ono sideboard
He one spinal cracker
He got feet down below his knee
Hold you in his armchair you can feel his disease
Come together right now over me

Right!
Come
Come...
Come...
Come...

He roller coaster
He got early warning
He got Muddy Water
He one Mojo filter
He say. "One and one and one is three"
Got to be good looking 'cause he so hard to see
Come together right now over me

Oh!
Come together
Yeah
Come together
Yeah
Come together
Yeah
Come together
Yeah
Come together
Yeah
Come together
Yeah
Come together
Yeah
Ahh
Come together
Yeah
Come together...

Come and Get It
(Paul McCartney)

If you want it
Here it is,
Come and get it.
Make your mind up fast.

If you want it
Anytime I can give it
But you better hurry
Cause it may not last.

Did I hear you say
That there must be a catch
Will you walk away
From a fool and his money

If you want it,
Here it is,
Come and get it,
But you better hurry
Cause it's going fast.

If you want it
Here it is,
Come and get it,
Make your mind up fast.

If you want it
Anytime I can give it,
But you'd better hurry
Cause it may not last.

Did I hear you say
That there must be a catch
Will you walk away
From a fool and his money

Sonny, if you want it,
Here it is,
Come and get it
But you'd…

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

Because
(John Lennon)
(Officially – John Lennon and Paul McCartney)
PAUL 1969: 'I like John's 'Because' on the second side.
To say, 'Because the world is round it turns me on' is great.
And 'Because the wind is high it blows my mind''

GEORGE 1969: 'I think my favorite one on the album is 'Because.' The lyrics are uncomplicated… but the harmony was actually pretty difficult to sing.
I think it's one of those tunes that will definitely impress most people.'

JOHN 1980: 'I was lying on the sofa in our house, listening to Yoko play Beethoven's 'Moonlight Sonata' on the piano.
Suddenly, I said, 'Can you play those chords backward?' She did, and I wrote 'Because' around them.
The song sounds like 'Moonlight Sonata,' too.
The lyrics are clear, no bullshit, no imagery, no obscure references.'

Aaaaaahhhhhh...
Because the world is round it turns me on
Because the world is round...aaaaaahhhhhh

Because the wind is high it blows my mind
Because the wind is high...aaaaaaaahhhh

Love is old, love is new
Love is all, love is you

Because the sky is blue, it makes me cry
Because the sky is blue...aaaaaaaahhhh

Aaaaahhhhhhhhhh...
Aaaaahhhhhhhhhh...
Aaaaahhhhhhhhhh...

Let It Be
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'That's Paul… I think it was inspired by 'Bridge Over Troubled Water.' That's my feeling, although I have nothing to go on.
I know he wanted to write a 'Bridge Over Troubled Water.''

PAUL 1986: 'I had alot of bad times in the '60s.
We used to lie in bed and wonder what was going on and feel quite paranoid.
Probably all the drugs.
I had a dream one night about my mother.
She died when I was fourteen so I hadn't really heard from her in quite a while, and it was very good.
It gave me some strength.'

PAUL circa-1994: 'One night during this tense time I had a dream I saw my mum, who'd been dead ten years or so.
And it was great to see her because that's a wonderful thing about dreams, you actually are reunited with that person for a second… In the dream she said, 'It'll be alright.' I'm not sure if she used the words 'Let it be' but that was the gist of her advice, it was 'Don't worry too much, it will turn out okay.' It was such a sweet dream I woke up thinking, 'Oh, it was really great to visit with her again.' I felt very blessed to have that dream.'

When I find myself in times of trouble
Mother Mary comes to me
Speaking words of wisdom
Let it be

And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

And when the broken-hearted people
Living in the world agree
There will be an answer
Let it be

For though they may be parted there is
Still a chance that they will see
There will be an answer
Let it be

Let it be, let it be, let it be, let it be
Yeah, there will be an answer
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

And when the night is cloudy
There is still a light that shines on me
Shine until tomorrow
Let it be

I wake up to the sound of music
Mother Mary comes to me
Speaking words of wisdom
Let it be

Let it be, let it be, let it be, yeah, let it be
There will be an answer
Let it be

Let it be, let it be, let it be, yeah, let it be
There will be an answer
Let it be

Let it be, let it be, let it be, yeah, let it be
Whisper words of wisdom
Let it be

I Me Mine
(George Harrison)
GEORGE 1980: ''I Me Mine' is the ego problem.
I looked around and everything I could see was relative to my ego.
You know, like 'that's my piece of paper,' and 'that's my flannel,' or 'give it to me,' or 'I am.' It drove me crackers – I hated everything about my ego – it was a flash of everything false and impermanent which I disliked.
But later I learned from it – to realize that there is somebody else in here apart from old blabbermouth.
'Who am I' became the order of the day.
Anyway, that's what came out of it: 'I Me Mine' …it's about the ego, the eternal problem.'

All through the day, I me mine
I me mine, I me mine
All through the night, I me mine
I me mine, I me mine
Now they're frightened of leaving it
Everyone's weaving it
Coming on strong all the time
All through the day I me mine

I-I-me-me-mine, I-I-me-me-mine
I-I-me-me-mine, I-I-me-me-mine

All I can hear, I me mine
I me mine, I me mine
Even those tears, I me mine
I me mine, I me mine
No-one's frightened of playing it
Everyone's saying it
Flowing more freely than wine
All through the day I me mine

I-I-me-me mine, I-I-me-me mine
I-I-me-me mine, I-I-me-me mine

All I can hear, I me mine
I me mine, I me mine
Even those tears, I me mine
I me mine, I me mine
No-one's frightened of playing it
Everyone's saying it
Flowing more freely than wine
All through your life I me mine

The End
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'That's Paul again, the unfinished song, right? Just a piece at the end.
He had a line in it, (sings) 'And in the end the love you take is equal to the love you make,' which is a very cosmic, philosophical line – which again proves that if he wants to, he can think.'

PAUL 1988: 'Ringo would never do drum solos.
He hated drummers who did lengthy drum solos.
We all did.
And when he joined the Beatles we said, 'Ah, what about drum solos then?' and he said, 'I hate 'em!' We said, 'Great! We love you!' And so he would never do them.
But because of this medley I said, 'Well, a token solo?' and he really dug his heels in and didn't want to do it.
But after a little bit of gentle persuasion I said, '…it wouldn't be Buddy Rich gone mad,' because I think that's what he didn't want to do.
… anyway we came to this compromise, it was a kind of a solo.
I don't think he's done one since.'

Oh yeah, all right
Are you going to be in my dreams
Tonight?

[Drum solo]

[Guitar solos]

And in the end
The love you take
Is equal to the love
You make

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