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The Beatles Lyrics, album "On Air — Live at the BBC Volume 2"

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Cover of the Beatles album - "On Air — Live at the BBC Volume 2"
And Here We Are Again
Words of Love
(Buddy Holly)

Hold me close and tell me how you feel
Tell me love is real
Words of love you whisper soft and true
Darling I love you

Let me hear you say the words I long to hear
Darling when you're near
Words of love you whisper soft and true
Darling I love you

How About It, Gorgeous?
Do You Want to Know a Secret?
(John Lennon and Paul McCartney)
JOHN 1980: 'Well, I can't say I wrote it 'for' George.
My mother was always… she was a good comedienne and a singer.
Not professional, but she used to get up in pubs and things like that.
She had a good voice.
She could do Kay Starr.
She used to do this little tune when I was one or two years old… she was still living with me then.
The tune was from a Disney movie: (sings) 'Do you want to know a secret? Promise not to tell? You are standing by a wishing well.' So, I had this sort of thing in my head, and I wrote it and just gave it to George to sing.
I thought it would be a good for him, because it had only three notes and he wasn't the best singer in the world.
He has improved a lot since then; but in those days, his ability was very poor.'

PAUL 1984: 'A song we really wrote for George to sing.
Before he wrote his own stuff, John and I wrote things for him and Ringo to do.'

GEORGE 1994: ''Do You Want To Know A Secret' was my song on the album.
I didn't like the vocal on it.
I didn't know how to sing.'

You'll never know how much I really love you
You'll never know how much I really care

Listen
Do you want to know a secret
Do you promise not to tell, whoa oh, oh

Closer
Let me whisper in your ear
Say the words you long to hear
I'm in love with you

Listen
Do you want to know a secret
Do you promise not to tell, whoa oh, oh

Closer
Let me whisper in your ear
Say the words you long to hear
I'm in love with you

I've known the secret for a week or two
Nobody knows, just we two

Listen
Do you want to know a secret
Do you promise not to tell, whoa oh, oh

Closer
Let me whisper in your ear
Say the words you long to hear
I'm in love with you

Ah Lucille
Baby do your sister's will
Ah Lucille
Baby do your sister's will
Well you went up and married
But I love you still

Ah Lucille
Baby satisfy my soul
Ah Lucille
Baby satisfy my soul
Well you know I love baby
I'll never let you go

Babe I woke up this morning
Lucille was not inside
I asked her friends about her
But all their lips were tight

Lucille
Please come back where you belong
Well I'm talking to you baby
I'll never put you on
Aaaah! Wah!

Well Lucille
Baby do your sister's will
Oo Lucille
Yeah baby do your sister's will
Well you went up and married
But I love you still

Hey Paul….
Anna (Go to Him)
(Arthur Alexander)

Anna
You come and ask me, girl
To set you free, girl
You say he loves you more than me
So I will set you free
Go with him (Anna)
Go with him (Anna)

Anna
Girl, before you go now
I want you to know, now
That I still love you so
But if he loves you more
Go with him

All of my life
I've been searching for a girl
To love me like I love you
Oh, now, but every girl I've ever had
Breaks my heart and leave me sad
What am I, what am I supposed to do

Anna
Just one more thing, girl
You give back your ring to me, and I will set you free
Go with him

All of my life
I've been searching for a girl
To love me like I love you
But let me tell you now
But every girl I've ever had
Breaks my heart and leave me sad
What am I, what am I supposed to do

Anna
Just one more thing, girl
You give back your ring to me,
And I will set you free
Go with him

(Anna) Go with him
(Anna) You can go with him, girl
(Anna) Go with him

Hello!
Please Please Me
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1963: 'Our recording manager (George Martin) thought our arrangement was fussy, so we tried to make it simpler.
We were getting tired though, and just couldn't seem to get it right.
In the following weeks we went over it again and again.
We changed the tempo a little, we altered the words slightly, and we went over the idea of featuring the harmonica just as we'd done on 'Love Me Do.' By the time the session came around we were so happy with the result, we couldn't get it recorded fast enough.'

JOHN 1980: ''Please Please Me' is my song completely.
It was my attempt at writing a Roy Orbison song, would you believe it? I wrote it in the bedroom in my house at Menlove Avenue, which was my auntie's place.
I heard Roy Orbison doing 'Only The Lonely' or something.
That's where that came from.
And also I was always intrigued by the words of 'Please Lend Your Ears To My Pleas,' a Bing Crosby song.
I was always intrigued by the double use of the word 'please.' So it was a combination of Bing Crosby and Roy Orbison.'

PAUL 1988: 'It's very Roy Orbison when you slow it down.
George Martin up-tempo'd it.
He thought it was too much of a dirge, and probably too like Orbison.
So he cleverly speeded us up… and we put in the little scaled riff at the beginning, which was very catchy.'

Last night I said these words to my girl
I know you never even try, girl
C'mon (C'mon), c'mon (C'mon), c'mon (C'mon), c'mon (C'mon)
Please please me, oh yeah, like I please you

You don't need me to show the way, love
Why do I always have to say "love"
C'mon (C'mon), c'mon (C'mon), c'mon (C'mon), c'mon (C'mon)
Please please me, oh yeah, like I please you

I don't wanna sound complaining
But you know there's always rain in my heart (In my heart)
I do all the pleasing with you, it's so hard to reason
With you, oh yeah, why do you make me blue

Last night I said these words to my girl
I know you never even try, girl
C'mon (C'mon), c'mon (C'mon), c'mon (C'mon), c'mon (C'mon)
Please please me, oh yeah, like I please you
(Me) Whoa yeah, like I please you
(Me) Whoa yeah, like I please you

JOHN 1980: 'It was kind of a John song, more than a Paul song… but it was written together.'

PAUL 1988: 'John and I were a songwriting team, and what songwriting teams did in those days was wrote for everyone.
'Misery' was for Helen Shapiro, and she turned it down.
It may not have been that successful for her because it's rather a downbeat song… 'the world is treating me bad, misery.' It was quite pessimistic.
And in the end Kenny Lynch did it.
Kenny used to come out on tour with us, and he used to sing it.
That was one of his minor hits.'

The world is treating me bad... Misery

I'm the kind of guy
Who never used to cry
The world is treating me bad... Misery!

I've lost her now for sure
I won't see her no more
It's gonna be a drag... Misery!

I'll remember all the little things we've done
Can't she see she'll always be the only one, only one

Send her back to me
Cos everyone can see
Without her I will be in misery

I'll remember all the little things we've done
She'll remember and she'll miss her only one, lonely one

Send her back to me
Cos everyone can see
Without her I will be in misery (Oh oh oh)
In misery (Ooh ee ooh ooh)
My misery (La la la la la la)

I'm Talking About You
(Chuck Berry)

She's so fine you know I wished she was mine
I get shook up every time we meet

I'm talkin' 'bout you
Nobody but you
Yeah, I do mean you
I'm just trying to get a message to you

Let me tell you 'bout a girl I know
I tell ya now she looks so good
Got so much skills and such a beautiful will
She oughta be somewhere in Hollywood

I'm talkin' 'bout you
Nobody but you
Come on and give me a cue
So I can get a message to you

Let me tell you 'bout a girl I know
She's sitting right here by my side
Lovely indeed that why I asked if she
Promised someday she will be my bride

Talkin' 'bout you
I do mean you
Nobody but you
Come on, let me get a message through

A Real Treat

I been told when a boy kiss a girl
Take a trip around the world
Hey, hey (Bop shuop, m'bop bop shuop)
Hey, hey (Bop shuop, m'bop bop shuop)
Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)

My girl says when I kiss her lips
Gets a thrill through her fingertips
Hey, hey (Bop shuop, m'bop bop shuop)
Hey, hey (Bop shuop, m'bop bop shuop)
Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)

Well, I talk about boys
Don't ya know I mean boys
Well, I talk about boys, now
Aaahhh, boys
Well, I talk about boys, now
What a bundle of joy!
(Alright, George!)

My girl says when I kiss her lips
Gets a thrill through her fingertips
Hey, hey (Bop shuop, m'bop bop shuop)
Hey, hey (Bop shuop, m'bop bop shuop)
Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)

Well, I talk about boys
Don't ya know I mean boys
Well, I talk about boys, now
Aaahhh, boys
Well, I talk about boys, now
What a bundle of joy!

Oh, oh, ah yeah boys
Don't ya know I mean boys?
Ooh, boys
Ah ha
Well I talk about boys now

Absolutely Fab

Chains, my baby's got me locked up in chains
And they ain't the kind that you can see
Whoa, oh, these chains of love got a hold on me, yeah

Chains, well I can't break away from these chains
Can't run around, cos I'm not free
Whoa, oh, these chains of love won't let me be, yeah

I wanna tell you, pretty baby
I think you're fine
I'd like to love you
But, darling, I'm imprisoned by these...

Chains, my baby's got me locked up in chains
And they ain't the kind that you can see
Oh, oh, these chains of love got a hold on me

Please believe me when I tell you
Your lips are sweet
I'd like to kiss them
But I can't break away from all of these...

Chains, my baby's got me locked up in chains
And they ain't the kind that you can see
Whoa, oh, these chains of love got a hold on me, yeah

Chains, chains of love...

Ask Me Why
(John Lennon)
(Officially – John Lennon and Paul McCartney)

I love you, 'cause you tell me things I want to know
And it's true that it really only goes to show
That I know that I, I, I, I
Should never, never, never be blue

Now you're mine, my happiness still makes me cry
And in time, you'll understand the reason why
If I cry, it's not because I'm sad
But you're the only love that I've ever had

I can't believe it's happened to me
I can't conceive of any more misery

Ask me why, I'll say I love you
And I'm always thinking of you

I love you, 'cause you tell me things I want to know
And it's true that it really only goes to show
That I know that I, I, I, I
Should never, never, never be blue

Ask me why, I'll say I love you
And I'm always thinking of you

I can't believe it's happened to me
I can't conceive of any more misery

Ask me why, I'll say I love you
And I'm always thinking of you
You, you

Till There Was You
(Meredith Willson)

There were bells on a hill
But I never heard them ringing
No, I never heard them at all
Till there was you

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

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

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

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

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

Lend Me Your Comb
(Kay Twomey, Fred Wise and Ben Weisman)

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

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

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

Just wait till I say
"My darling
Lend me your comb
We got to go home"

Whoa! Ow!

Lower 5E
The Hippy Hippy Shake
(Chan Romero)

For goodness sake
I got the hippy hippy shake
I've got to shake
Who the hippy hippy shake

Who I can't keep still
With the hippy hippy shake
I get my fill
With the hippy hippy shake
Ooh my baby
Oh the hippy hippy shake

Well now you shake it to the left
Shake it to the right
Do the hippy shake shake
With all of you might

Then you shake
Who yes you shake
Ooh my baby
Ow the hippy hippy shake
Aah! Ow!

Ow yeah! Ow!

Well now you shake it to the left
Shake it to the right
Do the hippy shake shake
With all of you might

Then you shake
Who yes you shake
Ooh my baby
Who the hippy hippy shake
Ow the hippy hippy shake
Yea the hippy hippy shake oh yeah

Roll Over Beethoven
(Chuck Berry)

Well gonna write a little letter
Gonna mail it to my local D.J.
It's a rocking little record
I want my jockey to play
Roll over Beethoven
Gotta hear it again today

You know my temperature's rising
And the jukebox blows a fuse
My heart beating rhythm
While my soul keeps singing the blues
Roll over Beethoven
And tell Tchaikovsky the news

I got a rocking pneumonia
I need a shot of rhythm and blues
I think I caught it off the writer
Sittin' down by the rhythm reviews
Roll over Beethoven
We're rockin' in two by two

Well if you feel it and like it
Well get your lover and reel and rock it
Roll it over and move on up
Just triffle further and reel and rock it
Roll it over
Roll over Beethoven
A rocking in two by two - Ooo

Well early in the morning
I'm a giving you the warning
Don't you step on my blue suede shoes
Hey diddle diddle
I'll play my fiddle
Ain't got nothing to lose
Roll over Beethoven
And tell Tchaikovsky the news

You know she wiggles like a glow worm
Dance like a spinning top
She's got a crazy partner
Oughta see them reel an rock
Long as she's got a dime
The music will never stop
Roll over Beethoven
Roll over Beethoven
Roll over Beethoven
Roll over Beethoven
Roll over Beethoven
Dig to these rhythm and blues

There's a Place
(John Lennon and Paul McCartney)
JOHN 1980: ''There's a Place' was my attempt at a sort of Motown, black thing.
It says the usual Lennon things: 'In my mind there's no sorrow…' It's all in your mind.'

There is a place
Where I can go
When I feel low
When I feel blue
And it's my mind
And there's no time when I'm alone

I think of you
And things you do
Go 'round my head
The things you said
Like "I love only you"

In my mind there's no sorrow
Don't you know that it's so
There'll be no sad tomorrow
Don't you know that it's so

There is a place
Where I can go
When I feel low
When I feel blue
And it's my mind
And there's no time when I'm alone

There's a place...

Bumper Bundle
P.S. I Love You
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'That's Paul's song.
He was trying to write a 'Soldier Boy' like the Shirelles.
He wrote that in Germany, or when we were going to and from Hamburg.
I might have contributed something.
I can't remember anything in particular.
It was mainly his song.'

PAUL circa-1994: 'A theme song based on a letter… It was pretty much mine.
I don't think John had much of a hand in it.
There are certain themes that are easier than others to hang a song on, and a letter is one of them… It's not based in reality, nor did I write it to my girlfriend from Hamburg, which some people think.'

As I write this letter
Send my love to you
Remember that I'll always
Be in love with you

Treasure these few words till we're together
Keep all my love forever
P.S. I love you
You, you, you

I'll be coming home again to you, love
And till the day I do, love
P.S. I love you
You, you, you

As I write this letter
Send my love to you
Remember that I'll always
Be in love with you

Treasure these few words till we're together
Keep all my love forever
P.S. I love you
You, you, you

As I write this letter (Oh)
Send my love to you (You know I want you to)
Remember that I'll always (Yeah)
Be in love with you

I'll be coming home again to you, love
And till the day I do, love
P.S. I love you
You, you, you
You, you, you
I love you

PAUL 1984: 'Influenced by the Marvelettes, who did the original version.
We got it from our fans, who would write 'Please Mr. Postman' on the back of the envelopes.
'Posty, posty, don't be slow, be like the Beatles and go, man, go!' That sort of stuff.'

Wait, oh yes wait a minute mister postman
Wait, wait mister postman

Mister postman look and see
Is there a letter in your bag for me
I been waiting a long long time
Since I heard from that girl of mine

There must be some word today
From my girlfriend so far away
Please Mister postman look and see
If there's a letter, a letter for me
I been standing here waiting Mister postman
So patiently
For just a card or just a letter
Saying she's returning home to me

Mister postman look and see
Is there a letter in your bag for me
I been waiting a long long time
Since I heard from that girl of mine

So many days you passed me by
See the tear standing in my eye
You didn't stop to make me feel better
By leaving me a card or a letter

So Mister postman look and see
Is there a letter in your bag for me
I been waiting a long long time
Since I heard from that girlfriend of mine

You gotta wait a minute, wait a minute
You gotta wait a minute, wait a minute
You gotta wait a minute, wait a minute
You gotta check it and see, one more time for me
You gotta wait a minute, wait a minute
You gotta wait a minute, wait a minute
You gotta wait a minute, wait a minute
Deliver the letter, the sooner the better
You gotta wait a minute, wait a minute
You gotta wait a minute, wait a minute
You gotta wait a minute, wait a minute

Beautiful Dreamer
(Stephen Foster)

Beautiful dreamer, wake unto me,
Starlight and dewdrops are waiting for thee;
Sounds of the rude world, heard in the day,
Lull'd by the moonlight have all passed away!
Beautiful dreamer, queen of my song,
List while I woo thee with soft melody;
Gone are the cares of life's busy throng,
Beautiful dreamer, awake unto me!
Beautiful dreamer, awake unto me!

Beautiful dreamer, out on the sea,
Mermaids are chanting the wild lorelei;
Over the streamlet vapors are borne,
Waiting to fade at the bright coming morn.
Beautiful dreamer, beam on my heart,
Even as the morn on the streamlet and sea;
Then will all clouds of sorrow depart,
Beautiful dreamer, awake unto me!
Beautiful dreamer, awake unto me!

Devil In Her Heart
(Richard Drapkin)

She's got the devil in her heart
But her eyes they tantalize
She's gonna tear your heart apart
Oh her lips they really thrill me

I'll take my chances
For romance is
So important to me
She'll never hurt me
She won't desert me
She's an angel sent to me

She's got the devil in her heart
No, no, this I can't believe
She's gonna tear your heart apart
No, no nay will she deceive

I can't believe that she'll ever ever go
Not when she hugs and says she loves me so
She'll never hurt me
She won't desert me
Listen can't you see

She's got the devil in her heart
Oh, no, no, no, this I can't believe
She's gonna tear your heart apart
No no nay will she deceive

Don't take chances if your romance is
So important to you
She'll never hurt me
She won't desert me
She's an angel sent to me

She's got the devil in her heart
Oh, no, no, no, no this I can't believe
She's gonna tear your heart apart
No, no nay will she deceive

She's got the devil in her heart
No she's an angel sent to me
She's got the devil in her heart
No she's an angel sent to me

The 49 Weeks
(Paul McCartney)
Sure to Fall (In Love With You)
(Carl Perkins, Bill Cantrell and Quinton Claunch)

I'm sure to fall, fall in love
I'm sure to fall in love with you
You are so sweet and so near
I'm sure to fall in love with you

So hold me tight
Let tonight be the night
Darling don't ever let me go

Loving you is the natural thing to do
I want you for the rest of my life

So hold me tight
Let tonight be the night
Darling don't ever let me go

Loving you is the natural thing to do
I want you for the rest of my life

Never Mind, Eh?
Twist And Shout
(Bert Russell and Phil Medley)
JOHN 1963: 'I always hate singing the song, 'Twist And Shout' when there's a colored artist on the bill with us.
It doesn't seem right, you know.
I feel sort of embarrassed… It makes me curl up.
I always feel they could do the song much better than me.'

JOHN 1971: 'The more interesting songs to me were the black ones because they were more simple.
They sort of said shake-your-arse, or your prick, which was an innovation really.
The blacks were singing directly and immediately about their pain, and also about sex, which is why I like it.'

JOHN 1976: 'The last song nearly killed me.
My voice wasn't the same for a long time after – everytime I swallowed it was like sandpaper.
I was always bitterly ashamed of it because I could sing it better than that, but now it doesn't bother me.
You can hear I'm just a frantic guy doing his best.'

PAUL 1988: 'There's a power in John's voice there that certainly hasn't been equaled since.
And I know exactly why – It's because he worked his bollocks off that day.
We left 'Twist And Shout' until the very last thing because we knew there was one take.'

RINGO 1994: 'We started (recording the album) about noon and finished it at midnight, with John being really hoarse by 'Twist And Shout.''

Well, shake it up, baby, now (Shake it up, baby)
Twist and shout (Twist and shout)
C'mon c'mon, c'mon, c'mon, baby, now (Come on baby)
Come on and work it on out (Work it on out)

Well, work it on out, honey (Work it on out)
You know you look so good (Look so good)
You know you got me goin' now (Got me goin')
Just like I knew you would (Like I knew you would)

Well, shake it up, baby, now (Shake it up, baby)
Twist and shout (Twist and shout)
C'mon, c'mon, c'mon, c'mon, baby, now (Come on, baby)
Come on and work it on out (Work it on out)

Well, you twist, you little girl (Twist, little girl)
You know you twist so fine (Twist so fine)
Come on and twist a little closer now (Twist a little closer)
And let me know that you're mine (Let me know you're mine)

Well, shake it up, baby, now (Shake it up, baby)
Twist and shout (Twist and shout)
C'mon, c'mon, c'mon, c'mon, baby, now (Come on, baby)
Come on and work it on out (Work it on out)

Well, you twist, you little girl (Twist, little girl)
You know you twist so fine (Twist so fine)
Come on and twist a little closer now (Twist a little closer)
And let me know that you're mine (Let me know you're mine)

Well, shake it, shake it, shake it, baby, now (Shake it up baby)
Well, shake it, shake it, shake it, baby, now (Shake it up baby)
Well, shake it, shake it, shake it, baby, now (Shake it up baby)

Bye, Bye
John - Pop Profile
George - Pop Profile
I Saw Her Standing There
(John Lennon and Paul McCartney)
JOHN 1980: 'That's Paul doing his usual job of producing what George Martin used to call a 'potboiler.' I helped with a couple of the lyrics.'

PAUL 1988: 'I wrote it with John.
We sagged off school and wrote it on guitars.
I remember I had the lyrics, 'Just seventeen/Never been a beauty queen,' which John… it was one of the first times he ever went, 'What? Must change that!' And it became, 'you know what I mean.''

PAUL circa-1994: 'Sometimes we would just start a song from scratch, but one of us would nearly always have a germ of an idea, a title, or a rough little thing they were thinking about and we'd do it.
'I Saw Her Standing There' was my original.
I'd started it and I had the first verse, which therefore gave me the tune, the tempo, and the key.
It gave you the subject matter, alot of information, and then you had to fill in.
So it was co-written… and we finished it that day.

Well, she was just seventeen
You know what I mean
And the way she looked was way beyond compare
So how could I dance with another (Ooh)
When I saw her standing there

Well she looked at me, and I, I could see
That before too long I'd fall in love with her
She wouldn't dance with another (Whooh)
When I saw her standing there

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

Whoah, we danced through the night
And we held each other tight
And before too long I fell in love with her
Now I'll never dance with another (Whooh)
When I saw her standing there

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

Whoah, we danced through the night
And we held each other tight
And before too long I fell in love with her
Now I'll never dance with another (Whooh)
Since I saw her standing there
Oh since I saw her standing there
Oh since I saw her standing there

Glad All Over
(Carl Perkins)

Ain't no doubt about it
This must be love
One little kiss from you
And I feel glad all over
Oo baby, hot dang gilly
It's silly
But I'm glad all over

Yeah the goosepimples baby
Cos I feel so good
When you call me like you do
And I feel glad all over
Oo mercy, I'm rock gone puppy
And I'm happy
And I'm glad all over

Your touch sewed me
Like an electric wire
Never thought of make love
It don't take much looking
To see what I've got
But it shows, yes it shows
Come on honey Bonnie
Give me one more time
Everytime you do
Well I feel glad all over
Oo baby, hot dang gilly
It's silly
But I'm glad all over
Yeah!

Tried to tell you
How I'm cooking inside
When we're cheek to cheek
My temperature is low
Fever is high
I can't speak
I'm too weak

Well come on honey Bonnie
Give me one more time
Everytime you do
Well I feel glad all over
Oo baby, hot dang gilly
It's silly
But I'm glad all over
Hot dang gilly
It's silly
But I'm glad all over
Well, hot dang gilly
It's silly
But I'm glad all over

Lift Lid Again
JOHN 1963: 'The B-side of 'She Loves You' was meant to be the A-side.'

PAUL 1963: 'If we write one song, then we can get going after that and get more ideas.
We wrote 'I'll Get You,' which is the B-side, first.
And then 'She Loves You' came after that.
You know – We got ideas from that.
Then we recorded it.'

JOHN 1980: 'That was Paul and me trying to write a song… and it didn't work out.'

PAUL circa-1994: 'It's got an interesting chord in it – 'It's not easy/ To pre-TEND…' That was nicked from a song called 'All My Trials' which is on an album I had by Joan Baez.'

Oh yeah, oh yeah
Oh yeah, oh yeah

Imagine I'm in love with you
It's easy cos I know
I've imagined I'm in love with you
Many, many, many times before

It's not like me to pretend
But I'll get you, I'll get you in the end
Yes I will, I'll get you in the end
Oh yeah, oh yeah

I think about you night and day
I need you and it's true
When I think about you, I can say
I'm never, never, never, never blue

So I'm telling you, my friend
That I'll get you, I'll get you in the end
Yes I will, I'll get you in the end
Oh yeah, oh yeah

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

Imagine I'm in love with you
It's easy cos I know
I've imagined I'm in love with you
Many, many, many times before

It's not like me to pretend
But I'll get you, I'll get you in the end
Yes I will, I'll get you in the end
Oh yeah, oh yeah
Oh yeah, oh yeah
Whoa yeah

She Loves You
(John Lennon and Paul McCartney)
JOHN 1963: 'We wrote that two days before we recorded it, actually.'

PAUL 1963: 'John and I wrote it together.
We were in a van up in Newcastle somewhere, and we'd just gone over to our hotel.
I originally got an idea of doing one of those answering songs, where a couple of us sing about 'she loves you' …and the other one sort of says the 'yes, yes' bit.
You know, 'yeah yeah' answering whoever is saying it.
But we decided that was a crummy idea anyway.
But we had the idea to write a song called 'She Loves You' then.
And we just sat up in the hotel bedroom for a few hours and wrote it, you know.'

JOHN 1963: ''Yeah.' That's sort of the main catch phrase from 'She Loves You.' We'd written the song, and then suddenly realized we needed more… so we added 'yeah, yeah, yeah' and it caught on.'

JOHN 1980: 'It was written together (with Paul) and I don't remember how.
I remember it was Paul's idea – instead of singing 'I love you' again, we'd have a third party.
The 'Woooo' was taken from the Isley Brothers 'Twist And Shout,' which we stuck into everything.'

PAUL 1982: 'Occasionally, we'd overrule George Martin, like on 'She Loves You,' we end on a sixth chord, a very jazzy sort of thing.
And he said, 'Oh, you can't do that! A sixth chord? It's too jazzy.'
We just said, 'No, it's a great hook, we've got to do it.''

PAUL 1988: 'We rehearsed the end bit of 'She Loves You' and took it to George.
And he just laughed and said, 'Well, you can't do the end of course… that sixth… it's too like the Andrew Sisters.' We just said, 'Alright, we'll try it without,' and we tried it and it wasn't as good.
Then he conceded, 'You're right, I guess.' But we were both very flexible.
We would listen to George's ideas too, because he was a producer and a musician, and he obviously knew what he was talking about.
There was good to-and-fro.
We loved that bit, and we rehearsed it alot.
John and I wrote that in a hotel room, on twin beds during an afternoon off – I mean, God bless their little cotton socks, those boys WORKED! Here I am talking about an afternoon off, and we're sitting there writing! We just loved it so much.
It wasn't work.'

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

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

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

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

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

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

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

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

She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah
With a love like that
You know you should be glad
With a love like that
You know you should be glad
With a love like that
You know you should be glad
Yeah, yeah, yeah
Yeah, yeah, yeah, yeah

Memphis, Tennessee

Long distance information
Give me Memphis, Tennessee
Try to find the party
Trying to get in touch with me
She would not leave her number
But I know who placed the call
Cos my uncle took the message
And he wrote it on the wall

Help me, information
Get in touch with my Marie
She's the only one who'd phone me here
From Memphis, Tennessee
Her home is on the south side
Just beyond the ridge
Just a half a mile
From the Mississippi Bridge

Help me, information
More than that I cannot add
Only that I miss her
And all the fun we had
We were pulled apart
Because her mom would not agree
Help me get in touch with her
In Memphis, Tennessee

The last time I saw Marie
She was waving me goodbye
With hurry homedrops on her cheek
That trickled from her eyes
Marie is only six years old
Information please
Help me get in touch with her
In Memphis, Tennessee

Happy Birthday Dear Saturday Club
Now Hush, Hush
From Me to You
(John Lennon and Paul McCartney)
PAUL 1964: ''From Me To You.' It could be done as an old Ragtime tune… especially the middle-eight.
And so, we're not writing the tunes in any particular idiom.
In five years time, we may arrange the tunes differently.
(jokingly) But we'll probably write the same old rubbish!!'

JOHN 1980: 'We were writing it in a car, I think… and I think the first line was mine.
I mean, I know it was mine.
(humms melody) And then after that we just took it from there.
We were just writing the next single.
It was far bluesier than that when we wrote it.
The notes, today… you could rearrange it pretty funky.'

PAUL circa-1994: 'The thing I liked about 'From Me To You' was it had a very complete middle.
It went to a surprising place.
The opening chord of the middle section of that song heralded a new batch for me.
That was a pivotal song.
Our songwriting lifted a little with that song.
It was very much co-written.'

Da da da da da dum dum da
Da da da da da dum dum da

If there's anything that you want
If there's anything I can do
Just call on me and I'll send it along
With love from me to you

I've got everything that you want
Like a heart that's oh so true
Just call on me and I'll send it along
With love from me to you

I got arms that long to hold you
And keep you by my side
I got lips that long to kiss you
And keep you satisfied, oooh

If there's anything that you want
If there's anything I can do
Just call on me and I'll send it along
With love from me to you

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

I got arms that long to hold you
And keep you by my side
I got lips that long to kiss you
And keep you satisfied, oooh

If there's anything that you want
If there's anything I can do
Just call on me and I'll send it along
With love from me to you
To you, to you, to you

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

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

Now give me money (that's what I want)
That's what I want (that's what I want)
That's what I want (that's what I want) yeah
That's what I want

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

Now give me money (that's what I want)
That's what I want (that's what I want)
That's what I want (that's what I want) yeah
That's what I want

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

Now give me money (that's what I want)
That's what I want (that's what I want)
That's what I want (that's what I want) yeah
That's what I want

Well, now give me money (that's what I want)
Whole lot of money (that's what I want)
Whoah yeah, I wanna be free (that's what I want)
Oh, money (that's what I want)
That's what I want, yeah (that's what I want)
That's what I want

Well, now give me money (that's what I want)
Whole lot of money (that's what I want, whoo)
Whoah, yeah, you know I need money (that's what I want)
Now give me money (that's what I want, whoo)
That's what I want, yeah (that's what I want)
That's what I want

I Want to Hold Your Hand
(John Lennon and Paul McCartney)
PAUL 1964: 'Let's see, we were told we had to get down to it.
So we found this house when we were walking along one day.
We knew we had to really get this song going, so we got down in the basement of this disused house and there was an old piano.
It wasn't really disused, it was rooms to let.
We found this old piano and started banging away.
There was a little old organ too.
So we were having this informal jam and we started banging away.
Suddenly a little bit came to us, the catch line.
So we started working on it from there.
We got our pens and paper out and just wrote down the lyrics.
Eventually, we had some sort of a song, so we played it for our recording manager and he seemed to like it.
We recorded it the next day.'

JOHN 1980: 'We wrote alot of stuff together, one on one, eyeball to eyeball.
Like in 'I Want To Hold Your Hand,' I remember when we got the chord that made the song.
We were in Jane Asher's house, downstairs in the cellar playing on the piano at the same time.
And we had, 'Oh you-u-u/ got that something…' And Paul hits this chord, and I turn to him and say, 'That's it!' I said, 'Do that again!' In those days, we really used to absolutely write like that – both playing into each other's noses.'

PAUL circa-1994: ''Eyeball to eyeball' is a very good description of it.
That's exactly how it was.
'I Want To Hold Your Hand' was very co-written.'

Oh yeah, I'll tell you something
I think you'll understand
Then I'll say that something
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand

Oh please, say to me
You'll let me be your man
And please, say to me
You'll let me hold your hand
Now let me hold your hand
I wanna hold your hand

And when I touch you I feel happy
Inside
It's such a feeling that my love
I can't hide
I can't hide
I can't hide

Yeah, you got that something
I think you'll understand
Then I'll say that something
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand

And when I touch you I feel happy
Inside
It's such a feeling that my love
I can't hide
I can't hide
I can't hide

Yeah, you got that something
I think you'll understand
When I feel that something
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand

Brian Bathtubes
This Boy
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'Just my attempt at writing one of those three-part harmony Smokey Robinson songs.
Nothing in the lyrics… just a sound and a harmony.
There was a period when I thought I didn't write melodies… that Paul wrote those and I just wrote straight, shouting rock 'n roll.
But of course, when I think of some of my own songs – 'In My Life,' or some of the early stuff – 'This Boy,' I was writing melody with the best of them.'

PAUL 1988: 'Fabulous. And we just loved singing that three-part too.
We'd learned that from: (sings) 'To know know know her is to love love love her…' We learned that in my dad's house in Liverpool.'

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

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

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

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

This boy
This boy
This boy [fade out]

If I Wasn't In America
I Got a Woman
(Chuck Berry)

Well, I got a woman way cross town
She's good to me, oh ho yeah
Said I got a woman way cross town
She's good to me, oh yeah

She gives me money everytime I need
Yes, you know she's a kind of friend indeed
Said I got a woman way cross town
She's good to me, oh ho yeah

She says she loves me early in the morning
Just for me, oh ho yeah
She says she loves me early in the morning
Just for me, oh yeah

She says she loves me just for me, yeah
You know she loves me so tenderly
Said I got a woman way cross town
She's good to me, oh yeah
Ow!

She's there to love me
All day and night
Never grumbles or fusses
Just treats me right
Never runnin' in the streets
Leave me alone
She knows a woman's place
Is right back there with her hanging around the home

Got a woman way cross town
She's good to me, oh yeah
Well, I got a woman way cross town
She's good to me, oh yeah

Well, she's my baby, don't you understand
That I, I, I, I, I'm her loving man
Said I got a woman way cross town
She's good to me, oh ho yeah

Well, that much is alright
Well, that much is alright

I got a woman
Way cross town
She's good to me
Oh ho ho yeah

I'm gonna tell Aunt Mary 'bout Uncle John
He said he had the misery but he got a lot of fun
Baby, yeah now baby
Woo baby, some fun tonight

I saw Uncle John with Long Tall Sally
He saw Aunt Mary coming and he ducked back in the alley
Oh, baby, yeah now baby
Woo baby, some fun tonight

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

Well, we're gonna have some fun tonight
Have some fun tonight
Everything's all right
Have some fun tonight
Have some fun
Yeah, yeah, yeah,
We're gonna have some fun tonight
Have some fun tonight
Everything's all right
Have some fun tonight
Yeah, we'll have some fun
Some fun tonight

If I Fell
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'That was my first attempt at a ballad proper.
That was the precursor to 'In My Life.' It has the same chord sequences as 'In My Life' – D and B minor and E minor, those kinds of things.
And it's semi-autobiographical, but not consciously.
It shows that I wrote sentimental love ballads – silly love songs – way back when.'

PAUL 1984: 'This was our close-harmony period.
We did a few songs… 'This Boy,' 'If I Fell,' 'Yes It Is' …in the same vein, which were kind of like the Fourmost – an English vocal group, only not really.'

If I fell in love with you
Would you promise to be true
And help me understand
Cause I've been in love before
And I found that love was more
Than just holding hands

If I give my heart to you
I must be sure
From the very start
That you would love me more than her

If I trust in you oh please
Don't run and hide
If I love you too oh please
Don't hurt my pride like her
Cause I couldn't stand the pain
And I would be sad if our new love was in vain

So I hope you see that I
Would love to love you
And that she will cry
When she learns we are two
Cause I couldn't stand the pain
And I would be sad if our new love was in vain

So I hope you see that I
Would love to love you
And that she will cry
When she learns we are two
If I fell in love with you

A Hard Job Writing Them
And I Love Her
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1972: 'Both of us wrote it.
The first half was Paul's and the middle-eight is mine.'

JOHN 1980: ''And I Love Her' is Paul again.
I consider it his first 'Yesterday.' You know, the big ballad in 'A Hard Day's Night.'

PAUL 1984: 'It's just a love song.
It wasn't for anyone.
Having the title start in midsentence, I thought that was clever.
Well, Perry Como did 'And I Love You So' many years later.
Tried to nick the idea.
I like that… it was a nice tune, that one.
I still like it.'

I give her all my love
That's all I do
And if you saw my love
You'd love her too
I love her

She gives me everything
And tenderly
The kiss my lover brings
She brings to me
And I love her

A love like ours
Could never die
As long as I
Have you near me

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

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

Oh, Can't We? Yes We Can
(George Harrison)
You Can't Do That
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1964: 'I'd find it a drag to play rhythm all the time, so I always work myself out something interesting to play.
The best example I can think of is like I did on 'You Can't Do That.' There really isn't a lead guitarist and a rhythm guitarist on that, because I feel the rhythm guitarist role sounds too thin for records.
Anyway it drove me potty to play chunk-chunk rhythm all the time.
I never play anything as lead guitarist that George couldn't do better.
But I like playing lead sometimes, so I do it.'

JOHN 1980: 'That's me doing Wilson Pickett.
You know, a cowbell going four-in-the bar, and the chord going 'chatoong!''

I got something to say that might cause you pain
If I catch you talking to that boy again
I'm gonna let you down
And leave you flat
Because I told you before, oh
You can't do that

Well, it's the second time I've caught you talking to him
Do I have to tell you one more time, I think it's a sin
I think I'll let you down (Let you down)
Leave you flat (Gonna let you down and leave you flat)
Because I've told you before, oh
You can't do that

Everybody's green
Cos I'm the one who won your love
But if they'd seen
You're talking that way they'd laugh in my face

So please listen to me, if you wanna stay mine
I can't help my feelings, I'll go out of my mind
I'm gonna let you down (Let you down)
And leave you flat (Gonna let you down and leave you flat)
Because I've told you before, oh
You can't do that, oh

(You can't do that
You can't do that
You can't do that
You can't do that
You can't do that)

Everybody's green
Cos I'm the one who won your love
But if they'd seen
You're talking that way they'd laugh in my face

So please listen to me, if you wanna stay mine
I can't help my feelings, I'll go out of my mind
I'm gonna let you down (Let you down)
And leave you flat (Gonna let you down and leave you flat)
Because I've told you before, oh
You can't do that

Honey Don't
(Carl Perkins)

Well how come you say you will when you won't
Say you do, baby, when you don't?
Let me know honey how you feel
Tell the truth now, is love real?
But ah ah well honey don't, well honey don't
Honey don't, honey don't, honey don't
I say you will when you won't, ah ah, honey, don't

Well I love you, baby, and you ought to know
I like the way you wear your clothes
Everything about you is so doggone sweet
You got that sand all over your feet
But ah ah well honey don't, honey don't
Honey don't, honey don't, honey don't
I say you will when you won't, ah ah, honey, don't

[Ah, rock on George, one time for me.

I feel fine.
I said.]

Well sometimes I love you on a Saturday night
Sunday morning you don't look right
You've been out painting the town
Ah ah baby, been stepping around
But ah ah well honey don't, I said honey don't
Honey don't, honey don't, honey don't
I say you will when you won't, ah ah, honey, don't

[Ah, rock on George, for Ringo one time.]
Well honey don't, well honey don't
I say you will when you won't, ah ah, honey, don't

I'll Follow the Sun
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1972: 'A nice one.'

JOHN 1980: 'That's Paul again.
Can't you tell? I mean – 'Tomorrow may rain so/ I'll follow the sun.' That's another early McCartney, you know… written almost before the Beatles, I think.
He had alot of stuff.'

PAUL 1988: 'I wrote that in my front parlour in Forthlin Road.
I was about 16.
There was a few from then – 'Thinking Of Linking,' ever heard of that one? So 'I'll Follow The Sun' was one of those very early ones.
I seem to remember writing it just after I'd had the flu… I remember standing in the parlour looking out through lace curtains of the window and writing that one.
We had this hard R&B; image in Liverpool, so I think songs like 'I'll Follow The Sun,' ballads like that, got pushed back to later.'

One day you'll look to see I've gone
For tomorrow may rain, so I'll follow the sun
Some day you'll know I was the one
But tomorrow may rain, so I'll follow the sun

And now the time has come
And so my love I must go
And though I lose a friend
In the end you will know, oooh

One day you'll find that I have gone
But tomorrow may rain, so I'll follow the sun

Yea, tomorrow may rain, so I'll follow the sun
And now the time has come
And so my love I must go
And though I lose a friend
In the end you'll know, oooh

One day you'll find that I have gone
But tomorrow may rain, so I'll follow the sun

Green With Black Shutters
Kansas City/Hey, Hey, Hey, Hey
(Jerry Leiber, Mike Stoller and Richard Penniman)
That's What We're Here For
(Paul McCartney)
I Feel Fine (Studio Out-take)
(John Lennon)
(Officially – John Lennon and Paul McCartney)
Paul - Pop Profile
Ringo - Pop Profile
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