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The Beatles Lyrics, album "Introducing... The Beatles"
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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 thereWell 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 thereWell, my heart went "boom" When I crossed that room And I held her hand in mineWhoah, 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 thereWell, my heart went "boom" When I crossed that room And I held her hand in mineWhoah, 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 JOHN 1980: 'It was kind of a John song, more than a Paul song… but it was written together.'PAUL 1988: 'John and I were a songwriting team, and what songwriting teams did in those days was wrote for everyone. 'Misery' was for Helen Shapiro, and she turned it down. It may not have been that successful for her because it's rather a downbeat song… 'the world is treating me bad, misery.' It was quite pessimistic. And in the end Kenny Lynch did it. Kenny used to come out on tour with us, and he used to sing it. That was one of his minor hits.' The world is treating me bad... MiseryI'm the kind of guy Who never used to cry The world is treating me bad... Misery!I've lost her now for sure I won't see her no more It's gonna be a drag... Misery!I'll remember all the little things we've done Can't she see she'll always be the only one, only oneSend her back to me Cos everyone can see Without her I will be in miseryI'll remember all the little things we've done She'll remember and she'll miss her only one, lonely oneSend her back to me Cos everyone can see Without her I will be in misery (Oh oh oh) In misery (Ooh ee ooh ooh) My misery (La la la la la la) Anna (Go to Him) (Arthur Alexander) Anna You come and ask me, girl To set you free, girl You say he loves you more than me So I will set you free Go with him (Anna) Go with him (Anna)Anna Girl, before you go now I want you to know, now That I still love you so But if he loves you more Go with himAll of my life I've been searching for a girl To love me like I love you Oh, now, but every girl I've ever had Breaks my heart and leave me sad What am I, what am I supposed to doAnna Just one more thing, girl You give back your ring to me, and I will set you free Go with himAll of my life I've been searching for a girl To love me like I love you But let me tell you now But every girl I've ever had Breaks my heart and leave me sad What am I, what am I supposed to doAnna Just one more thing, girl You give back your ring to me, And I will set you free Go with him(Anna) Go with him (Anna) You can go with him, girl (Anna) Go with him Chains, my baby's got me locked up in chains And they ain't the kind that you can see Whoa, oh, these chains of love got a hold on me, yeahChains, well I can't break away from these chains Can't run around, cos I'm not free Whoa, oh, these chains of love won't let me be, yeahI wanna tell you, pretty baby I think you're fine I'd like to love you But, darling, I'm imprisoned by these...Chains, my baby's got me locked up in chains And they ain't the kind that you can see Oh, oh, these chains of love got a hold on mePlease believe me when I tell you Your lips are sweet I'd like to kiss them But I can't break away from all of these...Chains, my baby's got me locked up in chains And they ain't the kind that you can see Whoa, oh, these chains of love got a hold on me, yeahChains, chains of love... I been told when a boy kiss a girl Take a trip around the world Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)My girl says when I kiss her lips Gets a thrill through her fingertips Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)Well, I talk about boys Don't ya know I mean boys Well, I talk about boys, now Aaahhh, boys Well, I talk about boys, now What a bundle of joy! (Alright, George!)My girl says when I kiss her lips Gets a thrill through her fingertips Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey (Bop shuop, m'bop bop shuop) Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop)Well, I talk about boys Don't ya know I mean boys Well, I talk about boys, now Aaahhh, boys Well, I talk about boys, now What a bundle of joy!Oh, oh, ah yeah boys Don't ya know I mean boys? Ooh, boys Ah ha Well I talk about boys now JOHN 1963: 'It came to the charts in two days. And everybody thought it was a 'fiddle' because our manager's stores send in these… what is it… record returns. And everybody down south thought, 'Aha! He's just fiddling the charts.' But he wasn't.'JOHN 1972: 'Paul wrote the main structure of this when he was sixteen, or even earlier. I think I had something to do with the middle.'RINGO 1976: 'The first record, 'Love Me Do,' for me that was more important than anything else. That first piece of plastic. You can't believe how great that was. It was so wonderful. We were on a record!'JOHN 1980: ''Love Me Do' is Paul's song. He had the song around in Hamburg even, way, way before we were songwriters.'PAUL 1982: 'In Hamburg we clicked… At the Cavern we clicked… but if you want to know when we 'knew' we'd arrived, it was getting in the charts with 'Love Me Do.' That was the one. It gave us somewhere to go.'PAUL 1984: ''Love Me Do' …the first song we recorded, like, for real. First serious audition. I was very nervous, I remember. John was supposed to sing the lead, but they changed their minds and asked me to sing lead at the last minute, because they wanted John to play harmonica. Until then, we hadn't rehearsed with a harmonica; George Martin started arranging it on the spot. It was very nerve-wracking.'PAUL 1988: ''Love Me Do' was us trying to do the blues. It came out whiter because it always does. We're white, and we were just young Liverpool musicians. We didn't have the finesse to be able to actually sound black. But 'Love Me Do' was probably the first bluesy thing we tried to do.'PAUL circa-1994: 'George Martin said, 'Can anyone play a harmonica? It would be rather nice. Couldn't think of some sort of bluesy thing, could you John?' John played a chromatic harmonica… I actually had one too but he'd been clever – he learned to play it. John expected to be in jail one day and he'd be the guy who played the harmonica. The lyric crossed over the harmonica solo, so I suddenly got thrown the big open line, 'Love me do,' where everything stopped. Until that session John had always done it. I didn't even know how to sing it… I can still hear the nervousness in my voice.' Love, love me do You know I love you I'll always be true So please, love me do Whoa, love me doLove, love me do You know I love you I'll always be true So please, love me do Whoa, love me doSomeone to love Somebody new Someone to love Someone like youLove, love me do You know I love you I'll always be true So please, love me do Whoa, love me doLove, love me do You know I love you I'll always be true So please, love me do Whoa, love me do Yeah, love me do Whoa, oh, love me do JOHN 1980: 'That's Paul's song. He was trying to write a 'Soldier Boy' like the Shirelles. He wrote that in Germany, or when we were going to and from Hamburg. I might have contributed something. I can't remember anything in particular. It was mainly his song.'PAUL circa-1994: 'A theme song based on a letter… It was pretty much mine. I don't think John had much of a hand in it. There are certain themes that are easier than others to hang a song on, and a letter is one of them… It's not based in reality, nor did I write it to my girlfriend from Hamburg, which some people think.' As I write this letter Send my love to you Remember that I'll always Be in love with youTreasure these few words till we're together Keep all my love forever P.S. I love you You, you, youI'll be coming home again to you, love And till the day I do, love P.S. I love you You, you, youAs I write this letter Send my love to you Remember that I'll always Be in love with youTreasure these few words till we're together Keep all my love forever P.S. I love you You, you, youAs I write this letter (Oh) Send my love to you (You know I want you to) Remember that I'll always (Yeah) Be in love with youI'll be coming home again to you, love And till the day I do, love P.S. I love you You, you, you You, you, you I love you Sha la la la la la la la Sha la la la la la la la Sha la la la la la la la Sha la la la laIt's not the way you smile that touched my heart. (sha la la la la) It's not the way you kiss that tears me apart.Uh, oh, many, many, many nights go by, I sit alone at home and I cry over you. What can I do. Can't help myself, 'cause baby, it's you. Baby, it's you.You should hear what they say about you, "cheat," "cheat." They say, they say you never never never ever been true. (cheat cheat)Uh oh, It doesn't matter what they say, I know I'm gonna love you any old way. What can I do, and it's true. Don't want nobody, nobody, 'cause baby, it's you. (sha la la la la la la) Baby, it's you. (sha la la la la la la)Uh oh, It doesn't matter what they say, I know I'm gonna love you any old way. What can I do, when it's true. Don't want nobody, nobody, 'cause baby, it's you. (sha la la la la la la) Baby, it's you. (sha la la la la la la) Don't leave me all alone... JOHN 1980: 'Well, I can't say I wrote it 'for' George. My mother was always… she was a good comedienne and a singer. Not professional, but she used to get up in pubs and things like that. She had a good voice. She could do Kay Starr. She used to do this little tune when I was one or two years old… she was still living with me then. The tune was from a Disney movie: (sings) 'Do you want to know a secret? Promise not to tell? You are standing by a wishing well.' So, I had this sort of thing in my head, and I wrote it and just gave it to George to sing. I thought it would be a good for him, because it had only three notes and he wasn't the best singer in the world. He has improved a lot since then; but in those days, his ability was very poor.'PAUL 1984: 'A song we really wrote for George to sing. Before he wrote his own stuff, John and I wrote things for him and Ringo to do.'GEORGE 1994: ''Do You Want To Know A Secret' was my song on the album. I didn't like the vocal on it. I didn't know how to sing.' You'll never know how much I really love you You'll never know how much I really careListen Do you want to know a secret Do you promise not to tell, whoa oh, ohCloser Let me whisper in your ear Say the words you long to hear I'm in love with youListen Do you want to know a secret Do you promise not to tell, whoa oh, ohCloser Let me whisper in your ear Say the words you long to hear I'm in love with youI've known the secret for a week or two Nobody knows, just we twoListen Do you want to know a secret Do you promise not to tell, whoa oh, ohCloser Let me whisper in your ear Say the words you long to hear I'm in love with you A taste of honey Tasting much sweeter than wineI dream of your first kiss And then I feel upon my lips againA taste of honey Tasting much sweeter than wineI will return, yes I will return I'll come back for the honey and youYours was the kiss that awoke my heart There lingers still, though we're far apartThat taste of honey Tasting much sweeter than wineOh I will return, yes I will return I'll come back (He'll come back) for the honey (For the honey) and you JOHN 1980: ''There's a Place' was my attempt at a sort of Motown, black thing. It says the usual Lennon things: 'In my mind there's no sorrow…' It's all in your mind.' There is a place Where I can go When I feel low When I feel blue And it's my mind And there's no time when I'm aloneI think of you And things you do Go 'round my head The things you said Like "I love only you"In my mind there's no sorrow Don't you know that it's so There'll be no sad tomorrow Don't you know that it's soThere is a place Where I can go When I feel low When I feel blue And it's my mind And there's no time when I'm aloneThere's a place... JOHN 1963: 'I always hate singing the song, 'Twist And Shout' when there's a colored artist on the bill with us. It doesn't seem right, you know. I feel sort of embarrassed… It makes me curl up. I always feel they could do the song much better than me.'JOHN 1971: 'The more interesting songs to me were the black ones because they were more simple. They sort of said shake-your-arse, or your prick, which was an innovation really. The blacks were singing directly and immediately about their pain, and also about sex, which is why I like it.'JOHN 1976: 'The last song nearly killed me. My voice wasn't the same for a long time after – everytime I swallowed it was like sandpaper. I was always bitterly ashamed of it because I could sing it better than that, but now it doesn't bother me. You can hear I'm just a frantic guy doing his best.'PAUL 1988: 'There's a power in John's voice there that certainly hasn't been equaled since. And I know exactly why – It's because he worked his bollocks off that day. We left 'Twist And Shout' until the very last thing because we knew there was one take.'RINGO 1994: 'We started (recording the album) about noon and finished it at midnight, with John being really hoarse by 'Twist And Shout.'' Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C'mon c'mon, c'mon, c'mon, baby, now (Come on baby) Come on and work it on out (Work it on out)Well, work it on out, honey (Work it on out) You know you look so good (Look so good) You know you got me goin' now (Got me goin') Just like I knew you would (Like I knew you would)Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C'mon, c'mon, c'mon, c'mon, baby, now (Come on, baby) Come on and work it on out (Work it on out)Well, you twist, you little girl (Twist, little girl) You know you twist so fine (Twist so fine) Come on and twist a little closer now (Twist a little closer) And let me know that you're mine (Let me know you're mine)Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C'mon, c'mon, c'mon, c'mon, baby, now (Come on, baby) Come on and work it on out (Work it on out)Well, you twist, you little girl (Twist, little girl) You know you twist so fine (Twist so fine) Come on and twist a little closer now (Twist a little closer) And let me know that you're mine (Let me know you're mine)Well, shake it, shake it, shake it, baby, now (Shake it up baby) Well, shake it, shake it, shake it, baby, now (Shake it up baby) Well, shake it, shake it, shake it, baby, now (Shake it up baby) |
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