Internet review

Music for any mood Music Music search Radio Streaming

The Beatles Lyrics, album "The Beatles Box"

More about the album - Listen the album

Cover of the Beatles album - "The Beatles Box"

Love Me Do
(John Lennon and Paul McCartney)

JOHN 1963: 'It came to the charts in two days.
And everybody thought it was a 'fiddle' because our manager's stores send in these… what is it… record returns.
And everybody down south thought, 'Aha! He's just fiddling the charts.' But he wasn't.'

JOHN 1972: 'Paul wrote the main structure of this when he was sixteen, or even earlier.
I think I had something to do with the middle.'

RINGO 1976: 'The first record, 'Love Me Do,' for me that was more important than anything else.
That first piece of plastic.
You can't believe how great that was.
It was so wonderful.
We were on a record!'

JOHN 1980: ''Love Me Do' is Paul's song.
He had the song around in Hamburg even, way, way before we were songwriters.'

PAUL 1982: 'In Hamburg we clicked… At the Cavern we clicked… but if you want to know when we 'knew' we'd arrived, it was getting in the charts with 'Love Me Do.' That was the one.
It gave us somewhere to go.'

PAUL 1984: ''Love Me Do' …the first song we recorded, like, for real.
First serious audition.
I was very nervous, I remember.
John was supposed to sing the lead, but they changed their minds and asked me to sing lead at the last minute, because they wanted John to play harmonica.
Until then, we hadn't rehearsed with a harmonica; George Martin started arranging it on the spot.
It was very nerve-wracking.'

PAUL 1988: ''Love Me Do' was us trying to do the blues.
It came out whiter because it always does.
We're white, and we were just young Liverpool musicians.
We didn't have the finesse to be able to actually sound black.
But 'Love Me Do' was probably the first bluesy thing we tried to do.'

PAUL circa-1994: 'George Martin said, 'Can anyone play a harmonica? It would be rather nice.
Couldn't think of some sort of bluesy thing, could you John?' John played a chromatic harmonica… I actually had one too but he'd been clever – he learned to play it.
John expected to be in jail one day and he'd be the guy who played the harmonica.
The lyric crossed over the harmonica solo, so I suddenly got thrown the big open line, 'Love me do,' where everything stopped.
Until that session John had always done it.
I didn't even know how to sing it… I can still hear the nervousness in my voice.'

Love, love me do
You know I love you
I'll always be true
So please, love me do
Whoa, love me do

Someone to love
Somebody new
Someone to love
Someone like you

Love, love me do
You know I love you
I'll always be true
So please, love me do
Whoa, love me do

Love, love me do
You know I love you
I'll always be true
So please, love me do
Whoa, love me do
Yeah, love me do
Whoa, oh, love me do

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

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

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

Misery
(John Lennon and Paul McCartney)

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)

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

A Taste of Honey
(Ric Marlow and Bobby Scott)

A taste of honey
Tasting much sweeter than wine

I dream of your first kiss
And then I feel upon my lips again

A taste of honey
Tasting much sweeter than wine

I will return, yes I will return
I'll come back for the honey and you

Yours was the kiss that awoke my heart
There lingers still, though we're far apart

That taste of honey
Tasting much sweeter than wine

Oh I will return, yes I will return
I'll come back (He'll come back)
for the honey (For the honey)
and you

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, 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)

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

Thank You Girl
(John Lennon and Paul McCartney)

JOHN 1980: ''Thank You Girl' was one of our efforts at writing a single that didn't work.
So it became a B-side or an album track.'

PAUL 1988: 'We knew that if we wrote a song called, 'Thank You Girl' that alot of the girls who wrote us fan letters would take it as a genuine thank you.
So alot of our songs were directly addressed to the fans.'

Oh, oh, you've been good to me
You made me glad
When I was blue
And eternally I'll always be
In love with you
And all I gotta do
Is thank you girl, thank you girl

I could tell the world
A thing or two about our love
I know little girl
Only a fool would doubt our love
And all I gotta do
Is thank you girl, thank you girl

Thank you girl for loving me
The way that you do (Way that you do)
That's the kind of love
That is too good to be true
And all I gotta do
Is thank you girl, thank you girl

Oh, oh, you've been good to me
You made me glad
When I was blue
And eternally I'll always be
In love with you
And all I gotta do
Is thank you girl, thank you girl

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

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

It Won't Be Long
(John Lennon and Paul McCartney)

JOHN 1980: ''It Wont Be Long' is mine.
It was my attempt at writing another single.
It never quite made it.
That was the one where the guy in the 'London Times' wrote about the 'Aeolian cadences of the chords' which started the whole intellectual bit about the Beatles.'

PAUL circa-1994: 'We'd spot the double meaning… In 'It won't BE LONG till I BELONG to you' it was that same trip.'

It won't be long yeh, yeh, yeh
It won't be long yeh, yeh, yeh
It won't be long yeh, till I belong to you

Every night when everybody has fun
Here am I sitting all on my own

It won't be long yeh, yeh, yeh
It won't be long yeh, yeh, yeh
It won't be long yeh, till I belong to you

Since you left me, I'm so alone
Now you're coming, you're coming on home
I'll be good like I know I should
You're coming home, you're coming home

Every night the tears come down from my eyes
Every day I've done nothing but cry

It won't be long yeh, yeh, yeh
It won't be long yeh, yeh, yeh
It won't be long yeh, till I belong to you

Since you left me, I'm so alone
Now you're coming, you're coming on home
I'll be good like I know I should
You're coming home, you're coming home

So every day we'll be happy I know
Now I know that you won't leave me no more

It won't be long yeh, yeh, yeh
It won't be long yeh, yeh
It won't be long yeh, till I belong to you, woo

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 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

All My Loving
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1972: 'This was one of his first biggies.'

JOHN 1980: ''All My Loving' is Paul, I regret to say.
Because it's a damn fine piece of work.
But I play a pretty mean guitar in back.'

PAUL 1984: 'Yeah, I wrote that one.
It was the first song I ever wrote where I had the words before the music.
I wrote the words on a bus on tour, then we got the tune when I arrived there.
The first time I've ever worked upside down.'

PAUL 1988: 'I think that was the first song where I wrote the words without the tune.
I wrote the words on the tour bus during our tour with Roy Orbison.
We did alot of writing then.'

PAUL circa-1994: 'It was a good show song.
It worked well live.'

Close your eyes and I'll kiss you
Tomorrow I'll miss you
Remember I'll always be true
And then while I'm away
I'll write home every day
And I'll send all my loving to you

I'll pretend that I'm kissing
The lips I am missing
And hope that my dreams will come true
And then while I'm away
I'll write home every day
And I'll send all my loving to you

All my loving I will send to you
All my loving, darling I'll be true

Close your eyes and I'll kiss you
Tomorrow I'll miss you
Remember I'll always be true
And then while I'm away
I'll write home every day
And I'll send all my loving to you

All my loving I will send to you
All my loving, darling I'll be true
All my loving, all my loving ooh
All my loving I will send to you

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

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

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]

Can't Buy Me Love
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1972: 'John and Paul, but mainly Paul.'

JOHN 1980: 'That's Paul completely.
Maybe I had something to do with the chorus, but I don't know.
I always considered it his song.'

PAUL 1984: 'We recorded it in France, as I recall.
Went over to the Odeon in Paris.
Recorded it over there.
Felt proud because Ella Fitzgerald recorded it, too, though we didn't realize what it meant that she was doing it.'

PAUL circa-1994: ''Can't Buy Me Love' is my attempt to write a bluesy mode.
The idea behind it was that all these material possessions are all very well but they won't buy me what I really want.'

Can't buy me love, love
Can't buy me love

I'll buy you a diamond ring my friend
If it makes you feel alright
I'll get you anything my friend
If it makes you feel alright
'Cause I don't care too much for money
Money can't buy me love

I'll give you all I've got to give
If you say you love me too
I may not have a lot to give
But what I've got I'll give to you
I don't care too much for money
Money can't buy me love

Can't buy me love, everybody tells me so
Can't buy me love, no, no, no, no

Say you don't need no diamond rings
And I'll be satisfied
Tell me that you want the kind of things
That money just can't buy
I don't care too much for money
Money can't buy me love

Can't buy me love, everybody tells me so
Can't buy me love, no, no, no, no

Say you don't need no diamond rings
And I'll be satisfied
Tell me that you want the kind of things
That money just can't buy
I don't care too much for money
Money can't buy me love

Can't buy me love, love
Can't buy me love, oh

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

A Hard Day's Night
(John Lennon)
(Officially – John Lennon and Paul McCartney)

RINGO 1964: 'We went to do a job, and we'd worked all day and we happened to work all night.
I came up still thinking it was day I suppose, and I said, 'It's been a hard day…' and I looked around and saw it was dark so I said, '…night!' So we came to 'A Hard Day's Night.''

JOHN 1980: 'I was going home in the car and Dick Lester suggested the title, 'Hard Day's Night' from something Ringo had said.
I had used it in 'In His Own Write,' but it was an off-the-cuff remark by Ringo.
You know, one of those malapropisms.
A Ringo-ism, where he said it not to be funny… just said it.
So Dick Lester said, 'We are going to use that title.' And the next morning I brought in the song… 'cuz there was a little competition between Paul and I as to who got the A-side – who got the hits.
If you notice, in the early days the majority of singles, in the movies and everything, were mine… in the early period I'm dominating the group.
The only reason he sang on 'A Hard Day's Night' was because I couldn't reach the notes.
(sings) 'When I'm home/ everything seems to be right/ when I'm home…' – which is what we'd do sometimes.
One of us couldn't reach a note but he wanted a different sound, so he'd get the other to do the harmony.'

PAUL circa-1994: 'The title was Ringo's.
We'd almost finished making the film, and this fun bit arrived that we'd not known about before, which was naming the film.
So we were sitting around at Twickenham studios having a little brain-storming session… and we said, 'Well, there was something Ringo said the other day.' Ringo would do these little malapropisms, he would say things slightly wrong, like people do, but his were always wonderful, very lyrical… they were sort of magic even though he was just getting it wrong.
And he said after a concert, 'Phew, it's been a hard day's night.''

It's been a hard day's night, and I've been working like a dog
It's been a hard day's night, I should be sleeping like a log
But when I get home to you I find the things that you do
Will make me feel alright

You know I work all day to get you money to buy you things
And it's worth it just to hear you say you're going to give me everything
So why on earth should I moan, cos when I get you alone
You know I feel OK

When I'm home everything seems to be right
When I'm home feeling you holding me tight, tight, yeah

So why on earth should I moan, cos when I get you alone
You know I feel OK

When I'm home everything seems to be right
When I'm home feeling you holding me tight, tight, yeah

I Should Have Known Better
(John Lennon)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: 'That's me.
Just a song – It doesn't mean a damn thing.'

I should have known better with a girl like you
That I would love everything that you do
And I do, hey, hey, hey, and I do

Whoa, oh, I never realized what a kiss could be
This could only happen to me
Can't you see, can't you see

That when I tell you that I love you, oh
You're gonna say you love me too, oh
And when I ask you to be mine
You're gonna say you love me too

So I should have realized a lot of things before
If this is love you've got to give me more
Give me more, hey hey hey, give me more

Whoa, oh, I never realized what a kiss could be
This could only happen to me
Can't you see, can't you see

That when I tell you that I love you, oh
You're gonna say you love me too, oh
And when I ask you to be mine
You're gonna say you love me too
You love me too, you love me too
You love me too

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

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

Things We Said Today
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: 'Paul's.
Good song.'

PAUL circa-1994: 'I wrote 'Things We Said Today' on acoustic (guitar).
It was a slightly nostalgic thing already, a future nostalgia: we'll remember the things we said today, sometime in the future, so the song projects itself into the future and then is nostalgic about the moment we're living now, which is quite a good trick.'

You say you will love me
If I have to go
You'll be thinking of me
Somehow I will know
Someday when I'm lonely
Wishing you weren't so far away
Then I will remember
Things we said today

You say you'll be mine, girl
Till the end of time
These days such a kind girl
Seems so hard to find
Someday when we're dreaming
Deep in love, not a lot to say
Then we will remember
Things we said today

Me, I'm just the lucky kind
Love to hear you say that love is luck
And though we may be blind
Love is here to stay and that's enough

To make you mine, girl
Be the only one
Love me all the time, girl
We'll go on and on
Someday when we're dreaming
Deep in love, not a lot to say
Then we will remember
Things we said today

Me, I'm just the lucky kind
Love to hear you say that love is luck
Though we may be blind
Love is here to stay and that's enough

To make you mine, girl
Be the only one
Love me all the time, girl
We'll go on and on
Someday when we're dreaming
Deep in love, not a lot to say
Then we will remember
Things we said today

I'll Be Back
(John Lennon)
(Officially – John Lennon and Paul McCartney)

JOHN 1972: 'A nice tune, though the middle is a bit tatty.'

JOHN 1980: ''I'll Be Back' is me completely.
My variation of the chords in a Del Shannon song.'

PAUL circa-1994: ''I'll Be Back' was co-written, but it was largely John's idea.'

You know if you break my heart I'll go
But I'll be back again
Cos I told you once before goodbye
But I came back again

I love you so
I'm the one who wants you
Yes, I'm the one
Who wants you, oh ho, oh ho, oh

You could find better things to do
Than to break my heart again
This time I will try to show that I'm
Not trying to pretend

I thought that you would realize
That if I ran away from you
That you would want me too
But I got a big surprise
Oh ho, oh ho, oh

You could find better things to do
Than to break my heart again
This time I will try to show that I'm
Not trying to pretend

I wanna go but I hate to leave you,
You know I hate to leave you , oh ho, oh ho, oh
You, if you break my heart I'll go
But I'll be back again

Long Tall Sally
(Richard Penniman, Enotris Johnson and Robert Blackwell)

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

I Call Your Name
(John Lennon)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: 'That was my song.
When there was no Beatles and no group, I just had it around.
It was my effort as a kind of blues originally, and then I wrote the middle-eight just to stick it in the album when it came out years later.
The first part had been written before Hamburg even.
It was one of my 'first' attempts at a song.'

PAUL circa-1994: 'We worked on it together, but it was John's idea.
When I look back at some of these lyrics, I think, 'Wait a minute.
What did he mean? 'I call your name but you're not there.' Is it his mother? His father? I must admit I didn't really see that as we wrote it because we were just a couple of young guys writing.
You didn't look behind it at the time, it was only later you started analyzing things.'

I call your name but you're not there
Was I to blame for being unfair
Oh I can't sleep at night
Since you've been gone
I never weep at night
I can't go on

Don't you know I can't take it
I don't know who can
I'm not goin' to mayayake it
I'm not that kind of man

Oh I can't sleep at night
But just the same
I never weep at night
I call your name
Aww

Don't you know I can't take it
I don't know who can
I'm not goin' to mayayake it
I'm not that kind of man

Oh I can't sleep at night
But just the same
I never weep at night
I call your name
I call your name
I call your name
I call your name

Matchbox
(Carl Perkins)

RINGO 1964: 'I'm featured on it.
Actually it was written by Carl Perkins about six years ago.
Carl came to the session.
I felt very embarrassed.
I did it just two days before I went in the hospital (with tonsilitis) so please forgive my throat.'

Well, I'm sitting here wondering
Will a matchbox hold my clothes
Yeah, I'm sitting here wondering
Will a matchbox hold my clothes
I ain't got no matches
But I got a long way to go

I'm an ol' poor boy and a long way from home
I'm an ol' poor boy and a long way from home
Guess I'll never be happy
Everything I do is wrong, yeah

Well, let me be your little dog
Till your big dog comes
Let me be your little dog
Till your big dog come
When the big dog gets here
Show him what this little puppy done

Yeah, I'm sitting here wondering
Will a matchbox hold my clothes
Yeah, I'm sitting here wondering
Will a matchbox hold my clothes
I got no matches
Got a long way to go

Let 'er go boy, go, go

Well, I'm sitting here wondering
Will a matchbox hold my clothes
Baby, I'm sitting here wondering
Will a matchbox hold my clothes
I ain't got no matches
Got a long way to go

Slow Down
(Larry Williams)

Well, come on pretty baby, won't you walk with me?
Come on, pretty baby, won't you talk with me?
Come on pretty baby, give me one more chance
Try to save our romance!

Slow down, baby, now you're movin' way too fast
You gotta gimme little lovin', gimme little lovin'
Ow! If you want our love to last

Well, I used to walk you home, baby, after school
Carry your books home, too
But now you got a boyfriend down the street
Baby what you're tryin' to do?

You better slow down!
Baby, now you're movin' way too fast
You gotta gimme little lovin', gimme little lovin'
Bbbbb! If you want our love to last

Well you know that I love you, tell the world I do
Come on, pretty baby, why can't you be true?
I need your lovin' baby, oh so bad
The best little woman I ever had

Slow down, baby, now you're movin' way too fast
You gotta gimme little lovin', gimme little lovin'
Ow! If you want our love to last

She's a Woman
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: 'That's Paul with some contribution from me on lines, probably.
We put in the words 'turns me on.'
We were so excited to say 'turn me on' – you know, about marijuana and all that… using it as an expression.'

PAUL circa-1994: 'This was my attempt at a bluesy thing… instead of doing a Little Richard song, whom I admire greatly, I would use the (vocal) style I would have used for that but put it in one of my own songs.'

My love don't give me presents
I know that she's no peasant
Only ever has to give me
Love forever and forever
My love don't give me presents
Turn me on when I get lonely
People tell me that she's only
Fooling, I know she isn't

She don't give the boys the eye
She hates to see me cry
She is happy just to hear me say
That I will never leave her
She don't give the boys the eye
She will never make me jealous
Gives me all her time as well as
Loving, don't ask me why

She's a woman who understands
She's a woman who loves her man

My love don't give me presents
I know that she's no peasant
Only ever has to give me love
Forever and forever
My love don't give me presents
Turn me on when I get lonely
People tell me that she's only
Fooling, I know she isn't

She's a woman who understands
She's a woman who loves her man

She's a woman, she's a woman
She's a woman, she's a woman

I Feel Fine
(John Lennon)
(Officially – John Lennon and Paul McCartney)

JOHN 1964: 'George and I play the same bit on the guitar together – that's the bit that'll set your feet a-tapping, as the reviews say.
The middle-eight is the most tuneful part, to me, because it's a typical Beatles bit.'

JOHN 1972: 'This was the first time feedback was used on a record.
It's right at the beginning.'

JOHN 1974: 'I wrote this at a recording session.
It was tied together around the guitar riff that opens it.'

JOHN 1980: 'That's me completely.
Including the guitar lick with the first feedback anywhere.
I defy anybody to find a record… unless it is some old blues record from 1922… that uses feedback that way.
So I claim it for the Beatles.
Before Hendrix, before the Who, before anybody.
The first feedback on record.'

PAUL circa-1994: 'John had a semi-acoustic Gibson guitar.
It had a pick-up on it so it could be amplified… We were just about to walk away to listen to a take when John leaned his guitar against the amp.
I can still see him doing it… and it went, 'Nnnnnnwahhhhh!' And we went, 'What's that? Voodoo!' 'No, it's feedback.' Wow, it's a great sound!' George Martin was there so we said, 'Can we have that on the record?' 'Well, I suppose we could, we could edit it on the front.' It was a found object – an accident caused by leaning the guitar against the amp.
The song itself was more John's than mine.
We sat down and co-wrote it with John's original idea.
John sang it, I'm on harmonies.'

Baby's good to me, you know
She's happy as can be, you know
She said so
I'm in love with her and I feel fine

Baby 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 fine

I'm so glad that she's my little girl
She's so glad, she's telling all the world

That 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, mmm

Baby 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 fine

I'm so glad that she's my little girl
She's so glad, she's telling all the world

That 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

Eight Days a Week
(John Lennon and Paul McCartney)

JOHN 1972: 'Both of us wrote it.
I think we wrote this when we were trying to write the title song for 'Help!' because there was at one time the thought of calling the film, 'Eight Arms To Hold You.''

JOHN 1980: 'Eight Days A Week' was never a good song.
We struggled to record it and struggled to make it into a song.
It was his (Paul's) initial effort, but I think we both worked on it.
I'm not sure.
But it was lousy anyway.'

PAUL 1984: 'Yeah, he (Ringo) said it as though he were an overworked chauffeur: (in heavy accent) 'Eight days a week.' (Laughter) When we heard it, we said, 'Really? Bing! Got it!'' (Laughs)

Ooh, I need your love, babe
Guess you know it's true
Hope you need my love, babe
Just like I need you

Hold me, love me, hold me, love me
Ain't got nothing but love, babe
Eight days a week.

Love you every day, girl
Always on my mind
One thing I can say, girl
Love you all the time

Hold me, love me, hold me, love me
Ain't got nothing but love, girl
Eight days a week.

Eight days a week
I love you
Eight days a week
Is not enough to show I care

Ooh, I need your love, babe
Guess you know it's true
Hope you need my love, babe
Just like I need you

Hold me, love me, hold me, love me
Ain't got nothing but love, babe
Eight days a week

Eight days a week
I love you
Eight days a week
Is not enough to show I care

Love you every day, girl
Always on my mind
One thing I can say, girl
Love you all the time

Hold me, love me, hold me, love me
Ain't got nothing but love, babe
Eight days a week
Eight days a week
Eight days a week

No Reply
(John Lennon and Paul McCartney)

JOHN 1972: 'I remember (Beatles music publisher) Dick James coming up to me after we did this one and saying, 'You're getting better now – that was a complete story.' Apparently, before that, he thought my songs wandered off.'

JOHN 1980: 'That's my song.
That's the one where Dick James the publisher said, 'That's the first complete song you've written that resloves itself,' you know, with a complete story.
It was sort of my version of 'Silhouettes.' (sings) 'Silhouettes, silhouettes, silhouettes…' I had that image of walking down the street and seeing her silhouetted in the window and not answering the phone, although I never called a girl on the phone in my life.
Because phones weren't part of the English child's life.'

PAUL circa-1994: 'We wrote 'No Reply' together but from a strong original idea of his.
I think he pretty much had that one, but as usual, if he didn't have a third verse and the middle-eight, then he'd play it to me pretty much formed.
Then we'd shove a bit in the middle or I'd throw in an idea.'

This happened once before
When I came to your door
No reply
They said it wasn't you
But I saw you peep through your window

I saw the light, I saw the light
I know that you saw me
As I looked up to see your face

I tried to telephone
They said you were not home
That's a lie
'Cause I know where you've been
I saw you walk in your door

I nearly died, I nearly died
'Cause you walked hand in hand
With another man in my place

If I were you I'd realize that I
Love you more than any other guy
And I'll forgive the lies that I
Heard before when you gave me no reply

I've tried to telephone
They said you were not home
That's a lie
'Cause I know where you've been
I saw you walk in your door

I nearly died, I nearly died
'Cause you walked hand in hand
With another man in my place

No reply, no reply

I'm a Loser
(John Lennon)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: 'That's me in my Dylan period.
Part of me suspects I'm a loser, and part of me thinks I'm God almighty.' (laughs)

PAUL circa-1994: 'We used to listen to alot of country and western songs and they were all about sadness and 'I lost my truck' so it was quite acceptable to sing 'I'm a loser.' You really didn't think about it at the time, it's only later you'd think, God! That was pretty brave of John.
'I'm a Loser' was very much John's song and there may have been a dabble or two from me.'

I'm a loser
I'm a loser
And I'm not what I appear to be

Of all the love I have won or have lost
There is one love I should never have crossed
She was a girl in a million, my friend
I should have known she would win in the end

I'm a loser
And I lost someone who's near to me
I'm a loser
And I'm not what I appear to be

Although I laugh and I act like a clown
Beneath this mask I am wearing a frown
My tears are falling like rain from the sky
Is it for her or myself that I cry

I'm a loser
And I lost someone who's near to me
I'm a loser
And I'm not what I appear to be

What have I done to deserve such a fate
I realize I have left it too late
And so it's true, pride comes before a fall
I'm telling you so that you won't lose all

I'm a loser
And I lost someone who's near to me
I'm a loser
And I'm not what I appear to be

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

Mr. Moonlight
(Roylee Johnson)

Mr. Moonlight
You came to me one summer night
And from your beam you made my dream
And from the world you sent my girl
And from above you sent us love
And now she is mine
I think you're fine
Cos we love you, Mr. Moonlight

Mr. Moonlight, come again please
Here I am on my knees
Begging if you please
And the night you don't come my way
I'll pray and pray more each day
Cos we love you, Mr. Moonlight

And the night you don't come my way
Oh, I'll pray and pray more each day
Cos we love you, Mr. Moonlight
Mr. Moonlight

Mr. Moonlight, come again please
Here I am on my knees
Begging if you please
And the night you don't come my way
I'll pray and pray more each day
Cos we love you, Mr. Moonlight
Mr. Moonlight
Mr. Moonlight
Mr. Moonlight

Every Little Thing
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: ''Every Little Thing' is his song.
Maybe I threw in something.'

PAUL circa-1994: ''Every Little Thing,' like most of the stuff I did, was my attempt at the next single… but it became an album filler rather than the great almighty single.
It didn't have quite what was required.'

When I'm walking beside her
People tell me I'm lucky
Yes, I know I'm a lucky guy
I remember the first time
I was lonely without her
Can't stop thinking about her now

Every little thing she does
She does for me, yeah
And you know the things she does
She does for me, oooh

When I'm with her I'm happy
Just to know that she loves me
Yes, I know that she loves me now
There is one thing I'm sure of
I will love her forever
For I know love will never die

Every little thing she does
She does for me, yeah
And you know the things she does
She does for me, oooh

Every little thing she does
She does for me, yeah
And you know the things she does
She does for me, oooh
Every little thing
Every little thing

I Don't Want to Spoil the Party
(John Lennon)

JOHN 1974: 'That was a very personal one of mine.'

JOHN 1980: 'That's me!'

I don't want to spoil the party so I'll go
I would hate my disappointment to show
There's nothing for me here so I will disappear
If she turns up while I'm gone please let me know

I've had a drink or two and I don't care
There's no fun in what I do if she's not there
I wonder what went wrong I've waited far too long
I think I'll take a walk and look for her

Though tonight she's made me sad
I still love her
If I find her I'll be glad
I still love her

I don't want to spoil the party so I'll go
I would hate my disappointment to show
There's nothing for me here so I will disappear
If she turns up while I'm gone please let me know

Though tonight she's made me sad
I still love her
If I find her I'll be glad
I still love her

Though I've had a drink or two and I don't care
There's no fun in what I do if she's not there
I wonder what went wrong I've waited far too long
I think I'll take a walk and look for her

Kansas City/Hey, Hey, Hey, Hey
(Jerry Leiber, Mike Stoller and Richard Penniman)

Ticket to Ride
(John Lennon and Paul McCartney)

GEORGE 1965: 'We are always worried with each record.
With 'Ticket To Ride' we were even more worried.
There's bound to be a time when we come in at 19 (on the charts).
But this 'number one' business doesn't seem to stop – great while it lasts – but now we'll have to start all over again and people will start predicting funny things for the next one.'

JOHN 1970: 'It's a heavy record, and the drums are heavy too.
That's why I like it.'

JOHN 1980: 'That was one of the earliest heavy-metal records made.
Paul's contribution was the way Ringo played the drums.'

PAUL circa-1994: 'I think the interesting thing is the crazy ending – instead of ending like the previous verse, we changed the tempo.
We picked up one of the lines, 'My baby don't care,' but completely altered the melody.
We almost invented the idea of a new bit of a song on the fade-out with this song… It was quite radical at the time.'

I think I'm gonna be sad
I think it's today, yeah
The girl that's driving me mad
Is going away

She's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

She said that living with me
Is bringing her down, yeah
For she would never be free
When I was around

She's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

I don't know why she's riding so high
She ought to think twice
She ought to do right by me
Before she gets to saying goodbye
She ought to think twice
She ought to do right by me

I think I'm gonna be sad
I think it's today, yeah
The girl that's driving me mad
Is going away, yeah

Oh, she's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

I don't know why she's riding so high
She ought to think twice
She ought to do right by me
Before she gets to saying goodbye
She ought to think twice
She ought to do right by me

She said that living with me
Is bringing her down, yeah
For she would never be free
When I was around

Ah, she's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

My baby don't care, my baby don't care
My baby don't care, my baby don't care
My baby don't care, my baby don't care (fade out)

I'm Down
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: 'That's Paul… with a little help from me, I think.'

PAUL circa-1994: 'I could do Little Richard's voice which is a wild, hoarse, screaming thing – It's like an out-of-body experience.
You have to leave your current sensibilities and go about a foot above your head to sing it.
Alot of people were fans of Little Richard so I used to sing his stuff, but there came a point when I wanted to do one of my own, so I wrote 'I'm Down.''

You telling lies thinking I can't see
You don't cry cos you're laughing at me
I'm down (I'm really down)
I'm down (Down on the ground)
I'm down (I'm really down)
How can you laugh when you know I'm down
(How can you laugh) When you know I'm down

Man buys ring woman throws it away
Same old thing happens everyday
I'm down (I'm really down)
I'm down (Down on the ground)
I'm down (I'm really down)
How can you laugh when you know I'm down
(How can you laugh) When you know I'm down

We're all alone and there's nobody else
You still moan, "Keep your hands to yourself!"
I'm down (I'm really down)
Oh baby I'm down (Down on the ground)
I'm down (I'm really down)
How can you laugh when you know I'm down
(How can you laugh) When you know I'm down.
Waaaao! Baby I'm down

Oh baby you know I'm down (I'm really down)
Oh yes I'm down (I'm really down)
I'm down on the ground (I'm really down)
Ahhhh! Down (I'm really down)
Oh baby I'm upside down, a yea yea yea yea yea
I'm down (I'm really down)
Oh baby I'm down (I'm really down)
I'm feeling upside down (I'm really down)
Ooo! I'm down (I'm really down)
Baby I'm down yea
Oh baby I'm down yea
Baby I'm down (I'm really down)
Well baby I'm down (I'm really down)
Well baby baby baby (I'm really down)
Oh baby I'm down
I'm down, down, down

Help!
(John Lennon and Paul McCartney)

JOHN 1965: 'We think it's one of the best we've written.'

JOHN 1980: 'The whole Beatle thing was just beyond comprehension.
When 'Help' came out, I was actually crying out for help.
Most people think it's just a fast rock 'n roll song.
I didn't realize it at the time; I just wrote the song because I was commissioned to write it for the movie.
But later, I knew I really was crying out for help.
So it was my fat Elvis period.
You see the movie: He – I – is very fat, very insecure, and he's completely lost himself.
And I am singing about when I was so much younger and all the rest, looking back at how easy it was.
Now I may be very positive… yes, yes… but I also go through deep depressions where I would like to jump out the window, you know.
It becomes easier to deal with as I get older; I don't know whether you learn control or, when you grow up, you calm down a little.
Anyway, I was fat and depressed and I was crying out for help.'

PAUL 1984: 'John wrote that… well, John and I wrote it at his house in Weybridge for the film.
I think the title was out of desperation.'

Help! I need somebody
Help! Not just anybody
Help! You know I need someone
Help!

(When) When I was younger (When I was young) so much younger than today
(I never need) I never needed anybody's help in any way
(Now) But now these days are gone (These days are gone) and I'm not so self assured
(And now I find) Now I find I've changed my mind, I've opened up the doors

Help me if you can, I'm feeling down
And I do appreciate you being 'round
Help me get my feet back on the ground
Won't you please, please help me?

(Now) And now my life has changed (My life has changed) in oh so many ways
(My independence) My independence seems to vanish in the haze
(But) But ev'ry now (Every now and then) and then I feel so insecure
(I know that I) I know that I just need you like I've never done before

Help me if you can, I'm feeling down
And I do appreciate you being 'round
Help me get my feet back on the ground
Won't you please, please help me?

When I was younger, so much younger than today
I never needed anybody's help in any way
(Now) But now these days are gone (These days are gone) and I'm not so self assured
(And now I find) Now I find I've changed my mind, I've opened up the doors

Help me if you can, I'm feeling down
And I do appreciate you being 'round
Help me get my feet back on the ground
Won't you please, please help me?

Help me, help me
Ooh

The Night Before
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1965: ''The Night Before' that Paul does is good.'

PAUL circa-1994: 'I would say that's mainly mine.
I don't think John had alot to do with that.'

We said our goodbyes, ah, the night before
Love was in your eyes, ah, the night before
Now today I find you have changed your mind
Treat me like you did the night before

Were you telling lies, ah, the night before?
Was I so unwise, ah, the night before?
When I held you near you were so sincere
Treat me like you did the night before

Last night is a night I will remember you by
When I think of things we did it makes me wanna cry

We said our goodbye, ah, the night before
Love was in your eyes, ah, the night before
Now today I find you have changed your mind
Treat me like you did the night before

Yes

When I held you near you were so sincere
Treat me like you did the night before

Last night is a night I will remember you by
When I think of things we did it makes me wanna cry

Were you telling lies, ah, the night before?
Was I so unwise, ah, the night before?
When I held you near you were so sincere
Treat me like you did the night before
Like the night before

You've Got to Hide Your Love Away
(John Lennon)
(Officially – John Lennon and Paul McCartney)

Here I stand head in hand
Turn my face to the wall
If she's gone I can't go on
Feeling two-foot small

Everywhere people stare
Each and every day
I can see them laugh at me
And I hear them say

Hey You've Got to Hide Your Love Away
Hey You've Got to Hide Your Love Away

How can I even try
I can never win
Hearing them, seeing them
In the state I'm in

How could she say to me
Love will find a way
Gather round all you clowns
Let me hear you say

Hey You've Got to Hide Your Love Away
Hey You've Got to Hide Your Love Away

I Need You
(George Harrison)

You don't realize how much I need you
Love you all the time and never leave you
Please come on back to me
I'm lonely as can be
I need you

Said you had a thing or two to tell me
How was I to know you would upset me?
I didn't realize as I looked in your eyes
You told me, oh yes, you told me, you don't want my lovin' anymore
That's when it hurt me and feeling like this I just can't go on anymore

Please remember how I feel about you
I could never really live without you
So, come on back and see just what you mean to me. I need you

But when you told me, you don't want my lovin' anymore
That's when it hurt me and feeling like this I just can't go on anymore

Please remember how I feel about you
I could never really live without you
So, come on back and see just what you mean to me
I need you
I need you
I need you

Another Girl
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: ''Another Girl' is Paul.'

PAUL circa-1994: 'It's a bit much to call them fillers because I think they were a bit more than that, and each one of them made it past the Beatles test.
We all had to like it.'

For I have got another girl, another girl
You're making me say that I've got nobody but you
But as from today, well, I've got somebody that's new
I ain't no fool and I don't take what I don't want

For I have got another girl, another girl
She's sweeter than all the girls and I met quite a few
Nobody in all the world can do what she can do
And so I'm telling you, "This time you'd better stop"

For I have got another girl, another girl
Who will love me till the end
Through thick and thin
She will always be my friend

I don't want to say that I've been unhappy with you
But, as from today, well, I've seen somebody that's new
I ain't no fool and I don't take what I don't want

For I have got another girl, another girl
Who will love me till the end
Through thick and thin
She will always be my friend

I don't want to say that I've been unhappy with you
But, as from today, well, I've seen somebody that's new
I ain't no fool and I don't take what I don't want

For I have got another girl, another girl
Another girl

You're Going to Lose that Girl
(John Lennon)
(Officially – John Lennon and Paul McCartney)

You're going to lose that girl
You're going to lose that girl
If you don't take her out tonight
She's going to change her mind
And I will take her out tonight
And I will treat her kind

You're going to lose that girl
You're going to lose that girl
If you don't treat her right, my friend
You're going to find her gone
Cos I will treat her right, and then
You'll be the lonely one

You're going to lose that girl
You're going to lose that girl
I'll make a point
Of taking her away from you, yeah
The way you treat her what else can I do?

If you don't take her out tonight
She's going to change her mind
And I will take her out tonight
And I will treat her kind
You're going to lose that girl
You're going to lose that girl
You're going to lose that girl

Yesterday
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

Yesterday

Act Naturally
(Voni Morrison and Johnny Russell)

They're gonna put me in the movies
They're gonna make a big star out of me
We'll make a film about a man that's sad and lonely
And all I gotta do is act naturally

Well, I'll bet you I'm gonna be a big star
Might win an Oscar you can never tell
The movies gonna make me a big star
Cos I can play the part so well

Well I hope you'll come and see me in the movies
Then I know that you will plainly see
The biggest fool that ever hit the big time
And all I gotta do is act naturally

We'll make the scene about a man that's sad and lonely
And begging down upon his bended knee
I'll play the part and I won't need rehearsing
All I have to do is act naturally

Well, I'll bet you I'm gonna be a big star
Might win an Oscar you can never tell
The movies gonna make me a big star
Cos I can play the part so well

Well I hope you'll come and see me in the movies
Then I know that you will plainly see
The biggest fool that ever hit the big time
And all I gotta do is act naturally

Tell Me What You See
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

PAUL circa-1994: ''I seem to remember it as mine… Not awfully memorable.'

If you let me take your heart I will prove to you
We will never be apart if I'm part of you
Open up your eyes now, tell me what you see
It is no surprise now, what you see is me

Big and black the clouds may be, time will pass away
If you put your trust in me I'll make bright your day
Look into these eyes now, tell me what you see
Don't you realise now, what you see is me
Tell me what you see

Listen to me one more time, how can I get through?
Can't you try to see that I'm trying to get to you?
Open up your eyes now, tell me what you see
It is no surprise now, what you see is me
Tell me what you see

Listen to me one more time, how can I get through?
Can't you try to see that I'm trying to get to you?
Open up your eyes now, tell me what you see
It is no surprise now, what you see is me

It's Only Love
(John Lennon)
(Officially – John Lennon and Paul McCartney)

JOHN 1972: 'That's the one song I really hate of mine.
Terrible lyric.'

JOHN 1980: ''It's Only Love' is mine.
I always thought it was a lousy song.
The lyrics are abysmal.
I always hated that song.'

PAUL circa-1994: 'Sometimes we didn't fight it if the lyric came out rather bland on some of those filler songs like 'It's Only Love.' If a lyric was really bad we'd edit it.
But we weren't that fussy about it, because it's only a rock 'n roll song.
I mean, this is not literature.'

I get high when I see you go by
My oh my
When you sigh, my, my inside just flies
Butterflies
Why am I so shy when I'm beside you?

It's only love and that is all
Why should I feel the way I do?
It's only love, and that is all
But it's so hard loving you

Is it right that you and I should fight
Every night?
Just the sight of you makes nighttime bright
Very bright
Haven't I the right to make it up girl?

It's only love and that is all
Why should I feel the way I do?
It's only love, and that is all
But it's so hard loving you
Yes it's so hard loving you, loving you

You Like Me Too Much
(George Harrison)

Though you've gone away this morning
You'll be back again tonight
Telling me there'll be no next time
If I just don't treat you right
You'll never leave me and you know it's true
Cos you like me too much and I like you

You've tried before to leave me
But you haven't got the nerve
To walk out and make me lonely
Which is all that I deserve
You'll never leave me and you know it's true
Cos you like me too much and I like you

I really do, and it's nice when you believe me
If you leave me

I will follow you and bring you back where you belong
Cos I could't really stand it
I admit that I was wrong
I wouldn't let you leave me cos it's true
Cos you like me too much and I like you

Cos you like me too much and I like you
I really do, and it's nice when you believe me
If you leave me

I will follow you and bring you back where you belong
Cos I could't really stand it
I admit that I was wrong
I wouldn't let you leave me cos it's true
Cos you like me too much and I like you
Cos you like me too much and I like you

I've Just Seen a Face
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: 'That's Paul.'

PAUL circa-1994: 'I think of this as totally by me.
It was slightly country and western from my point of view.
It was faster, though.
It was a strange uptempo thing.
I was quite pleased with it.
The lyric works.
It keeps dragging you forward… it keeps pulling you to the next line.
There's an insistent quality about it.'

I've just seen a face
I can't forget the time or place
Where we just met
She's just the girl for me
And I want all the world to see
We've met, mmm-mmm-mmm-m'mmm-mmm

Had it been another day
I might have looked the other way
And I'd have never been aware
But as it is I'll dream of her
Tonight, di-di-di-di'n'di

Falling, yes I am falling
And she keeps calling
Me back again

I have never known
The like of this, I've been alone
And I have missed things
And kept out of sight
But other girls were never quite
Like this, da-da-n'da-da'n'da

Falling, yes I am falling
And she keeps calling
Me back again

I've just seen a face
I can't forget the time or place
Where we just met
She's just the girl for me
And I want all the world to see
We've met, mmm-mmm-mmm-da-da-da

Falling, yes I am falling
And she keeps calling
Me back again
Falling, yes I am falling
And she keeps calling
Me back again
Oh, falling, yes I am falling
And she keeps calling
Me back again

Day Tripper
(John Lennon and Paul McCartney)

JOHN 1972: 'Me.
But I think Paul helped with the verse.'

JOHN 1980: 'That's mine.
Including the guitar lick, the guitar break, and the whole bit.
It's just a rock 'n roll song.
Day trippers are people who go on a day trip, right? Usually on a ferry boat or somethng.
But it was kind of – you know, you're just a weekend hippie.
Get it?'

PAUL circa-1994: 'Acid was coming on the scene, and we'd often do these songs about 'the girl who thought she was it.' Mainly the impetus for that used to come from John – I think John met quite a few girls who thought they were it… But this was just a tongue-in-cheek song about someone who was a day tripper, a sunday painter, a sunday driver, somebody who was committed only in part to the idea.
Where we saw ourselves as full-time trippers, fully committed drivers, she was just a day tripper.
That was a co-written effort – we were both making it all up but I would give John the main credit.'

Got a good reason for taking the easy way out
Got a good reason for taking the easy way out now
She was a day tripper, a one way ticket yeah
It took me so long to find out, and I found out

She's a big teaser, she took me half the way there
She's a big teaser, she took me half the way there now
She was a day tripper, a one way ticket yeah
It took me so long to find out, and I found out

Tried to please her, she only played one night stands
Tried to please her, she only played one night stands now
She was a day tripper, a Sunday driver yeah
It took me so long to find out, and I found out

Day tripper
Day tripper yeah
Day tripper
Day tripper yeah
Day tripper

We Can Work It Out
(John Lennon and Paul McCartney)

JOHN 1980: 'Paul did the first half, I did the middle-eight.
But you've got Paul writing, 'We can work it out/ We can work it out' real optimistic, you know.
And me, impatient, 'Life is very short and there's no time/ for fussing and fighting, my friend.''

PAUL circa-1994: 'I wrote it as more of an up-tempo thing, country and western.
I had the basic idea, the title, had a couple of verses… then I took it to John to finish it off and we wrote the middle together, which is nice – 'Life is very short/ And there's no time for fussing and fighting my friend.' Then it was George Harrison's idea to put the middle into waltz time, like a german waltz… The lyrics might have been personal.
It is often a good way to talk to someone or to work your thoughts out.
It saves you going to a psychiatrist, you allow yourself to say what you might not say in person.'

Try to see it my way
Do I have to keep on talking till I can't go on?
While you see it your way
Run the risk of knowing that our love may soon be gone

We can work it out
We can work it out

Think of what you're saying
You can get it wrong and still you think that it's alright
Think of what I'm saying
We can work it out and get it straight, or say goodnight

We can work it out
We can work it out

Life is very short, and there's no time
For fussing and fighting, my friend
I have always thought that it's a crime
So I will ask you once again

Try to see it my way
Only time will tell if I am right or I am wrong
While you see your way,
There's a chance that we may fall apart before too long

We can work it out
We can work it out

Life is very short, and there's no time
For fussing and fighting, my friend
I have always thought that it's a crime
So I will ask you once again

Try to see it my way
Only time will tell if I am right or I am wrong
While you see it your way
There's a chance that we may fall apart before too long

We can work it out
We can work it out

Michelle
(John Lennon and Paul McCartney)

JOHN 1972: 'Both of us.
I wrote the middle with him.'

PAUL 1977: ''Michelle' was like a joke French tune for when you go to a party or something.
That's all it was.
And then after a while you say, 'Well, that's quite a good tune.
Let's put some real words to it.''

JOHN 1980: 'He and I were staying somewhere and he walked in and hummed the first few bars, with the words, and he says, 'Where do I go from here?' I had been listening to (blues singer) Nina Simone.
I think it was 'I Put A Spell On You.' There was a line in it that went, 'I love you, I love you.' That's what made me think of the middle-eight for 'Michelle.' So, my contributions to Paul's songs was always to add a little bluesy edge to them.
Otherwise, 'Michelle' is a straight ballad, right? He provided a lightness, an optimism, while I would always go for the sadness, the discords, the bluesy notes.'

PAUL 1988: 'I'll never forget putting the bass line in 'Michelle' because it was a kind of Bizet thing.
It really turned the song around.
You could do that with bass.
It was very exciting.'

Michelle, ma belle
These are words that go together well
My Michelle

Michelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensemble

I love you, I love you, I love you
That's all I want to say
Until I find a way
I will say the only words I know that
You'll understand

Michelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensemble

I need to, I need to, I need to
I need to make you see
Oh, what you mean to me
Until I do I'm hoping you will
Know what I mean

I love you

I want you, I want you, I want you
I think you know by now
I'll get to you somehow
Until I do I'm telling you so
You'll understand

Michelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensemble

And I will say the only words I know
That you'll understand, my Michelle

Drive My Car
(John Lennon and Paul McCartney)

GEORGE 1977: 'If Paul had written a song, he'd learn all the parts and then come in the studio and say 'Do this.' He'd never give you the opportunity to come out with something.
But on 'Drive My Car' I just played the line, which is really like a lick off 'Respect,' you know, the Otis Redding version.
And I played the line on the guitar and Paul laid that with me on the bass.
We laid that track down like that.
We played the lead part later on top of it.'

JOHN 1980: 'His (Paul's) song, with contributions from me.'

PAUL circa-1994: 'This is one of the songs where John and I came nearest to having a dry session.
The lyrics I brought in were something to do with golden rings, which are always fatal (to songwriting).
'Rings' is fatal anyway, 'rings' always rhymes with things and I knew it was a bad idea.
I came in and I said, 'These aren't good lyrics but it's a good tune.' Well, we tried, and John couldn't think of anything, and we tried, and eventually it was, 'Oh let's leave it, let's get off this one.' 'No, no.
We can do it, we can do it.' So we had a break… then we came back to it, and somehow it became 'drive-my-car' instead of 'gol-den-rings,' and then it was wonderful – because this nice tongue-in-cheek idea came.'

Asked a girl what she wanted to be
She said baby, "Can't you see
I wanna be famous, a star of the screen
But you can do something in between"

Baby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love you

I told the girl that my prospects were good
She said baby, "It's understood
Working for peanuts is all very fine
But I can show you a better time"

Baby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love you
Beep beep mm, beep beep yeah

Baby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love you

I told that girl I can start right away
And she said, "Listen baby I've got something to say
I got no car and it's breaking my heart
But I've found a driver and that's a start"

Baby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love you
Beep beep mm beep beep yeah
Beep beep mm beep beep yeah
Beep beep mm beep beep yeah
Beep beep mm beep beep yeah (fade out)

Nowhere Man
(John Lennon)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: 'I'd spent five hours that morning trying to write a song that was meaningful and good, and I finally gave up and lay down.
Then 'Nowhere Man' came, words and music… the whole damn thing, as I lay down.
So letting it go is what the whole game is.
You put your finger on it, it slips away, right? You know, you turn the lights on and the cockroaches run away.
You can never grasp them.'

PAUL 1984: 'That was John after a night out, with dawn coming up.
I think at that point in his life, he was a bit wondering where he was going.'

PAUL 1988: 'I remember we wanted very treble-y guitars – which they are – they're among the most treble-y guitars I've ever heard on record.
The engineer said, 'Alright, I'll put full treble on it,' and we said, 'That's not enough.' He said, 'But that's all I've got.' And we replied, 'Well, put that through another lot of faders and put full treble up on that.
And if that's not enough we'll go through another lot of faders.' They said, 'We don't do that,' and we would say, 'Just try it… if it sounds crappy we'll lose it, but it might just sound good.' You'd then find, 'Oh it worked,' and they were secretly glad because they had been the engineer who put three times the allowed value of treble on a song.
I think they were quietly proud of those things.'

He's a real nowhere man
Sitting in his nowhere land
Making all his nowhere plans for nobody

Doesn't have a point of view
Knows not where he's going to
Isn't he a bit like you and me?

Nowhere Man, please listen
You don't know what you're missing
Nowhere Man, the world is at your command

He's as blind as he can be
Just sees what he wants to see
Nowhere Man can you see me at all?

Nowhere Man, don't worry
Take your time, don't hurry
Leave it all till somebody else lends you a hand

Doesn't have a point of view
Knows not where he's going to
Isn't he a bit like you and me?

Nowhere Man, please listen
You don't know what you're missing
Nowhere Man, the world is at your command

He's a real Nowhere Man
Sitting in his nowhere land
Making all his nowhere plans for nobody
Making all his nowhere plans for nobody
Making all his nowhere plans for nobody

You Won't See Me
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

When I call you up
Your line's engaged
I have had enough
So act your age
We have lost the time
That was so hard to find
And I will lose my mind
If you won't see me (You won't see me)
You won't see me (You won't see me)

I don't know why you
Should want to hide
But I can't get through
My hands are tied
I won't want to stay
I don't have much to say
But I can turn away
And you won't see me (You won't see me)
You won't see me (You won't see me)

Time after time
You refuse to even listen
I wouldn't mind
If I knew what I was missing

Though the days are few
They're filled with tears
And since I lost you
It feels like years
Yes, it seems so long
Girl, since you've been gone
And I just can't go on
If you won't see me (You won't see me)
You won't see me (You won't see me)