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The Beatles Lyrics, album ""
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 JOHN 1963: 'It came to the charts in two days. And everybody thought it was a 'fiddle' because our manager's stores send in these… what is it… record returns. And everybody down south thought, 'Aha! He's just fiddling the charts.' But he wasn't.'JOHN 1972: 'Paul wrote the main structure of this when he was sixteen, or even earlier. I think I had something to do with the middle.'RINGO 1976: 'The first record, 'Love Me Do,' for me that was more important than anything else. That first piece of plastic. You can't believe how great that was. It was so wonderful. We were on a record!'JOHN 1980: ''Love Me Do' is Paul's song. He had the song around in Hamburg even, way, way before we were songwriters.'PAUL 1982: 'In Hamburg we clicked… At the Cavern we clicked… but if you want to know when we 'knew' we'd arrived, it was getting in the charts with 'Love Me Do.' That was the one. It gave us somewhere to go.'PAUL 1984: ''Love Me Do' …the first song we recorded, like, for real. First serious audition. I was very nervous, I remember. John was supposed to sing the lead, but they changed their minds and asked me to sing lead at the last minute, because they wanted John to play harmonica. Until then, we hadn't rehearsed with a harmonica; George Martin started arranging it on the spot. It was very nerve-wracking.'PAUL 1988: ''Love Me Do' was us trying to do the blues. It came out whiter because it always does. We're white, and we were just young Liverpool musicians. We didn't have the finesse to be able to actually sound black. But 'Love Me Do' was probably the first bluesy thing we tried to do.'PAUL circa-1994: 'George Martin said, 'Can anyone play a harmonica? It would be rather nice. Couldn't think of some sort of bluesy thing, could you John?' John played a chromatic harmonica… I actually had one too but he'd been clever – he learned to play it. John expected to be in jail one day and he'd be the guy who played the harmonica. The lyric crossed over the harmonica solo, so I suddenly got thrown the big open line, 'Love me do,' where everything stopped. Until that session John had always done it. I didn't even know how to sing it… I can still hear the nervousness in my voice.' Love, love me do You know I love you I'll always be true So please, love me do Whoa, love me doLove, love me do You know I love you I'll always be true So please, love me do Whoa, love me doSomeone to love Somebody new Someone to love Someone like youLove, love me do You know I love you I'll always be true So please, love me do Whoa, love me doLove, love me do You know I love you I'll always be true So please, love me do Whoa, love me do Yeah, love me do Whoa, oh, love me do JOHN 1963: 'Our recording manager (George Martin) thought our arrangement was fussy, so we tried to make it simpler. We were getting tired though, and just couldn't seem to get it right. In the following weeks we went over it again and again. We changed the tempo a little, we altered the words slightly, and we went over the idea of featuring the harmonica just as we'd done on 'Love Me Do.' By the time the session came around we were so happy with the result, we couldn't get it recorded fast enough.'JOHN 1980: ''Please Please Me' is my song completely. It was my attempt at writing a Roy Orbison song, would you believe it? I wrote it in the bedroom in my house at Menlove Avenue, which was my auntie's place. I heard Roy Orbison doing 'Only The Lonely' or something. That's where that came from. And also I was always intrigued by the words of 'Please Lend Your Ears To My Pleas,' a Bing Crosby song. I was always intrigued by the double use of the word 'please.' So it was a combination of Bing Crosby and Roy Orbison.'PAUL 1988: 'It's very Roy Orbison when you slow it down. George Martin up-tempo'd it. He thought it was too much of a dirge, and probably too like Orbison. So he cleverly speeded us up… and we put in the little scaled riff at the beginning, which was very catchy.' Last night I said these words to my girl I know you never even try, girl C'mon (C'mon), c'mon (C'mon), c'mon (C'mon), c'mon (C'mon) Please please me, oh yeah, like I please youYou don't need me to show the way, love Why do I always have to say "love" C'mon (C'mon), c'mon (C'mon), c'mon (C'mon), c'mon (C'mon) Please please me, oh yeah, like I please youI don't wanna sound complaining But you know there's always rain in my heart (In my heart) I do all the pleasing with you, it's so hard to reason With you, oh yeah, why do you make me blueLast night I said these words to my girl I know you never even try, girl C'mon (C'mon), c'mon (C'mon), c'mon (C'mon), c'mon (C'mon) Please please me, oh yeah, like I please you (Me) Whoa yeah, like I please you (Me) Whoa yeah, like I please you PAUL 1964: ''From Me To You.' It could be done as an old Ragtime tune… especially the middle-eight. And so, we're not writing the tunes in any particular idiom. In five years time, we may arrange the tunes differently. (jokingly) But we'll probably write the same old rubbish!!'JOHN 1980: 'We were writing it in a car, I think… and I think the first line was mine. I mean, I know it was mine. (humms melody) And then after that we just took it from there. We were just writing the next single. It was far bluesier than that when we wrote it. The notes, today… you could rearrange it pretty funky.'PAUL circa-1994: 'The thing I liked about 'From Me To You' was it had a very complete middle. It went to a surprising place. The opening chord of the middle section of that song heralded a new batch for me. That was a pivotal song. Our songwriting lifted a little with that song. It was very much co-written.' Da da da da da dum dum da Da da da da da dum dum daIf there's anything that you want If there's anything I can do Just call on me and I'll send it along With love from me to youI've got everything that you want Like a heart that's oh so true Just call on me and I'll send it along With love from me to youI got arms that long to hold you And keep you by my side I got lips that long to kiss you And keep you satisfied, ooohIf there's anything that you want If there's anything I can do Just call on me and I'll send it along With love from me to youFrom me, to you Just call on me and I'll send it along With love from me to youI got arms that long to hold you And keep you by my side I got lips that long to kiss you And keep you satisfied, ooohIf there's anything that you want If there's anything I can do Just call on me and I'll send it along With love from me to you To you, to you, to you JOHN 1963: 'We wrote that two days before we recorded it, actually.'PAUL 1963: 'John and I wrote it together. We were in a van up in Newcastle somewhere, and we'd just gone over to our hotel. I originally got an idea of doing one of those answering songs, where a couple of us sing about 'she loves you' …and the other one sort of says the 'yes, yes' bit. You know, 'yeah yeah' answering whoever is saying it. But we decided that was a crummy idea anyway. But we had the idea to write a song called 'She Loves You' then. And we just sat up in the hotel bedroom for a few hours and wrote it, you know.'JOHN 1963: ''Yeah.' That's sort of the main catch phrase from 'She Loves You.' We'd written the song, and then suddenly realized we needed more… so we added 'yeah, yeah, yeah' and it caught on.'JOHN 1980: 'It was written together (with Paul) and I don't remember how. I remember it was Paul's idea – instead of singing 'I love you' again, we'd have a third party. The 'Woooo' was taken from the Isley Brothers 'Twist And Shout,' which we stuck into everything.'PAUL 1982: 'Occasionally, we'd overrule George Martin, like on 'She Loves You,' we end on a sixth chord, a very jazzy sort of thing. And he said, 'Oh, you can't do that! A sixth chord? It's too jazzy.' We just said, 'No, it's a great hook, we've got to do it.''PAUL 1988: 'We rehearsed the end bit of 'She Loves You' and took it to George. And he just laughed and said, 'Well, you can't do the end of course… that sixth… it's too like the Andrew Sisters.' We just said, 'Alright, we'll try it without,' and we tried it and it wasn't as good. Then he conceded, 'You're right, I guess.' But we were both very flexible. We would listen to George's ideas too, because he was a producer and a musician, and he obviously knew what he was talking about. There was good to-and-fro. We loved that bit, and we rehearsed it alot. John and I wrote that in a hotel room, on twin beds during an afternoon off – I mean, God bless their little cotton socks, those boys WORKED! Here I am talking about an afternoon off, and we're sitting there writing! We just loved it so much. It wasn't work.' She loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah, yeahYou think you lost your love Well, I saw her yesterday It's you she's thinking of And she told me what to sayShe says she loves you And you know that can't be bad Yes, she loves you And you know you should be gladShe said you hurt her so She almost lost her mind But now she says she knows You're not the hurting kindShe says she loves you And you know that can't be bad Yes, she loves you And you know you should be glad, oohShe loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah And with a love like that You know you should be gladYou know it's up to you I think it's only fair Pride can hurt you too Apologize to herBecause she loves you And you know that can't be bad Yes, she loves you And you know you should be glad, oohShe loves you, yeah, yeah, yeah She loves you, yeah, yeah, yeah With a love like that You know you should be glad With a love like that You know you should be glad With a love like that You know you should be glad Yeah, yeah, yeah Yeah, yeah, yeah, yeah PAUL 1964: 'Let's see, we were told we had to get down to it. So we found this house when we were walking along one day. We knew we had to really get this song going, so we got down in the basement of this disused house and there was an old piano. It wasn't really disused, it was rooms to let. We found this old piano and started banging away. There was a little old organ too. So we were having this informal jam and we started banging away. Suddenly a little bit came to us, the catch line. So we started working on it from there. We got our pens and paper out and just wrote down the lyrics. Eventually, we had some sort of a song, so we played it for our recording manager and he seemed to like it. We recorded it the next day.'JOHN 1980: 'We wrote alot of stuff together, one on one, eyeball to eyeball. Like in 'I Want To Hold Your Hand,' I remember when we got the chord that made the song. We were in Jane Asher's house, downstairs in the cellar playing on the piano at the same time. And we had, 'Oh you-u-u/ got that something…' And Paul hits this chord, and I turn to him and say, 'That's it!' I said, 'Do that again!' In those days, we really used to absolutely write like that – both playing into each other's noses.'PAUL circa-1994: ''Eyeball to eyeball' is a very good description of it. That's exactly how it was. 'I Want To Hold Your Hand' was very co-written.' Oh yeah, I'll tell you something I think you'll understand Then I'll say that something I wanna hold your hand I wanna hold your hand I wanna hold your handOh please, say to me You'll let me be your man And please, say to me You'll let me hold your hand Now let me hold your hand I wanna hold your handAnd when I touch you I feel happy Inside It's such a feeling that my love I can't hide I can't hide I can't hideYeah, you got that something I think you'll understand Then I'll say that something I wanna hold your hand I wanna hold your hand I wanna hold your handAnd when I touch you I feel happy Inside It's such a feeling that my love I can't hide I can't hide I can't hideYeah, you got that something I think you'll understand When I feel that something I wanna hold your hand I wanna hold your hand I wanna hold your hand I wanna hold your hand JOHN 1972: 'John and Paul, but mainly Paul.'JOHN 1980: 'That's Paul completely. Maybe I had something to do with the chorus, but I don't know. I always considered it his song.'PAUL 1984: 'We recorded it in France, as I recall. Went over to the Odeon in Paris. Recorded it over there. Felt proud because Ella Fitzgerald recorded it, too, though we didn't realize what it meant that she was doing it.'PAUL circa-1994: ''Can't Buy Me Love' is my attempt to write a bluesy mode. The idea behind it was that all these material possessions are all very well but they won't buy me what I really want.' Can't buy me love, love Can't buy me loveI'll buy you a diamond ring my friend If it makes you feel alright I'll get you anything my friend If it makes you feel alright 'Cause I don't care too much for money Money can't buy me loveI'll give you all I've got to give If you say you love me too I may not have a lot to give But what I've got I'll give to you I don't care too much for money Money can't buy me loveCan't buy me love, everybody tells me so Can't buy me love, no, no, no, noSay you don't need no diamond rings And I'll be satisfied Tell me that you want the kind of things That money just can't buy I don't care too much for money Money can't buy me loveCan't buy me love, everybody tells me so Can't buy me love, no, no, no, noSay you don't need no diamond rings And I'll be satisfied Tell me that you want the kind of things That money just can't buy I don't care too much for money Money can't buy me loveCan't buy me love, love Can't buy me love, oh RINGO 1964: 'We went to do a job, and we'd worked all day and we happened to work all night. I came up still thinking it was day I suppose, and I said, 'It's been a hard day…' and I looked around and saw it was dark so I said, '…night!' So we came to 'A Hard Day's Night.''JOHN 1980: 'I was going home in the car and Dick Lester suggested the title, 'Hard Day's Night' from something Ringo had said. I had used it in 'In His Own Write,' but it was an off-the-cuff remark by Ringo. You know, one of those malapropisms. A Ringo-ism, where he said it not to be funny… just said it. So Dick Lester said, 'We are going to use that title.' And the next morning I brought in the song… 'cuz there was a little competition between Paul and I as to who got the A-side – who got the hits. If you notice, in the early days the majority of singles, in the movies and everything, were mine… in the early period I'm dominating the group. The only reason he sang on 'A Hard Day's Night' was because I couldn't reach the notes. (sings) 'When I'm home/ everything seems to be right/ when I'm home…' – which is what we'd do sometimes. One of us couldn't reach a note but he wanted a different sound, so he'd get the other to do the harmony.'PAUL circa-1994: 'The title was Ringo's. We'd almost finished making the film, and this fun bit arrived that we'd not known about before, which was naming the film. So we were sitting around at Twickenham studios having a little brain-storming session… and we said, 'Well, there was something Ringo said the other day.' Ringo would do these little malapropisms, he would say things slightly wrong, like people do, but his were always wonderful, very lyrical… they were sort of magic even though he was just getting it wrong. And he said after a concert, 'Phew, it's been a hard day's night.'' It's been a hard day's night, and I've been working like a dog It's been a hard day's night, I should be sleeping like a log But when I get home to you I find the things that you do Will make me feel alrightYou know I work all day to get you money to buy you things And it's worth it just to hear you say you're going to give me everything So why on earth should I moan, cos when I get you alone You know I feel OKWhen I'm home everything seems to be right When I'm home feeling you holding me tight, tight, yeahIt's been a hard day's night, and I've been working like a dog It's been a hard day's night, I should be sleeping like a log But when I get home to you I find the things that you do Will make me feel alright owwwSo why on earth should I moan, cos when I get you alone You know I feel OKWhen I'm home everything seems to be right When I'm home feeling you holding me tight, tight, yeahIt's been a hard day's night, and I've been working like a dog It's been a hard day's night, I should be sleeping like a log But when I get home to you I find the things that you do Will make me feel alright You know I feel alright You know I feel alright 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 fineBaby 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 fineI'm so glad that she's my little girl She's so glad, she's telling all the worldThat 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, mmmBaby 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 fineI'm so glad that she's my little girl She's so glad, she's telling all the worldThat 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 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 awayShe's got a ticket to ride She's got a ticket to ride She's got a ticket to ride But she don't careShe said that living with me Is bringing her down, yeah For she would never be free When I was aroundShe's got a ticket to ride She's got a ticket to ride She's got a ticket to ride But she don't careI 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 meI think I'm gonna be sad I think it's today, yeah The girl that's driving me mad Is going away, yeahOh, 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 careI 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 meShe said that living with me Is bringing her down, yeah For she would never be free When I was aroundAh, 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 careMy 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) JOHN 1965: 'We think it's one of the best we've written.'JOHN 1980: 'The whole Beatle thing was just beyond comprehension. When 'Help' came out, I was actually crying out for help. Most people think it's just a fast rock 'n roll song. I didn't realize it at the time; I just wrote the song because I was commissioned to write it for the movie. But later, I knew I really was crying out for help. So it was my fat Elvis period. You see the movie: He – I – is very fat, very insecure, and he's completely lost himself. And I am singing about when I was so much younger and all the rest, looking back at how easy it was. Now I may be very positive… yes, yes… but I also go through deep depressions where I would like to jump out the window, you know. It becomes easier to deal with as I get older; I don't know whether you learn control or, when you grow up, you calm down a little. Anyway, I was fat and depressed and I was crying out for help.'PAUL 1984: 'John wrote that… well, John and I wrote it at his house in Weybridge for the film. I think the title was out of desperation.' Help! I need somebody Help! Not just anybody Help! You know I need someone Help!(When) When I was younger (When I was young) so much younger than today (I never need) I never needed anybody's help in any way (Now) But now these days are gone (These days are gone) and I'm not so self assured (And now I find) Now I find I've changed my mind, I've opened up the doorsHelp me if you can, I'm feeling down And I do appreciate you being 'round Help me get my feet back on the ground Won't you please, please help me?(Now) And now my life has changed (My life has changed) in oh so many ways (My independence) My independence seems to vanish in the haze (But) But ev'ry now (Every now and then) and then I feel so insecure (I know that I) I know that I just need you like I've never done beforeHelp me if you can, I'm feeling down And I do appreciate you being 'round Help me get my feet back on the ground Won't you please, please help me?When I was younger, so much younger than today I never needed anybody's help in any way (Now) But now these days are gone (These days are gone) and I'm not so self assured (And now I find) Now I find I've changed my mind, I've opened up the doorsHelp me if you can, I'm feeling down And I do appreciate you being 'round Help me get my feet back on the ground Won't you please, please help me?Help me, help me Ooh JOHN 1972: 'Paul. I think I might have helped with some of the lyrics, Yes, I did. But it was mainly Paul's tune.'JOHN 1980: ''Paperback Writer' is son of 'Day Tripper' …meaning a rock 'n roll song with a guitar lick on a fuzzy loud guitar.'PAUL circa-1994: 'I arrived at Weybridge and told John I had this idea of trying to write off to a publishers to become a paperback writer, and I said, 'I think it should be written like a letter.' I took a bit of paper out and I said it should be something like, 'Dear Sir or Madam, as the case may be…' and I proceeded to write it just like a letter in front of him, occasionally rhyming it… And then we went upstairs and put the melody to it. John and I sat down and finished it all up, but it was tilted towards me – the original idea was mine. I had no music, but it's just a little bluesy song, not alot of melody. Then I had the idea to do the harmonies, and we arranged that in the studio.' Paperback writerDear Sir or Madam, will you read my book? It took me years to write, will you take a look? It's based on a novel by a man named Lear And I need a job, so I want to be a paperback writer Paperback writerIt's the dirty story of a dirty man And his clinging wife doesn't understand His son is working for the Daily Mail It's a steady job but he wants to be a paperback writer Paperback writerPaperback writerIt's a thousand pages, give or take a few I'll be writing more in a week or two I can make it longer if you like the style I can change it round and I want to be a paperback writer Paperback writerIf you really like it you can have the rights It could make a million for you overnight If you must return it, you can send it here But I need a break and I want to be a paperback writer Paperback writerPaperback writerPaperback writer, paperback writer Paperback writer, paperback writer Paperback writer, paperback writer Paperback writer, paperback writer (fade out) PAUL 1967: 'We had been told we'd be seen recording it by the whole world at the same time. So we had one message for the world – Love. We need more love in the world.'PAUL circa-1994: ''All You Need Is Love' was John's song. I threw in a few ideas, as did other members of the group, but it was largely ad libs like singing 'She Loves You' or 'Greensleeves' or silly little things like that at the end, and we made those up on the spot.' Love, love, love Love, love, love Love, love, loveThere's nothing you can do that can't be done Nothing you can sing that can't be sung Nothing you can say but you can learn how to play the game It's easyNothing you can make that can't be made No one you can save that can't be saved Nothing you can do but you can learn how to be you in time It's easyAll you need is love All you need is love All you need is love, love Love is all you needLove, love, love Love, love, love Love, love, loveAll you need is love All you need is love All you need is love, love Love is all you needNothing you can know that isn't known Nothing you can see that isn't shown Nowhere you can be that isn't where you're meant to be It's easyAll you need is love All you need is love All you need is love, love Love is all you needAll you need is love (All together, now!) All you need is love (Everybody!) All you need is love, love Love is all you need Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Yee-hai! (Love is all you need) Love is all you need (Love is all you need)Yesterday (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Oh yeah! (Love is all you need) She loves you, yeah yeah yeah (Love is all you need) She loves you, yeah yeah yeah (Love is all you need) JOHN 1980: 'That's another McCartney. An attempt to write a single. It wasn't a great piece. The best bit was at the end, which we all ad-libbed in the studio, where I played the piano. Like 'Ticket To Ride,' where we just threw something in at the end.'PAUL circa-1994: ''Hello Goodbye' was one of my songs. There are Geminian influences here I think – the twins. It's such a deep theme of the universe, duality – man woman, black white, high low, right wrong, up down, hello goodbye – that it was a very easy song to write. It's just a song of duality, with me advocating the more positive. You say goodbye, I say hello. You say stop, I say go. I was advocating the more positive side of the duality, and I still do to this day.' You say, "Yes", I say, "No" You say, "Stop" but I say, "Go, go, go" Oh no You say, "Goodbye", and I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello"I say, "High", you say, "Low" You say, "Why?" And I say, "I don't know" Oh no You say, "Goodbye", and I say, "Hello, hello, hello" (hello, goodbye, hello, goodbye) I don't know why you say, "Goodbye" (hello, goodbye) I say, "Hello, hello, hello" (Hello, goodbye, hello, goodbye, hello, goodbye) I don't know why you say, "Goodbye", I say, "Hello" (hello, goodbye)Why, why, why, why, why, why, do you say, "Goodbye, goodbye, bye, bye" Oh no You say, "Goodbye", and I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello"You say, "Yes", I say, "No" (I say, "Yes", but I may mean, "No") You say, "Stop", I say, "Go, go, go", (I can stay still it's time to go) Oh, oh noYou say, "Goodbye", and I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello, hello, hello" I don't know why you say, "Goodbye", I say, "Hello-wow, oh hello" Hela, heba, helloa hela, heba, helloa hela, heba, helloa Hela, heba, helloa (hela) hela, heba, helloa hela, heba, helloa Hela, heba, helloa Hela, heba, helloa Hela, heba RINGO 1968: 'It sounds like Elvis, doesn't it? No, it doesn't sound like Elvis… it IS Elvis. Even those bits where he goes very high.'JOHN 1980: 'Paul. Good piano lick, but the song never really went anywhere. Maybe I helped him on some of the lyrics.'PAUL 1986: ''Lady Madonna' is all women. How do they do it? – bless 'em. Baby at your breast, how do they get the time to feed them? Where do they get the money? How do you do this thing that women do?'PAUL circa-1994: 'The original concept was the Virgin Mary, but it quickly became symbolic of every woman – the Madonna image but as applied to ordinary working-class women. 'Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. It reminded me of Fats Domino for some reason, so I started singing a Fats Domino impression. It took my voice to a very odd place.' Lady Madonna, children at your feet Wonder how you manage to make ends meet Who finds the money when you pay the rent Did you think that money was Heaven sent? Friday night arrives without a suitcase Sunday morning creeping like a nun Monday's child has learned to tie his bootlace See how they runLady Madonna, baby at your breast Wonders how you manage to feed the rest?See how they runLady Madonna lying on the bed Listen to the music playing in your headTuesday afternoon is never ending Wednesday morning papers didn't come Thursday night your stockings needed mending See how they runLady Madonna, children at your feet Wonder how you manage to make ends meet JOHN 1968: 'Well, when Paul first sang 'Hey Jude' to me… or played me the little tape he'd made of it… I took it very personally. 'Ah, it's me,' I said, 'It's me.' He says, 'No, it's me.' I said, 'Check. We're going through the same bit.' So we all are. Whoever is going through a bit with us is going through it, that's the groove.'JOHN 1972: 'That's his best song.'PAUL 1974: 'I remember I played it to John and Yoko, and I was saying, 'These words won't be on the finished version.' Some of the words were: 'The movement you need is on your shoulder,' and John was saying, 'It's great!' I'm saying, 'It's crazy, it doesn't make any sense at all.' He's saying, 'Sure it does, it's great.''JOHN 1980: 'He said it was written about Julian. He knew I was splitting with Cyn and leaving Julian then. He was driving to see Julian to say hello. He had been like an uncle. And he came up with 'Hey Jude.' But I always heard it as a song to me. Now I'm sounding like one of those fans reading things into it… Think about it: Yoko had just come into the picture. He is saying. 'Hey, Jude' – 'Hey, John.' Subconsciously, he was saying, 'Go ahead, leave me.' On a conscious level, he didn't want me to go ahead. The angel in him was saying, 'Bless you.' The devil in him didn't like it at all, because he didn't want to lose his partner.'PAUL 1985: 'I remember on 'Hey Jude' telling George not to play guitar. He wanted to do echo riffs after the vocal phrases, which I didn't think was appropriate. He didn't see it like that, and it was a bit of a number for me to have to 'dare' to tell George Harrison – who's one of the greats – not to play. It was like an insult. But that's how we did alot of our stuff.'PAUL circa-1994: 'There is an amusing story about recording it… Ringo walked out to go to the toilet and I hadn't noticed. The toilet was only a few yards from his drum booth, but he'd gone past my back and I still thought he was in his drum booth. I started what was the actual take – and 'Hey Jude' goes on for hours before the drums come in – and while I was doing it I suddenly felt Ringo tiptoeing past my back rather quickly, trying to get to his drums. And just as he got to his drums, boom boom boom, his timing was absolutely impeccable.' Hey, Jude, don't make it bad Take a sad song and make it better Remember to let her into your heart Then you can start to make it betterHey, Jude, don't be afraid You were made to go out and get her The minute you let her under your skin Then you begin to make it betterAnd anytime you feel the pain, Hey, Jude, refrain Don't carry the world upon your shoulders For well you know that it's a fool Who plays it cool By making his world a little colderNah, nah nah, nah nah, nah nah, nah nahHey, Jude, don't let me down You have found her, now go and get her Remember to let her into your heart Then you can start to make it betterSo let it out and let it in, Hey, Jude, begin You're waiting for someone to perform with And don't you know that it's just you, Hey, Jude, you'll do The movement you need is on your shoulderNah, nah nah, nah nah, nah nah, nah nah yeahHey, Jude, don't make it bad Take a sad song and make it better Remember to let her under your skin Then you'll begin to make it better, better, better, better, better... oh!Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (Jude) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (yeah, yeah, yeah) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (don't make it bad, Jude) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (take a sad song and make it better) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (oh, Jude) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (Jude, hey, Jude, whoa) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (ooh) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude [fade out] PAUL 1969: 'We were sitting in the studio and we made it up out of thin air. We started to write words there and then… When we finished it, we recorded it at Apple Studios and made it into a song to rollercoast by.'JOHN 1980: ''Get Back' is Paul. That's a better version of 'Lady Madonna.' You know, a potboiler rewrite.' (Rosetta. Who are you talking about? Sweet Loretta Fart. She thought she was a cleaner Sweet Rosetta Martin But she was a frying pan, yeah Rosetta The picker! the picker! Picture the fingers burning! Oo-wee! OK? 1, 2, 1, 2, 3, 4)Jo Jo was a man who thought he was a loner But he knew it couldn't last Jo Jo left his home in Tucson, Arizona For some California grassGet back, get back Get back to where you once belonged Get back, get back Get back to where you once belonged Get back Jo Jo Go homeGet back, get back Get back to where you once belonged Get back, get back Back to where you once belonged Get back, JoSweet Loretta Martin thought she was a woman But she was another man All the girls around her say she's got it coming But she gets it while she canOh, get back, get back Get back to where you once belonged Get back, get back Get back to where you once belonged Get back, LorettaGo home Oh, get back, get back Get back to where you once belonged Get back, get back Get back to where you once belongedGet back Woo...(Thanks, Mo! I'd like to say "thank you" on behalf of the group And ourselves and I hope we passed the audition!) 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 chanceChrist you know it ain't easy You know how hard it can be The way things are going They're going to crucify meFinally 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 meDrove 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 meSaving 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 meCaught 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 Something/Come Together (George Harrison) 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 beAnd in my hour of darkness She is standing right in front of me Speaking words of wisdom Let it beLet it be, let it be, let it be, let it be Whisper words of wisdom Let it beAnd when the broken-hearted people Living in the world agree There will be an answer Let it beFor though they may be parted there is Still a chance that they will see There will be an answer Let it beLet it be, let it be, let it be, let it be Yeah, there will be an answer Let it beLet it be, let it be, let it be, let it be Whisper words of wisdom Let it beLet it be, let it be, let it be, let it be Whisper words of wisdom Let it beAnd when the night is cloudy There is still a light that shines on me Shine until tomorrow Let it beI wake up to the sound of music Mother Mary comes to me Speaking words of wisdom Let it beLet it be, let it be, let it be, yeah, let it be There will be an answer Let it beLet it be, let it be, let it be, yeah, let it be There will be an answer Let it beLet it be, let it be, let it be, yeah, let it be Whisper words of wisdom Let it be Yesterday |
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