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The Beatles Lyrics, album "Past Masters"

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

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

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

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

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

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

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

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

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

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

Someone to love
Somebody new
Someone to love
Someone like you

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

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

From Me to You
(John Lennon and Paul McCartney)
PAUL 1964: ''From Me To You.' It could be done as an old Ragtime tune… especially the middle-eight.
And so, we're not writing the tunes in any particular idiom.
In five years time, we may arrange the tunes differently.
(jokingly) But we'll probably write the same old rubbish!!'

JOHN 1980: 'We were writing it in a car, I think… and I think the first line was mine.
I mean, I know it was mine.
(humms melody) And then after that we just took it from there.
We were just writing the next single.
It was far bluesier than that when we wrote it.
The notes, today… you could rearrange it pretty funky.'

PAUL circa-1994: 'The thing I liked about 'From Me To You' was it had a very complete middle.
It went to a surprising place.
The opening chord of the middle section of that song heralded a new batch for me.
That was a pivotal song.
Our songwriting lifted a little with that song.
It was very much co-written.'

Da da da da da dum dum da
Da da da da da dum dum da

If there's anything that you want
If there's anything I can do
Just call on me and I'll send it along
With love from me to you

I've got everything that you want
Like a heart that's oh so true
Just call on me and I'll send it along
With love from me to you

I got arms that long to hold you
And keep you by my side
I got lips that long to kiss you
And keep you satisfied, oooh

If there's anything that you want
If there's anything I can do
Just call on me and I'll send it along
With love from me to you

From me, to you
Just call on me and I'll send it along
With love from me to you

I got arms that long to hold you
And keep you by my side
I got lips that long to kiss you
And keep you satisfied, oooh

If there's anything that you want
If there's anything I can do
Just call on me and I'll send it along
With love from me to you
To you, to you, to you

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

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

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

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

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

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

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

She Loves You
(John Lennon and Paul McCartney)
JOHN 1963: 'We wrote that two days before we recorded it, actually.'

PAUL 1963: 'John and I wrote it together.
We were in a van up in Newcastle somewhere, and we'd just gone over to our hotel.
I originally got an idea of doing one of those answering songs, where a couple of us sing about 'she loves you' …and the other one sort of says the 'yes, yes' bit.
You know, 'yeah yeah' answering whoever is saying it.
But we decided that was a crummy idea anyway.
But we had the idea to write a song called 'She Loves You' then.
And we just sat up in the hotel bedroom for a few hours and wrote it, you know.'

JOHN 1963: ''Yeah.' That's sort of the main catch phrase from 'She Loves You.' We'd written the song, and then suddenly realized we needed more… so we added 'yeah, yeah, yeah' and it caught on.'

JOHN 1980: 'It was written together (with Paul) and I don't remember how.
I remember it was Paul's idea – instead of singing 'I love you' again, we'd have a third party.
The 'Woooo' was taken from the Isley Brothers 'Twist And Shout,' which we stuck into everything.'

PAUL 1982: 'Occasionally, we'd overrule George Martin, like on 'She Loves You,' we end on a sixth chord, a very jazzy sort of thing.
And he said, 'Oh, you can't do that! A sixth chord? It's too jazzy.'
We just said, 'No, it's a great hook, we've got to do it.''

PAUL 1988: 'We rehearsed the end bit of 'She Loves You' and took it to George.
And he just laughed and said, 'Well, you can't do the end of course… that sixth… it's too like the Andrew Sisters.' We just said, 'Alright, we'll try it without,' and we tried it and it wasn't as good.
Then he conceded, 'You're right, I guess.' But we were both very flexible.
We would listen to George's ideas too, because he was a producer and a musician, and he obviously knew what he was talking about.
There was good to-and-fro.
We loved that bit, and we rehearsed it alot.
John and I wrote that in a hotel room, on twin beds during an afternoon off – I mean, God bless their little cotton socks, those boys WORKED! Here I am talking about an afternoon off, and we're sitting there writing! We just loved it so much.
It wasn't work.'

She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah, yeah

You think you lost your love
Well, I saw her yesterday
It's you she's thinking of
And she told me what to say

She says she loves you
And you know that can't be bad
Yes, she loves you
And you know you should be glad

She said you hurt her so
She almost lost her mind
But now she says she knows
You're not the hurting kind

She says she loves you
And you know that can't be bad
Yes, she loves you
And you know you should be glad, ooh

She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah
And with a love like that
You know you should be glad

You know it's up to you
I think it's only fair
Pride can hurt you too
Apologize to her

Because she loves you
And you know that can't be bad
Yes, she loves you
And you know you should be glad, ooh

She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah
With a love like that
You know you should be glad
With a love like that
You know you should be glad
With a love like that
You know you should be glad
Yeah, yeah, yeah
Yeah, yeah, yeah, yeah

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 yeah

Imagine 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 before

It'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

I 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 blue

So 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 yeah

Well, there's gonna be a time
When I'm gonna change/make your mind
So you might as well resign yourself to me
Oh yeah

Imagine 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 before

It'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

I Want to Hold Your Hand
(John Lennon and Paul McCartney)
PAUL 1964: 'Let's see, we were told we had to get down to it.
So we found this house when we were walking along one day.
We knew we had to really get this song going, so we got down in the basement of this disused house and there was an old piano.
It wasn't really disused, it was rooms to let.
We found this old piano and started banging away.
There was a little old organ too.
So we were having this informal jam and we started banging away.
Suddenly a little bit came to us, the catch line.
So we started working on it from there.
We got our pens and paper out and just wrote down the lyrics.
Eventually, we had some sort of a song, so we played it for our recording manager and he seemed to like it.
We recorded it the next day.'

JOHN 1980: 'We wrote alot of stuff together, one on one, eyeball to eyeball.
Like in 'I Want To Hold Your Hand,' I remember when we got the chord that made the song.
We were in Jane Asher's house, downstairs in the cellar playing on the piano at the same time.
And we had, 'Oh you-u-u/ got that something…' And Paul hits this chord, and I turn to him and say, 'That's it!' I said, 'Do that again!' In those days, we really used to absolutely write like that – both playing into each other's noses.'

PAUL circa-1994: ''Eyeball to eyeball' is a very good description of it.
That's exactly how it was.
'I Want To Hold Your Hand' was very co-written.'

Oh yeah, I'll tell you something
I think you'll understand
Then I'll say that something
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand

Oh please, say to me
You'll let me be your man
And please, say to me
You'll let me hold your hand
Now let me hold your hand
I wanna hold your hand

And when I touch you I feel happy
Inside
It's such a feeling that my love
I can't hide
I can't hide
I can't hide

Yeah, you got that something
I think you'll understand
Then I'll say that something
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand

And when I touch you I feel happy
Inside
It's such a feeling that my love
I can't hide
I can't hide
I can't hide

Yeah, you got that something
I think you'll understand
When I feel that something
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand
I wanna hold your hand

This Boy
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'Just my attempt at writing one of those three-part harmony Smokey Robinson songs.
Nothing in the lyrics… just a sound and a harmony.
There was a period when I thought I didn't write melodies… that Paul wrote those and I just wrote straight, shouting rock 'n roll.
But of course, when I think of some of my own songs – 'In My Life,' or some of the early stuff – 'This Boy,' I was writing melody with the best of them.'

PAUL 1988: 'Fabulous. And we just loved singing that three-part too.
We'd learned that from: (sings) 'To know know know her is to love love love her…' We learned that in my dad's house in Liverpool.'

That boy took my love away
Though he'll regret it someday
But this boy wants you back again

That boy isn't good for you
Though he may want you too
This boy wants you back again

Oh, and this boy would be happy
Just to love you, but oh my
That boy won't be happy
Till he's seen you cry

This boy wouldn't mind the pain
Would always feel the same
If this boy gets you back again

This boy
This boy
This boy [fade out]

Komm, Gib Mir Deine Hand
(John Lennon and Paul McCartney)

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 Hand

Oh, 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

In deinen armen bin ich glücklich und froh
Das war noch nie bei einer Anderen
Einmal so
Einmal so
Einmal so

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 Hand

In deinen Armen bin ich glücklich und froh
Das war noch nie bei einer Anderen
Einmal so
Einmal so
Einmal so

Oh, 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
(John Lennon and Paul McCartney)

Sie liebt dich, yeh, yeh, yeh
Sie liebt dich, yeh, yeh, yeh
Sie liebt dich, yeh, yeh, yeh, yeah

Du 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 freuen

Du 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, ooo

Sie liebt dich, yeh, yeh, yeh
Sie liebt dich, yeh, yeh, yeh
Denn mit dir allein
Kann sie nur glucklich sein

Du 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, ooo

Sie liebt dich, yeh, yeh, yeh
Sie liebt dich, yeh, yeh, yeh
Denn mit dir allein
Kann sie nur glucklich sein

Denn mit dir allein
Kann sie nur glucklich sein

Denn mit dir allein
Kann sie nur glucklich sein
Sein

Yeh, 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 tonight

I saw Uncle John with Long Tall Sally
He saw Aunt Mary coming and he ducked back in the alley
Oh, baby, yeah now baby
Woo baby, some fun tonight

Well Long Tall Sally's built pretty sweet
She got everything that Uncle John need
Baby, yeah now baby
Woo baby, some fun tonight

Well, we're gonna have some fun tonight
Have some fun tonight
Everything's all right
Have some fun tonight
Have some fun
Yeah, yeah, yeah,
We're gonna have some fun tonight
Have some fun tonight
Everything's all right
Have some fun tonight
Yeah, we'll have some fun
Some fun tonight

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

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

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

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

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

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

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

Slow Down
(Larry Williams)

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

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

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

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

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

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

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

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

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

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

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

Let 'er go boy, go, go

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

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

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

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

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

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

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

Baby says she's mine, you know
She tells me all the time, you know
She said so
I'm in love with her and I feel fine

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

That her baby buys her things, you know
He buys her diamond rings, you know
She said so
She's in love with me and I feel fine, mmm

Baby says she's mine, you know
She tells me all the time, you know
She said so
I'm in love with her and I feel fine

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

That her baby buys her things, you know
He buys her diamond rings, you know
She said so
She's in love with me and I feel fine
She's in love with me and I feel fine, mmm, mmm

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

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

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

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

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

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

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

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

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

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 yourself

Buys 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 yourself

Going 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

Yes It Is
(John Lennon)
(Officially – John Lennon and Paul McCartney)
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 is

Scarlet 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 is

I 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, yeah

Please 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

I 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, yeah

Please 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

I'm Down
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'That's Paul… with a little help from me, I think.'

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We can work it out
We can work it out

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

We can work it out
We can work it out

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

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

We can work it out
We can work it out

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

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

We can work it out
We can work it out

Paperback Writer
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
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 writer

Dear 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 writer

It'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 writer

Paperback writer

It'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 writer

If 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 writer

Paperback writer

Paperback writer, paperback writer
Paperback writer, paperback writer
Paperback writer, paperback writer
Paperback writer, paperback writer (fade out)

Rain
(John Lennon)
(Officially – John Lennon and Paul McCartney)
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 comes

When 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 shines

Rain, I don't mind
Shine, the weather's fine

I 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 you

Rain, I don't mind
Shine, the weather's fine

Can 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)

Lady Madonna
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
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 run

Lady Madonna, baby at your breast
Wonders how you manage to feed the rest?

See how they run

Lady Madonna lying on the bed
Listen to the music playing in your head

Tuesday afternoon is never ending
Wednesday morning papers didn't come
Thursday night your stockings needed mending
See how they run

Lady 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 Heaven

The farther one travels
The less one knows
The less one really knows

Without going out of your door
You can know all things on Earth
Without looking out of your window
You could know the ways of Heaven

The farther one travels
The less one knows
The less one really knows

Arrive without travelling
See all without looking
Do all without doing

Hey Jude
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
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 better

Hey, 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 better

And 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 colder

Nah, nah nah, nah nah, nah nah, nah nah

Hey, 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 better

So 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 shoulder

Nah, nah nah, nah nah, nah nah, nah nah yeah

Hey, 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]

Revolution
(John Lennon)
(Officially – John Lennon and Paul McCartney)
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 world

But when you talk about destruction
Don't you know that you can count me out

Don't you know it's gonna be alright
Alright, alright

You 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 can

But if you want money for people with minds that hate
All I can tell you is brother you have to wait

Don'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 instead

But if you go carrying pictures of Chairman Mao
You ain't gonna make it with anyone anyhow

Don't you know it's gonna be alright
Alright, alright

Alright, alright
Alright, alright
Alright, alright
Alright, alright

Get Back
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
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 grass

Get 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 home

Get back, get back
Get back to where you once belonged
Get back, get back
Back to where you once belonged
Get back, Jo

Sweet 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 can

Oh, get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged
Get back, Loretta

Go home
Oh, get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged

Get 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!)

Don't Let Me Down
(John Lennon)
(Officially – John Lennon and Paul McCartney)
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 down

Nobody 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 does

Don't let me down, don't let me down
Don't let me down, don't let me down

I'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 down

And 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 good

Don't let me down, hey don't let me down
Heeeee, don't let me down

Don't let me down
Don't let me down, don't let me let down
Can you dig it? Don't let me down

The Ballad of John And Yoko
(John Lennon)
(Officially – John Lennon and Paul McCartney)

Standing in the dock at Southampton
Trying to get to Holland or France
The man in the mac said, "You've got to go back"
You know they didn't even give us a chance

Christ you know it ain't easy
You know how hard it can be
The way things are going
They're going to crucify me

Finally made the plane into Paris
Honeymooning down by the Seine
Peter Brown called to say
"You can make it OK
You can get married in Gibraltar, near Spain"

Christ you know it ain't easy
You know how hard it can be
The way things are going
They're going to crucify me

Drove from Paris to the Amsterdam Hilton
Talking in our beds for a week
The newspapers said, "Say what you doing in bed?"
I said, "We're only trying to get us some peace"

Christ you know it ain't easy
You know how hard it can be
The way things are going
They're going to crucify me

Saving up your money for a rainy day
Giving all your clothes to charity
Last night the wife said
"Oh boy, when you're dead
You don't take nothing with you
But your soul, think!"

Made a lightning trip to Vienna
Eating chocolate cake in a bag
The newspapers said, "She's gone to his head
They look just like two gurus in drag"

Christ you know it ain't easy
You know how hard it can be
The way things are going
They're going to crucify me

Caught an early plane back to London
Fifty acorns tied in a sack
The men from the press said, "We wish you success
It's good to have the both of you back"

Christ you know it ain't easy
You know how hard it can be
The way things are going
They're going to crucify me
The way things are going
They're going to crucify me

Old Brown Shoe
(George Harrison)

I want a love that's right but right is only half of what's wrong
I want a short haired girl who sometimes wears it twice as long
Now I'm stepping out this old brown shoe, baby, I'm in love with you
I'm so glad you came here, it won't be the same now, I'm telling you

You know you pick me up from where some try to drag me down
And when I see your smile replace every thoughtless frown
Got me escaping from this zoo, baby, I'm in love with you
I'm so glad you came here, it won't be the same now when I'm with you

If I grow up I'll be a singer wearing rings on every finger
Not worrying what they or you say I'll live and love and maybe someday
Who knows, baby, you may comfort me

I may appear to be imperfect, my love is something you can't reject
I'm changing faster than the weather if you and me should get together
Who knows, baby, you may comfort me

I want that love of yours, to miss that love is something I'd hate
I'll make an early start, I'm making sure that I'm not late
For you sweet top lip I'm in the queue, baby, I'm in love with you
I'm so glad you came here, it won't be the same now when I'm with you
I'm so glad you came here, it won't be the same now when I'm with you

Across the Universe
(John Lennon)
(Officially – John Lennon and Paul McCartney)
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 me

Jai 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 world

Images 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 universe

Jai 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 world

Sounds 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 universe

Jai 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 world

Jai Guru Deva
Jai Guru Deva
Jai Guru Deva
Jai Guru Deva
Jai Guru Deva
Jai Guru Deva

Let It Be
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
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 be

And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

And when the broken-hearted people
Living in the world agree
There will be an answer
Let it be

For though they may be parted there is
Still a chance that they will see
There will be an answer
Let it be

Let it be, let it be, let it be, let it be
Yeah, there will be an answer
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

And when the night is cloudy
There is still a light that shines on me
Shine until tomorrow
Let it be

I wake up to the sound of music
Mother Mary comes to me
Speaking words of wisdom
Let it be

Let it be, let it be, let it be, yeah, let it be
There will be an answer
Let it be

Let it be, let it be, let it be, yeah, let it be
There will be an answer
Let it be

Let it be, let it be, let it be, yeah, let it be
Whisper words of wisdom
Let it be

You Know My Name (Look Up the Number)
(John Lennon and Paul McCartney)
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 name

Good evening and welcome to Slaggers
Featuring Denis O'Bell
Come on Ringo, let's hear it for Denis

Good 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 name

Go on Denis, let's hear it for Denis O'Bell

You 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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