Saturday, October 24, 2009

"Here Comes the Sun" Lyrics

by George Harrison

Original Manuscript (1969)

(1) Little Darling it's been a long cold lonely winter
L-- D-- it seems like years since it's
been here - Here Comes the Sun - (scoobie doobie)
It's alright - - - - - - - -

(2) L.D. feels like ice is slowly melting
L.D. it seems like years since it's been clear
(chorus again)
Middle (song Badge)

(3) Little Darling the smiles are returning to
their faces - L.D. it seems like years since
it's been here - H.C.T.S. - H.C.T.S. (and I say)
It's all right

As Released by the Beatles (1969)

Here comes the sun (do-n-do-do)
Here comes the sun
'n' I say, it's alright.

Little darling, it's been a long, cold lonely winter.
Little darling, it feels like years since it's been here.

Here comes the sun (do-n-do-do)
Here comes the sun
'n' I say, it's alright.

Little darling, the smiles returning to the faces.
Little darling, it seems like years since it's been here.

Here comes the sun, here comes the sun
'n' I say, it's alright.

Sun, sun, sun, here it comes
Sun, sun, sun, here it comes
Sun, sun, sun, here it comes
Sun, sun, sun, here it comes
Sun, sun, sun, here it comes.

Little darling, I feel that ice is slowly melting.
Little darling, it seems like years since it's been clear.

Here comes the sun (do-n-do-do)
Here comes the sun
'n' I say, it's alright.

Here comes the sun (do-n-do-do)
Here comes the sun
It's alright
It's alright.

Friday, October 23, 2009

"Norwegian Wood (This Bird Has Flown)" Lyrics

by John Lennon and Paul McCartney

As Released by the Beatles (1965)

I once had a girl
Or should I say
She once had me?

She showed me her room
Isn't it good
Norwegian wood?

She asked me to stay
And she told me to sit anywhere
So I looked around
And I noticed there wasn't a chair.

I sat on a rug
Biding my time
Drinking her wine.

We talked until two
And then she said
It's time for bed.

She told me she worked in the morning
And started to laugh
I told her I didn't
And crawled off to sleep in the bath.

And when I awoke
I was alone
This bird had flown.

So I lit a fire
Isn't it good
Norwegian wood?

"Baby, You're a Rich Man"

"Baby, You're a Rich Man" is a song written by John Lennon and Paul McCartney and recorded by The Beatles on 11 May 1967 at Olympic Sound Studios by engineer Keith Grant, Chief engineer at Olympic. This was the first song by the band recorded and mixed completely outside Abbey Road Studios. The song was recorded during sessions for the Magical Mystery Tour EP, but was not intended for release there (see below). The unusual oboe-like sound was created with a clavioline.


The song started out as two different, unfinished songs. The verses taken from "One of the Beautiful People" by John Lennon, were combined with Paul McCartney's previously unaccompanied "Baby, you're a rich man..." chorus. Two songs were combined in a similar fashion to make "A Day in the Life." The melody for the verse part was used for the song "Put A Little Love In Your Heart" by Jackie DeShannon.


“Baby, You're a Rich Man” was released (in mono) as the b-side of the single “All You Need is Love” in July, 1967. Later that year, it was included (in simulated stereo) on the US album Magical Mystery Tour.

The song was the first to be recorded for the 1968 film Yellow Submarine, but was not included on the first (1969) soundtrack album. It would later be restored for the Yellow Submarine Songtrack CD.

Stereo mixes

In 1971, producer George Martin and recording engineer Geoff Emerick created the first true stereo mix of the song (for the German release of the Magical Mystery Tour album), but an effect that had been created at the mixing stage in 1967, was this time omitted. In the original mix, after the lines ‘Far as the eye can see’ and ‘Often enough to know’, there is a spin-echo (feed back delay) effect that serves to fill from the end of one line of the verse to the start of the next. Its omission from the stereo mix explains why there is an instrumental break after these lines.

For the 1999 DVD release of the Yellow Submarine film (and the accompanying Songtrack album), the song was remixed for a second time, but the spin-echo effect was again left out.

Cover versions

The Presidents of the United States of America covered this song live and The Fat Boys covered it in their movie Disorderlies.


* John Lennon – lead and backing vocals, piano, and Clavioline (an early precursor to the modern synthesizer)
* Paul McCartney – bass guitar, piano, backing vocals
* George Harrison – lead guitar, backing vocals, hand claps
* Ringo Starr – drums, tambourine, maracas, hand claps

Brian Jones (of The Rolling Stones) is sometimes misidentified as the Clavioline performer. Mick Jagger was present during the recording session, and his name also appears on a session tape box, possibly indicating that Jagger sang backing vocals on the song.

A-side: "All You Need is Love"
Released: 7 July 1967 (UK), 17 July 1967 (US)
Format: 7"
Recorded: Olympic Sound Studios, 11 May 1967
Genre: Pop rock, psychedelic
Length: 3:03
Label: Parlophone (UK)
Writer(s): Lennon/McCartney
Producer: George Martin


Thursday, October 22, 2009

John Lennon's Record Collection: The Lovin' Spoonful - Do You Believe in Magic

"Strawberry Fields Forever" Lyrics

by John Lennon and Paul McCartney

Original Manuscript (1966)

There's no one I [ ] in my tree
I mean it's either to high or to low
That is, you can't you know
tune in - but it's alright
I mean it's not to bad

I always no - sometimes think
it's hard
But you know I know when
it's a bean
I think I know I mean - er -
Yes, but it's all wrong
That is I think I disagree

As Released by the Beatles (1967)

Let me take you down
'cos I'm going to strawberry fields
Nothing is real
And nothing to get hung about
Strawberry fields forever.

Living is easy with eyes closed
Misunderstanding all you see
It's getting hard to be someone
But it all works out
It doesn't matter much to me.

Let me take you down
'cos I'm going to strawberry fields
Nothing is real
And nothing to get hung about
Strawberry fields forever.

No-one, I think, is in my tree
I mean, it must be high or low
That is you can't, you know, tune in
But it's alright
That is, I think it's not too bad.

Let me take you down
'cos I'm going to strawberry fields
Nothing is real
And nothing to get hung about
Strawberry fields forever.

Always, no, sometimes, think it's me
But, you know, I know when it's a dream
I think I know, I mean, er, yes
But it's all wrong
That is, I think I disagree.

Let me take you down
'cos I'm going to strawberry fields
Nothing is real
And nothing to get hung about
Strawberry fields forever.

Strawberry fields forever.
Strawberry fields forever.

... Cranberry sauce...

Wednesday, October 21, 2009

"No Reply" Lyrics

by John Lennon and Paul McCartney

As Released by the Beatles (1964)

This happened once before
When I came to your door
No reply
They said it wasn't you
But I saw you peep through your window
I saw the light, I saw the light.

I know that you saw me
'cos I looked up to see your face.

I tried to telephone
They said you were not home
That's a lie
'cos I know where you've been
I saw you walk in your door
I nearly died, I nearly died.

'cos you walked hand in hand
With another man in my place.

If I were you I'd realise that I
Love you more than any other guy
And I'll forgive the lies
That I heard before
When you gave me no reply.

I tried to telephone
They said you were not home
That's a lie
'cos I know where you've been
I saw you walk in your door
I nearly died, I nearly died.

'cos you walked hand in hand
With another man in my place.

No reply, no reply.

"Baby It's You"

"Baby It's You" is a song written by Burt Bacharach (music), and Luther Dixon (credited as Barney Williams) and Mack David (lyrics). It was recorded by the Shirelles and the Beatles, both of whom had hits with the song. The highest-charting version of "Baby It's You" was by the band Smith, who took the song to #5 on the US charts in 1969.

The Shirelles

The song was produced by Luther Dixon. When released as a single in 1961, the song became very popular, becoming a #8 hit on Billboard's Hot 100 chart. It later appeared on the album Baby It's You, named to capitalize upon the success of the single. The vocal arrangements on this version proved influential in subsequent versions, including that by the Beatles, who used the same one. One notable feature of the song is its minor-to-major key chord changes on the verses.

The Beatles

The Beatles performed "Baby It’s You" as part of their stage act from 1961 until 1963. It was the only Burt Bacharach song the group covered. They recorded it on 11 February 1963 for their album Please Please Me along with "Boys," another Shirelles song. American label Vee Jay Records included it on Introducing... The Beatles and Songs, Pictures And Stories Of the Fabulous Beatles. Capitol included it on The Early Beatles.


* John Lennon on rhythm guitar, lead vocal
* George Harrison on lead guitar, backing vocal
* Paul McCartney on bass, backing vocal
* Ringo Starr on drums
* George Martin on celesta

Beatles' live version

Another version of the song would appear on the album Live at the BBC in 1994. The song was issued as a single in 1995 in both the UK and the U.S.; their first in nearly a decade. It was issued on both a CD and a vinyl record. Both versions have four tracks, making it an EP instead of a regular issue single. It reached #7 in the UK and #67 on the Billboard Hot 100.

Track listing

1. "Baby It's You" (Bacharach/David/Williams) - 2:45
2. "I'll Follow the Sun" (Lennon/McCartney) - 1:51
3. "Devil in Her Heart" (Drapkin) - 2:23
4. "Boys" (Dixon/Farrell) - 2:29


The Smith version appeared on their debut album, A Group Called Smith. The single was released on Dunhill 4206 in 1969. It was their first and most successful release. This version alters the traditional vocal arrangement as performed by the Shirelles and the Beatles in favor of a more belted, soulful vocal. This proved a popular change, as the single hit #5 on the Billboard Hot 100. The Smith version has recently been used in Quentin Tarantino's Death Proof, part of the double-feature film Grindhouse. An a cappella version sung by Mary Elizabeth Winstead is seen on the second disc of the two-disc Death Proof Region 1 DVD special features.

The Carpenters

The Carpenters recorded a version of "Baby It's You" in 1970 for their album, Close to You. Although it wasn't released as a single, it was performed on their TV series, Make Your Own Kind of Music in 1971. It was also featured on the UK compilation, Reflections in 1998 with a special remix done by Richard Carpenter in 1991.

Other recorded versions

A number of other well-known artists have recorded covers of the tune, among them:

* Bruce Channel, 1962
* Cilla Black, 1965
* Dolly Mixture, 1980
* Emily Bindiger, 1981
* Pia Zadora, 1982
* Dave Berry, 1983
* Elvis Costello, 1984
* Stacy Lattisaw, 1984
* Mai Yamane, 1985
* Ace Frehley, 198*
* Johnny Thunders & Patti Palladin, 1988
* Cherrelle, 1992
* Petty Booka, 1995
* Nick Lowe, 1999
* Cliff Richard,1967 & 2002
* Leigh Stephens, 2004
* Loleatta Holloway, 2005
* Beryl Marsden , 2007
* Tina Arena, 2008 (Songs of Love & Loss 2)

"Baby It's You" in Popular Culture

The song was mentioned in the Friends episode, "The One with Ross's Grant."

Single by the Shirelles
from the album Baby It's You
B-side: "The Things I Want to Hear (Pretty Words)"
Released: 1961
Format: 7" single
Recorded: Bell Sound Studios New York
Genre: Girl group
Length: 2:42
Label: Scepter
Writer(s): Burt Bacharach, Mack David, Barney Williams
Producer: Luther Dixon

Single by The Beatles
from the album Please Please Me & Live at the BBC
Released: March 20, 1995 (Single, UK)
Format: vinyl record 7", CD single
Recorded: Abbey Road Studios, 11 February 1963
Genre: Rock
Length: 2:45
Label: Apple 58348 (US)
Writer(s): music: Burt Bacharach - lyrics: Mack David and Barney Williams
Producer: George Martin


Tuesday, October 20, 2009

When did the Beatles audition for Decca Records?

The Decca audition is the name given to the now-famous Beatles audition for Decca Records at their Decca Studios in West Hampstead, north London, England, before they reached international stardom. Decca's decision to reject the group is considered to be one of the biggest mistakes in music history.

Manager Brian Epstein made numerous trips to London to visit record companies with the hope of securing a record contract, but was rejected by many, including Columbia, Pye, Philips, and Oriole. The Beatles were driven down to London by Neil Aspinall on New Year's Eve in 1961, for a Decca audition, but Aspinall lost his way, and the trip took ten hours. They arrived at 10 o'clock at night, and John Lennon said that they arrived "just in time to see the drunks jumping in the Trafalgar Square fountain." On January 1, 1962, Paul McCartney, John Lennon, George Harrison and Pete Best were auditioned by Decca producer Tony Meehan (ex-drummer of the Shadows) performing a total of fifteen songs in just under one hour. All the material was selected by Epstein, who decided on a selection of covers that the band had performed in various clubs over the years, interspersed with three Lennon/McCartney originals. The Beatles later found out that Epstein had paid Meehan to produce the studio recordings.

The order of the songs at the session was:

1. "Like Dreamers Do" (Lennon/McCartney)
2. "Money (That's What I Want)" (Gordy/Bradford)
3. "Till There Was You" (Meredith Wilson)
4. "The Sheik of Araby" (Smith/Wheeler/Snyder)
5. "To Know Her Is to Love Her" (Phil Spector)
6. "Take Good Care of My Baby" (King/Goffin)
7. "Memphis, Tennessee" (Chuck Berry)
8. "Sure to Fall (In Love with You)" (Cantrell/Claunch/Perkins)
9. "Hello Little Girl" (Lennon/McCartney)
10. "Three Cool Cats" (Leiber/Stoller)
11. "Crying, Waiting, Hoping" (Buddy Holly)
12. "Love of the Loved" (Lennon/McCartney)
13. "September in the Rain" (Warren/Dubin)
14. "Bésame Mucho" (Consuelo Velázquez)
15. "Searchin'" (Leiber/Stoller)

Mike Smith agreed to let them record, telling them he could not see any problems and that he would let the group know of his decisions in a few weeks.

Eventually, Decca Records rejected The Beatles, saying that "guitar groups are on the way out" and "the Beatles have no future in show business," although it has since been suggested that their work that day did not yet reflect their true potential, and the "guitar" comment may have been intended as a polite let down. Decca instead chose The Tremeloes, who auditioned the same day as The Beatles, were local and would require lower travel expenses.

While Epstein was negotiating with Decca, he also approached EMI marketing executive Ron White. White (who was not himself a record producer) in turn contacted EMI producers Norrie Paramor, Walter Ridley, and Norman Newell, all of whom declined to record The Beatles. Months later, The Beatles went on to sign with EMI subsidiary Parlophone, after their 'comedy album' producer George Martin heard the Decca demos and decided to meet the band.

The Liverpool music paper Mersey Beat was the first to report on the Mike Smith visit by writing that the producer had made a tape of the performance (this amounted to the first "test") and wrote "…certain Decca would put the Beatles to good use."

In 1995, The Beatles Anthology was released. The documentary includes snippets from many of the songs performed at the Decca audition, while the accompanying soundtrack (specifically, The Beatles Anthology 1) includes five of the songs performed at the audition ("Searchin'," "Like Dreamers Do," "Hello Little Girl," "Three Cool Cats," and "The Sheik of Araby") along with many other outtakes and various live performances. The remaining ten songs from the Decca audition have never been officially released, although they have frequently surfaced on gray market and bootleg releases.


John Lennon: 1980

By David Sheff / September 8-28, 1980

A candid conversation with the reclusive couple about their years together and their surprisingly frank views on life with and without the Beatles.

To describe the turbulent history of the Beatles, or the musical and cultural mileposts charted by John Lennon, would be an exercise in the obvious. Much of the world knows that Lennon was the guiding spirit of the Beatles, who were themselves among the most popular and profound influences of the Sixties, before breaking up bitterly in 1970. Some fans blamed the breakup on Yoko Ono, Lennon's Japanese-born second wife, who was said to have wielded a disproportionate influence over Lennon, and with whom he has collaborated throughout the Seventies.

In 1975, the Lennons became unavailable to the press, and though much speculation has been printed, they emerged to dispel the rumors -- and to cut a new album -- only a couple of months ago. The Lennons decided to speak with Playboy in the longest interview they have ever granted. Free-lance writer David Sheff was tapped for the assignment, and when he and a Playboy editor met with Ono to discuss ground rules, she came on strong: Responding to a reference to other notables who had been interviewed in Playboy, Ono said, "People like Carter represent only their country. John and I represent the world." But by the time the interview was concluded several weeks later, Ono had joined the project with enthusiasm. Here is Sheff's report:

"There was an excellent chance this interview would never take place. When my contacts with the Lennon-Ono organization began, one of Ono's assistants called me, asking, seriously, 'What's your sign?' The interview apparently depended on Yoko's interpretation of my horoscope, just as many of the Lennons' business decisions are reportedly guided by the stars. I could imagine explaining to my Playboy editor, 'Sorry, but my moon is in Scorpio -- the interview's off.' It was clearly out of my hands. I supplied the info: December 23, three P.M., Boston. "Thank my lucky stars. The call came in and the interview was tentatively on. And I soon found myself in New York, passing through the ominous gates and numerous security check points at the Lennons' headquarters, the famed Dakota apartment building on Central Park West, where the couple dwells and where Yoko Ono holds court beginning at eight o'clock every morning.

"Ono is one of the most misunderstood women in the public eye. Her mysterious image is based on some accurate and some warped accounts of her philosophies and her art statements, and on the fact that she never smiles. It is also based -- perhaps unfairly -- on resentment of her as the sorceress/Svengali who controls the very existence of John Lennon. That image has remained through the years since she and John met, primarily because she hasn't chosen to correct it -- nor has she chosen to smile. So as I removed my shoes before treading on her fragile carpet -- those were the instructions -- I wondered what the next test might be.

"Between interruptions from her two male assistants busy screening the constant flow of phone calls, Yoko gave me the once-over. She finally explained that the stars had, indeed, said it was right -- very right, in fact. Who was I to argue? So the next day, I found myself sitting across a couple of cups of cappuccino from John Lennon.

"Lennon, still bleary-eyed from lack of sleep and scruffy from lack of shave, waited for the coffee to take hold of a system otherwise used to operating on sushi and sashimi -- 'dead fish,' as he calls them -- French cigarettes and Hershey bars with almonds.

"Within the first hour of the interview, Lennon put every one of my preconceived ideas about him to rest. He was far more open and candid and witty than I had any right to expect. He was prepared, once Yoko had given the initial go-ahead, to frankly talk about everything. Explode was more like it. If his sessions in primal-scream therapy were his emotional and intellectual release ten years ago, this interview was his more recent vent. After a week of conversations with Lennon and Ono separately as well as together, we had apparently established some sort of rapport, which was confirmed early one morning.

"'John wants to know how fast you can meet him at the apartment,' announced the by-then-familiar voice of a Lennon-Ono assistant. It was a short cab ride away and he briefed me quickly: 'A guy's trying to serve me a subpoena and I just don't want to deal with it today. Will you help me out?' We sneaked into his limousine and streaked toward the recording studio three hours before Lennon was due to arrive. Lennon told his driver to slow to a crawl as we approached the studio and instructed me to lead the way inside, after making sure the path was safe. 'If anybody comes up with papers, knock them down,' he said. 'As long as they don't touch me, it's OK.' Before I left the car, Lennon pointed to a sleeping wino leaning against the studio wall. 'That could be him,' Lennon warned. 'They're masters of disguise.' Lennon high-tailed it into the elevator, dragging me along with him. When the elevator doors finally closed, he let out a nervous sigh and somehow the ludicrousness of the morning dawned on him. He broke out laughing. 'I feel like I'm back in "Hard Day's Night" or "Help!"' he said.

"As the interview progressed, the complicated and misunderstood relationship between Lennon and Ono emerged as the primary factor in both of their lives. 'Why don't people believe us when we say we're simply in love?' John pleaded. The enigma called Yoko Ono became accessible as the hard exterior broke down -- such as the morning when she let out a hiccup right in the middle of a heavy discourse on capitalism. Nonplused by her hiccup, Ono giggled. With that giggle, she became vulnerable and cute and shy -- not at all the creature that came from the Orient to brainwash John Lennon.

"Ono was born in 1933 in Tokyo, where her parents were bankers and socialites. In 1951, her family moved to Scarsdale, New York. She attended Sarah Lawrence College. In 1957, Yoko was married for the first time, to Toshi Ichiyanagi, a musician. They were divorced in 1964 and later that year, she married Tony Cox, who fathered her daughter, Kyoko. She and Cox were divorced in 1967, two years before she married Lennon.

"The Lennon half of the couple was born in October 1940. His father left home before John was born to become a seaman and his mother, incapable of caring for the boy, turned John over to his aunt and uncle when he was four and a half. They lived several blocks away from his mother in Liverpool, England. Lennon, who attended Liverpool private schools, met a kid named Paul McCartney in 1957 at the Woolton Parish Church Festival in Liverpool. The following year, the two formed their first band, the Nurk Twins.

"In 1958, John formed the Quarrymen, named after his high school. He asked Paul to join the band and agreed to audition a friend of Paul's, George Harrison. In 1959, the Quarrymen disbanded but later regrouped as Johnny and the Moondogs and then the Silver Beatles. They played in clubs, backing strippers, and they got their foot in the door of Liverpool's showcase Cavern Club. Pete Best was signed on as drummer and the Silver Beatles left England for Hamburg, where they played eight hours a night at the Indra Club. The Silver Beatles became the Beatles and, by 1960, when they returned to England, the band had become the talk of Liverpool.

"In 1962, John married Cynthia Powell and they had a son, Julian. John and Cynthia were divorced in 1968. Later in 1962, Richard Starkey -- or Ringo Starr -- replaced Best as the Beatles' drummer and the rest -- as Lennon often says sarcastically -- is pop history."

"I'm Stepping Out" Lyrics

by John Lennon

Original Manuscript (1980)

1. Woke up this morning blues around my head
no need to ask the reason why
went to the kitchen and lit a cigarette
blew my worries to the sky

I'm stepping out } repeat
if it don't feel right don't do it
leave a message on the 'phone and tell them to screw it
after all is said + done you just can't please everyone
so screw it -
I'm stepping out

2. Called up the doctor but he was sick to death [full (of life)]
he don't make house calls any more
he'd go out dancing just to sweeten up his head [wife]
left a message on the door.

I'm stepping out
{ if it don't feel right (etc)

(3) the babies sleeping the cats have all been blessed
ain't nothing doing on T.V.
put on my space-suit I got to look my best
Going out to do the city

{ Stepping out
Stepping out}

John Lennon

As Recorded by John Lennon (1980)

This here is the story about a househusband who, you know, just want to get out of the house, has been looking at the, you know, the kids for days and days, he's been watching the kitchen and screwing around watching Sesame Street till he's gone crazy!

Woke up this morning, blues around my head
No need to ask the reason why
Went to the kitchen and lit a cigarette
Blew my worries to the sky

I'm stepping out
I'm stepping out
I'm stepping out
I'm stepping out

If it don't feel right, you don't have to do it
Just leave a message on the phone
And tell them to screw it
After all is said and done
You can't go pleasing everyone
So screw it

I'm stepping out
I'm stepping out
I'm stepping out, babe
I'm stepping out

Baby's sleeping, the cats have all been blessed
Ain't nothing doing on TV (summer repeats)
Put on my space suit, I got to look my best
I'm going out to do the city

I'm stepping out
I'm stepping out
I'm stepping out, babe
I'm stepping out

I'm stepping out (hold it down)
I'm stepping out
I'm stepping out
Gotta, gotta, gotta, gotta get out

I'm stepping out, babe, just for a while
Ain't been out for days, got to do it tonight
Give me a break, give me a break, gotta get out
Gotta get out
Just for a while, just for the night
I'll be in before one... or two... or three...goodbye....

Beatleology: A Magical Mystery Tour to Discover Your Inner Beatle

by Adam Jaquette and Roger Jaquette

Are you a romantic optimist with a cheery disposition? You might be a "Paul."

Brooding, introverted, and artistic? You are probably a "John."

If you tend to take life as it comes with a happy go-lucky attitude, most likely you are a "Ringo."

Thoughtful, with a tendency toward passive-aggressive behavior? You might be a "George."

The tenets of Beatleology are simple: We all have an Inner Beatle guiding our destiny and governing our behavior. Forget Leo or Taurus. This book teaches us that it's more accurate to say, "I'm a John" or "I'm a Ringo." A simple personality test determines who your Inner Beatle is and how you will interact with the other Johns, Pauls, Georges, and Ringos of the world—at home, at work, and on the street. Written in the spirit of our favorite "cheeky lads from Liverpool," This guide is pop psychology with a twist—and a dash of Sgt. Pepper!

Adam Jaquette and Roger Jaquette (Southern California) are brothers who were indoctrinated into Beatlemania at an early age. Roger earned a BA in drama from the University of Washington, where he wrote and produced numerous plays. He later pursued graduate studies in film and television production. Adam holds a BFA from New York University and an MFA from Chapman University in dramatic writing. He has written numerous screenplays that have been optioned by the Motion Picture Corporation of America and he was a finalist in the Scriptapalooza screenwriting contest. He currently teaches elementary school.

Monday, October 19, 2009

"The Night Before" Lyrics

by John Lennon and Paul McCartney

As Released by the Beatles (1965)

We said our goodbyes (aah the night before)
Love was in your eyes (aah the night before)
Now today I find, you have changed your mind
Treat me like you did the night before.

Were you telling lies? (aah the night before)
Was I so unwise? (aah the night before)
When I held you near, you were so sincere
Treat me like you did the night before.

Last night is the night I will remember you by
When I think of things we did it makes we wanna cry.

We said our goodbyes (aah the night before)
Love was in your eyes (aah the night before)
Now today I find you have changed your mind
Treat me like you did the night before (yes).

When I held you near, you were so sincere
Treat me like you did the night before (yeah).

Last night is the night I will remember you by
When I think of things we did it makes me wanna cry.

Were you telling lies? (aah the night before)
Was I so unwise? (aah the night before)
When I held you near, you were so sincere
Treat me like you did the night before.
Like the night before.

"Ask Me Why"

"Ask Me Why" is a song by The Beatles originally released in the United Kingdom as the B-side of their hit single "Please Please Me." It was also included on their first UK album, Please Please Me.


Written in early 1962, "Ask Me Why" is principally a John Lennon composition, but was credited to Paul McCartney and John Lennon, as were all other Lennon/McCartney originals on the first pressings of Please Please Me album. It was part of their live act prior to their recording contract, and was one of the songs performed at their Parlophone audition in Abbey Road's studio three on 6 June 1962. Complex in its arrangement, the song emulates in style that of Smokey Robinson and the Miracles, by whom Lennon was influenced, and draws its opening guitar phrase from the Miracles’ "What’s So Good About Goodbye" (1961).


The song is in the key of E major, with some leaning to it's relative minor of C#, and is in 4/4 time. Structurally, the song is very complicated. As Alan Pollack states, the song contains three different variants of the verse. The song also contains "jazzy parallel sevenths" in most of the chords.


"Ask Me Why" was originally recorded at Abbey Road studios on 6 June 1962 with an unknown amount of takes. Unfortunately, EMI rejected the song and destroyed the master tapes.

It was later recorded again on 26 November 1962, the same day The Beatles rehearsed another Lennon and McCartney song - entitled "Tip of My Tongue" - which, along with "Ask Me Why," was also being considered for the B-side of the "Please Please Me" single. However, George Martin felt that "Tip of My Tongue" still needed some work, and it was eventually given to Tommy Quickly to record.

Other releases

* Capitol Records, EMI's American counterpart to Parlophone, initially refused to distribute Beatle music in the U.S, and so the "Please Please Me"/"Ask Me Why" single was released by Vee-Jay Records on 25 February 1963.
* Vee-Jay included "Ask Me Why" on version 2 of Introducing... The Beatles.
* Capitol eventually released "Ask Me Why" in 1965 on The Early Beatles when Vee-Jay's rights expired.


* John Lennon – rhythm guitar, lead vocal
* Paul McCartney – bass guitar, backing vocal
* George Harrison – lead guitar, backing vocal
* Ringo Starr – drums

A-side: "Please Please Me"
Released: 11 January 1963 (UK), 25 February 1963 (US)
Recorded: 26 November 1962
Genre: Beat, Rock and roll
Length: 2:24
Label: Parlophone R4983 (UK), Vee-Jay 498 (US)
Writer(s): McCartney/Lennon
Producer: George Martin


Pattie Boyd Pictures

Sunday, October 18, 2009

"Steel and Glass" Lyrics

by John Lennon

Original Manuscript (1974)

This is the story of your friend
and mine ... who is it who is it?

(1) there you stand with your L.a. tan
and your new york walk and your
new york talk

(2) your mother left you when you
were small and you so you
don't know if you were born
at all . . . .

Steel and glass
Steel and glass

(3) With every step you take and
every hand you break. will be
The guilt you feel is hard to shake - - -

Steel and glass
Steel and glass

As Released by John Lennon (1974)

Heh heh heh...heh heh...this here is a story about your friend
and mine - who is it? Who is it?

There you stand
With your LA tan
And your New York walk
And your New York talk

Your mother left you
When you were small
But you're gonna wish
You wasn't born at all

Steel and glass
Steel and glass
Steel and glass
Steel and glass

Your phone don't ring
No one answers your call
How does it feel
To be off the wall?

Well your mouthpiece squawks
As he spread your lies
But you can't pull strings
If your hands are tied

Well your teeth are clean
And your mind is capped
You leave your smell
Like an alley cat

Steel and glass
Steel and glass
Steel and glass
Steel and glass