This song is absurd and hilarious. Paul wrote this song and got right to the point. Do what in the road Paul? We might never know. Well actually at the bottom of the post he does explain it…but a warning…you cannot un-see what you read.
I’ve always liked it because it is fun. Some people try to take it seriously but it’s not meant to be…a song with two lines to the complete song…that is being a minimalist or little lazy. The first rumor I read about this song was that Paul was desperate for the Beatles to tour again and this was his message to the band…Why don’t we do it in the road? It turned out to be not true…it was inspired by two monkeys…not Monkees…see the Paul quote on down.
It’s a fun song that sounds more like a John song than a Paul. It will never win a best Beatle song award but it’s fun and fits like a glove on the eclectic White Album. That is what I love about the White Album. Listening to the album you never know what is coming next. It still has a sound that threads all the songs together though.
Paul and Ringo were the only two playing on this song. John Lennon liked the track but later he said he felt hurt when Paul would leave him out on a track and just do something himself. Paul’s voice is outstanding on this one…very aggressive. This is not the “Yesterday” Paul.
This is interesting…The Beatles were not touring when this was released and Paul McCartney didn’t play it live until October 8, 2016 when he performed it at the Desert Trip festival with Neil Young.
Paul McCartney:“The idea behind ‘Why Don’t We Do It In The Road’ came from something I’d seen in Rishikesh, I was up on the flat roof meditating and I’d seen a troupe of monkeys walking along in the jungle and a male just hopped on to the back of this female and gave her one, as they say in the vernacular. Within two or three seconds he hopped off again, and looked around as if to say, ‘It wasn’t me,’ and she looked around as if there had been some mild disturbance but thought, ‘Huh, I must have imagined it,’ and she wandered off.”
“And I thought, ‘Bloody hell, that puts it all into a cocked hat.’ That’s how simple the act of procreation is, this bloody monkey just hopping on and hopping off. There is an urge, they do it, and it’s done with. And it’s that simple. We have horrendous problems with it, and yet animals don’t. So that was basically it. ‘Why Don’t We Do It In The Road’ could have applied to either f*cking or sh*tting, to put it roughly. Why don’t we do either of them in the road? Well, the answer is we’re civilized and we don’t. But the song was just to pose that question. ‘Why Don’t We Do It In The Road’ was a primitive statement to do with sex or to do with freedom really. I like it, it’s just so outrageous that I like it.
Paul McCartney and Neil Young…doing it in the road. A very rare live performance.
Why Don’t We Do It In The Road
Why don’t we do it in the road? Why don’t we do it in the road? Why don’t we do it in the road? Why don’t we do it in the road?
No one will be watching us Why don’t we do it in the road?
Why don’t we do it in the road? Why don’t we do it in the road? Why don’t we do it in the road? Why don’t we do it in the road?
No one will be watching us Why don’t we do it in the road?
Why don’t we do it in the road? Why don’t we do it in the road? Why don’t we do it, do it in the road? Why don’t we do it in the road?
No one will be watching us Why don’t we do it in the road?
Just saw this a few minutes ago. Lately I’ve been living in a bubble because of work but this is the new Get Back trailer. This is not the sneak peak Peter Jackson released before. On November 25,26, and 27th… 6 hours of the Let It Be/Get Back music, comedy, and drama will all unfold on the Disney plus.
As a very young Beatle fan I read about these sessions and only saw still photographs. Later on I saw them do Get Back on MTV while on the rooftop and it was like photos coming to life…I read where they had 56 hours of video footage sitting in a vault from this album. Now we will see 6 hours out of that anyway…you what what? I would happily sit through 56 hours… Peter Jackson has done such a great job on the look of the film…it looks like it could have been filmed yesterday. Peter, need an assistant for free?
With the previews I’ve seen…it looks like it was a lot of fun and the bad drama was not prevalent through the filming. Ringo has said that people have focused on the negative but it was much more positive than that. What is great about Get Back is the good time they had and it wasn’t all doom and gloom. I can’t imagine the pressure they were under to deliver and be as good as their last album. In this case, when they filmed this, it was just a few months after they released The White Album…The Let It Be album didn’t get released until after their last studio album Abbey Road.
When I hear this song, it reminds me of just how great the Beatles were at songwriting and harmonizing. My all time favorite rock singers includes John Lennon…this song demonstrates why. His voice could cut through anything and is always sharp…and has been widely imitated but it wasn’t liked by John himself who notoriously wanted it covered up on recordings.
The song was on Meet The Beatles…the first Beatle album I ever listened to. The vocals were a three part harmony sung by Harrison, Lennon and McCartney. The song was written by Lennon and McCartney.
This was the first Beatles composition that was commented on by a music critic. William Mann wrote in The London Times December 27, 1963, that the song had “pandiatonic clusters.” Musicians and parents who knew something about music knew there was something more than just hair with this band. The songs they were hearing were more sophisticated than the regular pop songs at the time.
Capitol of Canada released a couple of unique singles of their own creation in early 1964 to capitalize on the success of Beatlemania in that country. The second of which was “All My Loving” paired with “This Boy” as its flip side.
The song peaked at #1 in Canada and #53 in the Billboard 100.
John Lennon:“Just my attempt at writing one of those three-part harmony Smokey Robinson songs,”
From Songfacts
John Lennon wrote this song. One of his early compositions, it is seemingly simple, but very clever. The song contains only a few notes, but the space between the notes is filled by the arrangements. It’s the same technique you hear in Liszt’s “Liebestraum,” the piano piece in Schumann’s Davidsbündlertänze and in Beethoven’s “Moonlight Sonata.”
George Harrison: “It was John (Lennon) trying to do Smokey (Robinson).”
The Beatles performed this on their second Ed Sullivan Show appearance – Feb 16, 1964. They played six songs on the show that night, and this provided a slow change of pace from the uptempo songs like “She Loves You” and “I Want To Hold Your Hand.” The Beatles were just beginning their breakthrough in America and got a huge audience from the show.
This was used in Ringo’s big scene in The Beatles movie A Hard Day’s Night. The version used in the film is an instrumental renamed “Ringo’s Theme (This Boy),” and without any harmony singing.
This was one of the first songs on which The Beatles used a 4-track recorder.
Artists to cover this song include Tom Baxter, David Bowie, Sean Lennon, George Martin, Delbert McClinton and The Nylons
George taking a stroll down memory lane:
This Boy
That boy Took my love away Though he’ll regret it someday But this boy wants you back again
That boy Isn’t good for you Though he may want you, too This boy wants you back again
Oh, and this boy would be happy Just to love you, but oh my That boy won’t be happy ‘Til he’s seen you cry
This boy Wouldn’t mind the pain Would always feel the same If this boy gets you back again
This is a great opening track to this famous album. What a way to introduce probably the most famous album ever.
The slicing guitar stands out and the drum sound that Ringo got. Paul McCartney wrote this and sang lead. After recording it, he had the idea of doing the whole album as if Sgt. Pepper was a real band. It became the title track of what was considered a “concept” album, with the songs running seamlessly together on the record.
The title is a parody of American bands who were choosing long names for their bands.
Three days after the album came out, Jimi Hendrix opened a concert with this. McCartney and Harrison were both there, and were very impressed that Hendrix learned it so quickly.
The reprise of the song is right before A Day In The Life.
This song was produced in a rush when The Beatles decided to bring back the theme song to introduce the last track on the album, “A Day In The Life.” The idea to reprise the song came from Neil Aspinall, The Beatles’ friend and road manager.
George Harrison, Paul McCartney, and Ringo Starr played this on May 19, 1979 at Eric Clapton’s wedding. Clapton married Harrison’s ex-wife, Pattie. Pattie didn’t think John Lennon would fly over from America so she never sent an invititation. John Lennon said later he would have come.
From Songfacts
The album was heavily produced and took 129 days and about 700 hours to complete. The Beatles first album, Please Please Me, was recorded in less than 10 hours.
The crowd noise was dubbed in. The Beatles had stopped touring by then.
There really is an apostrophe in this song’s title, although on the album cover, it is rendered without. Since the Lonely Hearts Club Band belongs to Sgt. Pepper, it is possessive, thus “Sgt. Pepper’s.”
This is reprised at the end of the album before the final track, “A Day In The Life.”
This was recorded as one song with “With A Little Help From My Friends.” They flow seamlessly on the album, creating a problem for radio stations that want to play just one of the songs.
Artist Peter Blake designed the album cover as if Sgt. Pepper’s band had just performed a concert. He asked The Beatles who they wanted at the concert, and put them in the cover design.
All living people depicted on the cover were asked permission. Mae West refused at first – she didn’t want to be part of a “Lonely Hearts Club Band” – but The Beatles wrote her a letter and she agreed. Other characters depicted on the album cover include comedic duos Laurel & Hardy and Abbott & Costello, Marilyn Monroe, Shirley Temple and W.C. Field.
Lennon wanted Jesus, Gandhi, and Hitler on the cover. He had recently taken a lot of heat for saying The Beatles were “Bigger than Jesus,” so they decided not to.
It was rumored that the hand that is sticking out above Paul is that of Adolph Hitler. A Hitler cut out was on the set, but if you look at some side shots of the photo session, you can clearly see that the hand belongs to comic Issy Bonn, whose face is seen in between Paul McCartney and George Harrison.
On the cover of this album McCartney is taller than the other Beatles. This added to rumors of his death, since there is also a hand above Paul’s head which is an omen of death. Also, if you take a mirror and put the edge on the center of the Lonely Hearts Club Band drum an arrow will point directly to McCartney.
Sgt. Pepper was the first pop album to come with printed lyrics on the cover.
Twelve years after “Sgt. Pepper’s Lonely Hearts Club Band” and “With a Little Help from My Friends” appeared on the Sgt. Pepper album, they were released together as a two-song medley and reached US #71 and UK #63.
In 2005, Bob Geldof helped organize Live 8, a set of concerts held in eight countries with the goal of promoting activism. The concerts coincided with the G-8 summit, and Geldof was hoping to send a message to world leaders that they should increase aid to Africa and institute fair trade practices. On the London stage, U2 played this with McCartney to kick off the concert. The opening line, “It was 20 years ago today,” was a reference to Live Aid, which Geldof organized for famine relief in 1985.
Sgt. Pepper’s Lonely Hearts Club Band was the first rock album to win a Grammy for Album of the Year.
On the album cover, Paul McCartney is wearing an Ontario Provincial Police (OPP) badge on his right sleeve. You can see this better on the inside artwork.
The hand-painted drum skin used on the cover of the Sgt Pepper album was sold at Christie’s House in London on 10th July 2008 for £541,250 ($1,071,000) – setting a record for non-lyrics Beatles memorabilia.
In 2007, the Beatles Story museum in Liverpool went on a search for real Sgt. Peppers and found seven police or army officers in the UK that were sergeants with the last name Pepper. “Being Sgt. Pepper is awesome but sometimes people think I am bogus when I call them on the phone or introduce myself,” Sgt. Sean Pepper of Highfields said.
Sgt Pepper’s Lonely Hearts Club Band
It was twenty years ago today Sergeant Pepper taught the band to play, They’ve been going in and out of style, But they’re guaranteed to raise the smile, So may I introduce to you, The act you’ve known for all these years, Sergeant Pepper’s Lonely Hearts Club Band.
We’re Sergeant Pepper’s Lonely Hearts Club Band We hope you will enjoy the show Sergeant Pepper’s Lonely Hearts Club Band Sit back and let the evening go Sergeant Pepper’s Lonely Sergeant Pepper’s Lonely Sergeant Pepper’s Lonely Hearts Club Band
It’s wonderful to be here, It’s certainly a thrill You’re such a lovely audience, We’d like to take you home with us, we’d love to take you home
I don’t really want to stop the show, But I thought you might like to know, That the singer’s going to sing a song And he wants you all to sing along, So let me introduce to you The one and only Billy Shears And Sergeant Pepper’s Lonely Hearts Club Band
Oh ha ha Yeah, dress down I feel it, I feel it, I feel it Oh baby now, I feel it, I feel it, I feel it Baby, free now Gotta be free now, gotta be free now, gotta be free Don’t like that I think it’ll probably be another day singing it Yeah so just edit that then, it’s nice Yeah, and what you can do with the bits where you can’t get it ’cause you haven’t got enough breath Just take over, yeah
Besides having one of the most unique names in the history of rock songs…this one is a really cool song off of Abbey Road. It’s always one of my favorite songs of the medley.
It’s in the medley on side 2 for those of you who have the vinyl album. I always wondered who that was coming through the bathroom window. Paul wrote the song about a fan, thought to be Diane Ashley. She said that there was a ladder in Paul’s garden and bunch of girls put it against the wall and Diane climbed up and went through the bathroom window when Paul was at the studio. I seriously doubt if she was the only one…more probable…They All Came Through Paul’s Bathroom Window. The girls that hung out waiting for the Beatles were called “Apple Scruffs” by the Beatles.
Now married with four children, Diane keeps a framed photo of herself with Paul on her kitchen shelf and looks back on her days as an Apple Scruff with affection: “I don’t regret any of it. I had a great time, a really great time.” It shows you how different of a time that was compared to now.
Margo Bird was on of the girls who Paul negotiated with to get some of his property back…he didn’t care if they got small souvenirs but when pictures went missing, Margo helped him track them down.
This was credited to Lennon/McCartney but seems to be all McCartney. The Beatles ran through it a few times earlier in the year in the Let It Be sessions. They were going to feature it in their rooftop concert but didn’t feel confident in it.
The song fit nicely between Polythene Pam and Golden Slumbers in the medley. Joe Cocker covered this song also.
Apple Scruff Margo Bird: “They rummaged around and took some clothes. People didn’t usually take anything of real value but I think this time a lot of photographs and negatives were taken. There were really two groups of ‘Apple Scruffs’ – those who would break in and those who would just wait outside with cameras and autograph books. I used to take Paul’s dog for a walk and got to know him quite well. I was eventually offered a job at Apple. I started by making the tea and ended up in the promotions department working with Tony King.”
From Songfacts
Paul McCartney wrote this about a fan who broke into his house. Diane Ashley claims it was her. “We found a ladder in his garden and stuck it up the bathroom window which he’d left slightly open,” she said. “I was the one who climbed up and got in.”
Landis Kearnon (known at the time as Susie Landis) gave us the following account:
Here, all this time I thought this song was written about me and my friend Judy. What a surprise to learn there was someone named Diane Ashley who put a ladder up to Paul’s house and climbed in through the bathroom window. This and the bit about “quit the police department” being inspired by an ex-cop taxi driver in NYC tells me something I already know about songwriting, which is that many songs are composites. This one obviously was because Diane wasn’t the only person having a profound effect on Paul McCartney by crawling in a bathroom window in 1967 (maybe ’68 in her case). Judy and I were paid $1500 by Greene & Stone, a couple of sleazy artist managers driving around the Sunset Strip in a Chinchilla-lined caddy limo, to “borrow” the quarter-inch master of “A Day In The Life” off of David Crosby’s reel-to-reel, drive it to Sunset Sound studios in Hollywood where Greene & Stone duped it, then put it back where we found it at Crosby’s Beverly Glen Canyon pad. Crosby was playing with the Byrds that day in Venice so we knew his house was empty. This was the day after a major rainstorm so the back of his house was one big mudslide. We climbed up it, leaving 8-inch deep footprints and, you guessed it, gained access via the bathroom window, leaving behind footprints and a veritable goldmine of forensic matter. We were really nervous and did not make clear mental notes of how the master reel was on the player, but did have the sense to leave Crosby’s front door unlocked while we drove across town and back. After the tape was back on the machine (badly) we changed out of our muddy shoes, drove to the Cheetah in Venice, and hung out with the Byrds into the evening, thinking we were awfully clever and cute. We did not know why Greene & Stone would pay so much money for a copy of a Beatles song, other than the fact that is was a groundbreaking and mind-blowing piece, but found out the next day when we heard “A Day In The Life” on KHJ, I think it was. Greene & Stone had used it as payola to get one of their groups, The Cake, singing “Yes We Have No Bananas,” on the air. Which they did, and it sucked, but oh well. By the following day “A Day In The Life” was no longer on the air. And just a day or two after that there was a front page blurb in the LA Times about “A Day In The Life” getting aired one month prior to the release date of the single and the Sgt. Pepper LP, which apparently cost the Beatles plenty and they were suing Capitol or Columbia, whichever the label was, for $2 million… and McCartney was flying in from London to deal with the mess. Oops. Judy and I nearly sank through the floor. Though we were active “dancers” in the various nightclubs on the Sunset Strip, we lay low for a while, not knowing what to expect. In fact, other than a song being written and a GREAT cover by Joe Cocker, nothing happened. We got our money, spent it on groovy clothes, of course (what else was there?) and never heard a word about it.
“I knew what I could not say” and “protected by a silver spoon” seemed to explain why there were no repercussions. My dad was a TV director who had already threatened to bust and ruin David Crosby for smoking pot with and deflowering his daughter; he had clout and David was afraid of him. Judy was from money and influence too. I feel that David knew exactly who had broken in and borrowed the tape but couldn’t press charges. He probably wasn’t supposed to be playing the master for all his friends and hangers-on, so there must have been hell to pay for him. I always felt bad for the cred it must have cost him with his friend Paul McCartney.
Oh, the bit about “Sunday’s on the phone to Monday, Tuesday’s on the phone to me” – that was somebody named Sunday, maybe a detective, I can’t remember now, calling the producer Billy Monday about the break-in and song leak. Billy Monday, knowing she was a friend of McCartney’s, called Tuesday Weld, and it was she who called Paul in London and told him the news. Well, I guess I didn’t make this very short after all. But you can’t tell me that this incident didn’t feed into the overall inspiration for the song. I’m just glad it turned out so cool and hope it made a heap for them in compensation for the publicity costs at the outset.
It was interesting and exciting then, that’s for sure. Even though I came of age into that scene and had nothing to compare it to, I still had a sense at the time of being at the epicenter of something big. Some of that was attributable to the hubris of youth, but some of it turned out to be real, as it happened. Now, present time, it makes my day to come across someone who still finds it interesting or even knows what or whom I’m talking about. By the way, I never did get to meet the Beatles, though I was invited to party where they were staying once, when I was 17. My mother wouldn’t let me go! I never forgave her.
I lived in LA until 1987 where I was a model, actress, (groupie, but that wasn’t professional), marching band manager, religious (Buddhist) leader, newspaper columnist, secretary, copywriter, copy editor, account executive, screenwriter, songwriter, band leader, session singer, textile designer, artist. Since then, in the Santa Fe area and now, since 1992, in Tucson, I continued my artistic and musical endeavors, ran a fabric-painting factory, was a jazz singer for several years (which has mutated to something more individual and artistic of late), have worked numerous odd jobs from pizza delivery to bookstore management, and am now close to completing my first novel, which is set in a Buddhist cult in the early ’70s.
In the ’70s I traveled halfway around the world on a square-rigged cargo ship, lived and sang in Europe for three years, and, as of 1991, am a mother of one though I never married.
Subsequent to the bathroom window event, my friend and partner in crime, as it were, Judy, went off with a Dick Clark Productions road show (can’t remember the name of it but it was something timely) as “Irma the Dancing Girl.” Her job, nightly, in each new town, was to put on a bikini, dance, and paint wild, acid abstract canvases with her extremely long blond hair. I, on the other hand, joined a Buddhist cult, which was like living on another planet entirely, and completely disappeared from view, as far as the “scene” was concerned. Judy and I didn’t hang out much after we realized the impact of our little romp. We didn’t talk about it, but we may have decided at some level that we pushed our combined wildness a bit too far on that one and moved on to “safer” friends. I saw her once in the early ’70s. She had been married and divorced, was the mother of one, and that was the last contact we had.
The Beatles recorded this as one song with “Polythene Pam.”
The Beatles gave this to Joe Cocker, who released it in 1969. The Beatles released their version first. Cocker’s version was used on the soundtrack to the movie All This and World War II, released in 1976. A strange mix of World War II documentary footage set to the music of the Beatles, the movie bombed and has barely been heard of since. Others who covered The Beatles on the soundtrack include Peter Gabriel, Elton John, Tina Turner, Leo Sayer, Frankie Laine and the Bee Gees.
This is part of a suite of songs at the end of Abbey Road. They used bits from many songs they never finished to put the suite together.
McCartney played lead guitar and Harrison played bass. It was usually the other way around.
McCartney said in a documentary shown February 6, 2002 in England that part of the lyric was inspired by sitting in the back of a New York cab. The drivers name was on display (Quitts) saying “Ex Police Department,” which inspired the line: “And so I quit the Police Department and got myself a steady job…”
She Came In Through The Bathroom Window
She came in through the bathroom window Protected by a silver spoon But now she sucks her thumb and wanders By the banks of her own lagoon
Didn’t anybody tell her? Didn’t anybody see? Sunday’s on the phone to Monday Tuesday’s on the phone to me
She said she’d always been a dancer She worked at fifteen clubs a day And though she thought I knew the answer Well, I knew what I could not say
And so I quit the police department And got myself a steady job And though she tried her best to help me She could steal but she could not rob
Didn’t anybody tell her? Didn’t anybody see? Sunday’s on the phone to Monday, Tuesday’s on the phone to me Oh yeah
I’m asked quite a bit…Max what is your favorite Beatle song? It’s hard to tell you because it changes from day to day. I would have to say A Day In The Life if I had to give one answer… but on certain days…this one would be it. Lennon to me was one of the best all time rock singers. He could do rock and pop/rock with ease. He never liked his voice and always wanted the producer George Martin to cover it up with echo or some effect.
The story behind this one is known to Beatle fans. They were in India with the Maharishi and were asked to meditate all day. Mia Farrow and her sister Prudence was there. Prudence was taking this very seriously and would not come out of her quarters and John wrote this song to cheer her up.
American flautist Paul Horn, who was also with them in Rishikesh said that Prudence was a highly sensitive person, and by jumping straight into deep meditation, against the Maharishi’s advice, she had allowed herself to fall into a catatonic state.
Horn stated, “She was ashen-white and didn’t recognize anybody. She didn’t even recognize her own brother who was on the course with her. The only person she showed any slight recognition towards was Maharishi. We were all concerned about her and Maharishi assigned her a full-time nurse.”
The song was on their massive double album album “The Beatles” or better known as the White Album released in 1968. On this album you get a little bit of everything. 20’s style music, pop, folk, Avant Garde, rock, to hard rock.
Donovan was also there and taught John and Paul and guitar picking style called “clawhammer.” The clawhammer style, is played with the strumming hand formed into a claw, using the backs of the fingernails to strum down on the strings.
The song was not released as a single but remains a favorite album track.
Donovan: “He was so fascinated by fingerstyle guitar that he immediately started to write in a different color and was very inspired” “That’s what happens when you learn a new style.”
Prudence Farrow:“They were trying to be cheerful, but I wished they’d go away. I don’t think they realized what the training was all about.”
From Songfacts
While Mia Farrow inspired such men as Andre Previn, Frank Sinatra and Woody Allen, her sister Prudence left her mark on John Lennon. According to Nancy de Herrera’s book, All You Need Is Love, Prudence met The Beatles on a spiritual retreat with their guru, Maharishi Mahesh Yogi, in India, which she attended with Mia. When Prudence, suffering depression, confined herself to her room, Lennon wrote this song hoping to cheer her up. It did.
Prudence Farrow wanted to “Teach God quicker than anyone else,” according to John Lennon. She would lock herself in her room trying to meditate for hours and hours. From A Hard Day’s Write, by Steve Turner: “At the end of the demo version of Dear Prudence John continues playing guitar and says: ‘No one was to know that sooner or later she was to go completely berserk, under the care of Maharishi Mahesh Yogi. All the people around were very worried about the girl because she was going insane. So, we sang to her.'”
Ringo had left the group as the White Album sessions got very tense, so Paul McCartney played drums. When Ringo came back a short time later, there were flowers on his drum kit welcoming him back.
According to the singer-songwriter Donovan, who was on the retreat in India with The Beatles, he taught John Lennon a “clawhammer” guitar technique that he used on this track.
John Lennon’s handwritten lyrics were auctioned off for $19,500 in 1987.
Lennon considered this one of his favorites.
Siouxsie And The Banshees covered this in 1983. Their version went to #3 in the UK and became their biggest hit.
“Dear Prudence” was the second Beatles song that the Banshees had covered from their White Album. Previously, they’d recorded a version of “Helter Skelter” for their 1978 LP The Scream.
“Helter Skelter was very much part of our live show before we recorded it,” mused Siouxsie Sioux to TeamRock. “The great thing was that the two Beatles songs we chose – ‘Helter Skelter’ and ‘Dear Prudence’ – were not originally singles by The Beatles, so it wasn’t necessarily a surefire: ‘Oh, they’re doing a Beatles song.’ And it was also a bit irreverent as well, I suppose. A good test of doing a cover version is when people think that you’ve written it. Quite a lot of people thought Dear Prudence was an original.”
This song was in the movie Across the Universe, which was based on The Beatles music. In the movie, Prudence (played by T.V. Carpio) locked herself in a closet after discovering that Sadie and JoJo were together when she thought she loved Sadie. Lucy (Evan Rachel Wood), Jude (Jim Sturges), Sadie (Dana Fuges) and Max (Joe Anderson) sing this to make her feel better. It gets her out of the closet and they end the song at a anti-Vietnam War rally.
Siouxsie and the Banshees’ take on the song added to The Beatles’ simple original arrangement. “It was kind of an undeveloped song on the White Album,” Siouxsie said. “and so there was a lot of scope to put in your own stuff, really. What did I want to bring? Oh, some psychedelic transformation there [laughing].”
“No, I think that actual track’s fairly restrained, simple and understated on the White Album,” she added. “I was listening to singles like Itchycoo Park by the Small Faces, so I think it was wanting to capture the 60s, and all that kind of phasing. Also, it was where we were at the time.”
Dear Prudence
Dear Prudence, won’t you come out to play? Dear Prudence, greet the brand new day The sun is up, the sky is blue It’s beautiful and so are you Dear Prudence, won’t you come out to play?
Dear Prudence, open up your eyes Dear Prudence, see the sunny skies The wind is low, the birds will sing That you are part of everything Dear Prudence, won’t you open up your eyes?
Dear Prudence, let me see you smile Dear Prudence, like a little child The clouds will be a daisy chain So let me see you smile again Dear Prudence, won’t you let me see you smile?
Dear Prudence, won’t you come out to play Dear Prudence, greet the brand new day The sun is up, the sky is blue It’s beautiful and so are you Dear Prudence, won’t you come out to play?
I hope all of you have a great Valentines day…lets join the Beatles on June 25, 1967 for All You Need Is Love. There’s nothing you can do that can’t be done…
How nerve-racking this had to be even if you were a Beatle. They performed this on one of the first Satellite hookups around the world. There was an estimated 350 million people watching. This performance was a rock and roll mile stone…they were in front of the world.
The show was called “Our World”, the first worldwide TV special. Broadcast in 24 countries on June 25, 1967, the show was six hours long and featured music from 6 continents, with The Beatles representing Britain.
At the Beatles feet were members of The Rolling Stones, The Who, Cream, The Hollies, and The Small Faces helping by singing along.
The song peaked at #1 almost every where and probably even in Venus and Mars in 1967.
Musically, this song is very unusual. The chorus is only one note, and the song is in a rare 7/4 tempo. In the orchestral ending, you can hear pieces of both “Greensleeves,” a Bach two-part invention (by George Martin) and Glenn Miller’s “In The Mood.” Royalties were paid to Miller for his contribution.
Just think of all of the bits of paper all of them wrote or scribbled on and threw away. John Lennon’s hand-written lyrics for this song sold for one million pounds in the summer of 2005. Lennon left them in the BBC studios after this appearance, and they were salvaged by a very smart BBC employee.
From Songfacts
The concept of the song was born out of a request to bring a song that was going to be understood by people of all nations. The writing began in late May of 1967, with John and Paul working on separate songs. It was decided that John’s “All You Need Is Love” was the better choice because of its easy to understand message of love and peace. The song was easy to play, the words easy to remember and it encompassed the feeling of the world’s youth during that period.
“All You Need Is Love” was a popular saying in the ’60s anti-war movement. The song was released in the middle of the Summer of Love (1967). It was a big part of the vibe.
John Lennon wrote this as a continuation of the idea he was trying to express in his 1965 song “The Word.” John was fascinated by how slogans effect the masses and was trying to capture the same essence as songs like “We Shall Overcome.” He once stated, “I like slogans. I like advertising. I love the telly.” In a 1971 interview about his song “Power To The People,” he was asked if that song was propaganda. He said, “Sure. So was ‘All You Need Is Love.’ I’m a revolutionary artist. My art is dedicated to change.”
It was not until 1983 and the publication of the in the book John Lennon: In My Life by Pete Shotton and Nicholas Schaffner that it was revealed that John Lennon was the primary composer of the song. It is typical of Lennon: Three long notes (“love -love -love”) and the rise of excitement with at first speaking, then recital, then singing, then the climax and finally the redemption. This as opposed to McCartney’s conventional verse, verse, middle part, verse or A,A,B,A. Lennon felt that a good song must have a rise of excitement, climax and redeeming.
Ringo’s second son, Jason, was born the day this hit #1 in the US: August 19, 1967. Jason is also a drummer.
McCartney sang the chorus to The Beatles 1963 hit, “She Loves You” at the end: “She loves you yeah yeah yeah… She loves you yeah yeah yeah”
This begins with a clip from the French national anthem, “La Marseillaise,” written and composed by Claude Joseph Rouget de Lisle in Strasbourg on April 25, 1792. Its original name was “Chant de guerre de l’Armee du Rhin” (“Marching Song of the Rhine Army”) and it was dedicated to Marshal Nicolas Luckner, a Bavarian-born French officer from Cham. It became the rallying call of the French Revolution and got its name because it was first sung on the streets by troops from Marseille upon their arrival in Paris. Now the national anthem of France, the song was also once the anthem of the international revolutionary movement, contrasting with the theme of The Beatles song. In the late 1970s, Serge Gainsbourg recorded a reggae version “Aux Armes et cetera,” with Robbie Shakespeare, Sly Dunbar and Rita Marley in the choir in Jamaica, which resulted in him getting death threats from veterans of the Algerian War of Independence.
Al and Tipper Gore had this song played at their wedding. They married in 1970 and separated in 2010.
George Harrison mentioned this in his 1981 song “All Those Years Ago” with the line, “But you point the way to the truth when you say ‘All you need is love.'” Harrison’s song is a tribute to John Lennon, who was killed in 1980.
This was used in the climactic final episode of the UK sci-fi series The Prisoner, and was the entrance music for Queen Elizabeth II during the UK Millennial celebrations of 1999. It was also sung by choirs across the kingdom in 2002 during the Queen’s Golden Jubilee celebration.
In 2007, this was used in an advertising campaign for Luvs diapers with the lyrics changed to “All You Need Is Luvs.” While Beatles songs have been used in commercials before, notably “Revolution” in spots for Nike and “Hello Goodbye” for Target, this peace anthem shilling for diapers didn’t go over well with fans who thought it sullied The Beatles legacy. The publishing rights to “All You Need Is Love” and most other Beatles songs are controlled by the Sony corporation and Michael Jackson, which means The Beatles cannot prevent a company from re-recording the song and using it in a commercial.
When asked what his favorite lyric is during an interview with NME, John Lennon’s son Sean replied: “My list of favorite things changes from day to day. I like when my dad said: ‘There’s nothing you can know that isn’t known/ Nothing you can see that isn’t shown/ Nowhere you can go that isn’t where you’re meant to be.’ It seems to be a good representation of the sort of enlightenment that came out of the ’60s.”
All You Need Is Love
Love, love, love Love, love, love Love, love, love
There’s nothing you can do that can’t be done Nothing you can sing that can’t be sung Nothing you can say, but you can learn how to play the game It’s easy Nothing you can make that can’t be made No one you can save that can’t be saved Nothing you can do, but you can learn how to be you in time It’s easy
All you need is love All you need is love All you need is love, love Love is all you need
All you need is love All you need is love All you need is love, love Love is all you need
There’s nothing you can know that isn’t known Nothing you can see that isn’t shown There’s nowhere you can be that isn’t where you’re meant to be It’s easy
All you need is love All you need is love All you need is love, love Love is all you need
All you need is love (all together now) All you need is love (everybody) All you need is love, love Love is all you need
Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) Love is all you need (Love is all you need) (Love is all you need) (Love is all you need) (Love is all you need) Yesterday (Love is all you need) Oh Love is all you need Love is all you need Oh yeah Love is all you need (She love you, yeah, yeah, yeah) (She love you, yeah, yeah, yeah) (Love is all you need) (Love is all you need)
It will be a little different today as this song was never a studio song. The Beatles never recorded this song for an album or single. Much later it was released in 1994 on Live At The BBC of them obviously doing it live.
They played this song regularly at the Cavern and Hamburg. The only known film footage of them playing in the Cavern is of them playing this song. It had been filmed on August 22, 1962 for Granada Television but the footage was grainy and they didn’t broadcast it until the Beatles hit big.
This is just a few days after Ringo became a Beatle. They had just got rid of Pete Best and you can hear at the very first of the Cavern footage a Pete Best fan saying “We Want Pete.” The footage is grainy but great. This was at the start of their rise. Love Me Do would be released two months later.
The Beatles loved to cover B sides and they had a knack for picking the right ones. I do wish they would have recorded this one in the studio but I don’t know if it would have captured the excitement of the live Cavern or BBC version. The song was written by Jerry Leiber, Mike Stoller, and Richie Barrett. Barrett released the song in 1962.
George Harrison: Brian (Manager Brian Epstein) had had a policy at NEMS of buying at least one copy of every record that was released. If it sold, he’d order another one, or five or whatever. Consequently he had records that weren’t hits in Britain, weren’t even hits in America. Before going to a gig we’d meet in the record store, after it had shut, and we’d search the racks like ferrets to see what new ones were there. That’s where we found artists like Arthur Alexander and Ritchie Barrett – ‘Some Other Guy’ was a great song.”
John Lennon: I’d like to make a record like ‘Some Other Guy’. I haven’t done one that satisfies me as much as that satisfies me.
The original, the BBC version, and the Cavern Version (it also shows a little of the original One after 909)…love Ringo’s drums on this.
Some Other Guy
Some other guy, now Is taking my love away from me, oh now Some other guy, now Is taking away my sweet desire, oh now Some other guy, now Just threw water, hold my hand, oh now I’m the lonely one, as lonely as I can feel, all right
Some other guy Is tippin’ up behind me like a yellow dog, oh now Some other guy, now Has taken my love just like I’m gone, oh now Some other guy, now Has taken my love away from me, oh now I’m the lonely one, as lonely as I can feel, all right
Oh oh oh oh
Some other guy Is making me very, very mad, oh now Some other guy, now Is breaking my padlock off my pad, oh now Some other guy, now Took the first girl I’ve ever had, oh now I’m the lonely one, as lonely as I can feel, all right now
We have here a Stones- Beatles collaboration…a slight one with Mick Jagger is said to be singing backups to this song.The John and Paul returned the favor on the Stones song We Love You.
I first heard this on the Magical Mystery Tour album. I love the bass sound that Paul got on this song.
The cool sounding instrument on this song is the the Clavioline which John plays. It was a forerunner to the synthesizer.
John Lennon and Paul McCartney wrote parts of this separately and combined it to make one song… something they would repeat on “A Day In The Life.” At one point, the song was called “One Of The Beautiful People.”
On August 7th, 1967, just three weeks after the single was released in the US, George Harrison and entourage decided to make a brief visit to the Haight-Ashbury district of San Francisco, California, to visit the highly publicized “beautiful people” of the area and played the song on an acoustic after one was produced from a growing crowd. George didn’t stay too long.
Near the end of the song legend has it that John sings “Baby, you’re a rich f*g jew” as a reference to Brian Epstein toward the end of the song. Whether it is…it’s hard to tell. Whatever is in your head when you listen…it can become that. I’ve never read where John admitted it…and if he would have done that…I don’t see him shying away from admitting it.
Eddie Kramer…future producer for the Jimi Hendrix played the vibraphone.
From Songfacts
This song is about how everybody can have the things that matter, and it has nothing to do with material possessions. The Beatles were rich, but they claimed that money was not that important to them.
It was rumored that The Beatles sang “Baby you’re a rich fag Jew” as a slur to their manager, Brian Epstein. He was rich, gay and Jewish, but The Beatles never said this was about him. Epstein died later in that year when he overdosed on sleeping pills.
The Beatles started working on this song with the intention of using it on the Yellow Submarine soundtrack. It was used in the 1968 movie, but didn’t appear on the soundtrack.
Mick Jagger sang backup. McCartney and Lennon returned the favor by singing on The Stones’ “We Love You.”
Brian Jones, the guitarist from The Rolling Stones, played an oboe on this. A few years earlier, Lennon and McCartney gave The Stones a song called “I Wanna Be Your Man,” which was one of their first hits, and helped convince Mick Jagger and Keith Richards that they should write their own songs.
This was released as the B-side of “All You Need Is Love.”
Lennon played clavioline and piano on the song and George Harrison played tambourine. There is actually no guitar on this song at all. Paul played bass and piano as well.
This was released in mono, but in 1971 it was remixed in stereo along with several other tracks for a German version of Magical Mystery Tour. The stereo version is the one that is now the most common.
The comedy rap trio The Fat Boys performed this song in their 1987 movie Disorderlies.
In 2010, this song was used at the end of the movie The Social Network to punctuate the raging financial success of the guys who invented Facebook. It was one of the few Beatles songs licensed to a movie in its original form, meaning the Beatles version was used. Apple Corp. is very particular about where Beatles songs are used.
At one point in this song, The Beatles ask, “How does it feel to be one of the beautiful people?” The phrase “beautiful people” was used a lot in 1967 as a derisive way to describe the social elite. A popular book by Marilyn Bender was published that year called The Beautiful People: a Candid Examination of a Cultural Phenomenon – the Marriage of Fashion and Society in the ’60s.
Baby You’re A Rich Man
How does it feel to be One of the beautiful people Now that you know who you are What do you want to be And have you traveled very far? Far as the eye can see
How does it feel to be One of the beautiful people How often have you been there Often enough to know What did you see when you were there Nothing that doesn’t show
Baby you’re a rich man Baby you’re a rich man Baby you’re a rich man, too You keep all your money in a big brown bag Inside a zoo, what a thing to do Baby you’re a rich man Baby you’re a rich man Baby you’re a rich man, too
How does it feel to be One of the beautiful people Tuned to a natural E Happy to be that way Now that you’ve found another key What are you going to play
Baby you’re a rich man Baby you’re a rich man Baby you’re a rich man, too You keep all your money in a big brown bag Inside a zoo, what a thing to do Baby, baby, you’re a rich man Baby you’re a rich man Baby you’re a rich man, too, oh Baby you’re a rich man Baby you’re a rich man (baby) Baby you’re a rich man, too Baby you’re a rich man Baby you’re a rich man Baby you’re a rich man, too
This helped start the modern rock era. No British rock act had dominated in America before the Beatles. Cliff Richard had tried and failed but with this song and an appearance on the Ed Sullivan Show…The Beatles kicked down the door and started the British Invasion and the Stones, Kinks, and Who would soon follow.
Rock and Roll can be divided up into two eras… pre Beatles and post Beatles. Everything would change after this. I bought an amp from a long time country studio musician and he told me that the day after he heard this on Ed Sullivan the world changed. Not just music but everything…music, thoughts, aspirations, and hair of course. Within weeks of this song hitting number 1 there were bands forming in every neighborhood in America. Guitars were bought, hair lengths were being tested, and a huge urge to learn everything British.
I always hold this song up to why vinyl is the way to listen to some records at times. All the CD versions I’ve heard of this song sound rather flat…when I hear the 45 vinyl single the song jumps out at you. It changes the whole dynamic of the song. After hearing the single the way it was meant to be heard… you can see why this song changed a lot of things. It was maybe the most important single they ever released…it may have had the biggest impact at least in America.
It is said that John and Paul wrote this with an America’s sound in mind. They must have guessed right. This song preceded the Beatles trip here at number 1. Lennon liked the melody so much that he talked about doing something with it again til his death.
This was played on the Washington, DC radio station WWDC before it was released in America by a DJ named Carroll Baker, who got the record from a stewardess. It was a huge hit with his listeners and prompted Capitol Records to release the song ahead of schedule – they planned to issue it on January 13, 1964.
The Beatles were in Paris and celebrated madly when they found out they were #1 in America. They came to America for the first time on February 7, 1964, greeted at the airport by screaming fans. “I Want To Hold Your Hand” was the #1 song in the country at that time, and it stayed on top for seven weeks, until their next single, the re-released “She Loves You,” replaced it.
Bob Dylan thought the line “I can’t hide” was “I get high,” and a reference to marijuana. He was surprised to learn they had never tried pot, and became part of Beatles lore when he introduced them to it.
At times John Lennon realized the crowds The Beatles played to were so loud they really couldn’t hear them sing, so sometimes instead of singing the line, “I want to hold your hand,” he would say, “I want to hold your gland” as a reference to women’s breasts…and people wonder why Lennon is my favorite Beatle!
The song peaked at #1 in the Billboard 100, Canada, UK, New Zealand, and probably on Mars also in 1964.
From Songfacts
This was the first Beatles song to catch on in America. In 1963, the Beatles became stars in England, but couldn’t break through in the US. They couldn’t get a major label to distribute their singles in America, so their first three singles there, “Please Please Me,” “From Me to You” and “She Loves You,” were issued on small labels and flopped, even though they were hits in England.
Late in 1963, American news outlets started reporting on this British sensation, and interest in the group started to rise. Capitol Records took notice and released “I Want To Hold Your Hand” Stateside on December 26. The song rose up the chart, and on February 1, 1964, hit #1. It sold better in the first 10 days of release in the US than any other British single, and remains the best-selling Beatles single in the United States, moving over 12 million copies.
Conquering the US was, and still is, a big deal for British bands. Many groups that are huge in the UK (Oasis, Blur) never really catch on in America. • John Lennon and Paul McCartney wrote this in Jane Asher’s basement. Asher was an actress who became Paul’s first high-profile girlfriend. After appearing in several movies, TV shows and stage productions, Asher became an authority on baking, and has her own business selling party cakes and supplying baking and decorating equipment. She and Paul broke up in 1968.
Jane had a brother named Pete Asher who teamed up with Gordon Waller to form the duo Peter & Gordon; McCartney wrote their hit single “A World Without Love.” Pete recalled in a 2010 interview with Gibson.com the two Beatles penning this song at his home: “My mother had a practice room that she used to give private oboe lessons when she wasn’t teaching at The Royal Academy, where she was a professor. There was just a piano, and an upright chair and a sofa. Paul used that room to write in, from time to time. One afternoon John came over, while I was upstairs in my room. The two of them were in the basement for an hour or so, and Paul called me down to listen to a song they had just finished. I went downstairs and sat on the sofa, and they sat side by side, on the piano bench. That’s where they played ‘I Want to Hold Your Hand’ for the first anywhere. They asked me what I thought. I said, ‘I think it’s very good.'” [laughs] •
The Beatles performed this on their first two Ed Sullivan Show appearances, which took place February 9 and 16, 1964. There was already a media frenzy around The Beatles, which was amplified when millions saw them on Sullivan’s show. The Beatles were booked for the show before they had a hit in the US, so they actually got paid less than many other guests for their appearance. •
• This was one of John Lennon’s favorite Beatles songs. It starts with a falling melody, which is typical of Lennon’s songwriting, and ends with a cadence with a quarter-interval: “I’ll think you’ll understand.” That quarter-interval cadence you can even hear in Lennon’s first bit of “From Me to You” and in “Tomorrow Never Knows.” McCartney most often uses second-intervals. Also typically Lennon is the sudden octave-run, “Haaaaand…” The same octave-run you can hear in the end of the middle part in Lennon’s “Please Please Me”: “To reason with youuuuuu…” Also note that the beginning of the melody in the middle part is almost the same melody as the beginning of the middle part in “Don’t Let Me Down.”
Two parody groups made answer songs to this in 1964: “I’ll Let You Hold My Hand” by The Bootles and “Yes, You Can Hold My Hand” by The Beatlettes.
This was the first Beatles song recorded on 4-track equipment. Some of their first songs were in mono.
The Beatles also cut a German version called “Komm Gib Mir Deine Hand.” They picked up some German while playing The Star Club in Hamburg in 1962.
In the 1960s it wasn’t uncommon for British stars to record new versions of their hits in other languages. The idea was to increase airplay on continental stations and to get a hit before an indigenous artist recorded a version in the local tongue. On January 29, 1964, The Beatles went into the Pathé & Marconi Studios in Paris and recorded “I Want To Hold Your Hand” and “She Loves You” (“Sie Liebt Dich”) in German. The lyrics had been hurriedly translated by a Luxembourger named Camillo Felgen, who was then a program director at Radio Luxembourg. As well, apart from their recording of “My Bonnie” in the early ’60s, this was the only time The Beatles recorded in another language. In addition it was the sole occasion on which they recorded outside London.
When this hit #1 in the US, it was the first time a British group topped the chart there since 1962, when “Telstar” by The Tornados did it. Until The Beatles came along, most British groups that had hits in America came and went pretty quickly. The Beatles kicked off the British Invasion, leading to a lengthy occupation on the charts for acts like The Rolling Stones, The Kinks and The Who as well as The Beatles.
It was the youth who discovered The Beatles, and while young people can be easily manipulated through hype and image, in the case of The Beatles it was the music that drew them in. An American girl Sanda Stewart, 15 years old in spring 1964 (according to Hunter Davies in his book Beatles) said: “I was one day in a shop with my mother when I suddenly heard ‘I Want to Hold Your Hand’ on the car radio. Such a special sound! I could never stop thinking about it. No song has effected me on that way. Several other girls in school had reacted in the same way. We saw the Beatles on photos and thought they were ugly. But their music was fantastic.”
This song was used in the movie Across the Universe at a much slower tempo.
A fairly straightforward and simple Beatles song, this one still has some musical complexity that foreshadowed what was to come. “The middle eight of that does something,” Tony Banks of Genesis explained. “The way the key changes at that point is something I hadn’t heard before.”
I Want To Hold Your Hand
Oh yeah, I’ll tell you somethin’ I think you’ll understand When I say that somethin’ I want to hold your hand I want to hold your hand I want to hold your hand
Oh please, say to me You’ll let me be your man And please, say to me You’ll let me hold your hand Now, let me hold your hand I want to hold your hand
And when I touch you I feel happy inside It’s such a feelin’ that my love I can’t hide I can’t hide I can’t hide
Yeah, you got that somethin’ I think you’ll understand When I say that somethin’ I want to hold your hand I want to hold your hand I want to hold your hand
And when I touch you I feel happy inside It’s such a feelin’ that my love I can’t hide I can’t hide I can’t hide
Yeah, you got that somethin’ I think you’ll understand When I feel that somethin’ I want to hold your hand I want to hold your hand I want to hold your hand I want to hold your hand
I had some requests to show an update on Martha. I was going to post an update on her on October 4th 2020…exactly a year after we got her but with my work right now I had to hold that off. Her birthday is August 18, 2019 so now she is one year and five months old.
She has settled down now a little bit. This is our third Saint and we never had one with this much energy but now she has matured a little.
We had one scare with her. This goes out as a warning to anyone who is taking their pet to get a rabies shot. We never had trouble with it at all with our other dogs… but around 12 hours after the shot…she started to get really sick. For three days she could not hold anything down and would not eat… and the vet kept telling us to give her Benadryl. She was allergic to the rabies shot. After the third day my son came home with a hamburger and she ate it. When she did that she started to get better and was soon back to normal.
So after your pet gets a rabies shot…keep a close eye on them.
Anyway she has free range in our house. After she was house broken AND we could trust her not to eat our couch… she no longer has to stay in her kennel.
She still has a lot of energy but nothing like she did a few months ago.
I’ll give you a few pictures for updates starting with the first ones.
Martha at 2 months old…Oct 4, 2019
Martha at 3 Months old
Martha at 4 Months old…she still has the penguin and plays with it.
Martha at 7 months and 8 days in our driveway…March 26, 2020
Martha now…I brought her along to work with me…since I’m the only one left in IT at this moment and I have it all to myself…I had her setup…we were a little messy that day.
After coming home from work…logging in trying to get a few more things done at work…Martha has other ideas
The song that she is named after! “Martha My Dear”
We wrapped up Hanspostcard’s album draft…100 albums in 100 days. We are going into extra innings and extending three more picks from these categories… favorite Soundtracks, Greatest Hits, and a music related movie. This is my pick for greatest hits…Hey Jude Greatest Hits by the Beatles.
It wasn’t my intention to go to the Beatles three times but…there is a reason for this one as I will explain…I didn’t know this album was a greatest hits package when I purchased it. I’m picking this album because of the personal connection to it…and it might be the album that influenced me the most in my life.
Is this the best Beatles greatest hits album? No, not by a long shot but it was the first Beatle album (or any album) I bought and was not handed down by my sister or relatives. I had some money given to me by a relative and mom helped me with the rest. The first Beatle album I listened to was my cousin’s copy of Meet The Beatles…he let me borrow it for while. The Hey Jude album sent me down the road of getting into music that was at least a generation before me…and I’m still in that generation…and I don’t regret a thing…because I’m still discovering new old music and new music that has it’s influences.
My cousin kept telling me of this great song called “Paperback Writer” and he didn’t have a copy. He built the song up so much that I had to listen to it. I found this album at a record store that I begged my mom to take me to. I went through the Beatle albums and this one had Paperback Writer. I couldn’t believe these bearded guys were the same band as on Meet The Beatles. So when I was 8 years old I got two albums… one was a birthday present… the soundtrack to Chitty Chitty, Bang Bang (that I requested) and then I bought this one. My mom asked…are you sure? A nod of my head and I bought a ticket to enter the Beatles world which I still reside.
It has an slight mixture of older, middle, and at that time, newer songs. This was a collection of non-album singles and B sides from the Beatles on the American Capitol label.
The album was conceived by Allen Klein (boooo) and Apple Records and released in 1970. The original name was going to be “The Beatles Again” but they wanted to capitalize on the hit Hey Jude. It was a nice album that should have included more of their earlier hits but it gave us a couple in Can’t Buy Me Love and I Should Have Known Better.
My favorite at that time was of course Paperback Writer…that guitar and those backing vocals…were/are great! Remember… all I’d heard to that point was their first album with Capitol… Meet The Beatles…so I couldn’t believe that “Rain” and the rest came from the same band that played I Want To Hold Your Hand. I didn’t know the history…my 8 year old mind thought…”What the hell happened?…” Where I am musically now…all started with this album purchase.
Rain…the B side to Paperback Writer…I grew to like Rain more than Paperback Writer through the years…in fact it is in my top 10 of Beatle songs.
Lady Madonna… Terrific driving piano riff that is relentless.
I will close out with an earlier Beatles song. I Should’ve Known Better is an instantly catchy song with a harmonica that they would stop using as much in the future. When looking back on their career…the early ones get forgotten sometimes and they shouldn’t be. Those early songs built the foundation.
My island is getting very Beatle-ly…and I don’t mind. I went with the album that influenced me the most at an early age…it just so happened to be a Beatles greatest hits package. This album brings back memories of playing it on a green portable turn table I had at the time with removable speakers.
Like this but green…
Can’t Buy Me Love
I Should Have Known Better
Paperback Writer
Rain
Lady Madonna
Revolution
Hey Jude
Old Brown Shoe
Don’t Let Me Down
Ballad Of John And Yoko
This song made me look for a sitar to buy for a time…unfortunately I never could find one in Nashville at the time. You just don’t see them hanging up in pawn shops.
This was the first pop song to use a sitar…George Harrison played it. Harrison was new to the sitar and attempted many takes until it was right. He bought a cheap sitar and and taught himself to play. Later on Harrison studied the instrument with the Indian musician Ravi Shankar, who helped Harrison explore Eastern music and religion.
The song was on the Rubber Soul album released in 1965. The album peaked at #1 in the Billboard Album Charts, Canada, and the UK. The song was not released as a single in America.
John Lennon:“I was trying to write about an affair without letting my wife know I was having one. I was sort of writing from my experiences – girl’s flats, things like that. I was very careful and paranoid because I didn’t want my wife, Cyn, to know that there really was something going on outside of the household. I’d always had some kind of affairs going on, so I was trying to be sophisticated in writing about an affair, but in such a smoke-screen way that you couldn’t tell. But I can’t remember any specific woman it had to do with.”
John Lennon:“I think it was at the studio. George had just got the sitar and I said ‘Could you play this piece?’ We went through many different sort of versions of the song, it was never right and I was getting very angry about it, it wasn’t coming out like I said. They said, ‘Well just do it how you want to do it’ and I said, ‘Well I just want to do it like this.’ They let me go and I did the guitar very loudly into the mike and sang it at the same time and then George had the sitar and I asked him could he play the piece that I’d written, you know, dee diddley dee diddley dee, that bit, and he was not sure whether he could play it yet because he hadn’t done much on the sitar but he was willing to have a go, as is his wont, and he learned the bit and dubbed it on after. I think we did it in sections.”
From Songfacts
There are not many lyrics in this song, but they tell the story of a man who gets invited to a girl’s house. When she won’t let him into her bed, he sleeps in the tub. When she leaves the next morning, he sets the place on fire. It was one of the first songs Lennon wrote that told a complete story.
Norwegian Wood is a fake wood that was used to make cheap furniture. John Lennon claimed he had no idea where the title came from, but Paul McCartney said he came up with it, inspired by the Norwegian Wood in the Asher household, where he was staying. McCartney was dating Jane Asher, and was good friends with her brother, Peter Asher from the duo Peter & Gordon.
The Beatles recorded this on October 12, 1965, the first day of the Rubber Soul sessions. The first take of the song, which is included on the Anthology 2 CD and includes George’s sitar much more prominently, was originally going to be put on Rubber Soul until a remake was made a week or two later. The notes in the Anthology 2 album verify this.
Ringo played the finger cymbals on this track.
Bob Dylan wrote a parody of sorts to this song called “Fourth Time Around,” which appears on his 1966 album Blonde On Blonde. His song uses a similar melody; it also tells a story about a strange encounter with a girl.
It was Paul McCartney who came up with the album title Rubber Soul. Lennon told Rolling Stone that he supposed it was a pun meaning English Soul. He added: “There is no great mysterious meaning behind all of this, it was just four boys working out what to call a new album.”
Some of the many artists to cover this song include José Feliciano, Herbie Hancock and Buddy Rich. The mellow rap group P.M. Dawn also did a version on their 1993 The Bliss Album, and Cornershop covered it on their 1997 album When I Was Born for the 7th Time – the one with their #1 UK hit “Brimful Of Asha.”
Norwegian Wood
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?
We wrapped up Hanspostcard’s album draft…100 albums in 100 days. We are going into extra innings and extending three more picks from these categories… favorite Soundtracks, Greatest Hits, and a music related movie. This is my pick for sountrack…Help! by the Beatles.
To avoid confusion I’m reviewing the UK version of Help! because that is the one that I own.
The movie Help! was an enjoyable movie. It was not nearly as good as A Hard Days Night but it had it’s moments. I love black and white movies but the color made Help! stand out. The Beatles knew it wasn’t as good as their first…John had a quote about it: “it was like being a frog in a movie about clams.” Nevertheless it was a fun movie and a pleasure to watch today.
They shot the movie in five different locations…London, Wiltshire, Berkshire, Austria, and the Bahamas.
It was the first Beatle movie I ever saw…I rented it from a video store in the mid-eighties. The Help! movie was the only Beatle movie they had at the time. With no internet, it was my only window to see the Beatles other than the documentary The Compleat Beatles.
The soundtrack is a great album on it’s own.
I picked this album/soundtrack because I always thought this was the transitional album between Beatlemania and The Beatles middle period. After this album would come Rubber Soul and the swinging sixties would officially be kicked off. Help! shows them making strides into the future. You can hear a some of their earlier work and get a hint of what was coming.
Here are a few songs…I’ll leave the big hits off of the preview.
You’ve Got to Hide Your Love Away is a good song with a noticeable Dylan influence.
One of my favorite songs on the album is The Night Before…I first heard it on the Beatles Rock and Roll Music compilation album. It’s another song that would have been a single for another band.
As soon as I heard I’ve Just Seen A Face…I learned it on guitar and have been playing it ever since. This is a song that you can see the change starting to take place…from the bouncy numbers to this folk influenced one. This song would be on the American version of Rubber Soul.
You’re Going to Lose That Girl has a catchy call and response chorus. The backup vocals are superb.
The title track is brilliant with John calling out for Help after being battered by Beatlemania. They also dipped into their club roots with a cover of the Larry Williams song Dizzy Miss Lizzy. The album had the hits of course…Help!, Yesterday, and Ticket To Ride…all #1 in the Billboard 100.
I’m ready to watch Help! now…can I smuggle a Blu-ray player on the island?
Help! The Night Before You’ve Got to Hide Your Love Away I Need You Another Girl You’re Going to Lose That Girl Ticket to Ride Act Naturally It’s Only Love You Like Me Too Much Tell Me What You See I’ve Just Seen a Face Yesterday Dizzy Miss Lizzy
The song was on their album Rubber Soul released in 1965. What stands out is the Motown type bass line being played by Paul while George doubled him on guitar. Paul played lead with slide guitar.
George Harrison suggested the R&B arrangement and it was implemented as the rhythmic style of the song. The introduction to the song is confusing to some though.
This is another song by Lennon/McCartney but with Lennon saying it was mostly Paul’s song. Lennon though did write a lot of the lyrics as Paul’s original lyrics were pretty bad…per Paul. It was not released as a single.
According to McCartney, “‘Drive my car’ was an old blues euphemism for sex”.This expression was more common in the pre-automatic shift era of automobiles.
The opening two measures of “Drive My Car” still leave studied “musicologists” scratching their heads to this day. Producer Mark Hudson, who had worked with Ringo on his solo career for ten years, has related how he asked the drummer about the song’s introduction, saying that “he could never figure it out.” Ringo couldn’t even explain it.
The Beatles seem to do that a lot… A Hard Days Night intro and the beginning to I Want To Hold Your Hand have musicologist debating how something was done…and how it worked.
Paul McCartney:“The lyrics were disastrous and I knew it. Often you just block songs out and words just come into your mind and when they do it’s hard to get rid of them. You often quote other songs too and you know you’ve got to get rid of them, but sometimes it’s very difficult to find a more suitable phrase than the one that has insinuated itself into your consciousness.” Other songs he used as a template in this case most likely include “Can’t Buy Me Love” and “I Feel Fine,” both of which include lines about buying a “diamond ring” for someone.
Paul McCartney: “”It was wonderful because this nice tongue-in-cheek idea came and suddenly there was a girl there, the heroine of the story, and the story developed and had a little sting in the tail like ‘Norwegian Wood’ had, which was ‘I actually haven’t got a car, but when I get one you’ll be a terrific chauffeur.’ So to me it was LA chicks…and it also meant ‘you can be my lover.’ ‘Drive my car’ was an old blues euphemism for sex, so in the end all is revealed. Black humor crept in and saved the day. It wrote itself then. I find that very often, once you get the good idea, things write themselves.”
From Songfacts
Laden with sexual innuendo, this song is about a guy who meets an aspiring actress, who tells him he can “drive my car,” as she has a keen interest in him, and might even be in love.
She keeps trying to lure him in (“I can show you a better time”), but when he finally agrees to take the job, she admits that she doesn’t have a car, but still wants him to be her driver. It’s pretty clear that all this driving talk is leading to sex, but there’s no proof that it isn’t just a song about a guy, a girl, and a car – making it another radio-friendly Beatles track.
Originally, it was a very different song lyrically, with the chorus, “I can give you golden rings, I can give you anything, baby, I love you.” Knowing that storyline would lead them nowhere good, they hashed it out until they came up with “Drive My Car” for the title, and changed the song so it was the woman soliciting the man.
Paul McCartney played bass, piano and lead guitar on this one; George Harrison played guitar and did backing vocals. John Lennon sang lead with McCartney and also played tambourine.
The “beep beep” refrain is a take-off on The Beatles own “yeah, yeah yeah”s in “She Loves You” as well as a nod to The Playmates song “Beep Beep” (a #4 US novelty hit in 1958).
Paul McCartney played this at halftime of the 2005 Super Bowl. The year before, Janet Jackson exposed a breast on live TV, which caused a great deal of controversy. McCartney was a solid choice because he was unlikely to offend anyone.
At the 2005 Live 8 Concert in London, McCartney performed this in a duet with George Michael.
The title of the album comes from “plastic soul,” a derogatory phrase McCartney had overheard black musicians using about Mick Jagger. (“Plastic” in those days meant anything fake or processed.) Paul can be heard using the phrase in studio chatter on June 14, 1965, during recording of the “Help!” B-side “I’m Down.” Reliably, he put his own spin on the phrase.
Drive My Car
Asked a girl what she wanted to be She said, “baby, can’t you see I want to be famous, a star on 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 you”
I told a girl that my prospects were good And 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’m beep beep yeah
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
I told a girl I can start right away And she said, “listen, babe, I 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”
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