The Beatles Lyrics, album "Back in the U.S."

Cover of the Beatles album - "Back in the U.S."

Hello, Goodbye
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

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 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, 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

Jet
(Paul McCartney and Linda McCartney)

All My Loving
(Paul McCartney)
(Officially – John Lennon and 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.'

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 you

I'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 you

All my loving I will send to you
All my loving, darling I'll be true

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 you

All 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

Getting Better
(John Lennon and Paul McCartney)

JOHN 1980: 'It is a diary form of writing.
All that 'I used to be cruel to my woman, I beat her and kept her apart from the things that she loved' was me.
I used to be cruel to my woman, and physically… any woman.
I was a hitter.
I couldn't express myself and I hit.
I fought men and I hit women.
That is why I am always on about peace, you see.
It is the most violent people who go for love and peace.
Everything's the opposite.
But I sincerely believe in love and peace.
I am a violent man who has learned not to be violent and regrets his violence.
I will have to be a lot older before I can face in public how I treated women as a youngster.'

PAUL 1984: 'Wrote that at my house in St. John's Wood.
All I remember is that I said, 'It's getting better all the time,' and John contributed the legendary line 'It couldn't get much worse.' Which I thought was very good.
Against the spirit of that song, which was all super-optimistic… then there's that lovely little sardonic line.
Typical John.'

It's getting better all the time

I used to get mad at my school (No I can't complain)
The teachers who taught me weren't cool (No I can't complain)
You're holding me down (Oh), turning me round (Oh)
Filling me up with your rules (Foolish rules)

I've got to admit it's getting better (Better)
A little better all the time (It can't get no worse)
I have to admit it's getting better (Better)
It's getting better since you've been mine

Me used to be angry young man
Me hiding me head in the sand
You gave me the word, I finally heard
I'm doing the best that I can

I've got to admit it's getting better (Better)
A little better all the time (It can't get no worse)
I have to admit it's getting better (Better)
It's getting better since you've been mine
Getting so much better all the time
It's getting better all the time
Better, better, better
It's getting better all the time
Better, better, better

I used to be cruel to my woman
I beat her and kept her apart from the things that she loved
Man I was mean but I'm changing my scene
And I'm doing the best that I can (Ooh)

I admit it's getting better (Better)
A little better all the time (It can't get no worse)
Yes I admit it's getting better (Better)
It's getting better since you've been mine
Getting so much better all the time
It's getting better all the time
Better, better, better
It's getting better all the time
Better, better, better
Getting so much better all the time

Coming Up
(Paul McCartney)

Let Me Roll It
(Paul McCartney and Linda McCartney)

Lonely Road
(Paul McCartney)

Driving Rain
(Paul McCartney)

Your Loving Flame
(Paul McCartney)

Blackbird
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

PAUL 1968: 'It's simple in concept because you couldn't think of anything else to put on it.
Maybe on 'Pepper' we would have sort of worked on it until we could find some way to put violins or trumpets in there.
But I don't think it needs it, this one.
You know, it's just… There's nothing to the song.
It is just one of those 'pick it and sing it' and that's it.
The only point where we were thinking of putting anything on it is where it comes back in the end… sort of stops and comes back in… but instead of putting any backing on it, we put a blackbird on it.
So there's a blackbird singing at the very end.
And somebody said it was a thrush, but I think it's a blackbird!'

JOHN 1980: 'I gave him (Paul) a line on that one.'

PAUL circa-1994: 'The original inspiration was from a well-known piece by Bach, which I never know the title of, which George and I had learned to play at an early age – he better than me actually.
Part of its structure is a particular harmonic thing between the melody and the bass line which intrigued me… I developed the melody based on the Bach piece and took it somewhere else, took it to another level, then I just fitted words to it.
I had in my mind a black woman, rather than a bird.
Those were the days of the civil-rights movement, which all of us cared passionately about.
So this was really a song from me to a black woman, experiencing these problems in the states… 'Let me encourage you to keep trying, to keep your faith, there is hope.' As is often the case with my things, a veiling took place.
So, rather than say 'Black woman living in Little Rock' and be very specific, she became a bird, became symbolic, so you could apply it to your particular problem.'

Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise

Blackbird singing in the dead of night
Take these sunken eyes and learn to see
All your life
You were only waiting for this moment to be free

Black bird fly, black bird fly
Into the light of the dark black night

Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise
You were only waiting for this moment to arise
You were only waiting for this moment to arise

Every Night
(Paul McCartney)

We Can Work It Out
(John Lennon and Paul McCartney)

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.'

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 gone

We can work it out
We can work it out

Think 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 goodnight

We can work it out
We can work it out

Life 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 again

Try 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 long

We can work it out
We can work it out

Life 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 again

Try 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 long

We can work it out
We can work it out

Mother Nature's Son
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

PAUL 1968: 'It says 'Born a poor young country boy' and I was born in Woolton hospital actually – so it's a dirty lie.'

JOHN 1980: 'Paul.
That was from a lecture of Maharishi where he was talking about nature, and I had a piece called 'I'm Just A Child Of Nature,' which turned into 'Jealous Guy' years later.
Both inspired from the same lecture of Maharishi.'

PAUL circa-1994: 'I seem to remember writing 'Mother Nature's Son' at my dad's house in Liverpool… I've always loved the song called, 'Nature Boy' …'Mother Nature's Son' was inspired by that song.
I'd always loved nature, and when Linda and I got together we discovered we had this deep love of nature in common.
There might have been a little help from John with some of the verses.

Born a poor young country boy, Mother Nature's son
All day long I'm sitting singing songs for everyone

Sit beside a mountain stream, see her waters rise
Listen to the pretty sound of music as she flies

Doo doo doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo

Find me in my field of grass, Mother Nature's son
Swaying daisies sing a lazy song beneath the sun

Doo doo doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo
Yeah yeah yeah

Mm mm mm mm mm mm mm
Mm mm mm, ooh ooh ooh
Mm mm mm mm mm mm mm
Mm mm mm mm, wah wah wah

Wah, Mother Nature's son

Vanilla Sky
(Paul McCartney)

Carry that Weight
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

JOHN 1980: 'That's Paul.
Apparently he was under strain at that period.'

PAUL circa-1994: 'I'm generally quite upbeat, but at certain times things get to me so much that I just can't be upbeat anymore and that (the tensions leading to the break-up) was one of those times.
'Carry that weight a long time' – like forever! That's what I meant… in this heaviness there was no place to be.
It was serious, paranoid heaviness and it was just very uncomfortable.'

Boy, you're going to carry that weight,
Carry that weight a long time
Boy, you're going to carry that weight
Carry that weight a long time

I never give you my pillow
I only send you my invitations
And in the middle of the celebrations
I break down

Boy, you're going to carry that weight
Carry that weight a long time
Boy, you're going to carry that weight
Carry that weight a long time

The Fool on the Hill (Take 4)
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

Here Today
(Paul McCartney)

Something
(George Harrison)

PAUL 1969: 'I like George's song 'Something.' For me I think it's the best he's written.'

GEORGE 1969: 'I wrote the song 'Something' for the album before this one, but I never finished it off until just recently.
I usually get the first few lines of words and music together, both at once… and then finish the rest of the melody.
Then I have to write the words.
It's like another song I wrote when we were in India.
I wrote the whole first verse and just said everything I wanted to say, and so now I need to write a couple more verses.
I find that much more difficult.
But John gave me a handy tip.
He said, 'Once you start to write a song, try to finish it straight away while you're still in the same mood.' Sometimes you go back to it and you're in a whole different state of mind.
So now, I do try to finish them straight away.'

GEORGE 1980: ''Something' was written on the paino while we were making the White Album.
I had a break while Paul was doing some overdubbing so I went into an empty studio and began to write.
That's really all there is to it, except the middle took some time to sort out.
It didn't go on the White Album because we'd already finished all the tracks.'

Something in the way she moves
Attracts me like no other lover
Something in the way she woos me

I don't want to leave her now
You know I believe and how

Somewhere in her smile she knows
That I don't need no other lover
Something in her style that shows me

Don't want to leave her now
You know I believe and how

You're asking me will my love grow
I don't know, I don't know
You stick around, now it may show
I don't know, I don't know

Something in the way she knows
And all I have to do is think of her
Something in the things she shows me

I don't want to leave her now
You know I believe and how

Eleanor Rigby
(John Lennon and Paul McCartney)

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 people

Eleanor 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 people

Eleanor 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 saved

All 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?

Here, There and Everywhere
(Paul McCartney)
(Officially – John Lennon and 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.'

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 there

There, 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 there

I 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 share

Each one believing that love never dies
Watching her eyes and hoping I'm always there

I 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 share

Each one believing that love never dies
Watching her eyes and hoping I'm always there

I will be there and everywhere
Here, there and everywhere

Band on the Run
(Paul McCartney and Linda McCartney)

Back In the U.S.S.R.
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

PAUL 1968: 'Chuck Berry once did a song called 'Back In The USA,' which is very American, very Chuck Berry.
Very sort of, uhh… you know, you're serving in the army, and when I get back home I'm gonna kiss the ground.
And you know – Can't wait to get back to the States.
And it's a very American sort of thing, I've always thought.
So this one is like about… In my mind it's just about a spy who's been in America a long long time, you know, and he's picked up… And he's very American.
But he gets back to the USSR, you know, and he's sort of saying, 'Leave it till tomorrow, honey, to disconnect the phone,' and all that.
And 'Come here honey,' but with Russian women.
It concerns the attributes of Russian women.'

JOHN 1980: 'Paul completely.
I play the six-string bass on that.'

PAUL 1984: 'I wrote that as a kind of Beach Boys parody.
And 'Back in the USA' was a Chuck Berry song, so it kinda took off from there.
I just liked the idea of Georgia girls and talking about places like the Ukraine as if they were California, you know? It was also hands across the water, which I'm still conscious of.
'Cuz they like us out there, even though the bosses in the Krelmin may not.
The kids do.'

PAUL 1986: 'I'm sure it pissed Ringo off when he couldn't quite get the drums to 'Back In The U.S.S.R.' and I sat in.
It's very weird to know that you can do a thing someone else is having trouble with.
If you go down and do it, just bluff right through it, you think, 'What the hell, at least I'm helping.' Then the paranoia comes in – 'But I'm going to show him up!' I was very sensitive to that.'

Oh, flew in from Miami Beach B.O.A.C.
Didn't get to bed last night
On the way the paper bag was on my knee
Man I had a dreadful flight
I'm back in the U.S.S.R.
You don't know how lucky you are boy
Back in the U.S.S.R. (Yeah)

Been away so long I hardly knew the place
Gee it's good to be back home
Leave it till tomorrow to unpack my case
Honey disconnect the phone
I'm back in the U.S.S.R.
You don't know how lucky you are boy
Back in the U.S.
Back in the U.S.
Back in the U.S.S.R.

Well the Ukraine girls really knock me out
They leave the West behind
And Moscow girls make me sing and shout
That Georgia's always on my mind

Aw come on!
Ho yeah!
Ho yeah!
Ho ho yeah!
Yeah yeah!

Yeah I'm back in the U.S.S.R.
You don't know how lucky you are boys
Back in the U.S.S.R.

Well the Ukraine girls really knock me out
They leave the West behind
And Moscow girls make me sing and shout
That Georgia's always on my mind

Oh, show me around your snow-peaked mountains way down south
Take me to your daddy's farm
Let me hear your balalaika's ringing out
Come and keep your comrade warm
I'm back in the U.S.S.R.
Hey you don't know how lucky you are boys
Back in the U.S.S.R.

Oh let me tell you, honey
Hey, I'm back!
I'm back in the U.S.S.R.
Yes, I'm free!
Yeah, back in the U.S.S.R.

Ha ha

Maybe I'm Amazed
(Paul McCartney)

C Moon
(Paul McCartney and Linda McCartney)

My Love
(Paul McCartney and Linda McCartney)

Can't Buy Me Love
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

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 love

I'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 love

I'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 love

Can't buy me love, everybody tells me so
Can't buy me love, no, no, no, no

Say 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 love

Can't buy me love, everybody tells me so
Can't buy me love, no, no, no, no

Say 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 love

Can't buy me love, love
Can't buy me love, oh

Freedom
(Paul McCartney)

Live and Let Die
(Paul McCartney and Linda McCartney)

Let It Be
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

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 be

And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

And when the broken-hearted people
Living in the world agree
There will be an answer
Let it be

For though they may be parted there is
Still a chance that they will see
There will be an answer
Let it be

Let it be, let it be, let it be, let it be
Yeah, there will be an answer
Let it be

Let it be, let it be, let it be, let it be
Whisper words of wisdom
Let it be

And when the night is cloudy
There is still a light that shines on me
Shine until tomorrow
Let it be

I wake up to the sound of music
Mother Mary comes to me
Speaking words of wisdom
Let it be

Let it be, let it be, let it be, yeah, let it be
There will be an answer
Let it be

Let it be, let it be, let it be, yeah, let it be
Whisper words of wisdom
Let it be

Hey Jude
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

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 better

Hey, 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 better

And 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 colder

Nah, nah nah, nah nah, nah nah, nah nah

Hey, 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 better

So 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 shoulder

Nah, nah nah, nah nah, nah nah, nah nah yeah

Hey, 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]

The Long and Winding Road
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

PAUL 1970: 'The album was finished a year ago, but a few months ago American record producer Phil Spector was called in by John Lennon to tidy up some of the tracks.
But a few weeks ago, I was sent a re-mixed version of my song 'The Long And Winding Road' with harps, horns, an orchestra, and a women's choir added.
No one had asked me what I thought.
I couldn't believe it.
The record came with a note from Allen Klein saying he thought the changes were necessary.
I don't blame Phil Spector for doing it, but it just goes to show that it's no good me sitting here thinking I'm in control because obviously I'm not.
Anyway, I've sent Klein a letter asking for some things to be altered, but I haven't received an answer yet.'

JOHN 1980: 'Paul again.
He had a little spurt just before we split.'

PAUL circa-1994: 'It's rather a sad song.
I like writing sad songs, it's a good bag to get into because you can actually acknowledge some deeper feelings of your own and put them in it.
It's a good vehicle, it saves having to go to a psychiatrist.
Songwriting often performs that feat – you say it, but you don't embarrass yourself because it's only a song, or is it? You are putting the things that are bothering you on the table and you are reviewing them, but because it's a song, you don't have to argue with anyone… It's a sad song because it's all about the unattainable; the door you never quite reach.
This is the road that you never get to the end of.'

The long and winding road, that leads, to your door
Will never disappear, I've seen that road before
It always leads me here, lead me to your door
The wild and windy night, that the rain, washed away
Has left a pool of tears, crying for the day
Why leave me standing here, let me know the way

Many times I've been alone, and many times I've cried
Any way you'll never know, the many ways I've tried
And still they lead me back, to the long winding road
You left me standing here a long long time ago
Don't leave me waiting here, lead me to your door

But still they lead me back to the long winding road
You left me standing here, a long long time ago
Don't keep me waiting here (Don't keep me wait), lead me to your door
Yeah, yeah, yeah, yeah

Lady Madonna
(Paul McCartney)
(Officially – John Lennon and 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.'

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 run

Lady Madonna, baby at your breast
Wonders how you manage to feed the rest?

See how they run

Lady Madonna lying on the bed
Listen to the music playing in your head

Tuesday afternoon is never ending
Wednesday morning papers didn't come
Thursday night your stockings needed mending
See how they run

Lady Madonna, children at your feet
Wonder how you manage to make ends meet

I Saw Her Standing There
(John Lennon and Paul McCartney)

JOHN 1980: 'That's Paul doing his usual job of producing what George Martin used to call a 'potboiler.' I helped with a couple of the lyrics.'

PAUL 1988: 'I wrote it with John.
We sagged off school and wrote it on guitars.
I remember I had the lyrics, 'Just seventeen/Never been a beauty queen,' which John… it was one of the first times he ever went, 'What? Must change that!' And it became, 'you know what I mean.''

PAUL circa-1994: 'Sometimes we would just start a song from scratch, but one of us would nearly always have a germ of an idea, a title, or a rough little thing they were thinking about and we'd do it.
'I Saw Her Standing There' was my original.
I'd started it and I had the first verse, which therefore gave me the tune, the tempo, and the key.
It gave you the subject matter, alot of information, and then you had to fill in.
So it was co-written… and we finished it that day.

Well, she was just seventeen
You know what I mean
And the way she looked was way beyond compare
So how could I dance with another (Ooh)
When I saw her standing there

Well she looked at me, and I, I could see
That before too long I'd fall in love with her
She wouldn't dance with another (Whooh)
When I saw her standing there

Well, my heart went "boom"
When I crossed that room
And I held her hand in mine

Whoah, we danced through the night
And we held each other tight
And before too long I fell in love with her
Now I'll never dance with another (Whooh)
When I saw her standing there

Well, my heart went "boom"
When I crossed that room
And I held her hand in mine

Whoah, we danced through the night
And we held each other tight
And before too long I fell in love with her
Now I'll never dance with another (Whooh)
Since I saw her standing there
Oh since I saw her standing there
Oh since I saw her standing there

Yesterday
(Paul McCartney)
(Officially – John Lennon and Paul McCartney)

Yesterday

Sgt. Pepper's Lonely Hearts Club Band/The End
(John Lennon and Paul McCartney)

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The Beatles Lyrics, album "Back in the U.S."