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The Beatles Lyrics, album "Meet the Beatles!"
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 PAUL 1964: 'Let's see, we were told we had to get down to it. So we found this house when we were walking along one day. We knew we had to really get this song going, so we got down in the basement of this disused house and there was an old piano. It wasn't really disused, it was rooms to let. We found this old piano and started banging away. There was a little old organ too. So we were having this informal jam and we started banging away. Suddenly a little bit came to us, the catch line. So we started working on it from there. We got our pens and paper out and just wrote down the lyrics. Eventually, we had some sort of a song, so we played it for our recording manager and he seemed to like it. We recorded it the next day.'JOHN 1980: 'We wrote alot of stuff together, one on one, eyeball to eyeball. Like in 'I Want To Hold Your Hand,' I remember when we got the chord that made the song. We were in Jane Asher's house, downstairs in the cellar playing on the piano at the same time. And we had, 'Oh you-u-u/ got that something…' And Paul hits this chord, and I turn to him and say, 'That's it!' I said, 'Do that again!' In those days, we really used to absolutely write like that – both playing into each other's noses.'PAUL circa-1994: ''Eyeball to eyeball' is a very good description of it. That's exactly how it was. 'I Want To Hold Your Hand' was very co-written.' Oh yeah, I'll tell you something I think you'll understand Then I'll say that something I wanna hold your hand I wanna hold your hand I wanna hold your handOh please, say to me You'll let me be your man And please, say to me You'll let me hold your hand Now let me hold your hand I wanna hold your handAnd when I touch you I feel happy Inside It's such a feeling that my love I can't hide I can't hide I can't hideYeah, you got that something I think you'll understand Then I'll say that something I wanna hold your hand I wanna hold your hand I wanna hold your handAnd when I touch you I feel happy Inside It's such a feeling that my love I can't hide I can't hide I can't hideYeah, you got that something I think you'll understand When I feel that something I wanna hold your hand I wanna hold your hand I wanna hold your hand I wanna hold your hand JOHN 1980: 'That's Paul doing his usual job of producing what George Martin used to call a 'potboiler.' I helped with a couple of the lyrics.'PAUL 1988: 'I wrote it with John. We sagged off school and wrote it on guitars. I remember I had the lyrics, 'Just seventeen/Never been a beauty queen,' which John… it was one of the first times he ever went, 'What? Must change that!' And it became, 'you know what I mean.''PAUL circa-1994: 'Sometimes we would just start a song from scratch, but one of us would nearly always have a germ of an idea, a title, or a rough little thing they were thinking about and we'd do it. 'I Saw Her Standing There' was my original. I'd started it and I had the first verse, which therefore gave me the tune, the tempo, and the key. It gave you the subject matter, alot of information, and then you had to fill in. So it was co-written… and we finished it that day. Well, she was just seventeen You know what I mean And the way she looked was way beyond compare So how could I dance with another (Ooh) When I saw her standing thereWell she looked at me, and I, I could see That before too long I'd fall in love with her She wouldn't dance with another (Whooh) When I saw her standing thereWell, my heart went "boom" When I crossed that room And I held her hand in mineWhoah, we danced through the night And we held each other tight And before too long I fell in love with her Now I'll never dance with another (Whooh) When I saw her standing thereWell, my heart went "boom" When I crossed that room And I held her hand in mineWhoah, we danced through the night And we held each other tight And before too long I fell in love with her Now I'll never dance with another (Whooh) Since I saw her standing there Oh since I saw her standing there Oh since I saw her standing there JOHN 1980: 'Just my attempt at writing one of those three-part harmony Smokey Robinson songs. Nothing in the lyrics… just a sound and a harmony. There was a period when I thought I didn't write melodies… that Paul wrote those and I just wrote straight, shouting rock 'n roll. But of course, when I think of some of my own songs – 'In My Life,' or some of the early stuff – 'This Boy,' I was writing melody with the best of them.'PAUL 1988: 'Fabulous. And we just loved singing that three-part too. We'd learned that from: (sings) 'To know know know her is to love love love her…' We learned that in my dad's house in Liverpool.' That boy took my love away Though he'll regret it someday But this boy wants you back againThat boy isn't good for you Though he may want you too This boy wants you back againOh, and this boy would be happy Just to love you, but oh my That boy won't be happy Till he's seen you cryThis boy wouldn't mind the pain Would always feel the same If this boy gets you back againThis boy This boy This boy [fade out] 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 youEvery night when everybody has fun Here am I sitting all on my ownIt 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 youSince 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 homeEvery night the tears come down from my eyes Every day I've done nothing but cryIt 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 youSince 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 homeSo every day we'll be happy I know Now I know that you won't leave me no moreIt 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 JOHN 1980: 'That's me trying to do Smokey Robinson again.' Whenever I want you around, yeah All I gotta do is call you on the phone And you'll come running home yeah that's all I gotta doAnd when I wanna kiss you, yeah All I gotta do is whisper in your ear The words you long to hear And I'll be kissin' youAnd the same goes for me, whenever you want me at all I'll be here, yes I will, whenever you call You just gotta call on me, yeah You just gotta call on meAnd when I wanna kiss you, yeah All I gotta do is call you on the phone And you'll come running home Yeah, that's all I gotta doAnd the same goes for me, whenever you want me at all I'll be here, yes I will, whenever you call You just gotta call on me, yeah You just gotta call on me. Oh, you just gotta call on meMmmmmm mm mm 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 youI'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 youAll my loving I will send to you All my loving, darling I'll be trueClose 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 youAll 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 Don't Bother Me (George Harrison) GEORGE 1980: 'The first song that I wrote… as an exercise to see if I could write a song. I wrote it in a hotel in Bounemouth, England, where we were playing a summer season in 1963. I was sick in bed… maybe that's why it turned out to be 'Don't Bother Me.' I don't think it's a particularly good song… It mightn't even be a song at all, but at least it showed me that all I needed to do was keep on writing, and then maybe eventually I would write something good.'PAUL 1988: 'I think John and I were really concentrating on – 'We'll do the 'real' records,' but because the other guys had alot of fans we wrote for them too. George eventually came out with his own, 'Don't Bother Me,' but until then he hadn't written one.' Since she's been gone I want no one To talk to me It's not the same But I'm to blame It's plain to seeSo go away and leave me alone Don't bother meI can't believe That she would leave Me on my own It's just not right Where every night I'm all aloneI've got no time for you right now Don't bother meI know I'll never be the same If I don't get her back again Because I know she'll always be The only girl for meBut till she's here Please don't come near just stay away I'll let you know When she's come home Untill that the dayDon't come around leave me alone Don't bother meI've got no time for you right now Don't bother meI know I'll never be the same If I don't get her back again Because I know she'll always be The only girl for meBut till she's here Please don't come near Just stay away I'll let you know When she's come home Untill that the dayDon't come around leave me alone Don't bother me Don't bother me Don't bother me JOHN 1972: 'Both of us wrote it. This was a knock-off between Paul and me.'JOHN 1980: ''Little Child' was another effort of Paul and I to write a song for somebody else. It was probably Ringo.'PAUL circa-1994: 'Certain songs were inspirational and you just followed that. 'Little Child' was a work job.' Little child, little child Little child, won't you dance with me? I'm so sad and lonely Baby take a chance with meLittle child, little child Little child, won't you dance with me? I'm so sad and lonely Baby take a chance with meIf you want someone To make you feel so fine Then we'll have some fun When you're mine, all mine So come, come on, come onLittle child, little child Little child, won't you dance with me? I'm so sad and lonely Baby take a chance with meWhen you're by my side You're the only one Don't you run and hide Just come on, come on So come on, come on, come onLittle child, little child Little child, won't you dance with me? I'm so sad and lonely Baby take a chance with me Baby take a chance with me Baby take a chance with me Till There Was You (Meredith Willson) There were bells on a hill But I never heard them ringing No, I never heard them at all Till there was youThere were birds in the sky But I never saw them winging No, I never saw them at all Till there was youThen there was music and wonderful roses They tell me in sweet fragrant meadows Of dawn and dewThere was love all around But I never heard it singing No, I never heard it at all Till there was youThen there was music and wonderful roses They tell me in sweet fragrant meadows Of dawn and dewThere was love all around But I never heard it singing No, I never heard it at all Till there was you Till there was you JOHN 1980: 'That was Paul's. Maybe I stuck some bits in there… I really don't remember. It was a pretty poor song and I was never really interested in it either way.'PAUL 1988: 'I can't remember much about that one. Certain songs were just 'work' songs… you haven't got much of a memory of them. That's one of them. You just knew you had a song that would work, a good melody. 'Hold Me Tight' never really had that much of an effect on me. It was a bit Shirelles.'PAUL circa-1994: ''Hold Me Tight' was a failed attempt at a single which then became acceptable album filler.' It feels so right now, hold me tight Tell me I'm the only one And then I might Never be the lonely one So hold me tight, tonight, tonight, It's you, you you you oooo ooooHold me tight Let me go on loving you Tonight tonight Making love to only you So hold me tight, tonight, tonight It's you, you you you oooo ooooDon't know what it means to hold you tight Being here alone tonight with you It feels so right now, feels so right nowHold me tight Tell me I'm the only one And then I might Never be the lonely one So hold me tight, tonight, tonight It's you, you you you oooo ooooDon't know what it means to hold you tight Being here alone tonight with you It feels so right now, feels so right nowHold me tight Let me go on loving you Tonight, tonight Making love to only you So hold me tight, tonight, tonight It's you, you you you oooo oooo You oooo JOHN 1972: 'Both of us wrote it, but mainly Paul. I helped him finish it.'JOHN 1980: ''I Wanna Be Your Man' was a kind of lick Paul had – 'I wanna be your lover, baby. I wanna be your man.' I think we finished it off for the Stones. We were taken down to meet them at the club where they were playing in Richmond by Brian and some other guy. They wanted a song and we went to see what kind of stuff they did. Mick and Keith heard we had an unfinished song – Paul just had this bit and we needed another verse or something. We sort of played it roughly to them and they said, 'Yeah, OK, that's our style.' But it was only really a lick, so Paul and I went off in the corner of the room and finished the song off while they were all still sitting there talking. We came back, and that's how Mick and Keith got inspired to write… because, 'Jesus, look at that. They just went in the corner and wrote it and came back!' You know, right in front of their eyes we did it. So we gave it to them. It was a throw-away. The only two versions of the song were Ringo and the Rolling Stones. It shows how much importance we put on them. We weren't going to give them anything great, right? I believe it was the Stones' first record.'PAUL 1984: 'I wrote it for Ringo to do on one of the early albums. But we ended up giving it to the Stones. We met Mick and Keith in a taxi one day in Charing Cross Road and Mick said, 'Have you got any songs?' So we said, 'Well, we just happen to have one with us!' I think George had been instrumental in getting them their first record contract. We suggested them to Decca, 'cuz Decca had blown it by refusing us, so they had tried to save face by asking George, 'Know any other groups?' He said, 'Well, there is this group called the Stones.' So that's how they got their first contract. Anyway, John and I gave them maybe not their first record, but I think the first they got on the charts with. They don't tell anybody about it these days; they prefer to be more ethnic. But you and I know the real truth.' I wanna be your lover baby I wanna be your man I wanna be your lover baby I wanna be your man Love you like no other baby Like no other can Love you like no other baby Like no other canI wanna be your man, I wanna be your man I wanna be your man, I wanna be your manTell me that you love me baby Let me understand Tell me that you love me baby I wanna be your man I wanna be your lover baby I wanna be your man I wanna be your lover baby I wanna be your manI wanna be your man, I wanna be your man I wanna be your man, I wanna be your manI wanna be your lover baby I wanna be your man I wanna be your lover baby I wanna be your man Love you like no other baby Like no other can Love you like no other baby Like no other canI wanna be your man, I wanna be your man I wanna be your man, I wanna be your man I wanna be your man, I wanna be your man JOHN 1980: 'That's me trying to do something. I don't remember.' (laughs) PAUL 1984: 'Influenced by Smokey Robinson and the Miracles.' You know you made me cry I see no use in wondering why I cry for youAnd now you've changed your mind I see no reason to change mine I cry it's through, ohYou're giving me the same old line I'm wondering why You hurt me then You're back again No, no, no, not a second timeYou know you made me cry I see no use in wondering why I cry for you, yeaAnd now you've changed your mind I see no reason to change mine I cry it's through, ohYou're giving me the same old line I'm wondering why You hurt me then You're back again No, no, no, not a second time Not a second time Not the second time No, no, no, no, no No, no no |
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