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The Beatles Lyrics, album "Rubber Soul"

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Cover of the Beatles album - "Rubber Soul"
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 you

I 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 yeah

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

I 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)

Norwegian Wood (This Bird Has Flown)
(John Lennon and Paul McCartney)
JOHN 1972: 'Me.
But Paul helped me on the lyric.'

GEORGE 1980: 'I had bought, earlier, a crummy sitar in London… and played the 'Norwegian Wood' bit.'

JOHN 1980: ''Norwegian Wood' is my song completely.
It was about an affair I was having.
I was very careful and paranoid because I didn't want my wife, Cyn, to know that there really was something going on outside of the household.
I'd always had some kind of affairs going on, so I was trying to be sophisticated in writing about an affair… but in such a smoke-screen way that you couldn't tell.
But I can't remember any specific woman it had to do with.'

PAUL 1985: 'It was me who decided in 'Norwegian Wood' that the house should burn down… not that it's any big deal.'

I once had a girl
Or should I say
She once had me

She showed me her room
Isn't it good
Norwegian wood

She asked me to stay
And she told me to sit anywhere
So I looked around
And I noticed there wasn't a chair

I sat on a rug
Biding my time
Drinking her wine

We talked until two
And then she said
"It's time for bed"

She told me she worked in the morning
And started to laugh
I told her I didn't
And crawled off to sleep in the bath

And when I awoke
I was alone
This bird had flown

So I lit a fire
Isn't it good
Norwegian wood

You Won't See Me
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'Paul.'

PAUL circa-1994: 'Normally I write on guitar and have full chords, or on piano and have full chords, but this was written around two little notes, a very slim phrase – a two-note progression that I had very high on the first two strings of the guitar… Then I wrote the tune for 'You Won't See Me' against it.
It was 100 percent me, but I am always happy to give John a credit because there's always a chance that on the session he might have said, 'That'd be better.''

When I call you up
Your line's engaged
I have had enough
So act your age
We have lost the time
That was so hard to find
And I will lose my mind
If you won't see me (You won't see me)
You won't see me (You won't see me)

I don't know why you
Should want to hide
But I can't get through
My hands are tied
I won't want to stay
I don't have much to say
But I can turn away
And you won't see me (You won't see me)
You won't see me (You won't see me)

Time after time
You refuse to even listen
I wouldn't mind
If I knew what I was missing

Though the days are few
They're filled with tears
And since I lost you
It feels like years
Yes, it seems so long
Girl, since you've been gone
And I just can't go on
If you won't see me (You won't see me)
You won't see me (You won't see me)

Time after time
You refuse to even listen
I wouldn't mind
If I knew what I was missing

Though the days are few
They're filled with tears
And since I lost you
It feels like years
Yes, it seems so long
Girl, since you've been gone
And I just can't go on
If you won't see me (You won't see me)
You won't see me (You won't see me)

Nowhere Man
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'I'd spent five hours that morning trying to write a song that was meaningful and good, and I finally gave up and lay down.
Then 'Nowhere Man' came, words and music… the whole damn thing, as I lay down.
So letting it go is what the whole game is.
You put your finger on it, it slips away, right? You know, you turn the lights on and the cockroaches run away.
You can never grasp them.'

PAUL 1984: 'That was John after a night out, with dawn coming up.
I think at that point in his life, he was a bit wondering where he was going.'

PAUL 1988: 'I remember we wanted very treble-y guitars – which they are – they're among the most treble-y guitars I've ever heard on record.
The engineer said, 'Alright, I'll put full treble on it,' and we said, 'That's not enough.' He said, 'But that's all I've got.' And we replied, 'Well, put that through another lot of faders and put full treble up on that.
And if that's not enough we'll go through another lot of faders.' They said, 'We don't do that,' and we would say, 'Just try it… if it sounds crappy we'll lose it, but it might just sound good.' You'd then find, 'Oh it worked,' and they were secretly glad because they had been the engineer who put three times the allowed value of treble on a song.
I think they were quietly proud of those things.'

He's a real nowhere man
Sitting in his nowhere land
Making all his nowhere plans for nobody

Doesn't have a point of view
Knows not where he's going to
Isn't he a bit like you and me?

Nowhere Man, please listen
You don't know what you're missing
Nowhere Man, the world is at your command

He's as blind as he can be
Just sees what he wants to see
Nowhere Man can you see me at all?

Nowhere Man, don't worry
Take your time, don't hurry
Leave it all till somebody else lends you a hand

Doesn't have a point of view
Knows not where he's going to
Isn't he a bit like you and me?

Nowhere Man, please listen
You don't know what you're missing
Nowhere Man, the world is at your command

He's a real Nowhere Man
Sitting in his nowhere land
Making all his nowhere plans for nobody
Making all his nowhere plans for nobody
Making all his nowhere plans for nobody

Think For Yourself
(George Harrison)
GEORGE 1980: ''Think For Yourself' must be written about somebody from the sound of it – but all this time later I don't quite recall who inspired that tune.
Probably the government.'

I've got a word or two
To say about the things that you do
You're telling all those lies
About the good things that we can have
If we close our eyes

Do what you want to do
And go where you're going to
Think for yourself
Cos I won't be there with you

I left you far behind
The ruins of the life that you have in mind
And though you still can't see
I know your mind's made up
You're gonna cause more misery

Do what you want to do
And go where you're going to
Think for yourself
Cos I won't be there with you

Although your mind's opaque
Try thinking more if just for your own sake
The future still looks good
And you've got time to rectify
All the things that you should

Do what you want to do
And go where you're going to
Think for yourself
Cos I won't be there with you

Do what you want to do
And go where you're going to
Think for yourself
Cos I won't be there with you
Think for yourself
Cos I won't be there with you

JOHN 1980: ''The Word' was written together (with Paul), but it's mainly mine.
You read the words, it's all about gettin' smart.
It's the marijuana period.
It's love.
It's a love and peace thing.
The word is 'love,' right?'

PAUL circa-1994: 'We smoked a bit of pot, then we wrote out a multi-colored lyric sheet, the first time we'd ever done that.
We normally didn't smoke when we were working.'

Say the word and you'll be free
Say the word and be like me
Say the word I'm thinking of
Have you heard the word is love?
It's so fine, it's sunshine
It's the word, love

In the beginning I misunderstood
But now I've got it, the word is good

Spread the word and you'll be free
Spread the word and be like me
Spread the word I'm thinking of
Have you heard the word is love?
It's so fine, it's sunshine
It's the word, love

Everywhere I go I hear it said
In the good and bad books that I have read

Say the word and you'll be free
Say the word and be like me
Say the word I'm thinking of
Have you heard the word is love?
It's so fine, it's sunshine
It's the word, love

Now that I know what I feel must be right
I'm here to show everybody the light

Give the word a chance to say
That the word is just the way
It's the word I'm thinking of
And the only word is love
It's so fine, it's sunshine
It's the word, love

Say the word, love
Say the word, love
Say the word, love
Say the word, love

JOHN 1972: 'Both of us.
I wrote the middle with him.'

PAUL 1977: ''Michelle' was like a joke French tune for when you go to a party or something.
That's all it was.
And then after a while you say, 'Well, that's quite a good tune.
Let's put some real words to it.''

JOHN 1980: 'He and I were staying somewhere and he walked in and hummed the first few bars, with the words, and he says, 'Where do I go from here?' I had been listening to (blues singer) Nina Simone.
I think it was 'I Put A Spell On You.' There was a line in it that went, 'I love you, I love you.' That's what made me think of the middle-eight for 'Michelle.' So, my contributions to Paul's songs was always to add a little bluesy edge to them.
Otherwise, 'Michelle' is a straight ballad, right? He provided a lightness, an optimism, while I would always go for the sadness, the discords, the bluesy notes.'

PAUL 1988: 'I'll never forget putting the bass line in 'Michelle' because it was a kind of Bizet thing.
It really turned the song around.
You could do that with bass.
It was very exciting.'

Michelle, ma belle
These are words that go together well
My Michelle

Michelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensemble

I love you, I love you, I love you
That's all I want to say
Until I find a way
I will say the only words I know that
You'll understand

Michelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensemble

I need to, I need to, I need to
I need to make you see
Oh, what you mean to me
Until I do I'm hoping you will
Know what I mean

I love you

I want you, I want you, I want you
I think you know by now
I'll get to you somehow
Until I do I'm telling you so
You'll understand

Michelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensemble

And I will say the only words I know
That you'll understand, my Michelle

RINGO 1966: 'I contributed about five words to 'What Goes On.' (laughs) And I haven't done a thing since!'

JOHN 1972: 'A very early song of mine.
Ringo and Paul wrote a new middle-eight together when we recorded it.'

JOHN 1980: 'That was an early Lennon, written before the Beatles when we were the Quarrymen or something like that.
And resurrected with a middle-eight thrown in, probably with Paul's help, to give Ringo a song… and also to use the bits, because I never liked to waste anything.'

What goes on in your heart?
What goes on in your mind?
You are tearing me apart
When you treat me so unkind
What goes on in your mind?

The other day I saw you
As I walked along the road
But when I saw him with you
I could feel my future fold
It's so easy for a girl like you to lie
Tell me why

What goes on in your heart?
What goes on in your mind?
You are tearing me apart
When you treat me so unkind
What goes on in your mind?

I met you in the morning
Waiting for the tides of time
But now the tide is turning
I can see that I was blind
It's so easy for a girl like you to lie
Tell me why

What goes on in your heart?

I used to think of no one else
But you were just the same
You didn't even think of me
As someone with a name
Did you mean to break my heart and watch me die
Tell me why

What goes on in your heart?
What goes on in your mind?
You are tearing me apart
When you treat me so unkind
What goes on in your mind?

JOHN 1980: 'That's me, writing about this dream girl – the one that hadn't come yet.
It was Yoko.'

PAUL circa-1994: 'It was John's original idea, but it was very much co-written.
I remember writing 'the pain and pleasure,' and 'a man must break his back.' …It was amusing to see if we could get a naughty word on the record.
The Beach Boys had a song out where they'd done 'la la la la' and we loved the innocence of that and wanted to copy it but not use the same phrase.
So we were looking around for another phrase – 'dit dit dit dit,' which we decided to change it in our waggishness to 'tit tit tit tit.' And it gave us a laugh.
It was good to get some light relief in the middle of this real big career that we were forging.
If we could put in something that was a little bit subversive then we would.
George Martin would say, 'Was that dit-dit or tit-tit you were singing?' 'Oh! dit-dit George, but it does sound a bit like that, doesn't it?' Then we'd get in the car and break down laughing.'

Is there anybody going to listen to my story
All about the girl who came to stay?
She's the kind of girl you want so much it makes you sorry
Still, you don't regret a single day

Ah, girl, girl, girl

When I think of all the times I tried so hard to leave her
She will turn to me and start to cry
And she promises the earth to me and I believe her
After all this time I don't know why

Ah, girl, girl, girl

She's the kind of girl who puts you down
When friends are there,
You feel a fool
When you say she's looking good
She acts as if it's understood.
She's cool, ooh, ooh, ooh

Ah, girl, girl, girl

Was she told when she was young that pain would lead to pleasure?
Did she understand it when they said
That a man must break his back to earn his day of leisure?
Will she still believe it when he's dead?

Ah, girl, girl, girl

I'm Looking Through You
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'Paul.
He must have had an argument with Jane Asher.'

PAUL circa-1994: 'As is one's wont in relationships, you will from time to time argue or not see eye to eye on things, and a couple of the songs around this period were that kind of thing… I would write it out in a song and then I've got rid of the emotion.
I don't hold grudges so that gets rid of that little bit of emotional baggage… I think it's my song totally.
I don't remember any of John's assistance.'

I'm looking through you, where did you go?
I thought I knew you, what did I know?
You don't look different, but you have changed
I'm looking through you, you're not the same

Your lips are moving, I cannot hear
Your voice is soothing, but the words aren't clear
You don't sound different, I've learned the game
I'm looking through you, you're not the same

Why, tell me why, did you not treat me right?
Love has a nasty habit of disappearing overnight

You're thinking of me, the same old way
You were above me, but not today
The only difference is you're down there
I'm looking through you, and you're nowhere

Why, tell me why, did you not treat me right?
Love has a nasty habit of disappearing overnight

I'm looking through you, where did you go
I thought I knew you, what did I know
You don't look different, but you have changed
I'm looking through you, you're not the same

Yeah
Oh baby I'm changed
Ah I'm looking through you
Yeah I'm looking through you

In My Life
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'It was the first song I wrote that was consciously about my life.
(Sings) 'There are places I'll remember/ All my life though some have changed…' Before, we were just writing songs a la Everly Brothers, Buddy Holly – pop songs with no more thought to them than that.
The words were almost irrelevant.
'In My Life' started out as a bus journey from my house at 250 Menlove Avenue to town, mentioning every place I could remember.
I wrote it all down and it was ridiculous… it was the most boring sort of 'What I Did On My Holiday's Bus Trip' song and it wasn't working at all.
But then I laid back and these lyrics started coming to me about the places I remember.
Paul helped with the middle-eight.
It was, I think, my first real major piece of work.
Up till then it had all been sort of glib and throw-away.
And that was the first time I consciously put my literary part of myself into the lyric.'

PAUL 1984: 'I think I wrote the tune to that; that's the one we slightly dispute.
John either forgot or didn't think I wrote the tune.
I remember he had the words, like a poem… sort of about faces he remembered.
I recall going off for half an hour and sitting with a Mellotron he had, writing the tune… which was Miracles inspired, as I remember.
In fact, a lot of stuff was then.'

There are places I'll remember
All my life though some have changed
Some forever not for better
Some have gone and some remain

All these places had their moments
With lovers and friends I still can recall
Some are dead and some are living
In my life I've loved them all

But of all these friends and lovers
There is no one compares with you
And these memories lose their meaning
When I think of love as something new

Though I know I'll never lose affection
For people and things that went before
I know I'll often stop and think about them
In my life I love you more

Though I know I'll never lose affection
For people and things that went before
I know I'll often stop and think about them
In my life I love you more

In my life I love you more

It's been a long time
Now I'm coming back home
I've been away now
Oh how, I've been alone

Wait till I come back to your side
We'll forget the tears we've cried

But if your heart breaks
Don't wait, turn me away
And if your heart's strong
Hold on, I won't delay

Wait till I come back to your side
We'll forget the tears we've cried

I feel as though
You ought to know
That I've been good
As good as I can be
And if you do
I'll trust in you
And know that you
Will wait for me

It's been a long time
Now I'm coming back home
I've been away now
Oh how, I've been alone

Wait till I come back to your side
We'll forget the tears we've cried

I feel as though
You ought to know
That I've been good
As good as I can be
And if you do
I'll trust in you
And know that you
Will wait for me

But if your heart breaks
Don't wait, turn me away
And if your heart's strong
Hold on, I won't delay

Wait till I come back to your side
We'll forget the tears we've cried

It's been a long time
Now I'm coming back home
I've been away now
Oh how, I've been alone

If I Needed Someone
(George Harrison)
GEORGE 1980: ''If I Needed Someone' is like a million other songs written around a D chord.
If you move your finger about you get various little melodies.
That guitar line, or variations on it, is found in many a song, and it amazes me that people still find new permutations of the same notes.'

If I needed someone to love
You're the one that I'd be thinking of
If I needed someone

If I had some more time to spend
Then I guess I'd be with you my friend
If I needed someone

Had you come some other day
Then it might not have been like this
But you see now I'm too much in love

Carve your number on my wall
And maybe you will get a call from me
If I needed someone
Ah, ah, ah, ah

If I had some more time to spend
Then I guess I'd be with you my friend
If I needed someone

Had you come some other day
Then it might not have been like this
But you see now I'm too much in love

Carve your number on my wall
And maybe you will get a call from me
If I needed someone
Ah, ah

Run For Your Life
(John Lennon)
(Officially – John Lennon and Paul McCartney)
JOHN 1980: 'It has a line from an old Presley song.
'I'd rather see you dead little girl than to be with another man' is a line from an old blues song that Presley did once.
Just sort of a throw-away song of mine that I never thought much of… but it was always a favorite of George's.'

Well I'd rather see you dead, little girl
Than to be with another man
You better keep your head, little girl
Or I won't know where I am

You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end ah little girl

Well I know that I'm a wicked guy
And I was born with a jealous mind
And I can't spend my whole life
Trying just to make you toe the line

You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end ah little girl

Let this be a sermon
I mean everything I've said
Baby, I'm determined
And I'd rather see you dead

You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end ah little girl

I'd rather see you dead, little girl
Than to be with another man
You better keep your head, little girl
Or you won't know where I am

You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end ah little girl
Nah nah nah
Nah nah nah
Nah nah nah
Nah nah nah (fade out)

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