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The Beatles Lyrics, album "The Beatles at the Hollywood Bowl"

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Cover of the Beatles album - "The Beatles at the Hollywood Bowl"
Twist And Shout
(Bert Russell and Phil Medley)
JOHN 1963: 'I always hate singing the song, 'Twist And Shout' when there's a colored artist on the bill with us.
It doesn't seem right, you know.
I feel sort of embarrassed… It makes me curl up.
I always feel they could do the song much better than me.'

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

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

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

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

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

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

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

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

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

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

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

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

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

Dizzy Miss Lizzy
(Larry Williams)

You make me dizzy, Miss Lizzy
The way you rock and roll
You make me dizzy, Miss Lizzy
When we do the stroll
Come on, Miss Lizzy
Love me before I grow too old

Come on, give me fever
Put your little hand in mine
You make me dizzy, dizzy Lizzy
Oh girl, you look so fine
Just a-rocking and a-rolling
Girl I said I wish you were mine

You make me dizzy, Miss Lizzy
When you call my name
Oooooh baby
Say you're driving me insane
C'mon, c'mon, c'mon, c'mon baby
I want to be your lover man

Run and tell your mama
I want you to be my bride
Run and tell your brother
Baby, don't run and hide
You make me dizzy, Miss Lizzy
Girl I want to marry you

Come on, give me fever
Put your little hand in mine, girl
You make me dizzy, dizzy Lizzy
Girl, you look so fine
You're just a-rocking and a-rolling
Oh I said I wish you were mine

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)

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

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

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

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

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

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 owww

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

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 feel alright
You know I feel alright

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Everybody's Trying to Be My Baby
(Carl Perkins)

Well they took some honey from a tree
Dressed it up and they called it me

Everybody's trying to be my baby
Everybody's trying to be my baby
Everybody's trying to be my baby now

Woke up last night, half past four
Fifty women knocking on my door

Everybody's trying to be my baby
Everybody's trying to be my baby
Everybody's trying to be my baby now

[Instrumental/solo]

Went out last night I didn't stay late
'Fore I got home I had nineteen dates

Everybody's trying to be my baby
Everybody's trying to be my baby
Everybody's trying to be my baby now

[Instrumental/solo]

Went out last night I didn't stay late
'fore I got home I had nineteen dates

Everybody's trying to be my baby
Everybody's trying to be my baby
Everybody's trying to be my baby now

Well they took some honey from a tree
Dressed it up and they called it me

Everybody's trying to be my baby
Everybody's trying to be my baby
Everybody's trying to be my baby now

Baby's In Black
(John Lennon and Paul McCartney)
JOHN 1980: 'Written together in the same room.'

PAUL circa-1994: 'We wanted to write something a little bit darker, bluesy…
It was very much co-written and we both sang it.
Sometimes the harmony that I was writing in sympathy to John's melody would take over and become a stronger melody…
When people wrote out the music score they would ask, 'Which one is the melody?' because it was co-written that you could actually take either.
We rather liked this one.'

Oh dear, what can I do?
Baby's in black and I'm feeling blue
Tell me, oh what can I do?

She thinks of him and so she dresses in black
And though he'll never come back, she's dressed in black
Oh dear, what can I do?
Baby's in black and I'm feeling blue
Tell me, oh what can I do?

I think of her, but she thinks only of him
And though it's only a whim, she thinks of him
Oh how long will it take
Till she sees the mistake she has made?
Dear what can I do?
Baby's in black and I'm feeling blue
Tell me, oh what can I do?

Oh how long it will take
Till she sees the mistake she has made?
Dear what can I do?
Baby's in black and I'm feeling blue
Tell me, oh what can I do?

She thinks of him and so she dresses in black
And though he'll never come back, she's dressed in black
Oh dear, what can I do?
Baby's in black and I'm feeling blue
Tell me, oh what can I do?

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