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The Beatles Lyrics, album ""
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 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 doLove, love me do You know I love you I'll always be true So please, love me do Whoa, love me doSomeone to love Somebody new Someone to love Someone like youLove, love me do You know I love you I'll always be true So please, love me do Whoa, love me doLove, 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 PAUL 1964: ''From Me To You.' It could be done as an old Ragtime tune… especially the middle-eight. And so, we're not writing the tunes in any particular idiom. In five years time, we may arrange the tunes differently. (jokingly) But we'll probably write the same old rubbish!!'JOHN 1980: 'We were writing it in a car, I think… and I think the first line was mine. I mean, I know it was mine. (humms melody) And then after that we just took it from there. We were just writing the next single. It was far bluesier than that when we wrote it. The notes, today… you could rearrange it pretty funky.'PAUL circa-1994: 'The thing I liked about 'From Me To You' was it had a very complete middle. It went to a surprising place. The opening chord of the middle section of that song heralded a new batch for me. That was a pivotal song. Our songwriting lifted a little with that song. It was very much co-written.' Da da da da da dum dum da Da da da da da dum dum daIf there's anything that you want If there's anything I can do Just call on me and I'll send it along With love from me to youI've got everything that you want Like a heart that's oh so true Just call on me and I'll send it along With love from me to youI got arms that long to hold you And keep you by my side I got lips that long to kiss you And keep you satisfied, ooohIf there's anything that you want If there's anything I can do Just call on me and I'll send it along With love from me to youFrom me, to you Just call on me and I'll send it along With love from me to youI got arms that long to hold you And keep you by my side I got lips that long to kiss you And keep you satisfied, ooohIf there's anything that you want If there's anything I can do Just call on me and I'll send it along With love from me to you To you, to you, to you 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 girlI 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 girlThank 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 girlOh, 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 girlOh, oh, oh Oh, oh, oh Oh, oh JOHN 1963: 'We wrote that two days before we recorded it, actually.'PAUL 1963: 'John and I wrote it together. We were in a van up in Newcastle somewhere, and we'd just gone over to our hotel. I originally got an idea of doing one of those answering songs, where a couple of us sing about 'she loves you' …and the other one sort of says the 'yes, yes' bit. You know, 'yeah yeah' answering whoever is saying it. But we decided that was a crummy idea anyway. But we had the idea to write a song called 'She Loves You' then. And we just sat up in the hotel bedroom for a few hours and wrote it, you know.'JOHN 1963: ''Yeah.' That's sort of the main catch phrase from 'She Loves You.' We'd written the song, and then suddenly realized we needed more… so we added 'yeah, yeah, yeah' and it caught on.'JOHN 1980: 'It was written together (with Paul) and I don't remember how. I remember it was Paul's idea – instead of singing 'I love you' again, we'd have a third party. The 'Woooo' was taken from the Isley Brothers 'Twist And Shout,' which we stuck into everything.'PAUL 1982: 'Occasionally, we'd overrule George Martin, like on 'She Loves You,' we end on a sixth chord, a very jazzy sort of thing. And he said, 'Oh, you can't do that! A sixth chord? It's too jazzy.' We just said, 'No, it's a great hook, we've got to do it.''PAUL 1988: 'We rehearsed the end bit of 'She Loves You' and took it to George. And he just laughed and said, 'Well, you can't do the end of course… that sixth… it's too like the Andrew Sisters.' We just said, 'Alright, we'll try it without,' and we tried it and it wasn't as good. Then he conceded, 'You're right, I guess.' But we were both very flexible. We would listen to George's ideas too, because he was a producer and a musician, and he obviously knew what he was talking about. There was good to-and-fro. We loved that bit, and we rehearsed it alot. John and I wrote that in a hotel room, on twin beds during an afternoon off – I mean, God bless their little cotton socks, those boys WORKED! Here I am talking about an afternoon off, and we're sitting there writing! We just loved it so much. It wasn't work.' She loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah, yeahYou think you lost your love Well, I saw her yesterday It's you she's thinking of And she told me what to sayShe says she loves you And you know that can't be bad Yes, she loves you And you know you should be gladShe said you hurt her so She almost lost her mind But now she says she knows You're not the hurting kindShe says she loves you And you know that can't be bad Yes, she loves you And you know you should be glad, oohShe loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah And with a love like that You know you should be gladYou know it's up to you I think it's only fair Pride can hurt you too Apologize to herBecause she loves you And you know that can't be bad Yes, she loves you And you know you should be glad, oohShe loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah With a love like that You know you should be glad With a love like that You know you should be glad With a love like that You know you should be glad Yeah, yeah, yeah Yeah, yeah, yeah, yeah JOHN 1963: 'The B-side of 'She Loves You' was meant to be the A-side.'PAUL 1963: 'If we write one song, then we can get going after that and get more ideas. We wrote 'I'll Get You,' which is the B-side, first. And then 'She Loves You' came after that. You know – We got ideas from that. Then we recorded it.'JOHN 1980: 'That was Paul and me trying to write a song… and it didn't work out.'PAUL circa-1994: 'It's got an interesting chord in it – 'It's not easy/ To pre-TEND…' That was nicked from a song called 'All My Trials' which is on an album I had by Joan Baez.' Oh yeah, oh yeah Oh yeah, oh yeahImagine I'm in love with you It's easy cos I know I've imagined I'm in love with you Many, many, many times beforeIt's not like me to pretend But I'll get you, I'll get you in the end Yes I will, I'll get you in the end Oh yeah, oh yeahI think about you night and day I need you and it's true When I think about you, I can say I'm never, never, never, never blueSo I'm telling you, my friend That I'll get you, I'll get you in the end Yes I will, I'll get you in the end Oh yeah, oh yeahWell, there's gonna be a time When I'm gonna change/make your mind So you might as well resign yourself to me Oh yeahImagine I'm in love with you It's easy cos I know I've imagined I'm in love with you Many, many, many times beforeIt's not like me to pretend But I'll get you, I'll get you in the end Yes I will, I'll get you in the end Oh yeah, oh yeah Oh yeah, oh yeah Whoa yeah 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: '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] Oh, komm doch, komm zu mir Du nimmst mir den Verstand Oh, komm doch, komm zu mir Komm, gib mir deine Hand Komm, gib mir deine Hand Komm, gib mir deine HandOh, du bist so schön Schön wie ein Diamant Ich will mit dir gehen Komm, gib mir deine Hand Komm, gib mir deine Hand Komm, gib mir deine HandIn deinen armen bin ich glücklich und froh Das war noch nie bei einer Anderen Einmal so Einmal so Einmal soOh, komm doch, komm zu mir Du nimmst mir den Verstand Oh, komm doch, komm zu mir Komm, gib mir deine Hand Komm, gib mir deine Hand Komm, gib mir deine HandIn deinen Armen bin ich glücklich und froh Das war noch nie bei einer Anderen Einmal so Einmal so Einmal soOh, du bist so schön Schön wie ein Diamant Ich will mit dir gehen Komm, gib mir deine Hand Komm, gib mir deine Hand Komm, gib mir deine Hand Komm, gib mir deine Hand Sie liebt dich, yeh, yeh, yeh Sie liebt dich, yeh, yeh, yeh Sie liebt dich, yeh, yeh, yeh, yeahDu glaubst sie liebt nur mich Gestern had ich sie gesehen Sie denkt ja nur an dich Und du solltest zu ihr gehen Oh, ja sie liebt dich Schoner kann es garnicht sein Ja, sie liebt dich Und da solltest du dich freuenDu hast ihr weh getan Sie wusste nicht warum Du warst nicht schuld daran Und drehtest dich nicht um Oh, ja sie liebt dich Schoner kann es garnicht sein Ja, sie liebt dich Und da solltest du dich freuen, oooSie liebt dich, yeh, yeh, yeh Sie liebt dich, yeh, yeh, yeh Denn mit dir allein Kann sie nur glucklich seinDu musst jetzt zu ihr gehen Entschuldige dich bei ihr Ja das wird sie verstehen Und dann verzeit sie dir Oh, ja sie liebt dich Schoner kann es garnicht sein Ja, sie liebt dich Und da solltest du dich freuen, oooSie liebt dich, yeh, yeh, yeh Sie liebt dich, yeh, yeh, yeh Denn mit dir allein Kann sie nur glucklich seinDenn mit dir allein Kann sie nur glucklich seinDenn mit dir allein Kann sie nur glucklich sein SeinYeh, yeh, yeh Yeh, yeh, yeh, yeah I'm gonna tell Aunt Mary 'bout Uncle John He said he had the misery but he got a lot of fun Baby, yeah now baby Woo baby, some fun tonightI saw Uncle John with Long Tall Sally He saw Aunt Mary coming and he ducked back in the alley Oh, baby, yeah now baby Woo baby, some fun tonightWell Long Tall Sally's built pretty sweet She got everything that Uncle John need Baby, yeah now baby Woo baby, some fun tonightWell, we're gonna have some fun tonight Have some fun tonight Everything's all right Have some fun tonight Have some fun Yeah, yeah, yeah, We're gonna have some fun tonight Have some fun tonight Everything's all right Have some fun tonight Yeah, we'll have some fun Some fun tonight JOHN 1980: 'That was my 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 onDon'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 manOh I can't sleep at night But just the same I never weep at night I call your name AwwDon'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 manOh 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 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 lastWell, 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 lastWell 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 hadSlow 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 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 goI'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, yeahWell, 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 doneYeah, 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 goLet 'er go boy, go, goWell, 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 JOHN 1980: 'That was my first attempt at a ballad proper. That was the precursor to 'In My Life.' It has the same chord sequences as 'In My Life' – D and B minor and E minor, those kinds of things. And it's semi-autobiographical, but not consciously. It shows that I wrote sentimental love ballads – silly love songs – way back when.'PAUL 1984: 'This was our close-harmony period. We did a few songs… 'This Boy,' 'If I Fell,' 'Yes It Is' …in the same vein, which were kind of like the Fourmost – an English vocal group, only not really.' If I fell in love with you Would you promise to be true And help me understand Cause I've been in love before And I found that love was more Than just holding handsIf I give my heart to you I must be sure From the very start That you would love me more than herIf I trust in you oh please Don't run and hide If I love you too oh please Don't hurt my pride like her Cause I couldn't stand the pain And I would be sad if our new love was in vainSo I hope you see that I Would love to love you And that she will cry When she learns we are two Cause I couldn't stand the pain And I would be sad if our new love was in vainSo I hope you see that I Would love to love you And that she will cry When she learns we are two If I fell in love with you 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'tShe 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 whyShe's a woman who understands She's a woman who loves her manMy 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'tShe's a woman who understands She's a woman who loves her manMy 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'tShe's a woman, she's a woman She's a woman, she's a woman Bad Boy (Larry Williams) A bad little kid moved into my neighborhood He won't do nothing right just sitting down and looks so good He don't want to go to school and learn to read and write Just sits around the house and plays the rock and roll music all night Well, he put some tacks on teachers chair Puts chewing gum in little girl's hair Hey, junior, behave yourselfBuys every rock and roll book on the magazine stand Every dime that he get is lost to the jukebox man Well he worries his teacher till at night she's ready to poop From rocking and a-rolling spinning in a hula hoop Well this rock and roll has got to stop Junior's head is hard as rock Now, junior, behave yourselfGoing tell your mama you better do what she said Get to the barber shop and get that hair cut off your head Threw the canary and you fed it to the neighbors cat You gave the cocker spaniel a bath in mother's laundramat Well, mama's head has got to stop Junior's head is hard as rock Now, junior, behave yourself JOHN 1980: 'That's me trying a rewrite of 'This Boy,' but it didn't quite work.'PAUL circa-1994: 'I was there writing it with John, but it was his inspiration that I helped him finish off. 'Yes It Is' is a very fine song of John's.' If you wear red tonight Remember what I said tonight For red is the color that my baby wore And what's more it's true Yes, it isScarlet were the clothes she wore Everybody knows I'm sure I would remember all the things we planned Understand, it's true Yes, it is, it's true Yes, it isI could be happy with you by my side If I could forget her, but it's my pride Yes, it is, yes, it is Oh, yes it is, yeahPlease don't wear red tonight This is what I said tonight For red is the color that will make me blue In spite of you, it's true Yes, it is, it's true Yes, it isI could be happy with you by my side If I could forget her, but it's my pride Yes, it is, yes, it is Oh, yes, it is, yeahPlease don't wear red tonight This is what I said tonight For red is the color that will make me blue In spite of you, it's true Yes, it is, it's true Yes, it is, it's true 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 downMan 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 downWe'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 downOh 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 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 outShe'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 outTried 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 outDay tripper Day tripper yeah Day tripper Day tripper yeah Day tripper 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 goneWe can work it out We can work it outThink 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 goodnightWe can work it out We can work it outLife 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 againTry 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 longWe can work it out We can work it outLife 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 againTry 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 longWe can work it out We can work it out JOHN 1972: 'Paul. I think I might have helped with some of the lyrics, Yes, I did. But it was mainly Paul's tune.'JOHN 1980: ''Paperback Writer' is son of 'Day Tripper' …meaning a rock 'n roll song with a guitar lick on a fuzzy loud guitar.'PAUL circa-1994: 'I arrived at Weybridge and told John I had this idea of trying to write off to a publishers to become a paperback writer, and I said, 'I think it should be written like a letter.' I took a bit of paper out and I said it should be something like, 'Dear Sir or Madam, as the case may be…' and I proceeded to write it just like a letter in front of him, occasionally rhyming it… And then we went upstairs and put the melody to it. John and I sat down and finished it all up, but it was tilted towards me – the original idea was mine. I had no music, but it's just a little bluesy song, not alot of melody. Then I had the idea to do the harmonies, and we arranged that in the studio.' Paperback writerDear Sir or Madam, will you read my book? It took me years to write, will you take a look? It's based on a novel by a man named Lear And I need a job, so I want to be a paperback writer Paperback writerIt's the dirty story of a dirty man And his clinging wife doesn't understand His son is working for the Daily Mail It's a steady job but he wants to be a paperback writer Paperback writerPaperback writerIt's a thousand pages, give or take a few I'll be writing more in a week or two I can make it longer if you like the style I can change it round and I want to be a paperback writer Paperback writerIf you really like it you can have the rights It could make a million for you overnight If you must return it, you can send it here But I need a break and I want to be a paperback writer Paperback writerPaperback writerPaperback writer, paperback writer Paperback writer, paperback writer Paperback writer, paperback writer Paperback writer, paperback writer (fade out) JOHN 1966: 'After we'd done the session on that particular song – it ended at about four or five in the morning – I went home with a tape to see what else you could do with it. And I was sort of very tired, you know, not knowing what I was doing, and I just happened to put it on my own tape recorder and it came out backwards. And I liked it better. So that's how it happened.'JOHN 1980: 'That's me again – with the first backwards tape on record anywhere… I got home from the studio and I was stoned out of my mind on marijuana… and, as I usually do, I listened to what I'd recorded that day. Somehow it got on backwards and I sat there, transfixed, with the earphones on, with a big hash joint. I ran in the next day and said, 'I know what to do with it, I know… listen to this!' So I made them all play it backwards. The fade is me actually singing backwards with the guitars going backwards. (sings) 'Sharethsmnowthsmeanss!' That one was the gift of God… of Ja actually – the god of marijuana, right? So Ja gave me that one.'RINGO 1984: 'My favorite piece of me is what I did on 'Rain.' I think I just played amazing. I was into the snare and hi-hat. I think it was the first time I used the trick of starting a break by hitting the hi-hat first instead of going directly to a drum off the hi-hat. I think it's the best out of all the records I've ever made. 'Rain' blows me away. It's out in left field. I know me and I know my playing… and then there's 'Rain.''PAUL circa-1994: 'It was nice. I really enjoyed that one.' If the rain comes they run and hide their heads They might as well be dead If the rain comes, if the rain comesWhen the sun shines they slip into the shade (when the sun shines down) And sip their lemonade (when the sun shines down) When the sun shines, when the sun shinesRain, I don't mind Shine, the weather's fineI can show you that when it starts to rain (when the rain comes down) Everything's the same (when the rain comes down) I can show you, I can show youRain, I don't mind Shine, the weather's fineCan you hear me, that when it rains and shines (when it rains and shines) It's just a state of mind? (when it rains and shines) Can you hear me, can you hear me?Sdaeh rieht edih dna nur yeht semoc niar eht fI (rain) (rain) RINGO 1968: 'It sounds like Elvis, doesn't it? No, it doesn't sound like Elvis… it IS Elvis. Even those bits where he goes very high.'JOHN 1980: 'Paul. Good piano lick, but the song never really went anywhere. Maybe I helped him on some of the lyrics.'PAUL 1986: ''Lady Madonna' is all women. How do they do it? – bless 'em. Baby at your breast, how do they get the time to feed them? Where do they get the money? How do you do this thing that women do?'PAUL circa-1994: 'The original concept was the Virgin Mary, but it quickly became symbolic of every woman – the Madonna image but as applied to ordinary working-class women. 'Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. It reminded me of Fats Domino for some reason, so I started singing a Fats Domino impression. It took my voice to a very odd place.' Lady Madonna, children at your feet Wonder how you manage to make ends meet Who finds the money when you pay the rent Did you think that money was Heaven sent? Friday night arrives without a suitcase Sunday morning creeping like a nun Monday's child has learned to tie his bootlace See how they runLady Madonna, baby at your breast Wonders how you manage to feed the rest?See how they runLady Madonna lying on the bed Listen to the music playing in your headTuesday afternoon is never ending Wednesday morning papers didn't come Thursday night your stockings needed mending See how they runLady Madonna, children at your feet Wonder how you manage to make ends meet The Inner Light (George Harrison) PAUL 1968: 'Forget the Indian music and listen to the melody. Don't you think it's a beautiful melody? It's really lovely.' Without going out of my door I can know all things on Earth Without looking out of my window I could know the ways of HeavenThe farther one travels The less one knows The less one really knowsWithout going out of your door You can know all things on Earth Without looking out of your window You could know the ways of HeavenThe farther one travels The less one knows The less one really knowsArrive without travelling See all without looking Do all without doing JOHN 1968: 'Well, when Paul first sang 'Hey Jude' to me… or played me the little tape he'd made of it… I took it very personally. 'Ah, it's me,' I said, 'It's me.' He says, 'No, it's me.' I said, 'Check. We're going through the same bit.' So we all are. Whoever is going through a bit with us is going through it, that's the groove.'JOHN 1972: 'That's his best song.'PAUL 1974: 'I remember I played it to John and Yoko, and I was saying, 'These words won't be on the finished version.' Some of the words were: 'The movement you need is on your shoulder,' and John was saying, 'It's great!' I'm saying, 'It's crazy, it doesn't make any sense at all.' He's saying, 'Sure it does, it's great.''JOHN 1980: 'He said it was written about Julian. He knew I was splitting with Cyn and leaving Julian then. He was driving to see Julian to say hello. He had been like an uncle. And he came up with 'Hey Jude.' But I always heard it as a song to me. Now I'm sounding like one of those fans reading things into it… Think about it: Yoko had just come into the picture. He is saying. 'Hey, Jude' – 'Hey, John.' Subconsciously, he was saying, 'Go ahead, leave me.' On a conscious level, he didn't want me to go ahead. The angel in him was saying, 'Bless you.' The devil in him didn't like it at all, because he didn't want to lose his partner.'PAUL 1985: 'I remember on 'Hey Jude' telling George not to play guitar. He wanted to do echo riffs after the vocal phrases, which I didn't think was appropriate. He didn't see it like that, and it was a bit of a number for me to have to 'dare' to tell George Harrison – who's one of the greats – not to play. It was like an insult. But that's how we did alot of our stuff.'PAUL circa-1994: 'There is an amusing story about recording it… Ringo walked out to go to the toilet and I hadn't noticed. The toilet was only a few yards from his drum booth, but he'd gone past my back and I still thought he was in his drum booth. I started what was the actual take – and 'Hey Jude' goes on for hours before the drums come in – and while I was doing it I suddenly felt Ringo tiptoeing past my back rather quickly, trying to get to his drums. And just as he got to his drums, boom boom boom, his timing was absolutely impeccable.' Hey, Jude, don't make it bad Take a sad song and make it better Remember to let her into your heart Then you can start to make it betterHey, Jude, don't be afraid You were made to go out and get her The minute you let her under your skin Then you begin to make it betterAnd anytime you feel the pain, Hey, Jude, refrain Don't carry the world upon your shoulders For well you know that it's a fool Who plays it cool By making his world a little colderNah, nah nah, nah nah, nah nah, nah nahHey, Jude, don't let me down You have found her, now go and get her Remember to let her into your heart Then you can start to make it betterSo let it out and let it in, Hey, Jude, begin You're waiting for someone to perform with And don't you know that it's just you, Hey, Jude, you'll do The movement you need is on your shoulderNah, nah nah, nah nah, nah nah, nah nah yeahHey, Jude, don't make it bad Take a sad song and make it better Remember to let her under your skin Then you'll begin to make it better, better, better, better, better... oh!Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (Jude) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (yeah, yeah, yeah) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (don't make it bad, Jude) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (take a sad song and make it better) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (oh, Jude) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (Jude, hey, Jude, whoa) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (ooh) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude [fade out] JOHN 1968: 'On 'Revolution' I'm playing the guitar and I haven't improved since I was last playing, but I dug it. It sounds the way I wanted it to sound.'JOHN 1972: 'I should never have put that in about Chairman Mao. I was just finishing off in the studio when I did that.'JOHN 1980: 'The statement in 'Revolution' was mine. The lyrics stand today. It's still my feeling about politics. I want to see the plan. That is what I used to say to Abbie Hoffman and Jerry Rubin. Count me out if it is for violence. Don't expect me to be on the barricades unless it is with flowers. For years, on the Beatles' tours, Brian Epstein had stopped us from saying anything about Vietnam or the war. And he wouldn't allow questions about it. But on one of the last tours, I said, 'I'm going to answer about the war. We can't ignore it.' I absolutely wanted the Beatles to say something about the war.' You say you want a revolution Well, you know We all want to change the world You tell me that it's evolution Well, you know We all want to change the worldBut when you talk about destruction Don't you know that you can count me outDon't you know it's gonna be alright Alright, alrightYou say you got a real solution Well, you know We'd all love to see the plan You ask me for a contribution Well, you know We're all doing what we canBut if you want money for people with minds that hate All I can tell you is brother you have to waitDon't you know it's gonna be alright Alright, alright, al...You say you'll change the constitution Well, you know We all want to change your head You tell me it's the institution Well, you know You'd better free your mind insteadBut if you go carrying pictures of Chairman Mao You ain't gonna make it with anyone anyhowDon't you know it's gonna be alright Alright, alrightAlright, alright Alright, alright Alright, alright Alright, alright Only a Northern Song (George Harrison) GEORGE 1980: ''Northern Song' was a joke relating to Liverpool, the Holy City in the North of England. In addition, the song was copyrighted Northern Songs LTD, which I don't own.'GEORGE 1999: 'It was at the point that I realized Dick James had conned me out of the copyrights for my own songs by offering to become my publisher. As an 18 or 19-year-old kid, I thought, 'Great, somebody's gonna publish my songs!' But he never said, 'And incidentally, when you sign this document here, you're assigning me the ownership of the songs,' which is what it is. It was just a blatant theft. By the time I realized what had happened, when they were going public and making all this money out of this catalog, I wrote 'Only A Northern Song' as what we call a 'piss-take,' just to have a joke about it.' If you're listening to this song You may think the chords are going wrong But they're not He just wrote it like thatWhen you're listening late at night You may think the band are not quite right But they are They just play it like thatIt doesn't really matter what chords I play What words I say or time of day it is As it's only a Northern songIt doesn't really matter what clothes I wear Or how I fare or if my hair is brown When it's only a Northern songIf you think the harmony Is a little dark and out of key You're correct There's nobody thereAnd I told you there's no one there JOHN 1971: 'I enjoyed it when football crowds in the early days would sing 'All Together Now.''PAUL circa-1994: 'When they were singing a song, to encourage the audience to join in they'd say 'All together now,' so I just took it and read another meaning into it, of – we are all together now. So I used the dual meaning. It's really a children's song. I had a few young relatives and I would sing songs for them.' One, two, three, four Can I have a little more? Five, six, seven, eight, nine, ten, I love youA, B, C, D Can I bring my friend to tea? E, F, G, H, I, J, I love you(Bom bom bom bompa bom) Sail the ship (Bompa bom) Chop the tree (Bompa bom) Skip the rope (Bompa bom) Look at me(All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together nowBlack, white, green, red Can I take my friend to bed? Pink, brown, yellow, orange and blue, I love you(All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now(Bom bom bom) Sail the ship (Bompa bom) Chop the tree (Bompa bom) Skip the rope (Bompa bom) Look at me(All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now JOHN 1980: 'It's a good sounding record that means nothing.'PAUL circa-1994: 'I remember 'Hey Bulldog' as being one of John's songs and I helped him finish it off in the studio, but it's mainly his vibe. There's a little rap at the end between John and I, we went into a crazy little thing at the end. We always tried to make every song different because we figured, 'Why write something like the last one? We've done that.' We were on a ladder so there was never any sense of stepping down a rung, or even staying on the same rung, it was better to move one rung ahead.'GEORGE 1999: 'We now have an unreleased video of 'Hey Bulldog,' as you know. When we were in the studio recording 'Bulldog,' apparently it was at a time when they needed some footage for something else, some other record (Lady Madonna), and a film crew came along and filmed us. Then they cut up the footage and used some of the shots for something else. But it was Neil Aspinall who found out that when you watched and listened to what the original thing was, we were recording 'Bulldog.' This was apparently the only time we were actually filmed recording something, so what Neil did was, he put (the unused footage) all back together again and put the 'Bulldog' soundtrack onto it, and there it was!' Sheepdog Standing in the rain Bullfrog Doing it again Some kind of happiness is measured out in miles What makes you think you're something special when you smile?Child-like No one understands Jack knife In your sweaty hands Some kind of innocence is measured out in years You don't know what it's like to listen to your fearsYou can talk to me You can talk to me You can talk to me, if you're lonely you can talk to meYeah hey, oh! Ho, ho! Yeah! Ho, ho, ho, ho! Ho, ho!Big man (Yeah) Walking in the park Wigwam Frightened of the dark Some kind of solitude is measured out in you You think you know me but you haven't got a clueYou can talk to me You can talk to me You can talk to me, if you're lonely you can talk to me Hey!Wahoo woof! Woof!Hey bulldog! Hey bulldog! Hey bulldog! Hey bulldog![Hey man, what's that noise?Woof!What d'you say?I said woof!D'you know anymore?Wooaah ha ha ha!You've got it, that's great! That's right! That's it, man, hoo!Give it to me, man, hurry! I've got ten children, ho!Ah ho! Ha ha ha ha ha ha!Quiet boy, quiet!OK.]Hey bulldog! Hey bulldog! It's All Too Much (George Harrison) GEORGE 1980: ''It's All Too Much' was written in a childlike manner from realizations that appeared during and after some LSD experiences and which were later confirmed in meditation.'GEORGE 1999: 'I just wanted to write a rock 'n roll song about the whole psychedelic thing of the time – 'Sail me on a silver sun/ Where I know that I am free/ Show me that I'm everywhere/ And get me home for tea.' (laughs) Because you'd trip out, you see, on all this stuff, and then whoops! you'd just be back having your evening cup of tea! 'Your long blond hair/ And your eyes of blue' – that was all just this big ending we had, going out. And as it was in those days, we had the horn players just play a bit of trumpet voluntarily, and so that's how that 'Prince Of Denmark' bit was played (in the fade-out). And Paul and John just came up with and sang that lyric of 'your eyes of blue.'' It's all too much It's all too muchWhen I look into your eyes, your love is there for me And the more I go inside, the more there is to seeIt's all too much for me to take The love that's shining all around you Everywhere, it's what you make For us to take, it's all too muchFloating down the stream of time from life to life with me Makes no difference where you are or where you'd like to beIt's all too much for me to take The love that's shining all around here All the world is birthday cake So take a piece but not too muchSail me on a silver sun, where I know that I'm free Show me that I'm everywhere, and get me home for teaIt's all to much for me to see The love that's shining all around here The more I learn, the less I know But what I do is all too muchIt's all too much for me to take The love that's shining all around you Everywhere, it's what you make For us to take, it's all too muchIt's too much Ah, it's too muchWith your long blond hair and your eyes of blue With your long blond hair and your eyes of blueYou're too much, ah We all get too muchToo much, too much, too much Too much a, too much a, too much a Too much a, too much a, too much a Too much a, too much a, too much a Too much a, too much a, too much a Too much a, too much a, too much a Too much a, too much a, too much a Too much a, too much a, too much a Too much aMuch, much, much, much, much Much, much, much, much, much Much, much, much, much, much Much, much, much, much, much Much, much, much, much, much 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!) JOHN 1969: (to Ringo, regarding the cymbal smash in the intro) 'Give me a big 'kzzzsshhhh!' Give me the courage to come screaming in.'JOHN 1980: 'That's me, singing about Yoko.'PAUL circa-1994: 'It was a very tense period. John was with Yoko, and had escalated to heroin and all the accompanying paranoias and he was putting himself out on a limb. I think that, as much as it excited and amused him, at the same time it secretly terrified him. So 'Don't Let Me Down' was a genuine plea, 'Don't let me down, please, whatever you do. I'm out on this limb…' It was saying to Yoko, 'I'm really stepping out of line on this one. I'm really letting my vulnerability be seen, so you must not let me down.' I think it was a genuine cry for help. It was a good song. We recorded it in the basement of Apple for 'Let It Be' and later did it up on the roof for the film. We went through it quite alot for this one. I sang harmony on it, which makes me wonder if I helped with a couple of the words, but I don't think so. It was John's song.' Don't let me down, don't let me down Don't let me down, don't let me downNobody ever loved me like she does Oh, she does, yes, she does And if somebody loved me like she do me Oh, she do me, yes, she doesDon't let me down, don't let me down Don't let me down, don't let me downI'm in love for the first time Don't you know it's gonna last It's a love that lasts forever It's a love that had no past (Seeking past)Don't let me down, don't let me down Don't let me down, don't let me downAnd from the first time that she really done me Oh, she done me, she done me good I guess nobody ever really done me Oh, she done me, she done me goodDon't let me down, hey don't let me down Heeeee, don't let me downDon't let me down Don't let me down, don't let me let down Can you dig it? Don't let me down 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 JOHN 1980: 'That was a piece of unfinished music that I turned into a comedy record with Paul. I was waiting for him in his house, and I saw the phone book was on the piano with the words, 'You know the name, look up the number.' It was like a logo, and I just changed it. It was going to be a four tops kind of song – the chord changes are like that – but it never developed and we made a joke out of it.'PAUL 1988: 'People are only just discovering the B-sides of Beatles singles. They're only just discovering things like 'You Know My Name' – probably my favorite Beatles track! Just because it's so insane. All the memories – I mean, what would you do if a guy like John Lennon turned up at the studio and said, 'I've got a new song.' I said, 'What's the words?' and he replied, 'You know my name look up the number.' I asked, 'What's the rest of it?' '…No. No other words, those are the words. And I wanna do it like a mantra!' We did it over a period of maybe two or three years. We started off and we just did 20 minutes, and we tried it again and it didn't work. We tried it again, and we had these endless, crazy fun sessions. Eventually we pulled it all together and I sang, (sings in jazzy voice) 'You know my name…' and we just did a skit. Mal (Evans) and his gravel. I can still see Mal digging the gravel. And it was just so hilarious to put that record together. It's not a great melody or anything, it's just unique. Some people haven't discovered that song yet.'PAUL circa-1994: 'I remember at one point we asked Mal (Evans) to shovel a bucket of gravel as a rhythmic device. We had a bit of a giggle doing those kind of tracks… Brian Jones (Rolling Stones) plays a funny sax solo. It's not amazingly well played but it happened to be exactly what we wanted. Brian was very good like that.' You know my name Look up the number You know my name Look up the number You you know you know my name You you know you know my nameGood evening and welcome to Slaggers Featuring Denis O'Bell Come on Ringo, let's hear it for DenisGood evening You know my name Look look look up the number You know my name That's right, look up the number You you know you know my name You you know you know my name You know my name Ba ba ba ba ba ba ba ba ba Look up the number You know my name That's right, look up the number Oh you know you know you know my name You know you know you know my name Huh huh huh huh You know my name Ba ba ba pum Look up the number. You know my name Look up the number You-a you know you know my name Baby you-a you know you know my name You know you know my name You know you know my nameGo on Denis, let's hear it for Denis O'BellYou know my name You know you know my name You know you know my name Prrr you know my name and the number You know my name and the number you know you know my name Look up me number You know my number three you know my number two you know my number three you know my number four Oh you know my name you know number too You know my name you know my number What's up with you? You know my name That's right? Yeah |
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