|
The Beatles Lyrics, album "On Air — Live at the BBC Volume 2"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 youLet 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? 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 careListen Do you want to know a secret Do you promise not to tell, whoa oh, ohCloser Let me whisper in your ear Say the words you long to hear I'm in love with youListen Do you want to know a secret Do you promise not to tell, whoa oh, ohCloser Let me whisper in your ear Say the words you long to hear I'm in love with youI've known the secret for a week or two Nobody knows, just we twoListen Do you want to know a secret Do you promise not to tell, whoa oh, ohCloser 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 stillAh Lucille Baby satisfy my soul Ah Lucille Baby satisfy my soul Well you know I love baby I'll never let you goBabe I woke up this morning Lucille was not inside I asked her friends about her But all their lips were tightLucille 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 himAll 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 doAnna Just one more thing, girl You give back your ring to me, and I will set you free Go with himAll 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 doAnna 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! 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 youYou 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 youI 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 blueLast 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... MiseryI'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 oneSend her back to me Cos everyone can see Without her I will be in miseryI'll remember all the little things we've done She'll remember and she'll miss her only one, lonely oneSend 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 meetI'm talkin' 'bout you Nobody but you Yeah, I do mean you I'm just trying to get a message to youLet 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 HollywoodI'm talkin' 'bout you Nobody but you Come on and give me a cue So I can get a message to youLet 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 brideTalkin' '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, yeahChains, 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, yeahI 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 mePlease 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, yeahChains, chains of love... 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 blueNow 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 hadI can't believe it's happened to me I can't conceive of any more miseryAsk me why, I'll say I love you And I'm always thinking of youI 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 blueAsk me why, I'll say I love you And I'm always thinking of youI can't believe it's happened to me I can't conceive of any more miseryAsk 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 youThere were birds in the sky But I never saw them winging No, I never saw them at all Till there was youThen there was music and wonderful roses They tell me in sweet fragrant meadows Of dawn and dewThere was love all around But I never heard it singing No, I never heard it at all Till there was youThen there was music and wonderful roses They tell me in sweet fragrant meadows Of dawn and dewThere 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 It's time to go home I got to go past My hair is a messYour mammie will scold Your pappie will shout Unless we come in The way we went outKissing you was fun honey But thanks for the date But I must come to run honey But you know baby it's getting lateJust 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 shakeWho 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 shakeWell now you shake it to the left Shake it to the right Do the hippy shake shake With all of you mightThen 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 mightThen 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 todayYou 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 newsI 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 twoWell 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 - OooWell 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 newsYou 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 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 aloneI 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 soThere 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 aloneThere's a place... Bumper Bundle 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 youTreasure these few words till we're together Keep all my love forever P.S. I love you You, you, youI'll be coming home again to you, love And till the day I do, love P.S. I love you You, you, youAs I write this letter Send my love to you Remember that I'll always Be in love with youTreasure these few words till we're together Keep all my love forever P.S. I love you You, you, youAs 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 youI'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 Please Mister Postman (Georgia Dobbins, William Garrett, Freddie Gorman, Brian Holland and Robert Bateman) 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 postmanMister 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 mineThere 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 meMister 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 mineSo 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 letterSo 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 mineYou 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 meI'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 meShe'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 deceiveI 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 seeShe'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 deceiveDon'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 meShe'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 deceiveShe'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) 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 youSo hold me tight Let tonight be the night Darling don't ever let me goLoving you is the natural thing to do I want you for the rest of my lifeSo hold me tight Let tonight be the night Darling don't ever let me goLoving you is the natural thing to do I want you for the rest of my life Never Mind, Eh? 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 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 thereWell 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 thereWell, my heart went "boom" When I crossed that room And I held her hand in mineWhoah, 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 thereWell, my heart went "boom" When I crossed that room And I held her hand in mineWhoah, 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 overYeah 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 overYour 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 weakWell 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 yeahImagine 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 beforeIt'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 yeahI 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 blueSo 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 yeahWell, there's gonna be a time When I'm gonna change/make your mind So you might as well resign yourself to me Oh yeahImagine 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 beforeIt'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 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, yeahYou think you lost your love Well, I saw her yesterday It's you she's thinking of And she told me what to sayShe says she loves you And you know that can't be bad Yes, she loves you And you know you should be gladShe said you hurt her so She almost lost her mind But now she says she knows You're not the hurting kindShe says she loves you And you know that can't be bad Yes, she loves you And you know you should be glad, oohShe loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah And with a love like that You know you should be gladYou know it's up to you I think it's only fair Pride can hurt you too Apologize to herBecause she loves you And you know that can't be bad Yes, she loves you And you know you should be glad, oohShe 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 wallHelp 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 BridgeHelp 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, TennesseeThe 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 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 daIf 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 youI'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 youI 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, ooohIf 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 youFrom me, to you Just call on me and I'll send it along With love from me to youI 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, ooohIf 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 The best things in life are free But you can keep 'em for the birds and beesNow 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 wantYour loving give me a thrill, But your loving don't pay my billsNow 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 wantMoney don't get everything it's true What it don't get I can't useNow 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 wantWell, 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 wantWell, 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 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 handOh 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 handAnd 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 hideYeah, 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 handAnd 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 hideYeah, 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 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 againThat boy isn't good for you Though he may want you too This boy wants you back againOh, and this boy would be happy Just to love you, but oh my That boy won't be happy Till he's seen you cryThis boy wouldn't mind the pain Would always feel the same If this boy gets you back againThis 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 yeahShe 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 yeahShe 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 yeahShe 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 homeGot 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 yeahWell, 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 yeahWell, that much is alright Well, that much is alrightI 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 tonightI 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 tonightWell Long Tall Sally's built pretty sweet She got everything that Uncle John need Baby, yeah now baby Woo baby, some fun tonightWell, 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 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 handsIf I give my heart to you I must be sure From the very start That you would love me more than herIf 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 vainSo 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 vainSo 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 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 herShe gives me everything And tenderly The kiss my lover brings She brings to me And I love herA love like ours Could never die As long as I Have you near meBright are the stars that shine Dark is the sky I know this love of mine Will never die And I love herBright 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) 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 thatWell, 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 thatEverybody'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 faceSo 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 faceSo 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'tWell 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 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 sunAnd now the time has come And so my love I must go And though I lose a friend In the end you will know, ooohOne day you'll find that I have gone But tomorrow may rain, so I'll follow the sunYea, 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, ooohOne day you'll find that I have gone But tomorrow may rain, so I'll follow the sun Green With Black Shutters That's What We're Here For (Paul McCartney) And if I said I really knew you well What would your answer be If you were here today? Ooh ooh ooh, here todayWell, knowing you You'd probably laugh and say that we were worlds apart If you were here today Ooh, ooh, ooh, here todayBut as for me, I still remember how it was before And I am holding back the tears no more Ooh, ooh, ooh I love you Ooh, oohWhat about the time we met? (What about the time?) Well, I suppose that you could say that we were playing hard to get Didn't understand a thing, but we could always sing What about the night we cried? (What about the night?) Because there wasn't any reason left to keep it all inside Never understood a word, but you were always there with a smileAnd if I say I really loved you and was glad you came along When you were here today Ooh, ooh, ooh, for you were in my song Ooh ooh ooh, here today Baby's good to me, you know She's happy as can be, you know She said so I'm in love with her and I feel fineBaby says she's mine, you know She tells me all the time, you know She said so I'm in love with her and I feel fineI'm so glad that she's my little girl She's so glad, she's telling all the worldThat her baby buys her things, you know He buys her diamond rings, you know She said so She's in love with me and I feel fine, mmmBaby says she's mine, you know She tells me all the time, you know She said so I'm in love with her and I feel fineI'm so glad that she's my little girl She's so glad, she's telling all the worldThat her baby buys her things, you know He buys her diamond rings, you know She said so She's in love with me and I feel fine She's in love with me and I feel fine, mmm, mmm Paul - Pop Profile Ringo - Pop Profile |
The Beatles Official
Listen The Beatles here
Beatles radio
Beatles pictures
Beatles and films
Beatles geography
Calendar
By dates
By events
By people
By geography
Songs of Beatles
Discography
Box-sets
Songs list
Song writers
Solo
John Lennon
John Discography
John pictures
Paul McCartney
Paul Discography
Paul pictures
George Harrison
George Discography
George pictures
Ringo Starr
Ringo Discography
Ringo pictures
|