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The Beatles Lyrics, album "Yellow Submarine Songtrack"
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 PAUL 1966: 'It's a happy place, that's all. You know, it was just… We were trying to write a children's song. That was the basic idea. And there's nothing more to be read into it than there is in the lyrics of any children's song.'JOHN 1972: 'Paul wrote the catchy chorus. I helped with the blunderbuss bit.'JOHN 1980: ''Yellow Submarine' is Paul's baby. Donovan helped with the lyrics. I helped with the lyrics too. We virtually made the track come alive in the studio, but based on Paul's inspiration. Paul's idea. Paul's title… written for Ringo.'PAUL 1984: 'I wrote that in bed one night. As a kid's story. And then we thought it would be good for Ringo to do.'PAUL circa-1994: 'I was laying in bed in the Asher's garret, and there's a nice twilight zone just as you're drifting into sleep and as you wake from it – I always find it quite a comfortable zone. I remember thinking that a children's song would be quite a good idea… I was thinking of it as a song for Ringo, which it eventually turned out to be, so I wrote it as not too rangey in the vocal. I just made up a little tune in my head, then started making a story – sort of an ancient mariner, telling the young kids where he'd lived. It was pretty much my song as I recall… I think John helped out. The lyrics got more and more obscure as it goes on, but the chorus, melody and verses are mine.'GEORGE 1999: 'Paul came up with the concept of 'Yellow Submarine.' All I know is just that every time we'd all get around the piano with guitars and start listening to it and arranging it into a record, we'd all fool about. As I said, John's doing the voice that sounds like someone talking down a tube or ship's funnel as they do in the merchant marine. (laughs) And on the final track there's actually that very small party happening! As I seem to remember, there's a few screams and what sounds like small crowd noises in the background.' In the town where I was born Lived a man who sailed to sea And he told us of his life In the land of submarinesSo we sailed up to the sun 'Til we found the sea of green And we lived beneath the waves In our yellow submarineWe all live in a yellow submarine Yellow submarine, yellow submarine We all live in a yellow submarine Yellow submarine, yellow submarineAnd our friends are all aboard Many more of them live next door And the band begins to playWe all live in a yellow submarine Yellow submarine, yellow submarine We all live in a yellow submarine Yellow submarine, yellow submarineFull speed ahead, Mr. Boatswain, full speed ahead! Full speed it is, Sergeant! Cut the cable, drop the cable! Aye-aye, sir, aye-aye! Captain, Captain!As we live a life of ease (a life of ease) Everyone of us (everyone of us) has all we need (has all we need) Sky of blue (sky of blue) and sea of green (sea of green) In our yellow (in our yellow) submarine (submarine, ah-ha)We all live in a yellow submarine Yellow submarine, yellow submarine We all live in a yellow submarine Yellow submarine, yellow submarineWe all live in a yellow submarine Yellow submarine, yellow submarine We all live in a yellow submarine Yellow submarine, yellow submarine 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 1966: 'I was sitting at the piano when I thought of it. The first few bars just came to me, and I got this name in my head… Daisy Hawkins picks up the rice in the church. I don't know why. I couldn't think of much more so I put it away for a day. Then the name Father McCartney came to me, and all the lonely people. But I thought that people would think it was supposed to be about my Dad sitting knitting his socks. Dad's a happy lad. So I went through the telephone book and I got the name McKenzie. I was in Bristol when I decided Daisy Hawkins wasn't a good name. I walked 'round looking at the shops, and I saw the name Rigby. Then I took the song down to John's house in Weybridge. We sat around, laughing, got stoned and finished it off.'JOHN 1980: 'Paul's baby, and I helped with the education of the child… The violin backing was Paul's idea. Jane Asher had turned him on to Vivaldi, and it was very good.'PAUL 1984: 'I got the name Rigby from a shop in Bristol. I was wandering round Bristol one day and saw a shop called Rigby. And I think Eleanor was from Eleanor Bron, the actress we worked with in the film 'Help!' But I just liked the name. I was looking for a name that sounded natural. Eleanor Rigby sounded natural.' Ah, look at all the lonely people Ah, look at all the lonely peopleEleanor Rigby picks up the rice in the church where a wedding has been Lives in a dream Waits at the window, wearing the face that she keeps in a jar by the door Who is it for?All the lonely people Where do they all come from? All the lonely people Where do they all belong?Father McKenzie writing the words of a sermon that no one will hear No one comes near Look at him working, darning his socks in the night when there's nobody there What does he care?All the lonely people Where do they all come from? All the lonely people Where do they all belong?Ah, look at all the lonely people Ah, look at all the lonely peopleEleanor Rigby died in the church and was buried along with her name Nobody came Father McKenzie wiping the dirt from his hands as he walks from the grave No one was savedAll the lonely people (Ah, look at all the lonely people) Where do they all come from? All the lonely people (Ah, look at all the lonely people) Where do they all belong? Love You To (George Harrison) GEORGE 1980: ''Love You To' was one of the first tunes I wrote for sitar. 'Norwegian Wood was an accident as far as the sitar part was concerned, but this was the first song where I consciously tried to use the sitar and tabla on the basic track. I overdubbed the guitars and vocals later.' Each day just goes so fast I turn around, it's past You don't get time to hang a sign on meLove me while you can Before I'm a dead old manA lifetime is so short A new one can't be bought But what you've got means such a lot to meMake love all day long Make love singing songsMake love all day long Make love singing songsThere's people standing round Who'll screw you in the ground They'll fill you in with all their sins, you'll seeI'll make love to you If you want me to JOHN 1971: 'I enjoyed it when football crowds in the early days would sing 'All Together Now.''PAUL circa-1994: 'When they were singing a song, to encourage the audience to join in they'd say 'All together now,' so I just took it and read another meaning into it, of – we are all together now. So I used the dual meaning. It's really a children's song. I had a few young relatives and I would sing songs for them.' One, two, three, four Can I have a little more? Five, six, seven, eight, nine, ten, I love youA, B, C, D Can I bring my friend to tea? E, F, G, H, I, J, I love you(Bom bom bom bompa bom) Sail the ship (Bompa bom) Chop the tree (Bompa bom) Skip the rope (Bompa bom) Look at me(All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together nowBlack, white, green, red Can I take my friend to bed? Pink, brown, yellow, orange and blue, I love you(All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now(Bom bom bom) Sail the ship (Bompa bom) Chop the tree (Bompa bom) Skip the rope (Bompa bom) Look at me(All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now (All together now) All together now JOHN 1980: 'My son Julian came in one day with a picture he painted about a school friend of his named Lucy. He had sketched in some stars in the sky and called it 'Lucy in the Sky with Diamonds,' Simple. The images were from 'Alice in Wonderland.' It was Alice in the boat. She is buying an egg and it turns into Humpty Dumpty. The woman serving in the shop turns into a sheep and the next minute they are rowing in a rowing boat somewhere and I was visualizing that. There was also the image of the female who would someday come save me… a 'girl with kaleidoscope eyes' who would come out of the sky. It turned out to be Yoko, though I hadn't met Yoko yet. So maybe it should be 'Yoko in the Sky with Diamonds.' It was purely unconscious that it came out to be LSD. Until somebody pointed it out, I never even thought it, I mean, who would ever bother to look at initials of a title? It's NOT an acid song. The imagery was Alice in the boat and also the image of this female who would come and save me – this secret love that was going to come one day. So it turned out to be Yoko… and I hadn't met Yoko then. But she was my imaginary girl that we all have.'PAUL circa-1994: 'I went up to John's house in Weybridge. When I arrived we were having a cup of tea, and he said, 'Look at this great drawing Julian's done. Look at the title!' So I said, 'What's that mean?' thinking Wow, fantastic title! John said, 'It's Lucy, a freind of his from school. And she's in the sky.' …so we went upstairs and started writing it. People later thought 'Lucy In The Sky With Diamonds' was LSD. I swear – we didn't notice that when it first came out.' Picture yourself in a boat on a river With tangerine trees and marmalade skies Somebody calls you, you answer quite slowly A girl with kaleidoscope eyesCellophane flowers of yellow and green Towering over your head Look for the girl with the sun in her eyes And she's goneLucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh...Follow her down to a bridge by a fountain Where rocking horse people eat marshmallow pies Everyone smiles as you drift past the flowers That grow so incredibly highNewspaper taxis appear on the shore Waiting to take you away Climb in the back with your head in the clouds And you're goneLucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh...Picture yourself on a train in a station With plasticine porters with looking glass ties Suddenly someone is there at the turnstile The girl with the kaleidoscope eyesLucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh... Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh... Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds [fade out] 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 eyesDo what you want to do And go where you're going to Think for yourself Cos I won't be there with youI 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 miseryDo what you want to do And go where you're going to Think for yourself Cos I won't be there with youAlthough 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 shouldDo what you want to do And go where you're going to Think for yourself Cos I won't be there with youDo 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 Sgt. Pepper's Lonely Hearts Club Band (Paul McCartney) (Officially – John Lennon and Paul McCartney) It was twenty years ago today Sergeant Pepper taught the band to play They've been going in and out of style But they're guaranteed to raise a smile So may I introduce to you The act you've known for all these years? Sergeant Pepper's Lonely Hearts Club BandWe're Sergeant Pepper's Lonely Hearts Club Band We hope you will enjoy the show We're Sergeant Pepper's Lonely Hearts Club Band Sit back and let the evening go Sergeant Pepper's lonely, Sgt. Pepper's lonely Sergeant Pepper's Lonely Hearts Club BandIt's wonderful to be here It's certainly a thrill You're such a lovely audience We'd like to take you home with us We'd love to take you homeI don't really want to stop the show But I thought that you might like to know That the singer's going to sing a song And he wants you all to sing along So let me introduce to you The one and only Billy Shears And Sergeant Pepper's Lonely Hearts Club Band, yeah JOHN 1970: 'Paul had the line about 'a little help from my friends.' He had some kind of structure for it, and we wrote it pretty well fifty-fifty from his original idea.'JOHN 1980: 'That's Paul, with a little help from me. 'What do you see when you turn out the light/ I can't tell you but I know it's mine' is mine.'PAUL circa-1994: 'This was written out at John's house in Weybridge for Ringo… I think that was probably the best of our songs that we wrote for Ringo actually. I remember giggling with John as we wrote the lines, 'What do you see when you turn out the light/ I can't tell you but I know it's mine.' It could have been him playing with his willie under the covers, or it could have been taken on a deeper level. This is what it meant but it was a nice way to say it – a very non-specific way to say it. I always liked that.' Billy ShearsWhat would you think if I sang out of tune Would you stand up and walk out on me? Lend me your ears and I'll sing you a song And I'll try not to sing out of key Oh I get by with a little help from my friends Mm I get high with a little help from my friends Mm gonna try with a little help from my friendsWhat do I do when my love is away? (Does it worry you to be alone?) How do I feel by the end of the day? (Are you sad because you're on your own?) No I get by with a little help from my friends Mm I get high with a little help from my friends Mm gonna try with a little help from my friends(Do you need anybody?) I need somebody to love (Could it be anybody?) I want somebody to love(Would you believe in a love at first sight?) Yes I'm certain that it happens all the time (What do you see when you turn out the light?) I can't tell you, but I know it's mine Oh I get by with a little help from my friends Mm I get high with a little help from my friends Oh I'm gonna try with a little help from my friends(Do you need anybody?) I just need someone to love (Could it be anybody?) I want somebody to loveOh I get by with a little help from my friends Mm gonna try with a little help from my friends Oh I get high with a little help from my friends Yes I get by with a little help from my friends With a little help from my friends JOHN 1968: 'In 'Baby You're a Rich Man' the point was, stop moaning. You're a rich man and we're all rich men, heh, heh, baby!'JOHN 1980: 'That's a combination of two seperate pieces, Paul's and mine, put together and forced into one song. One-half was all mine. (sings) 'How does it feel to be one of the beautiful people/ Now that you know who you are…' Then Paul comes in with, (sings) 'Baby you're a rich man,' which was a lick he had around.' How does it feel to be one of the beautiful people? Now that you know who you are What do you want to be? And have you traveled very far? Far as the eye can seeHow does it feel to be one of the beautiful people? How often have you been there? Often enough to know What did you see when you were there? Nothing that doesn't showBaby, you're a rich man Baby, you're a rich man Baby, you're a rich man, too You keep all your money in a big brown bag inside a zoo What a thing to do Baby, you're a rich man Baby, you're a rich man Baby, you're a rich man, tooHow does it feel to be one of the beautiful people? Tuned to a natural E Happy to be that way Now that you've found another key What are you going to play?Baby, you're a rich man Baby, you're a rich man Baby, you're a rich man, too You keep all your money in a big brown bag inside a zoo What a thing to do Baby, baby, you're a rich man Baby, you're a rich man Baby, you're a rich man, too Oh, baby, you're a rich man Baby, you're a rich man Baby, baby you're a rich man, too Only a Northern Song (George Harrison) GEORGE 1980: ''Northern Song' was a joke relating to Liverpool, the Holy City in the North of England. In addition, the song was copyrighted Northern Songs LTD, which I don't own.'GEORGE 1999: 'It was at the point that I realized Dick James had conned me out of the copyrights for my own songs by offering to become my publisher. As an 18 or 19-year-old kid, I thought, 'Great, somebody's gonna publish my songs!' But he never said, 'And incidentally, when you sign this document here, you're assigning me the ownership of the songs,' which is what it is. It was just a blatant theft. By the time I realized what had happened, when they were going public and making all this money out of this catalog, I wrote 'Only A Northern Song' as what we call a 'piss-take,' just to have a joke about it.' If you're listening to this song You may think the chords are going wrong But they're not He just wrote it like thatWhen you're listening late at night You may think the band are not quite right But they are They just play it like thatIt doesn't really matter what chords I play What words I say or time of day it is As it's only a Northern songIt doesn't really matter what clothes I wear Or how I fare or if my hair is brown When it's only a Northern songIf you think the harmony Is a little dark and out of key You're correct There's nobody thereAnd I told you there's no one there 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 1967: ''When I'm Sixty Four' was something Paul wrote in the Cavern days. We just stuck in a few more words, like 'grandchildren on your knee,' and 'Vera Chuck and Dave.' It was just one of those ones that he'd had, that we've all got, really – half a song. And this was just one of those that was quite a hit with us. We used to do it when the amps broke down, just sing it on the piano.'JOHN 1972: 'I think I helped Paul with some of the words.'JOHN 1980: 'Paul's, completely. I would never dream of writing a song like that. There's some things I never think about, and that's one of them.PAUL 1984: 'I wrote the tune when I was about 15, I think, on the piano at home, before I moved from Liverpool. It was kind of a cabaret tune. Then, years later, I put words to it.'PAUL circa-1994: 'I thought it was a good little tune but it was too vaudvillian, so I had to get some cod lines to take the sting out of it, and put the tongue very firmly in cheek.' When I get older losing my hair Many years from now Will you still be sending me a valentine Birthday greetings, bottle of wine? If I'd been out till quarter to three Would you lock the door? Will you still need me, will you still feed me When I'm sixty four?You'll be older too And if you say the word I could stay with youI could be handy, mending a fuse When your lights have gone You can knit a sweater by the fireside Sunday mornings go for a ride Doing the garden, digging the weeds Who could ask for more? Will you still need me, will you still feed me When I'm sixty four?Every summer we can rent a cottage in the Isle of Wight If it's not too dear We shall scrimp and save Grandchildren on your knee Vera, Chuck and DaveSend me a postcard, drop me a line Stating point of view Indicate precisely what you mean to say Yours sincerely, wasting away Give me your answer, fill in a form Mine forevermore Will you still need me, will you still feed me When I'm sixty four? Ho! 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 nobodyDoesn'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 commandHe'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 handDoesn'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 commandHe'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 It's All Too Much (George Harrison) GEORGE 1980: ''It's All Too Much' was written in a childlike manner from realizations that appeared during and after some LSD experiences and which were later confirmed in meditation.'GEORGE 1999: 'I just wanted to write a rock 'n roll song about the whole psychedelic thing of the time – 'Sail me on a silver sun/ Where I know that I am free/ Show me that I'm everywhere/ And get me home for tea.' (laughs) Because you'd trip out, you see, on all this stuff, and then whoops! you'd just be back having your evening cup of tea! 'Your long blond hair/ And your eyes of blue' – that was all just this big ending we had, going out. And as it was in those days, we had the horn players just play a bit of trumpet voluntarily, and so that's how that 'Prince Of Denmark' bit was played (in the fade-out). And Paul and John just came up with and sang that lyric of 'your eyes of blue.'' It's all too much It's all too muchWhen I look into your eyes, your love is there for me And the more I go inside, the more there is to seeIt's all too much for me to take The love that's shining all around you Everywhere, it's what you make For us to take, it's all too muchFloating down the stream of time from life to life with me Makes no difference where you are or where you'd like to beIt's all too much for me to take The love that's shining all around here All the world is birthday cake So take a piece but not too muchSail me on a silver sun, where I know that I'm free Show me that I'm everywhere, and get me home for teaIt's all to much for me to see The love that's shining all around here The more I learn, the less I know But what I do is all too muchIt's all too much for me to take The love that's shining all around you Everywhere, it's what you make For us to take, it's all too muchIt's too much Ah, it's too muchWith your long blond hair and your eyes of blue With your long blond hair and your eyes of blueYou're too much, ah We all get too muchToo much, too much, too much Too much a, too much a, too much a Too much a, too much a, too much a Too much a, too much a, too much a Too much a, too much a, too much a Too much a, too much a, too much a Too much a, too much a, too much a Too much a, too much a, too much a Too much aMuch, much, much, much, much Much, much, much, much, much Much, much, much, much, much Much, much, much, much, much Much, much, much, much, much |
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