This is a good George Harrison song off of Revolver. This song held the distinction of the first Beatles song where the bass was overdubbed after recording. it’s a great opening riff…a very underrated riff.
The first time I heard the song…what jumped out at me was the alarming flat-ninth notes played by Paul on the piano. It jars you but not in a bad way. The song has a strange structure and The Beatles had some trouble recording it. The timing was hard to nail down. Even artists that covered it later…one being Ted Nugent had a lot of trouble recording it because he kept jumping the time up.
Paul McCartney: “This track proved very difficult for us to learn, I kept on getting it wrong, because it was written in a very odd way. It wasn’t 4/4 or waltz time or anything. Then I realized that it was regularly irregular, and, after that, we soon worked it out.”
Three Harrison compositions on a single Beatles album was unheard of at that time. George’s quality started to rise during this period.
With the sessions for the Revolver album winding down, The Beatles only needing four more songs to complete the album, George offered up his third composition for recording. He actually offered 4…his other song Isn’t It A Pity was rejected. I’m sure though that the song wasn’t the seven-minute opus we know today at that time.
I always thought with a little more work on this song…it could have been a single. It has the element of edgy power pop. Revolver had everything you could ask for from a band. Revolver peaked at #1 in the US, Canada, and the UK in 1966.
George Harrison:“The mind is the thing that hops about telling us to do this and do that. What we need is to lose the mind.”
George Harrison: “About the avalancheof thoughts that are so hard to write down or say or transmit.”
George Harrison:“All I needed to do was keep on writing and maybe eventually I would write something good,” George Harrison once stated. “It’s relativity. It did, however, provide me with an occupation.”
George Martin:“I think the trouble with George was that he was never treated on the same level as having the same quality of songwriting, by anyone – by John, by Paul or by me, I’m as guilty in that respect. I was the guy who used to say: ‘If he’s got a song, we’ll let him have it on the album’ – very condescendingly. I know he must have felt really bad about that…George was a loner and I’m afraid that was made the worse by the three of us. I’m sorry about that now.”
I Want To Tell You
Iwant to tell you My head is filled with things to say When you’re here All those words they seem to slip away
When I get near you The games begin to drag me down It’s all right I’ll make you maybe next time around
But if I seem to act unkind It’s only me, it’s not my mind That is confusing things I want to tell you I feel hung up and I don’t know why I don’t mind I could wait forever, I’ve got time
Sometimes I wish I knew you well Then I could speak my mind and tell Maybe you’d understand
I want to tell you I feel hung up and I don’t know why I don’t mind I could wait forever, I’ve got time I’ve got time I’ve got time
Many people posted this song during the lockdown and I can see why.
I always liked the song and understood that isolation doesn’t equate to loneliness. You can be in a crowd of people and yet feel isolated or alone. You can be physically isolated from others yet still feel very much connected to others.
The bass player on this track was Klaus Voormann, who was a friend of the Beatles from their Hamburg days. He was also an artist… he is the artist who designed the cover of Revolver. Ringo Starr also lends a hand with drums on this track.
The song was released on his true debut album John Lennon/Plastic Ono Band in 1970. Arguably one of if not his best album. Like Paul’s debut this one was not big in production but unlike Pauls…this album was not light pop songs. You can feel John releasing his inner feelings for everyone to see on this album. Not an album to play to get a party going. You can hear John’s disillusionment with life, fame, and his three former bandmates.
This was during the time John Lennon went to see Doctor Arthur Janov in scream therapy. A way to bare his soul for his feelings like his mom that was killed when he was a teenager.
John Lennon:‘Isolation’ and ‘Hold On John’, they’re the rough remixes. I just remixed them that night on seven-and-a-half [inches per second tape] to take them home to see what else I was going to do with them. And then I didn’t really, I didn’t even put them onto fifteen [IPS], so the quality is a bit hissy on ’em too. By the time I’d done everything, I started listening. I found out it’s better that, with ‘Instant Karma’ and other things, you remix it right away that night. I’d known that before, but never followed it through.
I usually don’t pay much attention to covers. I ignore actors turn singers but I did find a very good version of this song out there. In 2020 Jeff Beck and Johnny Depp recorded this song and Beck’s guitar work is great. Depp also does the vocals justice in this.
Isolation
People say we got it made Don’t they know we’re so afraid Isolation We’re afraid to be alone Everybody got to have a home Isolation
Just a boy and a little girl Trying to change the whole wide world Isolation The world is just a little town Everybody trying to put us down Isolation
I don’t expect you, to understand After you caused so much pain But then again, you’re not to blame You’re just a human, a victim of the insane
We’re afraid of everyone Afraid of the sun Isolation The sun will never disappear But the world may not have many years Isolation
When I became a Beatles fan way back when I was 8 years old…and up to my teenage years I hardly ever heard this one mentioned by people. I’ve seen its popularity grow through the years. My biggest problem with it is they should have spent more time on it. Lennon accused McCartney of subconsciously trying to destroy it. You could see Paul let out a big yawn while rehearsing in the Let It Be film but that probably had more to do with him being tired after hours of playing in a studio…but maybe Lennon had a point.
One of the reasons John got upset with Paul was because instead of getting professional backup singers or a choir…Paul went out the Abbey Road door and grabbed two “Apple Scruffs” to sing backup on the song. That version did not go on the Let It Be album, however. That version was on a charity album.
This first appeared on No One’s Gonna Change Our World, a 1969 charity album for the World Wildlife Fund. Bird noises were dubbed into this version to create a nature theme. It didn’t sound too bad.
When I bought the Let It Be album it took a few listens but soon this one intrigued me. The lyrics alone are enthralling because of the imagery. Since I first heard it, the song has taken on huge popularity.
It even had a movie that was made around its title and worked around Beatle lyrics in 2007. That alone boosted its popularity.
I always wondered about the Jai guru deva om phrase. “Jai guru deva, om” translates to “hail to the Heavenly Teacher” or “I give thanks to Guru Dev.” That was a mantra was invented by the Indian guru, Maharishi Mahesh Yogi – the late protégé of Guru Dev.
On February 4, 2008 “Across The Universe” became the first track to be beamed directly into space. It was transmitted through NASA’s antenna in the DSN’s Madrid Deep Space Communication Complex, towards the North Star, Polaris, 431 light-years from Earth. The broadcasting of the Beatles song was done to mark both NASA’s 50th birthday and the 40th anniversary of Across The Universe. Paul McCartney described the transmission as an “amazing feat” adding, “Well done, NASA. Send my love to the aliens!”
David Bowie also did a good version of this song. Liam Gallagher has cited this song as a huge influence on him starting to write songs.
John Lennon: “I was lying next to me first wife in bed, and I was irritated. She must have been going on and on about something and she’d gone to sleep and I kept hearing these words over and over, flowing like an endless stream. I went downstairs and it turned into sort of a cosmic song rather than an irritated song… it drove me out of bed. I didn’t want to write it, but I was slightly irritable and I went downstairs and I couldn’t get to sleep until I’d put it on paper.”
John Lennon: “It’s one of the best lyrics I’ve written. In fact, it could be the best.” He added: “It’s good poetry, or whatever you call it, without chewin’ it. See, the ones I like are the ones that stand as words, without melody. They don’t have to have any melody, like a poem, you can read them.”
John Lennon:“The Beatles didn’t make a good record of it. I think subconsciously sometimes we – I say ‘we’ although I think Paul did it more than the rest of us – Paul would, sort of subconsciously, try and destroy a great song… meaning we’d play experimental games with my great pieces, like ‘Strawberry Fields,’ which I always thought was badly recorded.”
The World Wildlife Fund
Across The Universe
Words are flowing out Like endless rain into a paper cup They slither wildly as they slip away across the universe Pools of sorrow waves of joy Are drifting through my opened mind Possessing and caressing me
Jai Guru Deva, Om Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world
Images of broken light Which dance before me like a million eyes They call me on and on across the universe Thoughts meander like a Restless wind inside a letter box They tumble blindly as they make their way across the universe
Jai Guru Deva, Om Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world
Sounds of laughter, shades of life Are ringing through my opened ears Inciting and inviting me Limitless undying love Which shines around me like a million suns It calls me on and on across the universe
Jai Guru Deva, Om Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world
Jai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva
I’m glad the Let It Be album is getting a new life because of the Get back film. It’s not Revolver by any means but it was never meant to be. Let It Be started off as an album that would feature minimum overdubs and get back to playing as a band. I’ve Got A Feeling is a mix of two unfinished songs, Paul McCartney’s “I’ve Got a Feeling” and John Lennon’s “Everybody Had a Hard Year.”
John Lennon did have a hard year. He got divorced, battled heroin addiction, police drug raid, Yoko had suffered a miscarriage and he was convicted of drug possession.
John had worked on this song earlier. After meeting with Paul at his St. John’s Wood home in London sometime in December of 1968 to merge both of their songs into one, John met with the others at Twickenham Studios on January 2nd, 1969, with an arrangement that was already formulated, right down to the synchronized vocals of both composers in the final verse. All that was left was to finalize the arrangement with George and Ringo and to rehearse it repeatedly before it was ready to record.
The Beatles recorded this live on the Apple rooftop, which was used in their movie, Let It Be. John Lennon’s guitar sounds downright nasty and George’s compliments that sound with clean licks off of his Fender.
The Let It Be album peaked at #1 in the Billboard Album Charts, Canada, and The UK in 1970.
The version of I’ve Got a Feeling which was released on Let It Be was recorded during the rooftop concert. The studio take was released on the 1996 Anthology 3. Let It Be… Naked, which was a remix album that came out in 2003, patched two different rooftop concert takes.
I would have loved to hear Elvis do a cover of this song…but I can’t imagine him singing the “wet dream” part but it would have been interesting.
Pearl Jam also did a version of this song.
I’ve Got A Feeling
I’ve got a feeling, a feeling deep inside Oh yeah, oh yeah. I’ve got a feeling, a feeling I can’t hide Oh no, oh no, oh no. Yeah, I’ve got a feeling.
Oh please believe me, I’d hate to miss the train Oh yeah, oh yeah. And if you leave me I won’t be late again Oh no, oh no, oh no. Yeah, I’ve got a feeling, yeah.
All these years I’ve been wandering around, Wondering how come nobody told me All that I was looking for was somebody Who looked like you.
I’ve got a feeling, that keeps me on my toes Oh yeah, oh yeah.
I’ve got a feeling, I think that everybody knows Oh yeah, oh yeah, oh yeah. Yeah, yeah, I’ve got a feeling, yeah. Yeah
Ev’rybody had a hard year Ev’rybody had a good time Ev’rybody had a wet dream, Ev’rybody saw the sunshine Oh yeah, oh yeah.
Ev’rybody had a good year, Ev’rybody let their hair down, Ev’rybody pulled their socks up, Ev’rybody put their foot down. Oh yeah, oh yeah.
Yeah I’ve got a feeling A feeling deep inside Oh yeah, oh yeah.
I’ve got a feeling, a feeling I can’t hide Oh no Oh no no no
Yeah yeah yeah yeah I’ve got a feeling I’ve got a feeling
Double Fantasy was released in 1980 and I did like the album…but it was a little too pop-leaning in some songs. That album also takes me back to that awful time right after John was murdered. Three years later another album came out and this single was released. I’ve always liked this song. It sounded so much like the old John Lennon. It was quirky and had cool wordplay. It wasn’t John’s best song by any means and no it wasn’t close to Watching The Wheels or Starting Over but it had an edge to it that the other album didn’t.
This single was released in 1983. The song was originally written by John for Ringo Starr to sing on his “Stop and Smell the Roses” album. He even gave Ringo the demo. Ringo didn’t end up recording it because of the tragedy.
There is a lyric “There’s a UFO over New York and I ain’t too surprised” and it was taken from an actual incident. In 1974, John and May Pang (his girlfriend while separated from Yoko) were living in an apartment overlooking New York’s East River, when John saw what he thought was a UFO. May Pang said he yelled out the window “come back – take me!”
The song was off the “Milk and Honey” album with tracks from John and with Yoko. It peaked at #5 in the Billboard 100, #4 in Canada, and #6 in the UK. John wrote the song in 1976 and the working title was “Everybody’s Talkin.”
I liked the song the first time I heard it. It was a fun song and I was happy to hear something new from him. I really could hear Ringo doing this one. The two songs that hit from “Milk and Honey” were Stepping Out and this one.
“Nobody Told Me”
Everybody’s talking and no one says a word Everybody’s making love and no one really cares There’s Nazis in the bathroom just below the stairs Always something happening and nothing going on There’s always something cooking and nothing in the pot They’re starving back in China so finish what you got Nobody told me there’d be days like these Nobody told me there’d be days like these Nobody told me there’d be days like these Strange days indeed — strange days indeed Everybody’s runnin’ and no one makes a move Everyone’s a winner and nothing left to lose There’s a little yellow idol to the north of Katmandu Everybody’s flying and no one leaves the ground Everybody’s crying and no one makes a sound There’s a place for us in the movies you just gotta lay around
Nobody told me there’d be days like these Nobody told me there’d be days like these Nobody told me there’d be days like these Strange days indeed — most peculiar, mama
Everybody’s smoking and no one’s getting high Everybody’s flying and never touch the sky There’s a UFO over New York and I ain’t too surprised
Nobody told me there’d be days like these Nobody told me there’d be days like these Nobody told me there’d be days like these Strange days indeed — most peculiar, mama
During my senior year in high school in 1985, I had their greatest hits. I wore it out and became a huge Cream fan. I went to an old music store a couple of years ago and they had an original 60s Leslie Cabinet. Why am I bringing that up? That is what Clapton is playing through on this song. A Leslie Cabinet (I have video at the bottom of the post) contains a rotating horn and was designed for organs, but many tried it with guitars. It gives an organ guitar a swirling sound. The Beatles used it a lot.
One of my favorite Cream songs. Badge was written by Eric Clapton and George Harrison. In George’s handwritten lyrics he wrote the word “Bridge” as in bridge of a song and Clapton thought it read “Badge” so they named the song that. In 1969 Badge peaked at #60 on the Billboard 100 Charts, #18 on the UK Charts, and #49 in Canada.
It appeared on Cream’s final album Goodbye. This song is one of only 3 studio tracks on Goodbye…the rest are live cuts. Badge would be the only Cream song to include 5 people…in addition to Clapton, Bruce, Baker and Harrison, Felix Pappalardi played the piano and Mellotron. Pappalardi produced Disreali Gears, Wheels Of Fire, and Goodbye. Robert Stigwood produced their debut album Fresh Cream.
Cream were broke up when this album was released. Clapton was already working with Blind Faith. The did reunite for the Rock and Roll Hall of Fame induction in 1993 and played 3 songs. In 2005 the band reunited at the Royal Albert Hall…the location of their last concert in 1969 and later in the year at Madison Square Gardens.
I will say…it’s hard for me to listen to the 2005 reunion. Clapton chose to play his Fender guitar and it just didn’t have the bite his Gibson SG had in the Cream days. I didn’t expect the long jams but I do wish he would have been a bit dirtier in his sound. The musicianship though was great.
Don’t study the lyrics too much. They don’t make much sense. Supposedly many of them came from drunk conversations with George and Ringo.
George Harrison:I helped Eric write “Badge” you know. Each of them had to come up with a song for that Goodbye Cream album and Eric didn’t have his written. We were working across from each other and I was writing the lyrics down and we came to the middle part, so I wrote ‘Bridge.’ Eric read it upside down and cracked up laughing – ‘What’s BADGE?’ he said. After that, Ringo walked in drunk and gave us that line about the swans living in the park
Hope I didn’t bore you all with the Leslie Cabinet information, but I really like them. In this video you will see how it works and why an organ gets that swirling sound. A sixties model costs around $3000 and up.
Back to our song of the day!
Badge
Thinkin’ ’bout the times you drove in my car. Thinkin’ that I might have drove you too far. And I’m thinkin’ ’bout the love that you laid on my table.
I told you not to wander ’round in the dark. I told you ’bout the swans, that they live in the park. Then I told you ’bout our kid: now he’s married to Mabel.
Yes, I told you that the light goes up and down. Don’t you notice how the wheel goes ’round? And you better pick yourself up from the ground Before they bring the curtain down. Yes, before they bring the curtain down.
Ah Ah Ah, yeh yeh yeh Ah Ah Ah, yeh yeh yeh
Talkin’ ’bout a girl that looks quite like you. She didn’t have the time to wait in the queue. She cried away her life since she fell off the cradle.
Today I’m guest hosting on “Once Upon a Time in the 70s.” If you can please give them a visit and leave a comment…I would appreciate it! They have a great site and they will be guest hosting my site one day this week! Now back to our song…
This one has always been a favorite of mine. Many people I know thought it was a religious song because of Mother Mary but Mother Mary was Paul’s mother. It does have a gospel feel though.
It’s always had a calming effect on me. The song is part of my DNA and although it’s been played quite a bit on radio…I can still enjoy it.
Paul McCartney has said he wrote “Let It Be” and “The Long and Winding Road” on the same day. How is that for a day’s work?
One thing that makes the song unique is what solo are you going to hear from George? The single version of the song has a good solo, but the album version has the best. On January 4, 1970, Paul, George, and Ringo went into the studio to clean up tracks for the album release. George put down one of my favorite solos of all time. It’s the solo that has some growl to it and is highly melodic. Later on, in 2003 when Let It Be Naked was released…yet another version of the solo was on there but not as good as the distorted version.
On October 31st, 1956, Paul’s mother Mary Patricia McCartney had passed away from breast cancer. Paul had said she was the unsung leader of their family. John and Paul bonded later on when John’s mother was killed by getting hit by a car.
The song was on the Let It Be Album. The album had the largest initial sales in US record history up to that time: 3.7 million advance orders. That is going out on top. Let It Be peaked at #1 in the Billboard 100, Canada, New Zealand and #2 in the UK. The album peaked at #1 in the Billboard Album Charts, Canada, and the UK in 1970.
At the time some critics didn’t like the album as much. I’ve always liked the raw feel of it. The album contained Let It Be, The Long and Winding Road, Get Back, and I’ve Got A Feeling…plus a song that could have been a single…The Two Of Us. It shows what high standards they were held to.
I bought the Let It Be at a yard sale when I was a kid. The single had a B side that I had never heard of at the time. The song is called You Know My Name (Look Up The Number). It’s so off the wall it has to be heard…not described. It is basically John and Paul making a comedy record…with Brian Jones of the Rolling Stones on sax.
Paul started to write this during the White Album sessions but instead of Mother Mary…it was Mother Malcome after their roadie Mal Evans. He also sings a ling about Brother Malcome in a video I have below. Mal Evans has said that during the White Album sessions Paul had a vision of him saying Let It Be. I have Mal’s quote below.
Mal Evans:“Paul was meditating one day, they were writing all the time, and I came to him in a vision. I was just standing there, saying, “Let it be, let it be,’ and that’s where the song came from. It was funny; I had driven him back from a session one night (at Twickenham Film Studios in London, January 1969) a few months later. It was three o-clock in the morning, it was raining, it was dark in London and we were sitting in the car, just before he went in, just laughing and talking. He said, ‘Mal, I’ve got a new song and it’s called “Let It Be,” and I sing about “Mother Malcolm,” but he was a bit shy. So, he turned to me and said, ‘Would you mind if I said, “Mother Mary,” because people might not understand?’ So, I said, ‘Sure.’ But, he was lovely.”
Paul McCartney:“One night during this tense time, I had a dream. I saw my mum, who’d been dead ten years or so. And it was so great to see her because that’s a wonderful thing about dreams: you actually are reunited with that person for a second; there they are and you appear to both be physically together again. It was so wonderful for me and she was very reassuring. In the dream she said, ‘It’ll be all right.’ I’m not sure if she used the words ‘Let it be’ but that was the gist of her advice. It was, ‘Don’t worry too much, it will turn out okay.’ It was such a sweet dream. I woke up thinking, ‘Oh, it was really great to visit with her again. I felt very blessed to have that dream. So that got me writing the song ‘Let It Be.’ I literally started off ‘Mother Mary,’ which was her name. ‘When I find myself in times of trouble,’ which I certainly found myself in. The song was based on that dream.”
“She was reassuring me, saying, ‘It’s going to be OK, just let it be.’ I felt so great. She gave me the positive words. I woke up and thought, ‘What was that? She said ‘Let It Be.’ That’s good.’ So I wrote the song ‘Let It Be’ out of positivity.”
From Songfacts
Since Let It Be was The Beatles’ last album, it made an appropriate statement about leaving problems behind and moving on in life. The album was supposed to convey an entirely different message. It was going to be called “Get Back,” and they were going to record it in front of an audience on live TV, with another TV special showing them practicing the songs in the studio. It was going to be The Beatles getting back to their roots and playing unadorned live music instead of struggling in the studio like they did for The White Album. When they started putting the album together, it became clear the project wouldn’t work, and George Harrison left the sessions. When he returned, they abandoned the live idea and decided to use the TV footage as their last movie. While the film was being edited, The Beatles recorded and released Abbey Road, then broke up. Eventually, Phil Spector was given the tapes and asked to produce the album, which was released months after The Beatles broke up. By then, it was clear “Let It Be” would be a better name than “Get Back.”
According to McCartney, this is a very positive song, owing to its inspiration. One night when he was paranoid and anxious, he had a dream where he saw his mother, who had been dead for ten years or so – she came to him in his time of trouble, speaking words of wisdom that brought him much peace when he needed it. It was this sweet dream that got him to begin writing the song.
Many have been moved by the song on a deeply personal level, including Corden, who broke down when they sang it together. “I remember my granddad, who was a musician, sitting me down and telling me, ‘I’m going to play you the best song you’ve ever heard,’ and he played me that,” he said. “If my granddad was here right now he’d get an absolute kick out of this.” McCartney replied, “He is.”
It was John Lennon who wanted Phil Spector to produce the album. Spector worked on Lennon’s “Instant Karma” and was known for his bombastic “Wall Of Sound” style. McCartney hated Spector’s production, and in 2003 he pushed to have the album remixed and released without Spector’s influence. The result was Let It Be… Naked, which eliminated most of Spector’s work and is much closer to what The Beatles intended for the album. “Maggie Mae” and “Dig It” were removed, and an entirely different guitar solo was used for this song.
The Beatles weren’t the first to release this song – Aretha Franklin was. The Queen of Soul recorded it in December 1969, and it was released on her album This Girl’s In Love With You in January 1970, two months before The Beatles released their version (she also covered The Beatles “Eleanor Rigby” on that album).
Aretha recorded it with the Muscle Shoals Rhythm Section, who were a group of musicians that owned their own studio in Alabama, but would travel to New York to record with Aretha. David Hood, who was their bass player, told us that Paul McCartney sent demos of the song to Atlantic Records (Franklin’s label) and to the Muscle Shoals musicians. Said Hood, “I kick myself for not grabbing that demo. Because I think they probably dropped it in the garbage. Our version was different. We changed it a little bit from his demo, where their version is different from that demo and from Aretha’s version, as well. Just slightly, but little things.”
In April 1987, this was released as a charity single in aid of The Sun newspaper’s Zeebrugge ferry disaster fund. Featuring Paul McCartney, Mark Knopfler, Kate Bush, Boy George and many others, it was called “Ferry Aid” and spent three weeks at #1 in the UK.
Billy Preston added organ and electric piano to this track. Preston was such a significant contributor to the Let It Be album that John Lennon floated the idea of making him a full band member. Preston’s contributions were more than musical: He came in after George Harrison got frustrated with the sessions and quit the band. After his bandmates agreed to his terms (including abandoning a live performance they had planned), Harrison returned to the sessions after 12 days and arranged for Preston to join them. Having Preston there kept tensions at bay and greased the creative gears, allowing them to complete the album that was looking precarious when he arrived.
This was the first Beatles song released in The Soviet Union. The single made it there in 1972.
In 2001, McCartney helped organize the “Concert For New York,” to benefit victims of The World Trade Center disaster. He closed the show with this, inviting the other acts and some New York cops and firefighters on stage to sing with him.
This song was played at Linda McCartney’s funeral.
On July 18, 2008, Paul McCartney joined Billy Joel onstage at Shea Stadium in New York and played this as the final song of the final concert at Shea. As a member of The Beatles, McCartney played the first stadium rock concert when they performed at Shea on August 15, 1965.
Until 1994 and the recordings for “Free As A Bird,” the session for this song on January 4, 1970 was the last Beatles recording session. Lennon wasn’t present that day, as he was on holiday.
A cover by American R&B artist Jennifer Hudson featuring the Roots, who are the house band on NBC’s Late Night with Jimmy Fallon, debuted at #98 on the Hot 100 in February 2010. She recorded it for the Hope For Haiti Now charity telecast after the earthquake that devastated the country. It was the third time the song had entered the US singles chart as Joan Baez’s version peaked at #49 in 1971.
A month after Jennifer Hudson’s version reached the Hot 100, Kris Allen took the song to the chart for a fourth time when his cover debuted at #63. Allen’s cut charted after he performed the song on American Idol, with proceeds from its digital sales benefiting Haiti earthquake relief efforts through the Idol Gives Back Foundation.
John Legend and Alicia keys performed this song on the tribute special The Beatles: The Night That Changed America, which aired in 2014 exactly 50 years after the group made their famous appearance on Ed Sullivan Show. Legend introduced it as “a song that has comforted generations with its beauty and its message.”
Sesame Street used this with the title changed to “Letter B.” The lyrics were changed to list words that begin with B.
Paul sings “Brother Malcolm” in this rough version near the end
Let It Be
When I find myself in times of trouble, Mother Mary comes to me Speaking words of wisdom, let it be And in my hour of darkness she is standing right in front of me Speaking words of wisdom, let it be
Let it be, let it be, let it be, let it be Whisper words of wisdom, let it be
And when the broken hearted people living in the world agree There will be an answer, let it be For though they may be parted, there is still a chance that they will see There will be an answer, let it be
Let it be, let it be, let it be, let it be There will be an answer, let it be
Let it be, let it be, let it be, let it be Whisper words of wisdom, let it be
Let it be, let it be, let it be, let it be Whisper words of wisdom, let it be, be
And when the night is cloudy there is still a light that shines on me Shinin’ until tomorrow, let it be I wake up to the sound of music, Mother Mary comes to me Speaking words of wisdom, let it be
And let it be, let it be, let it be, let it be Whisper words of wisdom, let it be
And let it be, let it be, let it be, let it be Whisper words of wisdom, let it be
A pure rock and roll song by The Beatles. It’s always a joy to listen to because it goes back to their roots They played this song live in the early days before Beatlemania. When they recorded the final version on the roof you could see they were having a good time. George’s guitar playing on this is perfect.
A song that was recorded in January of 1969 but was written by John and Paul in the 1950s. Being a very early attempt at songwriting, John Lennon reluctantly brought it forward for The Beatles to record when they were looking for new material in early 1963. They recorded it but didn’t have a take that they liked.
In 1969 John pulled out “One After 909” from his memory and presented it again. On this occasion, it was reworked with enthusiasm and with a different feel and arrangement, the result becoming a cool presentation of early Beatlemania at their final live performance on the rooftop in 1969.
John, Paul, and George were talking about the song and John said he always wanted to change the words. Paul said no…it’s great like it is so they played the song on the rooftop. It would be included on the Let It Be album released in 1970
The song was about a lady who tells her boyfriend she is leaving on the train that leaves after train number 909. He begs her not to go, but she does anyway. He packs his bags and rushes after her and discovers that she is not on “the one after 909,” so he goes home depressed and goes into the wrong house.
John Lennon:“I wrote it when I was about seventeen, either right before or after ‘Hello Little Girl,’ and it was resurrected for (the ‘Let It Be’) album, probably for lack of material. Nine has always been around. I’m not sure why. I was born on the ninth of October, I lived at nine Newcastle Road, ‘Revolution 9.’ Numerologically, I’m apparently a number three or six, so I’m not sure where the nine comes from…but it’s all part of nine.”
Paul McCartney: “It was a number we didn’t used to do much but it was one that we always liked doing, and we rediscovered it. There were a couple of tunes that we wondered why we never put out; either George Martin didn’t like them enough to or he favored others. It’s not a great song but it’s a great favorite of mine because it has great memories for me of John and I trying to write a bluesy freight-train song. There were a lot of those songs at the time, like ‘Midnight Special,’ ‘Freight Train,’ ‘Rock Island Line,’ so this was the ‘One After 909.’ She didn’t get the 909, she got the one after it! It was a tribute to British Rail, actually. No, at the time we weren’t think British, it was much more the Super Chief from Omaha.”
One After 909
My baby said she’s trav’ling on the one after 909 I said move over honey I’m traveling on that line I said move over once, move over twice Come on baby don’t be cold as ice. Said she’s trav’ling on the one after 909.
I begged her not to go and I begged her on my bended knees, You’re only fooling around, you’re fooling around with me. I said move over once, move over twice Come on baby don’t be cold as ice. Said she’s trav’ling on the one after 909.
I got my bag, run to the station Railman says you’ve got the the wrong location I got my bag, run right home Then I find I’ve got the number wrong
Well she said she’s trav’ling on the one after 909 I said move over honey I’m traveling on that line I said move over once, move over twice Come on baby don’t be cold as ice. Said she’s trav’ling on the one after 909.
I got my bag, run to the station Railman says you’ve got the the wrong location I got my bag, run right home Then I find I’ve got the number wrong
Well she said she’s trav’ling on the one after 909 I said move over honey I’m traveling on that line I said move over once, move over twice Come on baby don’t be cold as ice. Said she’s trav’ling on the one after 9-0, Said she’s trav’ling on the one after 9-0, Said she’s trav’ling on the one after 909.
I don’t post many albums, but I wanted to go over this one. This will be the UK version of the album. The American version was a different album with the soundtrack music replacing some of the songs.
In my opinion, it was one of the most important albums the Beatles ever released. The album signaled a change with the Beatles. Rubber Soul is usually credited as the album that represented the Beatles transformation from pure a rock/pop band into something more. I’ve always seen Help! as the bridge from Beatlemania to the middle period of Rubber Soul and Revolver. With songs like You’ve Got to Hide Your Love Away, The Night Before, I’ve Just Seen A Face, and Ticket to Ride it was apparent that a change was coming.
Was the album as good as Rubber Soul? No, but it cleared the way for the change that was coming. In 1963 the Beatles released She Loves You…4 years later they recorded A Day In The Life. That is only 4 years…it would be like building a go-cart and 4 years later building a rocket and going to the moon. There were steps in between though and Help! was one of them. What makes the Beatles so special is they didn’t repeat themselves. They progressed with every album into a different sound and feel. It wasn’t only drugs but social issues, fame, isolation, and superior songwriting skills.
You can tell pot had some influence on this album. Most of the songs were not as fast-paced with a beat group mentality. You still had some songs that were the Beatles that everyone knew at the time. Songs like You’re Going to Lose That Girl, and the two covers Act Naturally and Dizzy Miss Lizzy. I’ve always liked You’re Going to Lose That Girl with the call and response and Ringo did an excellent job on Act Naturally.
I think the most underrated song on the album is The Night Before. If any other band did this song…it would have been a single. Other songs that I like (that were not hits) are It’s Only Love (although Lennon hated it), I’ve Just Seen A Face, I Need You, and Another Girl.
I shouldn’t rate Beatle albums because it’s hard for me to be objective about them but I would give this 5 out of 5 stars. A fun movie also if you get a chance …watch it.
Track Listing
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
According to John Lennon, when the Beatles were in Hamburg, prostitutes had to have a piece of paper proving they have a clean bill of health…as in a Ticket To Ride. McCartney said it was “a British Railways ticket to the town of Ryde on the Isle of Wight.” Lennon’s description caught a 9-year-old boy’s imagination much more.
George Harrison came up with the way the riff was played. Ringo came up with a distinctive staccato drum pattern for this song based on the way George played it. He said a big part of his drumming style is being a left-handed drummer trying to play right-handed.
I remember this the most by it being used in the Beatles movie Help! in the scene where The Beatles ski… poorly. Copies of the original single released on Capitol Records say: “From the United Artists Release ‘Eight Arms To Hold You’,” which was the original working title of Help!
The Beatles were one of the first groups to make music videos, which were done so they could promote their songs without showing up at TV stations. They made one for “Ticket To Ride” in a shoot where they did four other songs as well. All the footage was shot in the studio; this one saw the band performing in front of oversized tickets for trains and busses.
The song peaked at #1 in the Billboard 100, Canada and the UK in 1965.
Carl Palmer: “One of the most exciting, rhythmical patterns and parts and songs that I ever heard, which I thought was really big-time and had it all going is a track by The Beatles called ‘Ticket To Ride, the drum part on that I always thought was exceptional.”
From Songfacts
The Beatles taped a performance of this song that was broadcast on an episode of Ed Sullivan Show that aired September 12, 1965 (the last Ed Sullivan show broadcast in black and white). The Beatles recorded it prior to their Shea Stadium concert that took place August 15.
The Carpenters covered this in 1969 with the gender reversed to suit lead vocalist Karen Carpenter (“he’s got a ticket to ride…” Their mellow version was released as the duo’s first single and included on their first album, which was also called Ticket To Ride. Their rendition didn’t chart, but made its way onto plenty of light rock playlists.
In Stephen King’s 1977 novel The Shining, a supernatural Big Band ensemble plays a swing version of this at The Overlook Hotel.
Ticket To Ride
I think I’m gonna be sad I think it’s today, yeah The girl that’s driving me mad Is going away
She’s got a ticket to ride She’s got a ticket to ride She’s got a ticket to ride But she don’t care
She said that living with me Is bringing her down yeah For she would never be free When I was around
She’s got a ticket to ride She’s got a ticket to ride She’s got a ticket to ride But she don’t care
I don’t know why she’s ridin’ so high She ought to think twice She ought to do right by me Before she gets to saying goodbye She ought to think twice, She ought to do right by me I think I’m gonna be sad I think it’s today yeah The girl that’s driving me mad Is going away, yeah
She’s got a ticket to ride She’s got a ticket to ride She’s got a ticket to ride But she don’t care
I don’t know why she’s ridin’ so high She ought to think twice She ought to do right by me Before she gets to saying goodbye She ought to think twice She ought to do right by me She said that living with me Is bringing her down, yeah For she would never be free When I was around
Ah, she’s got a ticket to ride She’s got a ticket to ride She’s got a ticket to ride But she don’t care
My baby don’t care, my baby don’t care My baby don’t care, my baby don’t care My baby don’t care, my baby don’t care
I love the visuals in this song. I’ve never had the pleasure of being there but it feels like I’m standing in the middle of Penny Lane in 1967.
This song was part of what I think was the best single ever released. Penny Lane/Strawberry Fields. Both of the songs are connected with Liverpool. Both John and Paul wrote about places where they grew up. Paul explained that Penny Lane was a suburban district where, until age four, he lived with his mother and father.
The Beatles did not include these two songs on Sgt Pepper. They recorded singles and albums separately for the most part. They ended up on the Magical Mystery Tour album in America.
Lennon and McCartney were competitive and for the most part it was a good competitiveness that resulted in timeless songs that will be still remembered 100 years from now.
They made promotional films for both songs. This must have been a shock to some people. They had not seen the Beatles since the year before…they had ditched the mop tops and gone weird…that must have been in some people’s minds. The music had a sophistication that earlier songs didn’t have.
The single only made #2 in the UK…it was locked out of the #1 position by no other than Elbert Humperdinck with Release Me. It did peak at #1 in the Billboard 100, #1 in Canada, and #1 in New Zealand in 1967.
In 1967, Capitol released Beatles music on a new but short-lived format called “Playtapes.” These tape cartridges did not have the capabilities to include entire albums, so a truncated four-song version of “Magical Mytery Tour” was released in early 1968 in this portable format, some rare copies having a picture from the “Help!” soundtrack album on the front of the tape. “Penny Lane” was one of the four songs on this release. These Playtapes are highly collectable today.
Paul McCartney:“When I came to write it, John came over and helped me with the third verse, as often was the case. We were writing childhood memories: recently faded memories from eight or ten years before, so it was a recent nostalgia, pleasant memories for both of us. All the places were still there, and because we remembered it so clearly we could have gone on.” John himself relates: “We really got into the groove of imagining Penny Lane, you know – the bank was there, and that was where the tram sheds were and people waiting and the inspector stood there, the fire engines were down there. It was just reliving childhood.” In John’s Playboy interview of 1980, he concurs about his input in writing the song: “I wrote some of the lyrics. I can’t remember which. It was all Paul’s melody.”
“There was a barber shop called Bioletti’s with head shots of the haircuts you can have in the window and I just took it all and arted it up a little bit to make it sound like he was having a picture exhibition in his window. It was all based on real things; there was a bank on the corner so I imagined the banker, it was not a real person, and his slightly dubious habits and the little children laughing at him, and the pouring rain. The fire station was a bit of poetic license; there’s a fire station about half a mile down the road, not actually in Penny Lane, but we needed a third verse so we took that and I was very pleased with the line ‘It’s a clean machine.’ I still like that as a phrase, you occasionally hit a lucky little phrase and it becomes more than a phrase. So the banker and the barber shop and the fire station were all real locations.”
Here are the two videos…Strawberry Fields and Penny Lane… See those glasses that John Lennon slips on in the Penny Lane Video? The square ones…I have some identical from that time period…they are really cool.
Penny Lane
In Penny Lane, there is a barber showing photographs Of every head he’s had the pleasure to know And all the people that come and go Stop and say, “Hello”
On the corner is a banker with a motorcar And little children laugh at him behind his back And the banker never wears a mac In the pouring rain, very strange
Penny Lane is in my ears and in my eyes There beneath the blue suburban skies I sit, and meanwhile back In Penny Lane there is a fireman with an hourglass And in his pocket is a portrait of the Queen He likes to keep his fire engine clean It’s a clean machine
Penny Lane is in my ears and in my eyes A four of fish and finger pies In summer, meanwhile back Behind the shelter in the middle of the roundabout The pretty nurse is selling poppies from a tray And though she feels as if she’s in a play She is anyway
In Penny Lane, the barber shaves another customer We see the banker sitting waiting for a trim And then the fireman rushes in From the pouring rain, very strange
Penny Lane is in my ears and in my eyes There beneath the blue suburban skies I sit, and meanwhile back Penny Lane is in my ears and in my eyes There beneath the blue suburban skies Penny Lane!
I remember this George Harrison song well in 1981. This song was tribute to John Lennon, who was shot and killed the year before. The song had a bouncy melody and it was originally wrote for Ringo. After Lennon was murdered George re-wrote the lyrics to show is feelings for John.
Ringo did end up playing on the track with Paul and Linda McCartney, and Denny Laine from McCartney’s band Wings. Long time Beatle producer George Martin produced this for Harrison. Geoff Emerick, one of The Beatles sound engineers, also had a hand in this tune.
This appeared on the album Somewhere In England. I bought the single and then the album. The album peaked at #11 in the Billboard Album Charts, #13 in the UK, and #14 in Canada. The song peaked at #2 in the Billboard Album Charts, #13 in the UK, and #3 in Canada in 1981.
Al Kooper:“George was in the kitchen, white as a sheet, real shook up. We all had breakfast. He took calls from Paul and Yoko, which actually seemed to help his spirit, and then we went into the studio and started the day’s work. Ray and I kept George’s wine glass full all day…”
All Those Years Ago
I’m shouting all about love While they treated you like a dog When you were the one who had made it so clear All those years ago
I’m talking all about how to give They don’t act with much honesty But you point the way to the truth when you say All you need is love
Living with good and bad I always looked up to you Now we’re left cold and sad By someone the devil’s best friend Someone who offended all
We’re living in a bad dream They’ve forgotten all about mankind And you were the one they backed up to the wall All those years ago You were the one who imagined it all All those years ago
All those years ago All those years ago
Deep in the darkest night I send out a prayer to you Now in the world of light Where the spirit free of lies And all else that we despised
They’ve forgotten all about God He’s the only reason we exist Yet you were the one that they said was so weird All those years ago You said it all though not many had ears All those years ago You had control of our smiles and our tears All those years ago
It’s that time of year…and this is one holiday song that is on my list and not worn out. I first heard this in 1994 when I bought the Beatles Anthology album. I never knew of this song before. this song was never officially released until it appeared as the B-side to “Free As A Bird” in 1994. I’ve posted it every year since I’ve blogged and will continue to do so…it’s repetitive butI like it…it drives home the point.
My friend Dave posted this song a few days ago and he has more info than I do so check it out.
The song, credited to Lennon-McCartney-Harrison-Starkey. The original version was distributed to The Beatles fan club in 1967. It’s the only song ever written specifically for the Beatles Fan Club members. Along with the Beatles…actor Victor Spinetti and roadie Mal Evans were on the recording.
Between December 1963 to December 1969, sent out 7 flexi discs that had spoken and musical messages to their official fan clubs in the UK and the US at Christmas time.
The Beatles recorded this in 1967 and wasn’t released until 1994 paired with “Free As A Bird”. It is a fun Christmas song that will stick in your head. The Beatles did not release a Christmas song commercially… only to their fan club when they were active.
Many performers of this era like The Beach Boys and The Four Seasons released Christmas songs, but The Beatles never had an official Christmas release.
Christmas time is here again
Christmas time is here again Christmas time is here again Christmas time is here again Christmas time is here again
Ain’t been round since you know when Christmas time is here again O-U-T spells “out”
Christmas time is here again Christmas time is here again Christmas time is here again Christmas time is here again
Ain’t been round since you know when Christmas time is here again O-U-T spells “out”
Christmas time is here again Christmas time is here again Christmas time is here again Christmas time is here again
Ain’t been round since you know when Christmas time…[music continues and fades to background]
[spoken]
This is Paul McCartney here, I’d just like to wish you everything you wish yourself for Christmas.
This is John Lennon saying on behalf of the Beatles, have a very Happy Christmas and a good New Year.
George Harrison speaking. I’d like to take this opportunity to wish you a very Merry Christmas, listeners everywhere.
This is Ringo Starr and I’d just like to say Merry Christmas and a really Happy New Year to all listeners
[a John Lennon pastiche at this point, very hard to understand]
No, this is not the strongest song in the Beatles catalog or even the strongest on the Let It Be album but…I love that guitar riff! That riff is one of the most unorthodox riffs I’ve heard. Only the mind of John Lennon could have come up with that part. The same man that brought us the riffs of Daytripper and And Your Bird Can Sing.
The part that hooked me as a kid was the guitar riff as I’ve said and the I, I, I, I Iyeeeeeeeee that starts it out. The other strong part of the song is the chorus “All I Want Is You!” “Everything has got to be just like you want it to!” and right after that the riff comes in again. I also like John’s raw vocals in this one. Also…it’s hard not to like “I roll a stoney. “The orginal title was All I Want Is You.
John Lennon would often string words together to create nonsensical phrases for his lyrics. When asked about this song he said it refers to no specific person and the lyrics are “nonsense,” a lyrical technique he also attributes to Bob Dylan songs. John said he made it up as he went along.
The lyrics were brought up in the movie “Imagine” released in 1988.
This part below was in the Imagine movie.
In a clip after the Beatles broke up, a young man…obviousy on hard times ended up in John’s garden. The fellow’s name was Curt Claudio. He looked a bit lost and scarred. He latched onto John Lennon and his music, believing that he had some sort of connection to John and he traveled to England to find out if he really did. He was found sleeping on the grounds of Tittenhurst Park, John and Yoko’s home in Ascot. Claudio thought John was speaking to him through his songs. He mentions lyrics to Dig a Pony.
John took the time to go out and talk to Curt and very kindly told him that he was just a guy too, and that while Curt thought that John’s songs were written with Curt in mind, they were really just written from personal, everyday experiences. He then invited him in the house for something to eat.
Video below
Dig A Pony
I dig a pony Well, you can celebrate anything you want Yes, you can celebrate anything you want Oh
I do a road hog Well, you can penetrate any place you go Yes, you can penetrate any place you go I told you so
All I want is you Everything has got to be just like you want it to Because
I pick a moon dog Well, you can radiate everything you are Yes, you can radiate everything you are Oh now
I roll a stoney Well, you can imitate everyone you know Yes, you can imitate everyone you know I told you so
All I want is you Everything has got to be just like you want it to Because (woo)
Oh now I feel the wind blow Well, you can indicate everything you see Yes, you can indicate everything you see Oh now
I load a lorry Well, you can syndicate any boat you row Yeah, you can syndicate any boat you row I told you so
All I want is you Everything has got to be just like you want it to Because
I’ve been watching Get Back on Disney Plus and this is one of the songs they have went over. I always thought Two Of Us should have been a single… It’s not slick or full of production…just John and Paul singing together like they did in the early years. It feels like they had come full circle.
Paul McCartney wrote this about enjoying his travels with his wife Linda. The song was on the album Let It Be recorded in January of 1969 but wasn’t released until 1970. It was the last studio album released of the Beatles career but not the last recorded.
After this album The Beatles embarked on recording the classic album Abbey Road in the summer of 1969. As the film Get Back shows…yes they would argue but it was not as bad as we have been led to believe or they would not have recorded Abbey Road. There was also talk of another possible album after Abbey Road but they decided to call it a day.
I always thought The Beatles ended at the right time. They never made a bad album like some other bands. I do think they had a couple of albums left in them but to end a career recording Abbey Road…its hard to top that.
It’s interesting to speculate if they would have got back together if John Lennon would not have been murdered. I don’t think they would have recorded again but I do think Lennon and McCartney would have written together again.
Linda McCartney:As a kid I loved getting lost. I would say to my father – let’s get lost. But you could never seem to be able to get really lost. All signs would eventually lead back to New York or wherever we were staying! Then, when I moved to England to be with Paul, we would put Martha in the back of the car and drive out of London. As soon as we were on the open road I’d say, ‘Let’s get lost’ and we’d keep driving without looking at any signs. Hence the line in the song, ‘Two of us going nowhere’.
Paul wrote ‘Two Of Us’ on one of those days out. It’s about us. We just pulled off in a wood somewhere and parked the car. I went off walking while Paul sat in the car and started writing. He also mentions the postcards because we used to send a lot of postcards to each other.
From Songfacts
Lennon and McCartney sang together on this song, which is something they did a lot in the early years of The Beatles, but not so much later on, when they started writing separately and restricting the lead vocal to whoever wrote the song.
This song is mostly acoustic, with Lennon and McCartney each playing acoustic guitar. George Harrison’s electric guitar is there, but low in the mix. There is no bass on the track.
This appears twice in the Beatles documentary movie Let It Be, first as a duet by John and Paul and then with the whole band.
John Lennon did the whistling on the fade-out.
Two Of Us
Two of us riding nowhere Spending someone’s hard-earned pay You and me Sunday driving Not arriving On our way back home We’re on our way home We’re on our way home We’re going home
Two of us sending postcards Writing letters on my wall You and me burning matches Lifting latches On our way back home We’re on our way home We’re on our way home We’re going home
You and I have memories That stretches out ahead
Two of us wearing raincoats Standing solo You and me chasing paper Getting nowhere On our way back home We’re on our way home We’re on our way home We’re going home
You and I have memories That stretches out ahead
Two of us wearing raincoats You and me chasing paper Getting nowhere On our way back home We’re on our way home We’re on our way home We’re going home
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