The Beatles Lyrics, album "The Beatles at Shea Stadium"

Cover of the Beatles album - "The Beatles at Shea Stadium"

Twist And Shout
(Bert Russell and Phil Medley)

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, 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)

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

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

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

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 old

Come 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 mine

You 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 man

Run 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 you

Come 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

Ticket to Ride
(John Lennon and Paul McCartney)

GEORGE 1965: 'We are always worried with each record.
With 'Ticket To Ride' we were even more worried.
There's bound to be a time when we come in at 19 (on the charts).
But this 'number one' business doesn't seem to stop – great while it lasts – but now we'll have to start all over again and people will start predicting funny things for the next one.'

JOHN 1970: 'It's a heavy record, and the drums are heavy too.
That's why I like it.'

JOHN 1980: 'That was one of the earliest heavy-metal records made.
Paul's contribution was the way Ringo played the drums.'

PAUL circa-1994: 'I think the interesting thing is the crazy ending – instead of ending like the previous verse, we changed the tempo.
We picked up one of the lines, 'My baby don't care,' but completely altered the melody.
We almost invented the idea of a new bit of a song on the fade-out with this song… It was quite radical at the time.'

I think I'm gonna be sad
I think it's today, yeah
The girl that's driving me mad
Is going away

She's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

She said that living with me
Is bringing her down, yeah
For she would never be free
When I was around

She's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

I don't know why she's riding so high
She ought to think twice
She ought to do right by me
Before she gets to saying goodbye
She ought to think twice
She ought to do right by me

I think I'm gonna be sad
I think it's today, yeah
The girl that's driving me mad
Is going away, yeah

Oh, she's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

I don't know why she's riding so high
She ought to think twice
She ought to do right by me
Before she gets to saying goodbye
She ought to think twice
She ought to do right by me

She said that living with me
Is bringing her down, yeah
For she would never be free
When I was around

Ah, she's got a ticket to ride
She's got a ticket to ride
She's got a ticket to ride
But she don't care

My baby don't care, my baby don't care
My baby don't care, my baby don't care
My baby don't care, my baby don't care (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 me