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The Beatles Lyrics, album "Let It Be"
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 PAUL AND GEORGE 1969: (arguing during the recording of the song 'Two Of Us')PAUL: 'It's complicated now. We can get it simpler, and then complicate it where it needs complications.'GEORGE: 'It's not complicated.'PAUL: 'This one is like, shall we play guitars through 'Hey Jude' …well, I don't think we should.'GEORGE: 'Ok well I don't mind… I'll play, you know, whatever you want me to play, or I wont play at all if you don't want to me to play. Whatever it is that will please you… I'll do it!'JOHN: 'I wish that we could start hearing the tapes now. Like – Do it, and then hear what it is. Is it just 'cuz we don't feel like it, or is it 'Does the guitar sound alright, really.''JOHN 1969: (ad-libbing during the recording sessions) ''Two of us wearing postcards.'' Two of us riding nowhere Spending someone's Hard earned pay You and me Sunday driving Not arriving On our way back home We're on our way home We're on our way home We're going homeTwo of us sending postcards Writing letters On my wall You and me burning matches Lifting latches On our way back home We're on our way home We're on our way home We're going homeYou and I have memories Longer than the road that stretches out aheadTwo of us wearing raincoats Standing solo In the sun You and me chasing paper Getting nowhere On our way back home We're on our way home We're on our way home We're going homeYou and I have memories Longer than the road that stretches out aheadTwo of us wearing raincoats Standing solo In the sun You and me chasing paper Getting nowhere On our way back home We're on our way home We're on our way home We're going home[We're going home, you better believe it. Goodbye.] JOHN 1972: 'I was just having fun with words. It was literally a nonsense song. You just take words and you stick them together, and you see if they have any meaning. Some of them do and some of them don't.'JOHN 1980: 'Another piece of garbage.' I dig a pony Well you can celebrate anything you want Well you can celebrate anything you wantI do a road hog Well you can penetrate any place you go Yes you can penetrate any place you go I told you so, all I want is you Everything has got to be just like you want it to Because...I pick a moon dog Well you can radiate everything you are Yes you can radiate everything you areOh now I roll a stoney Well you can imitate everyone you know Yes you can imitate everyone you know I told you so, all I want is you Everything has got to be just like you want it to Because...Ooh now I feel the wind blow Well you can indicate everything you see Yes you can indicate everything you seeOh now I dug a pony Well you can syndicate any boat you row Yeah you can syndicate any boat you row I told you so, all I want is you Everything has got to be just like you want it to Because... JOHN 1972: 'One of my best songs. Not one of the best recordings, but I like the lyrics.'JOHN 1980: 'I was a bit more artsy-fartsy there. I was lying next to my first wife in bed, (song originally written in 1967) you know, and I was irritated. She must have been going on and on about something and she'd gone to sleep – and I kept hearing these words over and over, flowing like an endless stream. I went downstairs and it turned into a sort of cosmic song rather than an irritated song – rather than 'Why are you always mouthing off at me?' or whatever, right? …and I've sat down and looked at it and said, 'Can I write another one with this meter?' It's so interesting. 'Words are flowing out like endless rain into a paper cup/ They slither while the pass, they slip away across the universe.' Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship – it wrote itself. It drove me out of bed. I didn't want to write it… and I couldn't get to sleep until I put it on paper… It's like being possessed – like a psychic or a medium. The thing has to go down. It won't let you sleep, so you have to get up, make it into something, and then you're allowed to sleep. That's always in the middle of the night when you're half-awake or tired and your critical facilities are switched off.' Words are flowing out like endless rain into a paper cup They slither while they pass, they slip away across the universe Pools of sorrow, waves of joy are drifting through my opened mind Possessing and caressing meJai Guru Deva, Om Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my worldImages of broken light which dance before me like a million eyes They call me on and on across the universe Thoughts meander like a restless wind inside a letter box They tumble blindly as they make their way across the universeJai Guru Deva, Om Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my worldSounds of laughter, shades of life are ringing through my open ears Inciting and inviting me Limitless undying love which shines around me like a million suns It calls me on and on across the universeJai Guru Deva, Om Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my world Nothing's gonna change my worldJai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva I Me Mine (George Harrison) GEORGE 1980: ''I Me Mine' is the ego problem. I looked around and everything I could see was relative to my ego. You know, like 'that's my piece of paper,' and 'that's my flannel,' or 'give it to me,' or 'I am.' It drove me crackers – I hated everything about my ego – it was a flash of everything false and impermanent which I disliked. But later I learned from it – to realize that there is somebody else in here apart from old blabbermouth. 'Who am I' became the order of the day. Anyway, that's what came out of it: 'I Me Mine' …it's about the ego, the eternal problem.' All through the day, I me mine I me mine, I me mine All through the night, I me mine I me mine, I me mine Now they're frightened of leaving it Everyone's weaving it Coming on strong all the time All through the day I me mineI-I-me-me-mine, I-I-me-me-mine I-I-me-me-mine, I-I-me-me-mineAll I can hear, I me mine I me mine, I me mine Even those tears, I me mine I me mine, I me mine No-one's frightened of playing it Everyone's saying it Flowing more freely than wine All through the day I me mineI-I-me-me mine, I-I-me-me mine I-I-me-me mine, I-I-me-me mineAll I can hear, I me mine I me mine, I me mine Even those tears, I me mine I me mine, I me mine No-one's frightened of playing it Everyone's saying it Flowing more freely than wine All through your life I me mine Like a rolling stone Like a rolling stone Ah like a rolling stone Like the FBI and the CIA And the BBC, BB King And Doris Day Matt Busby Dig it, dig it, dig it Dig it, dig it, dig it, dig it, dig it, dig it, dig it, dig it JOHN 1980: 'That's Paul… I think it was inspired by 'Bridge Over Troubled Water.' That's my feeling, although I have nothing to go on. I know he wanted to write a 'Bridge Over Troubled Water.''PAUL 1986: 'I had alot of bad times in the '60s. We used to lie in bed and wonder what was going on and feel quite paranoid. Probably all the drugs. I had a dream one night about my mother. She died when I was fourteen so I hadn't really heard from her in quite a while, and it was very good. It gave me some strength.'PAUL circa-1994: 'One night during this tense time I had a dream I saw my mum, who'd been dead ten years or so. And it was great to see her because that's a wonderful thing about dreams, you actually are reunited with that person for a second… In the dream she said, 'It'll be alright.' I'm not sure if she used the words 'Let it be' but that was the gist of her advice, it was 'Don't worry too much, it will turn out okay.' It was such a sweet dream I woke up thinking, 'Oh, it was really great to visit with her again.' I felt very blessed to have that dream.' When I find myself in times of trouble Mother Mary comes to me Speaking words of wisdom Let it beAnd in my hour of darkness She is standing right in front of me Speaking words of wisdom Let it beLet it be, let it be, let it be, let it be Whisper words of wisdom Let it beAnd when the broken-hearted people Living in the world agree There will be an answer Let it beFor though they may be parted there is Still a chance that they will see There will be an answer Let it beLet it be, let it be, let it be, let it be Yeah, there will be an answer Let it beLet it be, let it be, let it be, let it be Whisper words of wisdom Let it beLet it be, let it be, let it be, let it be Whisper words of wisdom Let it beAnd when the night is cloudy There is still a light that shines on me Shine until tomorrow Let it beI wake up to the sound of music Mother Mary comes to me Speaking words of wisdom Let it beLet it be, let it be, let it be, yeah, let it be There will be an answer Let it beLet it be, let it be, let it be, yeah, let it be There will be an answer Let it beLet it be, let it be, let it be, yeah, let it be Whisper words of wisdom Let it be Oh dirty Maggie Mae they have taken her away And she never walk down Lime Street any more Oh the judge he guilty found her for robbing a homeward bounder That dirty no good robbing Maggie Mae This is a part of Liverpool, they returned me to Two pounds ten a week, that was my pay PAUL 1969: (describing a guitar lick for the middle-eight, during the recording sessions) 'It's coming down too fast – the note. There shouldn't be any recognizable jumps. Falling… Falling…' I've got a feeling, a feeling deep inside Oh yeah, oh yeah, that's right I've got a feeling, a feeling I can't hide No no no, oh no, oh no Yeah yeah I've got a feeling yeahOh please believe me, I'd hate to miss the train Oh yeah, yeah, oh yeah And if you leave me I won't be late again Oh no, oh no, oh no Yeah yeah I've got a feeling yeah I've got a feelingAll these years I've been wandering around Wondering how come nobody told me All that I was looking for was somebody Who looked like youI've got a feeling, that keeps me on my toes Oh yeah, oh yeahI've got a feeling, I think that everybody knows Oh yeah, oh yeah, oh yeah Yeah yeah I've got a feeling yeah YeahEverybody had a hard year Everybody had a good time Everybody had a wet dream Everybody saw the sunshine Oh yeah, (oh yeah) oh yeah, oh yeah Everybody had a good year Everybody let their hair down Everybody pulled their socks up Everybody put their foot down Oh yeah Yeah I've got a feeling A feeling deep inside Oh yeahOh yeahI've got a feeling A feeling I can't hide Oh noOh no no noYeah yeah yeah yeah I've got a feelingI've got a feelingEverybody had a good year Everybody had a hard timeEverybody had a wet dreamEverybody saw the sunshineEverybody had a good year Everybody let their hair downEverybody pulled their socks upEverybody put the foot down Oh yeahOh yeahI've got a feeling Yeah yeah yeah yeah[Oh my soul, so hard.] JOHN 1980: 'That was something I wrote when I was about seventeen. I lived at 9 Newcastle Road. I was born on the ninth of October – the ninth month. It's just a number that follows me around, but numerologically, apparently I'm a number six or a three or something, but it's all part of nine.'PAUL circa-1994: 'It was one that we always liked doing, and we rediscovered it. There were a couple of tunes that we wondered why we never put out – either George Martin didn't like them enough to, or he favored others. It's not a great song but it's a great favorite of mine because it has great memories for me of John and I trying to write a bluesy freight-train song. There were alot of those songs at the time, like 'Midnight Special,' 'Freight Train,' 'Rock Island Line,' so this was the 'One After 909.' She didn't get the 909, she got the one after it!' My baby says she's trav'ling on the one after 909 I said move over honey I'm travelling on that line I said move over once, move over twice Come on baby don't be cold as ice I said I'm trav'ling on the one after 909I begged her not to go and I begged her on my bended knees You're only fooling around, you're fooling around with me I said move over once, move over twice Come on baby don't be cold as ice I said I'm trav'ling on the one after 909I got my bag, run to the station Railman says you've got the the wrong location I got my bag, run right home Then I find I've got the number wrongWell I said I'm trav'ling on the one after 909 I said move over honey I'm travelling on that line I said move over once, move over twice Come on baby don't be cold as ice I said I'm trav'ling on the one after 909I got my bag, run to the station railman says you've got the the wrong location I got my bag, run right home Then I find I've got the number wrongWell I said I'm trav'ling on the one after 909 I said move over honey I'm travelling on that line I said move over once, move over twice Come on baby don't be cold as ice I said we're trav'ling on the one after 90 I said we're trav'ling on the one after 90 I said we're trav'ling on the one after 909[Oh Danny Boy, the old summer is calling.] PAUL 1970: 'The album was finished a year ago, but a few months ago American record producer Phil Spector was called in by John Lennon to tidy up some of the tracks. But a few weeks ago, I was sent a re-mixed version of my song 'The Long And Winding Road' with harps, horns, an orchestra, and a women's choir added. No one had asked me what I thought. I couldn't believe it. The record came with a note from Allen Klein saying he thought the changes were necessary. I don't blame Phil Spector for doing it, but it just goes to show that it's no good me sitting here thinking I'm in control because obviously I'm not. Anyway, I've sent Klein a letter asking for some things to be altered, but I haven't received an answer yet.'JOHN 1980: 'Paul again. He had a little spurt just before we split.'PAUL circa-1994: 'It's rather a sad song. I like writing sad songs, it's a good bag to get into because you can actually acknowledge some deeper feelings of your own and put them in it. It's a good vehicle, it saves having to go to a psychiatrist. Songwriting often performs that feat – you say it, but you don't embarrass yourself because it's only a song, or is it? You are putting the things that are bothering you on the table and you are reviewing them, but because it's a song, you don't have to argue with anyone… It's a sad song because it's all about the unattainable; the door you never quite reach. This is the road that you never get to the end of.' The long and winding road, that leads, to your door Will never disappear, I've seen that road before It always leads me here, lead me to your door The wild and windy night, that the rain, washed away Has left a pool of tears, crying for the day Why leave me standing here, let me know the wayMany times I've been alone, and many times I've cried Any way you'll never know, the many ways I've tried And still they lead me back, to the long winding road You left me standing here a long long time ago Don't leave me waiting here, lead me to your doorBut still they lead me back to the long winding road You left me standing here, a long long time ago Don't keep me waiting here (Don't keep me wait), lead me to your door Yeah, yeah, yeah, yeah For You Blue (George Harrison) GEORGE 1980: ''For You Blue' is a simple twelve-bar song following all the normal twelve-bar principles, except that it's happy-go-lucky!' Because you're sweet and lovely girl I love you Because you're sweet and lovely girl it's true I love you more than ever girl I do I want you in the morning girl I love you I want you at the moment I feel blue I'm living every moment girl for you(Walk, walk cat walk. Go, Johnny, go. Same old the twelve bar blues.Elmore James got nothing on this baby.)I've loved you from the moment I saw you You looked at me that's all you had to do I feel it now I hope you feel it tooBecause you're sweet and lovely girl I love you Because you're sweet and lovely girl it's true I love you more than ever girl I do Rhythm and blues PAUL 1969: 'We were sitting in the studio and we made it up out of thin air. We started to write words there and then… When we finished it, we recorded it at Apple Studios and made it into a song to rollercoast by.'JOHN 1980: ''Get Back' is Paul. That's a better version of 'Lady Madonna.' You know, a potboiler rewrite.' (Rosetta. Who are you talking about? Sweet Loretta Fart. She thought she was a cleaner Sweet Rosetta Martin But she was a frying pan, yeah Rosetta The picker! the picker! Picture the fingers burning! Oo-wee! OK? 1, 2, 1, 2, 3, 4)Jo Jo was a man who thought he was a loner But he knew it couldn't last Jo Jo left his home in Tucson, Arizona For some California grassGet back, get back Get back to where you once belonged Get back, get back Get back to where you once belonged Get back Jo Jo Go homeGet back, get back Get back to where you once belonged Get back, get back Back to where you once belonged Get back, JoSweet Loretta Martin thought she was a woman But she was another man All the girls around her say she's got it coming But she gets it while she canOh, get back, get back Get back to where you once belonged Get back, get back Get back to where you once belonged Get back, LorettaGo home Oh, get back, get back Get back to where you once belonged Get back, get back Get back to where you once belongedGet back Woo...(Thanks, Mo! I'd like to say "thank you" on behalf of the group And ourselves and I hope we passed the audition!) |
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