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The Beatles Lyrics, album "Rock 'n' Roll Music"
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 JOHN 1963: 'I always hate singing the song, 'Twist And Shout' when there's a colored artist on the bill with us. It doesn't seem right, you know. I feel sort of embarrassed… It makes me curl up. I always feel they could do the song much better than me.'JOHN 1971: 'The more interesting songs to me were the black ones because they were more simple. They sort of said shake-your-arse, or your prick, which was an innovation really. The blacks were singing directly and immediately about their pain, and also about sex, which is why I like it.'JOHN 1976: 'The last song nearly killed me. My voice wasn't the same for a long time after – everytime I swallowed it was like sandpaper. I was always bitterly ashamed of it because I could sing it better than that, but now it doesn't bother me. You can hear I'm just a frantic guy doing his best.'PAUL 1988: 'There's a power in John's voice there that certainly hasn't been equaled since. And I know exactly why – It's because he worked his bollocks off that day. We left 'Twist And Shout' until the very last thing because we knew there was one take.'RINGO 1994: 'We started (recording the album) about noon and finished it at midnight, with John being really hoarse by 'Twist And Shout.'' Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C'mon c'mon, c'mon, c'mon, baby, now (Come on baby) Come on and work it on out (Work it on out)Well, work it on out, honey (Work it on out) You know you look so good (Look so good) You know you got me goin' now (Got me goin') Just like I knew you would (Like I knew you would)Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C'mon, c'mon, c'mon, c'mon, baby, now (Come on, baby) Come on and work it on out (Work it on out)Well, you twist, you little girl (Twist, little girl) You know you twist so fine (Twist so fine) Come on and twist a little closer now (Twist a little closer) And let me know that you're mine (Let me know you're mine)Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C'mon, c'mon, c'mon, c'mon, baby, now (Come on, baby) Come on and work it on out (Work it on out)Well, you twist, you little girl (Twist, little girl) You know you twist so fine (Twist so fine) Come on and twist a little closer now (Twist a little closer) And let me know that you're mine (Let me know you're mine)Well, shake it, shake it, shake it, baby, now (Shake it up baby) Well, shake it, shake it, shake it, baby, now (Shake it up baby) Well, shake it, shake it, shake it, baby, now (Shake it up baby) JOHN 1980: 'That's Paul doing his usual job of producing what George Martin used to call a 'potboiler.' I helped with a couple of the lyrics.'PAUL 1988: 'I wrote it with John. We sagged off school and wrote it on guitars. I remember I had the lyrics, 'Just seventeen/Never been a beauty queen,' which John… it was one of the first times he ever went, 'What? Must change that!' And it became, 'you know what I mean.''PAUL circa-1994: 'Sometimes we would just start a song from scratch, but one of us would nearly always have a germ of an idea, a title, or a rough little thing they were thinking about and we'd do it. 'I Saw Her Standing There' was my original. I'd started it and I had the first verse, which therefore gave me the tune, the tempo, and the key. It gave you the subject matter, alot of information, and then you had to fill in. So it was co-written… and we finished it that day. Well, she was just seventeen You know what I mean And the way she looked was way beyond compare So how could I dance with another (Ooh) When I saw her standing thereWell she looked at me, and I, I could see That before too long I'd fall in love with her She wouldn't dance with another (Whooh) When I saw her standing thereWell, my heart went "boom" When I crossed that room And I held her hand in mineWhoah, we danced through the night And we held each other tight And before too long I fell in love with her Now I'll never dance with another (Whooh) When I saw her standing thereWell, my heart went "boom" When I crossed that room And I held her hand in mineWhoah, we danced through the night And we held each other tight And before too long I fell in love with her Now I'll never dance with another (Whooh) Since I saw her standing there Oh since I saw her standing there Oh since I saw her standing there JOHN 1964: 'I'd find it a drag to play rhythm all the time, so I always work myself out something interesting to play. The best example I can think of is like I did on 'You Can't Do That.' There really isn't a lead guitarist and a rhythm guitarist on that, because I feel the rhythm guitarist role sounds too thin for records. Anyway it drove me potty to play chunk-chunk rhythm all the time. I never play anything as lead guitarist that George couldn't do better. But I like playing lead sometimes, so I do it.'JOHN 1980: 'That's me doing Wilson Pickett. You know, a cowbell going four-in-the bar, and the chord going 'chatoong!'' I got something to say that might cause you pain If I catch you talking to that boy again I'm gonna let you down And leave you flat Because I told you before, oh You can't do thatWell, it's the second time I've caught you talking to him Do I have to tell you one more time, I think it's a sin I think I'll let you down (Let you down) Leave you flat (Gonna let you down and leave you flat) Because I've told you before, oh You can't do thatEverybody's green Cos I'm the one who won your love But if they'd seen You're talking that way they'd laugh in my faceSo please listen to me, if you wanna stay mine I can't help my feelings, I'll go out of my mind I'm gonna let you down (Let you down) And leave you flat (Gonna let you down and leave you flat) Because I've told you before, oh You can't do that, oh(You can't do that You can't do that You can't do that You can't do that You can't do that)Everybody's green Cos I'm the one who won your love But if they'd seen You're talking that way they'd laugh in my faceSo please listen to me, if you wanna stay mine I can't help my feelings, I'll go out of my mind I'm gonna let you down (Let you down) And leave you flat (Gonna let you down and leave you flat) Because I've told you before, oh You can't do that JOHN 1972: 'Both of us wrote it, but mainly Paul. I helped him finish it.'JOHN 1980: ''I Wanna Be Your Man' was a kind of lick Paul had – 'I wanna be your lover, baby. I wanna be your man.' I think we finished it off for the Stones. We were taken down to meet them at the club where they were playing in Richmond by Brian and some other guy. They wanted a song and we went to see what kind of stuff they did. Mick and Keith heard we had an unfinished song – Paul just had this bit and we needed another verse or something. We sort of played it roughly to them and they said, 'Yeah, OK, that's our style.' But it was only really a lick, so Paul and I went off in the corner of the room and finished the song off while they were all still sitting there talking. We came back, and that's how Mick and Keith got inspired to write… because, 'Jesus, look at that. They just went in the corner and wrote it and came back!' You know, right in front of their eyes we did it. So we gave it to them. It was a throw-away. The only two versions of the song were Ringo and the Rolling Stones. It shows how much importance we put on them. We weren't going to give them anything great, right? I believe it was the Stones' first record.'PAUL 1984: 'I wrote it for Ringo to do on one of the early albums. But we ended up giving it to the Stones. We met Mick and Keith in a taxi one day in Charing Cross Road and Mick said, 'Have you got any songs?' So we said, 'Well, we just happen to have one with us!' I think George had been instrumental in getting them their first record contract. We suggested them to Decca, 'cuz Decca had blown it by refusing us, so they had tried to save face by asking George, 'Know any other groups?' He said, 'Well, there is this group called the Stones.' So that's how they got their first contract. Anyway, John and I gave them maybe not their first record, but I think the first they got on the charts with. They don't tell anybody about it these days; they prefer to be more ethnic. But you and I know the real truth.' I wanna be your lover baby I wanna be your man I wanna be your lover baby I wanna be your man Love you like no other baby Like no other can Love you like no other baby Like no other canI wanna be your man, I wanna be your man I wanna be your man, I wanna be your manTell me that you love me baby Let me understand Tell me that you love me baby I wanna be your man I wanna be your lover baby I wanna be your man I wanna be your lover baby I wanna be your manI wanna be your man, I wanna be your man I wanna be your man, I wanna be your manI wanna be your lover baby I wanna be your man I wanna be your lover baby I wanna be your man Love you like no other baby Like no other can Love you like no other baby Like no other canI wanna be your man, I wanna be your man I wanna be your man, I wanna be your man I wanna be your man, I wanna be your man JOHN 1980: 'That 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 I been told when a boy kiss a girl Take a trip around the world Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)My girl says when I kiss her lips Gets a thrill through her fingertips Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)Well, I talk about boys Don't ya know I mean boys Well, I talk about boys, now Aaahhh, boys Well, I talk about boys, now What a bundle of joy! (Alright, George!)My girl says when I kiss her lips Gets a thrill through her fingertips Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)Well, I talk about boys Don't ya know I mean boys Well, I talk about boys, now Aaahhh, boys Well, I talk about boys, now What a bundle of joy!Oh, oh, ah yeah boys Don't ya know I mean boys? Ooh, boys Ah ha Well I talk about boys now 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 Rock And Roll Music (Chuck Berry) Just let me hear some of that rock and roll music Any old way you choose it It's got a back beat, you can't lose it Any old time you use it It's gotta be rock and roll music If you wanna dance with me If you wanna dance with meI've got no kick against modern jazz Unless they try to play it too darn fast And lose the beauty of the melody Until they sound just like a symphonyThat's why I go for that that rock and roll music Any old way you choose it It's got a back beat, you can't lose it Any old time you use it It's gotta be rock and roll music If you wanna dance with me If you wanna dance with meI took my loved one over across the tracks So she can hear my man awail a sax I must admit they have a rocking band Man, they were blowing like a hurricaneThat's why I go for that that rock and roll music Any old way you choose it It's got a back beat, you can't lose it Any old time you use it It's gotta be rock and roll music If you wanna dance with me If you wanna dance with meWay down South they had a jubilee The jokey folks they had a jamboree They're drinking home brew from a water cup The folks dancing there are all shook upAnd started playing that that rock and roll music Any old time you use it It's got a back beat, you can't lose it Any old time you use it It's gotta be rock and roll music If you wanna dance with me If you wanna dance with meDon't care to hear them play a tango And In the Mood they take a mambo It's way to early for a congo So keep a rocking that pianoThat's why I go for that that rock and roll music Any old time you use it It's got a back beat, you can't lose it Any old time you use it Gotta be rock and roll music If you wanna dance with me If you wanna dance with me 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 The best things in life are free But you can keep 'em for the birds and beesNow give me money (that's what I want) That's what I want (that's what I want) That's what I want (that's what I want) yeah That's what I wantYour loving give me a thrill, But your loving don't pay my billsNow give me money (that's what I want) That's what I want (that's what I want) That's what I want (that's what I want) yeah That's what I wantMoney don't get everything it's true What it don't get I can't useNow give me money (that's what I want) That's what I want (that's what I want) That's what I want (that's what I want) yeah That's what I wantWell, now give me money (that's what I want) Whole lot of money (that's what I want) Whoah yeah, I wanna be free (that's what I want) Oh, money (that's what I want) That's what I want, yeah (that's what I want) That's what I wantWell, now give me money (that's what I want) Whole lot of money (that's what I want, whoo) Whoah, yeah, you know I need money (that's what I want) Now give me money (that's what I want, whoo) That's what I want, yeah (that's what I want) That's what I want 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 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 Roll Over Beethoven (Chuck Berry) Well gonna write a little letter Gonna mail it to my local D.J. It's a rocking little record I want my jockey to play Roll over Beethoven Gotta hear it again todayYou know my temperature's rising And the jukebox blows a fuse My heart beating rhythm While my soul keeps singing the blues Roll over Beethoven And tell Tchaikovsky the newsI got a rocking pneumonia I need a shot of rhythm and blues I think I caught it off the writer Sittin' down by the rhythm reviews Roll over Beethoven We're rockin' in two by twoWell if you feel it and like it Well get your lover and reel and rock it Roll it over and move on up Just triffle further and reel and rock it Roll it over Roll over Beethoven A rocking in two by two - OooWell early in the morning I'm a giving you the warning Don't you step on my blue suede shoes Hey diddle diddle I'll play my fiddle Ain't got nothing to lose Roll over Beethoven And tell Tchaikovsky the newsYou know she wiggles like a glow worm Dance like a spinning top She's got a crazy partner Oughta see them reel an rock Long as she's got a dime The music will never stop Roll over Beethoven Roll over Beethoven Roll over Beethoven Roll over Beethoven Roll over Beethoven Dig to these rhythm and blues Dizzy Miss Lizzy (Larry Williams) You make me dizzy, Miss Lizzy The way you rock and roll You make me dizzy, Miss Lizzy When we do the stroll Come on, Miss Lizzy Love me before I grow too oldCome on, give me fever Put your little hand in mine You make me dizzy, dizzy Lizzy Oh girl, you look so fine Just a-rocking and a-rolling Girl I said I wish you were mineYou make me dizzy, Miss Lizzy When you call my name Oooooh baby Say you're driving me insane C'mon, c'mon, c'mon, c'mon baby I want to be your lover manRun and tell your mama I want you to be my bride Run and tell your brother Baby, don't run and hide You make me dizzy, Miss Lizzy Girl I want to marry youCome on, give me fever Put your little hand in mine, girl You make me dizzy, dizzy Lizzy Girl, you look so fine You're just a-rocking and a-rolling Oh I said I wish you were mine JOHN 1980: 'An effort at writing 'It Won't Be Long' – same ilk. C to A minor, C to A minor with me shouting.' Any time at all, any time at all Any time at all, all you've gotta do is call and I'll be thereIf you need somebody to love Just look into my eyes I'll be there to make you feel rightIf you're feeling sorry and sad I'd really sympathize Don't you be sad, just call me tonightAny time at all, any time at all Any time at all, all you've gotta do is call and I'll be thereIf the sun has faded away I'll try to make it shine There's nothing I won't do When you need a shoulder to cry on I hope it will be mine Call me tonight, and I'll come to youAny time at all, any time at all Any time at all, all you've gotta do is call and I'll be thereAny time at all, any time at all Any time at all, all you've gotta do is call and I'll be there Any time at all, all you've gotta do is call and I'll be there GEORGE 1977: 'If Paul had written a song, he'd learn all the parts and then come in the studio and say 'Do this.' He'd never give you the opportunity to come out with something. But on 'Drive My Car' I just played the line, which is really like a lick off 'Respect,' you know, the Otis Redding version. And I played the line on the guitar and Paul laid that with me on the bass. We laid that track down like that. We played the lead part later on top of it.'JOHN 1980: 'His (Paul's) song, with contributions from me.'PAUL circa-1994: 'This is one of the songs where John and I came nearest to having a dry session. The lyrics I brought in were something to do with golden rings, which are always fatal (to songwriting). 'Rings' is fatal anyway, 'rings' always rhymes with things and I knew it was a bad idea. I came in and I said, 'These aren't good lyrics but it's a good tune.' Well, we tried, and John couldn't think of anything, and we tried, and eventually it was, 'Oh let's leave it, let's get off this one.' 'No, no. We can do it, we can do it.' So we had a break… then we came back to it, and somehow it became 'drive-my-car' instead of 'gol-den-rings,' and then it was wonderful – because this nice tongue-in-cheek idea came.' Asked a girl what she wanted to be She said baby, "Can't you see I wanna be famous, a star of the screen But you can do something in between"Baby you can drive my car Yes I'm gonna be a star Baby you can drive my car And maybe I'll love youI told the girl that my prospects were good She said baby, "It's understood Working for peanuts is all very fine But I can show you a better time"Baby you can drive my car Yes I'm gonna be a star Baby you can drive my car And maybe I'll love you Beep beep mm, beep beep yeahBaby you can drive my car Yes I'm gonna be a star Baby you can drive my car And maybe I'll love youI told that girl I can start right away And she said, "Listen baby I've got something to say I got no car and it's breaking my heart But I've found a driver and that's a start"Baby you can drive my car Yes I'm gonna be a star Baby you can drive my car And maybe I'll love you Beep beep mm beep beep yeah Beep beep mm beep beep yeah Beep beep mm beep beep yeah Beep beep mm beep beep yeah (fade out) Everybody's Trying to Be My Baby (Carl Perkins) Well they took some honey from a tree Dressed it up and they called it meEverybody's trying to be my baby Everybody's trying to be my baby Everybody's trying to be my baby nowWoke up last night, half past four Fifty women knocking on my doorEverybody's trying to be my baby Everybody's trying to be my baby Everybody's trying to be my baby now[Instrumental/solo]Went out last night I didn't stay late 'Fore I got home I had nineteen datesEverybody's trying to be my baby Everybody's trying to be my baby Everybody's trying to be my baby now[Instrumental/solo]Went out last night I didn't stay late 'fore I got home I had nineteen datesEverybody's trying to be my baby Everybody's trying to be my baby Everybody's trying to be my baby nowWell they took some honey from a tree Dressed it up and they called it meEverybody's trying to be my baby Everybody's trying to be my baby Everybody's trying to be my baby now JOHN 1965: ''The Night Before' that Paul does is good.'PAUL circa-1994: 'I would say that's mainly mine. I don't think John had alot to do with that.' We said our goodbyes, ah, the night before Love was in your eyes, ah, the night before Now today I find you have changed your mind Treat me like you did the night beforeWere you telling lies, ah, the night before? Was I so unwise, ah, the night before? When I held you near you were so sincere Treat me like you did the night beforeLast night is a night I will remember you by When I think of things we did it makes me wanna cryWe said our goodbye, ah, the night before Love was in your eyes, ah, the night before Now today I find you have changed your mind Treat me like you did the night beforeYesWhen I held you near you were so sincere Treat me like you did the night beforeLast night is a night I will remember you by When I think of things we did it makes me wanna cryWere you telling lies, ah, the night before? Was I so unwise, ah, the night before? When I held you near you were so sincere Treat me like you did the night before Like the night before 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 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 PAUL 1968: 'Chuck Berry once did a song called 'Back In The USA,' which is very American, very Chuck Berry. Very sort of, uhh… you know, you're serving in the army, and when I get back home I'm gonna kiss the ground. And you know – Can't wait to get back to the States. And it's a very American sort of thing, I've always thought. So this one is like about… In my mind it's just about a spy who's been in America a long long time, you know, and he's picked up… And he's very American. But he gets back to the USSR, you know, and he's sort of saying, 'Leave it till tomorrow, honey, to disconnect the phone,' and all that. And 'Come here honey,' but with Russian women. It concerns the attributes of Russian women.'JOHN 1980: 'Paul completely. I play the six-string bass on that.'PAUL 1984: 'I wrote that as a kind of Beach Boys parody. And 'Back in the USA' was a Chuck Berry song, so it kinda took off from there. I just liked the idea of Georgia girls and talking about places like the Ukraine as if they were California, you know? It was also hands across the water, which I'm still conscious of. 'Cuz they like us out there, even though the bosses in the Krelmin may not. The kids do.'PAUL 1986: 'I'm sure it pissed Ringo off when he couldn't quite get the drums to 'Back In The U.S.S.R.' and I sat in. It's very weird to know that you can do a thing someone else is having trouble with. If you go down and do it, just bluff right through it, you think, 'What the hell, at least I'm helping.' Then the paranoia comes in – 'But I'm going to show him up!' I was very sensitive to that.' Oh, flew in from Miami Beach B.O.A.C. Didn't get to bed last night On the way the paper bag was on my knee Man I had a dreadful flight I'm back in the U.S.S.R. You don't know how lucky you are boy Back in the U.S.S.R. (Yeah)Been away so long I hardly knew the place Gee it's good to be back home Leave it till tomorrow to unpack my case Honey disconnect the phone I'm back in the U.S.S.R. You don't know how lucky you are boy Back in the U.S. Back in the U.S. Back in the U.S.S.R.Well the Ukraine girls really knock me out They leave the West behind And Moscow girls make me sing and shout That Georgia's always on my mindAw come on! Ho yeah! Ho yeah! Ho ho yeah! Yeah yeah!Yeah I'm back in the U.S.S.R. You don't know how lucky you are boys Back in the U.S.S.R.Well the Ukraine girls really knock me out They leave the West behind And Moscow girls make me sing and shout That Georgia's always on my mindOh, show me around your snow-peaked mountains way down south Take me to your daddy's farm Let me hear your balalaika's ringing out Come and keep your comrade warm I'm back in the U.S.S.R. Hey you don't know how lucky you are boys Back in the U.S.S.R.Oh let me tell you, honey Hey, I'm back! I'm back in the U.S.S.R. Yes, I'm free! Yeah, back in the U.S.S.R.Ha ha PAUL 1968: 'Umm, that came about just 'cuz I'd read a review of a record which said, 'And this group really got us wild, there's echo on everything, they're screaming their heads off.' And I just remember thinking, 'Oh, it'd be great to do one. Pity they've done it. Must be great – really screaming record.' And then I heard their record and it was quite straight, and it was very sort of sophisticated. It wasn't rough and screaming and tape echo at all. So I thought, 'Oh well, we'll do one like that, then.' And I had this song called 'Helter Skelter' which is just a ridiculous song. So we did it like that, 'cuz I like noise.'JOHN 1980: 'That's Paul completely. All that (Charles) Manson stuff was built 'round George's song about pigs and this one… Paul's song about an English fairground. It has nothing to do with anything, and least of all to do with me.'PAUL 1985: 'The Who had made some track that was the loudest, the most raucous rock 'n roll, the dirtiest thing they'd ever done. It made me think, 'Right. Got to do it.' I like that kind of geeking up. And we decided to do the loudest, nastiest, sweatiest rock number we could.' When I get to the bottom I go back to the top of the slide Where I stop and I turn and I go for a ride Till I get to the bottom and I see you again Yeah yeah yeah heyDo you, don't you want me to love you I'm coming down fast but I'm miles above you Tell me tell me tell me come on tell me the answer Well you may be a lover but you ain't no dancerNow helter skelter helter skelter Helter skelter yeah Ooh!Will you, won't you want me to make you I'm coming down fast but don't let me break you Tell me tell me tell me the answer You may be a lover but you ain't no dancerLook out helter skelter helter skelter Helter skelter oohLook out, cos here she comesWhen I get to the bottom I go back to the top of the slide And I stop and I turn and I go for a ride And I get to the bottom and I see you again Yeah yeah yeahWell do you, don't you want me to make you I'm coming down fast but don't let me break you Tell me tell me tell me the answer You may be a lover but you ain't no dancerLook out helter skelter helter skelter Helter skelterLook out helter skelter She's coming down fast Yes she is Yes she is coming down fast(My head is spinning, ooh...Ha ha ha, ha ha ha, alright!I got blisters on my fingers!) GEORGE 1980: ''Taxman' was when I first realized that even though we had started earning money, we were actually giving most of it away in taxes. It was and still is typical.'JOHN 1980: 'I remember the day he (George) called to ask for help on 'Taxman,' one of his first songs. I threw in a few one-liners to help the song along because that's what he asked for. He came to me because he couldn't go to Paul. Paul wouldn't have helped him at that period. I didn't want to do it. I just sort of bit my tongue and said OK. It had been John and Paul for so long, he'd been left out because he hadn't been a songwriter up until then.'PAUL 1984: 'George wrote that and I played guitar on it. He wrote it in anger at finding out what the taxman did. He had never known before then what could happen to your money.'GEORGE 1987: 'I was pleased to have Paul play that bit on 'Taxman.' If you notice, he did like a little Indian bit on it for me.' 1,2,3,4Hrmm!1,2...1,2,3,4.Let me tell you how it will be There's one for you, nineteen for me Cos I'm the taxman, yeah, I'm the taxmanShould five per cent appear too small Be thankful I don't take it all Cos I'm the taxman, yeah I'm the taxmanIf you drive a car, I'll tax the street If you try to sit, I'll tax your seat If you get too cold I'll tax the heat If you take a walk, I'll tax your feetTaxman! Cos I'm the taxman, yeah I'm the taxmanDon't ask me what I want it for (Aahh Mr. Wilson) If you don't want to pay some more (Aahh Mr. Heath) Cos I'm the taxman, yeah, I'm the taxmanNow my advice for those who die Declare the pennies on your eyes Cos I'm the taxman, yeah, I'm the taxmanAnd you're working for no one but me Taxman! JOHN 1968: 'We were doing our Tamla Motown bit. You see, we're influenced by whatever's going. Even if we're not influenced, we're all going that way at a certain time.'JOHN 1972: 'I think George and I helped with some of the lyrics. I'm not sure.'JOHN 1980: 'Paul. I think that was one of his best songs, too, because the lyrics are good and I didn't write them. You see? When I say that he could write lyrics if he took the effort – here's an example.'PAUL 1984: 'That's mine – I wrote it. It was the first one we used brass on, I think. One of the first times we used soul trumpets.'PAUL circa-1994: 'I'd been a rather straight working class lad, but when we started to get into pot it seemed to me to be quite uplifting. It didn't seem to have too many side effects like alcohol or some of the other stuff, like pills, which I pretty much kept off. I kind of liked marijuana and to me it seemed it was mind-expanding, literally mind-expanding. So 'Got To Get You Into My Life' is really a song about that. It's not to a person, it's actually about pot. It's saying, 'I'm going to do this. This is not a bad idea.' So it's actually an ode to pot, like someone else might write an ode to chocolate or a good claret. I haven't really changed my opinion too much, except if anyone asks me for real advice, it would be stay straight. That is actually the best way, but in a stressful world I still would say that pot was one of the best of the tranquilizing drugs. I have drunk and smoked pot and of the two I think pot is less harmful. People tend to fall asleep on it rather than go out and commit murder, so it's always seemed to me to be a rather benign one.' I was alone, I took a ride I didn't know what I would find there Another road where maybe I could see another kind of mind thereOoh, then I suddenly see you Ooh, did I tell you I need you Every single day of my lifeYou didn't run, you didn't lie You knew I wanted just to hold you And had you gone you knew in time we'd meet again For I had told youOoh, you were meant to be near me Ooh, and I want you to hear me Say we'll be together every dayGot to get you into my lifeWhat can I do, what can I be When I'm with you I want to stay there If I'm true I'll never leave And if I do I know the way thereOoh, then I suddenly see you Ooh, did I tell you I need you Every single day of my lifeGot to get you into my life Got to get you into my lifeI was alone, I took a ride I didn't know what I would find there Another road where maybe I could see another kind of mind thereThen suddenly I see you Did I tell you I need you Every single day? 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! PAUL 1968: 'What happened was 'The Girl Can't Help It' was on television. That's an old rock film with Little Richard and Fats Domino and Eddie Cochran and a few others… and we wanted to see it, so we started recording at five o'clock. And we said, 'We'll do something, We'll make up a backing track.' So we kept it very simple – twelve bar blues kind of thing. And we stuck in a few bits here and there in it, with no idea what the song was or what was gonna go on top of it. We just said, 'Okay. Twelve bars in A, and we'll change to D, and I'm gonna do a few beats in C.' And we really just did it like that… random thing. And we came back here to my house and watched 'The Girl Can't Help It.' Then we went back to the studio again and made up some words to go with it all. So this song was just made up in an evening. Umm, you know. We hadn't ever thought of it before then. And it's one of my favorites because of that. I think it works, you know, 'cuz it's just… It's a good one to dance to. Like the big long drum break, just 'cuz, normally we might have four bars of drums, but with this we just keep it going, you know. We all like to hear drums plodding on.'JOHN 1972: 'Both of us (wrote it.)'JOHN 1980: ''Birthday' was written in the studio. Just made up on the spot. I think Paul wanted to write a song like 'Happy Birthday Baby,' the old fifties hit. But it was sort of made up in the studio. It was a piece of garbage.'PAUL circa-1994: 'We thought, 'Why not make something up?' So we got a riff going and arranged it around this riff. So that is 50-50 John and me, made up on the spot and recorded all in the same evening.' They say it's your birthday It's my birthday too, yeah They say it's your birthday We're gonna have a good time I'm glad it's your birthday Happy birthday to youAh Ah Ah Come on Come onYes we're going to a party party Yes we're going to a party party Yes we're going to a party partyI would like you to dance (Birthday) Take a cha-cha-cha-chance (Birthday) I would like you to dance (Birthday) Dance yeahOh Come onI would like you to dance (Birthday) Take a cha-cha-cha-chance (Birthday) I would like you to dance (Birthday) Oh dance! DanceThey say it's your birthday Well it's my birthday too, yeah They say it's your birthday We're gonna have a good time I'm glad it's your birthday Happy birthday to you |
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