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The Beatles Lyrics, album "Anthology 3"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 TrustDown 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 downMother 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 gunHappiness 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) 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 heyDo 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 dancerNow 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 dancerLook out helter skelter helter skelter Helter skelter oohLook out, cos here she comesWhen 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 yeahWell 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 dancerLook out helter skelter helter skelter Helter skelterLook 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!) 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 manHis 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 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 yeahGet 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 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 onionI 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 onionOh yeah Oh yeah Oh yeah Looking through a glass onionI 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 Junk (Paul McCartney) Motorcars Handlebars Bicycles for two Broken hearted jubileeParachutes Army boots Sleeping bags for two Sentimental jamboreeBuy buy The shop window Why why, says the sign In the yardBuy 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 inHave 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 inIn 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 whackingEverywhere 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...) 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 sayHoney pie you are making me crazy I'm in love but I'm lazy So won't you please come homeOh honey pie my position is tragic Come and show me the magic Of your Hollywood songYou became a legend of the silver screen And now the thought of meeting you Makes me weak in the kneeOh honey pie you are driving me frantic Sail across the Atlantic To be where you belongHoney pie come back to me, ohYeah 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 bluesWill the wind that blew her boat Across the sea Kindly send her sailing back to meHoney 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 pieOooooooooooh 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 cryI'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 youDon'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 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 handOb-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 onDesmond 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 bandYes, 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 onIn 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 bandYeah, 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 onAnd if you want some fun Take ob-la-di ob-la-da(Thank you, uh, ha ha ha!) 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 youClose 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 youMmmmmm Mmmmmm MmmmmmmmmmClose 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 youGood 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 betterThe 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 kingCry baby cry Make your mother sigh She's old enough to know better So cry baby cryThe 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 holidayCry baby cry Make your mother sigh She's old enough to know better So cry baby cryThe duchess of Kircaldy always smiling And arriving late for tea The duke was having problems With a message at the local bird and beeCry baby cry Make your mother sigh She's old enough to know better So cry baby cryAt 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 larkCry 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 cryCry cry cry Make your mother sigh She's old enough to know better So cry baby cry 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 ariseBlackbird 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 freeBlack bird fly, black bird fly Into the light of the dark black nightBlack bird fly, black bird fly Into the light of the dark black nightBlackbird 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 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 doneSexy 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 rulesOne sunny day the world was waiting for a lover She came along to turn on everyone Sexy Sadie the greatest of them allSexy 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 knowSexy 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 yetWe 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 allShe made a fool of everyone Sexy SadieHowever 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 weepsI don't know why nobody told you How to unfold your love I don't know how someone controlled you They bought and sold youI 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 weepsWell...I don't know how you were diverted You were perverted too I don't know how you were inverted No one alerted youI 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 weepsOh, oh Oh, oh, oh, oh, oh, oh, oh Oh, oh, oh, ohYeah, yeah, yeah, yeah, yeah Yeah, yeah, yeah, yeah, oh, ooh 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 betterHey, 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 betterAnd 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 colderNah, nah nah, nah nah, nah nah, nah nahHey, 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 betterSo 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 shoulderNah, nah nah, nah nah, nah nah, nah nah yeahHey, 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 guiltyThough 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 guiltyNot 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 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 everyoneSit beside a mountain stream, see her waters rise Listen to the pretty sound of music as she fliesDoo doo doo doo doo doo doo doo doo doo doo Doo doo doo doo doo doo doo doo doo Doo doo dooFind me in my field of grass, Mother Nature's son Swaying daisies sing a lazy song beneath the sunDoo 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 yeahMm 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 wahWah, Mother Nature's son 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 onionI 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 onionOh yeah Oh yeah Oh yeah Looking through a glass onionI 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 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 saloonRocky 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 rivalHis 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 NancyNow 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, ahD'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 doD'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 doNow, 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, yeahD'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 doD'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 She looks as an African Queen She eating twelve chapattis and cream She tastes as Mongolian lamb She coming from out of BahranWhat 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 partyShe like to be married with Yetti He grooving such cookie spaghetti She jumping as Mexican bean To make that her body morphineWhat 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 partyShe catch Patagonian pancake With that one and gin party makes She having always good contact She making with Apple and contractWhat 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 nowWhat 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 shameShe looks as an African Queen She tastes as Mongolian lambWhat 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 shameLet's hear it Before we get taken away- 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, noI'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 doYou'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 mindI'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 gitYou'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?) 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 willFor if I ever saw you I didn't catch your name But it never really mattered I will always feel the sameLove you forever and forever Love you with all my heart Love you whenever we're together Love you when we're apartAnd 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 willMm mm mm mm mm mm mm mm mm Da da da da da da da 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?OohWhy 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? 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, JuliaJulia, 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, JuliaHer hair of floating sky is shimmering, glimmering In the sunJulia, Julia, morning moon, touch me So I sing a song of love, JuliaWhen I cannot sing my heart I can only speak my mind, JuliaJulia, 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 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 yeahOh 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 feelingAll these years I've been wandering around Wondering how come nobody told me All that I was looking for was somebody Who looked like youI've got a feeling, that keeps me on my toes Oh yeah, oh yeahI've got a feeling, I think that everybody knows Oh yeah, oh yeah, oh yeah Yeah yeah I've got a feeling yeah YeahEverybody 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 yeahOh yeahI've got a feeling A feeling I can't hide Oh noOh no no noYeah yeah yeah yeah I've got a feelingI've got a feelingEverybody had a good year Everybody had a hard timeEverybody had a wet dreamEverybody saw the sunshineEverybody had a good year Everybody let their hair downEverybody pulled their socks upEverybody put the foot down Oh yeahOh yeahI'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 lagoonDidn't anybody tell her? Didn't anybody see? Sunday's on the phone to Monday Tuesday's on the phone to meShe 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 sayAnd 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 robDidn't anybody tell her? Didn't anybody see? Sunday's on the phone to Monday Tuesday's on the phone to me, oh yeah 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 wantI 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 areOh 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 seeOh 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... 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 homeTwo 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 homeYou and I have memories Longer than the road that stretches out aheadTwo 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 homeYou and I have memories Longer than the road that stretches out aheadTwo 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 tooBecause 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 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 myTed 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" 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 wayMany 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 doorBut 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 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 harmOh! Darling, if you leave me I'll never make it alone Believe me when I beg you, ooh Don't ever leave me aloneWhen 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 diedOh! 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 darlingWhen 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 diedOh! 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 greyAll things must pass, all things must pass awaySunset 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 greyAll things must pass, all things must pass awayAll things must pass none of life's strings can last So I must be on my way and face another dayNow 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 greyAll things must pass, all things must pass away All things must pass, all things must pass away She wrote me only one sad night Told me she's no longer mine Sue sue mailman, that will do for sometimeMailman, bring me no more blues Mailman, bring me no more blues One more heartache is all I can use 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 grassGet 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 homeGet back, get back Get back to where you once belonged Get back, get back Back to where you once belonged Get back, JoSweet 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 canOh, get back, get back Get back to where you once belonged Get back, get back Get back to where you once belonged Get back, LorettaGo home Oh, get back, get back Get back to where you once belonged Get back, get back Get back to where you once belongedGet 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 youYou 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 youIf 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 meI 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 meI 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 shadeI'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 shadeWe 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 caveWe 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 shadeWe 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 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 doorBang, bang, Maxwell's silver hammer Came down upon her head Bang, bang, Maxwell's silver hammer Made sure that she was deadBack 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 behindBang, 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 deadP.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 behindBang, 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 doSilver 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 meI don't want to leave her now You know I believe and howSomewhere in her smile she knows That I don't need no other lover Something in her style that shows meDon't want to leave her now You know I believe and howYou'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 knowSomething in the way she knows And all I have to do is think of her Something in the things she shows meI don't want to leave her now You know I believe and how 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 meHe 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 meRight! 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 meOh! 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 moneyIf 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 moneySonny, if you want it, Here it is, Come and get it But you'd… 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 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...aaaaaahhhhhhBecause the wind is high it blows my mind Because the wind is high...aaaaaaaahhhhLove is old, love is new Love is all, love is youBecause the sky is blue, it makes me cry Because the sky is blue...aaaaaaaahhhhAaaaahhhhhhhhhh... Aaaaahhhhhhhhhh... Aaaaahhhhhhhhhh... 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 beAnd in my hour of darkness She is standing right in front of me Speaking words of wisdom Let it beLet it be, let it be, let it be, let it be Whisper words of wisdom Let it beAnd when the broken-hearted people Living in the world agree There will be an answer Let it beFor though they may be parted there is Still a chance that they will see There will be an answer Let it beLet it be, let it be, let it be, let it be Yeah, there will be an answer Let it beLet it be, let it be, let it be, let it be Whisper words of wisdom Let it beLet it be, let it be, let it be, let it be Whisper words of wisdom Let it beAnd when the night is cloudy There is still a light that shines on me Shine until tomorrow Let it beI wake up to the sound of music Mother Mary comes to me Speaking words of wisdom Let it beLet it be, let it be, let it be, yeah, let it be There will be an answer Let it beLet it be, let it be, let it be, yeah, let it be There will be an answer Let it beLet 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 mineI-I-me-me-mine, I-I-me-me-mine I-I-me-me-mine, I-I-me-me-mineAll 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 mineI-I-me-me mine, I-I-me-me mine I-I-me-me mine, I-I-me-me mineAll 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 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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