The Beatles Lyrics, album "Paul is Live"
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.'
But on 'Drive My Car' I just played the line, which is really like a lick off 'Respect,' you know, the Otis Redding version.
And I played the line on the guitar and Paul laid that with me on the bass.
We laid that track down like that.
We played the lead part later on top of it.'JOHN 1980: 'His (Paul's) song, with contributions from me.'PAUL circa-1994: 'This is one of the songs where John and I came nearest to having a dry session.
The lyrics I brought in were something to do with golden rings, which are always fatal (to songwriting).
'Rings' is fatal anyway, 'rings' always rhymes with things and I knew it was a bad idea.
I came in and I said, 'These aren't good lyrics but it's a good tune.' Well, we tried, and John couldn't think of anything, and we tried, and eventually it was, 'Oh let's leave it, let's get off this one.' 'No, no.
We can do it, we can do it.' So we had a break… then we came back to it, and somehow it became 'drive-my-car' instead of 'gol-den-rings,' and then it was wonderful – because this nice tongue-in-cheek idea came.'
Asked a girl what she wanted to be
She said baby, "Can't you see
I wanna be famous, a star of the screen
But you can do something in between"Baby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love youI told the girl that my prospects were good
She said baby, "It's understood
Working for peanuts is all very fine
But I can show you a better time"Baby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love you
Beep beep mm, beep beep yeahBaby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love youI told that girl I can start right away
And she said, "Listen baby I've got something to say
I got no car and it's breaking my heart
But I've found a driver and that's a start"Baby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love you
Beep beep mm beep beep yeah
Beep beep mm beep beep yeah
Beep beep mm beep beep yeah
Beep beep mm beep beep yeah (fade out)
She said baby, "Can't you see
I wanna be famous, a star of the screen
But you can do something in between"Baby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love youI told the girl that my prospects were good
She said baby, "It's understood
Working for peanuts is all very fine
But I can show you a better time"Baby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love you
Beep beep mm, beep beep yeahBaby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love youI told that girl I can start right away
And she said, "Listen baby I've got something to say
I got no car and it's breaking my heart
But I've found a driver and that's a start"Baby you can drive my car
Yes I'm gonna be a star
Baby you can drive my car
And maybe I'll love you
Beep beep mm beep beep yeah
Beep beep mm beep beep yeah
Beep beep mm beep beep yeah
Beep beep mm beep beep yeah (fade out)
Looking for Changes
(Paul McCartney)
(Paul McCartney)
Peace in the Neighbourhood
(Paul McCartney)
(Paul McCartney)
JOHN 1972: 'This was one of his first biggies.'JOHN 1980: ''All My Loving' is Paul, I regret to say.
Because it's a damn fine piece of work.
But I play a pretty mean guitar in back.'PAUL 1984: 'Yeah, I wrote that one.
It was the first song I ever wrote where I had the words before the music.
I wrote the words on a bus on tour, then we got the tune when I arrived there.
The first time I've ever worked upside down.'PAUL 1988: 'I think that was the first song where I wrote the words without the tune.
I wrote the words on the tour bus during our tour with Roy Orbison.
We did alot of writing then.'PAUL circa-1994: 'It was a good show song.
It worked well live.'
Because it's a damn fine piece of work.
But I play a pretty mean guitar in back.'PAUL 1984: 'Yeah, I wrote that one.
It was the first song I ever wrote where I had the words before the music.
I wrote the words on a bus on tour, then we got the tune when I arrived there.
The first time I've ever worked upside down.'PAUL 1988: 'I think that was the first song where I wrote the words without the tune.
I wrote the words on the tour bus during our tour with Roy Orbison.
We did alot of writing then.'PAUL circa-1994: 'It was a good show song.
It worked well live.'
Close your eyes and I'll kiss you
Tomorrow I'll miss you
Remember I'll always be true
And then while I'm away
I'll write home every day
And I'll send all my loving to youI'll pretend that I'm kissing
The lips I am missing
And hope that my dreams will come true
And then while I'm away
I'll write home every day
And I'll send all my loving to youAll my loving I will send to you
All my loving, darling I'll be trueClose your eyes and I'll kiss you
Tomorrow I'll miss you
Remember I'll always be true
And then while I'm away
I'll write home every day
And I'll send all my loving to youAll my loving I will send to you
All my loving, darling I'll be true
All my loving, all my loving ooh
All my loving I will send to you
Tomorrow I'll miss you
Remember I'll always be true
And then while I'm away
I'll write home every day
And I'll send all my loving to youI'll pretend that I'm kissing
The lips I am missing
And hope that my dreams will come true
And then while I'm away
I'll write home every day
And I'll send all my loving to youAll my loving I will send to you
All my loving, darling I'll be trueClose your eyes and I'll kiss you
Tomorrow I'll miss you
Remember I'll always be true
And then while I'm away
I'll write home every day
And I'll send all my loving to youAll my loving I will send to you
All my loving, darling I'll be true
All my loving, all my loving ooh
All my loving I will send to you
Robbie's Bit (Thanks Chet)
(Robbie McIntosh)
(Robbie McIntosh)
Good Rockin' Tonight
(Roy Brown)
(Roy Brown)
JOHN 1980: 'Paul did the first half, I did the middle-eight.
But you've got Paul writing, 'We can work it out/ We can work it out' real optimistic, you know.
And me, impatient, 'Life is very short and there's no time/ for fussing and fighting, my friend.''PAUL circa-1994: 'I wrote it as more of an up-tempo thing, country and western.
I had the basic idea, the title, had a couple of verses… then I took it to John to finish it off and we wrote the middle together, which is nice – 'Life is very short/ And there's no time for fussing and fighting my friend.' Then it was George Harrison's idea to put the middle into waltz time, like a german waltz… The lyrics might have been personal.
It is often a good way to talk to someone or to work your thoughts out.
It saves you going to a psychiatrist, you allow yourself to say what you might not say in person.'
But you've got Paul writing, 'We can work it out/ We can work it out' real optimistic, you know.
And me, impatient, 'Life is very short and there's no time/ for fussing and fighting, my friend.''PAUL circa-1994: 'I wrote it as more of an up-tempo thing, country and western.
I had the basic idea, the title, had a couple of verses… then I took it to John to finish it off and we wrote the middle together, which is nice – 'Life is very short/ And there's no time for fussing and fighting my friend.' Then it was George Harrison's idea to put the middle into waltz time, like a german waltz… The lyrics might have been personal.
It is often a good way to talk to someone or to work your thoughts out.
It saves you going to a psychiatrist, you allow yourself to say what you might not say in person.'
Try to see it my way
Do I have to keep on talking till I can't go on?
While you see it your way
Run the risk of knowing that our love may soon be goneWe can work it out
We can work it outThink of what you're saying
You can get it wrong and still you think that it's alright
Think of what I'm saying
We can work it out and get it straight, or say goodnightWe can work it out
We can work it outLife is very short, and there's no time
For fussing and fighting, my friend
I have always thought that it's a crime
So I will ask you once againTry to see it my way
Only time will tell if I am right or I am wrong
While you see your way,
There's a chance that we may fall apart before too longWe can work it out
We can work it outLife is very short, and there's no time
For fussing and fighting, my friend
I have always thought that it's a crime
So I will ask you once againTry to see it my way
Only time will tell if I am right or I am wrong
While you see it your way
There's a chance that we may fall apart before too longWe can work it out
We can work it out
Do I have to keep on talking till I can't go on?
While you see it your way
Run the risk of knowing that our love may soon be goneWe can work it out
We can work it outThink of what you're saying
You can get it wrong and still you think that it's alright
Think of what I'm saying
We can work it out and get it straight, or say goodnightWe can work it out
We can work it outLife is very short, and there's no time
For fussing and fighting, my friend
I have always thought that it's a crime
So I will ask you once againTry to see it my way
Only time will tell if I am right or I am wrong
While you see your way,
There's a chance that we may fall apart before too longWe can work it out
We can work it outLife is very short, and there's no time
For fussing and fighting, my friend
I have always thought that it's a crime
So I will ask you once againTry to see it my way
Only time will tell if I am right or I am wrong
While you see it your way
There's a chance that we may fall apart before too longWe can work it out
We can work it out
Hope of Deliverance
(Paul McCartney)
(Paul McCartney)
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.'
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 MichelleMichelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensembleI 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 understandMichelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensembleI 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 meanI love youI 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 understandMichelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensembleAnd I will say the only words I know
That you'll understand, my Michelle
These are words that go together well
My MichelleMichelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensembleI 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 understandMichelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensembleI 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 meanI love youI 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 understandMichelle, ma belle
Sont des mots qui vont très bien ensemble
Très bien ensembleAnd I will say the only words I know
That you'll understand, my Michelle
Biker Like an Icon
(Paul McCartney)
(Paul McCartney)
JOHN 1972: 'This was a great one of his.'JOHN 1980: 'That's Paul's song completely, I believe.
And one of my favorite songs of the Beatles.'PAUL 1984: 'I wrote that by John's pool one day.
When we were working together, sometimes he came in to see me.
But mainly, I went out to see him.'PAUL circa-1994: ''Here, There and Everywhere' has a couple of interesting structural points about it… each verse takes a word.
'Here' discusses here, Next verse, 'there' discusses there, then it pulls it all together in the last verse with 'everywhere.' …John might have helped with a few last words.'
And one of my favorite songs of the Beatles.'PAUL 1984: 'I wrote that by John's pool one day.
When we were working together, sometimes he came in to see me.
But mainly, I went out to see him.'PAUL circa-1994: ''Here, There and Everywhere' has a couple of interesting structural points about it… each verse takes a word.
'Here' discusses here, Next verse, 'there' discusses there, then it pulls it all together in the last verse with 'everywhere.' …John might have helped with a few last words.'
To lead a better life I need my love to be here...Here, making each day of the year
Changing my life with the wave of her hand
Nobody can deny that there's something thereThere, running my hands through her hair
Both of us thinking how good it can be
Someone is speaking but she doesn't know he's thereI want her everywhere and if she's beside me
I know I need never care
But to love her is to need her everywhere
Knowing that love is to shareEach one believing that love never dies
Watching her eyes and hoping I'm always thereI want her everywhere and if she's beside me
I know I need never care
But to love her is to need her everywhere
Knowing that love is to shareEach one believing that love never dies
Watching her eyes and hoping I'm always thereI will be there and everywhere
Here, there and everywhere
Changing my life with the wave of her hand
Nobody can deny that there's something thereThere, running my hands through her hair
Both of us thinking how good it can be
Someone is speaking but she doesn't know he's thereI want her everywhere and if she's beside me
I know I need never care
But to love her is to need her everywhere
Knowing that love is to shareEach one believing that love never dies
Watching her eyes and hoping I'm always thereI want her everywhere and if she's beside me
I know I need never care
But to love her is to need her everywhere
Knowing that love is to shareEach one believing that love never dies
Watching her eyes and hoping I'm always thereI will be there and everywhere
Here, there and everywhere
Roll up, roll up for the mystery tour
Roll up, roll up for the mystery tour
Roll up (and that's an invitation), roll up for the mystery tour
Roll up (to make a reservation), roll up for the mystery tourThe magical mystery tour is waiting to take you away
Waiting to take you awayRoll up, roll up for the mystery tour
Roll up, roll up for the mystery tour
Roll up (we've got everything you need), roll up for the mystery tour
Roll up (satisfaction guaranteed), roll up for the mystery tourThe magical mystery tour is hoping to take you away
Hoping to take you awayA mystery tripAaaah... the magical mystery tour
Roll up, roll up for the mystery tour
Roll up (and that's an invitation), roll up for the mystery tour
Roll up (to make a reservation), roll up for the mystery tourThe magical mystery tour is coming to take you away
Coming to take you away
The magical mystery tour is dying to take you away
Dying to take you away, take you today
Roll up, roll up for the mystery tour
Roll up (and that's an invitation), roll up for the mystery tour
Roll up (to make a reservation), roll up for the mystery tourThe magical mystery tour is waiting to take you away
Waiting to take you awayRoll up, roll up for the mystery tour
Roll up, roll up for the mystery tour
Roll up (we've got everything you need), roll up for the mystery tour
Roll up (satisfaction guaranteed), roll up for the mystery tourThe magical mystery tour is hoping to take you away
Hoping to take you awayA mystery tripAaaah... the magical mystery tour
Roll up, roll up for the mystery tour
Roll up (and that's an invitation), roll up for the mystery tour
Roll up (to make a reservation), roll up for the mystery tourThe magical mystery tour is coming to take you away
Coming to take you away
The magical mystery tour is dying to take you away
Dying to take you away, take you today
C'Mon People
(Paul McCartney)
(Paul McCartney)
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.'
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
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 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.'
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)
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)
JOHN 1968: 'We really got into the groove of imagining Penny Lane – the bank was there, and that was where the tram sheds were and people waiting and the inspector stood there, the fire engines were down there.
It was just reliving childhood.'JOHN 1980: 'Penny Lane is not only a street but it's a district… a suburban district where, until age four, I lived with my mother and father.
So I was the only Beatle that lived in Penny Lane.'PAUL circa-1994: 'John and I would always meet at Penny Lane.
That was where someone would stand and sell you poppies each year on British Legion poppy day… When I came to write it, John came over and helped me with the third verse, as often was the case.
We were writing childhood memories – recently faded memories from eight or ten years before, so it was recent nostalgia, pleasant memories for both of us.
All the places were still there, and because we remembered it so clearly we could have gone on.'
It was just reliving childhood.'JOHN 1980: 'Penny Lane is not only a street but it's a district… a suburban district where, until age four, I lived with my mother and father.
So I was the only Beatle that lived in Penny Lane.'PAUL circa-1994: 'John and I would always meet at Penny Lane.
That was where someone would stand and sell you poppies each year on British Legion poppy day… When I came to write it, John came over and helped me with the third verse, as often was the case.
We were writing childhood memories – recently faded memories from eight or ten years before, so it was recent nostalgia, pleasant memories for both of us.
All the places were still there, and because we remembered it so clearly we could have gone on.'
In Penny Lane there is a barber showing photographs
Of every head he's had the pleasure to know
And all the people that come and go
Stop and say helloOn the corner is a banker with a motorcar
The little children laugh at him behind his back
And the banker never wears a mac
In the pouring rain
Very strangePenny Lane is in my ears and in my eyes
There beneath the blue suburban skies
I sit and meanwhile backIn Penny Lane there is a fireman with an hourglass
And in his pocket is a portrait of the Queen
He likes to keep his fire engine clean
It's a clean machinePenny Lane is in my ears and in my eyes
Four of fish and finger pies
In summer, meanwhile backBehind the shelter in the middle of a roundabout
A pretty nurse is selling poppies from a tray
And though she feels as if she's in a play
She is anywayIn Penny Lane the barber shaves another customer
We see the banker sitting, waiting for a trim
And then the fireman rushes in
From the pouring rain
Very strangePenny Lane is in my ears and in my eyes
There beneath the blue suburban skies
I sit, and meanwhile backPenny Lane is in my ears and in my eyes
There beneath the blue suburban skies
Penny Lane
Of every head he's had the pleasure to know
And all the people that come and go
Stop and say helloOn the corner is a banker with a motorcar
The little children laugh at him behind his back
And the banker never wears a mac
In the pouring rain
Very strangePenny Lane is in my ears and in my eyes
There beneath the blue suburban skies
I sit and meanwhile backIn Penny Lane there is a fireman with an hourglass
And in his pocket is a portrait of the Queen
He likes to keep his fire engine clean
It's a clean machinePenny Lane is in my ears and in my eyes
Four of fish and finger pies
In summer, meanwhile backBehind the shelter in the middle of a roundabout
A pretty nurse is selling poppies from a tray
And though she feels as if she's in a play
She is anywayIn Penny Lane the barber shaves another customer
We see the banker sitting, waiting for a trim
And then the fireman rushes in
From the pouring rain
Very strangePenny Lane is in my ears and in my eyes
There beneath the blue suburban skies
I sit, and meanwhile backPenny Lane is in my ears and in my eyes
There beneath the blue suburban skies
Penny Lane
I'm going to Kansas City
Kansas City here I come
I'm going to Kansas City
Kansas City here I come
They got some crazy little women there and I'm gonna get me oneI'm gonna be standing on the corner
12th Street and Vine
I'm gonna be standing on the corner
12th Street and VineWith my Kansas City Baby and a bottle of Kansas City wineWell I might take a plane I might take a train
But if I have to walk I'm going just the same
I'm going to Kansas City
Kansas City here I come
They got some crazy little women
There and I'm gonna get me one
Kansas City here I come
I'm going to Kansas City
Kansas City here I come
They got some crazy little women there and I'm gonna get me oneI'm gonna be standing on the corner
12th Street and Vine
I'm gonna be standing on the corner
12th Street and VineWith my Kansas City Baby and a bottle of Kansas City wineWell I might take a plane I might take a train
But if I have to walk I'm going just the same
I'm going to Kansas City
Kansas City here I come
They got some crazy little women
There and I'm gonna get me one
Welcome to Soundcheck
(Paul McCartney)
(Paul McCartney)
Hotel in Benidorm
(Paul McCartney)
(Paul McCartney)
JOHN 1972: 'Both of us wrote it, but mainly Paul.
I helped him finish it.'JOHN 1980: ''I Wanna Be Your Man' was a kind of lick Paul had – 'I wanna be your lover, baby.
I wanna be your man.' I think we finished it off for the Stones.
We were taken down to meet them at the club where they were playing in Richmond by Brian and some other guy.
They wanted a song and we went to see what kind of stuff they did.
Mick and Keith heard we had an unfinished song – Paul just had this bit and we needed another verse or something.
We sort of played it roughly to them and they said, 'Yeah, OK, that's our style.' But it was only really a lick, so Paul and I went off in the corner of the room and finished the song off while they were all still sitting there talking.
We came back, and that's how Mick and Keith got inspired to write… because, 'Jesus, look at that.
They just went in the corner and wrote it and came back!' You know, right in front of their eyes we did it.
So we gave it to them.
It was a throw-away.
The only two versions of the song were Ringo and the Rolling Stones.
It shows how much importance we put on them.
We weren't going to give them anything great, right? I believe it was the Stones' first record.'PAUL 1984: 'I wrote it for Ringo to do on one of the early albums.
But we ended up giving it to the Stones.
We met Mick and Keith in a taxi one day in Charing Cross Road and Mick said, 'Have you got any songs?' So we said, 'Well, we just happen to have one with us!' I think George had been instrumental in getting them their first record contract.
We suggested them to Decca, 'cuz Decca had blown it by refusing us, so they had tried to save face by asking George, 'Know any other groups?' He said, 'Well, there is this group called the Stones.' So that's how they got their first contract.
Anyway, John and I gave them maybe not their first record, but I think the first they got on the charts with.
They don't tell anybody about it these days; they prefer to be more ethnic.
But you and I know the real truth.'
I helped him finish it.'JOHN 1980: ''I Wanna Be Your Man' was a kind of lick Paul had – 'I wanna be your lover, baby.
I wanna be your man.' I think we finished it off for the Stones.
We were taken down to meet them at the club where they were playing in Richmond by Brian and some other guy.
They wanted a song and we went to see what kind of stuff they did.
Mick and Keith heard we had an unfinished song – Paul just had this bit and we needed another verse or something.
We sort of played it roughly to them and they said, 'Yeah, OK, that's our style.' But it was only really a lick, so Paul and I went off in the corner of the room and finished the song off while they were all still sitting there talking.
We came back, and that's how Mick and Keith got inspired to write… because, 'Jesus, look at that.
They just went in the corner and wrote it and came back!' You know, right in front of their eyes we did it.
So we gave it to them.
It was a throw-away.
The only two versions of the song were Ringo and the Rolling Stones.
It shows how much importance we put on them.
We weren't going to give them anything great, right? I believe it was the Stones' first record.'PAUL 1984: 'I wrote it for Ringo to do on one of the early albums.
But we ended up giving it to the Stones.
We met Mick and Keith in a taxi one day in Charing Cross Road and Mick said, 'Have you got any songs?' So we said, 'Well, we just happen to have one with us!' I think George had been instrumental in getting them their first record contract.
We suggested them to Decca, 'cuz Decca had blown it by refusing us, so they had tried to save face by asking George, 'Know any other groups?' He said, 'Well, there is this group called the Stones.' So that's how they got their first contract.
Anyway, John and I gave them maybe not their first record, but I think the first they got on the charts with.
They don't tell anybody about it these days; they prefer to be more ethnic.
But you and I know the real truth.'
I wanna be your lover baby
I wanna be your man
I wanna be your lover baby
I wanna be your man
Love you like no other baby
Like no other can
Love you like no other baby
Like no other canI wanna be your man, I wanna be your man
I wanna be your man, I wanna be your manTell me that you love me baby
Let me understand
Tell me that you love me baby
I wanna be your man
I wanna be your lover baby
I wanna be your man
I wanna be your lover baby
I wanna be your manI wanna be your man, I wanna be your man
I wanna be your man, I wanna be your manI wanna be your lover baby
I wanna be your man
I wanna be your lover baby
I wanna be your man
Love you like no other baby
Like no other can
Love you like no other baby
Like no other canI wanna be your man, I wanna be your man
I wanna be your man, I wanna be your man
I wanna be your man, I wanna be your man
I wanna be your man
I wanna be your lover baby
I wanna be your man
Love you like no other baby
Like no other can
Love you like no other baby
Like no other canI wanna be your man, I wanna be your man
I wanna be your man, I wanna be your manTell me that you love me baby
Let me understand
Tell me that you love me baby
I wanna be your man
I wanna be your lover baby
I wanna be your man
I wanna be your lover baby
I wanna be your manI wanna be your man, I wanna be your man
I wanna be your man, I wanna be your manI wanna be your lover baby
I wanna be your man
I wanna be your lover baby
I wanna be your man
Love you like no other baby
Like no other can
Love you like no other baby
Like no other canI wanna be your man, I wanna be your man
I wanna be your man, I wanna be your man
I wanna be your man, I wanna be your man
A Fine Day
(Paul McCartney)
(Paul McCartney)
